AI Detector Yang Dipakai Dosen

AI Detector Yang Dipakai Dosen — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Actor-critic algorithm

    Actor-critic algorithm

    The actor-critic algorithm (AC) is a family of reinforcement learning (RL) algorithms that combine policy-based RL algorithms such as policy gradient methods, and value-based RL algorithms such as value iteration, Q-learning, SARSA, and TD learning. An AC algorithm consists of two main components: an "actor" that determines which actions to take according to a policy function, and a "critic" that evaluates those actions according to a value function. Some AC algorithms are on-policy, some are off-policy. Some apply to either continuous or discrete action spaces. Some work in both cases. == Overview == The actor-critic methods can be understood as an improvement over pure policy gradient methods like REINFORCE via introducing a baseline. === Actor === The actor uses a policy function π ( a | s ) {\displaystyle \pi (a|s)} , while the critic estimates either the value function V ( s ) {\displaystyle V(s)} , the action-value Q-function Q ( s , a ) , {\displaystyle Q(s,a),} the advantage function A ( s , a ) {\displaystyle A(s,a)} , or any combination thereof. The actor is a parameterized function π θ {\displaystyle \pi _{\theta }} , where θ {\displaystyle \theta } are the parameters of the actor. The actor takes as argument the state of the environment s {\displaystyle s} and produces a probability distribution π θ ( ⋅ | s ) {\displaystyle \pi _{\theta }(\cdot |s)} . If the action space is discrete, then ∑ a π θ ( a | s ) = 1 {\displaystyle \sum _{a}\pi _{\theta }(a|s)=1} . If the action space is continuous, then ∫ a π θ ( a | s ) d a = 1 {\displaystyle \int _{a}\pi _{\theta }(a|s)da=1} . The goal of policy optimization is to improve the actor. That is, to find some θ {\displaystyle \theta } that maximizes the expected episodic reward J ( θ ) {\displaystyle J(\theta )} : J ( θ ) = E π θ [ ∑ t = 0 T γ t r t ] {\displaystyle J(\theta )=\mathbb {E} _{\pi _{\theta }}\left[\sum _{t=0}^{T}\gamma ^{t}r_{t}\right]} where γ {\displaystyle \gamma } is the discount factor, r t {\displaystyle r_{t}} is the reward at step t {\displaystyle t} , and T {\displaystyle T} is the time-horizon (which can be infinite). The goal of policy gradient method is to optimize J ( θ ) {\displaystyle J(\theta )} by gradient ascent on the policy gradient ∇ J ( θ ) {\displaystyle \nabla J(\theta )} . As detailed on the policy gradient method page, there are many unbiased estimators of the policy gradient: ∇ θ J ( θ ) = E π θ [ ∑ 0 ≤ j ≤ T ∇ θ ln ⁡ π θ ( A j | S j ) ⋅ Ψ j | S 0 = s 0 ] {\displaystyle \nabla _{\theta }J(\theta )=\mathbb {E} _{\pi _{\theta }}\left[\sum _{0\leq j\leq T}\nabla _{\theta }\ln \pi _{\theta }(A_{j}|S_{j})\cdot \Psi _{j}{\Big |}S_{0}=s_{0}\right]} where Ψ j {\textstyle \Psi _{j}} is a linear sum of the following: ∑ 0 ≤ i ≤ T ( γ i R i ) {\textstyle \sum _{0\leq i\leq T}(\gamma ^{i}R_{i})} . γ j ∑ j ≤ i ≤ T ( γ i − j R i ) {\textstyle \gamma ^{j}\sum _{j\leq i\leq T}(\gamma ^{i-j}R_{i})} : the REINFORCE algorithm. γ j ∑ j ≤ i ≤ T ( γ i − j R i ) − b ( S j ) {\textstyle \gamma ^{j}\sum _{j\leq i\leq T}(\gamma ^{i-j}R_{i})-b(S_{j})} : the REINFORCE with baseline algorithm. Here b {\displaystyle b} is an arbitrary function. γ j ( R j + γ V π θ ( S j + 1 ) − V π θ ( S j ) ) {\textstyle \gamma ^{j}\left(R_{j}+\gamma V^{\pi _{\theta }}(S_{j+1})-V^{\pi _{\theta }}(S_{j})\right)} : TD(1) learning. γ j Q π θ ( S j , A j ) {\textstyle \gamma ^{j}Q^{\pi _{\theta }}(S_{j},A_{j})} . γ j A π θ ( S j , A j ) {\textstyle \gamma ^{j}A^{\pi _{\theta }}(S_{j},A_{j})} : Advantage Actor-Critic (A2C). γ j ( R j + γ R j + 1 + γ 2 V π θ ( S j + 2 ) − V π θ ( S j ) ) {\textstyle \gamma ^{j}\left(R_{j}+\gamma R_{j+1}+\gamma ^{2}V^{\pi _{\theta }}(S_{j+2})-V^{\pi _{\theta }}(S_{j})\right)} : TD(2) learning. γ j ( ∑ k = 0 n − 1 γ k R j + k + γ n V π θ ( S j + n ) − V π θ ( S j ) ) {\textstyle \gamma ^{j}\left(\sum _{k=0}^{n-1}\gamma ^{k}R_{j+k}+\gamma ^{n}V^{\pi _{\theta }}(S_{j+n})-V^{\pi _{\theta }}(S_{j})\right)} : TD(n) learning. γ j ∑ n = 1 ∞ λ n − 1 1 − λ ⋅ ( ∑ k = 0 n − 1 γ k R j + k + γ n V π θ ( S j + n ) − V π θ ( S j ) ) {\textstyle \gamma ^{j}\sum _{n=1}^{\infty }{\frac {\lambda ^{n-1}}{1-\lambda }}\cdot \left(\sum _{k=0}^{n-1}\gamma ^{k}R_{j+k}+\gamma ^{n}V^{\pi _{\theta }}(S_{j+n})-V^{\pi _{\theta }}(S_{j})\right)} : TD(λ) learning, also known as GAE (generalized advantage estimate). This is obtained by an exponentially decaying sum of the TD(n) learning terms. === Critic === In the unbiased estimators given above, certain functions such as V π θ , Q π θ , A π θ {\displaystyle V^{\pi _{\theta }},Q^{\pi _{\theta }},A^{\pi _{\theta }}} appear. These are approximated by the critic. Since these functions all depend on the actor, the critic must learn alongside the actor. The critic is learned by value-based RL algorithms. For example, if the critic is estimating the state-value function V π θ ( s ) {\displaystyle V^{\pi _{\theta }}(s)} , then it can be learned by any value function approximation method. Let the critic be a function approximator V ϕ ( s ) {\displaystyle V_{\phi }(s)} with parameters ϕ {\displaystyle \phi } . The simplest example is TD(1) learning, which trains the critic to minimize the TD(1) error: δ i = R i + γ V ϕ ( S i + 1 ) − V ϕ ( S i ) {\displaystyle \delta _{i}=R_{i}+\gamma V_{\phi }(S_{i+1})-V_{\phi }(S_{i})} The critic parameters are updated by gradient descent on the squared TD error: ϕ ← ϕ − α ∇ ϕ ( δ i ) 2 = ϕ + α δ i ∇ ϕ V ϕ ( S i ) {\displaystyle \phi \leftarrow \phi -\alpha \nabla _{\phi }(\delta _{i})^{2}=\phi +\alpha \delta _{i}\nabla _{\phi }V_{\phi }(S_{i})} where α {\displaystyle \alpha } is the learning rate. Note that the gradient is taken with respect to the ϕ {\displaystyle \phi } in V ϕ ( S i ) {\displaystyle V_{\phi }(S_{i})} only, since the ϕ {\displaystyle \phi } in γ V ϕ ( S i + 1 ) {\displaystyle \gamma V_{\phi }(S_{i+1})} constitutes a moving target, and the gradient is not taken with respect to that. This is a common source of error in implementations that use automatic differentiation, and requires "stopping the gradient" at that point. Similarly, if the critic is estimating the action-value function Q π θ {\displaystyle Q^{\pi _{\theta }}} , then it can be learned by Q-learning or SARSA. In SARSA, the critic maintains an estimate of the Q-function, parameterized by ϕ {\displaystyle \phi } , denoted as Q ϕ ( s , a ) {\displaystyle Q_{\phi }(s,a)} . The temporal difference error is then calculated as δ i = R i + γ Q θ ( S i + 1 , A i + 1 ) − Q θ ( S i , A i ) {\displaystyle \delta _{i}=R_{i}+\gamma Q_{\theta }(S_{i+1},A_{i+1})-Q_{\theta }(S_{i},A_{i})} . The critic is then updated by θ ← θ + α δ i ∇ θ Q θ ( S i , A i ) {\displaystyle \theta \leftarrow \theta +\alpha \delta _{i}\nabla _{\theta }Q_{\theta }(S_{i},A_{i})} The advantage critic can be trained by training both a Q-function Q ϕ ( s , a ) {\displaystyle Q_{\phi }(s,a)} and a state-value function V ϕ ( s ) {\displaystyle V_{\phi }(s)} , then let A ϕ ( s , a ) = Q ϕ ( s , a ) − V ϕ ( s ) {\displaystyle A_{\phi }(s,a)=Q_{\phi }(s,a)-V_{\phi }(s)} . Although, it is more common to train just a state-value function V ϕ ( s ) {\displaystyle V_{\phi }(s)} , then estimate the advantage by A ϕ ( S i , A i ) ≈ ∑ j ∈ 0 : n − 1 γ j R i + j + γ n V ϕ ( S i + n ) − V ϕ ( S i ) {\displaystyle A_{\phi }(S_{i},A_{i})\approx \sum _{j\in 0:n-1}\gamma ^{j}R_{i+j}+\gamma ^{n}V_{\phi }(S_{i+n})-V_{\phi }(S_{i})} Here, n {\displaystyle n} is a positive integer. The higher n {\displaystyle n} is, the more lower is the bias in the advantage estimation, but at the price of higher variance. The Generalized Advantage Estimation (GAE) introduces a hyperparameter λ {\displaystyle \lambda } that smoothly interpolates between Monte Carlo returns ( λ = 1 {\displaystyle \lambda =1} , high variance, no bias) and 1-step TD learning ( λ = 0 {\displaystyle \lambda =0} , low variance, high bias). This hyperparameter can be adjusted to pick the optimal bias-variance trade-off in advantage estimation. It uses an exponentially decaying average of n-step returns with λ {\displaystyle \lambda } being the decay strength. == Variants == Asynchronous Advantage Actor-Critic (A3C): Parallel and asynchronous version of A2C. Soft Actor-Critic (SAC): Incorporates entropy maximization for improved exploration. Deep Deterministic Policy Gradient (DDPG): Specialized for continuous action spaces.

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  • Colour banding

    Colour banding

    Colour banding is a subtle form of posterisation in digital images, caused by the colour of each pixel being rounded to the nearest of the digital colour levels. While posterisation is often done for artistic effect, colour banding is an undesired artefact. In 24-bit colour modes, 8 bits per channel is usually considered sufficient to render images in Rec. 709 or sRGB. However the eye can see the difference between the colour levels, especially when there is a sharp border between two large areas of adjacent colour levels. This will happen with gradual gradients (like sunsets, dawns or clear blue skies), and also when blurring an image a large amount. Colour banding is more noticeable with fewer bits per pixel (BPP) at 16–256 colours (4–8 BPP), where there are fewer shades with a larger difference between them. The appearance of colour banding is exaggerated by the Mach bands effect. Possible solutions include the introduction of dithering and increasing the number of bits per colour channel. Because the banding comes from limitations in the presentation of the image, blurring the image does not fix this unless the image BPP is higher than the original.

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  • Rejoyn

    Rejoyn

    Rejoyn is a prescription-only digital therapeutic smartphone app approved by the US FDA for the treatment of major depressive disorder (MDD) in adults ages 22 and up. It is prescribed in conjunction with standard antidepressant medication and professional guidance and support. Rejoyn was developed by Click Therapeutics and Otsuka America Pharmaceutical Inc., and gained FDA clearance as a "medical device" on March 30th, 2024. The smartphone app helps patients with depression using exercises based on cognitive behavioral therapy (CBT) along with timed notifications to keep the patient engaged and in treatment. Randomized controlled trials showed that the Rejoyn app was more effective at relieving depression symptoms compared to a "sham app", a placebo app that required similar effort but was not intended to be helpful. Dr. John Torous, MD, MBI,[a] a psychiatrist at the Beth Israel Deaconess Medical Center in Boston, said that the app seems to pose minimal risks, and is an important step forward in unlocking the power of smartphones in treating psychiatric disorders. Some experts have signaled that the claims should be taken with caution, since the app was "tested only in a narrow subset of patients." and its benefits are "not statistically significant," according to the study’s primary outcome."

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  • Commission on Enhancing National Cybersecurity

    Commission on Enhancing National Cybersecurity

    The President's Commission on Enhancing National Cybersecurity is a Presidential Commission formed on April 13, 2016, to develop a plan for protecting cyberspace, and America's economic reliance on it. The commission released its final report in December 2016. The report made recommendations regarding the intertwining roles of the military, government administration and the private sector in providing cyber security. Chairman Donilon said of the report that its coverage "is unusual in the breadth of issues" with which it deals. == Recommendations == The report made sixteen major recommendations with fifty-three specific action items broadly grouped under six areas: Protecting the information and digital infrastructure Investing in the secure growth of information and digital infrastructure Consumer information access Building the cybersecurity workforce Building a secure governmental cybersecurity framework Keeping interconnectivity open, fair, competitive, and secure The Commission found that strong authentication systems were mandatory for adequate cybersecurity, not just for the government, but for all commercial systems, and private individuals. The commission also stressed remote identity proofing and security for the Internet of things (IoT). Finding that technicians who know cybersecurity and can protect systems are few and in short supply, the commission recommended nationally supported training programs to produce an adequate workforce, as well as increasing the level of expertise in the existing workforce. The Commission highlighted the importance of partnerships between government and the private sector as a powerful tool for encouraging the technology, policies and practices we need to secure and grow the digital economy. (page 2) Some criticised the commission's work as lacking an understanding of cybersecurity and not being cognizant of "cyber reality" and the cost of some of the action items, but others found the report constructive and meaningful. == Commission members == The initial members of the Commission are: Tom Donilon, former Assistant to the President and National Security Advisor (Chair) Sam Palmisano, former CEO of IBM (Vice Chair) General Keith Alexander, CEO of IronNet Cybersecurity, former Director of the National Security Agency and former Commander of U.S. Cyber Command Annie Antón, Professor and Chair of the School of Interactive Computing at Georgia Tech. Ajay Banga, President and CEO of MasterCard Steven Chabinsky, General Counsel and Chief Risk Officer of CrowdStrike Patrick Gallagher, Chancellor of the University of Pittsburgh and former Director of the National Institute of Standards and Technology Peter Lee, Corporate Vice President, Microsoft Research Herbert Lin, Senior Research Scholar for Cyber Policy and Security at the Stanford Center for International Security and Cooperation and Research Fellow at the Hoover Institution Heather Murren, former member of the Financial Crisis Inquiry Commission and co-founder of the Nevada Cancer Institute Joe Sullivan, Chief Security Officer of Uber and former Chief Security Officer of Facebook Maggie Wilderotter, Executive Chairman of Frontier Communications == Follow-on == Incoming President Trump has indicated that he wants a full review of U.S. cyber protection policy. == Notes and references ==

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  • Educational robotics

    Educational robotics

    Educational robotics teaches the design, analysis, application and operation of robots. Robots include articulated robots, mobile robots or autonomous vehicles. Educational robotics can be taught from elementary school to graduate programs. Robotics may also be used to motivate and facilitate the instruction other, often foundational, topics such as computer programming, artificial intelligence or engineering design. == Education and training == Robotics engineers design robots, maintain them, develop new applications for them, and conduct research to expand the potential of robotics. Robots have become a popular educational tool in some middle and high schools, as well as in numerous youth summer camps, raising interest in programming, artificial intelligence and robotics among students. First-year computer science courses at several universities now include programming of a robot in addition to traditional software engineering-based coursework. == Category of Educational robotics == The categories of educational robots seen as having more than one category. It can be alienated into different categories based on their physical design and coding method. Generally they are categorised as arm robots, wheeled mobile robots and humanoid robots. Tangibly, coded robots uses a physical means of coding instead of the screens coding. === Initiatives in schools === Leachim, was a robot teacher programmed with the class curricular, as well as certain biographical information on the 40 students whom it was programmed to teach. Leachim could synthesize human speech using Diphone synthesis. It was invented by Michael J. Freeman in 1974 and was tested in a fourth grade classroom in the Bronx, New York. === Post-secondary degree programs === From approximately 1960 through 2005, robotics education at post-secondary institutions took place through elective courses, thesis experiences and design projects offered as part of degree programs in traditional academic disciplines, such as mechanical engineering, electrical engineering, industrial engineering or computer science. Since 2005, more universities have begun granting degrees in robotics as a discipline in its own right, often under the name "Robotic Engineering". Based on a 2015 web-based survey of robotics educators, the degree programs and their estimates annual graduates are listed alphabetically below. Note that only official degree programs where the word "robotics" appears on the transcript or diploma are listed here; whereas degree programs in traditional disciplines with course concentrations or thesis topics related to robotics are deliberately omitted. === Certification === The Robotics Certification Standards Alliance (RCSA) is an international robotics certification authority that confers various industry- and educational-related robotics certifications. === Summer robotics camp === Several summer camp programs include robotics as part of their core curriculum. In addition, youth summer robotics programs are frequently offered by celebrated museums such as the American Museum of Natural History and The Tech Museum of Innovation in Silicon Valley, CA, just to name a few. There are of benefits that come from attending robotics camps. It teaches students how to use teamwork, resilience and motivation, and decision-making. Students learn teamwork because most camps involve exciting activities requiring teamwork. Resilience and motivation is expected because by completing the challenging programs, students feel talented and accomplished after they complete the program. Also students are given unique situations making them make decisions to further their situation. === Educational robotics in special education === Educational robotics can be a useful tool in early and special education. According to a journal on new perspectives in science education, educational robotics can help to develop abilities that promote autonomy and assist their integration into society. Social and personal skills can also be developed through educational robotics. Using Lego Mindstorms NXT, schoolteachers were able to work with middle school aged children in order to develop programs and improve the children's social and personal skills. Additionally, problem solving skills and creativity were utilized through the creation of artwork and scenery to house the robots. Other studies show the benefits of educational robotics in special education as promoting superior cognitive functions, including executive functions. This can lead to an increased ability in "problem solving, reasoning and planning in typically developing preschool children." Through eight weeks of weekly forty-five-minute group sessions using the Bee-Bot, an increase in interest, attention, and interaction between both peers and adults was found in the school and preschool-aged children with Down Syndrome. This study suggests that educational robotics in the classroom can also lead to an improvement in visuo-spatial memory and mental planning. Furthermore, executive functions seemed to be possible in one child during this study.

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  • Morphing

    Morphing

    Morphing is a special effect in motion pictures and animations that changes (or morphs) one image or shape into another through a seamless transition. Traditionally such a depiction would be achieved through dissolving techniques on film. Since the early 1990s, this has been replaced by computer software to create more realistic transitions. A similar method is applied to audio recordings, for example, by changing voices or vocal lines. == Early transformation techniques == Long before digital morphing, several techniques were used for similar image transformations. Some of those techniques are closer to a matched dissolve – a gradual change between two pictures without warping the shapes in the images – while others did change the shapes in between the start and end phases of the transformation. === Tabula scalata === Known since at least the end of the 16th century, Tabula scalata is a type of painting with two images divided over a corrugated surface. Each image is only correctly visible from a certain angle. If the pictures are matched properly, a primitive type of morphing effect occurs when changing from one viewing angle to the other. === Mechanical transformations === Around 1790 French shadow play showman François Dominique Séraphin used a metal shadow figure with jointed parts to have the face of a young woman changing into that of a witch. Some 19th century mechanical magic lantern slides produced changes to the appearance of figures. For instance a nose could grow to enormous size, simply by slowly sliding away a piece of glass with black paint that masked part of another glass plate with the picture. === Matched dissolves === In the first half of the 19th century "dissolving views" were a popular type of magic lantern show, mostly showing landscapes gradually dissolving from a day to night version or from summer to winter. Other uses are known, for instance Henry Langdon Childe showed groves transforming into cathedrals. The 1910 short film Narren-grappen shows a dissolve transformation of the clothing of a female character. Maurice Tourneur's 1915 film Alias Jimmy Valentine featured a subtle dissolve transformation of the main character from respected citizen Lee Randall into his criminal alter ego Jimmy Valentine. The Peter Tchaikovsky Story in a 1959 TV-series episode of Disneyland features a swan automaton transforming into a real ballet dancer. In 1985, Godley & Creme created a "morph" effect using analogue cross-fades on parts of different faces in the video for "Cry". === Animation === In animation, the morphing effect was created long before the introduction of cinema. A phenakistiscope designed by its inventor Joseph Plateau was printed around 1835 and shows the head of a woman changing into a witch and then into a monster. Émile Cohl's 1908 animated film Fantasmagorie featured much morphing of characters and objects drawn in simple outlines. == Digital morphing == In the early 1990s, computer techniques capable of more convincing results saw increasing use. These involved distorting one image at the same time that it faded into another through marking corresponding points and vectors on the "before" and "after" images used in the morph. For example, one would morph one face into another by marking key points on the first face, such as the contour of the nose or location of an eye, and mark where these same points existed on the second face. The computer would then distort the first face to have the shape of the second face at the same time that it faded the two faces. To compute the transformation of image coordinates required for the distortion, the algorithm of Beier and Neely can be used. === Concerns === In 1993 concerns were raised about the authenticity of digitally altered images arising from morphing. Images of fake "tween" people found half way between two morphed people created a skeptical media long before AI. === Early examples === In or before 1986, computer graphics company Omnibus created a digital animation for a Tide commercial with a Tide detergent bottle smoothly morphing into the shape of the United States. The effect was programmed by Bob Hoffman. Omnibus re-used the technique in the movie Flight of the Navigator (1986). It featured scenes with a computer generated spaceship that appeared to change shape. The plaster cast of a model of the spaceship was scanned and digitally modified with techniques that included a reflection mapping technique that was also developed by programmer Bob Hoffman. The 1986 movie The Golden Child implemented early digital morphing effects from animal to human and back. Willow (1988) featured a more detailed digital morphing sequence with a person changing into different animals. A similar process was used a year later in Indiana Jones and the Last Crusade to create Walter Donovan's gruesome demise. Both effects were created by Industrial Light & Magic, using software developed by Tom Brigham and Doug Smythe (AMPAS). In 1991, morphing appeared notably in the Michael Jackson music video "Black or White" and in the movies Terminator 2: Judgment Day and Star Trek VI: The Undiscovered Country. The first application for personal computers to offer morphing was Gryphon Software Morph on the Macintosh. Other early morphing systems included ImageMaster, MorphPlus and CineMorph, all of which premiered for the Amiga in 1992. Other programs became widely available within a year, and for a time the effect became common to the point of cliché. For high-end use, Elastic Reality (based on MorphPlus) saw its first feature film use in In The Line of Fire (1993) and was used in Quantum Leap (work performed by the Post Group). At VisionArt Ted Fay used Elastic Reality to morph Odo for Star Trek: Deep Space Nine. The Snoop Dogg music video "Who Am I? (What's My Name?)", where Snoop Dogg and the others morph into dogs. Elastic Reality was later purchased by Avid, having already become the de facto system of choice, used in many hundreds of films. The technology behind Elastic Reality earned two Academy Awards in 1996 for Scientific and Technical Achievement going to Garth Dickie and Perry Kivolowitz. The effect is technically called a "spatially warped cross-dissolve". The first social network designed for user-generated morph examples to be posted online was Galleries by Morpheus. In late 1991 Yeti Productions employed a young Stephen Regelous to run it's 486 computer graphics system in Wellington New Zealand. After producer Barry Thomas showed him Michael Jackson's "Black or White", Regelous wrote 10,000 lines of C++ code of triangle-based digital morphing software. Together they created morphing based TV commercials for The NZ Cancer Society, Fit food, Salvation Army and others. The Fit food commercial employed morphing with 35mm, pin registered, digitally controlled motion control designed and made by Russell Collins with software by Stephen Regelous. In Taiwan, Aderans, a hair loss solutions provider, did a TV commercial featuring a morphing sequence in which people with lush, thick hair morph into one another, reminiscent of the end sequence of the "Black or White" video. === Present use === Morphing algorithms continue to advance and programs can automatically morph images that correspond closely enough with relatively little instruction from the user. This has led to the use of morphing techniques to create convincing slow-motion effects where none existed in the original film or video footage by morphing between each individual frame using optical flow technology. Morphing has also appeared as a transition technique between one scene and another in television shows, even if the contents of the two images are entirely unrelated. The algorithm in this case attempts to find corresponding points between the images and distort one into the other as they crossfade. While perhaps less obvious than in the past, morphing is used heavily today. Whereas the effect was initially a novelty, today, morphing effects are most often designed to be seamless and invisible to the eye. A particular use for morphing effects is modern digital font design. Using morphing technology, called interpolation or multiple master tech, a designer can create an intermediate between two styles, for example generating a semibold font by compromising between a bold and regular style, or extend a trend to create an ultra-light or ultra-bold. The technique is commonly used by font design studios. == Software == After Effects Animate Elastic Reality FantaMorph Gryphon Software Morph Morph Age Morpheus Nuke SilhouetteFX

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  • Data commingling

    Data commingling

    Data commingling, in computer science, occurs when different items or kinds of data are stored in such a way that they become commonly accessible when they are supposed to remain separated. In cloud computing, this can occur where different customer data sits on the same server. Data that is commingled can present a security vulnerability. Data commingling can also occur due to high speed data transmission mixing. In this situation, data of one security level can inadvertently or purposely be mixed with data of a lower or higher security level on the same transmission portal. Portal vehicles can be wire, fiber optics, microwave or various radio frequency transmission portals. This commingling can cause breaches of security and become a source of legal issues to any entity, corporation or individual. Data commingling can also occur when personal computers and personal software programs are used for business, security, government, etc. uses. In the early formulation stages of entities, non-profit or profit corporations, LLC's, LLP's, etc., the creation and use of stand-alone computers and stand-alone networks, "absolutely unconnected" to involved individuals, is the easiest, and safest way to prevent Data Commingling.

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  • Sarpa (snakebite app)

    Sarpa (snakebite app)

    Sarpa or SARPA (Snake Awareness, Rescue and Protection app) is a snakebite app, an application for mobile devices developed in India to provide rapid, life-saving help for victims of snakebite, which kill an estimated 58,000 people a year in India. The app provides information about snakes, gets fast aid for people bitten, and helps in the development of antivenoms. Similar systems developed in India include SnakeHub, Snake Lens, Snakepedia, Serpent and the Big Four Mapping Project. The apps provide rapid response to snakebite incidents, often in remote areas, using a network of volunteers managed by local wildlife departments; their use can save human lives by providing rapid medical care, and also snakes, by helping to avoid interaction between the species. In 2026, it was announced that the app had plans to offer real-time contact from doctors directly from the app to provide users with decision-making advice.

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  • Error level analysis

    Error level analysis

    Error level analysis (ELA) is the analysis of compression artifacts in digital data with lossy compression such as JPEG. == Principles == When used, lossy compression is normally applied uniformly to a set of data, such as an image, resulting in a uniform level of compression artifacts. Alternatively, the data may consist of parts with different levels of compression artifacts. This difference may arise from the different parts having been repeatedly subjected to the same lossy compression a different number of times, or the different parts having been subjected to different kinds of lossy compression. A difference in the level of compression artifacts in different parts of the data may therefore indicate that the data has been edited. In the case of JPEG, even a composite with parts subjected to matching compressions will have a difference in the compression artifacts. In order to make the typically faint compression artifacts more readily visible, the data to be analyzed is subjected to an additional round of lossy compression, this time at a known, uniform level, and the result is subtracted from the original data under investigation. The resulting difference image is then inspected manually for any variation in the level of compression artifacts. In 2007, N. Krawetz denoted this method "error level analysis". Additionally, digital data formats such as JPEG sometimes include metadata describing the specific lossy compression used. If in such data the observed compression artifacts differ from those expected from the given metadata description, then the metadata may not describe the actual compressed data, and thus indicate that the data have been edited. == Limitations == By its nature, data without lossy compression, such as a PNG image, cannot be subjected to error level analysis. Consequently, since editing could have been performed on data without lossy compression with lossy compression applied uniformly to the edited, composite data, the presence of a uniform level of compression artifacts does not rule out editing of the data. Additionally, any non-uniform compression artifacts in a composite may be removed by subjecting the composite to repeated, uniform lossy compression. Also, if the image color space is reduced to 256 colors or less, for example, by conversion to GIF, then error level analysis will generate useless results. More significant, the actual interpretation of the level of compression artifacts in a given segment of the data is subjective, and the determination of whether editing has occurred is therefore not robust. == Controversy == In May 2013, Dr Neal Krawetz used error level analysis on the 2012 World Press Photo of the Year and concluded on his Hacker Factor blog that it was "a composite" with modifications that "fail to adhere to the acceptable journalism standards used by Reuters, Associated Press, Getty Images, National Press Photographer's Association, and other media outlets". The World Press Photo organizers responded by letting two independent experts analyze the image files of the winning photographer and subsequently confirmed the integrity of the files. One of the experts, Hany Farid, said about error level analysis that "It incorrectly labels altered images as original and incorrectly labels original images as altered with the same likelihood". Krawetz responded by clarifying that "It is up to the user to interpret the results. Any errors in identification rest solely on the viewer". In May 2015, the citizen journalism team Bellingcat wrote that error level analysis revealed that the Russian Ministry of Defense had edited satellite images related to the Malaysia Airlines Flight 17 disaster. In a reaction to this, image forensics expert Jens Kriese said about error level analysis: "The method is subjective and not based entirely on science", and that it is "a method used by hobbyists". On his Hacker Factor Blog, the inventor of error level analysis Neal Krawetz criticized both Bellingcat's use of error level analysis as "misinterpreting the results" but also on several points Jens Kriese's "ignorance" regarding error level analysis.

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  • Text Database and Dictionary of Classic Mayan

    Text Database and Dictionary of Classic Mayan

    The project Text Database and Dictionary of Classic Mayan (abbr. TWKM) promotes research on the writing and language of pre-Hispanic Maya culture. It is housed in the Faculty of Arts at the University of Bonn and was established with funding from the North Rhine-Westphalian Academy of Sciences, Humanities and the Arts. The project has a projected run-time of fifteen years and is directed by Nikolai Grube from the Department of Anthropology of the Americas at the University of Bonn. The goal of the project is to conduct computer-based studies of all extant Maya hieroglyphic texts from an epigraphic and cultural-historical standpoint, and to produce and publish a database and a comprehensive dictionary of the Classic Mayan language. == Subject of the Project == The text database, as well as the dictionary that will be compiled by the conclusion of the project, will be assembled based on all known texts from the pre-Hispanic Maya culture. These texts were produced and used between approximately the third century B.C. through A.D. 1500, in a region that today includes parts of the countries of Mexico, Guatemala, Belize, and Honduras. The thousands of hieroglyphic inscriptions on monuments, ceramics, or daily objects that have survived into the present offer insight into the language's vocabulary and structure. The project's database and dictionary will digitally represent original spellings using the logo-syllabic Maya hieroglyphs, as well as their transcription and transliteration in the Roman alphabet. The data will be additionally annotated with various epigraphic analyses, translations, and further object-specific information. == Project Partners == TWKM will employ digital technologies in order to compile and make available the data and metadata, as well as to publish the project's research results. The project thereby methodologically positions itself in the field of the digital humanities. The project will be conducted in cooperation with the project partners (below), the research association for the eHumanities TextGrid, as well as the University and Regional Library of Bonn (ULB). The working environment that is currently under construction, in which the data and metadata will be compiled and annotated, will be realized in theTextGrid Laboratory, a software of the virtual research environment. A further component of this software, the TextGrid Repository, will make the data that are authorized for publication freely available online and ensure their long-term storage. The tools for data compilation and annotation attained from the modularly constructed and extended TextGrid lab thereby provide all the necessary materials for facilitating the research team's the typical epigraphic workflow. The workflow usually begins by documenting the texts and the objects on which they are preserved, and by compiling descriptive data. It then continues with the various levels of epigraphic and linguistic analysis, and concludes in the best case scenario with a translation of the analyzed inscription and a corresponding publication. In cooperation with the ULB, selected data will additionally be made available. The project's Virtual Inscription Archive will present online, in the Digital Collections of the ULB, hieroglyphic inscriptions selected from the published data in the repository, including an image of and brief information about the texts and the objects on which they are written, epigraphic analysis, and translation. == Project Goal == One of the project's goals is to produce a dictionary of Classic Mayan, in both digital and print form, towards the end of the project run-time. Additionally, a database with a corpus of inscriptions, including their translations and epigraphic analyses, will be made freely available online. The database furthermore will provide an ontology-like link of the contextual object data with the inscriptions and with each other, thereby allowing a cultural-historical arrangement of all contents within the periods of pre-Hispanic Maya culture. The contents of the database are additionally linked to citations of relevant literature. As a result, the database will also make freely available to both the scientific community and other interested parties a bibliography representing the research history and a base of knowledge concerning ancient Maya culture and script. In addition, the Classic Maya script, in its temporally defined stages of language development, will be gathered into and documented in a comprehensive language corpus with the aid of the information gathered by the project. In collaboration with all project participants, the corpus data can be used, together with the aid of various comparable analyses and also computational linguistic methods, such as inference-based methods, to confirm readings of some hieroglyphs that are currently only partially confirmed, and to eventually completely decipher the Classic Maya script.

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  • Image

    Image

    An image or picture is a visual representation. An image can be two-dimensional, such as a drawing, painting, or photograph, or three-dimensional, such as a carving or sculpture. Images may be displayed through other media, including a projection on a surface, activation of electronic signals, or digital displays; they can also be reproduced through mechanical means, such as photography, printmaking, or photocopying. Images can also be animated through digital or physical processes. In the context of signal processing, an image is a distributed amplitude of color(s). In optics, the term image (or optical image) refers specifically to the reproduction of an object formed by light waves coming from the object. A volatile image exists or is perceived only for a short period. This may be a reflection of an object by a mirror, a projection of a camera obscura, or a scene displayed on a cathode-ray tube. A fixed image, also called a hard copy, is one that has been recorded on a material object, such as paper or textile. A mental image exists in an individual's mind as something one remembers or imagines. The subject of an image does not need to be real; it may be an abstract concept such as a graph or function or an imaginary entity. For a mental image to be understood outside of an individual's mind, however, there must be a way of conveying that mental image through the words or visual productions of the subject. == Characteristics == === Two-dimensional images === The broader sense of the word 'image' also encompasses any two-dimensional figure, such as a map, graph, pie chart, painting, or banner. In this wider sense, images can also be rendered manually, such as by drawing, the art of painting, or the graphic arts (such as lithography or etching). Additionally, images can be rendered automatically through printing, computer graphics technology, or a combination of both methods. A two-dimensional image does not need to use the entire visual system to be a visual representation. An example of this is a grayscale ("black and white") image, which uses the visual system's sensitivity to brightness across all wavelengths without taking into account different colors. A black-and-white visual representation of something is still an image, even though it does not fully use the visual system's capabilities. On the other hand, some processes can be used to create visual representations of objects that are otherwise inaccessible to the human visual system. These include microscopy for the magnification of minute objects, telescopes that can observe objects at great distances, X-rays that can visually represent the interior structures of the human body (among other objects), magnetic resonance imaging (MRI), positron emission tomography (PET scans), and others. Such processes often rely on detecting electromagnetic radiation that occurs beyond the light spectrum visible to the human eye and converting such signals into recognizable images. === Three-dimensional images === Aside from sculpture and other physical activities that can create three-dimensional images from solid material, some modern techniques, such as holography, can create three-dimensional images that are reproducible but intangible to human touch. Some photographic processes can now render the illusion of depth in an otherwise "flat" image, but "3-D photography" (stereoscopy) or "3-D film" are optical illusions that require special devices such as eyeglasses to create the illusion of depth. === Moving images === "Moving" two-dimensional images are actually illusions of movement perceived when still images are displayed in sequence, each image lasting less, and sometimes much less, than a fraction of a second. The traditional standard for the display of individual frames by a motion picture projector has been 24 frames per second (FPS) since at least the commercial introduction of "talking pictures" in the late 1920s, which necessitated a standard for synchronizing images and sounds. Even in electronic formats such as television and digital image displays, the apparent "motion" is actually the result of many individual lines giving the impression of continuous movement. This phenomenon has often been described as "persistence of vision": a physiological effect of light impressions remaining on the retina of the eye for very brief periods. Even though the term is still sometimes used in popular discussions of movies, it is not a scientifically valid explanation. Other terms emphasize the complex cognitive operations of the brain and the human visual system. "Flicker fusion", the "phi phenomenon", and "beta movement" are among the terms that have replaced "persistence of vision", though no one term seems adequate to describe the process. == Cultural and other uses == Image-making seems to have been common to virtually all human cultures since at least the Paleolithic era. Prehistoric examples of rock art—including cave paintings, petroglyphs, rock reliefs, and geoglyphs—have been found on every inhabited continent. Many of these images seem to have served various purposes: as a form of record-keeping; as an element of spiritual, religious, or magical practice; or even as a form of communication. Early writing systems, including hieroglyphics, ideographic writing, and even the Roman alphabet, owe their origins in some respects to pictorial representations. === Meaning and signification === Images of any type may convey different meanings and sensations for individual viewers, regardless of whether the image's creator intended them. An image may be taken simply as a more or less "accurate" copy of a person, place, thing, or event. It may represent an abstract concept, such as the political power of a ruler or ruling class, a practical or moral lesson, an object for spiritual or religious veneration, or an object—human or otherwise—to be desired. It may also be regarded for its purely aesthetic qualities, rarity, or monetary value. Such reactions can depend on the viewer's context. A religious image in a church may be regarded differently than the same image mounted in a museum. Some might view it simply as an object to be bought or sold. Viewers' reactions will also be guided or shaped by their education, class, race, and other contexts. The study of emotional sensations and their relationship to any given image falls into the categories of aesthetics and the philosophy of art. While such studies inevitably deal with issues of meaning, another approach to signification was suggested by the American philosopher, logician, and semiotician Charles Sanders Peirce. "Images" are one type of the broad category of "signs" proposed by Peirce. Although his ideas are complex and have changed over time, the three categories of signs that he distinguished stand out: The "icon," which relates to an object by resemblance to some quality of the object. A painted or photographed portrait is an icon by virtue of its resemblance to the painting's or photograph's subject. A more abstract representation, such as a map or diagram, can also be an icon. The "index," which relates to an object by some real connection. For example, smoke may be an index of fire, or the temperature recorded on a thermometer may be an index of a patient's illness or health. The "symbol," which lacks direct resemblance or connection to an object but whose association is arbitrarily assigned by the creator or dictated by cultural and historical habit, convention, etc. The color red, for example, may connote rage, beauty, prosperity, political affiliation, or other meanings within a given culture or context; the Swedish film director Ingmar Bergman claimed that his use of the color in his 1972 film Cries and Whispers came from his personal visualization of the human soul. A single image may exist in all three categories at the same time. The Statue of Liberty provides an example. While there have been countless two-dimensional and three-dimensional "reproductions" of the statue (i.e., "icons" themselves), the statue itself exists as an "icon" by virtue of its resemblance to a human woman (or, more specifically, previous representations of the Roman goddess Libertas or the female model used by the artist Frederic-Auguste Bartholdi). an "index" representing New York City or the United States of America in general due to its placement in New York Harbor, or with "immigration" from its proximity to the immigration center at Ellis Island. a "symbol" as a visualization of the abstract concept of "liberty" or "freedom" or even "opportunity" or "diversity". === Critiques of imagery === The nature of images, whether three-dimensional or two-dimensional, created for a specific purpose or only for aesthetic pleasure, has continued to provoke questions and even condemnation at different times and places. In his dialogue, The Republic, the Greek philosopher Plato described our apparent reality as a copy of a higher order of universal forms.

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  • Hit-testing

    Hit-testing

    In computer graphics programming, hit-testing (hit detection, picking, or pick correlation) is the process of determining whether a user-controlled cursor (such as a mouse cursor or touch-point on a touch-screen interface) intersects a given graphical object (such as a shape, line, or curve) drawn on the screen. Hit-testing may be performed on the movement or activation of a mouse or other pointing device. Hit-testing is used by GUI environments to respond to user actions, such as selecting a menu item or a target in a game based on its visual location. In web programming languages such as HTML, SVG, and CSS, this is associated with the concept of pointer-events (e.g. user-initiated cursor movement or object selection). Collision detection is a related concept for detecting intersections of two or more different graphical objects, rather than intersection of a cursor with one or more graphical objects. == Algorithm == There are many different algorithms that may be used to perform hit-testing, with different performance or accuracy outcomes. One common hit-test algorithm for axis aligned bounding boxes. A key idea is that the box being tested must be either entirely above, entirely below, entirely to the right or left of the current box. If this is not possible, they are colliding. Example logic is presented in the pseudo-code below: In Python:

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  • 1 Second Everyday

    1 Second Everyday

    1 Second Everyday (1SE) is an application developed by Cesar Kuriyama. The application allows the user to record one second of video every day and then chronologically edits (mashes) them together into a single film. It is compatible with iOS and Android. The idea of the application was developed by Kuriyama's 1 Second Everyday — Age 30 video. The application was launched in January 2013. 1 Second Everyday played a part in the plot of Chef and also became the inspiration for the 2014 short animated clip Feast. == Background == === Kuriyama's video === In February 2011, when Cesar Kuriyama turned 30, after saving money, he quit his job in an advertising firm and took a year off to travel. During this time, he started working on a project he called 1 Second Everyday. As part of the project, every day he recorded one second of video – something that was supposed to help him remember that day. He started the project because he was frustrated with his memory. He planned to stockpile the 365 one-second clips into one film to serve as a memento of his year. While working on the project Kuriyama realized that recording one second every day impacted the decisions he made in a positive way. After a year he made a 365-second clip out of his recordings. The video called 1 Second Everyday – Age 30, went viral. According to Kuriyama, he was initially inspired to take a year off from work by a TED talk given by Stefan Sagmeister called "The Power of Time Off." Kuriyama also delivered a TED talk about 1 Second Everyday in 2012 at TED 2012 in Long Beach California. === Kickstarter campaign === After completing his own video, Kuriyama decided to develop an application that would allow the users to record one second every day and compile their own videos. He developed a prototype of the application and then in 2012, he launched a Kickstarter campaign to raise funds for completing the application. The campaign became one of the most backed app campaigns in the history of Kickstarter. It was backed by 11,281 backers who pledged a total of $56,959 on an initial goal of $20,000. Following the completion of the Kickstarter campaign, he partnered with an application design studio in Brooklyn to develop the application. 1 Second Everyday was released two weeks after the completion of its Kickstarter campaign. == Application == The application was released for iOS on 10 January 2013. An Android-compatible version of the application was developed later. Using it, the user can record the videos in the application or they can select one second portions from their libraries. 1 Second Everyday dates every snippet. The user can also set alarms to remember to record their daily video. In order to compile a video, the user selects the seconds they want and the application creates a compilation video. The user can keep multiple timelines. It also allows users to post directly on social networks. The main interface in 1 Second Everyday is a calendar, which shows the user which days have snippets and which they can still fill in. In the beginning, 1 Second Everyday restricted the recording to one second. However, the developers later released Super Seconds, which allowed users to record an additional half a second video. In 2014, 1 Second Everyday Crowds was launched, which is an area in the application featuring compilations of second clips from different users. == In the media == The Kickstarter campaign of 1 Second Everyday was featured in Entrepreneur's 3 Innovative Tech Startups on Kickstarter Right Now in 2012. The application was featured in The New York Times, The Washington Post, Gawker and other media outlets. By the end of the launch day, it was in Top 10 Free Apps on App Store. It was also selected as the App of the Week on GeekWire in 2013. Several other one-second compilation videos were also posted on the Internet after Kuriyama's video gained media attention. Sam Cornwell, an English photographer documented his son Indigo's growth using a montage of one-second iPhone clips. He shot these clips every single day from the moment of birth right up to the baby's first birthday. According to Cornwell, he was inspired by Kuriyama's project. The video of Cornwell's son gained considerable media attention after it was posted on YouTube. Save the Children also made a video commercial based on a similar format that showed a British girl oblivious of the Syrian war end up being a refugee. 1SE was a finalist for the Fast Company Innovation by Design Award in 2015, but lost to Google Maps. In 2015, Google Android created a gallery, Leap Second 2015, with the help of Droga5 and Kuriyama. The gallery showcased how people around the world enjoyed the one extra second of their lives. Through the 1 Second Everyday app available at Google Play, people were able to submit their extra second, which were then vetted and added to the gallery. The viewers were able to view other celebratory seconds from around the world as well as searching for them using different hashtags.

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  • Play Integrity API

    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.

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  • Cowrie (honeypot)

    Cowrie (honeypot)

    Cowrie is a medium interaction SSH and Telnet honeypot designed to log brute force attacks and shell interaction performed by an attacker. Cowrie also functions as an SSH and telnet proxy to observe attacker behavior to another system. Cowrie was developed from Kippo. == Reception == Cowrie has been referenced in published papers. The Book "Hands-On Ethical Hacking and Network Defense" includes Cowrie in a list of 5 commercial honeypots. === Prior uses === Discussing a honeypot effort called the Project Heisenberg Cloud by Rapid7, Bob Rudis, the company's chief data scientist, told eWEEK, "There are custom Rapid7-developed low- and medium-interaction honeypots used within the framework, along with open-source ones, such as Cowrie." Doug Rickert has experimented with the open-source Cowrie SSH honeypot and wrote about it on Medium. Putting up a simple honeypot isn't difficult, and there are many open-source products besides Cowrie, including the original Honeyd to MongoDB and NoSQL honeypots, to ones that emulate web servers. Some appear to be SCADA or other more advanced applications. === Best practices === Researchers at the SysAdmin, Audit, Network and Security (SANS) institute urged administrators and security researchers to run the latest version of Cowrie on a honeypot to monitor shifts in the type of passwords being scanned for and pattern of attacks on IoT devices. === Discussion and further resources === Attack Detection and Forensics Using Honeypot in an IoT Environment calls Cowrie a "medium interaction honeypot" and describes results from using it for 40 days to capture "all communicated sessions in log files." The book Advances on Data Science also devotes chapter two to "Cowrie Honeypot Dataset and Logging." ICCWS 2018 13th International Conference on Cyber Warfare and Security describes using Cowrie. On the Move to Meaningful Internet Systems: OTM 2019 Conferences includes details of using Cowrie. Splunk, a security tool that can receive information from honeypots, outlines how to set up a honeypot using the open-source Cowrie package.

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