Joseph Stanislaus Ostoja-Kotkowski

Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio

Seed (programming)

Seed is a JavaScript interpreter and a library of the GNOME project to create standalone applications in JavaScript. It uses the JavaScript engine JavaScriptCore of the WebKit project. It is possible to easily create modules in C. Seed is integrated in GNOME since the 2.28 version and is used by two games in the GNOME Games package. It is also used by the Web web browser for the design of its extensions. The module is also officially supported by the GTK+ project. == Hello world in Seed == This example uses the standard output to output the string "Hello, World". == A program using GTK+ == This code shows an empty window named "Example". == Modules == To use a module, just instantiate a class having for name imports. followed by the name of the module respecting the case sensitivity. The modules using GObject Introspection, who starts by imports.gi. : Gtk Gst GObject Gio Clutter GLib Gdk WebKit GdkPixbuf, GdkPixbuf Libxml Cairo DBus MPFR Os (system library) Canvas (using Cairo) multiprocessing readline Archived 2009-11-09 at the Wayback Machine ffi sqlite sandbox Archived 2009-11-09 at the Wayback Machine == List of the Seed versions == The names of the versions of Seed are albums of famous rock bands.

Tanagra (machine learning)

Tanagra is a free suite of machine learning software for research and academic purposes developed by Ricco Rakotomalala at the Lumière University Lyon 2, France. Tanagra supports several standard data mining tasks such as: Visualization, Descriptive statistics, Instance selection, feature selection, feature construction, regression, factor analysis, clustering, classification and association rule learning. Tanagra is an academic project. It is widely used in French-speaking universities. Tanagra is frequently used in real studies and in software comparison papers. == History == The development of Tanagra was started in June 2003. The first version was distributed in December 2003. Tanagra is the successor of Sipina, another free data mining tool which is intended only for supervised learning tasks (classification), especially the interactive and visual construction of decision trees. Sipina is still available online and is maintained. Tanagra is an "open source project" as every researcher can access the source code and add their own algorithms, as long as they agree and conform to the software distribution license. The main purpose of the Tanagra project is to give researchers and students a user-friendly data mining software, conforming to the present norms of the software development in this domain (especially in the design of its GUI and the way to use it), and allowing the analyzation of either real or synthetic data. From 2006, Ricco Rakotomalala made an important documentation effort. A large number of tutorials are published on a dedicated website. They describe the statistical and machine learning methods and their implementation with Tanagra on real case studies. The use of other free data mining tools on the same problems is also widely described. The comparison of the tools enables readers to understand the possible differences in the presentation of results. == Description == Tanagra works similarly to current data mining tools. The user can design visually a data mining process in a diagram. Each node is a statistical or machine learning technique, the connection between two nodes represents the data transfer. But unlike the majority of tools which are based on the workflow paradigm, Tanagra is very simplified. The treatments are represented in a tree diagram. The results are displayed in an HTML format. This makes it is easy to export the outputs in order to visualize the results in a browser. It is also possible to copy the result tables to a spreadsheet. Tanagra makes a good compromise between statistical approaches (e.g. parametric and nonparametric statistical tests), multivariate analysis methods (e.g. factor analysis, correspondence analysis, cluster analysis, regression) and machine learning techniques (e.g. neural network, support vector machine, decision trees, random forest).

Gaussian process emulator

In statistics, Gaussian process emulator is one name for a general type of statistical model that has been used in contexts where the problem is to make maximum use of the outputs of a complicated (often non-random) computer-based simulation model. Each run of the simulation model is computationally expensive and each run is based on many different controlling inputs. The variation of the outputs of the simulation model is expected to vary reasonably smoothly with the inputs, but in an unknown way. The overall analysis involves two models: the simulation model, or "simulator", and the statistical model, or "emulator", which notionally emulates the unknown outputs from the simulator. The Gaussian process emulator model treats the problem from the viewpoint of Bayesian statistics. In this approach, even though the output of the simulation model is fixed for any given set of inputs, the actual outputs are unknown unless the computer model is run and hence can be made the subject of a Bayesian analysis. The main element of the Gaussian process emulator model is that it models the outputs as a Gaussian process on a space that is defined by the model inputs. The model includes a description of the correlation or covariance of the outputs, which enables the model to encompass the idea that differences in the output will be small if there are only small differences in the inputs.

Concept class

In computational learning theory in mathematics, a concept over a domain X is a total Boolean function over X. A concept class is a class of concepts. Concept classes are a subject of computational learning theory. Concept class terminology frequently appears in model theory associated with probably approximately correct (PAC) learning. In this setting, if one takes a set Y as a set of (classifier output) labels, and X is a set of examples, the map c : X → Y {\displaystyle c:X\to Y} , i.e. from examples to classifier labels (where Y = { 0 , 1 } {\displaystyle Y=\{0,1\}} and where c is a subset of X), c is then said to be a concept. A concept class C {\displaystyle C} is then a collection of such concepts. Given a class of concepts C, a subclass D is reachable if there exists a sample s such that D contains exactly those concepts in C that are extensions to s. Not every subclass is reachable. == Background == A sample s {\displaystyle s} is a partial function from X {\displaystyle X} to { 0 , 1 } {\displaystyle \{0,1\}} . Identifying a concept with its characteristic function mapping X {\displaystyle X} to { 0 , 1 } {\displaystyle \{0,1\}} , it is a special case of a sample. Two samples are consistent if they agree on the intersection of their domains. A sample s ′ {\displaystyle s'} extends another sample s {\displaystyle s} if the two are consistent and the domain of s {\displaystyle s} is contained in the domain of s ′ {\displaystyle s'} . == Examples == Suppose that C = S + ( X ) {\displaystyle C=S^{+}(X)} . Then: the subclass { { x } } {\displaystyle \{\{x\}\}} is reachable with the sample s = { ( x , 1 ) } {\displaystyle s=\{(x,1)\}} ; the subclass S + ( Y ) {\displaystyle S^{+}(Y)} for Y ⊆ X {\displaystyle Y\subseteq X} are reachable with a sample that maps the elements of X − Y {\displaystyle X-Y} to zero; the subclass S ( X ) {\displaystyle S(X)} , which consists of the singleton sets, is not reachable. == Applications == Let C {\displaystyle C} be some concept class. For any concept c ∈ C {\displaystyle c\in C} , we call this concept 1 / d {\displaystyle 1/d} -good for a positive integer d {\displaystyle d} if, for all x ∈ X {\displaystyle x\in X} , at least 1 / d {\displaystyle 1/d} of the concepts in C {\displaystyle C} agree with c {\displaystyle c} on the classification of x {\displaystyle x} . The fingerprint dimension F D ( C ) {\displaystyle FD(C)} of the entire concept class C {\displaystyle C} is the least positive integer d {\displaystyle d} such that every reachable subclass C ′ ⊆ C {\displaystyle C'\subseteq C} contains a concept that is 1 / d {\displaystyle 1/d} -good for it. This quantity can be used to bound the minimum number of equivalence queries needed to learn a class of concepts according to the following inequality: F D ( C ) − 1 ≤ # E Q ( C ) ≤ ⌈ F D ( C ) ln ⁡ ( | C | ) ⌉ {\textstyle FD(C)-1\leq \#EQ(C)\leq \lceil FD(C)\ln(|C|)\rceil } .

JAX (software)

JAX is a Python library for accelerator-oriented array computation and program transformation, designed for high-performance numerical computing and large-scale machine learning. It is developed by Google with contributions from Nvidia and other community contributors. It is described as bringing together a modified version of the automatic differentiation system autograd and OpenXLA's XLA (Accelerated Linear Algebra). It is designed to follow the structure and workflow of NumPy as closely as possible and works with various existing frameworks such as TensorFlow and PyTorch. The primary features of JAX are: Providing a unified NumPy-like interface to computations that run on CPU, GPU, or TPU, in local or distributed settings. Built-in Just-In-Time (JIT) compilation via OpenXLA, an open-source machine learning compiler ecosystem. Efficient evaluation of gradients via its automatic differentiation transformations. Automatic vectorization to efficiently map functions over arrays representing batches of inputs. == Libraries using Jax == Flax Equinox Optax

Diffusion model

In machine learning, diffusion models, also known as diffusion-based generative models or score-based generative models, are a class of latent variable generative models. A diffusion model consists of two major components: the forward diffusion process, and the reverse sampling process. The goal of diffusion models is to learn a diffusion process for a given dataset, such that the process can generate new elements that are distributed similarly as the original dataset. A diffusion model models data as generated by a diffusion process, whereby a new datum performs a random walk with drift through the space of all possible data. A trained diffusion model can be sampled in many ways, with different efficiency and quality. There are various equivalent formalisms, including Markov chains, denoising diffusion probabilistic models, noise conditioned score networks, and stochastic differential equations. They are typically trained using variational inference. The model responsible for denoising is typically called its "backbone". The backbone may be of any kind, but they are typically U-nets or transformers. As of 2024, diffusion models are mainly used for computer vision tasks, including image denoising, inpainting, super-resolution, image generation, and video generation. These typically involve training a neural network to sequentially denoise images blurred with Gaussian noise. The model is trained to reverse the process of adding noise to an image. After training to convergence, it can be used for image generation by starting with an image composed of random noise, and applying the network iteratively to denoise the image. Diffusion-based image generators have seen widespread commercial interest, such as Stable Diffusion and DALL-E. These models typically combine diffusion models with other models, such as text-encoders and cross-attention modules to allow text-conditioned generation. Other than computer vision, diffusion models have also found applications in natural language processing such as text generation and summarization, sound generation, and reinforcement learning. == Denoising diffusion model == === Non-equilibrium thermodynamics === Diffusion models were introduced in 2015 as a method to train a model that can sample from a highly complex probability distribution. They used techniques from non-equilibrium thermodynamics, especially diffusion. Consider, for example, how one might model the distribution of all naturally occurring photos. Each image is a point in the space of all images, and the distribution of naturally occurring photos is a "cloud" in space, which, by repeatedly adding noise to the images, diffuses out to the rest of the image space, until the cloud becomes all but indistinguishable from a Gaussian distribution N ( 0 , I ) {\displaystyle {\mathcal {N}}(0,I)} . A model that can approximately undo the diffusion can then be used to sample from the original distribution. This is studied in "non-equilibrium" thermodynamics, as the starting distribution is not in equilibrium, unlike the final distribution. The equilibrium distribution is the Gaussian distribution N ( 0 , I ) {\displaystyle {\mathcal {N}}(0,I)} , with pdf ρ ( x ) ∝ e − 1 2 ‖ x ‖ 2 {\displaystyle \rho (x)\propto e^{-{\frac {1}{2}}\|x\|^{2}}} . This is just the Maxwell–Boltzmann distribution of particles in a potential well V ( x ) = 1 2 ‖ x ‖ 2 {\displaystyle V(x)={\frac {1}{2}}\|x\|^{2}} at temperature 1. The initial distribution, being very much out of equilibrium, would diffuse towards the equilibrium distribution, making biased random steps that are a sum of pure randomness (like a Brownian walker) and gradient descent down the potential well. The randomness is necessary: if the particles were to undergo only gradient descent, then they will all fall to the origin, collapsing the distribution. === Denoising Diffusion Probabilistic Model (DDPM) === The 2020 paper proposed the Denoising Diffusion Probabilistic Model (DDPM), which improves upon the previous method by variational inference. ==== Forward diffusion ==== To present the model, some notation is required. β 1 , . . . , β T ∈ ( 0 , 1 ) {\displaystyle \beta _{1},...,\beta _{T}\in (0,1)} are fixed constants. α t := 1 − β t {\displaystyle \alpha _{t}:=1-\beta _{t}} α ¯ t := α 1 ⋯ α t {\displaystyle {\bar {\alpha }}_{t}:=\alpha _{1}\cdots \alpha _{t}} σ t := 1 − α ¯ t {\displaystyle \sigma _{t}:={\sqrt {1-{\bar {\alpha }}_{t}}}} σ ~ t := σ t − 1 σ t β t {\displaystyle {\tilde {\sigma }}_{t}:={\frac {\sigma _{t-1}}{\sigma _{t}}}{\sqrt {\beta _{t}}}} μ ~ t ( x t , x 0 ) := α t ( 1 − α ¯ t − 1 ) x t + α ¯ t − 1 ( 1 − α t ) x 0 σ t 2 {\displaystyle {\tilde {\mu }}_{t}(x_{t},x_{0}):={\frac {{\sqrt {\alpha _{t}}}(1-{\bar {\alpha }}_{t-1})x_{t}+{\sqrt {{\bar {\alpha }}_{t-1}}}(1-\alpha _{t})x_{0}}{\sigma _{t}^{2}}}} N ( μ , Σ ) {\displaystyle {\mathcal {N}}(\mu ,\Sigma )} is the normal distribution with mean μ {\displaystyle \mu } and variance Σ {\displaystyle \Sigma } , and N ( x | μ , Σ ) {\displaystyle {\mathcal {N}}(x|\mu ,\Sigma )} is the probability density at x {\displaystyle x} . A vertical bar denotes conditioning. A forward diffusion process starts at some starting point x 0 ∼ q {\displaystyle x_{0}\sim q} , where q {\displaystyle q} is the probability distribution to be learned, then repeatedly adds noise to it by x t = 1 − β t x t − 1 + β t z t {\displaystyle x_{t}={\sqrt {1-\beta _{t}}}x_{t-1}+{\sqrt {\beta _{t}}}z_{t}} where z 1 , . . . , z T {\displaystyle z_{1},...,z_{T}} are IID (Independent and identically distributed random variables) samples from N ( 0 , I ) {\displaystyle {\mathcal {N}}(0,I)} . The coefficients 1 − β t {\displaystyle {\sqrt {1-\beta _{t}}}} and β t {\displaystyle {\sqrt {\beta _{t}}}} ensure that Var ( X t ) = I {\displaystyle {\mbox{Var}}(X_{t})=I} assuming that Var ( X 0 ) = I {\displaystyle {\mbox{Var}}(X_{0})=I} . The values of β t {\displaystyle \beta _{t}} are chosen such that for any starting distribution of x 0 {\displaystyle x_{0}} , if it has finite second moment, then lim t → ∞ x t | x 0 {\displaystyle \lim _{t\to \infty }x_{t}|x_{0}} converges to N ( 0 , I ) {\displaystyle {\mathcal {N}}(0,I)} . The entire diffusion process then satisfies q ( x 0 : T ) = q ( x 0 ) q ( x 1 | x 0 ) ⋯ q ( x T | x T − 1 ) = q ( x 0 ) N ( x 1 | α 1 x 0 , β 1 I ) ⋯ N ( x T | α T x T − 1 , β T I ) {\displaystyle q(x_{0:T})=q(x_{0})q(x_{1}|x_{0})\cdots q(x_{T}|x_{T-1})=q(x_{0}){\mathcal {N}}(x_{1}|{\sqrt {\alpha _{1}}}x_{0},\beta _{1}I)\cdots {\mathcal {N}}(x_{T}|{\sqrt {\alpha _{T}}}x_{T-1},\beta _{T}I)} or ln ⁡ q ( x 0 : T ) = ln ⁡ q ( x 0 ) − ∑ t = 1 T 1 2 β t ‖ x t − 1 − β t x t − 1 ‖ 2 + C {\displaystyle \ln q(x_{0:T})=\ln q(x_{0})-\sum _{t=1}^{T}{\frac {1}{2\beta _{t}}}\|x_{t}-{\sqrt {1-\beta _{t}}}x_{t-1}\|^{2}+C} where C {\displaystyle C} is a normalization constant and often omitted. In particular, we note that x 1 : T | x 0 {\displaystyle x_{1:T}|x_{0}} is a Gaussian process, which affords us considerable freedom in reparameterization. For example, by standard manipulation with Gaussian process, x t | x 0 ∼ N ( α ¯ t x 0 , σ t 2 I ) {\displaystyle x_{t}|x_{0}\sim N\left({\sqrt {{\bar {\alpha }}_{t}}}x_{0},\sigma _{t}^{2}I\right)} x t − 1 | x t , x 0 ∼ N ( μ ~ t ( x t , x 0 ) , σ ~ t 2 I ) {\displaystyle x_{t-1}|x_{t},x_{0}\sim {\mathcal {N}}({\tilde {\mu }}_{t}(x_{t},x_{0}),{\tilde {\sigma }}_{t}^{2}I)} In particular, notice that for large t {\displaystyle t} , the variable x t | x 0 ∼ N ( α ¯ t x 0 , σ t 2 I ) {\displaystyle x_{t}|x_{0}\sim N\left({\sqrt {{\bar {\alpha }}_{t}}}x_{0},\sigma _{t}^{2}I\right)} converges to N ( 0 , I ) {\displaystyle {\mathcal {N}}(0,I)} . That is, after a long enough diffusion process, we end up with some x T {\displaystyle x_{T}} that is very close to N ( 0 , I ) {\displaystyle {\mathcal {N}}(0,I)} , with all traces of the original x 0 ∼ q {\displaystyle x_{0}\sim q} gone. For example, since x t | x 0 ∼ N ( α ¯ t x 0 , σ t 2 I ) {\displaystyle x_{t}|x_{0}\sim N\left({\sqrt {{\bar {\alpha }}_{t}}}x_{0},\sigma _{t}^{2}I\right)} we can sample x t | x 0 {\displaystyle x_{t}|x_{0}} directly "in one step", instead of going through all the intermediate steps x 1 , x 2 , . . . , x t − 1 {\displaystyle x_{1},x_{2},...,x_{t-1}} . ==== Backward diffusion ==== The key idea of DDPM is to use a neural network parametrized by θ {\displaystyle \theta } . The network takes in two arguments x t , t {\displaystyle x_{t},t} , and outputs a vector μ θ ( x t , t ) {\displaystyle \mu _{\theta }(x_{t},t)} and a matrix Σ θ ( x t , t ) {\displaystyle \Sigma _{\theta }(x_{t},t)} , such that each step in the forward diffusion process can be approximately undone by x t − 1 ∼ N ( μ θ ( x t , t ) , Σ θ ( x t , t ) ) {\displaystyle x_{t-1}\sim {\mathcal {N}}(\mu _{\theta }(x_{t},t),\Sigma _{\theta }(x_{t},t))} . This then gives us a backward diffusion process p θ {\displaystyle p_{\theta }} defined by p θ ( x T ) = N ( x T | 0 , I ) {\displaystyle p_{\theta }(x