AI Art That Looks Real

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

  • Live Transcribe

    Live Transcribe

    Live Transcribe is a mobile app for real-time captioning, developed by Google for the Android operating system. Development on the application began in partnership with Gallaudet University. It was publicly released as a free beta for Android 5.0+ on the Google Play Store on February 4, 2019. As of early 2023 it had been downloaded over 500 million times. == Development == Researchers Dimitri Kanevsky, Sagar Savla and Chet Gnegy at Google developed the app in collaboration with researchers at Gallaudet University, an American university for the education of the deaf and hard of hearing. The app uses machine learning to generate captions, similar to YouTube's auto-generated captions. In August 2019, Google made Live Transcribe an open-source project. == Features == The app uses speech recognition to generate live captions in over 80 languages with varying accuracy. The app, which requires connection to the Internet to function, is available to download on the Google Play Store. A later update to the app displayed information on sounds such as clapping, laughter, music, applause, and whistling. In May 2020, the app started supporting transcription in Albanian, Burmese, Estonian, Macedonian, Mongolian, Punjabi, and Uzbek, supporting 70 languages. In March 2022, the app was updated with support to transcribe offline, without Internet connection, so long as the appropriate language pack has been installed. The offline mode is only available for devices with 6GB of RAM and certain Google Pixel devices.

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  • Joseph Stanislaus Ostoja-Kotkowski

    Joseph Stanislaus Ostoja-Kotkowski

    Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio

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  • Multimedia database

    Multimedia database

    A Multimedia database (MMDB) is a collection of related for multimedia data. The multimedia data include one or more primary media data types such as text, images, graphic objects (including drawings, sketches and illustrations) animation sequences, audio and video. A Multimedia Database Management System (MMDBMS) is a framework that manages different types of data potentially represented in a wide diversity of formats on a wide array of media sources. It provides support for multimedia data types, and facilitate for creation, storage, access, query and control of a multimedia database. == Contents of MMDB == A Multimedia Database (MMDB) hosts one or more multimedia data types (i.e. text, images, graphic objects, audio, video, animation sequences). These data types are broadly categorized into three classes: Static media (time-independent: image and graphic object). Dynamic media (time-dependent: audio, video and animation). Dimensional media(3D game and computer aided drafting programs). === Comparison of multimedia data types === Additionally, a Multimedia Database (MMDB) needs to manage additional information pertaining to the actual multimedia data. The information is about the following: Media data: the actual data representing an object. Media format data: information about the format of the media data after it goes through the acquisition, processing, and encoding phases. Media keyword data: the keyword descriptions, usually relating to the generation of the media data. Media feature data: content dependent data such as contain information about the distribution of colours, the kinds of textures and the different shapes present in an image. The last three types are called metadata as they describe several different aspects of the media data. The media keyword data and media feature data are used as indices for searching purpose. The media format data is used to present the retrieved information. == Requirements of Multimedia databases == Like the traditional databases, Multimedia databases should address the following requirements: Integration Data items do not need to be duplicated for different programs invocations Data independence Separate the database and the management from the application programs Concurrency control Allows concurrent transactions Persistence Data objects can be saved and re-used by different transactions and program invocations Privacy Access and authorization control Integrity control Ensures database consistency between transactions Recovery Failures of transactions should not affect the persistent data storage Query support Allows easy querying of multimedia data Multimedia databases should have the ability to uniformly query data (media data, textual data) represented in different formats and have the ability to simultaneously query different media sources and conduct classical database operations across them. (Query support) They should have the ability to retrieve media objects from a local storage device in a good manner. (Storage support) They should have the ability to take the response generated by a query and develop a presentation of that response in terms of audio-visual media and have the ability to deliver this presentation. (Presentation and delivery support) == Issues and challenges == Multimedia data consists of a variety of media formats or file representations including TIFF, BMP, PPT, IVUE, FPX, JPEG, MPEG, AVI, MID, WAV, DOC, GIF, EPS, PNG, etc. Because of restrictions on the conversion from one format to the other, the use of the data in a specific format has been limited as well. Usually, the data size of multimedia is large such as video; therefore, multimedia data often require a large storage. Multimedia database consume a lot of processing time, as well as bandwidth. Some multimedia data types such as video, audio, and animation sequences have temporal requirements that have implications on their storage, manipulation and presentation, but images, video and graphics data have special constraints in terms of their content. == Application areas == Examples of multimedia database application areas: Digital Libraries News-on-Demand Video-on-Demand Music database Geographic Information Systems (GIS) Telemedicine

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  • NRD Cyber Security

    NRD Cyber Security

    NRD Cyber Security is a Lithuanian company that provides cybersecurity solutions, consulting, and other services. The organization specializes in CSIRT and SOC creation, modernization and training. It has helped to establish national and sectorial CSIRTs around the world, including countries, such as Bangladesh, Egypt, Bhutan, Kosovo, Malawi and others. NRD Cyber Security was found in 2013 to provide quality cybersecurity services to nations and organizations. In 2018 it was included in The Deloitte Technology Fast 50 in Europe list. In 2024 it was awarded the #98 place in MSSP Alert Top 250 world's managed security service providers. The company is a member of various cybersecurity organizations, such as Forum of Incident Response and Security Teams (FIRST), The Global Forum on Cyber Expertise (GFCE), Unicrons Lt. It is a strategic partner of The Global Cyber Security Capacity Centre (GCSCC) at University of Oxford.

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  • INaturalist

    INaturalist

    iNaturalist is an American 501(c)(3) nonprofit social network of naturalists, citizen scientists, and biologists built on the concept of mapping and sharing observations of biodiversity across the globe. iNaturalist may be accessed via its website or from its mobile applications. iNaturalist includes an automated species identification tool, and users further assist each other in identifying organisms from photographs and sound recordings. As of 5 August 2025, iNaturalist users had contributed nearly 300 million observations of plants, animals, fungi, and other organisms worldwide, and 400,000 users were active in the previous 30 days. iNaturalist serves as an important resource of open data for biodiversity research, conservation, and education, describing itself as "an online social network of people sharing biodiversity information to help each other learn about nature." It is the primary application for crowd-sourced biodiversity data in places such as Mexico, southern Africa, and Australia, and the project has been called "a standard-bearer for natural history mobile applications." Most of iNaturalist's software is open source. It has contributed to over 4,000 research papers and is widely used by scientists, land managers, and conservationists worldwide. The platform has also been active in the discovery of new species and rediscovery of species previously assumed to be extinct. == History == iNaturalist began in 2008 as a UC Berkeley School of Information Master's final project of Nate Agrin, Jessica Kline, and Ken-ichi Ueda. Agrin and Ueda continued work on the site with Sean McGregor, a web developer. In 2011, Ueda began collaboration with Scott Loarie, a research fellow at Stanford University and lecturer at UC Berkeley. Ueda and Loarie are the current co-directors of iNaturalist.org. The organization merged with the California Academy of Sciences on 24 April 2014. In 2017, iNaturalist became a joint initiative between the California Academy of Sciences and the National Geographic Society. With these collaborations and growing popularity of the site since 2012, the number of participants and observations has roughly doubled each year. In 2014, iNaturalist reached 1 million observations. Later, as of October 2023, there were 181 million observations (163 million verifiable). On 11 July 2023 iNaturalist announced its status as a newly independent 501(c)(3) nonprofit organization. === Google AI controversy === On 9 June 2025 Google announced that iNaturalist would be part of its "Generative AI Accelerator". This announcement, paired with the initial lack of information on the iNaturalist site, led to outcry from many iNaturalist users in the blog comments and forum, worrying about the consequences for the environment, volunteer engagement, reliability and raised questions about the decision making within iNaturalist, while some saw the backlash as a sign that people want to resist 'corrosive technologies'. PZ Myers, a biology professor who uses iNaturalist in his teaching, published an article on his website Pharyngula stating that "any decision that drives people away and replaces them with a hallucinating bot is a bad decision". == Platforms == Users can interact with iNaturalist in the following ways: through the iNaturalist.org website, through two mobile apps: iNaturalist (iOS/Android) and Seek by iNaturalist (iOS/Android), or through partner organizations such as the Global Biodiversity Information Facility (GBIF) website. On the iNaturalist.org website, visitors can search the public dataset and interact with other people adding observations and identifications. The website provides tools for registered users to add, identify, and discuss observations, write journal posts, explore information about species, create project pages to recruit participation, and coordinate work on their topics of interest. On the iNaturalist mobile app, users can create and share nature observations to the online dataset, explore observations both nearby and around the world, and learn about different species. Seek by iNaturalist, a separate app marketed to families, requires no online account registration and all observations may remain private. Seek incorporates features of gamification, such as providing a list of nearby organisms to find and encouraging the collection of badges and participation in challenges. Seek was initially released in the spring of 2018. == Observations == The iNaturalist platform is based on crowdsourcing of observations and identifications. An iNaturalist observation records a person's encounter with an individual organism at a particular time and place. An iNaturalist observation may also record evidence of an organism, such as animal tracks, nests, or scat. The scope of iNaturalist excludes natural but inert subjects such as geologic or hydrologic features. Users typically upload photos as evidence of their findings, though audio recordings are also accepted, and such evidence is not a strict requirement. Users may share observation locations publicly, "obscure" them to display a less precise location or make the locations completely private. iNaturalist users can add identifications to each other's observations in order to confirm or improve the identification of the observation. Observations are classified as "Casual", "Needs ID" (needs identification), or "Research Grade" based on the quality of the data provided and the community identification process. Any quality of data can be downloaded from iNaturalist and "Research Grade" observations are often incorporated into other online databases such as the Global Biodiversity Information Facility and the Atlas of Living Australia. === Automated species identification === In addition to observations being identified by others in the community, iNaturalist includes an automated species identification tool, first released in 2017. Images can be identified via a computer vision model which has been trained on the large database of the observations on iNaturalist. Multiple species suggestions are typically provided with the suggestion that the software guesses to be most likely is at the top of the list. A broader taxon such as a genus or family is commonly provided if the model is unsure of the species. It is trained once or twice a year, and the threshold for species included in the training set has changed over time. It can be difficult for the model to guess correctly if the species in question is infrequently observed or hard to identify from images alone, or if the image submitted has poor lighting, is blurry, or contains multiple subjects. In February 2023, iNaturalist released v2.1 of its computer vision model, which was trained on a new source model which performed significantly better than the previous models trained using a different source model. In April 2025 iNaturalist released an updated app for iOS, changing the original version to "iNaturalist Classic." == Projects == Users have created and contributed to tens of thousands of different projects on iNaturalist. The platform is commonly used to record observations during bioblitzes, which are biological surveying events that attempt to record all the species that occur within a designated area, and a specific project type on iNaturalist. Other project types include collections of observations by location or taxon or documenting specific types of observations such as animal tracks and signs, the spread of invasive species, roadkill, fishing catches, or discovering new species. In 2011, iNaturalist was used as a platform to power the Global Amphibian and Global Reptile BioBlitzes, in which observations were used to help monitor the occurrence and distribution of the world's reptiles and amphibian species. The US National Park Service partnered with iNaturalist to record observations from the 2016 National Parks BioBlitz. That project exceeded 100,000 observations in August 2016. In 2017, the United Nations Environment Programme teamed up with iNaturalist to celebrate World Environment Day.. In 2022, Reef Ecologic teamed up with iNaturalist to celebrate World Oceans Day. === City Nature Challenge === In 2016, Lila Higgins from the Natural History Museum of Los Angeles County and Alison Young from the California Academy of Sciences co-founded the City Nature Challenge (CNC). In the first City Nature Challenge, naturalists in Los Angeles and the San Francisco Bay Area documented over 20,000 observations with the iNaturalist platform. In 2017, the CNC expanded to 16 cities across the United States and collected over 125,000 observations of wildlife in 5 days. The CNC expanded to a global audience in 2018, with 68 cities participating from 19 countries, with some cities using community science platforms other than iNaturalist to participate. In 4 days, over 17,000 people cataloged over 440,000 nature observations in urban regions around the world. In 2019, the CNC once again expanded, with 35,000 parti

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  • Render layers

    Render layers

    When creating computer-generated imagery, final scenes appearing in movies and television productions are usually produced by rendering more than one "layer" or "pass," which are multiple images designed to be put together through digital compositing to form a completed frame. Rendering in passes is based on a traditions in motion control photography which predate CGI. As an example, for a visual effects shot, a camera could be programmed to move past a physical model of a spaceship in one pass to film the fully lit beauty pass of the ship, and then to repeat exactly the same camera move passing the ship again to photograph additional elements such as the illuminated windows in the ship or its thrusters. Once all of the passes were filmed, they could then be optically printed together to form a completed shot. The terms render layers and render passes are sometimes used interchangeably. However, rendering in layers refers specifically to separating different objects into separate images, such as a layer each for foreground characters, sets, distant landscape, and sky. On the other hand, rendering in passes refers to separating out different aspects of the scene, such as shadows, highlights, or reflections, into separate images.

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  • Multi-exposure HDR capture

    Multi-exposure HDR capture

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

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  • Engineering Historical Memory

    Engineering Historical Memory

    Engineering Historical Memory (EHM) is an online database in the digital humanities, serving as an open-access research tool for primary historical materials focused on 11th to 15th century Afro-Eurasia. It adopts computational methods to make historical documents machine-understandable. EHM parses traditional artifacts such as historical maps, travel accounts, chronicles and codices into computer-readable formats, and links them to secondary multi-media references, a process referred to as the "automatic narrative generation". This approach generates cultural narratives and facilitates interaction with the historical artifacts, making them accessible to audiences from various backgrounds. == History == EHM was first theorised in 2007 by researcher Andrea Nanetti when he was a visiting scholar at Princeton University, and the preliminary test results were published between 2008 and 2011. In 2013, the EHM research team was set up in Singapore following Nanetti's professorship at Nanyang Technological University (NTU). Two years later, after receiving several Microsoft research grants, EHM went live on Microsoft Azure. In 2018, the College of Humanities, Arts and Social Sciences (CoHASS) at NTU Singapore formed the Digital Humanities Research Cluster, as part of which, EHM has been an ongoing interdisciplinary research project led by Nanetti. Partnering with international educational and cultural institutions such as Ca' Foscari University of Venice, University of Florence, Taylor & Francis Group, Delft University of Technology (TUDelft), and SenticNet, EHM has been supported by over 130 scholars and engineers. == Applications == Primary historical materials on EHM are curated into several categories, including maps, travel accounts, chronicles, codices, sites, archival documents, and paintings, such as the Morosini Codex (listed under Chronicles) and Pope Gregory X's Privilege for the Holy Monastery of St Catherine of Sinai (listed under Archival Documents). EHM has been adopted by cultural organisations as an exhibition and research tool in the digital humanities field. An example is the publication of a digital interactive edition of Fra Mauro's Map of the World on EHM, a collaboration project between NTU Singapore and the Biblioteca Nazionale Marciana of Venice. The digitisation process of the map on EHM involved transcribing and geo-referencing the textual content in the 15th-century map, followed by creating semantic annotations to connect the map's content with related secondary data sources. The e-map was subsequently adopted and launched online by Museo Galileo in March 2022 and incorporated into the virtual exhibition "Venezia and Suzhou: Water Cities along the Silk Roads" (online, September-December 2022). In 2024, the Fra Mauro's Map of the World application on EHM was awarded the Digital Humanities and Multimedia Studies Prize (DHMS) by the Medieval Academy of America. Image-Based Video Search Engine is another experimental project under the EHM scope led by the research teams at Delft University of Technology (TUDelft) and NTU Singapore. This ongoing project aims to improve the efficiency of retrieving targeted objects from audio-visuals. == Awards == In 2021, EHM won the GLAMi Awards (MuseWeb Conference - Galleries, Libraries, Archives, and Museums Innovation awards) in the "Resources for Scholars and Researchers" category. In the same year, EHM was a Falling Walls finalist for Science Breakthrough of the Year in the category Social Sciences and Humanities after nominated by the School of Advanced Study at the University of London. In April 2022, the Italian National Commission for UNESCO has selected and sent the EHM project to the organisers of the "Jikji Memory of the World" Award for final evaluation. In January 2024, the Medieval Academy of America announced its 2024 Digital Humanities and Multimedia Studies Prize (DHMS) goes to the Fra Mauro's Map of the World application on EHM.

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  • Content as a service

    Content as a service

    Content as a service (CaaS) or managed content as a service (MCaaS) is a service-oriented model, where the service provider delivers the content on demand to the service consumer via web services that are licensed under subscription. The content is hosted by the service provider centrally in the cloud and offered to a number of consumers that need the content delivered into any applications or system, hence content can be demanded by the consumers as and when required. Content as a Service is a way to provide raw content (in other words, without the need for a specific human compatible representation, such as HTML) in a way that other systems can make use of it. Content as a Service is not meant for direct human consumption, but rather for other platforms to consume and make use of the content according to their particular needs. This happens usually on the cloud, with a centralized platform which can be globally accessible and provides a standard format for your content. With Content as a Service, you centralize your content into a single repository, where you can manage it, categorize it, make it available to others, search for it, or do whatever you wish with it. == Overview == The content delivered typically could be one or more of the following The technical terminology related to equipment or spares that is required to procure or design the materials The industrial terminology of the equipment or spares Technical values pertaining to various types, specifications, applications, characteristics of equipment or spares Sourcing information which will help in procurement or supply-chain management of equipment or spares Descriptive specifications of equipment or spares based on the product reference number or identifier UNSPSC codes or industry practiced classifications ISO, IEC compliant terminology Ontology or Technical Dictionary of products & services Predefined content for specific business needs The term "Content as a service" (CaaS) is considered to be part of the nomenclature of cloud computing service models & Service-oriented architecture along with Software as a service (SaaS), Infrastructure as a service (IaaS), and Platform as a service (PaaS).

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  • Intel Threat Detection Technology

    Intel Threat Detection Technology

    Intel Threat Detection Technology (TDT) is a CPU-level technology created by Intel in 2018 to enable host endpoint protections to use a CPU's low-level access to detect threats to a system. TDT consists of multiple components including Accelerated Memory Scanning, which uses the CPU's integrated GPU to scan memory, and Advanced Platform Telemetry, which uses processor-level activity monitoring to detect unusual activity. It is supported on sixth-generation or newer Intel Core CPUs and additional capabilities were added to the 11th generation Core processors. Intel TDT is integrated into several third-party anti-malware solutions including Microsoft Defender, Check Point Harmony Endpoint, CrowdStrike Falcon, and others. == Accelerated Memory Scanning == Accelerated Memory Scanning (also referred to as "Advanced Memory Scanning") uses the CPU's integrated GPU to scan memory for malicious code, instead of using the CPU directly. This improves system responsiveness during anti-malware scanning. and lowers power consumption. Features include pattern matching, using random forest decision trees, string extraction, entropy calculation, and Euclidean clustering. == Advanced Platform Telemetry == Advanced Platform Telemetry collects CPU-level telemetry to detect uncommon activity patterns which might be indicative of malware. The telemetry data is collected from the CPU performance monitoring unit (PMU) and doesn't require a large signature database to detect malware. Instead, it uses machine-learning based correlations to identify indicators of attack For example, Microsoft Defender is able to use TDT's Advanced Platform Telemetry features to detect processor usage patterns indicative of ransomware and cryptojacking with TDT so it can detect them.

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  • Headway (app)

    Headway (app)

    Headway, also known as the Headway App, is an educational technology (EdTech) product that provides short text and audio summaries of nonfiction books. The product was launched in 2019 by Anton Pavlovsky and is developed by Headway Inc, a global consumer tech company that operates in the lifelong learning space. == History == The Headway app was launched in January 2019, with the first version of the application released the same year. In 2021, Headway ranked first globally in downloads within the book summary application niche. In 2022, the application received the Golden Novum Design Award for product design. In 2023 and 2024, Headway appeared in several App Store editorial selections, including App of the Day in multiple countries, and received an Editors’ Choice label in the United States. In April 2025, the application was listed as a Webby Honoree in the Learning & Education category. The company has also launched the Headway Scholarship for Book Lovers. As of 2025, publicly available reporting notes that the Headway app has surpassed 50 million downloads and is among the Top 10 iOS applications by revenue in the Education category worldwide. == Products and features == The Headway app provides short-form summaries of nonfiction books in both text and audio formats. Content is produced by an in-house team of writers, editors, and voice actors. Features include highlighting and saving key insights, spaced repetition for knowledge retention, and offline access to downloaded summaries. The app is available on iOS, iPadOS, watchOS, Android, CarPlay, and Android Auto, and supports multiple languages. == Pricing == Headway operates on a subscription business model, with optional paid plans alongside free access. The company publicly provides its terms of use, privacy policy, subscription details, and AI usage policy on its official website. == Technology and integrations == Headway reports that its book summaries are written and edited manually, while artificial intelligence tools are used in limited supporting functions, such as experimental conversational features and selected marketing processes. == Adoption == According to figures released by the company, the app has exceeded 50 million downloads worldwide. Sensor Tower data indicates that Headway has been the most downloaded application in its niche since October 2020. In January 2025, the app claimed the #1 position in the Education category in both the United States and United Kingdom App Stores and remained among the Top 10 iOS applications globally by revenue within the Education category. == Awards == The Headway app has received several product-level distinctions. In 2023 and 2024, it appeared in multiple App Store editorial selections, including App of the Day features and an Editors’ Choice label in the United States. In 2025, the app was recognized as a Webby Honoree in the Learning & Education category. The product has also been featured in independent media roundups of notable educational applications.

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  • Esdat

    Esdat

    ESdat is a data management, analysis and reporting software for environmental and groundwater data, developed by EarthScience Information Systems (EScIS). It is used to manage many types of environmental data including laboratory chemistry (analytical results, QA data, lab sample planning, and electronic Chain of Custody), field chemistry (water, gas, and soil), hydrogeological data (groundwater, borehole and well construction, lithological, geotechnical and stratigraphic, and LNAPL), meteorological data (rain, wind, and temperature), emission data (dust deposition, HiVol, air quality, and noise) and logger data. Data can be compared against environmental standards or site-specific trigger levels to generate exceedence tables, time series graphs, maps, statistics, and other outputs. ESdat integrates with Power BI and ArcGIS and data can also be exported in a range of other database formats, including USEPA Regions 2,4 & 5, and NYS DEC. ESdat is used by environmental consultants, government, mining and industry for validation, interrogation, and reporting of data derived from complex environmental programs, such as contaminated sites, groundwater investigations, and regulatory compliance for landfills or mining operations.

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  • Verbal overshadowing

    Verbal overshadowing

    Verbal overshadowing is a phenomenon where giving a verbal description of sensory input impairs formation of memories of that input. This was first reported by Schooler and Engstler-Schooler (1990) where it was shown that the effects can be observed across multiple domains of cognition which are known to rely on non-verbal knowledge and perceptual expertise. One example of this is memory, which has been known to be influenced by language. Seminal work by Carmichael and collaborators (1932) demonstrated that when verbal labels are connected to non-verbal forms during an individual's encoding process, it could potentially bias the way those forms are reproduced. Because of this, memory performance relying on reportable aspects of memory that encode visual forms should be vulnerable to the effects of verbalization. == Initial findings == Schooler and Engstler-Schooler (1990) were the first to report findings of verbal overshadowing. In their study, participants watched a video of a simulated robbery and were instructed to either verbally describe the robber or engage in a control task. Those who engaged in giving a verbal description were less likely to correctly identify the robber from a test lineup, compared to those who engaged in the control task. A larger effect was detected when the verbal description was provided 20, rather than 5, minutes after the video, and immediately before the test lineup. A meta-analysis by Meissner and Brigham (2001) supported the effects of verbal overshadowing, showing a small but reliably negative effect. == General effects of verbal overshadowing == The effects of verbal overshadowing have been generalized across multiple domains of cognition that are known to rely on non-verbal knowledge and perceptual expertise, such as memory. Memory has been known to be influenced by language. Seminal work by Carmichael and collaborators (1932) demonstrated that labels attached to, or associated with, non-verbal forms during memory encoding can affect the way the forms were subsequently reproduced. Because of this, memory performance that relies on reportable aspects of memory that encode visual forms should be vulnerable to the effects of verbalization. Pelizzon, Brandimonte, and Luccio (2002) found that visual memory representations appear to incorporate visual, spatial, and temporal characteristics. It is explained as follows: With the temporal code (where the only information available is the sequence of the stimuli), performance levels remain high, unless participants are required to retrieve the stimuli in a different order from that used at encoding (visual cue). In this case, performance is significantly impaired, even in the presence of a visual cue. The study showed that order information acts as a link between the two separate representations of figure and background, hence preventing verbal overshadowing at encoding (temporal component) or attenuating its influence at retrieval (spatial component).(p. 960) Hatano, Ueno, Kitagami, and Kawaguchi found that verbal overshadowing is likely to occur when participants verbally described targets in detail. Detailed verbal descriptions resulted in more frequently inaccurate descriptions that in turn created inaccurate representations in the memories of participants. Inaccuracies are also likely to occur when face recognition comes immediately after verbalization. Other forms of non-verbal knowledge affected by verbal overshadowing include the following: [Verbal overshadowing] has also been observed when participants attempt to generate descriptions of other 'difficult-to-describe' stimuli such as colors (Schooler and Engstler-Schooler, 1990) or abstract figures (Brandimonte et al., 1997), or other non-visual tasks such as wine tasting (Melcher and Schooler, 1996), decision making (Wilson and Schooler, 1991), and insight problem-solving. (p. 871) (Schooler et al., 1993) Verbalization of stimuli leads to the disruption of non-reportable processes that are necessary for achieving insight solutions, which are distinct from language processes. Schooler, Ohlsson, and Brooks (1993) found that face recognition requires information that cannot be adequately verbalized, giving rise to difficulty in describing factors in recognition judgments. Subjects were less effective in solving insight problems when compelled to put their thoughts in words, which suggests that language may interfere with thought. The verbal overshadowing effect was not seen when participants engaged in articulatory suppression. Performance was reduced in both the verbal and non-verbal description conditions. This is evidence that verbal encoding plays a role in face recognition. By testing with distracting faces presented between study and test, Lloyd-Jones and Brown (2008) suggested a dual-process approach to recognition memory took place, that verbalization influenced familiarity-based processes at first, but its effects were later seen on recollection, when discrimination between items became more difficult. == Verbal overshadowing in facial recognition == The verbal overshadowing effect can be found for facial recognition because faces are predominately processed in a holistic or configurable manner. (Tanaka & Farah, 1993; Tanaka & Sengco, 1997) Verbalizing one's memory for a face is done using a featural or analytic strategy, leading to a drift from the configurable information about the face and to impaired recognition performance. However, Fallshore & Schooler (1995) found that the verbal overshadowing effect was not found when participants described faces of races different from their own. A study by Brown and Lloyd-Jones (2003) found that there was no verbal overshadowing effect found in car descriptions; it was only seen in facial descriptions. The authors noted that descriptions were no different on any measure including accuracy. It is suggested that less expertise in verbalizing faces rather than cars invokes a stronger shift in verbal and featural processing. This supports the concept of a transfer inappropriate retrieval framework and addresses some limitations of the effect. Wickham and Swift (2006) suggested that the verbal overshadowing effect is not seen in describing all faces, and one aspect that determines this is distinctiveness. Results showed that typical faces produce verbal overshadowing, while distinctive faces did not. In studies of eyewitness reports, variation in response criteria given by participants influenced the quality of the descriptions generated and accuracy on identification task, known as the retrieval-based effect. Face recognition was also impaired when subjects described a familiar face, such as a parent, or when describing a previously seen but novel face. Dodson, Johnson, and Schooler (1997) found that recognition was also impaired when participants were provided with a description of a previously seen face, and they were able to ignore provided versus self-generated descriptions more easily. This finding of verbal overshadowing suggested that eyewitness recognition is not only affected by their own descriptions, but of descriptions heard from others, such other eyewitness testimonies. == Voice recognition == The verbal overshadowing effect has also been found to affect voice identification. Research shows that describing a non-verbal stimuli leads to a decrease in recognition accuracy. In an unpublished study by Schooler, Fiore, Melcher, and Ambadar (1996), participants listened to a tape-recorded voice, after which they were asked either to verbally describe it or to not do so, and then asked to distinguish the voice from 3 similar distractor voices. The results showed that verbal overshadowing impaired accuracy of recognition based on gut feeling, suggesting an overall verbal overshadowing for voice recognition. Due to the forensic relevance of voices heard over the telephone and harassing phone calls that are often a problem for police, Perfect, Hunt, and Harris (2002) examined the influence of three factors on accuracy and confidence in voice recognition from a line-up. They expected to find an effect, because voice represents a class of stimuli that is difficult to describe verbally. This meets Schooler et al.'s (1997) modality mismatch criterion, meaning that describing the speakers age, gender, or accent is difficult, making voice recognition susceptible to the verbal overshadowing phenomenon. It was found that the method of memory encoding had no impact on performance, and that hearing a telephone voice reduced confidence but did not affect accuracy. They also found that providing a verbal description impaired accuracy but had no effect on confidence. The data showed an effect of verbal overshadowing in voice recognition and provided yet another disassociation between confidence and performance. Although there was a difference in confidence level, witnesses were able to identify voices over the telephone as accurately as voices heard direc

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  • Screen space directional occlusion

    Screen space directional occlusion

    Screen space directional occlusion (SSDO) is a computer graphics technique enhancing screen space ambient occlusion (SSAO) by taking direction into account to sample the ambient light (both the light coming directly at an object, as well as the light reflected off of the object directly behind it), to better approximate global illumination. SSDO was introduced by Tobias Ritschel, Thorsten Grosch, and Hans-Peter Seidel in their 2009 ACM Symposium on Interactive 3D Graphics and Games paper Approximating dynamic global illumination in image space, which describes it as extending SSAO to directional occlusion with one diffuse indirect bounce of light; later literature notes that SSDO still suffers from common screen-space artifacts such as noise and banding. == Method == The original SSDO paper describes a two-pass screen-space approach, with one pass for direct lighting and a second pass for indirect bounces. Later literature describes SSDO as assuming a general shadowing direction that allows color bleeding and a single light bounce.

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  • Waveform graphics

    Waveform graphics

    Waveform graphics is a simple vector graphics system introduced by Digital Equipment Corporation (DEC) on the VT55 and VT105 terminals in the mid-1970s. It was used to produce graphics output from mainframes and minicomputers. DEC used the term "waveform graphics" to refer specifically to the hardware, but it was used more generally to describe the whole system. The system was designed to use as little computer memory as possible. At any given X location it could draw two dots at given Y locations, making it suitable for producing two superimposed waveforms, line charts or histograms. Text and graphics could be mixed, and there were additional tools for drawing axes and markers. The waveform graphics system was used only for a short period of time before it was replaced by the more sophisticated ReGIS system, first introduced on the VT125 in 1981. ReGIS allowed the construction of arbitrary vectors and other shapes. Whereas DEC normally provided a backward compatible solution in newer terminal models, they did not choose to do this when ReGIS was introduced, and waveform graphics disappeared from later terminals. == Description == Waveform graphics was introduced on the VT55 terminal in October 1975, an era when memory was extremely expensive. Although it was technically possible to produce a bitmap display using a framebuffer using technology of the era, the memory needed to do so at a reasonable resolution was typically beyond the price point that made it practical. All sorts of systems were used to replace computer memory with other concepts, like the storage tubes used in the Tektronix 4010 terminals, or the zero memory racing-the-beam system used in the Atari 2600. DEC chose to attack this problem through a clever use of a small buffer representing only the vertical positions on the screen. Such a system could not draw arbitrary shapes, but would allow the display of graph data. The system was based on a 512 by 236 pixel display, producing 512 vertical columns along the X-axis, and 236 horizontal rows on the Y-axis. Y locations were counted up from the bottom, so the coordinate 0,0 was in the lower left, and 511, 235 in the upper right. Had this been implemented using a framebuffer with each location represented by a single bit, 512 × 236 × 1 = 120,832 bits, or 15,104 bytes, would have been required. At the time, memory cost about $50 per kilobyte, so the buffer alone would cost over $700 (equivalent to $4,570 in 2025). Instead, the waveform graphic system used one byte of memory for each X axis location, with the byte's value representing the Y location. This required only 512 bytes for each graph, a total of 1024 bytes for the two graphs. Drawing a line required the programmer to construct a series of Y locations and send them as individual points, the terminal could not connect the dots itself. To make this easier, the terminal automatically incremented the X location every time an Y coordinate was received, so a graph line could be sent as a long string of numbers for subsequent Y locations instead of having to repeatedly send the X location every time. Drawing normally started by sending a single instruction to set the initial X location, often 0 on the left, and then sending in data for the entire curve. The system also included storage for up to 512 markers on both lines. These were always drawn centered on the Y value of the line they were associated with, meaning that a simple on/off indication for X locations was all that was needed, requiring only 1024 bits, or 128 bytes, in total. The markers extended 16 pixels vertically, and could only be aligned on 16-pixel boundaries, so they were not necessarily centered across the underlying graph. Markers were used to indicate important points on the graph, where a symbol of some sort would normally be used. The system also allowed a vertical line to be drawn for every horizontal location and a horizontal one at every vertical location. These were also stored as simple on/off bits, requiring another 128 bytes of memory. These lines were used to draw axes and scale lines, or could be used for a screen-spanning crosshair cursor. A separate set of two 7-bit registers held additional information about the drawing style and other settings. Although complex from the user's perspective, this system was easy to implement in hardware. A cathode ray tube produces a display by scanning the screen in a series of horizontal motions, moving down one vertical line after each horizontal scan. At any given instant during this process, the display hardware examines a few memory locations to see if anything needs to be displayed. For instance, it can determine whether to draw a marker on graph 0 by examining register 1 to see if markers are turned on, looking in the marker buffer to see if there is a 1 at the current X location, and then examining the Y location of graph 0 to see if it is within 16 pixels of the current scan line. If all of these are true, a spot is drawn to present that portion of the marker. As this will be true for 16 vertical locations during the scanning process, a 16-pixel high marker will be drawn. Sold alone, the VT55 was priced at $2,496 (equivalent to $16,295 in 2025),. Like other models of the VT50 series, the terminal could be equipped with an optional wet-paper printer in a panel on the right of the screen. This added $800 (equivalent to $5,223 in 2025) to the price. DEC also offered VT55 in a package with a small model of the PDP-11 to create one model of the DEClab 11/03 system. The DEClab normally sold for $14,000 (equivalent to $91,397 in 2025) with a DECwriter II (LA36) hard-copy terminal for $15,000 (equivalent to $97,925 in 2025), with the VT55. The system had I/O channels for up to 15 lab devices, and included libraries for FORTRAN and BASIC for reading the data and creating graphs. The fairly extensive VT55 Programmers Manual covered the latter in depth. == Commands and data == Data was sent to the terminal using an extended set of codes similar to those introduced on the VT52. VT52 codes generally started with the ESC character (octal 33, decimal 27) and was then followed by a single letter instruction. For instance, the string of four characters ESC H ESC J would reposition the cursor in the upper left (home) and then clear the screen from that point down. These codes were basically modeless; triggered by the ESC the resulting escape mode automatically exited again when the command was complete. Escape codes could be interspersed with display text anywhere in the stream of data. In contrast, the graphics system was entirely modal, with escape sequences being sent to cause the terminal to enter or exit graph drawing mode. Data sent between these two codes were interpreted by the graphics hardware, so text and graphics could not be mixed in a single stream of instructions. Graphics mode was entered by sending the string ESC 1, and exited again with the string ESC 2. Even the commands within the graphics mode were modal; characters were interpreted as being additional data for the previous load character (command) until another load character is seen. Ten load characters were available: @ - no operation, used to tell the terminal the last command is no longer active A - load data into register 0, selecting the drawing mode for the two graphs I - load data into register 1, selecting other drawing options H - load the starting X position (Horizontal) for the following commands B - load data for Y locations for graph 0 starting at the H position selected earlier J - load data for Y locations for graph 1 starting at the H position selected earlier C - store a marker on graph 0 at the following X location K - store a marker on graph 1 at the following X location D - draw a horizontal line at the given Y location L - draw a vertical line at the given X location X and Y locations were sent as 10-bit decimal numbers, encoded as ASCII characters, with 5 bits per character. This means that any number within the 1024 number space (210) can be stored as a string of two characters. To ensure the characters can be transmitted over 7-bit links, the pattern 01 is placed in front of both 5-bit numbers, producing 7-bit ASCII values that are always within the printable range. This results in a somewhat complex encoding algorithm. For instance, if one wanted to encode the decimal value 102, first you convert that to the 10-bit decimal pattern 0010010010. That is then split that into upper and lower 5-bit parts, 00100 and 10010. Then append 01 binary to produce 7-bit numbers 0100100 and 0110010. Individually convert back to decimal 40 and 50, and then look up those characters in an ASCII chart, finding ( and 2. These have to be sent to the terminal least significant character first. If these were being used to set the X coordinate, the complete string would be H2(. When used as X and Y locations for the graphs, extra digits were ignored. For instance, the 512 pixel X axis r

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