A paperless society is a society in which paper communication (written documents, email, letters, etc.) is replaced by electronic communication and storage. The concept was first introduced by Frederick Wilfrid Lancaster in 1978. Furthermore, libraries would no longer be needed to handle printed documents. "Librarians will, in time, become information specialists in a deinstitutionalized setting". Lancaster also stated that both computers and libraries will not always give us the information that other people and living life will. == Literature == Brodman, E. (1979). Review of Toward Paperless Information Systems. Bulletin of the Medical Library Association, 67(4), 437–439. Buckland, M. K. (1980). Review of Toward Paperless Information Systems. Journal of Academic Librarianship, 5(6), 349. Grosch, A. (1979). Review of Toward Paperless Information Systems. College & Research Libraries, 40(1), 88–89. Kohl, D. F. (2004). From the editor . . . The paperless society . . . Not quite yet. Journal of Academic Librarianship, 30(3), 177–178. Lancaster, F. W. (1978a). Toward paperless information systems. New York: Academic Press. Lancaster, F. W. (1980b). The future of the librarian lies outside of the library. Catholic Library World, 51, 388–391. Lancaster, F. W. (1982a). Libraries and librarians in an age of electronics. Arlington, VA: Information Resources Press. Lancaster, F. W. (1982b). The evolving paperless society and its implications for libraries. International Forum on Information and Documentation, 7(4), 3–10. Lancaster, F. W. (1983). Future librarianship: Preparing for an unconventional career. Wilson Library Bulletin, 57, 747–753. Lancaster, F. W. (1985). The paperless society revisited. American Libraries, 16, 553–555. Lancaster, F. W. (1993). Libraries and the future: Essays on the library in the twenty-first century. New York: Haworth Press. Lancaster, F. W. (1999). Second thoughts on the paperless society. Library Journal, 124(15), 48– 50. Lancaster, F. W., & Smith, L. C. (1980c). On-Line systems in the communication process: Projections. Journal of the American Society for Information Science, 31(3), 193–200. Miall, D. S. (2001). The library versus the Internet: Literary studies under siege? Proceedings of the Modern Language Association, 116(5), 1405–1414. Salton, G. (1979). Review of Toward Paperless Information Systems. Journal of Documentation, 35(3), 250–252. Sellen, A. J., & Harper, R. H. R. (2003). The myth of the paperless office. Cambridge, MA: MIT Press. Stevens, N. D. (2006). The fully electronic academic library. College & Research Libraries, 67(1),5–14. Young, Arthur P. (2008).Aftermath of a Prediction: F. W. Lancaster and the Paperless Society LIBRARY TRENDS, 56(4),(“The Evaluation and Transformation of Information Systems: Essays Honoring the Legacy of F. W. Lancaster,” edited by Lorraine J. Haricombe and Keith Russell), pp. 843–858.
Viola–Jones object detection framework
The Viola–Jones object detection framework is a machine learning object detection framework proposed in 2001 by Paul Viola and Michael Jones. It was motivated primarily by the problem of face detection, although it can be adapted to the detection of other object classes. In short, it consists of a sequence of classifiers. Each classifier is a single perceptron with several binary masks (Haar features). To detect faces in an image, a sliding window is computed over the image. For each image, the classifiers are applied. If at any point, a classifier outputs "no face detected", then the window is considered to contain no face. Otherwise, if all classifiers output "face detected", then the window is considered to contain a face. The algorithm is efficient for its time, able to detect faces in 384 by 288 pixel images at 15 frames per second on a conventional 700 MHz Intel Pentium III. It is also robust, achieving high precision and recall. While it has lower accuracy than more modern methods such as convolutional neural network, its efficiency and compact size (only around 50k parameters, compared to millions of parameters for typical CNN like DeepFace) means it is still used in cases with limited computational power. For example, in the original paper, they reported that this face detector could run on the Compaq iPAQ at 2 fps (this device has a low power StrongARM without floating point hardware). == Problem description == Face detection is a binary classification problem combined with a localization problem: given a picture, decide whether it contains faces, and construct bounding boxes for the faces. To make the task more manageable, the Viola–Jones algorithm only detects full view (no occlusion), frontal (no head-turning), upright (no rotation), well-lit, full-sized (occupying most of the frame) faces in fixed-resolution images. The restrictions are not as severe as they appear, as one can normalize the picture to bring it closer to the requirements for Viola-Jones. any image can be scaled to a fixed resolution for a general picture with a face of unknown size and orientation, one can perform blob detection to discover potential faces, then scale and rotate them into the upright, full-sized position. the brightness of the image can be corrected by white balancing. the bounding boxes can be found by sliding a window across the entire picture, and marking down every window that contains a face. This would generally detect the same face multiple times, for which duplication removal methods, such as non-maximal suppression, can be used. The "frontal" requirement is non-negotiable, as there is no simple transformation on the image that can turn a face from a side view to a frontal view. However, one can train multiple Viola-Jones classifiers, one for each angle: one for frontal view, one for 3/4 view, one for profile view, a few more for the angles in-between them. Then one can at run time execute all these classifiers in parallel to detect faces at different view angles. The "full-view" requirement is also non-negotiable, and cannot be simply dealt with by training more Viola-Jones classifiers, since there are too many possible ways to occlude a face. == Components of the framework == A full presentation of the algorithm is in. Consider an image I ( x , y ) {\displaystyle I(x,y)} of fixed resolution ( M , N ) {\displaystyle (M,N)} . Our task is to make a binary decision: whether it is a photo of a standardized face (frontal, well-lit, etc) or not. Viola–Jones is essentially a boosted feature learning algorithm, trained by running a modified AdaBoost algorithm on Haar feature classifiers to find a sequence of classifiers f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} . Haar feature classifiers are crude, but allows very fast computation, and the modified AdaBoost constructs a strong classifier out of many weak ones. At run time, a given image I {\displaystyle I} is tested on f 1 ( I ) , f 2 ( I ) , . . . f k ( I ) {\displaystyle f_{1}(I),f_{2}(I),...f_{k}(I)} sequentially. If at any point, f i ( I ) = 0 {\displaystyle f_{i}(I)=0} , the algorithm immediately returns "no face detected". If all classifiers return 1, then the algorithm returns "face detected". For this reason, the Viola-Jones classifier is also called "Haar cascade classifier". === Haar feature classifiers === Consider a perceptron f w , b {\displaystyle f_{w,b}} defined by two variables w ( x , y ) , b {\displaystyle w(x,y),b} . It takes in an image I ( x , y ) {\displaystyle I(x,y)} of fixed resolution, and returns f w , b ( I ) = { 1 , if ∑ x , y w ( x , y ) I ( x , y ) + b > 0 0 , else {\displaystyle f_{w,b}(I)={\begin{cases}1,\quad {\text{if }}\sum _{x,y}w(x,y)I(x,y)+b>0\\0,\quad {\text{else}}\end{cases}}} A Haar feature classifier is a perceptron f w , b {\displaystyle f_{w,b}} with a very special kind of w {\displaystyle w} that makes it extremely cheap to calculate. Namely, if we write out the matrix w ( x , y ) {\displaystyle w(x,y)} , we find that it takes only three possible values { + 1 , − 1 , 0 } {\displaystyle \{+1,-1,0\}} , and if we color the matrix with white on + 1 {\displaystyle +1} , black on − 1 {\displaystyle -1} , and transparent on 0 {\displaystyle 0} , the matrix is in one of the 5 possible patterns shown on the right. Each pattern must also be symmetric to x-reflection and y-reflection (ignoring the color change), so for example, for the horizontal white-black feature, the two rectangles must be of the same width. For the vertical white-black-white feature, the white rectangles must be of the same height, but there is no restriction on the black rectangle's height. ==== Rationale for Haar features ==== The Haar features used in the Viola-Jones algorithm are a subset of the more general Haar basis functions, which have been used previously in the realm of image-based object detection. While crude compared to alternatives such as steerable filters, Haar features are sufficiently complex to match features of typical human faces. For example: The eye region is darker than the upper-cheeks. The nose bridge region is brighter than the eyes. Composition of properties forming matchable facial features: Location and size: eyes, mouth, bridge of nose Value: oriented gradients of pixel intensities Further, the design of Haar features allows for efficient computation of f w , b ( I ) {\displaystyle f_{w,b}(I)} using only constant number of additions and subtractions, regardless of the size of the rectangular features, using the summed-area table. === Learning and using a Viola–Jones classifier === Choose a resolution ( M , N ) {\displaystyle (M,N)} for the images to be classified. In the original paper, they recommended ( M , N ) = ( 24 , 24 ) {\displaystyle (M,N)=(24,24)} . ==== Learning ==== Collect a training set, with some containing faces, and others not containing faces. Perform a certain modified AdaBoost training on the set of all Haar feature classifiers of dimension ( M , N ) {\displaystyle (M,N)} , until a desired level of precision and recall is reached. The modified AdaBoost algorithm would output a sequence of Haar feature classifiers f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} . The details of the modified AdaBoost algorithm is detailed below. ==== Using ==== To use a Viola-Jones classifier with f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} on an image I {\displaystyle I} , compute f 1 ( I ) , f 2 ( I ) , . . . f k ( I ) {\displaystyle f_{1}(I),f_{2}(I),...f_{k}(I)} sequentially. If at any point, f i ( I ) = 0 {\displaystyle f_{i}(I)=0} , the algorithm immediately returns "no face detected". If all classifiers return 1, then the algorithm returns "face detected". === Learning algorithm === The speed with which features may be evaluated does not adequately compensate for their number, however. For example, in a standard 24x24 pixel sub-window, there are a total of M = 162336 possible features, and it would be prohibitively expensive to evaluate them all when testing an image. Thus, the object detection framework employs a variant of the learning algorithm AdaBoost to both select the best features and to train classifiers that use them. This algorithm constructs a "strong" classifier as a linear combination of weighted simple “weak” classifiers. h ( x ) = sgn ( ∑ j = 1 M α j h j ( x ) ) {\displaystyle h(\mathbf {x} )=\operatorname {sgn} \left(\sum _{j=1}^{M}\alpha _{j}h_{j}(\mathbf {x} )\right)} Each weak classifier is a threshold function based on the feature f j {\displaystyle f_{j}} . h j ( x ) = { − s j if f j < θ j s j otherwise {\displaystyle h_{j}(\mathbf {x} )={\begin{cases}-s_{j}&{\text{if }}f_{j}<\theta _{j}\\s_{j}&{\text{otherwise}}\end{cases}}} The threshold value θ j {\displaystyle \theta _{j}} and the polarity s j ∈ ± 1 {\displaystyle s_{j}\in \pm 1} are determined in the training, as well as the coefficients α j {\displaystyle \alpha _{j}} . Here a simplified version of the lea
The Raimones
The Raimones (stylized as THE RAiMONES) is a 2017 generative music project that utilized artificial intelligence to compose music in the style of the American punk rock band The Ramones. Developed by Matthias Frey, a researcher at Sony CSL Tokyo, the project was an early experiment in applying deep learning to high-energy, minimalist musical genres. == Technical Development == The project utilized Long short-term memory (LSTM) recurrent neural networks to generate musical structures and lyrics. The model was trained on a dataset consisting of 130 Ramones songs in MIDI format and the band's complete lyrical catalog. The technical framework was built using Python and Jupyter Notebook, drawing influence from the character-level RNN text generation models popularized by Andrej Karpathy. Unlike contemporary AI music projects that focused on the harmonic complexities of classical or pop music, THE RAiMONES sought to determine if neural networks could replicate the "1-2-3-4" rhythmic consistency and formulaic nature of early punk. == "I'm Alive" == The primary output of the project was the song "I'm Alive," released in 2017. The work is described as a form of "augmented intelligence," a hybrid approach where the AI provides the compositional foundation and human musicians handle the arrangement and performance. The song was recorded by the musician Mr. Ratboy (Gilbert Avondet). Avondet's involvement provided a stylistic link to the subject material, as he had previously served as a touring guitarist for Marky Ramone and the Intruders in 1996. The project's discography has since been made available on major streaming platforms, including Apple Music. == Reception and Significance == The project has been cited as a "proof of concept" for AI's ability to tackle "noisy" and aggressive aesthetics. In 2019, the Belgian magazine Knack Focus profiled the project alongside other AI pioneers such as Holly Herndon, noting the project's attempt to recreate the sound of "deceased legends" while maintaining a distinct, machine-like quality. It has also been featured in academic settings, such as at UC Santa Cruz, as a case study for AI-driven genre mimicry.
Belief–desire–intention software model
The belief–desire–intention software model (BDI) is a software model developed for programming intelligent agents. Superficially characterized by the implementation of an agent's beliefs, desires and intentions, it actually uses these concepts to solve a particular problem in agent programming. In essence, it provides a mechanism for separating the activity of selecting a plan (from a plan library or an external planner application) from the execution of currently active plans. Consequently, BDI agents are able to balance the time spent on deliberating about plans (choosing what to do) and executing those plans (doing it). A third activity, creating the plans in the first place (planning), is not within the scope of the model, and is left to the system designer and programmer. == Overview == In order to achieve this separation, the BDI software model implements the principal aspects of Michael Bratman's theory of human practical reasoning (also referred to as Belief-Desire-Intention, or BDI). That is to say, it implements the notions of belief, desire and (in particular) intention, in a manner inspired by Bratman. For Bratman, desire and intention are both pro-attitudes (mental attitudes concerned with action). He identifies commitment as the distinguishing factor between desire and intention, noting that it leads to (1) temporal persistence in plans and (2) further plans being made on the basis of those to which it is already committed. The BDI software model partially addresses these issues. Temporal persistence, in the sense of explicit reference to time, is not explored. The hierarchical nature of plans is more easily implemented: a plan consists of a number of steps, some of which may invoke other plans. The hierarchical definition of plans itself implies a kind of temporal persistence, since the overarching plan remains in effect while subsidiary plans are being executed. An important aspect of the BDI software model (in terms of its research relevance) is the existence of logical models through which it is possible to define and reason about BDI agents. Research in this area has led, for example, to the axiomatization of some BDI implementations, as well as to formal logical descriptions such as Anand Rao and Michael Georgeff's BDICTL. The latter combines a multiple-modal logic (with modalities representing beliefs, desires and intentions) with the temporal logic CTL. More recently, Michael Wooldridge has extended BDICTL to define LORA (the Logic Of Rational Agents), by incorporating an action logic. In principle, LORA allows reasoning not only about individual agents, but also about communication and other interaction in a multi-agent system. The BDI software model is closely associated with intelligent agents, but does not, of itself, ensure all the characteristics associated with such agents. For example, it allows agents to have private beliefs, but does not force them to be private. It also has nothing to say about agent communication. Ultimately, the BDI software model is an attempt to solve a problem that has more to do with plans and planning (the choice and execution thereof) than it has to do with the programming of intelligent agents. This approach has recently been proposed by Steven Umbrello and Roman Yampolskiy as a means of designing autonomous vehicles for human values. == BDI agents == A BDI agent is a particular type of bounded rational software agent, imbued with particular mental attitudes, viz: Beliefs, Desires and Intentions (BDI). === Architecture === This section defines the idealized architectural components of a BDI system. Beliefs: Beliefs represent the informational state of the agent–its beliefs about the world (including itself and other agents). Beliefs can also include inference rules, allowing forward chaining to lead to new beliefs. Using the term belief rather than knowledge recognizes that what an agent believes may not necessarily be true (and in fact may change in the future). Beliefset: Beliefs are stored in database (sometimes called a belief base or a belief set), although that is an implementation decision. Desires: Desires represent the motivational state of the agent. They represent objectives or situations that the agent would like to accomplish or bring about. Examples of desires might be: find the best price, go to the party or become rich. Goals: A goal is a desire that has been adopted for active pursuit by the agent. Usage of the term goals adds the further restriction that the set of active desires must be consistent. For example, one should not have concurrent goals to go to a party and to stay at home – even though they could both be desirable. Intentions: Intentions represent the deliberative state of the agent – what the agent has chosen to do. Intentions are desires to which the agent has to some extent committed. In implemented systems, this means the agent has begun executing a plan. Plans: Plans are sequences of actions (recipes or knowledge areas) that an agent can perform to achieve one or more of its intentions. Plans may include other plans: my plan to go for a drive may include a plan to find my car keys. This reflects that in Bratman's model, plans are initially only partially conceived, with details being filled in as they progress. Events: These are triggers for reactive activity by the agent. An event may update beliefs, trigger plans or modify goals. Events may be generated externally and received by sensors or integrated systems. Additionally, events may be generated internally to trigger decoupled updates or plans of activity. BDI was also extended with an obligations component, giving rise to the BOID agent architecture to incorporate obligations, norms and commitments of agents that act within a social environment. === BDI interpreter === This section defines an idealized BDI interpreter that provides the basis of SRI's PRS lineage of BDI systems: initialize-state repeat options: option-generator (event-queue) selected-options: deliberate(options) update-intentions(selected-options) execute() get-new-external-events() drop-unsuccessful-attitudes() drop-impossible-attitudes() end repeat === Limitations and criticisms === The BDI software model is one example of a reasoning architecture for a single rational agent, and one concern in a broader multi-agent system. This section bounds the scope of concerns for the BDI software model, highlighting known limitations of the architecture. Learning: BDI agents lack any specific mechanisms within the architecture to learn from past behavior and adapt to new situations. Three attitudes: Classical decision theorists and planning research questions the necessity of having all three attitudes, distributed AI research questions whether the three attitudes are sufficient. Logics: The multi-modal logics that underlie BDI (that do not have complete axiomatizations and are not efficiently computable) have little relevance in practice. Multiple agents: In addition to not explicitly supporting learning, the framework may not be appropriate to learning behavior. Further, the BDI model does not explicitly describe mechanisms for interaction with other agents and integration into a multi-agent system. Explicit goals: Most BDI implementations do not have an explicit representation of goals. Lookahead: The architecture does not have (by design) any lookahead deliberation or forward planning. This may not be desirable because adopted plans may use up limited resources, actions may not be reversible, task execution may take longer than forward planning, and actions may have undesirable side effects if unsuccessful. == BDI agent implementations == === 'Pure' BDI === Procedural Reasoning System (PRS) IRMA (not implemented but can be considered as PRS with non-reconsideration) UM-PRS OpenPRS Distributed Multi-Agent Reasoning System (dMARS) AgentSpeak(L) – see Jason below AgentSpeak(RT) Agent Real-Time System (ARTS) (ARTS) JAM JACK Intelligent Agents JADEX (open source project) JaKtA JASON GORITE SPARK 3APL 2APL GOAL agent programming language CogniTAO (Think-As-One) Living Systems Process Suite PROFETA Gwendolen (Part of the Model Checking Agent Programming Languages Framework) === Extensions and hybrid systems === JACK Teams CogniTAO (Think-As-One) Living Systems Process Suite Brahms JaCaMo
Deepfake pornography
Deepfake pornography is a form of non-consensual AI pornography created by altering existing photographs or videos using deepfake technology to modify the appearance of the participants. The use of deepfake pornography has sparked controversy because it involves the making and sharing of realistic videos featuring non-consenting individuals and is sometimes used for revenge porn. Many countries have criminalized this "new voyeurism" through legislative measures and technological solutions. == History == The term "deepfake" was coined in 2017 on a Reddit forum where users shared altered pornographic videos created using machine learning algorithms. It is a combination of the word "deep learning", which refers to the program used to create the videos, and "fake" meaning the videos are not real. Deepfake pornography was originally created on a small individual scale using a combination of machine learning algorithms, computer vision techniques, and AI software. The process began by gathering a large amount of source material (including both images and videos) of a person's face, and then using a deep learning model to train a Generative Adversarial Network to create a fake video that convincingly swaps the face of the source material onto the body of a pornographic performer. However, the production process has significantly evolved since 2018, with the advent of several public apps that have largely automated the process. While several AI "nudification" apps emerged on mainstream platforms like Google Play and the Apple App Store around 2023, major tech storefronts have since implemented stricter policies and automated detection to ban such software. Consequently, the proliferation of non-consensual deepfake pornography has largely shifted to decentralized websites, specialized online forums, and third-party messaging bot ecosystems. Deepfake pornography is sometimes confused with fake nude photography, but the two are mostly different. Fake nude photography typically uses non-sexual images and merely makes it appear that the people in them are nude. == Notable cases == Deepfake technology has been used to create non-consensual and pornographic images and videos of famous women. One of the earliest examples occurred in 2017 when a deepfake pornographic video of Gal Gadot was created by a Reddit user and quickly spread online. Since then, there have been numerous instances of similar deepfake content targeting other female celebrities, such as Emma Watson, Natalie Portman, and Scarlett Johansson. Johansson spoke publicly on the issue in December 2018, condemning the practice but also refusing legal action because she views the harassment as inevitable. === Rana Ayyub === In 2018, Rana Ayyub, an Indian investigative journalist, was the target of an online hate campaign stemming from her condemnation of the Indian government, specifically her speaking out against the rape of an eight-year-old Kashmiri girl. Ayyub was bombarded with rape and death threats, and had a doctored pornographic video of her circulated online. In a Huffington Post article, Ayyub discussed the long-lasting psychological and social effects this experience has had on her. She explained that she continued to struggle with her mental health and how the images and videos continued to resurface whenever she took a high-profile case. === Atrioc controversy === In 2023, Twitch streamer Atrioc stirred controversy when he accidentally revealed deepfake pornographic material featuring female Twitch streamers while on live. The influencer has since admitted to paying for AI generated porn, and apologized to the women and his fans. === Taylor Swift === In January 2024, AI-generated sexually explicit images of American singer Taylor Swift were posted on X (formerly Twitter), and spread to other platforms such as Facebook, Reddit and Instagram. One tweet with the images was viewed over 45 million times before being removed. A report from 404 Media found that the images appeared to have originated from a Telegram group, whose members used tools such as Microsoft Designer to generate the images, using misspellings and keyword hacks to work around Designer's content filters. After the material was posted, Swift's fans posted concert footage and images to bury the deepfake images, and reported the accounts posting the deepfakes. Searches for Swift's name were temporarily disabled on X, returning an error message instead. Graphika, a disinformation research firm, traced the creation of the images back to a 4chan community. A source close to Swift told the Daily Mail that she would be considering legal action, saying, "Whether or not legal action will be taken is being decided, but there is one thing that is clear: These fake AI-generated images are abusive, offensive, exploitative, and done without Taylor's consent and/or knowledge." The controversy drew condemnation from White House Press Secretary Karine Jean-Pierre, Microsoft CEO Satya Nadella, the Rape, Abuse & Incest National Network, and SAG-AFTRA. Several US politicians called for federal legislation against deepfake pornography. Later in the month, US senators Dick Durbin, Lindsey Graham, Amy Klobuchar and Josh Hawley introduced a bipartisan bill that would allow victims to sue individuals who produced or possessed "digital forgeries" with intent to distribute, or those who received the material knowing it was made non-consensually. === 2024 Telegram deepfake scandal === It emerged in South Korea in August 2024, that many teachers and female students were victims of deepfake images created by users who utilized AI technology. Journalist Ko Narin of The Hankyoreh uncovered the deepfake images through Telegram chats. On Telegram, group chats were created specifically for image-based sexual abuse of women, including middle and high school students, teachers, and even family members. Women with photos on social media platforms like KakaoTalk, Instagram, and Facebook are often targeted as well. Perpetrators use AI bots to generate fake images, which are then sold or widely shared, along with the victims' social media accounts, phone numbers, and KakaoTalk usernames. One Telegram group reportedly drew around 220,000 members, according to a Guardian report. Investigations revealed numerous chat groups on Telegram where users, mainly teenagers, create and share explicit deepfake images of classmates and teachers. The issue came in the wake of a troubling history of digital sex crimes, notably the notorious Nth Room case in 2019. The Korean Teachers Union estimated that more than 200 schools had been affected by these incidents. Activists called for a "national emergency" declaration to address the problem. South Korean police reported over 800 deepfake sex crime cases by the end of September 2024, a stark rise from just 156 cases in 2021, with most victims and offenders being teenagers. On September 21, 6,000 people gathered at Marronnier Park in northeastern Seoul to demand stronger legal action against deepfake crimes targeting women. On September 26, following widespread outrage over the Telegram scandal, South Korean lawmakers passed a bill criminalizing the possession or viewing of sexually explicit deepfake images and videos, imposing penalties that include prison terms and fines. Under the new law, those caught buying, saving, or watching such material could face up to three years in prison or fines up to 30 million won ($22,600). At the time the bill was proposed, creating sexually explicit deepfakes for distribution carried a maximum penalty of five years, but the new legislation would increase this to seven years, regardless of intent. By October 2024, it was estimated that "nudify" deep fake bots on Telegram were up to four million monthly users. === 2025–2026 Grok/X chatbot deepfake scandal === In December 2025, Bloomberg reported that X users found Grok would comply with unconsensual requests to digitally undress individuals, including minors, or show them performing sexually explicit acts. The majority of these prompts were targeted at women and girls. An analysis of 20,000 images generated by Grok between December 25, 2025 and January 1, 2026 showed 2% were of people in bikinis or transparent clothes and appeared to be 18 or younger, including 30 of "young or very young" women or girls. A separate analysis conducted over 24 hours from January 5 to 6 calculated that users had Grok create 6,700 sexually suggestive or nudified images per hour. xAI responded to requests for comment from media organizations with the automated reply, "Legacy Media Lies". The bot's image generation sparked an international backlash and calls for legal or regulatory action from officials in the European Union, United Kingdom, Poland, France, India, Malaysia, and Brazil. === Fernandes–Ulmen case === German TV presenter Collien Fernandes, filed a complaint against her ex-husband, actor Christian Ulmen, for several accusation including, ident
Multiple buffering
In computer science, multiple buffering is the use of more than one buffer to hold a block of data, so that a "reader" will see a complete (though perhaps old) version of the data instead of a partially updated version of the data being created by a "writer". It is very commonly used for computer display images. It is also used to avoid the need to use dual-ported RAM (DPRAM) when the readers and writers are different devices. == Description == === Double buffering Petri net === The Petri net in the illustration shows double buffering. Transitions W1 and W2 represent writing to buffer 1 and 2 respectively while R1 and R2 represent reading from buffer 1 and 2 respectively. At the beginning, only the transition W1 is enabled. After W1 fires, R1 and W2 are both enabled and can proceed in parallel. When they finish, R2 and W1 proceed in parallel and so on. After the initial transient where W1 fires alone, this system is periodic and the transitions are enabled – always in pairs (R1 with W2 and R2 with W1 respectively). == Double buffering in computer graphics == In computer graphics, double buffering is a technique for drawing graphics that shows less stutter, tearing, and other artifacts. It is difficult for a program to draw a display so that pixels do not change more than once. For instance, when updating a page of text, it is much easier to clear the entire page and then draw the letters than to somehow erase only the pixels that are used in old letters but not in new ones. However, this intermediate image is seen by the user as flickering. In addition, computer monitors constantly redraw the visible video page (traditionally at around 60 times a second), so even a perfect update may be visible momentarily as a horizontal divider between the "new" image and the un-redrawn "old" image, known as tearing. === Software double buffering === A software implementation of double buffering has all drawing operations store their results in some region of system RAM; any such region is often called a "back buffer". When all drawing operations are considered complete, the whole region (or only the changed portion) is copied into the video RAM (the "front buffer"); this copying is usually synchronized with the monitor's raster beam in order to avoid tearing. Software implementations of double buffering necessarily require more memory and CPU time than single buffering because of the system memory allocated for the back buffer, the time for the copy operation, and the time waiting for synchronization. Compositing window managers often combine the "copying" operation with "compositing" used to position windows, transform them with scale or warping effects, and make portions transparent. Thus, the "front buffer" may contain only the composite image seen on the screen, while there is a different "back buffer" for every window containing the non-composited image of the entire window contents. === Page flipping === In the page-flip method, instead of copying the data, both buffers are capable of being displayed. At any one time, one buffer is actively being displayed by the monitor, while the other, background buffer is being drawn. When the background buffer is complete, the roles of the two are switched. The page-flip is typically accomplished by modifying a hardware register in the video display controller—the value of a pointer to the beginning of the display data in the video memory. The page-flip is much faster than copying the data and can guarantee that tearing will not be seen as long as the pages are switched over during the monitor's vertical blanking interval—the blank period when no video data is being drawn. The currently active and visible buffer is called the front buffer, while the background page is called the back buffer. == Triple buffering == In computer graphics, triple buffering is similar to double buffering but can provide improved performance. In double buffering, the program must wait until the finished drawing is copied or swapped before starting the next drawing. This waiting period could be several milliseconds during which neither buffer can be touched. In triple buffering, the program has two back buffers and can immediately start drawing in the one that is not involved in such copying. The third buffer, the front buffer, is read by the graphics card to display the image on the monitor. Once the image has been sent to the monitor, the front buffer is flipped with (or copied from) the back buffer holding the most recent complete image. Since one of the back buffers is always complete, the graphics card never has to wait for the software to complete. Consequently, the software and the graphics card are completely independent and can run at their own pace. Finally, the displayed image was started without waiting for synchronization and thus with minimum lag. Due to the software algorithm not polling the graphics hardware for monitor refresh events, the algorithm may continuously draw additional frames as fast as the hardware can render them. For frames that are completed much faster than interval between refreshes, it is possible to replace a back buffers' frames with newer iterations multiple times before copying. This means frames may be written to the back buffer that are never used at all before being overwritten by successive frames. Nvidia has implemented this method under the name "Fast Sync". An alternative method sometimes referred to as triple buffering is a swap chain three buffers long. After the program has drawn both back buffers, it waits until the first one is placed on the screen, before drawing another back buffer (i.e. it is a 3-long first in, first out queue). Most Windows games seem to refer to this method when enabling triple buffering. == Quad buffering == The term quad buffering is the use of double buffering for each of the left and right eye images in stereoscopic implementations, thus four buffers total (if triple buffering was used then there would be six buffers). The command to swap or copy the buffer typically applies to both pairs at once, so at no time does one eye see an older image than the other eye. Quad buffering requires special support in the graphics card drivers which is disabled for most consumer cards. AMD's Radeon HD 6000 Series and newer support it. 3D standards like OpenGL and Direct3D support quad buffering. == Double buffering for DMA == The term double buffering is used for copying data between two buffers for direct memory access (DMA) transfers, not for enhancing performance, but to meet specific addressing requirements of a device (particularly 32-bit devices on systems with wider addressing provided via Physical Address Extension). Windows device drivers are a place where the term "double buffering" is likely to be used. Linux and BSD source code calls these "bounce buffers". Some programmers try to avoid this kind of double buffering with zero-copy techniques. == Other uses == Double buffering is also used as a technique to facilitate interlacing or deinterlacing of video signals.
Maschinen Krieger ZbV 3000
Maschinen Krieger (Ma.K ZBV3000), often abbreviated as Ma.K., is a science fiction intellectual property created by Japanese artist and sculptor Kow Yokoyama in the 1980s. It consists of an illustrated series, a line of merchandise comprising display and action figures of mecha characters and a 1985 short film. == History == The franchise originally began as the science fiction series SF3D which ran as monthly installments in the Japanese hobby magazine Hobby Japan from 1982 to 1985. To develop the storyline, Kow Yokoyama collaborated with Hiroshi Ichimura as story editor and Kunitaka Imai as graphic designer. The three creators drew visual inspiration from their combined interest in World War I and World War II armor and aircraft, the American space program and films such as Star Wars, Blade Runner and The Road Warrior. Inspired by the ILM model builders who worked on Star Wars, Yokoyama built the original models from numerous kits including armor, aircraft, and automobiles. He mostly concentrated on powered armor suits, but later included bipedal walking tanks and aircraft with anti-gravity systems. In 1986, there was a dispute with Hobby Japan over the copyright of the series. The magazine dropped SF3D from its line-up of articles and Nitto ceased production of various kits of the series. The matter was tied up in the courts for years until Yokoyama was awarded the full copyright to the series in the 1990s. Yokoyama and Hobby Japan eventually reconciled and restarted their working relationship, ditching the old SF3D name in favor of Maschinen Krieger ZbV3000, otherwise known as Ma.K. == Story == A nuclear World War IV in 2807 kills most of Earth's population and renders the planet uninhabitable. Fifty-two years after the war, a research team from an interstellar union called the Galactic Federation is sent to Earth and discovers that the planet's natural environment has restored itself. The Federation decides to repopulate the planet and sends over colonists to the surface. Cities and towns are eventually reformed over the next 20 years, but this growth attracts the attention of criminals, military deserters, and other lawless elements who wanted to hide on Earth—away from the authorities. A few militias protect the colonists, but the new interlopers often defeat them. Fearing civil unrest and the colonists forming their own government, the Federation gives the Strahl Democratic Republic (SDR) the right to govern the planet in the late 2870s. The SDR sends three police battalions and three Foreign Legion corps to Earth and uses heavy-handed tactics such as travel restrictions and hard labor camps to restore order, which creates resentment amongst the colonists. In response, the colonists create the Earth Independent Provisional Government and declare independence from the SDR. The SDR immediately establishes a puppet government and attempts to quell the uprising. The wealthy colonists hire mercenaries who are descendants of WWIV veterans to form the Independent Mercenary Army (IMA), which is bolstered by the presence of SDR Foreign Legion defectors. They attack the SDR forces and the battle to control Earth begins in 2882. Over the next four years, the SDR and IMA fight each other at several locations worldwide while developing new technology along the way. The war turns up a notch in June 2883 when the IMA deploys a new weapon - the Armored Fighting Suit powered armor - to devastating effect. The SDR eventually builds their own AFS units. In the last SF3D installment published in the December 1986 issue of Hobby Japan, the IMA successfully defeats the new SDR Königs Kröte unmanned command-and-control mecha using a computer virus that also creates a new artificial intelligence system on the moon. == Merchandise == === Model kits === Fan interest from the installments in Hobby Japan resulted in a small Japanese model company, Nitto, securing the license and quickly released 21 injection molded kits from the series during its entire run in the magazine. Most of the Nitto model kits are in 1:20 scale, while others were made in 1:76 and 1:6 scale. Production of the kits stopped with the end of the Hobby Japan features in 1986, but Nitto reissued many of the original kits under the Maschinen Krieger name, albeit with new decals and box art. Some of the original Nitto kits such as the Krachenvogel are highly sought after by collectors. The Nitto models were also the basis for similar offerings from Japanese model companies Wave and ModelKasten. Wave, in particular, is currently producing original-tooled kits of various subjects in the franchise, such as the Armored Fighting Suits powered armor. Smaller companies such as Brick Works and Love Love Garden have made limited resin pilot figures to go with these model kits. At the 2008 Nuremberg Toy Fair in Germany, the Hasegawa company - known mostly for its line of military and civilian vehicles — announced plans to carry the Ma.K license, having successfully branched into pop culture franchises such as Macross. Hasegawa's venture into the franchise came with the release of the Pkf 85 Falke attack craft in March 2009. The company's Ma.K line has since expanded to at least ten kits either 1:35 or 1:20 scale, including a 1:35 Scale Nutrocker tank and the Mk44 humanoid mecha suit from Robot Battle V, a sidestory to the franchise. Wave corporation also has a line of 1/20 models. While Hasegawa largely maintained the yellow-box aesthetic from the older nitto kits, Wave has a more colorful box design. Certain garage kit manufacturers such as Rainbow-Egg are allowed to produce their own line of resin kits and accessories, upon securing special authorization from Yokoyama himself. === Toys === The franchise also contains a line of action and display figures. The Japanese hobby shop and toy company Yellow Submarine and garage kit maker Max Factory released several pre-finished figures in 1:35 and 1:16 scale. MediCom Toys included Chibi Ma.K. figures in their Kubrick line, plus two 1:6 SAFS figures with working lights and fully poseable pilot figures. === Books === Numerous sourcebooks and modeling guides that further flesh out the information in the series have been released. Hobby Japan published a compilation of the first 15 SF3D installments in 1983 and reprinted them in March 2010. Eventually, the magazine re-released all 43 installments in a slipcase compilation called "SF3D Chronicles" in August 2010, which organized the installments into two separate books: "Heaven" featuring articles on aerial models, and "Earth" for ground-based models. Model Graphix followed suit with their own line of sourcebooks, which provide tutorials from Yokoyama on how he makes his figures. Some sourcebooks also have custom decal sets. === Miniature wargaming === In 2019, Slave 2 Gaming gained the license to produce and sell 1:100 scale (15mm) metal and resin war gaming miniatures. This new range of Maschinen Krieger figures was given the name Ma.K in 15mm, so as to not complicate sales with customers, and rebrand the Ma.k name for the miniature wargaming world. The figures are designed and cast in Australia. They are sold exclusively through Slave 2 Gaming at this time due to the license agreement with Sensei Yokoyama. With the production of the miniatures, a set of gaming rules in the works, with the plan is to release all the current Maschinen Krieger models. == Short film == Yokoyama collaborated with Tsuburaya Productions to create a live-action SF3D film using miniatures in 1985. Directed by Shinichi Ohoka from a script penned by co-producer Hisao Ichikura, the 25-minute SF3D Original Video opens with wreckage left from a battle in the Wiltshire wastelands on Christmas Day 2884 before focusing on a badly damaged IMA SAFS unit. The pilot, Cpl Robert Bush (Tristan Hickey), who is still alive, seeks to get his armored suit back and running and leave the battle area, which is under heavy jamming. Seeing two of the SDR's new Nutrocker (Nutcracker) robot hovertanks arrive nearby, Bush tries to hide, but bodily functions give him away. One Nutcracker gives chase and the SAFS AI points out to Bush how to defeat it. He eventually clambers on to the tank, which passes through the rubble of a town and randomly shoots at high places to bring down objects that could snag him. With the SAFS' right arm sheared off by the Nutcracker's laser blasts and snow settling in, Bush is knocked unconscious all night long from the fall while the tank breaks down under the cold. The next day, the SAFS AI wakes up Bush because the Nutcracker is active again and is preparing to kill him. Bush gets up and faces the tank as it charges towards him. However, the Nutcracker gets too close to a cliff that buckles under its weight and Bush fires his laser into the tank's underbelly. The tank plunges into a ravine and explodes. Bush walks away and reestablishes radio contact with his base. It is revealed that the battle was a field test of th