AI Generator Character

AI Generator Character — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Image translation

  Image translation is the machine translation of images of printed text (posters, banners, menus, screenshots etc.). This is done by applying optical character recognition (OCR) technology to an image to extract any text contained in the image, and then have this text translated into a language of their choice, and the applying digital image processing on the original image to get the translated image with a new language. == General == Machine translation made available on the internet (web and mobile) is a notable advance in multilingual communication eliminating the need for an intermediary translator/interpreter, translating foreign texts still poses a problem to the user as they cannot be expected to be able to type the foreign text they wish to translate and understand. Manually entering the foreign text may prove to be a difficulty especially in cases where an unfamiliar alphabet is used from a script which user can't read, e.g. Cyrillic, Chinese, Japanese etc. for an English speaker or any speaker of a Latin-based language or vice versa. The technical advancements in OCR made it possible to recognize text from images. The possibility to use one's mobile device's camera to capture and extract printed text is also known as mobile OCR and was first introduced in Japanese manufactured mobile telephones in 2004. Using the handheld's camera one could take a picture of (a line of) text and have it extracted (digitalized) for further manipulation such as storing the information in their contacts list, as a web page address (URL) or text to use in an SMS/email message etc. Presently, mobile devices having a camera resolution of 2 megapixels or above with an auto-focus ability, often feature the text scanner service. Taking the text scanning facility one step further, image translation emerged, giving users the ability to capture text with their mobile phone's camera, extract the text, and have it translated in their own language. More and more applications emerged on this technology including Word Lens. After getting acquired by Google, it was made a part of Google Translate mobile app. Another simultaneous advancement in Image Processing, has also made it possible now to replace the text on the image with the translated text and create a new image altogether. == History == The development of the image translation service springs from the advances in OCR technology (miniaturization and reduction of memory resources consumed) enabling text scanning on mobile telephones. Among the first to announce mobile software capable of “reading” text using the mobile device's camera is International Wireless Inc. who in February 2003 released their “CheckPoint” and “WebPoint” applications. “CheckPoint” reads critical symbolic information on checks and is aimed at reducing losses that mobile merchants suffer from “bounced” checks by scanning the MICR number on the bottom of a check, while “WebPoint” enables the visual recognition and decoding of printed URL's, which are then opened by the device's web browser. The first commercial release of a mobile text scanner, however, took place in December 2004 when Vodafone and Sharp began selling the 902SH mobile which was the first to feature a 2 megapixel digital camera with optical zoom. Among the device's various multimedia features was the built-in text/bar code/QR code scanner. The text scanner function could handle up to 60 alphabetical characters simultaneously. The scanned text could be then sent as an email or SMS message, added as a dictionary entry or, in the case of scanned URLs, opened via the device's web browser. All subsequent Sharp mobiles feature the text scanner functionality. In September 2005, NEC Corporation and the Nara Institute of Science and Technology in Japan (NAIST) announced new software capable of transforming cameraphones into text scanners. The application differs substantially from similarly equipped mobile telephones in Japan (able to scan businesscards and small bits of text and use OCR to convert that to editable text or to URL addresses) by it ability to scan a whole page. The two companies, however, said they would not release the software commercially before the end of 2008. Combining the text scanner function with machine translation technology was first made by US company RantNetwork who in July 2007 started selling the Communilator, a machine translation application for mobile devices featuring the Image Translation functionality. Using the built-in camera, the mobile user could take a picture of some printed text, apply OCR to recognize the text and then translate it into any one of over 25 language available. In April 2008 Nokia showcased their Shoot-to-Translate application for the N73 model which is capable of taking a picture using the device's camera, extracting the text and then translating it. The application only offers Chinese to English translation, and does not handle large segments of text. Nokia said they are in the process of developing their Multiscanner product which, besides scanning text and business cards, would be able to translate between 52 languages. Again in April 2008, Korean company Unichal Inc. released their handheld Dixau text scanner capable of scanning and recognizing English text and then translating it into Korean using online translation tools such as Wikipedia or Google Translate. The device is connected to a PC or a laptop via the USB port. In February 2009, Bulgarian company Interlecta presented at the Mobile World Congress in Barcelona their mobile translator including image recognition and speech synthesis. The application handles all European languages along with Chinese, Japanese and Korean. The software connects to a server over the Internet to accomplish the image recognition and the translation. In May 2014, Google acquired Word Lens to improve the quality of visual and voice translation. It is able to scan text or picture with one's device and have it translated instantly. Since the OCR has been improving many companies or website started combining OCR and translation, to read the text from an image and show the translated text. In August 2018, an Indian company created ImageTranslate. It is able to read, translate and re-create the image in another language. As of late 2018, the tool added 13 new languages, including Arabic, Thai, Vietnamese, Hindi, and Bengali, significantly increasing its utility in Asia and the Middle East. This helps users translate photos already stored in their phone's gallery, not just live, real-time views. Currently, image translation is offered by the following companies: Google Translate app with camera ImageTranslate Yandex

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  Construction robots

  Construction robots are a subset of industrial robots used for building and infrastructure construction on site, or in the production of materials and components offsite. A 2021 survey said 55% of construction companies in the United States, Europe, and China used robots in some form. This figure, however, reflects reported use across the construction value chain rather than widespread deployment of robots on active construction sites. Real-world adoption remains limited, with many robotic systems confined to pilot projects, controlled environments, or specific task applications rather than continuous on-site construction use. One of the main challenges in deploying robots on construction sites is the unstructured and variable nature of the environment, which differs fundamentally from controlled factory settings where industrial robots have traditionally operated. Some robots currently deployed on job sites assist with physically demanding or repetitive tasks: excavating, lifting heavy materials, surveying, laying out markers, tying rebar, and installing drywall. More advanced systems are being developed for exterior finishing, steel placement, masonry, and reinforced concrete work. In practice, rather than autonomous systems performing core building tasks, the most widely adopted robot applications on construction sites involve technologies such as aerial drones (or, less frequently, robot 'dogs' - for example, Boston Dynamics' Spot - or humanoid robots) used for surveying, inspection, and progress monitoring (the robots typically carry video and/or 360-degree cameras, LiDar scanners or other data capture devices, with data analysed using artificial intelligence and machine learning). Some emerging systems are designed as multifunctional construction robots, integrating multiple tools and capabilities within a single robotic platform to perform different stages of the construction process. These systems aim to improve operational flexibility and increase automation in complex construction environments. Experimental projects using robotic construction technologies and additive manufacturing have been demonstrated in several countries as part of broader efforts to industrialize the construction sector and improve productivity through automation and digitalization. == Features == Construction robots are generally required to meet the following criteria: Mobility: the ability to navigate around a construction site, including uneven terrain and confined spaces. Adaptability: the ability to handle components of variable size, weight, and shape. Environmental awareness: the ability to sense and respond to changing on-site conditions. Interactivity: the ability to operate alongside human workers and other equipment. Multitasking: the ability to perform several different operations within a single deployment. == Capabilities == Construction robots have been developed and tested for a range of on-site tasks, including: Progress monitoring — robots equipped with cameras and sensors can track construction progress and identify deviations from plans. Inspection — robots are used to investigate infrastructure at dangerous or inaccessible locations, reducing risk to human workers and eliminating human error. Wall construction — robotic systems can lay bricks and blocks with greater speed and consistency than manual labour. Earthmoving and material handling — autonomous excavators and haul trucks use GPS, lidar, and motion sensors to perform digging, trenching, and loading tasks with minimal human input. Grading and dozing — autonomous bulldozers use GPS, gyroscopes, and laser sensors to control blade angle and depth, improving surface finish accuracy and reducing material overuse. 3D printing — additive manufacturing systems can construct walls and structural elements directly from digital models. == Notable construction-related activities undertaken by robots == The distribution of robotic applications in construction varies across the project lifecycle. Most applications are concentrated in structural construction tasks such as masonry, concrete work, and assembly, while other phases, including planning, maintenance, and demolition, remain less represented. === Automated building systems === The Nisseki Yokohama Building (also known as Rail City Yokohama), a 30-storey office building in Yokohama, Japan, was constructed between 1994 and 1997 using the SMART system (Shimizu Manufacturing system by Advanced Robotics Technology), developed by Shimizu Corporation and a consortium of seven other Japanese companies. The system used automated horizontal hoists and vertical lifts to position steel beams, columns, precast concrete floor slabs, and prefabricated facade panels, with welding robots connecting structural elements under laser-guided precision. Each component was tracked by barcode to monitor progress and coordinate just-in-time delivery of materials. Obayashi Corporation developed the Advanced Building Construction System (ABCS), a similar automated platform used in several high-rise projects in Japan in the 1990s, including the NEC Head Office in Kanagawa (1997–2000). === Progress monitoring, inspection === Boston Dynamics' Spot was used in February 2024 to inspect sections of the M5 motorway in England for National Highways. A £15,000 humanoid robot (a G1 model from Chinese manufacturer Unitree) was deployed to capture 360-degree imagery and progress reports to support health and safety monitoring and reporting for UK contractor Tilbury Douglas in April 2026. In the US, Virginia Tech's ARCADE research lab is developing MARIO (Multi-Agent Robotic system for Inspection On-site), a heterogenous robotic system deploying multiple robots capable of different locomotion to perform remote real-time construction progress monitoring in complex construction sites. === Earthmoving === === Concrete works === Obayashi Corporation developed and deployed a robotic system for placing concrete layers in dam construction in Japan. A concrete floor finishing robot was deployed by Kajima and Tokimec in Japan. The MARK series were designed in 1984 to automate the levelling and trowelling of concrete slabs on construction sites, providing consistent finishing accuracy, improved efficiency, and reduced dependence on skilled labour === Masonry === SAM100 (Semi-Automated Mason), developed by Construction Robotics, is one of the first commercially available bricklaying robots for on-site masonry construction. In 2018, it was used in the construction of the University Arts Building at the University of Nevada, Reno — a $35.5 million facility — where it laid over 60,000 of the 100,000 bricks required, reducing the brick veneer installation time by approximately 50%. Hadrian X, developed by the Australian company Fastbrick Robotics, is a fully autonomous mobile bricklaying robot. In November 2022, it completed its first commercial project — five four-bedroom houses in Wellard, Western Australia. In February 2025, PulteGroup, one of the largest homebuilders in the United States, piloted Hadrian X on a site in Florida, constructing an entire house in a single day. === 3D printing === In May 2025, a residential building in Arinaga, Gran Canaria, Spain, was completed using 3D printing construction technology, as part of broader efforts to demonstrate robotic and additive manufacturing methods in the housing sector. In 2026, a three-storey apartment block in France was constructed using concrete 3D printing technology, three months faster than conventional building methods. Finland's Hyperion Robotics has opened a UK factory and used 3D printing with concrete to produce foundations for pipelines and for electricity substation bases, reducing time-consuming and weather-dependent onsite construction processes. == Social impact == The adoption of construction robots varies significantly by region and is shaped by labour market conditions, cultural attitudes, and regulatory frameworks. In Japan, construction robots have been embraced as a response to an ageing workforce and chronic labour shortages, and are generally viewed positively by the industry. In the United States, adoption has historically been slower, partly due to resistance from labour unions concerned about job displacement. Research suggests that the impact of automation on workers is uneven: while robots can create a productivity effect that benefits some workers, displacement effects are most pronounced among younger, less-educated workers in manufacturing-heavy regions. More than 60% of construction firms now report difficulty finding skilled operators, which has increased openness to automation as a practical solution to workforce shortages rather than a replacement for workers. In the UK, during onsite deployment of a humanoid robot for monitoring purposes, there were concerns that staff might think they were being watched ("It's not there to spy on people.... So, we insist that everyone is blurred out. N

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  Boris FX

  Boris FX is a visual effects, video editing, photography, and audio software plug-in developer based in Miami, Florida, USA. The developer is known for its flagship products, Continuum (formerly Boris Continuum Complete/BCC), Sapphire, Mocha, and Silhouette. Boris FX creates plug-in tools for feature film, broadcast television, and multimedia post-production workflows. The plug-ins are compatible with various NLEs, including Adobe After Effects and Premiere Pro, Avid Media Composer, Apple Final Cut Pro, and OFX hosts such as Autodesk Flame, Foundry Nuke, Blackmagic Design DaVinci Resolve and Fusion, and VEGAS Pro. Boris FX has incorporated artificial intelligence into its software, introducing features for noise reduction, rotoscoping, upscaling, and masking. The company has acquired technologies via mergers and acquisitions from Imagineer Systems, GenArts, Silhouette FX, Digital Film Tools, CrumplePop and Andersson Technologies to expand its visual effects, editing, photography, and audio tools. == History == Boris FX was founded in 1995 by Boris Yamnitsky. The former Media 100 engineer (a member of the original Media 100 launch team in 1993) released “Boris FX,” the first plug-in-based digital video effects (DVE) for Adobe Premiere and Media 100, in 1995. The plug-in won Best of Show at Apple Macworld in Boston, MA that same year. The Boris FX Suite includes a range of visual effects and post-production tools, such as Sapphire, Continuum, Mocha Pro, Silhouette, SynthEyes, CrumplePop, Optics, and Particle Illusion. == Media 100 == In October 2005, Yamnitsky acquired Media 100 the company that launched his plug-in career. Boris FX had a long relationship with Media 100 which bundled Boris RED software as its main titling and compositing solution. Media 100's video editing software is available as freeware for macOS. == Continuum == Continuum is a visual effect and compositing plugin suite that includes a library of over 300 effects and more than 40 transitions, including tools for image restoration, compositing, titling, particle generation, and stylized effects, along with features such as lens flares, lighting effects, and cinematic color grading presets. A key component of Continuum is its integration with the Mocha planar tracking and masking system, enabling advanced tracking and rotoscoping within the effects. The suite also includes Particle Illusion, a real-time particle generator used for creating visual effects such as explosions, smoke, and abstract motion graphics, as well as Primatte Studio, a chroma keying and compositing toolset for green screen and blue screen workflows. Continuum supports GPU acceleration and offers compatibility with HDR and 360/VR content. Regular updates introduce new effects, presets, and performance enhancements to expand its capabilities. In October 2018, Continuum relaunched Particle Illusion, a Mocha Essentials workflow with magnetic edge-snapping, and updates to Title Studio. In October 2019, Continuum introduced Corner Pin Studio with built-in Mocha tracking for quick screen replacement and inserts, 6 stylized transitions, and 4 creative effects. In October 2020, Continuum released an update that included over 80 GPU-accelerated effects such as film stocks, color grades, optical filter simulations, and a digital gobo library. The update also introduced a custom FX Editor interface, real-time particles, and more than 1,000 drag-and-drop presets. In November 2021, it added multi-frame rendering for After Effects, native Apple M1 support, fluid dynamics in Particle Illusion, and 60 color-grade presets. In October 2022, the software introduced 10 additional transitions, a revised Particle Illusion workflow, an atmospheric glow effect, and more than 250 curated presets. Continuum plugins have been used in television, streaming, and film projects, including A Black Lady Sketch Show (HBO/HBO Max), Star Trek: Discovery (CBS), Andor (Disney+), The Curse of Oak Island (History Channel), Keeping up with the Kardashians (E!), This Old House (PBS), Ms. Marvel (Disney+), MasterChef (Fox), WipeOut (TBS), The Boys (Prime Video), and The Today Show (NBC). == Mocha Pro == In December 2014, Boris FX merged with Imagineer Systems, the UK-based developer of the Academy Award-winning planar motion tracking software, Mocha Pro. Mocha Pro's features include planar tracking (motion tracking), rotoscoping, image stabilization, 3D camera tracking, and object removal. In June 2016, Mocha released (v5) which introduced Mocha Pro's tools as plug-ins for Adobe After Effects and Premiere Pro, Avid Media Composer, and OFX hosts Foundry's NUKE, Blackmagic Design Fusion, VEGAS Pro, and HitFilm. A simplified version, Mocha AE, is included with Adobe After Effects Creative Cloud and has been bundled with the software since CS4. A similar version is also available with HitFilm Pro from FXhome and VEGAS Pro. Mocha's tracking SDK is integrated into other visual effects tools, including SAM Quantel Pablo Rio, Silhouette FX, CoreMelt, and Motion VFX. Mocha Pro has been used in various film and television productions, including Birdman, Black Swan, the Harry Potter series, The Hobbit, Star Wars, The Mandalorian, Star Trek: Discovery, and The Umbrella Academy. It has also been employed in projects such as Gone Girl, The Hunger Games: Mockingjay – Part 1, Game of Thrones, and House of Cards. == Sapphire == GenArts, founded by Karl Sims in 1996, developed visual effects plug-ins that were used by studios and post-production facilities. In September 2016, Boris FX merged with former competitor, GenArts, Inc., developer of Sapphire high-end visual effects plug-ins, to expand its suite of motion graphics and VFX tools. The merger brought Sapphire alongside Boris Continuum Complete (BCC) and Mocha Pro, integrating these tools for film and television post-production. The Sapphire suite includes a library of over 270 effects and transitions, organized into categories such as lighting, stylization, distortions, textures, and transitions. Commonly used effects include glows, lens flares, film looks, and blurs. The plug-ins are designed to be GPU-accelerated, allowing for improved rendering performance and real-time previews in supported host applications. A central feature of Sapphire is the Builder tool, a node-based workspace that allows users to create custom effects and transitions by combining multiple Sapphire plug-ins. This enables a high level of creative flexibility and reusability, making it a popular tool for both editors and VFX artists. Sapphire also integrates with Mocha, Boris FX's planar tracking and masking system, allowing for advanced control of visual elements within an effect. In October 2017, Boris FX released its first new version of Sapphire since the GenArts acquisition. Sapphire (v11) now includes integrated Mocha tracking and masking tools. Sapphire is available for Adobe, Avid, the Autodesk Flame family, and OFX hosts including Blackmagic DaVinci Resolve and Fusion, and Foundry's NUKE. As part of the merger, Boris FX acquired the rights to Particle Illusion. In 2018, Boris FX reintroduced the product to the larger NLE/Compositing market. Sapphire's plug-ins transitioned from C to C++ to improve performance and support higher-resolution visual effects. This update enhanced floating-point calculations, compatibility with film editing APIs, and integration with NVIDIA's CUDA for faster rendering. The plug-ins have been used in various films, including Avatar, the Harry Potter and the Prisoner of Azkaban, Iron Man, The Lord of the Rings, The Matrix trilogy, Titanic, and X-Men. == Particle Illusion == As part of the merger with GenArts in 2016, Boris FX acquired the rights to the Particle Illusion (formerly particleIllusion) product, a storied particle system from the original developer Alan Lorence, the founder of Wondertouch. In 2018, Boris FX released a redesigned version of the product to a larger NLE/compositing market as part of Continuum (2019). The new Particle Illusion plug-in supports Adobe, Avid, and many OFX hosts. == Silhouette == In September 2019, Boris FX merged with SilhouetteFX, Academy Award-winning developer of Silhouette, a high-end digital paint, advanced rotoscoping, motion tracking, and node-based compositing application for visual effects in film post-production. The acquisition integrated Silhouette's advanced rotoscoping and paint technology, recognized by the Academy of Motion Pictures, into Boris FX's suite of products, alongside Sapphire, Continuum, and Mocha Pro. In May 2021, Boris FX released Silhouette 2021, the first version of Silhouette released by Boris FX to function both as a standalone application and as a plug-in for Adobe, Autodesk, Nuke, and other OFX hosts. Silhouette has been used in the visual effects of films such as Avatar, Avengers: Infinity War, Blade Runner 2049, Ex Machina, and Interstellar. == Optics == In June 2020, Boris FX launched Optics, its first plugin deve

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  Digital art

  Digital art, or the digital arts, is artistic work that uses digital technology as part of the creative or presentational process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art. Digital art includes pieces stored on physical media, such as with digital painting, as well as digital galleries on websites. Digital art also extends to the field of visual computing. == History == In the early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user interactive computer-graphics interface known as Sketchpad. Between 1974 and 1977, Salvador Dalí created two big canvases of Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko) and prints of Lincoln in Dalivision based on a portrait of Abraham Lincoln processed on a computer by Leon Harmon published in "The Recognition of Faces". The technique is similar to what later became known as photographic mosaics. Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Center in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color using flood fills. == Art made for digital media == Artwork that is highly computational, presented through digital media, and explicitly engages with digital technologies are categorized as "art made for digital media". This differs from art using digital tools, which incorporate digital technology in the creation process but may exist outside the digital world. Digital art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statement about the art form". == Art that uses digital tools == Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings when created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Despite differing viewpoints on digital technology's impact on the arts, a consensus exists within the digital art community about its significant contribution to expanding the creative domain, i.e., that it has greatly broadened the creative opportunities available to professional and non-professional artists alike. == Art theorists and art historians == Notable art theorists and historians in this field include: Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Tina Rivers Ryan, Fred Forest and Edward A. Shanken. === Digital painting === Digital painting is either a physical painting made with the use of digital electronics and spray paint robotics within the digital art fine art context or pictorial art imagery made with pixels on a computer screen that mimics artworks from the traditional histories of painting and illustration. === Artificial intelligence art === Artists have used artificial intelligence to create artwork since at least the 1960s. Since their design in 2014, some artists have created artwork using a generative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate. It can be used to generate pictures that have visual effects similar to traditional fine art. The essential idea of image generators is that people can use text descriptions to let AI convert their text into visual picture content. Anyone can turn their language into a painting through a picture generator. == Digital art education == Digital art education has become more common with the advancement of digital hardware and software. From hardware such as graphics tablets, styluses, tablets, 3D scanners, virtual reality headsets, and digital cameras; to software such as digital art software, 3D modeling software, 3D rendering, digital sculpting, 2D graphics software, digital painting, 3D terrain generation, 2D animation software, 3D animation software, raster graphics editors, vector graphics editors, mathematical art software, and video editing software. == Scholarship and archives == In addition to the creation of original art, research methods that utilize AI have been generated to quantitatively analyze digital art collections. This has been made possible due to the large-scale digitization of artwork in the past few decades. Although the main goal of digitization was to allow for accessibility and exploration of these collections, the use of AI in analyzing them has brought about new research perspectives. Two computational methods, close reading and distant viewing, are the typical approaches used to analyze digitized art. Close reading focuses on specific visual aspects of one piece. Some tasks performed by machines in close reading methods include computational artist authentication and analysis of brushstrokes or texture properties. In contrast, through distant viewing methods, the similarity across an entire collection for a specific feature can be statistically visualized. Common tasks relating to this method include automatic classification, object detection, multimodal tasks, knowledge discovery in art history, and computational aesthetics. Whereas distant viewing includes the analysis of large collections, close reading involves one piece of artwork. Whilst 2D and 3D digital art is beneficial as it allows the preservation of history that would otherwise have been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans – i.e., who should own the digital copyrights. === Computer demos === Computer demos are based on computer programs, usually non-interactive. It produces audiovisual presentations. They are a novel form of art, which emerged as a consequence of the home computer revolution in the early 1980s. In the classification of digital art, they can be best described as real-time procedurally generated animated audio-visuals. This form of art does not concentrate only on the aesthetics of the final presentation, but also on the complexities and skills involved in creating the presentation. As such, it can be fully enjoyed only by persons with a relatively high knowledge level of relevant computer technologies. An example is that, as said by Hua Jin and Jie Yang, Using computer-aided design software to present the class content in art design teaching," is not to advocate computer-aided design instead of hand-drawn performance, but to make it serve the profession earlier through a more reasonable course arrangement." On the other hand, many of the created pieces of art are primarily aesthetic or amusing, and those can be enjoyed by the general public. === Digital installation art === Digital installation art constitutes a broad field of artistic practices and a variety of forms. Some resemble video installations, especially large-scale works involving projections and live video capture. By using projection techniques that enhance an audience's impression of sensory envelopment, many digital installations attempt to create immersive environments. While others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site-specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces. Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people, indicating their personal space.Noah Wardrip-Fruin's "Screen"(2003) utilizes a Cave Automatic Virtual Environment (CAVE) to create an interactive, text-based digital experience that engages the viewer in a multi-sensory interaction. === Internet art and net.art === Internet art is digital art that uses the specific characteristics of the Internet and is exhibited on the Internet. The term "internet art" is included by "net art" for which artists assume that network will be refreshed through history. So the term "post-internet art" is used to exclude artworks outside of the internet media. A representative example is Protocols for Achievements, which is a digital photo frame that confronts the aestheti

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  Digital art

  Digital art, or the digital arts, is artistic work that uses digital technology as part of the creative or presentational process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art. Digital art includes pieces stored on physical media, such as with digital painting, as well as digital galleries on websites. Digital art also extends to the field of visual computing. == History == In the early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user interactive computer-graphics interface known as Sketchpad. Between 1974 and 1977, Salvador Dalí created two big canvases of Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko) and prints of Lincoln in Dalivision based on a portrait of Abraham Lincoln processed on a computer by Leon Harmon published in "The Recognition of Faces". The technique is similar to what later became known as photographic mosaics. Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Center in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color using flood fills. == Art made for digital media == Artwork that is highly computational, presented through digital media, and explicitly engages with digital technologies are categorized as "art made for digital media". This differs from art using digital tools, which incorporate digital technology in the creation process but may exist outside the digital world. Digital art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statement about the art form". == Art that uses digital tools == Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings when created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Despite differing viewpoints on digital technology's impact on the arts, a consensus exists within the digital art community about its significant contribution to expanding the creative domain, i.e., that it has greatly broadened the creative opportunities available to professional and non-professional artists alike. == Art theorists and art historians == Notable art theorists and historians in this field include: Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Tina Rivers Ryan, Fred Forest and Edward A. Shanken. === Digital painting === Digital painting is either a physical painting made with the use of digital electronics and spray paint robotics within the digital art fine art context or pictorial art imagery made with pixels on a computer screen that mimics artworks from the traditional histories of painting and illustration. === Artificial intelligence art === Artists have used artificial intelligence to create artwork since at least the 1960s. Since their design in 2014, some artists have created artwork using a generative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate. It can be used to generate pictures that have visual effects similar to traditional fine art. The essential idea of image generators is that people can use text descriptions to let AI convert their text into visual picture content. Anyone can turn their language into a painting through a picture generator. == Digital art education == Digital art education has become more common with the advancement of digital hardware and software. From hardware such as graphics tablets, styluses, tablets, 3D scanners, virtual reality headsets, and digital cameras; to software such as digital art software, 3D modeling software, 3D rendering, digital sculpting, 2D graphics software, digital painting, 3D terrain generation, 2D animation software, 3D animation software, raster graphics editors, vector graphics editors, mathematical art software, and video editing software. == Scholarship and archives == In addition to the creation of original art, research methods that utilize AI have been generated to quantitatively analyze digital art collections. This has been made possible due to the large-scale digitization of artwork in the past few decades. Although the main goal of digitization was to allow for accessibility and exploration of these collections, the use of AI in analyzing them has brought about new research perspectives. Two computational methods, close reading and distant viewing, are the typical approaches used to analyze digitized art. Close reading focuses on specific visual aspects of one piece. Some tasks performed by machines in close reading methods include computational artist authentication and analysis of brushstrokes or texture properties. In contrast, through distant viewing methods, the similarity across an entire collection for a specific feature can be statistically visualized. Common tasks relating to this method include automatic classification, object detection, multimodal tasks, knowledge discovery in art history, and computational aesthetics. Whereas distant viewing includes the analysis of large collections, close reading involves one piece of artwork. Whilst 2D and 3D digital art is beneficial as it allows the preservation of history that would otherwise have been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans – i.e., who should own the digital copyrights. === Computer demos === Computer demos are based on computer programs, usually non-interactive. It produces audiovisual presentations. They are a novel form of art, which emerged as a consequence of the home computer revolution in the early 1980s. In the classification of digital art, they can be best described as real-time procedurally generated animated audio-visuals. This form of art does not concentrate only on the aesthetics of the final presentation, but also on the complexities and skills involved in creating the presentation. As such, it can be fully enjoyed only by persons with a relatively high knowledge level of relevant computer technologies. An example is that, as said by Hua Jin and Jie Yang, Using computer-aided design software to present the class content in art design teaching," is not to advocate computer-aided design instead of hand-drawn performance, but to make it serve the profession earlier through a more reasonable course arrangement." On the other hand, many of the created pieces of art are primarily aesthetic or amusing, and those can be enjoyed by the general public. === Digital installation art === Digital installation art constitutes a broad field of artistic practices and a variety of forms. Some resemble video installations, especially large-scale works involving projections and live video capture. By using projection techniques that enhance an audience's impression of sensory envelopment, many digital installations attempt to create immersive environments. While others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site-specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces. Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people, indicating their personal space.Noah Wardrip-Fruin's "Screen"(2003) utilizes a Cave Automatic Virtual Environment (CAVE) to create an interactive, text-based digital experience that engages the viewer in a multi-sensory interaction. === Internet art and net.art === Internet art is digital art that uses the specific characteristics of the Internet and is exhibited on the Internet. The term "internet art" is included by "net art" for which artists assume that network will be refreshed through history. So the term "post-internet art" is used to exclude artworks outside of the internet media. A representative example is Protocols for Achievements, which is a digital photo frame that confronts the aestheti

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  Image scaling

  In computer graphics and digital imaging, image scaling is the resizing of a digital image. In video technology, the magnification of digital material is known as upscaling or resolution enhancement. When scaling a vector graphic image, the graphic primitives that make up the image can be rendered using geometric transformations at any resolution with no loss of image quality. When scaling a raster graphics image, a new image with a higher or lower number of pixels must be generated. In the case of decreasing the pixel number (scaling down), this usually results in a visible quality loss. From the standpoint of digital signal processing, the scaling of raster graphics is a two-dimensional example of sample-rate conversion, the conversion of a discrete signal from a sampling rate (in this case, the local sampling rate) to another. == Mathematical == Image scaling can be interpreted as a form of image resampling or image reconstruction from the view of the Nyquist sampling theorem. According to the theorem, downsampling to a smaller image from a higher-resolution original can only be carried out after applying a suitable 2D anti-aliasing filter to prevent aliasing artifacts. The image is reduced to the information that can be carried by the smaller image. In the case of up sampling, a reconstruction filter takes the place of the anti-aliasing filter. A more sophisticated approach to upscaling treats the problem as an inverse problem, solving the question of generating a plausible image that, when scaled down, would look like the input image. A variety of techniques have been applied for this, including optimization techniques with regularization terms and the use of machine learning from examples. == Algorithms == An image size can be changed in several ways. === Nearest-neighbor interpolation === One of the simpler ways of increasing image size is nearest-neighbor interpolation, replacing every pixel with the nearest pixel in the output; for upscaling, this means multiple pixels of the same color will be present. This can preserve sharp details but also introduce jaggedness in previously smooth images. 'Nearest' in nearest-neighbor does not have to be the mathematical nearest. One common implementation is to always round toward zero. Rounding this way produces fewer artifacts and is faster to calculate. This algorithm is often preferred for images which have little to no smooth edges. A common application of this can be found in pixel art. === Bilinear and bicubic interpolation === Bilinear interpolation works by interpolating pixel color values, introducing a continuous transition into the output even where the original material has discrete transitions. Although this is desirable for continuous-tone images, this algorithm reduces contrast (sharp edges) in a way that may be undesirable for line art. Bicubic interpolation yields substantially better results, with an increase in computational cost. === Sinc and Lanczos resampling === Sinc resampling, in theory, provides the best possible reconstruction for a perfectly bandlimited signal. In practice, the assumptions behind sinc resampling are not completely met by real-world digital images. Lanczos resampling, an approximation to the sinc method, yields better results. Bicubic interpolation can be regarded as a computationally efficient approximation to Lanczos resampling. === Box sampling === One weakness of bilinear, bicubic, and related algorithms is that they sample a specific number of pixels. When downscaling below a certain threshold, such as more than twice for all bi-sampling algorithms, the algorithms will sample non-adjacent pixels, which results in both losing data and rough results. The trivial solution to this issue is box sampling, which is to consider the target pixel a box on the original image and sample all pixels inside the box. This ensures that all input pixels contribute to the output. The major weakness of this algorithm is that it is hard to optimize. === Mipmap === Another solution to the downscale problem of bi-sampling scaling is mipmaps. A mipmap is a prescaled set of downscaled copies. When downscaling, the nearest larger mipmap is used as the origin to ensure no scaling below the useful threshold of bilinear scaling. This algorithm is fast and easy to optimize. It is standard in many frameworks, such as OpenGL. The cost is using more image memory, exactly one-third more in the standard implementation. === Fourier-transform methods === Simple interpolation based on the Fourier transform pads the frequency domain with zero components (a smooth window-based approach would reduce the ringing). Besides the good conservation (or recovery) of details, notable are the ringing and the circular bleeding of content from the left border to the right border (and the other way around). === Edge-directed interpolation === Edge-directed interpolation algorithms aim to preserve edges in the image after scaling, unlike other algorithms, which can introduce staircase artifacts. Examples of algorithms for this task include New Edge-Directed Interpolation (NEDI), Edge-Guided Image Interpolation (EGGI), Iterative Curvature-Based Interpolation (ICBI), and Directional Cubic Convolution Interpolation (DCCI). A 2013 analysis found that DCCI had the best scores in peak signal-to-noise ratio and structural similarity on a series of test images. === hqx === For magnifying computer graphics with low resolution and/or few colors (usually from 2 to 256 colors), better results can be achieved by hqx or other pixel-art scaling algorithms. These produce sharp edges and maintain a high level of detail. === Vectorization === Vector extraction, or vectorization, offers another approach. Vectorization first creates a resolution-independent vector representation of the graphic to be scaled. The resulting SVG vector file can then be exported and rendered at any required resolution without quality loss, serving directly as production-ready artwork for scalable display & printing. This technique is used by Adobe Illustrator, Live Trace, and Inkscape. Scalable Vector Graphics are well suited to simple geometric images, while photographs do not fare well with vectorization due to their complexity. === Deep convolutional neural networks === This method uses machine learning for more detailed images, such as photographs and complex artwork. Programs that use this method include waifu2x, Imglarger and Neural Enhance. Demonstration of conventional vs. waifu2x upscaling with noise reduction, using a detail of Phosphorus and Hesperus by Evelyn De Morgan. [Click image for full size] AI-driven upscaling software allows detail and sharpness to be added to historical photographs, where it is not present in the original. The availability of AI upscaling tools has led to confusion where a person believes that the upscaled version of a blurry image is genuinely showing them the subject of the original photograph. In 2025 a user of the social media site X posted an AI-upscaled version of a low resolution photo of Donald Trump that they had zoomed in on, and asked if anyone could "explain what the hell is happening to his forehead". Experts noted that the image had been distorted by the upscaling process, and that such tools "inevitably have to invent, or at least recreate, details that were or were not there". == Applications == === General === Image scaling is used in, among other applications, web browsers, image editors, image and file viewers, software magnifiers, digital zoom, the process of generating thumbnail images, and when outputting images through screens or printers. === Video === This application is the magnification of images for home theaters for HDTV-ready output devices from PAL-Resolution content, for example, from a DVD player. Upscaling is performed in real time, and the output signal is not saved. === Pixel-art scaling === As pixel-art graphics are usually low-resolution, they rely on careful placement of individual pixels, often with a limited palette of colors. This results in graphics that rely on stylized visual cues to define complex shapes with little resolution, down to individual pixels. This makes scaling pixel art a particularly difficult problem. Specialized algorithms were developed to handle pixel-art graphics, as the traditional scaling algorithms do not take perceptual cues into account. Since a typical application is to improve the appearance of fourth-generation and earlier video games on arcade and console emulators, many are designed to run in real time for small input images at 60 frames per second. On fast hardware, these algorithms are suitable for gaming and other real-time image processing. These algorithms provide sharp, crisp graphics, while minimizing blur. Scaling art algorithms have been implemented in a wide range of emulators such as HqMAME and DOSBox, as well as 2D game engines and game engine recreations such as ScummVM. They gained recognition with game

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  Echo Lake (software)

  Echo Lake (AKA Family Album Creator) was the most notable multimedia software product produced by Delrina, which debuted in June 1995. It was touted internally as a "cross [of] Quark Xpress and Myst". It featured an immersive 3D environment where a user could go to a virtual desktop in a virtual office and assemble video and audio clips along with images, and then print them out as either a virtual book other users of the program could use, or for print. It was a highly innovative product for its time, and ultimately was hampered by the inability of many users able to input their own multimedia content easily into a computer from that period. Creative Wonders bought the rights to the Echo Lake multimedia product, which was re-shaped as an introductory program on multimedia and re-released as Family Album Creator in 1996.

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  Cyborg

  A cyborg () is a being with both organic and biomechatronic body parts. It is a portmanteau of cybernetic and organism. The term was coined in 1960 by Manfred Clynes and Nathan S. Kline. In contrast to biorobots and androids, the term cyborg applies to a living organism that has undergone restoration of function or enhancements of abilities due to the integration of some artificial component or technology that relies on feedback. == Description and definition == Alternative names for a cyborg include cybernetic organism, cyber-organism, cyber-organic being, cybernetically enhanced organism, cybernetically augmented organism, technorganic being, techno-organic being, and techno-organism. Unlike bionics, biorobotics, or androids, a cyborg is an organism that has restored function or, especially, enhanced abilities due to the integration of some artificial component or technology that relies on some sort of feedback, for example: prostheses, artificial organs, implants or, in some cases, wearable technology. Cyborg technologies may enable or support collective intelligence. A related idea is the "augmented human". While cyborgs are commonly thought of as mammals, including humans, the term can apply to any organism. === Placement and distinctions === D. S. Halacy's Cyborg: Evolution of the Superman (1965) featured an introduction which spoke of a "new frontier" that was "not merely space, but more profoundly the relationship between 'inner space' to 'outer space' – a bridge...between mind and matter." In "A Cyborg Manifesto", Donna Haraway rejects the notion of rigid boundaries between humanity and technology, arguing that, as humans depend on more technology over time, humanity and technology have become too interwoven to draw lines between them. She believes that since we have allowed and created machines and technology to be so advanced, there should be no reason to fear what we have created, and cyborgs should be embraced because they are part of human identities. However, Haraway has also expressed concern over the contradictions of scientific objectivity and the ethics of technological evolution, and has argued that "There are political consequences to scientific accounts of the world." === Biosocial definition === According to some definitions of the term, the physical attachments that humans have with even the most basic technologies have already made them cyborgs. In a typical example, a human with an artificial cardiac pacemaker or implantable cardioverter-defibrillator would be considered a cyborg, since these devices measure voltage potentials in the body, perform signal processing, and can deliver electrical stimuli, using a synthetic feedback mechanism to keep that person alive. Implants, especially cochlear implants, that combine mechanical modification with any kind of feedback response are also cybernetic enhancements. Some theorists cite such modifications as contact lenses, hearing aids, smartphones, or intraocular lenses as examples of fitting humans with technology to enhance their biological capabilities. The emerging trend of implanting microchips inside the body (mainly the hands), to make financial operations like a contactless payment, or basic tasks like opening a door, has been erroneously marketed as more recent examples of cybernetic enhancement. The latter has not yet seen significant traction outside niche areas in Scandinavia and in actual function is little more than a pre-programmed Radio-frequency identification (RFID) microchip encased in glass that does not interact with the human body (it is the same technology used in the microchips injected into animals for ease of identification), thus not fitting the definition of a cybernetic implant. As cyborgs currently are on the rise, some theorists argue there is a need to develop new definitions of aging. For instance, a bio-techno-social definition of aging has been suggested. The term is also used to address human-technology mixtures in the abstract. This includes not only commonly used pieces of technology such as phones, computers, the Internet, and so on, but also artifacts that are not usually considered technology; for example, pen and paper, and speech and language. When augmented with these technologies and connected in communication with people in other times and places, a person becomes capable of more than they were before. An example is a computer, which gains power by using Internet protocols to connect with other computers. Another example is a social-media bot—either a bot-assisted human or a human-assisted-bot—used to target social media with likes and shares. Cybernetic technologies thus include highways, pipes, electrical wiring, buildings, electrical plants, libraries, and other infrastructural constructs. Bruce Sterling, in his Shaper/Mechanist universe, suggested an idea of an alternative cyborg called 'Lobster', which is made not by using internal implants, but by using an external shell (e.g. a powered exoskeleton). The computer game Deus Ex: Invisible War prominently features cyborgs called Omar, Russian for 'lobster'. === Evolutionary perspective === In 1994, Hans Hass formulated a scientific view of the human-machine hybrids he called "hypercells". They can expand their biological cell body with artificial artifacts and thus expand their performance body. The theory of hypercells or Homo proteus, as Hass called the human-machine hybrid to distinguish Homo sapiens, extends Charles Darwin's theory of evolution and deals with the course of evolution beyond humans. In his 2019 book Novacene, James Lovelock used the term "cyborgs" to refer to the next generation of beings who will become the "understanders of the future" and "lead the cosmos to self-knowledge". While acknowledging the organic component in Clynes' and Kline's definition, he proposed that these cyborgs "will have designed and built themselves from the artificial intelligence systems we have already constructed", and used the term cyborg "to emphasize that the new intelligent beings will have arisen, like us, from Darwinian evolution." == Origins == The concept of a man-machine mixture was widespread in science fiction before World War II. As early as 1843, Edgar Allan Poe described a man with extensive prostheses in the short story "The Man That Was Used Up". In 1911, Jean de La Hire introduced the Nyctalope, a science fiction hero who was perhaps the first literary cyborg, in Le Mystère des XV (later translated as The Nyctalope on Mars). Nearly two decades later, Edmond Hamilton presented space explorers with a mixture of organic and machine parts in his 1928 novel The Comet Doom. He later featured the talking, living brain of an old scientist, Simon Wright, floating in a transparent case, and in all the adventures of his famous hero, Captain Future. In 1944, in the short story "No Woman Born", C. L. Moore wrote of Deirdre, a dancer, whose body was burned completely and whose brain was placed in a faceless but beautiful and supple mechanical body. In 1960, the term "cyborg" was coined by Manfred E. Clynes and Nathan S. Kline to refer to their conception of an enhanced human being who could survive in extraterrestrial environments: For the exogenously extended organizational complex functioning as an integrated homeostatic system unconsciously, we propose the term 'Cyborg'. Their concept was the outcome of thinking about the need for an intimate relationship between human and machine as the new frontier of space exploration was beginning to develop. A designer of physiological instrumentation and electronic data-processing systems, Clynes was the chief research scientist in the Dynamic Simulation Laboratory at Rockland State Hospital in New York. The term first appears in print 5 months earlier when The New York Times reported on the "Psychophysiological Aspects of Space Flight Symposium" where Clynes and Kline first presented their paper: A cyborg is essentially a man-machine system in which the control mechanisms of the human portion are modified externally by drugs or regulatory devices so that the being can live in an environment different from the normal one. Thereafter, Hamilton would first use the term "cyborg" explicitly in the 1962 short story, "After a Judgment Day", to describe the "mechanical analogs" called "Charlies," explaining that "[c]yborgs, they had been called from the first one in the 1960s...cybernetic organisms." The 1972 novel Cyborg by Martin Caidin introduced the character of bionic government agent Steve Austin, and was adapted into the popular television series The Six Million Dollar Man, which ran from 1973 to 1978. In 2001, a book titled Cyborg: Digital Destiny and Human Possibility in the Age of the Wearable computer was published by Doubleday. Some of the ideas in the book were incorporated into the documentary film Cyberman that same year. == Cyborg tissues in engineering == Cyborg tissues structured with carbon nanotubes and plan

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  Objective vision

  Objective Vision (Object Oriented Visionary) is a project mainly aimed at real-time computer vision and simulation vision of living creatures. it has three sections containing an open-source library of programming functions for using inside the projects, Virtual laboratory for scholars to check the application of functions directly and by command-line code for external and instant access, and the research section consists of paperwork and libraries to expand the scientific prove of works. == Background == The process has been used in the OVC libraries is as same as what's happening when living see a picture, and it's designed to give the researchers to experience the brain's visual cortex most close simulation for picture perception. The OVC was designed to work as a simulated visual cortex that has a critical job in processing and classify the objects to make it easier to work with pictures and graphical perception and processing. The human brain is much more aware of how it solves complex problems such as playing chess or solving algebra equations, which is why computer programmers have had so much success building machines that emulate this type of activity. but when the whole process is still a riddle that how the entities visionary system works. The project was simulated the visionary system by how it starts to convert the signals to image(actually the edges and colors) and then recognizing the shapes to find a relation between brain's information and image. The Objective Visionary system actually is concentrating on the separable sections, this separation gives the application visionary system the excellence processing result, because with this method the system do not waste much time on processing non significant sections and signals. this operation in the Objective Vision project called objective processing and because the O.V. mission is focused on human visionary simulation, so the developer refers with Objective Vision. == History == Objective-Vision is a Human (Natural) Visionary simulation Project developed by Michael Bidollahkhany. Following an explosion of interest during the 21st century were characterized by the maturing of the field and the significant growth of active applications; simulation of visionary systems, visionary based autonomous vehicle guidance, medical imaging (2D and 3D) and automatic surveillance are the most rapidly developing areas. This progress can be seen in an increasing number of software and hardware products on the market, as well as in a number of digital image processing software and APIs and also machine vision courses offered at universities worldwide. Therefore, the OVC project has been released as a research software project in 2016. One of important parts of this project was O.V.C. (Objective Vision Class library), that was designed to able companies and scientists to use the brain's most likely functionalities as visionary libraries to simplify and accelerate the image processing algorithms developments. The project started under MIT copyright license, but since 2018 the project continued as classified based on sponsors opinion. == The Algorithm == As developers claimed the algorithm used in the class library and developer's kit of project has been developed based on natural visionary system, and the functionalities containing image processing, optimization and labeling etc. are mostly upgraded and near techniques. Suppose that we've a picture of a jungle, or somewhere else, with this library developer will be able to manipulate not only the pixel of images for data extraction, but automatically based on which algorithm is used and image quality, he can manipulate directly a list of objects, same pixels and every data project needs to have, said the developer in his lecture answering how the algorithm works. === Viewpoint === For long times digital image processing and storing, was actually by processing just pixels; this Project tries to present a new kind of image processing and even storing, "objective vision" or "object-oriented visionary" is called. This project officially launched in May 2016, with the aim of making more adaptation between Computer Vision (Include Visionary, Digital image processing, discernment and even Perception) and Human Visual System; about development of the project: "...so we decided to research on Human Vision System, besides we worked on Artificial Retinal image processing and new visionary optimization unit(Presented at Istanbul Technical University Conference(Turkey 2015-2016)) and grew our research to Visionary CORTEX of Brain", Michael Bidollahkhany said. == Applications == The OVC application areas include: 2D and 3D feature toolkits Egomotion estimation Human–computer interaction (HCI) Mobile robotics Motion understanding Object identification Segmentation and recognition Stereopsis stereo vision: depth perception from two cameras Structure from motion (SFM) Motion tracking == Programming language == In first initial release of Objective Visionary Project the algorithm has been written in C++ and C#, and the virtual laboratory has been developed in C# and Delphi. Based on developers last lecture since the second release the complete algorithm has been re-written in C# based on .Net Core 1.0 to make it easier to work on different operating systems.

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  Final Cut Express

  Final Cut Express was a video editing software suite created by Apple Inc. It was the consumer version of Final Cut Pro and was designed for advanced editing of digital video as well as high-definition video, which was used by many amateur and professional videographers. Final Cut Express was considered a step above iMovie in terms of capabilities, but a step underneath Final Cut Pro and its suite of applications. As of June 21, 2011, Final Cut Express was discontinued in favor of Final Cut Pro X. == History == Final Cut Express 1.0, based on Final Cut Pro 3, was released at Macworld Conference and Expo in San Francisco in 2003. The second version, based on Final Cut Pro 4, was released at Macworld San Francisco in 2004. The third version, capable of editing high definition video, was also announced at Macworld San Francisco a year later, and was released as Final Cut Express HD in February 2005. It was based on Final Cut Pro HD (version 4.5) and included LiveType 1.2 and Soundtrack 1.2. Final Cut Express version 3.5 was released with little fanfare in May 2006 as a Universal Binary. In addition to improving real-time rendering with Dynamic RT, version 3.5 upgraded LiveType to version 2.0 and Soundtrack to version 1.5. In November 2007, Apple released Final Cut Express 4, which although it did not support real-time editing in the AVCHD format (it only allowed for transcoding AVCHD to Apple Intermediate Codec (AIC) provided that the camera was actually attached to the computer - it did not convert AVCHD files stored elsewhere and is currently for Intel processors only), imported iMovie '08 projects and included 50 new filters. It did not include Soundtrack 1.5, but it still included LiveType which enables users to create advanced text for the movies they created in Final Cut. The price was dropped from $299 for version 3.5 to $199 for version 4.0. In June 2011, Final Cut Express was officially discontinued, in favor of Final Cut Pro X. == Features == Final Cut Express' interface was identical to that of Final Cut Pro, but lacks some film-specific features, including Cinema Tools, multi-cam editing, batch capture, and a time code view. The program performed 32 undo operations, while Final Cut Pro did 99 [2]. Features the program did include were: The ability to keyframe filters Dynamic RT, which changes real-time settings on-the-fly Motion path keyframing Opacity keyframing Ripple, roll, slip, slide and blade edits Picture-in-picture and split-screen effects Up to 99 video tracks and 12 compositing modes Up to 99 audio tracks Motion project import Two-way color correction. Chroma key One feature of Final Cut Express that was not available in Final Cut Pro is the ability to import iMovie '08 projects (though transitions are not preserved). === RT Extreme === Inherited from Final Cut Pro, Final Cut Express features RT Extreme, which allows previews of some video filters and transitions without rendering. Audio that is not in the native AIFF file format needs rendering before it can be played back. RT Extreme has three modes: 'Safe', for seeing multiple video layers at a quality that more or less guarantees a smooth playback; 'Unlimited', which allows the maximum number of composited video layers to be viewed at the same time; and 'Dynamic', which alternates between these settings depending on how many simultaneous video tracks are present. Frame dropping may result from using 'Unlimited' on low-resource machines. === Boris Calligraphy === Like Final Cut Pro, Express also comes with Boris Calligraphy, a plugin for advanced titling and scrolling/crawling titles more sophisticated than the ones that can be created with the built-in title overlays. Calligraphy has a WYSIWYG interface and features wrapping, alignment, leading, kerning and tracking features, as well as allowing up to five custom outlines and five custom drop shadows to be defined for a selected portion of the title. == Soundtrack == Prior to version 4, Final Cut Express included Soundtrack 1.5, a music program similar to the consumer-level GarageBand, but designed for videographers who wish to add music to their films. Soundtrack comes with around 4,000 professionally recorded instrument loops and sound effects that can be arranged in multiple tracks beneath the video track. To use Soundtrack, users export their Final Cut Express sequence, or a marked portion thereof, as a reference file, which can include scoring markers defined in the timeline. This reference file can be imported as the video track in Soundtrack. Soundtrack is functionally and visually identical to Soundtrack Pro's multitrack editing mode, but includes fewer Logic plugins and lacks the highly regarded noise removal tool. Soundtrack was removed from Final Cut Express 4, which lowered its price and may have encouraged people to buy Logic Express.

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  BigDog

  BigDog is a dynamically stable quadruped military robot platform that was created in 2005 by Boston Dynamics with the Harvard University Concord Field Station. It was funded by the U.S. Defense Advanced Research Projects Agency (DARPA), but the project was shelved after the BigDog's gas engine was deemed too loud for combat. == History == BigDog was funded by the Defense Advanced Research Projects Agency (DARPA) in the hopes that it would be able to serve as a mechanic pack mule to accompany soldiers in terrain too rough for conventional vehicles. Instead of wheels or treads, BigDog uses four legs for movement, allowing it to move across surfaces that would be difficult for wheels. The legs contain a variety of sensors, including joint position and ground contact. BigDog also features a laser gyroscope and a stereo vision system. BigDog is 3 feet (0.91 m) long, stands 2.5 feet (0.76 m) tall, and weighs 240 pounds (110 kg), making it about the size of a small mule. It is capable of traversing difficult terrain, running at four miles per hour (6.4 km/h), carrying 340 pounds (150 kg), and climbing a 35 degree incline. Locomotion is controlled by an onboard computer that receives input from the robot's various sensors. Navigation and balance are also managed by the control system. BigDog's walking pattern is controlled through four legs, each equipped with four low-friction hydraulic cylinder actuators that power the joints. BigDog's locomotion behaviors can vary greatly. It can stand up, sit down, walk with a crawling gait that lifts one leg at a time, walk with a trotting gait lifting diagonal legs, or trot with a running gait. The travel speed of BigDog varies from a 0.62 mph (1 km/h) crawl to a 3.3 mph (5.3 km/h) trot. The BigDog project was headed by Dr. Martin Buehler, who received the Joseph Engelberger Award from the Robotics Industries Association in 2012 for the work. Dr. Buehler while previously a professor at McGill University, headed the robotics lab there, developing four-legged walking and running robots. Built onto the actuators are sensors for joint position and force, and movement is ultimately controlled through an onboard computer which manages the sensors. Approximately 50 sensors are located on BigDog. These measure the attitude and acceleration of the body, motion, and force of joint actuators as well as engine speed, temperature and hydraulic pressure inside the robot's internal engine. Low-level control, such as position and force of the joints, and high-level control such as velocity and altitude during locomotion, are both controlled through the onboard computer. BigDog was featured in episodes of Web Junk 20 and Hungry Beast, and in articles in New Scientist, Popular Science, Popular Mechanics, and The Wall Street Journal. In September 2011 Boston Dynamics released video footage of a new generation of BigDog known as AlphaDog. The footage shows AlphaDog's ability to walk on rough terrain and recover its balance when kicked from the side. The refined equivalent has been designed by Boston Dynamics to exceed the BigDog in terms of capabilities and use to dismounted soldiers. In February 2012, with further DARPA support, the militarized Legged Squad Support System (LS3) variant of BigDog demonstrated its capabilities during a hike over a rough terrain. Starting in the summer of 2012, DARPA planned to complete the overall development of the system and refine its key capabilities in 18 months, ensuring its worth to dismounted warfighters before it is rolled out to squads operating in-theatre. BigDog must be able to demonstrate its ability to complete a 20-mile (32 km) trail in 24 hours, without refuelling, while carrying a 325-pound (150 kg) load. A refinement of its vision sensors will also be conducted. At the end of February 2013, Boston Dynamics released video footage of a modified BigDog with an arm. The arm could pick up objects and throw them. The robot is relying on its legs and torso to help power the motions of the arm. It is believed that it can lift weights around 55 pounds (25 kg). This work was funded by the United States Army Research Laboratory and paved the way for integrating manipulators with quadrupeds as found on Spot, the spiritual successor of BigDog. === Discontinuation === At the end of December 2013, the BigDog project was discontinued. Despite hopes that it would one day work like a pack mule for US soldiers in the field, the gasoline-powered engine was deemed too noisy for use in combat, and it could be heard from hundreds of meters away. A similar project for an all-electric robot named Spot in 2016 was much quieter, but could only carry 45 pounds (20 kg). Both projects are no longer in progress, but the Spot was only released in 2020. == Hardware == BigDog is powered by a small two-stroke, one-cylinder, 15-brake-horsepower (11 kW) engine operating at 9,000 RPM. The engine drives a hydraulic pump, which in turn drives the hydraulic leg actuators. Each leg has four actuators (two for the hip joint, and two each for the knee and ankle joints), for a total of 16. Each actuator unit consists of a hydraulic cylinder, servo valve, position sensor, and force sensor. Onboard computing power is a ruggedized PC/104 board stack with two computers, one running a Pentium M processor running QNX (used for sensor data processing) and another running a Core Duo processor (used for visual data processing). == Gallery ==

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  Luma (video)

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

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  Percept (artificial intelligence)

  A percept is the input that an intelligent agent is perceiving at any given moment. It is essentially the same concept as a percept in psychology, except that it is being perceived not by the brain but by the agent. A percept is detected by a sensor, often a camera, processed accordingly, and acted upon by an actuator. Each percept is added to a "percept sequence", which is a complete history of each percept ever detected. The agent's action at any instant point may depend on the entire percept sequence up to that particular instant point. An intelligent agent chooses how to act not only based on the current percept, but the percept sequence. The next action is chosen by the agent function, which maps every percept to an action. For example, if a camera were to record a gesture, the agent would process the percepts, calculate the corresponding spatial vectors, examine its percept history, and use the agent program (the application of the agent function) to act accordingly. == Examples == Examples of percepts include inputs from touch sensors, cameras, infrared sensors, sonar, microphones, mice, and keyboards. A percept can also be a higher-level feature of the data, such as lines, depth, objects, faces, or gestures.

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  Motor theory of speech perception

  The motor theory of speech perception is the hypothesis that people perceive spoken words by identifying the vocal tract gestures with which they are pronounced rather than by identifying the sound patterns that speech generates. It originally claimed that speech perception is done through a specialized module that is innate and human-specific. Though the idea of a module has been qualified in more recent versions of the theory, the idea remains that the role of the speech motor system is not only to produce speech articulations but also to detect them. The hypothesis has gained more interest outside the field of speech perception than inside. This has increased particularly since the discovery of mirror neurons that link the production and perception of motor movements, including those made by the vocal tract. The theory was initially proposed in the Haskins Laboratories in the 1950s by Alvin Liberman and Franklin S. Cooper, and developed further by Donald Shankweiler, Michael Studdert-Kennedy, Ignatius Mattingly, Carol Fowler and Douglas Whalen. == Origins and development == The hypothesis has its origins in research using pattern playback to create reading machines for the blind that would substitute sounds for orthographic letters. This led to a close examination of how spoken sounds correspond to the acoustic spectrogram of them as a sequence of auditory sounds. This found that successive consonants and vowels overlap in time with one another (a phenomenon known as coarticulation). This suggested that speech is not heard like an acoustic "alphabet" or "cipher," but as a "code" of overlapping speech gestures. === Associationist approach === Initially, the theory was associationist: infants mimic the speech they hear and that this leads to behavioristic associations between articulation and its sensory consequences. Later, this overt mimicry would be short-circuited and become speech perception. This aspect of the theory was dropped, however, with the discovery that prelinguistic infants could already detect most of the phonetic contrasts used to separate different speech sounds. === Cognitivist approach === The behavioristic approach was replaced by a cognitivist one in which there was a speech module. The module detected speech in terms of hidden distal objects rather than at the proximal or immediate level of their input. The evidence for this was the research finding that speech processing was special such as duplex perception. === Changing distal objects === Initially, speech perception was assumed to link to speech objects that were both the invariant movements of speech articulators the invariant motor commands sent to muscles to move the vocal tract articulators This was later revised to include the phonetic gestures rather than motor commands, and then the gestures intended by the speaker at a prevocal, linguistic level, rather than actual movements. === Modern revision === The "speech is special" claim has been dropped, as it was found that speech perception could occur for nonspeech sounds (for example, slamming doors for duplex perception). === Mirror neurons === The discovery of mirror neurons has led to renewed interest in the motor theory of speech perception, and the theory still has its advocates, although there are also critics. == Support == === Nonauditory gesture information === If speech is identified in terms of how it is physically made, then nonauditory information should be incorporated into speech percepts even if it is still subjectively heard as "sounds". This is, in fact, the case. The McGurk effect shows that seeing the production of a spoken syllable that differs from an auditory cue synchronized with it affects the perception of the auditory one. In other words, if someone hears "ba" but sees a video of someone pronouncing "ga", what they hear is different—some people believe they hear "da". People find it easier to hear speech in noise if they can see the speaker. People can hear syllables better when their production can be felt haptically. === Categorical perception === Using a speech synthesizer, speech sounds can be varied in place of articulation along a continuum from /bɑ/ to /dɑ/ to /ɡɑ/, or in voice onset time on a continuum from /dɑ/ to /tɑ/ (for example). When listeners are asked to discriminate between two different sounds, they perceive sounds as belonging to discrete categories, even though the sounds vary continuously. In other words, 10 sounds (with the sound on one extreme being /dɑ/ and the sound on the other extreme being /tɑ/, and the ones in the middle varying on a scale) may all be acoustically different from one another, but the listener will hear all of them as either /dɑ/ or /tɑ/. Likewise, the English consonant /d/ may vary in its acoustic details across different phonetic contexts (the /d/ in /du/ does not technically sound the same as the one in /di/, for example), but all /d/'s as perceived by a listener fall within one category (voiced alveolar plosive) and that is because "linguistic representations are abstract, canonical, phonetic segments or the gestures that underlie these segments." This suggests that humans identify speech using categorical perception, and thus that a specialized module, such as that proposed by the motor theory of speech perception, may be on the right track. === Speech imitation === If people can hear the gestures in speech, then the imitation of speech should be very fast, as in when words are repeated that are heard in headphones as in speech shadowing. People can repeat heard syllables more quickly than they would be able to produce them normally. === Speech production === Hearing speech activates vocal tract muscles, and the motor cortex and premotor cortex. The integration of auditory and visual input in speech perception also involves such areas. Disrupting the premotor cortex disrupts the perception of speech units such as plosives. The activation of the motor areas occurs in terms of the phonemic features which link with the vocal track articulators that create speech gestures. The perception of a speech sound is aided by pre-emptively stimulating the motor representation of the articulators responsible for its pronunciation . Auditory and motor cortical coupling is restricted to a specific range of neuronal firing frequency. === Perception-action meshing === Evidence exists that perception and production are generally coupled in the motor system. This is supported by the existence of mirror neurons that are activated both by seeing (or hearing) an action and when that action is carried out. Another source of evidence is that for common coding theory between the representations used for perception and action. == Criticisms == The motor theory of speech perception is not widely held in the field of speech perception, though it is more popular in other fields, such as theoretical linguistics. As three of its advocates have noted, "it has few proponents within the field of speech perception, and many authors cite it primarily to offer critical commentary".p. 361 Several critiques of it exist. === Multiple sources === Speech perception is affected by nonproduction sources of information, such as context. Individual words are hard to understand in isolation but easy when heard in sentence context. It therefore seems that speech perception uses multiple sources that are integrated together in an optimal way. === Production === The motor theory of speech perception would predict that speech motor abilities in infants predict their speech perception abilities, but in actuality it is the other way around. It would also predict that defects in speech production would impair speech perception, but they do not. However, this only affects the first and already superseded behaviorist version of the theory, where infants were supposed to learn all production-perception patterns by imitation early in childhood. This is no longer the mainstream view of motor-speech theorists. === Speech module === Several sources of evidence for a specialized speech module have failed to be supported. Duplex perception can be observed with door slams. The McGurk effect can also be achieved with nonlinguistic stimuli, such as showing someone a video of a basketball bouncing but playing the sound of a ping-pong ball bouncing. As for categorical perception, listeners can be sensitive to acoustic differences within single phonetic categories. As a result, this part of the theory has been dropped by some researchers. === Sublexical tasks === The evidence provided for the motor theory of speech perception is limited to tasks such as syllable discrimination that use speech units not full spoken words or spoken sentences. As a result, "speech perception is sometimes interpreted as referring to the perception of speech at the sublexical level. However, the ultimate goal of these studies is presumably to understand the neural processes supporting the ability to process spee

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  EditDV

  EditDV was a video editing software released by Radius, Inc. in late 1997 as an evolution of their earlier Radius Edit product. EditDV was one of the first products providing professional-quality editing of the then new DV format at a relatively affordable cost ($999 including Radius FireWire capture card) and was named "The Best Video Tool of 1998". Originally EditDV was available for Macintosh only but in February 2000 EditDV 2.0 for Windows was released. With version 3.0 EditDV's name was changed to CineStream. == Features == Originally bundled with a FireWire card, EditDV 1.5 got updated into a less expensive software only package for use with the newer PowerMac G3 that came with a FireWire interface. Later, a scaled down version named EditDV 1.6.1 Unplugged was released as a freeware version next to EditDV 2.0. Unlike many other applications at the time which transcoded video to M-JPEG for editing, EditDV provided lossless native editing of the DV format. Only transitions (such as dissolves or wipes), effects (such as rotating or scaling the video, adjusting the audio level, or adding titles) and filters (such as changing the brightness or color balance) needed to be rendered. This also had the disadvantage to not work with analogue video capture. EditDV was built on top of QuickTime and supported QuickTime filters as well as its own built-in effects and transitions. Effects could be animated using keyframes. EditDV 2.0 worked natively with Quicktime MOV format. For Microsoft Windows users, where the standard was AVI, this required the use of a provided external conversion tool afterwards when AVI was wanted. The user interface had a Project window for organising clips into bins, a Sequence window with a multi-track timeline for arranging clips into a program using three-point editing, and Source and Program monitor windows. A finished program could either be exported as a QuickTime movie or written back to DV tape using the "print to video" command. Version 3.0, then renamed CineStream, shifted towards web designers who wanted to add video streaming interactivity to a website. The new feature called EventStream allowed setting clickable hot spots to link to another location, either to another page with a URL or to another video. This feature distinguished CineStream from the rest of the competition. == Products == The EditDV product family included a number of related products, all sharing a similar name: EditDV Video editing software (Mac and Windows) SoftDV A QuickTime software codec for playing DV media, included as part of EditDV (Mac and Windows) MotoDV PCI-based FireWire interface with DV capture software (Mac and Windows) PhotoDV Software to capture high-quality stills from a DV tape using MotoDV hardware (Mac and Windows) RotoDV Software for rotoscoping (painting over video), released in Sept 1999 (Macintosh only) == Name changes and eventual demise == In 1999, the company Radius Inc. changed its name to Digital Origin. In 2000, Digital Origin Inc (and EditDV) was bought by Media 100. In early 2001, Media 100 released an updated version of EditDV under the new name CineStream 3.0. Later that year (October 2001) Media 100 was bought by Autodesk's Discreet Division. CineStream for Macintosh required classic Mac OS. It was never ported to Mac OS X and faced increasing competition on that platform from Apple's own Final Cut Pro application. Development of EditDV/Cinestream was officially discontinued in 2002.

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