The Lost Art-Datenbank is an online database published by the German Lost Art Foundation (Deutsches Zentrum Kulturgutverluste. It contains information on cultural objects looted from Jewish collectors or transferred due to Nazi persecution during the Nazi era. Until 2015, it was managed by the Koordinierungsstelle für Kulturgutverluste (Magdeburg Coordination Office). == Creation == Following the Washington Conference of 1998, and the commitments to provide more transparency regarding looted art, Germany launched the Lost Art Database in 2000 order to help Holocaust victims and their families track down artworks that had been looted from them or lost due to Nazi persecution. == Functionality == The Lost Art Database lists art and books and other cultural objects that were lost, seized, stolen or forceably sold during the Nazi era. The database is divided into search requests from victims' families, heirs or institutions and "found" reports from cultural institutions on items with unresolved provenance gaps from the Nazi periods. The section on reports of finds lists objects that are known to have been unlawfully seized or relocated as a result of the war. In addition, reports are published here on cultural objects for which an uncertain or incomplete provenance may indicate a possible unlawful seizure or war-related relocation. The publication of reports in the Lost Art Internet Database is carried out on behalf of and with the consent of the reporting persons and institutions. The responsibility for the content of the reports lies with these legal or natural persons. There have been controversies over which items should be included in the database. Lost Art is based on the Washington Principles adopted in 1998, which Germany has committed itself to implementing (Joint Declaration, 1999). The Lost Art Database is considered a key resource in the search for looted art and the victims of persecution. Every item in the Lost Art Database has an identifier, known as a Lost Art ID. Proveana is the linked research database. == Other lost art databases == Other countries have launched databases to help identify Nazi looted art. Each database has its own area of focus. The German Lost Art Database allows families or heirs to submit information. Other countries have databases that focus on looted artworks that have not been found or artworks that were repatriated to the national authorities after the defeat of the Nazis but were never returned to their original owners. Other databases have been created for stolen antiquities, looted art from colonial era, art stolen from Syria, Iraq, Ukraine, or from museums or collectors.
Artificial Inventor Project
The Artificial Inventor Project (AIP) is a global legal initiative headed by Professor Ryan Abbott dedicated to pursuing intellectual property (IP) rights for inventions and creative works generated autonomously by artificial intelligence (AI) systems without traditional human inventorship or authorship. The project coordinates a series of pro bono test cases worldwide, aiming to prompt law reform and public debate on how IP law should accommodate non-human creators. == History == In 2019, AIP filed patent applications in multiple jurisdictions, including the United States, United Kingdom, European Patent Office, Australia, Switzerland, and South Africa, naming the AI system DABUS (Device for the Autonomous Bootstrapping of Unified Sentience), created by Stephen Thaler, as the inventor. The aim was to challenge legal norms that require inventors to be natural persons and highlight pressing policy questions about AI-generated innovation and IP regimes. == Legal proceedings by jurisdiction == === Australia === In July 2021, a Federal Court of Australia judge (Beach J) ruled that AI can be considered an inventor under the Patents Act 1990, ordering IP Australia to reinstate the relevant patent. However, the full court then overturned this ruling on appeal and denied further review. === European Patent Office === The EPO Board of Appeal determined in 2022 that only a human inventor may be named, rendering DABUS‑based applications unacceptable. === South Africa === In 2021, a patent was granted listing DABUS as the inventor. As South Africa’s procedural system does not involve substantive inventorship review, the grant proceeded on formal grounds alone. === Switzerland === On 26 June 2025, the Swiss Federal Administrative Court ruled that artificial intelligence systems such as DABUS cannot be listed as inventors on patent applications. The court upheld the existing practice of the Swiss Federal Institute of Intellectual Property (IPI), affirming that only natural persons may be recognized as inventors under Swiss patent law. === United Kingdom === In December 2023, the UK Supreme Court unanimously held that AI systems cannot be legally recognized as inventors, affirming that "an inventor must be a person" under current British law. === United States === In Thaler v. Hirshfeld (2021), a U.S. federal court agreed with the USPTO that inventors must be natural persons, rejecting the DABUS application and setting a precedent consistent with existing statute and administrative policy. == Criticism and impact == The project has fueled substantial discourse. Critics caution that allowing AI inventorship may complicate notions of accountability and ownership. Proponents argue that legal recognition must evolve to avoid disincentivizing innovation produced by AI and to maintain honesty about the true source of invention.
Film recorder
A film recorder is a graphical output device for transferring images to photographic film from a digital source. In a typical film recorder, an image is passed from a host computer to a mechanism to expose film through a variety of methods, historically by direct photography of a high-resolution cathode-ray tube (CRT) display. The exposed film can then be developed using conventional developing techniques, and displayed with a slide or motion picture projector. The use of film recorders predates the current use of digital projectors, which eliminate the time and cost involved in the intermediate step of transferring computer images to film stock, instead directly displaying the image signal from a computer. Motion picture film scanners are the opposite of film recorders, copying content from film stock to a computer system. Film recorders can be thought of as modern versions of kinescopes. == Design == === Operation === All film recorders typically work in the same manner. The image is fed from a host computer as a raster stream over a digital interface. A film recorder exposes film through various mechanisms; flying spot (early recorders); photographing a high resolution video monitor; electron beam recorder (Sony HDVS); a CRT scanning dot (Celco); focused beam of light from a light valve technology (LVT) recorder; a scanning laser beam (Arrilaser); or recently, full-frame LCD array chips. For color image recording on a CRT film recorder, the red, green, and blue channels are sequentially displayed on a single gray scale CRT, and exposed to the same piece of film as a multiple exposure through a filter of the appropriate color. This approach yields better resolution and color quality than possible with a tri-phosphor color CRT. The three filters are usually mounted on a motor-driven wheel. The filter wheel, as well as the camera's shutter, aperture, and film motion mechanism are usually controlled by the recorder's electronics and/or the driving software. CRT film recorders are further divided into analog and digital types. The analog film recorder uses the native video signal from the computer, while the digital type uses a separate display board in the computer to produce a digital signal for a display in the recorder. Digital CRT recorders provide a higher resolution at a higher cost compared to analog recorders due to the additional specialized hardware. Typical resolutions for digital recorders were quoted as 2K and 4K, referring to 2048×1366 and 4096×2732 pixels, respectively, while analog recorders provided a resolution of 640×428 pixels in comparison. Higher-quality LVT film recorders use a focused beam of light to write the image directly onto a film loaded spinning drum, one pixel at a time. In one example, the light valve was a liquid-crystal shutter, the light beam was steered with a lens, and text was printed using a pre-cut optical mask. The LVT will record pixel beyond grain. Some machines can burn 120-res or 120 lines per millimeter. The LVT is basically a reverse drum scanner. The exposed film is developed and printed by regular photographic chemical processing. === Formats === Film recorders are available for a variety of film types and formats. The 35 mm negative film and transparencies are popular because they can be processed by any photo shop. Single-image 4×5 film and 8×10 are often used for high-quality, large format printing. Some models have detachable film holders to handle multiple formats with the same camera or with Polaroid backs to provide on-site review of output before exposing film. == Uses == Film recorders are used in digital printing to generate master negatives for offset and other bulk printing processes. For preview, archiving, and small-volume reproduction, film recorders have been rendered obsolete by modern printers that produce photographic-quality hardcopies directly on plain paper. They are also used to produce the master copies of movies that use computer animation or other special effects based on digital image processing. However, most cinemas nowadays use Digital Cinema Packages on hard drives instead of film stock. === Computer graphics === Film recorders were among the earliest computer graphics output devices; for example, the IBM 740 CRT Recorder was announced in 1954. Film recorders were also commonly used to produce slides for slide projectors; but this need is now largely met by video projectors that project images directly from a computer to a screen. The terms "slide" and "slide deck" are still commonly used in presentation programs. === Current uses === Currently, film recorders are primarily used in the motion picture film-out process for the ever increasing amount of digital intermediate work being done. Although significant advances in large venue video projection alleviates the need to output to film, there remains a deadlock between the motion picture studios and theater owners over who should pay for the cost of these very costly projection systems. This, combined with the increase in international and independent film production, will keep the demand for film recording steady for at least a decade. == Key manufacturers == Traditional film recorder manufacturers have all but vanished from the scene or have evolved their product lines to cater to the motion picture industry. Dicomed was one such early provider of digital color film recorders. Polaroid, Management Graphics, Inc, MacDonald-Detwiler, Information International, Inc., and Agfa were other producers of film recorders. Arri is the only current major manufacturer of film recorders. Kodak Lightning I film recorder. One of the first laser recorders. Needed an engineering staff to set up. Kodak Lightning II film recorder used both gas and diode laser to record on to film. The last LVT machines produced by Kodak / Durst-Dice stopped production in 2002. There are no LVT film recorders currently being produced. LVT Saturn 1010 uses a LED exposure (RGB) to 8"x10" film at 1000-3000ppi. LUX Laser Cinema Recorder from Autologic/Information International in Thousand Oaks, California. Sales end in March 2000. Used on the 1997 film “Titanic”. Arri produces the Arrilaser line of laser-based motion picture film recorders. MGI produced the Solitaire line of CRT-based motion picture film recorders. Matrix, originally ImaPRO, a branch of Agfa Division, produced the QCR line of CRT-based motion picture film recorders. CCG, formerly Agfa film recorders, has been a steady manufacturer of film recorders based in Germany. In 2004 CCG introduced Definity, a motion picture film recorder utilizing LCD technology. In 2010 CCG introduced the first full LED LCD film recorder as a new step in film recording. Cinevator was made by Cinevation AS, in Drammen, Norway. The Cinevator was a real-time digital film recorder. It could record IN, IP and prints with and without sound Oxberry produced the Model 3100 film recorder camera system, with interchangeable pin-registered movements (shuttles) for 35 mm (full frame/Silent, 1.33:1) and 16 mm (regular 16, "2R"), and others have adapted the Oxberry movements for CinemaScope, 1.85:1, 1.75:1, 1.66:1, as well as Academy/Sound (1.37:1) in 35 mm and Super-16 in 16 mm ("1R"). For instance, the "Solitaire" and numerous others employed the Oxberry 3100 camera system. == History == Before video tape recorders or VTRs were invented, TV shows were either broadcast live or recorded to film for later showing, using the kinescope process. In 1967, CBS Laboratories introduced the Electronic Video Recording format, which used video and telecined-to-video film sources, which were then recorded with an electron-beam recorder at CBS' EVR mastering plant at the time to 35mm film stock in a rank of 4 strips on the film, which was then slit down to 4 8.75 mm (0.344 in) film copies, for playback in an EVR player. All types of CRT recorders were (and still are) used for film recording. Some early examples used for computer-output recording were the 1954 IBM 740 CRT Recorder, and the 1962 Stromberg-Carlson SC-4020, the latter using a Charactron CRT for text and vector graphic output to either 16 mm motion picture film, 16 mm microfilm, or hard-copy paper output. Later 1970 and 80s-era recording to B&W (and color, with 3 separate exposures for red, green, and blue)) 16 mm film was done with an EBR (Electron Beam Recorder), the most prominent examples made by 3M), for both video and COM (Computer Output Microfilm) applications. Image Transform in Universal City, California used specially modified 3M EBR film recorders that could perform color film-out recording on 16 mm by exposing three 16 mm frames in a row (one red, one green and one blue). The film was then printed to color 16 mm or 35 mm film. The video fed to the recorder could either be NTSC, PAL or SECAM. Later, Image Transform used specially modified VTRs to record 24 frame for their "Image Vision" system. The modified 1 inch type B videotape VTRs would record
Radioplayer
Radioplayer is a radio technology platform, owned by UK radio broadcasters and operated under licence in some other countries. It operates an internet radio web tuner, a set of mobile phone apps, an in-car adaptor, and a growing range of integrations with other connected devices and platforms. Radioplayer is operated by UK Radioplayer Ltd which is a not-for-profit organisation owned by UK radio broadcasters. Initial shareholders were the BBC, Global Radio, GMG Radio, Absolute Radio and RadioCentre. After consolidation in the radio market, current shareholders are the BBC, Global Radio, Bauer Media Group and RadioCentre. == History == Launched in the UK on 31 March 2011, Radioplayer set out to offer a simple and accessible way to listen to radio via the internet. It contained 157 stations at launch. Initially working internally at the BBC for Tim Davie, then Director of BBC Audio & Music, Michael Hill led the project since March 2009; he was made Managing Director of UK Radioplayer Ltd on 28 July 2010. At launch, Radioplayer was a simple and straightforward Flash-based radio player, linked-to by radio stations on their own website. The player included searching and bookmarking across all of UK radio station content. On 5 October 2012, Radioplayer launched a mobile app on iOS phones with an Android version following shortly afterwards. The apps are unavailable for download outside the United Kingdom. This was followed by a tablet app on 25 September 2013. The apps also support Android Wear, Android Auto, Smart Device Link, Apple Watch and Apple CarPlay. They are also compatible with Chromecast and Airplay. In September 2016, Radioplayer announced it had been chosen by Amazon to integrate with their new voice-controlled 'Echo' device, ahead of its UK launch. In July 2017, Radioplayer integrated with the Sonos and Bose multi-room speaker platforms. UK Radioplayer currently contains around 500 UK stations, from Ofcom-licensed broadcasters. Online-only 'sister-stations' can also be added, but only by broadcasters with Ofcom licences which have been on the platform for over a year. == Radioplayer Car == Radioplayer Car was announced in September 2014 as a hybrid radio receiver that switches between FM, DAB and streaming to find the strongest signal. Speaking in Oslo in June 2015, Michael Hill said that he hoped to launch the product in the UK and Norway during the summer of 2015. In February 2017, Radioplayer Car was launched. It was marketed as the world’s first voice-controlled hybrid radio adaptor for car stereos. A small box, fitted behind the dashboard, links to the auxiliary input on an existing car radio. It connects wirelessly via Bluetooth to the driver’s smartphone by an app. The adaptor enabled drivers to listen to their own smartphone music collections using Bluetooth, take hands-free calls, listen to inbound text messages and receive instant audio travel news, customised by GPS to their location and direction of travel. The hardware was manufactured under licence by car audio interfaces supplier Connects2, and Hyde Park Corner was promoted as the preferred installer of the audio equipment. There were several spin-off benefits of the Radioplayer Car project, including the creation of the hybrid radio metadata API for cars, known as the 'WRAPI' (Worldwide Radioplayer API). == International == Through a separate company called Radioplayer Worldwide, Radioplayer technology is licensed to a number of different territories.
Kuaishou
Kuaishou Technology is a Chinese publicly traded partly state-owned holding company based in Haidian District, Beijing, that was founded in 2011 by Hua Su (Chinese: 宿华) and Cheng Yixiao (Chinese: 程一笑). The company, listed on the Hong Kong Stock Exchange, is known for developing a mobile app for sharing users' short videos, a social network, and video special effects editor. The app is known as Kwai in many countries outside of China. It is also known as Snack Video in India, Pakistan and Indonesia. == Ownership and governance == Kuaishou's overseas team is led by the former CEO of the application 99, and staff from Google, Facebook, Netflix, and TikTok were recruited to lead the company's international expansion. The China Internet Investment Fund, a state-owned enterprise controlled by the Cyberspace Administration of China, holds a golden share ownership stake in Kuaishou. == History == Kuaishou is China's first short video platform that was developed in 2011 by engineer Hua Su and Cheng Yixiao. Prior to co-founding Kuaishou, Su Hua had worked for both Google and Baidu as a software engineer. The company is headquartered in Haidian District, Beijing. Kuaishou's predecessor "GIF Kuaishou" was founded in March 2011. GIF Kuaishou was a mobile app with which users could make and share GIF pictures. In 2013, Kuaishou became a short-video social platform. By 2013, the app had reached 100 million daily users. By 2019, it had exceeded 200 million active daily users. In March 2017, Kuaishou closed a US$350 million investment round that was led by Tencent. In January 2018, Forbes estimated the company's valuation to be US$18 billion. In April 2018, Kuaishou's app was briefly banned from Chinese app stores after China Central Television (CCTV) reported on the platform popularizing videos of teenage mothers. In 2019, the company announced a partnership with the People's Daily, an official newspaper of the Central Committee of the Chinese Communist Party, to help it experiment with the use of artificial intelligence in news. In June 2020, following the start of the 2020–2021 China–India skirmishes, the Government of India banned Kwai along with 58 other apps, citing "data and privacy issues". In January 2021, Kuaishou announced it was planning an initial public offering (IPO) to raise approximately US$5 billion. Kuaishou's stock completed its first day of trading at $300 Hong Kong dollars (HKD) (US$38.70), more than doubling its initial offer price, and causing its market value to rise to over $1 trillion HKD (US$159 billion). In February 2021, Kuaishou made a debut on the Hong Kong Stock Exchange, with its shares soaring by 194% at the opening. The company subsequently encountered major setbacks as a result of heightened regulatory restrictions on Chinese internet firms, which contributed to its share price falling by nearly 80% from its post-IPO peak. By December 2021, Kuaishou announced a major reorganization, including the layoff of 30% of its staff, primarily targeting mid-level employees earning an annual salary of $157,000 or more. This restructuring aimed to cut costs and mitigate financial losses. In October 2022, state-owned Beijing Radio and Television Station took a minority ownership stake in Kuaishou. In April 2024, a Financial Times article citing current and former Kuaishou employees stated that the company has been running an ageist redundancy programme known internally as "Limestone", culling workers in their mid-30s. In June 2024, Kuaishou and the Sichuan international communication center launched a branch center in São Paulo, Brazil. In June 2024, Kuaishou released its diffusion transformer text-to-video model, Kling, which they claimed could generate two minutes of video at 30 frames per second and in 1080p resolution. The model has been compared to that of OpenAI's Sora text-to-video model. It is accessible to the public on Kuaishou's video editing app KwaiCut via signing up for a waitlist with a Chinese phone number. In December 2025, Kuaishou came under a cyberattack which led to a temporary influx of violent and pornographic content. == Popularity == As of 2019, it had a worldwide user base of over 200 million, leading the "Most Downloaded" lists of the Google Play and Apple App Store in eight countries, such as Brazil, where it was introduced in 2019. Its main short-video platform competitor was Douyin, which is known as TikTok outside China. Compared to Douyin, Kuaishou is more popular with older users living outside China's Tier 1 cities. Its initial popularity came from videos of Chinese rural life. The app is particularly well known for its "rustic" aesthetic and is popular among rural people. Kuaishou also relied more on e-commerce revenue than on advertising revenue compared to its main competitor. == Reception == Kwai (as the app is called outside of China) was banned in India in 2020 along with other short video apps like TikTok. Kuaishou then released the clone SnackVideo, which was subsequently also banned. The app is one of the most popular social media platforms in Brazil, where Kuaishou partnered with creators to make telenovela style content, and appeals to football fans by working with football teams CR Flamengo and Santos FC and sponsoring the tournament Copa América. Kwai was notable in Brazil for spreading information (and misinformation) about the COVID-19 vaccine and political misinformation. === Manjiao Wenhua === "Manjiao wenhua" (慢脚文化) is a sarcasm term on Chinese internet on the unethical or illegal contents on Kuaishou. State broadcaster China Central Television (CCTV) reported that many contents are about child pregnancy. "Dating, pregnancy, bearing a child...these are strictly prohibited in the real time by a minor, but these contents can easily shown to audiences here." In addition, many students from primary or secondary schools make a pose of smoking. Wang Zhenhui (王贞会) from CUPSL stated that these kinds of bad values will give negative effects to the minors.
How Data Happened
How Data Happened: A History from the Age of Reason to the Age of Algorithms is a 2023 non-fiction book written by Columbia University professors Chris Wiggins and Matthew L. Jones. The book explores the history of data and statistics from the end of the 18th century to the present day. == Content == The book starts at the end of the 18th century, when European states began tabulating physical resources, and ends at the present day, when algorithms manipulate our personal information as a commodity. It looks at the rise of data and statistics, and how early statistical methods were used to justify eugenics, quantify supposed racial differences, and develop military and industrial applications. The authors also discuss the impact of the internet and e-commerce on data collection, the rise of data science, and the consequences of government-run surveillance systems collecting vast amounts of personal data for customized, targeted advertising. They emphasize the importance of privacy and democracy and propose remedies to the problems caused by mass data collection, including stronger regulation of the tech industry and collective action by its employees. The book is a historical analysis that provides context for understanding the debates surrounding data and its control. The book has 336 pages and was published in 2023 by W. W. Norton & Company.
Collateral freedom
Collateral freedom is an anti-censorship strategy that attempts to make it economically prohibitive for censors to block content on the Internet. This is achieved by hosting content on cloud services that are considered by censors to be "too important to block", and then using encryption to prevent censors from identifying requests for censored information that is hosted among other content, forcing censors to either allow access to the censored information or take down entire services.