Connected-component labeling (CCL), connected-component analysis (CCA), blob extraction, region labeling, blob discovery, or region extraction is an algorithmic application of graph theory, where subsets of connected components are uniquely labeled based on a given heuristic. Connected-component labeling is not to be confused with segmentation. Connected-component labeling is used in computer vision to detect connected regions in binary digital images, although color images and data with higher dimensionality can also be processed. When integrated into an image recognition system or human-computer interaction interface, connected component labeling can operate on a variety of information. Blob extraction is generally performed on the resulting binary image from a thresholding step, but it can be applicable to gray-scale and color images as well. Blobs may be counted, filtered, and tracked. Blob extraction is related to but distinct from blob detection. == Overview == A graph, containing vertices and connecting edges, is constructed from relevant input data. The vertices contain information required by the comparison heuristic, while the edges indicate connected 'neighbors'. An algorithm traverses the graph, labeling the vertices based on the connectivity and relative values of their neighbors. Connectivity is determined by the medium; image graphs, for example, can be 4-connected neighborhood or 8-connected neighborhood. Following the labeling stage, the graph may be partitioned into subsets, after which the original information can be recovered and processed . == Definition == The usage of the term connected-component labeling (CCL) and its definition is quite consistent in the academic literature, whereas connected-component analysis (CCA) varies both in terminology and in its definition of the problem. Rosenfeld et al. define connected components labeling as the “[c]reation of a labeled image in which the positions associated with the same connected component of the binary input image have a unique label.” Shapiro et al. define CCL as an operator whose “input is a binary image and [...] output is a symbolic image in which the label assigned to each pixel is an integer uniquely identifying the connected component to which that pixel belongs.” There is no consensus on the definition of CCA in the academic literature. It is often used interchangeably with CCL. A more extensive definition is given by Shapiro et al.: “Connected component analysis consists of connected component labeling of the black pixels followed by property measurement of the component regions and decision making.” The definition for connected-component analysis presented here is more general, taking the thoughts expressed in into account. == Algorithms == The algorithms discussed can be generalised to arbitrary dimensions, albeit with increased time and space complexity. === One component at a time === This is a fast and very simple method to implement and understand. It is based on graph traversal methods in graph theory. In short, once the first pixel of a connected component is found, all the connected pixels of that connected component are labelled before going onto the next pixel in the image. This algorithm is part of Vincent and Soille's watershed segmentation algorithm, other implementations also exist. In order to do that a linked list is formed that will keep the indexes of the pixels that are connected to each other, steps (2) and (3) below. The method of defining the linked list specifies the use of a depth or a breadth first search. For this particular application, there is no difference which strategy to use. The simplest kind of a last in first out queue implemented as a singly linked list will result in a depth first search strategy. It is assumed that the input image is a binary image, with pixels being either background or foreground and that the connected components in the foreground pixels are desired. The algorithm steps can be written as: Start from the first pixel in the image. Set current label to 1. Go to (2). If this pixel is a foreground pixel and it is not already labelled, give it the current label and add it as the first element in a queue, then go to (3). If it is a background pixel or it was already labelled, then repeat (2) for the next pixel in the image. Pop out an element from the queue, and look at its neighbours (based on any type of connectivity). If a neighbour is a foreground pixel and is not already labelled, give it the current label and add it to the queue. Repeat (3) until there are no more elements in the queue. Go to (2) for the next pixel in the image and increment current label by 1. Note that the pixels are labelled before being put into the queue. The queue will only keep a pixel to check its neighbours and add them to the queue if necessary. This algorithm only needs to check the neighbours of each foreground pixel once and doesn't check the neighbours of background pixels. The pseudocode is: algorithm OneComponentAtATime(data) input : imageData[xDim][yDim] initialization : label = 0, labelArray[xDim][yDim] = 0, statusArray[xDim][yDim] = false, queue1, queue2; for i = 0 to xDim do for j = 0 to yDim do if imageData[i][j] has not been processed do if imageData[i][j] is a foreground pixel do check its four neighbors(north, south, east, west) : if neighbor is not processed do if neighbor is a foreground pixel do add it to queue1 else update its status to processed end if labelArray[i][j] = label (give label) statusArray[i][j] = true (update status) while queue1 is not empty do For each pixel in the queue do : check its four neighbors if neighbor is not processed do if neighbor is a foreground pixel do add it to queue2 else update its status to processed end if give it the current label update its status to processed remove the current element from queue1 copy queue2 into queue1 end While increase the label end if else update its status to processed end if end if end if end for end for === Two-pass === Relatively simple to implement and understand, the two-pass algorithm, (also known as the Hoshen–Kopelman algorithm) iterates through 2-dimensional binary data. The algorithm makes two passes over the image: the first pass to assign temporary labels and record equivalences, and the second pass to replace each temporary label by the smallest label of its equivalence class. The input data can be modified in situ (which carries the risk of data corruption), or labeling information can be maintained in an additional data structure. Connectivity checks are carried out by checking neighbor pixels' labels (neighbor elements whose labels are not assigned yet are ignored), or say, the north-east, the north, the north-west and the west of the current pixel (assuming 8-connectivity). 4-connectivity uses only north and west neighbors of the current pixel. The following conditions are checked to determine the value of the label to be assigned to the current pixel (4-connectivity is assumed) Conditions to check: Does the pixel to the left (west) have the same value as the current pixel? Yes – We are in the same region. Assign the same label to the current pixel No – Check next condition Do both pixels to the north and west of the current pixel have the same value as the current pixel but not the same label? Yes – We know that the north and west pixels belong to the same region and must be merged. Assign the current pixel the minimum of the north and west labels, and record their equivalence relationship No – Check next condition Does the pixel to the left (west) have a different value and the one to the north the same value as the current pixel? Yes – Assign the label of the north pixel to the current pixel No – Check next condition Do the pixel's north and west neighbors have different pixel values than current pixel? Yes – Create a new label id and assign it to the current pixel The algorithm continues this way, and creates new region labels whenever necessary. The key to a fast algorithm, however, is how this merging is done. This algorithm uses the union-find data structure which provides excellent performance for keeping track of equivalence relationships. Union-find essentially stores labels which correspond to the same blob in a disjoint-set data structure, making it easy to remember the equivalence of two labels by the use of an interface method E.g.: findSet(l). findSet(l) returns the minimum label value that is equivalent to the function argument 'l'. Once the initial labeling and equivalence recording is completed, the second pass merely replaces each pixel label with its equivalent disjoint-set representative element. A faster-scanning algorithm for connected-region extraction is presented below. On the first pass: Iterate through each element of the data by column, then by row (Raster Scanning) If the element is not the background Get the neighboring elements of the current element If there are no neighbors, uniquely
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
Monitoring as a service
Monitoring as a service (MaaS) is a cloud-based framework for the deployment of monitoring functionalities for various other services and applications within the cloud. The most common application for MaaS is online state monitoring, which continuously tracks certain states of applications, networks, systems, instances or any element that may be deployable within the cloud.
Onshape
Onshape is a computer-aided design (CAD) software system, delivered over the Internet via a software as a service (SaaS) model. It makes extensive use of cloud computing, with compute-intensive processing and rendering performed on Internet-based servers, and users are able to interact with the system via a web browser or the iOS and Android apps. As a SaaS system, Onshape upgrades are released directly to the web interface, and the software does not require maintenance by the user. Onshape allows teams to collaborate on a single shared design, the same way multiple writers can work together editing a shared document via cloud services. It is primarily focused on mechanical CAD (MCAD) and is used for product and machinery design across many industries, including consumer electronics, mechanical machinery, medical devices, 3D printing, machine parts, and industrial equipment. As of 2025, Onshape is popularly used as a CAD suite for the FIRST Robotics Competition (FRC) alongside the MKCad application available in the Onshape App Store. == Company history == Onshape was developed by a company with the same name. Founded in 2012, Onshape was based in Cambridge, Massachusetts (USA), with offices in Singapore and Pune, India. Its leadership team includes several engineers and executives who originated from SolidWorks, a popular 3D CAD program that runs on Microsoft Windows. Onshape’s co-founders include two former SolidWorks CEOs, Jon Hirschtick and John McEleney. In November 2012, former SolidWorks CEOs Jon Hirschtick and John McEleney led six co-founders launching Belmont Technology, a placeholder name that was later changed to Onshape. The company’s first round of funding was $9 million from North Bridge Venture Partners and Commonwealth Capital. In March 2015, Onshape released the public beta version of its cloud CAD software, after pre-production testing with more than a thousand CAD professionals in 52 countries. Included in the beta launch was Onshape for iPhone. In August 2015, the company released its Onshape for Android app. In December 2015, Onshape launched its full commercial release. The company also launched the Onshape App Store, offering CAM, simulation, rendering and other cloud-based engineering tools. The Onshape App Store was launched with 24 developer partners. In April 2016, Onshape introduced its Education Plan, with a free version of Onshape Professional geared for college students and educators. In May 2016, Onshape released FeatureScript, a new open source (MIT licensed) programming language for creating and customizing CAD features. In October 2019, Onshape agreed to be acquired by PTC. The acquisition closed in November 2019 for $470 million. In February 2024, Onshape released iOS support for the Apple Vision Pro, allowing for real world applications of CAD models and prototypes. In January 2025, Onshape released the CAM studio, allowing users to generate G-code for up to 5-axis Simultaneous milling. == Funding == Onshape was a venture-backed company with investments from firms including Andreessen Horowitz, Commonwealth Capital Ventures, New Enterprise Associates (NEA) and North Bridge Venture Partners. Total venture funding amounted to $169 million. == Supported file formats == === Modelling === ==== Importing ==== As of May 2025, Onshape supported importing (opening) the following common CAD file formats: Parasolid X_T (Preferred) STEP (ISO 10303) ISO JT (ISO 14306) ACIS IGES CATIA v4, v5, v6 Autodesk Inventor Part (.IPT) Assembly (.IAM) Presentation (.IPN) Drawing (.IDW) Pro/ENGINEER, Creo Rhinoceros 3D: .3dm .STL .OBJ SolidWorks file formats Siemens NX file formats Drawings (.DXF/.DWG) ==== Exporting ==== Onshape supports exporting to the following formats: STEP (ISO 10303) Parasolid XT ACIS IGES SolidWorks file formats .STL Rhinoceros 3D: .3dm Collada XML-spec based textual file === Drawing === Ordinary engineering or technical drawing can be exported as .PDF file. === Other Formats === In addition to CAD file formats, Onshape supports importing some Non-CAD file formats for viewing and referencing. === Assembly === Assemblies can be imported and exported to: STEP (ISO 10303) Parasolid XT ACIS Pro/ENGINEER, Creo ISO JT Rhinoceros 3D: .3dm Siemens NX file formats SolidWorks Pack and Go zip file File formats that assemblies can be only-exported to, are: IGES .STL Collada XML-spec based textual file
Application Lifecycle Framework
The Application Lifecycle Framework (ALF) was a project by the Eclipse Foundation that aimed to create a standardized, open-source system to allow different application lifecycle management (ALM) tools to work together more easily. The goal was to provide common protocols and integration services that would let software development tools from different vendors communicate and share data. However, the project failed to gain sufficient support from major industry players and was terminated in 2008.
ReRites
ReRites (also known as RERITES, ReadingRites, Big Data Poetry) is a literary work of "Human + A.I. poetry" by David Jhave Johnston that used neural network models trained to generate poetry which the author then edited. ReRites won the Robert Coover Award for a Work of Electronic Literature in 2022. == About the project == The ReRites project began as a daily rite of writing with a neural network, expanded into a series of performances from which video documentation has been published online, and concluded with a set of 12 books and an accompanying book of essays published by Anteism Books in 2019. In Electronic Literature, Scott Rettberg describes the early phases of the project in 2016, when it bore the preliminary name Big Data Poetry. Jhave (the artist name that David Jhave Johnston goes by) describes the process of writing ReRites as a rite: "Every morning for 2 hours (normally 6:30–8:30am) I get up and edit the poetic output of a neural net. Deleting, weaving, conjugating, lineating, cohering. Re-writing. Re-wiring authorship: hybrid augmented enhanced evolutionary". There is video documentation of the writing process. The human editing of the neural network's output is fundamental to this project, and Jhave gives examples of both unedited text extracts and his edited versions in publications about the project. Kyle Booten describes ReRites as "simultaneously dusty and outrageously verdant, monotonously sublime and speckled with beautiful and rare specimens". === Performances === ReRites was first shared with an audience through a series of performances where audience members and poets would participate in reading the automatically generated texts, which appeared on screen so fast that human readers could barely keep up. This has been described as allowing participants to "re-discover[..] the peculiar pleasures of being embodied", or, in Jhave's own words, as a space where human participants were "playing their wits and voices against an evocative infinite deep-learning muse". The first performance was at Brown University's Interrupt Festival in 2019. It has been performed many times since, including at the Barbican Centre in London and Anteism Books. === Print publications === For a single year Jhave published one book of poetry from the ReRites project each month. These twelve volumes are accompanied by a book of essays, all published by Anteism Books. The accompanying essays provide critical responses to the project from poets and scholars including Allison Parrish, Johanna Drucker, Kyle Booten, Stephanie Strickland, John Cayley, Lai-Tze Fan, Nick Montfort, Mairéad Byrne, and Chris Funkhouser. Allison Parrish notes elsewhere that these paratexts to ReRites serve a legitimising function for a genre of poetry that is not yet institutionally acknowledged. === Technical details === Starting in 2016 under the name Big Data Poetry, Jhave generated poems using, in his own words, "neural network code (..) adapted from three corporate github-hosted machine-learning libraries: TensorFlow (Google), PyTorch (Facebook), and AWD-LSTM (SalesForce)". He explains that the "models were trained on a customised corpus of 600,000 lines of poetry ranging from the romantic epoch to the 20th century avant garde". Jhave maintains a GitHub repository with some of the code supporting ReRites. == Reception == ReRites is described by John Cayley as "one of the most thorough and beautiful" poetic responses to machine learning. The work's influence on the field of electronic literature was acknowledged in 2022, when the work won the Electronic Literature Organization's Robert Coover Award for a Work of Electronic Literature. The jury described ReRites as particularly poignant in the time of the pandemic, as it was "a documentation of the performance of the private ritual of writing and the obsessive-compulsive need for writers to communicate — even when no one else is reading". The question of authorship and voice in ReRites has been raised by several critics. Although generated poetry is an established genre in electronic literature, Cayley notes that unlike the combinatory poems created by authors like Nick Montfort, where the author explicitly defines which words and phrases will be recombined, ReRites has "not been directed by literary preconceptions inscribed in the program itself, but only by patterns and rhythms pre-existing in the corpora". In an essay for the Australian journal TEXT, David Thomas Henry Wright asks how to understand authorship and authority in ReRites: "Who or what is the authority of the work? The original data fed into the machine, that is not currently retrievable or discernible from the final works? The code that was taken and adapted for his purposes? Or Jhave, the human editor?" Wright concludes that Jhave is the only actor with any intentionality and therefore the authority of the work. The centrality of the human editor is also emphasised by other scholars. In a chapter analysing ReRites Malthe Stavning Erslev argues that the machine learning misrepresents the dataset it is trained on. While ReRites uses 21st century neural networks, it has been compared to earlier literary traditions. Poet Victoria Stanton, who read at one of the ReRites performances, has compared ReRites to found poetry, while David Thomas Henry Wright compares it to the Oulipo movement and Mark Amerika to the cut-up technique. Scholars also position ReRites firmly within the long tradition of generative poetry both in electronic literature and print, stretching from the I Ching, Queneau's Cent Mille Milliards de Poemes and Nabokov's Pale Fire to computer-generated poems like Christopher Strachey's Love Letter Generator (1952) and more contemporary examples. Jhave describes the process of working with the output from the neural network as "carving". In his book My Life as an Artificial Creative Intelligence, Mark Amerika writes that the "method of carving the digital outputs provided by the language model as part of a collaborative remix jam session with GPT-2, where the language artist and the language model play off each other’s unexpected outputs as if caught in a live postproduction set, is one I share with electronic literature composer David Jhave Johnston, whose AI poetry experiments precede my own investigations."
Foveated rendering
Foveated rendering is a rendering technique which uses an eye tracker integrated with a virtual reality headset to reduce the rendering workload by greatly reducing the image quality in the peripheral vision (outside of the zone gazed by the fovea). A less sophisticated variant called fixed foveated rendering doesn't utilise eye tracking and instead assumes a fixed focal point. == History == Research into foveated rendering dates back at least to 1991. At Tech Crunch Disrupt SF 2014, Fove unveiled a headset featuring foveated rendering. This was followed by a successful kickstarter in May 2015. At CES 2016, SensoMotoric Instruments (SMI) demoed a new 250 Hz eye tracking system and a working foveated rendering solution. It resulted from a partnership with camera sensor manufacturer Omnivision who provided the camera hardware for the new system. In July 2016, Nvidia demonstrated during SIGGRAPH a new method of foveated rendering claimed to be invisible to users. In February 2017, Qualcomm announced their Snapdragon 835 Virtual Reality Development Kit (VRDK) which includes foveated rendering support called Adreno Foveation. == Use == According to chief scientist Michael Abrash at Oculus, utilising foveated rendering in conjunction with sparse rendering and deep learning image reconstruction has the potential to require an order of magnitude fewer pixels to be rendered in comparison to a full image. Later, these results have been demonstrated and published. In December 2019, fixed foveated rendering support was added to the Oculus Quest SDK. A number of VR headsets have included on-board eye tracking to provide support for foveated rendering, including HTC's Vive Pro Eye (2019), Meta Quest Pro (2022), PlayStation VR2 (2023), and Apple Vision Pro (2024). In 2025, Valve announced the upcoming Steam Frame headset, which applies a variation of the technique known as "foveated streaming" for wireless streaming from a PC to the headset; the method similarly uses variance in bit rate, and is performed at the encoder level rather than the software level.