Deluxe Media Inc., also known simply as Deluxe and formerly Deluxe Entertainment Services Group, Inc., is an American multinational multimedia and entertainment service provisions company owned by Platinum Equity, founded in 1915 by Hungarian-born American film producer William Fox and headquartered in Burbank, California. The company services multiple clients in the film, television, digital content and advertising industries across the globe, and has been recognized with 10 Academy Awards for scientific and technical achievements, including developments in CinemaScope pictures (as part of 20th Century Fox) and more recently for a process of creating archival separations from digital image data. == History == Deluxe began as a film processing laboratory established in 1915 by William Fox under the name De Luxe as part of his eponymous film conglomerate corporation in Fort Lee, New Jersey. In 1916, Fox Film Corporation opened its studio in Hollywood on 13 acres at Sunset and Western. The first Deluxe film laboratory on the west coast was built on the south side of the lot (Fernwood and Serrano), and the laboratory was moved to the new Fox studios building on Manhattan's west side in 1919, where it remained for over 40 years. The "business manager" (later president) of the laboratory was Alan E. Freedman, who guided the company into the 1960s. In 1927, Fox (Deluxe) received a patent for sound-on-film, the Fox Movietone system. In 1927, "Sunrise: A Song of Two Humans," an early Movietone film, opened. Fox Movietone News, ran weekly in theaters until 1963. During the Great Depression, Fox Film Corporation encountered financial difficulties. Among the actions taken to maintain liquidity, Fox sold the laboratories in 1932 to Freedman, who renamed the operation Deluxe. Under Freedman's leadership, Deluxe added two more plants in Chicago and Toronto. In January 1934, Fox was granted an option to rebuy DeLuxe before December 31, 1938. On 31 May 1935, under Sidney Kent, Fox merged his film company with Twentieth Century Pictures to form The Twentieth Century-Fox Film Corporation following a bank-infused reorganisation. The merged company then exercised this option in July 1936, with Freedman remaining as president. In 1953, Deluxe developed the widescreen format CinemaScope. Titles included "There's No Business Like Show Business" (1954) and "The Seven Year Itch" (1955). Other innovations included the processing and sound striping of CinemaScope, and were patented and/or received Academy awards. In 1962 Freedman retired. In the 1960s, Deluxe closed its New York plant, followed by its plants in Chicago and Toronto, as motion picture production declined on the East Coast. In 1972, Deluxe began large volume videocassette production, with a billion by 1996. In 1990, The Rank Organisation acquired Deluxe from Fox. In 2000, Deluxe began large volume DVD production. In 2006, The Rank Organisation sold Deluxe Film Group to MacAndrews & Forbes, renamed Deluxe Entertainment Services Group. On 9 February 2012, Deluxe acquired Hong Kong–based visual effects and post-production company, Centro Digital Pictures, with its founder John Chu remaining as president while reporting to Alaric McAusland, managing director for Deluxe in Australia. In May 2014, Deluxe shut down its Los Angeles plant at Sunset & Western Studios complex, where other studios themselves were demolished way back in 1971. Also that same year, Deluxe closed the Hollywood film labs, and they gave thousands of orphaned film elements to the Academy Film Archive. The Deluxe Laboratories Collection at the Academy Film Archive consists of over 7,500 35mm and 16mm film elements of various motion pictures dating back to the early 1960s. On 22 April 2015, Deluxe and its longtime competitor, Technicolor S.A., announced that they had entered into a binding agreement to create a new joint venture known as Deluxe Technicolor Digital Cinema which will specialize in cinema mastering, distribution and management services. Deluxe got acquired on 4 September 2019 by creditors in a debt-for-equity swap to avoid bankruptcy. On 3 October 2019, Deluxe filed for bankruptcy, pending in the Southern District of New York. The same month on the 24th, the company received court approval to emerge from bankruptcy with a comprehensive restructuring plan. On July 1, 2020, Platinum Equity agreed to acquire the distribution division of Deluxe and re-unite with former CEO Cyril Drabinsky who would merge CineVizion, a film distribution company he founded after leaving Deluxe in 2016, into it. The companies Company 3 and Method Studios which formed the creative divisions of Deluxe were sold to Framestore in November 2020.
Score bug
A score bug is a digital on-screen graphic which is displayed in a broadcast of a sporting event, displaying the current score and other statistics. It is similar in function to a scoreboard, and is usually placed at either the top or lower third of the television screen. == History == The concept of a persistent score bug was devised by Sky Sports head David Hill, who was dissatisfied over having to wait to see what the score was after tuning into a football match in-progress. The score bug was introduced when Sky launched its coverage of the then newly-formed English Premier League in August 1992. Hill's boss repeatedly demanded that the graphic be removed, describing it as the "stupidest thing [he] had ever seen". Hill defied the boss's demands and kept the graphic in place. ITV introduced a score bug at the start of the 1993–94 football season, and the BBC introduced a score bug towards the end of 1993. The concept was introduced to the United States by ABC Sports and ESPN during coverage of the 1994 FIFA World Cup. Their justification for the graphic was to provide a location for a rotating series of sponsor logos, in order to allow matches to air without commercial interruption. With the acquisition of rights to the National Football League (NFL) by BSkyB's American sibling Fox (a fellow venture of Rupert Murdoch), Hill became the first president of Fox Sports. Under Hill's leadership, Fox introduced a version of the score bug branded as the "Fox Box", which was part of its inaugural season of NFL coverage in 1994. Variety criticized it as an "annoying see-through clock and score graphic" and expressed concern for people "who actually watched the beginning of the game and would rather have their screen clear of graphics". Hill even received a death threat from an irate viewer, with a specific emphasis on him being a "foreigner", but the score bug soon became a ubiquitous feature for American football broadcasts, along with almost all American sports broadcasts in the years that followed. Dick Ebersol of NBC Sports initially opposed the idea of a score bug, as he thought that fans would dislike seeing more graphics on the screen and would change the channel from blowout games if the score was constantly being displayed. Since the 2010s, the on-air design and positioning of some score bugs have been influenced by the needs of Internet video (especially when viewing an event on devices with smaller screens), including bugs noticeably larger than prior iterations designed with television viewing in mind, or designs primarily kept towards the bottom-center of the screen (easing the ability for the bug to remain visible when highlights are cropped for square videos posted on social media). == Details == Score bugs used in team sports typically include the names of both teams, an abbreviation of the team's name, and/or the team's logo; for individual sports, they include the names of individual competitors. In sports where a game clock or playing periods are used, those are generally also displayed as part of the score bug. Some broadcasts also include teams' win-loss records. In 2024, ESPN experimented with adding a persistent win probability meter to its bug in Major League Baseball, which was based on input from its statisticians. === Variations === In addition to the above information, score bugs in some sports include additional information: In baseball, score bugs display the current inning, number of outs, the pitch clock if applicable, and a graphic displaying which bases are occupied; and usually include names of the current pitcher and batter, the pitcher's pitch count, and the number of balls and strikes accrued by the batter. In basketball, score bugs generally include the shot clock, the number of fouls accrued by each team, and whether a team is in the bonus. In cricket, score bugs often take the form of larger dashboards across the bottom of the screen, displaying the current team up and their number of runs, wickets, and overs, a display showing the runs scored and number of balls faced by the current batting partnership, and statistics for the opposing team's bowler (including the number of wickets scored and runs given up). In American football, score bugs usually include the play clock and the down and distance of the current play; they also incorporate graphics indicating when a penalty flag has been thrown. In ice hockey, score bugs display when a penalty or power play is in effect, and often include the number of shots on goal accrued by each team. In golf, Fox popularized the display of a persistent leaderboard graphic in the bottom-right of the screen, usually displaying the top 5. ==== Racing ==== Telecasts of automobile races often include a score bug with the current positions of participants, statistics such as distance behind the leader, and the remaining distance or number of laps. In the mid-2010s, NASCAR broadcasters such as Fox began to transition from horizontal tickers to vertical leaderboards (also referred to as "pylons", in reference to the physical scoring pylons at). The CW differentiated itself by using a horizontal display that divides the field into multiple columns along the bottom of the screen.
Algorithm
In mathematics and computer science, an algorithm ( ) is a finite sequence of mathematically rigorous instructions, typically used to solve a class of specific problems or to perform a computation. Algorithms are used as specifications for performing calculations and data processing. More advanced algorithms can use conditionals to divert the code execution through various routes (referred to as automated decision-making) and deduce valid inferences (referred to as automated reasoning). In contrast, a heuristic is an approach to solving problems without well-defined correct or optimal results. For example, although social media recommender systems are commonly called "algorithms", they actually rely on heuristics as there is no truly "correct" recommendation. As an effective method, an algorithm can be expressed within a finite amount of space and time and in a well-defined formal language for calculating a function. Starting from an initial state and input, a computation occurs at each step, eventually producing output and terminating. The transition between states can be non-deterministic; randomized algorithms incorporate random input. == Etymology == Around 825 AD, Persian scientist and polymath Muḥammad ibn Mūsā al-Khwārizmī wrote kitāb al-ḥisāb al-hindī ("Book of Indian computation") and kitab al-jam' wa'l-tafriq al-ḥisāb al-hindī ("Addition and subtraction in Indian arithmetic"). In the early 12th century, Latin translations of these texts involving the Hindu–Arabic numeral system and arithmetic appeared, for example Liber Alghoarismi de practica arismetrice, attributed to John of Seville, and Liber Algoritmi de numero Indorum, attributed to Adelard of Bath. Here, alghoarismi or algoritmi is the Latinization of Al-Khwarizmi's name; the text starts with the phrase Dixit Algoritmi, or "Thus spoke Al-Khwarizmi". The word algorism in English came to mean the use of place-value notation in calculations; it occurs in the Ancrene Wisse from circa 1225. By the time Geoffrey Chaucer wrote The Canterbury Tales in the late 14th century, he used a variant of the same word in describing augrym stones, stones used for place-value calculation. In the 15th century, under the influence of the Greek word ἀριθμός (arithmos, "number"; cf. "arithmetic"), the Latin word was altered to algorithmus. By 1596, this form of the word was used in English, as algorithm, by Thomas Hood. == Definition == One informal definition is "a set of rules that precisely defines a sequence of operations", which would include all computer programs, and any bureaucratic procedure or cook-book recipe. In general, a program is an algorithm only if it stops eventually. Formally, algorithm is an explicit set of instructions to produce an output, that can be followed by a computer or a human performing specific operations on symbols.. == History == === Ancient algorithms === Step-by-step procedures for solving mathematical problems have been recorded since antiquity. This includes in Babylonian mathematics (around 2500 BC), Egyptian mathematics (around 1550 BC), Indian mathematics (around 800 BC and later), the Ifa Oracle (around 500 BC), Greek mathematics (around 240 BC), Chinese mathematics (around 200 BC and later), and Arabic mathematics (around 800 AD). The earliest evidence of algorithms is found in ancient Mesopotamian mathematics. A Sumerian clay tablet found in Shuruppak near Baghdad and dated to c. 2500 BC describes the earliest division algorithm. During the Hammurabi dynasty c. 1800 – c. 1600 BC, Babylonian clay tablets described algorithms for computing formulas. Algorithms were also used in Babylonian astronomy. Babylonian clay tablets describe and employ algorithmic procedures to compute the time and place of significant astronomical events. Algorithms for arithmetic are also found in ancient Egyptian mathematics, dating back to the Rhind Mathematical Papyrus c. 1550 BC. Algorithms were later used in ancient Hellenistic mathematics. Two examples are the Sieve of Eratosthenes, which was described in the Introduction to Arithmetic by Nicomachus, and the Euclidean algorithm, which was first described in Euclid's Elements (c. 300 BC).Examples of ancient Indian mathematics included the Shulba Sutras, the Kerala School, and the Brāhmasphuṭasiddhānta. In the 9th century, Muḥammad ibn Mūsā al-Khwārizmī revolutionized the field by establishing the algorithm as a systematic, finite sequence of logical steps to solve mathematical problems. In his influential work, The Compendious Book on Calculation by Completion and Balancing, he moved beyond specific numerical solutions to introduce general procedures for algebraic reduction and balancing. This transformed mathematics into a 'mechanical' process of well-defined rules—a fundamental shift that laid the groundwork for modern algorithmic theory. The Latin translation of his arithmetic treatise, titled Algoritmi de numero Indorum, led to the term algorithm being derived from the Latinization of his name, Algoritmi, specifically to describe this new rule-based approach to mathematics. The first cryptographic algorithm for deciphering encrypted code was developed by Al-Kindi, a 9th-century Arab mathematician, in A Manuscript On Deciphering Cryptographic Messages. He gave the first description of cryptanalysis by frequency analysis, the earliest codebreaking algorithm. === Computers === ==== Weight-driven clocks ==== Weight-driven clocks were a key European invention in Middle Ages, specifically the verge escapement mechanism producing the tick of mechanical clocks. Accurate automatic machines led to mechanical automata in the 13th century and computational machines—the difference and analytical engines of Charles Babbage and Ada Lovelace in the mid-19th century. Lovelace designed the first algorithm intended for a computer, Babbage's analytical engine, the first real Turing-complete computer, more than the mechanical calculators of the time. Although the full implementation of Babbage's second device was only built decades after her lifetime, Lovelace has been called "history's first programmer". ==== Electromechanical relay ==== The Jacquard loom, a precursor to punch cards, and telephone switching machines led to the development of the first computers. By the mid-19th century, the telegraph, was in use throughout the world. By the late 19th century, ticker tape (c. 1870s) and punch cards (c. 1890) were developed. Then came the teleprinter (c. 1910) with its punched-paper use of Baudot code on tape. Telephone-switching networks of electromechanical relays were invented in 1835. These led to the invention of the digital adding device by George Stibitz in 1937. While working in Bell Laboratories, he observed the "burdensome" use of mechanical calculators with gears, prompting him to experiment create an experimental digital adder at home. === Formalization === In 1928, a partial formalization of the modern concept of algorithms began with attempts to solve David Hilbert's Entscheidungsproblem (decision problem). Later formalizations were framed as attempts to define "effective calculability" or "effective method". Those formalizations included the Gödel–Herbrand–Kleene recursive functions of 1930, 1934 and 1935, Alonzo Church's lambda calculus of 1936, Emil Post's Formulation 1 of 1936, and Alan Turing's Turing machines of 1936–37 and 1939. === Modern Algorithms === For decades, it was assumed that algorithm evolution progresses from heuristics to formal algorithms. A Symbolic integration provides a classic illustration. In 1961, James Slagle’s program SAINT used heuristics to solve 52 of 54 freshman calculus exercises from an MIT textbook (≈96%). In 1967, Larry Moses’s SIN refined the heuristics and achieved 100% success, though it remained heuristic. Finally, in 1969, Robert Risch introduced the Risch Algorithm with formal guarantees. This trajectory defined the traditional path: heuristics evolving until a definitive, guaranteed algorithm emerged. However, the rise of transformer-based AI has inverted this sequence — classical algorithms are now being displaced by heuristics once again. Algorithms have evolved and improved in many ways as time goes on. Common uses of algorithms today include social media apps like Instagram and YouTube. Algorithms are used as a way to analyze what people like and push more of those things to the people who interact with them. Quantum computing uses quantum algorithm procedures to solve problems faster. More recently, in 2024, NIST updated their post-quantum encryption standards, which includes new encryption algorithms to enhance defenses against attacks using quantum computing. == Representations == Algorithms can be expressed in many kinds of notation, including natural languages, pseudocode, flowcharts, drakon-charts, programming languages or control tables. Natural language expressions of algorithms tend to be verbose and ambiguous and are rarely used for complex or technical algor
Quality of Data
Quality of Data (QoD) is a designation coined by L. Veiga, that specifies and describes the required Quality of Service of a distributed storage system from the Consistency point of view of its data. It can be used to support big data management frameworks, Workflow management, and HPC systems (mainly for data replication and consistency). It takes into account data semantics, namely the Time interval of data freshness, the Sequence of tolerable number of outstanding versions of the data read before ore refresh, and the Value divergence allowed before displaying it. Initially it was based on a model from an existing research work regarding vector-field Consistency, awarded the best-paper prize in the ACM/IFIP/Usenix Middleware Conference 2007 and later enhanced for increased scalability and fault-tolerance. This consistency model has been successfully applied and proven in big data key/value store Apache HBase, initially designed as a middleware module seating between clusters from separate data centres. The HBase-QoD coupling minimises bandwidth usage and optimises resources allocation during replication achieving the desired consistency level at a more fine-grained level. QoD is defined by the three-dimensions of vector k=(θ,σ,ν), but with a broader view of the issue, applicable also to large-scale data management techniques in regards to their timely delivery. == Other descriptions == Quality of Data should not be confused with other definitions for data quality such as completeness, validity, and accuracy.
Enumeration algorithm
In computer science, an enumeration algorithm is an algorithm that enumerates the answers to a computational problem. Formally, such an algorithm applies to problems that take an input and produce a list of solutions, similarly to function problems. For each input, the enumeration algorithm must produce the list of all solutions, without duplicates, and then halt. The performance of an enumeration algorithm is measured in terms of the time required to produce the solutions, either in terms of the total time required to produce all solutions, or in terms of the maximal delay between two consecutive solutions and in terms of a preprocessing time, counted as the time before outputting the first solution. This complexity can be expressed in terms of the size of the input, the size of each individual output, or the total size of the set of all outputs, similarly to what is done with output-sensitive algorithms. == Formal definitions == An enumeration problem P {\displaystyle P} is defined as a relation R {\displaystyle R} over strings of an arbitrary alphabet Σ {\displaystyle \Sigma } : R ⊆ Σ ∗ × Σ ∗ {\displaystyle R\subseteq \Sigma ^{}\times \Sigma ^{}} An algorithm solves P {\displaystyle P} if for every input x {\displaystyle x} the algorithm produces the (possibly infinite) sequence y {\displaystyle y} such that y {\displaystyle y} has no duplicate and z ∈ y {\displaystyle z\in y} if and only if ( x , z ) ∈ R {\displaystyle (x,z)\in R} . The algorithm should halt if the sequence y {\displaystyle y} is finite. == Common complexity classes == Enumeration problems have been studied in the context of computational complexity theory, and several complexity classes have been introduced for such problems. A very general such class is EnumP, the class of problems for which the correctness of a possible output can be checked in polynomial time in the input and output. Formally, for such a problem, there must exist an algorithm A which takes as input the problem input x, the candidate output y, and solves the decision problem of whether y is a correct output for the input x, in polynomial time in x and y. For instance, this class contains all problems that amount to enumerating the witnesses of a problem in the class NP. Other classes that have been defined include the following. In the case of problems that are also in EnumP, these problems are ordered from least to most specific: Output polynomial, the class of problems whose complete output can be computed in polynomial time. Incremental polynomial time, the class of problems where, for all i, the i-th output can be produced in polynomial time in the input size and in the number i. Polynomial delay, the class of problems where the delay between two consecutive outputs is polynomial in the input (and independent from the output). Strongly polynomial delay, the class of problems where the delay before each output is polynomial in the size of this specific output (and independent from the input or from the other outputs). The preprocessing is generally assumed to be polynomial. Constant delay, the class of problems where the delay before each output is constant, i.e., independent from the input and output. The preprocessing phase is generally assumed to be polynomial in the input. == Common techniques == Backtracking: The simplest way to enumerate all solutions is by systematically exploring the space of possible results (partitioning it at each successive step). However, performing this may not give good guarantees on the delay, i.e., a backtracking algorithm may spend a long time exploring parts of the space of possible results that do not give rise to a full solution. Flashlight search: This technique improves on backtracking by exploring the space of all possible solutions but solving at each step the problem of whether the current partial solution can be extended to a partial solution. If the answer is no, then the algorithm can immediately backtrack and avoid wasting time, which makes it easier to show guarantees on the delay between any two complete solutions. In particular, this technique applies well to self-reducible problems. Closure under set operations: If we wish to enumerate the disjoint union of two sets, then we can solve the problem by enumerating the first set and then the second set. If the union is non disjoint but the sets can be enumerated in sorted order, then the enumeration can be performed in parallel on both sets while eliminating duplicates on the fly. If the union is not disjoint and both sets are not sorted then duplicates can be eliminated at the expense of a higher memory usage, e.g., using a hash table. Likewise, the cartesian product of two sets can be enumerated efficiently by enumerating one set and joining each result with all results obtained when enumerating the second step. == Examples of enumeration problems == The vertex enumeration problem, where we are given a polytope described as a system of linear inequalities and we must enumerate the vertices of the polytope. Enumerating the minimal transversals of a hypergraph. This problem is related to monotone dualization and is connected to many applications in database theory and graph theory. Enumerating the answers to a database query, for instance a conjunctive query or a query expressed in monadic second-order. There have been characterizations in database theory of which conjunctive queries could be enumerated with linear preprocessing and constant delay. The problem of enumerating maximal cliques in an input graph, e.g., with the Bron–Kerbosch algorithm Listing all elements of structures such as matroids and greedoids Several problems on graphs, e.g., enumerating independent sets, paths, cuts, etc. Enumerating the satisfying assignments of representations of Boolean functions, e.g., a Boolean formula written in conjunctive normal form or disjunctive normal form, a binary decision diagram such as an OBDD, or a Boolean circuit in restricted classes studied in knowledge compilation, e.g., NNF. == Connection to computability theory == The notion of enumeration algorithms is also used in the field of computability theory to define some high complexity classes such as RE, the class of all recursively enumerable problems. This is the class of sets for which there exist an enumeration algorithm that will produce all elements of the set: the algorithm may run forever if the set is infinite, but each solution must be produced by the algorithm after a finite time.
Audio inpainting
Audio inpainting (also known as audio interpolation) is an audio restoration task which deals with the reconstruction of missing or corrupted portions of a digital audio signal. Inpainting techniques are employed when parts of the audio have been lost due to various factors such as transmission errors, data corruption or errors during recording. The goal of audio inpainting is to fill in the gaps (i.e., the missing portions) in the audio signal seamlessly, making the reconstructed portions indistinguishable from the original content and avoiding the introduction of audible distortions or alterations. Many techniques have been proposed to solve the audio inpainting problem and this is usually achieved by analyzing the temporal and spectral information surrounding each missing portion of the considered audio signal. Classic methods employ statistical models or digital signal processing algorithms to predict and synthesize the missing or damaged sections. Recent solutions, instead, take advantage of deep learning models, thanks to the growing trend of exploiting data-driven methods in the context of audio restoration. Depending on the extent of the lost information, the inpainting task can be divided in three categories. Short inpainting refers to the reconstruction of few milliseconds (approximately less than 10) of missing signal, that occurs in the case of short distortions such as clicks or clipping. In this case, the goal of the reconstruction is to recover the lost information exactly. In long inpainting instead, with gaps in the order of hundreds of milliseconds or even seconds, this goal becomes unrealistic, since restoration techniques cannot rely on local information. Therefore, besides providing a coherent reconstruction, the algorithms need to generate new information that has to be semantically compatible with the surrounding context (i.e., the audio signal surrounding the gaps). The case of medium duration gaps lays between short and long inpainting. It refers to the reconstruction of tens of millisecond of missing data, a scale where the non-stationary characteristic of audio already becomes important. == Definition == Consider a digital audio signal x {\displaystyle \mathbf {x} } . A corrupted version of x {\displaystyle \mathbf {x} } , which is the audio signal presenting missing gaps to be reconstructed, can be defined as x ~ = m ∘ x {\displaystyle \mathbf {\tilde {x}} =\mathbf {m} \circ \mathbf {x} } , where m {\displaystyle \mathbf {m} } is a binary mask encoding the reliable or missing samples of x {\displaystyle \mathbf {x} } , and ∘ {\displaystyle \circ } represents the element-wise product. Audio inpainting aims at finding x ^ {\displaystyle \mathbf {\hat {x}} } (i.e., the reconstruction), which is an estimation of x {\displaystyle \mathbf {x} } . This is an ill-posed inverse problem, which is characterized by a non-unique set of solutions. For this reason, similarly to the formulation used for the inpainting problem in other domains, the reconstructed audio signal can be found through an optimization problem that is formally expressed as x ^ ∗ = argmin X ^ L ( m ∘ x ^ , x ~ ) + R ( x ^ ) {\displaystyle \mathbf {\hat {x}} ^{}={\underset {\hat {\mathbf {X} }}{\text{argmin}}}~L(\mathbf {m} \circ \mathbf {\hat {x}} ,\mathbf {\tilde {x}} )+R(\mathbf {\hat {x}} )} . In particular, x ^ ∗ {\displaystyle \mathbf {\hat {x}} ^{}} is the optimal reconstructed audio signal and L {\displaystyle L} is a distance measure term that computes the reconstruction accuracy between the corrupted audio signal and the estimated one. For example, this term can be expressed with a mean squared error or similar metrics. Since L {\displaystyle L} is computed only on the reliable frames, there are many solutions that can minimize L ( m ∘ x ^ , x ~ ) {\displaystyle L(\mathbf {m} \circ \mathbf {\hat {x}} ,\mathbf {\tilde {x}} )} . It is thus necessary to add a constraint to the minimization, in order to restrict the results only to the valid solutions. This is expressed through the regularization term R {\displaystyle R} that is computed on the reconstructed audio signal x ^ {\displaystyle \mathbf {\hat {x}} } . This term encodes some kind of a-priori information on the audio data. For example, R {\displaystyle R} can express assumptions on the stationarity of the signal, on the sparsity of its representation or can be learned from data. == Techniques == There exist various techniques to perform audio inpainting. These can vary significantly, influenced by factors such as the specific application requirements, the length of the gaps and the available data. In the literature, these techniques are broadly divided in model-based techniques (sometimes also referred as signal processing techniques) and data-driven techniques. === Model-based techniques === Model-based techniques involve the exploitation of mathematical models or assumptions about the underlying structure of the audio signal. These models can be based on prior knowledge of the audio content or statistical properties observed in the data. By leveraging these models, missing or corrupted portions of the audio signal can be inferred or estimated. An example of a model-based techniques are autoregressive models. These methods interpolate or extrapolate the missing samples based on the neighboring values, by using mathematical functions to approximate the missing data. In particular, in autoregressive models the missing samples are completed through linear prediction. The autoregressive coefficients necessary for this prediction are learned from the surrounding audio data, specifically from the data adjacent to each gap. Some more recent techniques approach audio inpainting by representing audio signals as sparse linear combinations of a limited number of basis functions (as for example in the Short Time Fourier Transform). In this context, the aim is to find the sparse representation of the missing section of the signal that most accurately matches the surrounding, unaffected signal. The aforementioned methods exhibit optimal performance when applied to filling in relatively short gaps, lasting only a few tens of milliseconds, and thus they can be included in the context of short inpainting. However, these signal-processing techniques tend to struggle when dealing with longer gaps. The reason behind this limitation lies in the violation of the stationarity condition, as the signal often undergoes significant changes after the gap, making it substantially different from the signal preceding the gap. As a way to overcome these limitations, some approaches add strong assumptions also about the fundamental structure of the gap itself, exploiting sinusoidal modeling or similarity graphs to perform inpainting of longer missing portions of audio signals. === Data-driven techniques === Data-driven techniques rely on the analysis and exploitation of the available audio data. These techniques often employ deep learning algorithms that learn patterns and relationships directly from the provided data. They involve training models on large datasets of audio examples, allowing them to capture the statistical regularities present in the audio signals. Once trained, these models can be used to generate missing portions of the audio signal based on the learned representations, without being restricted by stationarity assumptions. Data-driven techniques also offer the advantage of adaptability and flexibility, as they can learn from diverse audio datasets and potentially handle complex inpainting scenarios. As of today, such techniques constitute the state-of-the-art of audio inpainting, being able to reconstruct gaps of hundreds of milliseconds or even seconds. These performances are made possible by the use of generative models that have the capability to generate novel content to fill in the missing portions. For example, generative adversarial networks, which are the state-of-the-art of generative models in many areas, rely on two competing neural networks trained simultaneously in a two-player minmax game: the generator produces new data from samples of a random variable, the discriminator attempts to distinguish between generated and real data. During the training, the generator's objective is to fool the discriminator, while the discriminator attempts to learn to better classify real and fake data. In GAN-based inpainting methods the generator acts as a context encoder and produces a plausible completion for the gap only given the available information surrounding it. The discriminator is used to train the generator and tests the consistency of the produced inpainted audio. Recently, also diffusion models have established themselves as the state-of-the-art of generative models in many fields, often beating even GAN-based solutions. For this reason they have also been used to solve the audio inpainting problem, obtaining valid results. These models generate new data instances by inverting the
Whitehead's algorithm
Whitehead's algorithm is a mathematical algorithm in group theory for solving the automorphic equivalence problem in the finite rank free group Fn. The algorithm is based on a classic 1936 paper of J. H. C. Whitehead. It is still unknown (except for the case n = 2) if Whitehead's algorithm has polynomial time complexity. == Statement of the problem == Let F n = F ( x 1 , … , x n ) {\displaystyle F_{n}=F(x_{1},\dots ,x_{n})} be a free group of rank n ≥ 2 {\displaystyle n\geq 2} with a free basis X = { x 1 , … , x n } {\displaystyle X=\{x_{1},\dots ,x_{n}\}} . The automorphism problem, or the automorphic equivalence problem for F n {\displaystyle F_{n}} asks, given two freely reduced words w , w ′ ∈ F n {\displaystyle w,w'\in F_{n}} whether there exists an automorphism φ ∈ Aut ( F n ) {\displaystyle \varphi \in \operatorname {Aut} (F_{n})} such that φ ( w ) = w ′ {\displaystyle \varphi (w)=w'} . Thus the automorphism problem asks, for w , w ′ ∈ F n {\displaystyle w,w'\in F_{n}} whether Aut ( F n ) w = Aut ( F n ) w ′ {\displaystyle \operatorname {Aut} (F_{n})w=\operatorname {Aut} (F_{n})w'} . For w , w ′ ∈ F n {\displaystyle w,w'\in F_{n}} one has Aut ( F n ) w = Aut ( F n ) w ′ {\displaystyle \operatorname {Aut} (F_{n})w=\operatorname {Aut} (F_{n})w'} if and only if Out ( F n ) [ w ] = Out ( F n ) [ w ′ ] {\displaystyle \operatorname {Out} (F_{n})[w]=\operatorname {Out} (F_{n})[w']} , where [ w ] , [ w ′ ] {\displaystyle [w],[w']} are conjugacy classes in F n {\displaystyle F_{n}} of w , w ′ {\displaystyle w,w'} accordingly. Therefore, the automorphism problem for F n {\displaystyle F_{n}} is often formulated in terms of Out ( F n ) {\displaystyle \operatorname {Out} (F_{n})} -equivalence of conjugacy classes of elements of F n {\displaystyle F_{n}} . For an element w ∈ F n {\displaystyle w\in F_{n}} , | w | X {\displaystyle |w|_{X}} denotes the freely reduced length of w {\displaystyle w} with respect to X {\displaystyle X} , and ‖ w ‖ X {\displaystyle \|w\|_{X}} denotes the cyclically reduced length of w {\displaystyle w} with respect to X {\displaystyle X} . For the automorphism problem, the length of an input w {\displaystyle w} is measured as | w | X {\displaystyle |w|_{X}} or as ‖ w ‖ X {\displaystyle \|w\|_{X}} , depending on whether one views w {\displaystyle w} as an element of F n {\displaystyle F_{n}} or as defining the corresponding conjugacy class [ w ] {\displaystyle [w]} in F n {\displaystyle F_{n}} . == History == The automorphism problem for F n {\displaystyle F_{n}} was algorithmically solved by J. H. C. Whitehead in a classic 1936 paper, and his solution came to be known as Whitehead's algorithm. Whitehead used a topological approach in his paper. Namely, consider the 3-manifold M n = # i = 1 n S 2 × S 1 {\displaystyle M_{n}=\#_{i=1}^{n}\mathbb {S} ^{2}\times \mathbb {S} ^{1}} , the connected sum of n {\displaystyle n} copies of S 2 × S 1 {\displaystyle \mathbb {S} ^{2}\times \mathbb {S} ^{1}} . Then π 1 ( M n ) ≅ F n {\displaystyle \pi _{1}(M_{n})\cong F_{n}} , and, moreover, up to a quotient by a finite normal subgroup isomorphic to Z 2 n {\displaystyle \mathbb {Z} _{2}^{n}} , the mapping class group of M n {\displaystyle M_{n}} is equal to Out ( F n ) {\displaystyle \operatorname {Out} (F_{n})} ; see. Different free bases of F n {\displaystyle F_{n}} can be represented by isotopy classes of "sphere systems" in M n {\displaystyle M_{n}} , and the cyclically reduced form of an element w ∈ F n {\displaystyle w\in F_{n}} , as well as the Whitehead graph of [ w ] {\displaystyle [w]} , can be "read-off" from how a loop in general position representing [ w ] {\displaystyle [w]} intersects the spheres in the system. Whitehead moves can be represented by certain kinds of topological "swapping" moves modifying the sphere system. Subsequently, Rapaport, and later, based on her work, Higgins and Lyndon, gave a purely combinatorial and algebraic re-interpretation of Whitehead's work and of Whitehead's algorithm. The exposition of Whitehead's algorithm in the book of Lyndon and Schupp is based on this combinatorial approach. Culler and Vogtmann, in their 1986 paper that introduced the Outer space, gave a hybrid approach to Whitehead's algorithm, presented in combinatorial terms but closely following Whitehead's original ideas. == Whitehead's algorithm == Our exposition regarding Whitehead's algorithm mostly follows Ch.I.4 in the book of Lyndon and Schupp, as well as. === Overview === The automorphism group Aut ( F n ) {\displaystyle \operatorname {Aut} (F_{n})} has a particularly useful finite generating set W {\displaystyle {\mathcal {W}}} of Whitehead automorphisms or Whitehead moves. Given w , w ′ ∈ F n {\displaystyle w,w'\in F_{n}} the first part of Whitehead's algorithm consists of iteratively applying Whitehead moves to w , w ′ {\displaystyle w,w'} to take each of them to an "automorphically minimal" form, where the cyclically reduced length strictly decreases at each step. Once we find automorphically these minimal forms u , u ′ {\displaystyle u,u'} of w , w ′ {\displaystyle w,w'} , we check if ‖ u ‖ X = ‖ u ′ ‖ X {\displaystyle \|u\|_{X}=\|u'\|_{X}} . If ‖ u ‖ X ≠ ‖ u ′ ‖ X {\displaystyle \|u\|_{X}\neq \|u'\|_{X}} then w , w ′ {\displaystyle w,w'} are not automorphically equivalent in F n {\displaystyle F_{n}} . If ‖ u ‖ X = ‖ u ′ ‖ X {\displaystyle \|u\|_{X}=\|u'\|_{X}} , we check if there exists a finite chain of Whitehead moves taking u {\displaystyle u} to u ′ {\displaystyle u'} so that the cyclically reduced length remains constant throughout this chain. The elements w , w ′ {\displaystyle w,w'} are not automorphically equivalent in F n {\displaystyle F_{n}} if and only if such a chain exists. Whitehead's algorithm also solves the search automorphism problem for F n {\displaystyle F_{n}} . Namely, given w , w ′ ∈ F n {\displaystyle w,w'\in F_{n}} , if Whitehead's algorithm concludes that Aut ( F n ) w = Aut ( F n ) w ′ {\displaystyle \operatorname {Aut} (F_{n})w=\operatorname {Aut} (F_{n})w'} , the algorithm also outputs an automorphism φ ∈ Aut ( F n ) {\displaystyle \varphi \in \operatorname {Aut} (F_{n})} such that φ ( w ) = w ′ {\displaystyle \varphi (w)=w'} . Such an element φ ∈ Aut ( F n ) {\displaystyle \varphi \in \operatorname {Aut} (F_{n})} is produced as the composition of a chain of Whitehead moves arising from the above procedure and taking w {\displaystyle w} to w ′ {\displaystyle w'} . === Whitehead automorphisms === A Whitehead automorphism, or Whitehead move, of F n {\displaystyle F_{n}} is an automorphism τ ∈ Aut ( F n ) {\displaystyle \tau \in \operatorname {Aut} (F_{n})} of F n {\displaystyle F_{n}} of one of the following two types: There is a permutation σ ∈ S n {\displaystyle \sigma \in S_{n}} of { 1 , 2 , … , n } {\displaystyle \{1,2,\dots ,n\}} such that for i = 1 , … , n {\displaystyle i=1,\dots ,n} τ ( x i ) = x σ ( i ) ± 1 {\displaystyle \tau (x_{i})=x_{\sigma (i)}^{\pm 1}} Such τ {\displaystyle \tau } is called a Whitehead automorphism of the first kind. There is an element a ∈ X ± 1 {\displaystyle a\in X^{\pm 1}} , called the multiplier, such that for every x ∈ X ± 1 {\displaystyle x\in X^{\pm 1}} τ ( x ) ∈ { x , x a , a − 1 x , a − 1 x a } . {\displaystyle \tau (x)\in \{x,xa,a^{-1}x,a^{-1}xa\}.} Such τ {\displaystyle \tau } is called a Whitehead automorphism of the second kind. Since τ {\displaystyle \tau } is an automorphism of F n {\displaystyle F_{n}} , it follows that τ ( a ) = a {\displaystyle \tau (a)=a} in this case. Often, for a Whitehead automorphism τ ∈ Aut ( F n ) {\displaystyle \tau \in \operatorname {Aut} (F_{n})} , the corresponding outer automorphism in Out ( F n ) {\displaystyle \operatorname {Out} (F_{n})} is also called a Whitehead automorphism or a Whitehead move. ==== Examples ==== Let F 4 = F ( x 1 , x 2 , x 3 , x 4 ) {\displaystyle F_{4}=F(x_{1},x_{2},x_{3},x_{4})} . Let τ : F 4 → F 4 {\displaystyle \tau :F_{4}\to F_{4}} be a homomorphism such that τ ( x 1 ) = x 2 x 1 , τ ( x 2 ) = x 2 , τ ( x 3 ) = x 2 x 3 x 2 − 1 , τ ( x 4 ) = x 4 {\displaystyle \tau (x_{1})=x_{2}x_{1},\quad \tau (x_{2})=x_{2},\quad \tau (x_{3})=x_{2}x_{3}x_{2}^{-1},\quad \tau (x_{4})=x_{4}} Then τ {\displaystyle \tau } is actually an automorphism of F 4 {\displaystyle F_{4}} , and, moreover, τ {\displaystyle \tau } is a Whitehead automorphism of the second kind, with the multiplier a = x 2 − 1 {\displaystyle a=x_{2}^{-1}} . Let τ ′ : F 4 → F 4 {\displaystyle \tau ':F_{4}\to F_{4}} be a homomorphism such that τ ′ ( x 1 ) = x 1 , τ ′ ( x 2 ) = x 1 − 1 x 2 x 1 , τ ′ ( x 3 ) = x 1 − 1 x 3 x 1 , τ ′ ( x 4 ) = x 1 − 1 x 4 x 1 {\displaystyle \tau '(x_{1})=x_{1},\quad \tau '(x_{2})=x_{1}^{-1}x_{2}x_{1},\quad \tau '(x_{3})=x_{1}^{-1}x_{3}x_{1},\quad \tau '(x_{4})=x_{1}^{-1}x_{4}x_{1}} Then τ ′ {\displaystyle \tau '} is actually an inner automorphism of F 4 {\displaystyle F_{4}} given by conjugation by x 1 {\displaystyle x_{1}} , and, moreover, τ ′ {\displaystyle \