Clara.io is web-based freemium 3D computer graphics software developed by Exocortex, a Canadian software company. The free or "Basic" component of their freemium offering, however, places severe restrictions, such as on saving models and importing texture maps, which are undisclosed in the company's own descriptions of their plans.vf TMN == History == Clara.io was announced in July 2013, and first presented as part of the official SIGGRAPH 2013 program later that month. By November 2013, when the open beta period started, Clara.io had 14,000 registered users. Clara.io claimed to have 26,000 registered users in January 2014, which grew to 85,000 by December 2014. Clara.io was permanently shut down on December 31, 2022, but the site is currently still partially functional to logged-in users. == Features == Polygonal modeling Constructive solid geometry Key frame animation Skeletal animation Hierarchical scene graph Texture mapping Photorealistic rendering (streaming cloud rendering using V-Ray Cloud) Scene publishing via HTML iframe embedding FBX, Collada, OBJ, STL and Three.js import/export Collaborative real-time editing Revision control (versioning & history) Scripting, Plugins & REST APIs 3D model library Unlisted and Private scenes (paid subscriptions only). == Technology == Clara.io is developed using HTML5, JavaScript, WebGL and Three.js. Clara.io does not rely on any browser plugins and thus runs on any platform that has a modern standards compliant browser. == Screenshots ==
Scale-space axioms
In image processing and computer vision, a scale space framework can be used to represent an image as a family of gradually smoothed images. This framework is very general and a variety of scale space representations exist. A typical approach for choosing a particular type of scale space representation is to establish a set of scale-space axioms, describing basic properties of the desired scale-space representation and often chosen so as to make the representation useful in practical applications. Once established, the axioms narrow the possible scale-space representations to a smaller class, typically with only a few free parameters. A set of standard scale space axioms, discussed below, leads to the linear Gaussian scale-space, which is the most common type of scale space used in image processing and computer vision. == Scale space axioms for the linear scale-space representation == The linear scale space representation L ( x , y , t ) = ( T t f ) ( x , y ) = g ( x , y , t ) ∗ f ( x , y ) {\displaystyle L(x,y,t)=(T_{t}f)(x,y)=g(x,y,t)f(x,y)} of signal f ( x , y ) {\displaystyle f(x,y)} obtained by smoothing with the Gaussian kernel g ( x , y , t ) {\displaystyle g(x,y,t)} satisfies a number of properties 'scale-space axioms' that make it a special form of multi-scale representation: linearity T t ( a f + b h ) = a T t f + b T t h {\displaystyle T_{t}(af+bh)=aT_{t}f+bT_{t}h} where f {\displaystyle f} and h {\displaystyle h} are signals while a {\displaystyle a} and b {\displaystyle b} are constants, shift invariance T t S ( Δ x , Δ y ) f = S ( Δ x , Δ y ) T t f {\displaystyle T_{t}S_{(\Delta x,\Delta _{y})}f=S_{(\Delta x,\Delta _{y})}T_{t}f} where S ( Δ x , Δ y ) {\displaystyle S_{(\Delta x,\Delta _{y})}} denotes the shift (translation) operator ( S ( Δ x , Δ y ) f ) ( x , y ) = f ( x − Δ x , y − Δ y ) {\displaystyle (S_{(\Delta x,\Delta _{y})}f)(x,y)=f(x-\Delta x,y-\Delta y)} semi-group structure g ( x , y , t 1 ) ∗ g ( x , y , t 2 ) = g ( x , y , t 1 + t 2 ) {\displaystyle g(x,y,t_{1})g(x,y,t_{2})=g(x,y,t_{1}+t_{2})} with the associated cascade smoothing property L ( x , y , t 2 ) = g ( x , y , t 2 − t 1 ) ∗ L ( x , y , t 1 ) {\displaystyle L(x,y,t_{2})=g(x,y,t_{2}-t_{1})L(x,y,t_{1})} existence of an infinitesimal generator A {\displaystyle A} ∂ t L ( x , y , t ) = ( A L ) ( x , y , t ) {\displaystyle \partial _{t}L(x,y,t)=(AL)(x,y,t)} non-creation of local extrema (zero-crossings) in one dimension, non-enhancement of local extrema in any number of dimensions ∂ t L ( x , y , t ) ≤ 0 {\displaystyle \partial _{t}L(x,y,t)\leq 0} at spatial maxima and ∂ t L ( x , y , t ) ≥ 0 {\displaystyle \partial _{t}L(x,y,t)\geq 0} at spatial minima, rotational symmetry g ( x , y , t ) = h ( x 2 + y 2 , t ) {\displaystyle g(x,y,t)=h(x^{2}+y^{2},t)} for some function h {\displaystyle h} , scale invariance g ^ ( ω x , ω y , t ) = h ^ ( ω x φ ( t ) , ω x φ ( t ) ) {\displaystyle {\hat {g}}(\omega _{x},\omega _{y},t)={\hat {h}}({\frac {\omega _{x}}{\varphi (t)}},{\frac {\omega _{x}}{\varphi (t)}})} for some functions φ {\displaystyle \varphi } and h ^ {\displaystyle {\hat {h}}} where g ^ {\displaystyle {\hat {g}}} denotes the Fourier transform of g {\displaystyle g} , positivity g ( x , y , t ) ≥ 0 {\displaystyle g(x,y,t)\geq 0} , normalization ∫ x = − ∞ ∞ ∫ y = − ∞ ∞ g ( x , y , t ) d x d y = 1 {\displaystyle \int _{x=-\infty }^{\infty }\int _{y=-\infty }^{\infty }g(x,y,t)\,dx\,dy=1} . In fact, it can be shown that the Gaussian kernel is a unique choice given several different combinations of subsets of these scale-space axioms: most of the axioms (linearity, shift-invariance, semigroup) correspond to scaling being a semigroup of shift-invariant linear operator, which is satisfied by a number of families integral transforms, while "non-creation of local extrema" for one-dimensional signals or "non-enhancement of local extrema" for higher-dimensional signals are the crucial axioms which relate scale-spaces to smoothing (formally, parabolic partial differential equations), and hence select for the Gaussian. The Gaussian kernel is also separable in Cartesian coordinates, i.e. g ( x , y , t ) = g ( x , t ) g ( y , t ) {\displaystyle g(x,y,t)=g(x,t)\,g(y,t)} . Separability is, however, not counted as a scale-space axiom, since it is a coordinate dependent property related to issues of implementation. In addition, the requirement of separability in combination with rotational symmetry per se fixates the smoothing kernel to be a Gaussian. There exists a generalization of the Gaussian scale-space theory to more general affine and spatio-temporal scale-spaces. In addition to variabilities over scale, which original scale-space theory was designed to handle, this generalized scale-space theory also comprises other types of variabilities, including image deformations caused by viewing variations, approximated by local affine transformations, and relative motions between objects in the world and the observer, approximated by local Galilean transformations. In this theory, rotational symmetry is not imposed as a necessary scale-space axiom and is instead replaced by requirements of affine and/or Galilean covariance. The generalized scale-space theory leads to predictions about receptive field profiles in good qualitative agreement with receptive field profiles measured by cell recordings in biological vision. In the computer vision, image processing and signal processing literature there are many other multi-scale approaches, using wavelets and a variety of other kernels, that do not exploit or require the same requirements as scale space descriptions do; please see the article on related multi-scale approaches. There has also been work on discrete scale-space concepts that carry the scale-space properties over to the discrete domain; see the article on scale space implementation for examples and references.
Social film
A social film is a type of interactive film that is presented through the lens of social media. A social film is distributed digitally and integrates with a social networking service, such as Facebook or YouTube. It combines features of web video, social network games and social media. == Key elements == Social films are a more recent phenomenon, and, in turn, there are few precedents for their format. Although there are not many examples of this genre of film, the medium has certain identifiable elements: Casual entertainment Social media User-generated content Game mechanics Using just one of these factors or a combination of them, a social film engages viewers to interact directly with the work. This can be done through usual social media functionality like comments and ranking or adding directly to the narrative itself. Just as with memes, social film distribution relies on the viral spread enabled by social media. This is based on the viral expansion loops model, in which a viewer benefits from sharing the application with friends, exponentially creating new viewers compelled to share the application. == History == One of the first social films to be created was from the YouTube channel lonelygirl15. This social film started in 2006 and was created by Miles Beckett , Mesh Flinders, and Greg Goodfried. They used YouTube posts to create an interactive video series about a fictional character who showcased her life in a vlog format. As the videos went on, more bizarre things would keep happening to the main character, Bree, before she just stopped uploading. This channel was not only the first viral social film, but went on to be one of the first viral YouTube channels to be created. It did take a few years to see any more films in this genre, but 2011 saw many people start to try their hand at making these films. The first social film in this year was a film called Him, Her and Them which was produced and released by Murmur in April 2011. It was distributed exclusively through Facebook and promoted as the first “Facebook film.” The film is composed of short video clips and interactive slideshows, integrating Facebook's Social Graph API. Users participate via text-based additions to the story, which are viewable only by friends within their social network. In May 2011, Canon and Ron Howard teamed up to create Project Imagin8ion, which was a photo contest where photographers submitted photos and the top 8 photos would be the inspiration for a short film. This short film was called "When You Find Me" and could be found exclusively on YouTube. In July 2011, Intel and Toshiba partnered together to create Hollywood's first Social Film experience, a thriller called Inside, directed by D.J. Caruso and starring Emmy Rossum. The project is broken up into several segments across multiple social media platforms including Facebook, YouTube, and Twitter. In this instance, the audience is challenged to help Emmy Rossum's character, Christina, safely make it out of the room she's been trapped in. This particular form of social film is a major undertaking in that it combines social media activity with A-list acting talent to create a user experience that all happens in real time. Although not quite the same idea, Hollywood also started experimenting with the idea of interactive and crowd-sourced films. One of the first examples of this was a short film called "Life In A Day" directed by Kevin Macdonald and produced by Ridley Scott. Kevin asked people from all over the world to submit videos onto YouTube of what they were doing on July 24th, 2010. They combined all of the best videos that were submitted together to create one film of people doing different things all around the world, no matter how boring or simple those things seemed. They took this short to film festivals before releasing it to the public on YouTube in 2011. In August 2012, Intel and Toshiba partnered again to create The Beauty Inside, directed by Drake Doremus, starring Mary Elizabeth Winstead and Topher Grace. It's Hollywood's first social film that gives everyone in the audience a chance to play Alex, the lead role. The experience will be broken up into six filmed episodes interspersed with real-time interactive storytelling that all takes place on Alex's Facebook timeline. In August 2013, Intel and Toshiba released their third entry into the category, The Power Inside, directed by Will Speck and Josh Gordon and starring Harvey Keitel, Analeigh Tipton, and Craig Roberts. It's Hollywood's first social film that asks the audience to audition to help save or destroy the world. The experience is broken up into six filmed episodes interspersed with user-generated content and interactive storytelling on the main character's Facebook timeline. In 2015, Intel partnered with Dell for their fourth entry, What Lives Inside directed by Robert Stromberg and starring Colin Hanks, Catherine O'Hara, and J. K. Simmons. The first of four episodes was released on Hulu on March 25, 2015.
VK (service)
VK (short for its original name VKontakte; Russian: ВКонтакте, lit. 'InContact') is a Russian online social media and social networking service based in Saint Petersburg. VK is available in multiple languages but it is predominantly used by Russian speakers. VK users can message each other publicly or privately, edit messages, create groups, public pages, and events; share and tag images, audio, and video; and play browser-based games. As of August 2018, VK had at least 500 million accounts. As of November 2022, it was the sixth most popular website in Russia. The network was also popular in Ukraine until it was banned by the Verkhovna Rada in 2017. According to Semrush, in 2024, VK was the 30th most visited website in the world; as YouTube is subject to blocking in Russia, VK Video overtook Google's top position in monthly web traffic for the first time in December 2024, as part of the major substitution to domestic business. == History == VKontakte was conceived in 2006 when Pavel Durov, creator of the popular student forum spbgu.ru, met his former classmate Vyacheslav Mirilashvili in St. Petersburg after graduating from the Faculty of Philology at St Petersburg State University. Vyacheslav showed Durov the increasingly popular Facebook, after which the friends decided to create a new Russian social network. Lev Leviev, an Israeli classmate of Vyacheslav Mirilashivili, became the third co-founder. Vyacheslav Mirilashvili borrowed the money from his billionaire father and became the largest shareholder. Lev Leviev took over operational management, and Durov became CEO. Pavel Durov convinced his older brother Nikolai, a multiple winner of international math and programming competitions, to develop the site. Durov launched VKontakte for beta testing in September 2006. The following month, the domain name Vkontakte.ru was registered. The new project was incorporated on 19 January 2007 as a Russian private limited company. In February 2007 the site reached a user base of over 100,000 and was recognized as the second largest company in Russia's nascent social network market. In the same month, the site was subjected to a severe DDoS attack, which briefly put it offline. The user base reached 1 million in July 2007, and 10 million in April 2008. In December 2008 VK overtook rival Odnoklassniki as Russia's most popular social networking service. == Website == Similar to many social networks, the platform's fundamental features revolve around private messaging, sharing photos, posting status updates, and exchanging links with friends. VK also provides tools for administering online communities and managing celebrity pages. The site allows its users to upload, search and stream media content, such as videos and music. VK features an advanced search engine, that allows complex queries for finding friends, as well as a real-time news search. VK updated its features and design in April 2016. === Features === Messaging. VK Private Messages can be exchanged between groups of 2 to 500 people. An email address can also be specified as the recipient. Each message may contain up to 10 attachments: Photos, Videos, Audio Files, Maps (an embedded map with a manually placed marker), and Documents. News. VK users can post on their profile walls, each post may contain up to 10 attachments – media files, maps, and documents (see above). User mentions and hashtags are supported. In the case of multiple photo attachments, the previews are automatically scaled and arranged in a magazine-style layout. The news feed can be switched between all news (default) and most interesting modes. The site features a news-recommendation engine, global real-time search, and individual search for posts and comments on specific users' walls. Communities. VK features three types of communities. Groups are better suited for decentralized communities (discussion boards, wiki-style articles, editable by all members, etc.). Public pages is a news feed-orientated broadcasting tool for celebrities and businesses. The two types are largely interchangeable, the main difference being in the default settings. The third type of community is called Events, which are used for appropriately organizing concerts and events in an appropriate way. Like buttons. VK like buttons for posts, comments, media, and external sites operate differently from Facebook. Liked content doesn't get automatically pushed to the user's wall, but is saved in the private Favorites section instead. The user has to press a second 'share with friends' button to share an item on their wall or send it via private message to a friend. Privacy. Users can control the availability of their content within the network and on the Internet. Blanket and granular privacy settings are available for pages and individual content. Synchronization with other social networks. Any news published on the VK wall will appear on Facebook or Twitter. Certain news may not be published by clicking on the logo next to the "Send" button. Editing a post in VK does not change the post in Facebook or Twitter and vice versa. However, removing the news in VK will remove it from other social networks. SMS service. Russian users can receive and reply to a private message or leave a comment for community news using SMS. Music. Users have access to the audio files uploaded by other users. In addition, users can upload the audio files themselves, create playlists and share audios with others by attaching to messages and wall posts. The uploaded audio files cannot violate copyright laws. === Popularity === As of May 2017, according to Alexa Internet ranking, VK is one of the most visited websites in some Eurasian countries. It is: 4th most visited in Russia; 3rd most visited in Belarus; 6th most visited in Kazakhstan; 8th most visited in Kyrgyzstan and Moldova; 12th most visited in Latvia. It was the fourth most viewed site in Ukraine until, in May 2017, the Ukrainian government banned the use of VK in Ukraine. According to a study for May 2018 conducted by Factum Group Ukraine VK remained the fourth most viewed site in Ukraine, but Facebook was twice as much visited. For 2019, VK appeared as the most visited social network in Ukraine according to Alexa. According to the Internet Association of Ukraine the share of Ukrainian Internet users who visit VK daily had fallen from 54% to 10% from September 2016 to September 2019. They also claimed in November 2019 that Facebook was the most popular social network. VK was expected to gain most of the users lost by Facebook and Instagram after they were blocked in Russia in 2022, according to a Calltouch poll. == Ownership == Initially, founder and CEO Pavel Durov owned 20% of shares (although he had majority voting power through proxy votes), and a trio of Russian-Israeli investors Yitzchak Mirilashvili, his father Mikhael Mirilashvili, and Lev Leviev owned 60%, 10%, and 10% respectively. In 2007, Digital Sky Technologies, an investment company managed by Yuri Milner, acquired a total of 24.99% of the shares from shareholders, investing $16.3 million. In preparation for the IPO in September 2010, DST separated international and Russian assets: the former formed the DST Global fund, while the latter, including VKontakte and rival social network Odnoklassniki, were merged into Mail.ru Group. Mail.ru Group used part of the money to acquire 7.5% of the social network for $112.5 million at a valuation of the entire project of 1.5 billion dollars. After exercising a 7.5% option in July 2011 for $111.7 million, Mail.ru Group accumulated a 39.99% stake in VKontakte. The head of Mail.ru Group, Dmitry Grishin, voiced the company's intention to gain 100% control over VKontakte. MRG was discussing with shareholders to buy out shares from the valuation of the entire company in $2-3 billion. In the summer of 2011, Mirilashvili and Leviev were ready to accept in payment owned by Mail.ru Group shares of Facebook, Groupon, and Zynga, but the deal failed due to Durov's unwillingness to sell a stake on MRG terms. Later, the co-founders considered VKontakte's IPO as an alternative. In March 2012, Durov "accidentally" became plugged into the negotiations where Mirilashvili and Leviev discussed selling their stakes directly to Mail.ru Group's main investor, Alisher Usmanov. On the same day, Durov deleted the pages of the first co-investors, stopped contacting them, and soon announced that VKontakte would postpone its IPO indefinitely. On 29 May 2012, Mail.ru Group announced its decision to yield control of the company to Durov by offering him the voting rights on its shares. Combined with Durov's personal 12% stake, this gave him 52% of the votes. In April 2013, the Mirilashvili family sold its 40% share in VK to United Capital Partners for $1.12 billion, while Lev Leviev sold his 8% share in the same deal, giving United Capital Partners 48% ownership. In January 2014, VK's founder Pavel Durov sold his 12% stake in the company to I
Weird SoundCloud
Weird SoundCloud, or SoundClown, is a mashup parody music scene taking place on the online distribution platform SoundCloud. The scene has been described by its producers and music journalists to be a satirical take on electronic dance music, and useless, throwaway internet content. One critic, Audra Schroeder, categorized it as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." == Origins == In a January 2014 interview, DJ Kevin Wang suggested that the Weird SoundCloud has "been around in the last one to two years", but started to gain much more popularity the previous year through electronic dance music internet blogs. Weird SoundCloud producer Ideaot suggested that some in the phenomenon came from the YouTube poop scene. Another producer in the community, DJ @@ (AT-AT), reasoned that producers joining the scene "want to express their musicality, see it as a more mature form of YouTube Poop," or are "just looking for recognition on social media sites." AT-AT said that it was "a fun thing to do, and after I stopped making proper music I felt I needed a bit of an outlet for my creativity. The fact that people enjoyed it and/or treated it as a travesty (Direct quote from one of my tracks) spurs me on." == Characteristics == Weird SoundCloud is a mash-up and parody music genre labeled by journalist Audra Schroeder as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." Most tracks range from around 30 seconds to one minute in length. The people who make weird SoundCloud are known as SoundClowns, a term coined by producer Dicksoak. Ideaot described the weird SoundCloud community as "largely just people who are friends with each other." Noisey critic Ryan Bassil spotlight the variety of music coming out of the weird SoundCloud landscape: "One minute you could be listening to the Seinfeld theme reimagined as an aneurysm inducing dubstep corker, the next, you're recovering from hearing a version of Tenacious D's "Tribute" that's akin to having a stroke." Bassil analyzes that the tracks "often take the past and repurpose it into something that, although not altogether useful, sounds fresh and reflective of the abstract, confusing panoramic that encapsulates the modern internet." Bassil compared the lexicon of SoundClown's track titles to that of Reddit and Twitter users. According to Dicksoak, most works of the style are critiques of EDM or "are just uploaded because they sound funny." However, Bassil disagreed, writing that there are also many tracks that keep repurposing a certain meme, such as "mom's spaghetti" or the re-use of vocals from recordings by hip hop group Death Grips. He describe the scene's re-use of memes as a satirical take on pointless online content that is only on the internet to "do nothing other than fill the void": They're changing the format of the original work's intended message or audience - a technique often employed by top-tier digital media companies - and in doing so they're sarcastically, ironically, taking the piss out of what Web 2.0's turned into - an open arena where the most ridiculous, unashamed, often pointless piggy-back content can rack up thousands and thousands of clicks. == Notable examples == There are mash-ups that "disrupt the flow of popular music", in the words of writer Schroeder, such as a "flutedrop" remix of the Miley Cyrus song "Wrecking Ball" and Shaliek's mashup of music by Bruno Mars and Korn. In November 2013, Wang released a set of mp3 files on SoundCloud named Best Drops Ever, which included tracks like "A Drop So Epic a Bunch of NYU Bros Already Bought a 3-Day Weekend Pass for It" and "A Drop So Crazy You'll Kill Your Family". All of the tracks start as normal electronic dance music build-ups, before they drop into a "bait and switch" audio or film clip such as Filet-O-Fish commercials, the Whitney Houston song "I Will Always Love You" and the film Bambi (1942) that ruins the anticipation. The collection is a parody of the over-importance and over-focus of the drop and lack of care of the overall quality of a song common in the modern electronic dance music scene. Wang has released more than 45 tracks in the weird SoundCloud, some of them receiving around a million plays. Subgenres of Weird SoundCloud include Macklecore, mash-ups and remixes that include the works of American hip-hop recording artist Macklemore, and Biggiewave, which include samples of songs from the album Ready to Die (1994) by The Notorious B.I.G. Common audio and meme sources used include Skrillex, the Martin Garrix track "Animals", Thomas the Tank Engine, Shrek, Macklemore, "Gangnam Style", the Bruno Mars track "Uptown Funk", the Disturbed track "Down with the Sickness", Space Jam, the Childish Gambino track "Bonfire", the Death Grips track "Takyon" and air horn sound effects. == Reception == Bassil praised the SoundClown scene as "loveable and strangely honest", reasoning that it "just reminds me that we're all humans on the internet, all searching for #content that means something, something to connect with, but usually only dredging up bastardised versions of things we've already read, seen, or watched before." Bassil also described the weird SoundCloud as a more successful version of a similar scene known as weird YouTube; the reason for the success of SoundClowns is due to SoundCloud's discovery algorithm: "Small collectives and trends are able to form, and there's an abundance of tracks from artists who are almost forging careers out of it, as opposed to uploading one viral hit." Publications have made lists of weird SoundCloud works, such as BuzzFeed's "23 Of The Weirdest Songs On Soundcloud", Obsev's "Weird SoundCloud Mashups That Must've Been Made While Drunk", and Thump's "9 of the Best and Most Upsetting Soundclowns we Could Find", where writer Isabelle Hellyer called it the "most influential genre of music in human history." A Your EDM writer called it "oddly addicting."
Maximum inner-product search
Maximum inner-product search (MIPS) is a search problem, with a corresponding class of search algorithms which attempt to maximise the inner product between a query and the data items to be retrieved. MIPS algorithms are used in a wide variety of big data applications, including recommendation algorithms and machine learning. Formally, for a database of vectors x i {\displaystyle x_{i}} defined over a set of labels S {\displaystyle S} in an inner product space with an inner product ⟨ ⋅ , ⋅ ⟩ {\displaystyle \langle \cdot ,\cdot \rangle } defined on it, MIPS search can be defined as the problem of determining a r g m a x i ∈ S ⟨ x i , q ⟩ {\displaystyle {\underset {i\in S}{\operatorname {arg\,max} }}\ \langle x_{i},q\rangle } for a given query q {\displaystyle q} . Although there is an obvious linear-time implementation, it is generally too slow to be used on practical problems. However, efficient algorithms exist to speed up MIPS search. Under the assumption of all vectors in the set having constant norm, MIPS can be viewed as equivalent to a nearest neighbor search (NNS) problem in which maximizing the inner product is equivalent to minimizing the corresponding distance metric in the NNS problem. Like other forms of NNS, MIPS algorithms may be approximate or exact. MIPS search is used as part of DeepMind's RETRO algorithm.
Plaintext
In cryptography, plaintext usually means unencrypted information pending input into cryptographic algorithms, usually encryption algorithms. This usually refers to data that is transmitted or stored unencrypted. == Overview == With the advent of computing, the term plaintext expanded beyond human-readable documents to mean any data, including binary files, in a form that can be viewed or used without requiring a key or other decryption device. Information—a message, document, file, etc.—if to be communicated or stored in an unencrypted form is referred to as plaintext. Plaintext is used as input to an encryption algorithm; the output is usually termed ciphertext, particularly when the algorithm is a cipher. Codetext is less often used, and almost always only when the algorithm involved is actually a code. Some systems use multiple layers of encryption, with the output of one encryption algorithm becoming "plaintext" input for the next. == Secure handling == Insecure handling of plaintext can introduce weaknesses into a cryptosystem by letting an attacker bypass the cryptography altogether. Plaintext is vulnerable in use and in storage, whether in electronic or paper format. Physical security means the securing of information and its storage media from physical, attack—for instance by someone entering a building to access papers, storage media, or computers. Discarded material, if not disposed of securely, may be a security risk. Even shredded documents and erased magnetic media might be reconstructed with sufficient effort. If plaintext is stored in a computer file, the storage media, the computer and its components, and all backups must be secure. Sensitive data is sometimes processed on computers whose mass storage is removable, in which case physical security of the removed disk is vital. In the case of securing a computer, useful (as opposed to handwaving) security must be physical (e.g., against burglary, brazen removal under cover of supposed repair, installation of covert monitoring devices, etc.), as well as virtual (e.g., operating system modification, illicit network access, Trojan programs). Wide availability of keydrives, which can plug into most modern computers and store large quantities of data, poses another severe security headache. A spy (perhaps posing as a cleaning person) could easily conceal one, and even swallow it if necessary. Discarded computers, disk drives and media are also a potential source of plaintexts. Most operating systems do not actually erase anything— they simply mark the disk space occupied by a deleted file as 'available for use', and remove its entry from the file system directory. The information in a file deleted in this way remains fully present until overwritten at some later time when the operating system reuses the disk space. With even low-end computers commonly sold with many gigabytes of disk space and rising monthly, this 'later time' may be months later, or never. Even overwriting the portion of a disk surface occupied by a deleted file is insufficient in many cases. Peter Gutmann of the University of Auckland wrote a celebrated 1996 paper on the recovery of overwritten information from magnetic disks; areal storage densities have gotten much higher since then, so this sort of recovery is likely to be more difficult than it was when Gutmann wrote. Modern hard drives automatically remap failing sectors, moving data to good sectors. This process makes information on those failing, excluded sectors invisible to the file system and normal applications. Special software, however, can still extract information from them. Some government agencies (e.g., US NSA) require that personnel physically pulverize discarded disk drives and, in some cases, treat them with chemical corrosives. This practice is not widespread outside government, however. Garfinkel and Shelat (2003) analyzed 158 second-hand hard drives they acquired at garage sales and the like, and found that less than 10% had been sufficiently sanitized. The others contained a wide variety of readable personal and confidential information. See data remanence. Physical loss is a serious problem. The US State Department, Department of Defense, and the British Secret Service have all had laptops with secret information, including in plaintext, lost or stolen. Appropriate disk encryption techniques can safeguard data on misappropriated computers or media. On occasion, even when data on host systems is encrypted, media that personnel use to transfer data between systems is plaintext because of poorly designed data policy. For example, in October 2007, HM Revenue and Customs lost CDs that contained the unencrypted records of 25 million child benefit recipients in the United Kingdom. Modern cryptographic systems resist known plaintext or even chosen plaintext attacks, and so may not be entirely compromised when plaintext is lost or stolen. Older systems resisted the effects of plaintext data loss on security with less effective techniques—such as padding and Russian copulation to obscure information in plaintext that could be easily guessed.