The Five Safes is a framework for helping make decisions about making effective use of data which is confidential or sensitive. It is mainly used to describe or design research access to statistical data held by government and health agencies, and by data archives such as the UK Data Service. It is not an internationally accepted standard. Two of the Five Safes refer to statistical disclosure control, and so the Five Safes is usually used to contrast statistical and non-statistical controls when comparing data management options. == Concept == The Five Safes proposes that data management decisions be considered as solving problems in five 'dimensions': projects, people, settings, data and outputs. The combination of the controls leads to 'safe use'. These are most commonly expressed as questions, for example: These dimensions are scales, not limits. That is, solutions can have a mix of more or fewer controls in each dimension, but the overall aim of 'safe use' independent of the particular mix. For example, a public use file available for open download cannot control who uses it, where or for what purpose, and so all the control (protection) must be in the data itself. In contrast, a file which is only accessed through a secure environment with certified users can contain very sensitive information: the non-statistical controls allow the data to be 'unsafe'. One academic likened the process to a graphic equalizer, where bass and treble can be combined independently to produce a sound the listener likes, which has proven to be a very useful metaphor. This 2023 Data Foundation webinar is an expert discussion of how the elements interact, including an excellent introductory representation. There is no 'order' to the Five Safes, in that one is necessarily more important than the others. However, Ritchie argued that the 'managerial' controls (projects, people, setting) should be addressed before the 'statistical' controls (data, output). The Five Safes concept is associated with other topics which developed from the same programme at ONS, although these are not necessarily implemented. Safe people is associated with 'active researcher management', while safe outputs is linked with principles-based output statistical disclosure control. The Five Safes is a positive framework, describing what is and is not. The EDRU ('evidence-based, default-open, risk-managed, user-centred') attitudinal model is sometimes used to give a normative context == The 'data access spectrum' == From 2003 the Five Safes was also represented in a simpler form as a 'Data Access Spectrum'. The non-data controls (project, people, setting, outputs) tend to work together, in that organisations often see these as a complementary set of restrictions on access. These can then be contrasted with choices about data anonymisation to present a linear representation of data access options. This presentation is consistent with the idea of 'data as a residual', as well as data protection laws of the time which often characterised data simply as anonymous or not anonymous. A similar idea had already been developed independently in 2001 by Chuck Humphrey of the Canadian RDC network, the 'continuum of access'. More recently, The Open Data Institute has developed a 'Data Spectrum toolkit' which includes industry-specific examples. == History and terminology == The Five Safes was devised in the winter of 2002/2003 by Felix Ritchie at the UK Office for National Statistics (ONS) to describe its secure remote-access Virtual Microdata Laboratory (VML). It was described at this time as the 'VML Security Model'. This was adopted by the NORC data enclave, and more widely in the US, as the 'portfolio model' (although this is now also used to refer to a slightly different legal/statistical/educational breakdown). In 2012 the framework as was still being referred to as the 'VML security model', but its increasing use among non-UK organisations led to the adoption of the more general and informative phrase 'Five Safes'. The original framework only had four safes (projects, people, settings and outputs): the framework was used to describe highly detailed data access through a secure environment, and so the 'data' dimension was irrelevant. From 2007 onwards, 'safe data' was included as the framework was used to a describe a wider range of ONS activities. As the US version was based upon the 2005 specification, some US iterations uses have the original four dimensions (eg). Some discussions, such as the OECD, use the term 'secure' instead 'safe'. However, the use of both these terms can cause presentational problems: less control in a particular dimension could be seen to imply 'unsafe users' or 'insecure settings', for example, which distracts from the main message. Hence, the Australian government uses the term "five data sharing principles". The 'Anonymisation Decision-Making Framework' uses a framework based on the Five Safes but relabelling "projects", "people", and "settings" as "governance", "agency" and "infrastructure", respectively; "Output" is omitted, and "safe use" becomes "functional anonymisation". There is no reference to the Five Safes or any associated literature. The Australian version was required to include references to the Five Safes, and presented it as an alternative without comment. == Application == The framework has had three uses: pedagogical, descriptive, and design. Since 2016, it has also been used, directly and indirectly in legislation. See for more detailed examples. === Pedagogy === The first significant use of the framework, other than internal administrative use, was to structure researcher training courses at the UK Office for National Statistics from 2003. UK Data Archive, Administrative Data Research Network, Eurostat, Statistics New Zealand, the Mexican National Institute of Statistics and Geography, NORC, Statistics Canada and the Australian Bureau of Statistics, amongst others, have also used this framework. Most of these courses are for researchers using restricted-access facilities; the Eurostat courses are unusual in that they are designed for all users of sensitive data. === Description === The framework is often used to describe existing data access solutions (e.g. UK HMRC Data Lab, UK Data Service, Statistics New Zealand) or planned/conceptualised ones (e.g. Eurostat in 2011). An early use was to help identify areas where ONS' still had 'irreducible risks' in its provision of secure remote access. The framework is mostly used for confidential social science data. To date it appears to have made little impact on medical research planning, although it is now included in the revised guidelines on implementing HIPAA regulations in the US, and by Cancer Research UK and the Health Foundation in the UK. It has also been used to describe a security model for the Scottish Health Informatics Programme. === Design === In general the Five Safes has been used to describe solutions post-factum, and to explain/justify choices made, but an increasing number of organisations have used the framework to design data access solutions. For example, the Hellenic Statistical Agency developed a data strategy built around the Five Safes in 2016; the UK Health Foundation used the Five Safes to design its data management and training programmes. Use in the private sector is less common but some organisations have incorporated the Five Safes into consulting services. In 2015 the UK Data Service organized a workshop to encourage data users from the academic and private sectors to think about how to manage confidential research data, using the Five Safes to demonstrate alternative options and best practice. Early adopters for strategic design use were in Australia: both the Australian Bureau of Statistics and the Australian Department of Social Service used the Five Safes as an ex ante design tool. In 2017 the Australian Productivity Commission recommended adopting a version of the framework to support cross-government data sharing and re-use. This underwent extensive consultation and culminated in the DAT Act 2022. Since 2020 the Five Safes has been the overriding framework for the design of new secure facilities and data sharing arrangements in the UK for public health and social sciences. This has been promoted by the Office for Statistics Regulation, the UK Statistics Authority, NHS DIgital, and the research funding bodies Administrative Data Research UK and DARE UK. === Regulation and legislation === Three laws have incorporated the Fives Safes. They are explicit in the South Australian Public Sector (Data Sharing) Act 2016, and implicit in the research provisions of the UK Digital Economy Act 2017. The Australian Data Availability and Transparency Act 2022 renames the Five Safes as the Five Data Sharing Principles.A 2025 statutory review of the DAT Act 2022 found "that the DAT Act has not been effective in achieving its objectives.". The review includes specific referen
Switch (app)
Switch was a mobile-only job-matching app that connected candidates directly to hiring managers. Candidates could upload their resumes and connect their social and professional media profiles, but remain anonymous while searching. Users received a daily set of job recommendations that fit their backgrounds and salary criteria, and swipe right to apply. Employers post many jobs on Switch directly, which eliminates the need for third-party job boards and recruiters, and connects job seekers to hiring managers. Switch reveals a candidate’s identity to one employer at a time, only after the candidate matches with that employer. When candidates and employers match, they can chat within the app. Switch is available for iOS, with an Android version in development. == History == === Founding === Yarden Tadmor founded Switch in New York City in January 2014. For the first 10 months, Tadmor funded the company himself. By December 2014, Switch had raised $1.4 million in funding from venture capitals firms Metamorphic Ventures, SG VC, BAM and Rhodium. Tadmor's inspiration for Switch came after being frustrated by his experience both as a job seeker, and also as a supervisor hiring at numerous technology startup companies. Tadmor has said of Switch, “We operate on the five-second resume principle, which is usually the amount of time a recruiter spends on a resume. They scan through the typical data points and move on.” Switch was designed for passive job seekers to browse openings discreetly and connect quickly. Originally, Switch served only the New York metro area technology sector while in early beta, but Tadmor always intended to expand into national coverage. Soon, the company started including all major metropolitan markets across the U.S. In May 2015, Switch announced it would start sourcing tech and media jobs from all the job boards available online. Later in 2015, Switch began to post jobs in smaller urban areas. The company also expanded industries and jobs to include restaurant staff, retail sales, healthcare, nursing and education. Tadmor subsequently founded Livekick, a one-on-one private fitness and yoga instruction company, based in New York. == Operation == In May 2015, Switch reported generating over 400,000 job applications. The company said that nine of the 50 largest websites in the U.S. were using the service. It had grown its customer base to thousands of companies in a few months from launch including Microsoft, Amazon, Facebook, IBM, Yahoo!, eBay, DropBox, SoundCloud, and Wikipedia. John Cline, software development manager at eBay, told ABC’s Good Morning America that Switch is now his “main way of finding new prospective employees.” Switch uses a double opt-in technique, meaning job seekers and employers must both say yes before moving forward. They also use swiping technology and intelligent matching algorithms to connect job seekers and employers. The user experience is different for each group, but the major attraction for both sides is the speed at which they can be connected. === Features === Swipe is a major aspect of the Switch user experience. Job seekers swipe to apply to jobs, or left to pass on positions. Employers respond and swipe right to reciprocate interest, or left to eliminate the candidate. Direct connection between job seekers and employers allows hiring managers and job seekers to start an immediate conversation. Hiring managers can message with job seekers within the app, and both parties can quickly vet one another and decide whether to move forward. Easy profile creation from social media and in-app profile editing helps job seekers focus on finding a job. === Users === Job Seekers can either load their profile manually or pull in professional credentials from social media. They can post validated photos on their Facebook account. Switch’s matching algorithm analyzes the job seeker’s location, experience, and skills to bring them jobs they may be interested in. Job seekers swipe to apply and, if the employer shows interest too, only then does Switch’s system reveal the job seeker’s identity to the corporate recruiter or hiring manager. The job seeker and hiring manager can then chat through the app. Employers behave similarly to job seekers. Hiring managers or corporate recruiters sign up online, add open positions, then view Switch-recommended candidates or wait for job seekers to swipe right. Employers can select relevant job seekers by swiping right on their profiles, then chat directly in the app. === Subscriptions === The app is currently free for users and employers. == Company overview == === Financials === Switch closed out its seed round in May 2015 with $2 million in seed round funding. Investors include Marker VC, Metamorphic, Rhodium, 500 Startups, BAM, SG VC and Marcel Legrand. In a July 2015 interview with Tadmor, he claimed that Switch had raised $2.4 million to date. == Reception == Thanks to its swipe technology and double opt-in make-up, the media often refers to Switch as the Tinder for jobs. Switch has received features in lists and app reviews as an effective tool to improve your digital job search, particularly on the mobile platform. “It’s minimal effort to connect with relevant matches,” said Good Morning America workplace contributor Tory Johnson. “Which is what everybody wants to find.”
Super app
A super app or super-app (also known as an everything app) is a mobile or web application that can provide multiple services including payment and instant messaging services, effectively becoming an all-encompassing, self-contained, commerce and communication online platform that embraces many aspects of personal and commercial life. Notable examples of super apps include Tencent's WeChat in China, Tata Neu in India, Grab in Southeast Asia and Max in Russia. For end users, a super app is an application that provides a set of core features while also giving access to independently developed miniapps. For app developers, a super app is an application integrated with the capabilities of platforms and ecosystems that allows third-parties to develop and publish miniapps. == History == The super app term was first used to describe WeChat when it combined the instant messaging service with the digital wallet function. Recognition of WeChat as a super app stems from its combination of messaging, payments, e-commerce, and much more within a single application, making it indispensable for many users. WeChat's establishment of the super app model has led companies like Meta to try to build similar applications outside of China. In India, Tata Group has announced that it is currently developing a super app named Tata Neu. Major Indian companies like Paytm, PhonePe, and ITC Maars also have apps in development that might constitute super apps. In Southeast Asia, Grab and Gojek lay claim to the super app classification despite lacking many of the features offered by WeChat. Accordingly, growth-stage companies like Shopee, Traveloka, and AirAsia have also expanded the range of services offered by their respective applications. == Notable examples == === Alipay === Alipay is a third-party mobile and online payment platform established in Hangzhou, China in February 2004 by Alibaba Group and its founder Jack Ma. It operates in association with Ant Group, an affiliate company of the Chinese Alibaba Group. === Gojek === Gojek is an Indonesian on-demand multiservice digital platform and fintech payment super app. Established in Jakarta in 2010, as a call center to connect consumers to courier delivery and two-wheeled ride-hailing services, it launched its mobile app in 2015 with four services: GoRide, GoSend, GoShop, and GoFood, which has since expanded to offer over 20 services. In 2021, it merged with another Indonesian unicorn, Tokopedia, forming the decacorn GoTo Gojek Tokopedia. === Grab === Grab is a Southeast Asian technology company headquartered in Singapore and Indonesia. Founded in 2012 as the MyTeksi app in Kuala Lumpur, Malaysia, it expanded the following year as GrabTaxi, before moving its headquarters to Singapore in 2014 and rebranding officially as Grab. In addition to ride-hailing and transportation services, the company's mobile app also offers food delivery and digital payment services. === Max === Max is a messenger from the Russian company VK, positioned as a super app. The application combines messaging, calls, and channels features with the integration of additional services: payments, miniapps, taxi ordering, deliveries, and other everyday services are available within a single interface. The goal is to unite communication and routine tasks in a unified ecosystem. === Tata Neu === Tata Neu is a multipurpose super app, developed in India by the Tata Group. It is the country's first super app. The app was launched to coincide with the start of a 2022 Indian Premier League cricket match. === WeChat === WeChat is a Chinese multipurpose instant messaging, social media and mobile payment app. First released in 2011, it became the world's largest standalone mobile app in 2018, with over 1 billion monthly active users. WeChat provides text messaging, hold-to-talk voice messaging, broadcast (one-to-many) messaging, video conferencing, video games, the sharing of photographs and videos and location sharing. === X === X is an American social network, originally known as Twitter from its launch through 2023. Prior to his acquisition of the service, new owner Elon Musk stated that he planned for Twitter to become an "everything app" known as "X"; in 2023, the service added an AI chatbot known as "Grok" as well as integrated job search tools known as "X Hiring". In January 2025, X announced its intent to offer a digital wallet service in the future. Later in the year, X revamped its direct messaging system as "Chat". == Criticism == Although apps that fit the super app classification can offer users a wider variety of services in comparison to single-purpose alternatives, internet regulators in regions such as the US and Europe have become more concerned about the overall power of the technology industry and have become more critical of companies developing such apps. In China, WeChat and other local firms have been ordered to open up their platforms to rivals by local regulators. There are also reports that suggest it might be difficult to replicate WeChat's super app model. This stems partly from the peaking of smartphone penetration rates in many regions worldwide, which has led to overcrowded app stores and tighter restrictions on targeted advertising as regulators assert more control over the companies. From a technical viewpoint, single-purpose apps are comparatively faster, more responsive and easier to navigate than super apps, which helps improve the overall user experience. Super-apps are also likelier to store larger amounts of personal data to facilitate the delivery of their services, so users run a greater risk of becoming victims of severe data breaches. In 2020, this unfolded with Tokopedia, which had the data of 91 million of its users stolen and shared by crackers. It has also been noted that a user who loses access to their account or is banned from a super app generally loses access to multiple real-life services and digital applications; the Chinese government has used this approach to penalize people who shared the photos of the Sitong Bridge protest.
Framebuffer
A framebuffer (frame buffer, or sometimes framestore) is a portion of random-access memory (RAM) containing a bitmap that drives a video display. It is a memory buffer containing data representing all the pixels in a complete video frame. Modern video cards contain framebuffer circuitry in their cores. This circuitry converts an in-memory bitmap into a video signal that can be displayed on a computer monitor. In computing, a screen buffer is a part of computer memory used by a computer application for the representation of the content to be shown on the computer display. The screen buffer may also be called the video buffer, the regeneration buffer, or regen buffer for short. The phrase "screen buffer” refers to a logical function, while video memory refers to a hardware storage location. In particular, the screen buffer may be placed in the main RAM, the video memory, or some other hardware location. To reduce latency and avoid screen tearing, multiple frames can be buffered, and this technique is called multiple buffering. When this is so, at any time, only one frame would be visible, and the others would not be. The currently invisible frames are located in the off-screen buffer. The information in the buffer typically consists of color values for every pixel to be shown on the display. Color values are commonly stored in 1-bit binary (monochrome), 4-bit palettized, 8-bit palettized, 16-bit high color and 24-bit true color formats. An additional alpha channel is sometimes used to retain information about pixel transparency. The total amount of memory required for the framebuffer depends on the resolution of the output signal, and on the color depth or palette size. == History == Computer researchers had long discussed the theoretical advantages of a framebuffer but were unable to produce a machine with sufficient memory at an economically practicable cost. In 1947, the Manchester Baby computer used a Williams tube, later the Williams-Kilburn tube, to store 1024 bits on a cathode-ray tube (CRT) memory and displayed on a second CRT. Other research labs were exploring these techniques with MIT Lincoln Laboratory achieving a 4096 display in 1950. A color-scanned display was implemented in the late 1960s, called the Brookhaven RAster Display (BRAD), which used a drum memory and a television monitor. In 1969, A. Michael Noll of Bell Telephone Laboratories, Inc. implemented a scanned display with a frame buffer, using magnetic-core memory. A year or so later, the Bell Labs system was expanded to display an image with a color depth of three bits on a standard color TV monitor. The vector graphics used in the computer had to be converted for the scanned graphics of a TV display. In the early 1970s, the development of MOS memory (metal–oxide–semiconductor memory) integrated-circuit chips, particularly high-density DRAM (dynamic random-access memory) chips with at least 1 kb memory, made it practical to create, for the first time, a digital memory system with framebuffers capable of holding a standard video image. This led to the development of the SuperPaint system by Richard Shoup at Xerox PARC in 1972. Shoup was able to use the SuperPaint framebuffer to create an early digital video-capture system. By synchronizing the output signal to the input signal, Shoup was able to overwrite each pixel of data as it shifted in. Shoup also experimented with modifying the output signal using color tables. These color tables allowed the SuperPaint system to produce a wide variety of colors outside the range of the limited 8-bit data it contained. This scheme would later become commonplace in computer framebuffers. In 1974, Evans & Sutherland released the first commercial framebuffer, the Picture System, costing about $15,000. It was capable of producing resolutions of up to 512 by 512 pixels in 8-bit grayscale, and became a boon for graphics researchers who did not have the resources to build their own framebuffer. The New York Institute of Technology would later create the first 24-bit color system using three of the Evans & Sutherland framebuffers. Each framebuffer was connected to an RGB color output (one for red, one for green and one for blue), with a Digital Equipment Corporation PDP 11/04 minicomputer controlling the three devices as one. In 1975, the UK company Quantel produced the first commercial full-color broadcast framebuffer, the Quantel DFS 3000. It was first used in TV coverage of the 1976 Montreal Olympics to generate a picture-in-picture inset of the Olympic flaming torch while the rest of the picture featured the runner entering the stadium. The rapid improvement of integrated-circuit technology made it possible for many of the home computers of the late 1970s to contain low-color-depth framebuffers. Today, nearly all computers with graphical capabilities utilize a framebuffer for generating the video signal. Amiga computers, created in the 1980s, featured special design attention to graphics performance and included a unique Hold-And-Modify framebuffer capable of displaying 4096 colors. Framebuffers also became popular in high-end workstations and arcade system boards throughout the 1980s. SGI, Sun Microsystems, HP, DEC and IBM all released framebuffers for their workstation computers in this period. These framebuffers were usually of a much higher quality than could be found in most home computers, and were regularly used in television, printing, computer modeling and 3D graphics. Framebuffers were also used by Sega for its high-end arcade boards, which were also of a higher quality than on home computers. == Display modes == Framebuffers used in personal and home computing often had sets of defined modes under which the framebuffer can operate. These modes reconfigure the hardware to output different resolutions, color depths, memory layouts and refresh rate timings. In the world of Unix machines and operating systems, such conveniences were usually eschewed in favor of directly manipulating the hardware settings. This manipulation was far more flexible in that any resolution, color depth and refresh rate was attainable – limited only by the memory available to the framebuffer. An unfortunate side-effect of this method was that the display device could be driven beyond its capabilities. In some cases, this resulted in hardware damage to the display. More commonly, it simply produced garbled and unusable output. Modern CRT monitors fix this problem through the introduction of protection circuitry. When the display mode is changed, the monitor attempts to obtain a signal lock on the new refresh frequency. If the monitor is unable to obtain a signal lock or if the signal is outside the range of its design limitations, the monitor will ignore the framebuffer signal and possibly present the user with an error message. LCD monitors tend to contain similar protection circuitry, but for different reasons. Since the LCD must digitally sample the display signal (thereby emulating an electron beam), any signal that is out of range cannot be physically displayed on the monitor. == Color palette == Framebuffers have traditionally supported a wide variety of color modes. Due to the expense of memory, most early framebuffers used 1-bit (2 colors per pixel), 2-bit (4 colors), 4-bit (16 colors) or 8-bit (256 colors) color depths. The problem with such small color depths is that a full range of colors cannot be produced. The solution to this problem was indexed color, which adds a lookup table to the framebuffer. Each color stored in framebuffer memory acts as a color index. The lookup table serves as a palette with a limited number of different colors, while the rest is used as an index table. Here is a typical indexed 256-color image and its own palette (shown as a rectangle of swatches): In some designs, it was also possible to write data to the lookup table (or switch between existing palettes) on the fly, allowing dividing the picture into horizontal bars with their own palette and thus rendering an image that had a far wider palette. For example, viewing an outdoor shot photograph, the picture could be divided into four bars: the top one with emphasis on sky tones, the next with foliage tones, the next with skin and clothing tones, and the bottom one with ground colors. This required each palette to have overlapping colors, but, carefully done, allowed great flexibility. == Memory access == While framebuffers are commonly accessed via a memory mapping directly to the CPU memory space, this is not the only method by which they may be accessed. Framebuffers have varied widely in the methods used to access memory. Some of the most common are: Mapping the entire framebuffer to a given memory range. Port commands to set each pixel, range of pixels or palette entry. Mapping a memory range smaller than the framebuffer memory, then bank switching as necessary. The framebuffer organization may be packed pixel or planar. The framebuffer may be all
Inpainting
Inpainting is a conservation process where damaged, deteriorated, or missing parts of an artwork are filled in to present a complete image. This process is commonly used in image restoration. It can be applied to both physical and digital art mediums such as oil or acrylic paintings, chemical photographic prints, sculptures, or digital images and video. With its roots in physical artwork, such as painting and sculpture, traditional inpainting is performed by a trained art conservator who has carefully studied the artwork to determine the mediums and techniques used in the piece, potential risks of treatments, and ethical appropriateness of treatment. == History == The modern use of inpainting can be traced back to Pietro Edwards (1744–1821), Director of the Restoration of the Public Pictures in Venice, Italy. Using a scientific approach, Edwards focused his restoration efforts on the intentions of the artist. It was during the 1930 International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art, that the modern approach to inpainting was established. Helmut Ruhemann (1891–1973), a German restorer and conservator, led the discussions on the use of inpainting in conservation. Helmut Ruhemann was a leading figure in modernizing restoration and conservation. His greatest contribution to the field of conservation "was his insistence on following the methods of the original painter exactly, and on understanding the painter's artistic intention". After his career of over 40 years as a conservator, Ruhemann published his treatise The Cleaning of Paintings: Problems & Potentialities in 1968. In describing his method, Ruhemann states that "The surface [of the fill] should be slightly lower than that of the surrounding paint to allow for the thickness of the inpainting...Inpainting medium should look and behave like the original medium, but must not darken with age." Cesare Brandi (1906–1988) developed the teoria del restauro, the inpainting approach combining aesthetics and psychology. However, this approach was used primarily by Italian restorers and conservators, with the terminology becoming widespread in the 1990s. Technological advancements led to new applications of inpainting. Widespread use of digital techniques range from entirely automatic computerized inpainting to tools used to simulate the process manually. Since the mid-1990s, the process of inpainting has evolved to include digital media. More commonly known as image or video interpolation, a form of estimation, digital inpainting includes the use of computer software that relies on sophisticated algorithms to replace lost or corrupted parts of the image data. == Ethics == In order to preserve the integrity of an original artwork, any inpainting technique or treatment applied to physical or digital work should be reversible or distinguishable from the original content of the artwork. Prior to any treatments, conservators proceed according to the American Institute of Conservation of Historical and Artistic Works. There are several ethic considerations before Inpainting can be justified. Various deliberation decisions over the ethical appropriateness of the amount and type of inpainting done, resides on many factors. As most conservation treatments, inpainting's ethical questions rest mainly with authenticity, reversibility and documentation.Any intervention to compensate for loss should be documented in treatment records and reports and should be detectable by common examination methods. Such compensation should be reversible and should not falsely modify the known aesthetic, conceptual, and physical characteristics of the cultural property, especially by removing or obscuring original material.New technologies and the aesthetic demand for perfect images without imperfections challenge conservators' ethical practices to protect the integrity of originals. == Methods == Inpainting methods and techniques depend on the desired goal and type of image being treated. Treatments to fill in the gaps are different between physical and digital art. In inpainting, detailed records of the initial state of the images can help with the treatment and replicate the original closer. === Physical inpainting === Inpainting is rooted in the conservation and restoration of paintings. Inpainting can aim to make a visual improvement to the artwork as a whole by repairing missing or damaged parts using methods and materials equivalent to the original artist's work. ==== Application techniques ==== By studying the painting methods of various artists and the composition of paints used historically, conservators are able to restore works very closely to their original visual appearance. The picture as a whole determines how to fill in the gap. Helmut Ruhemann's inpainting techniques by Jessell have procedures to "preserve" the quality of oil and tempera paintings. === Digital inpainting === Many programs are able to reconstruct missing or damaged areas of digital photographs and videos. Most widely known for use with digital images is Adobe Photoshop. Given the various abilities of the digital camera and the digitization of old photos, inpainting has become an automatic process that can be performed on digital images. The inpainting techniques can be applied to object removal, text removal, and other automatic modifications of images and videos. In video special effects, inpainting is usually performed after video matting. They can also be observed in applications like image compression and super-resolution. In photography and cinema, it is used for film restoration to reverse, repair, or mitigate deterioration (e.g., physical damage such as cracks in photographs, scratches and dust spots in film, or chemical damage resulting in image loss; performed infrared cleaning). It can also be used for removing red-eye, the stamped date from photographs, and objects for creative effect. This technique can be used to replace any lost blocks in the coding and transmission of images, for example, in a streaming video. It can also be used to remove logos or watermarks in videos. Deep learning neural network-based inpainting can be used for decensoring images. Deep image prior-based techniques can be used for digital image inpainting, where a trained deep learning model is either unavailable or infeasible. Deep models for visual content generation, like text-to-image or text-to-video, learn complex priors over the distribution of visual content, and can be used to inpaint missing parts. For example, videos can be separated into layers, using a technique called omnimatte, which either pretrain an omnimatte model or without any training using an omnimatte-zero model. Three main groups of 2D image-inpainting algorithms can be found in the literature. The first one to be noted is structural (or geometric) inpainting, the second one is texture inpainting, the last one is a combination of these two techniques. They use the information of the known or non-destroyed image areas in order to fill the gap, similar to how physical images are restored. ==== Structural ==== Structural or geometric inpainting is used for smooth images that have strong, defined borders. There are many different approaches to geometric inpainting, but they all come from the idea that geometry can be recovered from similar areas or domains. Bertalmio proposed a method of structural inpainting that mimics how conservators address painting restoration. Bertalmio proposed that by progressively transferring similar information from the borders of an inpainting domain inwards, the gap can be filled. ==== Textural ==== While structural/geometric inpainting works to repair smooth images, textural inpainting works best with images that are heavily textured. Texture has a repetitive pattern which means that a missing portion cannot be restored by continuing the level lines into the gap; level lines provide a complete, stable representation of an image. To repair texture in an image, one can combine frequency and spatial domain information to fill in a selected area with a desired texture. This method, while the most simple and very effective, works well when selecting a texture to be in-painted. For a texture that covers a wider area or a larger frame one would have to go through the image segmenting the areas to be in-painted and selecting the corresponding textures from throughout the image; there are programs that can help find the corresponding areas that work in a similar way as 'find and replace' works in a word processor. ==== Combined structural and textural ==== Combined structural and textural inpainting approaches simultaneously try to perform texture- and structure-filling in regions of missing image information. Most parts of an image consist of texture and structure and the boundaries between image regions contain a large amount of structural information. This is the result when blending differ
Quantexa
Quantexa is a UK-based software company that develops artificial intelligence-based applications for data analytics and decision-making. The company was founded in 2016 and is headquartered in London, with operations in North America, Europe, and the Asia-Pacific region. As of 2025, Quantexa reported a valuation of $2.6 billion and provides services to organizations in over 70 countries. Investors include Warburg Pincus, HSBC, and the Ontario Teachers’ Pension Plan. == History == Quantexa was founded in London in 2016 by several co-founders, including Jamie Hutton, Richard Seewald, Imam Hoque, Felix Hoddinott, and Vishal Marria, who also serves as the company's chief executive officer. The company was established to develop tools intended to address limitations in traditional data analysis methods, particularly those related to identifying hidden connections across large datasets. The name "Quantexa" is derived from the company's focus on quantitative methods and data analysis. In 2023, Quantexa acquired Dublin-based AI firm Aylien. In April 2023, the company completed a Series E funding round, raising $129 million at a valuation of approximately $1.8 billion, marking its entry into "unicorn" status. In October 2024, the company reported annual recurring revenue (ARR) exceeding $100 million. In early 2025, Quantexa participated in the World Economic Forum's Unicorn Program, which supports high-growth technology companies. In March 2025, Quantexa completed a Series F funding round of $175 million, led by Teachers' Venture Growth, the venture arm of the Ontario Teachers' Pension Plan. That August, the company was reported to be considering a 2026 IPO. The company formed a partnership with Zurich in October 2025, the first insurer to add its AI-based Decision Intelligence platform to enhance fraud detection.
OpenPipeline
openPipeline is an open-source plug-in for Autodesk Maya that is designed to assist in a Production Pipeline structure and Computer animation. == Development == Created in Maya Embedded Language, openPipeline was initiated at Eyebeam Atelier and further developed at Pratt Institute in the Digital Arts Lab. The initial release date was December 28, 2006. == Contributors == Rob O'Neill (Creator) Paris Mavroidis Meng-Han Ho