Lexalytics, Inc. provides sentiment and intent analysis to an array of companies using SaaS and cloud based technology. Salience 6, the engine behind Lexalytics, was built as an on-premises, multi-lingual text analysis engine. It is leased to other companies who use it to power filtering and reputation management programs. In July, 2015 Lexalytics acquired Semantria to be used as a cloud option for its technology. In September, 2021 Lexalytics was acquired by CX company InMoment. == History == Lexalytics spun into existence in January 2003 out of a content management startup called Lightspeed. Lightspeed consolidated on America's West Coast. Jeff Catlin, a Lightspeed General Manager, and Mike Marshall, a Lighstpeed Principal Engineer, convinced investors to give them the East Coast company so as to avoid shutdown costs. Catlin and Marshall renamed the operation Lexalytics. Catlin took on the role of chief executive officer with Marshall working as Chief Technology Officer. Lexalytics opted to not accept venture cash. Instead, the company initially shared sales and marketing expenses with U.K. based document management company Infonic. The partner companies soon formed a joint venture in July 2008, which was later dissolved. Since then, Lexalytics has worked with many other companies, like Bottlenose, Salesforce, Thomson Reuters, Oracle and DataSift. Relationships with social media monitoring companies like Datasift tend to find Lexalytics’ Salience engine baked into the product itself. Lexalytics is used similarly to monitor sentiment as it relates to stock trading. In December 2014, Lexalytics announced the latest iteration to its sentiment analysis engine, Salience 6. Earlier that year Lexalytics acquired Semantria in a bid to appeal to a wider variety of business models. Created by former Lexalytics Marketing Director Oleg Rogynskyy, Semantria is a SaaS text mining service offered as an API and Excel based plugin that measures sentiment. The goal of the acquisition, which cost Lexalytics less than US$10 million, was to expand the customer base both within the United States and abroad with multilingual support. The engine that powers Semantria, Salience, is grounded in its deep learning ability. An example of this is its concept matrix, which allows Salience an understanding of concepts and relationship between concepts based on a detailed reading of the entire repository of Wikipedia. This matrix allows Salience to use Wikipedia for automatic categorization. Along with features like the concept matrix, Salience supports 16 international languages. The engine has earned Lexalytics a spot on EContent's “Top 100 Companies in the Digital Content Industry” List for 2014–2015. In September 2018, Lexalytics launched document data extraction market using natural language processing (NLP).
Evaluation of binary classifiers
Evaluation of a binary classifier typically assigns a numerical value, or values, to a classifier that represent its accuracy. An example is error rate, which measures how frequently the classifier makes a mistake. There are many metrics that can be used; different fields have different preferences. For example, in medicine sensitivity and specificity are often used, while in computer science precision and recall are preferred. An important distinction is between metrics that are independent of the prevalence or skew (how often each class occurs in the population), and metrics that depend on the prevalence – both types are useful, but they have very different properties. Often, evaluation is used to compare two methods of classification, so that one can be adopted and the other discarded. Such comparisons are more directly achieved by a form of evaluation that results in a single unitary metric rather than a pair of metrics. == Contingency table == Given a data set, a classification (the output of a classifier on that set) gives two numbers: the number of positives and the number of negatives, which add up to the total size of the set. To evaluate a classifier, one compares its output to another reference classification – ideally a perfect classification, but in practice the output of another gold standard test – and cross tabulates the data into a 2×2 contingency table, comparing the two classifications. One then evaluates the classifier relative to the gold standard by computing summary statistics of these 4 numbers. Generally these statistics will be scale invariant (scaling all the numbers by the same factor does not change the output), to make them independent of population size, which is achieved by using ratios of homogeneous functions, most simply homogeneous linear or homogeneous quadratic functions. Say we test some people for the presence of a disease. Some of these people have the disease, and our test correctly says they are positive. They are called true positives (TP). Some have the disease, but the test incorrectly claims they don't. They are called false negatives (FN). Some don't have the disease, and the test says they don't – true negatives (TN). Finally, there might be healthy people who have a positive test result – false positives (FP). These can be arranged into a 2×2 contingency table (confusion matrix), conventionally with the test result on the vertical axis and the actual condition on the horizontal axis. These numbers can then be totaled, yielding both a grand total and marginal totals. Totaling the entire table, the number of true positives, false negatives, true negatives, and false positives add up to 100% of the set. Totaling the columns (adding vertically) the number of true positives and false positives add up to 100% of the test positives, and likewise for negatives. Totaling the rows (adding horizontally), the number of true positives and false negatives add up to 100% of the condition positives (conversely for negatives). The basic marginal ratio statistics are obtained by dividing the 2×2=4 values in the table by the marginal totals (either rows or columns), yielding 2 auxiliary 2×2 tables, for a total of 8 ratios. These ratios come in 4 complementary pairs, each pair summing to 1, and so each of these derived 2×2 tables can be summarized as a pair of 2 numbers, together with their complements. Further statistics can be obtained by taking ratios of these ratios, ratios of ratios, or more complicated functions. The contingency table and the most common derived ratios are summarized below; see sequel for details. Note that the rows correspond to the condition actually being positive or negative (or classified as such by the gold standard), as indicated by the color-coding, and the associated statistics are prevalence-independent, while the columns correspond to the test being positive or negative, and the associated statistics are prevalence-dependent. There are analogous likelihood ratios for prediction values, but these are less commonly used, and not depicted above. == Pairs of metrics == Often accuracy is evaluated with a pair of metrics composed in a standard pattern. === Sensitivity and specificity === The fundamental prevalence-independent statistics are sensitivity and specificity. Sensitivity or True Positive Rate (TPR), also known as recall, is the proportion of people that tested positive and are positive (True Positive, TP) of all the people that actually are positive (Condition Positive, CP = TP + FN). It can be seen as the probability that the test is positive given that the patient is sick. With higher sensitivity, fewer actual cases of disease go undetected (or, in the case of the factory quality control, fewer faulty products go to the market). Specificity (SPC) or True Negative Rate (TNR) is the proportion of people that tested negative and are negative (True Negative, TN) of all the people that actually are negative (Condition Negative, CN = TN + FP). As with sensitivity, it can be looked at as the probability that the test result is negative given that the patient is not sick. With higher specificity, fewer healthy people are labeled as sick (or, in the factory case, fewer good products are discarded). The relationship between sensitivity and specificity, as well as the performance of the classifier, can be visualized and studied using the Receiver Operating Characteristic (ROC) curve. In theory, sensitivity and specificity are independent in the sense that it is possible to achieve 100% in both (such as in the red/blue ball example given above). In more practical, less contrived instances, however, there is usually a trade-off, such that they are inversely proportional to one another to some extent. This is because we rarely measure the actual thing we would like to classify; rather, we generally measure an indicator of the thing we would like to classify, referred to as a surrogate marker. The reason why 100% is achievable in the ball example is because redness and blueness is determined by directly detecting redness and blueness. However, indicators are sometimes compromised, such as when non-indicators mimic indicators or when indicators are time-dependent, only becoming evident after a certain lag time. The following example of a pregnancy test will make use of such an indicator. Modern pregnancy tests do not use the pregnancy itself to determine pregnancy status; rather, human chorionic gonadotropin is used, or hCG, present in the urine of gravid females, as a surrogate marker to indicate that a woman is pregnant. Because hCG can also be produced by a tumor, the specificity of modern pregnancy tests cannot be 100% (because false positives are possible). Also, because hCG is present in the urine in such small concentrations after fertilization and early embryogenesis, the sensitivity of modern pregnancy tests cannot be 100% (because false negatives are possible). === Positive and negative predictive values === In addition to sensitivity and specificity, the performance of a binary classification test can be measured with positive predictive value (PPV), also known as precision, and negative predictive value (NPV). The positive prediction value answers the question "If the test result is positive, how well does that predict an actual presence of disease?". It is calculated as TP/(TP + FP); that is, it is the proportion of true positives out of all positive results. The negative prediction value is the same, but for negatives, naturally. ==== Impact of prevalence on predictive values ==== Prevalence has a significant impact on prediction values. As an example, suppose there is a test for a disease with 99% sensitivity and 99% specificity. If 2000 people are tested and the prevalence (in the sample) is 50%, 1000 of them are sick and 1000 of them are healthy. Thus about 990 true positives and 990 true negatives are likely, with 10 false positives and 10 false negatives. The positive and negative prediction values would be 99%, so there can be high confidence in the result. However, if the prevalence is only 5%, so of the 2000 people only 100 are really sick, then the prediction values change significantly. The likely result is 99 true positives, 1 false negative, 1881 true negatives and 19 false positives. Of the 19+99 people tested positive, only 99 really have the disease – that means, intuitively, that given that a patient's test result is positive, there is only 84% chance that they really have the disease. On the other hand, given that the patient's test result is negative, there is only 1 chance in 1882, or 0.05% probability, that the patient has the disease despite the test result. === Precision and recall === Precision and recall can be interpreted as (estimated) conditional probabilities: Precision is given by P ( C = P | C ^ = P ) {\displaystyle P(C=P|{\hat {C}}=P)} while recall is given by P ( C ^ = P | C = P ) {\displaystyle P({\hat {C}}=P|C=P)} , where C ^ {\
I Am Rich
I Am Rich is a discontinued 2008 mobile app for iPhones which had minimal function and was priced at US$999.99 (equivalent to $1,495 in 2025). The app was pulled from the App Store less than 24 hours after its launch. Receiving negative reviews from critics, only eight copies were sold. In the years since, several similar applications have been released at lower prices. == Overview == I Am Rich was developed as a joke by German software developer, Armin Heinrich, after he saw iPhone users complaining about software priced above $0.99. The app only showed a glowing red gem and an icon that, when pressed, displayed the following mantra in large text: I am richI deserv [sic] itI am good,healthy & successful Heinrich told The New York Times that "I regard it as art. I did not expect many people to buy it and did not expect all the fuss about it." The application is described as "a work of art with no hidden function at all", with its only purpose being to show other people that they were able to afford it. Vox writer Zachary Crockett called it "the ultimate Veblen good in app form". == Release == Heinrich released and distributed I Am Rich through the App Store on 5 August 2008. The app was sold for US$999.99 (equivalent to $1,495 in 2025), €799.99 (equivalent to €1,078 in 2023), and £599.99 (equivalent to £978.12 in 2025)—the highest prices Apple allowed for App Store content. Without explanation, the application was removed from the App Store by Apple less than a day after its release. === Purchases === Eight people bought the application, at least one of whom claimed to have done so accidentally. Six US sales and two European sales netted $5,600 for Heinrich and $2,400 for Apple (respectively equivalent to $8,374 and $3,589 in 2025). In correspondence with the Los Angeles Times, Heinrich told the newspaper that Apple had refunded two purchasers of his app, and that he was happy to not have dissatisfied customers. == Reception == Discussing the app on the website Silicon Alley Insider, Dan Frommer described the program as a "scam", "worthless", and finally "a joke that smells like a scammy rip-off" on August 5, 6, and 8, respectively. Without purchasing the app, Fox News's Paul Wagenseil guessed that the secret mantra was "German for 'Sucker!'" (Heinrich is German). Wired's Brian X. Chen described I Am Rich as a waste of money to "prove you're a jerk", and contrasted the expenditure with donating to cancer foundations and Third World countries. Heinrich told the Los Angeles Times's Mark Milian that he had received correspondence from satisfied customers: "I've got e-mails from customers telling me that they really love the app [... and that they had] no trouble spending the money". In an interview with The New York Times, though, he told of receiving many insulting emails and telephone messages. == Similar applications == The next year, Heinrich released I Am Rich LE. Priced at US$9.99 (equivalent to $14.99 in 2025), the new app has several new features (including a calculator, "help system", and the "famous mantra without the spelling mistakes") to meet Apple's requirement that apps have "definable content". Some customers were disappointed by the new functionality, poorly rating the app due to its ostensible improvements. On 23 February 2009, CNET Asia reported on the "conceptually similar" app, I Am Richer, developed by Mike DG for Google's Android. The app was released on the Android Market for US$200 (equivalent to $300.14 in 2025), a limit imposed by Google, who had no objection to the application. With the same name, the I Am Rich that was released on the Windows Phone Marketplace on 22 December 2010, was developed by DotNetNuzzi. Described by MobileCrunch as equally useless as the original, this app cost US$499.99 (equivalent to $738.2 in 2025), the price cap imposed by Microsoft.
Key–value database
A key-value database, or key-value store, is a data storage paradigm designed for storing, retrieving, and managing associative arrays, a data structure more commonly known today as a dictionary. Dictionaries contain a collection of objects, or records, which in turn have many different fields within them. These records are stored and retrieved using a key that uniquely identifies the record, and is used to find the data within the database. Key-value databases differ from the better known relational databases (RDB). RDBs pre-define the data structure in the database as a series of tables containing fields with well-defined data types. Exposing the data types to the database program allows it to apply various optimizations. In contrast, key-value systems treat the value as opaque to the database itself, and typically support only simple operations such as storing, retrieving, updating, and deleting a value by its key. This offers considerable flexibility and makes such systems well suited to low-latency, high-throughput workloads dominated by direct key lookups, but less suitable for applications that require complex queries or explicit relationships among records. A lack of standardization, limited transaction support, and relatively simple query interfaces long restricted many key-value systems to specialized uses, but the rapid move to cloud computing after 2010 helped drive renewed interest in them as part of the broader NoSQL movement. Some graph databases, such as ArangoDB, are also key–value databases internally, adding the concept of relationships (pointers) between records as a first-class data type. == Types and examples == Key–value systems span a wide consistency spectrum, from eventually consistent designs to strongly consistent or serializable ones, and some allow the consistency level to be configured as part of the trade-off against latency and availability. Renewed interest in key–value and other NoSQL systems was driven in part by the demands of big data, distributed, and cloud applications. Their scalability and availability made them attractive for cloud data management, although limited transaction support, low-level query interfaces, and the lack of standardization remained obstacles to wider adoption. Some maintain data in memory (RAM), while others employ solid-state drives or rotating disks. Some key–value systems add additional structure to their keys. For example, Oracle NoSQL Database organizes records using composite keys with "major" and "minor" components, an arrangement that Oracle compares to a directory-path structure in a file system. More generally, however, key–value stores are defined by their use of unique keys associated with opaque values and by their emphasis on simple key-based operations. Unix included dbm (database manager), a minimal database library written by Ken Thompson for managing associative arrays with a single key and hash-based access. Later implementations and related libraries included sdbm, GNU dbm (gdbm), and Berkeley DB. A more recent example is RocksDB, a persistent key–value storage engine developed at Facebook and designed for large-scale applications. Other examples include in-memory systems such as Memcached and Redis, and persistent systems such as Berkeley DB, Riak, and Voldemort.
Database-as-IPC
In computer programming, Database-as-IPC may be considered an anti-pattern where a disk persisted table in a database is used as the message queue store for routine inter-process communication (IPC) or subscribed data processing. If database performance is of concern, alternatives include sockets, network socket, or message queue. British computer scientist, Junade Ali, defined the Database-as-IPC Anti-Pattern as using a database to "schedule jobs or queue up tasks to be completed", noting that this anti-pattern centres around using a database for temporary messages instead of persistent data. == Controversy == The issue arises if there is a performance issue, and if additional systems (and servers) can be justified. In terms of performance, recent advancements in database systems provide more efficient mechanisms for signaling and messaging, and database systems also support memory (non-persisted) tables. There are databases with built-in notification mechanisms, such as PostgreSQL, SQL Server, and Oracle. These mechanisms and future improvements of database systems can make queuing much more efficient and avoid the need to set up a separate signaling or messaging queue system along with the server and management overhead. While MySQL doesn't have direct support for notifications, some workarounds are possible. However, they would be seen as non-standard and therefore more difficult to maintain.
Inpainting
Inpainting is a conservation process where damaged, deteriorated, or missing parts of an artwork are filled in to present a complete image. This process is commonly used in image restoration. It can be applied to both physical and digital art mediums such as oil or acrylic paintings, chemical photographic prints, sculptures, or digital images and video. With its roots in physical artwork, such as painting and sculpture, traditional inpainting is performed by a trained art conservator who has carefully studied the artwork to determine the mediums and techniques used in the piece, potential risks of treatments, and ethical appropriateness of treatment. == History == The modern use of inpainting can be traced back to Pietro Edwards (1744–1821), Director of the Restoration of the Public Pictures in Venice, Italy. Using a scientific approach, Edwards focused his restoration efforts on the intentions of the artist. It was during the 1930 International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art, that the modern approach to inpainting was established. Helmut Ruhemann (1891–1973), a German restorer and conservator, led the discussions on the use of inpainting in conservation. Helmut Ruhemann was a leading figure in modernizing restoration and conservation. His greatest contribution to the field of conservation "was his insistence on following the methods of the original painter exactly, and on understanding the painter's artistic intention". After his career of over 40 years as a conservator, Ruhemann published his treatise The Cleaning of Paintings: Problems & Potentialities in 1968. In describing his method, Ruhemann states that "The surface [of the fill] should be slightly lower than that of the surrounding paint to allow for the thickness of the inpainting...Inpainting medium should look and behave like the original medium, but must not darken with age." Cesare Brandi (1906–1988) developed the teoria del restauro, the inpainting approach combining aesthetics and psychology. However, this approach was used primarily by Italian restorers and conservators, with the terminology becoming widespread in the 1990s. Technological advancements led to new applications of inpainting. Widespread use of digital techniques range from entirely automatic computerized inpainting to tools used to simulate the process manually. Since the mid-1990s, the process of inpainting has evolved to include digital media. More commonly known as image or video interpolation, a form of estimation, digital inpainting includes the use of computer software that relies on sophisticated algorithms to replace lost or corrupted parts of the image data. == Ethics == In order to preserve the integrity of an original artwork, any inpainting technique or treatment applied to physical or digital work should be reversible or distinguishable from the original content of the artwork. Prior to any treatments, conservators proceed according to the American Institute of Conservation of Historical and Artistic Works. There are several ethic considerations before Inpainting can be justified. Various deliberation decisions over the ethical appropriateness of the amount and type of inpainting done, resides on many factors. As most conservation treatments, inpainting's ethical questions rest mainly with authenticity, reversibility and documentation.Any intervention to compensate for loss should be documented in treatment records and reports and should be detectable by common examination methods. Such compensation should be reversible and should not falsely modify the known aesthetic, conceptual, and physical characteristics of the cultural property, especially by removing or obscuring original material.New technologies and the aesthetic demand for perfect images without imperfections challenge conservators' ethical practices to protect the integrity of originals. == Methods == Inpainting methods and techniques depend on the desired goal and type of image being treated. Treatments to fill in the gaps are different between physical and digital art. In inpainting, detailed records of the initial state of the images can help with the treatment and replicate the original closer. === Physical inpainting === Inpainting is rooted in the conservation and restoration of paintings. Inpainting can aim to make a visual improvement to the artwork as a whole by repairing missing or damaged parts using methods and materials equivalent to the original artist's work. ==== Application techniques ==== By studying the painting methods of various artists and the composition of paints used historically, conservators are able to restore works very closely to their original visual appearance. The picture as a whole determines how to fill in the gap. Helmut Ruhemann's inpainting techniques by Jessell have procedures to "preserve" the quality of oil and tempera paintings. === Digital inpainting === Many programs are able to reconstruct missing or damaged areas of digital photographs and videos. Most widely known for use with digital images is Adobe Photoshop. Given the various abilities of the digital camera and the digitization of old photos, inpainting has become an automatic process that can be performed on digital images. The inpainting techniques can be applied to object removal, text removal, and other automatic modifications of images and videos. In video special effects, inpainting is usually performed after video matting. They can also be observed in applications like image compression and super-resolution. In photography and cinema, it is used for film restoration to reverse, repair, or mitigate deterioration (e.g., physical damage such as cracks in photographs, scratches and dust spots in film, or chemical damage resulting in image loss; performed infrared cleaning). It can also be used for removing red-eye, the stamped date from photographs, and objects for creative effect. This technique can be used to replace any lost blocks in the coding and transmission of images, for example, in a streaming video. It can also be used to remove logos or watermarks in videos. Deep learning neural network-based inpainting can be used for decensoring images. Deep image prior-based techniques can be used for digital image inpainting, where a trained deep learning model is either unavailable or infeasible. Deep models for visual content generation, like text-to-image or text-to-video, learn complex priors over the distribution of visual content, and can be used to inpaint missing parts. For example, videos can be separated into layers, using a technique called omnimatte, which either pretrain an omnimatte model or without any training using an omnimatte-zero model. Three main groups of 2D image-inpainting algorithms can be found in the literature. The first one to be noted is structural (or geometric) inpainting, the second one is texture inpainting, the last one is a combination of these two techniques. They use the information of the known or non-destroyed image areas in order to fill the gap, similar to how physical images are restored. ==== Structural ==== Structural or geometric inpainting is used for smooth images that have strong, defined borders. There are many different approaches to geometric inpainting, but they all come from the idea that geometry can be recovered from similar areas or domains. Bertalmio proposed a method of structural inpainting that mimics how conservators address painting restoration. Bertalmio proposed that by progressively transferring similar information from the borders of an inpainting domain inwards, the gap can be filled. ==== Textural ==== While structural/geometric inpainting works to repair smooth images, textural inpainting works best with images that are heavily textured. Texture has a repetitive pattern which means that a missing portion cannot be restored by continuing the level lines into the gap; level lines provide a complete, stable representation of an image. To repair texture in an image, one can combine frequency and spatial domain information to fill in a selected area with a desired texture. This method, while the most simple and very effective, works well when selecting a texture to be in-painted. For a texture that covers a wider area or a larger frame one would have to go through the image segmenting the areas to be in-painted and selecting the corresponding textures from throughout the image; there are programs that can help find the corresponding areas that work in a similar way as 'find and replace' works in a word processor. ==== Combined structural and textural ==== Combined structural and textural inpainting approaches simultaneously try to perform texture- and structure-filling in regions of missing image information. Most parts of an image consist of texture and structure and the boundaries between image regions contain a large amount of structural information. This is the result when blending differ
Scenery generator
A scenery generator (or terrain generator) is a software used to create landscape images, 3D models, and animations. These programs often use procedural generation to generate the landscapes, or sometimes created and rendered by a 3D artist. These programs are often used in video games or movies. Basic elements of landscapes created by scenery generators include terrain, water, foliage, and clouds. The process for basic random generation uses a diamond square algorithm. == Common features == Most scenery generators can create basic heightmaps to simulate the variation of elevation in basic terrain. Common techniques include Simplex noise, fractals, or the diamond-square algorithm, which can generate 2-dimensional heightmaps. A version of scenery generator can be very simplistic. Using a diamond-square algorithm with some extra steps involving fractals, an algorithm for random generation of terrain can be made with only 120 lines of code. The program in example takes a grid and then divides the grid repeatedly. Each smaller grid is then split into squares and diamonds and the algorithm then makes the randomized terrain for each square and diamond. Most programs for creating landscapes also allow for adjustment and editing of the landscape. For example, World Creator allows for terrain sculpting, which uses a similar brush system as Photoshop, and allows for additional terrain enhancement with its procedural techniques such as erosion, sediments, and more. Other tools in the World Creator program include terrain stamping, which allows you to import elevation maps and use them as a base. The programs tend to also allow for additional placement of rocks, trees, etc. These can be done procedurally or by hand depending on the program. Typically the models used for the placement objects are the same as to lessen the amount of work that would be done if the user was to create a multitude of different trees. The terrain generated the computer does a generation of multifractals then integrates them until finally rendering them onto the screen. These techniques are typically done “on-the-fly” which typically for a 128 × 128 resolution terrain would mean 1.5 seconds on a CPU from the early 1990s. == Applications == Scenery generators are commonly used in movies, animations, 3D rendering, and video games. For example, Industrial Light & Magic used E-on Vue to create the fictional environments for Pirates of the Caribbean: Dead Man's Chest. In such live-action cases, a 3D model of the generated environment is rendered and blended with live-action footage. Scenery generated by the software may also be used to create completely computer-generated scenes. In the case of animated movies such as Kung Fu Panda, the raw generation is assisted by hand-painting to accentuate subtle details. Environmental elements not commonly associated with landscapes, such as ocean waves, have also been handled by the software. Scenery generation is used in most 3D based video-games. These typically use either custom or purchased engines that contain their own scenery generators. For some games they tend to use a procedurally generated terrain. These typically use a form of height mapping and use of Perlin noise. This will create a grid that with one point in a 2D coordinate will create the same heightmap as it is pseudorandom, meaning it will result in the same output with the same input. This can then easily be translated into the product 3D image. These can then be changed from the editor tools in most engines if the terrain will be custom built. With recent developments neural networks can be built to create or texture the terrain based on previously suggested artwork or heightmap data. These would be generated using algorithms that have been able to identify images and similarities between them. With the info the machine can take other heightmaps and render a very similar looking image to the style image. This can be used to create similar images in example a Studio Ghibli or Van Gogh art-style. == Software == Most game engines, whether custom or proprietary, will have terrain generation built in. Some terrain generator programs include, Terragen, which can create terrain, water, atmosphere and lighting; L3DT, which provides similar functions to Terragen, and has a 2048 × 2048 resolution limit; and World Creator, which can create terrain, and is fully GPU powered. === List of 3D terrain generation software ===