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
Schema-agnostic databases
Schema-agnostic databases or vocabulary-independent databases aim at supporting users to be abstracted from the representation of the data, supporting the automatic semantic matching between queries and databases. Schema-agnosticism is the property of a database of mapping a query issued with the user terminology and structure, automatically mapping it to the dataset vocabulary. The increase in the size and in the semantic heterogeneity of database schemas bring new requirements for users querying and searching structured data. At this scale it can become unfeasible for data consumers to be familiar with the representation of the data in order to query it. At the center of this discussion is the semantic gap between users and databases, which becomes more central as the scale and complexity of the data grows. == Description == The evolution of data environments towards the consumption of data from multiple data sources and the growth in the schema size, complexity, dynamicity and decentralisation (SCoDD) of schemas increases the complexity of contemporary data management. The SCoDD trend emerges as a central data management concern in Big Data scenarios, where users and applications have a demand for more complete data, produced by independent data sources, under different semantic assumptions and contexts of use, which is the typical scenario for Semantic Web Data applications. The evolution of databases in the direction of heterogeneous data environments strongly impacts the usability, semiotics and semantic assumptions behind existing data accessibility methods such as structured queries, keyword-based search and visual query systems. With schema-less databases containing potentially millions of dynamically changing attributes, it becomes unfeasible for some users to become aware of the 'schema' or vocabulary in order to query the database. At this scale, the effort in understanding the schema in order to build a structured query can become prohibitive. == Schema-agnostic queries == Schema-agnostic queries can be defined as query approaches over structured databases which allow users satisfying complex information needs without the understanding of the representation (schema) of the database. Similarly, Tran et al. defines it as "search approaches, which do not require users to know the schema underlying the data". Approaches such as keyword-based search over databases allow users to query databases without employing structured queries. However, as discussed by Tran et al.: "From these points, users however have to do further navigation and exploration to address complex information needs. Unlike keyword search used on the Web, which focuses on simple needs, the keyword search elaborated here is used to obtain more complex results. Instead of a single set of resources, the goal is to compute complex sets of resources and their relations." The development of approaches to support natural language interfaces (NLI) over databases have aimed towards the goal of schema-agnostic queries. Complementarily, some approaches based on keyword search have targeted keyword-based queries which express more complex information needs. Other approaches have explored the construction of structured queries over databases where schema constraints can be relaxed. All these approaches (natural language, keyword-based search and structured queries) have targeted different degrees of sophistication in addressing the problem of supporting a flexible semantic matching between queries and data, which vary from the completely absence of the semantic concern to more principled semantic models. While the demand for schema-agnosticism has been an implicit requirement across semantic search and natural language query systems over structured data, it is not sufficiently individuated as a concept and as a necessary requirement for contemporary database management systems. Recent works have started to define and model the semantic aspects involved on schema-agnostic queries. === Schema-agnostic structured queries === Consist of schema-agnostic queries following the syntax of a structured standard (for example SQL, SPARQL). The syntax and semantics of operators are maintained, while different terminologies are used. ==== Example 1 ==== SELECT ?y { BillClinton hasDaughter ?x . ?x marriedTo ?y . } which maps to the following SPARQL query in the dataset vocabulary: ==== Example 2 ==== which maps to the following SPARQL query in the dataset vocabulary: === Schema-agnostic keyword queries === Consist of schema-agnostic queries using keyword queries. In this case the syntax and semantics of operators are different from the structured query syntax. ==== Example ==== "Bill Clinton daughter married to" "Books by William Goldman with more than 300 pages" == Semantic complexity == As of 2016 the concept of schema-agnostic queries has been developed primarily in academia. Most of schema-agnostic query systems have been investigated in the context of Natural Language Interfaces over databases or over the Semantic Web. These works explore the application of semantic parsing techniques over large, heterogeneous and schema-less databases. More recently, the individuation of the concept of schema-agnostic query systems and databases have appeared more explicitly within the literature. Freitas et al. provide a probabilistic model on the semantic complexity of mapping schema-agnostic queries.
Virtual influencer
A virtual influencer, sometimes described as a virtual persona or virtual model, is a computer-generated fictional character that can be used for a variety of marketing-related purposes, but most frequently for social media marketing, in lieu of online human "influencers". Most virtual influencers are designed using computer graphics and motion capture technology to resemble real people in realistic situations. Common derivatives of virtual influencers include VTubers, which broadly refer to online entertainers and YouTubers who represent themselves using virtual avatars instead of their physical selves. == History == Virtual influencers are fundamentally synonymous with virtual idols, which originate from Japan's anime and Japanese idol culture that dates back to the 1980s. The first virtual idol created was Lynn Minmay, a fictional singer and main character of the anime television series Super Dimension Fortress Macross (1982) and the animated film adaptation Macross: Do You Remember Love? (1984). Minmay's success led to the production of more Japanese virtual idols, such as EVE from the Japanese cyberpunk anime Megazone 23 (1985), and Sharon Apple in Macross Plus (1994). Virtual idols were not always well received – in 1995, Japanese talent agency Horipro created Kyoko Date, which was inspired by the Macross franchise and dating sim games such as Tokimeki Memorial (1994). Date failed to gain commercial success despite drawing headlines for her debut as a CGI idol, largely due to technical limitations leading to issues such as unnatural movements, an issue also known as the uncanny valley. Since their inception, many virtual idols created have achieved continual success, with notable names including the Vocaloid singer Hatsune Miku, and the VTuber Kizuna AI. Technological advancements have also enabled production teams to use artificial intelligence and advanced techniques to customize the personalities and behavior of virtual idols. Due to modern-day advancements in technology, many virtual idols have held real-life tours and events. Notable ones include Hatsune Miku's titular tour Miku Expo and Hololive's concerts with many of their idols from their English, Japanese and Indonesian branches. Some notable events including virtual singers and influencers have included: Hatsune Miku opening for Lady Gaga in 2014 and Hoshimachi Suisei's concerts at the famous Budokan venue in Japan and her addition to the Forbes Japan list of '30 Under 30' individuals who are changing the world in their respective fields. == Benefits and criticism == From a branding perspective, virtual influencers are perceived to be much less likely to be mired in scandals. In China, celebrities caught in bad publicity such as singer Wang Leehom and entertainer Kris Wu have heightened the appeal of virtual influencers, since their existence relies entirely on computer-generated imagery and they are therefore unlikely to cause any damage to a brand's image by association. Some studies have also suggested that Generation Z consumers have a unique appetite for virtual idols and influencers, since they grew up in the age of the internet. Studies also show that human-like appearance of virtual influencers show higher message credibility than anime-like virtual influencers. Scholars and commentators have also questioned the ethics and cultural impact of virtual influencers, arguing that computer-generated personas can entrench unrealistic beauty standards while diffusing accountability for labor, identity, and consent. Business and marketing analysts have also warned that disclosure and governance remain inconsistent, recommending clearer guardrails and transparency when brands deploy synthetic spokespeople. In 2025, reporting highlighted concerns that AI-driven "virtual humans" could displace human creators and sales workers, intensifying debates over the future of creative labor and authenticity online. == Notable examples == === Virtual bands === Eternity - A South Korean virtual idol group formed by Pulse9. Gorillaz - A virtual band formed in 1998. K/DA - A virtual K-pop girl group created as part of the League of Legends video game franchise. MAVE: - A South Korean virtual girl group formed in 2023 by Metaverse Entertainment. Pentakill - A virtual heavy metal band created as part of the League of Legends video game franchise. Plave (band) - A South Korean virtual boy band formed by VLast. Squid Sisters and Off the Hook - Two virtual pop idol duos as part of the Splatoon series. Studio Killers - A Finnish-Danish-British virtual band formed in 2011. === Vocaloids === Hatsune Miku (modeled after Saki Fujita) Kagamine Rin/Len (modeled after Asami Shimoda) Megurine Luka (modeled after Yū Asakawa) Meiko (modeled after Meiko Haigō) Kaito (modeled after Naoto Fūga) === VTubers === Kano Kizuna AI Neuro-sama VShojo Ironmouse Projekt Melody Nijisanji Hololive Akai Haato Gawr Gura Hoshimachi Suisei Natsuiro Matsuri === Other examples === Ami Yamato Crazy Frog FN Meka IA Kuki AI Kyoko Date Kyra Miquela Naevis Shudu Gram
Data custodian
In data governance groups, responsibilities for data management are increasingly divided between the business process owners and information technology (IT) departments. Two functional titles commonly used for these roles are data steward and data custodian. Data Stewards are commonly responsible for data content, context, and associated business rules. Data custodians are responsible for the safe custody, transport, storage of the data and implementation of business rules. Simply put, Data Stewards are responsible for what is stored in a data field, while data custodians are responsible for the technical environment and database structure. Common job titles for data custodians are database administrator (DBA), data modeler, ETL developer and data engineer. == Data custodian responsibilities == A data custodian ensures: Access to the data is authorized and controlled Data stewards are identified for each data set Technical processes sustain data integrity Processes exist for data quality issue resolution in partnership with data stewards Technical controls safeguard data Data added to data sets are consistent with the common data model Versions of master data are maintained along with the history of changes Change management practices are applied in maintenance of the database Data content and changes can be audited
Majal (organization)
Majal is a regional not-for-profit organization focused on "amplifying voices of dissent" throughout the Middle East and North Africa via digital media. Founded in Bahrain, the organization "creates platforms and web applications that promote freedom of expression and social justice." Majal, which relies on open source platforms, like WordPress and Ruby on Rails, was launched in 2006 by Esra'a Al Shafei as a simple group-blogging idea. However, it has changed course to focus on the development of unique applications and tools. == Objectives and means == Majal's content, in addition to its projects and applications, is free open source content to ensure right to access information for everyone. The organization uses a broad spectrum of social media tools, ranging from written blogs, podcasts, vlogs, comics, video animation and pictures to live broadcasting through radio. == Projects and applications == Majal runs various active projects that include Alliance for Kurdish Rights, The Muslim Network for Baháʼí Rights, a discussion tool for Arab LGBT youth and various Mobile apps. == Funding == Majal is funded through private donations and grants from non-governmental organizations, as well as any potential revenues earned through freelance development. Its primary funders are the Shuttleworth Foundation and the Omidyar Network. In 2008, Majal won the Berkman Award from the Berkman Klein Center for Internet & Society at Harvard University in the Human Rights/Global Advocacy category. This $10,000 award was Majal’s first source of funding. This award is presented to “people or institutions that have made a significant contribution to the Internet and its impact on society over the past decade.” In 2009, the March 18 Movement, a project of Majal, received the Think Social Award, which demonstrates how social media can be used to solve the world’s problems. Esra'a Al-Shafei was named a 2009 Echoing Green Fellow for Civil and Human Rights, a seed funding award for young entrepreneurs engaged in social change. Financially, the fellowship consists of a $60,000 stipend paid over two years. Most recently, MEY has received a grant from the Arab Fund for Arts and Culture for its Mideast Tunes website. == Awards == Winner of Human Rights Tulip 2014 Human Rights Tulip - Human rights - Government.nl Ashoka Changemakers Citizen Media competition in 2011 for their CrowdVoice project. Monaco Media Prize 2011 for Majal founder and director Esra'a Al Shafei in 2011. The BOBS Special Topic Human Rights award in 2011 for the Majal website Migrant Rights. ThinkSocial Award in 2009, as powerful model for how social media can be used to address global problems. Echoing Green, 2009 Fellowship. TEDGlobal 2009 Fellowship. Berkman Award for Internet Innovation from Berkman Klein Center for Internet & Society at Harvard Law School in 2008 for the outstanding contributions to the internet and its impact on society. The Global Journal selected Majal as one of the Top 100 NGOs in 2013. 2013-2014 Shuttleworth Foundation Fellowship. == Leadership == Majal team is led primarily by women. The organization was founded by Esra'a Al Shafei, a blogger from Bahrain in 2006. Ahmed Zidan of Egypt has served for over three years as the Editor-in-Chief of Majal Arabic, and is the co-founder of Ahwaa, and is also a podcaster. Other team members include Mona Kareem, Rima Kalush, Abir Ghattas, Namita Malhotra, and Vani Saraswathi. == 2011 Middle East and North Africa protests == Blogs and video played a role in the documentation of protests throughout the Middle East and North Africa during 2010-2011, also known as the Arab Spring. During this period, MEY's project, CrowdVoice (launched in 2010) helped curate and archive the large amounts of videos, images, and eye-witness reports being aggregated and crowdsourced from across the region. As a result, it had been censored temporarily in Yemen and is still censored in Bahrain. == Media coverage == Majal claims to have received various coverage from news agencies, TV satellite channels, radio stations, newspapers, magazines. For instance, Sky News, CNN, New York Times, BBC, The Guardian, NPR, Time, MTV political blog "Act", VH1, Daily Telegraph, Die Zeit, Frankfurter Rundschau FR-online, Toronto Star, TechCrunch, Rolling Stone Middle East, Abu Dhabi TV, Gulf News, Al-Hasnaa' magazine, ReadWriteWeb, Mashable, The Next Web, Radio Sawt Beirut International, Radio Farda among many others.
Landweber iteration
The Landweber iteration or Landweber algorithm is an algorithm to solve ill-posed linear inverse problems, and it has been extended to solve non-linear problems that involve constraints. The method was first proposed in the 1950s by Louis Landweber, and it can be now viewed as a special case of many other more general methods. == Basic algorithm == The original Landweber algorithm attempts to recover a signal x from (noisy) measurements y. The linear version assumes that y = A x {\displaystyle y=Ax} for a linear operator A. When the problem is in finite dimensions, A is just a matrix. When A is nonsingular, then an explicit solution is x = A − 1 y {\displaystyle x=A^{-1}y} . However, if A is ill-conditioned, the explicit solution is a poor choice since it is sensitive to any noise in the data y. If A is singular, this explicit solution doesn't even exist. The Landweber algorithm is an attempt to regularize the problem, and is one of the alternatives to Tikhonov regularization. We may view the Landweber algorithm as solving: min x ‖ A x − y ‖ 2 2 / 2 {\displaystyle \min _{x}\|Ax-y\|_{2}^{2}/2} using an iterative method. The algorithm is given by the update x k + 1 = x k − ω A ∗ ( A x k − y ) . {\displaystyle x_{k+1}=x_{k}-\omega A^{}(Ax_{k}-y).} where the relaxation factor ω {\displaystyle \omega } satisfies 0 < ω < 2 / σ 1 2 {\displaystyle 0<\omega <2/\sigma _{1}^{2}} . Here σ 1 {\displaystyle \sigma _{1}} is the largest singular value of A {\displaystyle A} . If we write f ( x ) = ‖ A x − y ‖ 2 2 / 2 {\displaystyle f(x)=\|Ax-y\|_{2}^{2}/2} , then the update can be written in terms of the gradient x k + 1 = x k − ω ∇ f ( x k ) {\displaystyle x_{k+1}=x_{k}-\omega \nabla f(x_{k})} and hence the algorithm is a special case of gradient descent. For ill-posed problems, the iterative method needs to be stopped at a suitable iteration index, because it semi-converges. This means that the iterates approach a regularized solution during the first iterations, but become unstable in further iterations. The reciprocal of the iteration index 1 / k {\displaystyle 1/k} acts as a regularization parameter. A suitable parameter is found, when the mismatch ‖ A x k − y ‖ 2 2 {\displaystyle \|Ax_{k}-y\|_{2}^{2}} approaches the noise level. Using the Landweber iteration as a regularization algorithm has been discussed in the literature. == Nonlinear extension == In general, the updates generated by x k + 1 = x k − τ ∇ f ( x k ) {\displaystyle x_{k+1}=x_{k}-\tau \nabla f(x_{k})} will generate a sequence f ( x k ) {\displaystyle f(x_{k})} that converges to a minimizer of f whenever f is convex and the stepsize τ {\displaystyle \tau } is chosen such that 0 < τ < 2 / ( ‖ ∇ f ‖ 2 ) {\displaystyle 0<\tau <2/(\|\nabla f\|^{2})} where ‖ ⋅ ‖ {\displaystyle \|\cdot \|} is the spectral norm. Since this is special type of gradient descent, there currently is not much benefit to analyzing it on its own as the nonlinear Landweber, but such analysis was performed historically by many communities not aware of unifying frameworks. The nonlinear Landweber problem has been studied in many papers in many communities; see, for example. == Extension to constrained problems == If f is a convex function and C is a convex set, then the problem min x ∈ C f ( x ) {\displaystyle \min _{x\in C}f(x)} can be solved by the constrained, nonlinear Landweber iteration, given by: x k + 1 = P C ( x k − τ ∇ f ( x k ) ) {\displaystyle x_{k+1}={\mathcal {P}}_{C}(x_{k}-\tau \nabla f(x_{k}))} where P {\displaystyle {\mathcal {P}}} is the projection onto the set C. Convergence is guaranteed when 0 < τ < 2 / ( ‖ A ‖ 2 ) {\displaystyle 0<\tau <2/(\|A\|^{2})} . This is again a special case of projected gradient descent (which is a special case of the forward–backward algorithm) as discussed in. == Applications == Since the method has been around since the 1950s, it has been adopted and rediscovered by many scientific communities, especially those studying ill-posed problems. In X-ray computed tomography it is called simultaneous iterative reconstruction technique (SIRT). It has also been used in the computer vision community and the signal restoration community. It is also used in image processing, since many image problems, such as deconvolution, are ill-posed. Variants of this method have been used also in sparse approximation problems and compressed sensing settings.
Blocknots
Blocknots were random sequences of numbers contained in a book and organized by numbered rows and columns and were used as additives in the reciphering of Soviet Union codes, during World War II. The Blocknot consisted of a booklet of fifty sheets of 5-figure random additive, 100 additive groups to a sheet. No sheet was used more than once, thus the blocknots were in effect a form of one-time pad. The Soviet Unions highest grade ciphers that were used in the East, were the 5-figure codebook enciphered with the Blocknot book, and were generally considered unbreakable. == Technical Description == Blocknots were distributed centrally from an office in Moscow. Every Blocknot contained 5-figure groups in a number of sheets, for the enciphering of 5-figure messages. The encipherment was effected by applying additives taken from the pad, of which 50-100 5-figure groups appeared. Each pad had a 5-figure number and each sheet had a 2-figure number running consecutively. There were 5 different types of Blocknots, in two different categories The Individual in which each table of random numbers was used only once. The General in which each page of the Blocknot was valid for one day. The security of the additive sequence rested on the choice of different starting points for each message. In 5-figure messages, the blocknot was one of the first 10 Groups in the message. Its position changed at long intervals, but was always easy to re-identify. The Russians differentiated between three types of blocks: The 3-block, DRIERBLOCK. I-block for Individual Block: 50 pages, additive read off in one direction only. The messages could be used and read only between 2 wireless telegraphy stations on one net. The 6-block, SECHSERBLOCK. Z-block for Circular Block: 30 pages, additive read off in either direction. The messages could be used and read, between all W/T stations in a net. The 2-block, ZWEIERBLOCK. OS-block. Used only in traffic from lower to higher formations. Two other types were used, in lower echelons. Notblock: Used in an emergency. Blocknot used for passing on traffic. The distribution of Blocknots was carried out centrally from Moscow to Army Groups then to Armies. The Army was responsible for their distribution throughout the lower levels of the army down to company level. Independent units took their cipher material with them. Occasionally the same blocknot was distributed to two units on different parts of the front, which enabled Depth to be established. Records of all Blocknots used were kept in Berlin and when a repeat was noticed a BLOCKNOT ANGEBOT message was sent out to all German Signals units, to indicate that it may have been possible to break the code using it. There was no certainty in this. A cryptanalyst with the General der Nachrichtenaufklärung stated while being interrogated by TICOM: It seems that depths of up to 8 were established at the beginning of the Russian Campaign but that no 5-figure code was broken after May 1943 German cryptanalysts who were prisoners of war stated under interrogation, that each of the figures 0 to 9 were placed en clair usually within the first ten groups of the text or sometimes at the end. One indicator was the Blocknot number and the consisted of two random figures, the figure representing the type, and the remaining two, the page of the Blocknot being used. In long messages, 000000 was placed in the message when the end of a page had been reached. == Chi number == The Chi-number was the serial numbering of all 5-figure messages passing through the hands of the Cipher Officer, starting on the first of January and ending on thirty-first December of the current year. It always appeared as the last group in an intercepted message, e.g. 00001 on the 1st January, or when the unit was newly set up. The progression of Chi-numbers was carefully observed and recorded in the form of a graph. A Russian corps had about 10 5-figure messages per day, and Army about 20-30 and a Front about 60–100. After only a relatively short time, the individual curves separated sharply and the type of formation could be recognized by the height of the Chi-number alone. == Monitoring == Blocknots were tracked in a card index, that was maintained by the Signal Intelligence Evaluation Centre (NAAS). The NAAS functionality included evaluation and traffic analysis, cryptanalysis, collation and dissemination of intelligence. The card index, which was one amongst several Card Indexes. A careful recording and study of blocks provided the positive clues in the identification and tracking of formations using 5-figure ciphers. The index was subdivided into two files: Search card index, contained all blocknots and chi-numbers whether or not they were known. Unit card index, contained only known Block and Chi-numbers. Inspector Berger, who was the chief cryptanalyst of NAAS 1 stated that the two files formed: The most important and surest instruments for identifying Russian radio nets, known to him. The Blocknots were also used in the Stationary Intercept Company (Feste), the military unit that were designed to work at a lower level to the NAAS, at the Army level and were semi-motorized, and closer to the front. The Feste used the Blocknot value along with several other parameters to build a network diagram. The network diagram was studied extensively, as part of a 6-stage process, that involved several departments within the Feste. The outcome was a metric which determined the most interesting circuit for traffic monitoring, and least interesting, where monitoring of traffic should cease. == Analysis == Johannes Marquart was a mathematician and cryptanalyst who initially worked for Inspectorate 7/VI and later led Referat Ia of Group IV of the General der Nachrichtenaufklärung. Marquart was assigned the study of the Soviet Union Blocknot traffic. Marquart and his unit conducted extensive research in an attempt to discover the method by which they were produced. All the counts which they made, however, failed to reveal any non-random characteristics in the design of the tables, and while they thought the Blocknots must have been generated by machine, they were never able to draw any concrete deductions as a result of their research. == Example == The Soviet 3rd Guard Tank Army transmits a 5-figure message with the Blocknot of 37581 (one of the first 10 groups in the message). On the same day the Block 37582 was used by the same formation. The next day 37583 appeared. Thereafter, for a period, the Army was not heard by German Wireless telegraphy intercept operators, as it was maintaining wireless silence. After a few days, an unidentified net with the Blocknot 37588 is picked up. This message net is claimed, because of the proximity of the blocks (88/83) to be the 3rd Guard Tank Army. The missing Blocknots 84-87 were presumably used in telegraphic, telephonic or courier communications. The Chi number provides confirmation of the first assumption, based on proximity of blocknots in most cases.