AI Detector Eraser

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  Threat actor

  In cybersecurity and risk assessment, a threat actor (or threat agents, attackers, or adversaries) is a person, group, organisation, state, or other entity with the ability to cause, carry, transmit, support, or exploit a threat. Threat actors are commonly analysed according to their motivations, resources, technical capability, access to systems, relationship to a target, and degree of connection to state authority. They may exploit vulnerabilities, conduct social engineering, steal or monetise data, disrupt operations, or support other actors who carry out such activity. Because the term covers a wide range of actors, researchers and security organisations use taxonomies that distinguish between groups such as cybercriminals, state-linked actors, ideologically motivated actors, thrill seekers or trolls, insiders, and competitors. Threat actor classifications are used in risk management, cyber threat intelligence, and incident response to connect observed behaviour with possible objectives and likely future activity. The categories are not always mutually exclusive: the same actor may combine criminal, ideological, commercial, or state-linked motivations, and different organisations may use different names for similar actors. == Risk assessment and security management == In risk assessment, threat actor analysis is used to identify who or what may create, carry, transmit, support, or exploit a threat, and how that actor relates to the system being assessed. Rausand and Haugen classify threat actors by their relationship to the system, distinguishing between internal and external actors, and by intent, distinguishing between intentional and unintentional actors. Threat actor classification may also support incident investigation. Rogers argued that actor categories could be inferred from observable case points, such as tools used, messages left, data targeted, forensic knowledge, and the degree of damage, allowing investigators to assess likely motivation and skill level. Later work similarly linked actor classification to operational analysis. Chng, Lu, Kumar and Yau proposed a framework connecting hacker types, motivations and typical strategies, arguing that observed behaviour before or during an attack can help analysts infer the likely type of actor involved. At the strategic level, actor analysis may consider an actor's resources, capabilities, degree of state involvement, motivations and objectives. == Landscape == The United Nations Institute for Disarmament Research has described the contemporary cyberthreat landscape as involving an increasingly diverse and interconnected set of actors, including state-led operations, cybercriminal syndicates, ideological hacktivists, commercial cyber mercenaries, private companies and civilian volunteers. Its 2026 report argued that these actors vary in resources, technical sophistication and relationships with states, making it traditional distinctions between state, civilian combatant roles, and legitimate and illegitimate conduct harder to apply. == Academic taxonomies == Early taxonomies classified hackers by activity, skill, motivation, or criminal profile. Landreth proposed six categories based on activity: novice, student, tourist, crasher, and thief. Hollinger classified computer misuse into pirates, browsers, and crackers, describing a progression from less-skilled activity to more technically serious offences. Chantler used attributes including activity, skill, knowledge, motivation, and duration of involvement to distinguish between an elite group, neophytes, and "losers and lamers". Parker proposed seven profiles of cybercriminals: pranksters, hacksters, malicious hackers, personal problem solvers, career criminals, extreme advocates, and malcontents, addicts, and irrational or incompetent people. In 2000, Marc Rogers proposed a taxonomy of hackers with seven, non-mutually-exclusive categories: newbie/tool kit users, cyber-punks, internals, coders, old guard hackers, professional criminals, and cyber-terrorists. Rausand and Haugen distinguish between internal and external threat actors, and between intentional and unintentional threat actors. Internal actors have some relationship with, access to, or position inside the system or organisation, while external actors operate from outside it. Intentional actors seek to create, exploit, or support a threat event, whereas unintentional actors may cause or enable a threat event through error, negligence, accident, or lack of awareness. Rogers later revised his hacker taxonomy into Novices, Cyber-punks, Internals, Petty Thieves, Virus Writers, Old Guard hackers, Professional Criminals, Information Warriors, and, more tentatively, Political Activists. In the model, motivation is grouped into four broad domains: curiosity, notoriety, revenge, and financial gain. A 2022 review by Chng, Lu, Kumar and Yau examined 11 hacker typologies published over three decades and proposed a unified framework linking hacker types, motivations, and strategies. The framework identified 13 hacker types and seven motivations, and argued that observed strategies during an attack can help analysts infer the likely type of actor involved. == Government taxonomies == Taxonomies of threat actors by governments are much more likely to include state-level threat actors. In the United States the National Institute of Standards and Technology (NIST) uses the term threat source in its risk-assessment guidance: organisations are directed to identify and characterise threat sources of concern, including capability, intent and targeting for adversarial threat sources, and the range of effects for non-adversarial threat sources. NIST treats threat-source identification as part of the risk-assessment process, alongside identifying threat events, vulnerabilities, likelihood and impact. In the EU, European Union Agency for Cybersecurity publishes the annual ENISA Threat Landscape, which analyses cyber incidents and adversary behaviour affecting the European Union. The 2025 report analysed selected incidents from the previous year and grouped activity around cybercrime, state-aligned activity, foreign information manipulation and interference, and hacktivism. In ENISA's 2025 analysis, hacktivist activity dominated reporting, representing almost 80% of recorded incidents and consisting mainly of low-level distributed denial-of-service operations. ENISA also reported increasing convergence between hacktivism, cybercrime and state-nexus activity, including state-aligned use of hacktivist personas, hacktivist adoption of ransomware, and false-flag or impersonation activity. At the UN level, A 2026 report by the United Nations Institute for Disarmament Research described the cyberthreat landscape as involving state-led operations, cybercriminal syndicates, ideological hacktivists, commercial cyber mercenaries, and civilian volunteers, with actors varying in resources, technical sophistication, and links to states. Canada defines threat actors as states, groups, or individuals who aim to cause harm by exploiting a vulnerability with malicious intent. A threat actor must be trying to gain access to information systems to access or alter data, devices, systems, or networks. The Japanese government's National Centre of Incident Readiness and Strategy (NISC) was established in 2015 to create a "free, fair and secure cyberspace" in Japan. The NICS created a cybersecurity strategy in 2018 that outlines nation-states and cybercrime to be some of the most key threats. It also indicates that terrorist usage of the cyberspace needs to be monitored and understood. The Security Council of the Russian Federation published the cyber security strategy doctrine in 2016. This strategy highlights the following threat actors as a risk to cyber security measures: nation-state actors, cyber criminals, and terrorists. == Techniques == Threat actors use techniques like Social engineering (security), and Phishing, alongside technical exploits like Cross-site scripting, SQL injection, and denial-of-service attacks. == Limitations == In practice, actor categories may overlap (Edward Snowden for example), and the same activity may combine features associated with hacktivism, cybercrime and state-linked operations. The lines between hacktivism, cybercrime and state-nexus activity had continued to blur, with shared toolsets, overlapping methods, fake personas, hacktivist adoption of ransomware, and cybercriminal or state-linked actors masquerading as other groups. Threat actor analysis also has limits as a risk-management method. NIST notes that risk assessments depend on their purpose, scope, assumptions, constraints, information sources, risk model and analytic approach, and that assessments are tied to particular time frames and organisational contexts. NIST also warns that simple threat-vulnerability pairing may be undesirable or problematic where there are many threats and vulnerabilities, and recom

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  JSGF

  JSGF stands for Java Speech Grammar Format or the JSpeech Grammar Format (in a W3C Note). Developed by Sun Microsystems, it is a textual representation of grammars for use in speech recognition for technologies like XHTML+Voice. JSGF adopts the style and conventions of the Java programming language in addition to use of traditional grammar notations. The Speech Recognition Grammar Specification was derived from this specification. == Example == The following JSGF grammar will recognize the words coffee, tea, and milk.

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  Plotting algorithms for the Mandelbrot set

  There are many programs and algorithms used to plot the Mandelbrot set and other fractals, some of which are described in fractal-generating software. These programs use a variety of algorithms to determine the color of individual pixels efficiently. == Escape time algorithm == The simplest algorithm for generating a representation of the Mandelbrot set is known as the "escape time" algorithm. A repeating calculation is performed for each x, y point in the plot area and based on the behavior of that calculation, a color is chosen for that pixel. === Unoptimized naïve escape time algorithm === In both the unoptimized and optimized escape time algorithms, the x and y locations of each point are used as starting values in a repeating, or iterating calculation (described in detail below). The result of each iteration is used as the starting values for the next. The values are checked during each iteration to see whether they have reached a critical "escape" condition, or "bailout". If that condition is reached, the calculation is stopped, the pixel is drawn, and the next x, y point is examined. For some starting values, escape occurs quickly, after only a small number of iterations. For starting values very close to but not in the set, it may take hundreds or thousands of iterations to escape. For values within the Mandelbrot set, escape will never occur. The programmer or user must choose how many iterations–or how much "depth"–they wish to examine. The higher the maximal number of iterations, the more detail and subtlety emerge in the final image, but the longer time it will take to calculate the fractal image. Escape conditions can be simple or complex. Because no complex number with a real or imaginary part greater than 2 can be part of the set, a common bailout is to escape when either coefficient exceeds 2. A more computationally complex method that detects escapes sooner, is to compute distance from the origin using the Pythagorean theorem, i.e., to determine the absolute value, or modulus, of the complex number. If this value exceeds 2, or equivalently, when the sum of the squares of the real and imaginary parts exceed 4, the point has reached escape. More computationally intensive rendering variations include the Buddhabrot method, which finds escaping points and plots their iterated coordinates. The color of each point represents how quickly the values reached the escape point. Often black is used to show values that fail to escape before the iteration limit, and gradually brighter colors are used for points that escape. This gives a visual representation of how many cycles were required before reaching the escape condition. To render such an image, the region of the complex plane we are considering is subdivided into a certain number of pixels. To color any such pixel, let c {\displaystyle c} be the midpoint of that pixel. We now iterate the critical point 0 under P c {\displaystyle P_{c}} , checking at each step whether the orbit point has modulus larger than 2. When this is the case, we know that c {\displaystyle c} does not belong to the Mandelbrot set, and we color our pixel according to the number of iterations used to find out. Otherwise, we keep iterating up to a fixed number of steps, after which we decide that our parameter is "probably" in the Mandelbrot set, or at least very close to it, and color the pixel black. In pseudocode, this algorithm would look as follows. The algorithm does not use complex numbers and manually simulates complex-number operations using two real numbers, for those who do not have a complex data type. The program may be simplified if the programming language includes complex-data-type operations. for each pixel (Px, Py) on the screen do x0 := scaled x coordinate of pixel (scaled to lie in the Mandelbrot X scale (-2.00, 0.47)) y0 := scaled y coordinate of pixel (scaled to lie in the Mandelbrot Y scale (-1.12, 1.12)) x := 0.0 y := 0.0 iteration := 0 max_iteration := 1000 while (xx + yy ≤ 22 AND iteration < max_iteration) do xtemp := xx - yy + x0 y := 2xy + y0 x := xtemp iteration := iteration + 1 color := palette[iteration] plot(Px, Py, color) Here, relating the pseudocode to c {\displaystyle c} , z {\displaystyle z} and P c {\displaystyle P_{c}} : z = x + i y {\displaystyle z=x+iy\ } z 2 = x 2 + 2 i x y {\displaystyle z^{2}=x^{2}+2ixy} - y 2 {\displaystyle y^{2}\ } c = x 0 + i y 0 {\displaystyle c=x_{0}+iy_{0}\ } and so, as can be seen in the pseudocode in the computation of x and y: x = R e ⁡ ( z 2 + c ) = x 2 − y 2 + x 0 {\displaystyle x=\mathop {\mathrm {Re} } (z^{2}+c)=x^{2}-y^{2}+x_{0}} and y = I m ⁡ ( z 2 + c ) = 2 x y + y 0 . {\displaystyle y=\mathop {\mathrm {Im} } (z^{2}+c)=2xy+y_{0}.\ } To get colorful images of the set, the assignment of a color to each value of the number of executed iterations can be made using one of a variety of functions (linear, exponential, etc.). One practical way, without slowing down calculations, is to use the number of executed iterations as an entry to a palette initialized at startup. If the color table has, for instance, 500 entries, then the color selection is n mod 500, where n is the number of iterations. === Optimized escape time algorithms === The code in the previous section uses an unoptimized inner while loop for clarity. In the unoptimized version, one must perform five multiplications per iteration. To reduce the number of multiplications the following code for the inner while loop may be used instead: x2:= 0 y2:= 0 w:= 0 while (x2 + y2 ≤ 4 and iteration < max_iteration) do x:= x2 - y2 + x0 y:= w - x2 - y2 + y0 x2:= x x y2:= y y w:= (x + y) (x + y) iteration:= iteration + 1 The above code works via some algebraic simplification of the complex multiplication: ( i y + x ) 2 = − y 2 + 2 i y x + x 2 = x 2 − y 2 + 2 i y x {\displaystyle {\begin{aligned}(iy+x)^{2}&=-y^{2}+2iyx+x^{2}\\&=x^{2}-y^{2}+2iyx\end{aligned}}} Using the above identity, the number of multiplications can be reduced to three instead of five. The above inner while loop can be further optimized by expanding w to w = x 2 + 2 x y + y 2 {\displaystyle w=x^{2}+2xy+y^{2}} Substituting w into y = w − x 2 − y 2 + y 0 {\displaystyle y=w-x^{2}-y^{2}+y_{0}} yields y = 2 x y + y 0 {\displaystyle y=2xy+y_{0}} and hence calculating w is no longer needed. The further optimized pseudocode for the above is: x:= 0 y:= 0 x2:= 0 y2:= 0 while (x2 + y2 ≤ 4 and iteration < max_iteration) do x2:= x x y2:= y y y:= 2 x y + y0 x:= x2 - y2 + x0 iteration:= iteration + 1 Note that in the above pseudocode, 2 x y {\displaystyle 2xy} seems to increase the number of multiplications by 1, but since 2 is the multiplier the code can be optimized via ( x + x ) y {\displaystyle (x+x)y} . == Coloring algorithms == In addition to plotting the set, a variety of algorithms have been developed to efficiently color the set in an aesthetically pleasing way show structures of the data (scientific visualisation) === Histogram coloring === A more complex coloring method involves using a histogram which pairs each pixel with said pixel's maximum iteration count before escape/bailout. This method will equally distribute colors to the same overall area, and, importantly, is independent of the maximum number of iterations chosen. This algorithm has four passes. The first pass involves calculating the iteration counts associated with each pixel (but without any pixels being plotted). These are stored in an array IterationCounts[x][y], where x and y are the x and y coordinates of said pixel on the screen respectively. The first step of the second pass is to create an array NumIterationsPerPixel[n], where the array size n is the maximum iteration count. Next, one must iterate over the array of pixel-iteration count pairs IterationCounts[x][y], and retrieve each pixel's saved iteration count, i, via e.g. i = IterationCounts[x][y]. After each pixel's iteration count i is retrieved, it is necessary to index the NumIterationsPerPixel array at i and increment the indexed value (which is initially zero) -- e.g. NumIterationsPerPixel[i] = NumIterationsPerPixel[i] + 1. for (x = 0; x < width; x++) do for (y = 0; y < height; y++) do i:= IterationCounts[x][y] NumIterationsPerPixel[i]++ The third pass iterates through the NumIterationsPerPixel array and adds up all the stored values, saving them in total. The array index represents the number of pixels that reached that iteration count before bailout. total: = 0 for (i = 0; i < max_iterations; i++) do total += NumIterationsPerPixel[i] After this, the fourth pass begins and all the values in the IterationCounts array are indexed, and, for each iteration count i, associated with each pixel, the count is added to a global sum of all the iteration counts from 1 to i in the NumIterationsPerPixel array . This value is then normalized by dividing the sum by the total value computed earlier. hue[][]:= 0.0 for (x = 0; x < width; x++) do for (y = 0; y < height; y++) do iteration:= Iteration

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  Luma (video)

  In video, luma ( Y ′ {\displaystyle Y'} ) represents the brightness in an image (the "black-and-white" or achromatic portion of the image). Luma is typically paired with chroma. Luma represents the achromatic image, while the chroma components represent the color information. Converting R′G′B′ sources (such as the output of a three-CCD camera) into luma and chroma allows for chroma subsampling: because human vision has finer spatial sensitivity to luminance ("black and white") differences than chromatic differences, video systems can store and transmit chromatic information at lower resolution, optimizing perceived detail at a particular bandwidth. == Luma versus relative luminance == Luma is the weighted sum of gamma-compressed R′G′B′ components of a color video—the prime symbols ′ denote gamma compression. The word was proposed to prevent confusion between luma as implemented in video engineering and relative luminance as used in color science (i.e. as defined by CIE). Relative luminance is formed as a weighted sum of linear RGB components, not gamma-compressed ones. Even so, luma is sometimes erroneously called luminance. SMPTE EG 28 recommends the symbol Y ′ {\displaystyle Y'} to denote luma and the symbol Y {\displaystyle Y} to denote relative luminance. === Use of relative luminance === While luma is more often encountered, relative luminance is sometimes used in video engineering when referring to the brightness of a monitor. The formula used to calculate relative luminance uses coefficients based on the CIE color matching functions and the relevant standard chromaticities of red, green, and blue (e.g., the original NTSC primaries, SMPTE C, or Rec. 709). For the Rec. 709 (and sRGB) primaries, the linear combination, based on pure colorimetric considerations and the definition of relative luminance is: Y = 0.2126 R + 0.7152 G + 0.0722 B {\displaystyle Y=0.2126R+0.7152G+0.0722B} The formula used to calculate luma in the Rec. 709 spec arbitrarily also uses these same coefficients, but with gamma-compressed components: Y ′ = 0.2126 R ′ + 0.7152 G ′ + 0.0722 B ′ , {\displaystyle Y'=0.2126R'+0.7152G'+0.0722B',} where the prime symbol ′ denotes gamma compression. == Rec. 601 luma versus Rec. 709 luma coefficients == For digital formats following CCIR 601 (i.e. most digital standard definition formats), luma is calculated with this formula: Y 601 ′ = 0.299 R ′ + 0.587 G ′ + 0.114 B ′ {\displaystyle Y'_{\text{601}}=0.299R'+0.587G'+0.114B'} Formats following ITU-R Recommendation BT. 709 (i.e. most digital high definition formats) use a different formula: Y 709 ′ = 0.2126 R ′ + 0.7152 G ′ + 0.0722 B ′ {\displaystyle Y'_{\text{709}}=0.2126R'+0.7152G'+0.0722B'} Modern HDTV systems use the 709 coefficients, while transitional 1035i HDTV (MUSE) formats may use the SMPTE 240M coefficients: Y 240 ′ = 0.212 R ′ + 0.701 G ′ + 0.087 B ′ = Y 145 ′ {\displaystyle Y'_{\text{240}}=0.212R'+0.701G'+0.087B'=Y'_{\text{145}}} These coefficients correspond to the SMPTE RP 145 primaries (also known as "SMPTE C") in use at the time the standard was created. The change in the luma coefficients is to provide the "theoretically correct" coefficients that reflect the corresponding standard chromaticities ('colors') of the primaries red, green, and blue. However, there is some controversy regarding this decision. The difference in luma coefficients requires that component signals must be converted between Rec. 601 and Rec. 709 to provide accurate colors. In consumer equipment, the matrix required to perform this conversion may be omitted (to reduce cost), resulting in inaccurate color. == Luma and luminance errors == As well, the Rec. 709 luma coefficients may not necessarily provide better performance. Because of the difference between luma and relative luminance, luma does not exactly represent the luminance in an image. As a result, errors in chroma can affect luminance. Luma alone does not perfectly represent luminance; accurate luminance requires both accurate luma and chroma. Hence, errors in chroma "bleed" into the luminance of an image. Note the bleeding in lightness near the borders. Due to the widespread usage of chroma subsampling, errors in chroma typically occur when it is lowered in resolution/bandwidth. This lowered bandwidth, coupled with high frequency chroma components, can cause visible errors in luminance. An example of a high frequency chroma component would be the line between the green and magenta bars of the SMPTE color bars test pattern. Error in luminance can be seen as a dark band that occurs in this area.

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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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  Qlone

  Qlone is a 3D scanning app based on photogrammetry for creation of 3D models on mobile devices. The resultant 3D models can be exported for external use. Qlone was featured at the Apple Worldwide Developers Conference in 2021. It was also featured on BBC Click. == Qlone features == === 3D scanning === 3D scanning with Qlone requires the use of an included mat design. The user prints the mat onto a sheet of paper, then places the object to be scanned in the centre of the mat. An augmented reality dome within the Qlone app guides the user through the subsequent scanning process. The iOS version of Qlone allows scanning without the mat. === 3D editing === Qlone's editing features allow users to adjust 3D scanned models using texture mapping, polygon mesh size simplification, digital sculpting, cleaning and smoothing, and artistic effects. === File export === Qlone exports directly to multiple 3D platforms including SketchFab, i.materialise, Lens Studio for Snapchat, Shapeways and CGTrader. Models can also be exported in different 3D formats for use in other 3D tools – OBJ, STL, FBX, USDZ, GLB (Binary gLTF), PLY, and X3D. == Use in Science, Education and Academia == Due to its inexpensive, simple and accessible nature for creating 3D models, Qlone was used in many academically educational and scientific research projects. The European Space Agency used Qlone to scan rocks in a Tele-Robotic rock collection experiment. Neurosurgeons from the University of Southern California and surgeons from Tulane University School of Medicine used Qlone to create 3D models of cadaveric specimens and anatomical models with the aim of increasing access to such components for enhancing anatomy training and allowing realistic surgical simulations for neurosurgeons and practitioners worldwide. Archaeologists from Texas A&M University used Qlone to create 3D replicas of artifacts and models and students from Vancouver iTech Preparatory Middle School used Qlone to create 3D scans of more than 100 artifacts from Fort Vancouver National Historic Site.

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  EffectsLab Pro

  EffectsLab Pro is a discontinued visual effects software product developed by FXhome. It has since been superseded by the FXhome HitFilm range. The company also produced a limited functionality version, EffectsLab Lite, containing just the Particle engine. A more extensive product, VisionLab Studio, combined the functionality of EffectsLab Pro and the company's CompositeLab Pro product with enhancements to both. == Effects Engines == The effects are generated by the program's effect engines: The Neon Light engine allows light beams to be drawn onto the video, allowing the generation of lightsaber-like weapons, neon lighting, fantasy glow effects and laser blasts. The Particle engine is used for particle effects, such as smoke, fire, explosions, and weather effects. The Muzzle Flash engine is designed for creating and animating muzzle flashes such as machine gun firing, tank blasts, etc. It's possible to rotate the created muzzle flash in 3D, making it the only engine with 3D use. The Optics engine is designed for creating artificial lens flares and light sources. It is useful for enhancing other light-based effects, and mimicking the distinctive flashes of light that accompany Star Wars' lightsaber battles. The Laser engine (introduced in EffectsLab Pro in late 2007) is designed as a simplified method of creating laser weapon effects, including the ability to add simulated perspective to the effect. == Presets == EffectsLab Pro allows the user to save the effects using presets. Since all effects are generated from settings in the different engines, it is fairly easy to generate an XML style description of the effect. It is also possible to share presets on FXhome's website.

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  Arattai

  Arattai Messenger (or simply Arattai) is an encrypted messaging service for instant messaging, voice calls, and video calls, developed by Zoho Corporation. The name Arattai means "chat" or "conversation" in Tamil. The app was soft-launched in January 2021. The app saw a sharp surge in downloads in September 2025, partially fueled by endorsements from Indian government officials. However, the app dropped from the top rankings in October 2025. == History == Arattai was initially tested internally among Zoho employees before being released publicly in early 2021. The launch coincided with a surge in interest for privacy-focused and messaging services, triggered by concerns over WhatsApp's updated terms of service. In September 2025, Arattai experienced a major surge in adoption, with daily sign-ups reportedly increasing 100-fold, from around 3,000 to more than 350,000 in three days. The surge in downloads was attributed to Zoho products being promoted by Indian government officials as part of their Make in India push for homegrown alternatives to foreign‐owned apps, amid deteriorating India–US relations. The growth temporarily strained Zoho's infrastructure, prompting rapid scaling of servers and capacity expansion. During the same period, the app reached the top position in Apple's App Store charts for the "Social Networking" category in India. The app dropped from the top ranking in late October 2025. == Reception == At launch, Arattai was positioned as a potential domestic rival to WhatsApp in India, but analysts noted that it faced challenges with encryption, ecosystem, and network effect. Critics pointed to occasional sync delays.

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  Gitter

  Gitter is an open-source instant messaging and chat room system for developers and users of GitLab and GitHub repositories. Gitter is provided as software as a service, with a free option providing all basic features and the ability to create a single private chat room, and paid subscription options for individuals and organisations, which allows them to create arbitrary numbers of private chat rooms. Individual chat rooms can be created for individual Git repositories on GitHub. Chatroom privacy follows the privacy settings of the associated GitHub repository: thus, a chatroom for a private (i.e. members-only) GitHub repository is also private to those with access to the repository. A graphical badge linking to the chat room can then be placed in the git repository's README file, bringing it to the attention of all users and developers of the project. Users can chat in the chat rooms, or access private chat rooms for repositories they have access to, by logging into Gitter via GitHub. Gitter is similar to Slack. Like Slack, it automatically logs all messages in the cloud. In late 2020, New Vector Limited acquired Gitter from GitLab, and announced Gitter's features would eventually be moved to New Vector's flagship product, Element, thereby replacing Gitter entirely. On February 13, 2023, Gitter migrated their service to a custom-branded Matrix instance that uses Element for its web interface. == Features prior to Migration to Matrix == Gitter supports: Notifications, which are batched up on mobile devices to avoid annoyance Inline media files Viewing and subscribing to ("starring") multiple chat rooms in one web browser tab Linking to individual files in the linked git repository Linking to GitHub issues (by typing # and then the issue number) in the linked Git repository, with hovercards showing the details of the issue GitHub-flavored Markdown in chat messages Online status for users User hovercards, based on their GitHub profiles and statistics (number of GitHub followers, etc.) Browsable and searchable message archives, grouped by month Connection from IRC clients Gitter on iOS support authentication using GitHub or Twitter === Integrations with non-GitHub sites and applications === Gitter integrates with Trello, Jenkins, Travis CI, Drone (software), Heroku, and Bitbucket, among others. === Apps === Official Gitter apps for Windows, Mac, Linux, iOS and Android are available. === Account registration === Like other chat technologies, Gitter allows clients to instant message each other. It allows people to authenticate using a GitHub account and join a chatroom from a web browser, thus not requiring one to install any software, or create additional online accounts. == History == Gitter was created by some developers who were initially trying to create a generic web-based chat product, but then wrote extra code to hook their chat application up to GitHub to meet their own needs, and realised that they could turn the combined product into a viable specialist product in its own right. Gitter came out of beta in 2014. During the beta period, Gitter delivered 1.8 million chat messages. On March 15, 2017, GitLab announced the acquisition of Gitter. Included in the announcement was the stated intent that Gitter would continue as a standalone project. It was published as open source under an MIT License as of June 2017. On September 30, 2020, New Vector Limited acquired Gitter from GitLab, and announced upcoming support for the Matrix protocol in Gitter, which went live by the end of the year. Gitter's features would eventually be moved to New Vector's flagship product, Element, thereby replacing Gitter entirely. On February 13, 2023, Gitter migrated their service to a custom-branded Matrix instance that uses Element for its web interface. == Implementation prior to Migration to Matrix == The Gitter web application is implemented entirely in JavaScript, with the back end being implemented on Node.js. The source code to the web application was formerly proprietary (it was open-sourced in June 2017), although Gitter had made numerous auxiliary projects available as open-source software, such as an IRC bridge for IRC users who prefer using IRC client applications (and their extra features) to converse in the Gitter chat rooms.

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  Clip Studio Paint

  Clip Studio Paint (previously marketed as Manga Studio in North America), informally known in Japan as Kurisuta (クリスタ), is a family of software applications developed by Japanese graphics software company Celsys. It is used for the digital creation of comics, general illustration, and 2D animation. The software is available in versions for macOS, Windows, iOS, iPadOS, Android, and ChromeOS. The program is widely used by amateur and professional comics creators, and animation studios. The application is sold in editions with varying feature sets. The full-featured edition is a page-based, layered drawing program, with support for bitmap and vector art, text, imported 3D models, and frame-by-frame animation. It is designed for use with a stylus and a graphics tablet or tablet computer. It has drawing tools which emulate natural media such as pencils, ink pens, and brushes, as well as patterns and decorations. It is distinguished from similar programs by features designed for creating comics: tools for creating panel layouts, perspective rulers, sketching, inking, applying tones and textures, coloring, and creating word balloons and captions. == History == The application has it origins in a program for macOS and Windows, released in Japan in 2001 as "Comic Studio". It was sold as "Manga Studio" in the Western market by E Frontier America until 2007, then by Smith Micro Software. Early versions were designed for creating black and white art with only spot color (a typical format for Japanese manga), with version 4 adding support for full-color art. Celsys developed Clip Studio Paint as a replacement for this product, based on the company's Illust Studio application, and it was released on May 31, 2012. It was initially distributed in Western markets as "Manga Studio 5", but in 2016, the branding was unified worldwide as "Clip Studio Paint". At this time, version 1.5.4 introduced a new file format (extension .clip) and frame-by-frame animation. In late 2017, Celsys took over direct support for the software worldwide, and ceased its relationship with Smith Micro. In July 2018, Celsys began a partnership with Graphixly for distribution in North America, South America, and Europe. Clip Studio Paint for the Apple iPad was introduced in November 2017, and for the iPhone in December 2019. Clip Studio Paint for Samsung Galaxy tablets and smartphones was released in August 2020 on the Galaxy Store, with versions for other Android devices and Chromebooks released in December. The Windows and macOS versions of the software have been sold and distributed either from the developer's web site or on DVD, and purchased either with a perpetual license or an ongoing subscription. The versions for iPhone, iPad, and Android-based devices are distributed through the corresponding app stores free of charge, but require a subscription – which includes cloud storage – for unrestricted use. Without a subscription, the tablet versions can be used only for a specified number of months, and the phone versions can be used only for 30 hours per month. From 2013 to 2023, regular updates for version 1 were distributed free of additional charge to both perpetual and subscription users. Since the release of version 2 in 2023, feature updates are included only in subscription plans and are available to perpetual licenses at an additional cost. Perpetual licenses can be upgraded permanently or with an annual "update pass". The "update pass" provides early access to features to be included in subsequent perpetual licenses for 12 months, after which the software reverts to the original license if not renewed. In March 2024, version 3 was released, and version 4 introduced additional features in March 2025. == Editions == Clip Studio Paint is available in three editions, with differing feature sets and prices: Debut (bundle-only grade), Pro (adding support for vector-based drawing, custom textures, and comics-focused features), and EX (adding support for multi-page documents, book exporting, and 2D animation). Companion programs include Clip Studio (for managing and sharing digital assets distributed through the Clip Studio web site, managing licenses, and getting updates and support) and Clip Studio Modeler (for setting up 3D materials to use in Clip Studio Paint).

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  Pulse-coupled networks

  Pulse-coupled networks or pulse-coupled neural networks (PCNNs) are neural models proposed by modeling a cat's visual cortex, and developed for high-performance biomimetic image processing. In 1989, Eckhorn introduced a neural model to emulate the mechanism of cat's visual cortex. The Eckhorn model provided a simple and effective tool for studying small mammal’s visual cortex, and was soon recognized as having significant application potential in image processing. In 1994, Johnson adapted the Eckhorn model to an image processing algorithm, calling this algorithm a pulse-coupled neural network. The basic property of the Eckhorn's linking-field model (LFM) is the coupling term. LFM is a modulation of the primary input by a biased offset factor driven by the linking input. These drive a threshold variable that decays from an initial high value. When the threshold drops below zero it is reset to a high value and the process starts over. This is different than the standard integrate-and-fire neural model, which accumulates the input until it passes an upper limit and effectively "shorts out" to cause the pulse. LFM uses this difference to sustain pulse bursts, something the standard model does not do on a single neuron level. It is valuable to understand, however, that a detailed analysis of the standard model must include a shunting term, due to the floating voltages level in the dendritic compartment(s), and in turn this causes an elegant multiple modulation effect that enables a true higher-order network (HON). A PCNN is a two-dimensional neural network. Each neuron in the network corresponds to one pixel in an input image, receiving its corresponding pixel's color information (e.g. intensity) as an external stimulus. Each neuron also connects with its neighboring neurons, receiving local stimuli from them. The external and local stimuli are combined in an internal activation system, which accumulates the stimuli until it exceeds a dynamic threshold, resulting in a pulse output. Through iterative computation, PCNN neurons produce temporal series of pulse outputs. The temporal series of pulse outputs contain information of input images and can be used for various image processing applications, such as image segmentation and feature generation. Compared with conventional image processing means, PCNNs have several significant merits, including robustness against noise, independence of geometric variations in input patterns, capability of bridging minor intensity variations in input patterns, etc. A simplified PCNN called a spiking cortical model was developed in 2009. == Applications == PCNNs are useful for image processing, as discussed in a book by Thomas Lindblad and Jason M. Kinser. PCNNs have been used in a variety of image processing applications, including: image segmentation, pattern recognition, feature generation, face extraction, motion detection, region growing, image denoising and image enhancement Multidimensional pulse image processing of chemical structure data using PCNN has been discussed by Kinser, et al. They have also been applied to an all pairs shortest path problem.

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  Richardson–Lucy deconvolution

  The Richardson–Lucy algorithm, also known as Lucy–Richardson deconvolution, is an iterative procedure for recovering an underlying image that has been blurred by a known point spread function. It was named after William Richardson and Leon B. Lucy, who described it independently. == Description == When an image is produced using an optical system and detected using photographic film, a charge-coupled device or a CMOS sensor, for example, it is inevitably blurred, with an ideal point source not appearing as a point but being spread out into what is known as the point spread function. Extended sources can be decomposed into the sum of many individual point sources, thus the observed image can be represented in terms of a transition matrix p operating on an underlying image: d i = ∑ j p i , j u j , {\displaystyle d_{i}=\sum _{j}p_{i,j}u_{j},} where u j {\displaystyle u_{j}} is the intensity of the underlying image at pixel j {\displaystyle j} , and d i {\displaystyle d_{i}} is the detected intensity at pixel i {\displaystyle i} . In general, a matrix whose elements are p i , j {\displaystyle p_{i,j}} describes the portion of light from source pixel j that is detected in pixel i. In most good optical systems (or in general, linear systems that are described as shift-invariant) the transfer function p can be expressed simply in terms of the spatial offset between the source pixel j and the observation pixel i: p i , j = P ( i − j ) , {\displaystyle p_{i,j}=P(i-j),} where P ( Δ i ) {\displaystyle P(\Delta i)} is called a point spread function. In that case the above equation becomes a convolution. This has been written for one spatial dimension, but most imaging systems are two-dimensional, with the source, detected image, and point spread function all having two indices. So a two-dimensional detected image is a convolution of the underlying image with a two-dimensional point spread function P ( Δ x , Δ y ) {\displaystyle P(\Delta x,\Delta y)} plus added detection noise. In order to estimate u j {\displaystyle u_{j}} given the observed d i {\displaystyle d_{i}} and a known P ( Δ i x , Δ j y ) {\displaystyle P(\Delta i_{x},\Delta j_{y})} , the following iterative procedure is employed in which the estimate of u j {\displaystyle u_{j}} (called u ^ j ( t ) {\displaystyle {\hat {u}}_{j}^{(t)}} ) for iteration number t is updated as follows: u ^ j ( t + 1 ) = u ^ j ( t ) ∑ i d i c i p i j , {\displaystyle {\hat {u}}_{j}^{(t+1)}={\hat {u}}_{j}^{(t)}\sum _{i}{\frac {d_{i}}{c_{i}}}p_{ij},} where c i = ∑ j p i j u ^ j ( t ) , {\displaystyle c_{i}=\sum _{j}p_{ij}{\hat {u}}_{j}^{(t)},} and ∑ j p i j = 1 {\displaystyle \sum _{j}p_{ij}=1} is assumed. It has been shown empirically that if this iteration converges, it converges to the maximum likelihood solution for u j {\displaystyle u_{j}} . Writing this more generally for two (or more) dimensions in terms of convolution with a point spread function P: u ^ ( t + 1 ) = u ^ ( t ) ⋅ ( d u ^ ( t ) ⊗ P ⊗ P ∗ ) , {\displaystyle {\hat {u}}^{(t+1)}={\hat {u}}^{(t)}\cdot \left({\frac {d}{{\hat {u}}^{(t)}\otimes P}}\otimes P^{}\right),} where the division and multiplication are element-wise, ⊗ {\displaystyle \otimes } indicates a 2D convolution, and P ∗ {\displaystyle P^{}} is the mirrored point spread function, or the inverse Fourier transform of the Hermitian transpose of the optical transfer function. In problems where the point spread function p i j {\displaystyle p_{ij}} is not known a priori, a modification of the Richardson–Lucy algorithm has been proposed, in order to accomplish blind deconvolution. == Derivation == In the context of fluorescence microscopy, the probability of measuring a set of number of photons (or digitalization counts proportional to detected light) m = [ m 0 , … , m K ] {\displaystyle \mathbf {m} =[m_{0},\dots ,m_{K}]} for expected values E = [ E 0 , … , E K ] {\displaystyle \mathbf {E} =[E_{0},\dots ,E_{K}]} for a detector with K + 1 {\displaystyle K+1} pixels is given by P ( m ∣ E ) = ∏ i K Poisson ⁡ ( E i ) = ∏ i K E i m i e − E i m i ! . {\displaystyle P(\mathbf {m} \mid \mathbf {E} )=\prod _{i}^{K}\operatorname {Poisson} (E_{i})=\prod _{i}^{K}{\frac {E_{i}^{m_{i}}e^{-E_{i}}}{m_{i}!}}.} Since in the context of maximum-likelihood estimation the aim is to locate the maximum of the likelihood function without concern for its absolute value, it is convenient to work with ln ⁡ ( P ) {\displaystyle \ln(P)} : ln ⁡ P ( m ∣ E ) = ∑ i K [ ( m i ln ⁡ E i − E i ) − ln ⁡ ( m i ! ) ] . {\displaystyle \ln P(\mathbf {m} \mid \mathbf {E} )=\sum _{i}^{K}[(m_{i}\ln E_{i}-E_{i})-\ln(m_{i}!)].} Moreover, since ln ⁡ ( m i ! ) {\displaystyle \ln(m_{i}!)} is a constant, it does not give any additional information regarding the position of the maximum, so consider α ( m ∣ E ) = ∑ i K [ m i ln ⁡ E i − E i ] , {\displaystyle \alpha (\mathbf {m} \mid \mathbf {E} )=\sum _{i}^{K}[m_{i}\ln E_{i}-E_{i}],} where α {\displaystyle \alpha } is something that shares the same maximum position as P ( m ∣ E ) {\displaystyle P(\mathbf {m} \mid \mathbf {E} )} . Now consider that E {\displaystyle \mathbf {E} } comes from a ground truth x {\displaystyle \mathbf {x} } and a measurement H {\displaystyle \mathbf {H} } which is assumed to be linear. Then E = H x , {\displaystyle \mathbf {E} =\mathbf {H} \mathbf {x} ,} where a matrix multiplication is implied. This can also be written in the form E m = ∑ n K H m n x n , {\displaystyle E_{m}=\sum _{n}^{K}H_{mn}x_{n},} where it can be seen how H {\displaystyle H} mixes or blurs the ground truth. It can also be shown that the derivative of an element of E {\displaystyle \mathbf {E} } , ( E i ) {\displaystyle (E_{i})} with respect to some other element of x j {\displaystyle x_{j}} can be written as It is easy to see this by writing a matrix H {\displaystyle \mathbf {H} } of, say, 5 × 5 and two arrays E {\displaystyle \mathbf {E} } and x {\displaystyle \mathbf {x} } of 5 elements and check it. This last equation can be interpreted as how much one element of x {\displaystyle \mathbf {x} } , say element i {\displaystyle i} , influences the other elements j ≠ i {\displaystyle j\neq i} (and of course the case i = j {\displaystyle i=j} is also taken into account). For example, in a typical case an element of the ground truth x {\displaystyle \mathbf {x} } will influence nearby elements in E {\displaystyle \mathbf {E} } but not the very distant ones (a value of 0 {\displaystyle 0} is expected on those matrix elements). Now, the key and arbitrary step: x {\displaystyle \mathbf {x} } is not known but may be estimated by x ^ {\displaystyle {\hat {\mathbf {x} }}} . Let's call x ^ old {\displaystyle {\hat {\mathbf {x} }}_{\text{old}}} and x ^ new {\displaystyle {\hat {\mathbf {x} }}_{\text{new}}} the estimated ground truths while using the RL algorithm, where the hat symbol is used to distinguish ground truth from estimator of the ground truth where ∂ ∂ x {\displaystyle {\frac {\partial }{\partial \mathbf {x} }}} stands for a K {\displaystyle K} -dimensional gradient. Performing the partial derivative of α ( m ∣ E ( x ) ) {\displaystyle \alpha (\mathbf {m} \mid \mathbf {E} (\mathbf {x} ))} yields the following expression: ∂ α ( m ∣ E ( x ) ) ∂ x j = ∂ ∂ x j ∑ i K [ m i ln ⁡ E i − E i ] = ∑ i K [ m i E i ∂ ∂ x j E i − ∂ ∂ x j E i ] = ∑ i K ∂ E i ∂ x j [ m i E i − 1 ] . {\displaystyle {\frac {\partial \alpha (\mathbf {m} \mid \mathbf {E} (\mathbf {x} ))}{\partial x_{j}}}={\frac {\partial }{\partial x_{j}}}\sum _{i}^{K}[m_{i}\ln E_{i}-E_{i}]=\sum _{i}^{K}\left[{\frac {m_{i}}{E_{i}}}{\frac {\partial }{\partial x_{j}}}E_{i}-{\frac {\partial }{\partial x_{j}}}E_{i}\right]=\sum _{i}^{K}{\frac {\partial E_{i}}{\partial x_{j}}}\left[{\frac {m_{i}}{E_{i}}}-1\right].} By substituting (1), it follows that ∂ α ( m ∣ E ( x ) ) ∂ x j = ∑ i K H i j [ m i E i − 1 ] . {\displaystyle {\frac {\partial \alpha (\mathbf {m} \mid \mathbf {E} (\mathbf {x} ))}{\partial x_{j}}}=\sum _{i}^{K}H_{ij}\left[{\frac {m_{i}}{E_{i}}}-1\right].} Note that H j i T = H i j {\displaystyle H_{ji}^{T}=H_{ij}} by the definition of a matrix transpose. And hence Since this equation is true for all j {\displaystyle j} spanning all the elements from 1 {\displaystyle 1} to K {\displaystyle K} , these K {\displaystyle K} equations may be compactly rewritten as a single vectorial equation ∂ α ( m ∣ E ( x ) ) ∂ x = H T [ m E − 1 ] , {\displaystyle {\frac {\partial \alpha (\mathbf {m} \mid \mathbf {E} (\mathbf {x} ))}{\partial \mathbf {x} }}=\mathbf {H} ^{T}\left[{\frac {\mathbf {m} }{\mathbf {E} }}-\mathbf {1} \right],} where H T {\displaystyle \mathbf {H} ^{T}} is a matrix, and m {\displaystyle \mathbf {m} } , E {\displaystyle \mathbf {E} } and 1 {\displaystyle \mathbf {1} } are vectors. Now, as a seemingly arbitrary but key step, let where 1 {\displaystyle \mathbf {1} } is a vector of ones of size K {\displaystyle K} (same as m {\displaystyle \mathbf {m} } , E {\displaystyle \mathbf {E} } and x {\displaystyle \mathbf {x} } ), and the d

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  Inferential theory of learning

  Inferential Theory of Learning (ITL) is an area of machine learning which describes inferential processes performed by learning agents. ITL has been continuously developed by Ryszard S. Michalski, starting in the 1980s. The first known publication of ITL was in 1983. In the ITL learning process is viewed as a search (inference) through hypotheses space guided by a specific goal. The results of learning need to be stored. Stored information will later be used by the learner for future inferences. Inferences are split into multiple categories including conclusive, deduction, and induction. In order for an inference to be considered complete it was required that all categories must be taken into account. This is how the ITL varies from other machine learning theories like Computational Learning Theory and Statistical Learning Theory; which both use singular forms of inference. == Usage == The most relevant published usage of ITL was in scientific journal published in 2012 and used ITL as a way to describe how agent-based learning works. According to the journal "The Inferential Theory of Learning (ITL) provides an elegant way of describing learning processes by agents".

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  Find It, Fix It

  Find It, Fix It is a mobile app developed by the city of Seattle to report non-emergency issues. == History == The City of Seattle launched Find It, Fix It in 2013 for Android and iOS phones to let citizens report potholes, graffiti, and other problems they observe to the city. The app did not support Windows Phone, making it inaccessible to Microsoft employees in the city who used the company's then-supported mobile operating system. In 2015, Mayor Ed Murray led a Find It, Fix It walk with about 100 other people, including police officers, in the University District. Participants were encouraged to use the app to report problems they observed in the neighborhood. Later Find It, Fix It walks have taken place in neighborhoods including Crown Hill, First Hill, Belltown, Wallingford, and Highland Park. In 2020, Find It, Fix It added support for reporting issues with the dockless bicycle sharing systems in the city. Citing the success of Seattle’s app, the nearby city of Kent, Washington, announced that it would create a similar customer service app. == Usage == Users of Find It, Fix It can submit reports about graffiti, potholes, parking violations, broken street signs, and other issues. The app is designed to use a smartphone’s camera and GPS features to make it easier for users to file reports. The Atlantic reported in 2018 that Find It, Fix It was being used by neighborhood groups to report homeless encampments with the intention of having authorities remove them, citing examples of campaigns in Ravenna and Ballard. The executive director of Ballard Alliance, a local chamber of commerce for businesses in the neighborhood, used a private Facebook group to encourage business owners to use the app to report homeless encampments. In response to a poster campaign in the summer of 2019 with the slogan “See a tent? Report a tent”, a representative for the mayor’s office and two Seattle City Council members said that it was inappropriate to encourage use of Find It, Fix It to displace homeless people. As a backlash to these campaigns, people living far from Seattle filed hoax complaints using the app, such as by using photos of tents on display at REI stores. According to the Seattle Times, between January 1, 2020, and November 15, 2021, the city had received over 230,000 service requests, of which 77% were submitted via Find It, Fix It. The largest category of these, numbering over 55,000, concerned illegal dumping. Of complaints categorized as "parking", 3,000 had comments explicitly mentioning issues around homelessness. The ZIP code 98134, covering an industrial area south of Pioneer Square and north of Georgetown, had 5,559 service requests per 1,000 residents, by far the highest in the city.

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  Exposure Notification

  The (Google/Apple) Exposure Notification System (GAEN) is a framework and protocol specification developed by Apple Inc. and Google to facilitate digital contact tracing during the COVID-19 pandemic. When used by health authorities, it augments more traditional contact tracing techniques by automatically logging close approaches among notification system users using Android or iOS smartphones. Exposure Notification is a decentralized reporting protocol built on a combination of Bluetooth Low Energy technology and privacy-preserving cryptography. It is an opt-in feature within COVID-19 apps developed and published by authorized health authorities. Unveiled on April 10, 2020, it was made available on iOS on May 20, 2020, as part of the iOS 13.5 update and on December 14, 2020, as part of the iOS 12.5 update for older iPhones. On Android, it was added to devices via a Google Play Services update, supporting all versions since Android Marshmallow. The Apple/Google protocol is similar to the Decentralized Privacy-Preserving Proximity Tracing (DP-3T) protocol created by the European DP-3T consortium and the Temporary Contact Number (TCN) protocol by Covid Watch, but is implemented at the operating system level, which allows for more efficient operation as a background process. Since May 2020, a variant of the DP-3T protocol is supported by the Exposure Notification Interface. Other protocols are constrained in operation because they are not privileged over normal apps. This leads to issues, particularly on iOS devices where digital contact tracing apps running in the background experience significantly degraded performance. The joint approach is also designed to maintain interoperability between Android and iOS devices, which constitute nearly all of the market. The ACLU stated the approach "appears to mitigate the worst privacy and centralization risks, but there is still room for improvement". In late April, Google and Apple shifted the emphasis of the naming of the system, describing it as an "exposure notification service", rather than "contact tracing" system. == Technical specification == Digital contact tracing protocols typically have two major responsibilities: encounter logging and infection reporting. Exposure Notification only involves encounter logging which is a decentralized architecture. The majority of infection reporting is centralized in individual app implementations. To handle encounter logging, the system uses Bluetooth Low Energy to send tracking messages to nearby devices running the protocol to discover encounters with other people. The tracking messages contain unique identifiers that are encrypted with a secret daily key held by the sending device. These identifiers change every 15–20 minutes as well as Bluetooth MAC address in order to prevent tracking of clients by malicious third parties through observing static identifiers over time. The sender's daily encryption keys are generated using a random number generator. Devices record received messages, retaining them locally for 14 days. If a user tests positive for infection, the last 14 days of their daily encryption keys can be uploaded to a central server, where it is then broadcast to all devices on the network. The method through which daily encryption keys are transmitted to the central server and broadcast is defined by individual app developers. The Google-developed reference implementation calls for a health official to request a one-time verification code (VC) from a verification server, which the user enters into the encounter logging app. This causes the app to obtain a cryptographically signed certificate, which is used to authorize the submission of keys to the central reporting server. The received keys are then provided to the protocol, where each client individually searches for matches in their local encounter history. If a match meeting certain risk parameters is found, the app notifies the user of potential exposure to the infection. Google and Apple intend to use the received signal strength (RSSI) of the beacon messages as a source to infer proximity. RSSI and other signal metadata will also be encrypted to resist deanonymization attacks. === Version 1.0 === To generate encounter identifiers, first a persistent 32-byte private Tracing Key ( t k {\displaystyle tk} ) is generated by a client. From this a 16 byte Daily Tracing Key is derived using the algorithm d t k i = H K D F ( t k , N U L L , 'CT-DTK' | | D i , 16 ) {\displaystyle dtk_{i}=HKDF(tk,NULL,{\text{'CT-DTK'}}||D_{i},16)} , where H K D F ( Key, Salt, Data, OutputLength ) {\displaystyle HKDF({\text{Key, Salt, Data, OutputLength}})} is a HKDF function using SHA-256, and D i {\displaystyle D_{i}} is the day number for the 24-hour window the broadcast is in starting from Unix Epoch Time. These generated keys are later sent to the central reporting server should a user become infected. From the daily tracing key a 16-byte temporary Rolling Proximity Identifier is generated every 10 minutes with the algorithm R P I i , j = Truncate ( H M A C ( d t k i , 'CT-RPI' | | T I N j ) , 16 ) {\displaystyle RPI_{i,j}={\text{Truncate}}(HMAC(dtk_{i},{\text{'CT-RPI'}}||TIN_{j}),16)} , where H M A C ( Key, Data ) {\displaystyle HMAC({\text{Key, Data}})} is a HMAC function using SHA-256, and T I N j {\displaystyle TIN_{j}} is the time interval number, representing a unique index for every 10 minute period in a 24-hour day. The Truncate function returns the first 16 bytes of the HMAC value. When two clients come within proximity of each other they exchange and locally store the current R P I i , j {\displaystyle RPI_{i,j}} as the encounter identifier. Once a registered health authority has confirmed the infection of a user, the user's Daily Tracing Key for the past 14 days is uploaded to the central reporting server. Clients then download this report and individually recalculate every Rolling Proximity Identifier used in the report period, matching it against the user's local encounter log. If a matching entry is found, then contact has been established and the app presents a notification to the user warning them of potential infection. === Version 1.1 === Unlike version 1.0 of the protocol, version 1.1 does not use a persistent tracing key, rather every day a new random 16-byte Temporary Exposure Key ( t e k i {\displaystyle tek_{i}} ) is generated. This is analogous to the daily tracing key from version 1.0. Here i {\displaystyle i} denotes the time is discretized in 10 minute intervals starting from Unix Epoch Time. From this two 128-bit keys are calculated, the Rolling Proximity Identifier Key ( R P I K i {\displaystyle RPIK_{i}} ) and the Associated Encrypted Metadata Key ( A E M K i {\displaystyle AEMK_{i}} ). R P I K i {\displaystyle RPIK_{i}} is calculated with the algorithm R P I K i = H K D F ( t e k i , N U L L , 'EN-RPIK' , 16 ) {\displaystyle RPIK_{i}=HKDF(tek_{i},NULL,{\text{'EN-RPIK'}},16)} , and A E M K i {\displaystyle AEMK_{i}} using the algorithm A E M K i = H K D F ( t e k i , N U L L , 'EN-AEMK' , 16 ) {\displaystyle AEMK_{i}=HKDF(tek_{i},NULL,{\text{'EN-AEMK'}},16)} . From these values a temporary Rolling Proximity Identifier ( R P I i , j {\displaystyle RPI_{i,j}} ) is generated every time the BLE MAC address changes, roughly every 15–20 minutes. The following algorithm is used: R P I i , j = A E S 128 ( R P I K i , 'EN-RPI' | | 0 x 000000000000 | | E N I N j ) {\displaystyle RPI_{i,j}=AES128(RPIK_{i},{\text{'EN-RPI'}}||{\mathtt {0x000000000000}}||ENIN_{j})} , where A E S 128 ( Key, Data ) {\displaystyle AES128({\text{Key, Data}})} is an AES cryptography function with a 128-bit key, the data is one 16-byte block, j {\displaystyle j} denotes the Unix Epoch Time at the moment the roll occurs, and E N I N j {\displaystyle ENIN_{j}} is the corresponding 10-minute interval number. Next, additional Associated Encrypted Metadata is encrypted. What the metadata represents is not specified, likely to allow the later expansion of the protocol. The following algorithm is used: Associated Encrypted Metadata i , j = A E S 128 _ C T R ( A E M K i , R P I i , j , Metadata ) {\displaystyle {\text{Associated Encrypted Metadata}}_{i,j}=AES128\_CTR(AEMK_{i},RPI_{i,j},{\text{Metadata}})} , where A E S 128 _ C T R ( Key, IV, Data ) {\displaystyle AES128\_CTR({\text{Key, IV, Data}})} denotes AES encryption with a 128-bit key in CTR mode. The Rolling Proximity Identifier and the Associated Encrypted Metadata are then combined and broadcast using BLE. Clients exchange and log these payloads. Once a registered health authority has confirmed the infection of a user, the user's Temporary Exposure Keys t e k i {\displaystyle tek_{i}} and their respective interval numbers i {\displaystyle i} for the past 14 days are uploaded to the central reporting server. Clients then download this report and individually recalculate every Rolling Proximity Identifier starting from interval number i {\displaystyle i} ,

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