Media intelligence uses data mining and data science to analyze public, social and editorial media content. It refers to marketing systems that synthesize billions of online conversations into relevant information. This allow organizations to measure and manage content performance, understand trends, and drive communications and business strategy. Media intelligence can include software as a service using big data terminology. This includes questions about messaging efficiency, share of voice, audience geographical distribution, message amplification, influencer strategy, journalist outreach, creative resonance, and competitor performance in all these areas. Media intelligence differs from business intelligence in that it uses and analyzes data outside company firewalls. Examples of that data are user-generated content on social media sites, blogs, comment fields, and wikis etc. It may also include other public data sources like press releases, news, blogs, legal filings, reviews and job postings. Media intelligence may also include competitive intelligence, wherein information that is gathered from publicly available sources such as social media, press releases, and news announcements are used to better understand the strategies and tactics being deployed by competing businesses. Media intelligence is enhanced by means of emerging technologies like ambient intelligence, machine learning, semantic tagging, natural language processing, sentiment analysis and machine translation. == Technologies used == Different media intelligence platforms use different technologies for monitoring, curating content, engaging with content, data analysis and measurement of communications and marketing campaign success. These technology providers may obtain content by scraping content directly from websites or by connecting to the API provided by social media, or other content platforms that are created for 3rd party developers to develop their own applications and services that access data. Technology companies may also get data from a data reseller. Some social media monitoring and analytics companies use calls to data providers each time an end-user develops a query. Others archive and index social media posts to provide end users with on-demand access to historical data and enable methodologies and technologies leveraging network and relational data. Additional monitoring companies use crawlers and spidering technology to find keyword references, known as semantic analysis or natural language processing. Basic implementation involves curating data from social media on a large scale and analyzing the results to make sense out of it.
Dynamic Graphics Project
The Dynamic Graphics Project (commonly referred to as DGP) is an interdisciplinary research laboratory at the University of Toronto devoted to projects involving computer graphics, computer vision, human computer interaction, and visualization. The lab began as the computer graphics research group of Department of Computer Science Professor Leslie Mezei in 1967. Mezei invited Bill Buxton, a pioneer of human–computer interaction (HCI) to join. In 1972, Ronald Baecker, another HCI pioneer joined, establishing DGP as the first Canadian university group focused on computer graphics and human-computer interaction. According to csrankings.org, the DGP is the top research institution in the world for the combined subfields of computer graphics, HCI, and visualization. Since then, DGP has hosted many well known faculty and students in computer graphics, computer vision and HCI (e.g., Alain Fournier, Bill Reeves, Jos Stam, Demetri Terzopoulos, Marilyn Tremaine). DGP also occasionally hosts artists in residence (e.g., Oscar-winner Chris Landreth). Many past and current researchers at Autodesk (and before that Alias Wavefront) graduated after working at DGP. DGP is located in the St. George campus of University of Toronto in the Bahen Centre for Information Technology. DGP researchers regularly publish at ACM SIGGRAPH, ACM SIGCHI and ICCV. DGP hosts the Toronto User Experience (TUX) Speaker Series and the Sanders Series Lectures. == Notable alumni == Bill Buxton (MS 1978) James McCrae (PhD 2013) Dimitris Metaxas (PhD 1992) Bill Reeves (MS 1976, Ph.D. 1980) Jos Stam (MS 1991, Ph.D. 1995)
Cozi
Cozi is a family organization website and mobile app designed to streamline household management. It offers shared calendars, to-do lists, shopping lists, and messaging tools, allowing multiple users to coordinate under one account. Founded in 2005 by former Microsoft employees, Cozi has evolved through acquisitions and now operates under OurFamilyWizard. The app is available in both free and premium versions on iOS, Android, and desktop platforms. == History == Cozi was founded in 2005 by Robbie Cape and Jan Miksovsky, two former Microsoft employees who sought to simplify family logistics with technology. The company's first product, Cozi Central, was released on September 25, 2006, and included a family calendar, shopping lists, family messaging and a photo collage screensaver. The company is based in Seattle, Washington. Cozi has both a freemium version, and a paid version called Cozi Gold. Cozi Gold's additional features include Cozi Contacts, a birthday tracker, more reminders, mobile month view, and change notifications. The software can be used on desktop or mobile applications for iOS and Android. On June 5, 2011, Cozi set a Guinness World Record for the longest line of ducks in a row. The line stretched for one mile and was made up of 17,782 rubber ducks. Cozi was acquired by Time Inc. in 2014. After the Meredith Corporation acquired Time in 2018, Cozi was moved into the Parents Network division. On May 4, 2022, Cozi was acquired by OurFamilyWizard of Minneapolis, Minnesota, reporting more than 20 million registered users.
Art Recognition
Art Recognition is a Swiss technology company headquartered in Adliswil, within the Zurich metropolitan area, Switzerland. Art Recognition specializes in the application of artificial intelligence (AI) for art authentication and the detection of art forgeries. == Overview == Art Recognition was established in 2019 by Dr. Carina Popovici and Christiane Hoppe-Oehl. Art Recognition employs a combination of machine learning techniques, computer vision algorithms, and deep neural networks to assess the authenticity of artworks. The company's technology undergoes a process of data collection, dataset preparation, and training. === Academic partnerships and grants === Art Recognition has established a relationship with Innosuisse, a Swiss innovation agency, to expand its research and development initiatives. It has also formed a strategic collaboration with Nils Büttner, an art historian and professor at the State Academy of Fine Arts Stuttgart (ABK Stuttgart). === Notable developments === In May 2024, Art Recognition played a key role in identifying counterfeit artworks, including alleged Monets and Renoirs, being sold on eBay. Germann Auction in November 2024 became the first auction house to successfully conduct a sale of artwork authenticated entirely by artificial intelligence. As of January 2025, Art Recognition has appointed art crime expert and Pulitzer Prize finalist Noah Charney as an advisor. === Recognition and debates === The company was featured on the front page of The Wall Street Journal for its involvement in the authentication case of the Flaget Madonna, believed to have been partly painted by Raphael. A broadcast by the Swiss public television SRF covered how the algorithm can be used to detect art forgeries with high accuracy. The technology developed by Art Recognition has been recognized for its role in providing a technology-based art authentication solution, compared to traditional methods. == Controversial cases == Art Recognition's AI algorithm has been applied to several high-profile and controversial artworks, sparking significant interest and debate in the art world. Samson and Delilah at the National Gallery in London: The National Gallery's "Samson and Delilah", traditionally attributed to the artist Rubens, has also been examined using Art Recognition's AI, which has assessed the painting as non-authentic. De Brecy Tondo Madonna. A research team from Bradford University and the University of Nottingham initially attributed the painting to Raphael, employing an AI face recognition software, while the AI developed at Art Recognition returned a negative result. The Bradford group's AI was trained on 49 images, whereas Art Recognition employed a larger dataset of over 100 images. Lucian Freud Painting Controversy: Featured in The New Yorker, a painting attributed to Lucian Freud became a subject of dispute. Art Recognition's AI analysis played a big role in examining the painting's authenticity. Titian at Kunsthaus Zürich: A painting attributed to Titian, housed at Kunsthaus Zürich, has been a topic of debate among art experts. The application of Art Recognition's technology offered a new perspective. Following this debate, Kunsthaus Zürich has announced plans to initiate a comprehensive project aimed at resolving the authenticity questions surrounding the painting. Art Recognition has contributed to the authentication debate surrounding The Polish Rider, a painting traditionally attributed to Rembrandt but subject to scholarly debate.
SMART Health Card
The SMART Health Card framework is an open source immunity passport program designed to store and share medical information in paper or digital form. It was initially launched as a vaccine passport during the COVID-19 pandemic, but is envisioned for use for other infectious diseases. SMART Health Cards include a QR code which can be scanned and verified using the official SMART Health Card Verifier mobile app, supported by Apple and Android. It was rolled out by the Vaccination Credential Initiative (VCI) based on technology developed at Boston Children's Hospital, and standards set by Health Level Seven International (HL7) and the World Wide Web Consortium (W3C). It is recognized by the International Organization for Standardization. == History == === Founding === In February 2009, United States president Barack Obama signed an economic stimulus package which included $19 billion in funds for investment in health information technology. The following month, researchers from Boston Children's Hospital and Harvard Medical School, Kenneth Mandl and Isaac Kohane, published an article in The New England Journal of Medicine calling for the modernization of electronic health records through API integrations on mobile devices. In April 2010, the pair secured a $15 million grant through the Office of the National Coordinator for Health Information Technology's Strategic Health IT Advanced Research Projects (SHARP) program. With this federal funding, the researchers began development of an interoperable healthcare IT platform they called "Substitutable Medical Applications and Reusable Technologies" (SMART). The first iteration of the platform API was previewed later that year, and "SMART Classic" was released in 2011. In 2013, SMART adopted the open-source Fast Health Interoperability Resources (FHIR) standard developed by Health Level Seven International (HL7). The newly named SMART on FHIR platform was debuted in February 2014 at the Health Information Management Systems Society conference. === 21st Century Cures Act === According to SMART Health IT, Mandl successfully lobbied for the inclusion of a universal API requirement in the 21st Century Cures Act, signed into law on December 13, 2016. The team also advocated for a federal rule establishing SMART as the universal API. In 2019, the Office of the National Coordinator for Health Information Technology published the "final rule" specifying the SMART framework as the standard to satisfy the requirements of the 21st Century Cures Act; the rule was implemented in June 2020. === COVID-19 === The SMART Health Card framework was deployed as a "de facto standard" for vaccine passports in the COVID-19 pandemic in the United States and other international jurisdictions. On January 14, 2021, the Mitre Corporation announced the launch of a new public–private partnership called the Vaccination Credential Initiative (VCI) alongside the CARIN Alliance, Cerner, Change Healthcare, The Commons Project Foundation, Epic Systems, Evernorth, Mayo Clinic, Microsoft, Oracle, Safe Health, and Salesforce. VCI's purpose was to employ the SMART Health Card framework in order to create a unified proof-of-vaccination system for COVID-19 vaccines.The California Department of Public Health introduced a Digital Covid-19 Vaccine Record portal in June 2021, allowing individuals to verify their vaccination status using the SMART Health Card reader. On August 5, 2021, New York Governor Andrew Cuomo announced the introduction of the "Excelsior Pass Plus" which would expand its Excelsior Pass program into other states and internationally by connecting it to the SMART Health Card system. As of August 27, 2021, 415,000 citizens of Louisiana had added their COVID-19 vaccination status to their state-run, SMART Health Card enabled LA Wallet. On September 8, 2021, Hawaii governor David Ige announced the rollout of the state's Hawaiʻi SMART Health Card. County-level health departments across the United States partnered with VaccineCheck to issue SMART Health Cards by verifying vaccine cards provided by the Centers for Disease Control and Prevention. The Government of Canada spent CAD$4.6 million to develop a proof-of-vaccination credential on the SMART Health Card framework, enabling its ArriveCAN travel application to store, recognize and verify credentials from every province, territory and foreign country. Since October 2021, Canadian provinces and territories used the SMART Health Card format as a requirement by the federal government, including British Columbia, Newfoundland and Labrador, the Northwest Territories, Nova Scotia, Nunavut, Ontario, Quebec, Saskatchewan and the Yukon. On October 13, 2021, the American Immunization Registry Association (AIRA) published a statement encouraging adoption of SMART Health Cards as a common standard "where allowed by local law and policy." "SMARTHealth.Cards" was listed as a supporting member of AIRA through the VCI. A SMART Health Cards Global Forum was held on October 28, 2021. The event featured keynote speakers Andy Slavitt (former Senior Pandemic Advisor to President Joe Biden’s COVID-19 pandemic response team) and Mike Leavitt (former United States Secretary of Health and Human Services). On December 20, 2021, Japan's Ministry of Health, Labour and Welfare launched its COVID-19 Vaccination Certificate Application using the SMART Health Card. By January 2022, about 80% of Americans who had received a COVID-19 vaccine had access to a SMART Health Card through their state governments, local businesses, universities and healthcare systems. == Participants == === Developers === SMART Health IT is based out of the Computational Health Informatics Program (CHIP) at the Boston Children's Hospital. CHIP's related projects include Apache cTAKES, Genomic Information Commons, HealthMap, and VaccineFinder. The SMART Health Card's project sponsor is HL7 International's Public Health Work Group, consisting of representatives from Allscripts, the Altarum Institute, Tennessee Department of Health and Washington State Department of Health. === Issuers === Official registries of authorized SMART Health Card issuers are maintained by SMART Health IT, the Vaccination Credential Initiative, and the CommonTrust Network. Authorized issuers include:
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
Color quantization
In computer graphics, color quantization or color image quantization is quantization applied to color spaces; it is a process that reduces the number of distinct colors used in an image, usually with the intention that the new image should be as visually similar as possible to the original image. Computer algorithms to perform color quantization on bitmaps have been studied since the 1970s. Color quantization is critical for displaying images with many colors on devices that can only display a limited number of colors, usually due to memory limitations, and enables efficient compression of certain types of images. The name "color quantization" is primarily used in computer graphics research literature; in applications, terms such as optimized palette generation, optimal palette generation, or decreasing color depth are used. Some of these are misleading, as the palettes generated by standard algorithms are not necessarily the best possible. == Algorithms == Most standard techniques treat color quantization as a problem of clustering points in three-dimensional space, where the points represent colors found in the original image and the three axes represent the three color channels. Almost any three-dimensional clustering algorithm can be applied to color quantization, and vice versa. After the clusters are located, typically the points in each cluster are averaged to obtain the representative color that all colors in that cluster are mapped to. The three color channels are usually red, green, and blue, but another popular choice is the Lab color space, in which Euclidean distance is more consistent with perceptual difference. The most popular algorithm by far for color quantization, invented by Paul Heckbert in 1979, is the median cut algorithm. Many variations on this scheme are in use. Before this time, most color quantization was done using the population algorithm or population method, which essentially constructs a histogram of equal-sized ranges and assigns colors to the ranges containing the most points. A more modern popular method is clustering using octrees, first conceived by Gervautz and Purgathofer and improved by Xerox PARC researcher Dan Bloomberg. If the palette is fixed, as is often the case in real-time color quantization systems such as those used in operating systems, color quantization is usually done using the "straight-line distance" or "nearest color" algorithm, which simply takes each color in the original image and finds the closest palette entry, where distance is determined by the distance between the two corresponding points in three-dimensional space. In other words, if the colors are ( r 1 , g 1 , b 1 ) {\displaystyle (r_{1},g_{1},b_{1})} and ( r 2 , g 2 , b 2 ) {\displaystyle (r_{2},g_{2},b_{2})} , we want to minimize the Euclidean distance: ( r 1 − r 2 ) 2 + ( g 1 − g 2 ) 2 + ( b 1 − b 2 ) 2 . {\displaystyle {\sqrt {(r_{1}-r_{2})^{2}+(g_{1}-g_{2})^{2}+(b_{1}-b_{2})^{2}}}.} This effectively decomposes the color cube into a Voronoi diagram, where the palette entries are the points and a cell contains all colors mapping to a single palette entry. There are efficient algorithms from computational geometry for computing Voronoi diagrams and determining which region a given point falls in; in practice, indexed palettes are so small that these are usually overkill. Color quantization is frequently combined with dithering, which can eliminate unpleasant artifacts such as banding that appear when quantizing smooth gradients and give the appearance of a larger number of colors. Some modern schemes for color quantization attempt to combine palette selection with dithering in one stage, rather than perform them independently. A number of other much less frequently used methods have been invented that use entirely different approaches. The Local K-means algorithm, conceived by Oleg Verevka in 1995, is designed for use in windowing systems where a core set of "reserved colors" is fixed for use by the system and many images with different color schemes might be displayed simultaneously. It is a post-clustering scheme that makes an initial guess at the palette and then iteratively refines it. In the early days of color quantization, the k-means clustering algorithm was deemed unsuitable because of its high computational requirements and sensitivity to initialization. In 2011, M. Emre Celebi reinvestigated the performance of k-means as a color quantizer. He demonstrated that an efficient implementation of k-means outperforms a large number of color quantization methods. The high-quality but slow NeuQuant algorithm reduces images to 256 colors by training a Kohonen neural network "which self-organises through learning to match the distribution of colours in an input image. Taking the position in RGB-space of each neuron gives a high-quality colour map in which adjacent colours are similar." It is particularly advantageous for images with gradients. Finally, one of the newer methods is spatial color quantization, conceived by Puzicha, Held, Ketterer, Buhmann, and Fellner of the University of Bonn, which combines dithering with palette generation and a simplified model of human perception to produce visually impressive results even for very small numbers of colors. It does not treat palette selection strictly as a clustering problem, in that the colors of nearby pixels in the original image also affect the color of a pixel. See sample images. == History and applications == In the early days of PCs, it was common for video adapters to support only 2, 4, 16, or (eventually) 256 colors due to video memory limitations; they preferred to dedicate the video memory to having more pixels (higher resolution) rather than more colors. Color quantization helped to justify this tradeoff by making it possible to display many high color images in 16- and 256-color modes with limited visual degradation. Many operating systems automatically perform quantization and dithering when viewing high color images in a 256 color video mode, which was important when video devices limited to 256 color modes were dominant. Modern computers can now display millions of colors at once, far more than can be distinguished by the human eye, limiting this application primarily to mobile devices and legacy hardware. Nowadays, color quantization is mainly used in GIF and PNG images. GIF, for a long time the most popular lossless and animated bitmap format on the World Wide Web, only supports up to 256 colors, necessitating quantization for many images. Some early web browsers constrained images to use a specific palette known as the web colors, leading to severe degradation in quality compared to optimized palettes. PNG images support 24-bit color, but can often be made much smaller in filesize without much visual degradation by application of color quantization, since PNG files use fewer bits per pixel for palettized images. The infinite number of colors available through the lens of a camera is impossible to display on a computer screen; thus converting any photograph to a digital representation necessarily involves some quantization. Practically speaking, 24-bit color is sufficiently rich to represent almost all colors perceivable by humans with sufficiently small error as to be visually identical (if presented faithfully), within the available color space. However, the digitization of color, either in a camera detector or on a screen, necessarily limits the available color space. Consequently there are many colors that may be impossible to reproduce, regardless of how many bits are used to represent the color. For example, it is impossible in typical RGB color spaces (common on computer monitors) to reproduce the full range of green colors that the human eye is capable of perceiving. With the few colors available on early computers, different quantization algorithms produced very different-looking output images. As a result, a lot of time was spent on writing sophisticated algorithms to be more lifelike. === Quantization for image compression === Many image file formats support indexed color. A whole-image palette typically selects 256 "representative" colors for the entire image, where each pixel references any one of the colors in the palette, as in the GIF and PNG file formats. A block palette typically selects 2 or 4 colors for each block of 4x4 pixels, used in BTC, CCC, S2TC, and S3TC. === Editor support === Many bitmap graphics editors contain built-in support for color quantization, and will automatically perform it when converting an image with many colors to an image format with fewer colors. Most of these implementations allow the user to set exactly the number of desired colors. Examples of such support include: Photoshop's Mode→Indexed Color function supplies a number of quantization algorithms ranging from the fixed Windows system and Web palettes to the proprietary Local and Global algorithms for generating palettes suited to a particu