Photometric stereo is a technique in computer vision for estimating the surface normals of objects by observing that object under different lighting conditions (photometry). It is based on the fact that the amount of light reflected by a surface is dependent on the orientation of the surface in relation to the light source and the observer. By measuring the amount of light reflected into a camera, the space of possible surface orientations is limited. Given enough light sources from different angles, the surface orientation may be constrained to a single orientation or even overconstrained. The technique was originally introduced by Woodham in 1980. The special case where the data is a single image is known as shape from shading, and was analyzed by B. K. P. Horn in 1989. Photometric stereo has since been generalized to many other situations, including extended light sources and non-Lambertian surface finishes. Current research aims to make the method work in the presence of projected shadows, highlights, and non-uniform lighting. Photometric stereo is widely used in various fields, including archaeology, cultural heritage conservation, and quality control. It is now integrated into widely used open-source software, such as Meshroom. == Basic method == Under Woodham's original assumptions — Lambertian reflectance, known point-like distant light sources, and uniform albedo — the problem can be solved by inverting the linear equation I = L ⋅ n {\displaystyle I=L\cdot n} , where I {\displaystyle I} is a (known) vector of m {\displaystyle m} observed intensities, n {\displaystyle n} is the (unknown) surface normal, and L {\displaystyle L} is a (known) 3 × m {\displaystyle 3\times m} matrix of normalized light directions. This model can easily be extended to surfaces with non-uniform albedo, while keeping the problem linear. Taking an albedo reflectivity of k {\displaystyle k} , the formula for the reflected light intensity becomes I = k ( L ⋅ n ) . {\displaystyle I=k(L\cdot n).} If L {\displaystyle L} is square (there are exactly 3 lights) and non-singular, it can be inverted, giving L − 1 I = k n . {\displaystyle L^{-1}I=kn.} Since the normal vector is known to have length 1, k {\displaystyle k} must be the length of the vector k n {\displaystyle kn} , and n {\displaystyle n} is the normalised direction of that vector. If L {\displaystyle L} is not square (there are more than 3 lights), a generalisation of the inverse can be obtained using the Moore–Penrose pseudoinverse, by simply multiplying both sides with L T {\displaystyle L^{T}} , giving L T I = L T k ( L ⋅ n ) , {\displaystyle L^{T}I=L^{T}k(L\cdot n),} ( L T L ) − 1 L T I = k n , {\displaystyle (L^{T}L)^{-1}L^{T}I=kn,} after which the normal vector and albedo can be solved as described above. == Non-Lambertian surfaces == The classical photometric stereo problem concerns itself only with Lambertian surfaces, with perfectly diffuse reflection. This is unrealistic for many types of materials, especially metals, glass and smooth plastics, and will lead to aberrations in the resulting normal vectors. Many methods have been developed to lift this assumption. In this section, a few of these are listed. === Specular reflections === Historically, in computer graphics, the commonly used model to render surfaces started with Lambertian surfaces and progressed first to include simple specular reflections. Computer vision followed a similar course with photometric stereo. Specular reflections were among the first deviations from the Lambertian model. These are a few adaptations that have been developed. Many techniques ultimately rely on modelling the reflectance function of the surface, that is, how much light is reflected in each direction. This reflectance function has to be invertible. The reflected light intensities towards the camera is measured, and the inverse reflectance function is fit onto the measured intensities, resulting in a unique solution for the normal vector. === General BRDFs and beyond === According to the Bidirectional reflectance distribution function (BRDF) model, a surface may distribute the amount of light it receives in any outward direction. This is the most general known model for opaque surfaces. Some techniques have been developed to model (almost) general BRDFs. In practice, all of these require many light sources to obtain reliable data. These are methods in which surfaces with general BRDFs can be measured. Determine the explicit BRDF prior to scanning. To do this, a different surface is required that has the same or a very similar BRDF, of which the actual geometry (or at least the normal vectors for many points on the surface) is already known. The lights are then individually shone upon the known surface, and the amount of reflection into the camera is measured. Using this information, a look-up table can be created that maps reflected intensities for each light source to a list of possible normal vectors. This puts constraints on the possible normal vectors the surface may have, and reduces the photometric stereo problem to an interpolation between measurements. Typical known surfaces to calibrate the look-up table with are spheres for their wide variety of surface orientations. Restricting the BRDF to be symmetrical. If the BRDF is symmetrical, the direction of the light can be restricted to a cone about the direction to the camera. Which cone this is depends on the BRDF itself, the normal vector of the surface, and the measured intensity. Given enough measured intensities and the resulting light directions, these cones can be approximated and therefore the normal vectors of the surface. Some progress has been made towards modelling an even more general surfaces, such as Spatially Varying Bidirectional Distribution Functions (SVBRDF), Bidirectional surface scattering reflectance distribution functions (BSSRDF), and accounting for interreflections. However, such methods are still fairly restrictive in photometric stereo. Better results have been achieved with structured light. == Uncalibrated photometric stereo == Uncalibrated Photometric Stereo is an approach in photometric stereo that aims to reconstruct the 3D shape of an object from images captured under unknown lighting conditions. Unlike classical methods, which often assume controlled or known lighting setups, this approach removes these constraints, making it adaptable to diverse and real-world environments. The advent of deep learning has revolutionized universal PS by replacing handcrafted assumptions with data-driven models. Recent approaches leverage Transformer-based architectures and multi-scale encoder–decoder networks to directly estimate surface normals from input images. Uncalibrated Photometric Stereo is inherently an ill-posed problem, as it attempts to recover 3D shape and lighting conditions simultaneously from images alone. This leads to fundamental ambiguities in the reconstruction process, which manifest as systematic errors in the recovered geometry, including global distortions in the object's overall shape, and misinterpretation of surface orientation, where concave regions may appear convex and vice versa. To address the challenges of uncalibrated photometric stereo, hybrid methods have emerged that combine multi-view stereo and photometric stereo. These approaches leverage the strengths of both techniques, including geometric reliability and resolution.
Hildon
Hildon is an application framework originally developed for mobile devices (PDAs, mobile phones, etc.) running the Linux operating system as well as the Symbian operating system. The Symbian variant of Hildon was discontinued with the cancellation of Series 90. It was developed by Nokia for the Maemo operating system. It focuses on providing a finger-friendly interface. It is primarily a set of GTK extensions that provide mobile-device–oriented functionality, but also provides a desktop environment that includes a task navigator for opening and switching between programs, a control panel for user settings, and status bar, task bar and home applets. It is standard on the Maemo platform used by the Nokia Internet Tablets and the Nokia N900 smartphone. Hildon has also been selected as the framework for Ubuntu Mobile and Embedded Edition. Hildon was an early instance of a software platform for generic computing in a tablet device intended for internet consumption. But Nokia didn't commit to it as their only platform for their future mobile devices and the project competed against other in-house platforms. The strategic advantage of a modern platform was not exploited, being displaced by the Series 60, though its development is continued by the Maemo Leste project. == Components == The Hildon framework includes components that effectively provide a desktop environment. === Hildon Application Manager === Hildon Application Manager is the Hildon graphical package manager, it uses the Debian package management tools APT (Advanced Packaging Tool and dpkg) and provides a graphical interface for installing, updating and removing packages. It is a limited package manager, designed specifically for end-users, in that it doesn't directly offer the user access to system files and libraries. With the Diablo release of Maemo, Hildon Application Manager now supports "Seamless Software Update" (SSU), which implements a variety of features to allow system upgrades to be easily performed through it. === Hildon Control Panel === Hildon Control Panel is the user settings interface for Hildon. It provides simple access to control panels used to change system settings. === Hildon Desktop === Hildon Desktop is the primary UI component of Hildon, so makes up the bulk of what a user will see as "Hildon". It controls application launching and switching, general system control, and provides interfaces for task bar (application menu and task switcher), status bar (brightness and volume control), and home (internet radio and web search) applets. === Hildon Library === The Hildon library, originally developed by Nokia but since Maemo 5, developed by Igalia and Lanedo (who developed MaemoGTK+, the Maemo version of GTK+). It is a set of mobile specific GTK+ widgets for applications in Maemo. Up to Maemo 4, these widgets were designed for stylus usage. However, in Maemo 5, most widgets were deprecated and new widgets for direct finger manipulation were introduced, including a kinetic panning container.
Information and media literacy
Information and media literacy (IML) is a combination of information literacy and media literacy. It enables people to show and make informed judgments as users of information and media, as well as to become skillful creators and producers of information and media messages. The transformative nature of IML includes creative works and creating new knowledge; to publish and collaborate responsibly requires ethical, cultural and social understanding. IML is also known as media and information literacy (MIL). UNESCO first adopted the term MIL in 2008 as a "composite concept" combining the competencies of information literacy and media literacy. UNESCO emphasizes the importance of global education in media and information literacy, and in 2013 defined Media and Information Literacy (MIL) as the ability to access, evaluate, use, and create information and media content in critical and ethical ways. Prior to the 1990s, the primary focus of information literacy was research skills. Media literacy, a study that emerged around the 1970s, traditionally focuses on the analysis and the delivery of information through various forms of media. Information literacy, as a skill proposed as early as 1974, centers on an individual's ability to recognize information needs and effectively locate, evaluate, and use information. These days, the study of information literacy has been extended to include the study of media literacy in many countries like the UK, Australia and New Zealand. It is also referred to as information and communication technologies (ICT) in the United States. Educators such as Gregory Ulmer have also defined the field as electracy.Media literacy is the ability to actively inquire into and think critically about information. It includes the ability to understand, evaluate, and create media content, and is an essential skill in today's information society. Livingstone, Van Couvering, and Thumim (2008) described the distinction between media literacy and information literacy: "Media literacy views media as lenses or windows for observing the world and expressing the self, whereas information literacy sees information as a tool for taking action in the world." == Integration of media and information literacy == Historically, the fields of information and media literacy have been separate, but over the course of the 21st century there have been calls to integrate both fields. Most definitions of information and media literacy include not only the abilities to locate, access, and analyze information but also the ability to create information. Only by integrating media literacy with information literacy can students better understand the sources of information and how it is used. Media education has primarily taken place in educational institutions, while information education has primarily occurred in libraries. Discussions surrounding the overlap of information literacy and media literacy came to fruition in the mid-to-late 2000s and 2010s as noted by Marcus Leaning. == In the digital age == The definition of literacy is "the ability to read and write". In practice many more skills are needed to locate, critically assess and make effective use of information. By extension, literacy now also includes the ability to manage and interact with digital information and media, in personal, shared and public domains. Historically, "information literacy" has largely been seen from the relatively top-down, organisational viewpoint of library and information sciences. However the same term is also used to describe a generic "information literacy" skill. The modern digital age has led to the proliferation of information spread across the Internet. Individuals must be able to recognize whether information is true or false and better yet know how to locate, evaluate, use, and communicate information in various formats; this is called information literacy. Towards the end of the 20th century, literacy was redefined to include "new literacies" relating to the new skills needed in everyday experience. "Multiliteracies" recognised the multiplicity of literacies, which were often used in combination. "21st century skills" frameworks link new literacies to wider life skills such as creativity, critical thinking, accountability. What these approaches have in common is a focus on the multiple skills needed by individuals to navigate changing personal, professional and public "information landscapes". As the conventional definition of literacy itself continues to evolve among practitioners, so too has the definition of information literacies. Noteworthy definitions include: Zurkowski defined information literacy as "the ability to find known or knowable content on any subject." CILIP, the Chartered Institute of Library and Information Practitioners, defines information literacy as "the ability to think critically and make balanced judgements about any information we find and use". In the United States, the definition proposed by the Association of College and Research Libraries (ACRL) is the most widely recognized. It defines information literacy as "a set of abilities requiring individuals to recognize when information is needed and to locate, evaluate, and use the needed information effectively." JISC, the Joint Information Systems Committee, refers to information literacy as one of six "digital capabilities", seen as an interconnected group of elements centered on "ICT literacy". Mozilla groups digital and other literacies as "21st century skills", a "broad set of knowledge, skills, habits and traits that are important to succeed in today's world". UNESCO, the United Nations Educational, Scientific and Cultural Organization, recognizing the necessity of teaching and learning both traditional and new types of information, the global importance of education was emphasized in 2008 through the "Teacher Media and Information Literacy (MIL) Curriculum". It defines MIL as a set of competencies that enable citizens to access, retrieve, understand, evaluate, use, create, and share information and media content in all formats through various tools in a critical, ethical, and effective manner, so as to participate in and carry out personal, professional, and social activities. Besides this, UNESCO also asserts information literacy as a "universal human right". == 21st-century students == In modern society, although the overall level of education has improved, the channels for knowledge production and dissemination have become increasingly diverse and commercialized, and traditional authoritative institutions no longer hold a monopoly over knowledge validation. While digital platforms have broadened access to information, they have also weakened trust mechanisms and evaluation standards, making epistemological skepticism a norm. Moreover, with the rise and spread of social media, misinformation and disinformation can be just as easily accessed in both densely and sparsely populated areas. These factors further underscore the importance of information literacy education. The IML learning capacities prepare students to be 21st century literate. According to Jeff Wilhelm (2000), "technology has everything to do with literacy. And being able to use the latest electronic technologies has everything to do with being literate." He supports his argument with J. David Bolter's statement that "if our students are not reading and composing with various electronic technologies, then they are illiterate. They are not just unprepared for the future; they are illiterate right now, in our current time and context". In a broader sense, developing this advanced competency of media and information literacy is essential, as it is crucial for students to exercise their freedom of expression in the 21st century. Wilhelm's statement is supported by the 2005 Wired World Phase II (YCWW II) survey conducted by the Media Awareness Network of Canada on 5000 Grade 4 – 11 students. The key findings of the survey were: 62% of Grade 4 students prefer the Internet. 38% of Grade 4 students prefer the library. 91% of Grade 11 students prefer the Internet. 9% of Grade 11 students prefer the library. Marc Prensky (2001) uses the term "digital native" to describe people who have been brought up in a digital world. The Internet has been a pervasive element of young people's home lives. 94% of kids reported that they had Internet access at home, and a significant majority (61%) had a high-speed connection. By the time kids reach Grade 11, half of them (51 percent) have their own Internet-connected computer, separate and apart from the family computer. The survey also showed that young Canadians are now among the most wired in the world. Contrary to the earlier stereotype of the isolated and awkward computer nerd, today's wired kid is a social kid. In general, many students are better networked through the use of technology than most teachers and parents, who may not understand the abilities of technology.
Artificial intelligence in architecture
Artificial intelligence in architecture is the use of artificial intelligence in automation, design, and planning in the architectural process or in assisting human skills in the field of architecture. AI has been used by some architects for design, and has been proposed as a way to automate planning and routine tasks in the field. == Implications == === Benefits === Artificial intelligence, according to ArchDaily, is said to potentially significantly augment the architectural profession through its ability to improve the design and planning process as well as increasing productivity. Through its ability to handle a large amount of data, AI is said to potentially allow architects a range of design choices with criteria considerations such as budget, requirements adjusted to space, and sustainability goals calculated as part of the design process. ArchDaily said this may allow the design of optimized alternatives that can then undergo human review. AI tools are also said to potentially allow architects to assimilate urban and environmental data to inform their designs, streamlining initial stages of project planning and increasing efficiency and productivity. The advances in generative design through the input of specific prompts allow architects to produce visual designs, including photorealistic images, and thus render and explore various material choices and spatial configurations. ArchDaily noted this could speed the creative process as well as allow for experimentation and sophistication in the design. Additionally, AI's capacity for pattern recognition and coding could aid architects in organizing design resources and developing custom applications, thus enhancing the efficiency and collaboration between both architects and AI. AI is thought to also be able to contribute to the sustainability of buildings by analyzing various factors and following recommended energy-efficient modifications, thus pushing the industry towards greener practices. The use of AI in building maintenance, project management, and the creation of immersive virtual reality experiences are also thought of as potentially augmenting the architectural design process and workflow. Examples include the use of text-to-image systems such as Midjourney to create detailed architectural images, and the use of AI optimization systems from companies such as Finch3D and Autodesk to automatically generate floor plans from simple programmatic inputs. In contrast to digital-only creative practices, the high materiality of architectural outputs requires transitions from ephemeral digital files to permanent physical structures that are subject to strict safety regulations, material constraints, sensory intuition, and site-specific cultural contexts, making full automation difficult. Early adopters such as architect Stephen Coorlas have actively challenged the boundaries of architectural practice through AI. His early experimental initiative, Speculations on AI and Architecture, confronts the discipline's traditional workflows by training text-to-image AI tools such as Midjourney, Luma AI, and PromeAI to generate more nuanced architectural illustrations including construction documents, architectural details, and assembly sequences for various structures. Coorlas inputs precise terminology and architectural language to provoke the AI into producing axonometric drawings that resemble conventional documentation, then experiments with animating the outputs using AI generated depth maps and other AI image-to-3D wireframe tools. Stephen's inventive process invites architects and designers to reconsider authorship, automation, and the future of visual communication in the built environment. Rather than treating AI as a peripheral tool, Stephen has advocated for AI to be a speculative collaborator capable of engaging with discipline-specific challenges. His work contributes to the growing discourse on generative design, parametric optimization, and the philosophical implications of machine-assisted creativity raising urgent questions about how such technologies will reshape architectural agency, precision, and pedagogy. Another prominent advocate is Architect Andrew Kudless, who in an interview to Dezeen recounted that he uses AI to innovate in architectural design by incorporating materials and scenes not usually present in initial plans, which he believes can significantly alter client presentations. He told Dezeen he believes one should show clients renderings from the onset, with AI assisting in this work, arguing that changes in design should be a positive aspect of the client-designer relationship by actively involving clients in the process. Additionally, Kudless highlighted the AI's potential to facilitate labor in architectural firms, particularly in automating rendering tasks, thus reducing the workload on junior staff while maintaining control over the creative output. === Emergent aesthetics === In an interview for the AItopia series to Dezeen, designer Tim Fu discussed the transformative potential of AI in architecture, and proposed a future where AI could herald a "neoclassical futurist" style, blending the grandeur of classical aesthetics with futuristic design. Through his collaborative project, The AI Stone Carver, Fu showcased how AI can innovate traditional practices by generating design concepts that are then realized through human craftsmanship, such as stone carving by mason Till Apfel. This approach, he believed, celebrated the fusion of diverse architectural styles and also emphasized the unique capabilities of AI in enhancing creative design processes. Fu told Dezeen he envisions the integration of AI in design as a means to revive the ornamentation and detailed aesthetics characteristic of classical architecture, moving away from minimalism, which he said dominates contemporary architecture. He argued that AI's involvement in the ideation phase of design allows for a reversal in the roles of machine and human, enabling architects and designers to focus on creating more intricate and ornamental structures. Fu's optimistic outlook extended to the broader impact of AI on the architectural field, seeing it as an indispensable tool that will shift rather than replace human roles, enriching the field with innovative designs that pay homage to the beauty and qualities of classical architecture not present in contemporary architecture while embracing new technologies. This perspective resonates with designers like Manas Bhatia, whose explorations similarly embrace generative AI as a co-creator and a medium to express ideas, blend architectural traditions, and speculate spatial futures. === Concerns === As AI continues to expand its presence across various industries, its impact on the architectural profession has become a topic of growing discussion. These discussions focus on how AI processes may influence traditional architectural practices, potentially altering job roles, and shaping the nature of creativity. While AI-driven processes may increase efficiency in some aspects of the profession, they also raise questions about the potential loss of unique design perspectives. These thoughts have been countered by many prominent creative figures in the realm of AI architecture, such as Stephen Coorlas, Tim Fu, Hassan Ragab, and Manas Bhatia who have showcased the amplification of creativity in design and potential benefits in terms of restoring creative power to the designer. A key concern is that AI-powered tools could diminish the need for human involvement in specific tasks traditionally performed by architects. This has led to speculation that the profession may increasingly shift toward roles focused on oversight, coordination, and strategic decision-making rather than hands-on design work. In some design scenarios, algorithmically generated solutions can be adjusted to prioritize efficiency and cost-effectiveness, which some argue may overshadow the creative and contextual nuances that define individual architectural styles. As with any discipline though, it has been determined that AI can be configured to provide beneficial results based on inputs and end goals the architect or designer assigns it. There are also concerns about the potential for AI to exacerbate inequalities within the architectural profession. For instance, larger firms with greater resources to invest in advanced AI technologies may gain a competitive edge over smaller firms and independent architects. This dynamic could contribute to industry consolidation, potentially limiting the diversity of architectural practice and stifling innovation. Ethical considerations in regard to cultural sensitivity have also been raised due to the datasets used to train AI. Without proper vetting of data or implementing failsafe overrides, AI generated outcomes can trend toward overly documented and prioritized content.
Library and information scientist
A library and information scientist, also known as a library scholar, is a researcher or academic who specializes in the field of library and information science and often participates in scholarly writing about and related to library and information science. A library and information scientist is neither limited to any one subfield of library and information science nor any one particular type of library. These scientists come from all information-related sectors including library and book history. == University of Chicago Graduate Library School == The University of Chicago Graduate Library School was established in 1928 to grant a graduate degree in librarianship with an emphasis on research. The program expanded the concept of librarianship, focused on scientific inquiry and established it as a domain for scientific study. In The Spirit of Inquiry: The Graduate Library School at Chicago, 1921-51 Richardson reviewed the history of the School and its impact on the discipline. == Bibliometric mappings == Bibliometric methods have been used to create maps of library and information science, thus identifying the most important researchers as well as their relative connections (or distances) and identifying emerging trends related to LIS publications within the field. White and McCain (1998) made a map of information science and Åström (2002), Chen, Ibekwe-SanJuan, and Hou (2010), Janssens, Leta, Glanzel, and De Moor (2006), and Zhao and Strotmann (2008) constructed some later maps of library and information science. Jabeen, Yun, Rafiq, and Jabeen (2015) mapped the growth and trends of LIS publications. == Notable library and information scientists == See also Beta Phi Mu Award, Award of Merit - Association for Information Science and Technology, Justin Winsor Prize (library)
MeituPic
Meitu Xiu Xiu ("Meitu") (Chinese: 美图秀秀) is an image editing software that is mostly used in Mainland China but is also popular in Hong Kong and Taiwan. It is only available on Google Play and App Store in certain countries. It provides tools for editing photos: filters, retouching, collage, scenes, frames, and photo decorations, as well as generative AI features such as text-to-images, AI removal and AI repainting etc. Meitu is one of the apps developed by Meitu, Inc.; it also produced BeautyCam, Wink and X-Design. == History == Meitu's PC version was created in 2008 by Wu Xinhong, the CEO of Meitu. In 2013, its mobile version became one of the first must-have mobile apps in China. Meitu, Inc. is a photo and video-centered app developer, which was founded in 2008 in Xiamen. Currently, the major revenue source of Meitu is premium subscription. Meitu, Inc. was initially funded by Cai Wensheng, a well-known angel investor. The company has an approximately 250 million monthly active users globally. == Function == === Edit === MeituPic provides a number of photo-editing tools. The major functions are auto enhance, edit, enhance, filters, frames, magic brush, mosaic, text, and blur. Auto enhance focuses on the nature of photos taken, while Edit includes functions of cropping, rotation, sharpening, and adjustment of ratio. For Enhance, users can apply slight adjustment on the photo by controlling the levels of brightness, contrast, colour temperature, saturation, highlight, shadow and smart light. Major types of filters are LOMO, beauty, style as well as art. Different frames can be chosen from poster, simple, and fantasy. Magic brush provides a great variety of brushes with different colours and patterns for users to decorate the photos. Mosaic brush enables users to cover certain parts of the photo. Texts can be added to the photo. Choices of different bubbles, font as well as style of words are available. Blurring effect is also available to make the photo less distinct and clear. === Beauty Retouch === There are seven major functions for retouching a photo: automatic retouch, smooth and whiten skin, remove blemish, make slimmer, remove dark circles and bags under the eyes, make taller, and enhance the eyes. Automatic retouch enhances portraits by lightening the skin tone, brightening the eyes, and simulating a face-lift by tapping on just one button. This helps to remove wrinkles and optimizes the skin tone. Acne, blemishes, and other skin imperfections can also be removed. The face-lift and weight-loss functions in the slimming option can be used to reshape the body. The option to make the subject taller can be used to change the perceived height of the subject and give the impression of slimmer, longer legs. The option to enhance the eyes can enlarge and brighten the eyes. === Collage === Collage has four types: template, freestyle, poster, PicStrip, which all maximize to insert nine photos. Template integrates photos in a vertical rectangle tightly. MeituPic has 15 frames or free download function for users. MeituPic also provides different templates according to number of photos inserted. Freestyle separates photos on a background freely. There are two parts of background: custom and more. For custom, users choose from album. For more, there are plain and picture with 18 choices. Poster makes a poster with photos. Users choose a poster among 8 choices or tap ‘more’ to download a new one. PicStrip combines photos vertically making an elongated file. Users choose a frame from 15 choices. Pinching thumb and forefinger together or apart zooms photos in/out. Putting two fingers and turning hand rotates photos. Pressing moves photos to ideal location. After designing, users tap ‘save/share’ on the upper right corner and the photo made is saved into album automatically. == Awards ==
Synthetic data
Synthetic data are artificially generated data not produced by real-world events. Typically created using algorithms, synthetic data can be deployed to validate mathematical models and to train machine learning models. Data generated by a computer simulation can be seen as synthetic data. This encompasses most applications of physical modeling, such as music synthesizers or flight simulators. The output of such systems approximates the real thing, but is fully algorithmically generated. Synthetic data is used in a variety of fields as a filter for information that would otherwise compromise the confidentiality of particular aspects of the data. In many sensitive applications, datasets theoretically exist but cannot be released to the general public; synthetic data sidesteps the privacy issues that arise from using real consumer information without permission or compensation. == Usefulness == Synthetic data is generated to meet specific needs or certain conditions that may not be found in the original, real data. One of the hurdles in applying up-to-date machine learning approaches for complex scientific tasks is the scarcity of labeled data, a gap effectively bridged by the use of synthetic data, which closely replicates real experimental data. This can be useful when designing many systems, from simulations based on theoretical value, to database processors, etc. This helps detect and solve unexpected issues such as information processing limitations. Synthetic data are often generated to represent the authentic data and allows a baseline to be set. Another benefit of synthetic data is to protect the privacy and confidentiality of authentic data, while still allowing for use in testing systems. Computer security experts claim generated synthetic data "... enables us to create realistic behavior profiles for users and attackers. The data is used to train the fraud detection system itself, thus creating the necessary adaptation of the system to a specific environment." In defense and military contexts, synthetic data is seen as a potentially valuable tool to develop and improve complex AI systems, particularly in contexts where high-quality real-world data is scarce. At the same time, synthetic data together with the testing approach can give the ability to model real-world scenarios. == History == Scientific modelling of physical systems has a long history that runs concurrent with the history of physics. For example, research into synthesis of audio and voice can be traced back to the 1930s and before, driven forward by the developments of the telephone and audio recording technologies. Digitization gave rise to software synthesizers from the 1970s onwards. In the context of privacy-preserving statistical analysis, in 1993, the idea of original fully synthetic data was created by Donald Rubin. Rubin originally designed this to synthesize the Decennial Census long form responses for the short form households. He then released samples that did not include any actual long form records - in this he preserved anonymity of the household. Later that year, the idea of original partially synthetic data was created by Little. Little used this idea to synthesize the sensitive values on the public use file. A 1993 work fitted a statistical model to 60,000 MNIST digits, then it was used to generate over 1 million examples. Those were used to train a LeNet-4 to reach state of the art performance. In 1994, Stephen Fienberg introduced 'critical refinement', in which a parametric posterior predictive distribution (instead of a Bayes bootstrap) is used to do the sampling. Later, other important contributors to the development of synthetic data generation were Trivellore Raghunathan, Jerry Reiter, Donald Rubin, John M. Abowd, and Jim Woodcock. Collectively they came up with a solution for how to treat partially synthetic data with missing data. Similarly, they developed the technique of Sequential Regression Multivariate Imputation. == Calculations == Researchers test the framework on synthetic data, which is "the only source of ground truth on which they can objectively assess the performance of their algorithms". Synthetic data can be generated through the use of random lines, having different orientations and starting positions. Datasets can get fairly complicated. A more complicated dataset can be generated by using a synthesizer build. To create a synthesizer build, first use the original data to create a model or equation that fits the data the best. This model or equation will be called a synthesizer build. This build can be used to generate more data. Constructing a synthesizer build involves constructing a statistical model. In a linear regression line example, the original data can be plotted, and a best fit linear line can be created from the data. This line is a synthesizer created from the original data. The next step will be generating more synthetic data from the synthesizer build or from this linear line equation. In this way, the new data can be used for studies and research, and it protects the confidentiality of the original data. David Jensen from the Knowledge Discovery Laboratory explains how to generate synthetic data: "Researchers frequently need to explore the effects of certain data characteristics on their data model." To help construct datasets exhibiting specific properties, such as auto-correlation or degree disparity, proximity can generate synthetic data having one of several types of graph structure: random graphs that are generated by some random process; lattice graphs having a ring structure; lattice graphs having a grid structure, etc. In all cases, the data generation process follows the same process: Generate the empty graph structure. Generate attribute values based on user-supplied prior probabilities. Since the attribute values of one object may depend on the attribute values of related objects, the attribute generation process assigns values collectively. == Applications == === Fraud detection and confidentiality systems === Testing and training fraud detection and confidentiality systems are devised using synthetic data. Specific algorithms and generators are designed to create realistic data, which then assists in teaching a system how to react to certain situations or criteria. For example, intrusion detection software is tested using synthetic data. This data is a representation of the authentic data and may include intrusion instances that are not found in the authentic data. The synthetic data allows the software to recognize these situations and react accordingly. If synthetic data was not used, the software would only be trained to react to the situations provided by the authentic data and it may not recognize another type of intrusion. === Scientific research === Researchers doing clinical trials or any other research may generate synthetic data to aid in creating a baseline for future studies and testing. Real data can contain information that researchers may not want released, so synthetic data is sometimes used to protect the privacy and confidentiality of a dataset. Using synthetic data reduces confidentiality and privacy issues since it holds no personal information and cannot be traced back to any individual. Beyond privacy protection, synthetic data is also being explored for methodological innovation in drug development. For instance, synthetic data may be used to construct synthetic control arms as an alternative to conventional external control arms based on real-world data (RWD) or randomized controlled trials (RCTs). Collectively, regulatory agencies such as the FDA and EMA appear to be at various stages of recognizing and integrating AI-generated synthetic data into their methodologies. While there is growing consensus on the potential of such data to support model development and the broader lifecycle of medicinal products, to date no drug or medical device has been approved using solely or predominantly synthetic data—particularly not as a comparator arm generated entirely via data-driven algorithms. The quality and statistical handling of synthetic data are expected to become more prominent in future regulatory discussions, particularly in contexts such as predictive modeling (e.g., digital twins), where innovative approaches have already been referenced. === Machine learning === Synthetic data is increasingly being used for machine learning applications: a model is trained on a synthetically generated dataset with the intention of transfer learning to real data. Efforts have been made to enable more data science experiments via the construction of general-purpose synthetic data generators, such as the Synthetic Data Vault. In general, synthetic data has several natural advantages: once the synthetic environment is ready, it is fast and cheap to produce as much data as needed; synthetic data can have perfectly accurate labels, including labeling that may be very expensive or impo