Computer audition (CA) or machine listening is the general field of study of algorithms and systems for audio interpretation by machines. Since the notion of what it means for a machine to "hear" is very broad and somewhat vague, computer audition attempts to bring together several disciplines that originally dealt with specific problems or had a concrete application in mind. The engineer Paris Smaragdis, interviewed in Technology Review, talks about these systems — "software that uses sound to locate people moving through rooms, monitor machinery for impending breakdowns, or activate traffic cameras to record accidents." Inspired by models of human audition, CA deals with questions of representation, transduction, grouping, use of musical knowledge and general sound semantics for the purpose of performing intelligent operations on audio and music signals by the computer. Technically this requires a combination of methods from the fields of signal processing, auditory modelling, music perception and cognition, pattern recognition, and machine learning, as well as more traditional methods of artificial intelligence for musical knowledge representation. == Applications == Like computer vision versus image processing, computer audition versus audio engineering deals with understanding of audio rather than processing. It also differs from problems of speech understanding by machine since it deals with general audio signals, such as natural sounds and musical recordings. Applications of computer audition are widely varying, and include search for sounds, genre recognition, acoustic monitoring, music transcription, score following, audio texture, music improvisation, emotion in audio and so on. == Related disciplines == Computer Audition overlaps with the following disciplines: Music information retrieval: methods for search and analysis of similarity between music signals. Auditory scene analysis: understanding and description of audio sources and events. Computational musicology and mathematical music theory: use of algorithms that employ musical knowledge for analysis of music data. Computer music: use of computers in creative musical applications. Machine musicianship: audition driven interactive music systems. == Areas of study == Since audio signals are interpreted by the human ear–brain system, that complex perceptual mechanism should be simulated somehow in software for "machine listening". In other words, to perform on par with humans, the computer should hear and understand audio content much as humans do. Analyzing audio accurately involves several fields: electrical engineering (spectrum analysis, filtering, and audio transforms); artificial intelligence (machine learning and sound classification); psychoacoustics (sound perception); cognitive sciences (neuroscience and artificial intelligence); acoustics (physics of sound production); and music (harmony, rhythm, and timbre). Furthermore, audio transformations such as pitch shifting, time stretching, and sound object filtering, should be perceptually and musically meaningful. For best results, these transformations require perceptual understanding of spectral models, high-level feature extraction, and sound analysis/synthesis. Finally, structuring and coding the content of an audio file (sound and metadata) could benefit from efficient compression schemes, which discard inaudible information in the sound. Computational models of music and sound perception and cognition can lead to a more meaningful representation, a more intuitive digital manipulation and generation of sound and music in musical human-machine interfaces. The study of CA could be roughly divided into the following sub-problems: Representation: signal and symbolic. This aspect deals with time-frequency representations, both in terms of notes and spectral models, including pattern playback and audio texture. Feature extraction: sound descriptors, segmentation, onset, pitch and envelope detection, chroma, and auditory representations. Musical knowledge structures: analysis of tonality, rhythm, and harmonies. Sound similarity: methods for comparison between sounds, sound identification, novelty detection, segmentation, and clustering. Sequence modeling: matching and alignment between signals and note sequences. Source separation: methods of grouping of simultaneous sounds, such as multiple pitch detection and time-frequency clustering methods. Auditory cognition: modeling of emotions, anticipation and familiarity, auditory surprise, and analysis of musical structure. Multi-modal analysis: finding correspondences between textual, visual, and audio signals. === Representation issues === Computer audition deals with audio signals that can be represented in a variety of fashions, from direct encoding of digital audio in two or more channels to symbolically represented synthesis instructions. Audio signals are usually represented in terms of analogue or digital recordings. Digital recordings are samples of acoustic waveform or parameters of audio compression algorithms. One of the unique properties of musical signals is that they often combine different types of representations, such as graphical scores and sequences of performance actions that are encoded as MIDI files. Since audio signals usually comprise multiple sound sources, then unlike speech signals that can be efficiently described in terms of specific models (such as source-filter model), it is hard to devise a parametric representation for general audio. Parametric audio representations usually use filter banks or sinusoidal models to capture multiple sound parameters, sometimes increasing the representation size in order to capture internal structure in the signal. Additional types of data that are relevant for computer audition are textual descriptions of audio contents, such as annotations, reviews, and visual information in the case of audio-visual recordings. === Features === Description of contents of general audio signals usually requires extraction of features that capture specific aspects of the audio signal. Generally speaking, one could divide the features into signal or mathematical descriptors such as energy, description of spectral shape etc., statistical characterization such as change or novelty detection, special representations that are better adapted to the nature of musical signals or the auditory system, such as logarithmic growth of sensitivity (bandwidth) in frequency or octave invariance (chroma). Since parametric models in audio usually require very many parameters, the features are used to summarize properties of multiple parameters in a more compact or salient representation. === Musical knowledge === Finding specific musical structures is possible by using musical knowledge as well as supervised and unsupervised machine learning methods. Examples of this include detection of tonality according to distribution of frequencies that correspond to patterns of occurrence of notes in musical scales, distribution of note onset times for detection of beat structure, distribution of energies in different frequencies to detect musical chords and so on. === Sound similarity and sequence modeling === Comparison of sounds can be done by comparison of features with or without reference to time. In some cases an overall similarity can be assessed by close values of features between two sounds. In other cases when temporal structure is important, methods of dynamic time warping need to be applied to "correct" for different temporal scales of acoustic events. Finding repetitions and similar sub-sequences of sonic events is important for tasks such as texture synthesis and machine improvisation. === Source separation === Since one of the basic characteristics of general audio is that it comprises multiple simultaneously sounding sources, such as multiple musical instruments, people talking, machine noises or animal vocalization, the ability to identify and separate individual sources is very desirable. Unfortunately, there are no methods that can solve this problem in a robust fashion. Existing methods of source separation rely sometimes on correlation between different audio channels in multi-channel recordings. The ability to separate sources from stereo signals requires different techniques than those usually applied in communications where multiple sensors are available. Other source separation methods rely on training or clustering of features in mono recording, such as tracking harmonically related partials for multiple pitch detection. Some methods, before explicit recognition, rely on revealing structures in data without knowing the structures (like recognizing objects in abstract pictures without attributing them meaningful labels) by finding the least complex data representations, for instance describing audio scenes as generated by a few tone patterns and their trajectories (polyphonic voices) and acoustical contours drawn by a tone (c
Amazon Kinesis
Amazon Kinesis is a family of services provided by Amazon Web Services (AWS) for processing and analyzing real-time streaming data at a large scale. Launched in November 2013, it offers developers the ability to build applications that can consume and process data from multiple sources simultaneously. Kinesis supports multiple use cases, including real-time analytics, log and event data collection, and real-time processing of data generated by IoT devices. == History == Amazon Kinesis was launched by Amazon Web Services (AWS) in November 2013 as a managed service for processing and analyzing real-time streaming data at a large scale. The service was introduced to address the growing need for businesses to process and analyze data as it was generated, rather than in batches, allowing for real-time insights and decision-making. Since its launch, the Amazon Kinesis family of services has expanded to include four main components: Kinesis Data Streams, Kinesis Data Firehose, Kinesis Data Analytics, and Kinesis Video Streams. Each of these components serves a specific purpose in the processing and analysis of real-time streaming data. In August 2015, AWS announced the availability of Kinesis Data Firehose, a fully managed service for delivering real-time streaming data to destinations such as Amazon S3, Amazon Redshift, and Amazon Elasticsearch. A year later in August 2016, AWS launched Kinesis Data Analytics, enabling customers to analyze streaming data in real time using standard SQL queries. AWS introduced Kinesis Video Streams, a fully managed service for securely capturing, processing, and storing video streams for analytics and machine learning applications, was introduced by AWS in November 2017. == Components == Amazon Kinesis is composed of four main services: Kinesis Data Streams, Kinesis Data Firehose, Kinesis Data Analytics, and Kinesis Video Streams. === Kinesis Data Streams === Kinesis Data Streams is a scalable and durable real-time data streaming service that captures and processes gigabytes of data per second from multiple sources. It enables the storage and processing of data in real time, making it useful for applications that require immediate insights, such as monitoring and alerting. === Kinesis Data Firehose === Kinesis Data Firehose is a fully managed service for delivering real-time streaming data to destinations such as Amazon S3, Amazon Redshift, Amazon Elasticsearch, and AWS-partner data stores. With Data Firehose, users can configure and scale data delivery without manual intervention. === Kinesis Data Analytics === Kinesis Data Analytics enables the analysis of streaming data in real time using standard SQL or Apache Flink. === Kinesis Video Streams === Kinesis Video Streams is a fully managed service for securely capturing, processing, and storing video streams for analytics and machine learning. It supports multiple video codecs and streaming protocols, making it suitable for various use cases, such as security and surveillance, video-enabled IoT devices, and live event broadcasting. == Integration == Amazon Kinesis can be easily integrated with other AWS services, such as AWS Lambda, Amazon S3, Amazon Redshift, and Amazon OpenSearch. This integration enables developers to build end-to-end streaming data processing applications, taking advantage of the extensive AWS ecosystem. == Use cases == Some common use cases for Amazon Kinesis include: Real-time analytics: Analyzing streaming data in real time to provide immediate insights and make data-driven decisions. Log and event data collection: Collecting, processing, and analyzing log and event data generated by applications, infrastructure, and devices. IoT data processing: Processing and analyzing large volumes of data generated by IoT devices in real time. Machine learning: Ingesting and processing video streams for machine learning applications, such as object recognition, facial recognition, and sentiment analysis. == Pricing == Amazon Kinesis follows a pay-as-you-go pricing model, with costs depending on the chosen service, data volume, and processing power required. AWS provides a free tier for Kinesis Data Streams and Kinesis Data Firehose, allowing users to get started with the services at no cost.
Scale-space axioms
In image processing and computer vision, a scale space framework can be used to represent an image as a family of gradually smoothed images. This framework is very general and a variety of scale space representations exist. A typical approach for choosing a particular type of scale space representation is to establish a set of scale-space axioms, describing basic properties of the desired scale-space representation and often chosen so as to make the representation useful in practical applications. Once established, the axioms narrow the possible scale-space representations to a smaller class, typically with only a few free parameters. A set of standard scale space axioms, discussed below, leads to the linear Gaussian scale-space, which is the most common type of scale space used in image processing and computer vision. == Scale space axioms for the linear scale-space representation == The linear scale space representation L ( x , y , t ) = ( T t f ) ( x , y ) = g ( x , y , t ) ∗ f ( x , y ) {\displaystyle L(x,y,t)=(T_{t}f)(x,y)=g(x,y,t)f(x,y)} of signal f ( x , y ) {\displaystyle f(x,y)} obtained by smoothing with the Gaussian kernel g ( x , y , t ) {\displaystyle g(x,y,t)} satisfies a number of properties 'scale-space axioms' that make it a special form of multi-scale representation: linearity T t ( a f + b h ) = a T t f + b T t h {\displaystyle T_{t}(af+bh)=aT_{t}f+bT_{t}h} where f {\displaystyle f} and h {\displaystyle h} are signals while a {\displaystyle a} and b {\displaystyle b} are constants, shift invariance T t S ( Δ x , Δ y ) f = S ( Δ x , Δ y ) T t f {\displaystyle T_{t}S_{(\Delta x,\Delta _{y})}f=S_{(\Delta x,\Delta _{y})}T_{t}f} where S ( Δ x , Δ y ) {\displaystyle S_{(\Delta x,\Delta _{y})}} denotes the shift (translation) operator ( S ( Δ x , Δ y ) f ) ( x , y ) = f ( x − Δ x , y − Δ y ) {\displaystyle (S_{(\Delta x,\Delta _{y})}f)(x,y)=f(x-\Delta x,y-\Delta y)} semi-group structure g ( x , y , t 1 ) ∗ g ( x , y , t 2 ) = g ( x , y , t 1 + t 2 ) {\displaystyle g(x,y,t_{1})g(x,y,t_{2})=g(x,y,t_{1}+t_{2})} with the associated cascade smoothing property L ( x , y , t 2 ) = g ( x , y , t 2 − t 1 ) ∗ L ( x , y , t 1 ) {\displaystyle L(x,y,t_{2})=g(x,y,t_{2}-t_{1})L(x,y,t_{1})} existence of an infinitesimal generator A {\displaystyle A} ∂ t L ( x , y , t ) = ( A L ) ( x , y , t ) {\displaystyle \partial _{t}L(x,y,t)=(AL)(x,y,t)} non-creation of local extrema (zero-crossings) in one dimension, non-enhancement of local extrema in any number of dimensions ∂ t L ( x , y , t ) ≤ 0 {\displaystyle \partial _{t}L(x,y,t)\leq 0} at spatial maxima and ∂ t L ( x , y , t ) ≥ 0 {\displaystyle \partial _{t}L(x,y,t)\geq 0} at spatial minima, rotational symmetry g ( x , y , t ) = h ( x 2 + y 2 , t ) {\displaystyle g(x,y,t)=h(x^{2}+y^{2},t)} for some function h {\displaystyle h} , scale invariance g ^ ( ω x , ω y , t ) = h ^ ( ω x φ ( t ) , ω x φ ( t ) ) {\displaystyle {\hat {g}}(\omega _{x},\omega _{y},t)={\hat {h}}({\frac {\omega _{x}}{\varphi (t)}},{\frac {\omega _{x}}{\varphi (t)}})} for some functions φ {\displaystyle \varphi } and h ^ {\displaystyle {\hat {h}}} where g ^ {\displaystyle {\hat {g}}} denotes the Fourier transform of g {\displaystyle g} , positivity g ( x , y , t ) ≥ 0 {\displaystyle g(x,y,t)\geq 0} , normalization ∫ x = − ∞ ∞ ∫ y = − ∞ ∞ g ( x , y , t ) d x d y = 1 {\displaystyle \int _{x=-\infty }^{\infty }\int _{y=-\infty }^{\infty }g(x,y,t)\,dx\,dy=1} . In fact, it can be shown that the Gaussian kernel is a unique choice given several different combinations of subsets of these scale-space axioms: most of the axioms (linearity, shift-invariance, semigroup) correspond to scaling being a semigroup of shift-invariant linear operator, which is satisfied by a number of families integral transforms, while "non-creation of local extrema" for one-dimensional signals or "non-enhancement of local extrema" for higher-dimensional signals are the crucial axioms which relate scale-spaces to smoothing (formally, parabolic partial differential equations), and hence select for the Gaussian. The Gaussian kernel is also separable in Cartesian coordinates, i.e. g ( x , y , t ) = g ( x , t ) g ( y , t ) {\displaystyle g(x,y,t)=g(x,t)\,g(y,t)} . Separability is, however, not counted as a scale-space axiom, since it is a coordinate dependent property related to issues of implementation. In addition, the requirement of separability in combination with rotational symmetry per se fixates the smoothing kernel to be a Gaussian. There exists a generalization of the Gaussian scale-space theory to more general affine and spatio-temporal scale-spaces. In addition to variabilities over scale, which original scale-space theory was designed to handle, this generalized scale-space theory also comprises other types of variabilities, including image deformations caused by viewing variations, approximated by local affine transformations, and relative motions between objects in the world and the observer, approximated by local Galilean transformations. In this theory, rotational symmetry is not imposed as a necessary scale-space axiom and is instead replaced by requirements of affine and/or Galilean covariance. The generalized scale-space theory leads to predictions about receptive field profiles in good qualitative agreement with receptive field profiles measured by cell recordings in biological vision. In the computer vision, image processing and signal processing literature there are many other multi-scale approaches, using wavelets and a variety of other kernels, that do not exploit or require the same requirements as scale space descriptions do; please see the article on related multi-scale approaches. There has also been work on discrete scale-space concepts that carry the scale-space properties over to the discrete domain; see the article on scale space implementation for examples and references.
Inverse consistency
In image registration, inverse consistency measures the consistency of mappings between images produced by a registration algorithm. The inverse consistency error, introduced by Christiansen and Johnson in 2001, quantifies the distance between the composition of the mappings from each image to the other, produced by the registration procedure, and the identity function, and is used as a regularisation constraint in the loss function of many registration algorithms to enforce consistent mappings. Inverse consistency is necessary for good image registration but it is not sufficient, since a mapping can be perfectly consistent but not register the images at all. == Definition == Image registration is the process of establishing a common coordinate system between two images, and given two images I 1 : Ω 1 → R I 2 : Ω 2 → R {\displaystyle {\begin{aligned}I_{1}:\Omega _{1}\to \mathbb {R} \\I_{2}:\Omega _{2}\to \mathbb {R} \end{aligned}}} registering a source image I 1 {\displaystyle I_{1}} to a target image I 2 {\displaystyle I_{2}} consists of determining a transformation f 1 : Ω 2 → Ω 1 {\displaystyle f_{1}:\Omega _{2}\to \Omega _{1}} that maps points from the target space to the source space. An ideal registration algorithm should not be sensitive to which image in the pair is used as source or target, and the registration operator should be antisymmetric such that the mappings f 1 : Ω 2 → Ω 1 f 2 : Ω 1 → Ω 2 {\displaystyle {\begin{aligned}f_{1}:\Omega _{2}\to \Omega _{1}\\f_{2}:\Omega _{1}\to \Omega _{2}\end{aligned}}} produced when registering I 1 {\displaystyle I_{1}} to I 2 {\displaystyle I_{2}} and I 2 {\displaystyle I_{2}} to I 1 {\displaystyle I_{1}} respectively should be the inverse of each other, i.e. f 2 = f 1 − 1 {\displaystyle f_{2}=f_{1}^{-1}} and f 1 = f 2 − 1 {\displaystyle f_{1}=f_{2}^{-1}} or, equivalently, f 2 ∘ f 1 = id Ω 2 {\displaystyle f_{2}\circ f_{1}=\operatorname {id} _{\Omega _{2}}} and f 1 ∘ f 2 = id Ω 1 {\displaystyle f_{1}\circ f_{2}=\operatorname {id} _{\Omega _{1}}} , where ∘ {\displaystyle \circ } denotes the function composition operator. Real algorithms are not perfect, and when swapping the role of source and target image in a registration problem the so obtained transformations are not the inverse of each other. Inverse consistency can be enforced by adding to the loss function of the registration a symmetric regularisation term that penalises inconsistent transformations ∫ Ω 2 ‖ f 2 ( f 1 ( x ) ) − x ‖ 2 d x + ∫ Ω 1 ‖ f 1 ( f 2 ( x ) ) − x ‖ 2 d x . {\displaystyle \int _{\Omega _{2}}\left\Vert f_{2}(f_{1}(x))-x\right\Vert ^{2}\mathrm {d} x+\int _{\Omega _{1}}\left\Vert f_{1}(f_{2}(x))-x\right\Vert ^{2}\mathrm {d} x.} Inverse consistency can be used as a quality metric to evaluate image registration results. The inverse consistency error ( I C E {\displaystyle ICE} ) measures the distance between the composition of the two transforms and the identity function, and it can be formulated in terms of both average ( I C E a {\displaystyle ICE_{a}} ) or maximum ( I C E m {\displaystyle ICE_{m}} ) over a region of interest Ω {\displaystyle \Omega } of the image: I C E a = 1 ∫ Ω d x ∫ Ω ‖ f 2 ( f 1 ( x ) ) − x ‖ d x I C E m = max x ∈ Ω ‖ f 2 ( f 1 ( x ) ) − x ‖ . {\displaystyle {\begin{aligned}ICE_{a}&={\frac {1}{\int _{\Omega }\mathrm {d} x}}\int _{\Omega }\left\Vert f_{2}(f_{1}(x))-x\right\Vert \mathrm {d} x\\ICE_{m}&=\max _{x\in \Omega }\left\Vert f_{2}(f_{1}(x))-x\right\Vert .\end{aligned}}} While inverse consistency is a necessary property of good registration algorithms, inverse consistency error alone is not a sufficient metric to evaluate the quality of image registration results, since a perfectly consistent mapping, with no other constraint, may be not even close to correctly register a pair of images.
Just This Once
Just This Once is a 1993 romance novel written in the style of Jacqueline Susann by a Macintosh IIcx computer named "Hal" in collaboration with its programmer, Scott French. French reportedly spent $40,000 and 8 years developing an artificial intelligence program to analyze Susann's works and attempt to create a novel that Susann might have written. A legal dispute between the estate of Jacqueline Susann and the publisher resulted in a settlement to split the profits, and the book was referenced in several legal journal articles about copyright laws. The book had two small print runs totaling 35,000 copies, receiving mixed reviews. == Creation == The novel's creation spanned the fields of artificial intelligence, expert systems, and natural language processing. Scott French first scanned and analyzed portions of two books by Jacqueline Susann, Valley of the Dolls and Once Is Not Enough, to determine constituents of Susann's writing style, which French stated was the most difficult task. This analysis extracted several hundred components including frequency and type of sexual acts and sentence structure. "Once you're there, the writer's style emerges, part of her actual personality comes out, and the computer can be programmed to make a story." French also created several thousand rules to govern tone, plotting, scenes, and characters. The text generated by Hal, the computer, was intended to mimic what Susann might have written, although the output required significant editing. French credits Hal's work with "almost 100% of the plot, 100% of the theme and style." French estimates that he wrote 10% of the prose, the computer Hal wrote about 25% of the prose, and the remaining two-thirds was more of a collaboration between the two. A typical scenario to write a scene would involve Hal asking questions that French would answer (for example, Hal might ask about the "cattiness factor" involved in a meeting between two key female characters, and French would reply with a range of 1 to 10), and the computer would then generate a few sentences to which French would make minor edits. The process would repeat for the next few sentences until the scene was written. == Legal issues == Jacqueline Susann's publisher was skeptical of the legality of Just This Once, although French doubted that an author's thought processes could be copyrighted. Susann's estate reportedly threatened to sue Scott French but the parties settled out of court; the settlement involved splitting profits between the parties but the terms of the settlement were not disclosed. The publication of Just This Once raised questions in the legal profession concerning how copyright law applies to computer-generated works derived from an analysis of other copyrighted works, and whether the generation of such works infringes on copyright. The publications on this topic suggested that the copyright laws of the time were ill-equipped to deal with computer-generated creative works. == Reception == The book's publisher Steven Shragis of Carol Group said of the novel, "I'm not going to say this is a great literary work, but it's every bit as good as anything out in this field, and better than an awful lot." The novel received some positive early reviews. In USA Today, novelist Thomas Gifford compared Just This Once to another novel in the same genre, American Star by Jackie Collins. Gifford concluded: "If you do like this stuff, you'd be much, much better off with the one written by the computer." The Dead Jackie Susann Quarterly declared that Susann "would be proud. Lots of money, sleaze, disease, death, oral sex, tragedy and the good girl gone bad." Other reviews were mixed. Publishers Weekly wrote, "If the books of Jacqueline Susann and Harold Robbins seem formulaic, this debut novel of sin and success in Las Vegas outdoes them all. And that, in a way, is the point.... All novelty rests in the conceit of computer authorship, not in the story itself." Library Journal stated "French invested eight years and $50,000 in a scheme to use artificial intelligence to fulfill his authentic, if dubious, desire to generate a trashy novel a la Jacqueline Susann. Shallow, beautiful-people characters are flatly conceived and randomly accessed in a formulaic plot ... a sexy, boring morality tale. Of possible interest to computer buffs for its use of Expert Systems and the virtual promise of more worthy possibilities; others should read Susann." Kirkus Reviews wrote: "The deal here is that author French is not the author, he's just the midwife, having allegedly programmed his computer to write about our times just the way Susann would... almost perfectly capturing glamorous Jackie's turgid but E-Z reading prose style and ultrareliable mix of sex, glitz, dope 'n' despair.... One wonders, though, if French's tale spinning PC will do as well on the talkshows as Jackie did. The computer weenies have been trying to tell us for years, garbage in-garbage out."
Psychology in cybersecurity
The psychology of cybersecurity (often intersecting with usable security and cyberpsychology) is an interdisciplinary field studying how human behavior, cognitive biases, and social dynamics influence information security. While traditional cybersecurity focuses on hardware and software vulnerabilities, this discipline addresses the "human factor," which is exploited in cyberattacks. Psychology in cybersecurity draws from cognitive psychology and human–computer interaction. == History and evolution == The challenge of human behavior in computing was noted as early as the 1960s with multi-user mainframes like the Compatible Time-Sharing System (CTSS). In 1966, a software error on CTSS caused the system's master password file to be displayed to every user upon login—one of the earliest documented security incidents attributable to a combination of system design and human factors. These behaviors gained broader significance in the 1990s as the Internet became widely accessible. High-profile incidents involving figures like Kevin Mitnick demonstrated how human trust could be exploited through social engineering such as pretexting over the phone. == Cognitive and behavioral factors == Much of the psychology of cybersecurity focuses on decision-making under stress or uncertainty. Researchers apply frameworks like dual process theory to explain why humans fall for phishing or business email compromise. Threat actors design malicious communications to trigger fast, emotional "System 1" thinking—using urgency, authority, or panic, which prompts users to click a link or wire funds before their analytical "System 2" can assess the situation's legitimacy. Industry research has consistently documented the effectiveness of these techniques at scale, pointing to several recurring psychological phenomena that influence daily security practices: Cognitive biases: The optimism bias leads users to believe they are unlikely to be targeted by cybercriminals, resulting in lax password practices or delayed software updates. The availability heuristic causes individuals to focus on highly publicized, sophisticated threats while ignoring common, statistically probable risks like credential reuse. Social influence: Attackers leverage established principles of persuasion, such as those categorized by Robert Cialdini. Impersonating a CEO leverages the psychological trigger of authority, while fake tech support scams use reciprocity (offering to fix a problem before asking for network credentials). == Neurological and pre-cognitive factors == Functional magnetic resonance imaging (fMRI) studies show that neural activation in visual and attentional regions decreases with repeated exposure to the same stimulus, a phenomenon termed repetition suppression. Experiments have confirmed this effect in the context of security warnings: static warning designs produce declines in user attention and adherence. Information processing research on phishing indicates that affective cues, such as artificial urgency or fear, increase cognitive load and elicit automatic heuristic processing, reducing the likelihood of analytical evaluation and facilitating compliance with malicious requests. == Security fatigue and organizational dynamics == Aggressive cybersecurity postures can sometimes lead to mental and emotional exhaustion, a phenomenon known as security fatigue. === Alert fatigue === One example is alert fatigue, which most frequently affects both end-users and security operations center analysts. Continuous exposure to browser warnings or antivirus pop-ups, particularly those that are false positives, conditions users to dismiss alerts automatically due to the volume of notifications rather than their repetitive appearance (see § Neurological and pre-cognitive factors). The scale of this problem is significant in enterprise: SOC teams in large organizations receive thousands of alerts daily, and a survey published in ACM Computer Surveys found that analysts spend over 25% of their time handling false positives, meaning that malicious indicators can be buried in the noise. === Password fatigue === Similarly, password fatigue is the feeling experienced by many people who are required to remember an excessive number of passwords as part of their daily routine, such as to log in to a computer at work. Users cope with the memory burden by making predictable, iterative changes to their passwords (such as updating "Password01!" to "Password02!"), which decreases password security.
Text-to-image personalization
Text-to-Image personalization is a task in deep learning for computer graphics that augments pre-trained text-to-image generative models. In this task, a generative model that was trained on large-scale data (usually a foundation model), is adapted such that it can generate images of novel, user-provided concepts. These concepts are typically unseen during training, and may represent specific objects (such as the user's pet) or more abstract categories (new artistic style or object relations). Text-to-Image personalization methods typically bind the novel (personal) concept to new words in the vocabulary of the model. These words can then be used in future prompts to invoke the concept for subject-driven generation, inpainting, style transfer and even to correct biases in the model. To do so, models either optimize word-embeddings, fine-tune the generative model itself, or employ a mixture of both approaches. == Technology == Text-to-Image personalization was first proposed during August 2022 by two concurrent works, Textual Inversion and DreamBooth. In both cases, a user provides a few images (typically 3–5) of a concept, like their own dog, together with a coarse descriptor of the concept class (like the word "dog"). The model then learns to represent the subject through a reconstruction based objective, where prompts referring to the subject are expected to reconstruct images from the training set. In Textual Inversion, the personalized concepts are introduced into the text-to-image model by adding new words to the vocabulary of the model. Typical text-to-image models represent words (and sometimes parts-of-words) as tokens, or indices in a predefined dictionary. During generation, an input prompt is converted into such tokens, each of which is converted into a ‘word-embedding’: a continuous vector representation which is learned for each token as part of the model's training. Textual Inversion proposes to optimize a new word-embedding vector for representing the novel concept. This new embedding vector can then be assigned to a user-chosen string, and invoked whenever the user's prompt contains this string. In DreamBooth, rather than optimizing a new word vector, the full generative model itself is fine-tuned. The user first selects an existing token, typically one which rarely appears in prompts. The subject itself is then represented by a string containing this token, followed by a coarse descriptor of the subject's class. A prompt describing the subject will then take the form: "A photo of