AI Detector Humanize

AI Detector Humanize — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Microsoft Sway

Microsoft Sway is a presentation program and is part of the Microsoft 365 family of products. Sway was offered for general release by Microsoft in August 2015. It allows users who have a Microsoft account to combine text and media to create a presentable website. Users can pull content locally from the device in use, or from internet sources such as Bing, Facebook, OneDrive, and YouTube. Sway is distinguished from Microsoft FrontPage and Microsoft Expression Web – unrelated web design programs previously developed by Microsoft – in that Sway includes a method for hosting sites. Sway sites are stored on Microsoft's servers and are tied to the user's Microsoft account. They can be viewed and edited from any web browser through Office on the web. There is no offline editing or viewing function, but sites can be accessed using the app for Windows, and formerly iOS. == History == Sway was developed internally by Microsoft. In late 2014, the company announced an invite-only preview version of Sway and announced that Sway would not require an Office 365 subscription. An iOS app was released as a preview on 31 October 2014, but was discontinued on 17 December 2018 due to low usage. As of July 17, 2021, the Sway iOS app's discontinuance in 2018 was the last piece of news posted in the Sway tech blog. The Sway feature blog has not received an update since April 2017. The Microsoft Office Roadmap did not include any items related to Sway ever since. The iOS application is no longer under active development, and is not available for download. Since 2023, Microsoft has been consolidating the domains of its Microsoft 365 apps and services under cloud.microsoft. By 2025, the vast majority of services, including Sway, have already migrated to the cloud.microsoft domain. == Features == Users are able to add content from various sources into their Sway presentations. Some of the integrated services are owned by Microsoft, including OneNote, Bing, and other Sway sites. The program also provides native integration with other services, including YouTube, Facebook, Twitter, Mixcloud, and Infogram.
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Generative art

Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu
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Data remanence

Data remanence is the residual representation of digital data that remains even after attempts have been made to remove or erase the data. This residue may result from data being left intact by a nominal file deletion operation, by reformatting of storage media that does not remove data previously written to the media, or through physical properties of the storage media that allow previously written data to be recovered. Data remanence may make inadvertent disclosure of sensitive information possible should the storage media be released into an uncontrolled environment (e.g., thrown in refuse containers or lost). Various techniques have been developed to counter data remanence. These techniques are classified as clearing, purging/sanitizing, or destruction. Specific methods include overwriting, degaussing, encryption, and media destruction. Effective application of countermeasures can be complicated by several factors, including media that are inaccessible, media that cannot effectively be erased, advanced storage systems that maintain histories of data throughout the data's life cycle, and persistence of data in memory that is typically considered volatile. Several standards exist for the secure removal of data and the elimination of data remanence. == Causes == Many operating systems, file managers, and other software provide a facility where a file is not immediately deleted when the user requests that action. Instead, the file is moved to a holding area (i.e. the "trash"), making it easy for the user to undo a mistake. Similarly, many software products automatically create backup copies of files that are being edited, to allow the user to restore the original version, or to recover from a possible crash (autosave feature). Even when an explicit deleted file retention facility is not provided or when the user does not use it, operating systems do not actually remove the contents of a file when it is deleted unless they are aware that explicit erasure commands are required, like on a solid-state drive. (In such cases, the operating system will issue the Serial ATA TRIM command or the SCSI UNMAP command to let the drive know to no longer maintain the deleted data.) Instead, they simply remove the file's entry from the file system directory because this requires less work and is therefore faster, and the contents of the file—the actual data—remain on the storage medium. The data will remain there until the operating system reuses the space for new data. In some systems, enough filesystem metadata are also left behind to enable easy undeletion by commonly available utility software. Even when undelete has become impossible, the data, until it has been overwritten, can be read by software that reads disk sectors directly. Computer forensics often employs such software. Likewise, reformatting, repartitioning, or reimaging a system is unlikely to write to every area of the disk, though all will cause the disk to appear empty or, in the case of reimaging, empty except for the files present in the image, to most software. Finally, even when the storage media is overwritten, physical properties of the media may permit recovery of the previous contents. In most cases however, this recovery is not possible by just reading from the storage device in the usual way, but requires using laboratory techniques such as disassembling the device and directly accessing/reading from its components. § Complications below gives further explanations for causes of data remanence. == Countermeasures == There are three levels commonly recognized for eliminating remnant data: === Clearing === Clearing is the removal of sensitive data from storage devices in such a way that there is assurance that the data may not be reconstructed using normal system functions or software file/data recovery utilities. The data may still be recoverable, but not without special laboratory techniques. Clearing is typically an administrative protection against accidental disclosure within an organization. For example, before a hard drive is re-used within an organization, its contents may be cleared to prevent their accidental disclosure to the next user. === Purging === Purging or sanitizing is the physical rewrite of sensitive data from a system or storage device done with the specific intent of rendering the data unrecoverable at a later time. Purging, proportional to the sensitivity of the data, is generally done before releasing media beyond control, such as before discarding old media, or moving media to a computer with different security requirements. === Destruction === The storage media is made unusable for conventional equipment. Effectiveness of destroying the media varies by medium and method. Depending on recording density of the media, and/or the destruction technique, this may leave data recoverable by laboratory methods. Conversely, destruction using appropriate techniques is the most secure method of preventing retrieval. == Specific methods == === Overwriting === A common method used to counter data remanence is to overwrite the storage media with new data. This is often called wiping or shredding a disk or file, by analogy to common methods of destroying print media, although the mechanism bears no similarity to these. Because such a method can often be implemented in software alone, and may be able to selectively target only part of the media, it is a popular, low-cost option for some applications. Overwriting is generally an acceptable method of clearing, as long as the media is writable and not damaged. The simplest overwrite technique writes the same data everywhere—often just a pattern of all zeros. At a minimum, this will prevent the data from being retrieved simply by reading from the media again using standard system functions. The UEFI in modern machines may offer an ATA class disk erase function as well. The ATA-6 standard governs secure erases specifications. Bitlocker is whole disk encryption and illegible without the key. Writing a fresh GPT allows a new file system to be established. Blocks will set empty but LBA read is illegible. New data will be unaffected and work fine. In an attempt to counter more advanced data recovery techniques, specific overwrite patterns and multiple passes have often been prescribed. These may be generic patterns intended to eradicate any trace signatures; an example is the seven-pass pattern 0xF6, 0x00, 0xFF, , 0x00, 0xFF, , sometimes erroneously attributed to US standard DOD 5220.22-M. One challenge with overwriting is that some areas of the disk may be inaccessible, due to media degradation or other errors. Software overwrite may also be problematic in high-security environments, which require stronger controls on data commingling than can be provided by the software in use. The use of advanced storage technologies may also make file-based overwrite ineffective (see the related discussion below under § Complications). There are specialized machines and software that are capable of doing overwriting. The software can sometimes be a standalone operating system specifically designed for data destruction. There are also machines specifically designed to wipe hard drives to the department of defense specifications DOD 5220.22-M. Writing zero to each block on hard disks and SSDs has the advantage of affording the firmware to deploy spare blocks when bad blocks are identified. Bitlocker has the advantage that data is illegible without the key. Seatools and other tools can erase disks with zero which is typical to revive old consumer class disks but they can wipe server disks albeit slowly. Modern 28TB and larger disks have an enormous number of LBA48 blocks. 40TB and 60TB disks will take proportionately longer times to wipe. ==== Feasibility of recovering overwritten data ==== Peter Gutmann investigated data recovery from nominally overwritten media in the mid-1990s. He suggested magnetic force microscopy may be able to recover such data, and developed specific patterns, for specific drive technologies, designed to counter such. These patterns have come to be known as the Gutmann method. Gutmann's belief in the possibility of data recovery is based on many questionable assumptions and factual errors that indicate a low level of understanding of how hard drives work. Daniel Feenberg, an economist at the private National Bureau of Economic Research, claims that the chances of overwritten data being recovered from a modern hard drive amount to "urban legend". He also points to the "18+1⁄2-minute gap" Rose Mary Woods created on a tape of Richard Nixon discussing the Watergate break-in. Erased information in the gap has not been recovered, and Feenberg claims doing so would be an easy task compared to recovery of a modern high density digital signal. As of November 2007, the United States Department of Defense considers overwriting acceptable for clearing magnetic media within the same security area/
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Render layers

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

Super-resolution optical fluctuation imaging (SOFI) is a post-processing method for the calculation of super-resolved images from recorded image time series that is based on the temporal correlations of independently fluctuating fluorescent emitters. SOFI has been developed for super-resolution of biological specimen that are labelled with independently fluctuating fluorescent emitters (organic dyes, fluorescent proteins). In comparison to other super-resolution microscopy techniques such as STORM or PALM that rely on single-molecule localization and hence only allow one active molecule per diffraction-limited area (DLA) and timepoint, SOFI does not necessitate a controlled photoswitching and/ or photoactivation as well as long imaging times. Nevertheless, it still requires fluorophores that are cycling through two distinguishable states, either real on-/off-states or states with different fluorescence intensities. In mathematical terms SOFI-imaging relies on the calculation of cumulants, for what two distinguishable ways exist. For one thing an image can be calculated via auto-cumulants that by definition only rely on the information of each pixel itself, and for another thing an improved method utilizes the information of different pixels via the calculation of cross-cumulants. Both methods can increase the final image resolution significantly although the cumulant calculation has its limitations. Actually SOFI is able to increase the resolution in all three dimensions. == Principle == Likewise to other super-resolution methods SOFI is based on recording an image time series on a CCD- or CMOS camera. In contrary to other methods the recorded time series can be substantially shorter, since a precise localization of emitters is not required and therefore a larger quantity of activated fluorophores per diffraction-limited area is allowed. The pixel values of a SOFI-image of the n-th order are calculated from the values of the pixel time series in the form of a n-th order cumulant, whereas the final value assigned to a pixel can be imagined as the integral over a correlation function. The finally assigned pixel value intensities are a measure of the brightness and correlation of the fluorescence signal. Mathematically, the n-th order cumulant is related to the n-th order correlation function, but exhibits some advantages concerning the resulting resolution of the image. Since in SOFI several emitters per DLA are allowed, the photon count at each pixel results from the superposition of the signals of all activated nearby emitters. The cumulant calculation now filters the signal and leaves only highly correlated fluctuations. This provides a contrast enhancement and therefore a background reduction for good measure. As it is implied in the figure on the left the fluorescence source distribution: ∑ k = 1 N δ ( r → − r → k ) ⋅ ε k ⋅ s k ( t ) {\displaystyle \sum _{k=1}^{N}\delta ({\vec {r}}-{\vec {r}}_{k})\cdot \varepsilon _{k}\cdot s_{k}(t)} is convolved with the system's point spread function (PSF) U(r). Hence the fluorescence signal at time t and position r → {\displaystyle {\vec {r}}} is given by F ( r → , t ) = ∑ k = 1 N U ( r → − r → k ) ⋅ ε k ⋅ s k ( t ) . {\displaystyle F({\vec {r}},t)=\sum _{k=1}^{N}U({\vec {r}}-{\vec {r}}_{k})\cdot \varepsilon _{k}\cdot s_{k}(t).} Within the above equations N is the amount of emitters, located at the positions r → k {\displaystyle {\vec {r}}_{k}} with a time-dependent molecular brightness ε k ⋅ s k {\displaystyle \varepsilon _{k}\cdot s_{k}} where ε k {\displaystyle \varepsilon _{k}} is a variable for the constant molecular brightness and s k ( t ) {\displaystyle s_{k}(t)} is a time-dependent fluctuation function. The molecular brightness is just the average fluorescence count-rate divided by the number of molecules within a specific region. For simplification it has to be assumed that the sample is in a stationary equilibrium and therefore the fluorescence signal can be expressed as a zero-mean fluctuation: δ F ( r → , t ) = F ( r → , t ) − ⟨ F ( r → , t ) ⟩ t {\displaystyle \delta F({\vec {r}},t)=F({\vec {r}},t)-\langle F({\vec {r}},t)\rangle _{t}} where ⟨ ⋯ ⟩ t {\displaystyle \langle \cdots \rangle _{t}} denotes time-averaging. The auto-correlation here e.g. the second-order can then be described deductively as follows for a certain time-lag τ {\displaystyle \tau } : δ F ( r → , t ) = ⟨ δ F ( r → , t + τ ) ⋅ δ F ( r → , t ) ⟩ t {\displaystyle \delta F({\vec {r}},t)=\langle \delta F({\vec {r}},t+\tau )\cdot \delta F({\vec {r}},t)\rangle _{t}} From these equations it follows that the PSF of the optical system has to be taken to the power of the order of the correlation. Thus in a second-order correlation the PSF would be reduced along all dimensions by a factor of 2 {\displaystyle {\sqrt {2}}} . As a result, the resolution of the SOFI-images increases according to this factor. === Cumulants versus correlations === Using only the simple correlation function for a reassignment of pixel values, would ascribe to the independency of fluctuations of the emitters in time in a way that no cross-correlation terms would contribute to the new pixel value. Calculations of higher-order correlation functions would suffer from lower-order correlations for what reason it is superior to calculate cumulants, since all lower-order correlation terms vanish. == Cumulant-calculation == === Auto-cumulants === For computational reasons it is convenient to set all time-lags in higher-order cumulants to zero so that a general expression for the n-th order auto-cumulant can be found: A C n ( r → , τ 1 … n − 1 = 0 ) = ∑ k = 1 N U n ( r → − r → k ) ε k n w k ( 0 ) {\displaystyle AC_{n}({\vec {r}},\tau _{1\ldots n-1}=0)=\sum _{k=1}^{N}U^{n}({\vec {r}}-{\vec {r}}_{k})\varepsilon _{k}^{n}w_{k}(0)} w k {\displaystyle w_{k}} is a specific correlation based weighting function influenced by the order of the cumulant and mainly depending on the fluctuation properties of the emitters. Albeit there is no fundamental limitation in calculating very high orders of cumulants and thereby shrinking the FWHM of the PSF there are practical limitations according to the weighting of the values assigned to the final image. Emitters with a higher molecular brightness will show a strong increase in terms of the pixel cumulant value assigned at higher-orders as well as this performance can be expected from a diverse appearance of fluctuations of different emitters. A wide intensity range of the resulting image can therefore be expected and as a result dim emitters can get masked by bright emitters in higher-order images:. The calculation of auto-cumulants can be realized in a very attractive way in a mathematical sense. The n-th order cumulant can be calculated with a basic recursion from moments K n ( r → ) = μ n ( r → ) − ∑ i = 1 n − 1 ( n − 1 i ) K n − i ( r → ) μ i ( r → ) {\displaystyle K_{n}({\vec {r}})=\mu _{n}({\vec {r}})-\sum _{i=1}^{n-1}{\begin{pmatrix}n-1\\i\end{pmatrix}}K_{n-i}({\vec {r}})\mu _{i}({\vec {r}})} where K is a cumulant of the index's order, likewise μ {\displaystyle \mu } represents the moments. The term within the brackets indicates a binomial coefficient. This way of computation is straightforward in comparison with calculating cumulants with standard formulas. It allows for the calculation of cumulants with only little time of computing and is, as it is well implemented, even suitable for the calculation of high-order cumulants on large images. === Cross-cumulants === In a more advanced approach cross-cumulants are calculated by taking the information of several pixels into account. Cross-cumulants can be described as follows: C C n ( r → , τ 1 … n − 1 = 0 ) = ∏ j < l n U ( r → j − r → l n ) ⋅ ∑ i = 1 N U n ( r → i − ∑ k n r → k n ) ε i n w i ( 0 ) {\displaystyle CC_{n}({\vec {r}},\tau _{1\ldots n-1}=0)=\prod _{j Read more →
Patch management

Patch management (or patch management policy or patch policy or patch management process) is concerned with the identification, acquisition, distribution, testing and installation of patches to systems. Proper patch management can be a net productivity boost for an organization. Patches can be used to defend against and eliminate potential vulnerabilities of a system, so that no threats may exploit them. Problems can arise during patch management, including buggy patches that either fail to fix their problem or introduce new issues. Patch management tools help orchestrate all of the procedures involved in patch management. == Description == Patch management is defined as a sub-practice of various disciplines including vulnerability management (part of security management), lifecycle management (with further possible sub-classification into application lifecycle management and release management), change management, and systems management. The practice is broadly concerned with the identification, acquisition, distribution, and installation of patches to systems. Some definitions of patch management are as a software-level practice, while others are as a systems-level process: software, drivers, and firmware. == Cost–benefit analysis == While reserving time for patching takes up enterprise resources, there are balancing factors which can make proper patch management into a net productivity boost for an organization. Up-to-date systems often perform more efficiently, less costly, with less errors, less security risks, and better user workflow. Additionally, compliance with changing local and federal regulations are more likely to be satisfied. Patching security vulnerabilities has been one among many competing priorities for organizations, leading to longer periods before patching for some organizations. Equifax was too slow to implement its 2015 patch management plan to be able to mitigate or prevent the 2017 Equifax data breach, leading to scrutiny from regulators. == Relation to security management == Patches can be used to defend against and eliminate potential vulnerabilities of a system, so that no threats may exploit them; therefore, patch management can be considered a sub-discipline of vulnerability management. Every patchable device in a system presents an attack surface that must be secured. === Time plan === Automatic updates are where the patch is applied automatically with little to know actions or planning required. This approach is recommended for many individuals and organizations. Some organizations also have to prioritize which patches to prioritize given limited resources. Patch Tuesday is the most common process when major companies like Microsoft and Adobe release patches on a known date so that companies can plan resources around implementing the patches more quickly. Linux is open-sourced and patches can be released at any time, leading some to rely on mailing lists or other ways to be alerted to updates. === Inventory === Taking an inventory of software and hardware, including versions can make it easier to correlate with bugs or patches as they become known. Taking stock of how much education and support others in an organization need to install their patches can also help for planning how to implement the patch or design systems to begin with. Streamlining the process by using tools that can communicate with each other can also help to reduce the time of exposure to known vulnerabilities. == Challenges == There are a multitude of problems that can arise during patch management. A common issue is buggy patches, which either fail to fix their problem or introduce new issues. Another issue is deployment synchronization, since various subsystems may receive instructions to update at different times. Similarly, the difficulty of patch management across many devices may grow at an uncontrollable rate depending on organizational size. One prominent demonstration of the challenges facing proper patch management was the buggy Falcon Sensor patch by CrowdStrike which caused one of the worst IT outages of all time. == Implementations == A patch management tool (alternatively patch manager, patch management system, patch management software, or centralized patch management) help orchestrate all of the procedures involved in patch management. Tools can be in-house (applied locally by local administrators), or external, as with managed service providers (applied externally by a provider). === Patch management software === Windows Update for Business, System Center Configuration Manager, and Windows Server Update Services offer control over patch deployment, with features enabling testing, scheduling updates, and setting custom configurations on Windows platforms. === Managed service providers === == Regulatory requirements (United States) == Timely patching of software vulnerabilities is a requirement under multiple regulatory frameworks in the United States. The Health Insurance Portability and Accountability Act (HIPAA) Security Rule requires covered entities to protect electronic protected health information by implementing security measures sufficient to reduce risks to a reasonable and appropriate level, which industry guidance has long interpreted to include timely patch management. A proposed new HIPAA Security Rule would make patch management requirements explicit, mandating that covered entities and business associates deploy security patches and updates within a defined risk-based timeline and maintain written procedures for prioritizing, testing, and applying patches to systems that store, process, or transmit ePHI. The 2025 proposal continues to receive industry pushback as of December 2025. HIPAA was last updated in 2013. The Payment Card Industry Data Security Standard (PCI DSS) requires organizations to protect system components from known vulnerabilities by installing applicable security patches within one month of release for critical patches. The Cybersecurity and Infrastructure Security Agency (CISA) maintains a Known Exploited Vulnerabilities (KEV) catalog that compels U.S. federal agencies to remediate listed vulnerabilities within specified timelines. Agencies are typically required to patch within 3 weeks, though some vulnerabilities must be fixed within 24 hours.
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View synthesis

In computer graphics, view synthesis, or novel view synthesis, is a task which consists of generating images of a specific subject or scene from a specific point of view, when the only available information is pictures taken from different points of view. This task was only recently (late 2010s – early 2020s) tackled with significant success, mostly as a result of advances in machine learning. Notable successful methods are Neural radiance fields and 3D Gaussian Splatting. Applications of view synthesis are numerous, one of them being Free view point television. The technique has also been applied to real-estate marketing, where novel views of a listing's interior are generated from a limited set of photographs for use in virtual home staging.
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Hooked (app)

Hooked is a mobile application where users can write or read chat fiction, short pieces of fiction told in the format of text messages between fictional characters. The app was released in September 2015 and was developed by Telepathic Inc. == Features == Hooked is a freemium smartphone app that allows users to write or read short stories made up of text messages between characters. CEO Prerna Gupta described the app as "books for the Snapchat generation" or "Twitter for fiction." As of March 2019, the app had more than 40 million active users. The stories are written by a mix of professional authors and crowd-sourced participants. The most popular genres are suspense and horror. The stories usually lack literary elements like character arcs, are simply written and are intended to be suspenseful or addicting. Each piece of fiction on the app is approximately 1,000 to 1,300 words long and can be read in about five minutes. Some longer stories are told in "chapters" and a 32,000-word thriller called Dark Matter was released in 2018. The app provides a certain number of text messages for free, then delays the next text message by 15 minutes unless the user pays for a subscription. Prior to 2020, the app offered a three-day free trial and then required users to pay. According to Gupta, the app was intended to get the younger generation to read more without getting distracted. Most users of the app are between 13 and 24 years-old. == History == The Hooked app was first released in September 2015. Initially, Hooked featured about 200 stories that were written by professional authors selected by the app developers. The following year, Telepathic Inc. released Hooked 2.0, which allowed users of the app to create and share their own short stories. By mid-2016, the app had 700 stories written by professional authors and 9,000 stories written by users. Hooked had 1.8 million downloads by 2016 and 20 million download as of 2017, which generated $6.5 million in revenue. The response to Hooked prompted others to create similar text-message based short story apps, like Yarn and Tap. Sensor Tower reported that the Hooked app received 2.22 million downloads during the period from October 2016 to March 2017. Starting in 2020, longer stories divided into chapters debuted on the app. In March, the company launched Hooked TV, an app to showcase video pilots based on a number of scripts themed around the app's content. Out of 50 pilots, those that were most popular among users of the app and social media were expanded into original series as Hooked TV evolved into a streaming platform in the second half of 2021. == Background == The idea for Hooked was conceived when Gupta was working on writing a book of her own. Prerna Gupta and her husband Parag Chordia tested short stories with 15,000 people and found that readers were five times more likely to read a story to its end if the story was presented in a text message format. They created Telepathic Inc., which developed Hooked. According to Celebrity Secret when they first started out, the stories were basically as if two people were texting each other and some sort of drama unfolds. Some of their most popular initial stories were actually horror stories, where a mom gets a text from her daughter and something creepy is happening to her. Over time, they started to turn those into podcasts, which then led to making their own movies and TV shows. As of 2017, the Telepathic has raised $6 million in funding to develop and support the Hooked app. From the main website itself the Hooked investors include Sound Ventures, The Chernin Group, WME/Endeavor, MACRO, Greg Silverman, Steph Curry, Kevin Durant, LeBron James, Mariah Carey, Jamie Foxx, Joe Montana, Aasif Mandvi, Max Martin, Anjula Acharia, Savan Kotecha, Cyan Banister, Eric Ries, A Capital, SV Angel, Cowboy Ventures, Founders Fund and Greylock, among many others.
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Object Data Management Group

The Object Data Management Group (ODMG) was conceived in the summer of 1991 at a breakfast with object database vendors that was organized by Rick Cattell of Sun Microsystems. In 1998, the ODMG changed its name from the Object Database Management Group to reflect the expansion of its efforts to include specifications for both object database and object–relational mapping products. The primary goal of the ODMG was to put forward a set of specifications that allowed a developer to write portable applications for object database and object–relational mapping products. In order to do that, the data schema, programming language bindings, and data manipulation and query languages needed to be portable. Between 1993 and 2001, the ODMG published five revisions to its specification. The last revision was ODMG version 3.0, after which the group disbanded. == Major components of the ODMG 3.0 specification == Object Model. This was based on the Object Management Group's Object Model. The OMG core model was designed to be a common denominator for object request brokers, object database systems, object programming languages, etc. The ODMG designed a profile by adding components to the OMG core object model. Object Specification Languages. The ODMG Object Definition Language (ODL) was used to define the object types that conform to the ODMG Object Model. The ODMG Object Interchange Format (OIF) was used to dump and load the current state to or from a file or set of files. Object Query Language (OQL). The ODMG OQL was a declarative (nonprocedural) language for query and updating. It used SQL as a basis, where possible, though OQL supports more powerful object-oriented capabilities. C++ Language Binding. This defined a C++ binding of the ODMG ODL and a C++ Object Manipulation Language (OML). The C++ ODL was expressed as a library that provides classes and functions to implement the concepts defined in the ODMG Object Model. The C++ OML syntax and semantics are those of standard C++ in the context of the standard class library. The C++ binding also provided a mechanism to invoke OQL. Smalltalk Language Binding. This defined the mapping between the ODMG ODL and Smalltalk, which was based on the OMG Smalltalk binding for the OMG Interface Definition Language (IDL). The Smalltalk binding also provided a mechanism to invoke OQL. Java Language Binding. This defined the binding between the ODMG ODL and the Java programming language as defined by the Java 2 Platform. The Java binding also provided a mechanism to invoke OQL. == Status == ODMG 3.0 was published in book form in 2000.[1] By 2001, most of the major object database and object-relational mapping vendors claimed conformance to the ODMG Java Language Binding. Compliance to the other components of the specification was mixed.[2] In 2001, the ODMG Java Language Binding was submitted to the Java Community Process as a basis for the Java Data Objects specification. The ODMG member companies then decided to concentrate their efforts on the Java Data Objects specification. As a result, the ODMG disbanded in 2001. In 2004, the Object Management Group (OMG) was granted the right to revise the ODMG 3.0 specification as an OMG specification by the copyright holder, Morgan Kaufmann Publishers. In February 2006, the OMG announced the formation of the Object Database Technology Working Group (ODBT WG) and plans to work on the 4th generation of an object database standard. == ODMG Compliant DBMS == Orient ODBMS: http://www.OrienTechnologies.com Objectivity/DB C++, Java and Smalltalk interfaces.
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IMazing

iMazing is mobile device management software that allows users to transfer files and data between iOS devices (iPhone, iPad and iPod Touch) and macOS or Windows computers, in addition to many other features beyond the scope of what Apple's own tools enable. == History == Developed by DigiDNA, iMazing was initially released in 2008 as DiskAid, enabling users to transfer data and files from the iPhone or iPod Touch to Mac or Windows computers. DiskAid was renamed iMazing in 2014. Version 2.0 was released on September 13, 2016. In August 2021, version 2.14 of iMazing added a spyware detection feature. The feature is based on Amnesty International’s Mobile Verification Toolkit to detect Pegasus Spyware following the publication of Pegasus Project. == Description == With iMazing, an iPhone or iPad can be used similarly to an external hard drive. It performs tasks that iTunes doesn’t offer, including incremental backups of iOS devices, browsing and exporting text and voicemail messages, managing apps, encryption, and migrating data from an old phone to a new one. The menu bar app iMazing Mini enables automatic, wireless and encrypted backups of iPhones. The iMazing HEIC Converter is a free desktop app for Mac and PC that lets users convert photos from HEIC format to JPG or PNG.
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Computer Dreams

Computer Dreams is a 1988 film created by Digital Vision Entertainment and released by MPI Home Video. Written, produced and directed by Geoffrey de Valois and hosted by Amanda Pays, it consists primarily of clips and behind-the-scenes work of early computer graphics animation. Notably included are Luxo Jr. and Red's Dream, the first two short films from Pixar. The film is an hour long and features an electronic score by Music Fantastic. It was revised and re-released on DVD as The History of Computer Animation, Volume 2. It won the Winner Gold Special Jury Award at the 1989 Houston International Film Festival, and the 1989 Golden Decade Award from the US Film & Video Festival. Music used includes: Gail Lennon - Desire, Gail Lennon - Like A Dream, Shandi Sinnamon - Making It,
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Commission on Enhancing National Cybersecurity

The President's Commission on Enhancing National Cybersecurity is a Presidential Commission formed on April 13, 2016, to develop a plan for protecting cyberspace, and America's economic reliance on it. The commission released its final report in December 2016. The report made recommendations regarding the intertwining roles of the military, government administration and the private sector in providing cyber security. Chairman Donilon said of the report that its coverage "is unusual in the breadth of issues" with which it deals. == Recommendations == The report made sixteen major recommendations with fifty-three specific action items broadly grouped under six areas: Protecting the information and digital infrastructure Investing in the secure growth of information and digital infrastructure Consumer information access Building the cybersecurity workforce Building a secure governmental cybersecurity framework Keeping interconnectivity open, fair, competitive, and secure The Commission found that strong authentication systems were mandatory for adequate cybersecurity, not just for the government, but for all commercial systems, and private individuals. The commission also stressed remote identity proofing and security for the Internet of things (IoT). Finding that technicians who know cybersecurity and can protect systems are few and in short supply, the commission recommended nationally supported training programs to produce an adequate workforce, as well as increasing the level of expertise in the existing workforce. The Commission highlighted the importance of partnerships between government and the private sector as a powerful tool for encouraging the technology, policies and practices we need to secure and grow the digital economy. (page 2) Some criticised the commission's work as lacking an understanding of cybersecurity and not being cognizant of "cyber reality" and the cost of some of the action items, but others found the report constructive and meaningful. == Commission members == The initial members of the Commission are: Tom Donilon, former Assistant to the President and National Security Advisor (Chair) Sam Palmisano, former CEO of IBM (Vice Chair) General Keith Alexander, CEO of IronNet Cybersecurity, former Director of the National Security Agency and former Commander of U.S. Cyber Command Annie Antón, Professor and Chair of the School of Interactive Computing at Georgia Tech. Ajay Banga, President and CEO of MasterCard Steven Chabinsky, General Counsel and Chief Risk Officer of CrowdStrike Patrick Gallagher, Chancellor of the University of Pittsburgh and former Director of the National Institute of Standards and Technology Peter Lee, Corporate Vice President, Microsoft Research Herbert Lin, Senior Research Scholar for Cyber Policy and Security at the Stanford Center for International Security and Cooperation and Research Fellow at the Hoover Institution Heather Murren, former member of the Financial Crisis Inquiry Commission and co-founder of the Nevada Cancer Institute Joe Sullivan, Chief Security Officer of Uber and former Chief Security Officer of Facebook Maggie Wilderotter, Executive Chairman of Frontier Communications == Follow-on == Incoming President Trump has indicated that he wants a full review of U.S. cyber protection policy. == Notes and references ==
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Shepp–Logan phantom

The Shepp–Logan phantom is a standard test image created by Larry Shepp and Benjamin F. Logan for their 1974 paper "The Fourier Reconstruction of a Head Section". It serves as the model of a human head in the development and testing of image reconstruction algorithms. == Definition == The function describing the phantom is defined as the sum of 10 ellipses inside a 2×2 square:
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Color management

Color management is the process of ensuring consistent and accurate colors across various devices, such as monitors, printers, and cameras. It involves the use of color profiles, which are standardized descriptions of how colors should be displayed or reproduced. Color management is necessary because different devices have different color capabilities and characteristics. For example, a monitor may display colors differently than a printer can reproduce them. Without color management, the same image may appear differently on different devices, leading to inconsistencies and inaccuracies. To achieve color management, a color profile is created for each device involved in the color workflow. This profile describes the device's color capabilities and characteristics, such as its color gamut (range of colors it can display or reproduce) and color temperature. These profiles are then used to translate colors between devices, ensuring consistent and accurate color reproduction. Color management is particularly important in industries such as graphic design, photography, and printing, where accurate color representation is crucial. It helps to maintain color consistency throughout the entire workflow, from capturing an image to displaying or printing it. Parts of color management are implemented in the operating system (OS), helper libraries, the application, and devices. The type of color profile that is typically used is called an ICC profile. A cross-platform view of color management is the use of an ICC-compatible color management system. The International Color Consortium (ICC) is an industry consortium that has defined: an open standard for a Color Matching Module (CMM) at the OS level color profiles for: devices, including DeviceLink profiles that transform one device profile (color space) to another device profile without passing through an intermediate color space, such as LAB, more accurately preserving color working spaces, the color spaces in which color data is meant to be manipulated There are other approaches to color management besides using ICC profiles. This is partly due to history and partly because of other needs than the ICC standard covers. The film and broadcasting industries make use of some of the same concepts, but they frequently rely on more limited boutique solutions. The film industry, for instance, often uses 3D LUTs (lookup table) to represent a complete color transformation for a specific RGB encoding. At the consumer level, system wide color management is available in most of Apple's products (macOS, iOS, iPadOS, watchOS). Microsoft Windows lacks system wide color management and virtually all applications do not employ color management. Windows' media player API is not color space aware, and if applications want to color manage videos manually, they have to incur significant performance and power consumption penalties. Android supports system wide color management, but most devices ship with color management disabled. == Overview == Characterize. Every color-managed device requires a personalized table, or "color profile," which characterizes the color response of that particular device. Standardize. Each color profile describes these colors relative to a standardized set of reference colors (the "Profile Connection Space"). Translate. Color-managed software then uses these standardized profiles to translate color from one device to another. This is usually performed by a color management module (CMM). == Hardware == === Characterization === To describe the behavior of various output devices, they must be compared (measured) in relation to a standard color space. Often a step called linearization is performed first, to undo the effect of gamma correction that was done to get the most out of limited 8-bit color paths. Instruments used for measuring device colors include colorimeters and spectrophotometers. As an intermediate result, the device gamut is described in the form of scattered measurement data. The transformation of the scattered measurement data into a more regular form, usable by the application, is called profiling. Profiling is a complex process involving mathematics, intense computation, judgment, testing, and iteration. After the profiling is finished, an idealized color description of the device is created. This description is called a profile. === Calibration === Calibration is like characterization, except that it can include the adjustment of the device, as opposed to just the measurement of the device. Color management is sometimes sidestepped by calibrating devices to a common standard color space such as sRGB; when such calibration is done well enough, no color translations are needed to get all devices to handle colors consistently. This avoidance of the complexity of color management was one of the goals in the development of sRGB. == Color profiles == === Embedding === Image formats themselves (such as TIFF, JPEG, PNG, EPS, PDF, and SVG) may contain embedded color profiles but are not required to do so by the image format. The International Color Consortium standard was created to bring various developers and manufacturers together. The ICC standard permits the exchange of output device characteristics and color spaces in the form of metadata. This allows the embedding of color profiles into images as well as storing them in a database or a profile directory. === Working spaces === Working spaces, such as sRGB, Adobe RGB or ProPhoto are color spaces that facilitate good results while editing. For instance, pixels with equal values of R,G,B should appear neutral. Using a large (gamut) working space will lead to posterization, while using a small working space will lead to clipping. This trade-off is a consideration for the critical image editor. == Color transformation == Color transformation, or color space conversion, is the transformation of the representation of a color from one color space to another. This calculation is required whenever data is exchanged inside a color-managed chain and carried out by a Color Matching Module. Transforming profiled color information to different output devices is achieved by referencing the profile data into a standard color space. It makes it easier to convert colors from one device to a selected standard color space and from that to the colors of another device. By ensuring that the reference color space covers the many possible colors that humans can see, this concept allows one to exchange colors between many different color output devices. Color transformations can be represented by two profiles (source profile and target profile) or by a devicelink profile. In this process there are approximations involved which make sure that the image keeps its important color qualities and also gives an opportunity to control on how the colors are being changed. === Profile connection space === In the terminology of the International Color Consortium, a translation between two color spaces can go through a profile connection space (PCS): Color Space 1 → PCS (CIELAB or CIEXYZ) → Color space 2; conversions into and out of the PCS are each specified by a profile. === Gamut mapping === In nearly every translation process, we have to deal with the fact that the color gamut of different devices vary in range which makes an accurate reproduction impossible. They therefore need some rearrangement near the borders of the gamut. Some colors must be shifted to the inside of the gamut, as they otherwise cannot be represented on the output device and would simply be clipped. This so-called gamut mismatch occurs for example, when we translate from the RGB color space with a wider gamut into the CMYK color space with a narrower gamut range. In this example, the dark highly saturated purplish-blue color of a typical computer monitor's "blue" primary is impossible to print on paper with a typical CMYK printer. The nearest approximation within the printer's gamut will be much less saturated. Conversely, an inkjet printer's "cyan" primary, a saturated mid-brightness blue, is outside the gamut of a typical computer monitor. The color management system can utilize various methods to achieve desired results and give experienced users control of the gamut mapping behavior. ==== Rendering intent ==== When the gamut of source color space exceeds that of the destination, saturated colors are liable to become clipped (inaccurately represented), or more formally burned. The color management module can deal with this problem in several ways. The ICC specification includes four different rendering intents, listed below. Before the actual rendering intent is carried out, one can temporarily simulate the rendering by soft proofing. It is a useful tool as it predicts the outcome of the colors and is available as an application in many color management systems: Absolute colorimetric Absolute colorimetry and relative colorimetry actually use the same table but differ in the adjust
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Sprite (computer graphics)

In computer graphics, a sprite is a two-dimensional bitmap that is integrated into a larger scene, most often in a 2D video game. Originally, the term sprite referred to fixed-sized objects composited together, by hardware, with a background. Use of the term has since become more general. Systems with hardware sprites include arcade video games of the 1970s and 1980s; game consoles including as the Atari VCS (1977), ColecoVision (1982), Famicom (1983), Genesis/Mega Drive (1988); and home computers such as the TI-99/4 (1979), Atari 8-bit computers (1979), Commodore 64 (1982), MSX (1983), Amiga (1985), and X68000 (1987). Hardware varies in the number of sprites supported, the size and colors of each sprite, and special effects such as scaling or reporting pixel-precise overlap. Hardware composition of sprites occurs as each scan line is prepared for the video output device, such as a cathode-ray tube, without involvement of the main CPU and without the need for a full-screen frame buffer. Sprites can be positioned or altered by setting attributes used during the hardware composition process. The number of sprites which can be displayed per scan line is often lower than the total number of sprites a system supports. For example, the Texas Instruments TMS9918 chip supports 32 sprites, but only four can appear on the same scan line. The CPUs in modern computers, video game consoles, and mobile devices are fast enough that bitmaps can be drawn into a frame buffer without special hardware assistance. Beyond that, GPUs can render vast numbers of scaled, rotated, anti-aliased, partially translucent, very high resolution images in parallel with the CPU. == Etymology == According to Karl Guttag, one of two engineers for the 1979 Texas Instruments TMS9918 video display processor, this use of the word sprite came from David Ackley, a manager at TI. It was also used by Danny Hillis at Texas Instruments in the late 1970s. The term was derived from the fact that sprites "float" on top of the background image without overwriting it, much like a ghost or mythological sprite. Some hardware manufacturers used different terms, especially before sprite became common: Player/Missile Graphics was a term used by Atari, Inc. for hardware sprites in the Atari 8-bit computers (1979) and Atari 5200 console (1982). The term reflects the use for both characters ("players") and smaller associated objects ("missiles") that share the same color. The earlier Atari Video Computer System and some Atari arcade games used player, missile, and ball. Stamp was used in some arcade hardware in the early 1980s, including Ms. Pac-Man. Movable Object Block, or MOB, was used in MOS Technology's graphics chip literature. Commodore, the main user of MOS chips and the owner of MOS for most of the chip maker's lifetime, instead used the term sprite for the Commodore 64. OBJs (short for objects) is used in the developer manuals for the NES, Super NES, and Game Boy. The region of video RAM used to store sprite attributes and coordinates is called OAM (Object Attribute Memory). This also applies to the Game Boy Advance and Nintendo DS. == History == === Arcade video games === The use of sprites originated with arcade video games. Nolan Bushnell came up with the original concept when he developed the first arcade video game, Computer Space (1971). Technical limitations made it difficult to adapt the early mainframe game Spacewar! (1962), which performed an entire screen refresh for every little movement, so he came up with a solution to the problem: controlling each individual game element with a dedicated transistor. The rockets were essentially hardwired bitmaps that moved around the screen independently of the background, an important innovation for producing screen images more efficiently and providing the basis for sprite graphics. The earliest video games to represent player characters as human player sprites were arcade sports video games, beginning with Taito's TV Basketball, released in April 1974 and licensed to Midway Manufacturing for release in North America. Designed by Tomohiro Nishikado, he wanted to move beyond simple Pong-style rectangles to character graphics, by rearranging the rectangle shapes into objects that look like basketball players and basketball hoops. Ramtek released another sports video game in October 1974, Baseball, which similarly displayed human-like characters. The Namco Galaxian arcade system board, for the 1979 arcade game Galaxian, displays animated, multi-colored sprites over a scrolling background. It became the basis for Nintendo's Radar Scope and Donkey Kong arcade hardware and home consoles such as the Nintendo Entertainment System. According to Steve Golson from General Computer Corporation, the term "stamp" was used instead of "sprite" at the time. === Home systems === Signetics devised the first chips capable of generating sprite graphics (referred to as objects by Signetics) for home systems. The Signetics 2636 video processors were first used in the 1978 1292 Advanced Programmable Video System and later in the 1979 Elektor TV Games Computer. The Atari VCS, released in 1977, has a hardware sprite implementation where five graphical objects can be moved independently of the game playfield. The term sprite was not in use at the time. The VCS's sprites are called movable objects in the programming manual, further identified as two players, two missiles, and one ball. These each consist of a single row of pixels that are displayed on a scan line. To produce a two-dimensional shape, the sprite's single-row bitmap is altered by software from one scan line to the next. The 1979 Atari 400 and 800 home computers have similar, but more elaborate, circuitry capable of moving eight single-color objects per scan line: four 8-bit wide players and four 2-bit wide missiles. Each is the full height of the display—a long, thin strip. DMA from a table in memory automatically sets the graphics pattern registers for each scan line. Hardware registers control the horizontal position of each player and missile. Vertical motion is achieved by moving the bitmap data within a player or missile's strip. The feature was called player/missile graphics by Atari. Texas Instruments developed the TMS9918 chip with sprite support for its 1979 TI-99/4 home computer. An updated version is used in the 1981 TI-99/4A. === In 2.5D and 3D games === Sprites remained popular with the rise of 2.5D games (those which recreate a 3D game space from a 2D map) in the late 1980s and early 1990s. A technique called billboarding allows 2.5D games to keep onscreen sprites rotated toward the player view at all times. Some 2.5D games, such as 1993's Doom, allow the same entity to be represented by different sprites depending on its rotation relative to the viewer, furthering the illusion of 3D. Fully 3D games usually present world objects as 3D models, but sprites are supported in some 3D game engines, such as GoldSrc and Unreal, and may be billboarded or locked to fixed orientations. Sprites remain useful for small details, particle effects, and other applications where the lack of a third dimension is not a major detriment. == Systems with hardware sprites == These are base hardware specs and do not include additional programming techniques, such as using raster interrupts to repurpose sprites mid-frame.
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