AI Generator House Design

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

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  VueScan

  VueScan is a computer program for image scanning, especially of photographs, including negatives. It supports optical character recognition (OCR) of text documents. The software can be downloaded and used free of charge, but adds a watermark on scans until a license is purchased. == Purpose == VueScan is intended to work with a large number of image scanners, excluding specialised professional scanners such as drum scanners, on many computer operating systems (OS), even if drivers for the scanner are not available for the OS. These scanners are supplied with device drivers and software to operate them, included in their price. A 2014 review considered that the reasons to purchase VueScan are to allow older scanners not supported by drivers for newer operating systems to be used in more up-to-date systems and for better scanning and processing of photographs (prints; also slides and negatives when supported by scanners) than is afforded by manufacturers' software. The review did not report any advantages to VueScan's processing of documents over other software. The reviewer considered VueScan comparable to SilverFast, a similar program, with support for some specific scanners better in one or the other. Vuescan supports more scanners, with a single purchase giving access to the full range of both film and flatbed scanners, and costs less. The VueScan program can be used with its own drivers or with drivers supplied by the scanner manufacturer, if supported by the operating system. VueScan drivers can also be used without the VueScan program by application software that supports scanning directly, such as Adobe Photoshop, again enabling the use of scanners without current manufacturers' drivers. In 2019 when Apple released macOS Catalina, they removed support for running 32-bit programs, including 32-bit drivers for scanning equipment. In response, Hamrick released VueScan 9.7, effectively saving thousands of scanners from being rendered obsolete. == Overview == VueScan enables the user to modify and fine-tune the scanning parameters. The program uses its own independent method to interface with scanner hardware, and can support many older scanners under computer operating systems for which drivers are not available, allowing old scanners to be used with newer platforms that do not otherwise support them. VueScan supports an increasing number of scanners and digital cameras; 2,400 on Windows, 2,100 on Mac OS X and 1,900 on Linux in 2018. VueScan is supplied as one downloadable file for each operating system, which supports the full range of scanners. Without the purchase of a license, the program runs in fully functional demonstration mode, identical to Professional mode, except that watermarks are superimposed on saved and printed images. Purchase of a license removes the watermark. A standard license allows updates for one year; a professional license allows unlimited updates and provides some additional features. VueScan supports optical character recognition (OCR), with English included, and 32 additional language packages available on its website. In September 2011, VueScan co-developer Ed Hamrick said that he was selling US$3 million per year of VueScan licenses.

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  Common Image Generator Interface

  The Common Image Generator Interface (CIGI) (pronounced sig-ee), is an on-the-wire data protocol that allows communication between an Image Generator and its host simulation. The interface is designed to promote a standard way for a host device to communicate with an image generator (IG) within the industry. CIGI enables plug-and-play by standard-compliant image generator vendors and reduces integration costs when upgrading visual systems. == Background == Most high-end simulators do not have everything running on a single machine the way popular home software flight simulators are currently implemented. The airplane model is run on one machine, normally referred to as the host, and the out the window visuals or scene graph program is run on another, usually referred to as an Image Generator (IG). Frequently there are multiple IGs required to display the surrounding environment created by a host. CIGI is the interface between the 'host' and the IGs. The main goal of CIGI is to capitalize on previous investments through the use of a common interface. CIGI is designed to assist suppliers and integrators of IG systems with ease of integration, code reuse, and overall cost reduction. In the past most image generators provided their own proprietary interface; every host had to implement that interface making changing image generators a costly ordeal. CIGI was created to standardize the interface between the host and the image generator so that little modification would be needed to switch image generators. The CIGI initiative was largely spearheaded by The Boeing Company during the early 21st century. The latest version of CIGI (CIGI 4.0) was developed by the Simulation Interoperability Standards Organization (SISO) in the form of SISO-STD-013-2014, Standard for Common Image Generator Interface (CIGI), Version 4.0, dated 22 August 2014. SISO-STD-013-2014 is freely available from SISO. == Definitions == Image generator – In this context an image generator consists of one or more rendering channels that produce an image that can be used to visualize an “Out-The-Window” scene, or images produced by various sensor simulations such as Infra-red, Day TV, electro-optical, and night vision. Host simulation – In this context a “Host” is the computational system that provides information about the device being simulated so that the image generator can portray the correct scenery to the user. This information is passed via CIGI to the image generator. == Maturation == CIGI 4 is the latest version of the standard as was approved by the Simulation Interoperability Standards Organization on August 22, 2014. CIGI became an international SISO standard known as SISO-STD-013-2014; which contains the CIGI version 4.0 Interface Control Document (ICD). CIGI 4.0 is the official standard, published by SISO. Previous versions of CIGI were spearheaded by Boeing include CIGI v3.3, in November 2008, v3.2 April 2006, v3.1 June 2004, v3 November 2003, v2 in March 2002, and the original (v1) in March 2001 == Protocol dependencies == Typically, CIGI uses UDP as its transport protocol, but CIGI does not require a specific transport mechanism, only packet definition conformance. CIGI traffic does not have a well known port; however, the use of ports 8004-8005 has been widely adopted by commercial image generator vendors implementations. == Development tools == === Host Emulator === The Host Emulator can be used as a surrogate to manipulate the interface when a simulation Host is not available. It is a Windows-based image generator Host application used to develop, integrate and test image generators that use the CIGI protocol. It provides a graphical user interface (GUI) for the creation, modification and deletion of entities; manipulation of views; control of environmental attributes and phenomena; and other host functions. The Host Emulator has several features that are useful for integration and testing. A free-flight mode allows for fixed-wing and rotorcraft flight, movement along entity axes and free rotation using a joystick or a joystick-like widget. Scripting and record/playback features support regression testing, demonstrations and other tasks needing exact reproduction of certain sequences of events. A packet-level snoop feature allows the user to examine the contents of CIGI messages, image generator response times and latencies. A Heartbeat Monitor Window shows a graphical timing history of the Image Generator's data frame rate. Other features include explicit packet creation, animation control, missile flyouts and a situation display window (Host Emulator 3.x only). === Multi-Purpose Viewer === The Multi-Purpose Viewer (MPV) provides the basic functionality expected of an Image Generator, such as loading and displaying a terrain database, displaying entities and so forth. The Multi-Purpose Viewer can be used as a surrogate to manipulate the interface when a real Image Generator is not available. The MPV is capable of operating with both the Windows and Linux operating systems. === CIGI Class Library === The CCL is an object-oriented software interface that automatically handles message composition and decomposition (i.e. packing, unpacking and byte swapping to the ICD specification) on both the Host and Image Generator sides of the interface. The CCL interprets Host or Image Generator messages based on compile time parameters. It also performs error handling and translation between different versions of CIGI. Each packet type has its own class. The individual packet members are accessed through packet class accessors. Outgoing messages are constructed by placing each packet into the outgoing buffer using a streaming operator. Incoming messages are parsed using callback or event-based mechanisms that supply the using program with fully populated packet objects. === Current tool suite === A set of CIGI development tools are managed and maintained by the SISO CIGI Product Support Group. The latest packages are available on SourceForge. Comments/Suggestions to the package can be directed to the SISO discussion board at: https://discussions.sisostds.org/index.htm?A0=SAC-PSG-CIGI Archived 2017-09-13 at the Wayback Machine === Wireshark === Wireshark is a free and open source packet analyzer. It is used for network troubleshooting, analysis, software and communications protocol development, and education. Wireshark provides a dissector for CIGI packets. As of October 2016, “The CIGI dissector is fully functional for CIGI version 2 and 3. Version 1 is not yet implemented.” === Older versions of CIGI === A CIGI Interface Control Document (ICD) and development suite is available in open source format. The tools, ICD, and accompanying user documentation can be found and downloaded from the CIGI sourceforge web site. The SourceForge version of the MPV is limited in its support of CIGI data packets and is intended to grow as needs arise. The MPV uses CIGI 3 as its interface, but the MPV is backward-compatible with earlier CIGI versions through the use of the CCL. The MPV uses the Open Scene Graph library to render a scene. The scene graph is manipulated according to the CIGI commands received from the Host via the CCL. The MPV itself is an application layer that consists of a small kernel leveraging heavily on a plug-in architecture for ease of maintainability and flexibility. An implementer can implement the interface from scratch, however a full suite of integration tools is available. These tools consist of three elements. The Host Emulator (HE), the Multi-Purpose Viewer (MPV), and the CIGI Class Library (CCL).

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  NNDB

  The Notable Names Database (NNDB) is an online database of biographical details of over 40,000 people. Soylent Communications, a sole proprietorship that also hosted the later defunct Rotten.com, describes NNDB as an "intelligence aggregator" of noteworthy persons, highlighting their interpersonal connections. The Rotten.com domain was registered in 1996 by former Apple and Netscape software engineer Thomas E. Dell, who was also known by his internet alias, "Soylent". == Entries == Each entry has an executive summary followed by a brief narrative about their life. It also lists date and cause of death if deceased. Businesspeople and government officials are listed with chronologies of their posts, positions, and board memberships. As of 2022, the site is no longer updated. == NNDB Mapper == The NNDB Mapper, a visual tool for exploring connections between people, was made available in May 2008. It required Adobe Flash 7.

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  Film-out

  Film-out is the process in the computer graphics, video production and filmmaking disciplines of transferring images or animation from videotape or digital files to a traditional film print. Film-out is a broad term that encompasses the conversion of frame rates, color correction, as well as the actual printing, also called scannior recording. The film-out process is different depending on the regional standard of the master videotape in question – NTSC, PAL, or SECAM – or likewise on the several emerging region-independent formats of high definition video (HD video); thus each type is covered separately, taking into account regional film-out industries, methods and technical considerations. == Live action video == Many modern documentaries and low-budget films are shot on videotape or other digital video media, instead of film stock, and completed as digital video. Video production means substantially lower costs than 16 mm or 35 mm film production on all levels. Until recently, the relatively low cost of video ended when the issue of a theatrical presentation was raised, which required a print for film projection. With the growing presence of digital projection, this is becoming less of a factor. === Standard definition (SD) video === Film-out of standard-definition video – or any source that has an incompatible frame rate – is the up-conversion of video media to film for theatrical viewing. The video-to-film conversion process consists of two major steps: first, the conversion of video into digital film frames which are then stored on a computer or on HD videotape; and secondly, the printing of these digital film frames onto actual film. To understand these two steps, it is important to understand how video and film differ. Film (sound film, at least) has remained unchanged for almost a century and creates the illusion of moving images through the rapid projection of still images, frames, upon a screen, typically 24 per second. Traditional interlaced SD video has no real frame rate, (though the term frame is applied to video, it has a different meaning). Instead, video consists of a very fast succession of horizontal lines that continually cascade down the television screen – streaming top to bottom, before jumping back to the top and then streaming down to the bottom again, repeatedly, almost 60 alternating screen-fulls every second for NTSC, or exactly 50 such screen-fulls per second for PAL and SECAM. Since visual movement in video is infused in this continuous cascade of scan lines, there is no discrete image or real frame that can be identified at any one time. Therefore, when transferring video to film, it is necessary to invent individual film frames, 24 for every second of elapsed time. The bulk of the work done by a film-out company is this first step, creating film frames out of the stream of interlaced video. Each company employs its own (often proprietary) technology for turning interlaced video into high-resolution digital video files of 24 discrete images every second, called 24 progressive video or 24p. The technology must filter out all the visually unappealing artifacting that results from the inherent mismatch between video and film movement. Moreover, the conversion process usually requires human intervention at every edit point of a video program, so that each type of scene can be calibrated for maximum visual quality. The use of archival footage in video especially calls for extra attention. Step two, the scanning to film, is the rote part of the process. This is the mechanical step where lasers print each of the newly created frames of the 24p video, stored on computer files or HD videotape, onto rolls of film. Most companies that do film-out, do all the stages of the process themselves for a lump sum. The job includes converting interlaced video into 24p and often a color correction session – (calibrating the image for theatrical projection), before scanning to physical film, (possibly followed by color correction of the film print made from the digital intermediary) – is offered. At the very least, film-out can be understood as the process of converting interlaced video to 24p and then scanning it to film. ==== NTSC video ==== NTSC is the most challenging of the formats when it comes to standards conversion and, specifically, converting to film prints. NTSC runs at the approximate rate of 29.97 video frames (consisting of two interlaced screen-fulls of scan lines, called fields, per frame) per second. In this way, NTSC resolves actual live action movement at almost – but not quite – 60 alternating half-resolution images every second. Because of this 29.97 rate, no direct correlation to film frames at 24 frames per second can be achieved. NTSC is hardest to reconcile with film, thus motivating its own unique processes. ==== PAL and SECAM video ==== PAL and SECAM run at 25 interlaced video frames per second, which can be slowed down or frame-dropped, then deinterlaced, to correlate frame for frame with film running at 24 actual frames per second. PAL and SECAM are less complex and demanding than NTSC for film-out. PAL and SECAM conversions do agitate, though, with the unpleasant choice between slowing down video (and audio pitch, noticeably) by four percent, from 25 to 24 frames per second, in order to maintain a 1:1 frame match, slightly changing the rhythm and feel of the program; or maintaining original speed by periodically dropping frames, thereby creating jerkiness and possible loss of vital detail in fast-moving action or precise edits. === High definition (HD) digital video === High definition digital video can be shot at a variety of frame rates, including 29.97 interlaced (like NTSC) or progressive; or 25 interlaced (like PAL) or progressive; or even 24-progressive (just like film). HD, if shot in 24-progressive, scans nearly perfectly to film without the need for a frame or field conversion process. Other issues remain though, based on the different resolutions, color spaces, and compression schemes that exist in the high-definition video world. == Computer graphics and animation == Artists working with CGI-Computer-generated imagery animation computers create pictures frame by frame. Once the finished product is done, the frames are outputted, normally in a DPX file. These picture data files can then be put on to film using a film recorder for film out. SGI computers started the high-end CGI-Computer-generated imagery animation systems, but with faster computers and the growth of Linux-based systems, many others are on the market now. Movies fully rendered and animated in CGI such as Toy Story, and Antz utilize the film-out method to produce 35mm copies for archival and release prints. Most CGI work is done in 2K Display resolution files (about the size of QXGA) and then output to the Film-out device for creation of 35 mm elements. With 4K Display resolution digital intermediates on the rise, newer types of film-out recorders are being developed to accept 4k resolution files. A 2K movie requires a Storage Area Network storage several terabytes in size to be properly stored and played out. Computer graphics files are handled the same way but in single frames and may use DPX, TIFF or other file formats. == Digital intermediates == Film-out-recording is the last step of digital intermediate workflow. DPX files that were scanned on a motion picture film scanner are stored on a storage area network (often abbreviated as SAN). The scanned DPX footage is edited and composited-FX on workstations, then mastered back on film. Film restoration is also done this way. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == Images for graphic design and print industries == The days of newspapers and magazines shooting 35mm film are almost gone. Digital cameras can now shoot all the images needed, storing them as files (e.g. JPEG, DPX or another format) that are readily edited prior to use. Once the final copy is approved, it can be filmed out for publishing. Digital stills are not the only way to get pictures used in the graphic design and print industries. Film scanners and computer graphics programs are also common sources for graphic design and print industries. == Types of devices == The following devices are used in film-out processes: CRT recorder. Camera and a special TV display Kinescope – early type Electronic Video Recording or EVR – early type EBR Electron Beam Film Recorder 16 mm by 3M Laser film recorder, like Kodak's high-end Lightning II recorder and Arri's Arrilaser. DLP Film recorder, like Cinevation's real-time Cinevator. == History == Lately it has become possible to transfer video images, inclu

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  IRows

  iRows was a web-based spreadsheet in beta with a GUI similar to the traditional desktop-based spreadsheet applications, such as Microsoft Excel and OpenOffice.org. It was shut down on December 31, 2006, after it was announced that its two founders had been hired by Google. iRows used Ajax and XML. It was described as an example of a Web 2.0 system. iRows supported conventional spreadsheet features functions, value formatting and charts and added web oriented spreadsheet capabilities like collaboration (multiple people using a shared spreadsheet, sending a spreadsheet as a link instead of an attachment and ability to publish spreadsheets on other web pages (e.g. blogs).

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  Device-independent pixel

  A device-independent pixel (also: density-independent pixel, dip, dp) is a unit of length. A typical use is to allow mobile device software to scale the display of information and user interaction to different screen sizes. The abstraction allows an application to work in pixels as a measurement, while the underlying graphics system converts the abstract pixel measurements of the application into real pixel measurements appropriate to the particular device. For example, on the Android operating system a device-independent pixel is equivalent to one physical pixel on a 160 dpi screen, while the Windows Presentation Foundation specifies one device-independent pixel as equivalent to 1/96th of an inch. As dp is a physical unit it has an absolute value which can be measured in traditional units, e.g. for Android devices 1 dp equals 1/160 of inch or 0.15875 mm. While traditional pixels only refer to the display of information, device-independent pixels may also be used to measure user input such as input on a touch screen device.

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  My Drama

  My Drama (also may be stylised as MyDrama) is a global streaming service specializing in vertical video series for Duanju. It is owned by the company Holywater Tech. The platform focuses on short-form, emotional storytelling optimized for smartphone viewing, offering content in over 30 languages across 190 countries. == History == My Drama was launched in 2024 by Holywater Tech, founded by Ukrainian entrepreneur Bogdan Nesvit and Anatolii Kasianov. The service gained international traction as part of a growing market for short-form vertical storytelling, influenced by mobile-first entertainment trends. My Drama primarily streams serialized vertical dramas, which are short-form episodes around 1-2 minutes in length designed for mobile consumption. Many series are adaptations of successful stories originally published on Holywater Tech's book platform My Passion. The platform employs AI technology in areas such as content recommendation and story generation, and is one of several Holywater apps focused on interactive entertainment. In 2024, My Drama won a People's Voice award at the 28th Annual Webby Awards. In 2025, My Drama received a Gold Award at the MUSE Creative Awards in the Mobile App: Video Streaming Services category. In 2025, the company received strategic investment from Fox Entertainment, aimed at expanding content creation capabilities and producing over 200 vertical video series. As of 2025, My Drama has produced over 56 titles and reached more than 40 million lifetime users, according to media reports. In January 2026, Holywater Tech raised $22 million in funding to expand its microdrama business in the United States. The investment round was led by Horizon Capital, with participation from U.S.-based investors including Endeavor Catalyst and Wheelhouse. The funding is intended to support the development of Holywater Tech's mobile-first vertical video platform, My Drama, as well as the company's AI-driven content initiatives, such as AI-assisted comics and anime. In February 2026, Holywater bought Jeynix, a studio that uses AI for special effects. This deal helps the company make better-quality shows and translate them into different languages much faster. == Partnerships == In 2024, Holywater Tech entered a partnership with Latin American studio Elefantec Global to distribute vertical dramas in Spanish-language markets. In early 2026, Fox Entertainment entered into a partnership with content creator Dhar Mann to produce a slate of 40 original vertical microdrama series. Under the agreement, the series debut exclusively on the My Drama platform, while global distribution is managed by Fox Entertainment Global. == Reception == My Drama has been highlighted in discussions of the global rise of vertical short drama platforms and has been compared with similar apps such as ReelShort and DramaBox.

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  MetaMask

  MetaMask is a software cryptocurrency wallet developed by ConsenSys for interacting with the Ethereum blockchain and other EVM-compatible networks. It enables users to manage Ethereum accounts and connect to decentralized applications (dApps) via a browser extension or mobile app. As of early 2026, MetaMask reports over 100 million users worldwide. == Overview == MetaMask allows users to store and manage private keys, send and receive Ethereum-based cryptocurrencies and tokens (including ERC-20 and ERC-721 standards), broadcast transactions, and interact with dApps. dApps connect to the wallet via JavaScript interfaces, prompting users to approve signatures or transactions. The wallet features MetaMask Swaps, an in-app token swap aggregator sourcing liquidity from multiple decentralized exchanges (DEXs), with a service fee of 0.875%. In 2025, MetaMask introduced the MetaMask Rewards program (initially mobile-only), where users earn points for activities such as swaps, bridging, and referrals. Season 1 (October 2025 – January 2026) distributed over $30 million in Linea tokens and other perks to participants. == History == MetaMask launched in 2016 as open-source software under the MIT license. It initially supported browser extensions for Chrome and Firefox. Mobile versions were in closed beta from 2019 and publicly released for iOS and Android in September 2020. In August 2020, the license changed to a custom proprietary one. MetaMask Swaps launched on desktop in October 2020 and on mobile in March 2021. The Rewards program launched in late 2025 with Linea integration. == Criticism == MetaMask has faced criticism over privacy, including default analytics settings that share some user data (which can be disabled). Its reliance on Infura (acquired by ConsenSys in 2019) has raised concerns about centralization in Ethereum infrastructure. The wallet regularly issues warnings about phishing scams and fake airdrops impersonating MetaMask.

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  Fuse Services Framework

  Fuse Services Framework is an open source SOAP and REST web services platform based on Apache CXF for use in enterprise IT organizations. It is productized and supported by the Fuse group at FuseSource Corp. Fuse Services Framework service-enables new and existing systems for use in enterprise SOA infrastructure. Fuse Services Framework is a pluggable, small-footprint engine that creates high performance, secure and robust services in minutes using front-end programming APIs like JAX-WS and JAX-RS. It supports multiple transports and bindings and is extensible so developers can add bindings for additional message formats so all systems can work together without having to communicate through a centralized server. Fuse Services Framework is now a part of Red Hat JBoss Fuse. Fabric8 is a free Apache 2.0 Licensed upstream community for the JBoss Fuse product from Red Hat.

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  Digital on-screen graphics by country

  Digital on-screen graphics by country are the varying logos and differences of digital on-screen graphics in different countries and regions. == Overview == Digital on-screen graphics (DOGs; also called a digitally originated graphic, bug, network bug, on-screen bug, or screenbug) are almost always placed in one of four corners: the top left, the top right, the bottom left, or the bottom right. There are few exceptions to this rule: most notably, Saturday! in Russia, which places their DOG in the top center. Many news broadcasters, as well as a few television networks, also place a clock alongside their bug. In the United States, Canada, Australia, and New Zealand, DOGs may also include the show's parental guideline rating. In Australia, this is known as a Program Return Graphic (PRG). It has become common to place text above the station's logo advertising other programs on the network. In many countries, some TV networks insert the word "live" near the DOG to advise viewers that the program is live, rather than pre-recorded. During televised sports events, a DOG may also display game-related statistics such as the current score. This has led people in Canada and the United States to refer to such a DOG as a score bug. In many countries, DOGs are removed in non-program sections such as commercials and program trailers, but TV channels in some other countries have retained in full color or instead replaced them in either of these sections or in both sections (like Turkey, Indonesia, Italy, the entirety of South Asia, Vietnam, Taiwan, and Russia). == MENA == === Arab world === Arabic TV logos are placed in the top-right and top-left except for Al-Jazeera, whose logo appears on the bottom-right of the screen. Some Arabian TV stations hide their logos during commercial breaks and promos/trailers, such as Dubai TV, Dubai One, Funoon, the Egyptian CBC and Nile TV networks, ART Hekayat, ART Hekayat 2, Iqraa, and Al-Jazeera. Abu Dhabi TV and MBC1 initially had their logos at the bottom-right corner from their launch until the mid-2000s, when they were moved to the top-right corner. === Iran === Iranian broadcaster IRIB introduced DOGs in early 2000s. Unlike other Middle Eastern nations that introduced DOGs on their TV networks in 1990s, Iran was very late in this practice. Almost all Iranian TV channels display DOGs at top-left corner of the screen. The few exception is IRIB-owned channels remove DOGs during news broadcasts. === Israel === In Israel, Television DOGs were first introduced in 1991. Israeli channel watermarks most often appear on the top left or the top right corner since Israeli cable and satellite-based services often have the channel description and programming (OSD) on the bottom of the screen. Most channels have an opaque, full-color watermark, though exceptions exist, for example Channel 9, which displays a blue-tinted semi-transparent logo. In ad breaks, it is required to replace the channel watermark with another symbol – sometimes on the other edge of the screen – indicating there are ads at the moment. The Israel Broadcasting Authority, whose channels placed their logos in the top left corner, ceased broadcasting in May 2017. The new public broadcaster, the Israeli Public Broadcasting Corporation, displays its logos at the top right instead. The erstwhile Channel 2 as well as its successors, Keshet 12 and Reshet 13, also use the top right corner. However, Channel 10 used the top left corner before rebranding to Eser (Literally "Ten") in 2017 and simultaneously moving its logo to the top right (Not long after, in January 2019, it ceased broadcasting as it merged with Reshet 13). Channel 14 as well as its predecessor Channel 20 use the top right corner as well. The Knesset Channel, however, uses the top left corner. === Morocco === The SNRT and 2M And Al-Aoula Uses permanent on-screen DOGs for their TV channels. In contrast, other channels such as Medi 1 TV hide their DOGs during commercial breaks. == Asia == === Brunei === Radio Television Brunei introduced DOGs in 1994. Like TV channels from neighbouring Malaysia, all DOGs are removed during advertisement breaks. === Cambodia === Cambodian TV channels introduced DOGs in 1995. Like Thailand, all logos are full-color and displayed on the top-right corner of the screen. Some channels such as TV5 hide their logos during commercial breaks. Hang Meas HDTV Logo on the top-left corner of the screen, CTN (Cambodian Television Network), MyTV, Bayon TV, PNN, Logo on the top-right corner of the screen. === China === TV stations in mainland China always place their logo (usually semi-transparent and sometimes animated) in the top-left corner of the screen in full-color or grey-scale. Regardless of the content being broadcast (program or advertisements), some channels like Phoenix Television hide their logos during commercial breaks; although in some rare cases, the DOG may be placed elsewhere to avoid covering the score bug during the broadcast of a sporting event. China introduced logos in 1983 on the bottom-left corner of the screen, but they were used only during commercial breaks and clock idents. Later China Central Television (CCTV) introduced permanent DOGs for all programs in 1992, on the top-left corner of the screen. China also displays a clock on top-right corner of the screen for 1 minute between 59:30–00:30 & 29:30–30:30 time in transition between programs. === Hong Kong === Hong Kong TV introduced DOGs in 1994. Hong Kong DOGs can be either of full color or semi-transparent and (except for RTHK 31) always be hidden during commercial breaks. Television Broadcasts Limited (TVB) placed their logos at the top-right corner of the screen while now-defunct Asia Television and other channels placed their logos at the top-left corner of the screen. Sometimes, weather information, date, and time clocks had been used alongside DOGs in news programs, continuity & live broadcasts. === India === The first on-screen logo in India was introduced in 1984 by DD2 Metro (now DD News). It was white and slightly transparent. All Indian TV channels have on-screen logos. They are always full-colors, never transparent, and they are almost never removed during commercial breaks (though the channels of the South Indian Sun TV Network did so until 2015). The great majority of Indian TV channels place their logos in the top right corner of the screen, though there are exceptions. The corner used may be broadcaster-dependent. Among the big national broadcasters: Channels from the Sony network always use the top right corner, without exception. Star channels also use the top right, with the exception of National Geographic and Nat Geo Wild, which use the top left corner in line with their international counterparts. Past exceptions include The History Channel, whose logo was placed in the top left until it rebranded to Fox History & Entertainment in 2008; the now-defunct Channel V, which used the top left between 2013 and 2016; and Nat Geo People, Nat Geo Music and BabyTV, were withdrawn from India in June 2019. TV18 and Viacom18 channels use the top right corner as well, with the exceptions of regional-language movie channels (e.g., Colors Kannada Cinema and Colors Gujarati Cinema) as well as Colors Super, which have shown their logos at the top left corner since 2018; and VH1, which has always used the bottom right corner. Also, CNBC-TV18, CNBC Awaaz and CNBC Bajar use the bottom right. Moreover, MTV showed its logo in the top left corner until 23 April 2018, when it was moved to the top right (its HD version, launched in 2017, has always used the top right). Unlike most other major networks, the Zee Network's non-news channels containing 'Zee' in their name display their logos at the top left corner and not the top right. This has been the case since 15 October 2017, when almost all the Zee-branded TV channels of the Zee network rebranded with a new logo and, in many cases, a new graphics package and look. Before then, the logos were shown at the top right, as with other broadcasters. (News channels' logos—i.e., logos of channels owned by Zee Media Corporation—stayed put at the top right corner, with the exception of WION, which uses the bottom left.) All the major Zee-branded channels—such as Zee TV, Zee Cinema, Zee Café and the regional-language channels like Zee Tamil, Zee Telugu, Zee Marathi and Zee Bangla—show their logos at the top left; moreover, the Odia-language channel Sarthak TV rebranded to Zee Sarthak and moved its logo to the top left. Among the Zee channels not containing the word 'Zee' that moved their logos to the top left during the big rebrand in 2017 was English movie channel Zee Studio; when it was renamed to &flix on 3 June 2018, the logo remained at the top left. Moreover, Hindi movie channel &pictures has always shown its logo at the top left since its launch in 2013. However, &privé HD, Zee's other English movie channel, and Hindi entertainment channel &TV place the

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  Sherwood Applied Business Security Architecture

  SABSA (Sherwood Applied Business Security Architecture) is a model and methodology for developing a risk-driven enterprise information security architecture and service management, to support critical business processes. It was developed independently from the Zachman Framework, but has a similar structure. The primary characteristic of the SABSA model is that everything must be derived from an analysis of the business requirements for security, especially those in which security has an enabling function through which new business opportunities can be developed and exploited. The process analyzes the business requirements at the outset, and creates a chain of traceability through the strategy and concept, design, implementation, and ongoing ‘manage and measure’ phases of the lifecycle to ensure that the business mandate is preserved. Framework tools created from practical experience further support the whole methodology. The model is layered, with the top layer being the business requirements definition stage. At each lower layer a new level of abstraction and detail is developed, going through the definition of the conceptual architecture, logical services architecture, physical infrastructure architecture and finally at the lowest layer, the selection of technologies and products (component architecture). The SABSA model itself is generic and can be the starting point for any organization, but by going through the process of analysis and decision-making implied by its structure, it becomes specific to the enterprise, and is finally highly customized to a unique business model. It becomes in reality the enterprise security architecture, and it is central to the success of a strategic program of information security management within the organization. SABSA is a particular example of a methodology that can be used both for IT (information technology) and OT (operational technology) environments. == SABSA matrix == Note: The above is the original SABSA Matrix, which is still valid today, but it has been expanded by a comprehensive service management matrix and updated in some detail and terminology areas. In the words of David Lynas, SABSA author, "The SABSA Matrix and the SABSA Service Management Matrix have not been updated since the late 90s. We have redesigned them to deliver the improvements your feedback has requested over the years. We have not fundamentally changed the structure or principles of the matrices (very few elements have changed position) but have focused on terminology update and consistency." The new versions can be downloaded (along with the 2009 revision of the SABSA White Paper and other important documents like the SABSA Certification Roadmap) at the SABSA Members' Web Site.

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  Swap chain

  In computer graphics, a swap chain (also swapchain) is a series of virtual framebuffers used by the graphics card and graphics API for frame rate stabilization, stutter reduction, and several other purposes. Because of these benefits, many graphics APIs require the use of a swap chain. The swap chain usually exists in graphics memory, but it can exist in system memory as well. A swap chain with two buffers is a kind of double buffer. == Function == In every swap chain there are at least two buffers. The first framebuffer, the screenbuffer, is the buffer that is rendered to the output of the video card. The remaining buffers are known as backbuffers. Each time a new frame is displayed, the first backbuffer in the swap chain takes the place of the screenbuffer, this is called presentation or swapping. A variety of other actions may be taken on the previous screenbuffer and other backbuffers (if they exist). The screenbuffer may be simply overwritten or returned to the back of the swap chain for further processing. The action taken is decided by the client application and is API dependent. == Direct3D == Microsoft Direct3D implements a SwapChain class. Each host device has at least one swap chain assigned to it, and others may be created by the client application. The API provides three methods of swapping: copy, discard, and flip. When the SwapChain is set to flip, the screenbuffer is copied onto the last backbuffer, then all the existing backbuffers are copied forward in the chain. When copy is set, each backbuffer is copied forward, but the screenbuffer is not wrapped to the last buffer, leaving it unchanged. Flip does not work when there is only one backbuffer, as the screenbuffer is copied over the only backbuffer before it can be presented. In discard mode, the driver selects the best method. == Comparison with triple buffering == Outside the context of Direct3D, triple buffering refers to the technique of allowing an application to draw to whichever back buffer was least recently updated. This allows the application to always proceed with rendering, regardless of the pace at which frames are being drawn by the application or the pace at which frames are being sent to the display. Triple buffering may result in a frame being discarded without being displayed if two or more newer frames are completely rendered in the time it takes for one frame to be sent to the display. By contrast, Direct3D swap chains are a strict first-in, first-out queue, so every frame that is drawn by the application will be displayed even if newer frames are available. Direct3D does not implement a most-recent buffer swapping strategy, and Microsoft's documentation calls a Direct3D swap chain of three buffers "triple buffering". Triple buffering as described above is superior for interactive purposes such as gaming, but Direct3D swap chains of more than three buffers can be better for tasks such as presenting frames of a video where the time taken to decode each frame may be highly variable.

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  Generative art

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

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  Glyph (data visualization)

  In the context of data visualization, a glyph is any marker, such as an arrow or similar marking, used to specify part of a visualization. This is a representation to visualize data where the data set is presented as a collection of visual objects. These visual objects are collectively called a glyph. It helps visualizing data relation in data analysis, statistics, etc. by using any custom notation. In the context of data visualization, a glyph is the visual representation of a piece of data where the attributes of a graphical entity are dictated by one or more attributes of a data record. == Constructing glyphs == Glyph construction can be a complex process when there are many dimensions to be represented in the visualization. Maguire et al proposed a taxonomy based approach to glyph-design that uses a tree to guide the visual encodings used to representation various data items. Duffy et al created perhaps one of the most complex glyph representations with their representation of sperm movement.

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  Per-pixel lighting

  In computer graphics, per-pixel lighting refers to any technique for lighting an image or scene that calculates illumination for each pixel on a rendered image. This is in contrast to other popular methods of lighting such as vertex lighting, which calculates illumination at each vertex of a 3D model and then interpolates the resulting values over the model's faces to calculate the final per-pixel color values. Per-pixel lighting is commonly used with techniques, such as blending, alpha blending, alpha to coverage, anti-aliasing, texture filtering, clipping, hidden-surface determination, Z-buffering, stencil buffering, shading, mipmapping, normal mapping, bump mapping, displacement mapping, parallax mapping, shadow mapping, specular mapping, shadow volumes, high-dynamic-range rendering, ambient occlusion (screen space ambient occlusion, screen space directional occlusion, ray-traced ambient occlusion), ray tracing, global illumination, and tessellation. Each of these techniques provides some additional data about the surface being lit or the scene and light sources that contributes to the final look and feel of the surface. Most modern video game engines implement lighting using per-pixel techniques instead of vertex lighting to achieve increased detail and realism. The id Tech 4 engine, used to develop such games as Brink and Doom 3, was one of the first game engines to implement a completely per-pixel shading engine. All versions of the CryENGINE, Frostbite Engine, and Unreal Engine, among others, also implement per-pixel shading techniques. Deferred shading is a recent development in per-pixel lighting notable for its use in the Frostbite Engine and Battlefield 3. Deferred shading techniques are capable of rendering potentially large numbers of small lights inexpensively (other per-pixel lighting approaches require full-screen calculations for each light in a scene, regardless of size). == History == While only recently have personal computers and video hardware become powerful enough to perform full per-pixel shading in real-time applications such as games, many of the core concepts used in per-pixel lighting models have existed for decades. Frank Crow published a paper describing the theory of shadow volumes in 1977. This technique uses the stencil buffer to specify areas of the screen that correspond to surfaces that lie in a "shadow volume", or a shape representing a volume of space eclipsed from a light source by some object. These shadowed areas are typically shaded after the scene is rendered to buffers by storing shadowed areas with the stencil buffer. Jim Blinn first introduced the idea of normal mapping in a 1978 SIGGRAPH paper. Blinn pointed out that the earlier idea of unlit texture mapping proposed by Edwin Catmull was unrealistic for simulating rough surfaces. Instead of mapping a texture onto an object to simulate roughness, Blinn proposed a method of calculating the degree of lighting a point on a surface should receive based on an established "perturbation" of the normals across the surface. == Hardware rendering == Real-time applications, such as video games, usually implement per-pixel lighting through the use of pixel shaders, allowing the GPU hardware to process the effect. The scene to be rendered is first rasterized onto a number of buffers storing different types of data to be used in rendering the scene, such as depth, normal direction, and diffuse color. Then, the data is passed into a shader and used to compute the final appearance of the scene, pixel-by-pixel. Deferred shading is a per-pixel shading technique that has recently become feasible for games. With deferred shading, a "g-buffer" is used to store all terms needed to shade a final scene on the pixel level. The format of this data varies from application to application depending on the desired effect, and can include normal data, positional data, specular data, diffuse data, emissive maps and albedo, among others. Using multiple render targets, all of this data can be rendered to the g-buffer with a single pass, and a shader can calculate the final color of each pixel based on the data from the g-buffer in a final "deferred pass". Because deferred shading assumes only one visible fragment per pixel sample, transparent objects are generally handled in a separate forward pass. == Software rendering == Per-pixel lighting is also performed in software on many high-end commercial rendering applications which typically do not render at interactive framerates. This is called offline rendering or software rendering. NVidia's mental ray rendering software, which is integrated with such suites as Autodesk's Softimage is a well-known example.

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