AI Face Fusion

AI Face Fusion — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Deep Learning Anti-Aliasing

  Deep Learning Anti-Aliasing (DLAA) is a form of spatial anti-aliasing developed by Nvidia. DLAA depends on and requires Tensor Cores available in Nvidia RTX cards. DLAA is similar to Deep Learning Super Sampling (DLSS) in its anti-aliasing method, with one important differentiation being that the goal of DLSS is to increase performance at the cost of image quality, whereas the main priority of DLAA is improving image quality at the cost of performance (irrelevant of resolution upscaling or downscaling). DLAA is similar to temporal anti-aliasing (TAA) in that they are both spatial anti-aliasing solutions relying on past frame data. Compared to TAA, DLAA is substantially better when it comes to shimmering, flickering, and handling small meshes like wires. == Technical overview == DLAA collects game rendering data including raw low-resolution input, motion vectors, depth buffers, and exposure information. This information feeds into a convolutional neural network that processes the image to reduce aliasing while preserving fine detail. The neural network architecture employs an auto-encoder design trained on high-quality reference images. The training dataset includes diverse scenarios focusing on challenging cases like sub-pixel details, high-contrast edges, and transparent surfaces. The network then processes frames in real-time. Unlike traditional anti-aliasing solutions that rely on manually written heuristics, such as TAA, DLAA uses its neural network to preserve fine details while eliminating unwanted visual artifacts. == History == DLAA was initially called and marketed by Nvidia as DLSS 2x. The first game that added support for DLAA was The Elder Scrolls Online, which implemented the feature in 2021. By June 2022, DLAA was only available in six games. This number rose to 17 by February 2023. In June 2023, TechPowerUp reported that "DLAA is seeing sluggish adoption among game developers", and that Nvidia was working on adding DLAA to the quality presets of DLSS to boost adoption. By December 2023, DLAA was supported in 41 games. In early 2025, an update for the Nvidia App added a driver-based DLSS override feature that enables users to activate DLAA even in games that do not support it natively. == Differences between TAA and DLAA == TAA is used in many modern video games and game engines; however, all previous implementations have used some form of manually written heuristics to prevent temporal artifacts such as ghosting and flickering. One example of this is neighborhood clamping which forcefully prevents samples collected in previous frames from deviating too much compared to nearby pixels in newer frames. This helps to identify and fix many temporal artifacts, but deliberately removing fine details in this way is analogous to applying a blur filter, and thus the final image can appear blurry when using this method. DLAA uses an auto-encoder convolutional neural network trained to identify and fix temporal artifacts, instead of manually programmed heuristics as mentioned above. Because of this, DLAA can generally resolve detail better than other TAA and TAAU implementations, while also removing most temporal artifacts. == Differences between DLSS and DLAA == While DLSS handles upscaling with a focus on performance, DLAA handles anti-aliasing with a focus on visual quality. DLAA runs at the given screen resolution with no upscaling or downscaling functionality provided by DLAA. DLSS and DLAA share the same AI-driven anti-aliasing method. As such, DLAA functions like DLSS without the upscaling part. Both are made by Nvidia and require Tensor Cores. However, DLSS and DLAA cannot be enabled at the same time, only one can be selected depending on whether performance or image quality is prioritized. == Reception == TechPowerUp found that "[c]ompared to TAA and DLSS, DLAA is clearly producing the best image quality, especially at lower resolutions", arguing that, while "DLSS was already doing a better job than TAA at reconstructing small objects", "DLAA does an even better job". In a Cyberpunk 2077 performance test, IGN stated that "DLAA provided somewhat similar results [FPS wise] to the normal raster mode in most cases but got significant performance boost with the help of frame generation", a feature not available when using native resolution. Rock Paper Shotgun noted that, while DLAA is "not a completely perfect form of anti-aliasing, as the occasional jaggies are present", it "looks a lot sharper overall [than TAA], and especially in motion." According to PC World, "DLAA offers very good anti-aliasing without losing visual information — alternatives like TAA tend to struggle during motion-filled scenes, where DLAA doesn’t. Furthermore, DLAA’s loss of performance is lower than with conventional anti-aliasing methods."

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  Majal (organization)

  Majal is a regional not-for-profit organization focused on "amplifying voices of dissent" throughout the Middle East and North Africa via digital media. Founded in Bahrain, the organization "creates platforms and web applications that promote freedom of expression and social justice." Majal, which relies on open source platforms, like WordPress and Ruby on Rails, was launched in 2006 by Esra'a Al Shafei as a simple group-blogging idea. However, it has changed course to focus on the development of unique applications and tools. == Objectives and means == Majal's content, in addition to its projects and applications, is free open source content to ensure right to access information for everyone. The organization uses a broad spectrum of social media tools, ranging from written blogs, podcasts, vlogs, comics, video animation and pictures to live broadcasting through radio. == Projects and applications == Majal runs various active projects that include Alliance for Kurdish Rights, The Muslim Network for Baháʼí Rights, a discussion tool for Arab LGBT youth and various Mobile apps. == Funding == Majal is funded through private donations and grants from non-governmental organizations, as well as any potential revenues earned through freelance development. Its primary funders are the Shuttleworth Foundation and the Omidyar Network. In 2008, Majal won the Berkman Award from the Berkman Klein Center for Internet & Society at Harvard University in the Human Rights/Global Advocacy category. This $10,000 award was Majal’s first source of funding. This award is presented to “people or institutions that have made a significant contribution to the Internet and its impact on society over the past decade.” In 2009, the March 18 Movement, a project of Majal, received the Think Social Award, which demonstrates how social media can be used to solve the world’s problems. Esra'a Al-Shafei was named a 2009 Echoing Green Fellow for Civil and Human Rights, a seed funding award for young entrepreneurs engaged in social change. Financially, the fellowship consists of a $60,000 stipend paid over two years. Most recently, MEY has received a grant from the Arab Fund for Arts and Culture for its Mideast Tunes website. == Awards == Winner of Human Rights Tulip 2014 Human Rights Tulip - Human rights - Government.nl Ashoka Changemakers Citizen Media competition in 2011 for their CrowdVoice project. Monaco Media Prize 2011 for Majal founder and director Esra'a Al Shafei in 2011. The BOBS Special Topic Human Rights award in 2011 for the Majal website Migrant Rights. ThinkSocial Award in 2009, as powerful model for how social media can be used to address global problems. Echoing Green, 2009 Fellowship. TEDGlobal 2009 Fellowship. Berkman Award for Internet Innovation from Berkman Klein Center for Internet & Society at Harvard Law School in 2008 for the outstanding contributions to the internet and its impact on society. The Global Journal selected Majal as one of the Top 100 NGOs in 2013. 2013-2014 Shuttleworth Foundation Fellowship. == Leadership == Majal team is led primarily by women. The organization was founded by Esra'a Al Shafei, a blogger from Bahrain in 2006. Ahmed Zidan of Egypt has served for over three years as the Editor-in-Chief of Majal Arabic, and is the co-founder of Ahwaa, and is also a podcaster. Other team members include Mona Kareem, Rima Kalush, Abir Ghattas, Namita Malhotra, and Vani Saraswathi. == 2011 Middle East and North Africa protests == Blogs and video played a role in the documentation of protests throughout the Middle East and North Africa during 2010-2011, also known as the Arab Spring. During this period, MEY's project, CrowdVoice (launched in 2010) helped curate and archive the large amounts of videos, images, and eye-witness reports being aggregated and crowdsourced from across the region. As a result, it had been censored temporarily in Yemen and is still censored in Bahrain. == Media coverage == Majal claims to have received various coverage from news agencies, TV satellite channels, radio stations, newspapers, magazines. For instance, Sky News, CNN, New York Times, BBC, The Guardian, NPR, Time, MTV political blog "Act", VH1, Daily Telegraph, Die Zeit, Frankfurter Rundschau FR-online, Toronto Star, TechCrunch, Rolling Stone Middle East, Abu Dhabi TV, Gulf News, Al-Hasnaa' magazine, ReadWriteWeb, Mashable, The Next Web, Radio Sawt Beirut International, Radio Farda among many others.

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  Weird SoundCloud

  Weird SoundCloud, or SoundClown, is a mashup parody music scene taking place on the online distribution platform SoundCloud. The scene has been described by its producers and music journalists to be a satirical take on electronic dance music, and useless, throwaway internet content. One critic, Audra Schroeder, categorized it as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." == Origins == In a January 2014 interview, DJ Kevin Wang suggested that the Weird SoundCloud has "been around in the last one to two years", but started to gain much more popularity the previous year through electronic dance music internet blogs. Weird SoundCloud producer Ideaot suggested that some in the phenomenon came from the YouTube poop scene. Another producer in the community, DJ @@ (AT-AT), reasoned that producers joining the scene "want to express their musicality, see it as a more mature form of YouTube Poop," or are "just looking for recognition on social media sites." AT-AT said that it was "a fun thing to do, and after I stopped making proper music I felt I needed a bit of an outlet for my creativity. The fact that people enjoyed it and/or treated it as a travesty (Direct quote from one of my tracks) spurs me on." == Characteristics == Weird SoundCloud is a mash-up and parody music genre labeled by journalist Audra Schroeder as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." Most tracks range from around 30 seconds to one minute in length. The people who make weird SoundCloud are known as SoundClowns, a term coined by producer Dicksoak. Ideaot described the weird SoundCloud community as "largely just people who are friends with each other." Noisey critic Ryan Bassil spotlight the variety of music coming out of the weird SoundCloud landscape: "One minute you could be listening to the Seinfeld theme reimagined as an aneurysm inducing dubstep corker, the next, you're recovering from hearing a version of Tenacious D's "Tribute" that's akin to having a stroke." Bassil analyzes that the tracks "often take the past and repurpose it into something that, although not altogether useful, sounds fresh and reflective of the abstract, confusing panoramic that encapsulates the modern internet." Bassil compared the lexicon of SoundClown's track titles to that of Reddit and Twitter users. According to Dicksoak, most works of the style are critiques of EDM or "are just uploaded because they sound funny." However, Bassil disagreed, writing that there are also many tracks that keep repurposing a certain meme, such as "mom's spaghetti" or the re-use of vocals from recordings by hip hop group Death Grips. He describe the scene's re-use of memes as a satirical take on pointless online content that is only on the internet to "do nothing other than fill the void": They're changing the format of the original work's intended message or audience - a technique often employed by top-tier digital media companies - and in doing so they're sarcastically, ironically, taking the piss out of what Web 2.0's turned into - an open arena where the most ridiculous, unashamed, often pointless piggy-back content can rack up thousands and thousands of clicks. == Notable examples == There are mash-ups that "disrupt the flow of popular music", in the words of writer Schroeder, such as a "flutedrop" remix of the Miley Cyrus song "Wrecking Ball" and Shaliek's mashup of music by Bruno Mars and Korn. In November 2013, Wang released a set of mp3 files on SoundCloud named Best Drops Ever, which included tracks like "A Drop So Epic a Bunch of NYU Bros Already Bought a 3-Day Weekend Pass for It" and "A Drop So Crazy You'll Kill Your Family". All of the tracks start as normal electronic dance music build-ups, before they drop into a "bait and switch" audio or film clip such as Filet-O-Fish commercials, the Whitney Houston song "I Will Always Love You" and the film Bambi (1942) that ruins the anticipation. The collection is a parody of the over-importance and over-focus of the drop and lack of care of the overall quality of a song common in the modern electronic dance music scene. Wang has released more than 45 tracks in the weird SoundCloud, some of them receiving around a million plays. Subgenres of Weird SoundCloud include Macklecore, mash-ups and remixes that include the works of American hip-hop recording artist Macklemore, and Biggiewave, which include samples of songs from the album Ready to Die (1994) by The Notorious B.I.G. Common audio and meme sources used include Skrillex, the Martin Garrix track "Animals", Thomas the Tank Engine, Shrek, Macklemore, "Gangnam Style", the Bruno Mars track "Uptown Funk", the Disturbed track "Down with the Sickness", Space Jam, the Childish Gambino track "Bonfire", the Death Grips track "Takyon" and air horn sound effects. == Reception == Bassil praised the SoundClown scene as "loveable and strangely honest", reasoning that it "just reminds me that we're all humans on the internet, all searching for #content that means something, something to connect with, but usually only dredging up bastardised versions of things we've already read, seen, or watched before." Bassil also described the weird SoundCloud as a more successful version of a similar scene known as weird YouTube; the reason for the success of SoundClowns is due to SoundCloud's discovery algorithm: "Small collectives and trends are able to form, and there's an abundance of tracks from artists who are almost forging careers out of it, as opposed to uploading one viral hit." Publications have made lists of weird SoundCloud works, such as BuzzFeed's "23 Of The Weirdest Songs On Soundcloud", Obsev's "Weird SoundCloud Mashups That Must've Been Made While Drunk", and Thump's "9 of the Best and Most Upsetting Soundclowns we Could Find", where writer Isabelle Hellyer called it the "most influential genre of music in human history." A Your EDM writer called it "oddly addicting."

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  Pamphlet war

  A pamphlet war is a protracted argument or discussion through printed media, especially between the time the printing press became common, and when state intervention like copyright laws made such public discourse more difficult. The purpose was to defend or attack a certain perspective or idea. Pamphlet wars have occurred multiple times throughout history, as both social and political platforms. Pamphlet wars became viable platforms for this protracted discussion with the advent and spread of the printing press. Cheap printing presses, and increased literacy made the late 17th century a key stepping stone for the development of pamphlet wars, a period of prolific use of this type of debate. Over 2200 pamphlets were published between 1600–1715 alone. Pamphlet wars are generally credited for powering many key social changes of the era, including the Reformation and the Revolution Controversy, the English philosophical debate set off by the French Revolution. == History of the pamphlet in England == Throughout Europe in the 16th century, printed tracts were used to argue religious doctrine and foment support for religious causes. In England, Henry VIII used print literature to justify his break from the Catholic Church. During the subsequent reigns of Edward and Mary, print polemics escalated into propaganda warfare, as print media gained enormous potential to sway common opinion. By the 1560s, print was widely used to convey news. In 1562, the first pamphlets appeared, which discussed the English forces sent to aid the Protestant French Huguenots. In 1569, pamphlets reported the revolt of the Northern Earls and the subsequent Rebellion of the same year. In the 1580s, pamphlets began to replace broadsheet ballads as the means to convey information to the general public. Over the next century, the pamphlet became the principal means of garnering support for a cause or an idea, and was particularly influential during the English Civil Wars (1642-1651) and the Glorious Revolution of 1688. Through the ensuing decades, the pamphlet lost some popularity due to the emergence of newspapers and journals, but continued to be an important medium of public debate, as illustrated by the Revolution Controversy a full century later in the 1790s. == Pamphlet printing == Coming from a Latin word, "pamphlet" literally means "small book." In the early days of printing, the format of the book or pamphlet depended on the size of the paper used and the number of times it was folded. If a page was only folded once, it was called a folio. If it was folded twice, it was known as a quarto. An octave was a paper folded three times. A pamphlet was usually 1-12 sheets of paper folded in quarto, or 8-96 pages. It was sold for one or two pennies apiece. The printing of a pamphlet involved many people: the author, the printer, suppliers, print-makers, compositor, correctors, pressmen, binders, and distributors. Once the pamphleteer had written the pamphlet, it was sent to the printing house to be corrected, set into type, and printed. The papers were then given to the printer's warehouse-keeper, who bundled the copies and sent them to the bookseller, who was probably the one financing the printing. He was responsible to bind the pamphlets, usually by sewing them, and then sold them wholesale to individual bookselling vendors. The booksellers then sold them from a stall in the marketplace. == Pamphlet subjects == Pamphlets began as the means of conveyance for religious debates, and therefore religious topics were one of the main subjects they dealt with. The definition of a pamphlet came to mean a short work dealing with social, political, or religious issues. Typical topics included the Civil war, Church of England doctrines, Acts of Parliament, the Popish Plot (see below), the Stuart Era, and Cromwell propaganda. In addition, pamphlets were also used for romantic fiction, autobiography, scurrilous personal abuse, and social criticism. They contained much of the propaganda of the 17th century in the midst of the religious and political turmoil. They were also used for debates between the Puritans and the Anglican. During the Glorious Revolution, pamphlets were political weapons. == Authors == There were many authors of pamphlets. However some of the more popular authors include Daniel Defoe, Thomas Hobbes, Jonathan Swift, John Milton, and Samuel Pepys. Also included in the midst are Thomas Nashe, Joseph Addison, Richard Steele, and Matthew Prior. In 1591–1592, Robert Greene released a series of pamphlets which later inspired many other authors including Thomas Middleton and Thomas Dekker. == Critics == Pamphlets, along with their vast popularity, received criticism. There were many in the time period who believed that pamphlets were full of foolishness. They thought the pamphlets were not good enough literature and that they would turn people from "good" writing. They believed that pamphlets would be the end of the great volumes of literature and that great writing would be forgotten. == News reporting == Pamphlets made a great difference in the way news was reported to the general public. With the publication of pamphlets, it was no longer difficult for people to hear of events taking place far away. The closer the occurrence was to London, the easier and faster people heard of it. For example, the Battle of Edgehill took place on 23 October 1642. The first pamphlet reporting the incident was printed on 25 October 24 hours after some of the orders reported had been given. While not entirely accurate, and hurriedly made, the pamphlet nonetheless was able to tell the general public what had happened in the battle. A more accurate, specific, and readable account was available in a pamphlet printed on 26 October, and the "authorized" version was available only five days after the battle took place. == Marprelate pamphlets == In 1588, a series of pamphlets marked a turning point for the Puritans, dividing them from other Protestants in the country. The authors wrote under the pseudonym of Martin Marprelate and his two sons of the same name. The true identities of the authors were never discovered. The pamphlets aimed to provoke authorities to take action against censorship. The series was among the first to ask questions directly of its readers. == Early pamphlet wars == === Elizabethan pamphlet wars === As a means of forming or swaying public opinion, pamphlets like these had a part in influencing society, even as the content was itself influenced by society. During the 16th century and continuing for a short while in the early 17th century in England there was rise in the use of pamphlet wars to discuss a myriad of issues spanning from the civil war, to religious freedoms and the roles of women in society. The Queen herself participated in these discussions, making sure that she was widely read and understood by her people in order to gain favour and establish herself as the monarch despite being a woman. Examples of her use of this medium appear in To the Troops at Tilbury written in 1588, On Mary's Execution written in 1586, and many more. Another famous writer of this period to take advantage of the pamphlet was Emilia Lanier, famous for her arguments about the role of women. A common idea promoted by many literary works and the general attitude towards women, Lanier's work "Eve's Apology in Defence of Women" refuted the belief that Eve is responsible for the fall of man. A very uncommon and unpopular stance to take, Lanier accomplishes her defence through structuring it as an apology, one of the earliest subversive feminist texts. Similarly, Francis Bacon wrote his Essays to promote his idea of morality and other complicated social issues. For example, his work, "Of Love" examines the various understandings of the concept of love, particularly as it was perceived during the Elizabethan era. === Eikon Series === From 1649 until 1651, some five pamphlets were published in a debate about the execution of King Charles I of England (1600-1649). Prior to his execution, King Charles wrote the first pamphlet in the discussion, Eikon Basilike’’ (from the Greek “eikon” for image and “basileus” for king). The subtitle of this work - Portraiture of His Sacred Majesty in His Solitudes and Sufferings - indicates that Charles sought to portray himself as a martyr to the cause of regal prerogative. In the following months, several response pamphlets were published (collectively known as the "Eikon" series), including: Eikon Alethine, Eikon e Pistes, Eikonoklastes, and Eikon Aklastos,” alternately attacking or defending the king, his regicide, and his self-portrait in “Eikon Basilike.” == Popish Plot and Elizabeth Cellier == In the 1680s, after being acquitted of the "Meal-Tub Plot" for which she was accused, Elizabeth Cellier wrote Malice Defeated, which, along with The Matchless Picaro, sparked a pamphlet war surrounding debate of the ascension of a Catholic king to the thro

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  Flat-field correction

  Flat-field correction (FFC) is a digital imaging technique to mitigate pixel-to-pixel differences in the photodetector sensitivity and distortions in the optical path. It is a standard calibration procedure in everything from personal digital cameras to large telescopes. == Overview == Flat fielding refers to the process of compensating for different gains and dark currents in a detector. Once a detector has been appropriately flat-fielded, a uniform signal will create a uniform output (hence flat-field). This then means any further signal is due to the phenomenon being detected and not a systematic error. A flat-field image is acquired by imaging a uniformly-illuminated screen, thus producing an image of uniform color and brightness across the frame. For handheld cameras, the screen could be a piece of paper at arm's length, but a telescope will frequently image a clear patch of sky at twilight, when the illumination is uniform and there are few, if any, stars visible. Once the images are acquired, processing can begin. A flat-field consists of two numbers for each pixel, the pixel's gain and its dark current (or dark frame). The pixel's gain is how the amount of signal given by the detector varies as a function of the amount of light (or equivalent). The gain is almost always a linear variable, as such the gain is given simply as the ratio of the input and output signals. The dark-current is the amount of signal given out by the detector when there is no incident light (hence dark frame). In many detectors this can also be a function of time, for example in astronomical telescopes it is common to take a dark-frame of the same time as the planned light exposure. The gain and dark-frame for optical systems can also be established by using a series of neutral density filters to give input/output signal information and applying a least squares fit to obtain the values for the dark current and gain. C = ( R − D ) × m ( F − D ) = ( R − D ) × G {\displaystyle C={\frac {(R-D)\times m}{(F-D)}}=(R-D)\times G} where: C = corrected image R = raw image F = flat field image D = dark frame image m = image-averaged value of (F−D) G = Gain = m ( F − D ) {\displaystyle m \over (F-D)} In this equation, capital letters are 2D matrices, and lowercase letters are scalars. All matrix operations are performed element-by-element. In order for an astrophotographer to capture a light frame, they must place a light source over the imaging instrument's objective lens such that the light source emanates evenly through the users optics. The photographer must then adjust the exposure of their imaging device (charge-coupled device (CCD) or digital single-lens reflex camera (DSLR) ) so that when the histogram of the image is viewed, a peak reaching about 40–70% of the dynamic range (maximum range of pixel values) of the imaging device is seen. The photographer typically takes 15–20 light frames and performs median stacking. Once the desired light frames are acquired, the objective lens is covered so that no light is allowed in, then 15–20 dark frames are taken, each of equal exposure time as a light frame. These are called Dark-Flat frames. == In X-ray imaging == In X-ray imaging, the acquired projection images generally suffer from fixed-pattern noise, which is one of the limiting factors of image quality. It may stem from beam inhomogeneity, gain variations of the detector response due to inhomogeneities in the photon conversion yield, losses in charge transport, charge trapping, or variations in the performance of the readout. Also, the scintillator screen may accumulate dust and/or scratches on its surface, resulting in systematic patterns in every acquired X-ray projection image. In X-ray computed tomography (CT), fixed-pattern noise is known to significantly degrade the achievable spatial resolution and generally leads to ring or band artifacts in the reconstructed images. Fixed pattern noise can be easily removed using flat field correction. In conventional flat field correction, projection images without sample are acquired with and without the X-ray beam turned on, which are referred to as flat fields (F) and dark fields (D). Based on the acquired flat and dark fields, the measured projection images (P) with sample are then normalized to new images (N) according to: N = ( P − D ) ( F − D ) {\displaystyle N={\frac {(P-D)}{(F-D)}}} == Dynamic flat field correction == While conventional flat field correction is an elegant and easy procedure that largely reduces fixed-pattern noise, it heavily relies on the stationarity of the X-ray beam, scintillator response and CCD sensitivity. In practice, however, this assumption is only approximately met. Indeed, detector elements are characterized by intensity dependent, nonlinear response functions and the incident beam often shows time dependent non-uniformities, which render conventional FFC inadequate. In synchrotron X-ray tomography, many factors may cause flat field variations: instability of the bending magnets of the synchrotron, temperature variations due to the water cooling in mirrors and the monochromator, or vibrations of the scintillator and other beamline components. The latter is responsible for the biggest variations in the flat fields. To deal with such variations, a dynamic flat field correction procedure can be employed that estimates a flat field for each individual projection. Through principal component analysis of a set of flat fields, which are acquired prior and/or posterior to the actual scan, eigen flat fields can be computed. A linear combination of the most important eigen flat fields can then be used to individually normalize each X-ray projection: N j = P j − D ¯ F ¯ + ∑ k w j k u k − D ¯ {\displaystyle N_{j}={\frac {P_{j}-{\bar {D}}}{{\bar {F}}+\sum _{k}w_{jk}u_{k}-{\bar {D}}}}} where N j {\displaystyle N_{j}} = intensity normalized X-ray projection P j {\displaystyle P_{j}} = raw X-ray projection F ¯ {\displaystyle {\bar {F}}} = mean flat field image (average of flat fields) u k {\displaystyle u_{k}} = k-th eigen flat field w j k {\displaystyle w_{jk}} = weight of the eigen flat field u k {\displaystyle u_{k}} D ¯ {\displaystyle {\bar {D}}} = mean dark field (average of dark fields)

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  IWARP

  iWARP is a computer networking protocol that implements remote direct memory access (RDMA) for efficient data transfer over Internet Protocol networks. Contrary to some accounts, iWARP is not an acronym. Because iWARP is layered on Internet Engineering Task Force (IETF)-standard congestion-aware protocols such as Transmission Control Protocol (TCP) and Stream Control Transmission Protocol (SCTP), it makes few requirements on the network, and can be successfully deployed in a broad range of environments. == History == In 2007, the IETF published five Request for Comments (RFCs) that define iWARP: RFC 5040 A Remote Direct Memory Access Protocol Specification is layered over Direct Data Placement Protocol (DDP). It defines how RDMA Send, Read, and Write operations are encoded using DDP into headers on the network. RFC 5041 Direct Data Placement over Reliable Transports is layered over MPA/TCP or SCTP. It defines how received data can be directly placed into an upper layer protocols receive buffer without intermediate buffers. RFC 5042 Direct Data Placement Protocol (DDP) / Remote Direct Memory Access Protocol (RDMAP) Security analyzes security issues related to iWARP DDP and RDMAP protocol layers. RFC 5043 Stream Control Transmission Protocol (SCTP) Direct Data Placement (DDP) Adaptation defines an adaptation layer that enables DDP over SCTP. RFC 5044 Marker PDU Aligned Framing for TCP Specification defines an adaptation layer that enables preservation of DDP-level protocol record boundaries layered over the TCP reliable connected byte stream. These RFCs are based on the RDMA Consortium's specifications for RDMA over TCP. The RDMA Consortium's specifications are influenced by earlier RDMA standards, including Virtual Interface Architecture (VIA) and InfiniBand (IB). Since 2007, the IETF has published three additional RFCs that maintain and extend iWARP: RFC 6580 IANA Registries for the Remote Direct Data Placement (RDDP) Protocols published in 2012 defines IANA registries for Remote Direct Data Placement (RDDP) error codes, operation codes, and function codes. RFC 6581 Enhanced Remote Direct Memory Access (RDMA) Connection Establishment published in 2011 fixes shortcomings with iWARP connection setup. RFC 7306 Remote Direct Memory Access (RDMA) Protocol Extensions published in 2014 extends RFC 5040 with atomic operations and RDMA Write with Immediate Data. == Protocol == The main component in the iWARP protocol is the Direct Data Placement Protocol (DDP), which permits the actual zero-copy transmission. DDP itself does not perform the transmission; the underlying protocol (TCP or SCTP) does. However, TCP does not respect message boundaries; it sends data as a sequence of bytes without regard to protocol data units (PDU). In this regard, DDP itself may be better suited for SCTP, and indeed the IETF proposed a standard RDMA over SCTP. To run DDP over TCP requires a tweak known as marker PDU aligned (MPA) framing to guarantee boundaries of messages. Furthermore, DDP is not intended to be accessed directly. Instead, a separate RDMA protocol (RDMAP) provides the services to read and write data. Therefore, the entire RDMA over TCP specification is really RDMAP over DDP over either MPA/TCP or SCTP. All of these protocols can be implemented in hardware. Unlike IB, iWARP only has reliable connected communication, as this is the only service that TCP and SCTP provide. The iWARP specification omits other features of IB, such as Send with Immediate Data operations. With RFC 7306, the IETF is working to reduce these omissions. == Implementation == Because a kernel implementation of the TCP stack can be seen as a bottleneck, the protocol is typically implemented in hardware RDMA network interface controllers (rNICs). As simple data losses are rare in tightly coupled network environments, the error-correction mechanisms of TCP may be performed by software while the more frequently performed communications are handled strictly by logic embedded on the rNIC. Similarly, connections are often established entirely by software and then handed off to the hardware. Furthermore, the handling of iWARP specific protocol details is typically isolated from the TCP implementation, allowing rNICs to be used for both as RDMA offload and TCP offload (in support of traditional sockets based TCP/IP applications). The portion of the hardware implementation used for implementing the TCP protocol is known as the TCP Offload Engine (TOE). TOE itself does not prevent copying on the reception side, and must be combined with RDMA hardware for zero-copy results. The RDMA / TCP specification is a set of different wire protocols intended to be implemented in hardware (though it seems feasible to emulate it in software for compatibility but without the performance benefits). == Interfaces == iWARP is a protocol, not an implementation, but defines protocol behavior in terms of the operations that are legal for the protocol, known as Verbs. As such, iWARP does not have any single standard programming interface. However, programming interfaces tend to very closely correspond to the Verbs. Several programmatic interfaces have been proposed, including OpenFabrics Verbs, Network Direct, uDAPL, kDAPL, IT-API, and RNICPI. Implementations of some of these interfaces are available for different platforms, including Windows and Linux. == Services available == Networking services implemented over iWARP include those offered in the OpenFabrics Enterprise Distribution (OFED) by the OpenFabrics Alliance for Linux operating systems, and by Microsoft Windows via Network Direct. NVMe over Fabrics (NVMEoF) iSCSI Extensions for RDMA (iSER) Server Message Block Direct (SMB Direct) Sockets Direct Protocol (SDP) SCSI RDMA Protocol (SRP) Network File System over RDMA (NFS over RDMA) GPUDirect

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  Cryptochannel

  In telecommunications, a cryptochannel is a complete system of crypto-communications between two or more holders or parties. It includes: (a) the cryptographic aids prescribed; (b) the holders thereof; (c) the indicators or other means of identification; (d) the area or areas in which effective; (e) the special purpose, if any, for which provided; and (f) pertinent notes as to distribution, usage, etc. A cryptochannel is analogous to a radio circuit.

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  ACTS Gigabit Satellite Network

  The ACTS Gigabit Satellite Network was a pioneering, high-speed communications satellite network in the years 1993-2004, created as a prototype system to explore high-speed networking of digital endpoints. The system was jointly sponsored by NASA and ARPA, implemented by BBN Technologies and Motorola, and was inducted into the Space Technology Hall of Fame in April 1997. The Advanced Communications Technology Satellite (ACTS) network was designed to provide fiber-compatible SONET service to remote nodes and networks through a wideband satellite system, and provided long-haul, point-to-point and point-to-multipoint full-duplex SONET services, at rates up to 622 Mbit/s, over NASA's Advanced Communication Technology Satellite (ACTS). The Advanced Communications Technology Satellite itself, built and operated by Lockheed Martin, was launched on STS-51 on September 12, 1993, by the Space Shuttle Discovery, and occupied a geostationary orbit at 100° west longitude. It was the first communication satellite to operate in the 20–30 GHz frequency band (Ka band), with 30 GHz uplink and 20 GHz downlink signals. The satellite incorporated advanced on-board switching and multiple dynamically-hopping spot-beam antennas for selected areas of the United States including Hawaii. Up to 3 uplink and 3 downlink antenna beams could be active simultaneously. The ACTS network ground terminals were transportable Gigabit Earth Stations (GES) with fiber-optic SONET interfaces (OC-3 and OC-12), which also supported the Asynchronous Transfer Mode (ATM) protocol suite. The network control and management functions are distributed in the various Gigabit Earth Stations, with the operator's interface being centralized in a Network Management Terminal (NMT), which could be collocated at a GES, or anywhere in the Internet. The system was operational and used for experiments for 127 months, instead of the originally planned 24–48 months. In all, 53 terminals were built and used by more than 100 experimenters to test ACTS abilities. In Nov. 1997 a record data rate of 520 Mbit/s TCP/IP throughput was achieved using ATM between several ground stations via ACTS. On May 31, 2000 the ACTS experiments program officially came to a close, but the system continued to support experiments until it was deactivated on April 28, 2004.

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  System integrity

  In telecommunications, the term system integrity has the following meanings: That condition of a system wherein its mandated operational and technical parameters are within the prescribed limits. The quality of an AIS when it performs its intended function in an unimpaired manner, free from deliberate or inadvertent unauthorized manipulation of the system. The state that exists when there is complete assurance that under all conditions an IT system is based on the logical correctness and reliability of the operating system, the logical completeness of the hardware and software that implement the protection mechanisms, and data integrity.

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  Story (social media)

  In social media, a story is a function in which the user tells a narrative or provides status messages and information in the form of short, time-limited clips in an automatically running sequence. == Definition == A story is a short sequence of images, videos, or other social media content, which can be accompanied by backgrounds, music, text, stickers, animations, filters or emojis. Social media platforms typically advance through the sequence automatically when presenting a story to a viewer. Although the sequential nature of stories can be used to tell a narrative, the pieces of a story can also be unrelated. Social media platforms that offer stories will typically have a primary story for each user which consists of everything the user posted to their story over a certain period of time, usually the most recent 24 hours. Most stories cannot be changed afterwards and are only available for a short time. Stories are almost exclusively created on a mobile device such as a smartphone or tablet computer and are usually displayed vertically. == History == In October 2013, Snapchat first introduced the story function as a series of Snaps that can together tell a narrative through a chronological order, with each Snap being viewable by all of the poster's friends and deleted after 24 hours. Stories soon surpassed private Snaps to become Snapchat's most-viewed type of post. After 2015, Snapchat introduced a feature allowing users to post private stories viewable by a chosen subset of their friends. Later other apps would copy this feature. In August 2016, Instagram introduced a stories function that deletes the content after 24 hours. Various commenters have accused the site of copying Snapchat. In February 2017, the instant messenger WhatsApp introduced the Now Status stories function in beta, which was later renamed Status. In March 2017, a story function was introduced in Facebook Messenger. In February 2018, Google launched AMP Stories, bringing a story-style format to certain Google search results on mobile devices. In August 2018, YouTube introduced a stories function that initially was limited to pictures, but was later expanded to support short video clips. The feature was shut down in June 2023. In August 2018, the GIF website Giphy introduced a story function. In March 2022, TikTok added a story feature which allowed users to create 15 second long videos that delete after 24 hours. In June 2023, Telegram CEO Pavel Durov announced stories for Telegram would be released in July 2023. In July 2023, the feature was released for premium users, and in August 2023 it was rolled out for all users. == User motivations == In 2022, a study performed by Jia-Dai (Evelyn) Lu and Jhih-Syuan (Elaine) Lin examined the various motivations for updating stories on Instagram. The researchers found a new configuration of motivations for using Instagram Stories: exploration, self-enhancement, perceived functionality, entertainment, social sharing, relationship building, novelty, and surveillance. The findings also highlighted that contribution and creation activities are likely to result in positive emotions, while creation alone predicts negative emotions while updating stories on Instagram. == Usage statistics == In 2019, around 1.5 billion people worldwide every day on average used the stories function in a social network or messenger. Younger people in particular use this function. More than 20% of people aged 18 to 24 use Instagram stories, while it is just under 2% of those over 55. In a Facebook survey of 18,000 participants from 12 countries, 68% said they used the stories function at least once a month. Stories in the areas of fashion and tourism are particularly popular. The website Fanpage Karma analyzed several Instagram accounts and determined the average reach of posts and stories per follower, concluding that posts have a higher reach than stories, which often have less than half the reach.

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  Transmission security

  Transmission security (TRANSEC) is the component of communications security (COMSEC) that results from the application of measures designed to protect transmissions from interception and exploitation by means other than cryptanalysis. Goals of transmission security include: Low probability of interception (LPI) Low probability of detection (LPD) Antijam — resistance to jamming (EPM or ECCM) This involves securing communication links from being compromised by techniques like jamming, eavesdropping, and signal interception. TRANSEC includes the use of frequency hopping, spread spectrum and the physical protection of communication links to obscure the patterns of transmission. It is particularly vital in military and government communication systems, where the security of transmitted data is critical to prevent adversaries from gathering intelligence or disrupting operations. TRANSEC is often implemented alongside COMSEC (Communications Security) to form a comprehensive approach to communication security. Methods used to achieve transmission security include frequency hopping and spread spectrum where the required pseudorandom sequence generation is controlled by a cryptographic algorithm and key. Such keys are known as transmission security keys (TSK). Modern U.S. and NATO TRANSEC-equipped radios include SINCGARS and HAVE QUICK.

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  MIME Object Security Services

  MIME Object Security Services (MOSS) is a protocol that uses the multipart/signed and multipart/encrypted framework to apply digital signature and encryption services to MIME objects. == Details == The services are offered through the use of end-to-end cryptography between an originator and a recipient at the application layer. Asymmetric (public key) cryptography is used in support of the digital signature service and encryption key management. Symmetric (secret key) cryptography is used in support of the encryption service. The procedures are intended to be compatible with a wide range of public key management approaches, including both ad hoc and certificate-based schemes. Mechanisms are provided to support many public key management approaches. == Spreading == MOSS was never widely deployed and is now abandoned, largely due to the popularity of PGP.

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  Packed pixel

  In packed pixel or chunky framebuffer organization, the bits defining each pixel are clustered and stored consecutively. For example, if there are 16 bits per pixel, each pixel is represented in two consecutive (contiguous) 8-bit bytes in the framebuffer. If there are 4 bits per pixel, each framebuffer byte defines two pixels, one in each nibble. The latter example is as opposed to storing a single 4-bit pixel in a byte, leaving 4 bits of the byte unused. If a pixel has more than one channel, the channels are interleaved when using packed pixel organization. Packed pixel displays were common on early microcomputer system that shared a single main memory for both the central processing unit (CPU) and display driver. In such systems, memory was normally accessed a byte at a time, so by packing the pixels, the display system could read out several pixels worth of data in a single read operation. Packed pixel is one of two major ways to organize graphics data in memory, the other being planar organization, where each pixel is made of individual bits stored in their own plane. For a 4-bit color value, memory would be organized as four screen-sized planes of one bit each and a single pixel's value built up by selecting the appropriate bit from each plane. Planar organization has the advantage that the data can be accessed in parallel, and is used when memory bandwidth is an issue.

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  Rassd News Network

  Rassd News Network, also known by its initials of RNN (Arabic:شبكة رصد الاخبارية), is an alternative media network based in Cairo, Egypt. RNN was launched as a Facebook-based news source launched on January 25, 2011. It quickly advanced to become a primary contributor of Egyptian revolution-related news that year. Applying the motto "From the people to the people," the citizen journalists who created RNN have since added a Twitter feed and launched an independent website dedicated to short news stories favored by an online audience. RNN is an organized citizen news network with four working committees; one for editing the news, another to support the correspondents covering Egypt, a third for managing the multimedia feeds and a fourth for staff functions such as development, training and public relations. RNN's Arabic name, Rassd, is an acronym that stands for Rakeb (observe), Sawwer (record) and Dawwen (blog). RNN created a Ustream channel on January 27, 2011, and a YouTube account a month later. The success of RNN and its new social media model is evidenced in its recent local network expansion into Libya, Morocco, Syria, Jerusalem and Turkey. Even so, one media scholar in the US (commenting in 2011) called the accuracy of RNN's reporting "fairly mediocre". RNN has endured closures of their Facebook profile and YouTube account as part of the attacks from private media, attempting to thwart their work and influence their content. == Use of RNN's news by international media == RNN has been a global source of Egyptian revolution-related news since its launch. During the early days of the citizen uprisings across the Middle East, major networks such as BBC, Reuters, Al Jazeera and Al Arabiya used some of Rassd's news and photos, and followed the network on Twitter. Three days after the online portal went live it was streaming video to MSNBC through its Facebook page. Then on February 5, 2011, Louisville's NBC-affiliate cited RNN, Cairo when it reported that President Hosni Mubarak had stepped down as head of Egypt's ruling party.

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  Content management

  Content management (CM) are a set of processes and technologies that support the collection, managing, and publishing of information in any form or medium. When stored and accessed via computers, this information may be more specifically referred to as digital content, or simply as content. Digital content may take the form of text (such as electronic documents), images, multimedia files (such as audio or video files), or any other file type that follows a content lifecycle requiring management. The process of content development and management is complex enough that various commercial software vendors (large and small), such as Interwoven and Microsoft, offer content management software to control and automate significant aspects of the content lifecycle. == Process == Content management practices and goals vary by mission and by organizational governance structure. News organizations, e-commerce websites, and educational institutions all use content management, but in different ways. This leads to differences in terminology and in the names and number of steps in the process. For example, some digital content is created by one or more authors. Over time that content may be edited. One or more individuals may provide some editorial oversight, approving the content for publication. Publishing may take many forms: it may be the act of "pushing" content out to others, or simply granting digital access rights to certain content to one or more individuals. Later that content may be superseded by another version of the content and thus retired or removed from use (as when this wiki page is modified). Content management is an inherently collaborative process. It often consists of the following basic roles and responsibilities: Creator – responsible for creating and editing content. Editor – responsible for tuning the content message and the style of delivery, including translation and localization. Publisher – responsible for releasing the content for use. Administrator – responsible for managing access permissions to folders, collections and files, usually accomplished by assigning access rights to user groups or roles. Admins may also assist and support users in various ways. Consumer, viewer or guest – the person who reads or otherwise consumes the content after it is published or shared. A critical aspect of content management is the ability to manage versions of content as it evolves (see also version control). Authors and editors often need to restore older versions of edited products due to a process failure or an undesirable series of edits. Time-sensitive content may also require updates as the subject matter evolves over time. Another equally important aspect of content management involves the creation, maintenance, and application of review standards. Each member of the content creation and review process has a unique role and set of responsibilities in the development or publication of the content. Each review team member requires clear and concise review standards. These must be maintained on an ongoing basis to ensure the long-term consistency and health of the knowledge base. A content management system is a set of automated processes that may support the following features: Import and creation of documents and multimedia material Identification of all key users and their roles The ability to assign roles and responsibilities to different instances of content categories or types Definition of workflow tasks often coupled with messaging so that content managers are alerted to changes in content The ability to track and manage multiple versions of a single instance of content The ability to publish the content to a repository to support access The ability to personalize content based on a set of rules Increasingly, the repository is an inherent part of the system, and incorporates enterprise search and retrieval. Content management systems take the following forms: Web content management system—software for web site management (often what content management implicitly means) Output of a newspaper editorial staff organization Workflow for article publication Document management systems Knowledge management software Single source content management system—content stored in chunks within a relational database Variant management system—where personnel tag source content (usually text and graphics) to represent variants stored as single source "master" content modules, resolved to the desired variant at publication (for example: automobile owners manual content for 12 model years stored as single master content files and "called" by model year as needed)—often used in concert with database chunk storage (see above) for large content objects == Governance structures == Content management expert Marc Feldman defines three primary content management governance structures: localized, centralized, and federated—each having its unique strengths and weaknesses. === Localized governance === By putting control in the hands of those closest to the content, the context experts, localized governance models empower and unleash creativity. These benefits come, however, at the cost of a partial-to-total loss of managerial control and oversight. === Centralized governance === When the levers of control are strongly centralized, content management systems are capable of delivering an exceptionally clear and unified brand message. Moreover, centralized content management governance structures allow for a large number of cost-savings opportunities in large enterprises, realized, for example, through (1) the avoidance of duplicated efforts in creating, editing, formatting, repurposing and archiving content; (2) process management and the streamlining of all content related labor; and/or (3) an orderly deployment or updating of the content management system. === Federated governance === Federated governance models potentially realize the benefits of both localized and centralized control while avoiding the weaknesses of both. While content management software systems are inherently structured to enable federated governance models, realizing these benefits can be difficult because it requires, for example, negotiating the boundaries of control with local managers and content creators. In the case of larger enterprises, in particular, the failure to fully implement or realize a federated governance structure equates to a failure to realize the full return on investment and cost savings that content management systems enable. == Implementation == Content management implementations must be able to manage content distributions and digital rights in content life cycle. Content management systems are usually involved with digital rights management in order to control user access and digital rights. In this step, the read-only structures of digital rights management systems force some limitations on content management, as they do not allow authors to change protected content in their life cycle. Creating new content using managed (protected) content is also an issue that gets protected contents out of management controlling systems. A few content management implementations cover all these issues.

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