Google AI Image Generator

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

  • Computer-aided lean management

    Computer-aided lean management

    Computer-aided lean management, in business management, is a methodology of developing and using software-controlled, lean systems integration. Its goal is to drive innovation towards cost and cycle-time savings. It attempts to create an efficient use of capital and resources through the development and use of one integrated system model to run a business's planning, engineering, design, maintenance, and operations. == Overview == Computer-Aided Lean Management (CALM) is a management philosophy that uses software to reduce risk and inefficiencies. CALM acts on uncertainties and business inefficiencies to increase profitability through the use of computational decision-making tools that enable opportunities for additional value creation. It is based on the application of software to enable continuous improvement through an Integrated System Model (ISM) of the business’s physical assets, business processes, and machine learning. This integration of software applications using lean principles was developed in the aerospace industry and has migrated to the energy industry. The creation of an ISM removes the barriers posed by the silos or stovepipes inherent in the departmentalization of most companies. Integration enables lean uses of information for the creation of actionable knowledge. CALM strives to create such a lean management approach to running the company through the rigors of software enforcement. From this software enforcement comes clear policy and procedures that are adhered to, activity-based costing, measurement of effectiveness, and the capability of using advanced algorithms for dramatic improvements in optimization of resources. CALM creates business capabilities through software to enable technology application, streamlining of processes, and a lean organizational structure. The methodology is based on a common sense approach for running a business, by measuring actions taken and using those measurements to design more efficient processes. == History == CALM was inspired by lean processes and techniques that were already dominant management technologies with a wide diversity of applications and successes. Motorola and General Electric had been known for the concepts of Six Sigma; Boeing had been managing mass (using modular and flexible assembly options), and Toyota combined elements of these methodologies to create the Toyota Production System. Boeing then took the Toyota model and added computer-aided enforcement of lean methodologies throughout the manufacturing process. One of the major sources for CALM's outgrowth was integrated definition (IDEF) modeling in aerospace manufacturing that was pioneered by the U.S. Air Force in the 1970s. IDEF is a methodology designed to model the end-to-end decisions, actions, and activities of an organization or system so that costs, performance, and cycle times can be optimized. IDEF methods have been adapted for wider use in automotive, aerospace, pharmaceuticals, and software development industries. IDEF methods serve as a starting point to understand lean management through semantic data modeling. The IDEF process begins by mapping the existing functions of an enterprise, creating a graphical model, or road map, that shows what controls each important function, who performs it, what resources are required for carrying it out, what it produces, how much it costs, and what relationships it has to other functions of the organization. IDEF simulations have been found to be efficient at streamlining and modernizing both companies and governmental agencies. Perhaps the best-developed evolution of the IDEF model beyond Toyota was at Boeing. Their project life-cycle process has grown into a rigorous software system that links people, tasks, tools, materials, and the environmental impact of any newly planned project, before any building is allowed to begin. Routinely, more than half of the time for any given project is spent building the precedence diagrams, or three-dimensional process maps, integrating with outside suppliers, and designing the implementation plan–all on the computer. Once real activity is initiated, an action tracker is used to monitor inputs and outputs versus the schedule and delivery metrics in real time throughout the organization. When the execution of a new airplane design begins, it is so well organized that it consistently cuts both costs and build time in half for each successive generation of airframe. Boeing created a complex lean management process called 'define and control airplane configuration/manufacturing resource management' (DCAC/MRM). The process was built with the help of the operations research and computer sciences departments of the University of Pittsburgh. The manufacture of the Boeing 777 was ultimately a success, and it became the precursor to succeeding generations of CALM at Boeing. The methodology of CALM has recently been applied to field orientated infrastructure based businesses with highly interdependent systems, such as electric utilities where a smart grid concept is being researched and developed. The management of infrastructure-based industries like oil, gas, electricity, water, transportation, and renewables requires massive investments in interdependent, physical infrastructure, as well as simultaneous attention to disparate market forces. In infrastructure businesses that manage field assets, uncertainty is the biggest impediment to profitability, rather than the maintenance of efficient supply chains or the management of factory assembly lines. These businesses are dominated by risk from uncertainties such as weather, market variations, transportation disruptions, government actions, logistic difficulties, geology, and asset reliability. CALM has been applied to deal with these types of infrastructure based challenges.

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  • Vintage computer

    Vintage computer

    A vintage computer is an older computer system that is largely regarded as obsolete. The personal computer has been around since around 1971, and in that time technological advancement means existing models get replaced every few years. Nevertheless, these otherwise useless computers have spawned a sub-culture of vintage computer collectors who often spend large sums for the rarest examples, not only to display but functionally restore. This involves active software development and adaptation to modern uses. This often includes homebrew developers and hackers who add on, update and create hybrid composites from new and old computers for uses they were otherwise never intended. Ethernet interfaces have been designed for many vintage 8-bit machines to allow limited connectivity to the Internet, where users can access discussion groups, bulletin boards, and software databases. Most of this hobby centers on computers made after 1960, though some collectors also specialize in older computers. The Vintage Computer Festival, an event held by the Vintage Computer Federation for the exhibition and celebration of vintage computers, has been held annually since 1997 and has expanded internationally. == By platform == === MITS Inc. === Micro Instrumentation and Telemetry Systems (MITS) produced the Altair 8800 in 1975. According to Harry Garland, the Altair 8800 was the product that catalyzed the microcomputer revolution of the 1970s. === IMSAI === The IMSAI 8080 is a clone of the Altair 8800. It was introduced in 1975, first as a kit, and later as an assembled system. The list price was $591 (equivalent to $3,584 in 2025) for a kit, and $931 (equivalent to $5,570 in 2025) assembled. === Processor Technology === Processor Technology produced the Sol-20. This was one of the first machines to have a case that included a keyboard; a design feature copied by many of later "home computers". === SWTPC === Southwest Technical Products Corporation (SWTPC) produced the 8-bit SWTPC 6800 and later the 16-bit SWTPC 6809 kits that employed the Motorola 68xx series microprocessors. === Apple Inc. === The earliest Apple Inc. personal computers, using the MOS Technology 6502 processors, are among some of the most collectible. They are relatively easy to maintain in an operational state thanks to Apple's use of readily available off-the-shelf parts. Apple I (1976): The Apple-1 was Apple's first product and has brought some of the highest prices ever paid for a microcomputer at auction. Apple II (1977): The Apple II series of computers are some of the easiest to adapt, thanks to the original expansion architecture designed for them. New peripheral cards are still being designed by an avid thriving community, thanks to the longevity of this platform, manufactured from 1977 through 1993. Numerous websites exist to support not only legacy users but new adopters who weren't even born when the Apple II was discontinued by Apple. Macintosh (1984): The original Macintosh used a 32-bit Motorola 68000 processor running at 7.8336 MHz and came with 128 KB of RAM. The list price was $2495 (equivalent to $7,732 in 2025).Perhaps because of its friendly design and first commercially successful graphical user interface as well as its enduring Finder application that persists on the most current Macs, the Macintosh is one of the most collected and used vintage computers. With dozens of websites around the world, old Macintosh hardware and software are input into daily use. The Macintosh had a strong presence in many early computer labs, creating a nostalgia factor for former students who recall their first computing experiences. === RCA === The COSMAC Elf in 1976 was an inexpensive (about $100) single-board computer that was easily built by hobbyists. Many people who could not afford an Altair could afford an ELF, which was based on the RCA 1802 chip. Because the chips are still available from other sources, modern recreations of the ELF are fairly common and there are several fan websites. === IBM === The IBM 1130 (1965) was a desk-sized small computer. It was the often the first computer used by many college students, still has a following of interested users. Most of the remaining 1130 systems in 2023 are in museums, but an emulator is available for users who don't have access to a physical 1130. The 5100 also has an avid collector and fan base. The PC series (5150 PC, 5155 Portable PC, 5160 PC/XT, 5170 PC/AT) has become very popular in recent years, with the earliest models (PC) being considered the most collectible. === Acorn BBC & Archimedes === The Acorn BBC Micro was a very popular British computer in the 1980s with home and educational users and enjoyed near-universal usage in British schools into the mid-1990s. It was possible to use 100K 5+1⁄4-inch disks, and it had many expansion ports. The Archimedes series – the de facto successor to the BBC Micro – has also enjoyed a following in recent years, thanks to its status as the first computer to be based around ARM's RISC microprocessor. === Tandy/Radio Shack === The Tandy/RadioShack Model 100 is still widely collected and used as one of the earliest examples of a truly portable computer. Other Tandy offerings, such as the TRS-80 line, are also very popular, and early systems, like the Model I, in good condition can command premium prices on the vintage computer market. === Sinclair === The Sinclair ZX81 and ZX Spectrum series were the most popular British home computers of the early 1980s, with a wide choice of emulators available for both platforms. The Spectrum in particular enjoys a cult following due to its popularity as a games platform, with new games titles still being developed even today. Original "rubber key" Spectrums fetch the highest prices on the second-hand market, with the later Amstrad-built models attracting less of a following. The earlier ZX81 is not as popular in original hardware form due to its monochrome display and limited abilities next to the Spectrum, but still unassembled ZX81 kits still appear on eBay occasionally. === MSX === Although nearly nonexistent in the United States, the MSX architecture has strong communities of fans and hobbyists worldwide, particularly in Japan (where the standard was conceived and developed), South Korea (the only country that had an MSX-based game console, Zemmix), Netherlands, Spain, Brazil, Argentina, Russia, Chile, the Middle East, and others. New hardware and software are being actively developed to this day as well. One of the latest fundamental (from hardware and software perspectives) revivals of the MSX is the GR8BIT. === Robotron === The Robotron Z1013 was an East German home computer produced by VEB Robotron. It had a U880 processor, 16 KB RAM, and a membrane keyboard. The KC 85 series of computers was a modular 8-bit computer system used in East German schools. === Commodore === VIC-20 Commodore 64 Commodore PET Amiga === Xerox === The Xerox Alto, designed and manufactured by Xerox PARC and released in 1973, was the first personal computer equipped with a graphic user interface. In 1979, Steve Jobs of Apple Inc. arranged for his engineers to visit Xerox in order to see the Alto. The design concepts of the Alto soon appeared in the Apple Lisa and Macintosh systems. The Xerox Star, also known as the 8010/40, was made available in 1981. It followed on the Alto. Like the Alto, this machine was expensive and was only intended for corporate office usage. Therefore, being out of the price range of the average user, this product had little market penetration. === Silicon Graphics === The SGI Indy, built in 1993 for Silicon Graphics has a history of usage in the development of the Nintendo 64 as well as various CGI projects throughout the 1990s and early 2000s. The Indy and other machines in the SGI lineup have remained cult classics.

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  • Media Auxiliary Memory

    Media Auxiliary Memory

    Media Auxiliary Memory or Medium Auxiliary Memory (MAM) refers to a chip embedded into a digital media device (usually a tape cartridge) that stores a small amount of data or metadata that a computer can read without having to read the actual tape. MAMs can be used by the tape driver to increase efficiency, or by custom software to store & retrieve custom data. Some examples of MAM's are Cartridge Memory (HP/Seagate/IBM LTO) and MIC (Sony AIT).

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  • False answer supervision

    False answer supervision

    False answer supervision (FAS) refers to VoIP fraud where the billed duration for the caller is more than the duration of the actual connection duration. The FAS is usually performed by VoIP wholesalers in their softswitches for randomly selected calls. Adding a small amount of extra billed seconds for many calls results in significant revenue for the VoIP wholesaler. == Implementation of FAS == The FAS fraud can be implemented in a softswitch in many different ways. These include: False billing of party A without calling a party B. Usually a fake ringback tone, loopback audio or voicemail message is played Start of billing before actual answer of party B Extra billing after disconnection of party B == Detection of FAS == The FAS can be detected and blocked in a softswitch. Common methods are: Manual verification of call detail records: listening to voice recordings Identification of FAS types and using algorithms to automatically detect the FAS RTP audio signal processing: detection of voice RTP audio signal processing: detection of silence RTP audio signal processing: detection of ringback tone

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  • DigitaltMuseum

    DigitaltMuseum

    DigitaltMuseum (lit. 'The Digital Museum') is a website database in Norwegian and Swedish for art, images and cultural history museums. The service was established in 2009 after a trial period. The database is developed and operated by KulturIT. KulturIT ANS was established by the Norwegian Museum of Cultural History and Maihaugen in consultation with the Norwegian Archive, Library and Museum Authority (ABM) in 2007. In 2015, the company underwent a corporate transformation and KulturIT AS was established on 12 February. The website has per 2025 around 2,548,022 images. Many of the images are in the public domain or under Creative Commons licenses and are being imported into Wikimedia Commons. The website's API was developed in 2012. == Institutions == As of 2025, there are 223 collaborating museums. == Mission == DigitaltMuseum aims to make the museums' collections accessible to all interested parties, regardless of time and place. The website aims to facilitate easy use of the collections through various methods including image searches, research, teaching and joint knowledge development. DigitaltMuseum contains collections from several hundred Norwegian and Swedish museums, totalling around five million objects. The website contains both historical images from the areas and themes covered by the museums, as well as images of artefacts from the collections. Parts of the collection have previously only been shown in the museums' exhibitions and books and have therefore rarely or never been shown to the public.

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  • SPACEMAP

    SPACEMAP

    SPACEMAP (Korean: 스페이스맵) is a South Korean satellite orbit optimization and satellite communications company headquartered in Seoul, South Korea. The company was founded in 2021 by CEO, Douglas Deok-Soo Kim, as an offshoot of Hanyang University. It was funded by the Leader Research grant from the National Research Foundation of Korea with the goal of capitalizing on the growing space industry. == History == Kim initially began research into Voronoi diagrams at the University of Michigan. He met with Dr. Misoon Ma, former director of the Asia Division of the U.S. Air Force Office of Scientific Research (AFOSR) and was recruited to work with the U.S. Air force, using Voronoi diagrams for a satellite collision prevention program. After his work with the U.S. Air Force, Kim founded SPACEMAP Inc in September 2021. In 2023, the company was selected by Korea's Tech Incubator Program for Startups (TIPS) to be funded up to 17 billion KRW (approx. US$13 million) in 3 years. == Technology == The services provided by SPACEMAP are based on using dynamic Voronoi diagrams to predict satellite orbits with the aim of enhancing space mission safety and efficiency. For complex problems involving many moving points, Voronoi diagrams maintain a near-constant computation time regardless of the number of points involved. By utilizing Voronoi diagrams and artificial intelligence, the software can easily determine the number of neighboring satellites surrounding a specific satellite and calculate the distances between them, thereby predicting the probability of a collision. SPACEMAP claims their method to be superior in computational time and memory efficiency, compared to the previously established three-filter method. == Products == SPACEMAP offers satellite products and services including the following: AstroOne, a conjunction assessment, and optimal collision avoidance service for all space vehicles in both orbital and non-orbital motions. AstroOrca, providing data transmission for satellites in multiple orbits, launch optimization, shuttle logistics for space gas stations, and Active Debris Removal (ADR) itinerary. AstroLibrary, a library of RESTful APIs to access the C++ implementation of SPACEMAP's Voronoi diagram algorithms wrapped in a Python interface. It also provides real-time tracking of the North Korean reconnaissance satellite, Malligyong-1.

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  • Deplatforming

    Deplatforming

    Deplatforming, also known as no-platforming, is a boycott on an individual or group by removing the platforms used to share their information or ideas. The term is commonly associated with social media. == History == === Deplatforming of invited speakers === In the United States, the banning of speakers on university campuses dates back to the 1940s. This was carried out by the policies of the universities themselves. The University of California had a policy known as the Speaker Ban, codified in university regulations under President Robert Gordon Sproul, that mostly, but not exclusively, targeted communists. One rule stated that "the University assumed the right to prevent exploitation of its prestige by unqualified persons or by those who would use it as a platform for propaganda." This rule was used in 1951 to block Max Shachtman, a socialist, from speaking at the University of California at Berkeley. In 1947, former U.S. Vice President Henry A. Wallace was banned from speaking at UCLA because of his views on U.S. Cold War policy, and in 1961, Malcolm X was prohibited from speaking at Berkeley as a religious leader. Controversial speakers invited to appear on college campuses have faced deplatforming attempts to disinvite them or to otherwise prevent them from speaking. The British National Union of Students established its No Platform policy as early as 1973. In the mid-1980s, visits by South African ambassador Glenn Babb to Canadian college campuses faced opposition from students opposed to apartheid. In the United States, recent examples include the March 2017 disruption by protestors of a public speech at Middlebury College by political scientist Charles Murray. In February 2018, students at the University of Central Oklahoma rescinded a speaking invitation to creationist Ken Ham, after pressure from an LGBT student group. In March 2018, a "small group of protesters" at Lewis & Clark Law School attempted to stop a speech by visiting lecturer Christina Hoff Sommers. In the 2019 film No Safe Spaces, Adam Carolla and Dennis Prager documented their own disinvitation along with others. As of February 2020, the Foundation for Individual Rights in Education, a speech advocacy group, documented 469 disinvitation or disruption attempts at American campuses since 2000, including both "unsuccessful disinvitation attempts" and "successful disinvitations"; the group defines the latter category as including three subcategories: formal disinvitation by the sponsor of the speaking engagement; the speaker's withdrawal "in the face of disinvitation demands"; and "heckler's vetoes" (situations when "students or faculty persistently disrupt or entirely prevent the speakers' ability to speak"). === Deplatforming in social media === Beginning in 2015, Reddit banned several communities on the site ("subreddits") for violating the site's anti-harassment policy. A 2017 study published in the journal Proceedings of the ACM on Human-Computer Interaction, examining "the causal effects of the ban on both participating users and affected communities," found that "the ban served a number of useful purposes for Reddit" and that "Users participating in the banned subreddits either left the site or (for those who remained) dramatically reduced their hate speech usage. Communities that inherited the displaced activity of these users did not suffer from an increase in hate speech." In June 2020 and January 2021, Reddit also issued bans to pro-Trump communities over violations of the website's content and harassment policies. On May 2, 2019, Facebook and the Facebook-owned platform Instagram announced a ban of "dangerous individuals and organizations" including Nation of Islam leader Louis Farrakhan, Milo Yiannopoulos, Alex Jones and his organization InfoWars, Paul Joseph Watson, Laura Loomer, and Paul Nehlen. In the wake of the 2021 storming of the US Capitol, Twitter banned then-president Donald Trump, as well as 70,000 other accounts linked to the event and the far-right movement QAnon. Some studies have found that the deplatforming of extremists reduced their audience, although other research has found that some content creators became more toxic following deplatforming and migration to alt-tech platform. ==== Twitter ==== On November 18, 2022, Elon Musk, as newly appointed CEO of Twitter, reopened previously banned Twitter accounts of high-profile users, including Kathy Griffin, Jordan Peterson, and The Babylon Bee as part of the new Twitter policy. As Musk exclaimed, "New Twitter policy is freedom of speech, but not freedom of reach". ==== Alex Jones ==== On August 6, 2018, Facebook, Apple, YouTube and Spotify removed all content by Jones and InfoWars for policy violations. YouTube removed channels associated with InfoWars, including The Alex Jones Channel. On Facebook, four pages associated with InfoWars and Alex Jones were removed over repeated policy violations. Apple removed all podcasts associated with Jones from iTunes. On August 13, 2018, Vimeo removed all of Jones's videos because of "prohibitions on discriminatory and hateful content". Facebook cited instances of dehumanizing immigrants, Muslims and transgender people, as well as glorification of violence, as examples of hate speech. After InfoWars was banned from Facebook, Jones used another of his websites, NewsWars, to circumvent the ban. Jones's accounts were also removed from Pinterest, Mailchimp and LinkedIn. As of early August 2018, Jones retained active accounts on Instagram, Google+ and Twitter. In September, Jones was permanently banned from Twitter and Periscope after berating CNN reporter Oliver Darcy. On September 7, 2018, the InfoWars app was removed from the Apple App Store for "objectionable content". He was banned from using PayPal for business transactions, having violated the company's policies by expressing "hate or discriminatory intolerance against certain communities and religions." After Elon Musk's purchase of Twitter several previously banned accounts were reinstated including Donald Trump, Andrew Tate and Ye resulting in questioning if Alex Jones will be unbanned as well. However Musk denied that Alex Jones will be unbanned criticizing Jones as a person that "would use the deaths of children for gain, politics or fame". InfoWars remained available on Roku devices in January 2019, a year after the channel's removal from multiple streaming services. Roku indicated that they do not "curate or censor based on viewpoint," and that it had policies against content that is "unlawful, incited illegal activities, or violates third-party rights," but that InfoWars was not in violation of these policies. Following a social media backlash, Roku removed InfoWars and stated "After the InfoWars channel became available, we heard from concerned parties and have determined that the channel should be removed from our platform." In March 2019, YouTube terminated the Resistance News channel due to its reuploading of live streams from InfoWars. On May 1, 2019, Jones was barred from using both Facebook and Instagram. Jones briefly moved to Dlive, but was suspended in April 2019 for violating community guidelines. In March 2020, the InfoWars app was removed from the Google Play store due to claims of Jones disseminating COVID-19 misinformation. A Google spokesperson stated that "combating misinformation on the Play Store is a top priority for the team" and apps that violate Play policy by "distributing misleading or harmful information" are removed from the store. ==== Donald Trump ==== On January 6, 2021, in a joint session of the United States Congress, the counting of the votes of the Electoral College was interrupted by a breach of the United States Capitol chambers. The rioters were supporters of President Donald Trump who hoped to delay and overturn the President's loss in the 2020 election. The event resulted in five deaths and at least 400 people being charged with crimes. The certification of the electoral votes was only completed in the early morning hours of January 7, 2021. In the wake of several Tweets by President Trump on January 7, 2021 Facebook, Instagram, YouTube, Reddit, and Twitter all deplatformed Trump to some extent. Twitter deactivated his personal account, which the company said could possibly be used to promote further violence. Trump subsequently tweeted similar messages from the President's official US Government account @POTUS, which resulted in him being permanently banned on January 8. Twitter then announced that Trump's ban from their platform would be permanent. Trump planned to rejoin on social media through the use of a new platform by May or June 2021, according to Jason Miller on a Fox News broadcast. The same week Musk announced Twitter's new freedom of speech policy, he tweeted a poll to ask whether to bring back Trump into the platform. The poll ended with 51.8% in favor of unbanning Trump's account. Twitter has since reinstated Trump's Twitter accou

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  • PureWow

    PureWow

    PureWow is an American digital media company that publishes women's lifestyle content. Acquired by Gary Vaynerchuk in 2017 as part of Gallery Media Group, PureWow tailors lifestyle topics for Millennials and Generation X, including fashion, beauty, home decor, recipes, entertainment, travel, technology, literature, wellness and money. == History == PureWow was founded by Ryan Harwood in September 2010, along with Bob Pittman's Pilot Group and the women of wowOwow Joni Evans, Mary Wells Lawrence, Whoopi Goldberg, Liz Smith, Candice Bergen, and Lesley Stahl, among others. In January 2013, PureWow hired former Real Simple editor Mary Kate McGrath as its first editor-in-chief. In August 2014, PureWow was listed as no. 352 on Inc. Magazine's 2014 list of the top 500 fastest-growing privately owned companies. In May 2015, PureWow raised $2.5 million. In 2017, serial entrepreneur Gary Vaynerchuk and Miami Dolphins' owner Stephen Ross' venture firm, RSE Ventures, acquired PureWow to form Gallery Media Group as a creative agency and media firm. PureWow's CEO, Ryan Harwood serves as the chief executive of Gallery Media Group. == Editions == PureWow publishes national content as well as local content for New York City, Los Angeles, Chicago, San Francisco, Dallas, and the Hamptons. The company publishes content across fashion, beauty, homecare topics, technology, entertainment, books, wellness and finances. PureWow articles are distributed via its website PureWow.com, email, and over social media channels.

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  • Digital Image Processing with Sound

    Digital Image Processing with Sound

    DIPS (Digital Image Processing with Sound) is a set of plug-in objects that handle real-time digital image processing in Max/MSP programming environment. Combining with the built-in objects of the environment, DIPS enables to program the interaction between audio and visual events with ease, and supports the realization of interactive multimedia art as well as interactive computer music. == Summary of Features == A plug-in software for Max/MSP (Max 5 and 6) More than 300 Max external objects and abstractions More than 90 OpenGL objects included More than 110 visual effect objects (Dfx library, Core Image Filters) A utility library for the easy of programming (prefix Dlib) A comprehensive set of sample patches, and a detailed tutorial Handling images & movie files (QuickTime, OpenGL) Render and move 3D models (OpenGL) Video signal input (QuickTime, video texture) Video input analysis: motion detect, face tracking (OpenCV, OpenGL) Importing 3D models (.obj file) Importing Quartz Composer files OpenGL Shading Language (GLSL) programming interface Easy integration of visual events using DIPSWindowMixer (OpenGL) == Description == DIPS is a free plug-in software (a set of external objects) for Max/MSP. It supports the designing of the interaction between sound and visual events in Max using Apple’s Core Image, OpenGL and OpenCV technologies, and consequently, provides a powerful and user-friendly programming environment for the creation of interactive multimedia art. DIPS can be used to detect a performer’s motions and to track positions of subtle details, such as the face, mouth, and eyes. It can also be used to measure the distance between objects and a Kinect sensor system, and offers powerful tools for realtime image processing of incoming video stream and stored movie files. In addition, it can be used to create complex images in a virtual three-dimensional space. The DIPS consists of a library of more than 300 Max external objects and abstractions, a comprehensive set of sample patches, and a detailed tutorial. Some of its strong points, in comparison with other similar plug-ins and software, are its ease of programming, power, and efficiency. The sample patches and tutorial contained in the installation package allows composers and artists who are interested in the creation of interactive art to realize sophisticated realtime video effects on a live video signal at their first practice. And because of its ease of programming, it is likely that one will soon acquire skills needed to create state-of-the-art interactive performance works, multimedia installations, interactive multimedia artworks, and Max VJ applications using DIPS. == History == Initially developed by Shu Matsuda in 1997, DIPS was a plug-in software for Max/FTS running on SGI Octane and O2 computers. Since 2000, it has been developed by the DIPS Development Group supervised by Takayuki Rai. Current active group members are Shu Matsuda, Yota Morimoto, Takuto Fukuda, and Keitaro Takahashi. Previously, Chikashi Miyama, Daichi Ando and Takayuki Hamano also contributed to its development. 2013 DIPS5 for Max (Mac OS X) 2009 DIPS4 for Max/MSP (Mac OS X) 2006 DIPS3 for Max/MSP (Mac OS X) 2003 DIPS2 for jMax4 (Mac OS X) 2002 DIPS for jMax2 (Mac OS X & Linux) 2000 DIPS for jMax (Linux)

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  • Foreground detection

    Foreground detection

    Foreground detection is one of the major tasks in the field of computer vision and image processing whose aim is to detect changes in image sequences. Background subtraction is any technique which allows an image's foreground to be extracted for further processing (object recognition etc.). Many applications do not need to know everything about the evolution of movement in a video sequence, but only require the information of changes in the scene, because an image's regions of interest are objects (humans, cars, text etc.) in its foreground. After the stage of image preprocessing (which may include image denoising, post processing like morphology etc.) object localisation is required which may make use of this technique. Foreground detection separates foreground from background based on these changes taking place in the foreground. It is a set of techniques that typically analyze video sequences recorded in real time with a stationary camera. == Description == All detection techniques are based on modelling the background of the image, i.e., setting the background and detecting which changes occur. Defining the background can be difficult when it contains shapes, shadows, and moving objects. In defining the background, it is assumed that stationary objects may vary in color and intensity over time. Scenarios in which these techniques apply tend to be very diverse. There can be highly variable sequences, such as images with different lighting, interiors, exteriors, quality, and noise. In addition to real-time processing, systems need to adapt to these changes. A foreground detection system should be able to: Develop a background model (estimate). Be robust to lighting changes, repetitive movements (leaves, waves, shadows), and long-term changes. == Background subtraction == Background subtraction is a widely used approach for detecting moving objects in videos from static cameras. The rationale in the approach is that of detecting the moving objects from the difference between the current frame and a reference frame, often called "background image", or "background model". Background subtraction is mostly done if the image in question is a part of a video stream. Background subtraction provides important cues for numerous applications in computer vision, for example surveillance tracking or human pose estimation. Background subtraction is generally based on a static background hypothesis which is often not applicable in real environments. With indoor scenes, reflections or animated images on screens lead to background changes. Similarly, due to wind, rain or illumination changes brought by weather, static backgrounds methods have difficulties with outdoor scenes. == Temporal average filter == The temporal average filter is a method that was proposed at the Velastin. This system estimates the background model from the median of all pixels of a number of previous images. The system uses a buffer with the pixel values of the last frames to update the median for each image. To model the background, the system examines all images in a given time period called training time. At this time, we only display images and will find the median, pixel by pixel, of all the plots in the background this time. After the training period for each new frame, each pixel value is compared with the input value of funds previously calculated. If the input pixel is within a threshold, the pixel is considered to match the background model and its value is included in the pixbuf. Otherwise, if the value is outside this threshold pixel is classified as foreground, and not included in the buffer. This method cannot be considered very efficient because they do not present a rigorous statistical basis and requires a buffer that has a high computational cost. == Conventional approaches == A robust background subtraction algorithm should be able to handle lighting changes, repetitive motions from clutter and long-term scene changes. The following analyses make use of the function of V(x,y,t) as a video sequence where t is the time dimension, x and y are the pixel location variables. e.g. V(1,2,3) is the pixel intensity at (1,2) pixel location of the image at t = 3 in the video sequence. === Using frame differencing === A motion detection algorithm begins with the segmentation part where foreground or moving objects are segmented from the background. The simplest way to implement this is to take an image as background and take the frames obtained at the time t, denoted by I(t) to compare with the background image denoted by B. Here using simple arithmetic calculations, we can segment out the objects simply by using image subtraction technique of computer vision meaning for each pixels in I(t), take the pixel value denoted by P[I(t)] and subtract it with the corresponding pixels at the same position on the background image denoted as P[B]. In mathematical equation, it is written as: P [ F ( t ) ] = P [ I ( t ) ] − P [ B ] {\displaystyle P[F(t)]=P[I(t)]-P[B]} The background is assumed to be the frame at time t. This difference image would only show some intensity for the pixel locations which have changed in the two frames. Though we have seemingly removed the background, this approach will only work for cases where all foreground pixels are moving, and all background pixels are static. A threshold "Threshold" is put on this difference image to improve the subtraction (see Image thresholding): | P [ F ( t ) ] − P [ F ( t + 1 ) ] | > T h r e s h o l d {\displaystyle |P[F(t)]-P[F(t+1)]|>\mathrm {Threshold} } This means that the difference image's pixels' intensities are 'thresholded' or filtered on the basis of value of Threshold. The accuracy of this approach is dependent on speed of movement in the scene. Faster movements may require higher thresholds. === Mean filter === For calculating the image containing only the background, a series of preceding images are averaged. For calculating the background image at the instant t: B ( x , y , t ) = 1 N ∑ i = 1 N V ( x , y , t − i ) {\displaystyle B(x,y,t)={1 \over N}\sum _{i=1}^{N}V(x,y,t-i)} where N is the number of preceding images taken for averaging. This averaging refers to averaging corresponding pixels in the given images. N would depend on the video speed (number of images per second in the video) and the amount of movement in the video. After calculating the background B(x,y,t) we can then subtract it from the image V(x,y,t) at time t = t and threshold it. Thus the foreground is: | V ( x , y , t ) − B ( x , y , t ) | > T h {\displaystyle |V(x,y,t)-B(x,y,t)|>\mathrm {Th} } where Th is a threshold value. Similarly, we can also use median instead of mean in the above calculation of B(x,y,t). Usage of global and time-independent thresholds (same Th value for all pixels in the image) may limit the accuracy of the above two approaches. === Running Gaussian average === For this method, Wren et al. propose fitting a Gaussian probabilistic density function (pdf) on the most recent n {\displaystyle n} frames. In order to avoid fitting the pdf from scratch at each new frame time t {\displaystyle t} , a running (or on-line cumulative) average is computed. The pdf of every pixel is characterized by mean μ t {\displaystyle \mu _{t}} and variance σ t 2 {\displaystyle \sigma _{t}^{2}} . The following is a possible initial condition (assuming that initially every pixel is background): μ 0 = I 0 {\displaystyle \mu _{0}=I_{0}} σ 0 2 = ⟨ some default value ⟩ {\displaystyle \sigma _{0}^{2}=\langle {\text{some default value}}\rangle } where I t {\displaystyle I_{t}} is the value of the pixel's intensity at time t {\displaystyle t} . In order to initialize variance, we can, for example, use the variance in x and y from a small window around each pixel. Note that background may change over time (e.g. due to illumination changes or non-static background objects). To accommodate for that change, at every frame t {\displaystyle t} , every pixel's mean and variance must be updated, as follows: μ t = ρ I t + ( 1 − ρ ) μ t − 1 {\displaystyle \mu _{t}=\rho I_{t}+(1-\rho )\mu _{t-1}} σ t 2 = d 2 ρ + ( 1 − ρ ) σ t − 1 2 {\displaystyle \sigma _{t}^{2}=d^{2}\rho +(1-\rho )\sigma _{t-1}^{2}} d = | ( I t − μ t ) | {\displaystyle d=|(I_{t}-\mu _{t})|} Where ρ {\displaystyle \rho } determines the size of the temporal window that is used to fit the pdf (usually ρ = 0.01 {\displaystyle \rho =0.01} ) and d {\displaystyle d} is the Euclidean distance between the mean and the value of the pixel. We can now classify a pixel as background if its current intensity lies within some confidence interval of its distribution's mean: | ( I t − μ t ) | σ t > k ⟶ foreground {\displaystyle {\frac {|(I_{t}-\mu _{t})|}{\sigma _{t}}}>k\longrightarrow {\text{foreground}}} | ( I t − μ t ) | σ t ≤ k ⟶ background {\displaystyle {\frac {|(I_{t}-\mu _{t})|}{\sigma _{t}}}\leq k\longrightarrow {\text{background}}} where the parameter k {\displaystyle k} is a free threshold (usuall

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  • HTTP compression

    HTTP compression

    HTTP compression is a capability that can be built into web servers and web clients to improve transfer speed and bandwidth utilization. HTTP data is compressed before it is sent from the server: compliant browsers will announce what methods are supported to the server before downloading the correct format; browsers that do not support compliant compression method will download uncompressed data. The most common compression schemes include gzip and Brotli; a full list of available schemes is maintained by the IANA. There are two different ways compression can be done in HTTP. At a lower level, a Transfer-Encoding header field may indicate the payload of an HTTP message is compressed. At a higher level, a Content-Encoding header field may indicate that a resource being transferred, cached, or otherwise referenced is compressed. Compression using Content-Encoding is more widely supported than Transfer-Encoding, and some browsers do not advertise support for Transfer-Encoding compression to avoid triggering bugs in servers. == Compression scheme negotiation == The negotiation is done in two steps, described in RFC 2616 and RFC 9110: 1. The web client advertises which compression schemes it supports by including a list of tokens in the HTTP request. For Content-Encoding, the list is in a field called Accept-Encoding; for Transfer-Encoding, the field is called TE. 2. If the server supports one or more compression schemes, the outgoing data may be compressed by one or more methods supported by both parties. If this is the case, the server will add a Content-Encoding or Transfer-Encoding field in the HTTP response with the used schemes, separated by commas. The web server is by no means obligated to use any compression method – this depends on the internal settings of the web server and also may depend on the internal architecture of the website in question. == Content-Encoding tokens == The official list of tokens available to servers and client is maintained by IANA, and it includes: br – Brotli, a compression algorithm specifically designed for HTTP content encoding, defined in RFC 7932 and implemented in all modern major browsers. compress – UNIX "compress" program method (historic; deprecated in most applications and replaced by gzip or deflate) deflate – compression based on the deflate algorithm (described in RFC 1951), a combination of the LZ77 algorithm and Huffman coding, wrapped inside the zlib data format (RFC 1950); exi – W3C Efficient XML Interchange gzip – GNU zip format (described in RFC 1952). Uses the deflate algorithm for compression, but the data format and the checksum algorithm differ from the "deflate" content-encoding. This method is the most broadly supported as of March 2011. identity – No transformation is used. This is the default value for content coding. pack200-gzip – Network Transfer Format for Java Archives zstd – Zstandard compression, defined in RFC 8478 In addition to these, a number of unofficial or non-standardized tokens are used in the wild by either servers or clients: bzip2 – compression based on the free bzip2 format, supported by lighttpd lzip – compression based on the free lzip format, supported by wget and Links lzma – compression based on (raw) LZMA is available in Opera 20, and in elinks via a compile-time option peerdist – Microsoft Peer Content Caching and Retrieval rsync – delta encoding in HTTP, implemented by a pair of rproxy proxies. xpress – Microsoft compression protocol used by Windows 8 and later for Windows Store application updates. LZ77-based compression optionally using a Huffman encoding. xz – LZMA2-based content compression, supported by a non-official Firefox patch; and fully implemented in mget since 2013-12-31. == Servers that support HTTP compression == SAP NetWeaver Microsoft IIS: built-in or using third-party module Apache HTTP Server, via mod_deflate (despite its name, only supporting gzip), and mod_brotli Hiawatha HTTP server: serves pre-compressed files Cherokee HTTP server, On the fly gzip and deflate compressions Oracle iPlanet Web Server Zeus Web Server lighttpd nginx – built-in Applications based on Tornado, if "compress_response" is set to True in the application settings (for versions prior to 4.0, set "gzip" to True) Jetty Server – built-into default static content serving and available via servlet filter configurations GeoServer Apache Tomcat IBM Websphere AOLserver Ruby Rack, via the Rack::Deflater middleware HAProxy Varnish – built-in. Works also with ESI Armeria – Serving pre-compressed files NaviServer – built-in, dynamic and static compression Caddy – built-in via encode Many content delivery networks also implement HTTP compression to improve speedy delivery of resources to end users. The compression in HTTP can also be achieved by using the functionality of server-side scripting languages like PHP, or programming languages like Java. Various online tools exist to verify a working implementation of HTTP compression. These online tools usually request multiple variants of a URL, each with different request headers (with varying Accept-Encoding content). HTTP compression is considered to be implemented correctly when the server returns a document in a compressed format. By comparing the sizes of the returned documents, the effective compression ratio can be calculated (even between different compression algorithms). == Problems preventing the use of HTTP compression == A 2009 article by Google engineers Arvind Jain and Jason Glasgow states that more than 99 person-years are wasted daily due to increase in page load time when users do not receive compressed content. This occurs when anti-virus software interferes with connections to force them to be uncompressed, where proxies are used (with overcautious web browsers), where servers are misconfigured, and where browser bugs stop compression being used. Internet Explorer 6, which drops to HTTP 1.0 (without features like compression or pipelining) when behind a proxy – a common configuration in corporate environments – was the mainstream browser most prone to failing back to uncompressed HTTP. Another problem found while deploying HTTP compression on large scale is due to the deflate encoding definition: while HTTP 1.1 defines the deflate encoding as data compressed with deflate (RFC 1951) inside a zlib formatted stream (RFC 1950), Microsoft server and client products historically implemented it as a "raw" deflated stream, making its deployment unreliable. For this reason, some software, including the Apache HTTP Server, only implements gzip encoding. == Security implications == Compression allows a form of chosen plaintext attack to be performed: if an attacker can inject any chosen content into the page, they can know whether the page contains their given content by observing the size increase of the encrypted stream. If the increase is smaller than expected for random injections, it means that the compressor has found a repeat in the text, i.e. the injected content overlaps the secret information. This is the idea behind CRIME. In 2012, a general attack against the use of data compression, called CRIME, was announced. While the CRIME attack could work effectively against a large number of protocols, including but not limited to TLS, and application-layer protocols such as SPDY or HTTP, only exploits against TLS and SPDY were demonstrated and largely mitigated in browsers and servers. The CRIME exploit against HTTP compression has not been mitigated at all, even though the authors of CRIME have warned that this vulnerability might be even more widespread than SPDY and TLS compression combined. In 2013, a new instance of the CRIME attack against HTTP compression, dubbed BREACH, was published. A BREACH attack can extract login tokens, email addresses or other sensitive information from TLS encrypted web traffic in as little as 30 seconds (depending on the number of bytes to be extracted), provided the attacker tricks the victim into visiting a malicious web link. All versions of TLS and SSL are at risk from BREACH regardless of the encryption algorithm or cipher used. Unlike previous instances of CRIME, which can be successfully defended against by turning off TLS compression or SPDY header compression, BREACH exploits HTTP compression which cannot realistically be turned off, as virtually all web servers rely upon it to improve data transmission speeds for users. As of 2016, the TIME attack and the HEIST attack are now public knowledge.

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  • Bainu (website)

    Bainu (website)

    Bainu ("how are you?") is a Chinese social networking website written in the Mongolian language. As of 2020 it had about 400,000 users, concentrated in Inner Mongolia. == Core features and positioning == Language and Cultural Characteristics Bainu is based on Traditional Mongolian Script and supports social interactions in the Mongolian language, including various message formats such as text, voice, images, and video. This design aims to preserve and promote Mongolian language and culture, particularly appealing to users in Inner Mongolia and other Mongolian-populated areas. Social Features Instant Messaging: Supports one-on-one private chats and group chats. Users can create interest-based groups or join local communities. Life Sharing: Through the "Chomorlig" feature (similar to Moments or a dynamic feed), users can share daily highlights to enhance community interaction. Location-Based Socializing: Recommends nearby users based on location, making it easier to connect with Mongolian friends in the same city or neighboring regions. Multilingual Support The app interface is available in English, Mongolian, and Simplified Chinese. == Technical Features and User Experience == Cross-Platform Compatibility Supports iPhone, iPad, Mac (with M1 chip or above), and Apple Vision Pro devices, covering users across the Apple ecosystem. Pricing Model Free download and basic features are available. Premium services (e.g., ad-free experience, extended social functions) require a subscription, with pricing options including $0.99/month, $2.99/quarter, and $6.99/year. User Feedback Positive Reviews: Some users praise it as the "best Mongolian-language chat app," recognizing its cultural value and social convenience. Negative Feedback: Reports of app crashes and technical issues, with some users calling for improved stability (e.g., frequent crashes in the iOS version). == Privacy and Data Policy == Bainu collects user data such as location, contact information, and device identifiers, which are linked to user identities. Additionally, user behavior may be tracked through third-party services, raising some privacy concerns. == Current Development and Challenges == User Base As of 2020, Bainu had approximately 400,000 users, primarily concentrated in Inner Mongolia. Policy Impact It was reported by Voice of America (VOA) that the Chinese authorities blocked Bainu on 23 August 2020 in order to prohibit Mongolians from discussing the issue of the authorities’ implementation of "bilingual education" in elementary schools. But now, in 2025, this software is completely available for download and use. see:https://bainu.com/

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  • Microsoft Whiteboard

    Microsoft Whiteboard

    Microsoft Whiteboard is a free multi-platform application, as well as an online service and a feature in Microsoft Teams, which simulates a virtual whiteboard and enables real-time collaboration between users. == Overview and features == Microsoft Whiteboard allows users to draw on a virtual whiteboard using input methods such as a stylus pen or a mouse and keyboard, and write down notes, draw connections between shareable ideas, and interact in real time. Microsoft Whiteboard is available to download on the following platforms and devices: Microsoft Windows (on Windows 10 or above) Android Apple iOS Surface Hub devices It is also available on the web and as a feature in Microsoft Teams. Microsoft Whiteboard allows users with Microsoft accounts to view, edit, and share whiteboards using the provided tools and options. The feature set includes tools for drawing, shapes, and media. Drawing in Microsoft Whiteboard is called inking. It works both on mobile devices and computers. The inking toolbar has customizable pencils, a ruler, a highlighter, an eraser, and an object selector. Whiteboard can recognize shapes drawn by hand and straighten them. Holding the Shift key on a computer while inking draws straight lines. Microsoft Whiteboard has keyboard shortcuts for some functions. Additional features include inserting sticky notes, text boxes, stickers, as well as images. Grid lines and colors are adjustable. Different templates can be inserted into the whiteboard. Users can also share their reactions. A feature limited to boards created in Microsoft Teams, is the ability to make them read-only; other participants from the meeting cannot edit them. == Reviews == PC Magazine gave Microsoft Whiteboard a score of 3.5 out of 5, praising the app's free availability and plentiful templates. It compared it to other, paid whiteboarding solutions, and concluded that Microsoft offers the best free one. Some of the cons, described by PCMag, include the inability to view boards without a Microsoft account and the inability to create custom templates.

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  • New media

    New media

    New media are communication technologies that enable or enhance interaction between users, as well as interaction between users and content. In the middle of the 1990s, the phrase "new media" became widely used as part of a sales pitch for the influx of interactive CD-ROMs for entertainment and education. The new media technologies, sometimes known as Web 2.0, include a wide range of web-related communication tools such as blogs, wikis, online social networking, virtual worlds, and other social media platforms. The phrase "new media" refers to computational media that share material online and through computers. New media inspire new ways of thinking about older media. Media do not replace one another in a clear, linear succession, instead evolving in a more complicated network of interconnected feedback loops . What is different about new media is how they specifically refashion traditional media and how older media refashion themselves to meet the challenges of new media. Unless they contain technologies that enable digital generative or interactive processes, broadcast television programs, non-interactive news websites, feature films, magazines, and books are not considered to be new media. The term "new media" stands in contrast to old media, which dominated the media landscape as a form of mass media for many years. == History == In the 1950s, connections between computing and radical art began to grow stronger. It was not until the 1980s that Alan Kay and his co-workers at Xerox PARC began to give the computability of a personal computer to the individual, rather than have a big organization be in charge of this. In the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually, it makes sense that the Cold War and the design of the Web took place at exactly the same time. Writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period which is now famous declaration in Understanding Media: The Extensions of Man, that "the medium is the message" drew attention to the too often ignored influence media and technology themselves, rather than their "content," have on humans' experience of the world and on society broadly. Until the 1980s, media relied primarily upon print and analog broadcast models such as television and radio. The last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies such as the Internet and video games. However, these examples are only a small representation of new media. The use of digital computers has transformed the remaining 'old' media, as suggested by the advent of digital television and online publications. Even traditional media forms such as the printing press have been transformed through the application of technologies by using of image manipulation software like Adobe Photoshop and desktop publishing tools. Andrew L. Shapiro argues that the "emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources". W. Russell Neuman suggests that whilst the "new media" have technical capabilities to pull in one direction, economic and social forces pull back in the opposite direction. According to Neuman, "We are witnessing the evolution of a universal interconnected network of audio, video, and electronic text communications that will blur the distinction between interpersonal and mass communication; and between public and private communication". Neuman argues that new media will: Alter the meaning of geographic distance. Allow for a huge increase in the volume of communication. Provide the possibility of increasing the speed of communication. Provide opportunities for interactive communication. Allow forms of communication that were previously separate to overlap and interconnect. Consequently, it has been the contention of scholars such as Douglas Kellner and James Bohman that new media and particularly the Internet will provide the potential for a democratic postmodern public sphere, in which citizens can participate in well informed, non-hierarchical debate pertaining to their social structures. Contradicting these positive appraisals of the potential social impacts of new media are scholars such as Edward S. Herman and Robert McChesney who have suggested that the transition to new media has seen a handful of powerful transnational telecommunications corporations who achieve a level of global influence which was hitherto unimaginable. Scholars have highlighted both the positive and negative potential and actual implications of new media technologies, suggesting that some of the early work in new media studies was guilty of technologicaldeterminism – whereby the effects of media were determined by the technologies themselves, rather than by tracing the complex social networks that governed the development, funding, implementation, and future evolution of any technology. Based on the argument that people have a limited amount of time to spend on the consumption of different media, displacement theory argue that the viewership or readership of one particular outlet leads to the reduction in the amount of time spent by the individual on another. The introduction of new media, such as the internet, therefore reduces the amount of time individuals would spend on existing "old" media, which could ultimately lead to the end of such traditional media. == Definition == Although, there are several ways that new media may be described, Lev Manovich, in an introduction to The New Media Reader, defines new media by using eight propositions: New media versus cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas new media is concerned more with cultural objects and paradigms (digital to analog television, smartphones). New media as computer technology used as a distribution platform – New media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers. New media as digital data controlled by software – The language of new media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc. New media as the mix between existing cultural conventions and the conventions of software – New media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation. New media as the aesthetics that accompanies the early stage of every new modern media and communication technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period. New media as faster execution of algorithms previously executed manually or through other technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device. New media as the encoding of modernist avant-garde; new media as metamedia – Manovi

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  • Digital cinematography

    Digital cinematography

    Digital cinematography is the process of capturing (recording) a motion picture using digital image sensors rather than through film stock. As digital technology has improved in recent years, this practice has become dominant. Since the 2000s, most movies across the world have been captured as well as distributed digitally. Many vendors have brought products to market, including traditional film camera vendors like Arri and Panavision, as well as new vendors like Red, Blackmagic, Silicon Imaging, Vision Research and companies which have traditionally focused on consumer and broadcast video equipment, like Sony, GoPro, and Panasonic. As of 2023, professional 4K digital cameras were approximately equal to 35mm film in their resolution and dynamic range capacity. Some filmmakers still prefer to use film picture formats to achieve the desired results. == History == The basis for digital cameras are metal–oxide–semiconductor (MOS) image sensors. The first practical semiconductor image sensor was the charge-coupled device (CCD), based on MOS capacitor technology. Following the commercialization of CCD sensors during the late 1970s to early 1980s, the entertainment industry slowly began transitioning to digital imaging and digital video over the next two decades. The CCD was followed by the CMOS active-pixel sensor (CMOS sensor), developed in the 1990s. Beginning in the late 1980s, Sony began marketing the concept of "electronic cinematography," utilizing its analog Sony HDVS professional video cameras. The effort met with very little success. However, this led to one of the earliest high definition video shot feature movies, Julia and Julia (1987). Rainbow (1996) was the world's first film to utilize extensive digital post production techniques. Shot entirely with Sony's first Solid State Electronic Cinematography cameras and featuring over 35 minutes of digital image processing and visual effects, all post production, sound effects, editing and scoring were completed digitally. The Digital High Definition image was transferred to a 35mm negative via an electron beam recorder for theatrical release. The first digitally videoed and post produced feature was Windhorse, shot in Tibet and Nepal in 1996 on the Sony DVW-700WS Digital Betacam and the prosumer Sony DCR-VX1000. The offline editing (Avid) and the online post and color work (Roland House / da Vinci) were also all digital. The film, transferred to 35mm negative for theatrical release, won Best U.S. Feature at the Santa Barbara Film Festival in 1998. In 1997, with the introduction of HDCAM recorders and 1920 × 1080 pixel digital professional video cameras based on CCD technology, the idea, now re-branded as "digital cinematography," began to gain traction in the market. Shot and released in 1998, The Last Broadcast is believed by some to be the first feature-length video shot and edited entirely on consumer-level digital equipment. In May 1999, George Lucas challenged the supremacy of the movie-making medium of film for the first time by including footage filmed with high-definition digital cameras in Star Wars: Episode I – The Phantom Menace. The digital footage blended seamlessly with the footage shot on film and he announced later that year he would film its sequels entirely on hi-def digital video. Also in 1999, digital projectors were installed in four theaters for the showing of The Phantom Menace. In May 2000, Vidocq, which was directed by Pitof, began principal photography shot entirely using a Sony HDW-F900 camera, with the video being released in September the next year. According to the Guinness World Records, Vidocq is the first full length feature filmed in digital high resolution. In June 2000, Star Wars: Episode II – Attack of the Clones began principal photography shot entirely using a Sony HDW-F900 camera as Lucas had previously stated. The film was released in May 2002. In May 2001 Once Upon a Time in Mexico was also shot in 24 frame-per-second high-definition digital video, partially developed by George Lucas using a Sony HDW-F900 camera, following Robert Rodriguez's introduction to the camera at Lucas' Skywalker Ranch facility whilst editing the sound for Spy Kids. A lesser-known movie, Russian Ark (2002), was also shot with the same camera and was the first tapeless digital movie, recorded on HDD instead of tape. In 2009, Slumdog Millionaire became the first movie shot mainly in digital to be awarded the Academy Award for Best Cinematography. The highest-grossing movie in the history of cinema, Avatar (2009), not only was shot on digital cameras as well, but also made the main revenues at the box office no longer by film, but digital projection. Major movies shot on digital video overtook those shot on film in 2013. Since 2016 over 90% of major films were shot on digital video. As of 2017, 92% of films are shot on digital. Only 24 major films released in 2018 were shot on 35mm. Since the 2000s, most movies across the world have been captured as well as distributed digitally. Today, cameras from companies like Sony, Panasonic, JVC and Canon offer a variety of choices for shooting high-definition video. At the high-end of the market, there has been an emergence of cameras aimed specifically at the digital cinema market. These cameras from Sony, Vision Research, Arri, Blackmagic Design, Panavision, Grass Valley and Red offer resolution and dynamic range that exceeds that of traditional video cameras, which are designed for the limited needs of broadcast television. == Technology == Digital cinematography captures motion pictures digitally in a process analogous to digital photography. While there is a clear technical distinction that separates the images captured in digital cinematography from video, the term "digital cinematography" is usually applied only in cases where digital acquisition is substituted for film acquisition, such as when shooting a feature film. The term is seldom applied when digital acquisition is substituted for video acquisition, as with live broadcast television programs. === Recording === ==== Cameras ==== Professional cameras include the Sony CineAlta (F) Series, Blackmagic Cinema Camera, Red One, Arri D-20, D-21 and Alexa, Panavision Genesis, Silicon Imaging SI-2K, Thomson Viper, Vision Research Phantom, IMAX 3D camera based on two Vision Research Phantom cores, Weisscam HS-1 and HS-2, GS Vitec noX, and the Fusion Camera System. Independent micro-budget filmmakers have also pressed low-cost consumer and prosumer cameras into service for digital filmmaking. Flagship smartphones like the Apple iPhone have been used to shoot movies like Unsane (shot on the iPhone 7 Plus) and Tangerine (shot on three iPhone 5S phones) and in January 2018, Unsane's director and Oscar winner Steven Soderbergh expressed an interest in filming other productions solely with iPhones going forward. ==== Sensors ==== Digital cinematography cameras capture digital images using image sensors, either charge-coupled device (CCD) sensors or CMOS active-pixel sensors, usually in one of two arrangements. Single chip cameras designed specifically for the digital cinematography market often use a single sensor (much like digital photo cameras), with dimensions similar in size to a 16 or 35 mm film frame or even (as with the Vision 65) a 65 mm film frame. An image can be projected onto a single large sensor exactly the same way it can be projected onto a film frame, so cameras with this design can be made with PL, PV and similar mounts, in order to use the wide range of existing high-end cinematography lenses available. Their large sensors also let these cameras achieve the same shallow depth of field as 35 or 65 mm motion picture film cameras, which many cinematographers consider an essential visual tool. Codecs Professional raw video recording codecs include Blackmagic Raw, Red Raw, Arri Raw and Canon Raw. ==== Video formats ==== Unlike other video formats, which are specified in terms of vertical resolution (for example, 1080p, which is 1920×1080 pixels), digital cinema formats are usually specified in terms of horizontal resolution. As a shorthand, these resolutions are often given in "nK" notation, where n is the multiplier of 1024 such that the horizontal resolution of a corresponding full-aperture, digitized film frame is exactly 1024 n {\displaystyle 1024n} pixels. Here the "K" has a customary meaning corresponding to the binary prefix "kibi" (ki). For instance, a 2K image is 2048 pixels wide, and a 4K image is 4096 pixels wide. Vertical resolutions vary with aspect ratios though; so a 2K image with an HDTV (16:9) aspect ratio is 2048×1152 pixels, while a 2K image with a SDTV or Academy ratio (4:3) is 2048×1536 pixels, and one with a Panavision ratio (2.39:1) would be 2048×856 pixels, and so on. Due to the "nK" notation not corresponding to specific horizontal resolutions per format a 2K image lacking, for example, the typical 35mm film soundtrack space, is only 182

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