Tiki Wiki CMS Groupware or simply Tiki, originally known as TikiWiki, is a free and open source Wiki-based content management system and online office suite written primarily in PHP and distributed under the GNU Lesser General Public License (LGPL-2.1-only) license. In addition to enabling websites and portals on the internet and on intranets and extranets, Tiki contains a number of collaboration features allowing it to operate as a Geospatial Content Management System (GeoCMS) and Groupware web application. Tiki includes all the basic features common to most CMSs such as the ability to register and maintain individual user accounts within a flexible and rich permission / privilege system, create and manage menus, RSS-feeds, customize page layout, perform logging, and administer the system. All administration tasks are accomplished through a browser-based user interface. Tiki features an all-in-one design, as opposed to a core+extensions model followed by other CMSs. This allows for future-proof upgrades (since all features are released together), but has the drawback of an extremely large codebase (more than 1,000,000 lines). Tiki can run on any computing platform that supports both a web server capable of running PHP 5 (including Apache HTTP Server, IIS, Lighttpd, Hiawatha, Cherokee, and nginx) and a MySQL/MariaDB database to store content and settings. == Major components == Tiki has four major categories of components: content creation and management tools, content organization tools and navigation aids, communication tools, and configuration and administration tools. These components enable administrators and users to create and manage content, as well as letting them communicate to others and configure sites. In addition, Tiki allows each user to choose from various visual themes. These themes are implemented using CSS and the open source Smarty template engine. Additional themes can be created by a Tiki administrator for branding or customization as well. == Internationalization == Tiki is an international project, supporting many languages. The default interface language in Tiki is English, but any language that can be encoded and displayed using the UTF-8 encoding can be supported. Translated strings can be included via an external language file, or by translating interface strings directly, through the database. As of 29 September 2005, Tiki had been fully translated into eight languages and reportedly 90% or more translated into another five languages, as well as partial translations for nine additional languages. Tiki also supports interactive translation of actual wiki pages and was the initial wiki engine used in the Cross Lingual Wiki Engine Project. This allows Tiki-based web sites to have translated content — not just the user interface. == Implementation == Tiki is developed primarily in PHP with some JavaScript code. It uses MySQL/MariaDB as a database. It will run on any server that provides PHP 5, including Apache and Microsoft's IIS. Tiki components make extensive use of other open source projects, including Zend Framework, Smarty, jQuery, HTML Purifier, FCKeditor, Raphaël, phpCAS, and Morcego. When used with Mapserver Tiki can become a Geospatial Content Management System. == Project team == Tiki is under active development by a large international community of over 300 developers and translators, and is one of the largest open-source teams in the world. Project members have donated the resources and bandwidth required to host the tiki.org website and various subdomains. The project members refer to this dependence on their own product as "eating their own dogfood", which they have been doing since the early days of the project. Tiki community members also participate in various related events such as WikiSym and the Libre Software Meeting. == History == Tiki has been hosted on SourceForge.net since its initial release (Release 0.9, named Spica) in October 2002. It was primarily the development of Luis Argerich (Buenos Aires, Argentina), Eduardo Polidor (São Paulo, Brazil), and Garland Foster (Green Bay, WI, United States). In July 2003, Tiki was named the SourceForge.net July 2003 Project of the Month. In late 2003, a fork of Tiki was used to create Bitweaver. In 2006, Tiki was named to CMS Report's Top 30 Web Applications. In 2008, Tiki was named to EContent magazine's Top 100 In 2009, Tiki adopted a six-month release cycle and announced the selection of a Long Term Support (LTS) version and the Tiki Software Community Association was formed as the legal steward for Tiki. The Tiki Software Association is a not-for-profit entity established in Canada. Previously, the entire project was run entirely by volunteers. In 2010, Tiki received Best of Open Source Software Applications Award (BOSSIE) from InfoWorld, in the Applications category. In 2011, Tiki was named to CMS Report's Top 30 Web Applications. In 2012, Tiki was named "Best Web Tool" by WebHostingSearch.com, and "People's Choice: Best Free CMS" by CMS Critic. In 2016, Tiki was named as one of the "10 Best Open Source Collaboration Software Tools" by Small Business Computing. == Name == The name TikiWiki is written in CamelCase, a common Wiki syntax indicating a hyperlink within the Wiki. It is most likely a compound word combining two Polynesian terms, Tiki and Wiki, to create a self-rhyming name similar to wikiwiki, a common variant of wiki. A backronym has also been formed for Tiki: Tightly Integrated Knowledge Infrastructure. == Release Information and History == In general, the Tiki Software Community Association releases a new major version of Tiki Wiki every 8 months where prior, non-LTS, major versions are supported until the first minor version release of the next major version (i.e., 16.0 ⇒ 17.1). Starting with version 12.x, Tiki Wiki LTS is supported for 5 years where it enters a security/maintenance release cycle upon the release of the next LTS version. Tiki Wiki's release history is outlined below.
T-vertices
T-vertices is a term used in computer graphics to describe a problem that can occur during mesh refinement or mesh simplification. The most common case occurs in naive implementations of continuous level of detail, where a finer-level mesh is "sewn" together with a coarser-level mesh by simply aligning the finer vertices on the edges of the coarse polygons. The result is a continuous mesh, however due to the nature of the z-buffer and certain lighting algorithms such as Gouraud shading, visual artifacts can often be detected. Some modeling algorithms such as subdivision surfaces will fail when a model contains T-vertices.
Gonioreflectometer
A gonioreflectometer is a device for measuring a bidirectional reflectance distribution function (BRDF). The device consists of a light source illuminating the material to be measured and a sensor that captures light reflected from that material. The light source should be able to illuminate and the sensor should be able to capture data from a hemisphere around the target. The hemispherical rotation dimensions of the sensor and light source are the four dimensions of the BRDF. The 'gonio' part of the word refers to the device's ability to measure at different angles. Several similar devices have been built and used to capture data for similar functions. Most of these devices use a camera instead of the light intensity-measuring sensor to capture a two-dimensional sample of the target. Examples include: a spatial gonioreflectometer for capturing the SBRDF (McAllister, 2002). a camera gantry for capturing the light field (Levoy and Hanrahan, 1996). an unnamed device for capturing the bidirectional texture function (Dana et al., 1999).
Zynn
Zynn was a Chinese video-sharing social networking service owned by Kuaishou, a Beijing-based internet technology company established in 2011 by Su Hua and Cheng Yixiao. It was used to create and share short videos, and it pays its users for using the app and referring others. Zynn was launched on May 7, 2020. It became the most-downloaded app in the App Store in the same month. It has also been criticized for being a "pyramid scheme", and it has faced accusations of plagiarism and stealing content. Aside from Zynn in North America, Kuaishou is available under the name Kwai in Russia, South Korea, Japan, Thailand, Vietnam, Philippines, Malaysia, Indonesia, Brazil, America, India, and the Middle East. Kwai used to be available in Australia and the United States on the App Store, but was removed at an unknown date. Zynn was permanently shut down on the 20th of August, 2021. == History == In 2011, entrepreneur Su Hua co-founded Kuaishou with business partner Cheng Yixiao. Originally a GIF-making app, Kuaishou soon moved to short video content. Su Hua also serves as the current Kuaishou CEO. In December 2019, Chinese internet conglomerate Tencent invested $2 billion in Kuaishou, reportedly to compete with rival ByteDance. In December 2019, Kuaishou acquired an app developer called Owlii, which is the developer of Zynn. Zynn was developed to be a North American Market edition of Kuaishou. On May 7, 2020, the app was launched and it was downloaded over 2 million times in that month. On May 12, 2020, Kuaishou filed a lawsuit seeking compensation for "unfair competition", and accused Douyin, the sister app of TikTok, of "interfering" with search results on app stores. Zynn shut down on the 20th of August, 2021. == Features == Zynn allows its users to create, edit and share short videos of themselves. Its interface has been described as a "complete clone" of TikTok, its main competitor. The Zynn app was unique in the way that they paid users for using the platform. Each user earned $1 for signing up, and they could earn money for referring users to the platform. Watching videos resulted in earning "points", which could be redeemed for gift cards or be cashed out via PayPal.[1] == Criticisms and controversies == Multiple TikTok users had reported seeing their entire accounts plagiarized, with one account pretending to be Addison Rae. Despite being launched in May, many videos were posted in February. Zynn has employed "intermittent variable rewards" in its point system, which has been criticized as being the "same reinforcement strategy used to addict people to slot machines". Cash payouts for using the app have resulted in criticism and accusations of anti-competitive behavior. The app was taken down from the Google Play store on June 10. Zynn blamed it on an "isolated incident". Six days later, it was taken down from the App Store as well. US Senator Josh Hawley has criticized the platform, calling it "predatory" and "anti-competitive" in a letter to the Federal Trade Commission asking for an investigation into Zynn. He said "[Zynn] smacks of a textbook predatory-pricing scheme, one calculated to attain immediate market dominance for Zynn by driving competitors out of the market."
Common Image Generator Interface
The Common Image Generator Interface (CIGI) (pronounced sig-ee), is an on-the-wire data protocol that allows communication between an Image Generator and its host simulation. The interface is designed to promote a standard way for a host device to communicate with an image generator (IG) within the industry. CIGI enables plug-and-play by standard-compliant image generator vendors and reduces integration costs when upgrading visual systems. == Background == Most high-end simulators do not have everything running on a single machine the way popular home software flight simulators are currently implemented. The airplane model is run on one machine, normally referred to as the host, and the out the window visuals or scene graph program is run on another, usually referred to as an Image Generator (IG). Frequently there are multiple IGs required to display the surrounding environment created by a host. CIGI is the interface between the 'host' and the IGs. The main goal of CIGI is to capitalize on previous investments through the use of a common interface. CIGI is designed to assist suppliers and integrators of IG systems with ease of integration, code reuse, and overall cost reduction. In the past most image generators provided their own proprietary interface; every host had to implement that interface making changing image generators a costly ordeal. CIGI was created to standardize the interface between the host and the image generator so that little modification would be needed to switch image generators. The CIGI initiative was largely spearheaded by The Boeing Company during the early 21st century. The latest version of CIGI (CIGI 4.0) was developed by the Simulation Interoperability Standards Organization (SISO) in the form of SISO-STD-013-2014, Standard for Common Image Generator Interface (CIGI), Version 4.0, dated 22 August 2014. SISO-STD-013-2014 is freely available from SISO. == Definitions == Image generator – In this context an image generator consists of one or more rendering channels that produce an image that can be used to visualize an “Out-The-Window” scene, or images produced by various sensor simulations such as Infra-red, Day TV, electro-optical, and night vision. Host simulation – In this context a “Host” is the computational system that provides information about the device being simulated so that the image generator can portray the correct scenery to the user. This information is passed via CIGI to the image generator. == Maturation == CIGI 4 is the latest version of the standard as was approved by the Simulation Interoperability Standards Organization on August 22, 2014. CIGI became an international SISO standard known as SISO-STD-013-2014; which contains the CIGI version 4.0 Interface Control Document (ICD). CIGI 4.0 is the official standard, published by SISO. Previous versions of CIGI were spearheaded by Boeing include CIGI v3.3, in November 2008, v3.2 April 2006, v3.1 June 2004, v3 November 2003, v2 in March 2002, and the original (v1) in March 2001 == Protocol dependencies == Typically, CIGI uses UDP as its transport protocol, but CIGI does not require a specific transport mechanism, only packet definition conformance. CIGI traffic does not have a well known port; however, the use of ports 8004-8005 has been widely adopted by commercial image generator vendors implementations. == Development tools == === Host Emulator === The Host Emulator can be used as a surrogate to manipulate the interface when a simulation Host is not available. It is a Windows-based image generator Host application used to develop, integrate and test image generators that use the CIGI protocol. It provides a graphical user interface (GUI) for the creation, modification and deletion of entities; manipulation of views; control of environmental attributes and phenomena; and other host functions. The Host Emulator has several features that are useful for integration and testing. A free-flight mode allows for fixed-wing and rotorcraft flight, movement along entity axes and free rotation using a joystick or a joystick-like widget. Scripting and record/playback features support regression testing, demonstrations and other tasks needing exact reproduction of certain sequences of events. A packet-level snoop feature allows the user to examine the contents of CIGI messages, image generator response times and latencies. A Heartbeat Monitor Window shows a graphical timing history of the Image Generator's data frame rate. Other features include explicit packet creation, animation control, missile flyouts and a situation display window (Host Emulator 3.x only). === Multi-Purpose Viewer === The Multi-Purpose Viewer (MPV) provides the basic functionality expected of an Image Generator, such as loading and displaying a terrain database, displaying entities and so forth. The Multi-Purpose Viewer can be used as a surrogate to manipulate the interface when a real Image Generator is not available. The MPV is capable of operating with both the Windows and Linux operating systems. === CIGI Class Library === The CCL is an object-oriented software interface that automatically handles message composition and decomposition (i.e. packing, unpacking and byte swapping to the ICD specification) on both the Host and Image Generator sides of the interface. The CCL interprets Host or Image Generator messages based on compile time parameters. It also performs error handling and translation between different versions of CIGI. Each packet type has its own class. The individual packet members are accessed through packet class accessors. Outgoing messages are constructed by placing each packet into the outgoing buffer using a streaming operator. Incoming messages are parsed using callback or event-based mechanisms that supply the using program with fully populated packet objects. === Current tool suite === A set of CIGI development tools are managed and maintained by the SISO CIGI Product Support Group. The latest packages are available on SourceForge. Comments/Suggestions to the package can be directed to the SISO discussion board at: https://discussions.sisostds.org/index.htm?A0=SAC-PSG-CIGI Archived 2017-09-13 at the Wayback Machine === Wireshark === Wireshark is a free and open source packet analyzer. It is used for network troubleshooting, analysis, software and communications protocol development, and education. Wireshark provides a dissector for CIGI packets. As of October 2016, “The CIGI dissector is fully functional for CIGI version 2 and 3. Version 1 is not yet implemented.” === Older versions of CIGI === A CIGI Interface Control Document (ICD) and development suite is available in open source format. The tools, ICD, and accompanying user documentation can be found and downloaded from the CIGI sourceforge web site. The SourceForge version of the MPV is limited in its support of CIGI data packets and is intended to grow as needs arise. The MPV uses CIGI 3 as its interface, but the MPV is backward-compatible with earlier CIGI versions through the use of the CCL. The MPV uses the Open Scene Graph library to render a scene. The scene graph is manipulated according to the CIGI commands received from the Host via the CCL. The MPV itself is an application layer that consists of a small kernel leveraging heavily on a plug-in architecture for ease of maintainability and flexibility. An implementer can implement the interface from scratch, however a full suite of integration tools is available. These tools consist of three elements. The Host Emulator (HE), the Multi-Purpose Viewer (MPV), and the CIGI Class Library (CCL).
Admissible heuristic
In computer science, specifically in algorithms related to pathfinding, a heuristic function is said to be admissible if it never overestimates the cost of reaching the goal, i.e. the cost it estimates to reach the goal is not higher than the lowest possible cost from the current point in the path. In other words, it should act as a lower bound. It is related to the concept of consistent heuristics. While all consistent heuristics are admissible, not all admissible heuristics are consistent. == Search algorithms == An admissible heuristic is used to estimate the cost of reaching the goal state in an informed search algorithm. In order for a heuristic to be admissible to the search problem, the estimated cost must always be lower than or equal to the actual cost of reaching the goal state. The search algorithm uses the admissible heuristic to find an estimated optimal path to the goal state from the current node. For example, in A search the evaluation function (where n {\displaystyle n} is the current node) is: f ( n ) = g ( n ) + h ( n ) {\displaystyle f(n)=g(n)+h(n)} where f ( n ) {\displaystyle f(n)} = the evaluation function. g ( n ) {\displaystyle g(n)} = the cost from the start node to the current node h ( n ) {\displaystyle h(n)} = estimated cost from current node to goal. h ( n ) {\displaystyle h(n)} is calculated using the heuristic function. With a non-admissible heuristic, the A algorithm could overlook the optimal solution to a search problem due to an overestimation in f ( n ) {\displaystyle f(n)} . == Formulation == n {\displaystyle n} is a node h {\displaystyle h} is a heuristic h ( n ) {\displaystyle h(n)} is cost indicated by h {\displaystyle h} to reach a goal from n {\displaystyle n} h ∗ ( n ) {\displaystyle h^{}(n)} is the optimal cost to reach a goal from n {\displaystyle n} h ( n ) {\displaystyle h(n)} is admissible if, ∀ n {\displaystyle \forall n} h ( n ) ≤ h ∗ ( n ) {\displaystyle h(n)\leq h^{}(n)} == Construction == An admissible heuristic can be derived from a relaxed version of the problem, or by information from pattern databases that store exact solutions to subproblems of the problem, or by using inductive learning methods. == Examples == Two different examples of admissible heuristics apply to the fifteen puzzle problem: Hamming distance Manhattan distance The Hamming distance is the total number of misplaced tiles. It is clear that this heuristic is admissible since the total number of moves to order the tiles correctly is at least the number of misplaced tiles (each tile not in place must be moved at least once). The cost (number of moves) to the goal (an ordered puzzle) is at least the Hamming distance of the puzzle. The Manhattan distance of a puzzle is defined as: h ( n ) = ∑ all tiles d i s t a n c e ( tile, correct position ) {\displaystyle h(n)=\sum _{\text{all tiles}}{\mathit {distance}}({\text{tile, correct position}})} Consider the puzzle below in which the player wishes to move each tile such that the numbers are ordered. The Manhattan distance is an admissible heuristic in this case because every tile will have to be moved at least the number of spots in between itself and its correct position. The subscripts show the Manhattan distance for each tile. The total Manhattan distance for the shown puzzle is: h ( n ) = 3 + 1 + 0 + 1 + 2 + 3 + 3 + 4 + 3 + 2 + 4 + 4 + 4 + 1 + 1 = 36 {\displaystyle h(n)=3+1+0+1+2+3+3+4+3+2+4+4+4+1+1=36} == Optimality proof == If an admissible heuristic is used in an algorithm that, per iteration, progresses only the path of lowest evaluation (current cost + heuristic) of several candidate paths, terminates the moment its exploration reaches the goal and, crucially, closes all optimal paths before terminating (something that's possible with A search algorithm if special care isn't taken), then this algorithm can only terminate on an optimal path. To see why, consider the following proof by contradiction: Assume such an algorithm managed to terminate on a path T with a true cost Ttrue greater than the optimal path S with true cost Strue. This means that before terminating, the evaluated cost of T was less than or equal to the evaluated cost of S (or else S would have been picked). Denote these evaluated costs Teval and Seval respectively. The above can be summarized as follows, Strue < Ttrue Teval ≤ Seval If our heuristic is admissible it follows that at this penultimate step Teval = Ttrue because any increase on the true cost by the heuristic on T would be inadmissible and the heuristic cannot be negative. On the other hand, an admissible heuristic would require that Seval ≤ Strue which combined with the above inequalities gives us Teval < Ttrue and more specifically Teval ≠ Ttrue. As Teval and Ttrue cannot be both equal and unequal our assumption must have been false and so it must be impossible to terminate on a more costly than optimal path. As an example, let us say we have costs as follows:(the cost above/below a node is the heuristic, the cost at an edge is the actual cost) 0 10 0 100 0 START ---- O ----- GOAL | | 0| |100 | | O ------- O ------ O 100 1 100 1 100 So clearly we would start off visiting the top middle node, since the expected total cost, i.e. f ( n ) {\displaystyle f(n)} , is 10 + 0 = 10 {\displaystyle 10+0=10} . Then the goal would be a candidate, with f ( n ) {\displaystyle f(n)} equal to 10 + 100 + 0 = 110 {\displaystyle 10+100+0=110} . Then we would clearly pick the bottom nodes one after the other, followed by the updated goal, since they all have f ( n ) {\displaystyle f(n)} lower than the f ( n ) {\displaystyle f(n)} of the current goal, i.e. their f ( n ) {\displaystyle f(n)} is 100 , 101 , 102 , 102 {\displaystyle 100,101,102,102} . So even though the goal was a candidate, we could not pick it because there were still better paths out there. This way, an admissible heuristic can ensure optimality. However, note that although an admissible heuristic can guarantee final optimality, it is not necessarily efficient.
Generative art
Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu