Web development is the process of designing, developing and maintaining websites and web apps. Web development encompasses several different fields, most commonly referring to the programming of websites. Front-end development is the act of developing the user interface and client-side code, while back-end development focuses on the infrastructure behind a website, mainly server-side code. Since the World Wide Web was released publicly in 1993, web development has evolved greatly, with websites changing from a collection of static HTML pages to complex projects using frameworks, servers, and databases. == Overview == Web development includes many individual tasks, including web design, web content development, networking, and coding. Among web professionals, "web development" usually refers to the main non-design aspects of building websites: writing markup and coding. Web development is generally split into two fields: front-end development and back-end development. Front-end developers create the user interface of websites, turning web designs into HTML, CSS, and JavaScript code. Front-end developers must also make sure that websites work consistently across different browsers and devices. Back-end development, also known as server-side development, focuses on the infrastructure behind a website, including APIs, database management, and security. Some choose to be full-stack developers, meaning they work on both the front-end and back-end. == History == The World Wide Web is often categorised into three generations: Web 1.0, Web 2.0, and Web 3.0 (or Web3). It was invented in 1989, and released to the public in 1993. In the early years of the web, restrospecitvely referred to as Web 1.0, websites were simply a collection of static HTML files, and had limited interactivity. After the introduction of JavaScript in 1995, websites could contain logic, allowing for interactivity. The following year CSS was released, allowing greater control over the styling of web pages. In 1999, the term Web 2.0 was coined by Darcy DiNucci. The term later resurfaced in the early 2000s, as websites started to increase in complexity, requiring server-side services in addition to JavaScript. This led to the emergence of various new programming languages and frameworks designed for backend services, such as PHP, Active Server Pages, and Jakarta Server Pages. This enabled websites to do additional server-side processing, such as accessing databases. Another shift in web development was the release of the iPhone in 2007. This created a new medium for accessing the web, requiring a new approach to web development, and resulting in responsive web design, which allows a single website to appear different depending on the device running it. Later, progressive web apps were introduced, allowing websites to be installed on a device as an independent application. In the 2010s, JavaScript frameworks began to emerge, creating new ways to manipulate web pages, and increasing compatibility between web browsers. JQuery was popular in the early 2010s, but was later surpassed by other frameworks such as React and Vue.js. In the mid 2020s, use of AI became prevalent among web developers, with the 2025 Stack Overflow survey showing over 80% of developers saying the use AI at least monthly in their development process.
PDE surfaces are used in geometric modelling and computer graphics for creating smooth surfaces conforming to a given boundary configuration. PDE surfaces use partial differential equations to generate a surface which usually satisfy a mathematical boundary value problem. PDE surfaces were first introduced into the area of geometric modelling and computer graphics by two British mathematicians, Malcolm Bloor and Michael Wilson. == Technical details == The PDE method involves generating a surface for some boundary by means of solving an elliptic partial differential equation of the form ( ∂ 2 ∂ u 2 + a 2 ∂ 2 ∂ v 2 ) 2 X ( u , v ) = 0. {\displaystyle \left({\frac {\partial ^{2}}{\partial u^{2}}}+a^{2}{\frac {\partial ^{2}}{\partial v^{2}}}\right)^{2}X(u,v)=0.} Here X ( u , v ) {\displaystyle X(u,v)} is a function parameterised by the two parameters u {\displaystyle u} and v {\displaystyle v} such that X ( u , v ) = ( x ( u , v ) , y ( u , v ) , z ( u , v ) ) {\displaystyle X(u,v)=(x(u,v),y(u,v),z(u,v))} where x {\displaystyle x} , y {\displaystyle y} and z {\displaystyle z} are the usual cartesian coordinate space. The boundary conditions on the function X ( u , v ) {\displaystyle X(u,v)} and its normal derivatives ∂ X / ∂ n {\displaystyle \partial {X}/\partial {n}} are imposed at the edges of the surface patch. With the above formulation it is notable that the elliptic partial differential operator in the above PDE represents a smoothing process in which the value of the function at any point on the surface is, in some sense, a weighted average of the surrounding values. In this way, a surface is obtained as a smooth transition between the chosen set of boundary conditions. The parameter a {\displaystyle a} is a special design parameter which controls the relative smoothing of the surface in the u {\displaystyle u} and v {\displaystyle v} directions. When a = 1 {\displaystyle a=1} , the PDE is the biharmonic equation: X u u u u + 2 X u u v v + X v v v v = 0 {\displaystyle X_{uuuu}+2X_{uuvv}+X_{vvvv}=0} . The biharmonic equation is the equation produced by applying the Euler-Lagrange equation to the simplified thin plate energy functional X u u 2 + 2 X u v 2 + X v v 2 {\displaystyle X_{uu}^{2}+2X_{uv}^{2}+X_{vv}^{2}} . So solving the PDE with a = 1 {\displaystyle a=1} is equivalent to minimizing the thin plate energy functional subject to the same boundary conditions. == Applications == PDE surfaces can be used in many application areas. These include computer-aided design, interactive design, parametric design, computer animation, computer-aided physical analysis and design optimisation. == Related publications == M.I.G. Bloor and M.J. Wilson, Generating Blend Surfaces using Partial Differential Equations, Computer Aided Design, 21(3), 165–171, (1989). H. Ugail, M.I.G. Bloor, and M.J. Wilson, Techniques for Interactive Design Using the PDE Method, ACM Transactions on Graphics, 18(2), 195–212, (1999). J. Huband, W. Li and R. Smith, An Explicit Representation of Bloor-Wilson PDE Surface Model by using Canonical Basis for Hermite Interpolation, Mathematical Engineering in Industry, 7(4), 421-33 (1999). H. Du and H. Qin, Direct Manipulation and Interactive Sculpting of PDE surfaces, Computer Graphics Forum, 19(3), C261-C270, (2000). H. Ugail, Spine Based Shape Parameterisations for PDE surfaces, Computing, 72, 195–204, (2004). L. You, P. Comninos, J.J. Zhang, PDE Blending Surfaces with C2 Continuity, Computers and Graphics, 28(6), 895–906, (2004).
Mozilla VPN is an open-source virtual private network developed by Mozilla. It launched in beta as Firefox Private Network on September 10, 2019, and officially launched on July 15, 2020, as Mozilla VPN. Mozilla VPN should not be confused with the built-in VPN in Firefox since version 149 released in March 2026, which is free with a monthly data limit of 50 GB but only masks traffic that originates in Firefox unlike Mozilla VPN that protects the entire device. == History == The Firefox Private Network web browser extension beta version was released on September 10, 2019, as part of the relaunch of Mozilla's Test Pilot Program, a program that allowed Firefox users to test experimental new features which had been shuttered in January 2019. The beta of the subscription-based standalone virtual private network for Android, Microsoft Windows, and Chromebook launched on February 19, 2020, with the iOS version following soon after. Firefox Private Network was rebranded as "Mozilla VPN" on June 18, 2020, and officially launched as Mozilla VPN on July 15, 2020. At launch, Mozilla VPN was available in six countries (the United States, Canada, the United Kingdom, Singapore, Malaysia, and New Zealand) for Windows 10, Android, and iOS (beta). Over time, the service also launched in Germany, France, Italy, Spain, Switzerland, Austria, Belgium, Netherlands, Ireland, Finland, Sweden, Poland, Czechia, Hungary, Romania, Bulgaria, Slovakia, Portugal, Denmark, Croatia, Lithuania, Slovenia, Latvia, Luxembourg, Estonia, Cyprus, and Malta. == Audits history == Cybersecurity firm Cure53 conducted a security audit for Mozilla VPN in August 2020 and identified multiple vulnerabilities, including one critical-severity vulnerability. In March 2021, Cure53 conducted a second security audit, which noted significant improvements since the 2020 audit. The second audit identified multiple issues, including two medium-severity and one high-severity vulnerability, but concluded that by the time of publication, only one vulnerability remained unresolved, and that it would require "a strong state-funded attacker-model" to be exploitable. Mozilla disclosed most of the vulnerabilities in July 2021 and released the full report by Cure53 in August 2021. In April 2023, Cure53 conducted a third security audit, the results of which Mozilla disclosed in December that year, along with the full report by Cure53. == Features == Mozilla VPN masks the user's IP address, hiding the user's location data from the websites accessed by the user, and encrypts all network activity. The service allows for up to 5 simultaneous connections, to any of more than 500 servers in 30+ countries, and is available on the mobile operating systems iOS and Android and the desktop operating systems Microsoft Windows, macOS and Linux. Mozilla VPN's infrastructure is provided by the Swedish Mullvad VPN service, which uses the WireGuard VPN protocol. The VPN software comes with additional features, like recommended server locations, the ability to block ads, block ad trackers and malware, the ability to exclude certain applications from protection, the ability to set multi-hop connections, and to set custom DNS servers. When used with Firefox and the official extension, Mozilla VPN allows the use of different settings per container as well as bypassing the VPN for specific websites.
In the area of computer security, cyber attribution is an attribution of cybercrime, i.e., finding who perpetrated a cyberattack. Uncovering a perpetrator may give insights into various security issues, such as infiltration methods, communication channels, etc., and may help in enacting specific countermeasures. Cyber attribution is a costly endeavor requiring considerable resources and expertise in cyber forensic analysis. For governments and other major players dealing with cybercrime would require not only technical solutions, but legal and political ones as well, and for the latter ones cyber attribution is crucial. Attributing a cyberattack is difficult, and of limited interest to companies that are targeted by cyberattacks. In contrast, secret services often have a compelling interest in finding out whether a state is behind the attack. A further challenge in attribution of cyberattacks is the possibility of a false flag attack, where the actual perpetrator makes it appear that someone else caused the attack. Every stage of the attack may leave artifacts, such as entries in log files, that can be used to help determine the attacker's goals and identity. In the aftermath of an attack, investigators often begin by saving as many artifacts as they can find, and then try to determine the attacker.
Tellent Recruitee is a cloud-based applicant tracking system (ATS) for talent acquisition owned by Tellent. It is used by internal HR teams for processes including job postings, candidate sourcing, reporting, and applicant tracking. == History == Perry Oostdam and Pawel Smoczyk founded Recruitee after working on a mobile gaming startup. The Recruitee was launched in August 2015. In September 2015, it received a seed funding round with participation from investors Robert Pijselman and Luc Brandts. Merger In February 2021, Recruitee and the Finnish HR software provider Sympa merged their operations, backed by the growth equity firm Providence Strategic Growth (PSG). Acquisition In 2022, the group acquired the French company Javelo and the German company kiwiHR. The parent company was subsequently renamed as Tellent while Recruitee renamed as Tellent Recruitee and continues to operate as a product unit within the Tellent group. == Platform == Tellent Recruitee is a customizable recruitment software. It functions as an ATS and talent acquisition platform and includes tools to create and publish job listings, source candidates, manage recruitment agencies, and track applicants through customizable pipelines. The interface allows drag-and-drop organization of candidates. The platform also includes features for team collaboration, such as shared notes, task assignments, and candidate evaluations. It also has integrated scheduling tools and automated email communication. Tellent Recruitee also provides analytics and reports on hiring and career site metrics. The software allows for customization of career site pages and application forms. It supports integrations with other HR and productivity software, such as WhatsApp, and has various AI functionalities to support with manual recruitment tasks.
In computer graphics, swizzles are a class of operations that transform vectors by rearranging components. Swizzles can also project from a vector of one dimensionality to a vector of another dimensionality, such as taking a three-dimensional vector and creating a two-dimensional or five-dimensional vector using components from the original vector. For example, if A = {1,2,3,4}, where the components are x, y, z, and w respectively, one could compute B = A.wwxy, whereupon B would equal {4,4,1,2}. Additionally, one could create a two-dimensional vector with A.wx or a five-dimensional vector with A.xyzwx. Combining vectors and swizzling can be employed in various ways. This is common in GPGPU applications. In terms of linear algebra, this is equivalent to multiplying by a matrix whose rows are standard basis vectors. If A = ( 1 , 2 , 3 , 4 ) T {\displaystyle A=(1,2,3,4)^{T}} , then swizzling A {\displaystyle A} as above looks like A . w w x y = [ 0 0 0 1 0 0 0 1 1 0 0 0 0 1 0 0 ] [ 1 2 3 4 ] = [ 4 4 1 2 ] . {\displaystyle A.\!wwxy={\begin{bmatrix}0&0&0&1\\0&0&0&1\\1&0&0&0\\0&1&0&0\end{bmatrix}}{\begin{bmatrix}1\\2\\3\\4\end{bmatrix}}={\begin{bmatrix}4\\4\\1\\2\end{bmatrix}}.}
In scientific visualization, line integral convolution (LIC) is a method to visualize a vector field (such as fluid motion) at high spatial resolutions. The LIC technique was first proposed by Brian Cabral and Leith Casey Leedom in 1993. In LIC, discrete numerical line integration is performed along the field lines (curves) of the vector field on a uniform grid. The integral operation is a convolution of a filter kernel and an input texture, often white noise. In signal processing, this process is known as a discrete convolution. == Overview == Traditional visualizations of vector fields use small arrows or lines to represent vector direction and magnitude. This method has a low spatial resolution, which limits the density of presentable data and risks obscuring characteristic features in the data. More sophisticated methods, such as streamlines and particle tracing techniques, can be more revealing but are highly dependent on proper seed points. Texture-based methods, like LIC, avoid these problems since they depict the entire vector field at point-like (pixel) resolution. Compared to other integration-based techniques that compute field lines of the input vector field, LIC has the advantage that all structural features of the vector field are displayed, without the need to adapt the start and end points of field lines to the specific vector field. In other words, it shows the topology of the vector field. In user testing, LIC was found to be particularly good for identifying critical points. == Algorithm == === Informal description === LIC causes output values to be strongly correlated along the field lines, but uncorrelated in orthogonal directions. As a result, the field lines contrast each other and stand out visually from the background. Intuitively, the process can be understood with the following example: the flow of a vector field can be visualized by overlaying a fixed, random pattern of dark and light paint. As the flow passes by the paint, the fluid picks up some of the paint's color, averaging it with the color it has already acquired. The result is a randomly striped, smeared texture where points along the same streamline tend to have a similar color. Other physical examples include: whorl patterns of paint, oil, or foam on a river visualisation of magnetic field lines using randomly distributed iron filings fine sand being blown by strong wind === Formal mathematical description === Although the input vector field and the result image are discretized, it pays to look at it from a continuous viewpoint. Let v {\displaystyle \mathbf {v} } be the vector field given in some domain Ω {\displaystyle \Omega } . Although the input vector field is typically discretized, we regard the field v {\displaystyle \mathbf {v} } as defined in every point of Ω {\displaystyle \Omega } , i.e. we assume an interpolation. Streamlines, or more generally field lines, are tangent to the vector field in each point. They end either at the boundary of Ω {\displaystyle \Omega } or at critical points where v = 0 {\displaystyle \mathbf {v} =\mathbf {0} } . For the sake of simplicity, critical points and boundaries are ignored in the following. A field line σ {\displaystyle {\boldsymbol {\sigma }}} , parametrized by arc length s {\displaystyle s} , is defined as d σ ( s ) d s = v ( σ ( s ) ) | v ( σ ( s ) ) | . {\displaystyle {\frac {d{\boldsymbol {\sigma }}(s)}{ds}}={\frac {\mathbf {v} ({\boldsymbol {\sigma }}(s))}{|\mathbf {v} ({\boldsymbol {\sigma }}(s))|}}.} Let σ r ( s ) {\displaystyle {\boldsymbol {\sigma }}_{\mathbf {r} }(s)} be the field line that passes through the point r {\displaystyle \mathbf {r} } for s = 0 {\displaystyle s=0} . Then the image gray value at r {\displaystyle \mathbf {r} } is set to D ( r ) = ∫ − L / 2 L / 2 k ( s ) N ( σ r ( s ) ) d s {\displaystyle D(\mathbf {r} )=\int _{-L/2}^{L/2}k(s)N({\boldsymbol {\sigma }}_{\mathbf {r} }(s))ds} where k ( s ) {\displaystyle k(s)} is the convolution kernel, N ( r ) {\displaystyle N(\mathbf {r} )} is the noise image, and L {\displaystyle L} is the length of field line segment that is followed. D ( r ) {\displaystyle D(\mathbf {r} )} has to be computed for each pixel in the LIC image. If carried out naively, this is quite expensive. First, the field lines have to be computed using a numerical method for solving ordinary differential equations, like a Runge–Kutta method, and then for each pixel the convolution along a field line segment has to be calculated. The final image will normally be colored in some way. Typically, some scalar field in Ω {\displaystyle \Omega } (like the vector length) is used to determine the hue, while the grayscale LIC output determines the brightness. Different choices of convolution kernels and random noise produce different textures; for example, pink noise produces a cloudy pattern where areas of higher flow stand out as smearing, suitable for weather visualization. Further refinements in the convolution can improve the quality of the image. === Programming description === Algorithmically, LIC takes a vector field and noise texture as input, and outputs a texture. The process starts by generating in the domain of the vector field a random gray level image at the desired output resolution. Then, for every pixel in this image, the forward and backward streamline of a fixed arc length is calculated. The value assigned to the current pixel is computed by a convolution of a suitable convolution kernel with the gray levels of all the noise pixels lying on a segment of this streamline. This creates a gray level LIC image. == Versions == === Basic === Basic LIC images are grayscale images, without color and animation. While such LIC images convey the direction of the field vectors, they do not indicate orientation; for stationary fields, this can be remedied by animation. Basic LIC images do not show the length of the vectors (or the strength of the field). === Color === The length of the vectors (or the strength of the field) is usually coded in color; alternatively, animation can be used. === Animation === LIC images can be animated by using a kernel that changes over time. Samples at a constant time from the streamline would still be used, but instead of averaging all pixels in a streamline with a static kernel, a ripple-like kernel constructed from a periodic function multiplied by a Hann function acting as a window (in order to prevent artifacts) is used. The periodic function is then shifted along the period to create an animation. === Fast LIC (FLIC) === The computation can be significantly accelerated by re-using parts of already computed field lines, specializing to a box function as convolution kernel k ( s ) {\displaystyle k(s)} and avoiding redundant computations during convolution. The resulting fast LIC method can be generalized to convolution kernels that are arbitrary polynomials. === Oriented Line Integral Convolution (OLIC) === Because LIC does not encode flow orientation, it cannot distinguish between streamlines of equal direction but opposite orientation. Oriented Line Integral Convolution (OLIC) solves this issue by using a ramp-like asymmetric kernel and a low-density noise texture. The kernel asymmetrically modulates the intensity along the streamline, producing a trace that encodes orientation; the low-density of the noise texture prevents smeared traces from overlapping, aiding readability. Fast Rendering of Oriented Line Integral Convolution (FROLIC) is a variation that approximates OLIC by rendering each trace in discrete steps instead of as a continuous smear. === Unsteady Flow LIC (UFLIC) === For time-dependent vector fields (unsteady flow), a variant called Unsteady Flow LIC has been designed that maintains the coherence of the flow animation. An interactive GPU-based implementation of UFLIC has been presented. === Parallel === Since the computation of an LIC image is expensive but inherently parallel, the process has been parallelized and, with availability of GPU-based implementations, interactive on PCs. === Multidimensional === Note that the domain Ω {\displaystyle \Omega } does not have to be a 2D domain: the method is applicable to higher dimensional domains using multidimensional noise fields. However, the visualization of the higher-dimensional LIC texture is problematic; one way is to use interactive exploration with 2D slices that are manually positioned and rotated. The domain Ω {\displaystyle \Omega } does not have to be flat either; the LIC texture can be computed also for arbitrarily shaped 2D surfaces in 3D space. == Applications == This technique has been applied to a wide range of problems since it first was published in 1993, both scientific and creative, including: Representing vector fields: visualization of steady (time-independent) flows (streamlines) visual exploration of 2D autonomous dynamical systems wind mapping water flow mapping Artistic effects for image generation and stylization: pencil drawing (auto
Metadatabase is a database model for (1) metadata management, (2) global query of independent databases, and (3) distributed data processing. The word metadatabase is an addition to the dictionary. Originally, metadata was only a common term referring simply to "data about data", such as tags, keywords, and markup headers. However, in this technology, the concept of metadata is extended to also include such data and knowledge representation as information models (e.g., relations, entities-relationships, and objects), application logic (e.g., production rules), and analytic models (e.g., simulation, optimization, and mathematical algorithms). In the case of analytic models, it is also referred to as a Modelbase. These classes of metadata are integrated with some modeling ontology to give rise to a stable set of meta-relations (tables of metadata). Individual models are interpreted as metadata and entered into these tables. As such, models are inserted, retrieved, updated, and deleted in the same manner as ordinary data do in an ordinary (relational) database. Users will also formulate global queries and requests for processing of local databases through the Metadatabase, using the globally integrated metadata. The Metadatabase structure can be implemented in any open technology for relational databases. == Significance == The Metadatabase technology is developed at Rensselaer Polytechnic Institute at Troy, New York, by a group of faculty and students (see the references at the end of the article), starting in late 1980s. Its main contribution includes the extension of the concept of metadata and metadata management, and the original approach of designing a database for metadata applications. These conceptual results continue to motivate new research and new applications. At the level of particular design, its openness and scalability is tied to that of the particular ontology proposed: It requires reverse-representation of the application models in order to save them into the meta-relations. In theory, the ontology is neutral, and it has been proven in some industrial applications. However, it needs more development to establish it for the field as an open technology. The requirement of reverse-representation is common to any global information integration technology. A way to facilitate it in the Metadatabase approach is to distribute a core portion of it at each local site, to allow for peer-to-peer translation on the fly.
The Style Generative Adversarial Network, or StyleGAN for short, is an extension to the GAN architecture introduced by Nvidia researchers in December 2018, and made source available in February 2019. StyleGAN depends on Nvidia's CUDA software, GPUs, and Google's TensorFlow, or Meta AI's PyTorch, which supersedes TensorFlow as the official implementation library in later StyleGAN versions. The second version of StyleGAN, called StyleGAN2, was published on February 5, 2020. It removes some of the characteristic artifacts and improves the image quality. Nvidia introduced StyleGAN3, described as an "alias-free" version, on June 23, 2021, and made source available on October 12, 2021. == History == A direct predecessor of the StyleGAN series is the Progressive GAN, published in 2017. In December 2018, Nvidia researchers distributed a preprint with accompanying software introducing StyleGAN, a GAN for producing an unlimited number of (often convincing) portraits of fake human faces. StyleGAN was able to run on Nvidia's commodity GPU processors. In February 2019, Uber engineer Phillip Wang used the software to create the website This Person Does Not Exist, which displayed a new face on each web page reload. Wang himself has expressed amazement, given that humans are evolved to specifically understand human faces, that nevertheless StyleGAN can competitively "pick apart all the relevant features (of human faces) and recompose them in a way that's coherent." In September 2019, a website called Generated Photos published 100,000 images as a collection of stock photos. The collection was made using a private dataset shot in a controlled environment with similar light and angles. Similarly, two faculty at the University of Washington's Information School used StyleGAN to create Which Face is Real?, which challenged visitors to differentiate between a fake and a real face side by side. The faculty stated the intention was to "educate the public" about the existence of this technology so they could be wary of it, "just like eventually most people were made aware that you can Photoshop an image". The second version of StyleGAN, called StyleGAN2, was published on February 5, 2020. It removes some of the characteristic artifacts and improves the image quality. In 2021, a third version was released, improving consistency between fine and coarse details in the generator. Dubbed "alias-free", this version was implemented with PyTorch. === Illicit use === In December 2019, Facebook took down a network of accounts with false identities, and mentioned that some of them had used profile pictures created with machine learning techniques. == Architecture == === Progressive GAN === Progressive GAN is a method for training GAN for large-scale image generation stably, by growing a GAN generator from small to large scale in a pyramidal fashion. Like SinGAN, it decomposes the generator as G = G 1 ∘ G 2 ∘ ⋯ ∘ G N {\displaystyle G=G_{1}\circ G_{2}\circ \cdots \circ G_{N}} , and the discriminator as D = D N ∘ D N − 1 ∘ ⋯ ∘ D 1 {\displaystyle D=D_{N}\circ D_{N-1}\circ \cdots \circ D_{1}} . During training, at first only G N , D N {\displaystyle G_{N},D_{N}} are used in a GAN game to generate 4x4 images. Then G N − 1 , D N − 1 {\displaystyle G_{N-1},D_{N-1}} are added to reach the second stage of GAN game, to generate 8x8 images, and so on, until we reach a GAN game to generate 1024x1024 images. To avoid discontinuity between stages of the GAN game, each new layer is "blended in" (Figure 2 of the paper). For example, this is how the second stage GAN game starts: Just before, the GAN game consists of the pair G N , D N {\displaystyle G_{N},D_{N}} generating and discriminating 4x4 images. Just after, the GAN game consists of the pair ( ( 1 − α ) + α ⋅ G N − 1 ) ∘ u ∘ G N , D N ∘ d ∘ ( ( 1 − α ) + α ⋅ D N − 1 ) {\displaystyle ((1-\alpha )+\alpha \cdot G_{N-1})\circ u\circ G_{N},D_{N}\circ d\circ ((1-\alpha )+\alpha \cdot D_{N-1})} generating and discriminating 8x8 images. Here, the functions u , d {\displaystyle u,d} are image up- and down-sampling functions, and α {\displaystyle \alpha } is a blend-in factor (much like an alpha in image composing) that smoothly glides from 0 to 1. === StyleGAN === StyleGAN is designed as a combination of Progressive GAN with neural style transfer. The key architectural choice of StyleGAN-1 is a progressive growth mechanism, similar to Progressive GAN. Each generated image starts as a constant 4 × 4 × 512 {\displaystyle 4\times 4\times 512} array, and repeatedly passed through style blocks. Each style block applies a "style latent vector" via affine transform ("adaptive instance normalization"), similar to how neural style transfer uses Gramian matrix. It then adds noise, and normalize (subtract the mean, then divide by the variance). At training time, usually only one style latent vector is used per image generated, but sometimes two ("mixing regularization") in order to encourage each style block to independently perform its stylization without expecting help from other style blocks (since they might receive an entirely different style latent vector). After training, multiple style latent vectors can be fed into each style block. Those fed to the lower layers control the large-scale styles, and those fed to the higher layers control the fine-detail styles. Style-mixing between two images x , x ′ {\displaystyle x,x'} can be performed as well. First, run a gradient descent to find z , z ′ {\displaystyle z,z'} such that G ( z ) ≈ x , G ( z ′ ) ≈ x ′ {\displaystyle G(z)\approx x,G(z')\approx x'} . This is called "projecting an image back to style latent space". Then, z {\displaystyle z} can be fed to the lower style blocks, and z ′ {\displaystyle z'} to the higher style blocks, to generate a composite image that has the large-scale style of x {\displaystyle x} , and the fine-detail style of x ′ {\displaystyle x'} . Multiple images can also be composed this way. === StyleGAN2 === StyleGAN2 improves upon StyleGAN in two ways. One, it applies the style latent vector to transform the convolution layer's weights instead, thus solving the "blob" problem. The "blob" problem roughly speaking is because using the style latent vector to normalize the generated image destroys useful information. Consequently, the generator learned to create a "distraction" by a large blob, which absorbs most of the effect of normalization (somewhat similar to using flares to distract a heat-seeking missile). Two, it uses residual connections, which helps it avoid the phenomenon where certain features are stuck at intervals of pixels. For example, the seam between two teeth may be stuck at pixels divisible by 32, because the generator learned to generate teeth during stage N-5, and consequently could only generate primitive teeth at that stage, before scaling up 5 times (thus intervals of 32). This was updated by the StyleGAN2-ADA ("ADA" stands for "adaptive"), which uses invertible data augmentation. It also tunes the amount of data augmentation applied by starting at zero, and gradually increasing it until an "overfitting heuristic" reaches a target level, thus the name "adaptive". === StyleGAN3 === StyleGAN3 improves upon StyleGAN2 by solving the "texture sticking" problem, which can be seen in the official videos. They analyzed the problem by the Nyquist–Shannon sampling theorem, and argued that the layers in the generator learned to exploit the high-frequency signal in the pixels they operate upon. To solve this, they proposed imposing strict lowpass filters between each generator's layers, so that the generator is forced to operate on the pixels in a way faithful to the continuous signals they represent, rather than operate on them as merely discrete signals. They further imposed rotational and translational invariance by using more signal filters. The resulting StyleGAN-3 is able to generate images that rotate and translate smoothly, and without texture sticking.
Olio is a mobile app for sharing by giving away, getting, borrowing or lending things in your community for free, aiming to reduce household and food waste. It does this by connecting neighbours with spare food or household items to others nearby who wish to pick up those items. The food must be edible; it can be raw or cooked, sealed or open. Non-food items often listed on Olio include books, clothes and furniture. Those donating surplus food can be individuals or companies such as food retailers, restaurants, corporate canteens, food photographers etc., and donations can take place on an ad-hoc or recurrent basis. For example, some supermarket chains in the UK, including Tesco, the Midcounties Co-operative, Morrisons, Sainsbury's and Iceland have piloted Olio as an 'online food bank' to donate food and to reduce their waste. In March 2022, Olio partnered with Pandamart in Singapore. First launched in early 2015 by Tessa Clarke and Saasha Celestial-One, by October 2017 the company had raised $2.2 million in funding. Olio subsequently performed a series A funding round of $6 million in 2018 and a Series B of $43 million. Notable investors include Accel, Octopus Ventures and VNV Global. The Olio app had around 7 million registered users as of May 2023.
Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio
Engineers use reflection lines to judge a surface's quality. Reflection lines reveal surface flaws, particularly discontinuities in normals indicating that the surface is not C 2 {\displaystyle C^{2}} . Reflection lines may be created and examined on physical surfaces or virtual surfaces with the help of computer graphics. For example, the shiny surface of an automobile body is illuminated with reflection lines by surrounding the car with parallel light sources. Virtually, a surface can be rendered with reflection lines by modulating the surfaces point-wise color according to a simple calculation involving the surface normal, viewing direction and a square wave environment map. == Mathematical definition == Consider a point p {\displaystyle p} on a surface M {\displaystyle M} with (normalized) normal n {\displaystyle n} . If an observer views this point from infinity at view direction v {\displaystyle v} then the reflected view direction r {\displaystyle r} is: r = v − 2 ( n ⋅ v ) n . {\displaystyle r=v-2(n\cdot v)n.} (The vector v {\displaystyle v} is decomposed into its normal part v n = ( n ⋅ v ) v {\displaystyle v_{n}=(n\cdot v)v} and tangential part v t = v − v n {\displaystyle v_{t}=v-v_{n}} . Upon reflection, the tangential part is kept and the normal part is negated.) For reflection lines we consider the surface M {\displaystyle M} surrounded by parallel lines with direction a {\displaystyle a} , representing infinite, non-dispersive light sources. For each point p {\displaystyle p} on M {\displaystyle M} we determine which line is seen from direction v {\displaystyle v} . The position on each line is of no interest. Define the vector r p {\displaystyle r_{p}} to be the reflection direction r {\displaystyle r} projected onto a plane P {\displaystyle P} that is orthogonal to a {\displaystyle a} : r p = r − ( r ⋅ a ) a {\displaystyle r_{p}=r-(r\cdot a)a} and similarly let v p {\displaystyle v_{p}} be the viewing direction projected onto P {\displaystyle P} : v p = v − ( v ⋅ a ) a {\displaystyle v_{p}=v-(v\cdot a)a} Finally, define v o {\displaystyle v_{o}} to be the direction lying in P {\displaystyle P} perpendicular to a {\displaystyle a} and v p {\displaystyle v_{p}} : v o = a × v p {\displaystyle v_{o}=a\times v_{p}} Using these vectors, the reflection line function θ ( p ) : M → ( − π , π ] {\displaystyle \theta (p):M\rightarrow (-\pi ,\pi ]} is a scalar function mapping points p {\displaystyle p} on the surface to angles between v p {\displaystyle v_{p}} and r p {\displaystyle r_{p}} : θ = arctan ( r p ⋅ v o , r p ⋅ v p ) {\displaystyle \theta =\arctan {(r_{p}\cdot v_{o},r_{p}\cdot v_{p})}} where a r c t a n ( y , x ) {\displaystyle arctan(y,x)} is the atan2 function producing a number in the range ( − π , π ] {\displaystyle (-\pi ,\pi ]} . ( v p {\displaystyle v_{p}} and v o {\displaystyle v_{o}} can be viewed as a local coordinate system in P {\displaystyle P} with x {\displaystyle x} -axis in direction v p {\displaystyle v_{p}} and y {\displaystyle y} -axis in direction v o {\displaystyle v_{o}} .) Finally, to render the reflection lines positive values θ > 0 {\displaystyle \theta >0} are mapped to a light color and non-positive values to a dark color. == Highlight lines == Highlight lines are a view-independent alternative to reflection lines. Here the projected normal is directly compared against some arbitrary vector x {\displaystyle x} perpendicular to the light source: θ = arctan ( n a ⋅ a ⊥ , n a ⋅ x ) {\displaystyle \theta =\arctan {(n_{a}\cdot a^{\perp },n_{a}\cdot x)}} where n a {\displaystyle n_{a}} is the surface normal projected on the light source plane P {\displaystyle P} : n a ^ / | n a ^ | , n a ^ = n − ( n ⋅ a ) a {\displaystyle {\hat {n_{a}}}/|{\hat {n_{a}}}|,{\hat {n_{a}}}=n-(n\cdot a)a} The relationship between reflection lines and highlight lines is likened to that between specular and diffuse shading.