Social computing is an area of computer science that is concerned with the intersection of social behavior and computational systems. It is based on creating or fostering existing social conventions and social contexts through the use of software and technology. Blogs, email, instant messaging, social network services, wikis, social bookmarking and other instances of what is often called social software illustrate ideas from social computing. The rise in social computing is attributed to the prevalence of personal devices and increased overall computing power. This enables a growing number of users to participate in sharing content and interact with another. == Definitions == Humans—and human behavior—are profoundly social. Humans tend to orient to one another and develop abilities to interact with each other and other species. This ranges from expression and gesture through spoken, written, and body language. Humans are influenced by the behavior of those around them and can rely on social context and cues to make decisions. An example of a behavior relying on social contexts is applauding at the end of the play. This is based on the context that the show ended, and other audience members are applauding. Social information provides a basis for inferences, planning, and coordinating activity. == Examples == Common tools include blogs, email, instant messaging, social networking sites, wikis, and social bookmarking platforms. These technologies enable users to generate content, share knowledge, and interact in real time. == Applications == The rise of social computing has highlighted opportunities for businesses. Businesses are interacting on social computing platforms and investing in facilities to support and research social computing.Business models can leverage the massive customer bases that accumulate through social computing channels. Some organizations have started their own blogs and networks (McAfee, 2006, Joe, 2005). Organizations from diverse industry sectors such as Google, Cisco, and Fox, have sought to acquire or invest in successful social computing enterprises. A business blog can serve as a source of information and promotion for the company. This allows the company to share content about the company and their initiatives. Businesses have also interacted with social computing to market themselves and interact with customers. A notable example is Wendy's with their X (formerly Twitter) account. The account was primarily used to promote business promotions and interact with users in a playful or meaningful way. E-commerce web sites have allowed users to leave reviews and feedback on purchases which has improved online shopping experience for sellers and consumers.As another example of social computing’s business applications, many e-commerce Web sites have adopted online product/vendor feedback/reputation systems. Such systems provide an asynchronous platform for the consumer community to share experiences collectively and influence their purchasing behavior. They also provide a vehicle for eliciting feedback information valuable to the vendors and e-commerce site operators.Consumers can use the feedback systems to make a more educated choice on a purchase by comparing reviews between products or vendors. Sellers can track consumer behaviors and trends regarding a product and adjust their supply according to the demand. == Challenges and criticism == Social computing raises several concerns related to privacy, data security, and algorithmic bias. The widespread collection and analysis of user-generated data can lead to ethical dilemmas, especially when users are unaware of how their information is used. Critics also highlight issues of digital labor, surveillance, and the spread of misinformation, which can influence public opinion and social dynamics. === Term appearance === The term appeared in the mid 1990s after technology advancements and development of the web. In 1994, the concept of social computing was first proposed by Schuler. He thought, "Social computing is a computing application, with software as the medium or focus of social relationships." === Premise === The premise of social computing is that it is possible to design digital systems that support useful functionality by making socially produced information available to their users. This information may be provided directly, as when systems show the number of users who have rated a review as helpful or not. Or the information may be provided after being filtered and aggregated, as is done when systems recommend a product based on what else people with similar purchase history have purchased. Alternatively, the information may be provided indirectly, as is the case with Google's page rank algorithms which orders search results based on the number of pages that (recursively) point to them. In all of these cases, information that is produced by a group of people is used to provide or enhance the functioning of a system. Social computing is concerned with systems of this sort and the mechanisms and principles that underlie them. Social computing can be defined as follows: "Social Computing" refers to systems that support the gathering, representation, processing, use, and dissemination of information that is distributed across social collectivities such as teams, communities, organizations, and markets. Moreover, the information is not "anonymous" but is significantly precise because it is linked to people, who are in turn linked to other people. More recent definitions, however, have foregone the restrictions regarding anonymity of information, acknowledging the continued spread and increasing pervasiveness of social computing. As an example, Hemmatazad, N. (2014) defined social computing as "the use of computational devices to facilitate or augment the social interactions of their users, or to evaluate those interactions in an effort to obtain new information." Social computing has to do with supporting "computations" that are carried out by groups of people, an idea that has been popularized in James Surowiecki's book, The Wisdom of Crowds. Examples of social computing in this sense include collaborative filtering, online auctions, reputation systems, computational social choice, tagging, and verification games. The social information processing page focuses on this sense of social computing. == History == === Technology infrastructure === Users were able to interact more with websites after the development of Web 2.0. This was an advancement from Web 1.0. Comode G. and Krishnamurthy B. (2008) note that "content creators were few in Web 1.0 with the vast majority of users simply acting as consumers of content." Web 2.0 provided functionalities that allowed for low-cost web-hosting services and introduced features with browser windows that used basic information structure and expanded it to as many devices as possible using HTTP, or Hypertext Transfer Protocol. Sometimes referred to as "Enterprise 2.0", a term derived from Web 2.0, social software for enterprise generally refers to the use of social computing in corporate intranets and in other medium- and large-scale business environments. It consisted of a class of tools that allowed for networking and social changes to businesses at the time. It was a layering of the business tools on Web 2.0 and brought forth several applications and collaborative software with specific uses. FinanceElectronic negotiation, which first came up in 1969 and was adapted over time to suit financial markets networking needs, represents an important and desirable coordination mechanism for electronic markets. Negotiation between agents (software agents as well as humans) allows cooperative and competitive sharing of information to determine a proper price. Recent research and practice has also shown that electronic negotiation is beneficial for the coordination of complex interactions among organizations. Electronic negotiation has recently emerged as a very dynamic, interdisciplinary research area covering aspects from disciplines such as Economics, Information Systems, Computer Science, Communication Theory, Sociology and Psychology.Social computing has become more widely known because of its relationship to a number of recent trends. These include the growing popularity of social software and Web 3.0, increased academic interest in social network analysis, the rise of open source as a viable method of production, and a growing conviction that all of this can have a profound impact on daily life. A February 13, 2006 paper by market research company Forrester Research suggested that: === Developments === PLATO was one of the earliest examples of social computing in a live production environment with initially hundreds and soon thousands of users. The PLATO computer system was developed by the University of Illinois at Urbana Champaign in 1960s. In the 70s, the system supported social software applications for multi-us
LIVAC Synchronous Corpus
LIVAC is an uncommon language corpus dynamically maintained since 1995. Different from other existing corpora, LIVAC has adopted a rigorous and regular "Windows" approach in processing and filtering massive media texts from representative Chinese speech communities such as Beijing, Hong Kong, Macau, Taipei, Singapore, Shanghai, as well as Guangzhou, and Shenzhen. The contents are thus deliberately repetitive in most cases, represented by textual samples drawn from editorials, local and international news, cross-Taiwan Strait news, as well as news on finance, sports and entertainment. By 2023, more than 3 billion characters of news media texts have been filtered, of which 700 million characters have been processed and analyzed and have yielded an expanding Pan-Chinese dictionary of 2.5 million words from the Pan-Chinese printed media. Through rigorous analysis based on computational linguistic methodology, LIVAC has at the same time accumulated a large amount of accurate and meaningful statistical data on the Chinese language and on their diverse speech communities in the Pan-Chinese context, and the results show considerable and important long standing as well as evolving variations. The "Windows" approach is the most innovative feature of LIVAC and has enabled Pan-Chinese media texts to be quantitatively analyzed according to various attributes such as locations, time and subject domains. Thus, various types of comparative studies and applications in information technology as well as development of often related innovative applications have been possible. Moreover, LIVAC has allowed longitudinal developments to be taken into account, facilitating Key Word in Context (KWIC) search and comprehensive study of target words and their underlying concepts as well as linguistic structures over the past 25 years, based on the above mentioned variables of location, time and subject. Results from the extensive and accumulative data analysis contained in LIVAC have enabled the cultivation of textual databases of proper names, place names, organization names, new words, and bi-weekly and annual rosters of media figures. Related applications have included the establishment of verb and adjective databases, the formulation of sentiment indices, and related opinion mining, to measure and compare the popularity of global media figures in the Chinese media (LIVAC Annual Pan-Chinese Celebrity Rosters, later renamed as the Pan-Chinese Newsmaker Rosters). Notable among these are the decades long periodic reviews of the 25 years of annual pan-Chinese rosters since 2000 and compilation of new word databases (LIVAC Annual Pan-Chinese New Word Rosters). On this basis, the analysis of the emergence, diffusion and transformation of new words, and the publication of dictionaries of neologisms have been made possible. A recent focus is on the relative balance between disyllabic words and growing trisyllabic words in the Chinese language, and the comparative study of light verbs in three Chinese speech communities. as well as the link between the language use and use of language as a reflection of epochal change in China. A new LIVAC version 3.1 was launched in February 2024. == Corpus data processing == Accessing media texts, manual input, etc. Text unification including conversion from simplified to traditional Chinese characters, stored as Big5 and Unicode versions Automatic word segmentation Automatic alignment of parallel texts Manual verification, part-of-speech tagging Extraction of words and addition to regional sub-corpora Combination of regional sub-corpora to update the LIVAC corpus, and master lexical database == Labeling for data curation == Categories used include general terms and proper names, such as: general names, surnames, semi titles; geographical, organizations and commercial entities, etc.; time, prepositions, locations, etc.; stack-words; loanwords; case-word; numerals, etc. Construction of databases of proper names, place names, and specific terms, etc. Generate rosters: "new word rosters", "celebrity or media personality rosters", "place name rosters", compound words and matched words Other parts of speech tagging for sub-database, such as common nouns, numerals, numeral classifiers, different types of verbs, and of adjectives, pronouns, adverbs, prepositions, conjunctions, particles marking mood, onomatopoeia, interjection, etc. == Applications == Compilation of Pan-Chinese dictionaries or local dictionaries Information technology research, such as predictive Chinese text input for mobile phones, automatic speech to text conversion, opinion mining Comparative studies on linguistic and cultural developments in the Pan-Chinese regions, especially in a critical period of history in modern China. Language teaching and learning research, and speech-to-text conversion Customized service on linguistic research and lexical search for international corporations and government agencies The above applications are provided by the following functions: Word Segmentation Search Phrase Search Example Sentence Selection Multi-word Comparison Word Cloud
Pop music automation
Pop music automation is a field of study among musicians and computer scientists with a goal of producing successful pop music algorithmically. It is often based on the premise that pop music is especially formulaic, unchanging, and easy to compose. The idea of automating pop music composition is related to many ideas in algorithmic music, artificial intelligence (AI) and computational creativity. == History of automation in music == Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries; the procedures used to plot voice-leading in counterpoint, for example, can often be reduced to algorithmic determinant. Now the term is usually reserved, however, for the use of formal procedures to make music without human intervention. Classical music automation software exists that generates music in the style of Mozart and Bach and jazz. Most notably, David Cope has written a software system called "Experiments in Musical Intelligence" (or "EMI") that is capable of analyzing and generalizing from existing music by a human composer to generate novel musical compositions in the same style. EMI's output is convincing enough to persuade human listeners that its music is human-generated to a high level of competence. Creativity research in jazz has focused on the process of improvisation and the cognitive demands that this places on a musical agent: reasoning about time, remembering and conceptualizing what has already been played, and planning ahead for what might be played next. Inevitably associated with pop music automation is pop music analysis. Projects in pop music automation may include, but are not limited to, ideas in melody creation and song development, vocal generation or improvement, automatic accompaniment and lyric composition. == Automatic accompaniment == Some systems exist that automatically choose chords to accompany a vocal melody in real-time. A user with no musical experience can create a song with instrumental accompaniment just by singing into a microphone. An example is a Microsoft Research project called Songsmith, which trains a Hidden Markov model using a music database and uses that model to select chords for new melodies. == Melody generation == Automatic melody generation is often done with a Markov chain, the states of the system become note or pitch values, and a probability vector for each note is constructed, completing a transition probability matrix (see below). An algorithm is constructed to produce an output note values based on the transition matrix weightings, which could be MIDI note values, frequency (Hz), or any other desirable metric. A second-order Markov chain can be introduced by considering the current state and also the previous state, as indicated in the second table. Higher, nth-order chains tend to "group" particular notes together, while 'breaking off' into other patterns and sequences occasionally. These higher-order chains tend to generate results with a sense of phrasal structure, rather than the 'aimless wandering' produced by a first-order system. == Lyric composition == Automated lyric creating software may take forms such as: Selecting words according to their rhythm The Tra-la-Lyrics system produces song lyrics, in Portuguese, for a given melody. This not only involves matching each word syllable with a note in the melody, but also matching the word's stress with the strong beats of the melody. Parsing existing pop music (e.g. for content or word choice) This involves natural language processing. Pablo Gervás has developed a noteworthy system called ASPERA that employs a case-based reasoning (CBR) approach to generating poetic formulations of a given input text via a composition of poetic fragments that are retrieved from a case-base of existing poems. Each poem fragment in the ASPERA case-base is annotated with a prose string that expresses the meaning of the fragment, and this prose string is used as the retrieval key for each fragment. Metrical rules are then used to combine these fragments into a well-formed poetic structure. Automatic analogy or story creation Programs like TALE-SPIN and The MINSTREL system represent a complex elaboration of this basis approach, distinguishing a range of character-level goals in the story from a range of author-level goals for the story. Systems like Bringsjord's BRUTUS can create stories with complex interpersonal themes like betrayal. On-line metaphor generation systems like 'Sardonicus' or 'Aristotle' can suggest lexical metaphors for a given descriptive goal (e.g., to describe a supermodel as skinny, the source terms “pencil”, “whip”, “whippet”, “rope”, “stick-insect” and “snake” are suggested). Free association of grouped words Using a language database (such as wordnet) one can create musings on a subject that may be weak grammatically but are still sensical. See such projects as the Flowerewolf automatic poetry generator or the Dada engine. == Software == === More or less free === BreathCube by xoxos. Simple lyrical vocal content is generated with simple music. CubeBreath by xoxos. Audio input is vocoded in tune with the music. Midi Internet Algorithmic Composition infno, infinite generator of electronic dance music and synth-pop. Algorithmic Trap, trap beat generator. === Commercial === Band in a box generates any element, potentially creates whole new songs from scratch. Musical Palette - Melody Composing Tool SongSmith: Automatic accompaniment for vocal melodies Ludwig 3.0 automatic accompaniment, writes arrangements for given instruments, plays its own songs for an infinitely long time. Automated Composing System creates music in many different styles
Riffusion
Riffusion is a neural network, designed by Seth Forsgren and Hayk Martiros, that generates music using images of sound rather than audio. The resulting music has been described as "de otro mundo" (otherworldly), although unlikely to replace man-made music. The model was made available on December 15, 2022, with the code also freely available on GitHub. The first version of Riffusion was created as a fine-tuning of Stable Diffusion, an existing open-source model for generating images from text prompts, on spectrograms, resulting in a model which used text prompts to generate image files which could then be put through an inverse Fourier transform and converted into audio files. While these files were only several seconds long, the model could also use latent space between outputs to interpolate different files together (using the img2img capabilities of SD). It was one of many models derived from Stable Diffusion. In December 2022, Mubert similarly used Stable Diffusion to turn descriptive text into music loops. In January 2023, Google published a paper on their own text-to-music generator called MusicLM. Forsgren and Martiros formed a startup, also called Riffusion, and raised $4 million in venture capital funding in October 2023.
The Life and Times of Multivac
"The Life and Times of Multivac" is a science fiction short story by American writer Isaac Asimov. The story first appeared in the 5 January 1975 issue of The New York Times Magazine, and was reprinted in the collections The Bicentennial Man and Other Stories and The Best of Creative Computing in 1976. It is one of a loosely connected series of stories concerning a fictional supercomputer called Multivac. "The Life and Times of Multivac" was the first piece of fiction ever commissioned and published by The New York Times. Asimov's original title for the story was "Mathematical Games", but after the story appeared under the new title he decided he liked it. In his commentary on the story in The Bicentennial Man and Other Stories collection, Asimov stated, "More people came up to me over the next few weeks to tell me they had read that story than had ever been the case for any other story I had ever written." == Plot summary == When humanity begins to chafe under Multivac’s benevolent tyranny, one man takes matters into his own hands to destroy the great computer. By appearing to betray his fellow humans, he places himself in a position to permanently destroy Multivac. It is implied that it is not until completion of the act that he and his peers suddenly realize the enormity of their actions and the consequences it will have on humanity.
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
Deepfake pornography
Deepfake pornography is a form of non-consensual AI pornography created by altering existing photographs or videos using deepfake technology to modify the appearance of the participants. The use of deepfake pornography has sparked controversy because it involves the making and sharing of realistic videos featuring non-consenting individuals and is sometimes used for revenge porn. Many countries have criminalized this "new voyeurism" through legislative measures and technological solutions. == History == The term "deepfake" was coined in 2017 on a Reddit forum where users shared altered pornographic videos created using machine learning algorithms. It is a combination of the word "deep learning", which refers to the program used to create the videos, and "fake" meaning the videos are not real. Deepfake pornography was originally created on a small individual scale using a combination of machine learning algorithms, computer vision techniques, and AI software. The process began by gathering a large amount of source material (including both images and videos) of a person's face, and then using a deep learning model to train a Generative Adversarial Network to create a fake video that convincingly swaps the face of the source material onto the body of a pornographic performer. However, the production process has significantly evolved since 2018, with the advent of several public apps that have largely automated the process. While several AI "nudification" apps emerged on mainstream platforms like Google Play and the Apple App Store around 2023, major tech storefronts have since implemented stricter policies and automated detection to ban such software. Consequently, the proliferation of non-consensual deepfake pornography has largely shifted to decentralized websites, specialized online forums, and third-party messaging bot ecosystems. Deepfake pornography is sometimes confused with fake nude photography, but the two are mostly different. Fake nude photography typically uses non-sexual images and merely makes it appear that the people in them are nude. == Notable cases == Deepfake technology has been used to create non-consensual and pornographic images and videos of famous women. One of the earliest examples occurred in 2017 when a deepfake pornographic video of Gal Gadot was created by a Reddit user and quickly spread online. Since then, there have been numerous instances of similar deepfake content targeting other female celebrities, such as Emma Watson, Natalie Portman, and Scarlett Johansson. Johansson spoke publicly on the issue in December 2018, condemning the practice but also refusing legal action because she views the harassment as inevitable. === Rana Ayyub === In 2018, Rana Ayyub, an Indian investigative journalist, was the target of an online hate campaign stemming from her condemnation of the Indian government, specifically her speaking out against the rape of an eight-year-old Kashmiri girl. Ayyub was bombarded with rape and death threats, and had a doctored pornographic video of her circulated online. In a Huffington Post article, Ayyub discussed the long-lasting psychological and social effects this experience has had on her. She explained that she continued to struggle with her mental health and how the images and videos continued to resurface whenever she took a high-profile case. === Atrioc controversy === In 2023, Twitch streamer Atrioc stirred controversy when he accidentally revealed deepfake pornographic material featuring female Twitch streamers while on live. The influencer has since admitted to paying for AI generated porn, and apologized to the women and his fans. === Taylor Swift === In January 2024, AI-generated sexually explicit images of American singer Taylor Swift were posted on X (formerly Twitter), and spread to other platforms such as Facebook, Reddit and Instagram. One tweet with the images was viewed over 45 million times before being removed. A report from 404 Media found that the images appeared to have originated from a Telegram group, whose members used tools such as Microsoft Designer to generate the images, using misspellings and keyword hacks to work around Designer's content filters. After the material was posted, Swift's fans posted concert footage and images to bury the deepfake images, and reported the accounts posting the deepfakes. Searches for Swift's name were temporarily disabled on X, returning an error message instead. Graphika, a disinformation research firm, traced the creation of the images back to a 4chan community. A source close to Swift told the Daily Mail that she would be considering legal action, saying, "Whether or not legal action will be taken is being decided, but there is one thing that is clear: These fake AI-generated images are abusive, offensive, exploitative, and done without Taylor's consent and/or knowledge." The controversy drew condemnation from White House Press Secretary Karine Jean-Pierre, Microsoft CEO Satya Nadella, the Rape, Abuse & Incest National Network, and SAG-AFTRA. Several US politicians called for federal legislation against deepfake pornography. Later in the month, US senators Dick Durbin, Lindsey Graham, Amy Klobuchar and Josh Hawley introduced a bipartisan bill that would allow victims to sue individuals who produced or possessed "digital forgeries" with intent to distribute, or those who received the material knowing it was made non-consensually. === 2024 Telegram deepfake scandal === It emerged in South Korea in August 2024, that many teachers and female students were victims of deepfake images created by users who utilized AI technology. Journalist Ko Narin of The Hankyoreh uncovered the deepfake images through Telegram chats. On Telegram, group chats were created specifically for image-based sexual abuse of women, including middle and high school students, teachers, and even family members. Women with photos on social media platforms like KakaoTalk, Instagram, and Facebook are often targeted as well. Perpetrators use AI bots to generate fake images, which are then sold or widely shared, along with the victims' social media accounts, phone numbers, and KakaoTalk usernames. One Telegram group reportedly drew around 220,000 members, according to a Guardian report. Investigations revealed numerous chat groups on Telegram where users, mainly teenagers, create and share explicit deepfake images of classmates and teachers. The issue came in the wake of a troubling history of digital sex crimes, notably the notorious Nth Room case in 2019. The Korean Teachers Union estimated that more than 200 schools had been affected by these incidents. Activists called for a "national emergency" declaration to address the problem. South Korean police reported over 800 deepfake sex crime cases by the end of September 2024, a stark rise from just 156 cases in 2021, with most victims and offenders being teenagers. On September 21, 6,000 people gathered at Marronnier Park in northeastern Seoul to demand stronger legal action against deepfake crimes targeting women. On September 26, following widespread outrage over the Telegram scandal, South Korean lawmakers passed a bill criminalizing the possession or viewing of sexually explicit deepfake images and videos, imposing penalties that include prison terms and fines. Under the new law, those caught buying, saving, or watching such material could face up to three years in prison or fines up to 30 million won ($22,600). At the time the bill was proposed, creating sexually explicit deepfakes for distribution carried a maximum penalty of five years, but the new legislation would increase this to seven years, regardless of intent. By October 2024, it was estimated that "nudify" deep fake bots on Telegram were up to four million monthly users. === 2025–2026 Grok/X chatbot deepfake scandal === In December 2025, Bloomberg reported that X users found Grok would comply with unconsensual requests to digitally undress individuals, including minors, or show them performing sexually explicit acts. The majority of these prompts were targeted at women and girls. An analysis of 20,000 images generated by Grok between December 25, 2025 and January 1, 2026 showed 2% were of people in bikinis or transparent clothes and appeared to be 18 or younger, including 30 of "young or very young" women or girls. A separate analysis conducted over 24 hours from January 5 to 6 calculated that users had Grok create 6,700 sexually suggestive or nudified images per hour. xAI responded to requests for comment from media organizations with the automated reply, "Legacy Media Lies". The bot's image generation sparked an international backlash and calls for legal or regulatory action from officials in the European Union, United Kingdom, Poland, France, India, Malaysia, and Brazil. === Fernandes–Ulmen case === German TV presenter Collien Fernandes, filed a complaint against her ex-husband, actor Christian Ulmen, for several accusation including, ident