Algorithmic Puzzles is a book of puzzles based on computational thinking. It was written by computer scientists Anany and Maria Levitin, and published in 2011 by Oxford University Press. == Topics == The book begins with a "tutorial" introducing classical algorithm design techniques including backtracking, divide-and-conquer algorithms, and dynamic programming, methods for the analysis of algorithms, and their application in example puzzles. The puzzles themselves are grouped into three sets of 50 puzzles, in increasing order of difficulty. A final two chapters provide brief hints and more detailed solutions to the puzzles, with the solutions forming the majority of pages of the book. Some of the puzzles are well known classics, some are variations of known puzzles making them more algorithmic, and some are new. They include: Puzzles involving chessboards, including the eight queens puzzle, knight's tours, and the mutilated chessboard problem Balance puzzles River crossing puzzles The Tower of Hanoi Finding the missing element in a data stream The geometric median problem for Manhattan distance == Audience and reception == The puzzles in the book cover a wide range of difficulty, and in general do not require more than a high school level of mathematical background. William Gasarch notes that grouping the puzzles only by their difficulty and not by their themes is actually an advantage, as it provides readers with fewer clues about their solutions. Reviewer Narayanan Narayanan recommends the book to any puzzle aficionado, or to anyone who wants to develop their powers of algorithmic thinking. Reviewer Martin Griffiths suggests another group of readers, schoolteachers and university instructors in search of examples to illustrate the power of algorithmic thinking. Gasarch recommends the book to any computer scientist, evaluating it as "a delight".
Game Jolt
Game Jolt is a social community platform for video games, gamers and content creators. Founded by Yaprak and David DeCarmine, it is available on iOS, Android, and on the web and as a desktop app for Windows and Linux. Users share interactive content through a variety of formats including images, videos, live streams, chat rooms, and virtual events. == Features == === Crowd streaming === In 2021 Game Jolt revealed their own live streaming feature called Firesides. Firesides allowed multiple users to simultaneously livestream together with nearly no delay. The feature launched with a virtual concert showcasing its ability to accommodate multiple streamers. On October 16, 2023, Firesides were removed from Game Jolt. === Mobile app === Game Jolt Social by Game Jolt Inc. launched on both the Apple App Store and Google Play Store in March 2022. "It's clear to us that Gen Z is tired of generic social media and they want a place specifically for gaming that supports all types of content they're creating–art, videos, thoughts, and livestreams all in one place." said Game Jolt founder and CEO Yaprak DeCarmine, in a statement to VentureBeat. === Game API === The Game Jolt Application Programming Interface (usually known as the Game Jolt Game API) allows any developer using a game development platform that supports HTTP operations and MD5 or SHA-1. Game Jolt advertises that the API can: Create multiple "scoreboards" which collect high scores from players made publicly available on the game's profile and give user accounts EXP Award player's trophies which give user accounts EXP Store game data on Game Jolt's data servers Log whether a user is currently playing a game they're logged into via the GJAPI == Game jams and competitions == Game Jolt regularly hosts game jams where participants are encouraged to develop games for a chance to win prizes. They hosted their first game jam in 2009, Shocking Contest. In November 2014, Game Jolt announced the "Indies vs PewDiePie" game jam, partnering with the popular YouTuber Felix "PewDiePie" Kjellberg. Developers were given a weekend (21–24 November) to create a game with the theme of "fun to play, fun to watch" to suit the Let's Plays entertainment style. Users could rate entries afterwards until December 1 when the scores were counted up. The prize to the top 10 rated games was Felix playing the games on his channel as a means of promotion for the developers, although later he played other entries. One of the participants of the jam, now known as Outerminds Inc. was discovered and hired by PewDiePie to develop his mobile game, Legend of the Brofist. Game Jolt partnered with Felix, Sean "Jacksepticeye" McLoughlin and Mark "Markiplier" Fischbach to host "Indies vs Gamers" in July 2015. The requirements for entries were arcade games using the Game Jolt Game API highscore tables, to be made between the July 17–20 and the top 5 games were played on the partner's YouTube channels. Following the "Indies vs PewDiePie" game jam in 2014, Game Jolt released their internal jam hosting tools public for all users to use as a service, to create their own game jams that integrated with the main site. Today, Game Jolt focuses on hosting and co-hosting game competitions with established brands in order to bring monetary and educational opportunities to their users. On April 15, 2024, an announcement was made about a collaboration with Pocket Worlds for the "HighRise Game Jam". Pocket Worlds had sold NFTs up until roughly 2022, causing a community outburst. The situation was addressed, and the situation started to disperse. == Contests == == Events == Game Jolt hosts both physical and virtual events to entertain and prank its users, which consists of the following: == History == Game Jolt has supported independent creators with a central platform to manage their content and communities since its start in 2003. David DeCarmine began development of Game Jolt at the age of 14 for a group of hobbyists, making games and sharing on forums in an early iteration known as Holo World. The original intention was to create a platform for gamers where new games could be discoverable and quickly playable, and where feedback could be provided directly to the creators, allowing them to continue improving their games. In 2008, Game Jolt was registered as an LLC, then incorporated as Game Jolt Inc. in September 2020. A new site launched in 2015 featuring a responsive design, automated curation for both games and game news articles which weighs how recent a game was uploaded and how popular it is ("hot") and filtering options on game listings for platform, maturity rating and development status. In March 2022, Game Jolt launched a mobile application simultaneously on the Google Play Store and Apple App Store targeted at Gen Z gamers and creators. While in beta, the mobile app had 100,000 installs pre-launch. === Game store === Game Jolt continues to host a large library of independent games. Game developers can upload their games directly to the site to share or sell. They would allow distribution for downloadable games, later adding support for Adobe Flash, Unity and Java games which allowed support for browser based games. In February 2013, Game Jolt built support for browser-based HTML5 games as well. A user levelling system was released into public beta in April 2013, incorporating the GJAPI trophies and highscores, as well as site activity, to generate 'EXP' (experience points). Game Jolt Jams released in early 2014 as a service to allow users to create their own game jams that integrated with the main site. In April 2016, an online marketplace was announced and released the following month with an exclusive set of game titles, including Bendy and the Ink Machine, allowing developers to sell their games on the site. In January 2016, Game Jolt released source code of the client and site's front end on GitHub under MIT license. In January 2022, Game Jolt banned adult games from appearing on the site, stating in an email to developers that the site had become a "social media platform" and they "had to make decisions around the direction and future of the brand which has now included the removal of hosted games with explicitly adult content." In response to a tweet by Itch.io saying the site is not for prudes, they wrote in their own tweet: "Game Jolt is a platform with a large audience of 13-16 year olds. Our users asked us to clean up, so here we are." == Investments == After bootstrapping Game Jolt with revenue earned from ads on the website for years, the DeCarmines secured venture capital in 2020 from SoftBank, doing so again in 2021 from founders of Twitch, Rec Room, Modio and more.
Geometric primitive
In vector computer graphics, CAD systems, and geographic information systems, a geometric primitive (or prim) is the simplest (i.e. 'atomic' or irreducible) geometric shape that the system can handle (draw, store). Sometimes the subroutines that draw the corresponding objects are called "geometric primitives" as well. The most "primitive" primitives are point and straight line segments, which were all that early vector graphics systems had. In constructive solid geometry, primitives are simple geometric shapes such as a cube, cylinder, sphere, cone, pyramid, torus. Modern 2D computer graphics systems may operate with primitives which are curves (segments of straight lines, circles and more complicated curves), as well as shapes (boxes, arbitrary polygons, circles). A common set of two-dimensional primitives includes lines, points, and polygons, although some people prefer to consider triangles primitives, because every polygon can be constructed from triangles (polygon triangulation). All other graphic elements are built up from these primitives. In three dimensions, triangles or polygons positioned in three-dimensional space can be used as primitives to model more complex 3D forms. In some cases, curves (such as Bézier curves, circles, etc.) may be considered primitives; in other cases, curves are complex forms created from many straight, primitive shapes. == Common primitives == The set of geometric primitives is based on the dimension of the region being represented: Point (0-dimensional), a single location with no height, width, or depth. Line or curve (1-dimensional), having length but no width, although a linear feature may curve through a higher-dimensional space. Planar surface or curved surface (2-dimensional), having length and width. Volumetric region or solid (3-dimensional), having length, width, and depth. In GIS, the terrain surface is often spoken of colloquially as "2 1/2 dimensional," because only the upper surface needs to be represented. Thus, elevation can be conceptualized as a scalar field property or function of two-dimensional space, affording it a number of data modeling efficiencies over true 3-dimensional objects. A shape of any of these dimensions greater than zero consists of an infinite number of distinct points. Because digital systems are finite, only a sample set of the points in a shape can be stored. Thus, vector data structures typically represent geometric primitives using a strategic sample, organized in structures that facilitate the software interpolating the remainder of the shape at the time of analysis or display, using the algorithms of Computational geometry. A Point is a single coordinate in a Cartesian coordinate system. Some data models allow for Multipoint features consisting of several disconnected points. A Polygonal chain or Polyline is an ordered list of points (termed vertices in this context). The software is expected to interpolate the intervening shape of the line between adjacent points in the list as a parametric curve, most commonly a straight line, but other types of curves are frequently available, including circular arcs, cubic splines, and Bézier curves. Some of these curves require additional points to be defined that are not on the line itself, but are used for parametric control. A Polygon is a polyline that closes at its endpoints, representing the boundary of a two-dimensional region. The software is expected to use this boundary to partition 2-dimensional space into an interior and exterior. Some data models allow for a single feature to consist of multiple polylines, which could collectively connect to form a single closed boundary, could represent a set of disjoint regions (e.g., the state of Hawaii), or could represent a region with holes (e.g., a lake with an island). A Parametric shape is a standardized two-dimensional or three-dimensional shape defined by a minimal set of parameters, such as an ellipse defined by two points at its foci, or three points at its center, vertex, and co-vertex. A Polyhedron or Polygon mesh is a set of polygon faces in three-dimensional space that are connected at their edges to completely enclose a volumetric region. In some applications, closure may not be required or may be implied, such as modeling terrain. The software is expected to use this surface to partition 3-dimensional space into an interior and exterior. A triangle mesh is a subtype of polyhedron in which all faces must be triangles, the only polygon that will always be planar, including the Triangulated irregular network (TIN) commonly used in GIS. A parametric mesh represents a three-dimensional surface by a connected set of parametric functions, similar to a spline or Bézier curve in two dimensions. The most common structure is the Non-uniform rational B-spline (NURBS), supported by most CAD and animation software. == Application in GIS == A wide variety of vector data structures and formats have been developed during the history of Geographic information systems, but they share a fundamental basis of storing a core set of geometric primitives to represent the location and extent of geographic phenomena. Locations of points are almost always measured within a standard Earth-based coordinate system, whether the spherical Geographic coordinate system (latitude/longitude), or a planar coordinate system, such as the Universal Transverse Mercator. They also share the need to store a set of attributes of each geographic feature alongside its shape; traditionally, this has been accomplished using the data models, data formats, and even software of relational databases. Early vector formats, such as POLYVRT, the ARC/INFO Coverage, and the Esri shapefile support a basic set of geometric primitives: points, polylines, and polygons, only in two dimensional space and the latter two with only straight line interpolation. TIN data structures for representing terrain surfaces as triangle meshes were also added. Since the mid 1990s, new formats have been developed that extend the range of available primitives, generally standardized by the Open Geospatial Consortium's Simple Features specification. Common geometric primitive extensions include: three-dimensional coordinates for points, lines, and polygons; a fourth "dimension" to represent a measured attribute or time; curved segments in lines and polygons; text annotation as a form of geometry; and polygon meshes for three-dimensional objects. Frequently, a representation of the shape of a real-world phenomenon may have a different (usually lower) dimension than the phenomenon being represented. For example, a city (a two-dimensional region) may be represented as a point, or a road (a three-dimensional volume of material) may be represented as a line. This dimensional generalization correlates with tendencies in spatial cognition. For example, asking the distance between two cities presumes a conceptual model of the cities as points, while giving directions involving travel "up," "down," or "along" a road imply a one-dimensional conceptual model. This is frequently done for purposes of data efficiency, visual simplicity, or cognitive efficiency, and is acceptable if the distinction between the representation and the represented is understood, but can cause confusion if information users assume that the digital shape is a perfect representation of reality (i.e., believing that roads really are lines). == In 3D modelling == In CAD software or 3D modelling, the interface may present the user with the ability to create primitives which may be further modified by edits. For example, in the practice of box modelling the user will start with a cuboid, then use extrusion and other operations to create the model. In this use the primitive is just a convenient starting point, rather than the fundamental unit of modelling. A 3D package may also include a list of extended primitives which are more complex shapes that come with the package. For example, a teapot is listed as a primitive in 3D Studio Max. == In graphics hardware == Various graphics accelerators exist with hardware acceleration for rendering specific primitives such as lines or triangles, frequently with texture mapping and shaders. Modern 3D accelerators typically accept sequences of triangles as triangle strips.
Split screen (computing)
Split screen is a display technique in computer graphics that consists of dividing graphics and/or text into non-overlapping adjacent parts, typically as two or four rectangular areas. This allows for the simultaneous presentation of (usually) related graphical and textual information on a computer display. TV sports adopted this presentation methodology in the 1960s for instant replay. Non-dynamic split screens differ from windowing systems in that the latter allowed overlapping and freely movable parts of the screen (the "windows") to present both related and unrelated application data to the user. In contrast, split-screen views are strictly limited to fixed positions. The split screen technique can also be used to run two instances of an application, potentially allowing another user to interact with the second instance. == In operating systems == Split screen modes are used by mobile operating systems to enable computer multitasking similar to the window interface present in desktop operating systems. Android supports split screen view of two apps natively on all devices, while certain devices, such as Samsung Galaxy Z TriFold, support three sumultaneous views. Split screen functionality is not supported on iOS, but a similar feature called Split View is present in iPadOS, first introduced in 2015 with the first generation of iPad Pro. == In video games == The split screen feature is commonly used in non-networked, also known as couch co-op, video games with multiplayer options. In its most easily understood form, a split screen for a multiplayer video game is an audiovisual output device (usually a standard television for video game consoles) where the display has been divided into 2-4 equally sized areas (depending on number of players) so that the players can explore different areas simultaneously without being close to each other. This has historically been remarkably popular on consoles, which until the 2000s did not have access to the Internet or any other network and is less common today with modern support for networked console-to-console multiplayer. In competitive split-screen games, it is customarily considered cheating to look at another player's screen section to gain an advantage. === History === Split screen gaming dates back to at least the 1970s, with games such Drag Race (1977) from Kee Games in the arcades being presented in this format. It has always been a common feature of two or more player home console and computer games too, with notable titles being Kikstart II for 8-bit systems, a number of 16-bit racing games (such as Lotus Esprit Turbo Challenge and Road Rash II), and action/strategy games (such as Toejam & Earl and Lemmings), all employing a vertical or horizontal screen split for two player games. Xenophobe is notable as a three-way split screen arcade title, although on home platforms it was reduced to one or two screens. The addition of four controller ports on home consoles also ushered in more four-way split screen games, with Mario Kart 64 and Goldeneye 007 on the Nintendo 64 being two well known examples. In arcades, machines tended to move towards having a whole screen for each player, or multiple connected machines, for multiplayer. On home machines, especially in the first and third person shooter genres, multiplayer is now more common over a network or the internet rather than locally with split screen. Starting from the late 2000s, the presence of split screen multiplayer has largely been declining due to the increasing prevalence of online multiplayer, though TechRadar reported a resurgence of split screen due to support from independent studios and increased interest from the players.
Hedgeable
Hedgeable, Inc. was a U.S. based financial services company and digital wealth management platform headquartered in New York City. Hedgeable was known for not following set allocations, and instead actively managing accounts in response to market movements. On August 9, 2018, Hedgeable closed its doors to new investors, with existing investors required to transfer out of the company. The company claimed that it was not shutting down but simply removing its SEC registration. == History == Hedgeable was founded in 2009 by twin brothers Michael and Matthew Kane, who previously worked at high-net worth investment managers such as Bridgewater Associates and Spruce Private Investors. Both Michael and Matthew graduated from Penn State University with degrees in finance. Hedgeable is a Registered Investment Advisor with the U.S. Securities and Exchange Commission. The company has received funding from SixThirty and Route 66 Ventures as well as various other angel investors. On August 9, 2018, Hedgeable closed its doors to new investors. == Investing Strategies == Hedgeable did not follow a buy-and-hold approach, but instead actively manages accounts in response to market movements focusing on downside protection in bear markets. Their strategy was different from other robo-advisors, which use Modern Portfolio Theory. Hedgeable offered investment options including Exchange Traded Funds (ETFs) to individual stocks, master limited partnerships, private equity and bitcoin. Mutual funds were not used in portfolios. Although the firm's focus was to provide a direct-to-consumer service, Hedgeable's investment strategies were available to financial advisors and institutions as well through a variety of platforms. == Product Features == When it was open to external clients, Hedgeable aimed to gamify their personal finance experience. Clients could open a new account or transfer an existing account. Hedgeable accepted retirement accounts, taxable accounts, business accounts and various other account types. Hedgeable offered the following features: Downside protection Account aggregation Alternative investments Alpha rewards API Mobile app It was awarded 4/5 for client transparency by Paladin Research. Hedgeable was the winner of the Finovate Fall 2015 Best of Show Award and the GREAT 2015 Tech Award (FinTech Category). In 2016, Hedgeable launched its first iOS mobile app in order to expand their product offerings.
Superellipsoid
In mathematics, a superellipsoid (or super-ellipsoid) is a solid whose horizontal sections are superellipses (Lamé curves) with the same squareness parameter ϵ 2 {\displaystyle \epsilon _{2}} , and whose vertical sections through the center are superellipses with the squareness parameter ϵ 1 {\displaystyle \epsilon _{1}} . It is a generalization of an ellipsoid, which is a special case when ϵ 1 = ϵ 2 = 1 {\displaystyle \epsilon _{1}=\epsilon _{2}=1} . Superellipsoids as computer graphics primitives were popularized by Alan H. Barr (who used the name "superquadrics" to refer to both superellipsoids and supertoroids). In modern computer vision and robotics literatures, superquadrics and superellipsoids are used interchangeably, since superellipsoids are the most representative and widely utilized shape among all the superquadrics. Superellipsoids have a rich shape vocabulary, including cuboids, cylinders, ellipsoids, octahedra and their intermediates. It becomes an important geometric primitive widely used in computer vision, robotics, and physical simulation. The main advantage of describing objects and environment with superellipsoids is its conciseness and expressiveness in shape. Furthermore, a closed-form expression of the Minkowski sum between two superellipsoids is available. This makes it a desirable geometric primitive for robot grasping, collision detection, and motion planning. == Special cases == A handful of notable mathematical figures can arise as special cases of superellipsoids given the correct set of values, which are depicted in the above graphic: Cylinder Sphere Steinmetz solid Bicone Regular octahedron Cube, as a limiting case where the exponents tend to infinity Piet Hein's supereggs are also special cases of superellipsoids. == Formulas == === Basic (normalized) superellipsoid === The basic superellipsoid is defined by the implicit function f ( x , y , z ) = ( x 2 ϵ 2 + y 2 ϵ 2 ) ϵ 2 / ϵ 1 + z 2 ϵ 1 {\displaystyle f(x,y,z)=\left(x^{\frac {2}{\epsilon _{2}}}+y^{\frac {2}{\epsilon _{2}}}\right)^{\epsilon _{2}/\epsilon _{1}}+z^{\frac {2}{\epsilon _{1}}}} The parameters ϵ 1 {\displaystyle \epsilon _{1}} and ϵ 2 {\displaystyle \epsilon _{2}} are positive real numbers that control the squareness of the shape. The surface of the superellipsoid is defined by the equation: f ( x , y , z ) = 1 {\displaystyle f(x,y,z)=1} For any given point ( x , y , z ) ∈ R 3 {\displaystyle (x,y,z)\in \mathbb {R} ^{3}} , the point lies inside the superellipsoid if f ( x , y , z ) < 1 {\displaystyle f(x,y,z)<1} , and outside if f ( x , y , z ) > 1 {\displaystyle f(x,y,z)>1} . Any "parallel of latitude" of the superellipsoid (a horizontal section at any constant z between -1 and +1) is a Lamé curve with exponent 2 / ϵ 2 {\displaystyle 2/\epsilon _{2}} , scaled by a = ( 1 − z 2 ϵ 1 ) ϵ 1 2 {\displaystyle a=(1-z^{\frac {2}{\epsilon _{1}}})^{\frac {\epsilon _{1}}{2}}} , which is ( x a ) 2 ϵ 2 + ( y a ) 2 ϵ 2 = 1. {\displaystyle \left({\frac {x}{a}}\right)^{\frac {2}{\epsilon _{2}}}+\left({\frac {y}{a}}\right)^{\frac {2}{\epsilon _{2}}}=1.} Any "meridian of longitude" (a section by any vertical plane through the origin) is a Lamé curve with exponent 2 / ϵ 1 {\displaystyle 2/\epsilon _{1}} , stretched horizontally by a factor w that depends on the sectioning plane. Namely, if x = u cos θ {\displaystyle x=u\cos \theta } and y = u sin θ {\displaystyle y=u\sin \theta } , for a given θ {\displaystyle \theta } , then the section is ( u w ) 2 ϵ 1 + z 2 ϵ 1 = 1 , {\displaystyle \left({\frac {u}{w}}\right)^{\frac {2}{\epsilon _{1}}}+z^{\frac {2}{\epsilon _{1}}}=1,} where w = ( cos 2 ϵ 2 θ + sin 2 ϵ 2 θ ) − ϵ 2 2 . {\displaystyle w=(\cos ^{\frac {2}{\epsilon _{2}}}\theta +\sin ^{\frac {2}{\epsilon _{2}}}\theta )^{-{\frac {\epsilon _{2}}{2}}}.} In particular, if ϵ 2 {\displaystyle \epsilon _{2}} is 1, the horizontal cross-sections are circles, and the horizontal stretching w {\displaystyle w} of the vertical sections is 1 for all planes. In that case, the superellipsoid is a solid of revolution, obtained by rotating the Lamé curve with exponent 2 / ϵ 1 {\displaystyle 2/\epsilon _{1}} around the vertical axis. === Superellipsoid === The basic shape above extends from −1 to +1 along each coordinate axis. The general superellipsoid is obtained by scaling the basic shape along each axis by factors a x {\displaystyle a_{x}} , a y {\displaystyle a_{y}} , a z {\displaystyle a_{z}} , the semi-diameters of the resulting solid. The implicit function is F ( x , y , z ) = ( ( x a x ) 2 ϵ 2 + ( y a y ) 2 ϵ 2 ) ϵ 2 ϵ 1 + ( z a z ) 2 ϵ 1 {\displaystyle F(x,y,z)=\left(\left({\frac {x}{a_{x}}}\right)^{\frac {2}{\epsilon _{2}}}+\left({\frac {y}{a_{y}}}\right)^{\frac {2}{\epsilon _{2}}}\right)^{\frac {\epsilon _{2}}{\epsilon _{1}}}+\left({\frac {z}{a_{z}}}\right)^{\frac {2}{\epsilon _{1}}}} . Similarly, the surface of the superellipsoid is defined by the equation F ( x , y , z ) = 1 {\displaystyle F(x,y,z)=1} For any given point ( x , y , z ) ∈ R 3 {\displaystyle (x,y,z)\in \mathbb {R} ^{3}} , the point lies inside the superellipsoid if f ( x , y , z ) < 1 {\displaystyle f(x,y,z)<1} , and outside if f ( x , y , z ) > 1 {\displaystyle f(x,y,z)>1} . Therefore, the implicit function is also called the inside-outside function of the superellipsoid. The superellipsoid has a parametric representation in terms of surface parameters η ∈ [ − π / 2 , π / 2 ) {\displaystyle \eta \in [-\pi /2,\pi /2)} , ω ∈ [ − π , π ) {\displaystyle \omega \in [-\pi ,\pi )} . x ( η , ω ) = a x cos ϵ 1 η cos ϵ 2 ω {\displaystyle x(\eta ,\omega )=a_{x}\cos ^{\epsilon _{1}}\eta \cos ^{\epsilon _{2}}\omega } y ( η , ω ) = a y cos ϵ 1 η sin ϵ 2 ω {\displaystyle y(\eta ,\omega )=a_{y}\cos ^{\epsilon _{1}}\eta \sin ^{\epsilon _{2}}\omega } z ( η , ω ) = a z sin ϵ 1 η {\displaystyle z(\eta ,\omega )=a_{z}\sin ^{\epsilon _{1}}\eta } === General posed superellipsoid === In computer vision and robotic applications, a superellipsoid with a general pose in the 3D Euclidean space is usually of more interest. For a given Euclidean transformation of the superellipsoid frame g = [ R ∈ S O ( 3 ) , t ∈ R 3 ] ∈ S E ( 3 ) {\displaystyle g=[\mathbf {R} \in SO(3),\mathbf {t} \in \mathbb {R} ^{3}]\in SE(3)} relative to the world frame, the implicit function of a general posed superellipsoid surface defined the world frame is F ( g − 1 ∘ ( x , y , z ) ) = 1 {\displaystyle F\left(g^{-1}\circ (x,y,z)\right)=1} where ∘ {\displaystyle \circ } is the transformation operation that maps the point ( x , y , z ) ∈ R 3 {\displaystyle (x,y,z)\in \mathbb {R} ^{3}} in the world frame into the canonical superellipsoid frame. === Volume of superellipsoid === The volume encompassed by the superelllipsoid surface can be expressed in terms of the beta functions β ( ⋅ , ⋅ ) {\displaystyle \beta (\cdot ,\cdot )} , V ( ϵ 1 , ϵ 2 , a x , a y , a z ) = 2 a x a y a z ϵ 1 ϵ 2 β ( ϵ 1 2 , ϵ 1 + 1 ) β ( ϵ 2 2 , ϵ 2 + 2 2 ) {\displaystyle V(\epsilon _{1},\epsilon _{2},a_{x},a_{y},a_{z})=2a_{x}a_{y}a_{z}\epsilon _{1}\epsilon _{2}\beta ({\frac {\epsilon _{1}}{2}},\epsilon _{1}+1)\beta ({\frac {\epsilon _{2}}{2}},{\frac {\epsilon _{2}+2}{2}})} or equivalently with the Gamma function Γ ( ⋅ ) {\displaystyle \Gamma (\cdot )} , since β ( m , n ) = Γ ( m ) Γ ( n ) Γ ( m + n ) {\displaystyle \beta (m,n)={\frac {\Gamma (m)\Gamma (n)}{\Gamma (m+n)}}} == Recovery from data == Recoverying the superellipsoid (or superquadrics) representation from raw data (e.g., point cloud, mesh, images, and voxels) is an important task in computer vision, robotics, and physical simulation. Traditional computational methods model the problem as a least-square problem. The goal is to find out the optimal set of superellipsoid parameters θ ≐ [ ϵ 1 , ϵ 2 , a x , a y , a z , g ] {\displaystyle \theta \doteq [\epsilon _{1},\epsilon _{2},a_{x},a_{y},a_{z},g]} that minimize an objective function. Other than the shape parameters, g ∈ {\displaystyle g\in } SE(3) is the pose of the superellipsoid frame with respect to the world coordinate. There are two commonly used objective functions. The first one is constructed directly based on the implicit function G 1 ( θ ) = a x a y a z ∑ i = 1 N ( F ϵ 1 ( g − 1 ∘ ( x i , y i , z i ) ) − 1 ) 2 {\displaystyle G_{1}(\theta )=a_{x}a_{y}a_{z}\sum _{i=1}^{N}\left(F^{\epsilon _{1}}\left(g^{-1}\circ (x_{i},y_{i},z_{i})\right)-1\right)^{2}} The minimization of the objective function provides a recovered superellipsoid as close as possible to all the input points { ( x i , y i , z i ) ∈ R 3 , i = 1 , 2 , . . . , N } {\displaystyle \{(x_{i},y_{i},z_{i})\in \mathbb {R} ^{3},i=1,2,...,N\}} . At the mean time, the scalar value a x , a y , a z {\displaystyle a_{x},a_{y},a_{z}} is positively proportional to the volume of the superellipsoid, and thus have the effect of minimizing the volume as well. The other objective function tries to minimized the radial distance between the points and the superellipsoid. That is G 2 ( θ ) = ∑ i = 1 N ( | r
Generative art
Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu