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Comparison of raster graphics editors
Raster graphics editors can be compared by many variables, including availability. == List == == General information == Basic general information about the editor: creator, company, license, etc. == Operating system support == The operating systems on which the editors can run natively, that is, without emulation, virtual machines or compatibility layers. In other words, the software must be specifically coded for the operation system; for example, Adobe Photoshop for Windows running on Linux with Wine does not fit. == Features == == Color spaces == == File support ==
Scrolling
In computer displays, filmmaking, television production, video games and other kinetic displays, scrolling is sliding text, images or video across a monitor or display, vertically or horizontally. "Scrolling," as such, does not change the layout of the text or pictures but moves (pans or tilts) the user's view across what is apparently a larger image that is not wholly seen. A common television and movie special effect is to scroll credits, while leaving the background stationary. Scrolling may take place completely without user intervention (as in film credits) or, on an interactive device, be triggered by touchscreen or a keypress and continue without further intervention until a further user action, or be entirely controlled by input devices. Scrolling may take place in discrete increments (perhaps one or a few lines of text at a time), or continuously (smooth scrolling). Frame rate is the speed at which an entire image is redisplayed. It is related to scrolling in that changes to text and image position can only happen as often as the image can be redisplayed. When frame rate is a limiting factor, one smooth scrolling technique is to blur images during movement that would otherwise appear to "jump". == Computing == === Implementation === Scrolling is often carried out on a computer by the CPU (software scrolling) or by a graphics processor. Some systems feature hardware scrolling, where an image may be offset as it is displayed, without any frame buffer manipulation (see also hardware windowing). This was especially common in 8 and 16bit video game consoles. === UI paradigms === In a WIMP-style graphical user interface (GUI), user-controlled scrolling is carried out by manipulating a scrollbar with a mouse, or using keyboard shortcuts, often the arrow keys. Scrolling is often supported by text user interfaces and command line interfaces. Older computer terminals changed the entire contents of the display one screenful ("page") at a time; this paging mode requires fewer resources than scrolling. Scrolling displays often also support page mode. Typically certain keys or key combinations page up or down; on PC-compatible keyboards the page up and page down keys or the space bar are used; earlier computers often used control key combinations. Some computer mice have a scroll wheel, which scrolls the display, often vertically, when rolled; others have scroll balls or tilt wheels which allow both vertical and horizontal scrolling. Some software supports other ways of scrolling. Adobe Reader has a mode identified by a small hand icon ("hand tool") on the document, which can then be dragged by clicking on it and moving the mouse as if sliding a large sheet of paper. When this feature is implemented on a touchscreen it is called kinetic scrolling. Touch-screens often use inertial scrolling, in which the scrolling motion of an object continues in a decaying fashion after release of the touch, simulating the appearance of an object with inertia. An early implementation of such behavior was in the "Star7" PDA of Sun Microsystems ca. 1991–1992. Scrolling can be controlled in other software-dependent ways by a PC mouse. Some scroll wheels can be pressed down, functioning like a button. Depending on the software, this allows both horizontal and vertical scrolling by dragging in the direction desired; when the mouse is moved to the original position, scrolling stops. A few scroll wheels can also be tilted, scrolling horizontally in one direction until released. On touchscreen devices, scrolling is a multi-touch gesture, done by swiping a finger on the screen vertically in the direction opposite to where the user wants to scroll to. If any content is too wide to fit on a display, horizontal scrolling is required to view all of it. In applications such as graphics and spreadsheets there is often more content than can fit either the width or the height of the screen at a comfortable scale, and scrolling in both directions is necessary. === Infinite scrolling === In contrast to material divided into discrete pages, the web design approach of infinite scrolling dynamically adds new material to the user display, leading to a continuous, apparently bottomless or endless scrolling experience. === Text === In languages written horizontally, such as most Western languages, text documents longer than will fit on the screen are often displayed wrapped and sized to fit the screen width, and scrolled vertically to bring desired content into view. It is possible to display lines too long to fit the display without wrapping, scrolling horizontally to view each entire line. However, this requires inconvenient constant line-by-line scrolling, while vertical scrolling is only needed after reading a full screenful. Software such as word processors and web browsers normally uses word-wrapping to display as many words in a single line as will fit the width of the screen or window or, for text organised in columns, each column. === Demos === Scrolling texts, also referred to as scrolltexts or scrollers, played an important part in the birth of the computer demo culture. The software crackers often used their deep knowledge of computer platforms to transform the information that accompanied their releases into crack intros. The sole role of these intros was to scroll the text on the screen in an impressive way. == Film and television == Scrolling is commonly used to display the credits at the end of films and television programs. Scrolling is often used in the form of a news ticker towards the bottom of the picture for content such as television news, scrolling sideways across the screen, delivering short-form content. In the dynamic layout of kinetic typography, scrolling typography can scroll across the flat screen, or can appear to recede or advance. An iconic example is the Star Wars opening crawl inspired by the Flash Gordon serials. == Video games == In computer and video games, scrolling of a playing field allows the player to control an object in a large contiguous area. Early examples of this method include Taito's 1974 vertical-scrolling racing video game Speed Race, Sega's 1976 forward-scrolling racing games Moto-Cross (Fonz) and Road Race, and Super Bug. Previously the flip-screen method was used to indicate moving backgrounds. The Namco Galaxian arcade system board introduced with Galaxian in 1979 pioneered a sprite system that animated pre-loaded sprites over a scrolling background, which became the basis for Nintendo's Radar Scope and Donkey Kong arcade hardware and home consoles such as the Nintendo Entertainment System. Parallax scrolling, which was first featured in Moon Patrol, involves several semi-transparent layers (called playfields), which scroll on top of each other at varying rates in order to give an early pseudo-3D illusion of depth. Belt scrolling is a method used in side-scrolling beat 'em up games with a downward camera angle where players can move up and down in addition to left and right. == Studies == A 1993 article by George Fitzmaurice studied spatially aware palmtop computers. These devices had a 3D sensor, and moving the device caused the contents to move as if the contents were fixed in place. This interaction could be referred to as “moving to scroll.” Also, if the user moved the device away from their body, they would zoom in; conversely, the device would zoom out if the user pulled the device closer to them. Smartphone cameras and “optical flow” image analysis utilize this technique nowadays. A 1996 research paper by Jun Rekimoto analyzed tilting operations as scrolling techniques on small screen interfaces. Users could not only tilt to scroll, but also tilt to select menu items. These techniques proved especially useful for field workers, since they only needed to hold and control the device with one hand. A study from 2013 by Selina Sharmin, Oleg Špakov, and Kari-Jouko Räihä explored the action of reading text on a screen while the text auto-scrolls based on the user's eye tracking patterns. The control group simply read text on a screen and manually scrolled. The study found that participants preferred to read primarily at the top of the screen, so the screen scrolled down whenever participants’ eyes began to look toward the bottom of the screen. This auto-scrolling caused no statistically significant difference in reading speed or performance. An undated study occurring during or after 2010 by Dede Frederick, James Mohler, Mihaela Vorvoreanu, and Ronald Glotzbach noted that parallax scrolling "may cause certain people to experience nausea."
Joseph Stanislaus Ostoja-Kotkowski
Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio
Headway (app)
Headway, also known as the Headway App, is an educational technology (EdTech) product that provides short text and audio summaries of nonfiction books. The product was launched in 2019 by Anton Pavlovsky and is developed by Headway Inc, a global consumer tech company that operates in the lifelong learning space. == History == The Headway app was launched in January 2019, with the first version of the application released the same year. In 2021, Headway ranked first globally in downloads within the book summary application niche. In 2022, the application received the Golden Novum Design Award for product design. In 2023 and 2024, Headway appeared in several App Store editorial selections, including App of the Day in multiple countries, and received an Editors’ Choice label in the United States. In April 2025, the application was listed as a Webby Honoree in the Learning & Education category. The company has also launched the Headway Scholarship for Book Lovers. As of 2025, publicly available reporting notes that the Headway app has surpassed 50 million downloads and is among the Top 10 iOS applications by revenue in the Education category worldwide. == Products and features == The Headway app provides short-form summaries of nonfiction books in both text and audio formats. Content is produced by an in-house team of writers, editors, and voice actors. Features include highlighting and saving key insights, spaced repetition for knowledge retention, and offline access to downloaded summaries. The app is available on iOS, iPadOS, watchOS, Android, CarPlay, and Android Auto, and supports multiple languages. == Pricing == Headway operates on a subscription business model, with optional paid plans alongside free access. The company publicly provides its terms of use, privacy policy, subscription details, and AI usage policy on its official website. == Technology and integrations == Headway reports that its book summaries are written and edited manually, while artificial intelligence tools are used in limited supporting functions, such as experimental conversational features and selected marketing processes. == Adoption == According to figures released by the company, the app has exceeded 50 million downloads worldwide. Sensor Tower data indicates that Headway has been the most downloaded application in its niche since October 2020. In January 2025, the app claimed the #1 position in the Education category in both the United States and United Kingdom App Stores and remained among the Top 10 iOS applications globally by revenue within the Education category. == Awards == The Headway app has received several product-level distinctions. In 2023 and 2024, it appeared in multiple App Store editorial selections, including App of the Day features and an Editors’ Choice label in the United States. In 2025, the app was recognized as a Webby Honoree in the Learning & Education category. The product has also been featured in independent media roundups of notable educational applications.
Inductive programming
Inductive programming (IP) is a special area of automatic programming, covering research from artificial intelligence and programming, which addresses learning of typically declarative (logic or functional) and often recursive programs from incomplete specifications, such as input/output examples or constraints. Depending on the programming language used, there are several kinds of inductive programming. Inductive functional programming, which uses functional programming languages such as Lisp or Haskell, and most especially inductive logic programming, which uses logic programming languages such as Prolog and other logical representations such as description logics, have been more prominent, but other (programming) language paradigms have also been used, such as constraint programming or probabilistic programming. == Definition == Inductive programming incorporates all approaches which are concerned with learning programs or algorithms from incomplete (formal) specifications. Possible inputs in an IP system are a set of training inputs and corresponding outputs or an output evaluation function, describing the desired behavior of the intended program, traces or action sequences which describe the process of calculating specific outputs, constraints for the program to be induced concerning its time efficiency or its complexity, various kinds of background knowledge such as standard data types, predefined functions to be used, program schemes or templates describing the data flow of the intended program, heuristics for guiding the search for a solution or other biases. Output of an IP system is a program in some arbitrary programming language containing conditionals and loop or recursive control structures, or any other kind of Turing-complete representation language. In many applications the output program must be correct with respect to the examples and partial specification, and this leads to the consideration of inductive programming as a special area inside automatic programming or program synthesis, usually opposed to 'deductive' program synthesis, where the specification is usually complete. In other cases, inductive programming is seen as a more general area where any declarative programming or representation language can be used and we may even have some degree of error in the examples, as in general machine learning, the more specific area of structure mining or the area of symbolic artificial intelligence. A distinctive feature is the number of examples or partial specification needed. Typically, inductive programming techniques can learn from just a few examples. The diversity of inductive programming usually comes from the applications and the languages that are used: apart from logic programming and functional programming, other programming paradigms and representation languages have been used or suggested in inductive programming, such as functional logic programming, constraint programming, probabilistic programming, abductive logic programming, modal logic, action languages, agent languages and many types of imperative languages. == History == The early works of Plotkin, and his "relative least general generalization (rlgg)", had an enormous impact in inductive logic programming. There were some encouraging results on learning recursive Prolog programs such as quicksort from examples together with suitable background knowledge, for example with GOLEM. However, after initial success, the community got disappointed by limited progress about the induction of recursive programs with ILP less and less focusing on recursive programs and leaning more and more towards a machine learning setting with applications in relational data mining and knowledge discovery. In parallel to work in ILP, Koza proposed genetic programming in the early 1990s as a generate-and-test based approach to learning programs. The idea of genetic programming was further developed into the inductive programming system ADATE and the systematic-search-based system MagicHaskeller. Here again, functional programs are learned from sets of positive examples together with an output evaluation (fitness) function which specifies the desired input/output behavior of the program to be learned. The early work in grammar induction (also known as grammatical inference) is related to inductive programming, as rewriting systems or logic programs can be used to represent production rules. In fact, early works in inductive inference considered grammar induction and Lisp program inference as basically the same problem. The results in terms of learnability were related to classical concepts, such as identification-in-the-limit, as introduced in the seminal work of Gold. More recently, the language learning problem was addressed by the inductive programming community. In the recent years, the classical approaches have been resumed and advanced with great success. Therefore, the synthesis problem has been reformulated on the background of constructor-based term rewriting systems taking into account modern techniques of functional programming, as well as moderate use of search-based strategies and usage of background knowledge as well as automatic invention of subprograms. Many new and successful applications have recently appeared beyond program synthesis, most especially in the area of data manipulation, programming by example and cognitive modelling (see below). Other ideas have also been explored with the common characteristic of using declarative languages for the representation of hypotheses. For instance, the use of higher-order features, schemes or structured distances have been advocated for a better handling of recursive data types and structures; abstraction has also been explored as a more powerful approach to cumulative learning and function invention. One powerful paradigm that has been recently used for the representation of hypotheses in inductive programming (generally in the form of generative models) is probabilistic programming (and related paradigms, such as stochastic logic programs and Bayesian logic programming). == Application areas == The first workshop on Approaches and Applications of Inductive Programming (AAIP) Archived 2016-03-03 at the Wayback Machine held in conjunction with ICML 2005 identified all applications where "learning of programs or recursive rules are called for, [...] first in the domain of software engineering where structural learning, software assistants and software agents can help to relieve programmers from routine tasks, give programming support for end users, or support of novice programmers and programming tutor systems. Further areas of application are language learning, learning recursive control rules for AI-planning, learning recursive concepts in web-mining or for data-format transformations". Since then, these and many other areas have shown to be successful application niches for inductive programming, such as end-user programming, the related areas of programming by example and programming by demonstration, and intelligent tutoring systems. Other areas where inductive inference has been recently applied are knowledge acquisition, artificial general intelligence, reinforcement learning and theory evaluation, and cognitive science in general. There may also be prospective applications in intelligent agents, games, robotics, personalisation, ambient intelligence and human interfaces.
Play Integrity API
Play Integrity API (formerly known as SafetyNet) consists of several application programming interfaces (APIs) offered by the Google Play Services to support security sensitive applications and enforce DRM. Currently, these APIs include device integrity verification, app verification, recaptcha and web address verification. It uses an environment called DroidGuard to perform the attestation. == Attestation == The SafetyNet Attestation API, one of the APIs under the SafetyNet umbrella, provides verification that the integrity of the device is not compromised. In practice, non-official ROMs such as LineageOS fail the hardware attestation and thus prevent the user from using a non-compliant ROM with third-party apps (mainly banking) that require the API. Due to this, some consider this a monopolistic practice deterring the entrance of competing mobile operating systems in the market. It requires a network connection to Google servers and validates the hardware signatures. Amongst the checks, the API looks for bootloader unlock status, ROM signatures, kernel strings, it also uses AVB2.0 and dm-verity attestations. Upon successful checks, Google Play will mark the device as Certified. The attestation runs in an environment called DroidGuard (com.google.android.gms.unstable). The SafetyNet Attestation API (one of the four APIs under the SafetyNet umbrella) has been deprecated. As of 6 October 2023, Google planned to replace it with the Play Integrity API by the end of January 2025. The transition ended on 20 May 2025, breaking applications which hadn't been updated. These attestations are offered by Google Play Services and thus are not available on free Android environments, like AOSP. Therefore, developers can require the API to be available and may refuse to execute on AOSP builds. == Google Play Protect == Under the same umbrella, Play Protect is a mechanism to find and remove "vulnerable" apps from one's Android device as well as store apps. Although it's meant to scan for malware-containing apps, it also looks for non-DRM compliant apps. == Criticism == Multiple groups have criticised SafetyNet and the Play Integrity API. Criticisms include that it offers weaker protection compared to alternatives such as Android's hardware attestation API, which provides a stronger form of verification while having the ability to remain compatible with more secure Android operating systems like GrapheneOS. Critics argued it undermines competition by effectively requiring developers to rely on Google's proprietary services, strengthening its monopoly over the Android ecosystem and disadvantaging alternative, privacy-focused operating systems. Users have also developed tools, such as the Play Integrity Fix module for Magisk/KernelSU/APatch, which tricks the attestation using leaked fingerprints of vulnerable devices. Furthermore, some have questioned the effectiveness of the attestation, claiming it does not deliver the level of security promised by Google and instead serves more as a form of vendor lock-in than a meaningful security measure. Activists have also raised concerns that it may violate antitrust and competition laws, like the Digital Markets Act.