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Computer security
Computer security (also cybersecurity, digital security, or information technology (IT) security) is a subdiscipline within the field of information security. It focuses on protecting computer software, systems, and networks from threats that can lead to unauthorized information disclosure, theft, or damage to hardware, software, or data, as well as to the disruption or misdirection of the services they provide. The growing significance of computer security reflects the increasing dependence on computer systems, the Internet, and evolving wireless network standards. This reliance has expanded with the proliferation of smart devices, including smartphones, televisions, and other components of the Internet of things (IoT). As digital infrastructure becomes more embedded in everyday life, cybersecurity has emerged as a critical concern. The complexity of modern information systems—and the societal functions they underpin—has introduced new vulnerabilities. Systems that manage essential services, such as power grids, electoral processes, and finance, are particularly sensitive to security breaches. Although many aspects of computer security involve digital security, such as electronic passwords and encryption, physical security measures, such as metal locks, are still used to prevent unauthorized tampering. IT security is not a perfect subset of information security and therefore does not completely align with the security convergence schema. == Vulnerabilities and attacks == A vulnerability refers to a flaw in the structure, execution, functioning, or internal oversight of a computer or system that compromises its security. Most of the vulnerabilities that have been discovered are documented in the Common Vulnerabilities and Exposures (CVE) database. An exploitable vulnerability is one for which at least one working exploit exists. Actors maliciously seeking vulnerabilities are known as threats. Vulnerabilities can be researched, reverse-engineered, hunted, or exploited using automated tools or customized scripts. Various people or parties are vulnerable to cyberattacks; however, different groups are likely to experience different types of attacks more than others. In April 2023, the United Kingdom Department for Science, Innovation & Technology released a report on cyberattacks over the previous 12 months. They surveyed 2,263 UK businesses, 1,174 UK registered charities, and 554 education institutions. The research found that "32% of businesses and 24% of charities overall recall any breaches or attacks from the last 12 months." These figures were much higher for "medium businesses (59%), large businesses (69%), and high-income charities with £500,000 or more in annual income (56%)." Yet, although medium or large businesses are more often the victims, since larger companies have generally improved their security over the last decade, small and midsize businesses (SMBs) have also become increasingly vulnerable as they often "do not have advanced tools to defend the business." SMBs are most likely to be affected by malware, ransomware, phishing, man-in-the-middle attacks, and Denial-of Service (DoS) Attacks. Normal internet users are most likely to be affected by untargeted cyberattacks. These are where attackers indiscriminately target as many devices, services, or users as possible. They do this using techniques that take advantage of the openness of the Internet. These strategies mostly include phishing, ransomware, water holing and scanning. To secure a computer system, it is important to understand the attacks that can be made against it, and these threats can typically be classified into one of the following categories: === Backdoor === A backdoor in a computer system, a cryptosystem or an algorithm, is any secret method of bypassing normal authentication or security controls. These weaknesses may exist for many reasons, including original design or poor configuration. Due to the nature of backdoors, they are of greater concern to companies and databases as opposed to individuals. Backdoors may be added by an authorized party to allow some legitimate access or by an attacker for malicious reasons. Criminals often use malware to install backdoors, giving them remote administrative access to a system. Once they have access, cybercriminals can "modify files, steal personal information, install unwanted software, and even take control of the entire computer." Backdoors can be difficult to detect, as they often remain hidden within source code or system firmware and may require intimate knowledge of the operating system to identify. === Denial-of-service attack === Denial-of-service attacks (DoS) are designed to make a machine or network resource unavailable to its intended users. Attackers can deny service to individual victims, such as by deliberately entering an incorrect password enough consecutive times to cause the victim's account to be locked, or they may overload the capabilities of a machine or network and block all users at once. While a network attack from a single IP address can be blocked by adding a new firewall rule, many forms of distributed denial-of-service (DDoS) attacks are possible, where the attack comes from a large number of points. In this case, defending against these attacks is much more difficult. Such attacks can originate from the zombie computers of a botnet or from a range of other possible techniques, including distributed reflective denial-of-service (DRDoS), where innocent systems are fooled into sending traffic to the victim. With such attacks, the amplification factor makes the attack easier for the attacker because they have to use little bandwidth themselves. To understand why attackers may carry out these attacks, see the 'attacker motivation' section. === Physical access attacks === A direct-access attack is when an unauthorized user (an attacker) gains physical access to a computer, typically to copy data from it or steal information. Attackers may also compromise security by making operating system modifications, installing software worms, keyloggers, covert listening devices or using wireless microphones. Even when the system is protected by standard security measures, these may be bypassed by booting another operating system or tool from a CD-ROM or other bootable media. Disk encryption and the Trusted Platform Module standard are designed to prevent these attacks. Direct service attackers are related in concept to direct memory attacks which allow an attacker to gain direct access to a computer's memory. The attacks "take advantage of a feature of modern computers that allows certain devices, such as external hard drives, graphics cards, or network cards, to access the computer's memory directly." === Eavesdropping === Eavesdropping is the act of surreptitiously listening to a private computer conversation (communication), usually between hosts on a network. It typically occurs when a user connects to a network where traffic is not secured or encrypted and sends sensitive business data to a colleague, which, when listened to by an attacker, could be exploited. Data transmitted across an open network can be intercepted by an attacker using various methods. Unlike malware, direct-access attacks, or other forms of cyberattacks, eavesdropping attacks are unlikely to negatively affect the performance of networks or devices, making them difficult to notice. In fact, "the attacker does not need to have any ongoing connection to the software at all. The attacker can insert the software onto a compromised device, perhaps by direct insertion or perhaps by a virus or other malware, and then come back some time later to retrieve any data that is found or trigger the software to send the data at some determined time." Using a virtual private network (VPN), which encrypts data between two points, is one of the most common forms of protection against eavesdropping. Using the best form of encryption possible for wireless networks is best practice, as well as using HTTPS instead of an unencrypted HTTP. Programs such as Carnivore and NarusInSight have been used by the Federal Bureau of Investigation (FBI) and the NSA to eavesdrop on the systems of internet service providers. Even machines that operate as a closed system (i.e., with no contact with the outside world) can be eavesdropped upon by monitoring the faint electromagnetic transmissions generated by the hardware. TEMPEST is a specification by the NSA referring to these attacks. === Malware === Malicious software (malware) is any software code or computer program "intentionally written to harm a computer system or its users." Once present on a computer, it can leak sensitive details such as personal information, business information and passwords, can give control of the system to the attacker, and can corrupt or delete data permanently. ==== Types of malware ==== Viruses are a specific type of malware, and are normally a malicious code that hijac
Sprayprinter
SprayPrinter is a device that attaches to aerosol paint cans whereby users can print images via Bluetooth from a smartphone onto a wall or almost any surface. == History == The technology behind SprayPrinter was developed by Mihkel Joala. He explained in a 2016 interview with New Atlas that his idea was inspired by the modern car engine and the Nintendo Wii console. "Engines nowadays use extremely fast valves to spray fuel to [the] combustion chamber," says Joala. "I realized I can use them to shoot paint with pinpoint accuracy." As of December 2021, the company appears to be no longer selling products. == Awards and Recognitions == In 2015, SprayPrinter received €8,000 from the Estonian prototyping contest Prototron for its initial prototype. In 2016, the SprayPrinter team won the grand prize of €30,000 from the televised pitching competition Ajujaht.
IMPACT (computer graphics)
IMPACT (sometimes spelled Impact) is a computer graphics architecture for Silicon Graphics computer workstations. IMPACT Graphics was developed in 1995 and was available as a high-end graphics option on workstations released during the mid-1990s. IMPACT graphics gives the workstation real-time 2D and 3D graphics rendering capability similar to that of even high-end PCs made well after IMPACT's introduction. IMPACT graphics systems consist of either one or two Geometry Engines and one or two Raster Engines in various configurations. IMPACT graphics consists of five graphics subsystems: the Command Engine, Geometry Subsystem, Raster Engine, framebuffer and Display Subsystem. IMPACT Graphics can produce resolutions up to 1600 x 1200 pixels with 32-bit color and can also process unencoded NTSC and PAL analog television signals. IMPACT graphics subsystems come in three configurations for SGI Indigo2 IMPACT workstations: Solid IMPACT, High IMPACT, and Maximum IMPACT. The equivalent configurations also exist for the SGI Octane workstation but are referred to as SI, SSI, and MXI (I-series). Later Octane workstations used a similar configuration but with updated ASIC chips and are referred to as SE, SSE, and MXE (E-series). IMPACT uses Rambus RDRAM for texture memory. The IMPACT graphics architecture was superseded by SGI's VPro graphics architecture in 1997.
Reflection (computer graphics)
Reflection in computer graphics is used to render reflective objects like mirrors and shiny surfaces. Accurate reflections are commonly computed using ray tracing whereas approximate reflections can usually be computed faster by using simpler methods such as environment mapping. Reflections on shiny surfaces like wood or tile can add to the photorealistic effects of a 3D rendering. == Approaches to reflection rendering == For rendering environment reflections there exist many techniques that differ in precision, computational and implementation complexity. Combination of these techniques are also possible. Image order rendering algorithms based on tracing rays of light, such as ray tracing or path tracing, typically compute accurate reflections on general surfaces, including multiple reflections and self reflections. However these algorithms are generally still too computationally expensive for real time rendering (even though specialized HW exists, such as Nvidia RTX) and require a different rendering approach from typically used rasterization. Reflections on planar surfaces, such as planar mirrors or water surfaces, can be computed simply and accurately in real time with two pass rendering — one for the viewer, one for the view in the mirror, usually with the help of stencil buffer. Some older video games used a trick to achieve this effect with one pass rendering by putting the whole mirrored scene behind a transparent plane representing the mirror. Reflections on non-planar (curved) surfaces are more challenging for real time rendering. Main approaches that are used include: Environment mapping (e.g. cube mapping): a technique that has been widely used e.g. in video games, offering reflection approximation that's mostly sufficient to the eye, but lacking self-reflections and requiring pre-rendering of the environment map. The precision can be increased by using a spatial array of environment maps instead of just one. It is also possible to generate cube map reflections in real time, at the cost of memory and computational requirements. Screen space reflections (SSR): a more expensive technique that traces rays come from pixel data.This requires the data of surface normal and either depth buffer (local space) or position buffer (world space).The disadvantage is that objects not captured in the rendered frame cannot appear in the reflections, which results in unresolved and or false intersections causing artefacts such as reflection vanishment and virtual image. SSR was originally introduced as Real Time Local Reflections in CryENGINE 3. == Types of reflection == Polished - A polished reflection is an undisturbed reflection, like a mirror or chrome surface. Blurry - A blurry reflection means that tiny random bumps, or microfacets, on the surface of the material causes the reflection to be blurry. Metallic - A reflection is metallic if the highlights and reflections retain the color of the reflective object. Glossy - This term can be misused: sometimes, it is a setting which is the opposite of blurry (e.g. when "glossiness" has a low value, the reflection is blurry). Sometimes the term is used as a synonym for "blurred reflection". Glossy used in this context means that the reflection is actually blurred. === Polished or mirror reflection === Mirrors are usually almost 100% reflective. === Metallic reflection === Normal (nonmetallic) objects reflect light and colors in the original color of the object being reflected. Metallic objects reflect lights and colors altered by the color of the metallic object itself. === Blurry reflection === Many materials are imperfect reflectors, where the reflections are blurred to various degrees due to surface roughness that scatters the rays of the reflections. === Glossy reflection === Fully glossy reflection, shows highlights from light sources, but does not show a clear reflection from objects. == Examples of reflections == === Wet floor reflections === The wet floor effect is a graphic effects technique popular in conjunction with Web 2.0 style pages, particularly in logos. The effect can be done manually or created with an auxiliary tool which can be installed to create the effect automatically. Unlike a standard computer reflection (and the Java water effect popular in first-generation web graphics), the wet floor effect involves a gradient and often a slant in the reflection, so that the mirrored image appears to be hovering over or resting on a wet floor.
Mojito (framework)
Mojito is an environment agnostic, Model-View-Controller (MVC) web application framework. It was designed by Yahoo. == Features == Mojito supports agile development of web applications. Mojito has built-in support for unit testing, Internationalization, syntax and coding convention checks. Both server and client components are written in JavaScript. Mojito allows developers designing web applications to leverage the utilities of both configuration and MVC framework. Mojito is capable of running on both JavaScript-enabled web browsers and servers using Node.js because they both utilize JavaScript. Mojito applications mainly consist of two components: JSON Configuration files: these define relationships between code components, assets, routing paths, and framework defaults and are available at the application and mojit level. Directories: these reflect MVC architecture and are used to separate resources such as assets, libraries, middleware, etc. == Architecture == In Mojito, both server and "client" side scripting is done in JavaScript, allowing it to run on both client and server thereby breaking the "front-end back-end barrier." It has both client and server runtimes. === Server runtime === This block houses operations needed by server side components. Services include: Routing rules, HTTP Server, config loader and disk-based loader. === Client runtime === This block houses operations called upon while running client sides components. Services include local storage/cache access and JSON based /URL based loader === Core === Core function can be accessed on client or server. Services include Registry, Dispatcher, Front controller, Resource store. === Container === mojit object comes into the picture. This container also include the services used by mojits. API and Mojito services are the blocks which caters to services needed for execution of mojits. === API (Action Context) === Mojito services are a customizable service block. It offers mojits a range of services which might be needed by mojit to carry out certain actions. These services can be availed at both client and server side. Reusable services can be created and aggregated to the core here. == Mojits == Mojits are the modules of a Mojito application. An application consists of one or more mojits. A mojit encompasses a Model, Views and a Controller defined by JSON configuration files. It includes a View factory where views are created according to the model and a View cache that holds frequently requested views to aid performance. === Application Architecture === A Mojito application is a set of mojits facilitated by configurable JSON files which define the code for model, view and controller. This MVC structure works with API block and Mojito services, and can be deployed at both client and server side. While the application is deployed at client side, it can call server-side modules using binders. Binders are mojit codes that let mojits request services from each other. Mojit Proxy acts as an intermediary between binders and mojit's API (application context) block and other mojits. Controllers are command-issuing units of mojits. Models mirror the core logic and hold data. Applications can have multiple models. They can be centrally accessed from controllers. View files are created in accordance with controllers and models, and are marked-up before they are sent to users as output. === Application Directory Structure === Directory structure of a Mojito application with one mojit: [mojito_app]/ |-- application.json |-- assets/ | `-- favicon.icon |-- yui_modules/ | `-- .{affinity}.js |-- index.js |-- mojits/ | `-- [mojit_name | |-- assets/ | |-- yui_modules/ | | `-- .{affinity}.js | |-- binders/ | | `-- {view_name}.js | |-- controller.{affinity}.js | |-- defaults.json | |-- definition.json | |-- lang/ | | `-- {mojit_name}_{lang}.js | |-- models/ | | `-- {model_name}.{affinity}.js | |-- tests/ | | |-- yui_modules/ | | | `-- {module_name}.{affinity}-tests.js | | |-- controller.{affinity}-tests.js | | `-- models/ | | `-- {model_name}.{affinity}-tests.js | `-- views/ | |-- {view_name}.{view_engine}.html | `-- {view_name}.{device}.{view_engine}.html |-- package.json |-- routes.json (deprecated) |-- server.js == Model, View and Controller == The Model hosts data, which is accessed by the Controller and presented to the View. Controller also handles any client requests for data, in which case controller fetches data from the model and passes the data to the client. All three components are clustered in the mojit. Mojits are physically illustrated by directory structures and an application can have multiple mojits. Every mojit can have one controller, one or more views and zero or more models. === Model === The model it represents the application data and is independent of view or controller. Model contains code to manipulate the data. They are found in the models directory of each mojit. Functions include: Storing information for access by controller. Validation and error handling. Metadata required by the view === Controller === The controller acts like a connecting agent between model and view. It supplies input to Model and after fetching data from model, passes it to View. Functions include Redirection Monitors authentication Web safety Encoding === View === The view acts as a presentation filter by highlighting some model attributes and suppressing others. A view can be understood as a visual permutation of the model. The view renders data received from controller and displays it to the end user.
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