AI Art Backlash

AI Art Backlash — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Learnable function class

    Learnable function class

    In statistical learning theory, a learnable function class is a set of functions for which an algorithm can be devised to asymptotically minimize the expected risk, uniformly over all probability distributions. The concept of learnable classes are closely related to regularization in machine learning, and provides large sample justifications for certain learning algorithms. == Definition == === Background === Let Ω = X × Y = { ( x , y ) } {\displaystyle \Omega ={\mathcal {X}}\times {\mathcal {Y}}=\{(x,y)\}} be the sample space, where y {\displaystyle y} are the labels and x {\displaystyle x} are the covariates (predictors). F = { f : X ↦ Y } {\displaystyle {\mathcal {F}}=\{f:{\mathcal {X}}\mapsto {\mathcal {Y}}\}} is a collection of mappings (functions) under consideration to link x {\displaystyle x} to y {\displaystyle y} . L : Y × Y ↦ R {\displaystyle L:{\mathcal {Y}}\times {\mathcal {Y}}\mapsto \mathbb {R} } is a pre-given loss function (usually non-negative). Given a probability distribution P ( x , y ) {\displaystyle P(x,y)} on Ω {\displaystyle \Omega } , define the expected risk I P ( f ) {\displaystyle I_{P}(f)} to be: I P ( f ) = ∫ L ( f ( x ) , y ) d P ( x , y ) {\displaystyle I_{P}(f)=\int L(f(x),y)dP(x,y)} The general goal in statistical learning is to find the function in F {\displaystyle {\mathcal {F}}} that minimizes the expected risk. That is, to find solutions to the following problem: f ^ = arg ⁡ min f ∈ F I P ( f ) {\displaystyle {\hat {f}}=\arg \min _{f\in {\mathcal {F}}}I_{P}(f)} But in practice the distribution P {\displaystyle P} is unknown, and any learning task can only be based on finite samples. Thus we seek instead to find an algorithm that asymptotically minimizes the empirical risk, i.e., to find a sequence of functions { f ^ n } n = 1 ∞ {\displaystyle \{{\hat {f}}_{n}\}_{n=1}^{\infty }} that satisfies lim n → ∞ P ( I P ( f ^ n ) − inf f ∈ F I P ( f ) > ϵ ) = 0 {\displaystyle \lim _{n\rightarrow \infty }\mathbb {P} (I_{P}({\hat {f}}_{n})-\inf _{f\in {\mathcal {F}}}I_{P}(f)>\epsilon )=0} One usual algorithm to find such a sequence is through empirical risk minimization. === Learnable function class === We can make the condition given in the above equation stronger by requiring that the convergence is uniform for all probability distributions. That is: The intuition behind the more strict requirement is as such: the rate at which sequence { f ^ n } {\displaystyle \{{\hat {f}}_{n}\}} converges to the minimizer of the expected risk can be very different for different P ( x , y ) {\displaystyle P(x,y)} . Because in real world the true distribution P {\displaystyle P} is always unknown, we would want to select a sequence that performs well under all cases. However, by the no free lunch theorem, such a sequence that satisfies (1) does not exist if F {\displaystyle {\mathcal {F}}} is too complex. This means we need to be careful and not allow too "many" functions in F {\displaystyle {\mathcal {F}}} if we want (1) to be a meaningful requirement. Specifically, function classes that ensure the existence of a sequence { f ^ n } {\displaystyle \{{\hat {f}}_{n}\}} that satisfies (1) are known as learnable classes. It is worth noting that at least for supervised classification and regression problems, if a function class is learnable, then the empirical risk minimization automatically satisfies (1). Thus in these settings not only do we know that the problem posed by (1) is solvable, we also immediately have an algorithm that gives the solution. == Interpretations == If the true relationship between y {\displaystyle y} and x {\displaystyle x} is y ∼ f ∗ ( x ) {\displaystyle y\sim f^{}(x)} , then by selecting the appropriate loss function, f ∗ {\displaystyle f^{}} can always be expressed as the minimizer of the expected loss across all possible functions. That is, f ∗ = arg ⁡ min f ∈ F ∗ I P ( f ) {\displaystyle f^{}=\arg \min _{f\in {\mathcal {F}}^{}}I_{P}(f)} Here we let F ∗ {\displaystyle {\mathcal {F}}^{}} be the collection of all possible functions mapping X {\displaystyle {\mathcal {X}}} onto Y {\displaystyle {\mathcal {Y}}} . f ∗ {\displaystyle f^{}} can be interpreted as the actual data generating mechanism. However, the no free lunch theorem tells us that in practice, with finite samples we cannot hope to search for the expected risk minimizer over F ∗ {\displaystyle {\mathcal {F}}^{}} . Thus we often consider a subset of F ∗ {\displaystyle {\mathcal {F}}^{}} , F {\displaystyle {\mathcal {F}}} , to carry out searches on. By doing so, we risk that f ∗ {\displaystyle f^{}} might not be an element of F {\displaystyle {\mathcal {F}}} . This tradeoff can be mathematically expressed as In the above decomposition, part ( b ) {\displaystyle (b)} does not depend on the data and is non-stochastic. It describes how far away our assumptions ( F {\displaystyle {\mathcal {F}}} ) are from the truth ( F ∗ {\displaystyle {\mathcal {F}}^{}} ). ( b ) {\displaystyle (b)} will be strictly greater than 0 if we make assumptions that are too strong ( F {\displaystyle {\mathcal {F}}} too small). On the other hand, failing to put enough restrictions on F {\displaystyle {\mathcal {F}}} will cause it to be not learnable, and part ( a ) {\displaystyle (a)} will not stochastically converge to 0. This is the well-known overfitting problem in statistics and machine learning literature. == Example: Tikhonov regularization == A good example where learnable classes are used is the so-called Tikhonov regularization in reproducing kernel Hilbert space (RKHS). Specifically, let F ∗ {\displaystyle {\mathcal {F^{}}}} be an RKHS, and | | ⋅ | | 2 {\displaystyle ||\cdot ||_{2}} be the norm on F ∗ {\displaystyle {\mathcal {F^{}}}} given by its inner product. It is shown in that F = { f : | | f | | 2 ≤ γ } {\displaystyle {\mathcal {F}}=\{f:||f||_{2}\leq \gamma \}} is a learnable class for any finite, positive γ {\displaystyle \gamma } . The empirical minimization algorithm to the dual form of this problem is arg ⁡ min f ∈ F ∗ { ∑ i = 1 n L ( f ( x i ) , y i ) + λ | | f | | 2 } {\displaystyle \arg \min _{f\in {\mathcal {F}}^{}}\left\{\sum _{i=1}^{n}L(f(x_{i}),y_{i})+\lambda ||f||_{2}\right\}} This was first introduced by Tikhonov to solve ill-posed problems. Many statistical learning algorithms can be expressed in such a form (for example, the well-known ridge regression). The tradeoff between ( a ) {\displaystyle (a)} and ( b ) {\displaystyle (b)} in (2) is geometrically more intuitive with Tikhonov regularization in RKHS. We can consider a sequence of { F γ } {\displaystyle \{{\mathcal {F}}_{\gamma }\}} , which are essentially balls in F ∗ {\displaystyle {\mathcal {F^{}}}} with centers at 0. As γ {\displaystyle \gamma } gets larger, F γ {\displaystyle {\mathcal {F}}_{\gamma }} gets closer to the entire space, and ( b ) {\displaystyle (b)} is likely to become smaller. However we will also suffer smaller convergence rates in ( a ) {\displaystyle (a)} . The way to choose an optimal γ {\displaystyle \gamma } in finite sample settings is usually through cross-validation. == Relationship to empirical process theory == Part ( a ) {\displaystyle (a)} in (2) is closely linked to empirical process theory in statistics, where the empirical risk { ∑ i = 1 n L ( y i , f ( x i ) ) , f ∈ F } {\displaystyle \{\sum _{i=1}^{n}L(y_{i},f(x_{i})),f\in {\mathcal {F}}\}} are known as empirical processes. In this field, the function class F {\displaystyle {\mathcal {F}}} that satisfies the stochastic convergence are known as uniform Glivenko–Cantelli classes. It has been shown that under certain regularity conditions, learnable classes and uniformly Glivenko-Cantelli classes are equivalent. Interplay between ( a ) {\displaystyle (a)} and ( b ) {\displaystyle (b)} in statistics literature is often known as the bias-variance tradeoff. However, note that in the authors gave an example of stochastic convex optimization for General Setting of Learning where learnability is not equivalent with uniform convergence.

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  • Social media age verification laws in the United States

    Social media age verification laws in the United States

    In the United States, age verification laws for social media are ostensibly designed to limit young people's access to content deemed problematic such as pornography and to reduce the negative impact of social media on the mental health and well-being of children and adolescents. The purpose and effects of such laws are highly contested. Critics say that these laws suppress free speech by removing online anonymity. They have also stated the laws undermine safety, even for children, by increasing the exposure of user data to breaches, many sites require government IDs and biometric data (such as photographs), often transmitted or secured insecurely and without encryption. They also note that the measures are easily circumvented with VPNs, prompting some states such as Michigan and Wisconsin to propose legislation banning VPNs. == Laws == Many state legislatures have considered or enacted legislation pertaining to young people and social media. In 2022, California passed the California Age-Appropriate Design Code Act (AB 2273) requiring websites that are likely to be used by minors to estimate visitors' ages. On March 23, 2023, Utah Governor Spencer Cox signed SB 152 and HB 311, collectively known as the Utah Social Media Regulation Act, which requires age verification; if a user is under 18, they have to get parental consent before making an account on any social media platform. Few laws have gone into effect partially due to court challenges. === Arkansas === On April 11, 2023, Arkansas enacted SB 396, the Social Media Safety Act. The law requires certain social media companies that make over $100 million per year to verify the age of new users using a third party, and to obtain parental consent for users under 18. It excludes social media companies that allow a user to generate short video clips as well as games. The law was set to go in effect in September 2023. On June 29, 2023, NetChoice sued the Attorney General of Arkansas Tim Griffin in The Western District Court of Arkansas to block enforcement of the law, supported by the American Civil Liberties Union and the Electronic Frontier Foundation (EFF). On July 7, 2023, NetChoice filed a motion for a preliminary injunction to block enforcement of the law. On July 27, Griffin and Tony Allen filed briefs in opposition to the preliminary injunction. The preliminary injunction was granted by Judge Timothy L. Brooks on August 31, reasoning that the law was too vague, that NetChoice's members will suffer irreparable harm if the act goes into effect, and that age restrictions were ineffective. === California === ==== Digital Age Assurance Act (AB 1043) ==== On October 13, 2025, Gavin Newsom signed the Digital Age Assurance Act into law, which requires operating system providers to estimate the age of a user and into 4 age categories: Under 13 13 - 15 16 - 17 18 and over It comes into force on January 1, 2027. ==== California Age-Appropriate Design Code (AB 2273) ==== On September 15, 2022, California enacted AB 2273, the California Age-Appropriate Design Code Act. Its most controversial provisions required online services that are likely to be used by those under 18 to estimate the age of child users with a "reasonable level of certainty". It also required these services to file Data Protection Impact Assessments (DPIAs) certifying whether an online product, service, or feature could harm children, including by exposing them to (potentially) harmful content. The law does not define harmful content. Before the law took effect, EFF sent a veto request to Newsom. On December 14, 2022, NetChoice sued. On September 18, 2023, Federal Judge Beth Labson Freeman granted a preliminary injunction. The 9th Circuit on August 16, 2024, affirmed the injunction against the DPIA section of the law and sent the rest back, because the argument in the 9th circuit was mainly focused on the DPIA. ==== Protecting Our Kids from Social Media Addiction Act (SB 976) ==== On September 20, 2024, California enacted SB 976, Protecting Our Kids from Social Media Addiction. The law requires online platforms to exclude those under 18 from "addictive" feeds unless parental consent is given. It requires online platforms to not send notifications to someone under 18 between 12:00 AM and 6:00 AM without parental consent or between 8:00 am – 3:00 pm without parental consent from September through May (the law does not define what a "notification" is). The law took effect on January 1, 2025, with age verification required as of December 31, 2026. On November 12, NetChoice sued in the Northern District and before Judge Edward John Davila. On December 31, the judge blocked the sections of SB 976 that required time-of-day restrictions. He also enjoined requirements to report on the number of minor users as well as the number of parental assents to access an addictive feed. He did not block the age assurance requirement or blocking minors from seeing addictive feeds without parental consent. His reasoning was that age assurance that runs in the background does not restrict adult access to speech and that regulating feeds does not violate the first amendment because it was content neutral and did not remove any content. On January 1, 2025, NetChoice filed a motion to fully block the law as part of its appeal to the Ninth Circuit. NetChoice claimed that the court erred in its reading of Supreme Court case Moody v. NetChoice by mainly focusing on the concurring opinions and not the deciding opinion. The same day Davila decreed that California's response to NetChoice was due by 11:59 pm. California responded the same day to NetChoice's motion, claiming that the court should not block the full law, claiming that NetChoice had misread Moody v. NetChoice and that NetChoice's members would not likely face any harm from the act because members such as X (formerly Twitter) already offer their members feeds that were not personalized. On January 2, Davila granted NetChoice's motion to block the full law during the appeals process by delaying the effective date of the law from January 1, 2025, to February 1, 2025. That day NetChoice appealed the case to the Ninth Circuit Court of Appeals. === Florida === On January 5, 2024, Tyler Sirois introduced HB 1, which would ban anyone under 16 from using any social media platform and would require platforms to verify the age of users. After the bill passed, the American Civil Liberties Union (ACLU) published a blog post opposing the bill for violating the rights of minors and adults. The bill was vetoed by Governor Ron DeSantis on March 1, 2024, claiming that the State Legislature was going to enact a better alternative. HB 3 then decreased the minimum age from 16 to 14, allowing minors aged 14 and 15 to make social media accounts with parental consent. Florida enacted it on March 25, 2024, and took effect on January 1, 2025. A surge of 1,150% in VPN demand in Florida was detected after the law took effect. VPN services provide the ability to circumvent the law. On October 28, 2024, NetChoice and Computer and Communications Industry Association sued. The Judge is Chief Judge Mark E. Walker. On February 28, 2025, arguments were heard on the motion for a preliminary injunction. Walker seemed skeptical of Florida's argument that the law did not violate the first amendment and said the State would have a hard time to justify a complete ban of youth under 14 from social media. On March 13, Walker denied the motion for a preliminary injunction because the plaintiffs had not proven that at least one of their members had at least 10 percent of their users under 16 use their platform for at least 2 hours per day. Plaintiffs filed an amended complaint and a renewed motion for a preliminary injunction which was granted on June 3, for failing First Amendment Intermediate scrutiny. The injunction left in force the provision that allowed parents to request termination of their child's social media account. === Georgia === On April 23, 2024, Georgia enacted SB 351, which became Act 463. Act 463 requires platforms to verify the age of users of social media platforms and require users under 16 years of age to have parental consent before creating an account. It also requires schools to ban all social media platforms, including YouTube. Before the law was signed NetChoice sent a veto request to Kemp claiming the law was unconstitutional and was bad policy. After the bill was enacted, ACLU and NetChoice criticized the bill. NetChoice sued two months before the law's effective date. The Judge is Amy Totenberg. the suit claims that the law violates the First Amendment and Fourteenth Amendments. === Louisiana === ==== Secure Online Child Interaction and Age Limitation Act (SB 162) ==== On June 28, 2023, Louisiana enacted SB 162, the Secure Online Child Interaction and Age Limitation Act. It requires social media platforms to verify user age and get parental consent for users under 16, prohibits account holders under 1

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  • Digital content

    Digital content

    Digital content is any content that exists in the form of digital data. Digital content is stored on digital media or analog storage in specific formats. Forms of digital content include information that is digitally broadcast, streamed, or contained in computer files. Viewed narrowly, digital content includes popular media types, while a broader approach considers any type of digital information (e. g. digitally updated weather forecasts, GPS maps, and so on) as digital content. Digital content has increased as more households have accessed the Internet. Expanded access has made it easier for people to receive their news and watch TV online, challenging the popularity of traditional platforms. Increased access to the Internet has also led to the mass publication of digital content through individuals in the form of eBooks, blog posts, and even Facebook posts. == History == At the beginning of the Digital Revolution, computers facilitated the discovery, retrieval, and creation of new information in every field of human knowledge. As information became increasingly more accessible, the Digital Revolution also facilitated the creation of digital content. Despite an evolution to digital technology, which occurred somewhere between the late 1970s, distribution of digital content did not begin until the late 1990s with the rise in popularity of the Internet. In the past, digital content was primarily distributed through computers and the Internet. Methods of distribution are rapidly changing as the Digital Revolution brings new channels, such as mobile apps and eBooks. These new technologies will create challenges for content creators, as they determine the best channel to bring content to their consumers. Despite the benefits, new technologies have created new intellectual property issues. Users can easily share, modify, and redistribute content outside of the creator's control. While new technologies have made digital content available to large audiences, managing copyright and limiting content movement will continue to be an issue that digital content creators face in the future. == Types of digital content == Examples include: Video – Types of video content include home videos, music videos, TV shows, and movies. Many of these can be viewed on websites such as YouTube, Hulu, Paramount+, Disney+, HBO Max, and so on, in which people and companies alike can post content. However, many movies and television shows are not available for free legally, but rather can be purchased from sites such as iTunes and Amazon. Audio – Music is the most common form of audio. Spotify has emerged as a popular way for people to listen to music either over the Internet or from their computer desktop. Digital content in the form of music is also available through Pandora and last.fm, both of which allow listeners to listen to music online for no charge. Images – Photo and image sharing is another example of digital content. Popular sites used for this type of digital content includes Imgur, where people share self-created pictures, Flickr, where people share their photo albums, and DeviantArt, where people share their artwork. Popular apps that are used for images include Instagram and Snapchat. Visual Stories - Stories are a new type of digital content that got introduced by Snapchat. Since then, stories as a format has been introduced in a couple of other platforms such as Facebook and Linkedin. In 2018, Google introduced their AMP Stories, which provides content publishers with a mobile-focused format for delivering news and information as visually rich, tap-through stories. Text - Type of digital content which is available in text or written format. Blog websites which store data in form of textual format. === Paid digital content === In order to have access to more premium digital goods, consumers usually have to pay an upfront charge for digital content, or a subscription based fee. Video – Many licensed videos, such as movies and television shows, require money in order to be viewed or downloaded. Popular services used by many include streaming giant Netflix and Amazon's streaming service, as well as recent notice put forth by the online video platform YouTube. Audio – While songs can be streamed for free, generally in order to download most licensed music, consumers need to purchase songs from web stores, such as the popular iTunes. However, Spotify Premium is emerging as a new model for purchasing digital content on the web: consumers pay a monthly fee to unlimited streaming and downloading from Spotify's music library. According to a report done by IHS Inc. in 2013, the global consumer spending on digital content grew to over $57 billion in 2013, which was up almost 30% from $44 billion in 2012. In past years, the US has always been a leader in consumer expenditure on digital content, but as of 2013, many countries have emerged with great consumer expenditure. South Korea's overall digital spend per capita is now greater than the US. ==== Consolidation ==== According to research firm Ampere Analysis, in 2024, a small group of six media conglomerates; Disney, Comcast, Google, Warner Bros. Discovery, Netflix, and Paramount Global—are poised to dominate the global content market. These companies are projected to account for 51% of all global spending on content, a significant increase from 47% in 2020. Disney, in particular, is a major player, with an estimated $35.8 billion investment in television and film content, representing 14% of global spending. This significant increase, fueled by Disney's full ownership of Hulu, highlights the company's strategic focus on streaming services. A substantial portion of the projected $126 billion global content spending is allocated to streaming platforms. === Non-purchasable digital content === Not all digital content is purchasable, and is simply anything published digitally. This would include: News – in recent years newspapers have attempted to expand their readership by creating access to their newspapers digitally. As of 2012, 39% of readers learned about news from online formats, making news a prevalent form of digital content. Advertisements – as media consumers increasingly use digital formats to watch TV, check the weather, and search for content, advertisements have shifted to digital forms to keep up with their viewership. Advertisements are now being made digitally and placed on sites ranging from Facebook to YouTube. Question and Answer sites – these sites are a type of Internet forum where people can post questions they want answered, or provide responses to previous inquiries. With millions of questions posted each day, anyone has the ability to create content on these sites, so the information provided may not be 100% reliable or accurate. Popular sites include Yahoo! Answers, WikiAnswers and Quora. Web mapping – sites such as MapQuest and Google Maps provide users with map content. These sites give people the ability to quickly look up the location of a landmark and create routes to a destination. Online maps are a form of free content provided by companies such as Google and AOL, serving as much more efficient alternatives to the traditional Thomas Guide. == Business implications == === Digital companies === Digital content businesses can include news, information, and entertainment distributed over the Internet and consumed digitally by both consumers and businesses. Based on revenue, the leading digital businesses are ranked Google, China Mobile, Bloomberg, Reed Elsevier, and Apple. The 50 companies with the highest revenue are split between those offering free and paid digital content, but these top 50 companies combined generate revenue of $150 billion. === Educational opportunities === Programs such as CUNY's Macaulay Honors College in their New Media Lab, run by industry professional Robert Small, is set up to train and introduce students to the various disciplines within the digital content industry. The goal is to offer information and access to professional work opportunities. They also explore within an incubator how to create businesses and start ups within the world of digital content. There are many educational events in support of choosing digital content as a career. === Government support === The Irish government adopted a "Strategy for the Digital Content Industry in Ireland" in 2002.

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  • Bluelight (web forum)

    Bluelight (web forum)

    Bluelight is a web-forum, research portal, online community, and non-profit organisation dedicated to harm reduction in drug use. Its userbase includes current and former substance users, academic researchers, drug policy activists, and mental health advocates. It is believed to be the largest online international drug discussion website in the world. As of November 2025, the website claims over 475,900 registered members, the Discord community claims over 11,900 members, and additional members utilise other platforms such as Telegram. Bluelight has been utilised by academic researchers as a primary source of data in numerous publications. Researchers also utilise the site to advertise research studies, recruit study participants, and better understand the world of substance use. Research groups and organisations that have partnered with Bluelight to recruit study participants include Imperial College London, Johns Hopkins University, Health Canada, Karlstad University, Curtin University, Macquarie University, Columbia University, University of Pennsylvania, University of Michigan, Toronto Metropolitan University (then known as Ryerson University), and MAPS. Researchers have found that the most common reasons for substance users to visit Bluelight.org and similar online communities are to learn "how to use drugs safely" and "how to help others use drugs safely." Bluelight neither condemns or condones drug use, instead advocating for the principle of responsible drug use; educating and allowing individuals to make informed decisions regarding their drug use, providing information on local drug misuse services, and providing them with other drug harm reduction resources and public safety notices. == History == Bluelight.org was originally formed in 1997 as a message board on bluelight.net called the MDMA Clearinghouse. The board was created as a side project by the owner of West Palm Beach design company Bluelight Designs. 200–300 users joined the site between 1998 and 1999, but the site's servers were heavily limited and could only store a few threads at a time; this led to the creation of 'The New Bluelight' forum in May 1999 and the registration of the bluelight.nu domain in June 1999. The site began to explode in popularity in the early 2000s with the rise of MDMA in the club scene, amassing nearly 7,000 members by the year 2000 and 59,000 by the start of 2006. The site switched to the bluelight.ru domain in October 2005, and switched again to bluelight.org in January 2014. In early 2024, Bluelight was re-structured and the forum became a subsidiary of the newly formed Australian non-profit organisation & registered charity Bluelight Communities Ltd. == Partnerships == In the early 2000s, Bluelight worked with reagent test supplier EZ-Test to promote the sale of drug checking kits. In 2007, Bluelight partnered with the Multidisciplinary Association for Psychedelic Studies (MAPS), a non-profit organisation working to raise awareness and understanding of psychedelic drugs through education, clinical research, and advocacy. MAPS utilised Bluelight to recruit participants for its first MDMA-assisted psychotherapy trial for PTSD. In 2013, the official MAPS forums were migrated to Bluelight. Bluelight's other partners include Erowid, a non-profit organisation dedicated to education surrounding psychoactive drugs; TripSit, a harm reduction education website; Pill Reports, a web-based database for drug checking results that was initially formed as an offshoot of the site; and the Global Drug Survey, an independent research organisation focused on collecting data about substance use. == Notable users == Alan Woods – funded the site's maintenance costs from 1999 until his death in 2008 Hamilton Morris John McAfee – created an infamous series of troll posts about the stimulant MDPV

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  • Image texture

    Image texture

    An image texture is the small-scale structure perceived on an image, based on the spatial arrangement of color or intensities. It can be quantified by a set of metrics calculated in image processing. Image texture metrics give us information about the whole image or selected regions. Image textures can be artificially created or found in natural scenes captured in an image. Image textures are one way that can be used to help in segmentation or classification of images. For more accurate segmentation the most useful features are spatial frequency and an average grey level. To analyze an image texture in computer graphics, there are two ways to approach the issue: structured approach and statistical approach. == Structured approach == A structured approach sees an image texture as a set of primitive texels in some regular or repeated pattern. This works well when analyzing artificial textures. To obtain a structured description a characterization of the spatial relationship of the texels is gathered by using Voronoi tessellation of the texels. == Statistical approach == A statistical approach sees an image texture as a quantitative measure of the arrangement of intensities in a region. In general this approach is easier to compute and is more widely used, since natural textures are made of patterns of irregular subelements. === Edge detection === The use of edge detection is to determine the number of edge pixels in a specified region, helps determine a characteristic of texture complexity. After edges have been found the direction of the edges can also be applied as a characteristic of texture and can be useful in determining patterns in the texture. These directions can be represented as an average or in a histogram. Consider a region with N pixels. the gradient-based edge detector is applied to this region by producing two outputs for each pixel p: the gradient magnitude Mag(p) and the gradient direction Dir(p). The edgeness per unit area can be defined by F e d g e n e s s = | { p | M a g ( p ) > T } | N {\displaystyle F_{edgeness}={\frac {|\{p|Mag(p)>T\}|}{N}}} for some threshold T. To include orientation with edgeness histograms for both gradient magnitude and gradient direction can be used. Hmag(R) denotes the normalized histogram of gradient magnitudes of region R, and Hdir(R) denotes the normalized histogram of gradient orientations of region R. Both are normalized according to the size NR Then F m a g , d i r = ( H m a g ( R ) , H d i r ( R ) ) {\displaystyle F_{mag,dir}=(H_{mag}(R),H_{dir}(R))} is a quantitative texture description of region R. === Co-occurrence matrices === The co-occurrence matrix captures numerical features of a texture using spatial relations of similar gray tones. Numerical features computed from the co-occurrence matrix can be used to represent, compare, and classify textures. The following are a subset of standard features derivable from a normalized co-occurrence matrix: A n g u l a r 2 n d M o m e n t = ∑ i ∑ j p [ i , j ] 2 C o n t r a s t = ∑ i = 1 N g ∑ j = 1 N g n 2 p [ i , j ] , where | i − j | = n C o r r e l a t i o n = ∑ i = 1 N g ∑ j = 1 N g ( i j ) p [ i , j ] − μ x μ y σ x σ y E n t r o p y = − ∑ i ∑ j p [ i , j ] l n ( p [ i , j ] ) {\displaystyle {\begin{aligned}Angular{\text{ }}2nd{\text{ }}Moment&=\sum _{i}\sum _{j}p[i,j]^{2}\\Contrast&=\sum _{i=1}^{Ng}\sum _{j=1}^{Ng}n^{2}p[i,j]{\text{, where }}|i-j|=n\\Correlation&={\frac {\sum _{i=1}^{Ng}\sum _{j=1}^{Ng}(ij)p[i,j]-\mu _{x}\mu _{y}}{\sigma _{x}\sigma _{y}}}\\Entropy&=-\sum _{i}\sum _{j}p[i,j]ln(p[i,j])\\\end{aligned}}} where p [ i , j ] {\displaystyle p[i,j]} is the [ i , j ] {\displaystyle [i,j]} th entry in a gray-tone spatial dependence matrix, and Ng is the number of distinct gray-levels in the quantized image. One negative aspect of the co-occurrence matrix is that the extracted features do not necessarily correspond to visual perception. It is used in dentistry for the objective evaluation of lesions [DOI: 10.1155/2020/8831161], treatment efficacy [DOI: 10.3390/ma13163614; DOI: 10.11607/jomi.5686; DOI: 10.3390/ma13173854; DOI: 10.3390/ma13132935] and bone reconstruction during healing [DOI: 10.5114/aoms.2013.33557; DOI: 10.1259/dmfr/22185098; EID: 2-s2.0-81455161223; DOI: 10.3390/ma13163649]. === Laws texture energy measures === Another approach is to use local masks to detect various types of texture features. Laws originally used four vectors representing texture features to create sixteen 2D masks from the outer products of the pairs of vectors. The four vectors and relevant features were as follows: L5 = [ +1 +4 6 +4 +1 ] (Level) E5 = [ -1 -2 0 +2 +1 ] (Edge) S5 = [ -1 0 2 0 -1 ] (Spot) R5 = [ +1 -4 6 -4 +1 ] (Ripple) To these 4, a fifth is sometimes added: W5 = [ -1 +2 0 -2 +1 ] (Wave) From Laws' 4 vectors, 16 5x5 "energy maps" are then filtered down to 9 in order to remove certain symmetric pairs. For instance, L5E5 measures vertical edge content and E5L5 measures horizontal edge content. The average of these two measures is the "edginess" of the content. The resulting 9 maps used by Laws are as follows: L5E5/E5L5 L5R5/R5L5 E5S5/S5E5 S5S5 R5R5 L5S5/S5L5 E5E5 E5R5/R5E5 S5R5/R5S5 Running each of these nine maps over an image to create a new image of the value of the origin ([2,2]) results in 9 "energy maps," or conceptually an image with each pixel associated with a vector of 9 texture attributes. === Autocorrelation and power spectrum === The autocorrelation function of an image can be used to detect repetitive patterns of textures. == Texture segmentation == The use of image texture can be used as a description for regions into segments. There are two main types of segmentation based on image texture, region based and boundary based. Though image texture is not a perfect measure for segmentation it is used along with other measures, such as color, that helps solve segmenting in image. === Region based === Attempts to group or cluster pixels based on texture properties. === Boundary based === Attempts to group or cluster pixels based on edges between pixels that come from different texture properties.

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  • Timeline of operating systems

    Timeline of operating systems

    This article presents a timeline of events in the history of computer operating systems from 1951 to the current day. For a narrative explaining the overall developments, see the History of operating systems. == 20th Century == == 1940s == 1949 EDSAC was considered the first operating system developed by Maurice Wilkes and manufactured by the University of Cambridge == 1950s == 1951 LEO I 'Lyons Electronic Office' was the commercial development of EDSAC computing platform, supported by British firm J. Lyons and Co. 1953 DYSEAC - an early machine capable of distributing computing 1955 General Motors Operating System made for IBM 701 MIT's Tape Director operating system made for UNIVAC 1103 1956 GM-NAA I/O for IBM 704, based on General Motors Operating System 1957 Atlas Supervisor (Manchester University) (Atlas computer project start) BESYS (Bell Labs), for IBM 704, later IBM 7090 and IBM 7094 1958 University of Michigan Executive System (UMES), for IBM 704, 709, and 7090 1959 SHARE Operating System (SOS), based on GM-NAA I/O == 1960s == 1960 IBSYS (IBM for its 7090 and 7094) 1961 CTSS demonstration (MIT's Compatible Time-Sharing System for the IBM 7094) MCP (Burroughs Master Control Program) for B5000 1962 Atlas Supervisor (Manchester University) (Atlas computer commissioned) BBN Time-Sharing System GCOS (GE's General Comprehensive Operating System, originally GECOS, General Electric Comprehensive Operating Supervisor) 1963 ADMIRAL AN/FSQ-32, another early time-sharing system begun CTSS becomes operational (MIT's Compatible Time-Sharing System for the IBM 7094) JOSS, an interactive time-shared system that did not distinguish between operating system and language Titan Supervisor, early time-sharing system begun 1964 Berkeley Timesharing System (for Scientific Data Systems' SDS 940) Chippewa Operating System (for CDC 6600 supercomputer) Dartmouth Time-Sharing System (Dartmouth College's DTSS for GE computers) EXEC 8 (UNIVAC) KDF9 Timesharing Director (English Electric) – an early, fully hardware secured, fully pre-emptive process switching, multi-programming operating system for KDF9 (originally announced in 1960) OS/360 (IBM's primary OS for its S/360 series) (announced) PDP-6 Monitor (DEC) descendant renamed TOPS-10 in 1970 SCOPE (CDC 3000 series) 1965 BOS/360 (IBM's Basic Operating System) DECsys TOS/360 (IBM's Tape Operating System) Livermore Time Sharing System (LTSS) Multics (MIT, GE, Bell Labs for the GE-645) (announced) Pick operating system SIPROS 66 (Simultaneous Processing Operating System) THE multiprogramming system (Technische Hogeschool Eindhoven) development TSOS (later VMOS) (RCA) 1966 DOS/360 (IBM's Disk Operating System) GEORGE 1 & 2 for ICT 1900 series Mod 1 Mod 2 Mod 8 MS/8 (Richard F. Lary's DEC PDP-8 system) MSOS (Mass Storage Operating System) OS/360 (IBM's primary OS for its S/360 series) PCP and MFT (shipped) RAX Remote Users of Shared Hardware (RUSH), a time-sharing system developed by Allen-Babcock for the IBM 360/50 SODA for Elwro's Odra 1204 Universal Time-Sharing System (XDS Sigma series) 1967 CP-40, predecessor to CP-67 on modified IBM System/360 Model 40 CP-67 (IBM, also known as CP/CMS) Conversational Programming System (CPS), an IBM time-sharing system under OS/360 Michigan Terminal System (MTS) (time-sharing system for the IBM S/360-67 and successors) ITS (MIT's Incompatible Timesharing System for the DEC PDP-6 and PDP-10) OS/360 MVT ORVYL (Stanford University's time-sharing system for the IBM S/360-67) TSS/360 (IBM's Time-sharing System for the S/360-67, never officially released, canceled in 1969 and again in 1971) WAITS (SAIL, Stanford Artificial Intelligence Laboratory, time-sharing system for DEC PDP-6 and PDP-10, later TOPS-10) 1968 Airline Control Program (ACP) (IBM) B1 (NCR Century series) CALL/360, an IBM time-sharing system for System/360 HP Real-Time Executive (HP RTE) – Hewlett-Packard HP Time-Shared BASIC (HP TSB) – Hewlett-Packard (time-sharing system for the HP 2000) THE multiprogramming system (Eindhoven University of Technology) publication TSS/8 (DEC for the PDP-8) VP/CSS 1969 B2 (NCR Century series) B3 (NCR Century series) GEORGE 3 For ICL 1900 series MINIMOP Multics (MIT, GE, Bell Labs for the GE-645 and later the Honeywell 6180) (opened for paying customers in October) RC 4000 Multiprogramming System (RC) TENEX (Bolt, Beranek and Newman for DEC systems, later TOPS-20) Unics (later Unix) (AT&T, initially on DEC computers) Xerox Operating System == 1970s == 1970 DOS-11 (PDP-11) 1971 EMAS Kronos RSTS-11 2A-19 (First released version; PDP-11) RSX-15 OS/8 1972 B4 (NCR Century series) COS-300 Data General RDOS Edos MUSIC/SP OS/4 OS 1100 OS/2000 (Honeywell 2000-series) Operating System/Virtual Storage 1 (OS/VS1) Operating System/Virtual Storage 2 R1 (OS/VS2 SVS) PRIMOS (written in FORTRAN IV, that didn't have pointers, while later versions, around version 18, written in a version of PL/I, called PL/P) Virtual Machine/Basic System Extensions Program Product (BSEPP or VM/SE) Virtual Machine/System Extensions Program Product (SEPP or VM/BSE) Virtual Machine Facility/370 (VM/370), sometimes known as VM/CMS 1973 Эльбрус-1 (Elbrus-1) – Soviet computer – created using high-level language uЭль-76 (AL-76/ALGOL 68) Alto OS CP-V (Control Program V) RSX-11D RT-11 VME – implementation language S3 (ALGOL 68) 1974 ACOS-2 (NEC) ACOS-4 ACOS-6 CP/M DOS-11 V09-20C (Last stable release, June 1974) Hydra – capability-based, multiprocessing OS kernel MONECS Multi-Programming Executive (MPE) – Hewlett-Packard Operating System/Virtual Storage 2 R2 (MVS) OS/7 OS/16 OS/32 Sintran III 1975 BS2000 V2.0 (First released version) COS-350 ISIS NOS (Control Data Corporation) OS/3 (Univac) VS/9 (formerly RCA's TSOS, later named VMOS) Version 6 Unix XVM/DOS XVM/RSX 1976 Cambridge CAP computer – all operating system procedures written in ALGOL 68C, with some closely associated protected procedures in BCPL Cray Operating System DX10 FLEX TOPS-20 TX990/TXDS Tandem Nonstop OS v1 Thoth 1977 1BSD AMOS KERNAL OASIS operating system OS68 OS4000 RMX-80 System 88 (Exec) System Support Program (IBM System/34 and System/36) TRSDOS Virtual Memory System (VMS) V1.0 (Initial commercial release, October 25) VRX (Virtual Resource eXecutive) VS Virtual Memory Operating System 1978 2BSD Apple DOS Control Program Facility (IBM System/38) Cray Time Sharing System (CTSS) DPCX (IBM) DPPX (IBM) HDOS KSOS – secure OS design from Ford Aerospace KVM/370 – security retro-fit of IBM VM/370 Lisp machine (CADR) MVS/System Extensions (MVS/SE) OS4 (Naked Mini 4) PTDOS TRIPOS UCSD p-System (First released version) Z80-RIO 1979 Atari DOS 3BSD CP-6 Idris MP/M MVS/System Extensions R2 (MVS/SE2) NLTSS POS Sinclair BASIC Transaction Processing Facility (TPF) (IBM) UCLA Secure UNIX – an early secure UNIX OS based on security kernel UNIX/32V DOS/VSE Version 7 Unix == 1980s == 1980 86-DOS AOS/VS (Data General) Business Operating System CTOS DOSPLUS (TRS-80) MVS/System Product (MVS/SP) V1 NewDos/80 OS-9 RMX-86 RS-DOS SOS Virtual Machine/System Product (VM/SP) Xenix 1981 Acorn MOS Aegis SR1 (First Apollo/DOMAIN systems shipped on March 27) CP/M-86 DRX (Distributed Resource Executive) iMAX – OS for Intel's iAPX 432 capability machine MCS (Multi-user Control System) MS-DOS PC DOS Pilot (Xerox Star operating system) UNOS UTS V VERSAdos VRTX VSOS (Virtual Storage Operating System) Xinu first release 1982 Commodore DOS LDOS (By Logical Systems, Inc. – for the Radio Shack TRS-80 Models I, II & III) PCOS (Olivetti M20) pSOS QNX Stratus VOS Sun UNIX (later SunOS) 0.7 Ultrix Unix System III VAXELN 1983 Coherent DNIX EOS GNU (project start) Lisa Office System 7/7 LOCUS – UNIX compatible, high reliability, distributed OS MVS/System Product V2 (MVS/Extended Architecture, MVS/XA) Novell NetWare (S-Net) PERPOS ProDOS RTU (Real-Time Unix) STOP – TCSEC A1-class, secure OS for SCOMP hardware SunOS 1.0 VSE/System Package (VSE/SP) Version 1 1984 AMSDOS CTIX (Unix variant) DYNIX Mac OS (System 1.0) MSX-DOS NOS/VE PANOS PC/IX ROS Sinclair QDOS SINIX UNICOS Venix 2.0 Virtual Machine/Extended Architecture Migration Assistance (VM/XA MA) 1985 AmigaOS Atari TOS DG/UX DOS Plus Graphics Environment Manager Harmony MacOS 2 MIPS RISC/os Oberon – written in Oberon SunOS 2.0 Version 8 Unix Virtual Machine/Extended Architecture System Facility (VM/XA SF) Windows 1.0 Windows 1.01 Xenix 2.0 1986 AIX 1.0 Cronus distributed OS FlexOS GEMSOS – TCSEC A1-class, secure kernel for BLACKER VPN & GTNP GEOS Genera 7.0 HP-UX MacOS 3 SunOS 3.0 TR-DOS TRIX Version 9 Unix 1987 Arthur (much improved version came in 1989 under the name RISC OS) BS2000 V9.0 IRIX (3.0 is first SGI version) MacOS 4 MacOS 5 MDOS MINIX 1.0 OS/2 (1.0) PC-MOS/386 Topaz – semi-distributed OS for DEC Firefly workstation written in Modula-2+ and garbage collected VxWorks Windows 2.0 1988 A/UX (Apple Computer) AOS/VS II (Data General) CP/M rebranded as DR-DOS Flex machine – tagged, capability machine with OS and other software written

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  • Quality of experience

    Quality of experience

    Quality of experience (QoE) is a measure of the delight or annoyance of a customer's experiences with a service (e.g., web browsing, phone call, TV broadcast). QoE focuses on the entire service experience; it is a holistic concept, similar to the field of user experience, but with its roots in telecommunication. QoE is an emerging multidisciplinary field based on social psychology, cognitive science, economics, and engineering science, focused on understanding overall human quality requirements. == Definition and concepts == In 2013, within the context of the COST Action QUALINET, QoE has been defined as:The degree of delight or annoyance of the user of an application or service. It results from the fulfillment of his or her expectations with respect to the utility and / or enjoyment of the application or service in the light of the user’s personality and current state.This definition has been adopted in 2016 by the International Telecommunication Union in Recommendation ITU-T P.10/G.100. Before, various definitions of QoE had existed in the domain, with the above-mentioned definition now finding wide acceptance in the community. QoE has historically emerged from Quality of Service (QoS), which attempts to objectively measure service parameters (such as packet loss rates or average throughput). QoS measurement is most of the time not related to a customer, but to the media or network itself. QoE however is a purely subjective measure from the user's perspective of the overall quality of the service provided, by capturing people's aesthetic and hedonic needs. QoE looks at a vendor's or purveyor's offering from the standpoint of the customer or end user, and asks, "What mix of goods, services, and support, do you think will provide you with the perception that the total product is providing you with the experience you desired and/or expected?" It then asks, "Is this what the vendor/purveyor has actually provided?" If not, "What changes need to be made to enhance your total experience?" In short, QoE provides an assessment of human expectations, feelings, perceptions, cognition and satisfaction with respect to a particular product, service or application. QoE is a blueprint of all human subjective and objective quality needs and experiences arising from the interaction of a person with technology and with business entities in a particular context. Although QoE is perceived as subjective, it is an important measure that counts for customers of a service. Being able to measure it in a controlled manner helps operators understand what may be wrong with their services and how to improve them. == QoE factors == QoE aims at taking into consideration every factor that contributes to a user's perceived quality of a system or service. This includes system, human and contextual factors. The following so-called "influence factors" have been identified and classified by Reiter et al.: Human Influence Factors Low-level processing (visual and auditory acuity, gender, age, mood, …) Higher-level processing (cognitive processes, socio-cultural and economic background, expectations, needs and goals, other personality traits…) System Influence Factors Content-related Media-related (encoding, resolution, sample rate, …) Network-related (bandwidth, delay, jitter, …) Device-related (screen resolution, display size, …) Context Influence Factors Physical context (location and space) Temporal context (time of day, frequency of use, …) Social context (inter-personal relations during experience) Economic context Task context (multitasking, interruptions, task type) Technical and information context (relationship between systems) Studies in the field of QoE have typically focused on system factors, primarily due to its origin in the QoS and network engineering domains. Through the use of dedicated test laboratories, the context is often sought to be kept constant. == QoE versus User Experience == QoE is strongly related to but different from the field of User Experience (UX), which also focuses on users' experiences with services. Historically, QoE has emerged from telecommunication research, while UX has its roots in Human–Computer Interaction. Both fields can be considered multi-disciplinary. In contrast to UX, the goal of improving QoE for users was more strongly motivated by economic needs. Wechsung and De Moor identify the following key differences between the fields: == QoE measurement == As a measure of the end-to-end performance at the service level from the user's perspective, QoE is an important metric for the design of systems and engineering processes. This is particularly relevant for video services because – due to their high traffic demands –, bad network performance may highly affect the user's experience. So, when designing systems, the expected output, i.e. the expected QoE, is often taken into account – also as a system output metric and optimization goal. To measure this level of QoE, human ratings can be used. The mean opinion score (MOS) is a widely used measure for assessing the quality of media signals. It is a limited form of QoE measurement, relating to a specific media type, in a controlled environment and without explicitly taking into account user expectations. The MOS as an indicator of experienced quality has been used for audio and speech communication, as well as for the assessment of quality of Internet video, television and other multimedia signals, and web browsing. Due to inherent limitations in measuring QoE in a single scalar value, the usefulness of the MOS is often debated. Subjective quality evaluation requires a lot of human resources, establishing it as a time-consuming process. Objective evaluation methods can provide quality results faster, but require dedicated computing resources. Since such instrumental video quality algorithms are often developed based on a limited set of subjective data, their QoE prediction accuracy may be low when compared to human ratings. QoE metrics are often measured at the end devices and can conceptually be seen as the remaining quality after the distortion introduced during the preparation of the content and the delivery through the network, until it reaches the decoder at the end device. There are several elements in the media preparation and delivery chain, and some of them may introduce distortion. This causes degradation of the content, and several elements in this chain can be considered as "QoE-relevant" for the offered services. The causes of degradation are applicable for any multimedia service, that is, not exclusive to video or speech. Typical degradations occur at the encoding system (compression degradation), transport network, access network (e.g., packet loss or packet delay), home network (e.g. WiFi performance) and end device (e.g. decoding performance). == QoE management == Several QoE-centric network management and bandwidth management solutions have been proposed, which aim to improve the QoE delivered to the end-users. When managing a network, QoE fairness may be taken into account in order to keep the users sufficiently satisfied (i.e., high QoE) in a fair manner. From a QoE perspective, network resources and multimedia services should be managed in order to guarantee specific QoE levels instead of classical QoS parameters, which are unable to reflect the actual delivered QoE. A pure QoE-centric management is challenged by the nature of the Internet itself, as the Internet protocols and architecture were not originally designed to support today's complex and high demanding multimedia services. As an example for an implementation of QoE management, network nodes can become QoE-aware by estimating the status of the multimedia service as perceived by the end-users. This information can then be used to improve the delivery of the multimedia service over the network and proactively improve the users' QoE. This can be achieved, for example, via traffic shaping. QoE management gives the service provider and network operator the capability to minimize storage and network resources by allocating only the resources that are sufficient to maintain a specific level of user satisfaction. As it may involve limiting resources for some users or services in order to increase the overall network performance and QoE, the practice of QoE management requires that net neutrality regulations are considered.

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  • Prix Ars Electronica

    Prix Ars Electronica

    The Prix Ars Electronica is one of the best known and longest running yearly prizes in the field of electronic and interactive art, computer animation, digital culture and music. It has been awarded since 1987 by Ars Electronica (Linz, Austria). In 2005, the Golden Nica, the highest prize, was awarded in six categories: "Computer Animation/Visual Effects," "Digital Musics," "Interactive Art," "Net Vision," "Digital Communities" and the "u19" award for "freestyle computing." Each Golden Nica came with a prize of €10,000, apart from the u19 category, where the prize was €5,000. In each category, there are also Awards of Distinction and Honorary Mentions. The Golden Nica trophy is a replica of the Greek Nike of Samothrace. It is a handmade gold-plated wooden statuette that is approximately 35 cm high with a wingspan of about 20 cm. "Prix Ars Electronica" is a phrase composed of French, Latin and Spanish words, loosely translated as "Electronic Arts Prize." == Golden Nica winners == === Computer animation / film / vfx === The "Computer Graphics" category (1987–1994) was open to different kinds of computer images. The "Computer Animation" (1987–1997) was replaced by the current "Computer Animation/Visual Effects" category in 1998. ==== Computer Graphics ==== 1987 – Figur10 by Brian Reffin Smith, UK 1988 – The Battle by David Sherwin, US 1989 – Gramophone by Tamás Waliczky, HU 1990 – P-411-A by Manfred Mohr, Germany 1991 – Having encountered Eve for the second time, Adam begins to speak by Bill Woodard, US 1992 – RD Texture Buttons by Michael Kass and Andrew Witkin, US 1993 – Founders Series by Michael Tolson, US 1994 – Jellylife / Jellycycle / Jelly Locomotion by Michael Joaquin Grey, US ==== Computer Animation ==== 1987 – Luxo Jr. by John Lasseter, US 1988 – Red's Dream by John Lasseter, US 1989 – Broken Heart by Joan Staveley, US 1990 – Footprint by Mario Sasso and Nicola Sani, IT 1991 – Panspermia by Karl Sims, US 1992 – Liquid Selves / Primordial Dance by Karl Sims, US 1993 – Lakmé by Pascal Roulin, BE 1994 – Jurassic Park by Dennis Muren, Mark Dippé and Steve Williams, US/CA Distinction: Quarxs by Maurice Benayoun, FR Distinction: K.O. Kid by Marc Caro, FR 1995 – God's Little Monkey by David Atherton and Bob Sabiston, US 1996 – Toy Story by John Lasseter, Lee Unkrich and Ralph Eggleston, US 1997 – Dragonheart by Scott Squires, Industrial Light & Magic (ILM), US ==== Computer Animation/Visual Effects ==== 1998 – The Sitter by Liang-Yuan Wang, TW Titanic by Robert Legato and Digital Domain, US 1999 – Bunny by Chris Wedge, US What Dreams May Come by Mass Illusions, POP, Digital Domain, Vincent Ward, Stephen Simon and Barnet Bain, US 2000 – Maly Milos by Jakub Pistecky, CA Maaz by Christian Volckman, FR 2001 – Le Processus by Xavier de l’Hermuzičre and Philippe Grammaticopoulos, FR 2002 – Monsters, Inc. by Andrew Stanton, Lee Unkrich, Pete Docter and David Silverman, US 2003 – Tim Tom by Romain Segaud and Cristel Pougeoise, FR 2004 – Ryan by Chris Landreth, US. Distinction: Parenthèse from Francois Blondeau, Thibault Deloof, Jérémie Droulers, Christophe Stampe, France Distinction: Birthday Boy from Sejong Park, Australia 2005 – Fallen Art by Tomek Baginski, Poland. Distinction: The Incredibles from Pixar Distinction: City Paradise by Gaëlle Denis (UK), Passion Pictures (FR) 2006 – 458nm by Jan Bitzer, Ilija Brunck, Tom Weber, Filmakademie Baden-Württemberg, Germany. Distinction: Kein platz Für Gerold by Daniel Nocke / Studio Film Bilder, Germany Distinction: Negadon, the monster from Mars, by Jun Awazu, Japan 2007 – Codehunters by Ben Hibon, (UK) 2008 – Madame Tutli-Putli by Chris Lavis, Maciek Szczerbowski. (Directors), Jason Walker (Special Visual Effects), National Film Board of Canada 2009 – HA'Aki by Iriz Pääbo, National Film Board of Canada 2010 – Nuit Blanche by Arev Manoukian (Director), Marc-André Gray (Visual Effects Artist), National Film Board of Canada 2011 – Metachaos by Alessandro Bavari (IT) 2012 – Rear Window Loop by Jeff Desom (LU) Distinction: Caldera by Evan Viera/Orchid Animation (US) Distinction: Rise of the Planet of the Apes by Weta Digital (NZ)/Twentieth Century Fox 2013 – Forms by Quayola (IT), Memo Akten (TR) Distinction: Duku Spacemarines by La Mécanique du Plastique (FR) Distinction: Oh Willy… by Emma De Swaef (BE), Marc James Roels (BE) / Beast Animation 2014 – Walking City by Universal Everything (UK) 2015 – Temps Mort by Alex Verhaest (BE)[1] Distinction: Bär by Pascal Floerks (DE) Distinction: The Reflection of Power by Mihai Grecu (RO/HU) === Digital Music === This category is for those making electronic music and sound art through digital means. From 1987 to 1998 the category was known as "Computer music." Two Golden Nicas were awarded in 1987, and none in 1990. There was no Computer Music category in 1991. 1987 – Peter Gabriel and Jean-Claude Risset 1988 – Denis Smalley 1989 – Kaija Saariaho 1990 – None 1991 – Category omitted 1992 – Alejandro Viñao 1993 – Bernard Parmegiani 1994 – Ludger Brümmer Distinction: Jonathan Impett 1995 – Trevor Wishart 1996 – Robert Normandeau 1997 – Matt Heckert 1998 – Peter Bosch and Simone Simons (joint award) 1999 – Come to Daddy by Aphex Twin (Richard D. James) and Chris Cunningham (joint award) Distinction: Birthdays by Ikue Mori (JP) Distinction: Mego (label), Hotel Paral.lel by Christian Fennesz, Seven Tons For Free by Peter Rehberg (a.k.a. Pita) 2000 – 20' to 2000 by Carsten Nicolai Distinction: Minidisc by Gescom Distinction: Outside the Circle of Fire by Chris Watson 2001 – Matrix by Ryoji Ikeda 2002 – Man'yo Wounded 2001 by Yasunao Tone 2003 – Ami Yoshida, Sachiko M and Utah Kawasaki (joint award) 2004 – Banlieue du Vide by Thomas Köner 2005 – TEO! A Sonic Sculpture by Maryanne Amacher 2006 – L'île ré-sonante by Éliane Radigue 2007 – Reverse-Simulation Music by Mashiro Miwa 2008 – Reactable by Sergi Jordà (ES), Martin Kaltenbrunner (AT), Günter Geiger (AT) and Marcos Alonso (ES) 2009 – Speeds of Time versions 1 and 2 by Bill Fontana (US) 2010 – rheo: 5 horizons by Ryoichi Kurokawa (JP) 2011 – Energy Field by Jana Winderen (NO) 2012 – "Crystal Sounds of a Synchrotron" by Jo Thomas (GB) 2013 – frequencies (a) by Nicolas Bernier (CA) Distinction: SjQ++ by SjQ++ (JP) Distinction: Borderlands Granular by Chris Carlson (US) 2015 – Chijikinkutsu by Nelo Akamatsu (JP) Distinction: Drumming is an elastic concept by Josef Klammer (AT) Distinction: Under Way by Douglas Henderson (DE) 2017 – Not Your World Music: Noise In South East Asia by Cedrik Fermont (CD/BE/DE), Dimitri della Faille (BE/CA) Distinction: Gamelan Wizard by Lucas Abela (AU), Wukir Suryadi (ID) und Rully Shabara (ID) Distinction: Corpus Nil by Marco Donnarumma (DE/IT) === Hybrid art === 2007 – Symbiotica 2008 – Pollstream – Nuage Vert by Helen Evans (FR/UK) and Heiko Hansen (FR/DE) HeHe 2009 – Natural History of the Enigma by Eduardo Kac (US) 2010 – Ear on Arm by Stelarc (AU) 2011 – May the Horse Live in me by Art Orienté Objet (FR) 2012 – Bacterial radio by Joe Davis (US) Distinction: Free Universal Construction Kit (F.U.C.K.) by Golan Levin and Shawn Sims 2013 – Cosmopolitan Chicken Project, Koen Vanmechelen (BE) 2015 – Plantas Autofotosintéticas, Gilberto Esparza (MX) 2017 – K-9_topology, Maja Smrekar (SI) === [the next idea] voestalpine Art and Technology Grant === 2009 – Open_Sailing by Open_Sailing Crew led by Cesar Harada. 2010 – Hostage by [Frederik De Wilde]. 2011 – Choke Point Project by P2P Foundation (NL). 2012 – qaul.net – tools for the next revolution by Christoph Wachter & Mathias Jud 2013 – Hyperform by Marcelo Coelho (BR), Skylar Tibbits (US), Natan Linder (IL), Yoav Reaches (IL) Honorary Mentions: GravityLight by Martin Riddiford (GB), Jim Reeves (GB) 2014 – BlindMaps by Markus Schmeiduch, Andrew Spitz and Ruben van der Vleuten 2015 – SOYA C(O)U(L)TURE by XXLab (ID) – Irene Agrivina Widyaningrum, Asa Rahmana, Ratna Djuwita, Eka Jayani Ayuningtias, Atinna Rizqiana === Interactive Art === Prizes in the category of interactive art have been awarded since 1990. This category applies to many categories of works, including installations and performances, characterized by audience participation, virtual reality, multimedia and telecommunication. 1990 – Videoplace installation by Myron Krueger 1991 – Think About the People Now project by Paul Sermon 1992 – Home of the Brain installation by Monika Fleischmann and Wolfgang Strauss 1993 – Simulationsraum-Mosaik mobiler Datenklänge (smdk) installation by Knowbotic Research 1994 – A-Volve environment by Christa Sommerer and Laurent Mignonneau 1995 – the concept of Hypertext, attributed to Tim Berners-Lee 1996 – Global Interior Project installation by Masaki Fujihata 1997 – Music Plays Images X Images Play Music concert by Ryuichi Sakamoto and Toshio Iwai 1998 – World Skin, a Photo Safari in the Land of War installation by Jean-Baptiste Barrière and Maurice Benayoun 1999 – Difference Engine #3 by construct and Lynn Hershman 2000 – Vectorial Elevati

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  • MovieRide FX

    MovieRide FX

    MovieRide FX is a patented automated special visual effects video compositing engine used in the MovieRide FX mobile application for Android (requires Android 2.3 or later) and iOS (compatible with iPhone 4 and up, iPad, and iPod Touch (new generation), requires iOS 7 or later). MovieRide FX allows the user to personalize a "Hollywood-style" movie clip by inserting themself into the clip as the "actor". == Features == The MovieRide FX app uses the relevant mobile device's camera to record a video of the user and insert it into a pre-packaged "Hollywood style" movie clip. The "actor" is extracted from their recorded video clip through various known effects such as masking, keying, and motion tracking. The "actor" is then inserted into one of the pre-packaged movie clips created by the MovieRide FX visual effects artists. This is done through an automated process requiring little or no artistic or technical skill from the user. The custom movie clips pre-packaged with MovieRide FX offer the user a variety of movie scenarios. Additional clips based on popular television and movie themes are continually being developed and are available on a freemium basis. == Sharing == Once the user's footage has automatically been composited into a movie clip and rendered as an .mp4 file, it can be shared via social media, such as Facebook, YouTube, and Twitter, and by e-mail. == History == === 2012 === MovieRide FX was created by Grant Waterston and Johann Mynhardt, who started development in 2012. === 2013 === The beta version was released on Google Play in July 2013. In August 2013 MovieRide FX was a New Media Award winner in the "New Media" category of the Accolade International Awards in Los Angeles. In October 2013 MovieRide FX was awarded exhibitor space in the ‘start-up village’ at the Apps-World Expo in London. === 2014 === MovieRide FX reached the 100 000 – 500 000 downloads category on the Google Play Store in June 2014. The official Android version was launched in July 2014. iOS version released in August 2014. MovieRide FX was selected as one of the "Top 150" startups at the Pioneer Festival in Vienna in September 2014. In November 2014 MovieRide FX was shortlisted for the Appster Awards in the "Best Entertainment App" and "Most Innovative App" categories and was awarded exhibitor space at the ‘start-up village’ at the Apps-World Expo in London. Patent applications were filed in South Africa, the EU and USA in April 2014. === 2015 === In September 2015 MovieRide FX was shortlisted for "Best Software innovation" at The Technology Expo Awards in London. === 2016 === In April 2016 MovieRide FX was nominated for a National Science and Technology Forum (NSTF) award for 'Research leading to Innovation by a corporate organization' In August 2016 Movie Ride FX won two Gold Awards at the 2016 Mobile Marketing Awards (MMA Smarties SA). These two Gold awards were for the 'Innovation' and 'Best in Show’ categories. In December 2016 FlicJam Inc. was formed in the US to access the larger global market. EU patent application was published in March 2016. === 2017 === South African patent was granted in February 2017. === 2018 === US patent was granted in March 2018.

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  • Signal-to-crosstalk ratio

    Signal-to-crosstalk ratio

    The signal-to-crosstalk ratio at a specified point in a circuit is the ratio of the power of the wanted signal to the power of the unwanted signal from another channel. The signals are adjusted in each channel so that they are of equal power at the zero transmission level point in their respective channels. The signal-to-crosstalk ratio is usually expressed in dB.

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  • Vintage computer

    Vintage computer

    A vintage computer is an older computer system that is largely regarded as obsolete. The personal computer has been around since around 1971, and in that time technological advancement means existing models get replaced every few years. Nevertheless, these otherwise useless computers have spawned a sub-culture of vintage computer collectors who often spend large sums for the rarest examples, not only to display but functionally restore. This involves active software development and adaptation to modern uses. This often includes homebrew developers and hackers who add on, update and create hybrid composites from new and old computers for uses they were otherwise never intended. Ethernet interfaces have been designed for many vintage 8-bit machines to allow limited connectivity to the Internet, where users can access discussion groups, bulletin boards, and software databases. Most of this hobby centers on computers made after 1960, though some collectors also specialize in older computers. The Vintage Computer Festival, an event held by the Vintage Computer Federation for the exhibition and celebration of vintage computers, has been held annually since 1997 and has expanded internationally. == By platform == === MITS Inc. === Micro Instrumentation and Telemetry Systems (MITS) produced the Altair 8800 in 1975. According to Harry Garland, the Altair 8800 was the product that catalyzed the microcomputer revolution of the 1970s. === IMSAI === The IMSAI 8080 is a clone of the Altair 8800. It was introduced in 1975, first as a kit, and later as an assembled system. The list price was $591 (equivalent to $3,584 in 2025) for a kit, and $931 (equivalent to $5,570 in 2025) assembled. === Processor Technology === Processor Technology produced the Sol-20. This was one of the first machines to have a case that included a keyboard; a design feature copied by many of later "home computers". === SWTPC === Southwest Technical Products Corporation (SWTPC) produced the 8-bit SWTPC 6800 and later the 16-bit SWTPC 6809 kits that employed the Motorola 68xx series microprocessors. === Apple Inc. === The earliest Apple Inc. personal computers, using the MOS Technology 6502 processors, are among some of the most collectible. They are relatively easy to maintain in an operational state thanks to Apple's use of readily available off-the-shelf parts. Apple I (1976): The Apple-1 was Apple's first product and has brought some of the highest prices ever paid for a microcomputer at auction. Apple II (1977): The Apple II series of computers are some of the easiest to adapt, thanks to the original expansion architecture designed for them. New peripheral cards are still being designed by an avid thriving community, thanks to the longevity of this platform, manufactured from 1977 through 1993. Numerous websites exist to support not only legacy users but new adopters who weren't even born when the Apple II was discontinued by Apple. Macintosh (1984): The original Macintosh used a 32-bit Motorola 68000 processor running at 7.8336 MHz and came with 128 KB of RAM. The list price was $2495 (equivalent to $7,732 in 2025).Perhaps because of its friendly design and first commercially successful graphical user interface as well as its enduring Finder application that persists on the most current Macs, the Macintosh is one of the most collected and used vintage computers. With dozens of websites around the world, old Macintosh hardware and software are input into daily use. The Macintosh had a strong presence in many early computer labs, creating a nostalgia factor for former students who recall their first computing experiences. === RCA === The COSMAC Elf in 1976 was an inexpensive (about $100) single-board computer that was easily built by hobbyists. Many people who could not afford an Altair could afford an ELF, which was based on the RCA 1802 chip. Because the chips are still available from other sources, modern recreations of the ELF are fairly common and there are several fan websites. === IBM === The IBM 1130 (1965) was a desk-sized small computer. It was the often the first computer used by many college students, still has a following of interested users. Most of the remaining 1130 systems in 2023 are in museums, but an emulator is available for users who don't have access to a physical 1130. The 5100 also has an avid collector and fan base. The PC series (5150 PC, 5155 Portable PC, 5160 PC/XT, 5170 PC/AT) has become very popular in recent years, with the earliest models (PC) being considered the most collectible. === Acorn BBC & Archimedes === The Acorn BBC Micro was a very popular British computer in the 1980s with home and educational users and enjoyed near-universal usage in British schools into the mid-1990s. It was possible to use 100K 5+1⁄4-inch disks, and it had many expansion ports. The Archimedes series – the de facto successor to the BBC Micro – has also enjoyed a following in recent years, thanks to its status as the first computer to be based around ARM's RISC microprocessor. === Tandy/Radio Shack === The Tandy/RadioShack Model 100 is still widely collected and used as one of the earliest examples of a truly portable computer. Other Tandy offerings, such as the TRS-80 line, are also very popular, and early systems, like the Model I, in good condition can command premium prices on the vintage computer market. === Sinclair === The Sinclair ZX81 and ZX Spectrum series were the most popular British home computers of the early 1980s, with a wide choice of emulators available for both platforms. The Spectrum in particular enjoys a cult following due to its popularity as a games platform, with new games titles still being developed even today. Original "rubber key" Spectrums fetch the highest prices on the second-hand market, with the later Amstrad-built models attracting less of a following. The earlier ZX81 is not as popular in original hardware form due to its monochrome display and limited abilities next to the Spectrum, but still unassembled ZX81 kits still appear on eBay occasionally. === MSX === Although nearly nonexistent in the United States, the MSX architecture has strong communities of fans and hobbyists worldwide, particularly in Japan (where the standard was conceived and developed), South Korea (the only country that had an MSX-based game console, Zemmix), Netherlands, Spain, Brazil, Argentina, Russia, Chile, the Middle East, and others. New hardware and software are being actively developed to this day as well. One of the latest fundamental (from hardware and software perspectives) revivals of the MSX is the GR8BIT. === Robotron === The Robotron Z1013 was an East German home computer produced by VEB Robotron. It had a U880 processor, 16 KB RAM, and a membrane keyboard. The KC 85 series of computers was a modular 8-bit computer system used in East German schools. === Commodore === VIC-20 Commodore 64 Commodore PET Amiga === Xerox === The Xerox Alto, designed and manufactured by Xerox PARC and released in 1973, was the first personal computer equipped with a graphic user interface. In 1979, Steve Jobs of Apple Inc. arranged for his engineers to visit Xerox in order to see the Alto. The design concepts of the Alto soon appeared in the Apple Lisa and Macintosh systems. The Xerox Star, also known as the 8010/40, was made available in 1981. It followed on the Alto. Like the Alto, this machine was expensive and was only intended for corporate office usage. Therefore, being out of the price range of the average user, this product had little market penetration. === Silicon Graphics === The SGI Indy, built in 1993 for Silicon Graphics has a history of usage in the development of the Nintendo 64 as well as various CGI projects throughout the 1990s and early 2000s. The Indy and other machines in the SGI lineup have remained cult classics.

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  • ProjectExplorer

    ProjectExplorer

    ProjectExplorer is a documentary short film series. The films, directed and produced by ProjectExplorer's Founder, Jenny M Buccos, focus on histories and cultures of foreign places and people using interviews with subject experts, artists, and public figures including Archbishop Desmond Tutu, Dr. John Kani, Greg Marinovich, and Sipho “Hotstix” Mabuse. Produced for a child and young adult audience, segments in each series depict everyday life and the challenges and concerns of those living in the locations and regions featured. Each film is 2–4 minutes in length, with each series containing approximately 40 films. The ProjectExplorer series is distributed internationally without charge via the web by ProjectExplorer, LTD. an American not-for-profit organization. Three series have been produced and distributed. In fall 2009, ProjectExplorer's third series, Jordan, received a GOLD level Parents' Choice Award for excellence in web programming. == Film series == === Shakespeare's England (2006) === The first series was filmed in London, Stratford-upon-Avon, and New York City. The series includes more than 30 film segments. United Kingdom locations and individuals include: The London Eye The Tower of London The Whitechapel Bell Foundry, which demonstrates the process of making a bell Simon Hughes, Member of Parliament and President of the Liberal Democrats The Old Vic The Royal Shakespeare Company The National Archives (UK) Segments filmed in New York City include: Michael Cumpsty discusses and performs monologues from Hamlet (while starring in the Classic Stage Company production) Michael Stuhlbarg discusses and performs a monologue from Macbeth === South Africa (2007) === Filmed in Johannesburg, Cape Town, and KwaZulu Natal, the series contains over 40 film segments including: Ntate Thabong Phosa, a lesiba player from Lesotho. Due to the rarity of lesiba players globally, this is one of the only publicly available examples of the lesiba played on film. A Robben Island piece, filmed at the cell in which Nelson Mandela was held for 18 of his 27-year imprisonment. JSE Securities Exchange with Leigh Roberts, correspondent for CNBC Africa. A 3-part series on HIV/AIDS with amfAR Director of Research, Dr. Rowena Johnson. Dr. Johnson discusses high cost of anti-retroviral drugs and testing in South Africa. The June 16, 1976 Soweto Uprising, with archival film footage and photography from SABC and The Sowetan newspaper. Prominent South Africans featured in the series: Dr. John Kani, Chairperson of the Apartheid Museum and TONY Award Winning Actor Musician Sipho “Hotstix” Mabuse Former U.N. Ambassador Dave A. Steward, Executive Director of the FW de Klerk Foundation Director and producer, Duma Ndlovu Malcolm Purkey, Artistic Director of the Market Theatre === South Africa, Part II (2008) === Filmed in Johannesburg, Cape Town, and New York City, the series contains over 10 film segments. Prominent South Africans featured in the series: Archbishop Desmond Tutu, Nobel Peace Prize laureate Photojournalist Greg Marinovich, Pulitzer Prize winner and co-author of The Bang-Bang Club Vusi Mahlasela, musician Author, Max du Preez === Jordan (2008) === Filmed in Amman, Petra, Umm Qais, Jerash, Madaba, Bethany, the Dead Sea, and New York City, the series contains more than 45 film segments. Jordan series segments include: A tour of the throne room of King Abdullah II, at Raghadan Palace Sharing mansaf with a Bedouin family in the Wadi Rum desert The UNRWA Jabal Hussein refugee camp The Siq, Treasury, and Monastery at Petra The ruins of Gadara at Umm Qais Jerash, the capital and largest city of Jordan's Jerash Governorate Madaba, home of the Madaba Map and the mosaic capital of Jordan The archaeological site at Bethany Traditional clothing from Salt and Ma'an The reintroduction into the wild of the endangered Arabian Oryx The Desert Castles The science of the Dead Sea Her Royal Highness Princess Basma bint Ali and her Royal Botanic Garden

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  • Frankenstein complex

    Frankenstein complex

    The Frankenstein complex is a term coined by Isaac Asimov in his robot series, referring to the fear of mechanical men. == History == Some of Asimov's science fiction short stories and novels predict that this suspicion will become strongest and most widespread in respect of "mechanical men" that most-closely resemble human beings (see android), but it is also present on a lower level against robots that are plainly electromechanical automatons. The "Frankenstein complex" is similar in many respects to Masahiro Mori's uncanny valley hypothesis. The name, "Frankenstein complex", is derived from the name of Victor Frankenstein in the 1818 novel Frankenstein; or, The Modern Prometheus by Mary Shelley. In Shelley's story, Frankenstein created an intelligent, somewhat superhuman being, but he finds that his creation is horrifying to behold and abandons it. This ultimately leads to Victor's death at the conclusion of a vendetta between himself and his creation. In much of his fiction, Asimov depicts the general attitude of the public towards robots as negative, with ordinary people fearing that robots will either replace them or dominate them, although dominance would not be allowed under the specifications of the Three Laws of Robotics, the first of which is: "A robot may not harm a human being or, through inaction, allow a human being to come to harm." However, Asimov's fictitious earthly public is not fully persuaded by this, and remains largely suspicious and fearful of robots. I, Robot's short story "Little Lost Robot" is about this "fear of robots". In Asimov's robot novels, the Frankenstein complex is a major problem for roboticists and robot manufacturers. They do all they can to reassure the public that robots are harmless, even though this sometimes involves hiding the truth because they think that the public would misunderstand it. The fear by the public and the response of the manufacturers is an example of the theme of paternalism, the dread of paternalism, and the conflicts that arise from it in Asimov's fiction. The same theme occurs in many later works of fiction featuring robots, although it is rarely referred to as such.

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  • Filter (social media)

    Filter (social media)

    Filters are digital image effects often used on social media. They initially simulated the effects of camera filters, and they have since developed with facial recognition technology and computer-generated augmented reality. Social media filters—especially beauty filters—are often used to alter the appearance of selfies taken on smartphones or other similar devices. While filters are commonly associated with beauty enhancement and feature alterations, there is a wide range of filters that have different functions. From adjusting photo tones to using face animations and interactive elements, users have access to a range of tools. These filters allow users to enhance photos and allow room for creative expression and fun interactions with digital content. == History == Beauty filters originate from Purikura ("print club"), a type of Japanese photographic arcade game machine conceived in 1994 by Sasaki Miho, a female employee at Atlus, and released in 1995 by Atlus and Sega primarily for female visitors at Japanese arcades. They allowed the manipulation of digital selfie photos with kawaii beauty filters similar to later Snapchat filters. Purikura filters included beautifying the image, cat whiskers, bunny ears, writing text, scribbling graffiti, selecting backdrops, borders, insertable decorations, icons, hair extensions, twinkling diamond tiaras, tenderized light effects, and predesigned decorative margins. To capitalize on the Purikura phenomenon in Japan during the late 1990s, Japanese mobile phones began including a front-facing camera, starting with the Kyocera Visual Phone VP‑210 in 1999. The Sanyo SCP-5300 released in 2002 was the first camera phone with filter effects, such as illumination, white‑balance control, sepia, black and white, and negative colors. Purikura-like beauty filters later appeared in smartphone apps such as Instagram and Snapchat in the 2010s. In 2010, Apple introduced the iPhone 4—the first iPhone model with a front-facing camera. It gave rise to a dramatic increase in selfies, which could be touched up with more flattering lighting effects with applications such as Instagram. The American photographer Cole Rise was involved in the creation of the original filters for Instagram around 2010, designing several of them himself, including Sierra, Mayfair, Sutro, Amaro, and Willow. However, the technology for virtual lens filters was invented and patented by Patrick Levy-Rosenthal in 2007. The patent received 100 citations, including Facebook, Nvidia, Microsoft, Samsung, and Snap. In September, 2011, the Instagram 2.0 update for the application introduced "live filters," which allowed the user to preview the effect of the filter while shooting with the application's camera. #NoFilter, a hashtag label to describe an image that had not been filtered, became popular around 2013. An update in 2014 allowed users to adjust the intensity of the filters as well as fine-tune other aspects of the image, features that had been available for years on applications such as VSCO and Litely. In 2014, Snapchat started releasing sponsored filters to monetize the participatory use of the application. In September 2015, Snapchat acquired Looksery and released a feature called "lenses," animated filters using facial recognition technology. Some of the early lenses available on Snapchat at the time were Heart Eyes, Terminator, Puke Rainbows, Old, Scary, Rage Face, Heart Avalanche. The Coachella filter released April 2016 was a popular early augmented reality filter. In April 2017, Facebook released the Camera Effects Platform, which is the first augmented reality platform that allows developers to create their own filters and effects on Facebook's Camera. In December 2017, Snapchat also launched their Lens Studio augmented reality developer tool that allows users and advertisers to do the same on the Snapchat application. In April 2022,TikTok joined the two, and launched their own augmented reality developer platform called Effect house. In February 2023, Effect House gave opened up the access to generative AI tools that allowed creators to change facial features in real time. In November 2023, TikTok released a feature where users no longer needed Effect House to create their own filters, as they are now able to create their own effects on the TikTok application. In August 2024, Meta announced that it would be removing third-party filter effects from its family of apps by January 14, 2025. The AR development software Meta Spark AR will also be retired at the same time; it was at one point the "world's largest mobile AR platform". Brand and creator effects represent the vast majority of filters available on Meta platforms, with over 2 million third-party filters available as of 2021. == Beauty filter == A beauty filter is a filter applied to still photographs, or to video in real time, to enhance the physical attractiveness of the subject. Typical effects of such filters include smoothing skin texture and modifying the proportions of facial features, for example enlarging the eyes or narrowing the nose. Filters may be included as a built-in feature of social media apps such as Instagram or Snapchat, or implemented through standalone applications such as Facetune. In 2020, the "Perfect Skin" filter for Snapchat and Instagram which was created by Brazilian augmented reality developer Brenno Faustino gained more than 36 million impressions in the first 24 hours of its release. In 2021, TikTok users pointed out how the default front-facing camera on the platform automatically applied the retouch and other feature-altering filters. Users noted that these filters slimmed down faces, smoothed skin, whitened teeth, and altered facial features such as nose and eye size, without the option to disable this feature through settings. In March 2023, the "Bold Glamour" filter was released on TikTok and instantly went viral with over 18 million videos created within its first week. This filter subtly enhances the user's facial features seamlessly, giving the illusion of fuller eyebrows, taller cheekbones, enhanced eye make up, a smaller nose, plumper lips, and clearer skin, giving off a natural yet distinct effect. As of May 2024, the filter has been used in over 220 million videos and has become a pivotal moment for beauty filters on digital platforms. Critics have raised concerns that the widespread use of such filters on social media may lead to negative body image, particularly among girls. Though Meta's intention of removing third-party filters will likely see all beauty filters removed, academics feel that the damage of beautifying filters is already done. === Background === The manipulation of photos to enhance attractiveness has long been possible using software such as Adobe Photoshop and, before that, analogue techniques such as airbrushing. However, such tools required considerable technical and artistic skill, and so their use was mostly limited to professional contexts, such as magazines or advertisements. By contrast, filters work in an automated fashion through the use of complex algorithms, requiring little or no input from the user. This ease of use, in combination with the increase in processing power of smartphones, and the rise of social media and selfie culture, have led to photographic manipulation occurring on a much wider scale than ever before. One of the earliest examples of a content-aware digital photographic filter is red-eye reduction. === Effects === Typical changes applied by beauty filters include: Smoothing skin texture; minimizing fine lines and blemishes Erasing under-eye bags Erasing naso-labial lines ("laugh lines") Application of virtual makeup, such as lipstick or eyeshadow Slimming the face; erasing double chins Enlarging the eyes Whitening teeth Narrowing the nose Increasing fullness of the lips Beauty filters most frequently target the face, though in some cases they may affect other body parts. For example, the app "Retouch Me" was reported to have a feature which allows users to superimpose visible abdominal muscles (a "six pack") onto photos featuring the subject's bare stomach. === Reception and psychological effects === Some commentators have expressed concern that beauty filters may create unrealistic beauty standards, particularly among girls, and contribute to rates of body dysmorphic disorder. A correlation has been established between negative body image and the use of beautifying filters, though the direction of causation is unknown. The inability to discern whether a particular image has been filtered is thought to exacerbate their negative psychological effects. Policymakers have advocated for social networks to disclose the use of filters; TikTok, Instagram, and Snapchat all label filtered photos and videos with the name of the filter applied. It has also been noted that beauty filters on social media tend to highlight Eurocentric features, like lighter eyes, a smaller nose, and flushed ch

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  • Magnetoquasistatic field

    Magnetoquasistatic field

    A magnetoquasistatic field is a class of electromagnetic field in which a slowly oscillating magnetic field is dominant. A magnetoquasistatic field is typically generated by low-frequency induction from a magnetic dipole or a current loop. The magnetic near-field of such an emitter behaves differently from the more commonly used far-field electromagnetic radiation. At low frequencies the rate of change of the instantaneous field strength with each cycle is relatively slow, giving rise to the name "magneto-quasistatic". The near field or quasistatic region typically extends no more than a wavelength from the antenna, and within this region the electric and magnetic fields are approximately decoupled. Weakly conducting non-magnetic bodies, including the human body and many mineral rocks, are effectively transparent to magnetoquasistatic fields, allowing for the transmission and reception of signals through such obstacles. Also, long-wavelength (i.e. low-frequency) signals are better able to propagate round corners than shorter-wave signals. Communication therefore need not be line-of-sight. The communication range of such signals depends on both the wavelength and the electromagnetic properties of the intervening medium at the chosen frequency, and is typically limited to a few tens of meters. == Physical principles == The laws of primary interest are Ampère's circuital law (with the displacement current density neglected) and the magnetic flux continuity law. These laws have associated with them continuity conditions at interfaces. In the absence of magnetizable materials, these laws determine the magnetic field intensity H given its source, the current density J. H is not everywhere irrotational. However, it is solenoidal everywhere. == Equipment design == A typical antenna comprises a 50-turn coil around a polyoxymethylene tube with diameter 16.5 cm, driven by a class E oscillator circuit. Such a device is readily portable when powered by batteries. Similarly, a typical receiver consist of an active receiving loop with diameter of one meter, an ultra-low-noise amplifier, and a band-pass filter. In operation the oscillator drives current through the transmitting loop to create an oscillating magnetic field. This field induces a voltage in the receiving loop, which is then amplified. Because the quasistatic region is defined within one wavelength of the electromagnetic source, emitters are limited to a frequency range between about 1 kHz and 1 MHz. Reducing the oscillating frequency increases the wavelength and hence the range of the quasistatic region, but reduces the induced voltage in the receiving loops which worsens the signal-to-noise ratio. In experiments carried out by the Carnegie Institute of Technology, the maximum range reported by was 50 meters. == Applications == === Resonant inductive coupling === In resonant coupling, the source and receiver are tuned to resonate at the same frequency and are given similar impedances. This allows power as well as information to flow from the source to the receiver. Such coupling via the magnetoquasistatic field is called resonant inductive coupling and can be used for wireless energy transfer. Applications include induction cooking, induction charging of batteries and some kinds of RFID tag. === Communications === Conventional electromagnetic communication signals cannot pass through the ground. Most mineral rock is neither electrically conducting nor magnetic, allowing magnetic fields to penetrate. Magnetoquasistatic systems have been successfully used for underground wireless communication, both surface-to-underground and between underground parties. At extremely low frequencies, below about 1 kHz, the wavelength is long enough for long-distance communication, although at a slow data rate. Such systems have been installed in submarines, with the local antenna comprising a wire up to several kilometers in length and trailed behind the vessel when at or near the surface. === Position and orientation tracking === Wireless position tracking is being increasingly used in applications such as navigation, security, and asset tracking. Conventional position tracking devices use high frequencies or microwaves, including global positioning systems (GPS), ultra-wide band (UWB) systems, and radio frequency identification systems (RFID), but these systems can easily be blocked by obstacles in their path. Magnetoquasistatic positioning takes advantage of the fact that the fields are largely undisturbed when in the presence of human beings and physical structures, and can be used for both position and orientation tracking for ranges up to 50 meters. To accurately determine the orientation and position of a dipole/emitter, allowance must be made not only for the field pattern generated by the emitter, but also for the eddy-currents they induce in the earth, which create secondary fields detectable by the receivers. By using complex image theory to correct this field generation from earth, and by using frequencies on the order of a few hundred kilohertz to obtain the required signal-to-noise ratio (SNR), it is possible to analyze the position of the dipole through azimuthal orientation, θ {\displaystyle \theta } , and inclination orientation, ϕ {\displaystyle \phi } . A Disney research team has used this technology to effectively determine the position and orientation of an American football, something not traceable through conventional wave propagation techniques due to human body obstruction. They inserted an oscillator-driven coil, around the diameter of the center of the ball, to generate the magnetoquasistatic field. The signal was able to pass undisturbed through multiple players.

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