AI Art Is Real Art

AI Art Is Real Art — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Standard test image

  A standard test image is a digital image file used across different institutions to test image processing and image compression algorithms. By using the same standard test images, different labs are able to compare results, both visually and quantitatively. The images are in many cases chosen to represent natural or typical images that a class of processing techniques would need to deal with. Other test images are chosen because they present a range of challenges to image reconstruction algorithms, such as the reproduction of fine detail and textures, sharp transitions and edges, and uniform regions. == Historical origins == Test images as transmission system calibration material probably date back to the original Paris to Lyon pantelegraph link. Analogue fax equipment (and photographic equipment for the printing trade) were the largest user groups of the standardized image for calibration technology until the coming of television and digital image transmission systems. == Common test image resolutions == The standard resolution of the images is usually 512×512 or 720×576. Most of these images are available as TIFF files from the University of Southern California's Signal and Image Processing Institute. Kodak has released 768×512 images, available as PNGs, that was originally on Photo CD with higher resolution, that are widely used for comparing image compression techniques.

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  SCADA Strangelove

  SCADA Strangelove is an independent group of information security researchers founded in 2012, focused on security assessment of industrial control systems (ICS) and SCADA. == Activities == Main fields of research include: Discovery of 0-day vulnerabilities in cyber physical systems and coordinated vulnerability disclosure; Security assessment of ICS protocols and development suites; Identification of publicly Internet-connected ICS components and secure it with help of proper authorities; Development of security hardening guides for ICS software; Mapping cybersecurity on to functional safety; Awareness control and delivery of information regarding the actual security state of ICS systems. SCADA Strangelove's interests expand further than classic ICS components and covers various embedded systems, however, and encompass smart home components, solar panels, wind turbines, SmartGrid as well as other areas. == Projects == Group members have and continue to develop and publish numerous open source tools for scanning, fingerprinting, security evaluation and password bruteforcing for ICS devices. These devices work over industrial protocols such as modbus, Siemens S7, MMS, ISO EC 60870, ProfiNet. In 2014 Shodan used some of the published tools for building a map of ICS devices which is publicly available on the Internet. Open source security assessment frameworks, such as THC Hydra, Metasploit, and DigitalBond Redpoint have used Shodan-developed tools and techniques. The group has published security-hardening guidelines for industrial solutions based on Siemens SIMATIC WinCC and WinCC Flexible. The guidelines contain detailed security configuration walk-throughs, descriptions of internal security features and appropriate best practices. Among the group’s more noticeable projects is Choo Choo PWN (CCP) also named the Critical Infrastructure Attack (CIA). This is an interactive laboratory built upon ICS software and hardware used in real world. Every system is connected to a toy city infrastructure, which includes factories, railroads and other facilities. The laboratory has been demonstrated at various conferences including PHDays, Power of Community, and 30C3. Primarily the laboratory is used for the discovery of new vulnerabilities and for evaluation of security mechanisms, however it is also used for workshops and other educational activities. At Positive Hack Days IV, contestants found several 0-day vulnerabilities in Indusoft Web Studio 7.1 by Schneider Electric, and in specific ICS hardware RTU PET-7000 during the ICS vulnerability discovery challenge. The group supports Secure Open SmartGrid (SCADASOS) project to find and fix vulnerabilities in intellectual power grid components such as photovoltaic power station, wind turbine, power inverter. More than 80 000 industrial devices were discovered and isolated from the Internet in 2015. == Appearances == Group members are frequently seen presenting at conferences like CCC, SCADA Security Scientific Symposium, Positive Hack Days. Most notable talks are: === 29C3 === An overview of vulnerabilities discovered in the widely distributed Siemens SIMATIC WinCC software and tools that are implemented for searching ICS on the Internet. === PHDays === This talk consisted of an overview of vulnerabilities discovered in various systems produced by ABB, Emerson, Honeywell and Siemens and was presented at PHDays III and PHDays IV. === Confidence 2014 === Implications of security research aimed at realization of various industrial network protocols Profinet, Modbus, DNP3, IEC 61850-8-1 (MMS), IEC (International Electrotechnical Commission) 61870-5-101/104, FTE (Fault Tolerant Ethernet), Siemens S7. === PacSec 2014 === Presentations of security research showing the impact of radio and 3G/4G networks on the security of mobile devices as well as on industrial equipment. === 31C3 === Analysis of security architecture and implementation of the most wide spread platforms for wind and solar energy generation which produce many gigawatts of it. === 32C3 === Cybersecurity assessment of railway signaling systems such as Automatic Train Control (ATC), Computer-based interlocking (CBI) and European Train Control System (ETCS). === China Internet Security Conference 2016 === In "Greater China Cyber Threat Landscape" keynote by Sergey Gordeychik an overview of vulnerabilities, attacks and cyber-security incidents in Greater China region was presented. === Recon 2017 === In talk "Hopeless: Relay Protection for Substation Automation" by Kirill Nesterov and Alexander Tlyapov security analysis results of key Digital Substation component - Relay Protection Terminals was presented. Vulnerabilities, including remote code execution in Siemens SIPROTEC, General Electric Line Distance Relay, NARI and ABB protective relays was presented. == Philosophy == All names, catchwords and graphical elements refer to Stanley Kubrick’s film, Dr. Strangelove. In their talks, group members often refer to Cold War events such as the Caribbean Crisis, and draw parallels between nuclear arms race and the current escalation of cyberwar. Group members follow the approach of “responsible disclosure” and “ready to wait for years, while vendor is patching the vulnerability”. Public exploits for discovered vulnerabilities are not published. This is on account of the longevity of ICS and by implication the long process of patching ICS. However, conflicts still happen, notably in 2012 when the talk at DEF CON was called off due to a dispute of persistent weaknesses in Siemens industrial software.

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  Cybernetic Serendipity

  Cybernetic Serendipity was an exhibition of cybernetic art curated by Jasia Reichardt, shown at the Institute of Contemporary Arts, London, England, from 2 August to 20 October 1968, and then toured across the United States. Two stops in the United States were the Corcoran Annex (Corcoran Gallery of Art), Washington, D.C., from 16 July to 31 August 1969, and the newly opened Exploratorium in San Francisco, from 1 November to 18 December 1969. == Content == One part of the exhibition was concerned with algorithms and devices for generating music. Some exhibits were pamphlets describing the algorithms, whilst others showed musical notation produced by computers. Devices made musical effects and played tapes of sounds made by computers. Peter Zinovieff lent part of his studio equipment - visitors could sing or whistle a tune into a microphone and his equipment would improvise a piece of music based on the tune. Another part described computer projects such as Gustav Metzger's self-destructive Five Screens With Computer, a design for a new hospital, a computer programmed structure, and dance choreography. The machines and installations were a very noticeable part of the exhibition. Gordon Pask produced a collection of large mobiles (Colloquy of Mobiles (1968)) with interacting parts that let the viewers join in the conversation. Many machines formed kinetic environments or displayed moving images. Bruce Lacey contributed his radio-controlled robots and a light-sensitive owl. Nam June Paik was represented by Robot K-456 and televisions with distorted images. Jean Tinguely provided two of his painting machines. Edward Ihnatowicz's biomorphic hydraulic ear (Sound Activated Mobile (SAM, 1968)) turned toward sounds and John Billingsley's Albert 1967 turned to face light. Wen-Ying Tsai presented his interactive cybernetic sculptures of vibrating stainless-steel rods, stroboscopic light, and audio feedback control. Several artists exhibited machines that drew patterns that the visitor could take away, or involved visitors in games. Cartoonist Rowland Emett designed the mechanical computer Forget-me-not, which was commissioned by Honeywell. Another section explored the computer's ability to produce text - both essays and poetry. Different programs produced Haiku, children's stories, and essays. One of the first computer-generated poems, by Alison Knowles and James Tenney, was included in the exhibition and catalogue. Computer-generated movies were represented by John Whitney's Permutations and a Bell Labs movie on their technology for producing movies. Some samples included images of tesseracts rotating in four dimensions, a satellite orbiting the Earth, and an animated data structure. Computer graphics were also represented, including pictures produced on cathode ray oscilloscopes and digital plotters. There was a variety of posters and graphics demonstrating the power of computers to do complex (and apparently random) calculations. Other graphics showed a simulated Mondrian and the iconic decreasing squares spiral that appeared on the exhibition's poster and book. The Boeing Company exhibited their use of wireframe graphics. The innovative computer-generated sculpture, Quad 1, was displayed at the Cybernetic Serendipity exhibit. Created by the American abstract expressionist sculptor, Robert Mallary, in 1968, Quad 1 is widely believed to be the world's first Computer Aided Design sculpture. Keith Albarn & Partners contributed to the design of the exhibition. Reflecting the prominence of music in the show, a ten-track album Cybernetic Serendipity Music was released by the ICA to accompany the show. Artists featured included Iannis Xenakis, John Cage, and Peter Zinovieff, a detail of whose graphic score for 'Four Sacred April Rounds’ (1968) was used as the cover artwork. == Attendance == Time magazine noted that there had been 40,000 visitors to the London exhibition. Other reports suggested visitor numbers were as high as 44,000 to 60,000. However, the ICA did not accurately count visitors. == After-effects == The exhibition provided the energy for the formation of British Computer Arts Society which continued to explore the interaction between science, technology and art, and put on exhibitions (for example Event One at the Royal College of Art). Several pieces were purchased by the Exploratorium in 1971, some of which are on display to this day. In 2014 the ICA held a retrospective exhibition Cybernetic Serendipity: A Documentation which included documents, installation photographs, press reviews and publications and a series of discussions in one of which Peter Zinovieff took part. To coincide with the exhibition, Cybernetic Serendipity Music was re-released as a limited-edition vinyl LP by The Vinyl Factory. The Victoria and Albert Museum marked the 50th anniversary with an exhibition in 2018 entitled "Chance and Control: Art in the Age of Computers". The V&A exhibition included many works by artists who featured in the original ICA show, plus related ephemera. "Chance and Control" subsequently toured to Chester Visual Arts and Firstsite, Colchester. In 2020, The Centre Pompidou exhibited the replica of Gordon Pask's 1968 Colloquy of Mobiles, reproduced by Paul Pangaro and TJ McLeish in 2018. In 2022 the Australian National University's School of Cybernetics launched the school by presenting an exhibition Australian Cybernetic: a point through time. The exhibition included works from Cybernetic Serendipity (1968), Australia ‘75: Festival of Creative Arts and Science (1975), and contemporary pieces curated by the School of Cybernetics. In describing Reichardt's Cybernetic Serendipity exhibition the school stated that it "represented points of expanding the cybernetic imagination" and was a "ground-breaking" "glimpse of a future in which computers were entangled with people and cultures, and through this she fashioned a blueprint for the future of computing that has since inspired generations".

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  NAPLPS

  NAPLPS (North American Presentation Layer Protocol Syntax) is a graphics language for use originally with videotex and teletext services. NAPLPS was developed from the Telidon system developed in Canada, with a small number of additions from AT&T Corporation. The basics of NAPLPS were later used as the basis for several other microcomputer-based graphics systems. == History == The Canadian Communications Research Centre (CRC), based in Ottawa, had been working on various graphics systems since the late 1960s, much of it led by Herb Bown. Through the 1970s they turned their attention to building out a system of "picture description instructions", which encoded graphics commands as a text stream. Graphics were encoded as a series of instructions (graphics primitives) each represented by a single ASCII character. Graphic coordinates were encoded in multiple 6-bit strings of XY coordinate data, flagged to place them in the printable ASCII range so that they could be transmitted with conventional text transmission techniques. ASCII SI/SO characters were used to differentiate the text from graphic portions of a transmitted "page". These instructions were decoded by separate programs to produce graphics output, on a plotter for instance. Other work produced a fully interactive version. In 1975, the CRC gave a contract to Norpak to develop an interactive graphics terminal that could decode the instructions and display them on a color display. During this period, a number of companies were developing the first teletext systems, notably the BBC's Ceefax system. Ceefax encoded character data into the lines in the vertical blanking interval of normal television signals where they could not be seen on-screen, and then used a buffer and decoder in the user's television to convert these into "pages" of text on the display. The Independent Broadcasting Authority quickly introduced their own ORACLE system, and the two organizations subsequently agreed to use a single standard, the "Broadcast Teletext Specification". This later became World System Teletext. At about the same time, other organizations were developing videotex systems, similar to teletext except they used modems to transmit their data instead of television signals. This was potentially slower and used up a telephone line, but had the major advantage of allowing the user to transmit data back to the sender. The UK's General Post Office developed a system using the Ceefax/ORACLE standard, launching it as Prestel, while France prepared the first steps for its ultimately very successful Minitel system, using a rival display standard called Antiope. By 1977, the Norpak system was running, and from this work the CRC decided to create their own teletext/videotext system. Unlike the systems being rolled out in Europe, the CRC decided from the start that the system should be able to run on any combination of communications links. For instance, it could use the vertical blanking interval to send data to the user, and a modem to return selections to the servers. It could be used in a one-way or two-way system. In teletext mode, character codes were sent to users' televisions by encoding them as dot patterns in the vertical blanking interval of the video signal. Various technical "tweaks" and details of the NTSC signals used by North American televisions allowed the downstream videotex channel to increase to 600 bit/s, about twice that used in the European systems. In videotext mode, Bell 202 modems were typical, offering a 1,200 bit/s download rate. A set top box attached to the TV decoded these signals back into text and graphics pages, which the user could select among. The system was publicly launched as Telidon on August 15, 1978. Compared to the European standards, the CRC system was faster, bi-directional, and offered real graphics as opposed to simple character graphics. The downside of the system was that it required much more advanced decoders, typically featuring Zilog Z80 or Motorola 6809 processors with RGB and/or RF output. The Innovation, Science and Economic Development Canada (then Department of Communications) launched a four-year plan to fund public roll-outs of the technology in an effort to spur the development of a commercial Telidon system. AT&T Corporation was so impressed by Telidon that they decided to join the project. They added a number of useful extensions, notably the ability to define original graphics commands (macro) and character sets (DRCS). They also tabled algorithms for proportionally spaced text, which greatly improved the quality of the displayed pages. A joint CSA/ANSI working group (X3L2.1) revised the specifications, which were submitted for standardization. In 1983, they became CSA T500 and ANSI X3.110, or NAPLPS. The data encoding system was also standardized as the NABTS (North American Broadcast Teletext Specification) protocol. Business models for Telidon services were poorly developed. Unlike the UK, where teletext was supported by one of only two large companies whose whole revenue model was based on a read-only medium (television), in North America Telidon was being offered by companies who worked on a subscriber basis. == One-way systems == Telidon-based teletext was tested in a few North American trials in the early 1980s — CBC IRIS, TVOntario, MTS-sponsored Project IDA, to name a few. NAPLPS was also part of the NABTS teletext standard, for the encoding and display of teletext pages. In the late 1980s and early 1990s, affiliates of the regional sports network group SportsChannel ran a service called Sports Plus Network, which ran sports news and scores while SportsChannel was not otherwise on the air. The screens, which frequently featured team logos or likenesses of players in addition to text, were drawn entirely with NAPLPS graphics and resembled the loading of Prodigy pages over a modem, though slightly faster. == Two-way systems == Various two-way systems using NAPLPS appeared in North America in the early 1980s. The biggest North American examples were Knight Ridder's Viewtron (based in Miami) and the Los Angeles Times' Gateway service (based in Orange County). Both used the Sceptre NAPLPS terminal from AT&T. The Sceptre contained a slow modem that connected over the consumer's telephone line to host computers. The Sceptre was expensive whether purchased or rented. Despite huge investments by their parent companies, neither Viewtron nor Gateway lasted into the second half of the decade. Another system, Keyfax, was developed by Keycom Electronic Publishing, a joint venture of Honeywell, Centel (since acquired by Sprint) and Field Enterprises, then-owner of the Chicago Sun-Times newspaper. Keyfax had originally been a WST teletext service, broadcast overnights on Field's Chicago television station WFLD-32 and through the VBI of both WFLD and national superstation WTBS; the decision was made to convert Keyfax into a subscription service, using a proprietary NAPLPS terminal device in a last-ditch effort to save the service. It did not work and Keyfax had ceased operations by the end of 1986. Other early-1980s NAPLPS technology was deployed in Canada, both as a way for rural Canadians to get news and weather information and as the platform for touchscreen information kiosks. In Vancouver these were featured at Expo 86. The kiosks became ubiquitous in Toronto under the name Teleguide, and were deployed in many shopping centres and at major tourist attractions. The latter city was the North American nexus of NAPLPS and the home of Norpak, the most successful of NAPLPS-oriented developers. Norpak created and sold hardware and software for NAPLPS development and display. TVOntario also developed NAPLPS content creation software. London, Ontario - based Cableshare used NAPLPS as the basis of touch-screen information kiosks for shopping malls, the flagship of which was deployed at Toronto's Eaton Centre. The system relied on an 8085-based microcomputer which drove several NAPLPS terminals fitted with touch screens, all communicating via Datapac to a back end database. The system offered news, weather and sports information along with shopping mall guides and coupons. Cableshare also developed and sold a leading NAPLPS page creation utility called the "Picture Painter." In the late 1980s, Tribune Media Services (TMS) and the Associated Press operated a cable television channel called AP News Plus that provided NAPLPS-based news screens to cable television subscribers in many U.S. cities. The news pages were created and edited by TMS staffers working on an Atex editing system in Orlando, Florida, and sent by satellite to NAPLPS decoder devices located at the local cable television companies. Among the firms providing technology to TMS and the Associated Press for the AP News Plus channel was Minneapolis-based Electronic Publishers Inc. (1985–1988). In 1981, two amateur radio operators (VE3FTT and VE3GQW) received special permission from the Canad

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  Condensation algorithm

  The condensation algorithm (Conditional Density Propagation) is a computer vision algorithm. The principal application is to detect and track the contour of objects moving in a cluttered environment. Object tracking is one of the more basic and difficult aspects of computer vision and is generally a prerequisite to object recognition. Being able to identify which pixels in an image make up the contour of an object is a non-trivial problem. Condensation is a probabilistic algorithm that attempts to solve this problem. The algorithm itself is described in detail by Isard and Blake in a publication in the International Journal of Computer Vision in 1998. One of the most interesting facets of the algorithm is that it does not compute on every pixel of the image. Rather, pixels to process are chosen at random, and only a subset of the pixels end up being processed. Multiple hypotheses about what is moving are supported naturally by the probabilistic nature of the approach. The evaluation functions come largely from previous work in the area and include many standard statistical approaches. The original part of this work is the application of particle filter estimation techniques. The algorithm's creation was inspired by the inability of Kalman filtering to perform object tracking well in the presence of significant background clutter. The presence of clutter tends to produce probability distributions for the object state which are multi-modal and therefore poorly modeled by the Kalman filter. The condensation algorithm in its most general form requires no assumptions about the probability distributions of the object or measurements. == Algorithm overview == The condensation algorithm seeks to solve the problem of estimating the conformation of an object described by a vector x t {\displaystyle \mathbf {x_{t}} } at time t {\displaystyle t} , given observations z 1 , . . . , z t {\displaystyle \mathbf {z_{1},...,z_{t}} } of the detected features in the images up to and including the current time. The algorithm outputs an estimate to the state conditional probability density p ( x t | z 1 , . . . , z t ) {\displaystyle p(\mathbf {x_{t}} |\mathbf {z_{1},...,z_{t}} )} by applying a nonlinear filter based on factored sampling and can be thought of as a development of a Monte-Carlo method. p ( x t | z 1 , . . . , z t ) {\displaystyle p(\mathbf {x_{t}} |\mathbf {z_{1},...,z_{t}} )} is a representation of the probability of possible conformations for the objects based on previous conformations and measurements. The condensation algorithm is a generative model since it models the joint distribution of the object and the observer. The conditional density of the object at the current time p ( x t | z 1 , . . . , z t ) {\displaystyle p(\mathbf {x_{t}} |\mathbf {z_{1},...,z_{t}} )} is estimated as a weighted, time-indexed sample set { s t ( n ) , n = 1 , . . . , N } {\displaystyle \{s_{t}^{(n)},n=1,...,N\}} with weights π t ( n ) {\displaystyle \pi _{t}^{(n)}} . N is a parameter determining the number of sample sets chosen. A realization of p ( x t | z 1 , . . . , z t ) {\displaystyle p(\mathbf {x_{t}} |\mathbf {z_{1},...,z_{t}} )} is obtained by sampling with replacement from the set s t {\displaystyle s_{t}} with probability equal to the corresponding element of π t {\displaystyle \pi _{t}} . The assumptions that object dynamics form a temporal Markov chain and that observations are independent of each other and the dynamics facilitate the implementation of the condensation algorithm. The first assumption allows the dynamics of the object to be entirely determined by the conditional density p ( x t | x t − 1 ) {\displaystyle p(\mathbf {x_{t}} |\mathbf {x_{t-1}} )} . The model of the system dynamics determined by p ( x t | x t − 1 ) {\displaystyle p(\mathbf {x_{t}} |\mathbf {x_{t-1}} )} must also be selected for the algorithm, and generally includes both deterministic and stochastic dynamics. The algorithm can be summarized by initialization at time t = 0 {\displaystyle t=0} and three steps at each time t: === Initialization === Form the initial sample set and weights by sampling according to the prior distribution. For example, specify as Gaussian and set the weights equal to each other. === Iterative procedure === Sample with replacement N {\displaystyle N} times from the set { s 0 ( n ) , n = 1 , . . . , N } {\displaystyle \{s_{0}^{(n)},n=1,...,N\}} with probability { π 0 ( n ) , n = 1 , . . . , N } {\displaystyle \{\pi _{0}^{(n)},n=1,...,N\}} to generate a realization of p ( x t | z 1 , . . . , z t ) {\displaystyle p(\mathbf {x_{t}} |\mathbf {z_{1},...,z_{t}} )} . Apply the learned dynamics p ( x t | x t − 1 ) {\displaystyle p(\mathbf {x_{t}} |\mathbf {x_{t-1}} )} to each element of this new set, to generate a new set { s t ( n ) } {\displaystyle \{s_{t}^{(n)}\}} . To take into account the current observation z t {\displaystyle \mathbf {z_{t}} } , set π t ( n ) = p ( z t | s ( n ) ) ∑ j = 1 N p ( z t | s ( j ) ) {\displaystyle \pi _{t}^{(n)}={\frac {p(\mathbf {z_{t}} |s^{(n)})}{\sum _{j=1}^{N}p(\mathbf {z_{t}} |s^{(j)})}}} for each element { s t ( n ) } {\displaystyle \{s_{t}^{(n)}\}} . This algorithm outputs the probability distribution p ( x t | z 1 , . . . , z t ) {\displaystyle p(\mathbf {x_{t}} |\mathbf {z_{1},...,z_{t}} )} which can be directly used to calculate the mean position of the tracked object, as well as the other moments of the tracked object. Cumulative weights can instead be used to achieve a more efficient sampling. == Implementation considerations == Since object-tracking can be a real-time objective, consideration of algorithm efficiency becomes important. The condensation algorithm is relatively simple when compared to the computational intensity of the Ricatti equation required for Kalman filtering. The parameter N {\displaystyle N} , which determines the number of samples in the sample set, will clearly hold a trade-off in efficiency versus performance. One way to increase efficiency of the algorithm is by selecting a low degree of freedom model for representing the shape of the object. The model used by Isard 1998 is a linear parameterization of B-splines in which the splines are limited to certain configurations. Suitable configurations were found by analytically determining combinations of contours from multiple views, of the object in different poses, and through principal component analysis (PCA) on the deforming object. Isard and Blake model the object dynamics p ( x t | x t − 1 ) {\displaystyle p(\mathbf {x_{t}} |\mathbf {x_{t-1}} )} as a second order difference equation with deterministic and stochastic components: p ( x t | x t − 1 ) ∝ e − 1 2 | | B − 1 ( ( x t − x ¯ ) − A ( x t − 1 − x ¯ ) ) | | 2 ) {\displaystyle p(\mathbf {x_{t}} |\mathbf {x_{t-1}} )\propto e^{-{\frac {1}{2}}||B^{-1}((\mathbf {x_{t}} -\mathbf {\bar {x}} )-A(\mathbf {x_{t-1}} -\mathbf {\bar {x}} ))||^{2})}} where x ¯ {\displaystyle \mathbf {\bar {x}} } is the mean value of the state, and A {\displaystyle A} , B {\displaystyle B} are matrices representing the deterministic and stochastic components of the dynamical model respectively. A {\displaystyle A} , B {\displaystyle B} , and x ¯ {\displaystyle \mathbf {\bar {x}} } are estimated via Maximum Likelihood Estimation while the object performs typical movements. The observation model p ( z | x ) {\displaystyle p(\mathbf {z} |\mathbf {x} )} cannot be directly estimated from the data, requiring assumptions to be made in order to estimate it. Isard 1998 assumes that the clutter which may make the object not visible is a Poisson random process with spatial density λ {\displaystyle \lambda } and that any true target measurement is unbiased and normally distributed with standard deviation σ {\displaystyle \sigma } . The basic condensation algorithm is used to track a single object in time. It is possible to extend the condensation algorithm using a single probability distribution to describe the likely states of multiple objects to track multiple objects in a scene at the same time. Since clutter can cause the object probability distribution to split into multiple peaks, each peak represents a hypothesis about the object configuration. Smoothing is a statistical technique of conditioning the distribution based on both past and future measurements once the tracking is complete in order to reduce the effects of multiple peaks. Smoothing cannot be directly done in real-time since it requires information of future measurements. == Applications == The algorithm can be used for vision-based robot localization of mobile robots. Instead of tracking the position of an object in the scene, however, the position of the camera platform is tracked. This allows the camera platform to be globally localized given a visual map of the environment. Extensions of the condensation algorithm have also been used to recognize human gestures in image sequences. This application of the condensation algorithm impacts the ran

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  Texture compression

  Texture compression is a specialized form of image compression designed for storing texture maps in 3D computer graphics rendering systems. Unlike conventional image compression algorithms, texture compression algorithms are optimized for random access. Texture compression can be applied to reduce memory usage at runtime. Texture data is often the largest source of memory usage in a mobile application. == Tradeoffs == In their seminal paper on texture compression, Beers, Agrawala and Chaddha list four features that tend to differentiate texture compression from other image compression techniques. These features are: Decoding Speed It is highly desirable to be able to render directly from the compressed texture data and so, in order not to impact rendering performance, decompression must be fast. Random Access Since predicting the order that a renderer accesses texels would be difficult, any texture compression scheme must allow fast random access to decompressed texture data. This tends to rule out many better-known image compression schemes such as JPEG or run-length encoding. Compression Rate and Visual Quality In a rendering system, lossy compression can be more tolerable than for other use cases. Some texture compression libraries, such as crunch, allow the developer to flexibly trade off compression rate vs. visual quality, using methods such as rate–distortion optimization (RDO). Encoding Speed Texture compression is more tolerant of asymmetric encoding/decoding rates as the encoding process is often done only once during the application authoring process. Given the above, most texture compression algorithms involve some form of fixed-rate lossy vector quantization of small fixed-size blocks of pixels into small fixed-size blocks of coding bits, sometimes with additional extra pre-processing and post-processing steps. Block Truncation Coding is a very simple example of this family of algorithms. Because their data access patterns are well-defined, texture decompression may be executed on-the-fly during rendering as part of the overall graphics pipeline, reducing overall bandwidth and storage needs throughout the graphics system. As well as texture maps, texture compression may also be used to encode other kinds of rendering map, including bump maps and surface normal maps. Texture compression may also be used together with other forms of map processing such as mipmaps and anisotropic filtering. == Availability == Some examples of practical texture compression systems are S3 Texture Compression (S3TC), PVRTC, Ericsson Texture Compression (ETC) and Adaptive Scalable Texture Compression (ASTC); these may be supported by special function units in modern graphics processing units (GPUs). OpenGL and OpenGL ES, as implemented on many video accelerator cards and mobile GPUs, can support multiple common kinds of texture compression - generally through the use of vendor extensions. == Supercompression == A compressed-texture can be further compressed in what is called "supercompression". Fixed-rate texture compression formats are optimized for random access and are much less efficient compared to image formats such as PNG. By adding further compression, a programmer can reduce the efficiency gap. The extra layer can be decompressed by the CPU so that the GPU receives a normal compressed texture, or in newer methods, decompressed by the GPU itself. Supercompression saves the same amount of VRAM as regular texture compression, but saves more disk space and download size. == Neural Texture Compression == Random-Access Neural Compression of Material Textures (Neural Texture Compression) is a Nvidia's technology which enables two additional levels of detail (16× more texels, so four times higher resolution) while maintaining similar storage requirements as traditional texture compression methods. The key idea is compressing multiple material textures and their mipmap chains together, and using a small neural network, that is optimized for each material, to decompress them.

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  Datasource

  A datasource or DataSource is a name given to the connection set up to a database from a server. The name is commonly used when creating a query to the database. The data source name (DSN) need not be the same as the filename for the database. For example, a database file named friends.mdb could be set up with a DSN of school. Then DSN school would be used to refer to the database when performing a query. == Sun's version of DataSource [1] == A factory for connections to the physical data source that this DataSource object represents. An alternative to the DriverManager facility, a DataSource object is the preferred means of getting a connection. An object that implements the DataSource interface will typically be registered with a naming service based on the Java Naming and Directory Interface (JNDI) API. The DataSource interface is implemented by a driver vendor. There are three types of implementations: Basic implementation — produces a standard Connection object Connection pooling implementation — produces a Connection object that will automatically participate in connection pooling. This implementation works with a middle-tier connection pooling manager. Distributed transaction implementation — produces a Connection object that may be used for distributed transactions and almost always participates in connection pooling. This implementation works with a middle-tier transaction manager and almost always with a connection pooling manager. A DataSource object has properties that can be modified when necessary. For example, if the data source is moved to a different server, the property for the server can be changed. The benefit is that because the data source's properties can be changed, any code accessing that data source does not need to be changed. A driver that is accessed via a DataSource object does not register itself with the DriverManager. Rather, a DataSource object is retrieved through a lookup operation and then used to create a Connection object. With a basic implementation, the connection obtained through a DataSource object is identical to a connection obtained through the DriverManager facility. == Sun's DataSource Overview [2] == A DataSource object is the representation of a data source in the Java programming language. In basic terms, a data source is a facility for storing data. It can be as sophisticated as a complex database for a large corporation or as simple as a file with rows and columns. A data source can reside on a remote server, or it can be on a local desktop machine. Applications access a data source using a connection, and a DataSource object can be thought of as a factory for connections to the particular data source that the DataSource instance represents. The DataSource interface provides two methods for establishing a connection with a data source. Using a DataSource object is the preferred alternative to using the DriverManager for establishing a connection to a data source. They are similar to the extent that the DriverManager class and DataSource interface both have methods for creating a connection, methods for getting and setting a timeout limit for making a connection, and methods for getting and setting a stream for logging. Their differences are more significant than their similarities, however. Unlike the DriverManager, a DataSource object has properties that identify and describe the data source it represents. Also, a DataSource object works with a Java Naming and Directory Interface (JNDI) naming service and can be created, deployed, and managed separately from the applications that use it. A driver vendor will provide a class that is a basic implementation of the DataSource interface as part of its Java Database Connectivity (JDBC) 2.0 or 3.0 driver product. What a system administrator does to register a DataSource object with a JNDI naming service and what an application does to get a connection to a data source using a DataSource object registered with a JNDI naming service are described later in this chapter. Being registered with a JNDI naming service gives a DataSource object two major advantages over the DriverManager. First, an application does not need to hardcode driver information, as it does with the DriverManager. A programmer can choose a logical name for the data source and register the logical name with a JNDI naming service. The application uses the logical name, and the JNDI naming service will supply the DataSource object associated with the logical name. The DataSource object can then be used to create a connection to the data source it represents. The second major advantage is that the DataSource facility allows developers to implement a DataSource class to take advantage of features like connection pooling and distributed transactions. Connection pooling can increase performance dramatically by reusing connections rather than creating a new physical connection each time a connection is requested. The ability to use distributed transactions enables an application to do the heavy duty database work of large enterprises. Although an application may use either the DriverManager or a DataSource object to get a connection, using a DataSource object offers significant advantages and is the recommended way to establish a connection. Since 1.4 Since Java EE 6 a JNDI-bound DataSource can alternatively be configured in a declarative way directly from within the application. This alternative is particularly useful for self-sufficient applications or for transparently using an embedded database. == Yahoo's version of DataSource [3] == A DataSource is an abstract representation of a live set of data that presents a common predictable API for other objects to interact with. The nature of your data, its quantity, its complexity, and the logic for returning query results all play a role in determining your type of DataSource. For small amounts of simple textual data, a JavaScript array is a good choice. If your data has a small footprint but requires a simple computational or transformational filter before being displayed, a JavaScript function may be the right approach. For very large datasets—for example, a robust relational database—or to access a third-party webservice you'll certainly need to leverage the power of a Script Node or XHR DataSource.

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  Joseph Stanislaus Ostoja-Kotkowski

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

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  Ultra Hal

  Ultra Hal is a chatbot intended to function as a virtual assistant. It was developed by Zabaware, Inc. Ultra Hal uses a natural language interface with animated characters using speech synthesis. Users can communicate with the chatterbot via typing or via a speech recognition engine. It utilizes the WordNet lexical dictionary. Its name is an allusion to HAL 9000, the artificial intelligence from the movie 2001: A Space Odyssey. Ultra Hal won the 2007 Loebner Prize for "most human" chatterbot.

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  Computer Law & Security Review

  The Computer Law & Security Review is an international peer-reviewed journal published by Elsevier. It has been published six times a year since 1985 and is indexed in Scopus and SSCI. It is accessible to a wide range of professional legal and IT practitioners, businesses, academics, researchers, libraries and organisations in both the public and private sectors. The journal regularly covers: CLSR Briefing with special emphasis on UK/US developments European Union update National news from 10 European jurisdictions Pacific rim news column Refereed practitioner and academic papers on topics such as Web 2.0, IT security, Identity management, ID cards, RFID, interference with privacy, Internet law, telecoms regulation, online broadcasting, intellectual property, software law, e-commerce, outsourcing, data protection and freedom of information and many other topics. The Journal's Correspondent Panel includes more than 40 specialists in IT law and security. Each issue contains articles, case law analysis and current news on information and communications technology. Special Features High quality peer reviewed papers from internationally renowned practitioner and academic experts Latest developments reported in situ by more than 20 leading law firms from around the world Highly experienced and respected editor and correspondents panel Online access to all 23 volumes of CLSR with embedded web links to primary sources Contact details of all authors A pool of expertise that can collectively identify the key topics that need to be examined.

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  List of color palettes

  The following is a list that contains color palettes for notable computer graphics, terminals and video game consoles. Only a simulated image using a palette and its name are given. Main articles are linked from the name of each palette, test charts, sample colours, simulated images, and further technical details (including references). During older eras of computing, manufacturers developed many different display systems often in a competitive, non-collaborative basis (with a few exceptions in the VESA consortium), creating many proprietary, non-standard different instances of display hardware. Often, as with early personal and home computers, a given machine employed its unique display subsystem, also with its unique color palette. Furthermore, software developers had made use of the color abilities of distinct display systems in many different ways. The result is that there is no single common standard nomenclature or classification taxonomy which can encompass every computer color palette. In order to organize the material, color palettes have been grouped following certain criteria. First, generic monochrome and full RGB repertories common to various computer display systems are listed. Then, usual color repertories used for display systems that employ indexed color techniques. And finally, specific manufacturers' color palettes implemented in many representative early personal computers and video game consoles of various brands. The list for personal computer palettes is split into two categories: 8-bit and 16-bit machines. This is not intended as a true strict categorization of such machines, because mixed architectures also exist (16-bit processors with an 8-bit data bus or 32-bit processors with a 16-bit data bus, among others). The distinction is based more on broad 8-bit and 16-bit computer ages or generations (around 1975–1985 and 1985–1995, respectively) and their associated state of the art in color display capabilities. The following is the common color test chart and sample image used to render each palette in this list: See further details in the summary paragraph of the corresponding article. == List of monochrome and RGB palettes == In this article, the term monochrome palette means a set of intensities for a monochrome display, and the term RGB palette is defined as the complete set of combinations a given RGB display can offer by mixing all the possible intensities of the red, green, and blue primaries available in its hardware. These are generic complete repertories of colors to produce black and white and RGB color pictures by the display hardware, not necessarily the total number of such colors that can be simultaneously displayed in a given text or graphic mode of any machine. RGB is the most common method to produce colors for displays; so these complete RGB color repertories have every possible combination of R-G-B triplets within any given maximum number of levels per component. For specific hardware and different methods to produce colors than RGB, see the List of computer hardware palettes and the List of video game consoles sections. For various software arrangements and sorts of colors, including other possible full RGB arrangements within 8-bit depth displays, see the List of software palettes section. === Monochrome palettes === These palettes only have shades of gray. === Dichrome palettes === Each permuted pair of red, green, and blue (16-bit color palette, with 65,536 colors). For example, "additive red green" has zero blue and "subtractive red green" has full blue. === Regular RGB palettes === These full RGB palettes employ the same number of bits to store the relative intensity for the red, green and blue components of every image's pixel color. Thus, they have the same number of levels per channel and the total number of possible colors is always the cube of a power of two. It should be understood that 'when developed' many of these formats were directly related to the size of some host computers 'natural word length' in bytes—the amount of memory in bits held by a single memory address such that the CPU can grab or put it in one operation. === Non-regular RGB palettes === These are also RGB palettes, in the sense defined above (except for 4-bit RGBI, which has an intensity bit that affects all channels at once), but either they do not have the same number of levels for each primary channel, or the numbers are not powers of two, so are not represented as separate bit fields. All of these have been used in popular personal computers. == List of software palettes == Systems that use a 4-bit or 8-bit pixel depth can display up to 16 or 256 colors simultaneously. Many personal computers in the later 1980s and early 1990s displayed at most 256 different colors, freely selected by software (either by the user or by a program) from their wider hardware's color palette. Usual selections of colors in limited subsets (generally 16 or 256) of the full palette includes some RGB level arrangements commonly used with the 8 bpp palettes as master palettes or universal palettes (i.e., palettes for multipurpose uses). These are some representative software palettes, but any selection can be made in such types of systems. === System specific palettes === These are selections of colors officially employed as system palettes in some popular operating systems for personal computers that feature 8-bit displays. === RGB arrangements === These are selections of colors based on evenly ordered RGB levels, mainly used as master palettes to display any kind of image within the limitations of the 8-bit pixel depth. === Other common uses of software palettes === == List of computer hardware palettes == In old personal computers and terminals that offered color displays, some color palettes were chosen algorithmically to provide the most diverse set of colors for a given palette size, and others were chosen to assure the availability of certain colors. In many early home computers, especially when the palette choices were determined at the hardware level by resistor combinations, the palette was determined by the manufacturer. Many early models output composite video colors. When seen on TV devices, the perception of the colors may not correspond with the value levels for the color values employed (most noticeable with NTSC TV color system). For current RGB display systems for PCs (Super VGA, etc.), see the 16-bit RGB and 24-bit RGB for High Color (thousands) and True Color (millions of colors) modes. For video game consoles, see the List of video game consoles section. For every model, their main different graphical color modes are listed based exclusively in the way they handle colors on screen, not all their different screen modes. The list is organized roughly historically by video hardware, not by branch. They are listed according to the original model of each system, which means that extended versions, clones, and compatibles also support the original palette. === Terminals and 8-bit machines === === 16-bit machines === === Video game console palettes === Color palettes of some of the most popular video game consoles. The criteria are the same as those of the List of computer hardware palettes section.

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  Blitter object

  A blitter object (Bob) is a graphical element (GEL) used by the Amiga computer. Bobs are hardware sprite-like objects, movable on the screen with the help of the blitter coprocessor. == Overview == The AmigaOS GEL system consists of VSprites, Bobs, AnimComps (animation components) and AnimObs (animation objects), each extending the preceding with additional functionality. While VSprites are a virtualization of hardware sprites Bobs are drawn into a playfield by the blitter, saving and restoring the background of the GEL as required. The Bob with the highest video priority is the last one to be drawn, which makes it appear to be in front of all other Bobs. In contrast to hardware sprites Bobs are not limited in size and number. Bobs require more processing power than sprites, because they require at least one DMA memory copy operation to draw them on the screen. Sometimes three distinct memory copy operations are needed: one to save the screen area where the Bob would be drawn, one to actually draw the Bob, and one later to restore the screen background when the Bob moves away. An AnimComp adds animation to a Bob and an AnimOb groups AnimComps together and assigns them velocity and acceleration.

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  Gallery software

  Gallery software is software that helps the user publish or share photos, pictures, videos or other digital media. Most galleries are located on Web servers, where users are allowed to register and publish their pictures. Gallery software usually features automatic image resizing, allows digital media be categorized into sets, and allows comments. == Types == Early digital media publishing and sharing was done with imageboards. The boards are by topics, sometimes called "chan". Each discussion in a "chan" are started with a piece of digital media, and follow-up discussions can contain another piece too. Software works in this way: Futallaby, Danbooru. Traditionally, galleries are managed. An administrator maintains a set of or hierarchy of albums. The users can upload their digital media in one of the existing albums defined by an administrator, or create their own albums. The users with sufficient permission can re-categorise the digital media others uploaded. Often, the site's administrator can define which album the users are allowed to categorise their media into, or delete other user's content. Examples are open source galleries Coppermine, Gallery Project. There are decentralised gallery software that does not have an administrator for managing contents. Pinterest, Flickr and DeviantArt has been successful with this model. Open source gallery software MediaGoblin works in this way. Each user can create their own "collections", to categorise theirs or other users' media. However users cannot put media into other user's collections. Each user's category is separate. There is no centralised theme or hierarchy for the media.

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  Viewport

  A viewport is a polygon viewing region in computer graphics. In computer graphics theory, there are two region-like notions of relevance when rendering some objects to an image. In textbook terminology, the world coordinate window is the area of interest (meaning what the user wants to visualize) in some application-specific coordinates, e.g. miles, centimeters etc. The word window as used here should not be confused with the GUI window, i.e. the notion used in window managers. Rather it is an analogy with how a window limits what one can see outside a room. In contrast, the viewport is an area (typically rectangular) expressed in rendering-device-specific coordinates, e.g. pixels for screen coordinates, in which the objects of interest are going to be rendered. Clipping to the world-coordinates window is usually applied to the objects before they are passed through the window-to-viewport transformation. For a 2D object, the latter transformation is simply a combination of translation and scaling, the latter not necessarily uniform. An analogy of this transformation process based on traditional photography notions is to equate the world-clipping window with the camera settings and the variously sized prints that can be obtained from the resulting film image as possible viewports. Because the physical-device-based coordinates may not be portable from one device to another, a software abstraction layer known as normalized device coordinates is typically introduced for expressing viewports; it appears for example in the Graphical Kernel System (GKS) and later systems inspired from it. In 3D computer graphics, the viewport refers to the 2D rectangle used to project the 3D scene to the position of a virtual camera. A viewport is a region of the screen used to display a portion of the total image to be shown. In virtual desktops, the viewport is the visible portion of a 2D area which is larger than the visualization device. When viewing a document in a web browser, the viewport is the region of the browser window which contains the visible portion of the document. If the size of the viewport changes, for example as a result of the user resizing the browser window, then the browser may reflow the document (recalculate the locations and sizes of elements of the document). If the document is larger than the viewport, the user can control the portion of the document which is visible by scrolling in the viewport.

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  Resilience week

  Resilience week is an annual symposium established to enable cross-disciplinary and role based discussions to advance strategies and research that engenders resilience in critical infrastructure systems and communities. Damaging storms, cyber attack and the interconnection of critical infrastructure systems can lead to cascading events that not only affect local but also across regions. However, many of these interdependencies are not easily recognized and obscure and complicate the mitigation of risk. The purpose of the symposia series is hence to facilitate best practice in managing critical infrastructure risks, by bringing together businesses, government and researchers. == Background == Originally organized in 2008 as a focus on the new research area of resilient control systems, including the disciplinary areas of control system, cyber-security, cognitive psychology and any number of critical infrastructure domains. Resilience has long been recognized as an area that requires not only the contributions of multiple disciplines or multidisciplinary participation, but interdisciplinary interaction where there is a common language and familiarity of the contributors to what other disciplines (and roles) contribute. The resulting interactions developed by Resilience Week and associated activities are intended to culture this sharing environment as a safe zone for inclusion; more importantly, an environment that lends to developing the new science and practice. As the attributes of resilience are complex, the contributions and topics for the event have included both the disciplinary and the project considerations, in keynotes, panels and research presentations. Keynotes have included senior leadership in the Department of Energy, Department of Defense, Department of Homeland Security, the National Science Foundation, and other agencies in addition to National Academy and professional organization fellows and senior industry leaders. Project panels and research presentations include emergent topics in resilience to climate change, cyber attack, damaging storms and the energy assurance. Topics Areas of focus have included: Control Systems Cyber Systems Cognitive Systems Communications Systems Communities and Infrastructure Project Focus Areas have included: Dependencies and Interdependencies Cyber Resilience for Operating Technology Commercializing Research and Development Building Critical Infrastructure Resilience through Distributed Energy Resources Energy Equity and Community Resilience Proceedings are developed for each year of the event, documenting the diversity of the research and engagements within these topical areas. == Impacts for the future == Since its inception, the Resilience Week community has evolved from one that primarily included only university researchers to one that includes many government laboratories, universities and private industries in the US and internationally. This type of collaboration forms a feedback loop that informs the research with the current needs and hones best practices. The future of the event is to further advance discussions that advance investment, recognize priorities and expedite technologies and tools to proactively address our energy future, in light of the natural and manmade challenges, and rationalizing the complex relationships that exist in critical infrastructure.

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