AI Apps Free

AI Apps Free — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Blobotics

Blobotics is a term describing research into chemical-based computer processors based on ions rather than electrons. Andrew Adamatzky, a computer scientist at the University of the West of England, Bristol used the term in an article in New Scientist March 28, 2005 [1]. The aim is to create 'liquid logic gates' which would be 'infinitely reconfigurable and self-healing'. The process relies on the Belousov–Zhabotinsky reaction, a repeating cycle of three separate sets of reactions. Such a processor could form the basis of a robot which, using artificial sensors, interact with its surroundings in a way which mimics living creatures. The coining of the term was featured by ABC radio in Australia [2].
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My Drama

My Drama (also may be stylised as MyDrama) is a global streaming service specializing in vertical video series for Duanju. It is owned by the company Holywater Tech. The platform focuses on short-form, emotional storytelling optimized for smartphone viewing, offering content in over 30 languages across 190 countries. == History == My Drama was launched in 2024 by Holywater Tech, founded by Ukrainian entrepreneur Bogdan Nesvit and Anatolii Kasianov. The service gained international traction as part of a growing market for short-form vertical storytelling, influenced by mobile-first entertainment trends. My Drama primarily streams serialized vertical dramas, which are short-form episodes around 1-2 minutes in length designed for mobile consumption. Many series are adaptations of successful stories originally published on Holywater Tech's book platform My Passion. The platform employs AI technology in areas such as content recommendation and story generation, and is one of several Holywater apps focused on interactive entertainment. In 2024, My Drama won a People's Voice award at the 28th Annual Webby Awards. In 2025, My Drama received a Gold Award at the MUSE Creative Awards in the Mobile App: Video Streaming Services category. In 2025, the company received strategic investment from Fox Entertainment, aimed at expanding content creation capabilities and producing over 200 vertical video series. As of 2025, My Drama has produced over 56 titles and reached more than 40 million lifetime users, according to media reports. In January 2026, Holywater Tech raised $22 million in funding to expand its microdrama business in the United States. The investment round was led by Horizon Capital, with participation from U.S.-based investors including Endeavor Catalyst and Wheelhouse. The funding is intended to support the development of Holywater Tech's mobile-first vertical video platform, My Drama, as well as the company's AI-driven content initiatives, such as AI-assisted comics and anime. In February 2026, Holywater bought Jeynix, a studio that uses AI for special effects. This deal helps the company make better-quality shows and translate them into different languages much faster. == Partnerships == In 2024, Holywater Tech entered a partnership with Latin American studio Elefantec Global to distribute vertical dramas in Spanish-language markets. In early 2026, Fox Entertainment entered into a partnership with content creator Dhar Mann to produce a slate of 40 original vertical microdrama series. Under the agreement, the series debut exclusively on the My Drama platform, while global distribution is managed by Fox Entertainment Global. == Reception == My Drama has been highlighted in discussions of the global rise of vertical short drama platforms and has been compared with similar apps such as ReelShort and DramaBox.
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IMPACT (computer graphics)

IMPACT (sometimes spelled Impact) is a computer graphics architecture for Silicon Graphics computer workstations. IMPACT Graphics was developed in 1995 and was available as a high-end graphics option on workstations released during the mid-1990s. IMPACT graphics gives the workstation real-time 2D and 3D graphics rendering capability similar to that of even high-end PCs made well after IMPACT's introduction. IMPACT graphics systems consist of either one or two Geometry Engines and one or two Raster Engines in various configurations. IMPACT graphics consists of five graphics subsystems: the Command Engine, Geometry Subsystem, Raster Engine, framebuffer and Display Subsystem. IMPACT Graphics can produce resolutions up to 1600 x 1200 pixels with 32-bit color and can also process unencoded NTSC and PAL analog television signals. IMPACT graphics subsystems come in three configurations for SGI Indigo2 IMPACT workstations: Solid IMPACT, High IMPACT, and Maximum IMPACT. The equivalent configurations also exist for the SGI Octane workstation but are referred to as SI, SSI, and MXI (I-series). Later Octane workstations used a similar configuration but with updated ASIC chips and are referred to as SE, SSE, and MXE (E-series). IMPACT uses Rambus RDRAM for texture memory. The IMPACT graphics architecture was superseded by SGI's VPro graphics architecture in 1997.
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Roposo

Roposo is an Indian video-sharing social media service, owned by Glance, a subsidiary of InMobi. Roposo provides a space where users can share posts related to different topics like food, comedy, music, poetry, fashion and travel. It is a platform where people express visually with homemade videos and photos. The app offers a TV-like browsing experience with user-generated content on its channels. Users can also use editing tools on the platform and upload their content. == History == Established in July 2014 under Relevant E-solutions Pvt. Ltd., Roposo is the brainchild of three IIT Delhi alumni – Mayank Bhangadia, Avinash Saxena, and Kaushal Shubhank. Under Bhangadia's leadership, the company pivoted from a fashion-based network into a short-form video platform with AI-powered moderation, and its journey was featured as a Harvard Business Publishing case study. In November 2019, Roposo was acquired by InMobi's Glance Digital Experience Pvt. Ltd.(the mobile content platform and part of the InMobi Group). When the Chinese-owned video-sharing app TikTok was banned on 30 June 2020, the app saw a huge spike in users with several TikTok users registering on Roposo. == Technology == The open platform has some features such as a TV-like browsing, different channels, a chat feature that lets buyers and sellers converse directly through the platform, and creation tools such as an option to add voice-over, music and GIF stickers for videos and photos.
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TeaOnHer

TeaOnHer is a male-oriented dating surveillance mobile app that allows men to anonymously rate and comment on women they are dating. It was set up in response to the existence of Tea, a female-oriented dating app that allowed women to rate and comment on men. In 2025, Cosmopolitian magazine described it as America's second most popular mobile app, with it being the second most popular app in the lifestyle section of Apple's App Store. The TeaOnHer app has fewer features than the rival Tea app, focusing instead on anonymous commenting. It is listed as having been developed by a company called Newville Media Corporation. TechCrunch reported in 2025 that TeaOnHer had leaked credentials of some of its users.
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Operational image

An operational image, also known as operative image, is an image that serves a functional, rather than aesthetic, purpose. Operational images are not intended to be viewed by people as representations of the real world; they are created to be used as instruments in performing some task or operation, often by machine automation. Operational images are used in a wide variety of applications, such as weapons targeting and guidance systems, and assisting surgeons performing robot-assisted surgery. The term "operational image" was first coined in 2000 by German filmmaker Harun Farocki in the first part of his three-part audiovisual installation, Eye/Machine. Farocki's installation included operational images used by militaries, such as weapons guidance and targeting systems. Eye/Machine featured images shown to the public by the United States military from the cameras used by laser-guided missiles in the Gulf War. Farocki defined operational images as "Images without a social goal, not for edification, not for reflection," and that they "do not represent an object, but rather are part of an operation." According to Volker Pantenburg, operational images are more accurately characterized as "visualizations of data". He describes operational images as a "working image" or an image that "performs work". Operational images are ubiquitous in modern society, used for a variety of military and non-military applications, such as inspecting sewer piping, and assisting surgeons performing robotic surgery.
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Space partitioning

In geometry, space partitioning is the process of dividing an entire space (usually a Euclidean space) into two or more disjoint subsets (see also partition of a set). In other words, space partitioning divides a space into non-overlapping regions. Any point in the space can then be identified to lie in exactly one of the regions. == Overview == Space-partitioning systems are often hierarchical, meaning that a space (or a region of space) is divided into several regions, and then the same space-partitioning system is recursively applied to each of the regions thus created. The regions can be organized into a tree, called a space-partitioning tree. Most space-partitioning systems use planes (or, in higher dimensions, hyperplanes) to divide space: points on one side of the plane form one region, and points on the other side form another. Points exactly on the plane are usually arbitrarily assigned to one or the other side. Recursively partitioning space using planes in this way produces a BSP tree, one of the most common forms of space partitioning. == Uses == === In computer graphics === Space partitioning is particularly important in computer graphics, especially heavily used in ray tracing, where it is frequently used to organize the objects in a virtual scene. A typical scene may contain millions of polygons. Performing a ray/polygon intersection test with each would be a very computationally expensive task. Storing objects in a space-partitioning data structure (k-d tree or BSP tree for example) makes it easy and fast to perform certain kinds of geometry queries—for example in determining whether a ray intersects an object, space partitioning can reduce the number of intersection test to just a few per primary ray, yielding a logarithmic time complexity with respect to the number of polygons. Space partitioning is also often used in scanline algorithms to eliminate the polygons out of the camera's viewing frustum, limiting the number of polygons processed by the pipeline. There is also a usage in collision detection: determining whether two objects are close to each other can be much faster using space partitioning. === In integrated circuit design === In integrated circuit design, an important step is design rule check. This step ensures that the completed design is manufacturable. The check involves rules that specify widths and spacings and other geometry patterns. A modern design can have billions of polygons that represent wires and transistors. Efficient checking relies heavily on geometry query. For example, a rule may specify that any polygon must be at least n nanometers from any other polygon. This is converted into a geometry query by enlarging a polygon by n/2 at all sides and query to find all intersecting polygons. === In probability and statistical learning theory === The number of components in a space partition plays a central role in some results in probability theory. See Growth function for more details. === In geography and GIS === There are many studies and applications where Geographical Spatial Reality is partitioned by hydrological criteria, administrative criteria, mathematical criteria or many others. In the context of cartography and GIS - Geographic Information System, is common to identify cells of the partition by standard codes. For example the for HUC code identifying hydrographical basins and sub-basins, ISO 3166-2 codes identifying countries and its subdivisions, or arbitrary DGGs - discrete global grids identifying quadrants or locations. == Data structures == Common space-partitioning systems include: BSP trees Quadtrees Octrees k-d trees Bins == Number of components == Suppose the n-dimensional Euclidean space is partitioned by r {\displaystyle r} hyperplanes that are ( n − 1 ) {\displaystyle (n-1)} -dimensional. What is the number of components in the partition? The largest number of components is attained when the hyperplanes are in general position, i.e, no two are parallel and no three have the same intersection. Denote this maximum number of components by C o m p ( n , r ) {\displaystyle Comp(n,r)} . Then, the following recurrence relation holds: C o m p ( n , r ) = C o m p ( n , r − 1 ) + C o m p ( n − 1 , r − 1 ) {\displaystyle Comp(n,r)=Comp(n,r-1)+Comp(n-1,r-1)} C o m p ( 0 , r ) = 1 {\displaystyle Comp(0,r)=1} - when there are no dimensions, there is a single point. C o m p ( n , 0 ) = 1 {\displaystyle Comp(n,0)=1} - when there are no hyperplanes, all the space is a single component. And its solution is: C o m p ( n , r ) = ∑ k = 0 n ( r k ) {\displaystyle Comp(n,r)=\sum _{k=0}^{n}{r \choose k}} if r ≥ n {\displaystyle r\geq n} C o m p ( n , r ) = 2 r {\displaystyle Comp(n,r)=2^{r}} if r ≤ n {\displaystyle r\leq n} (consider e.g. r {\displaystyle r} perpendicular hyperplanes; each additional hyperplane divides each existing component to 2). which is upper-bounded as: C o m p ( n , r ) ≤ r n + 1 {\displaystyle Comp(n,r)\leq r^{n}+1}
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E-on Vue

Vue is a software tool for world generation by Bentley Systems, with support for many visual effects, animations, and various other features. The tool has been used in several feature-length films. In 2024, Bentley Systems announced that Vue would be discontinued, and be freely available to those that still wish to use it. == Versions == == Features == This is a list of features as of the 2023 release of Vue: === Terrains === Heightfield terrains Procedural terrains Infinite terrains Planetary terrains Real-world terrains 3D terrain sculpting Terrain export === EcoSystem Instancing Technology === Material-based EcoSystems Global EcoSystems Dynamic EcoSystems 360° EcoSystem Population Paint EcoSystem instances EcoParticles Export EcoSystem populations === Vegetation === Built-in Plant editor Compatible with PlantFactory Vegetation assets === Atmosphere, Skies and Clouds === Standard atmospheric model Spectral atmospheric model Photometric atmospheric model Atmosphere presets Procedural Volumetric 3D cloud layers Standalone 3D Metaclouds Convert meshes to Clouds Cloud morphing Import OpenVDB Export standalone and cloud layer zones to OpenVDB Export skies as HDRI === Modeling === Primitive and Feature modeling 3D Text edition tool Metablobbing Hyperblobs Export baked hyperblobs Splines Built in Road Construction toolkit Random rock generator Export rocks === Texturing and UVs === Material presets PBR Substance support Node-based procedural materials Volumetric materials and Hypertextures Stacked UVs Unwrapped UVs Ptex === Interoperability, Integration And Export === Export single assets to generic 3D formats Full scene export Integration plugins Import and Export Camera data as FBX and Nuke.chan Python API ZBrush GoZ bridge === Animation === Animate objects, materials, atmospheres, clouds, waves... Automatic wind and breeze Localized wind effects per plant / per EcoSystem population Omni and directional ventilators for local modifications of plants Time spline editor Automatic keyframe creation Automatic synchronization of cameras and lights Animation export as AfterEffects Import motion tracking information === Lighting === Global illumination, Global Radiosity, Ambient occlusion Subsurface Scattering HDRI image based lighting Point light, Quadratic point light, Spotlight, Quadratic spotlight, Directional light Use IES distribution profiles on photometric lights Area lights, light panels, light portals Physically accurate caustics computation === Rendering === Render with Ray Tracer Render with Path Tracer Stereoscopic rendering 360/180 VR Panorama Render Option Spherical panoramic rendering Tone mapping options Multipass & G-Buffer Network rendering with HyperVue / RenderCows Network rendering with RenderNodes == Users == Blue Sky Studios Digital Domain DreamWorks Animation: Kung Fu Panda Industrial Light & Magic: Indiana Jones and the Kingdom of the Crystal Skull, Pirates of the Caribbean: Dead Man's Chest Sony Pictures Imageworks Warner Bros. Interactive Entertainment Weta Digital
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Stereo cameras

The stereo cameras approach is a method of distilling a noisy video signal into a coherent data set that a computer can begin to process into actionable symbolic objects, or abstractions. Stereo cameras is one of many approaches used in the broader fields of computer vision and machine vision. == Calculation == In this approach, two cameras with a known physical relationship (i.e. a common field of view the cameras can see, and how far apart their focal points sit in physical space) are correlated via software. By finding mappings of common pixel values, and calculating how far apart these common areas reside in pixel space, a rough depth map can be created. This is very similar to how the human brain uses stereoscopic information from the eyes to gain depth cue information, i.e. how far apart any given object in the scene is from the viewer. The camera attributes must be known, focal length and distance apart etc., and a calibration done. Once this is completed, the systems can be used to sense the distances of objects by triangulation. Finding the same singular physical point in the two left and right images is known as the correspondence problem. Correctly locating the point gives the computer the capability to calculate the distance that the robot or camera is from the object. On the BH2 Lunar Rover the cameras use five steps: a bayer array filter, photometric consistency dense matching algorithm, a Laplace of Gaussian (LoG) edge detection algorithm, a stereo matching algorithm and finally uniqueness constraint. == Uses == This type of stereoscopic image processing technique is used in applications such as 3D reconstruction, robotic control and sensing, crowd dynamics monitoring and off-planet terrestrial rovers; for example, in mobile robot navigation, tracking, gesture recognition, targeting, 3D surface visualization, immersive and interactive gaming. Although the Xbox Kinect sensor is also able to create a depth map of an image, it uses an infrared camera for this purpose, and does not use the dual-camera technique. Other approaches to stereoscopic sensing include time of flight sensors and ultrasound.
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Whitelist

A whitelist or allowlist is a list or register of entities that are being provided a particular privilege, service, mobility, access or recognition. Entities on the list will be accepted, approved and/or recognized. Whitelisting is the reverse of blacklisting, the practice of identifying entities that are denied, unrecognized, or ostracized. == Email whitelists == Spam filters often include the ability to "whitelist" certain sender IP addresses, email addresses or domain names to protect their email from being rejected or sent to a junk mail folder. These can be manually maintained by the user or system administrator - but can also refer to externally maintained whitelist services. === Non-commercial whitelists === Non-commercial whitelists are operated by various non-profit organizations, ISPs, and others interested in blocking spam. Rather than paying fees, the sender must pass a series of tests; for example, their email server must not be an open relay and have a static IP address. The operator of the whitelist may remove a server from the list if complaints are received. === Commercial whitelists === Commercial whitelists are a system by which an Internet service provider allows someone to bypass spam filters when sending email messages to its subscribers, in return for a pre-paid fee, either an annual or a per-message fee. A sender can then be more confident that their messages have reached recipients without being blocked, or having links or images stripped out of them, by spam filters. The purpose of commercial whitelists is to allow companies to reliably reach their customers by email. == Advertising whitelist == Many websites rely on ads as a source of revenue, but the use of ad blockers is increasingly common. Websites that detect an adblocker in use often ask for it to be disabled - or their site to be "added to the whitelist" - a standard feature of most adblockers. == Network whitelists == === LAN whitelists === A use for whitelists is in local area network (LAN) security. Many network admins set up MAC address whitelists, or a MAC address filter, to control who is allowed on their networks. This is used when encryption is not a practical solution or in tandem with encryption. However, it's sometimes ineffective because a MAC address can be faked. === IP whitelist === Firewalls can usually be configured to only allow data-traffic from/to certain (ranges of) IP-addresses. === Application whitelists === One approach in combating viruses and malware is to whitelist software which is considered safe to run, blocking all others. This is particularly attractive in a corporate environment, where there are typically already restrictions on what software is approved. Leading providers of application whitelisting technology include Bit9, Velox, McAfee, Lumension, ThreatLocker, Airlock Digital and SMAC. On Microsoft Windows, recent versions include AppLocker, which allows administrators to control which executable files are denied or allowed to execute. With AppLocker, administrators are able to create rules based on file names, publishers or file location that will allow certain files to execute. Rules can apply to individuals or groups. Policies are used to group users into different enforcement levels. For example, some users can be added to a report-only policy that will allow administrators to understand the impact before moving that user to a higher enforcement level. Linux systems typically have AppArmor and SE Linux features available which can be used to effectively block all applications which are not explicitly whitelisted, and commercial products are also available. On HP-UX introduced a feature called "HP-UX Whitelisting" on 11iv3 version. == Controversy regarding name == In 2018, a journal commentary on a report on predatory publishing was released making claims that "white" and "black" are racially charged terms that need to be avoided in instances such as "whitelist" and "blacklist". The premise of the journal is that "black" and "white" have negative and positive connotations respectively. It states that since "blacklisting" was first referred to during "the time of mass enslavement and forced deportation of Africans to work in European-held colonies in the Americas," the word is therefore related to race. There is no mention of "whitelist" and its origin or relation to race. This issue is most widely disputed in computing industries where "whitelist" and "blacklist" are prevalent (e.g. IP whitelisting). Despite the commentary nature of the journal, some companies and individuals in others have taken to replacing "whitelist" and "blacklist" with new alternatives such as "allow list" and "deny list". Those adopting this change consider using the "whitelist"/"blacklist" names as a code smell. Those that oppose these changes question its attribution to race, citing the same etymology quote that the 2018 journal uses. According to the remark, the term "blacklist" evolved from the term "black book" about a century ago. The term "black book" does not appear to have any etymology or sources that support racial associations, instead originating in the 1400s as a reference to "a list of people who had committed crimes or fallen out of favor with leaders", and popularized by King Henry VIII's literal use of a black book. Others also note the prevalence of positive and negative connotations to "white" and "black" in the Bible, predating attributions to skin tone and slavery. It wasn't until the 1960s Black Power movement that "Black" became a widespread word to refer to one's race as a person of color in America (alternate to African-American) lending itself to the argument that the negative connotation behind "black" and "blacklist" both predate attribution to race.
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DigitaltMuseum

DigitaltMuseum (lit. 'The Digital Museum') is a website database in Norwegian and Swedish for art, images and cultural history museums. The service was established in 2009 after a trial period. The database is developed and operated by KulturIT. KulturIT ANS was established by the Norwegian Museum of Cultural History and Maihaugen in consultation with the Norwegian Archive, Library and Museum Authority (ABM) in 2007. In 2015, the company underwent a corporate transformation and KulturIT AS was established on 12 February. The website has per 2025 around 2,548,022 images. Many of the images are in the public domain or under Creative Commons licenses and are being imported into Wikimedia Commons. The website's API was developed in 2012. == Institutions == As of 2025, there are 223 collaborating museums. == Mission == DigitaltMuseum aims to make the museums' collections accessible to all interested parties, regardless of time and place. The website aims to facilitate easy use of the collections through various methods including image searches, research, teaching and joint knowledge development. DigitaltMuseum contains collections from several hundred Norwegian and Swedish museums, totalling around five million objects. The website contains both historical images from the areas and themes covered by the museums, as well as images of artefacts from the collections. Parts of the collection have previously only been shown in the museums' exhibitions and books and have therefore rarely or never been shown to the public.
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My Drama

My Drama (also may be stylised as MyDrama) is a global streaming service specializing in vertical video series for Duanju. It is owned by the company Holywater Tech. The platform focuses on short-form, emotional storytelling optimized for smartphone viewing, offering content in over 30 languages across 190 countries. == History == My Drama was launched in 2024 by Holywater Tech, founded by Ukrainian entrepreneur Bogdan Nesvit and Anatolii Kasianov. The service gained international traction as part of a growing market for short-form vertical storytelling, influenced by mobile-first entertainment trends. My Drama primarily streams serialized vertical dramas, which are short-form episodes around 1-2 minutes in length designed for mobile consumption. Many series are adaptations of successful stories originally published on Holywater Tech's book platform My Passion. The platform employs AI technology in areas such as content recommendation and story generation, and is one of several Holywater apps focused on interactive entertainment. In 2024, My Drama won a People's Voice award at the 28th Annual Webby Awards. In 2025, My Drama received a Gold Award at the MUSE Creative Awards in the Mobile App: Video Streaming Services category. In 2025, the company received strategic investment from Fox Entertainment, aimed at expanding content creation capabilities and producing over 200 vertical video series. As of 2025, My Drama has produced over 56 titles and reached more than 40 million lifetime users, according to media reports. In January 2026, Holywater Tech raised $22 million in funding to expand its microdrama business in the United States. The investment round was led by Horizon Capital, with participation from U.S.-based investors including Endeavor Catalyst and Wheelhouse. The funding is intended to support the development of Holywater Tech's mobile-first vertical video platform, My Drama, as well as the company's AI-driven content initiatives, such as AI-assisted comics and anime. In February 2026, Holywater bought Jeynix, a studio that uses AI for special effects. This deal helps the company make better-quality shows and translate them into different languages much faster. == Partnerships == In 2024, Holywater Tech entered a partnership with Latin American studio Elefantec Global to distribute vertical dramas in Spanish-language markets. In early 2026, Fox Entertainment entered into a partnership with content creator Dhar Mann to produce a slate of 40 original vertical microdrama series. Under the agreement, the series debut exclusively on the My Drama platform, while global distribution is managed by Fox Entertainment Global. == Reception == My Drama has been highlighted in discussions of the global rise of vertical short drama platforms and has been compared with similar apps such as ReelShort and DramaBox.
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Jaggies

Jaggies are visual artifacts in raster images, most frequently from aliasing, which in turn is often caused by non-linear mixing effects producing high-frequency components, or missing or poor anti-aliasing filtering prior to sampling. Jaggies are stair-like lines that appear where there should be "smooth" straight lines or curves. For example, when a nominally straight, un-aliased line steps across one pixel either horizontally or vertically, a "dogleg" occurs halfway through the line, where it crosses the threshold from one pixel to the other. Jaggies should not be confused with most compression artifacts, which are a different phenomenon. == Causes == Jaggies occur due to the "staircase effect". This is because a line represented in raster mode is approximated by a sequence of pixels. Jaggies can occur for a variety of reasons, the most common being that the output device (display monitor or printer) does not have sufficient resolution to portray a smooth line. In addition, jaggies often occur when a bit-mapped image is scaled to a higher resolution. This is one of the advantages that vector graphics have over bitmapped graphics – a vector image can be losslessly scaled to any arbitrary resolution or stretched infinitely in either axis without introducing jaggies. == Solutions == The effect of jaggies can be reduced by a graphics technique known as spatial anti-aliasing. Anti-aliasing smooths out jagged lines by surrounding them with transparent pixels to simulate the appearance of fractionally-filled pixels when viewed at a distance. The downside of anti-aliasing is that it reduces contrast – rather than sharp black/white transitions, there are shades of gray – and the resulting image can appear fuzzy. This is an inescapable trade-off: if the resolution is insufficient to display the desired detail, the output will either be jagged, fuzzy, or some combination thereof. While machine learning-based upscaling techniques such as DLSS can be used to infer this missing information, other types of artifacts may be introduced in the process. In real-time 3D rendering such as in video games, various anti-aliasing techniques are used to remove jaggies created by the edges of polygons and other contrasting lines. Since anti-aliasing can impose a significant performance overhead, games for home computers often allow users to choose the level and type of anti-aliasing in use in order to optimize their experience, whereas on consoles this setting is typically fixed for each title to ensure a consistent experience. While anti-aliasing is generally implemented through graphics APIs like DirectX and Vulkan, some consoles such as the Xbox 360 and PlayStation 3 are also capable of anti-aliasing to little direct performance cost by way of dedicated hardware which performs anti-aliasing on the contents of the framebuffer once it has been rendered by the GPU. Jaggies in bitmaps, such as sprites and surface materials, are most often dealt with by separate texture filtering routines, which are far easier to perform than anti-aliasing filtering. Texture filtering became ubiquitous on PCs after the introduction of 3Dfx's Voodoo GPU. == Notable uses of the term == In the 1985 game Rescue on Fractalus! for the Atari 8-bit computers, the graphics depicting the cockpit of the player's spacecraft contains two window struts, which are not anti-aliased and are therefore very "jagged". The developers made fun of this and named the in-game enemies "Jaggi", and also initially titled the game Behind Jaggi Lines!. The latter idea was scrapped by the marketing department before release.
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Unfold (app)

Unfold is a mobile application that allows users to create social media content using a variety of templates and other tools. It was founded in 2018 by Alfonso Cobo and Andy McCune. It enables users to add photos, video, and text with a variety of tools. In 2019, Unfold was acquired by Squarespace. == History == In January 2017, Alfonso Cobo was studying at Parsons School of Design when he realized there was no software or app that could create a portfolio of his work on an iPad. Cobo created an app called Portfolio, a basic version of a portfolio layout app, and the first one to exist for iPad. He launched it in 2017. After launching the first version of Portfolio, Cobo realized the more popular market and use case was on mobile. Around that time, Instagram was launching Stories. As a result, Cobo pivoted the app away from portfolios and instead focused on an app to showcase one's stories. Cobo later contacted Andy McCune, founder of social media account Earth, to collaborate with Unfold. Unfold also partnered with various companies to create custom templates. These include Equinox, Tommy Hilfiger, NARS, Billboard Music Awards, and Product Red. Unfold also launched a collection of Product Red templates to help eliminate HIV/AIDS in several African countries. In 2019, Squarespace acquired Unfold. The Unfold app has been downloaded over 60 million times and has been used to create over 1 billion Instagram stories. == Features == With Unfold, users can utilize hundreds of templates to make social content for social media platforms such as Instagram, Snapchat, and Facebook. The free app offers users basic templates and standard fonts, filters, and stickers, and there are also premium templates available for a monthly subscription. With Unfold+ and Unfold Pro (previously Unfold for Brands), users can access premium templates and tools, as well as upload custom brand assets and fonts. In 2020, Unfold launched Bio Sites, which allows users to link to multiple sites and platforms.
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The Visualization Handbook

The Visualization Handbook is a textbook by Charles D. Hansen and Christopher R. Johnson that serves as a survey of the field of scientific visualization by presenting the basic concepts and algorithms in addition to a current review of visualization research topics and tools. It is commonly used as a textbook for scientific visualization graduate courses. It is also commonly cited as a reference for scientific visualization and computer graphics in published papers, with almost 500 citations documented on Google Scholar. == Table of Contents == PART I - Introduction Overview of Visualization - William J. Schroeder and Kenneth M. Martin PART II - Scalar Field Visualization: Isosurfaces Accelerated Isosurface Extraction Approaches -Yarden Livnat Time-Dependent Isosurface Extraction - Han-Wei Shen Optimal Isosurface Extraction - Paolo Cignoni, Claudio Montani, Robert Scopigno, and Enrico Puppo Isosurface Extraction Using Extrema Graphs - Takayuki Itoh and Koji Koyamada Isosurfaces and Level-Sets - Ross Whitaker PART III - Scalar Field Visualization: Volume Rendering Overview of Volume Rendering - Arie E. Kaufman and Klaus Mueller Volume Rendering Using Splatting - Roger Crawfis, Daqing Xue, and Caixia Zhang Multidimensional Transfer Functions for Volume Rendering - Joe Kniss, Gordon Kindlmann, and Charles D. Hansen Pre-Integrated Volume Rendering - Martin Kraus and Thomas Ertl Hardware-Accelerated Volume Rendering - Hanspeter Pfister PART IV - Vector Field Visualization Overview of Flow Visualization - Daniel Weiskopf and Gordon Erlebacher Flow Textures: High-Resolution Flow Visualization - Gordon Erlebacher, Bruno Jobard, and Daniel Weiskopf Detection and Visualization of Vortices - Ming Jiang, Raghu Machiraju, and David Thompson PART V - Tensor Field Visualization Oriented Tensor Reconstruction - Leonid Zhukov and Alan H. Barr Diffusion Tensor MRI Visualization - Song Zhang, David Laidlaw, and Gordon Kindlmann Topological Methods for Flow Visualization - Gerik Scheuermann and Xavier Tricoche PART VI - Geometric Modeling for Visualization 3D Mesh Compression - Jarek Rossignac Variational Modeling Methods for Visualization - Hans Hagen and Ingrid Hotz Model Simplification - Jonathan D. Cohen and Dinesh Manocha PART VII - Virtual Environments for Visualization Direct Manipulation in Virtual Reality - Steve Bryson The Visual Haptic Workbench - Milan Ikits and J. Dean Brederson Virtual Geographic Information Systems - William Ribarsky Visualization Using Virtual Reality - R. Bowen Loftin, Jim X. Chen, and Larry Rosenblum PART VIII - Large-Scale Data Visualization Desktop Delivery: Access to Large Datasets - Philip D. Heermann and Constantine Pavlakos Techniques for Visualizing Time-Varying Volume Data - Kwan-Liu Ma and Eric B. Lum Large-Scale Data Visualization and Rendering: A Problem-Driven Approach - Patrick McCormick and James Ahrens Issues and Architectures in Large-Scale Data Visualization - Constantine Pavlakos and Philip D. Heermann Consuming Network Bandwidth with Visapult - Wes Bethel and John Shalf PART IX - Visualization Software and Frameworks The Visualization Toolkit - William J. Schroeder and Kenneth M. Martin Visualization in the SCIRun Problem-Solving Environment - David M. Weinstein, Steven Parker, Jenny Simpson, Kurt Zimmerman, and Greg M. Jones Numerical Algorithms Group IRIS Explorer - Jeremy Walton AVS and AVS/Express - Jean M. Favre and Mario Valle Vis5D, Cave5D, and VisAD - Bill Hibbard Visualization with AVS - W. T. Hewitt, Nigel W. John, Matthew D. Cooper, K. Yien Kwok, George W. Leaver, Joanna M. Leng, Paul G. Lever, Mary J. McDerby, James S. Perrin, Mark Riding, I. Ari Sadarjoen, Tobias M. Schiebeck, and Colin C. Venters ParaView: An End-User Tool for Large-Data Visualization - James Ahrens, Berk Geveci, and Charles Law The Insight Toolkit: An Open-Source Initiative in Data Segmentation and Registration - Terry S. Yoo amira: A Highly Interactive System for Visual Data Analysis - Detlev Stalling, Malte Westerhoff, and Hans-Christian Hege PART X - Perceptual Issues in Visualization Extending Visualization to Perceptualization: The Importance of Perception in Effective Communication of Information - David S. Ebert Art and Science in Visualization - Victoria Interrante Exploiting Human Visual Perception in Visualization - Alan Chalmers and Kirsten Cater PART XI - Selected Topics and Applications Scalable Network Visualization - Stephen G. Eick Visual Data-Mining Techniques - Daniel A. Keim, Mike Sips, and Mihael Ankerst Visualization in Weather and Climate Research - Don Middleton, Tim Scheitlin, and Bob Wilhelmson Painting and Visualization - Robert M. Kirby, Daniel F. Keefe, and David Laidlaw Visualization and Natural Control Systems for Microscopy - Russell M. Taylor II, David Borland, Frederick P. Brooks, Jr., Mike Falvo, Kevin Jeffay, Gail Jones, David Marshburn, Stergios J. Papadakis, Lu-Chang Qin, Adam Seeger, F. Donelson Smith, Dianne Sonnenwald, Richard Superfine, Sean Washburn, Chris Weigle, Mary Whitton, Leandra Vicci, Martin Guthold, Tom Hudson, Philip Williams, and Warren Robinett Visualization for Computational Accelerator Physics - Kwan-Liu Ma, Greg Schussman, and Brett Wilson
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