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
Digital art
Digital art, or the digital arts, is artistic work that uses digital technology as part of the creative or presentational process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art. Digital art includes pieces stored on physical media, such as with digital painting, as well as digital galleries on websites. Digital art also extends to the field of visual computing. == History == In the early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user interactive computer-graphics interface known as Sketchpad. Between 1974 and 1977, Salvador Dalí created two big canvases of Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko) and prints of Lincoln in Dalivision based on a portrait of Abraham Lincoln processed on a computer by Leon Harmon published in "The Recognition of Faces". The technique is similar to what later became known as photographic mosaics. Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Center in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color using flood fills. == Art made for digital media == Artwork that is highly computational, presented through digital media, and explicitly engages with digital technologies are categorized as "art made for digital media". This differs from art using digital tools, which incorporate digital technology in the creation process but may exist outside the digital world. Digital art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statement about the art form". == Art that uses digital tools == Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings when created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Despite differing viewpoints on digital technology's impact on the arts, a consensus exists within the digital art community about its significant contribution to expanding the creative domain, i.e., that it has greatly broadened the creative opportunities available to professional and non-professional artists alike. == Art theorists and art historians == Notable art theorists and historians in this field include: Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Tina Rivers Ryan, Fred Forest and Edward A. Shanken. === Digital painting === Digital painting is either a physical painting made with the use of digital electronics and spray paint robotics within the digital art fine art context or pictorial art imagery made with pixels on a computer screen that mimics artworks from the traditional histories of painting and illustration. === Artificial intelligence art === Artists have used artificial intelligence to create artwork since at least the 1960s. Since their design in 2014, some artists have created artwork using a generative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate. It can be used to generate pictures that have visual effects similar to traditional fine art. The essential idea of image generators is that people can use text descriptions to let AI convert their text into visual picture content. Anyone can turn their language into a painting through a picture generator. == Digital art education == Digital art education has become more common with the advancement of digital hardware and software. From hardware such as graphics tablets, styluses, tablets, 3D scanners, virtual reality headsets, and digital cameras; to software such as digital art software, 3D modeling software, 3D rendering, digital sculpting, 2D graphics software, digital painting, 3D terrain generation, 2D animation software, 3D animation software, raster graphics editors, vector graphics editors, mathematical art software, and video editing software. == Scholarship and archives == In addition to the creation of original art, research methods that utilize AI have been generated to quantitatively analyze digital art collections. This has been made possible due to the large-scale digitization of artwork in the past few decades. Although the main goal of digitization was to allow for accessibility and exploration of these collections, the use of AI in analyzing them has brought about new research perspectives. Two computational methods, close reading and distant viewing, are the typical approaches used to analyze digitized art. Close reading focuses on specific visual aspects of one piece. Some tasks performed by machines in close reading methods include computational artist authentication and analysis of brushstrokes or texture properties. In contrast, through distant viewing methods, the similarity across an entire collection for a specific feature can be statistically visualized. Common tasks relating to this method include automatic classification, object detection, multimodal tasks, knowledge discovery in art history, and computational aesthetics. Whereas distant viewing includes the analysis of large collections, close reading involves one piece of artwork. Whilst 2D and 3D digital art is beneficial as it allows the preservation of history that would otherwise have been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans – i.e., who should own the digital copyrights. === Computer demos === Computer demos are based on computer programs, usually non-interactive. It produces audiovisual presentations. They are a novel form of art, which emerged as a consequence of the home computer revolution in the early 1980s. In the classification of digital art, they can be best described as real-time procedurally generated animated audio-visuals. This form of art does not concentrate only on the aesthetics of the final presentation, but also on the complexities and skills involved in creating the presentation. As such, it can be fully enjoyed only by persons with a relatively high knowledge level of relevant computer technologies. An example is that, as said by Hua Jin and Jie Yang, Using computer-aided design software to present the class content in art design teaching," is not to advocate computer-aided design instead of hand-drawn performance, but to make it serve the profession earlier through a more reasonable course arrangement." On the other hand, many of the created pieces of art are primarily aesthetic or amusing, and those can be enjoyed by the general public. === Digital installation art === Digital installation art constitutes a broad field of artistic practices and a variety of forms. Some resemble video installations, especially large-scale works involving projections and live video capture. By using projection techniques that enhance an audience's impression of sensory envelopment, many digital installations attempt to create immersive environments. While others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site-specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces. Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people, indicating their personal space.Noah Wardrip-Fruin's "Screen"(2003) utilizes a Cave Automatic Virtual Environment (CAVE) to create an interactive, text-based digital experience that engages the viewer in a multi-sensory interaction. === Internet art and net.art === Internet art is digital art that uses the specific characteristics of the Internet and is exhibited on the Internet. The term "internet art" is included by "net art" for which artists assume that network will be refreshed through history. So the term "post-internet art" is used to exclude artworks outside of the internet media. A representative example is Protocols for Achievements, which is a digital photo frame that confronts the aestheti
Sequential algorithm
In computer science, a sequential algorithm or serial algorithm is an algorithm that is executed sequentially – once through, from start to finish, without other processing executing – as opposed to concurrently or in parallel. The term is primarily used to contrast with concurrent algorithm or parallel algorithm; most standard computer algorithms are sequential algorithms, and not specifically identified as such, as sequentialness is a background assumption. Concurrency and parallelism are in general distinct concepts, but they often overlap – many distributed algorithms are both concurrent and parallel – and thus "sequential" is used to contrast with both, without distinguishing which one. If these need to be distinguished, the opposing pairs sequential/concurrent and serial/parallel may be used. "Sequential algorithm" may also refer specifically to an algorithm for decoding a convolutional code.
Run-time algorithm specialization
In computer science, run-time algorithm specialization is a methodology for creating efficient algorithms for costly computation tasks of certain kinds. The methodology originates in the field of automated theorem proving and, more specifically, in the Vampire theorem prover project. The idea is inspired by the use of partial evaluation in optimising program translation. Many core operations in theorem provers exhibit the following pattern. Suppose that we need to execute some algorithm a l g ( A , B ) {\displaystyle {\mathit {alg}}(A,B)} in a situation where a value of A {\displaystyle A} is fixed for potentially many different values of B {\displaystyle B} . In order to do this efficiently, we can try to find a specialization of a l g {\displaystyle {\mathit {alg}}} for every fixed A {\displaystyle A} , i.e., such an algorithm a l g A {\displaystyle {\mathit {alg}}_{A}} , that executing a l g A ( B ) {\displaystyle {\mathit {alg}}_{A}(B)} is equivalent to executing a l g ( A , B ) {\displaystyle {\mathit {alg}}(A,B)} . The specialized algorithm may be more efficient than the generic one, since it can exploit some particular properties of the fixed value A {\displaystyle A} . Typically, a l g A ( B ) {\displaystyle {\mathit {alg}}_{A}(B)} can avoid some operations that a l g ( A , B ) {\displaystyle {\mathit {alg}}(A,B)} would have to perform, if they are known to be redundant for this particular parameter A {\displaystyle A} . In particular, we can often identify some tests that are true or false for A {\displaystyle A} , unroll loops and recursion, etc. == Difference from partial evaluation == The key difference between run-time specialization and partial evaluation is that the values of A {\displaystyle A} on which a l g {\displaystyle {\mathit {alg}}} is specialised are not known statically, so the specialization takes place at run-time. There is also an important technical difference. Partial evaluation is applied to algorithms explicitly represented as codes in some programming language. At run-time, we do not need any concrete representation of a l g {\displaystyle {\mathit {alg}}} . We only have to imagine a l g {\displaystyle {\mathit {alg}}} when we program the specialization procedure. All we need is a concrete representation of the specialized version a l g A {\displaystyle {\mathit {alg}}_{A}} . This also means that we cannot use any universal methods for specializing algorithms, which is usually the case with partial evaluation. Instead, we have to program a specialization procedure for every particular algorithm a l g {\displaystyle {\mathit {alg}}} . An important advantage of doing so is that we can use some powerful ad hoc tricks exploiting peculiarities of a l g {\displaystyle {\mathit {alg}}} and the representation of A {\displaystyle A} and B {\displaystyle B} , which are beyond the reach of any universal specialization methods. == Specialization with compilation == The specialized algorithm has to be represented in a form that can be interpreted. In many situations, usually when a l g A ( B ) {\displaystyle {\mathit {alg}}_{A}(B)} is to be computed on many values of B {\displaystyle B} in a row, a l g A {\displaystyle {\mathit {alg}}_{A}} can be written as machine code instructions for a special abstract machine, and it is typically said that A {\displaystyle A} is compiled. The code itself can then be additionally optimized by answer-preserving transformations that rely only on the semantics of instructions of the abstract machine. The instructions of the abstract machine can usually be represented as records. One field of such a record, an instruction identifier (or instruction tag), would identify the instruction type, e.g. an integer field may be used, with particular integer values corresponding to particular instructions. Other fields may be used for storing additional parameters of the instruction, e.g. a pointer field may point to another instruction representing a label, if the semantics of the instruction require a jump. All instructions of the code can be stored in a traversable data structure such as an array, linked list, or tree. Interpretation (or execution) proceeds by fetching instructions in some order, identifying their type, and executing the actions associated with said type. In many programming languages, such as C and C++, a simple switch statement may be used to associate actions with different instruction identifiers. Modern compilers usually compile a switch statement with constant (e.g. integer) labels from a narrow range by storing the address of the statement corresponding to a value i {\displaystyle i} in the i {\displaystyle i} -th cell of a special array, as a means of efficient optimisation. This can be exploited by taking values for instruction identifiers from a small interval of values. == Data-and-algorithm specialization == There are situations when many instances of A {\displaystyle A} are intended for long-term storage and the calls of a l g ( A , B ) {\displaystyle {\mathit {alg}}(A,B)} occur with different B {\displaystyle B} in an unpredictable order. For example, we may have to check a l g ( A 1 , B 1 ) {\displaystyle {\mathit {alg}}(A_{1},B_{1})} first, then a l g ( A 2 , B 2 ) {\displaystyle {\mathit {alg}}(A_{2},B_{2})} , then a l g ( A 1 , B 3 ) {\displaystyle {\mathit {alg}}(A_{1},B_{3})} , and so on. In such circumstances, full-scale specialization with compilation may not be suitable due to excessive memory usage. However, we can sometimes find a compact specialized representation A ′ {\displaystyle A^{\prime }} for every A {\displaystyle A} , that can be stored with, or instead of, A {\displaystyle A} . We also define a variant a l g ′ {\displaystyle {\mathit {alg}}^{\prime }} that works on this representation and any call to a l g ( A , B ) {\displaystyle {\mathit {alg}}(A,B)} is replaced by a l g ′ ( A ′ , B ) {\displaystyle {\mathit {alg}}^{\prime }(A^{\prime },B)} , intended to do the same job faster.
Kleene's algorithm
In theoretical computer science, in particular in formal language theory, Kleene's algorithm transforms a given nondeterministic finite automaton (NFA) into a regular expression. Together with other conversion algorithms, it establishes the equivalence of several description formats for regular languages. Alternative presentations of the same method include the "elimination method" attributed to Brzozowski and McCluskey, the algorithm of McNaughton and Yamada, and the use of Arden's lemma. == Algorithm description == According to Gross and Yellen (2004), the algorithm can be traced back to Kleene (1956). A presentation of the algorithm in the case of deterministic finite automata (DFAs) is given in Hopcroft and Ullman (1979). The presentation of the algorithm for NFAs below follows Gross and Yellen (2004). Given a nondeterministic finite automaton M = (Q, Σ, δ, q0, F), with Q = { q0,...,qn } its set of states, the algorithm computes the sets Rkij of all strings that take M from state qi to qj without going through any state numbered higher than k. Here, "going through a state" means entering and leaving it, so both i and j may be higher than k, but no intermediate state may. Each set Rkij is represented by a regular expression; the algorithm computes them step by step for k = -1, 0, ..., n. Since there is no state numbered higher than n, the regular expression Rn0j represents the set of all strings that take M from its start state q0 to qj. If F = { q1,...,qf } is the set of accept states, the regular expression Rn01 | ... | Rn0f represents the language accepted by M. The initial regular expressions, for k = -1, are computed as follows for i≠j: R−1ij = a1 | ... | am where qj ∈ δ(qi,a1), ..., qj ∈ δ(qi,am) and as follows for i=j: R−1ii = a1 | ... | am | ε where qi ∈ δ(qi,a1), ..., qi ∈ δ(qi,am) In other words, R−1ij mentions all letters that label a transition from i to j, and we also include ε in the case where i=j. After that, in each step the expressions Rkij are computed from the previous ones by Rkij = Rk-1ik (Rk-1kk) Rk-1kj | Rk-1ij Another way to understand the operation of the algorithm is as an "elimination method", where the states from 0 to n are successively removed: when state k is removed, the regular expression Rk-1ij, which describes the words that label a path from state i>k to state j>k, is rewritten into Rkij so as to take into account the possibility of going via the "eliminated" state k. By induction on k, it can be shown that the length of each expression Rkij is at most 1/3(4k+1(6s+7) - 4) symbols, where s denotes the number of characters in Σ. Therefore, the length of the regular expression representing the language accepted by M is at most 1/3(4n+1(6s+7)f - f - 3) symbols, where f denotes the number of final states. This exponential blowup is inevitable, because there exist families of DFAs for which any equivalent regular expression must be of exponential size. In practice, the size of the regular expression obtained by running the algorithm can be very different depending on the order in which the states are considered by the procedure, i.e., the order in which they are numbered from 0 to n. == Example == The automaton shown in the picture can be described as M = (Q, Σ, δ, q0, F) with the set of states Q = { q0, q1, q2 }, the input alphabet Σ = { a, b }, the transition function δ with δ(q0,a)=q0, δ(q0,b)=q1, δ(q1,a)=q2, δ(q1,b)=q1, δ(q2,a)=q1, and δ(q2,b)=q1, the start state q0, and set of accept states F = { q1 }. Kleene's algorithm computes the initial regular expressions as After that, the Rkij are computed from the Rk-1ij step by step for k = 0, 1, 2. Kleene algebra equalities are used to simplify the regular expressions as much as possible. Step 0 Step 1 Step 2 Since q0 is the start state and q1 is the only accept state, the regular expression R201 denotes the set of all strings accepted by the automaton.
Transderivational search
Transderivational search (often abbreviated to TDS) is a psychological and cybernetics term, meaning when a search is being conducted for a fuzzy match across a broad field. In computing the equivalent function can be performed using content-addressable memory. Unlike usual searches, which look for literal (i.e. exact, logical, or regular expression) matches, a transderivational search is a search for a possible meaning or possible match as part of communication, and without which an incoming communication cannot be made any sense of whatsoever. It is thus an integral part of processing language, and of attaching meaning to communication. In NLP (Neuro-linguistic programming), a transderivational search (Bandler and Grinder, 1976) is essentially the process of searching back through one's stored memories and mental representations to find the personal reference experiences from which a current understanding or mental map has been derived. By the end of 1976, Grinder and Bandler had combined Satir’s and Perls’ language patterns and Erickson’s hypnotic language and use of metaphor with anchoring to create new processes that they called collapsing anchors, trans-derivational search, changing personal history, and reframing. A psychological example of TDS is in Ericksonian hypnotherapy, where vague suggestions are used that the patient must process intensely in order to find their own meanings, thus ensuring that the practitioner does not intrude his own beliefs into the subject's inner world. == TDS in human communication and processing == Because TDS is a compelling, automatic and unconscious state of internal focus and processing (i.e. a type of everyday trance state), and often a state of internal lack of certainty, or openness to finding an answer (since something is being checked out at that moment), it can be utilized or interrupted, in order to create, or deepen, trance. TDS is a fundamental part of human language and cognitive processing. Arguably, every word or utterance a person hears, for example, and everything they see or feel and take note of, results in a very brief trance while TDS is carried out to establish a contextual meaning for it. === Examples === Leading statements: "And those thoughts you had yesterday..." the human mind cannot process hearing this phrase, without at some level searching internally for some thoughts or other that it had yesterday, to make the subject of the sentence. "The many colors that fruit can be" likewise starts the human mind considering even if briefly, different fruit sorted by color. "You did it again, didn't you!" This everyday manipulative use of TDS usually sends the recipient looking internally for some "it" they may have done for which blame is being fairly given. Regardless of whether such a matter can be identified, guilt or anger may result. "There has been pain, hasn't there" the mind of a patient suffering an illness will find it very hard or impossible to hear or answer this sentence without conducting internal searches to verify whether this is true or not, or to find an example if so. "You'd forgotten something [or: some part of your body], hadn't you?" the mind usually checks through the various things, or parts of the body, on hearing this, seeing if each in turn has been forgotten. Textual ambiguity: "Do you remember line dancing on the steps?" Without sufficient context, some statements may trigger TDS in order to resolve inherent ambiguity in the interpretation of a posed question. Do I remember a bygone fad called "line dancing on the steps"? Do I remember personally engaging in dancing in the past? Do I remember my routine practice dancing by focusing on the steps of the dance? Do I tend to forget about dancing when I am standing on steps? "Penny-wise and pound the table dance to the beat of a different drummer". The mixing of cliché and stock phrases may trigger TDS in order to reconcile the discrepancies between expected and actual utterances in sequence. Although TDS is often associated with spoken language, it can be induced in any perceptual system. Thus Milton Erickson's "hypnotic handshake" is a technique that leaves the other person performing TDS in search of meaning to a deliberately ambiguous use of touch.
ARMA International
ARMA International (formerly the Association of Records Managers and Administrators) is an American not-for-profit professional association for information professionals – primarily information management (including records management) and information governance, and related industry practitioners and vendors. The association provides educational opportunities and publications covering aspects of information management broadly. == History == The Association was founded in 1955. In 1975, the Association of Records Executives and Administrators (AREA) and the American Records Management Association merged to form ARMA International. The headquarters for ARMA International is located in Overland Park, Kansas. == Operations == ARMA International services professionals in the United States, Canada, Japan, and the United Kingdom. Its members include records managers, attorneys, information technology professionals, consultants, and archivists involved in various aspects of managing records and information assets. ARMA hosts an annual conference with the goal of bringing together record and information management professionals from around the world – In 2023, ARMA hosted conferences in both the United States and Canada. Topics addressed in the 120+ educational sessions include advanced technology, creating information structure, ediscovery and information law, information management fundamentals, information project management, and reducing organizational information risk. The expo features exhibitors displaying records and information technologies, products, and services.