AI Writing Tools

Explore the best AI Writing Tools — independent reviews, comparisons, pricing and step-by-step how-to guides, curated by Aizhi.

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  LENA Foundation

  The LENA Foundation is an American nonprofit organisation which provides tools for measuring children's language acquisition and exposure. Specifically, the LENA system consists of a digital language processor which is worn by a child and records and analyses their auditory environment, using propriety software. It then presents a summary of child-adult conversation, such as conversation turns and word counts. The purpose of the LENA system is to encourage interactive talk between children (between the age of two to forty-eight months) and their caretakers. The LENA system is also used for research; while useful for researchers who wish to save transcription costs or observe the child in its natural state, the accuracy of this system, while often quite high, varies between contexts, for example notably in the case of hard of hearing children. Because of this, several researchers recommend caution in using only the LENA system on its own for the purposes of scientific research. == History == The LENA Foundation was established in 2009 by Terrance and Judith Paul, founders of Renaissance Learning, Inc., with the purpose of aiding children with disabilities and assisting with early learning. They were inspired by the book "Meaningful Differences in the Everyday Experience of American Children" by Dr. Betty Hart and Dr. Todd Risley. A pilot version of the LENA system was launched in February 2006. The LENA Research Foundation was registered as a tax-exempt 501(c)(3) nonprofit in September 2010. The organisation was renamed simply LENA in 2018 and adopted the tagline "Building brains through early talk." LENA has been used for parental feedback, linguistics or paediatrics research, and for specific clinical cases. == Scientific background == In 2018, research using the LENA system showed that there was a link between children's conversational turns and activation of Broca's area (a part of the brain responsible, although not necessarily essential, for language processing). The LENA foundation cites research by its own employees as evidence for the scientific basis of its technology. Said research claims that verbal interaction with young children has an effect on language acquisition, including verbal comprehension skills during adolescence. == LENA System == The LENA software analyses a child's natural language environment, such as verbal exposure, and provides several metrics, such as adult and child speech time, television/recorded audio time, word count, or conversation turn count. The LENA hardware is a recorder that is usually placed into a child's specially-designed vest. The software was trained on over 65,000 hours of manually annotated American English audio recordings. It splits the audio into segments which are categorised as "key child", "other child", "male adult", "noise", etc. The advantages of LENA as opposed to manual transcription are its speed and ease of use; the disadvantages are its potential inaccuracies and lack of transcription capability (which LENA does not profess to attempt). The LENA system has also been criticised for prioritising quantity of speaking over quality (i.e., mastery of the language, as opposed to babble). == Product lines == === LENA Start === LENA Start is a program for parents that utilises feedback from the LENA System in conjunction with weekly group sessions in order to address the home language environment. It was introduced in 2015 and implemented across several U.S. states. In October 2020, during the restrictions of the COVID-19 pandemic, Read Aloud Delaware began a virtual LENA Start program with families statewide, where parents received feedback and participated in one-hour Zoom workshops each week during the 10-week program. === LENA Grow === LENA Grow is a professional development program for teachers in early childhood classrooms. Before launching at sites around the country, the program was first piloted in Escambia County, Florida. === LENA Home === LENA Home is a supplement to existing parent coaching curricula. Typically, home visitors facilitate the use of the LENA System to help parents track their progress towards increasing interactive talk in their homes. === Developmental Snapshot === The LENA Developmental Snapshot, based on a 52-question parent survey, assesses both expressive and receptive language skills and provides an estimate of a child's developmental age from 2 months to 36 months.

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  MinID

  MinID is an electronic login system used to secure a range of internet services in the Norwegian public sector. The communication done with MinID is encrypted to secure information from unauthorized usage. Everyone registered in the Norwegian Population Register over the age of 13 years can create a public ID with MinID. As of April 2010, more than 2 million people living in Norway had created user accounts with MinID. To create a public ID, PIN-codes from the Norwegian Tax Administration are needed. == Purpose == The purpose of MinID is to communicate an electronic identity, so that users are authorized to use electronic services, in a secure way. MinID has a user database where social security numbers and PIN-codes are saved. MinID can be used to access more than 50 online services from various Norwegian public agencies, including the Norwegian Labour and Welfare Administration, the Directorate of Taxes and the State Educational Loan. == Controller == The Norwegian Digitalisation Agency (Digdir) is the controller of the personal data handled by MinID. The Norwegian Digitalisation Agency (Norwegian: Digitaliseringsdirektoratet) or Digdir is a government agency subordinate to the Ministry of Digitalisation and Public Governance. It is responsible for help the public sector achieve quality, efficiency, user friendliness, openness and participation, as well as helping the public sector be organized and led in a good way with good intersectoral cooperation. == User profile == Users of MinID have a user profile that contains their mobile phone number and/or e-mail address. This data is used to administrate MinID use. The e-mail address is needed in order to send the user a temporary password if he or she forgets the password. The phone number is needed in order to send an SMS-code at log in or a temporary password if the user forgets the password. == Transparency, correction and deletion == According to the law users can claim full access of the handling of their own personal data. Users also have the right to information about how this data are handled and saved, and how they can correct or delete inaccurate data. Users can at any time choose to delete themselves as a user of MinID. The user profile will then be deleted from the MinID user database. == Extradition to others == MinID passes on the user's social security number and chosen language to the public services he or she logs on to, so that the user can go to other public services without a new login.

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  Automated penetration testing

  Automated penetration testing (also known as autonomous penetration testing or automated offensive security) is the application of software-driven workflows and orchestration to simulate cyberattack techniques. These methods are used to identify, validate, and exploit security vulnerabilities in IT assets such as networks, applications, and cloud infrastructure. Automated penetration testing is the use of software to simulate cyberattacks in order to rapidly identify exploitable vulnerabilities across systems without relying solely on human testers. In technical literature, the term describes a spectrum of activities ranging from scripted exploit orchestration to experimental systems designed for fully autonomous attack planning. Automated Penetration Testing falls short of testing using manual experts in terms of discovery of deep complex vulnerabilities and contextual business logic vulnerabilities. == Terminology and scope == The label “automated penetration testing” appears frequently in vendor and practitioner writing but lacks a single, neutral, standards-based definition. In the literature the term’s scope varies: some authors use it to mean automation of specific penetration-testing tasks (scanning, exploitation attempts, evidence collection), others to describe integrated, repeatable assessment pipelines, and a smaller body of work investigates autonomous decision-making agents that select attack steps algorithmically. To avoid implying consensus, this article describes common techniques and architectures reported in the literature and industry, and it notes where claims are primarily found in practitioner publications or early-stage research. Its important to note the differences between automated penetration testing and traditional penetration testing using human skill. The most important difference is scope and speed. Automated penetration testing generally fails at discovering exposures and weakness associated with business logic due to a lack of contextual understanding. The benefit of Automated Penetration testing is speed at which it can be conducted. Traditional penetration testing also is expected to be accurate and contain no false positives. This is due to the human validation aspect of the test. Automated approaches are expected to contain mistakes and false positives which need to be validated upon completion of the test. == History == Automated offensive techniques build on decades of tools and scripting that aided vulnerability discovery and exploitation. Early vulnerability scanners and community scripting in the 1990s and 2000s created the first layers of automation. Later, modular exploitation frameworks (notably Metasploit) integrated scanning and exploitation modules and made automated proof-of-concept attacks more accessible. Over the 2010s–2020s, as cloud platforms, APIs and continuous delivery practices increased the need for frequent validation, academic and industry interest in formalizing automated approaches also grew. == Methodologies and architectures == Descriptions in the literature and technical reports cluster automated capabilities into several overlapping models: Scripted/engineered playbooks (task automation): Predefined workflows or playbooks encode common attack paths (for example, web application exploit sequences or lateral-movement chains). These playbooks are designed to reproduce known techniques in a controlled way to validate exploitability and reduce manual repetition. Exploit-oriented orchestration: Automation orchestrates exploitation modules from established frameworks to perform controlled proof-of-concept attacks that confirm exploitability rather than simply flagging potential weaknesses. This approach can reduce false positives versus passive scanning when tests are run in an appropriately controlled environment. Orchestrated multi-tool pipelines: A coordinated toolchain integrates reconnaissance, vulnerability scanning, credential testing, exploitation modules and reporting. Data and state persist across stages so that multi-step workflows (e.g., discover → escalate → pivot) can be executed repeatably, approximating manual penetration-test methodologies at larger scale. Continuous / CI-integrated testing: Automation embedded in build or deployment pipelines (CI/CD) triggers assessments automatically on new builds, configuration changes, or on a schedule, supporting frequent, repeatable validation aligned with DevOps practices. Academic theses and experimental work describe CI/CD-integrated proof-of-concept systems for web applications and internal networks. Research on autonomous planning and learning: Recent academic work explores machine learning and reinforcement-learning approaches to select or prioritise attack steps, generate attack sequences, or optimize the testing path; these approaches are largely experimental and raise distinct validation and safety questions. == Tools and vendors == Automated penetration testing is provided by a mix of open-source projects, commercial platforms, and professional services. These often follow the penetration testing as a service (PTaaS) model, which integrates automated scanning with manual validation by security analysts. Examples of widely known tools and vendors in the space include exploitation frameworks such as Metasploit, commercial automated platforms and PTaaS providers, and specialist vendors that offer breach-and-attack simulation (BAS) or continuous testing capabilities. == Applications and deployment models == In industry practice, some organizations deploy automated techniques through dedicated security validation platforms rather than bespoke toolchains. These platforms are typically used for continuous or scheduled validation in pre-production or controlled environments and are often positioned alongside, rather than in place of, human-led penetration testing. Examples discussed in secondary literature include platforms such as Pentera, which are commonly classified under breach-and-attack simulation or automated security validation rather than as standalone penetration-testing methodologies.

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  Jordan Antiquities Database and Information System

  The Jordan Antiquities Database and Information System (JADIS) was a computer database of antiquities in Jordan, the first of its kind in the Arab world. It was established by the Department of Antiquities in 1990, in cooperation with the American Center for Oriental Research in Amman and sponsored by the United States Agency for International Development. JADIS was in use until 2002, when it was superseded by a new system, MEGA-J. Over 10,841 antiquities were registered in the database. An introduction and printed summary of the database was published by the Department of Antiquities in 1994, edited by Gaetano Palumbo.

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  Personoid

  Personoid is the concept coined by Stanisław Lem, a Polish science-fiction writer, in Non Serviam, from his book A Perfect Vacuum (1971). His personoids are an abstraction of functions of human mind and they live in computers; they do not need any human-like physical body. In cognitive and software modeling, personoid is a research approach to the development of intelligent autonomous agents. In frame of the IPK (Information, Preferences, Knowledge) architecture, it is a framework of abstract intelligent agent with a cognitive and structural intelligence. It can be seen as an essence of high intelligent entities. From the philosophical and systemics perspectives, personoid societies can also be seen as the carriers of a culture. According to N. Gessler, the personoids study can be a base for the research on artificial culture and culture evolution. == Personoids on TV and cinema == Welt am Draht (1973) The Thirteenth Floor (1999)

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  New York Institute of Technology Computer Graphics Lab

  The New York Institute of Technology Computer Graphics Lab is a computer lab located at the New York Institute of Technology (NYIT), founded by Alexander Schure. It was originally located at the "pink building" on the NYIT campus. It has played an important role in the history of computer graphics and animation, as founders of Pixar and Lucasfilm Limited, including Turing Award winners Edwin Catmull and Patrick Hanrahan, began their research there. It is the birthplace of entirely 3D CGI films. The lab was initially founded to produce a short high-quality feature film with the project name of The Works. The feature, which was never completed, was a 90-minute feature that was to be the first entirely computer-generated CGI movie. Production mainly focused around DEC PDP and VAX machines. Many of the original CGL team now form the elite of the CG and computer world with members going on to Silicon Graphics, Microsoft, Cisco, NVIDIA and others, including Pixar president, co-founder and Turing laureate Ed Catmull, Pixar co-founder and Microsoft graphics fellow Alvy Ray Smith, Pixar co-founder Ralph Guggenheim, Walt Disney Animation Studios chief scientist Lance Williams, Netscape and Silicon Graphics founder Jim Clark, Tableau co-founder and Turing laureate Pat Hanrahan, Microsoft graphics fellow Jim Blinn, Thad Beier, Oscar and Bafta nominee Jacques Stroweis, Andrew Glassner, and Tom Brigham. Systems programmer Bruce Perens went on to co-found the Open Source Initiative. Researchers at the New York Institute of Technology Computer Graphics Lab created the tools that made entirely 3D CGI films possible. Among NYIT CG Lab's many innovations was an eight-bit paint system to ease computer animation. NYIT CG Lab was regarded as the top computer animation research and development group in the world during the late 70s and early 80s. == The 21st century == The lab is presently located at NYIT's Long Island campus, and NYIT currently offers a Ph.D. program in Computer Science.

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  Joseph Stanislaus Ostoja-Kotkowski

  Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio

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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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  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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  Kuaishou

  Kuaishou Technology is a Chinese publicly traded partly state-owned holding company based in Haidian District, Beijing, that was founded in 2011 by Hua Su (Chinese: 宿华) and Cheng Yixiao (Chinese: 程一笑). The company, listed on the Hong Kong Stock Exchange, is known for developing a mobile app for sharing users' short videos, a social network, and video special effects editor. The app is known as Kwai in many countries outside of China. It is also known as Snack Video in India, Pakistan and Indonesia. == Ownership and governance == Kuaishou's overseas team is led by the former CEO of the application 99, and staff from Google, Facebook, Netflix, and TikTok were recruited to lead the company's international expansion. The China Internet Investment Fund, a state-owned enterprise controlled by the Cyberspace Administration of China, holds a golden share ownership stake in Kuaishou. == History == Kuaishou is China's first short video platform that was developed in 2011 by engineer Hua Su and Cheng Yixiao. Prior to co-founding Kuaishou, Su Hua had worked for both Google and Baidu as a software engineer. The company is headquartered in Haidian District, Beijing. Kuaishou's predecessor "GIF Kuaishou" was founded in March 2011. GIF Kuaishou was a mobile app with which users could make and share GIF pictures. In 2013, Kuaishou became a short-video social platform. By 2013, the app had reached 100 million daily users. By 2019, it had exceeded 200 million active daily users. In March 2017, Kuaishou closed a US$350 million investment round that was led by Tencent. In January 2018, Forbes estimated the company's valuation to be US$18 billion. In April 2018, Kuaishou's app was briefly banned from Chinese app stores after China Central Television (CCTV) reported on the platform popularizing videos of teenage mothers. In 2019, the company announced a partnership with the People's Daily, an official newspaper of the Central Committee of the Chinese Communist Party, to help it experiment with the use of artificial intelligence in news. In June 2020, following the start of the 2020–2021 China–India skirmishes, the Government of India banned Kwai along with 58 other apps, citing "data and privacy issues". In January 2021, Kuaishou announced it was planning an initial public offering (IPO) to raise approximately US$5 billion. Kuaishou's stock completed its first day of trading at $300 Hong Kong dollars (HKD) (US$38.70), more than doubling its initial offer price, and causing its market value to rise to over $1 trillion HKD (US$159 billion). In February 2021, Kuaishou made a debut on the Hong Kong Stock Exchange, with its shares soaring by 194% at the opening. The company subsequently encountered major setbacks as a result of heightened regulatory restrictions on Chinese internet firms, which contributed to its share price falling by nearly 80% from its post-IPO peak. By December 2021, Kuaishou announced a major reorganization, including the layoff of 30% of its staff, primarily targeting mid-level employees earning an annual salary of $157,000 or more. This restructuring aimed to cut costs and mitigate financial losses. In October 2022, state-owned Beijing Radio and Television Station took a minority ownership stake in Kuaishou. In April 2024, a Financial Times article citing current and former Kuaishou employees stated that the company has been running an ageist redundancy programme known internally as "Limestone", culling workers in their mid-30s. In June 2024, Kuaishou and the Sichuan international communication center launched a branch center in São Paulo, Brazil. In June 2024, Kuaishou released its diffusion transformer text-to-video model, Kling, which they claimed could generate two minutes of video at 30 frames per second and in 1080p resolution. The model has been compared to that of OpenAI's Sora text-to-video model. It is accessible to the public on Kuaishou's video editing app KwaiCut via signing up for a waitlist with a Chinese phone number. In December 2025, Kuaishou came under a cyberattack which led to a temporary influx of violent and pornographic content. == Popularity == As of 2019, it had a worldwide user base of over 200 million, leading the "Most Downloaded" lists of the Google Play and Apple App Store in eight countries, such as Brazil, where it was introduced in 2019. Its main short-video platform competitor was Douyin, which is known as TikTok outside China. Compared to Douyin, Kuaishou is more popular with older users living outside China's Tier 1 cities. Its initial popularity came from videos of Chinese rural life. The app is particularly well known for its "rustic" aesthetic and is popular among rural people. Kuaishou also relied more on e-commerce revenue than on advertising revenue compared to its main competitor. == Reception == Kwai (as the app is called outside of China) was banned in India in 2020 along with other short video apps like TikTok. Kuaishou then released the clone SnackVideo, which was subsequently also banned. The app is one of the most popular social media platforms in Brazil, where Kuaishou partnered with creators to make telenovela style content, and appeals to football fans by working with football teams CR Flamengo and Santos FC and sponsoring the tournament Copa América. Kwai was notable in Brazil for spreading information (and misinformation) about the COVID-19 vaccine and political misinformation. === Manjiao Wenhua === "Manjiao wenhua" (慢脚文化) is a sarcasm term on Chinese internet on the unethical or illegal contents on Kuaishou. State broadcaster China Central Television (CCTV) reported that many contents are about child pregnancy. "Dating, pregnancy, bearing a child...these are strictly prohibited in the real time by a minor, but these contents can easily shown to audiences here." In addition, many students from primary or secondary schools make a pose of smoking. Wang Zhenhui (王贞会) from CUPSL stated that these kinds of bad values will give negative effects to the minors.

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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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  Hexagonal sampling

  A multidimensional signal is a function of M independent variables where M ≥ 2 {\displaystyle M\geq 2} . Real world signals, which are generally continuous time signals, have to be discretized (sampled) in order to ensure that digital systems can be used to process the signals. It is during this process of discretization where sampling comes into picture. Although there are many ways of obtaining a discrete representation of a continuous time signal, periodic sampling is by far the simplest scheme. Theoretically, sampling can be performed with respect to any set of points. But practically, sampling is carried out with respect to a set of points that have a certain algebraic structure. Such structures are called lattices. Mathematically, the process of sampling an N {\displaystyle N} -dimensional signal can be written as: w ( t ^ ) = w ( V . n ^ ) {\displaystyle w({\hat {t}})=w(V.{\hat {n}})} where t ^ {\displaystyle {\hat {t}}} is continuous domain M-dimensional vector (M-D) that is being sampled, n ^ {\displaystyle {\hat {n}}} is an M-dimensional integer vector corresponding to indices of a sample, and V is an N × N {\displaystyle N\times N} sampling matrix. == Motivation == Multidimensional sampling provides the opportunity to look at digital methods to process signals. Some of the advantages of processing signals in the digital domain include flexibility via programmable DSP operations, signal storage without the loss of fidelity, opportunity for encryption in communication, lower sensitivity to hardware tolerances. Thus, digital methods are simultaneously both powerful and flexible. In many applications, they act as less expensive alternatives to their analog counterparts. Sometimes, the algorithms implemented using digital hardware are so complex that they have no analog counterparts. Multidimensional digital signal processing deals with processing signals represented as multidimensional arrays such as 2-D sequences or sampled images.[1] Processing these signals in the digital domain permits the use of digital hardware where in signal processing operations are specified by algorithms. As real world signals are continuous time signals, multidimensional sampling plays a crucial role in discretizing the real world signals. The discrete time signals are in turn processed using digital hardware to extract information from the signal. == Preliminaries == === Region of Support === The region outside of which the samples of the signal take zero values is known as the Region of support (ROS). From the definition, it is clear that the region of support of a signal is not unique. === Fourier transform === The Fourier transform is a tool that allows us to simplify mathematical operations performed on the signal. The transform basically represents any signal as a weighted combination of sinusoids. The Fourier and the inverse Fourier transform of an M-dimensional signal can be defined as follows: X a ( Ω ^ ) = ∫ − ∞ + ∞ x a ( t ^ ) e − j Ω ^ T t ^ d t ^ {\displaystyle X_{a}({\hat {\Omega }})=\int _{-\infty }^{+\infty }\!x_{a}({\hat {t}})e^{-j{\hat {\Omega }}^{T}{\hat {t}}}d{\hat {t}}} x a ( t ^ ) = 1 2 π M ∫ − ∞ + ∞ X ( Ω ^ ) e ( j Ω ^ T t ^ ) d Ω ^ {\displaystyle x_{a}({\hat {t}})={\frac {1}{2\pi ^{M}}}\int _{-\infty }^{+\infty }\!X({\hat {\Omega }})e^{(j{\hat {\Omega }}^{T}{\hat {t}})}\,\mathrm {d} {\hat {\Omega }}} The cap symbol ^ indicates that the operation is performed on vectors. The Fourier transform of the sampled signal is observed to be a periodic extension of the continuous time Fourier transform of the signal. This is mathematically represented as: X ( ω ) = 1 | d e t ( V ) | ∑ k X a ( Ω ^ − U k ) {\displaystyle X(\omega )={\frac {1}{|det(V)|}}\sum _{k}\!X_{a}({\hat {\Omega }}-Uk)} where ω = V ~ Ω {\displaystyle \omega ={\tilde {V}}\Omega } and U = 2 π V ~ {\displaystyle U=2\pi {\tilde {V}}} is the periodicity matrix where ~ denotes matrix transposition. Thus sampling in the spatial domain results in periodicity in the Fourier domain. === Aliasing === A band limited signal may be periodically replicated in many ways. If the replication results in an overlap between replicated regions, the signal suffers from aliasing. Under such conditions, a continuous time signal cannot be perfectly recovered from its samples. Thus in order to ensure perfect recovery of the continuous signal, there must be zero overlap multidimensional sampling of the replicated regions in the transformed domain. As in the case of 1-dimensional signals, aliasing can be prevented if the continuous time signal is sampled at an adequate sufficiently high rate. === Sampling density === It is a measure of the number of samples per unit area. It is defined as: S . D = 1 | d e t ( V ) | = | d e t ( U ) | 4 π 2 {\displaystyle S.D={\frac {1}{|det(V)|}}={\frac {|det(U)|}{4\pi ^{2}}}} . The minimum number of samples per unit area required to completely recover the continuous time signal is termed as optimal sampling density. In applications where memory or processing time are limited, emphasis must be given to minimizing the number of samples required to represent the signal completely. == Existing approaches == For a bandlimited waveform, there are infinitely many ways the signal can be sampled without producing aliases in the Fourier domain. But only two strategies are commonly used: rectangular sampling and hexagonal sampling. === Rectangular and Hexagonal sampling === In rectangular sampling, a 2-dimensional signal, for example, is sampled according to the following V matrix: V r e c t = [ T 1 0 0 T 2 ] {\displaystyle V_{rect}={\begin{bmatrix}T1&0\\0&T2\end{bmatrix}}} where T1 and T2 are the sampling periods along the horizontal and vertical direction respectively. In hexagonal sampling, the V matrix assumes the following general form: V h e x = [ T 1 T 1 − T 2 T 2 ] {\displaystyle V_{hex}={\begin{bmatrix}T1&T1\\-T2&T2\end{bmatrix}}} The difference in the efficiency of the two schemes is highlighted using a bandlimited signal with a circular region of support of radius R. The circle can be inscribed in a square of length 2R or a regular hexagon of length 2 R 3 {\displaystyle {\frac {2R}{\sqrt {3}}}} . Consequently, the region of support is now transformed into a square and a hexagon respectively. If these regions are periodically replicated in the frequency domain such that there is zero overlap between any two regions, then by periodically replicating the square region of support, we effectively sample the continuous signal on a rectangular lattice. Similarly periodic replication of the hexagonal region of support maps to sampling the continuous signal on a hexagonal lattice. From U, the periodicity matrix, we can calculate the optimal sampling density for both the rectangular and hexagonal schemes. It is found that in order to completely recover the circularly band-limited signal, the hexagonal sampling scheme requires 13.4% fewer samples than the rectangular sampling scheme. The reduction may appear to be of little significance for a 2-dimensional signal. But as the dimensionality of the signal increases, the efficiency of the hexagonal sampling scheme will become far more evident. For instance, the reduction achieved for an 8-dimensional signal is 93.8%. To highlight the importance of the obtained result [2], try and visualize an image as a collection of infinite number of samples. The primary entity responsible for vision, i.e. the photoreceptors (rods and cones) are present on the retina of all mammals. These cells are not arranged in rows and columns. By adapting a hexagonal sampling scheme, our eyes are able to process images much more efficiently. The importance of hexagonal sampling lies in the fact that the photoreceptors of the human vision system lie on a hexagonal sampling lattice and, thus, perform hexagonal sampling.[3] In fact, it can be shown that the hexagonal sampling scheme is the optimal sampling scheme for a circularly band-limited signal. == Applications == === Aliasing effects minimized by the use of optimal sampling grids === Recent advances in the CCD technology has made hexagonal sampling feasible for real life applications. Historically, because of technology constraints, detector arrays were implemented only on 2-dimensional rectangular sampling lattices with rectangular shape detectors. But the super [CCD] detector introduced by Fuji has an octagonal shaped pixel in a hexagonal grid. Theoretically, the performance of the detector was greatly increased by introducing an octagonal pixel. The number of pixels required to represent the sample was reduced and there was significant improvement in the Signal-to-Noise Ratio (SNR) when compared with that of a rectangular pixel. But the drawback of using hexagonal pixels is that the associated fill factor will be less than 82%. An alternative method would be to interpolate hexagonal pixels in such a manner that we ultimately end up with a rectangular grid. The Spot 5 satellite incorporates a

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  Kai's Power Tools

  Kai's Power Tools (KPT) are a set of API plugins created by the German computer scientist Kai Krause in 1992 that were designed for use with Adobe Photoshop and Corel Photo-Paint. Kai's Power Tools were sold to Corel in 2000 when MetaCreations was closed. There are various versions of Kai's Power Tools. KPT 3, 5, 6, and X sets are compilations of different filters. The program interface features a reward-based function in which a bonus function is revealed as the user moves towards more complex aspects of the tool. == Filters == The KPT Convolver is a mathematics based filter; the level of precision and varying effects can be achieved by using numerical values of colour, tint, hue, saturation, contrast, brightness, luminosity, and posterize. The KPT Projector takes the current image or selection and offers a number of interactive perspective warp effects. To a large extent, with its draggable distortion handles and its moving, scaling and rotating options, this simply duplicates Adobe Photoshop's Free Transform capabilities. What is completely different is the ability to rotate the bitmap image in 3D space and to tile the results if desired. It can also animate the distortions by dragging keyframes from the preview window into an animation palette. KPT 6 will then preview the animation and output it to various sizes in avi or mov format. This animation capability is even more useful with the KPT Turbulence filter. This is another distortion filter, but one that treats the image as if it was completely liquid. The preview panel shows the animation in real time. The KPT Goo filter is used to produce a single frame freeform liquid distortion. This filter is available both with KPT 6 and the standalone version. It works by effectively turning a bitmap image into a liquid that can be interactively smeared, smudged, twirled, and pinched with the range of tools on offer. The obvious use is to distort photographic portraits into caricatures. KPT Materializer can create advanced surface textures based on bump maps that define troughs and peaks. It can use any external image for the basis of the bump map or alternatively the user can pick out the hue, saturation, luminance or red, green, or blue channel of the current image. It can then offset, scale and rotate the texture map, control its lighting, and even blend in a reflection map. The filter can be used for anything from providing an oil-painting feel to an entire image, to giving the illusion of depth to a selection. Also producing the impression of depth is the KPT Gel filter which uses various paint tools to synthesize photo-realistic 3D materials such as metals, liquids, or plastics. Gel painting is very different from traditional 2D painting as the brush strokes pool together when they touch and refract the underlying image. It can also manipulate 3D paint—once it has been added—by twirling, pinching, and carving it. The opposite is true of the Equalizer filter, which is used for applying variations on sharpening effects. The filter has three modes. The first mode, Equalizer, looks and works rather like the graphic equalizer on a stereo system, enabling adjustment of the level of pixel contrast within nine bands of different visual frequencies. The second mode, Contrast Sharpen, allows for increasing the contrast between light and dark areas in an image. The third mode, Bounded Sharpen, can sharpen an image without causing oversharpening, which can lead to halo effects. This feature is particularly useful when pulling out the detail in an image softened by resizing. KPT SceneBuilder is used for producing photorealistic 3D scenes by importing and rendering 3DS files. The main image window offers three tabs for editing in 2D and 3D mode and for setting up the object's final texture. Many users regard this filter as being the most impressive because it acts as a standalone 3D rendering tool and provides control over everything from transparency, reflection, refraction, bump mapping through to multiple light sources, and so on but without the ability to create or edit objects. The final filter, KPT SkyEffects, also has its roots in Metacreations' experience with 3D programs such as Bryce and RayDream. This filter is designed to simulate the interaction between the light from the sun or moon with no less than six atmospheric layers of haze, fog and cloud. The filter is typical of the KPT 6 collection as a whole: at times the interface is inspired and offers the ability to create beautiful reddening sunsets simply by interactively dragging the sun toward the horizon, producing realistic sunsets and moonscapes. == Other effects == Kai's Power Tools 6 features a lens flare effect for precisely managing the type of glow, halo, streaks, and reflection. The addition of a library of preset effects helps to overcome this by allowing the user to choose a standard effect and then interactively position the flare in the image preview. KPT 6 provides a new engine in the form of the KPT Reaction, which takes a reaction seed and turns it into a seamlessly tiling pattern based on a reaction diffusion process. It offers random noise, regular dots or reticulated voronoi patterns or a bitmap image itself as the seed. Corel has no plans for any updates.

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  CrocBITE

  CrocBITE (currently CrocAttack) was an online database of wild crocodilian attacks reported on humans in the world. The non-profit online research tool helped to scientifically analyze crocodilian behavior via complex models. Users were encouraged to feed information in a crowdsourcing manner. This website excludes captive crocodilian attacks, as well as non-fatal bites on professional handlers, rangers, staff, or researchers, and crocodilian attacks on pets and livestock, because its primary goal is to analyze natural human-crocodilian conflict in the wild for conservation and management purposes, and that these incidents do are not considered indicative of natural species behavior or typical human-wildlife conflict, as well as not providing enough useful data and helping researchers understand wild population behavior or typical human-wildlife conflict dynamics and helps create safety strategies for people living or working near wild crocodilians, rather than tracking workplace accidents in zoos or farms. While fatal incidents involving handlers are sometimes included on the website, typical captive incidents (such as handlers being bitten by them in zoos) are excluded because they are considered manageable professional risks rather than general public safety threats. == About == The online database was established in 2013 (2013) by Dr Adam Britton, a researcher at Charles Darwin University, his student Brandon Sideleau and Erin Britton. It was a compilation of government records, individual reports, registered contributors and historical data. Dr Simon Pooley, Junior Research fellow, Imperial College London joined hands to further the studies. The collaboration culminated when Dr Pooley met Dr Britton at the IUCN Crocodile Specialist Group, in Louisiana in 2014. The program received funds from Economic and Social Research Council, United Kingdom to the tune of A$30,000 and unspecified resourced plus amount from Big Gecko Crocodilian Research, Crocodillian.com and Charles Darwin University. The research yielded pertinent observations that provide inside into crocodile attacks. It was observed that most attacks on humans occur from bites of Saltwater crocodile as against the popular understanding of Nile crocodiles taking the top spot. This is not, however, believed to be the actual case, as most attacks by the Nile crocodile are believed to go unreported or only reported on a local level. The broad category of Nile crocodile attacks were segmented into West African crocodile and Crocodylus niloticus (the Nile Crocodile) species to get a clear understanding of their respective attack zones. The objective was that the information would be used by communities and conservation managers to help inform and educate people about how to keep safe. The information was vital for Australia and Africa where such attacks are more likely than in other parts of the world. This was the only database of its kind with such comprehensive collection of information made available online. The database is no longer online, and its founder Adam Britton is in custody having pleaded guilty to charges of bestiality on September 25, 2023. It has been rebranded and renamed CrocAttack, and serves as a updated database focusing on human-crocodilian conflict and records over 8,500 incidents from the past decades.

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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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