AI Generator Xi Pics

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Jaggies

Jaggies are visual artifacts in raster images, most frequently from aliasing, which in turn is often caused by non-linear mixing effects producing high-frequency components, or missing or poor anti-aliasing filtering prior to sampling. Jaggies are stair-like lines that appear where there should be "smooth" straight lines or curves. For example, when a nominally straight, un-aliased line steps across one pixel either horizontally or vertically, a "dogleg" occurs halfway through the line, where it crosses the threshold from one pixel to the other. Jaggies should not be confused with most compression artifacts, which are a different phenomenon. == Causes == Jaggies occur due to the "staircase effect". This is because a line represented in raster mode is approximated by a sequence of pixels. Jaggies can occur for a variety of reasons, the most common being that the output device (display monitor or printer) does not have sufficient resolution to portray a smooth line. In addition, jaggies often occur when a bit-mapped image is scaled to a higher resolution. This is one of the advantages that vector graphics have over bitmapped graphics – a vector image can be losslessly scaled to any arbitrary resolution or stretched infinitely in either axis without introducing jaggies. == Solutions == The effect of jaggies can be reduced by a graphics technique known as spatial anti-aliasing. Anti-aliasing smooths out jagged lines by surrounding them with transparent pixels to simulate the appearance of fractionally-filled pixels when viewed at a distance. The downside of anti-aliasing is that it reduces contrast – rather than sharp black/white transitions, there are shades of gray – and the resulting image can appear fuzzy. This is an inescapable trade-off: if the resolution is insufficient to display the desired detail, the output will either be jagged, fuzzy, or some combination thereof. While machine learning-based upscaling techniques such as DLSS can be used to infer this missing information, other types of artifacts may be introduced in the process. In real-time 3D rendering such as in video games, various anti-aliasing techniques are used to remove jaggies created by the edges of polygons and other contrasting lines. Since anti-aliasing can impose a significant performance overhead, games for home computers often allow users to choose the level and type of anti-aliasing in use in order to optimize their experience, whereas on consoles this setting is typically fixed for each title to ensure a consistent experience. While anti-aliasing is generally implemented through graphics APIs like DirectX and Vulkan, some consoles such as the Xbox 360 and PlayStation 3 are also capable of anti-aliasing to little direct performance cost by way of dedicated hardware which performs anti-aliasing on the contents of the framebuffer once it has been rendered by the GPU. Jaggies in bitmaps, such as sprites and surface materials, are most often dealt with by separate texture filtering routines, which are far easier to perform than anti-aliasing filtering. Texture filtering became ubiquitous on PCs after the introduction of 3Dfx's Voodoo GPU. == Notable uses of the term == In the 1985 game Rescue on Fractalus! for the Atari 8-bit computers, the graphics depicting the cockpit of the player's spacecraft contains two window struts, which are not anti-aliased and are therefore very "jagged". The developers made fun of this and named the in-game enemies "Jaggi", and also initially titled the game Behind Jaggi Lines!. The latter idea was scrapped by the marketing department before release.
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TikTok

TikTok is a social media and short-form online video platform. It hosts user-submitted videos, which range in duration from three seconds to 60 minutes. It can be accessed through a mobile app or through its website. Since its launch, TikTok has become one of the world's most popular social media platforms, using recommendation algorithms to connect content creators and influencers with new audiences. In April 2020, TikTok surpassed two billion mobile downloads worldwide. The popularity of TikTok has allowed viral trends in food, fashion, and music to take off and increase the platform's cultural impact worldwide. TikTok has come under scrutiny due to data privacy violations, mental health concerns, misinformation, offensive content, addictive algorithm, its role during the Gaza war, and, following its 2026 divestiture in the U.S., alleged censorship of criticism of Donald Trump and discussions of Jeffrey Epstein. While TikTok remains accessible to users in most countries, a minority of countries (including India and Afghanistan) have implemented full or partial bans. Many other countries limit TikTok's use on government-issued devices for security or privacy reasons. == Corporate structure == TikTok Ltd was incorporated in the Cayman Islands in the Caribbean and is based in both Singapore and Los Angeles. It owns entities which are based respectively in Australia (which also runs the New Zealand business), United Kingdom (also owns subsidiaries in the European Union), and Singapore (owns operations in Southeast Asia and India). A spin-off company, TikTok USDS Joint Venture LLC was formed on 22 January 2026 to handle TikTok and other ByteDance properties in the United States, Oracle Corporation, MGX Fund Management Limited, Silver Lake each holding a 15% stake, ByteDance holds a 19.9% stake and the remaining 35.1% is shared between Dell Technologies founder Michael Dell and Vastmere Strategic Investments. Its parent company, Beijing-based ByteDance, is owned by founders and Chinese investors, other global investors, and employees. One of ByteDance's main domestic subsidiaries is owned by Chinese state funds and entities through a 1% golden share. Employees have reported that multiple overlaps exist between TikTok and ByteDance in terms of personnel management and product development. TikTok says that since 2020, its US-based CEO is responsible for making important decisions, and has downplayed its China connection. == History == === Douyin === Douyin (Chinese: 抖音; pinyin: Dǒuyīn; lit. 'Shaking Sound') was launched on 20 September 2016, by ByteDance, originally under the name A.me, before changing its name to Douyin in December 2016. Douyin was developed in nearly 7 months and within a year had 100 million users, with more than one billion videos viewed every day. While TikTok and Douyin share a similar user interface, the platforms operate separately. Douyin includes an in-video search feature that can search by people's faces for more videos of them, along with other features such as buying, booking hotels, and making geo-tagged reviews. === TikTok === ByteDance planned on Douyin expanding overseas. The founder of ByteDance, Zhang Yiming, stated that "China is home to only one-fifth of Internet users globally. If we don't expand on a global scale, we are bound to lose to peers eyeing the four-fifths. So, going global is a must." ByteDance created TikTok as an overseas version of Douyin. TikTok was launched in the international market in September 2017. On 9 November 2017, ByteDance spent nearly $1 billion to purchase Musical.ly, a startup headquartered in Shanghai with an overseas office in Santa Monica, California. Musical.ly was a social media video platform that allowed users to create short lip-sync and comedy videos, initially released in August 2014. TikTok merged with Musical.ly on 2 August 2018 with existing accounts and data consolidated into one app, keeping the title TikTok. On 23 January 2018, the TikTok app ranked first among free application downloads on app stores in Thailand and other countries. TikTok has been downloaded more than 130 million times in the United States and has reached 2 billion downloads worldwide, according to data from mobile research firm Sensor Tower (those numbers exclude Android users in China). In the United States, Jimmy Fallon, Tony Hawk, and other celebrities began using the app in 2018. Other celebrities like Jennifer Lopez, Jessica Alba, Will Smith, and Justin Bieber joined TikTok. In January 2019, TikTok allowed creators to embed merchandise sale links into their videos. On 3 September 2019, TikTok and the US National Football League (NFL) announced a multi-year partnership. The agreement came just two days before the NFL's 100th season kick-off at Soldier Field in Chicago where TikTok hosted activities for fans in honor of the deal. The partnership entails the launch of an official NFL TikTok account, which is to bring about new marketing opportunities such as sponsored videos and hashtag challenges. In July 2020, TikTok, excluding Douyin, reported close to 800 million monthly active users worldwide after less than four years of existence. In May 2021, TikTok appointed Shou Zi Chew as their new CEO who assumed the position from interim CEO Vanessa Pappas, following the resignation of Kevin A. Mayer on 27 August 2020. In September 2021, TikTok reported that it had reached 1 billion users. In 2021, TikTok earned $4 billion in advertising revenue. In October 2022, TikTok was reported to be planning an expansion into the e-commerce market in the US, following the launch of TikTok Shop in the United Kingdom. The company posted job listings for staff for a series of order fulfillment centers in the US and was reportedly planning to start the new live shopping business before the end of the year. The Financial Times reported that TikTok will launch a video gaming channel, but the report was denied in a statement to Digiday, with TikTok instead aiming to be a social hub for the gaming community. According to data from app analytics group Sensor Tower, advertising on TikTok in the US grew by 11% in March 2023, with companies including Pepsi, DoorDash, Amazon, and Apple among the top spenders. According to estimates from research group Insider Intelligence, TikTok is projected to generate $14.15 billion in revenue in 2023, up from $9.89 billion in 2022. In March 2024, The Wall Street Journal reported that TikTok's growth in the US had stagnated. ==== Plans to sell TikTok's US operations ==== Since at least 2020, following calls to ban TikTok in the country, the Committee on Foreign Investment in the United States (CFIUS) has been investigating the company's 2017 merger with Musical.ly but has not finalized any of its negotiations with TikTok, such as the Project Texas proposal, waiting instead for Congress to act. In January 2025, Chinese officials began preliminary talks about potentially selling TikTok's US operations to Elon Musk if the app faced an impending ban due to national security concerns. While Beijing preferred TikTok remain under ByteDance's control, the sale could happen through a competitive process or with US government involvement. One possibility involved Musk's platform, X, taking over TikTok's US business. The move came ahead of a Supreme Court case that upheld the constitutionality of a law that would force a sale or ban of TikTok in the US by 19 January 2025, due to national security concerns regarding its ties to China. Other potential buyers included Project Liberty's "The People's Bid For TikTok" consortium of Frank McCourt with Kevin O'Leary, Steven Mnuchin, MrBeast and Bobby Kotick, the seriousness of these potential buyers was unclear. The day before the impending ban, California-based conversational search engine company Perplexity AI submitted a bid for a merger with TikTok US. On 14 September 2025, the Wall Street Journal reported the US and China have reached the "framework of a deal" for the US operations of TikTok to be sold to a consortium of investors in the US including close Trump ally Larry Ellison of Oracle. The deal was completed by 22 January 2026, with a consortium of investors—including Oracle, Silver Lake, MGX, and others including the personal investment entity for Michael Dell—owning more than 80% of the new venture. ByteDance retained 19.9% ownership. Under the deal, the app would remain the same, and the algorithm would be adjusted over time to favor American topics for those users. === Expansion in other markets === TikTok was downloaded over 104 million times on Apple's App Store during the first half of 2018, according to data provided to CNBC by Sensor Tower. After merging with musical.ly in August, downloads increased and TikTok subsequently became the most downloaded app in the US in October 2018, which musical.ly had done once before. In February 2019, TikTok, together with Douyin, hit one billion downloads globally, excluding Android
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JotterPad

JotterPad is a text editor app for Android, developed by Two App Studio. It is proprietary software that uses the freemium pricing strategy. == Features == Jotterpad supports the markdown and fountain markup languages. Among its features are themes, synchronisation with Google Drive and Dropbox, dictionary and thesaurus, and snapshots. JotterPad uses a freemium pricing model, which means that a restricted version of the app is offered for free, while access to additional functionality requires payment. About half of the features are available in the free version. The synchronisation feature was originally limited to one account, and in Jotterpad 12 the option to synchronise using multiple accounts was added as a monthly subscription service.
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Spatiotemporal reservoir resampling

Spatiotemporal reservoir resampling, commonly known as ReSTIR (from "Reservoir-based SpatioTemporal Importance Resampling"), is a collection of computer graphics techniques for reusing samples during rendering. It was developed primarily to allow more realistic lighting in real-time rendering, because relatively few rays can be traced per pixel while maintaining an acceptable frame rate. It can also be used to speed up off-line path tracing. The first ReSTIR paper, published in 2020, provided algorithms for direct lighting, allowing scenes containing thousands of lights to be rendered in real time on a high-end GPU. Researchers later proposed versions for rendering indirect lighting (and more recently, motion blur and depth of field) and built up a framework of mathematical concepts and notation conventions that help analyze such algorithms. A major focus of this work is removing or reducing the bias that could be introduced when samples from other pixels or frames are reused—or selectively allowing some bias in order to speed up rendering and reduce variance (visible as "noise" in the image). Versions for path tracing apply transformations called shift mappings to samples, typically reusing parts of paths closer to the light and modifying the portion closer to the camera. ReSTIR-related papers and talks have been presented every year at the SIGGRAPH conference since 2020. One of the first games to incorporate ReSTIR into its rendering was Cyberpunk 2077. == Overview and motivation == According to Chris Wyman, one of the co-authors of the original paper, although developers commonly thought that bias was acceptable for real-time rendering, end users (e.g. gamers) are well-aware of the artifacts caused by bias and many have a negative opinion of common sample-reuse techniques such as temporal anti-aliasing (TAA), which may cause "ghosting" when the camera moves, and denoising, which causes blurring and other artifacts. ReSTIR techniques can reduce or avoid these types of bias by reusing samples of the set of possible paths taken by light to reach the camera, instead of reusing rendered pixel color values (which are typically the average of multiple samples, discarding information such as the direction of the light). While other techniques reuse samples in a generic post-processing step, ReSTIR passes can test for shadowing, and reused samples are converted into pixel color values by rendering code that takes the characteristics of different materials into account (e.g. by implementing BRDFs). However the output of ReSTIR is noisy, and a denoising pass is typically still used. Stochastic ray tracing techniques such as path tracing need to average multiple samples (produced by tracing individual rays) in order to render a visually acceptable image. When using a simple unbiased renderer based on Monte Carlo integration, halving the deviation of the result (apparent as "noise" in the image) requires multiplying the number of samples by four, meaning that a rapidly increasingly number of samples is needed to improve quality, Standard ways to mitigate this problem include importance sampling (which requires finding improved sampling distributions for specific situations), and quasi-Monte Carlo integration (which usually still requires tracing a large number of rays). ReSTIR offers a solution that multiplies the effective number of samples while tracing a fixed number of additional rays per frame. Temporal reuse multiplies the effective sample count by the number of frames rendered. Spatial reuse multiplies the effective count by the number of neighboring pixels examined. These two types of reuse can be combined, allowing spatial reuse to be applied recursively, which appears to offer an exponentially increasing effective sample count, however this is quickly limited by the size of the neighborhood used for spatial reuse. Spatial reuse is also potentially less effective near shadow and object edges, especially for objects with fine geometric detail, and temporal reuse is limited by movement of the camera and scene elements. == Variations == Many variations of ReSTIR have been proposed that generalize or improve the original technique (which builds on an earlier method called RIS), specialize it for particular types of illumination or other visual effects, or allow incorporation into rendering algorithms other than standard path tracing. Some published versions are listed below. == Algorithms == === Basic algorithm === ReSTIR uses a combination of resampled importance sampling (RIS) and weighted reservoir sampling (WRS) which the authors call streaming RIS. RIS processes samples from an initial probability distribution (e.g. a probability distribution for which a cheap sampling method exists) and generates samples in a new probability distribution (e.g. a sampling distribution that is optimal for rendering but is impractical to draw samples from directly). WRS allows this to be done while storing only a small number of samples in memory, which is especially helpful on a GPU. Information about the samples is stored in a data structure called a reservoir. WRS also allows samples from multiple reservoirs to be combined ("merged") into a single reservoir; this is crucial for sample reuse. Each pixel has a reservoir, typically containing only a single sample when ReSTIR is used for real-time rendering (some implementations use a larger number, e.g. four samples). The reservoir is typically initialized to a sample drawn using a simple method and is then updated by RIS steps and by reservoir merging, so that the pixel value produced by shading using the sample(s) currently in the reservoir, times the weight for the sample, is always an unbiased estimate of the correct pixel value. If appropriate resampling steps are used, the variance of this estimate (or some function of it, typically the luminance of the RGB color value) decreases with each step. A possible sequence of steps performed for each frame, suitable for computing unbiased direct illumination (DI) is: Perform reservoir resampling by drawing multiple light samples and using streaming RIS to choose one, using probabilities based on a target function, e.g. the luminance of the sample's contribution to the pixel. A weight is also computed for the sample. Typically, a single visibility check is performed here, after choosing a sample, setting the weight to 0 if the light is shadowed. Resampling (combined with the visibility check) ensures that the expected value of the weight times the sample brightness is the correct (unbiased) value for the pixel. (temporal reuse) For each pixel, merge the sample(s) from the previous frame into the current reservoir. Multiple importance sampling (MIS) weights are used to avoid bias due to the fact that the samples in the previous frame's reservoirs may have a different target probability distribution if the objects, lights, or camera have moved. (spatial reuse) For each pixel, choose one or more neighboring pixels and merge their samples into the current pixel's reservoir. Multiple importance sampling (MIS) weights are used to avoid bias due to the fact that the samples in each pixel's reservoir have a different target probability distribution. Because computing unbiased MIS weights requires tracing additional rays (along with other work such as evaluating BRDFs), real-time rendering often uses only a single neighboring pixel. Use the sample in each pixel's reservoir, along with its weight, to determine the color of the pixel for the current frame. Alternatively, multiple samples examined during the preceding steps may be averaged and used to shade the pixel instead (decoupled shading and sampling). For direct lighting, the initial samples used in step 1 are typically drawn by importance sampling from the set of lights in a scene. The algorithm above (from the original ReSTIR paper) draws many lower-quality light samples (e.g. 32) using a fast method, without considering visibility, and chooses one using streaming RIS. Visibility is then tested for the final chosen sample. Considering visibility for each sample drawn would require tracing 32 rays, which would make it much more expensive. The intent is to reduce the number of rays traced, relying on the sample reuse in steps 2 and 3 to make up for the loss of quality caused by rejecting many of the rays due to shadowing. A large part of the initial efforts to optimize ReSTIR (to make it run in real-time on available hardware) went into reducing the cost of randomly sampling the lights. Glossy surfaces may require a larger number of samples, and combining light sampling with BRDF sampling (using MIS) may increase quality. Step 2 (temporal reuse) is sometimes skipped for off-line rendering, and the output of multiple repetitions of initial sampling and spatial reuse is averaged instead; this helps avoids artifacts due to correlations. Step 3 (spatial reuse) may be repeated multiple times in a single frame.
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CEITON

CEITON is a web-based software system for facilitating and automating business processes such as planning, scheduling, and payroll using workflow technologies. The system is used by several media companies such as MDR, Yle, RAI and Red Bull Media House. In December 2018, the first CEITON User Group Meeting took place in Leipzig, Germany. == Architecture == The software runs on a server (on premises) or in the cloud and is scalable on parallel servers. Data security is warranted by role-based access control (RBAC). The software is used via web-browsers and not dependent on particular system software. == Structure and Features == CEITON combines the two classical approaches of production planning and control and workflow management. === Project Management === The scheduling system plans, manages, bills, and analyzes projects or tasks. It manages human and technical resources, material, and locations on a single GUI. The system uses a gantt chart to assign tasks to be done to available and eligible resources (i.e. staff), automatically or by drag-and-drop. The scheduling module includes material management, resource management/ human resource management, integration of freelancers, clients and suppliers, long-term budget planning, time-tracking, shift scheduling, quality management, delivery and logistics, document management, archive, analysis and controlling, business reporting, as well as all accounting and documentation processes. === Workflow === The workflow management system module coordinates business processes. Processes are defined once as a workflow and then repeatedly executed. Human resources are automatically assigned to steps (tasks) and integrated in workflow forms. Systems are integrated with an EAI/SOAP module, allowing data exchange with arbitrary external systems which are also involved in the business process. It also features a 3-D workflow overview in which the status of each project step can be determined by its color in the overview. === Process Management === For project and order processing management, business processes are designed as workflows, and coordinate communication automatically. Different user interfaces for staff, customers or suppliers can be created so each gets only relevant information. Different workflow forms are associated with different log-ins. The main application for the system is knowledge-based business processes, in which many people are involved and virtual results are produced, e.g. in research, or development of media products, such as TV and movies. Broadcasters and media companies such as MDR and Yle use CEITON to control their production processes for products and services and coordinate complex workflows with all kinds of resources. === Integrations === An integrated EAI module allows CEITON to integrate every external system in any business process without programming, using SOAP and similar technologies. Aspera and FileCatalyst were integrated for faster data transfer, yet complex ERP systems and numerous SAP modules have also been integrated, for example, to extract working times to payroll. === Mobile Working === Since Version 7, released in 2015, CEITON includes a time-tracking module allowing employees to enter their times from mobile devices such as tablets running Android, iPhones etc. == History == Ceiton Technologies (SME tech firm), the company developing CEITON, was founded in Leipzig, Germany in 2000, staffing solutions for the Bureau of Internal Revenue in Manila, Philippines, were implemented in 2000 together with the Deutsche Gesellschaft für Technische Zusammenarbeit of the German government. The first version (1.0) of the software was released in July 2001. The product was originally developed for German broadcasting companies. CEITON is named after the Japanese concept Seiton, one of the principles of Japanese workplace design methodology known as 5S. Since version 7, released in 2015, CEITON includes a time-tracking module allowing employees to enter their times from mobile devices such as tablets running Android, iPhones etc. In May 2005 CEITON won the IQ innovation award, sponsored by Siemens, in the category Excellent innovation in the IT-sector. Since 2007, CEITON has been present at the broadcast trade fairs NAB in Las Vegas and IBC in Amsterdam. In 2020, the company celebrated its 20th anniversary.
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Data remanence

Data remanence is the residual representation of digital data that remains even after attempts have been made to remove or erase the data. This residue may result from data being left intact by a nominal file deletion operation, by reformatting of storage media that does not remove data previously written to the media, or through physical properties of the storage media that allow previously written data to be recovered. Data remanence may make inadvertent disclosure of sensitive information possible should the storage media be released into an uncontrolled environment (e.g., thrown in refuse containers or lost). Various techniques have been developed to counter data remanence. These techniques are classified as clearing, purging/sanitizing, or destruction. Specific methods include overwriting, degaussing, encryption, and media destruction. Effective application of countermeasures can be complicated by several factors, including media that are inaccessible, media that cannot effectively be erased, advanced storage systems that maintain histories of data throughout the data's life cycle, and persistence of data in memory that is typically considered volatile. Several standards exist for the secure removal of data and the elimination of data remanence. == Causes == Many operating systems, file managers, and other software provide a facility where a file is not immediately deleted when the user requests that action. Instead, the file is moved to a holding area (i.e. the "trash"), making it easy for the user to undo a mistake. Similarly, many software products automatically create backup copies of files that are being edited, to allow the user to restore the original version, or to recover from a possible crash (autosave feature). Even when an explicit deleted file retention facility is not provided or when the user does not use it, operating systems do not actually remove the contents of a file when it is deleted unless they are aware that explicit erasure commands are required, like on a solid-state drive. (In such cases, the operating system will issue the Serial ATA TRIM command or the SCSI UNMAP command to let the drive know to no longer maintain the deleted data.) Instead, they simply remove the file's entry from the file system directory because this requires less work and is therefore faster, and the contents of the file—the actual data—remain on the storage medium. The data will remain there until the operating system reuses the space for new data. In some systems, enough filesystem metadata are also left behind to enable easy undeletion by commonly available utility software. Even when undelete has become impossible, the data, until it has been overwritten, can be read by software that reads disk sectors directly. Computer forensics often employs such software. Likewise, reformatting, repartitioning, or reimaging a system is unlikely to write to every area of the disk, though all will cause the disk to appear empty or, in the case of reimaging, empty except for the files present in the image, to most software. Finally, even when the storage media is overwritten, physical properties of the media may permit recovery of the previous contents. In most cases however, this recovery is not possible by just reading from the storage device in the usual way, but requires using laboratory techniques such as disassembling the device and directly accessing/reading from its components. § Complications below gives further explanations for causes of data remanence. == Countermeasures == There are three levels commonly recognized for eliminating remnant data: === Clearing === Clearing is the removal of sensitive data from storage devices in such a way that there is assurance that the data may not be reconstructed using normal system functions or software file/data recovery utilities. The data may still be recoverable, but not without special laboratory techniques. Clearing is typically an administrative protection against accidental disclosure within an organization. For example, before a hard drive is re-used within an organization, its contents may be cleared to prevent their accidental disclosure to the next user. === Purging === Purging or sanitizing is the physical rewrite of sensitive data from a system or storage device done with the specific intent of rendering the data unrecoverable at a later time. Purging, proportional to the sensitivity of the data, is generally done before releasing media beyond control, such as before discarding old media, or moving media to a computer with different security requirements. === Destruction === The storage media is made unusable for conventional equipment. Effectiveness of destroying the media varies by medium and method. Depending on recording density of the media, and/or the destruction technique, this may leave data recoverable by laboratory methods. Conversely, destruction using appropriate techniques is the most secure method of preventing retrieval. == Specific methods == === Overwriting === A common method used to counter data remanence is to overwrite the storage media with new data. This is often called wiping or shredding a disk or file, by analogy to common methods of destroying print media, although the mechanism bears no similarity to these. Because such a method can often be implemented in software alone, and may be able to selectively target only part of the media, it is a popular, low-cost option for some applications. Overwriting is generally an acceptable method of clearing, as long as the media is writable and not damaged. The simplest overwrite technique writes the same data everywhere—often just a pattern of all zeros. At a minimum, this will prevent the data from being retrieved simply by reading from the media again using standard system functions. The UEFI in modern machines may offer an ATA class disk erase function as well. The ATA-6 standard governs secure erases specifications. Bitlocker is whole disk encryption and illegible without the key. Writing a fresh GPT allows a new file system to be established. Blocks will set empty but LBA read is illegible. New data will be unaffected and work fine. In an attempt to counter more advanced data recovery techniques, specific overwrite patterns and multiple passes have often been prescribed. These may be generic patterns intended to eradicate any trace signatures; an example is the seven-pass pattern 0xF6, 0x00, 0xFF, , 0x00, 0xFF, , sometimes erroneously attributed to US standard DOD 5220.22-M. One challenge with overwriting is that some areas of the disk may be inaccessible, due to media degradation or other errors. Software overwrite may also be problematic in high-security environments, which require stronger controls on data commingling than can be provided by the software in use. The use of advanced storage technologies may also make file-based overwrite ineffective (see the related discussion below under § Complications). There are specialized machines and software that are capable of doing overwriting. The software can sometimes be a standalone operating system specifically designed for data destruction. There are also machines specifically designed to wipe hard drives to the department of defense specifications DOD 5220.22-M. Writing zero to each block on hard disks and SSDs has the advantage of affording the firmware to deploy spare blocks when bad blocks are identified. Bitlocker has the advantage that data is illegible without the key. Seatools and other tools can erase disks with zero which is typical to revive old consumer class disks but they can wipe server disks albeit slowly. Modern 28TB and larger disks have an enormous number of LBA48 blocks. 40TB and 60TB disks will take proportionately longer times to wipe. ==== Feasibility of recovering overwritten data ==== Peter Gutmann investigated data recovery from nominally overwritten media in the mid-1990s. He suggested magnetic force microscopy may be able to recover such data, and developed specific patterns, for specific drive technologies, designed to counter such. These patterns have come to be known as the Gutmann method. Gutmann's belief in the possibility of data recovery is based on many questionable assumptions and factual errors that indicate a low level of understanding of how hard drives work. Daniel Feenberg, an economist at the private National Bureau of Economic Research, claims that the chances of overwritten data being recovered from a modern hard drive amount to "urban legend". He also points to the "18+1⁄2-minute gap" Rose Mary Woods created on a tape of Richard Nixon discussing the Watergate break-in. Erased information in the gap has not been recovered, and Feenberg claims doing so would be an easy task compared to recovery of a modern high density digital signal. As of November 2007, the United States Department of Defense considers overwriting acceptable for clearing magnetic media within the same security area/
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2024 National Public Data breach

In August 2024, three class-action lawsuits were filed against National Public Data along with over 14 complaints filed in federal court, claiming that the company permitted hackers to steal sensitive private information covering millions of individuals. The theft was alleged to have occurred in April 2024. One of the lawsuits specifically claims that in April, a hacker going by the moniker "USDoD" posted a notice on the dark web, offering the data for sale at the price of US$3.5 million. The information stolen is alleged to include 2.9 billion records containing full names, current and past addresses, Social Security numbers, dates of birth, and telephone numbers. The stolen data contains records for people in the US, UK, and Canada. National Public Data confirmed on August 16, 2024, there was a breach originating from someone trying to breach their systems since December 2023, with the breach occurring from April 2024 and over the next few months. The company also confirmed that 2.9 billion records were obtained, though they were still working to determine how many people were affected by the breach, and were working with law enforcement to identify the hacker. == Jerico Pictures == Jerico Pictures, Inc., doing business as National Public Data, was a data broker company that performed employee background checks. Their primary service was collecting information from public data sources, including criminal records, addresses, and employment history, and offering that information for sale. On October 2, 2024, Jerico Pictures filed for Chapter 11 bankruptcy as it currently faces over a dozen lawsuits over the breach, and is potentially liable "for credit monitoring for hundreds of millions of potentially impacted individuals." In December 2024, National Public Data shut down, showing a closure notice on its website.
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Online service provider

An online service provider (OSP) can, for example, be an Internet service provider, an email provider, a news provider (press), an entertainment provider (music, movies), a search engine, an e-commerce site, an online banking site, a health site, an official government site, social media, a wiki, or a Usenet newsgroup. In its original more limited definition, it referred only to a commercial computer communication service in which paid members could dial via a computer modem the service's private computer network and access various services and information resources such as bulletin board systems, downloadable files and programs, news articles, chat rooms, and electronic mail services. The term "online service" was also used in references to these dial-up services. The traditional dial-up online service differed from the modern Internet service provider in that they provided a large degree of content that was only accessible by those who subscribed to the online service, while ISP mostly serves to provide access to the Internet and generally provides little if any exclusive content of its own. In the U.S., the Online Copyright Infringement Liability Limitation Act (OCILLA) portion of the U.S. Digital Millennium Copyright Act has expanded the legal definition of online service in two different ways for different portions of the law. It states in section 512(k)(1): (A) As used in subsection (a), the term "service provider" means an entity offering the transmission, routing, or providing of connections for digital online communications, between or among points specified by a user, of material of the user's choosing, without modification to the content of the material as sent or received. (B) As used in this section, other than subsection (a), the term "service provider" means a provider of online services or network access, or the operator of facilities therefore, and includes an entity described in subparagraph (A). These broad definitions make it possible for numerous web businesses to benefit from the OCILLA. == History == The first commercial online services went live in 1969. CompuServe (owned in the 1980s and 1990s by H&R Block) and The Source (for a time owned by The Reader's Digest) are considered the first major online services created to serve the market of personal computer users. Utilizing text-based interfaces and menus, these services allowed anyone with a modem and communications software to use email, chat, news, financial and stock information, bulletin boards, special interest groups (SIGs), forums and general information. Subscribers could exchange email only with other subscribers of the same service. (For a time a service called DASnet carried mail among several online services, and CompuServe, MCI Mail, and other services experimented with X.400 protocols to exchange email until the Internet rendered these outmoded.) Other text-based online services followed such as Delphi, GEnie and MCI Mail. The 1980s also saw the rise of independent Computer Bulletin Boards, or BBSes. (Online services are not BBSes. An online service may contain an electronic bulletin board, but the term "BBS" is reserved for independent dialup, microcomputer-based services that are usually single-user systems.) The commercial services used pre-existing packet-switched (X.25) data communications networks, or the services' own networks (as with CompuServe). In either case, users dialed into local access points and were connected to remote computer centers where information and services were located. As with telephone service, subscribers paid by the minute, with separate day-time and evening/weekend rates. As the use of computers that supported color and graphics, such the Atari 8-bit computers, Commodore 64, TI-99/4A, Apple II, and early IBM PC compatibles, increased, online services gradually developed framed or partially graphical information displays. Early services such as CompuServe added increasingly sophisticated graphics-based front end software to present their information, though they continued to offer text-based access for those who needed or preferred it. In 1985 Viewtron, which began as a Videotex service requiring a dedicated terminal, introduced software allowing home computer owners access. Beginning in the mid-1980s graphics based online services such as PlayNET, Prodigy, and Quantum Link (aka Q-Link) were developed. Quantum Link, which was based on Commodore-only Playnet software, later developed AppleLink Personal Edition, PC-Link (based on Tandy's DeskMate), and Promenade (for IBM), all of which (including Q-Link) were later combined as America Online. These online services presaged the web browser that would change global online life 10 years later. Before Quantum Link, Apple computer had developed its own service, called AppleLink, which was mostly a support network targeted at Apple dealers and developers. Later, Apple offered the short-lived eWorld, targeted at Mac consumers and based on the Mac version of the America Online software. Beginning in 1992, the Internet, which had previously been limited to government, academic, and corporate research settings, was opened to commercial entities. The first online service to offer Internet access was DELPHI, which had developed TCP/IP access much earlier, in connection with an environmental group that rated Internet access. The explosion of popularity of the World Wide Web in 1994 accelerated the development of the Internet as an information and communication resource for consumers and businesses. The sudden availability of low- to no-cost email and appearance of free independent web sites broke the business model that had supported the rise of the early online service industry. CompuServe, BIX, AOL, DELPHI, and Prodigy gradually added access to Internet e-mail, Usenet newsgroups, ftp, and to web sites. At the same time, they moved from usage-based billing to monthly subscriptions. Similarly, companies that paid to have AOL host their information or early online stores began to develop their own web sites, putting further stress on the economics of the online industry. Only the largest services like AOL (which later acquired CompuServe, just as CompuServe acquired The Source) were able to make the transition to the Internet-centric world. A new class of online service provider arose to provide access to the Internet, the internet service provider or ISP. Internet-only service providers like UUNET, The Pipeline, Panix, Netcom, the World, EarthLink, and MindSpring provided no content of their own, concentrating their efforts on making it easy for nontechnical users to install the various software required to "get online" before consumer operating systems came internet-enabled out of the box. In contrast to the online services' multitiered per-minute or per-hour rates, many ISPs offered flat-fee, unlimited access plans. Independent companies sprang up to offer access and packages to compete with the big networks (eg, the-wire.com, 1994 in Toronto and bway.net 1995 in New York). These providers first offered access through telephone and modem, just as did the early online services providers. By the early 2000s, these independent ISPs had largely been supplanted by high speed and broadband access through cable and phone companies, as well as wireless access. The importance of the online services industry was vital in "paving the road" for the information superhighway. When Mosaic and Netscape were released in 1994, they had a ready audience of more than 10 million people who were able to download their first web browser through an online service. Though ISPs quickly began offering software packages with setup to their customers, this brief period gave many users their first online experience. Two online services in particular, Prodigy and AOL, are often confused with the Internet, or the origins of the Internet. Prodigy's Chief Technical Officer said in 1999: "Eleven years ago, the Internet was just an intangible dream that Prodigy brought to life. Now it is a force to be reckoned with." Despite that statement, neither service provided the back bone for the Internet, nor did either start the Internet. == Online service interfaces == The first online service used a simple text-based interface in which content was largely text only and users made choices via a command prompt. This allowed just about any computer with a modem and terminal communications program the ability to access these text-based online services. CompuServe would later offer, with the advent of the Apple Macintosh and Microsoft Windows-based PCs, a GUI interface program for their service. This provided a very rudimentary GUI interface. CompuServe continued to offer text-only access for those needing it. Online services like Prodigy and AOL developed their online service around a GUI and thus unlike CompuServe's early GUI-based software, these online services provided a more robust GUI interface. Early GUI-base
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Video editing software

Video editing software or a video editor is software used for performing the post-production video editing of digital video sequences on a non-linear editing system (NLE). It has replaced traditional flatbed celluloid film editing tools and analog video tape editing machines. Video editing software serves a lot of purposes, such as filmmaking, audio commentary, and general editing of video content. In NLE software, the user manipulates sections of video, images, and audio on a sequence. These clips can be trimmed, cut, and manipulated in many different ways. When editing is finished, the user exports the sequence as a video file. == Components == === Timeline === NLE software is typically based on a timeline interface where sections moving image video recordings, known as clips, are laid out in sequence and played back. The NLE offers a range of tools for trimming, splicing, cutting, and arranging clips across the timeline. Another kind of clip is a text clip, used to add text to a video, such as title screens or movie credits. Audio clips can additionally be mixed together, such as mixing a soundtrack with multiple sound effects. Typically, the timeline is divided into multiple rows on the y-axis for different clips playing simultaneously, whereas the x-axis represents the run time of the video. Effects such as transitions can be performed on each clip, such as a crossfade effect going from one scene to another. === Exporting === Since video editors represent a project with a file format specific to the program, one needs to export the video file in order to publish it. Once a project is complete, the editor can then export to movies in a variety of formats in a context that may range from broadcast tape formats to compressed video files for web publishing (such as on an online video platform or personal website), optical media, or saved to mobile devices. To facilitate editing, source video typically has a higher resolution than the desired output. Therefore, higher resolution video needs to be downscaled during exporting, or after exporting in a process known as transsizing. === Visual effects === As digital video editing advanced, visual effects became possible, and is part of the standard toolkit, usually found in prosumer and professional grade software. A common ability is to do compositing techniques such as chroma keying or luma keying, among others, which allow different objects to look as if they are in the same scene. A different kind of visual effects is motion capture. Software such as Blender can perform motion capture to make animated objects follow an actor's movements. === Additional features === Most professional video editors are able to do color grading, which is to manipulate visual attributes of a video such as contrast to enhance output, and improve emotional impact. Some video editors such as iMovie include stock footage available for use. == Hardware requirements == As video editing puts great demands on storage and graphics performance, especially at high resolutions such as 4K, and for videos with many visual effects, powerful hardware is often required. It is not uncommon for a computer built for video editing to have a lot of drive capacity, and a powerful graphics processing unit, which optimally has hardware accelerated video encoding. Having sufficient disk space is important since videos can take up large amounts of storage, depending on the resolution and compression format used. Each minute of a Full HD (1080p) video at 30 fps takes up 60MB of space. When visual effects are used, a server farm can be employed to speed up the rendering process. == Examples == Video editing software can be divided into consumer grade, which focuses on ease-of-use, along with professional grade software, which focuses on feature availability, and advanced editing techniques. The typical use case for the former is to edit personal videos on the go, when more advanced editing is not required. === Consumer grade === Photos (Apple) Google Photos YouTube Create === Prosumer grade === ==== Proprietary software ==== iMovie CyberLink PowerDirector === Professional grade === ==== Proprietary software ==== Final Cut Pro Adobe Premiere Pro DaVinci Resolve Vegas Pro Lightworks Camtasia Media Composer ==== Free and open source software ==== Avidemux Blender Cinelerra Flowblade Kdenlive OpenShot Shotcut While most video editing software has been separate from the operating systems, some operating systems have had a video editor installed by default, such as Windows Movie Maker in Windows XP, or as a component of the default photo viewer, such as the Photos app on iOS. Some social media platforms, such as TikTok and Instagram may include a rudimentary video editor to trim clips.
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Play Integrity API

Play Integrity API (formerly known as SafetyNet) consists of several application programming interfaces (APIs) offered by the Google Play Services to support security sensitive applications and enforce DRM. Currently, these APIs include device integrity verification, app verification, recaptcha and web address verification. It uses an environment called DroidGuard to perform the attestation. == Attestation == The SafetyNet Attestation API, one of the APIs under the SafetyNet umbrella, provides verification that the integrity of the device is not compromised. In practice, non-official ROMs such as LineageOS fail the hardware attestation and thus prevent the user from using a non-compliant ROM with third-party apps (mainly banking) that require the API. Due to this, some consider this a monopolistic practice deterring the entrance of competing mobile operating systems in the market. It requires a network connection to Google servers and validates the hardware signatures. Amongst the checks, the API looks for bootloader unlock status, ROM signatures, kernel strings, it also uses AVB2.0 and dm-verity attestations. Upon successful checks, Google Play will mark the device as Certified. The attestation runs in an environment called DroidGuard (com.google.android.gms.unstable). The SafetyNet Attestation API (one of the four APIs under the SafetyNet umbrella) has been deprecated. As of 6 October 2023, Google planned to replace it with the Play Integrity API by the end of January 2025. The transition ended on 20 May 2025, breaking applications which hadn't been updated. These attestations are offered by Google Play Services and thus are not available on free Android environments, like AOSP. Therefore, developers can require the API to be available and may refuse to execute on AOSP builds. == Google Play Protect == Under the same umbrella, Play Protect is a mechanism to find and remove "vulnerable" apps from one's Android device as well as store apps. Although it's meant to scan for malware-containing apps, it also looks for non-DRM compliant apps. == Criticism == Multiple groups have criticised SafetyNet and the Play Integrity API. Criticisms include that it offers weaker protection compared to alternatives such as Android's hardware attestation API, which provides a stronger form of verification while having the ability to remain compatible with more secure Android operating systems like GrapheneOS. Critics argued it undermines competition by effectively requiring developers to rely on Google's proprietary services, strengthening its monopoly over the Android ecosystem and disadvantaging alternative, privacy-focused operating systems. Users have also developed tools, such as the Play Integrity Fix module for Magisk/KernelSU/APatch, which tricks the attestation using leaked fingerprints of vulnerable devices. Furthermore, some have questioned the effectiveness of the attestation, claiming it does not deliver the level of security promised by Google and instead serves more as a form of vendor lock-in than a meaningful security measure. Activists have also raised concerns that it may violate antitrust and competition laws, like the Digital Markets Act.
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Physical access

Physical access is a term in computer security that refers to the ability of people to physically gain access to a computer system. According to Gregory White, "Given physical access to an office, the knowledgeable attacker will quickly be able to find the information needed to gain access to the organization's computer systems and network." == Attacks and countermeasures == === Attacks === Physical access opens up a variety of avenues for hacking. Michael Meyers notes that "the best network software security measures can be rendered useless if you fail to physically protect your systems," since an intruder could simply walk off with a server and crack the password at his leisure. Physical access also allows hardware keyloggers to be installed. An intruder may be able to boot from a CD or other external media and then read unencrypted data on the hard drive. They may also exploit a lack of access control in the boot loader; for instance, pressing F8 while certain versions of Microsoft Windows are booting, specifying 'init=/bin/sh' as a boot parameter to Linux (usually done by editing the command line in GRUB), etc. One could also use a rogue device to access a poorly secured wireless network; if the signal were sufficiently strong, one might not even need to breach the perimeter. === Countermeasures === IT security standards in the United States typically call for physical access to be limited by locked server rooms, sign-in sheets, etc. Physical access systems and IT security systems have historically been administered by separate departments of organizations, but are increasingly being seen as having interdependent functions needing a single, converged security policy. An IT department could, for instance, check security log entries for suspicious logons occurring after business hours, and then use keycard swipe records from a building access control system to narrow down the list of suspects to those who were in the building at that time. Surveillance cameras might also be used to deter or detect unauthorized access.
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Graphical Kernel System

The Graphical Kernel System (GKS) is a 2D computer graphics system using vector graphics, introduced in 1977. It was suitable for making line and bar charts and similar tasks. A key concept was cross-system portability, based on an underlying coordinate system that could be represented on almost any hardware. GKS is best known as the basis for the graphics in the GEM GUI system used on the Atari ST and as part of Ventura Publisher. A draft international standard was circulated for review in September 1983. Final ratification of the standard was achieved in 1985, making it the first ISO graphics standard. A 3D system modelled on GKS was introduced as PHIGS, which saw some use in the 1980s and early 1990s. == Overview == GKS provides a set of drawing features for two-dimensional vector graphics suitable for charting and similar duties. The calls are designed to be portable across different programming languages, graphics devices and hardware, so that applications written to use GKS will be readily portable to many platforms and devices. GKS was fairly common on computer workstations in the 1980s and early 1990s. GKS formed the basis of Digital Research's GSX which evolved into VDI, one of the core components of GEM. GEM was the native GUI on the Atari ST and was occasionally seen on PCs, particularly in conjunction with Ventura Publisher. GKS was little used commercially outside these markets, but remains in use in some scientific visualization packages. It is also the underlying API defining the Computer Graphics Metafile. One popular application based on an implementation of GKS is the GR Framework, a C library for high-performance scientific visualization that has become a common plotting backend among Julia users. A main developer and promoter of the GKS was José Luis Encarnação, formerly director of the Fraunhofer Institute for Computer Graphics (IGD) in Darmstadt, Germany. GKS has been standardized in the following documents: ANSI standard ANSI X3.124 of 1985. ISO 7942:1985 standard, revised as ISO 7942:1985/Amd 1:1991 and ISO/IEC 7942-1:1994, as well as ISO/IEC 7942-2:1997, ISO/IEC 7942-3:1999 and ISO/IEC 7942-4:1998 The language bindings are ISO standard ISO 8651. GKS-3D (Graphical Kernel System for Three Dimensions) functional definition is ISO standard ISO 8805, and the corresponding C bindings are ISO/IEC 8806. The functionality of GKS is wrapped up as a data model standard in the STEP standard, section ISO 10303-46.
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Lost Art-Database

The Lost Art-Datenbank is an online database published by the German Lost Art Foundation (Deutsches Zentrum Kulturgutverluste. It contains information on cultural objects looted from Jewish collectors or transferred due to Nazi persecution during the Nazi era. Until 2015, it was managed by the Koordinierungsstelle für Kulturgutverluste (Magdeburg Coordination Office). == Creation == Following the Washington Conference of 1998, and the commitments to provide more transparency regarding looted art, Germany launched the Lost Art Database in 2000 order to help Holocaust victims and their families track down artworks that had been looted from them or lost due to Nazi persecution. == Functionality == The Lost Art Database lists art and books and other cultural objects that were lost, seized, stolen or forceably sold during the Nazi era. The database is divided into search requests from victims' families, heirs or institutions and "found" reports from cultural institutions on items with unresolved provenance gaps from the Nazi periods. The section on reports of finds lists objects that are known to have been unlawfully seized or relocated as a result of the war. In addition, reports are published here on cultural objects for which an uncertain or incomplete provenance may indicate a possible unlawful seizure or war-related relocation. The publication of reports in the Lost Art Internet Database is carried out on behalf of and with the consent of the reporting persons and institutions. The responsibility for the content of the reports lies with these legal or natural persons. There have been controversies over which items should be included in the database. Lost Art is based on the Washington Principles adopted in 1998, which Germany has committed itself to implementing (Joint Declaration, 1999). The Lost Art Database is considered a key resource in the search for looted art and the victims of persecution. Every item in the Lost Art Database has an identifier, known as a Lost Art ID. Proveana is the linked research database. == Other lost art databases == Other countries have launched databases to help identify Nazi looted art. Each database has its own area of focus. The German Lost Art Database allows families or heirs to submit information. Other countries have databases that focus on looted artworks that have not been found or artworks that were repatriated to the national authorities after the defeat of the Nazis but were never returned to their original owners. Other databases have been created for stolen antiquities, looted art from colonial era, art stolen from Syria, Iraq, Ukraine, or from museums or collectors.
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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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MovieRide FX

MovieRide FX is a patented automated special visual effects video compositing engine used in the MovieRide FX mobile application for Android (requires Android 2.3 or later) and iOS (compatible with iPhone 4 and up, iPad, and iPod Touch (new generation), requires iOS 7 or later). MovieRide FX allows the user to personalize a "Hollywood-style" movie clip by inserting themself into the clip as the "actor". == Features == The MovieRide FX app uses the relevant mobile device's camera to record a video of the user and insert it into a pre-packaged "Hollywood style" movie clip. The "actor" is extracted from their recorded video clip through various known effects such as masking, keying, and motion tracking. The "actor" is then inserted into one of the pre-packaged movie clips created by the MovieRide FX visual effects artists. This is done through an automated process requiring little or no artistic or technical skill from the user. The custom movie clips pre-packaged with MovieRide FX offer the user a variety of movie scenarios. Additional clips based on popular television and movie themes are continually being developed and are available on a freemium basis. == Sharing == Once the user's footage has automatically been composited into a movie clip and rendered as an .mp4 file, it can be shared via social media, such as Facebook, YouTube, and Twitter, and by e-mail. == History == === 2012 === MovieRide FX was created by Grant Waterston and Johann Mynhardt, who started development in 2012. === 2013 === The beta version was released on Google Play in July 2013. In August 2013 MovieRide FX was a New Media Award winner in the "New Media" category of the Accolade International Awards in Los Angeles. In October 2013 MovieRide FX was awarded exhibitor space in the ‘start-up village’ at the Apps-World Expo in London. === 2014 === MovieRide FX reached the 100 000 – 500 000 downloads category on the Google Play Store in June 2014. The official Android version was launched in July 2014. iOS version released in August 2014. MovieRide FX was selected as one of the "Top 150" startups at the Pioneer Festival in Vienna in September 2014. In November 2014 MovieRide FX was shortlisted for the Appster Awards in the "Best Entertainment App" and "Most Innovative App" categories and was awarded exhibitor space at the ‘start-up village’ at the Apps-World Expo in London. Patent applications were filed in South Africa, the EU and USA in April 2014. === 2015 === In September 2015 MovieRide FX was shortlisted for "Best Software innovation" at The Technology Expo Awards in London. === 2016 === In April 2016 MovieRide FX was nominated for a National Science and Technology Forum (NSTF) award for 'Research leading to Innovation by a corporate organization' In August 2016 Movie Ride FX won two Gold Awards at the 2016 Mobile Marketing Awards (MMA Smarties SA). These two Gold awards were for the 'Innovation' and 'Best in Show’ categories. In December 2016 FlicJam Inc. was formed in the US to access the larger global market. EU patent application was published in March 2016. === 2017 === South African patent was granted in February 2017. === 2018 === US patent was granted in March 2018.
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