Semantic parameterization is a conceptual modeling process for expressing natural language descriptions of a domain in first-order predicate logic. The process yields a formalization of natural language sentences in Description Logic to answer the who, what and where questions in the Inquiry-Cycle Model (ICM) developed by Colin Potts and his colleagues at the Georgia Institute of Technology. The parameterization process complements the Knowledge Acquisition and autOmated Specification (KAOS) method, which formalizes answers to the when, why and how ICM questions in Temporal Logic, to complete the ICM formalization. The artifacts used in the parameterization process include a dictionary that aligns the domain lexicon with unique concepts, distinguishing between synonyms and polysemes, and several natural language patterns that aid in mapping common domain descriptions to formal specifications. == Relationship to other theories == Semantic Parameterization defines a meta-model consisting of eight roles that are domain-independent and reusable. Seven of these roles correspond to Jeffrey Gruber's thematic relations and case roles in Charles Fillmore's case grammar: The Inquiry-Cycle Model (ICM) was introduced to drive elicitation between engineers and stakeholders in requirements engineering. The ICM consists of who, what, where, why, how and when questions. All but the when questions, which require a Temporal Logic to represent such phenomena, have been aligned with the meta-model in semantic parameterization using Description Logic (DL). == Introduction with Example == The semantic parameterization process is based on Description Logic, wherein the TBox is composed of words in a dictionary, including nouns, verbs, and adjectives, and the ABox is partitioned into two sets of assertions: 1) those assertions that come from words in the natural language statement, called the grounding, and 2) those assertions that are inferred by the (human) modeler, called the meta-model. Consider the following unstructured natural language statement (UNLS) (see Breaux et al. for an extended discussion): UNLS1.0 The customer1,1 must not share2,2 the access-code3,3 of the customer1,1 with someone4,4 who is not the provider5,4. The modeler first identifies intensional and extensional polysemes and synonyms, denoted by the subscripts: the first subscript uniquely refers to the intensional index, i.e., the same first index in two or more words refer to the same concept in the TBox; the second subscript uniquely refers to the extensional index, i.e., two same second index in two or more words refer to the same individual in the ABox. This indexing step aligns words in the statement and concepts in the dictionary. Next, the modeler identifies concepts from the dictionary to compose the meta-model. The following table illustrates the complete DL expression that results from applying semantic parameterization.
IruSoft
IruSoft (Arabic: آيروسوفت) is an insurance regulatory platform designated for licensing, supervision and inspection of the insurance sector within a country. The platform introduced unique supervision-technology (suptech), insurance-technology (insurtech) and regulatory-technology (regtech) automated modules by which a regulator requires less resources to ensure fairness, transparency and competition and to prevent conflicts of interest in the sector. IruSoft was founded by Abdullah Al-Salloum and owned by the Insurance Regulatory Unit in Kuwait. The Insurance Regulatory Unit optimized processing insurance-sector's customer complaints by issuing Resolution No. (1) of 2022 that introduced IruSoft's complaints public module; an automated resolution center, by which the process of receiving submitted complaints, passing them on to the platforms of licensed insurance companies, tracking matter-related discussions and updates and getting them escalated if unresolved to be discussed by a committee assigned by the unit is integrally automated and analyzed for better key performance indicators.
Digital art
Digital art, or the digital arts, is artistic work that uses digital technology as part of the creative or presentational process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art. Digital art includes pieces stored on physical media, such as with digital painting, as well as digital galleries on websites. Digital art also extends to the field of visual computing. == History == In the early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user interactive computer-graphics interface known as Sketchpad. Between 1974 and 1977, Salvador Dalí created two big canvases of Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko) and prints of Lincoln in Dalivision based on a portrait of Abraham Lincoln processed on a computer by Leon Harmon published in "The Recognition of Faces". The technique is similar to what later became known as photographic mosaics. Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Center in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color using flood fills. == Art made for digital media == Artwork that is highly computational, presented through digital media, and explicitly engages with digital technologies are categorized as "art made for digital media". This differs from art using digital tools, which incorporate digital technology in the creation process but may exist outside the digital world. Digital art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statement about the art form". == Art that uses digital tools == Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings when created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Despite differing viewpoints on digital technology's impact on the arts, a consensus exists within the digital art community about its significant contribution to expanding the creative domain, i.e., that it has greatly broadened the creative opportunities available to professional and non-professional artists alike. == Art theorists and art historians == Notable art theorists and historians in this field include: Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Tina Rivers Ryan, Fred Forest and Edward A. Shanken. === Digital painting === Digital painting is either a physical painting made with the use of digital electronics and spray paint robotics within the digital art fine art context or pictorial art imagery made with pixels on a computer screen that mimics artworks from the traditional histories of painting and illustration. === Artificial intelligence art === Artists have used artificial intelligence to create artwork since at least the 1960s. Since their design in 2014, some artists have created artwork using a generative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate. It can be used to generate pictures that have visual effects similar to traditional fine art. The essential idea of image generators is that people can use text descriptions to let AI convert their text into visual picture content. Anyone can turn their language into a painting through a picture generator. == Digital art education == Digital art education has become more common with the advancement of digital hardware and software. From hardware such as graphics tablets, styluses, tablets, 3D scanners, virtual reality headsets, and digital cameras; to software such as digital art software, 3D modeling software, 3D rendering, digital sculpting, 2D graphics software, digital painting, 3D terrain generation, 2D animation software, 3D animation software, raster graphics editors, vector graphics editors, mathematical art software, and video editing software. == Scholarship and archives == In addition to the creation of original art, research methods that utilize AI have been generated to quantitatively analyze digital art collections. This has been made possible due to the large-scale digitization of artwork in the past few decades. Although the main goal of digitization was to allow for accessibility and exploration of these collections, the use of AI in analyzing them has brought about new research perspectives. Two computational methods, close reading and distant viewing, are the typical approaches used to analyze digitized art. Close reading focuses on specific visual aspects of one piece. Some tasks performed by machines in close reading methods include computational artist authentication and analysis of brushstrokes or texture properties. In contrast, through distant viewing methods, the similarity across an entire collection for a specific feature can be statistically visualized. Common tasks relating to this method include automatic classification, object detection, multimodal tasks, knowledge discovery in art history, and computational aesthetics. Whereas distant viewing includes the analysis of large collections, close reading involves one piece of artwork. Whilst 2D and 3D digital art is beneficial as it allows the preservation of history that would otherwise have been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans – i.e., who should own the digital copyrights. === Computer demos === Computer demos are based on computer programs, usually non-interactive. It produces audiovisual presentations. They are a novel form of art, which emerged as a consequence of the home computer revolution in the early 1980s. In the classification of digital art, they can be best described as real-time procedurally generated animated audio-visuals. This form of art does not concentrate only on the aesthetics of the final presentation, but also on the complexities and skills involved in creating the presentation. As such, it can be fully enjoyed only by persons with a relatively high knowledge level of relevant computer technologies. An example is that, as said by Hua Jin and Jie Yang, Using computer-aided design software to present the class content in art design teaching," is not to advocate computer-aided design instead of hand-drawn performance, but to make it serve the profession earlier through a more reasonable course arrangement." On the other hand, many of the created pieces of art are primarily aesthetic or amusing, and those can be enjoyed by the general public. === Digital installation art === Digital installation art constitutes a broad field of artistic practices and a variety of forms. Some resemble video installations, especially large-scale works involving projections and live video capture. By using projection techniques that enhance an audience's impression of sensory envelopment, many digital installations attempt to create immersive environments. While others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site-specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces. Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people, indicating their personal space.Noah Wardrip-Fruin's "Screen"(2003) utilizes a Cave Automatic Virtual Environment (CAVE) to create an interactive, text-based digital experience that engages the viewer in a multi-sensory interaction. === Internet art and net.art === Internet art is digital art that uses the specific characteristics of the Internet and is exhibited on the Internet. The term "internet art" is included by "net art" for which artists assume that network will be refreshed through history. So the term "post-internet art" is used to exclude artworks outside of the internet media. A representative example is Protocols for Achievements, which is a digital photo frame that confronts the aestheti
CapCut
CapCut, known domestically as JianYing (Chinese: 剪映; pinyin: Jiǎnyìng) and formerly internationally as ViaMaker, is a video editor developed by ByteDance, available as a mobile app, desktop app, and web app. == History == The app was first released in China in 2019 and was initially available for iPhone and Android. In 2020, it was rebranded in English from ViaMaker to CapCut and became available globally. It later expanded to include web and desktop versions for Mac and Windows. In 2022, CapCut reached 200 million active users. According to The Wall Street Journal, in March 2023, it was the second-most downloaded app in the U.S., behind that of Chinese discount retailer Temu. In January 2025, CapCut had over 1 billion downloads on the Google Play Store. On February 1, 2021, CapCut Pro for Windows was launched. On November 27, the Pro version for Mac was launched. In July 2025, CapCut Pro for HarmonyOS was available on HarmonyOS NEXT tablets. In July 2024, CapCut was reported by the South China Morning Post to be a generative AI (GenAI) application that led global AI app downloads, with approximately 38.42 million downloads and 323 million monthly active users. == Features == CapCut supports basic video editing functions, including editing, trimming, and adding or splitting clips. Editing projects is limited to single-layer editing, but the app supports overlay options that enable additional effects, including multi-layer editing. The app includes a library of pre-made templates and a tool that generates editable video captions. It also provides photo editing tools, including retouch and product photo features integrated within the editing interface. CapCut's video editor includes AI-based features such as video and script generation. Users can export or save completed projects directly to different social media platforms. CapCut includes a free version and a paid Pro version with cloud storage and advanced features. == Controversies == === Illegal data collection === In July 2023, many users of CapCut accused it of illegally profiting off their personal data. A class-action lawsuit filed in the U.S. District Court for the Northern District of Illinois on July 28, 2023, alleged that CapCut illegally harvests and profits from user data including biometric information and geolocation without consent. In September 2025, a federal court excluded most of the lawsuit, which alleged that TikTok’s parent company improperly scraped private data from CapCut's video editing software, as lacking grounds, with some of the class action continuing to move forward. == Bans and restrictions == === Ban in India === As a response to border clashes with China in May 2020, the Indian government banned around 56 Chinese applications including CapCut and TikTok, which is owned by CapCut's parent company ByteDance. Indian users were unable to use and download the application. As of February 2022, around 273 Chinese applications have been banned by the Indian government under the concern of national security and Indian user privacy. === Ban in the United States === On January 18, 2025, at 10 PM EST, CapCut was banned in the United States along with TikTok and all other ByteDance apps due to the implementation of the Protecting Americans from Foreign Adversary Controlled Applications Act. Hours after the suspension of services took effect, President Donald Trump indicated on Truth Social that he would issue an executive order on the day of his inauguration "to extend the period of time before the law's prohibitions take effect". On January 21, CapCut began restoring service. On February 13, Google and Apple restored CapCut on the App Store and Google Play Store.
Comparison of raster graphics editors
Raster graphics editors can be compared by many variables, including availability. == List == == General information == Basic general information about the editor: creator, company, license, etc. == Operating system support == The operating systems on which the editors can run natively, that is, without emulation, virtual machines or compatibility layers. In other words, the software must be specifically coded for the operation system; for example, Adobe Photoshop for Windows running on Linux with Wine does not fit. == Features == == Color spaces == == File support ==
STIT logic
STIT logic (from seeing to it that) is a family of modal and branching-time logics for reasoning about agency and choice. A typical STIT operator has the form [ i s t i t : φ ] {\displaystyle [i\ {\mathsf {stit}}:\varphi ]} , usually read as "agent i {\displaystyle i} sees to it that φ {\displaystyle \varphi } ", and is interpreted in models where agents choose between alternative possible futures. STIT logics are used in action theory, deontic logic, epistemic logic, and the theory of intelligent agents to formalise notions such as "could have done otherwise", responsibility, joint action, and strategic ability in an indeterministic world. == Etymology == The acronym STIT comes from the English phrase "seeing to it that", introduced in influential work by Nuel Belnap and Michael Perloff on the logical analysis of agentive expressions. In this tradition, "to see to it that φ {\displaystyle \varphi } " is treated as a primitive agency operator, rather than being reduced to ordinary modal necessity. == History == Modern STIT logic arose in the 1980s in the context of branching-time semantics and formal theories of agency. Belnap and Perloff's article "Seeing to it that: A canonical form for agentives" introduced the idea of treating expressions of the form "agent i sees to it that φ" as a primitive modal operator, and analysed such sentences using a branching tree of moments and histories. This approach was further developed in a series of papers on indeterminism and agency and provided the conceptual core for later STIT formalisms. In the 1990s the basic formal systems of STIT logic were worked out. Horty and Belnap's influential paper on the deliberative STIT operator distinguished between a "Chellas" STIT that merely records the result of an agent's present choice and a "deliberative" STIT that requires the agent's choice to make a difference, and connected STIT with issues of action, omission, ability and obligation. Around the same time, Ming Xu proved completeness and decidability results for basic STIT systems, including a single-agent logic with Kripke-style semantics and axiomatizations for multi-agent deliberative STIT, thereby establishing STIT as a well-behaved normal modal framework. This early work was systematised in Belnap, Perloff and Xu's monograph Facing the Future: Agents and Choices in Our Indeterminist World, which presents a general branching-time semantics for individual and group STIT operators, discusses independence-of-agents conditions and articulates the metaphysical picture of an indeterministic "tree" of moments. At roughly the same time, Horty's book Agency and Deontic Logic developed deontic STIT logics in which obligations are tied to agents' available choices rather than to static states of affairs, and used the resulting systems to analyse "ought implies can", contrary-to-duty obligations and deontic paradoxes. These works helped to position STIT at the intersection of action theory, temporal logic and deontic logic. From the late 1990s and 2000s onward, STIT logics were combined with epistemic, temporal and strategic modalities. Broersen introduced complete STIT logics for knowledge and action and deontic-epistemic STIT systems that distinguish different modes of mens rea, with applications to responsibility and the specification of multi-agent systems. Work on group and coalitional agency investigated axiomatisations and complexity results for group STIT logics, and related STIT-based analyses of agency to coalition logic and alternating-time temporal logic (ATL) by exhibiting formal embeddings between the frameworks. Explicit temporal operators were added to STIT in so-called temporal STIT logics. Lorini proposed a temporal STIT with "next" and "until" operators along histories and showed how it can be applied to normative reasoning about ongoing behaviour and commitments. Ciuni and Lorini compared different semantics for temporal STIT, clarifying the relationships between branching-time, game-based and epistemic approaches, while Boudou and Lorini gave a semantics for temporal STIT based on concurrent game structures, thus strengthening links with standard models of multi-agent interaction used for ATL and strategy logic. In parallel, complexity-theoretic work by Balbiani, Herzig and Troquard and by Schwarzentruber and co-authors investigated the satisfiability and model-checking problems for various STIT fragments, showing for instance that many expressive group STIT logics are undecidable or of high computational complexity. In the 2010s, STIT ideas were combined with justification logic, imagination operators and refined deontic notions. Justification STIT logics, developed by Olkhovikov and others, merge explicit justifications with STIT-style agency so that producing a proof can itself be treated as an action that brings about knowledge, and they come with completeness and decidability results. Olkhovikov and Wansing introduced STIT imagination logics, together with axiomatic systems and tableau calculi, to model acts of voluntary imagining and their role in doxastic control. Other authors have proposed STIT-based logics of responsibility, blameworthiness and intentionality for use in philosophical and AI settings. Xu's survey article "Combinations of STIT with Ought and Know" (2015) reviews many of these developments and emphasises the interplay between deontic and epistemic STIT logics. Current research on STIT focuses on proof theory, automated reasoning and richer expressive resources. Lyon and van Berkel, building on earlier work on labelled calculi for STIT, have developed cut-free sequent systems and proof-search algorithms that yield syntactic decision procedures for a range of deontic and non-deontic multi-agent STIT logics and support applications such as duty checking and compliance checking in autonomous systems. Sawasaki has proposed first-order cstit-based STIT logics that can distinguish de re and de dicto readings of agency statements and has proved strong completeness results for Hilbert systems over finite models, moving the STIT programme beyond the purely propositional level. Further work investigates interpreted-system and computationally grounded semantics for STIT and its extensions in order to model the behaviour of autonomous agents in multi-agent settings, and proposes STIT-based semantics for epistemic notions based on patterns of information disclosure in interactive systems. == Branching-time semantics == STIT logics are usually interpreted over branching-time models. A standard STIT frame consists of: a non-empty set of moments T {\displaystyle T} , partially ordered by < {\displaystyle <} so that ( T , < ) {\displaystyle (T,<)} forms a tree (every pair of moments with a common predecessor has a greatest lower bound); a set of histories, each history being a maximal linearly ordered subset of T {\displaystyle T} ; a non-empty set of agents A g {\displaystyle Ag} ; for each agent i ∈ A g {\displaystyle i\in Ag} and moment m {\displaystyle m} , a choice function c h o i c e i m {\displaystyle {\mathsf {choice}}_{i}^{m}} that partitions the set of histories passing through m {\displaystyle m} into choice cells. The idea is that a moment represents a time at which choices are made, and histories represent complete possible future courses of events. At each moment, each agent's choice corresponds to selecting one of the available cells of histories determined by their choice function. Formulas are evaluated at pairs ( m , h ) {\displaystyle (m,h)} of a moment and a history through that moment (sometimes written m / h {\displaystyle m/h} ). A valuation assigns truth-values to atomic propositions at such indices; Boolean connectives are interpreted pointwise as in Kripke-style modal logic. == Chellas and deliberative STIT operators == Several STIT operators have been distinguished in the literature. A common approach uses two closely related operators, often called Chellas STIT and deliberative STIT. Let H m {\displaystyle H_{m}} be the set of histories passing through a moment m {\displaystyle m} , and write H m {\displaystyle H_{m}} ⟦ φ ⟧ m = { h ∈ H m ∣ M , m / h ⊨ φ } {\displaystyle {\text{⟦}}\varphi {\text{⟧}}_{m}=\{h\in H_{m}\mid M,m/h\models \varphi \}} for the set of histories at m {\displaystyle m} where φ {\displaystyle \varphi } holds. The Chellas STIT operator, often written [ i c s t i t : φ ] {\displaystyle [i\ {\mathsf {cstit}}:\varphi ]} , is given by M , m / h ⊨ [ i c s t i t : φ ] iff c h o i c e i m ( h ) ⊆ ⟦ φ ⟧ m . {\displaystyle M,m/h\models [i\ {\mathsf {cstit}}:\varphi ]\quad {\text{iff}}\quad {\mathsf {choice}}_{i}^{m}(h)\subseteq {\text{⟦}}\varphi {\text{⟧}}_{m}.} Intuitively, agent i {\displaystyle i} sees to it that φ {\displaystyle \varphi } if φ {\displaystyle \varphi } holds at all histories compatible with their present choice. The deliberative STIT operator, [ i d s t i t : φ ] {\displaystyle [i\ {\mathsf {dstit}}:\varphi ]} , adds
JasPer
JasPer is a computer software project to create a reference implementation of the codec specified in the JPEG-2000 Part-1 standard (i.e. ISO/IEC 15444-1) - started in 1997 at Image Power Inc. and at the University of British Columbia. It consists of a C library and some sample applications useful for testing the codec. The copyright owner began licensing the code to the public under an MIT License-style license in 2004 in response to requests from the open-source community. As of 2011 JasPer operated as a component of many software projects, both free and proprietary, including (but not limited to) netpbm (as of release 10.12), ImageMagick and KDE (as of version 3.2). As of 22 June 2010 the GEGL graphics library supported JasPer in its latest Git versions. In a series of objective JPEG-2000-compression quality tests conducted in 2004, "JasPer was the best codec, closely followed by IrfanView and Kakadu". However, Jasper remains one of the slowest implementations of the JPEG-2000 codec, as it was designed for reference, not performance. == Etymology == The name "JasPer" has simultaneous connotations with Canada's Jasper National Park, with the semi-precious gemstone, jasper, and with "JP" as an abbreviation of the JPEG-2000 standard.