pureXML is the native XML storage feature in the IBM Db2 data server. pureXML provides query languages, storage technologies, indexing technologies, and other features to support XML data. The word pure in pureXML was chosen to indicate that Db2 natively stores and natively processes XML data in its inherent hierarchical structure, as opposed to treating XML data as plain text or converting it into a relational format. == Technical information == Db2 includes two distinct storage mechanisms: one for efficiently managing traditional SQL data types, and another for managing XML data. The underlying storage mechanism is transparent to users and applications; they simply use SQL (including SQL with XML extensions or SQL/XML) or XQuery to work with the data. XML data is stored in columns of Db2 tables that have the XML data type. XML data is stored in a parsed format that reflects the hierarchical nature of the original XML data. As such, pureXML uses trees and nodes as its model for storing and processing XML data. If you instruct Db2 to validate XML data against an XML schema prior to storage, Db2 annotates all nodes in the XML hierarchy with information about the schema types; otherwise, it will annotate the nodes with default type information. Upon storage, Db2 preserves the internal structure of XML data, converting its tag names and other information into integer values. Doing so helps conserve disk space and also improves the performance of queries that use navigational expressions. However, users aren't aware of this internal representation. Finally, Db2 automatically splits XML nodes across multiple database pages, as needed. XML schemas specify which XML elements are valid, in what order these elements should appear in XML data, which XML data types are associated with each element, and so on. pureXML allows you to validate the cells in a column of XML data against no schema, one schema, or multiple schemas. pureXML also provides tools to support evolving XML schemas. IBM has enhanced its programming language interfaces to support access to its XML data. These enhancements span Java (JDBC), C (embedded SQL and call-level interface), COBOL (embedded SQL), PHP, and Microsoft's .NET Framework (through the DB2.NET provider). == History == pureXML was first included in the DB2 9 for Linux, Unix, and Microsoft Windows release, which was codenamed Viper, in June 2006. It was available on DB2 9 for z/OS in March 2007. In October 2007, IBM released DB2 9.5 with improved XML data transaction performance and improved storage savings. In June 2009, IBM released DB2 9.7 with XML supported for database-partitioned, range-partitioned, and multi-dimensionally clustered tables as well as compression of XML data and indices. == Competition == Db2 is a hybrid data server—it offers data management for traditional relational data, as well as providing native XML data management. Other vendors that offer data management for both relational data and native XML storage include Oracle with its 11g product and Microsoft with its SQL Server product. pureXML also competes with native XML databases like BaseX, eXist, MarkLogic or Sedna. == Books == IBM International Technical Support Organization (ITSO) has published the following books, which are available in print or as free e-books: DB2 9: pureXML Overview and Fast Start DB2 9 pureXML Guide The following books are also available for purchase: DB2 pureXML Cookbook: Master the Power of IBM Hybrid Data Server == Education and training == The following pureXML classroom and online courses are available from IBM Education: Query and Manage XML Data with DB2 9. IBM course CG130. Classroom. Duration: 4 days. Query XML Data with DB2 9. IBM course CG100. Classroom. Duration: 2 days (first 2 days of CG130). Managing XML Data in DB2 9. IBM course CG160. Classroom. Duration: 2 days (last 2 days of CG130). DB2 pureXML. IBM Course CT140. Self-paced study plus Live Virtual Classroom.
Distributed manufacturing
Distributed manufacturing, also known as distributed production, cloud producing, distributed digital manufacturing, and local manufacturing, is a form of decentralized manufacturing practiced by enterprises using a network of geographically dispersed manufacturing facilities that are coordinated using information technology. It can also refer to local manufacture via the historic cottage industry model, or manufacturing that takes place in the homes of consumers. == Enterprise == In enterprise environments, the primary attribute of distributed manufacturing is the ability to create value at geographically dispersed locations. For example, shipping costs could be minimized when products are built geographically close to their intended markets. Also, products manufactured in a number of small facilities distributed over a wide area can be customized with details adapted to individual or regional tastes. Manufacturing components in different physical locations and then managing the supply chain to bring them together for final assembly of a product is also considered a form of distributed manufacturing. Digital networks combined with additive manufacturing allow companies a decentralized and geographically independent distributed production (cloud manufacturing). == Consumer == Within the maker movement and DIY culture, small scale production by consumers often using peer-to-peer resources is being referred to as distributed manufacturing. Consumers download digital designs from an open design repository website like Youmagine or Thingiverse and produce a product for low costs through a distributed network of 3D printing services such as 3D Hubs, Geomiq. In the most distributed form of distributed manufacturing the consumer becomes a prosumer and manufacturers products at home with an open-source 3-D printer such as the RepRap. In 2013 a desktop 3-D printer could be economically justified as a personal product fabricator and the number of free and open hardware designs were growing exponentially. Today there are millions of open hardware product designs at hundreds of repositories and there is some evidence consumers are 3-D printing to save money. For example, 2017 case studies probed the quality of: (1) six common complex toys; (2) Lego blocks; and (3) the customizability of open source board games and found that all filaments analyzed saved the prosumer over 75% of the cost of commercially available true alternative toys and over 90% for recyclebot filament. Overall, these results indicate a single 3D printing repository, MyMiniFactory, is saving consumers well over $60 million/year in offset purchases of only toys. These 3-D printers can now be used to make sophisticated high-value products like scientific instruments. Similarly, a study in 2022 found that 81% of open source designs provided economic savings and the total savings for the 3D printing community is more than $35 million from downloading only the top 100 products at YouMagine. In general, the savings are largest when compared to conventional products when prosumers use recycled materials in 'distributed recycling and additive manufacturing' (DRAM). == Emergency Distributed Manufacturing During COVID-19 Pandemic == Distributed manufacturing became far more visible during the COVID-19 pandemic because it offered a practical response to the breakdown of centralized global supply chains. As lock downs, border restrictions, and factory shutdowns disrupted conventional production, decentralized networks using local facilities such as Open Source Medical Supplies stepped in and manufactured over 48 million products. Additive manufacturing /3D printing were used to produce urgently needed items such as face shields, ventilators and their components, nasopharyngeal swabs, and other personal protective equipment. This demonstrated that distributed manufacturing could reduce lead times, improve responsiveness, and lessen dependence on distant suppliers during crisis conditions for a wide range of products. Peer-reviewed studies on pandemic-era manufacturing note that additive manufacturing was especially valuable because digital design files could be shared rapidly and produced close to the point of need, enabling hospitals, universities, small firms, and maker communities to supplement strained medical supply chains. The pandemic also helped shift distributed manufacturing from being seen as a niche or experimental model to a credible strategy for resilience, flexibility, and emergency response. At the same time, scholars caution that its wider adoption depends on solving issues related to quality assurance, regulation, material consistency, and coordination across distributed production sites. Overall, COVID-19 popularized distributed manufacturing by showing that localized, digitally enabled production could complement traditional manufacturing systems when speed, adaptability, and supply-chain resilience were critical. == Social change == Some call attention to the conjunction of commons-based peer production with distributed manufacturing techniques. The self-reinforced fantasy of a system of eternal growth can be overcome with the development of economies of scope, and here, the civil society can play an important role contributing to the raising of the whole productive structure to a higher plateau of more sustainable and customised productivity. Further, it is true that many issues, problems and threats rise due to the large democratization of the means of production, and especially regarding the physical ones. For instance, the recyclability of advanced nanomaterials is still questioned; weapons manufacturing could become easier; not to mention the implications on counterfeiting and on "intellectual property". It might be maintained that in contrast to the industrial paradigm whose competitive dynamics were about economies of scale, commons-based peer production and distributed manufacturing could develop economies of scope. While the advantages of scale rest on cheap global transportation, the economies of scope share infrastructure costs (intangible and tangible productive resources), taking advantage of the capabilities of the fabrication tools. And following Neil Gershenfeld in that "some of the least developed parts of the world need some of the most advanced technologies", commons-based peer production and distributed manufacturing may offer the necessary tools for thinking globally but act locally in response to certain problems and needs. As well as supporting individual personal manufacturing social and economic benefits are expected to result from the development of local production economies. In particular, the humanitarian and development sector are becoming increasingly interested in how distributed manufacturing can overcome the supply chain challenges of last mile distribution. Further, distributed manufacturing has been proposed as a key element in the Cosmopolitan localism or cosmolocalism framework to reconfigure production by prioritizing socio-ecological well-being over corporate profits, over-production and excess consumption. == Technology == By localizing manufacturing, distributed manufacturing may enable a balance between two opposite extreme qualities in technology development: Low technology and High tech. This balance is understood as an inclusive middle, a "mid-tech", that may go beyond the two polarities, incorporating them into a higher synthesis. Thus, in such an approach, low-tech and high-tech stop being mutually exclusive. They instead become a dialectic totality. Mid-tech may be abbreviated to "both…and…" instead of "neither…nor…". Mid-tech combines the efficiency and versatility of digital/automated technology with low-tech's potential for autonomy and resilience. == Contracting in Distributed Manufacturing == Research into contracting and order processing models tailored for distributed manufacturing has highlighted the need for flexible, role-based frameworks and advanced digital tools. These tools and frameworks are essential for addressing issues related to quality assurance, payment structures, legal compliance, and coordination among multiple actors. By addressing these challenges, contracting models for distributed manufacturing can unlock its potential for more localized, efficient, and sustainable production systems. A system prototype has been developed to simplify contracting for distributed manufacturing. This tool allows buyers to manage orders across multiple manufacturers using a single interface, automating workflows to ensure clarity and accountability for everyone involved. This research was led by the Internet of Production, as part of the mAkE project (African European Maker Innovation Ecosystem), funded by the European Horizon 2020 research and innovation programme.
Flux (text-to-image model)
Flux (also known as FLUX.1 and FLUX.2) is a text-to-image model developed by Black Forest Labs (BFL), based in Freiburg im Breisgau, Germany. Black Forest Labs was founded by former employees of Stability AI. As with other text-to-image models, Flux generates images from natural language descriptions, called prompts. == History == Black Forest Labs (BFL) was founded in 2024 by Robin Rombach, Andreas Blattmann, and Patrick Esser, former employees of Stability AI. All three founders had previously researched the artificial intelligence image generation at LMU Munich as research assistants under Björn Ommer. They published their research results on image generation in 2022, which resulted in creation of Stable Diffusion. Investors in BFL included venture capital firm Andreessen Horowitz, Brendan Iribe, Michael Ovitz, Garry Tan, and Vladlen Koltun. The company received an initial investment of US$31 million. In August 2024, Flux was integrated into the Grok chatbot developed by xAI and made available as part of premium feature on X (formerly Twitter). Grok later switched to its own text-to-image model Aurora in December 2024. On 18 November 2024, Mistral AI announced that its Le Chat chatbot had integrated Flux Pro as its image generation model. On 21 November 2024, BFL announced the release of Flux.1 Tools, a suite of editing tools designed to be used on top of existing Flux models. The tools consisting of Flux.1 Fill for inpainting and outpainting, Flux.1 Depth for control based on extracted depth map of input images and prompts, Flux.1 Canny for control based on extracted canny edges of input images and prompts, and Flux.1 Redux for mixing existing input images and prompts. Each tools are available in both Pro and Dev models. In January 2025, BFL announced a partnership with Nvidia for inclusion of Flux models as foundation models for Nvidia's Blackwell microarchitecture. The company also announced the release of Flux Pro Finetuning API, designed for customisation and fine-tuning of Flux-generated images and a partnership with German media company Hubert Burda Media for usage of Flux Pro as part of content creation. On 29 May 2025, BFL announced Flux.1 Kontext, a suite of models that enable in-context image generation and editing, allowing users to prompt with both text and images. Alongside this, BFL Playground, an interface for testing Flux models was released. On 31 July 2025, BFL announced Flux.1 Krea Dev, a model developed in collaboration with Krea AI that trained to achieve better performance, more varied aesthetics, and better realism compared to existing text-to-image models. In September 2025, Adobe Inc. announced that Photoshop (beta) users can use Flux.1 Kontext Pro as a model for its generative fill tool. BFL collaborated with Meta on Vibes, a video-generation app. On 25 November 2025, BFL announced the release of Flux.2 model series, consisting of Pro, Flex, Dev, and Apache 2.0-licensed Klein (meaning Little or Small in German language) models along with Flux.2 variational autoencoder which also released as open-source software under Apache 2.0 licence. This series claimed improvements for image reference, photorealism, typography, and prompt understanding. == Models == Flux is a series of text-to-image models. The models are based on rectified flow transformer blocks scaled to 12 billion parameters. Flux.1 models were released under different licences with Schnell (meaning Fast or Quick in German language) released as open-source software under Apache License, Dev released as source-available software under a non-commercial licence (users can obtain a self-serving commercial licence for Dev from BFL), and Pro released as proprietary software and only available as API that can be licensed by third-party users. Users retained the ownership of resulting output regardless of models used. An improved flagship model, Flux 1.1 Pro was released on 2 October 2024. Two additional modes were added on 6 November, Ultra which can generate image at four times higher resolution and up to 4 megapixel without affecting generation speed and Raw which can generate hyper-realistic image in the style of candid photography. Flux.1 Kontext is a series with in-context image generation and editing capabilities. It is available in Max, Pro, and Dev models. Max is the highest quality model and can be used to iteratively modify an existing image by using prompt while Pro is optimized to balance quality and speed of generation. Dev is an open-weight model released under non-commercial license, same as Flux.1 Dev. Flux.2 models are based on latent flow matching architecture with Mistral AI's Mistral-3 model (24 billion parameters) for its vision-language model. As with Flux.1, Flux.2 models were also released under different licences with Klein released as open-source software under Apache License, Dev released as source-available software under a non-commercial licence (users can obtain a self-serving commercial licence from BFL), and both Flex and Pro released as proprietary software and only available as API. The models can be used either online or locally by using generative AI user interfaces such as ComfyUI, Recraft Studio and Stable Diffusion WebUI Forge (a fork of Automatic1111 WebUI). Related to Flux is a text-to-video model by Black Forest Labs, under development as of February 2026. == Reception == According to a test performed by Ars Technica, the outputs generated by Flux.1 Dev and Flux.1 Pro are comparable with DALL-E 3 in terms of prompt fidelity, with the photorealism closely matched Midjourney 6 and generated human hands with more consistency over previous models such as Stable Diffusion XL. Flux has been criticised for its very realistic generated images. According to media reports, depictions ranged from an image of Donald Trump posing with guns to disturbing scenes, which triggered discussions about ethical implications of Flux models. After the release of the model, social media platform X was flooded with Flux-generated images. Black Forest Labs has not provided exact details of the data used to train the model. Ars Technica suspected that Flux is based on a large, unauthorised collection of images scraped from the internet, a controversial practice with potential legal consequences. According to a test performed by Japanese technology news website Gigazine for Flux.1 Kontext, the model series has a good understanding of the English language and can easily transfer style of the image from photorealistic into anime-style according to prompts given by the user; however, its ability to understand Japanese is quite poor. == Availability == In addition to the official BFL Playground on its website, the Flux models are also widely available through various third-party platforms for creative and professional use. These include repositories on platforms like Hugging Face and Replicate. == Further readings == FLUX.1 Kontext: Flow Matching for In-Context Image Generation and Editing in Latent Space (29 May 2025) FLUX.2: Analyzing and Enhancing the Latent Space of FLUX – Representation Comparison (25 November 2025)
Fuzzy mathematics
Fuzzy mathematics is a branch of mathematics that extends classical set theory and logic to model reasoning under uncertainty. Initiated by Lotfi Asker Zadeh in 1965 with the introduction of fuzzy sets, the field has since evolved to include fuzzy set theory, fuzzy logic, and various fuzzy analogues of traditional mathematic structures. Unlike classical mathematics, which usually relies on binary membership (an element either belongs to a set or it does not), fuzzy mathematics allows elements to partially belong to a set, with degrees of membership represented by values in the interval [0, 1]. This framework enables more flexible modeling of imprecise or vague concepts. Fuzzy mathematics has found applications in numerous domains, including control theory, artificial intelligence, decision theory, pattern recognition, and linguistics, where the modeling of gradations and uncertainty is essential. == Definition == A fuzzy subset A of a set X is defined by a function A: X → L, where L is typically the interval [0, 1]. This function is called the membership function of the fuzzy subset and assigns to each element x in X a degree of membership A(x) in the fuzzy set A. In classical set theory, a subset of X can be represented by an indicator function (also known as a characteristic function), which maps elements to either 0 or 1, indicating non-membership or full membership, respectively. Fuzzy subsets generalize this concept by allowing any real value between 0 and 1, thereby enabling partial membership. More generally, the codomain L of the membership function can be replaced with any complete lattice, resulting in the broader framework of L-fuzzy sets. == Fuzzification == The development of fuzzification in mathematics can be broadly divided into three historical stages: Initial, straightforward fuzzifications (1960s–1970s), Expansion of generalization techniques (1980s), Standardization, axiomatization, and L-fuzzification (1990s). Fuzzification generally involves extending classical mathematical concepts from binary (crisp) logic, where membership is determined by characteristic functions, to fuzzy logic, where membership is expressed by values in the interval [0, 1] via membership functions. Let A and B be fuzzy subsets of a set X. The fuzzy versions of set-theoretic operations are commonly defined as: ( A ∩ B ) ( x ) = min ( A ( x ) , B ( x ) ) {\displaystyle (A\cap B)(x)=\min(A(x),B(x))} ( A ∪ B ) ( x ) = max ( A ( x ) , B ( x ) ) {\displaystyle (A\cup B)(x)=\max(A(x),B(x))} for all x ∈ X {\displaystyle x\in X} . These operations can be generalized using t-norms and t-conorms, respectively. For example, the minimum operation can be replaced by multiplication: ( A ∩ B ) ( x ) = A ( x ) ⋅ B ( x ) {\displaystyle (A\cap B)(x)=A(x)\cdot B(x)} Fuzzification of algebraic structures often relies on generalizing the closure property. Let ∗ {\displaystyle } be a binary operation on X, and let A be a fuzzy subset of X. Then A is said to satisfy fuzzy closure if: A ( x ∗ y ) ≥ min ( A ( x ) , A ( y ) ) {\displaystyle A(xy)\geq \min(A(x),A(y))} for all x , y ∈ X {\displaystyle x,y\in X} . If ( G , ∗ ) {\displaystyle (G,)} is a group, then a fuzzy subset A of G is a fuzzy subgroup if: A ( x ∗ y − 1 ) ≥ min ( A ( x ) , A ( y − 1 ) ) {\displaystyle A(xy^{-1})\geq \min(A(x),A(y^{-1}))} for all x , y ∈ G {\displaystyle x,y\in G} . Similar generalizations apply to relational properties. For example, for example, for fuzzification of the transitivity property, a fuzzy relation R {\displaystyle R} on X {\displaystyle X} (i.e., a fuzzy subset of X × X {\displaystyle X\times X} ) is said to be fuzzy transitive if: R ( x , z ) ≥ min ( R ( x , y ) , R ( y , z ) ) {\displaystyle R(x,z)\geq \min(R(x,y),R(y,z))} for all x , y , z ∈ X {\displaystyle x,y,z\in X} . == Fuzzy analogues == Fuzzy subgroupoids and fuzzy subgroups were introduced in 1971 by A. Rosenfeld. Analogues of other mathematical subjects have been translated to fuzzy mathematics, such as fuzzy field theory and fuzzy Galois theory, fuzzy topology, fuzzy geometry, fuzzy orderings, and fuzzy graphs.
Nature Manifesto
Nature Manifesto is an Immersive sound piece and multimedia installation by Icelandic artist Björk and artist and curator Aleph Molinari, created in collaboration with the French Institute for Research and Coordination in Acoustics/Music (IRCAM). The installation was showcased at the Centre Pompidou in Paris, France from November 20, 2024 to December 9, 2024, as part of the museum's "Biodiversity: Which Culture for Which Future?" forum. It combines natural soundscapes, calls of extinct animals reconstructed through artificial intelligence, and Björk's narration to address damages to biodiversity and the collapse of ecosystems. == Background == Björk's work intricately weaves themes of nature and technology, reflecting her deep engagement with both realms. In 2008, she co-founded the Náttúra campaign to protest the construction of foreign-backed aluminum factories in Iceland, aiming to protect the country's natural landscapes. She released the single "Náttúra" featuring Thom Yorke, with all proceeds supporting this environmental initiative. Her 2011 album Biophilia further exemplifies this synthesis, exploring the relationships between music, nature, and technology through a multimedia project that included interactive apps, custom-made instruments, and educational workshops. Björk's Cornucopia tour (2019-2023) seamlessly integrates themes of nature preservation and environmental activism, and featured a recorded message by Swedish climate activist Greta Thunberg. The tour's fusion of music, technology, and natural imagery reflects Björk's vision of a harmonious coexistence between humanity and nature, advocating for sustainable futures. Björk has previously used artificial intelligence in her works. In 2020, she collaborated with Microsoft to create Kórsafn, a sound installation for the Sister City Hotel lobby in New York City which used an AI-powered model that elaborated choral recordings from her discography through a sensor on the rooftop of the building that would generate music according to data like the weather and the seasons. For her charity single "Oral", featuring Spanish singer Rosalía, she released a music video directed by photographer and visual artist Carlota Guerrero, who used AI-generated deepfake versions of the artists. == Concept == Nature Manifesto is a three-minute and forty-second immersive sound piece. The composition merges Björk's voice, as she articulates a manifesto on biodiversity and the climate crisis, with cries of extinct and endangered animals, harmonizing them with natural soundscapes. The installation was curated by Chloé Siganos and Aleph Molinari, with associate curator Delphine Le Gatt. The primary goal of Nature Manifesto is to foster a deeper understanding of humanity's impact on the natural world. Conceived as a "post-optimistic" manifesto, Aleph Molinari stated that the project's purpose was to "offer a voice to nature". He stated that "the modern concept of nature itself is problematic [...] because it’s a concept born in the Romantic period and, with the rise of the industrial era, became an antithesis to human civilisation and everything urban. Nature came to define what was outside, the savage Other... But nature is everything that we’re part of." The soundscape features recreated calls of extinct and endangered species, developed in collaboration with the French sound research institute IRCAM. Artificial intelligence was employed to simulate the vocalizations of animals that no longer exist in the wild. To save energy and lessen the ecological impact of the use of AI, the research institute developed a "frugal AI" model capable of generating audio in real-time on local servers without a graphics processing unit. The sounds were then produced and edited by Björk in collaboration with Robin Meier Wiratunga and Bergur Þórisson. The installation was located within the Centre Pompidou's escalator, known as the "caterpillar". The installation was further supported by videos created by visual artist Sam Balfus (also known as Balfua) by using artificial intelligence, and edited by Santiago Molinari. == Activism == To sustain and broaden the themes presented in Nature Manifesto, Björk publicly urged French President Emmanuel Macron to prohibit bottom trawling within France's marine protected areas (MPA). She criticized the French government's claim of protecting 30% of its marine territories, highlighting that over 90% of these MPAs exist only on paper, allowing destructive practices like bottom trawling to continue unchecked. She collaborated with non-governmental organizations Sustainable Ocean Alliance, Ungir umhverfissinnar and Bloom, to advocate for genuine ocean conservation. Björk promoted the cause through her social media profiles by sharing petitions. In November 2024, Björk lent her Instagram account to French environmental activists to directly address Macron. The activists used the platform to call for stronger protection of the ocean, urging Macron to impose stricter restrictions on harmful fishing practices, particularly bottom trawling. == Reception == Nature Manifesto received mixed to positive reviews from critics. Some critiques focused on the installation's setting, suggesting that the movement inherent to the escalator space diminished the immersive potential of the soundscape. The choice of using artificial intelligence was also questioned. Björk and Molinari defended this, as both see AI as a tool that can be used creatively and sustainably, with Björk focusing on the importance of human input to give AI a "soul", and Molinari stressing the need for sustainable technological practices in the broader context of digital life. After the exhibition ended, Björk further opinionated: "this is how we will work in the future. [...] if there is no soul in tomorrow's music made by AI it is because [no one] put it there and we have to speak out and guard this as listeners", further stating that there is already "soulless muzak" [sic] on Spotify, "mass manufactured without the attention of creativity".
Round-trip engineering
Round-trip engineering (RTE) in the context of model-driven architecture is a functionality of software development tools that synchronizes two or more related software artifacts, such as, source code, models, configuration files, documentation, etc. between each other. The need for round-trip engineering arises when the same information is present in multiple artifacts and when an inconsistency may arise in case some artifacts are updated. For example, some piece of information was added to/changed in only one artifact (source code) and, as a result, it became missing in/inconsistent with the other artifacts (in models). == Overview == Round-trip engineering is closely related to traditional software engineering disciplines: forward engineering (creating software from specifications), reverse engineering (creating specifications from existing software), and reengineering (understanding existing software and modifying it). Round-trip engineering is often wrongly defined as simply supporting both forward and reverse engineering. In fact, the key characteristic of round-trip engineering that distinguishes it from forward and reverse engineering is the ability to synchronize existing artifacts that evolved concurrently by incrementally updating each artifact to reflect changes made to the other artifacts. Furthermore, forward engineering can be seen as a special instance of RTE in which only the specification is present and reverse engineering can be seen as a special instance of RTE in which only the software is present. Many reengineering activities can also be understood as RTE when the software is updated to reflect changes made to the previously reverse engineered specification. === Types === Various books describe two types of RTE: partial or uni-directional RTE: changes made to a higher level representation of a code and model are reflected in lower level, but not otherwise; the latter might be allowed, but with limitations that may not affect higher-level abstractions full or bi-directional RTE: regardless of changes, both higher and lower-level code and model representations are synchronized if any of them altered === Auto synchronization === Another characteristic of round-trip engineering is automatic update of the artifacts in response to automatically detected inconsistencies. In that sense, it is different from forward- and reverse engineering which can be both manual (traditionally) and automatic (via automatic generation or analysis of the artifacts). The automatic update can be either instantaneous or on-demand. In instantaneous RTE, all related artifacts are immediately updated after each change made to one of them. In on-demand RTE, authors of the artifacts may concurrently update the artifacts (even in a distributed setting) and at some point choose to execute matching to identify inconsistencies and choose to propagate some of them and reconcile potential conflicts. === Iterative approach === Round trip engineering may involve an iterative development process. After you have synchronized your model with revised code, you are still free to choose the best way to work – make further modifications to the code or make changes to your model. You can synchronize in either direction at any time and you can repeat the cycle as many times as necessary. == Software == Many commercial tools and research prototypes support this form of RTE; a 2007 book lists Rational Rose, Together, ESS-Model, BlueJ, and Fujaba among those capable, with Fujaba said to be capable to also identify design patterns. == Limitations == A 2005 book on Visual Studio notes for instance that a common problem in RTE tools is that the model reversed is not the same as the original one, unless the tools are aided by leaving laborious annotations in the source code. The behavioral parts of UML impose even more challenges for RTE. Usually, UML class diagrams are supported to some degree; however, certain UML concepts, such as associations and containment do not have straightforward representations in many programming languages which limits the usability of the created code and accuracy of code analysis/reverse engineering (e.g., containment is hard to recognize in the code). A more tractable form of round-trip engineering is implemented in the context of framework application programming interfaces (APIs), whereby a model describing the usage of a framework API by an application is synchronized with that application's code. In this setting, the API prescribes all correct ways the framework can be used in applications, which allows precise and complete detection of API usages in the code as well as creation of useful code implementing correct API usages. Two prominent RTE implementations in this category are framework-specific modeling languages and Spring Roo (Java). Round-trip engineering is critical for maintaining consistency among multiple models and between the models and the code in Object Management Group's (OMG) Model-driven architecture. OMG proposed the QVT (query/view/transformation) standard to handle model transformations required for MDA. To date, a few implementations of the standard have been created. (Need to present practical experiences with MDA in relation to RTE). == Controversies == === Code generation controversy === Code generation (forward-engineering) from models means that the user abstractly models solutions, which are connoted by some model data, and then an automated tool derives from the models parts or all of the source code for the software system. In some tools, the user can provide a skeleton of the program source code, in the form of a source code template where predefined tokens are then replaced with program source code parts during the code generation process. UML (if used for MDA) diagrams specification was criticized for lack the detail which is needed to contain the same information as is covered with the program source. Some developers even claim that "the Code is the design". == Disadvantages == There is a serious risk that the generated code will rapidly differ from the model or that the reverse-engineered model will lose its reflection on the code or a mix of these two problems as result of cycled reengineering efforts. Regarding behavioral/dynamic part of UML for features like statechart diagram there is no equivalents in programming languages. Their translation during code-generation will result in common programming statement (.e.g if,switch,enum) being either missing or misinterpreted. If edited and imported back may result in different or incomplete model. The same goes for code snippets used for code generation stage for the pattern-implementation and user-specific logic: intermixed they may not be easily reverse-engineered back. There is also general lack of advanced tooling for modelling that are comparable to that of modern IDEs (for testing, debugging, navigation, etc.) for general-purpose programming languages and domain-specific languages. == Examples in software engineering == Perhaps the most common form of round-trip engineering is synchronization between UML (Unified Modeling Language) models and the corresponding source code and entity–relationship diagrams in data modelling and database modelling. Round-trip engineering based on Unified Modeling Language (UML) needs three basic tools for software development: Source Code Editor; UML Editor for the Attributes and Methods; Visualisation of UML structure
Jake Elwes
Jake Elwes () is a British media artist, hacker and researcher. Their practice is the exploration of artificial intelligence (AI), queer theory and technical biases. They are known for using AI to create art in mediums such as video, performance and installation. Elwes considers themselves to be neuroqueer, and their work on queering technology addresses issues caused by the normative biases of artificial intelligence. == Education and early life == Elwes was born in London to British contemporary artist and painter Luke Elwes and Anneke, daughter of Hans Dumoulin. Elwes is the great grandchild of Army officer James Hennessy and portrait painter Simon Elwes RA, son of Victorian opera singer Gervase Elwes. Elwes studied at the Slade School of Fine Art from 2013 to 2017, where they began using computer code as a medium. In 2016 they attended the School of Machines, Making & Make-Believe in Berlin with artist and educator Gene Kogan. Elwes was introduced to drag performance by their collaborator Dr Joe Parslow who holds a PhD in drag performance. Drag performance has since become instrumental to Elwes' work. == Career == Elwes' work with artificial intelligence is cited as a hopeful strategy to make AI more playful and diverse. Elwes' work has been exhibited in numerous international art museums and galleries and was featured in a BBC documentary on the history of video art, they were a 2021 finalist for the Lumen Prize, and received the Honorary Mention of the 2022 Prix Ars Electronica in the Interactive Art + category. They also curated and presented the opening provocation "The New Real - Artistic and Queer Visions of AI Futures" to the UK government with two drag artists at the AI UK conference 2024. Elwes is part of the Radical Faeries countercultural movement. They have exhibited in museums and galleries across Europe and Asia including: Victoria and Albert Museum (London, UK) - The Zizi Show (2023-2024) for the first digital commission in their photography center's digital gallery Pinakothek der Moderne (Munich, Germany) - Glitch. Die Kunst Der Störung (2023-2024) ZKM (Karlsruhe, Germany) - Biomedia (2021-2022) National Museum of Modern and Contemporary Art (Cheongju, South Korea) - What an Artificial World (2024) Somerset House (London, UK) - The Horror Show! (2022-2023) Gazelli Art House (London, UK) - Jake Elwes: Data • Glitch • Utopia (2023) (survey exhibition) Jut Art Museum (Taipei, Taiwan) - Future Lives, Future You (2023-2024) Max Ernst Museum (Brühl, Germany) - Surreal Futures (2023-2024) Zabludowicz Collection (London, UK) - Among the Machines (2022) Ars Electronica (Linz, Austria) - Prix Ars Electronica, CyberArts Exhibition (2022) Institute of Contemporary Arts (ICA) (London, UK) - Do Androids Dream on Silver Screens? (2023) Arebyte gallery (London, UK) - Real-Time Constraints (2020) Ming Contemporary Art Museum (McaM) (Shanghai, China) - Mind the Deep (2019) HMKV (Hartware MedienKunstVerein) (Dortmund, Germany) - House of Mirrors: Artificial Intelligence as Phantasm (2022) Today Art Museum (Beijing, China) - Future of Today: DEJA VU (2019) Science Gallery (Dublin, Ireland) - BIAS (2021-2022) Yuz Museum (Shanghai, China) - Lying Sophia and Mocking Alexa (2021) Fotomuseum Winterthur The Onassis Foundation (Athens, Greece) - You and AI (2021) Royal College of Art (London, UK) - Event Two (2019) (50th anniversary of Computer Arts Society & Event One) Museum für Naturkunde (Berlin, Germany) - Forschungsfall Nachtigall (2019) Frankfurter Kunstverein (Frankfurt, Germany) - I am here to learn (2018) Nature Morte (Delhi, India) - Gradient Descent (2018) BALTIC Centre for Contemporary Art (Newcastle, UK) - Bloomberg New Contemporaries (2017) == Artworks == === The Zizi Project - a deepfake drag cabaret === The Zizi Project is a series of works that explore the interaction of drag and A.I. Currently, The Zizi Project is made up of multiple artworks. ==== Zizi - Queering the Dataset (2019) ==== Knowing that facial recognition technology statically struggle to recognize black women or transgender people, Elwes set out to "Queer the Dataset" through an open-sourced generative adversarial network (GAN, a type of machine learning model and an early Generative artificial intelligence). Elwes added a dataset of 1,000 photos of drag kings and queens into the GAN's 70,000 faces collected in a standardised facial recognition dataset called Flickr-Faces-HQ Dataset (FFHQ). They then created new simulacra faces, known as deep fakes. "We queer that data so it shifts all of the weights in this neural network from a space of normativity into a space of queerness and otherness. Suddenly all of the faces start to break down and you see mascara dissolve into lipstick and blue eye shadow turn into a pink wig" said Elwes in a 2023 interview for Artnet. ==== Zizi & Me (2020–2023) ==== Zizi & Me is an ongoing multimedia collaboration between drag queen Me The Drag Queen and a deepfake A.I. clone of Me The Drag Queen. Using neural networks trained on filmed footage, the project creates a virtual body that can mimic reference movements. The first act, which features a digital lip-sync duet to Anything You Can Do (I Can Do Better), satirises the idea of A.I. being mistaken for a human, using drag performance and cabaret to critique societal narratives about A.I. and its role in shaping identity. The project is part of The Zizi Project by Jake Elwes, which explores the intersection of drag performance and A.I. ==== The Zizi Show - A Deepfake Drag Cabaret (2020) ==== The Zizi Show is a deep fake drag act based on artificial intelligence (AI). It has been presented live and as interactive online artwork. It is an exploration of queer culture and the algorithms philosophy and ethics of AI. The Zizi Show was exhibited as the inaugural exhibition in the digital gallery at the V&A’s Photography Center from 2023 to 2024. ==== Zizi in Motion: A Deepfake Drag Utopia (Movement by Wet Mess) (2023) ==== "Zizi in Motion" is a multichannel silent video installation featuring AI-generated deepfake performances, which are dynamically re-animated through the movements of London drag artist Wet Mess. The movements of Wet Mess cause the AI-generated visuals to glitch and distort, showcasing the interaction between drag performance and artificial intelligence. The work explore the potential for queer communities to ethically and creatively reclaim and repurpose deepfake technology, using it to celebrate queer bodies and identities. === Art in the Cage of Digital Reproduction (2024) === In an act of protest on 26 November 2024, Elwes facilitated indirect access to an early access token for OpenAI’s Sora text-to-video model through a Hugging Face frontend under the account "PR Puppets". The accompanying statement called to 'denormalize the exploitation of artists by major AI companies for training data, R&D, and publicity'. The incident attracted international press coverage calling into question the role of artists in shaping the future of generative AI versus merely serving as data and credibility providers for tech giants. Elwes also coordinated a collection of mini essays with responses and reflections from the signees and guest writers titled "Art in the Cage of Digital Reproduction". === Installations exploring interpretation and feedback loops between neural networks === Elwes has created works based on the interpretations and misinterpretations between different neural networks and training datasets including: A.I. Interprets A.I. Interpreting ‘Against Interpretation’ (Sontag 1966) from 2023, Closed Loop from 2017, and Auto-Encoded Buddha from 2016. ==== A.I. Interprets A.I. Interpreting ‘Against Interpretation’ (Sontag 1966) (2023) ==== A.I. Interprets A.I. Interpreting ‘Against Interpretation (Sontag 1966) is a three-channel video artwork where an AI interprets Susan Sontag’s essay into images, and then and another AI reinterprets those images back into language. The piece highlights how AI-generated art can misinterpret and introduce bias. ==== Closed Loop (2017) ==== Closed Loop is a two-channel video where two neural networks engage in a continuous feedback loop, one generating images based on the text output and the other creating text based on the image output. The work explores how AI models misinterpret and evolve in a surreal, self-perpetuating conversation, without human input. ==== Auto-Encoded Buddha (2016) ==== Auto-Encoded Buddha is a mixed-media piece where an AI attempts to generate an image of a Buddha statue, trained on 5,000 Buddha images. The AI struggles to accurately represent the Buddha, highlighting the limitations of early generative neural networks. The work is a tribute to Nam June Paik’s TV Buddha (1974). === CUSP (2019) === In their video work CUSP (2019) Elwes places marsh birds generated using artificial intelligence into a tidal landscape. These digitally generated and constantly shifting birds are recorded in dialogue with native