AI App Kya Hai In Hindi

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Contrast-to-noise ratio

Contrast-to-noise ratio (CNR) is a measure used to determine image quality. CNR is similar to the metric signal-to-noise ratio (SNR), but subtracts a term before taking the ratio. This is important when there is a significant bias in an image, such as from haze. As can be seen in the picture at right, the intensity is rather high even though the features of the image are washed out by the haze. Thus this image may have a high SNR metric, but will have a low CNR metric. One way to define contrast-to-noise ratio is: C = | S A − S B | σ o {\displaystyle C={\frac {|S_{A}-S_{B}|}{\sigma _{o}}}} where SA and SB are signal intensities for signal producing structures A and B in the region of interest and σo is the standard deviation of the pure image noise.
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Generative art

Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu
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Videotex

Videotex (or interactive videotex) was one of the earliest implementations of an end-user information system. From the late 1970s to early 2010s, it was used to deliver information (usually pages of text) to a user in computer-like format, typically to be displayed on a television or a dumb terminal. In a strict definition, videotex is any system that provides interactive content and displays it on a video monitor such as a television, typically using modems to send data in both directions. A close relative is teletext, which sends data in one direction only, typically encoded in a television signal. All such systems are occasionally referred to as viewdata. Unlike the modern Internet, traditional videotex services were highly centralized. Videotex in its broader definition can be used to refer to any such service, including teletext, the Internet, bulletin board systems, online service providers, and even the arrival/departure displays at an airport. This usage is no longer common. With the exception of Minitel in France, videotex elsewhere never managed to attract any more than a very small percentage of the universal mass market once envisaged. By the end of the 1980s its use was essentially limited to a few niche applications. == Initial development and technologies == === United Kingdom === The first attempts at a general-purpose videotex service were created in the United Kingdom in the late 1960s. In about 1970 the BBC had a brainstorming session in which it was decided to start researching ways to send closed captioning information to the audience. As the Teledata research continued the BBC became interested in using the system for delivering any sort of information, not just closed captioning. In 1972, the concept was first made public under the new name Ceefax. Meanwhile, the General Post Office (soon to become British Telecom) had been researching a similar concept since the late 1960s, known as Viewdata. Unlike Ceefax which was a one-way service carried in the existing TV signal, Viewdata was a two-way system using telephones. Since the Post Office owned the telephones, this was considered to be an excellent way to drive more customers to use the phones. Not to be outdone by the BBC, they also announced their service, under the name Prestel. ITV soon joined the fray with a Ceefax-clone known as ORACLE. In 1974, all the services agreed on a standard for displaying the information. The display would be a simple 40×24 grid of text, with some "graphics characters" for constructing simple graphics, revised and finalized in 1976. The standard did not define the delivery system, so both Viewdata-like and Teledata-like services could at least share the TV-side hardware, which was expensive at the time. The standard also introduced a new term that covered all such services, teletext. Ceefax first started operation in 1974 with a limited 30 pages, followed quickly by ORACLE and then Prestel in 1979. By 1981, Prestel International was available in nine countries, and a number of countries, including Sweden, The Netherlands, Finland and West Germany were developing their own national systems closely based on Prestel. General Telephone and Electronics (GTE) acquired an exclusive agency for the system for North America. In the early 1980s, videotex became the base technology for the London Stock Exchange's pricing service called TOPIC. Later versions of TOPIC, notably TOPIC2 and TOPIC3, were developed by Thanos Vassilakis and introduced trading and historic price feeds. === France === Development of a French teletext-like system began in 1973. A very simple 2-way videotex system called Tictac was also demonstrated in the mid-1970s. As in the UK, this led on to work to develop a common display standard for videotex and teletext, called Antiope, which was finalised in 1977. Antiope had similar capabilities to the UK system for displaying alphanumeric text and chunky "mosaic" character-based block graphics. A difference however was that while in the UK standard control codes automatically also occupied one character position on screen, Antiope allowed for "non spacing" control codes. This gave Antiope slightly more flexibility in the use of colours in mosaic block graphics, and in presenting the accents and diacritics of the French language. Meanwhile, spurred on by the 1978 Nora/Minc report, the French government was determined to catch up on a perceived falling behind in its computer and communications facilities. In 1980 it began field trials issuing Antiope-based terminals for free to over 250,000 telephone subscribers in Ille-et-Vilaine region, where the French CCETT research centre was based, for use as telephone directories. The trial was a success, and in 1982 Minitel was rolled out nationwide. === Canada === Since 1970, researchers at the Communications Research Centre (CRC) in Ottawa had been working on a set of "picture description instructions", which encoded graphics commands as a text stream. Graphics were encoded as a series of instructions (graphics primitives) each represented by a single ASCII character. Graphic coordinates were encoded in multiple 6 bit strings of XY coordinate data, flagged to place them in the printable ASCII range so that they could be transmitted with conventional text transmission techniques. ASCII SI/SO characters were used to differentiate the text from graphic portions of a transmitted "page". In 1975, the CRC gave a contract to Norpak to develop an interactive graphics terminal that could decode the instructions and display them on a colour display, which was successfully up and running by 1977. Against the background of the developments in Europe, CRC was able to persuade the Canadian government to develop the system into a fully-fledged service. In August 1978, the Canadian Department of Communications publicly launched it as Telidon, a "second generation" videotex/teletext service, and committed to a four-year development plan to encourage rollout. Compared to the European systems, Telidon offered real graphics, as opposed to block-mosaic character graphics. The downside was that it required much more advanced decoders, typically featuring Zilog Z80 or Motorola 6809 processors. === Japan === Research in Japan was shaped by the demands of the large number of Kanji characters used in Japanese script. With 1970s technology, the ability to generate so many characters on demand in the end-user's terminal was seen as prohibitive. Instead, development focussed on methods to send pages to user terminals pre-rendered, using coding strategies similar to facsimile machines. This led to a videotex system called Captain ("Character and Pattern Telephone Access Information Network"), created by NTT in 1978, which went into full trials from 1979 to 1981. The system also lent itself naturally to photographic images, albeit at only moderate resolution. However, the pages typically took two or three times longer to load, compared to the European systems. NHK developed an experimental teletext system along similar lines, called CIBS ("Character Information Broadcasting Station"). Based on a 388×200 pixel resolution, it was first announced in 1976, and began trials in late 1978. (NHK's ultimate production teletext system launched in 1983). == Standards == Work to establish an international standard for videotex began in 1978 in CCITT. But the national delegations showed little interest in compromise, each hoping that their system would come to define what was perceived to be going to be an enormous new mass-market. In 1980 CCITT therefore issued recommendation S.100 (later T.100), noting the points of similarity but the essential incompatibility of the systems, and declaring all four to be recognised options. Trying to kick-start the market, AT&T Corporation entered the fray, and in May 1981 announced its own Presentation Layer Protocol (PLP). This was closely based on the Canadian Telidon system, but added to it some further graphics primitives and a syntax for defining macros, algorithms to define cleaner pixel spacing for the (arbitrarily sizeable) text, and also dynamically redefinable characters and a mosaic block graphic character set, so that it could reproduce content from the French Antiope. After some further revisions this was adopted in 1983 as ANSI standard X3.110, more commonly called NAPLPS, the North American Presentation Layer Protocol Syntax. It was also adopted in 1988 as the presentation-layer syntax for NABTS, the North American Broadcast Teletext Specification. Meanwhile, the European national Postal Telephone and Telegraph (PTT) agencies were also increasingly interested in videotex, and had convened discussions in European Conference of Postal and Telecommunications Administrations (CEPT) to co-ordinate developments, which had been diverging along national lines. As well as the British and French standards, the Swedes had proposed extending the British Prestel standard with a new se
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Wavelet noise

Wavelet noise is an alternative to Perlin noise which reduces the problems of aliasing and detail loss that are encountered when Perlin noise is summed into a fractal. == Algorithm detail == The basic algorithm for 2-dimensional wavelet noise is as follows: Create an image, R {\displaystyle R} , filled with uniform white noise. Downsample R {\displaystyle R} to half-size to create R ↓ {\displaystyle R^{\downarrow }} , then upsample it back up to full size to create R ↓↑ {\displaystyle R^{\downarrow \uparrow }} . Subtract R ↓↑ {\displaystyle R^{\downarrow \uparrow }} from R {\displaystyle R} to create the end result, N {\displaystyle N} . This results in an image that contains all the information that cannot be represented at half-scale. From here, N {\displaystyle N} can be used similarly to Perlin noise to create fractal patterns.
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Commission on Enhancing National Cybersecurity

The President's Commission on Enhancing National Cybersecurity is a Presidential Commission formed on April 13, 2016, to develop a plan for protecting cyberspace, and America's economic reliance on it. The commission released its final report in December 2016. The report made recommendations regarding the intertwining roles of the military, government administration and the private sector in providing cyber security. Chairman Donilon said of the report that its coverage "is unusual in the breadth of issues" with which it deals. == Recommendations == The report made sixteen major recommendations with fifty-three specific action items broadly grouped under six areas: Protecting the information and digital infrastructure Investing in the secure growth of information and digital infrastructure Consumer information access Building the cybersecurity workforce Building a secure governmental cybersecurity framework Keeping interconnectivity open, fair, competitive, and secure The Commission found that strong authentication systems were mandatory for adequate cybersecurity, not just for the government, but for all commercial systems, and private individuals. The commission also stressed remote identity proofing and security for the Internet of things (IoT). Finding that technicians who know cybersecurity and can protect systems are few and in short supply, the commission recommended nationally supported training programs to produce an adequate workforce, as well as increasing the level of expertise in the existing workforce. The Commission highlighted the importance of partnerships between government and the private sector as a powerful tool for encouraging the technology, policies and practices we need to secure and grow the digital economy. (page 2) Some criticised the commission's work as lacking an understanding of cybersecurity and not being cognizant of "cyber reality" and the cost of some of the action items, but others found the report constructive and meaningful. == Commission members == The initial members of the Commission are: Tom Donilon, former Assistant to the President and National Security Advisor (Chair) Sam Palmisano, former CEO of IBM (Vice Chair) General Keith Alexander, CEO of IronNet Cybersecurity, former Director of the National Security Agency and former Commander of U.S. Cyber Command Annie Antón, Professor and Chair of the School of Interactive Computing at Georgia Tech. Ajay Banga, President and CEO of MasterCard Steven Chabinsky, General Counsel and Chief Risk Officer of CrowdStrike Patrick Gallagher, Chancellor of the University of Pittsburgh and former Director of the National Institute of Standards and Technology Peter Lee, Corporate Vice President, Microsoft Research Herbert Lin, Senior Research Scholar for Cyber Policy and Security at the Stanford Center for International Security and Cooperation and Research Fellow at the Hoover Institution Heather Murren, former member of the Financial Crisis Inquiry Commission and co-founder of the Nevada Cancer Institute Joe Sullivan, Chief Security Officer of Uber and former Chief Security Officer of Facebook Maggie Wilderotter, Executive Chairman of Frontier Communications == Follow-on == Incoming President Trump has indicated that he wants a full review of U.S. cyber protection policy. == Notes and references ==
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Shell Control Box

Shell Control Box (SCB) is a network security appliance that controls privileged access to remote IT systems, records activities in replayable audit trails, and prevents malicious actions. For example, it records as a system administrator updates a file server or a third-party network operator configures a router. The recorded audit trails can be replayed like a movie to review the events as they occurred. The content of the audit trails is indexed to make searching for events and automatic reporting possible. SCB is a Linux-based device developed by Balabit. It is an application level proxy gateway. In 2017, Balabit changed the name of the product to Privileged Session Management (PSM) and repositioned it as the core module of its Privileged Access Management solution. == Main Features == Balabit’s Privileged Session Management (PSM), Shell Control Box (SCB) is a device that controls, monitors, and audits remote administrative access to servers and network devices. It is a tool to oversee system administrators by controlling the encrypted connections used for administration. PSM (SCB) has full control over the SSH, RDP, Telnet, TN3270, TN5250, Citrix ICA, and VNC connections, providing a framework (with solid boundaries) for the work of the administrators. === Gateway Authentication === PSM (SCB) acts as an authentication gateway, enforcing strong authentication before users access IT assets. PSM can also integrate to user directories (for example, a Microsoft Active Directory) to resolve the group memberships of the users who access the protected servers. Credentials for accessing the server are retrieved transparently from PSM’s credential store or a third-party password management system by PSM impersonating the authenticated user. This automatic password retrieval protects the confidentiality of passwords as users can never access them. === Access Control === PSM controls and audits privileged access over the most wide-spread protocols such as SSH, RDP, or HTTP(s). The detailed access management helps to control who can access what and when on servers. It is also possible to control advanced features of the protocols, like the type of channels permitted. For example, unneeded channels like file transfer or file sharing can be disabled, reducing the security risk on the server. With PSM policies for privileged access can be enforced in one single system. === 4-eyes Authorization === To avoid accidental misconfiguration and other human errors, PSM supports the 4-eyes authorization principle. This is achieved by requiring an authorizer to allow administrators to access the server. The authorizer also has the possibility to monitor – and terminate - the session of the administrator in real-time, as if they were watching the same screen. === Real-time Monitoring and Session Termination === PSM can monitor the network traffic in real time, and execute various actions if a certain pattern (for example, a suspicious command, window title or text) appears on the screen. PSM can also detect specific patterns such as credit card numbers. In case of detecting a suspicious user action, PSM can send an e-mail alert or immediately terminate the connection. For example, PSM can block the connection before a destructive administrator command, such as the „rm” comes into effect. === Session Recording === PSM makes user activities traceable by recording them in tamper-proof and confidential audit trails. It records the selected sessions into encrypted, timestamped, and digitally signed audit trails. Audit trails can be browsed online, or followed real-time to monitor the activities of the users. PSM replays the recorded sessions just like a movie – actions of the users can be seen exactly as they appeared on their monitor. The Balabit Desktop Player enables fast forwarding during replays, searching for events (for example, typed commands or pressing Enter) and texts seen by the user. In the case of any problems (database manipulation, unexpected shutdown, etc.) the circumstances of the event are readily available in the trails, thus the cause of the incident can be identified. In addition to recording audit trails, transferred files can be also recorded and extracted for further analysis.
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North Atlantic Population Project

The North Atlantic Population Project (NAPP) is a collaboration of historical demographers in Britain, Canada, Denmark, Germany, Iceland, Norway, and Sweden to produce a massive census microdata collection for the North Atlantic Region in the late-nineteenth century. The database includes complete individual-level census enumerations for each country, and provides information on over 110 million people. This large scale allows detailed analysis of small geographic areas and population subgroups. The NAPP database is designed to be compatible with the Integrated Public Use Microdata Series (IPUMS), and is disseminated through the IPUMS data-access system at the Minnesota Population Center, University of Minnesota. Major collaborators on the project include Lisa Dillon, University of Montreal; Chad Gaffield, University of Ottawa; Ólöf Garðarsdóttir, Statistics Iceland; Marianne Jarnes Erikstad, University of Tromsø; Jan Oldervall University of Bergen; Evan Roberts, University of Minnesota; Steven Ruggles, University of Minnesota; Kevin Schürer, UK Data Archive; Gunnar Thorvaldsen, University of Tromsø; and Matthew Woollard, UK Data Archive. The project is also coordinated by the Minnesota Population Center at the University of Minnesota.
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Multi-exposure HDR capture

In photography and videography, multi-exposure HDR capture is a technique that creates high dynamic range (HDR) images (or extended dynamic range images) by taking and combining multiple exposures of the same subject matter at different exposures. Combining multiple images in this way results in an image with a greater dynamic range than what would be possible by taking one single image. The technique can also be used to capture video by taking and combining multiple exposures for each frame of the video. The term "HDR" is used frequently to refer to the process of creating HDR images from multiple exposures. Many smartphones have an automated HDR feature that relies on computational imaging techniques to capture and combine multiple exposures. A single image captured by a camera provides a finite range of luminosity inherent to the medium, whether it is a digital sensor or film. Outside this range, tonal information is lost and no features are visible; tones that exceed the range are "burned out" and appear pure white in the brighter areas, while tones that fall below the range are "crushed" and appear pure black in the darker areas. The ratio between the maximum and the minimum tonal values that can be captured in a single image is known as the dynamic range. In photography, dynamic range is measured in exposure value (EV) differences, also known as stops. The human eye's response to light is non-linear: halving the light level does not halve the perceived brightness of a space, it makes it look only slightly dimmer. For most illumination levels, the response is approximately logarithmic. Human eyes adapt fairly rapidly to changes in light levels. HDR can thus produce images that look more like what a human sees when looking at the subject. This technique can be applied to produce images that preserve local contrast for a natural rendering, or exaggerate local contrast for artistic effect. HDR is useful for recording many real-world scenes containing a wider range of brightness than can be captured directly, typically both bright, direct sunlight and deep shadows. Due to the limitations of printing and display contrast, the extended dynamic range of HDR images must be compressed to the range that can be displayed. The method of rendering a high dynamic range image to a standard monitor or printing device is called tone mapping; it reduces the overall contrast of an HDR image to permit display on devices or prints with lower dynamic range. == Benefits == One aim of HDR is to present a similar range of luminance to that experienced through the human visual system. The human eye, through non-linear response, adaptation of the iris, and other methods, adjusts constantly to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions. Most cameras are limited to a much narrower range of exposure values within a single image, due to the dynamic range of the capturing medium. With a limited dynamic range, tonal differences can be captured only within a certain range of brightness. Outside of this range, no details can be distinguished: when the tone being captured exceeds the range in bright areas, these tones appear as pure white, and when the tone being captured does not meet the minimum threshold, these tones appear as pure black. Images captured with non-HDR cameras that have a limited exposure range (low dynamic range, LDR), may lose detail in highlights or shadows. Modern CMOS image sensors have improved dynamic range and can often capture a wider range of tones in a single exposure reducing the need to perform multi-exposure HDR. Color film negatives and slides consist of multiple film layers that respond to light differently. Original film (especially negatives versus transparencies or slides) feature a very high dynamic range (in the order of 8 for negatives and 4 to 4.5 for positive transparencies). Multi-exposure HDR is used in photography and also in extreme dynamic range applications such as welding or automotive work. In security cameras the term "wide dynamic range" is used instead of HDR. === Limitations === A fast-moving subject, or camera movement between the multiple exposures, will generate a "ghost" effect or a staggered-blur strobe effect due to the merged images not being identical. Unless the subject is static and the camera mounted on a tripod there may be a tradeoff between extended dynamic range and sharpness. Sudden changes in the lighting conditions (strobed LED light) can also interfere with the desired results, by producing one or more HDR layers that do have the luminosity expected by an automated HDR system, though one might still be able to produce a reasonable HDR image manually in software by rearranging the image layers to merge in order of their actual luminosity. Because of the nonlinearity of some sensors image artifacts can be common. Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images. == Process == High-dynamic-range photographs are generally composites of multiple standard dynamic range images, often captured using exposure bracketing. Afterwards, photo manipulation software merges the input files into a single HDR image, which is then also tone mapped in accordance with the limitations of the planned output or display. === Capturing multiple images (exposure bracketing) === Any camera that allows manual exposure control can perform multi-exposure HDR image capture, although one equipped with automatic exposure bracketing (AEB) facilitates the process. Some cameras have an AEB feature that spans a far greater dynamic range than others, from ±0.6 in simpler cameras to ±18 EV in top professional cameras, as of 2020. The exposure value (EV) refers to the amount of light applied to the light-sensitive detector, whether film or digital sensor such as a CCD. An increase or decrease of one stop is defined as a doubling or halving of the amount of light captured. Revealing detail in the darkest of shadows requires an increased EV, while preserving detail in very bright situations requires very low EVs. EV is controlled using one of two photographic controls: varying either the size of the aperture or the exposure time. A set of images with multiple EVs intended for HDR processing should be captured only by altering the exposure time; altering the aperture size also would affect the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image. Multi-exposure HDR photography generally is limited to still scenes because any movement between successive images will impede or prevent success in combining them afterward. Also, because the photographer must capture three or more images to obtain the desired luminance range, taking such a full set of images takes extra time. Photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is advised to minimize framing differences between exposures. === Merging the images into an HDR image === Tonal information and details from shadow areas can be recovered from images that are deliberately overexposed (i.e., with positive EV compared to the correct scene exposure), while similar tonal information from highlight areas can be recovered from images that are deliberately underexposed (negative EV). The process of selecting and extracting shadow and highlight information from these over/underexposed images and then combining them with image(s) that are exposed correctly for the overall scene is known as exposure fusion. Exposure fusion can be performed manually, relying on the HDR operator's judgment, experience, and training, but usually, fusion is performed automatically by software. === Storing === Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed using mathematical functions such as power laws logarithms, or floating point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges. HDR images often do not use fixed ranges per color channel, other than traditional images, to represent many more colors over a much wi
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Adversarial machine learning

Adversarial machine learning is the study of the attacks on machine learning algorithms, and of the defenses against such attacks. Machine learning techniques are mostly designed to work on specific problem sets, under the assumption that the training and test data are generated from the same statistical distribution (IID). However, this assumption is often violated in practical high-stake applications, where users may intentionally supply fabricated data that violates the statistical assumption. Most common attacks in adversarial machine learning include evasion attacks, data poisoning attacks, Byzantine attacks and model extraction. == History == At the MIT Spam Conference in January 2004, John Graham-Cumming showed that a machine-learning spam filter could be used to defeat another machine-learning spam filter by automatically learning which words to add to a spam email to get the email classified as not spam. In 2004, Nilesh Dalvi and others noted that linear classifiers used in spam filters could be defeated by simple "evasion attacks" as spammers inserted "good words" into their spam emails. (Around 2007, some spammers added random noise to fuzz words within "image spam" in order to defeat OCR-based filters.) In 2006, Marco Barreno and others published "Can Machine Learning Be Secure?", outlining a broad taxonomy of attacks. As late as 2013 many researchers continued to hope that non-linear classifiers (such as support vector machines and neural networks) might be robust to adversaries, until Battista Biggio and others demonstrated the first gradient-based attacks on such machine-learning models (2012–2013). In 2012, deep neural networks began to dominate computer vision problems; starting in 2014, Christian Szegedy and others demonstrated that deep neural networks could be fooled by adversaries, again using a gradient-based attack to craft adversarial perturbations. Further work would show that adversarial attacks are harder to produce in uncontrolled environments, due to the different environmental constraints that cancel out the effect of noise. For example, any small rotation or slight illumination on an adversarial image can destroy the adversariality. In addition, researchers such as Google Brain's Nick Frosst point out that it is much easier to make self-driving cars miss stop signs by physically removing the sign itself, rather than creating adversarial examples. Frosst also believes that the adversarial machine learning community incorrectly assumes models trained on a certain data distribution will also perform well on a completely different data distribution. He suggests that a new approach to machine learning should be explored, and is currently working on a unique neural network that has characteristics more similar to human perception than state-of-the-art approaches. While adversarial machine learning continues to be heavily rooted in academia, large tech companies such as Google, Microsoft, and IBM have begun curating documentation and open source code bases to allow others to concretely assess the robustness of machine learning models and minimize the risk of adversarial attacks. === Examples === Examples include attacks in spam filtering, where spam messages are obfuscated through the misspelling of "bad" words or the insertion of "good" words; attacks in computer security, such as obfuscating malware code within network packets or modifying the characteristics of a network flow to mislead intrusion detection; attacks in biometric recognition where fake biometric traits may be exploited to impersonate a legitimate user; or to compromise users' template galleries that adapt to updated traits over time. Researchers showed that by changing only one-pixel it was possible to fool deep learning algorithms. Others 3-D printed a toy turtle with a texture engineered to make Google's object detection AI classify it as a rifle regardless of the angle from which the turtle was viewed. Creating the turtle required only low-cost commercially available 3-D printing technology. A machine-tweaked image of a dog was shown to look like a cat to both computers and humans. A 2019 study reported that humans can guess how machines will classify adversarial images. Researchers discovered methods for perturbing the appearance of a stop sign such that an autonomous vehicle classified it as a merge or speed limit sign. A data poisoning filter called Nightshade was released in 2023 by researchers at the University of Chicago. It was created for use by visual artists to put on their artwork to corrupt the data set of text-to-image models, which usually scrape their data from the internet without the consent of the image creator. McAfee attacked Tesla's former Mobileye system, fooling it into driving 50 mph over the speed limit, simply by adding a two-inch strip of black tape to a speed limit sign. Adversarial patterns on glasses or clothing designed to deceive facial-recognition systems or license-plate readers, have led to a niche industry of "stealth streetwear". An adversarial attack on a neural network can allow an attacker to inject algorithms into the target system. Researchers can also create adversarial audio inputs to disguise commands to intelligent assistants in benign-seeming audio; a parallel literature explores human perception of such stimuli. Clustering algorithms are used in security applications. Malware and computer virus analysis aims to identify malware families, and to generate specific detection signatures. In the context of malware detection, researchers have proposed methods for adversarial malware generation that automatically craft binaries to evade learning-based detectors while preserving malicious functionality. Optimization-based attacks such as GAMMA use genetic algorithms to inject benign content (for example, padding or new PE sections) into Windows executables, framing evasion as a constrained optimization problem that balances misclassification success with the size of the injected payload and showing transferability to commercial antivirus products. Complementary work uses generative adversarial networks (GANs) to learn feature-space perturbations that cause malware to be classified as benign; Mal-LSGAN, for instance, replaces the standard GAN loss with a least-squares objective and modified activation functions to improve training stability and produce adversarial malware examples that substantially reduce true positive rates across multiple detectors. == Challenges in applying machine learning to security == Researchers have observed that the constraints under which machine-learning techniques function in the security domain are different from those of common benchmark domains. Security data may change over time, include mislabeled samples, or reflect adversarial behavior, which complicates evaluation and reproducibility. === Data collection issues === Security datasets vary across formats, including binaries, network traces, and log files. Studies have reported that the process of converting these sources into features can introduce bias or inconsistencies. In addition, time-based leakage can occur when related malware samples are not properly separated across training and testing splits, which may lead to overly optimistic results. === Labeling and ground truth challenges === Malware labels are often unstable because different antivirus engines may classify the same sample in conflicting ways. Ceschin et al. note that families may be renamed or reorganized over time, causing further discrepancies in ground truth and reducing the reliability of benchmarks. === Concept drift === Because malware creators continuously adapt their techniques, the statistical properties of malicious samples also change. This form of concept drift has been widely documented and may reduce model performance unless systems are updated regularly or incorporate mechanisms for incremental learning. === Feature robustness === Researchers differentiate between features that can be easily manipulated and those that are more resistant to modification. For example, simple static attributes, such as header fields, may be altered by attackers, while structural features, such as control-flow graphs, are generally more stable but computationally expensive to extract. === Class imbalance === In realistic deployment environments, the proportion of malicious samples can be extremely low, ranging from 0.01% to 2% of total data. This unbalanced distribution causes models to develop a bias towards the majority class, achieving high accuracy but failing to identify malicious samples. Prior approaches to this problem have included both data-level solutions and sequence-specific models. Methods like n-gram and Long Short-Term Memory (LSTM) networks can model sequential data, but their performance has been shown to decline significantly when malware samples are realistically proportioned in the training set, demonstrating the limitations in
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Vatican News App

The Vatican News App is an official mobile application software issued by the Vatican's Dicastery for Communication. Formerly titled The Pope App, the app was launched on January 23, 2013, under the auspices of the Pontifical Council for Social Communications, a now-defunct dicastery that was merged into the Secretariat (now Dicastery) for Communication in March 2016. Initially, The Pope App was available only on iOS devices, but became available for Android phones at the end of February 2013. The app is available for download on iOS and Android in five languages: English, French, Italian, Portuguese and Spanish. It was originally promoted as an application with focus on the figure of the Pope which made it possible to follow the Pope's events while they are taking place. Alerts notified the followers by informing and offering access to "official papal-related content in a variety of formats". The app also enabled its users to see areas of the Vatican through webcams allocated throughout St. Peter's Square in Rome that broadcast images. In early 2018, The Pope App was relaunched as the Vatican News App, accompanied by a redesign that eliminated many of the previous version's features, reducing the app to a more conventional news service, with increased emphasis on news from the Vatican and the worldwide Catholic Church and less focus on the day-to-day activities of the Pope.
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National Parking Platform

The National Parking Platform is a digital platform in the United Kingdom providing interoperability between car park operators, parking apps, and other service providers. It enables all parking apps that support the system: RingGo, JustPark, PayByPhone, Apcoa Connect, AppyParking, and Caura to work at all participating car parks. It has been rolled out in 13 local authorities so far. It was first developed by the Department for Transport starting in 2019, and since May 2025 is controlled by the British Parking Association on a not-for-profit basis. == Participating local authorities == Buckinghamshire Cheshire West and Chester Coventry City East Hertfordshire East Suffolk Liverpool City Manchester City Oxfordshire County Peterborough City Stevenage Sutton Walsall Welwyn Hatfield
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Color clock

The color clock, or color timer, is a part of the video circuitry of computer graphics hardware that works with analog color television systems. The clock is timed to match the timing of the color standard it works with, typically NTSC or PAL, ensuring that the data being read from the computer memory to create the image on-screen is in sync with the display. Depending on the speed of the color clock, the product of the resolution and number of colors is defined. Slow color clocks of many early games consoles and home computers resulted in limited color palettes at the highest resolutions.
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Symbol level

In knowledge-based systems, agents choose actions based on the principle of rationality to move closer to a desired goal. The agent is able to make decisions based on knowledge it has about the world (see knowledge level). But for the agent to actually change its state, it must use whatever means it has available. This level of description for the agent's behavior is the symbol level. The term was coined by Allen Newell in 1982. For example, in a computer program, the knowledge level consists of the information contained in its data structures that it uses to perform certain actions. The symbol level consists of the program's algorithms, the data structures themselves, and so on.
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Kuaishou

Kuaishou Technology is a Chinese publicly traded partly state-owned holding company based in Haidian District, Beijing, that was founded in 2011 by Hua Su (Chinese: 宿华) and Cheng Yixiao (Chinese: 程一笑). The company, listed on the Hong Kong Stock Exchange, is known for developing a mobile app for sharing users' short videos, a social network, and video special effects editor. The app is known as Kwai in many countries outside of China. It is also known as Snack Video in India, Pakistan and Indonesia. == Ownership and governance == Kuaishou's overseas team is led by the former CEO of the application 99, and staff from Google, Facebook, Netflix, and TikTok were recruited to lead the company's international expansion. The China Internet Investment Fund, a state-owned enterprise controlled by the Cyberspace Administration of China, holds a golden share ownership stake in Kuaishou. == History == Kuaishou is China's first short video platform that was developed in 2011 by engineer Hua Su and Cheng Yixiao. Prior to co-founding Kuaishou, Su Hua had worked for both Google and Baidu as a software engineer. The company is headquartered in Haidian District, Beijing. Kuaishou's predecessor "GIF Kuaishou" was founded in March 2011. GIF Kuaishou was a mobile app with which users could make and share GIF pictures. In 2013, Kuaishou became a short-video social platform. By 2013, the app had reached 100 million daily users. By 2019, it had exceeded 200 million active daily users. In March 2017, Kuaishou closed a US$350 million investment round that was led by Tencent. In January 2018, Forbes estimated the company's valuation to be US$18 billion. In April 2018, Kuaishou's app was briefly banned from Chinese app stores after China Central Television (CCTV) reported on the platform popularizing videos of teenage mothers. In 2019, the company announced a partnership with the People's Daily, an official newspaper of the Central Committee of the Chinese Communist Party, to help it experiment with the use of artificial intelligence in news. In June 2020, following the start of the 2020–2021 China–India skirmishes, the Government of India banned Kwai along with 58 other apps, citing "data and privacy issues". In January 2021, Kuaishou announced it was planning an initial public offering (IPO) to raise approximately US$5 billion. Kuaishou's stock completed its first day of trading at $300 Hong Kong dollars (HKD) (US$38.70), more than doubling its initial offer price, and causing its market value to rise to over $1 trillion HKD (US$159 billion). In February 2021, Kuaishou made a debut on the Hong Kong Stock Exchange, with its shares soaring by 194% at the opening. The company subsequently encountered major setbacks as a result of heightened regulatory restrictions on Chinese internet firms, which contributed to its share price falling by nearly 80% from its post-IPO peak. By December 2021, Kuaishou announced a major reorganization, including the layoff of 30% of its staff, primarily targeting mid-level employees earning an annual salary of $157,000 or more. This restructuring aimed to cut costs and mitigate financial losses. In October 2022, state-owned Beijing Radio and Television Station took a minority ownership stake in Kuaishou. In April 2024, a Financial Times article citing current and former Kuaishou employees stated that the company has been running an ageist redundancy programme known internally as "Limestone", culling workers in their mid-30s. In June 2024, Kuaishou and the Sichuan international communication center launched a branch center in São Paulo, Brazil. In June 2024, Kuaishou released its diffusion transformer text-to-video model, Kling, which they claimed could generate two minutes of video at 30 frames per second and in 1080p resolution. The model has been compared to that of OpenAI's Sora text-to-video model. It is accessible to the public on Kuaishou's video editing app KwaiCut via signing up for a waitlist with a Chinese phone number. In December 2025, Kuaishou came under a cyberattack which led to a temporary influx of violent and pornographic content. == Popularity == As of 2019, it had a worldwide user base of over 200 million, leading the "Most Downloaded" lists of the Google Play and Apple App Store in eight countries, such as Brazil, where it was introduced in 2019. Its main short-video platform competitor was Douyin, which is known as TikTok outside China. Compared to Douyin, Kuaishou is more popular with older users living outside China's Tier 1 cities. Its initial popularity came from videos of Chinese rural life. The app is particularly well known for its "rustic" aesthetic and is popular among rural people. Kuaishou also relied more on e-commerce revenue than on advertising revenue compared to its main competitor. == Reception == Kwai (as the app is called outside of China) was banned in India in 2020 along with other short video apps like TikTok. Kuaishou then released the clone SnackVideo, which was subsequently also banned. The app is one of the most popular social media platforms in Brazil, where Kuaishou partnered with creators to make telenovela style content, and appeals to football fans by working with football teams CR Flamengo and Santos FC and sponsoring the tournament Copa América. Kwai was notable in Brazil for spreading information (and misinformation) about the COVID-19 vaccine and political misinformation. === Manjiao Wenhua === "Manjiao wenhua" (慢脚文化) is a sarcasm term on Chinese internet on the unethical or illegal contents on Kuaishou. State broadcaster China Central Television (CCTV) reported that many contents are about child pregnancy. "Dating, pregnancy, bearing a child...these are strictly prohibited in the real time by a minor, but these contents can easily shown to audiences here." In addition, many students from primary or secondary schools make a pose of smoking. Wang Zhenhui (王贞会) from CUPSL stated that these kinds of bad values will give negative effects to the minors.
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Data item

A data item describes an atomic state of a particular object concerning a specific property at a certain time point. A collection of data items for the same object at the same time forms an object instance (or table row). Any type of complex information can be broken down to elementary data items (atomic state). Data items are identified by object (o), property (p) and time (t), while the value (v) is a function of o, p and t: v = F(o,p,t). Values typically are represented by symbols like numbers, texts, images, sounds or videos. Values are not necessarily atomic. A value's complexity depends on the complexity of the property and time component. When looking at databases or XML files, the object is usually identified by an object name or other type of object identifier, which is part of the "data". Properties are defined as columns (table row), properties (object instance) or tags (XML). Often, time is not explicitly expressed and is an attribute applying to the complete data set. Other data collections provide time on the instance level (time series), column level, or even attribute/property level.
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