Angel_F is a fictional child artificial intelligence that has been used in art performances worldwide focused on the issues of digital liberties, intellectual property and on the evolution of language and behaviour in information society. The character was created by Salvatore Iaconesi in 2007 as a hack to the Biodoll art performance by Italian artist Franca Formenti. The project was later joined by Oriana Persico who curated communication and part of the theoretical approaches of the action. The Angel_F project has been featured in books, magazines, national televisions, and has been invited to many conferences and events, both academic and artistic. == Creation == Angel_F is a backronym which stands for Autonomous Non Generative E-volitive Life_Form. The project was born in 2007 and resulted from the fusion of two contemporary art performances. Franca Formenti, an Italian artist living in Varese, invented the Biodoll character in 2002, which began making its appearances first on the network and later in the physical world by using what were called "clones": young women, prostitutes, pornographic starlets, transsexuals and models interpreting the role of a digital prostitute. The Biodoll was an art performance focused on research emerging from the network of new forms of sexualities, and on the analysis of changes brought on by this transformation to the concepts of private and public spaces, privacy, and the possibility of creating multiple fluid identities through language and digital media. The theme of fertility has always been central to the Biodoll performance: the digital prostitute was a wombless clone but desired giving birth to a son, the 'Bloki'. In a process starting in 2006, and ending in February 2007, Salvatore Iaconesi (xDxD.vs.xDxD) used his 'Talker' linguistic artificial intelligence to animate the digital child conceived with prof. Derrick de Kerckhove: Angel_F. Iaconesi and Persico met in November 2006 and immediately started collaborating on the birth of Angel_F. Angel_F was designed as a synthetic digital being composed through narrative, technological and cognitive psychology layers. The objective was to create iconic characteristics that resulted in being evocative and able to mimic human life up to a level in which bringing up a symbolic dialogue was possible. On the other side, the artificial identity was to implement and expose the cultural, emotional and relational ways that were typical of networked social ecosystems, among those technologies, systems and infrastructures that entered and shaped people's daily lives. The young digital being mimicked the evolution of a human baby: initially conceived inside the website of its digital mother it emulated the birth of a child by using the metaphor of a virus developing inside a website, taking progressively more space in the domain's databases and interfaces. Content was produced through the software by using small browser-based spyware techniques, through which Angel_F could infer the list of major portals that had been visited by the website's users. The Biodoll website was invaded by this growing presence and, thus, Angel_F was born. The Artificial Intelligence (AI) component of Angel_F was derived from another project, Talker, through which internet users could build up the AI's linguistic network by feeding it their text and web clips. Angel_F used this component to generate sentences and phrases, publishing them on the interface and on selected blogs. The parallel between the growth of the AI and that of a child kept building up and, just as children learn how to speak and act by observing their parents and the people around them, Angel_F used its spyware and AI components to learn, to navigate websites and web portals using web crawler based techniques, and to interact with other people by using the contents hosted and generated in its database to create surreal dialogues in blogs and websites. A virtual school was created, called Talker Mind, to narratively continue the AI's growth. Five professors (Massimo Canevacci, Antonio Caronia, Carlo Formenti, Derrick de Kerckhove and Luigi Pagliarini) fed their texts and academic articles to Angel_F, simulating virtual asynchronous lessons by using a multi-blog structure. A peer-to-peer system was also created at the time, named 'Presence'. Its interface resembled the one of 8-bit videogames and the peer to peer users travelled in a starry space and were able to perform standard Instant Messaging tasks, such as chat and file sharing. The interactions were possible both among humans and digital beings. Angel_F was the first user of the Presence peer to peer system. Angel_F entered the physical world as a baby-stroller mounted laptop computer that was used to let the digital child join events and conferences held worldwide. == Events == Angel_F performed all over the world, both in artistic contexts and in academic ones. It was also used for the communication strategy of several activist groups on the themes of intellectual property and digital freedoms. The first public space performance was held in Milan, when the Biodoll distributed a generative free press publication (called the Bloki FreePreXXX, its text was generated algorithmically and inserted into a prepared graphic layout). June 14, 2007: The second performance was held in Rome, at the Forte Prenestino, with a massive playroom created through computational graphics that people could interact with and that were generated by the AI. June 22, 2007: Angel_F presented the closing remarks for an Ipotesi per Assurdo (Absurd Hypothesis) with Salvatore Iaconesi and Oriana Persico at the IULM University in Milan, discussing the possibilities for an ecosystemic, sustainable reinvention of corporations. July 28, 2007: Hundreds of people at LiberaFesta (Free Party) in Rome listened to Angel_F in a speech discussing new politics and hacker ethics. 2007: The Glocal & Outsiders conference held in Prague at the Academy of Sciences was the first academic presentation of the Angel_F project, together with the Biodoll. September 2007: Angel_F was not allowed to post its contribution to the DFIR (Dialogue Forum for Internet Rights) held in Rome in preparation for Rio de Janeiro's Internet Governance Forum (IGF) edition. The case quickly turned into a collaboration among the involved parties and Angel_F was invited to the global event in Brazil where it was the only digital being present. Angel_F contributed a videomessage, in the digital freedoms workshop, which suggested some ideas for action to the United Nations and to all the parties involved in the IGF organization. October 2007: Angel_F was presented live at the FE/MALE 2 event, as an example of an atypical family during a public debate on new sexualities and social change. October 2007: Angel_F made a series of public performances Florence's Festival della Creatività (Festival of Creativity), an institutional event held periodically to showcase Italy's and other countries' best technological projects. During the festival Derrick de Kerckhove publicly recognized the little AI as his digital son. December 2007: Several international associations, and scientific researchers had been involved with Angel_F, eventually producing the system and process used to set up the Talker Mind digital school for the AI with Angel_F's professors. March 2008: The Tecnológico de Monterrey university in Mexico City organized the Computer Art Congress 2 international event, featuring Angel_F's project among with the ones by scientific researchers worldwide. July 2008: The project was presented in Austria at the Planetary Collegium's Consciousness Reframed 9 conference, together with the 'NeoRealismo Virtuale'. October 2008: Angel_F was used at a public event on a European scale called Freedom not Fear discussing privacy and civil liberties. July 2009: Angel_F has been seen with its digital father Derrick de Kerckhove to protest against Italy's harsh politics on freedom of speech. The project concluded in 2009 with the publication of a book entitled 'Angel F. Diario di una intelligenza artificiale' (Angel_F, the diaries of an Artificial Intelligence).
Vision transformer
A vision transformer (ViT) is a transformer designed for computer vision. A ViT decomposes an input image into a series of patches (rather than text into tokens), serializes each patch into a vector, and maps it to a smaller dimension with a single matrix multiplication. These vector embeddings are then processed by a transformer encoder as if they were token embeddings. ViTs were designed as alternatives to convolutional neural networks (CNNs) in computer vision applications. They have different inductive biases, training stability, and data efficiency. Compared to CNNs, ViTs are less data efficient, but have higher capacity. Some of the largest modern computer vision models are ViTs, such as one with 22B parameters. Subsequent to its publication, many variants were proposed, with hybrid architectures with both features of ViTs and CNNs. ViTs have found application in image recognition, image segmentation, weather prediction, and autonomous driving. == History == Transformers were introduced in Attention Is All You Need (2017), and have found widespread use in natural language processing. A 2019 paper applied ideas from the Transformer to computer vision. Specifically, they started with a ResNet, a standard convolutional neural network used for computer vision, and replaced all convolutional kernels by the self-attention mechanism found in a Transformer. It resulted in superior performance. However, it is not a Vision Transformer. In 2020, an encoder-only Transformer was adapted for computer vision, yielding the ViT, which reached state of the art in image classification, overcoming the previous dominance of CNN. The masked autoencoder (2022) extended ViT to work with unsupervised training. The vision transformer and the masked autoencoder, in turn, stimulated new developments in convolutional neural networks. Subsequently, there was cross-fertilization between the previous CNN approach and the ViT approach. In 2021, some important variants of the Vision Transformers were proposed. These variants are mainly intended to be more efficient, more accurate or better suited to a specific domain. Two studies improved efficiency and robustness of ViT by adding a CNN as a preprocessor. The Swin Transformer achieved state-of-the-art results on some object detection datasets such as COCO, by using convolution-like sliding windows of attention mechanism, and the pyramid process in classical computer vision. == Overview == The basic architecture, used by the original 2020 paper, is as follows. In summary, it is a BERT-like encoder-only Transformer. The input image is of type R H × W × C {\displaystyle \mathbb {R} ^{H\times W\times C}} , where H , W , C {\displaystyle H,W,C} are height, width, channel (RGB). It is then split into square-shaped patches of type R P × P × C {\displaystyle \mathbb {R} ^{P\times P\times C}} . For each patch, the patch is pushed through a linear operator, to obtain a vector ("patch embedding"). The position of the patch is also transformed into a vector by "position encoding" (the paper tried no embedding, 1D embedding, 2D embedding, and relative embedding: 1D was adopted). The two vectors are added, then pushed through several Transformer encoders. The attention mechanism in a ViT repeatedly transforms representation vectors of image patches, incorporating more and more semantic relations between image patches in an image. This is analogous to how in natural language processing, as representation vectors flow through a transformer, they incorporate more and more semantic relations between words, from syntax to semantics. The above architecture turns an image into a sequence of vector representations. To use these for downstream applications, an additional head needs to be trained to interpret them. For example, to use it for classification, one can add a shallow MLP on top of it that outputs a probability distribution over classes. The original paper uses a linear-GeLU-linear-softmax network. == Variants == === Original ViT === The original ViT was an encoder-only Transformer supervise-trained to predict the image label from the patches of the image. As in the case of BERT, it uses a special token
Messaging Layer Security
Messaging Layer Security (MLS) is a security layer for end-to-end encrypted messages. It is maintained by the MLS working group of the Internet Engineering Task Force (IETF), and is designed to provide an efficient and practical security mechanism for groups as large as 50,000 and for those who access chat systems from multiple devices. == Security properties == Security properties of MLS include message confidentiality, message integrity and authentication, membership authentication, asynchronicity, forward secrecy, post-compromise security, and scalability. == History == The idea was born in 2016 and first discussed in an unofficial meeting during IETF 96 in Berlin with attendees from Wire, Mozilla and Cisco. Initial ideas were based on pairwise encryption for secure 1:1 and group communication. In 2017, an academic paper introducing Asynchronous Ratcheting Trees was published by the University of Oxford and Facebook setting the focus on more efficient encryption schemes. The first BoF took place in February 2018 at IETF 101 in London. The founding members are Mozilla, Facebook, Wire, Google, Twitter, University of Oxford, and INRIA. On March 29, 2023, the IETF approved publication of Messaging Layer Security (MLS) as a new standard. It was officially published on July 19, 2023. At that time, Google announced it intended to add MLS to the end to end encryption used by Google Messages over Rich Communication Services (RCS). In March 2025, the GSMA announced the Universal Profile 3.0 standard of RCS would support MLS and Apple announced it would support this RCS standard on Apple Messages. Both Google Messages and Apple Messages began the rollout of MLS E2EE over RCS in May 2026. Matrix is one of the protocols declaring migration to MLS. In 2026, Discord rolled out end-to-end encryption on voice and video calls, using MLS for scalable group key exchanges. Research on adding post-quantum cryptography (PQC) to MLS is ongoing. The IETF has prepared an Internet-Draft using PQC algorithms in MLS. == Implementations ==
Talim (textiles)
Talim (Kashmiri: تعليم, Kashmiri pronunciation: [t̪əːliːm], Urdu: تَعْلِیم, Arabic: تعليم, pronounced [taʕ.liːm] ) in textiles is a symbolic code and system of notation that facilitates the creation of intricate patterns in fabrics, such as shawls and carpets, and the written coded plans that include colour schemes and weaving instructions. The term is used in traditional hand-weaving in the Indian subcontinent. Talim was initially used to create certain types of patterns in Kashmiri shawls, and later came to be applied in the production of carpets. == Etymology and origin == The term talim, which refers to a symbolic code and system of notation used by shawl and carpet artisans in their weaving processes, came to the Urdu language from the Arabic noun taʻlim (تعليم), which means "authoritative instruction", "teaching", or "edification". It means the same in Urdu and Kashmiri. The Arabic noun originated from the second form of the Arabic root verb ʻalima (علم), which means "to know". According to a local belief in Kashmir, talim was introduced to them by Persian scholar and Sufi Muslim saint Mir Sayyid Ali Hamadani. The belief notwithstanding, talim might have originated from Kashmir; Amritsar was the only place outside of Srinagar where talim was used, by migrated Kashmiri artisans. == Technique == Whereas carpets are generally woven horizontally, providing weavers with a clear view of the progress they are making in creating designs, in Kashmir, carpets are woven vertically, so the weaver is reliant on the talim. The talim technique forms fabrics by passing the weft thread as per a given script that has design codes. Weavers use talim to weave the desired pattern with planned colours. Talim involves teamwork when applying the technique, as the process of creating intricate fabric designs in weaving begins with the Naqash (designer, who designs using pencils on graphs) meticulously crafting the design on a blank sheet of paper called a naska, and the master, Talim guru, making the colour codes and symbols for weft yarns that would interlace the warp to construct the desired design. He writes on a long strip of paper, in specific symbols, the colour codes, and the number of knots to be woven with each colour. Taraha guru collaborates with talim guru and is known as the artisan responsible for determining the colours. Talim uthana is a process or the act of "picking the codes" from the graph. A clerk called the Talim Navis would record the step-by-step instructions for these numbers and colours, and thousands of low-paid and interchangeable weavers would read or recite the record to carry out the design. Afterward, a talim copyist makes copies, which are needed when multiple looms weave the same product. The script, which has been encoded, is deciphered and translated according to the specific guidelines of weavers in order to incorporate the design that is included within it. Talim has been compared to "hieroglyphics" or as a "notational-cum-cryptographic system", as it is challenging to decipher and is unique to the shawls of Kashmir, which requires expertise to comprehend. According to researcher Gagan Deep Kaur, "The talim is widely held to be a trade secret of the community and has always been fiercely guarded by the owners." Those who use talim for shawl-making do not assign important tasks to women, because of the fear that the technique and knowledge may be divulged to other communities when the women are sent there to be married. The coded cards known as talim in the Kashmiri language were used for creating certain types of patterns in shawl weaving. The talim technique is employed in the creation of kani shawls, which originated from the Kanihama region of the Kashmir valley. Carpet weaving adapted the technique from shawl making. When Kashmiri artisans started to create carpets, they chose to continue using the talim rather than switching to a different method. The resurgence of the carpet industry in Amritsar during the last century resulted in the prevalent use of the talim technique among the local weavers, a majority of whom hailed from the region of Kashmir. === Recitation of codes === Talim was also communicated through recitation accompanied by a melodic chant or song. In traditional weaving practices, the use of chanting was common. The movement of the shuttles was synchronised with the song of the weaver, adding a musical rhythm to the instructions represented through hieroglyphics. The weaver's chant, "Two blue, one red, three yellow, two blue," served as a guide as they wove and replicated the designated pattern. == Usage == The first factories established in Amritsar around 1860 utilised Bokhara designs. However, Kashmiri weavers maintained their traditional techniques and employed the talim, instead of a cartoon, for tying knots. As a result, Amritsar became the second location in the Indian subcontinent to use the talim. The traditional weaving practices are still carried out in some parts of the Indian subcontinent. The exact date when talim was last used in the subcontinent varies depending on the region and the specific weaving community. Indian textile historian Jasleen Dhamija wrote in her 1989 book Handwoven Fabrics of India that there were still some weavers in the Kashmiri village of Kanihama who applied talim in weaving shawls. As of 2022, the carpet weavers in Kashmir were the only remaining users of talim in carpets, according to Zubair Ahmed, director of the Indian Institute of Carpet Technology. The institute aims to preserve traditional Kashmiri carpet designs by digitising talim and training weavers in the technique. == Gallery ==
Cryptographic bill of materials
Cryptographic bill of materials (CBOM—also cryptography bill of materials) is a structured inventory of all cryptographic assets present in a software, firmware, device, or system. It enumerates algorithms (and parameters such as key sizes and modes), cryptographic libraries or modules, digital certificates, keys and related material, and protocols in use, and maps their relationships to the components that implement or invoke them. CBOMs are used to improve security analysis, compliance, and cryptographic agility, and are increasingly referenced in guidance for post‑quantum cryptography (PQC) migration. == Definition and scope == A CBOM inventories cryptographic primitives and materials—such as encryption and signature algorithms (with specific variants and modes), key sizes, cryptographic libraries/modules, digital certificates (e.g., X.509), keys and other related cryptographic material, and security protocols (e.g., TLS, IPsec). It also documents dependencies (for example, an application uses an algorithm provided by a library; a protocol uses several algorithms) and can capture certificate lifecycles, cryptographic module certifications (e.g., FIPS 140‑3), and policy conformance metadata. In common practice, a CBOM may be embedded within an SBOM format (such as CycloneDX) or exported as a separate, linked artifact. === Typical CBOM fields === The exact schema varies by implementation, but common fields are summarized below (see CycloneDX CBOM guide and NIST SP 1800‑38B). == Relation to SBOM == A CBOM is complementary to, but distinct from, a software bill of materials (SBOM). Whereas an SBOM lists software components and their versions, a CBOM focuses specifically on the cryptography present and how it is configured and used. For example, an SBOM might enumerate inclusion of a library such as OpenSSL, while the CBOM would identify which algorithms and parameters that library enables (e.g., RSA‑2048, ECDH P‑256, AES‑GCM) and list relevant keys and certificates. The pairing enables both supply‑chain transparency and cryptographic transparency. == History == The term and practice emerged in the early–mid 2020s alongside software‑supply‑chain transparency and PQC planning. The OWASP CycloneDX standard introduced native CBOM support (v1.6 and later), modeling algorithms, keys, certificates, and protocols as first‑class “cryptographic assets” and providing dependency semantics (uses/implements) between software and cryptography. Open tooling from industry and researchers (e.g., IBM's CBOMkit and related generators/viewers) appeared to automate discovery and representation of cryptographic use in the CycloneDX CBOM schema. == Regulatory and policy context == In the United States, policy has emphasized cryptographic inventories as a prerequisite to PQC migration. The White House's National Security Memorandum 10 (2022) directed a government‑wide transition to quantum‑resistant cryptography; the Office of Management and Budget's M‑23‑02 (November 2022) operationalized this by requiring agencies to submit a prioritized inventory of cryptographic systems (with algorithm and key details) by 4 May 2023 and annually thereafter, and tasked CISA/NSA/NIST to develop automated discovery and inventory strategies. A 2024 Office of the National Cyber Director report reiterated that a “comprehensive cryptographic inventory” is the baseline for PQC planning and must be maintained iteratively with both automated and manual discovery. NIST's NCCoE practice guide (SP 1800‑38B, preliminary draft) provides concrete methods for cryptographic discovery and documentation across enterprises, aligning with CBOM‑style representations. CISA later published a strategy to migrate federal agencies to automated cryptography discovery and inventory tools to support continuous reporting. Separately, NSA, CISA, and NIST issued joint guidance encouraging all organisations to prepare cryptographic inventories and roadmaps for PQC, beyond government environments. == Role in quantum readiness and cryptographic agility == Because large‑scale quantum computing threatens widely used public‑key algorithms (e.g., RSA, ECC), organisations are planning multi‑year transitions to post-quantum cryptography. CBOMs enable that planning by identifying where quantum‑vulnerable algorithms appear, prioritising high‑impact systems, and tracking replacements over time. A machine‑readable CBOM also supports cryptographic agility and incident response: if an algorithm, library, or certificate lifecycle becomes non‑compliant or vulnerable, the CBOM indicates which products and systems are affected and where mitigations must be applied first. == Standards and tooling == CycloneDX (OWASP): Native CBOM modelling (v1.6+) for algorithms, certificates, keys/related material, and protocols, with dependency semantics and examples. The project publishes a CBOM guide and use‑case profiles (e.g., certificate and algorithm inventories). NIST NCCoE SP 1800‑38 series: Practice guides for PQC migration include enterprise cryptographic discovery methods that produce CBOM‑like inventories and integrate multiple discovery tools. Government automation initiatives: Following M‑23‑02, CISA issued a strategy to migrate to automated cryptography discovery and inventory tools to support agency reporting and continuous inventory management. Open‑source and vendor tools: IBM's CBOMkit and related components generate, analyse, and visualise CBOMs; the IBM CBOM specification work was upstreamed into CycloneDX 1.6. === Data model and interchange (example) === CycloneDX provides machine‑readable encodings (JSON/XML) for CBOM content. The example below (subset) shows an application depending on a crypto library that provides the AES‑256‑GCM algorithm, and the application also depends on a leaf X.509 certificate. See the CycloneDX CBOM guide, JSON reference, and the “Implementation details” use‑case for the semantics of `dependsOn` and `provides`. == Relationship to cybersecurity supply chain initiatives == CBOMs complement SBOM‑focused supply‑chain transparency introduced by U.S. Executive Order 14028 and NTIA/NIST SBOM work. SBOMs document software components; CBOMs add detail on embedded cryptography to support risk management, policy compliance (e.g., disallowing deprecated algorithms), and PQC transition planning.
Deluxe Paint
Deluxe Paint, often referred to as DPaint, is a bitmap graphics editor created by Dan Silva for Electronic Arts and published for the then-new Amiga 1000 in November 1985. A series of updated versions followed, some of which were ported to other platforms. An MS-DOS release with support for the 256 color VGA standard became popular for creating pixel graphics in video games in the 1990s. Author Dan Silva previously worked on the Cut & Paste word processor (1984), also from Electronic Arts. == History == Deluxe Paint began as an in-house art development tool called Prism. As author Dan Silva added features to Prism, it was developed as a showcase product to coincide with the Amiga's debut in 1985. Upon release, it was quickly embraced by the Amiga community and became the de facto graphics (and later animation) editor for the platform. Amiga manufacturer Commodore International later commissioned EA to create version 4.5 AGA to bundle with the new Advanced Graphics Architecture chipset (A1200, A4000) capable Amigas. Version 5 was the last release after Commodore's bankruptcy in 1994. Early versions of Deluxe Paint were available in protected and non copy-protected versions, the latter retailing for a slightly higher price. The copy protection scheme was later dropped. Deluxe Paint was first in a series of products from the Electronic Arts Tools group—then later moved to the ICE (for Interactivity, Creativity, and Education) group—which included such Amiga programs as Deluxe Music Construction Set (preceded by Music Construction Set for the Apple II), Deluxe Video, and the Studio series of paint programs for the Mac. With the development of Deluxe Paint, EA introduced the ILBM and ANIM file format standards for graphics. While widely used on the Amiga, these formats never gained widespread end user acceptance on other platforms, but were heavily used by game development companies. Deluxe Paint was used by LucasArts to make graphics for their adventure games such as The Secret of Monkey Island, and the name of a particular filename used to store the main protagonist Guybrush Threepwood was probably at the origin of his peculiar name. One of the main artist developer of the game, Mark Ferrari, in an interview for The Making of Monkey Island 30th Anniversary Documentary remembers that "there was a pulldown menu in DPaint called brushes, so character sprites were referred to as brushes", and the male protagonist was simply "the guy.brush" until the artist Steve Purcell suggested to take the very name "Guybrush". The author Ron Gilbert remembers that the PC DOS version of the file was named "guybrush.bbm". == Versions == === Amiga === Deluxe Paint I was released in 1985. A major feature was animation by using color cycling. The Amiga natively supports indexed color, where a pixel's color value does not carry any RGB hue information but instead is an index to a color palette (a collection of unique color values). By adjusting the color value in the palette, all pixels with that palette value change simultaneously in the image or animation, creating cyclic movement in the image. In the Christmas demo files on the Deluxe Paint I disk, this kind of animation (which is toggled by pressing the tab key) is used to depict falling snowflakes, a blinking Christmas tree, and a roaring fire in the fireplace. In 1986, Deluxe Paint II was introduced, which added many convenient features such as pattern and gradient fill, which could be selected by right-clicking on a fill tool. An effects menu with e.g. perspective transformation was also added. The screen format could now be changed from a dedicated selection page. Deluxe Paint III appeared in 1989 and added support for Extra Halfbrite. New editing modes allowed one to stencil certain colors to protect them, so it is possible to e.g. paint a landscape from front to back, with the foreground protected by a stencil. A major new feature of Deluxe Paint III was the ability to create cel-like animation, and animbrushes (1MB of RAM is needed for animation). These let the user pick up a section of an animation as an "animbrush", which can then be placed onto the canvas while it animates. Deluxe Paint III was one of the first paint programs to support animbrushes. This is similar to copy and paste, except one can pick up more than one image. Deluxe Paint IV (introduced in 1991), which did not include Silva as the lead programmer, offered significant new features like non-bitplane-indexed Hold-and-Modify support for creating images with up to 4,096 colors. Animation support was improved by adding a light table, i.e. onion skinning, and AnimBrush morphing. The color mixer was now a HAM region at the bottom of the screen (instead of a floating window as before) and allowed mixing adjacent colors similar to a real palette. Deluxe Paint 4.5 AGA appeared the following year, addressing the stability issues and providing support for the new A1200 and A4000 AGA machines and a revamped screen mode interface. It appeared in both standalone and Commodore-bundled versions. The final release, Deluxe Paint V, in 1995, supported true 24-bit RGB images. However, using only the AGA native chipset, the 24-bit RGB color was only held in computer memory, the on-screen image was displayed in HAM8 (18-bit color). === Apple IIGS === DeluxePaint II for the Apple IIGS was developed by Brent Iverson and released in 1987. === MS-DOS === Deluxe Paint II for MS-DOS was released in 1988, It required MS-DOS 2.0 and 640 kB of RAM. It supports CGA, EGA, MCGA, VGA, Hercules and Tandy IBM PC-compatible graphic cards. Deluxe Paint II Enhanced was released in 1989, requiring MS-DOS 2.11 and 640 kB of RAM. It supports resolutions up to 800x600 pixels with 256 colors. Deluxe Paint II Enhanced 2.0, released in 1994, was the most successful MS-DOS version, and was compatible with PC Paintbrush PCX image files. The MS-DOS conversion was done by Brent Iverson with the enhanced features by Steve Shaw. It supports CGA, EGA, MCGA, VGA, Hercules, Tandy, and Amstrad video cards, as well as early Super VGA video cards enabling it to support up to 800 × 600 with 256 (from 262,144) colors and 1024 × 768 with 16 colors. The sister product Deluxe Paint Animation (only for 320×200 pixels and 256 colors) was widely used, especially in video game development. === Atari ST === Deluxe Paint ST was developed by ArtisTech Development, published by Electronic Arts, and was released in 1990. It supports the Atari STE 4096 color palette and animated graphics. Features advertised for the Atari ST version include 3D perspective, design your own fonts, mirror symmetry, multi-color airbrushing & animations, printing up to poster size, split-screen magnification with variable zoom, and working on animations (including multiple animations). == Workflow == "[" and "]" hotkeys step through the indexed palette, turning indexed-pixel-painting into a fast two-handed mouse+keys process, and the right mouse button paints with the background color. For example, transparency is obtained as simply as selecting a background color index (a single right click on the palette GUI to change). colors could be locked from editing by use of a stencil (a list of color indices whose pixels should not be altered in the image data) and simple color-cycling animations could be created using contiguous entries in the palette. This was easy to change the hue and tone of a section of the image by altering the corresponding colors in the palette. (The specific section needed to use a dedicated part of the palette for this technique to work.) Brushes can be cut from the background by using the box, freehand, or polygon selection tools. They can then be used in the same manner as any other brush or pen. This functionality is simpler to use than the "stamp" tool of Photoshop or Alpha Channels as provided in later programs. Brushes can be rotated and scaled, even in 3D. After a brush is selected, it appears attached to the mouse cursor, providing an exact preview of what will be drawn. This allows precise pixel positioning of brushes. Animations stored in IFF ANIM format are delta compressed making animations both smaller and faster to playback. == Reception == Compute! criticized the documentation of the first release of DeluxePaint as inadequate, but stated that "DeluxePaint is a visual arts program of immense scope and flexibility". In later versions the documentation was much improved; for instance DeluxePaint IV came with a 300-page manual. Deluxe Paint was a hit for EA. The main line of the series, particularly installments one to three, has won a total of at least nine awards from independent publications and organizations, including three Amiga-specific awards. Deluxe Paint III also won Commodore International's Enterprise and Vision award in 1990, becoming the first software to win the award, for what the company's judges believed to be best utilizing the Amiga's graphical capabilities. Deluxe Pai
Link encryption
Link encryption is an approach to communications security that encrypts and decrypts all network traffic at each network routing point (e.g. network switch, or node through which it passes) until arrival at its final destination. This repeated decryption and encryption is necessary to allow the routing information contained in each transmission to be read and employed further to direct the transmission toward its destination, before which it is re-encrypted. This contrasts with end-to-end encryption where internal information, but not the header/routing information, is encrypted by the sender at the point of origin and only decrypted by the intended recipient. Link encryption offers two main advantages: encryption is automatic so there is less opportunity for human error. if the communications link operates continuously and carries an unvarying level of traffic, link encryption defeats traffic analysis. On the other hand, end-to-end encryption ensures only the intended recipient has access to the plaintext. Link encryption can be used with end-to-end systems by superencrypting the messages. Bulk encryption refers to encrypting a large number of circuits at once, after they have been multiplexed.