AI Coding Book

AI Coding Book — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Deep image compositing

Deep image compositing is a way of compositing and rendering digital images that emerged in the mid-2010s. In addition to the usual color and opacity channels a notion of spatial depth is created. This allows multiple samples in the depth of the image to make up the final resulting color. This technique produces high quality results and removes artifacts around edges that could not be dealt with otherwise. == Deep data == Deep data is encoded by advanced 3D renderers into an image that samples information about the path each rendered pixel takes along the z axis extending outward from the virtual camera through space, including the color and opacity of every non-opaque surface or volume it passes through along the way, as well as neighboring samples. It might be considered somewhat analogous to the way ray tracing generates simulated photon paths through such mediums; however, ray tracing and other traditional rendering techniques generally produce images that contain only three or four channels of color and opacity values per pixel, flattened into a two dimensional frame. Depth maps, on the other hand, contain z axis information encoded in a grayscale image. Each level of gray represents a different slice of the z space. The "thickness" of each slice is determined at time of render, allowing for more or less depth fidelity depending on how deep the scene is. Depth maps have been a boon to compositors for blending 3D renders with live action and practical elements. To be useful, the map must have high enough bit depth to encode separation between close-to-camera objects and objects near infinity. Most 3D software packages are now capable of generating 16-bit and 32-bit depth maps, providing up to 2 billion depth levels. Depth maps do not however include transparency information about non-opaque surfaces or volumes and as such, objects beyond and viewed through these semi- or fully-transparent objects will have no depth information of their own and may not get composited or blurred correctly. Even the popular addition of cryptomattes to many post-production and VFX studios' pipelines, while providing separate color-coded ID shapes for individual elements in a rendered scene to further bridge the gap between CGI and compositing, don't allow for the nearly automated and fully non-linear workflows that deep data does. This is because deep images encapsulate enough 3D information that normally time-intensive tasks such as rotoscoping with numerous holdout mattes for complex interactions between moving characters and semi-transparent environmental volumes like smoke or water, are essentially trivial. Instead of going through that process, multiple mattes could easily be generated from a single set of deep images with no need to re-render every matte element and background for each case. In addition to that efficiency and flexibility, deep data images inherently provide much higher visual quality in common areas that have been difficult with traditional renders, such as the motion-blurred edges of characters with semi-transparent elements like hair. One downside to the use of deep images is their substantial file size, since they encode a relatively enormous amount of data per frame compared to even multichannel formats such as OpenEXR. === Function-based (integrated) === The data is stored as a function of depth. This results in a function curve that can be used to look up the data at any arbitrary depth. Manipulating the data is harder. === Sample-based (deintegrated) === Each sample is considered as an independent piece and can so be manipulated easily. To make sure the data is representing the right detail, an additional expand value needs to be introduced. == Generating deep data == 3D renderers produce the necessary data as a part of the rendering pipeline. Samples are gathered in depth and then combined. The deep data can be written out before this happens and so is nothing new to the process. Generating deep data from camera data needs a proper depth map. This is used in a couple of cases but still not accurate enough for detailed representation. For basic holdout task this can be sufficient though. == Compositing deep data images == Deep images can be composited like regular images. The depth component makes it easier to determine the layering order. Traditionally this had to be input by the user. Deep images have that information for themselves and need no user input. Edge artifacts are reduced as transparent pixels have more data to work with. == History == Deep Images have been around in 3D rendering packages for quite a while now. The use of them for holdouts was first done at several VFX houses in shaders. Holdout mattes can be generated at render time. Using them in a more interactive manner was started recently by several companies, SideFX integrated it in their Houdini software and facilities like Industrial Light & Magic, DreamWorks Animation, Weta, AnimalLogic and DRD studios have implemented interactive solutions. In 2014 the Academy of Motion Picture Arts and Sciences honored the technology with its annual SciTech awards. Dr. Peter Hillman for the long-term development and continued advancement of innovative, robust and complete toolsets for deep compositing and to Colin Doncaster, Johannes Saam, Areito Echevarria, Janne Kontkanen and Chris Cooper for the development, prototyping and promotion of technologies and workflows for deep compositing. == Resources == Pixar Paper Deep Image Paper Video tutorial of Deep Imaging as used on 2012 film Rise of the Planet of the Apes, Nuke compositing software Deep Compositing Course Deep Image File Format at Google Code Academy Award for the Technology Theory of Deep Pixels OpenEXR Deep Pixels
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Reflection (computer graphics)

Reflection in computer graphics is used to render reflective objects like mirrors and shiny surfaces. Accurate reflections are commonly computed using ray tracing whereas approximate reflections can usually be computed faster by using simpler methods such as environment mapping. Reflections on shiny surfaces like wood or tile can add to the photorealistic effects of a 3D rendering. == Approaches to reflection rendering == For rendering environment reflections there exist many techniques that differ in precision, computational and implementation complexity. Combination of these techniques are also possible. Image order rendering algorithms based on tracing rays of light, such as ray tracing or path tracing, typically compute accurate reflections on general surfaces, including multiple reflections and self reflections. However these algorithms are generally still too computationally expensive for real time rendering (even though specialized HW exists, such as Nvidia RTX) and require a different rendering approach from typically used rasterization. Reflections on planar surfaces, such as planar mirrors or water surfaces, can be computed simply and accurately in real time with two pass rendering — one for the viewer, one for the view in the mirror, usually with the help of stencil buffer. Some older video games used a trick to achieve this effect with one pass rendering by putting the whole mirrored scene behind a transparent plane representing the mirror. Reflections on non-planar (curved) surfaces are more challenging for real time rendering. Main approaches that are used include: Environment mapping (e.g. cube mapping): a technique that has been widely used e.g. in video games, offering reflection approximation that's mostly sufficient to the eye, but lacking self-reflections and requiring pre-rendering of the environment map. The precision can be increased by using a spatial array of environment maps instead of just one. It is also possible to generate cube map reflections in real time, at the cost of memory and computational requirements. Screen space reflections (SSR): a more expensive technique that traces rays come from pixel data.This requires the data of surface normal and either depth buffer (local space) or position buffer (world space).The disadvantage is that objects not captured in the rendered frame cannot appear in the reflections, which results in unresolved and or false intersections causing artefacts such as reflection vanishment and virtual image. SSR was originally introduced as Real Time Local Reflections in CryENGINE 3. == Types of reflection == Polished - A polished reflection is an undisturbed reflection, like a mirror or chrome surface. Blurry - A blurry reflection means that tiny random bumps, or microfacets, on the surface of the material causes the reflection to be blurry. Metallic - A reflection is metallic if the highlights and reflections retain the color of the reflective object. Glossy - This term can be misused: sometimes, it is a setting which is the opposite of blurry (e.g. when "glossiness" has a low value, the reflection is blurry). Sometimes the term is used as a synonym for "blurred reflection". Glossy used in this context means that the reflection is actually blurred. === Polished or mirror reflection === Mirrors are usually almost 100% reflective. === Metallic reflection === Normal (nonmetallic) objects reflect light and colors in the original color of the object being reflected. Metallic objects reflect lights and colors altered by the color of the metallic object itself. === Blurry reflection === Many materials are imperfect reflectors, where the reflections are blurred to various degrees due to surface roughness that scatters the rays of the reflections. === Glossy reflection === Fully glossy reflection, shows highlights from light sources, but does not show a clear reflection from objects. == Examples of reflections == === Wet floor reflections === The wet floor effect is a graphic effects technique popular in conjunction with Web 2.0 style pages, particularly in logos. The effect can be done manually or created with an auxiliary tool which can be installed to create the effect automatically. Unlike a standard computer reflection (and the Java water effect popular in first-generation web graphics), the wet floor effect involves a gradient and often a slant in the reflection, so that the mirrored image appears to be hovering over or resting on a wet floor.
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Score bug

A score bug is a digital on-screen graphic which is displayed in a broadcast of a sporting event, displaying the current score and other statistics. It is similar in function to a scoreboard, and is usually placed at either the top or lower third of the television screen. == History == The concept of a persistent score bug was devised by Sky Sports head David Hill, who was dissatisfied over having to wait to see what the score was after tuning into a football match in-progress. The score bug was introduced when Sky launched its coverage of the then newly-formed English Premier League in August 1992. Hill's boss repeatedly demanded that the graphic be removed, describing it as the "stupidest thing [he] had ever seen". Hill defied the boss's demands and kept the graphic in place. ITV introduced a score bug at the start of the 1993–94 football season, and the BBC introduced a score bug towards the end of 1993. The concept was introduced to the United States by ABC Sports and ESPN during coverage of the 1994 FIFA World Cup. Their justification for the graphic was to provide a location for a rotating series of sponsor logos, in order to allow matches to air without commercial interruption. With the acquisition of rights to the National Football League (NFL) by BSkyB's American sibling Fox (a fellow venture of Rupert Murdoch), Hill became the first president of Fox Sports. Under Hill's leadership, Fox introduced a version of the score bug branded as the "Fox Box", which was part of its inaugural season of NFL coverage in 1994. Variety criticized it as an "annoying see-through clock and score graphic" and expressed concern for people "who actually watched the beginning of the game and would rather have their screen clear of graphics". Hill even received a death threat from an irate viewer, with a specific emphasis on him being a "foreigner", but the score bug soon became a ubiquitous feature for American football broadcasts, along with almost all American sports broadcasts in the years that followed. Dick Ebersol of NBC Sports initially opposed the idea of a score bug, as he thought that fans would dislike seeing more graphics on the screen and would change the channel from blowout games if the score was constantly being displayed. Since the 2010s, the on-air design and positioning of some score bugs have been influenced by the needs of Internet video (especially when viewing an event on devices with smaller screens), including bugs noticeably larger than prior iterations designed with television viewing in mind, or designs primarily kept towards the bottom-center of the screen (easing the ability for the bug to remain visible when highlights are cropped for square videos posted on social media). == Details == Score bugs used in team sports typically include the names of both teams, an abbreviation of the team's name, and/or the team's logo; for individual sports, they include the names of individual competitors. In sports where a game clock or playing periods are used, those are generally also displayed as part of the score bug. Some broadcasts also include teams' win-loss records. In 2024, ESPN experimented with adding a persistent win probability meter to its bug in Major League Baseball, which was based on input from its statisticians. === Variations === In addition to the above information, score bugs in some sports include additional information: In baseball, score bugs display the current inning, number of outs, the pitch clock if applicable, and a graphic displaying which bases are occupied; and usually include names of the current pitcher and batter, the pitcher's pitch count, and the number of balls and strikes accrued by the batter. In basketball, score bugs generally include the shot clock, the number of fouls accrued by each team, and whether a team is in the bonus. In cricket, score bugs often take the form of larger dashboards across the bottom of the screen, displaying the current team up and their number of runs, wickets, and overs, a display showing the runs scored and number of balls faced by the current batting partnership, and statistics for the opposing team's bowler (including the number of wickets scored and runs given up). In American football, score bugs usually include the play clock and the down and distance of the current play; they also incorporate graphics indicating when a penalty flag has been thrown. In ice hockey, score bugs display when a penalty or power play is in effect, and often include the number of shots on goal accrued by each team. In golf, Fox popularized the display of a persistent leaderboard graphic in the bottom-right of the screen, usually displaying the top 5. ==== Racing ==== Telecasts of automobile races often include a score bug with the current positions of participants, statistics such as distance behind the leader, and the remaining distance or number of laps. In the mid-2010s, NASCAR broadcasters such as Fox began to transition from horizontal tickers to vertical leaderboards (also referred to as "pylons", in reference to the physical scoring pylons at). The CW differentiated itself by using a horizontal display that divides the field into multiple columns along the bottom of the screen.
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International Road Traffic and Accident Database

The International Road Traffic and Accident Database (IRTAD) is an initiative dedicated to compiling and analyzing global road crash data. It is managed by the International Transport Forum (ITF) under the auspices of its permanent working group, which specializes in road safety, commonly referred to as the IRTAD Group. The primary objective of IRTAD is to provide a robust empirical basis for international comparisons in the field of road safety and to offer data to support the formulation of effective road safety policies. == Data availability == A portion of the data gathered by IRTAD is accessible for free through the OECD statistics website, however the remaining data requires a subscription for access. == History == The IRTAD database was originally started in 1988 by Germany's Federal Institution for Roads (BASt) in response to demands for international comparative data. It was later taken over and expanded by the International Transport Forum and has grown to be an important resource for comparing road safety metrics between countries worldwide, although mostly in the developed world. Every year, the ITF publishes comparative and country-by-country road safety data gathered for the IRTAD database and analysed by the IRTAD Group in the ITF Road Safety Annual Report, informally known as "IRTAD Report". Over the years, the IRTAD acronym has come to stand not only for the database, but also for the Traffic Safety Data and Analysis Group (usually referred to as IRTAD Group). The IRTAD Group is the International Transport Forum's permanent working group on road safety. It consists of a group of international road safety experts drawn from national road administrations, road safety research institutes, International organizations, automobile associations, insurance companies, car manufacturers and other road safety stakeholders. The IRTAD Group is a major forum for international road safety collaboration and exchange of best practices. Its focus is on improving road safety data as a basis for targeting interventions that are effective in reducing the number of road deaths and serious traffic injuries. The work of IRTAD, among that of others, has spawned the creation of road safety observatories for different world regions: the Ibero-American Road Safety Observatory Archived 2020-06-28 at the Wayback Machine (OISEVI), the African Road Safety Observatory Archived 2020-06-10 at the Wayback Machine, and the South-East Asian Road Safety Observatory. The ITF supports OISEVI through the Spanish-language IRTAD-LAC database and is actively involved in the implementation of the African and South East-Asian observatories. The genesis of the road safety observatory movement dates back to 2008, when the ITF, via IRTAD, began to facilitate twinning between countries striving to improve their road safety record and countries with high road safety performance. The initial twinning was between Jamaica and the United Kingdom. This work was supported by the World Bank, the Inter-American Development Bank (IADB) and the FIA Foundation. The twinning between Argentina and Spain in 2011 led to the creation of OISEVI. To this day, the ITF supports OISEVI through the Spanish-language IRTAD-LAC database. In 2006, the ITF set up Safer City Streets, a global traffic safety network for cities that replicates the successful IRTAD approach for urban road safety.
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Microsoft Support Diagnostic Tool

The Microsoft Support Diagnostic Tool (MSDT) is a legacy service in Microsoft Windows that allows Microsoft technical support agents to analyze diagnostic data remotely for troubleshooting purposes. In April 2022 it was observed to have a security vulnerability that allowed remote code execution which was being exploited to attack computers in Russia and Belarus, and later against the Tibetan government in exile. Microsoft advised a temporary workaround of disabling the MSDT by editing the Windows registry. == Use == When contacting support the user is told to run MSDT and given a unique "passkey" which they enter. They are also given an "incident number" to uniquely identify their case. The MSDT can also be run offline which will generate a .CAB file which can be uploaded from a computer with an internet connection. == Security vulnerabilities == === Follina === Follina is the name given to a remote code execution (RCE) vulnerability, a type of arbitrary code execution (ACE) exploit, in the Microsoft Support Diagnostic Tool (MSDT) which was first widely publicized on May 27, 2022, by a security research group called Nao Sec. This exploit allows a remote attacker to use a Microsoft Office document template to execute code via MSDT. This works by exploiting the ability of Microsoft Office document templates to download additional content from a remote server. If the size of the downloaded content is large enough it causes a buffer overflow allowing a payload of Powershell code to be executed without explicit notification to the user. On May 30 Microsoft issued CVE-2022-30190 with guidance that users should disable MSDT. Malicious actors have been observed exploiting the bug to attack computers in Russia and Belarus since April, and it is believed Chinese state actors had been exploiting it to attack the Tibetan government in exile based in India. Microsoft patched this vulnerability in its June 2022 patches. === DogWalk === The DogWalk vulnerability is a remote code execution (RCE) vulnerability in the Microsoft Support Diagnostic Tool (MSDT). It was first reported in January 2020, but Microsoft initially did not consider it to be a security issue. However, the vulnerability was later exploited in the wild, and Microsoft released a patch for it in August 2022. The vulnerability is caused by a path traversal vulnerability in the sdiageng.dll library. This vulnerability allows an attacker to trick a victim into opening a malicious diagcab file, which is a type of Windows cabinet file that is used to store support files. When the diagcab file is opened, it triggers the MSDT tool, which then executes the malicious code. Originally discovered by Mitja Kolsek, the DogWalk vulnerability is caused by a path traversal vulnerability in the sdiageng.dll library. This vulnerability allows an attacker to trick a victim into opening a malicious diagcab file, which is a type of Windows cabinet file that is used to store support files. When the diagcab file is opened, it triggers the MSDT tool, which then executes the malicious code. The vulnerability is exploited by creating a malicious diagcab file that contains a specially crafted path. This path contains a sequence of characters that is designed to exploit the path traversal vulnerability in the sdiageng.dll library. When the diagcab file is opened, the MSDT tool will attempt to follow the path. However, the path will contain characters that are not valid for a Windows path. This will cause the MSDT tool to crash. When the MSDT tool crashes, it will generate a memory dump. This memory dump will contain the malicious code that was executed by the MSDT tool. The attacker can then use this memory dump to extract the malicious code and execute it on their own computer. == Retirement == Microsoft will no longer be supporting the Windows legacy inbox Troubleshooters. In 2025, Microsoft will remove the MSDT platform entirely. Get Help is the replacement tool. == Windows versions == Windows 7 Windows 8.1 Windows 10 Windows 11 (up to 22H2) Future versions and feature upgrades will deprecate the MSDT after May 23, 2023.
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Gas (app)

Gas (sometimes stylized in all caps), formerly known as Melt as well as Crush, was an American anonymous social media app. Launched in August 2022, the app is oriented towards high schoolers. The app was developed by Nikita Bier, Isaiah Turner, and former Facebook engineer Dave Schatz. Gas was largely based upon the prior tbh app developed by co-founder Nikita Bier, along with Erik Hazzard, Kyle Zaragoza, and Nicolas Ducdodon in September 2017. tbh was acquired by Facebook inc. (now Meta Platforms) on October 16, 2017, and nearly a year later in July 2018 was dissolved, owing to low usage. Gas follows a similar purpose to tbh in being a social media app oriented towards high schoolers. In the app, users participate in anonymous polls regarding pre-written complimentary statements to their peers, such as "I'd say yes if (blank) asked me out on a date," "I think (blank) is the coolest kid in school," or "would make an ugly face and still look pretty." Winners of said polls receive a "flame." The name of the app is derived from this, with "gassing someone up" being Gen Z slang for complimenting someone. Users can pay a $6.99 subscription that enables "God Mode," which shows hints regarding who voted for them in a poll. Gas overtook TikTok and BeReal as the most downloaded app on the Apple App Store in October 2022 (the app is currently not available for Android). The app has over 5.1 million downloads as of early November 2022, over a million active users and 300 thousand daily downloads as of October 2022. Currently, the app is available in Canada and the majority of the United States. On January 17, 2023, Gas was acquired by Discord, however it would remain a standalone app and its developers became Discord staff members. On October 18, 2023, Discord announced that service for Gas would be permanently ending effective November 7, 2023, due to a steep decline in users. Effective November 7, the app became completely unusable. == Controversy regarding human-trafficking == Beginning in October 2022, rumors spread largely throughout TikTok and Snapchat alleged that the app was linked to human trafficking (in particular sex trafficking). According to Bier, the rumor originated with a single user review from China on October 5, and then was disseminated through TikTok accounts with "few to no US teen followers." Although largely dismissed as a hoax by experts, who cite how the app doesn't log user locations and general anonymity, the hoax became pervasive to the extent that various police departments, school systems, and local news outlets began issuing warnings regarding the app. For instance, on October 31, 2022, the police department of Piedmont, Oklahoma issued a warning to parents, encouraging them to check their children's phones, while on November 3, the Oklahoma Oktaha Public School system stated in a Facebook post that "Children are being kidnapped in other towns and this new app is thought to be the source of predators finding their location." (both statements have since been retracted by Police Chief Scott Singer and Superintendent Jerry Needham respectively). Additionally, local medial outlets such as KOCO in Oklahoma City ran stories making similar statements. The rumor had a negative impact on the app, with downloads plateauing for a two-week period in late October and with 3% of users in a single day reportedly uninstalling the app. Revenue and ratings have also reportedly dropped and the company's social media accounts have been bombarded with comments labeling them as sex-traffickers. Additionally, the four-person development team has reportedly been bombarded with various death threats as a result.
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Smartphone kill switch

A smartphone kill switch is a software-based security feature that allows a smartphone's owner to remotely render it inoperable if it is lost or stolen, thereby deterring theft. There have been a number of initiatives to legally require kill switches on smartphones. Smartphones have high resale value, and are therefore often the target of theft, with thieves selling them to cartels for resale. A kill switch can deter theft by making devices worthless. == Legal requirements == In the United States, Minnesota was the first state to pass a bill requiring smartphones to have such a feature, and California was the first to require that the feature be turned on by default. The California law requires the kill switch to be resistant to reinstallation of the phone's operating system. The CTIA initially resisted the legislation, fearing that it would make phones easier to hack, but later supported kill switches. There is evidence that this legislation has been effective, with smartphone theft declining by 50% between 2013 and 2017 in San Francisco. Secure Our Smartphones (S.O.S.), a New York State and San Francisco initiative started by New York State Attorney General Eric Schneiderman and San Francisco District Attorney George Gascón. The initiative is co-chaired by Schneiderman, Gascón and Boris Johnson, and has 105 members. == Examples == An Android phone signed into a Google account can be remotely locked and erased via Google's Find My Device service, as long as it is connected to the Internet. To prevent this, a thief must sign the device out of Google before the owner locks or erases it. iPhones have a similar service.
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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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Tokken

Tokken is a payment system and mobile app most known for being a legal and secure option for businesses transactions within the cannabis industry, because of its compliance with bank requirements. The startup company was created by Lamine Zarrad, a former regulator at the Office of the Comptroller of the Currency. == Operability == In order for a person to start using the app, they need to provide evidence, in the form of bioidentification data and mobile carrier records, that they can legally purchase weed. After they have been verified, customers can pay directly through the app at any dispensary that is using Tokken. Tokken turns credit card transactions into a digital token, which can be exchanged back for money that can later be deposited into a bank account. All transactions are logged publicly through a blockchain leger, making the process both anonymous and verified. === Banking services === Tokken has a "pay taxes" function which enables dispensaries to pay their taxes directly to the department.
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Human image synthesis

Human image synthesis is technology that can be applied to make believable and even photorealistic renditions of human-likenesses, moving or still. It has effectively existed since the early 2000s. Many films using computer generated imagery have featured synthetic images of human-like characters digitally composited onto the real or other simulated film material. Towards the end of the 2010s deep learning artificial intelligence has been applied to synthesize images and video that look like humans, without need for human assistance, once the training phase has been completed, whereas the old school 7D-route required massive amounts of human work. == Timeline of human image synthesis == In 1971 Henri Gouraud made the first CG geometry capture and representation of a human face. Modeling was his wife Sylvie Gouraud. The 3D model was a simple wire-frame model and he applied the Gouraud shader he is most known for to produce the first known representation of human-likeness on computer. The 1972 short film A Computer Animated Hand by Edwin Catmull and Fred Parke was the first time that computer-generated imagery was used in film to simulate moving human appearance. The film featured a computer simulated hand and face (watch film here). The 1976 film Futureworld reused parts of A Computer Animated Hand on the big screen. The 1983 music video for song Musique Non-Stop by German band Kraftwerk aired in 1986. Created by the artist Rebecca Allen, it features non-realistic looking, but clearly recognizable computer simulations of the band members. The 1994 film The Crow was the first film production to make use of digital compositing of a computer simulated representation of a face onto scenes filmed using a body double. Necessity was the muse as the actor Brandon Lee portraying the protagonist was tragically killed accidentally on-stage. In 1999 Paul Debevec et al. of USC captured the reflectance field of a human face with their first version of a light stage. They presented their method at the SIGGRAPH 2000 In 2003 audience debut of photo realistic human-likenesses in the 2003 films The Matrix Reloaded in the burly brawl sequence where up-to-100 Agent Smiths fight Neo and in The Matrix Revolutions where at the start of the end showdown Agent Smith's cheekbone gets punched in by Neo leaving the digital look-alike unnaturally unhurt. The Matrix Revolutions bonus DVD documents and depicts the process in some detail and the techniques used, including facial motion capture and limbal motion capture, and projection onto models. In 2003 The Animatrix: Final Flight of the Osiris a state-of-the-art want-to-be human likenesses not quite fooling the watcher made by Square Pictures. In 2003 digital likeness of Tobey Maguire was made for movies Spider-man 2 and Spider-man 3 by Sony Pictures Imageworks. In 2005 the Face of the Future project was an established. by the University of St Andrews and Perception Lab, funded by the EPSRC. The website contains a "Face Transformer", which enables users to transform their face into any ethnicity and age as well as the ability to transform their face into a painting (in the style of either Sandro Botticelli or Amedeo Modigliani). This process is achieved by combining the user's photograph with an average face. In 2009 Debevec et al. presented new digital likenesses, made by Image Metrics, this time of actress Emily O'Brien whose reflectance was captured with the USC light stage 5 Motion looks fairly convincing contrasted to the clunky run in the Animatrix: Final Flight of the Osiris which was state-of-the-art in 2003 if photorealism was the intention of the animators. In 2009 a digital look-alike of a younger Arnold Schwarzenegger was made for the movie Terminator Salvation though the end result was critiqued as unconvincing. Facial geometry was acquired from a 1984 mold of Schwarzenegger. In 2010 Walt Disney Pictures released a sci-fi sequel entitled Tron: Legacy with a digitally rejuvenated digital look-alike of actor Jeff Bridges playing the antagonist CLU. In SIGGGRAPH 2013 Activision and USC presented a real-time "Digital Ira" a digital face look-alike of Ari Shapiro, an ICT USC research scientist, utilizing the USC light stage X by Ghosh et al. for both reflectance field and motion capture. The end result both precomputed and real-time rendering with the modernest game GPU shown here and looks fairly realistic. In 2014 The Presidential Portrait by USC Institute for Creative Technologies in conjunction with the Smithsonian Institution was made using the latest USC mobile light stage wherein President Barack Obama had his geometry, textures and reflectance captured. In 2014 Ian Goodfellow et al. presented the principles of a generative adversarial network. GANs made the headlines in early 2018 with the deepfakes controversies. For the 2015 film Furious 7 a digital look-alike of actor Paul Walker who died in an accident during the filming was done by Weta Digital to enable the completion of the film. In 2016 techniques which allow near real-time counterfeiting of facial expressions in existing 2D video have been believably demonstrated. In 2016 a digital look-alike of Peter Cushing was made for the Rogue One film where its appearance would appear to be of same age as the actor was during the filming of the original 1977 Star Wars film. In SIGGRAPH 2017 an audio driven digital look-alike of upper torso of Barack Obama was presented by researchers from University of Washington. It was driven only by a voice track as source data for the animation after the training phase to acquire lip sync and wider facial information from training material consisting 2D videos with audio had been completed. Late 2017 and early 2018 saw the surfacing of the deepfakes controversy where porn videos were doctored using deep machine learning so that the face of the actress was replaced by the software's opinion of what another persons face would look like in the same pose and lighting. In 2018 Game Developers Conference Epic Games and Tencent Games demonstrated "Siren", a digital look-alike of the actress Bingjie Jiang. It was made possible with the following technologies: CubicMotion's computer vision system, 3Lateral's facial rigging system and Vicon's motion capture system. The demonstration ran in near real time at 60 frames per second in the Unreal Engine 4. In 2018 at the World Internet Conference in Wuzhen the Xinhua News Agency presented two digital look-alikes made to the resemblance of its real news anchors Qiu Hao (Chinese language) and Zhang Zhao (English language). The digital look-alikes were made in conjunction with Sogou. Neither the speech synthesis used nor the gesturing of the digital look-alike anchors were good enough to deceive the watcher to mistake them for real humans imaged with a TV camera. In September 2018 Google added "involuntary synthetic pornographic imagery" to its ban list, allowing anyone to request the search engine block results that falsely depict them as "nude or in a sexually explicit situation." In February 2019 Nvidia open sources StyleGAN, a novel generative adversarial network. Right after this Phillip Wang made the website ThisPersonDoesNotExist.com with StyleGAN to demonstrate that unlimited amounts of often photo-realistic looking facial portraits of no-one can be made automatically using a GAN. Nvidia's StyleGAN was presented in a not yet peer reviewed paper in late 2018. At the June 2019 CVPR the MIT CSAIL presented a system titled "Speech2Face: Learning the Face Behind a Voice" that synthesizes likely faces based on just a recording of a voice. It was trained with massive amounts of video of people speaking. Since 1 July 2019 Virginia has criminalized the sale and dissemination of unauthorized synthetic pornography, but not the manufacture., as § 18.2–386.2 titled 'Unlawful dissemination or sale of images of another; penalty.' became part of the Code of Virginia. The law text states: "Any person who, with the intent to coerce, harass, or intimidate, maliciously disseminates or sells any videographic or still image created by any means whatsoever that depicts another person who is totally nude, or in a state of undress so as to expose the genitals, pubic area, buttocks, or female breast, where such person knows or has reason to know that he is not licensed or authorized to disseminate or sell such videographic or still image is guilty of a Class 1 misdemeanor.". The identical bills were House Bill 2678 presented by Delegate Marcus Simon to the Virginia House of Delegates on 14 January 2019 and three-day later an identical Senate bill 1736 was introduced to the Senate of Virginia by Senator Adam Ebbin. Since 1 September 2019 Texas senate bill SB 751 amendments to the election code came into effect, giving candidates in elections a 30-day protection period to the elections during which making and distributing digital look-alikes or synthetic fakes of the candidates is an offense. Th
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Geometric primitive

In vector computer graphics, CAD systems, and geographic information systems, a geometric primitive (or prim) is the simplest (i.e. 'atomic' or irreducible) geometric shape that the system can handle (draw, store). Sometimes the subroutines that draw the corresponding objects are called "geometric primitives" as well. The most "primitive" primitives are point and straight line segments, which were all that early vector graphics systems had. In constructive solid geometry, primitives are simple geometric shapes such as a cube, cylinder, sphere, cone, pyramid, torus. Modern 2D computer graphics systems may operate with primitives which are curves (segments of straight lines, circles and more complicated curves), as well as shapes (boxes, arbitrary polygons, circles). A common set of two-dimensional primitives includes lines, points, and polygons, although some people prefer to consider triangles primitives, because every polygon can be constructed from triangles (polygon triangulation). All other graphic elements are built up from these primitives. In three dimensions, triangles or polygons positioned in three-dimensional space can be used as primitives to model more complex 3D forms. In some cases, curves (such as Bézier curves, circles, etc.) may be considered primitives; in other cases, curves are complex forms created from many straight, primitive shapes. == Common primitives == The set of geometric primitives is based on the dimension of the region being represented: Point (0-dimensional), a single location with no height, width, or depth. Line or curve (1-dimensional), having length but no width, although a linear feature may curve through a higher-dimensional space. Planar surface or curved surface (2-dimensional), having length and width. Volumetric region or solid (3-dimensional), having length, width, and depth. In GIS, the terrain surface is often spoken of colloquially as "2 1/2 dimensional," because only the upper surface needs to be represented. Thus, elevation can be conceptualized as a scalar field property or function of two-dimensional space, affording it a number of data modeling efficiencies over true 3-dimensional objects. A shape of any of these dimensions greater than zero consists of an infinite number of distinct points. Because digital systems are finite, only a sample set of the points in a shape can be stored. Thus, vector data structures typically represent geometric primitives using a strategic sample, organized in structures that facilitate the software interpolating the remainder of the shape at the time of analysis or display, using the algorithms of Computational geometry. A Point is a single coordinate in a Cartesian coordinate system. Some data models allow for Multipoint features consisting of several disconnected points. A Polygonal chain or Polyline is an ordered list of points (termed vertices in this context). The software is expected to interpolate the intervening shape of the line between adjacent points in the list as a parametric curve, most commonly a straight line, but other types of curves are frequently available, including circular arcs, cubic splines, and Bézier curves. Some of these curves require additional points to be defined that are not on the line itself, but are used for parametric control. A Polygon is a polyline that closes at its endpoints, representing the boundary of a two-dimensional region. The software is expected to use this boundary to partition 2-dimensional space into an interior and exterior. Some data models allow for a single feature to consist of multiple polylines, which could collectively connect to form a single closed boundary, could represent a set of disjoint regions (e.g., the state of Hawaii), or could represent a region with holes (e.g., a lake with an island). A Parametric shape is a standardized two-dimensional or three-dimensional shape defined by a minimal set of parameters, such as an ellipse defined by two points at its foci, or three points at its center, vertex, and co-vertex. A Polyhedron or Polygon mesh is a set of polygon faces in three-dimensional space that are connected at their edges to completely enclose a volumetric region. In some applications, closure may not be required or may be implied, such as modeling terrain. The software is expected to use this surface to partition 3-dimensional space into an interior and exterior. A triangle mesh is a subtype of polyhedron in which all faces must be triangles, the only polygon that will always be planar, including the Triangulated irregular network (TIN) commonly used in GIS. A parametric mesh represents a three-dimensional surface by a connected set of parametric functions, similar to a spline or Bézier curve in two dimensions. The most common structure is the Non-uniform rational B-spline (NURBS), supported by most CAD and animation software. == Application in GIS == A wide variety of vector data structures and formats have been developed during the history of Geographic information systems, but they share a fundamental basis of storing a core set of geometric primitives to represent the location and extent of geographic phenomena. Locations of points are almost always measured within a standard Earth-based coordinate system, whether the spherical Geographic coordinate system (latitude/longitude), or a planar coordinate system, such as the Universal Transverse Mercator. They also share the need to store a set of attributes of each geographic feature alongside its shape; traditionally, this has been accomplished using the data models, data formats, and even software of relational databases. Early vector formats, such as POLYVRT, the ARC/INFO Coverage, and the Esri shapefile support a basic set of geometric primitives: points, polylines, and polygons, only in two dimensional space and the latter two with only straight line interpolation. TIN data structures for representing terrain surfaces as triangle meshes were also added. Since the mid 1990s, new formats have been developed that extend the range of available primitives, generally standardized by the Open Geospatial Consortium's Simple Features specification. Common geometric primitive extensions include: three-dimensional coordinates for points, lines, and polygons; a fourth "dimension" to represent a measured attribute or time; curved segments in lines and polygons; text annotation as a form of geometry; and polygon meshes for three-dimensional objects. Frequently, a representation of the shape of a real-world phenomenon may have a different (usually lower) dimension than the phenomenon being represented. For example, a city (a two-dimensional region) may be represented as a point, or a road (a three-dimensional volume of material) may be represented as a line. This dimensional generalization correlates with tendencies in spatial cognition. For example, asking the distance between two cities presumes a conceptual model of the cities as points, while giving directions involving travel "up," "down," or "along" a road imply a one-dimensional conceptual model. This is frequently done for purposes of data efficiency, visual simplicity, or cognitive efficiency, and is acceptable if the distinction between the representation and the represented is understood, but can cause confusion if information users assume that the digital shape is a perfect representation of reality (i.e., believing that roads really are lines). == In 3D modelling == In CAD software or 3D modelling, the interface may present the user with the ability to create primitives which may be further modified by edits. For example, in the practice of box modelling the user will start with a cuboid, then use extrusion and other operations to create the model. In this use the primitive is just a convenient starting point, rather than the fundamental unit of modelling. A 3D package may also include a list of extended primitives which are more complex shapes that come with the package. For example, a teapot is listed as a primitive in 3D Studio Max. == In graphics hardware == Various graphics accelerators exist with hardware acceleration for rendering specific primitives such as lines or triangles, frequently with texture mapping and shaders. Modern 3D accelerators typically accept sequences of triangles as triangle strips.
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MinID

MinID is an electronic login system used to secure a range of internet services in the Norwegian public sector. The communication done with MinID is encrypted to secure information from unauthorized usage. Everyone registered in the Norwegian Population Register over the age of 13 years can create a public ID with MinID. As of April 2010, more than 2 million people living in Norway had created user accounts with MinID. To create a public ID, PIN-codes from the Norwegian Tax Administration are needed. == Purpose == The purpose of MinID is to communicate an electronic identity, so that users are authorized to use electronic services, in a secure way. MinID has a user database where social security numbers and PIN-codes are saved. MinID can be used to access more than 50 online services from various Norwegian public agencies, including the Norwegian Labour and Welfare Administration, the Directorate of Taxes and the State Educational Loan. == Controller == The Norwegian Digitalisation Agency (Digdir) is the controller of the personal data handled by MinID. The Norwegian Digitalisation Agency (Norwegian: Digitaliseringsdirektoratet) or Digdir is a government agency subordinate to the Ministry of Digitalisation and Public Governance. It is responsible for help the public sector achieve quality, efficiency, user friendliness, openness and participation, as well as helping the public sector be organized and led in a good way with good intersectoral cooperation. == User profile == Users of MinID have a user profile that contains their mobile phone number and/or e-mail address. This data is used to administrate MinID use. The e-mail address is needed in order to send the user a temporary password if he or she forgets the password. The phone number is needed in order to send an SMS-code at log in or a temporary password if the user forgets the password. == Transparency, correction and deletion == According to the law users can claim full access of the handling of their own personal data. Users also have the right to information about how this data are handled and saved, and how they can correct or delete inaccurate data. Users can at any time choose to delete themselves as a user of MinID. The user profile will then be deleted from the MinID user database. == Extradition to others == MinID passes on the user's social security number and chosen language to the public services he or she logs on to, so that the user can go to other public services without a new login.
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Neural processing unit

A neural processing unit (NPU), also known as an AI accelerator or deep learning processor, is a class of specialized hardware accelerator or computer system designed to accelerate artificial intelligence and machine learning applications, including artificial neural networks and computer vision. == Use == Their purpose is either to efficiently execute already trained AI models (inference) or to train AI models. NPUs can be more efficient in terms of speed or power consumption. NPU applications include algorithms for robotics, Internet of things, and data-intensive or sensor-driven tasks. They are often manycore or spatial designs and focus on low-precision arithmetic, novel dataflow architectures, or in-memory computing capability. As of 2024, a widely used datacenter-grade AI integrated circuit chip, the Nvidia H100 GPU, contains tens of billions of MOSFETs. === Consumer devices === AI accelerators are used in Apple silicon, Qualcomm, Samsung, Huawei, and Google Tensor smartphone processors. Vision processing units are accelerators specialized for machine vision algorithms such as CNN (convolutional neural networks) and SIFT (scale-invariant feature transform). They are used in devices that need to keep track of objects visually such as AR headsets and drones. It is more recently (circa 2017) added to processors from Apple and (circa 2022) to processors from Intel and AMD. All models of Intel Meteor Lake processors have a built-in versatile processor unit (VPU) for accelerating inference for computer vision and deep learning. On consumer devices, the NPU is intended to be small, power-efficient, but reasonably fast when used to run small models. To do this they are designed to support low-bitwidth operations using data types such as INT4, INT8, FP8, and FP16. A common metric is trillions of operations per second (TOPS). Although TOPS does not explicitly specify the kind of operations, it is typically INT8 additions and multiplications. === Datacenters === Accelerators are used in cloud computing servers: e.g., tensor processing units (TPU) for Google Cloud Platform, and Trainium and Inferentia chips for Amazon Web Services. Many vendor-specific terms exist for devices in this category, and it is an emerging technology without a dominant design. Since the late 2010s, graphics processing units designed by companies such as Nvidia and AMD often include AI-specific hardware in the form of dedicated functional units for low-precision matrix-multiplication operations. These GPUs are commonly used as AI accelerators, both for training and inference. === Scientific computation === Although NPUs are tailored for low-precision (e.g., FP16, INT8) matrix multiplication operations, they can be used to emulate higher-precision matrix multiplications in scientific computing. As modern GPUs place much focus on making the NPU part fast, using emulated FP64 (Ozaki scheme) on NPUs can potentially outperform native FP64. This has been demonstrated using FP16-emulated FP64 on NVIDIA TITAN RTX and using INT8-emulated FP64 on NVIDIA consumer GPUs and the A100 GPU. Consumer GPUs especially benefited as they have limited FP64 hardware capacity, showing a 6× speedup. Since CUDA Toolkit 13.0 Update 2, cuBLAS automatically uses INT8-emulated FP64 matrix multiplication of the equivalent precision if it is faster than native. This is in addition to the FP16-emulated FP32 feature introduced in version 12.9. == Programming == An operating system or a higher-level library may provide application programming interfaces such as TensorFlow with LiteRT Next (Android), CoreML (iOS, macOS) or DirectML (Windows). Formats such as ONNX are used to represent trained neural networks. Consumer CPU-integrated NPUs are accessible through vendor-specific APIs. AMD (Ryzen AI), Intel (OpenVINO), Apple silicon (CoreML), and Qualcomm (SNPE) each have their own APIs, which can be built upon by a higher-level library. GPUs generally use existing GPGPU pipelines such as CUDA and OpenCL adapted for lower precisions and specialized matrix-multiplication operations. Vulkan is also being used. Custom-built systems such as the Google TPU use private interfaces. There are a large number of separate underlying acceleration APIs and compilers/runtimes in use in the AI field, causing a great increase in software development effort due to the many combinations involved. As of 2025, the open standard organization Khronos Group is pursuing standardization of AI-related interfaces to reduce the amount of work needed. Khronos is working on three separate fronts: expansion of data types and intrinsic operations in OpenCL and Vulkan, inclusion of compute graphs in SPIR-V, and a NNEF/SkriptND file format for describing a neural network.
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Distributed concurrency control

Distributed concurrency control is the concurrency control of a system distributed over a computer network (Bernstein et al. 1987, Weikum and Vossen 2001). In database systems and transaction processing (transaction management) distributed concurrency control refers primarily to the concurrency control of a distributed database. It also refers to the concurrency control in a multidatabase (and other multi-transactional object) environment (e.g., federated database, grid computing, and cloud computing environments. A major goal for distributed concurrency control is distributed serializability (or global serializability for multidatabase systems). Distributed concurrency control poses special challenges beyond centralized one, primarily due to communication and computer latency. It often requires special techniques, like distributed lock manager over fast computer networks with low latency, like switched fabric (e.g., InfiniBand). The most common distributed concurrency control technique is strong strict two-phase locking (SS2PL, also named rigorousness), which is also a common centralized concurrency control technique. SS2PL provides both the serializability and strictness. Strictness, a special case of recoverability, is utilized for effective recovery from failure. For large-scale distribution and complex transactions, distributed locking's typical heavy performance penalty (due to delays, latency) can be saved by using the atomic commitment protocol, which is needed in a distributed database for (distributed) transactions' atomicity.
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Certified social engineering prevention specialist

Certified Social Engineering Prevention Specialist (CSEPS) is a social engineering security-awareness training and professional certification program originally developed by Kevin Mitnick and Alexis Kasperavičius. == Course structure == The original CSEPS program was structured as a multi-module corporate security-awareness course designed to teach employees, managers, and IT personnel how social engineers manipulate human behavior to bypass technical security systems. The curriculum combined case studies, psychological analysis, attack demonstrations, pretexting exercises, and operational security scenarios. The course materials described social engineering as the exploitation of "the human factor" in information security and argued that traditional technical defenses alone were insufficient to protect organizations from deception-based attacks. The training program was divided into instructional modules covering topics such as: social engineering methodology and threat analysis intelligence gathering and reconnaissance dumpster diving pretexting elicitation technique telephone-system exploitation and caller-ID spoofing psychological influence techniques industrial espionage identity theft organizational vulnerabilities security policy development and employee awareness training The course also analyzed historical and contemporary case studies involving information theft, corporate espionage, fraudulent wire transfers, and telephone-based impersonation attacks. Training exercises required participants to analyze how attackers established credibility, manipulated trust, overcame objections, and exploited organizational procedures. According to The Wall Street Journal, CSEPS was delivered as a two-day "boot camp" course costing approximately US$1,500 per attendee. Clients reportedly included the United States Air Force and the United States Marine Corps. The certification examination included multiple-choice and written-response sections dealing with social-engineering defense scenarios and mitigation strategies. == History == In 2003, Mitnick and Kasperavičius partnered with the Florida-based IT training company Intense School Inc. to offer CSEPS classes throughout the United States. In 2020, Mitnick partnered with security-awareness training company KnowBe4, and elements of the original CSEPS material became incorporated into KnowBe4's social-engineering awareness training offerings.
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