Emi Kusano (Japanese: 草野 絵美, Hepburn: Kusano Emi; born August 4, 1990) is a Tokyobased Japanese multidisciplinary artist known for creating photography, video, and installations using generative AI technology. Her work explores themes of nostalgia, pop culture, and collective memory. Her work explores themes of nostalgia, pop culture, and collective memory. She is recognized as one of the early practitioners of generative AI art. Her work has been exhibited at the 21st Century Museum of Contemporary Art, Kanazawa, and screened at the M+ Museum’s Asian Avant-Garde Film Festival. Additionally, she has participated in prestigious international art fairs, including Paris Photo and Art Basel Hong Kong. In 2025, she was named one of the World Economic Forum's Young Global Leaders. In 2026, she was selected as a fellow for the AI x Arts Fellowship at Mohamed bin Zayed University of Artificial Intelligence. Kusano serves as a part-time lecturer at the Tokyo University of the Arts and is the producer and vocalist for the Synthwave music unit, Satellite Young. == Early life == === Photography === Kusano was born and raised in Tokyo. Kusano's career began during her high school years before 2008 when she became involved in street fashion photography. Her photographs, primarily taken in Harajuku, were published on "Japanese Streets", "Metropolis", CNN's travel guide magazine "CNN GO","WGSN". Her photography was exhibited at the FIT Museum in New York and the Victoria and Albert Museum in London. == Career == === Music and Installation work === Since 2014, in collaboration with BelleMaison Sekine, Kusano has led "Satellite Young," a synthwave music unit s the lead vocalist, she sings about blending 1980s idol culture with lyrics that tackle contemporary issues such as planned obsolescence ("Sony Timer"), online dating, artificial intelligence, and social media. Their music, known for its conceptual depth, has earned international niche recognition. "Satellite Young" has participated in music festivals, including "South by Southwest," showcasing their unique fusion of retro aesthetics and modern critiques. In 2018, she was selected to participate in "Art Hack Day," an interdisciplinary art hackathon held at The National Museum of Emerging Science and Innovation. where she presented "Singing Dream," a karaoke machine endowed with artificial life, earning the Jury Prize. "Instababy Generator," a 2019 installation co-created with Junichi Yamaoka, explored the concept of designer babies and received recognition at the SIGGRAPH Art Gallery. In October 2020, operating under the name Emi Satellite, she debuted as a solo singer with her first single "Glass Ceiling," an empowerment anthem that addresses the challenges faced by women and encourages progress towards the future. The music video for this song features a direction where strong women rewrite the roles of protagonists in a Bishōjo game, a type of dating simulation game. This concept later served as a prototype for Shinsei Galverse. === Challenge for Blockchain Art === In 2021, she explored the financial world through her single "IPO" and entered the NFT space with "Love Is an IPO," her first NFT work on Ethereum, sold on Foundation. In April 2022, she co-founded the crowdfunded anime project "Shinsei Galverse" with Ayaka Ohira, Devin Mancuso, and Jack Baldwin. serving as one of the executive directors overseeing the creative direction and story. The project's NFT collection of 8,888 ranked #1 on OpenSea's "Top NFTs" for several days, marking one of Japan's first globally successful blockchain art projects. In 2023, Shinsei Galverse produced the official "I like u" music video by Grammy-nominated singer Tove Lo as an initial anime endeavor. Kusano also contributed to discussions on Web3.0 and blockchain technology as a panelist in seminars organized by the Digital Agency of Japan. === AI art === In May 2023, Kusano's first AI art collection "Neural Fad" depicting imaginary fashion history sold out 100 pieces within 24 hours at the "Bright Moments Tokyo" In June, she created WWDJAPAN's first AI-generated magazine cover using her own face. It is the first AI cover in Japanese fashion media. She was also appointed t to the Cultural Affairs Agency's Copyright Subcommittee, she participates in discussions on generative AI and copyright. Her "Synthetic Reflections" self-portrait series debuted on SuperRare, with the first piece auctioned for 3.5 ETH (equivalent to 6,480 US dollars at the time). In July 2023, she co-exhibited a 3D AI-generated dress at Christie's "Future Frequencies" auction with Gucci, alongside Claire Silver. In September, her 30-piece "Pixelated Perception" exhibit at Art Blocks Marfa explored 1990s media and gender, also showcased at the 21st Century Museum of Contemporary Art, Kanazawa. In December, her "Techno-Animism" AI art collection fused Japanese animism with technology. Collaborating with a U.S. gallery, she unveiled 336 pieces during a two-week Art Basel world tour. Throughout the two-week tour, she sold a total of 336 pieces, generating 11.2 ETH (equivalent to 21,264 US dollars at the time). === Generative art === In February 2024, the generative art platform Art Blocks selected the work "Melancholic Magical Maiden," for its Curated category. This piece reconstructs the aesthetics of 1990s magical girl anime, offering a critique of past anime heroines. It sold out within an hour, with all 300 pieces going for a total of 57 ETH (equivalent to approximately 215,385US dollars at the time). In April 2024, Emi Kusano spoke at the Standing Committee on Copyright and Other Rights at the World Intellectual Property Organization (WIPO) in Geneva, Switzerland, where she presented AI-specific information for discussion. == Style and technique == Kusano draws inspiration from Japanese retro-futurism as a foundation for her artwork, which explores the cutting-edge of technology. This approach is fueled by nostalgia for the pre-internet era, specifically the postwar period when Japanese mass media held significant sway. By blending modern technology with retro-culture, she captures the complex feelings of love, hate, and ambivalence towards present and future accelerationism. While at university, Kusano was profoundly influenced by Naoki Sakai, the industrial designer responsible for igniting the retro-futurism movement. In her musical project "Satellite Young", Kusano dons the persona of an '80s female idol and sings about contemporary technology. In her installation piece "Singing Dream", she investigates the concept of an artificial life form inhabiting a karaoke machine, which has been popular since the 1980s, compelling people to sing. In the collaborative NFT art project "Shinsei Galverse", Kusano reimagines a cyberpunk anime primarily featuring female characters, incorporating elements of magical girls popular in the early Heisei period. == Personal life == Kusano has two sons. In August 2021, she minted her older son Zombie Zoo Keeper's pixel art on "OpenSea" as part of his summer research project. The artwork was purchased by notable figures including Brud CEO Trevor McFedries and Steve Aoki, who bought the piece for the equivalent of 21.82 thousand US dollars, highlighting the intersection of art, technology, and family in her work.
Drush
Drush (DRUpal SHell) is a computer software shell-based application used to control, manipulate, and administer Drupal websites. == Details == Drush was originally developed by Arto Bendiken for Drupal 4.7. In May 2007, it was partly rewritten and redesigned for Drupal 5 by Franz Heinzmann. Drush is maintained by Moshe Weitzman with the support of Owen Barton, greg.1.anderson, jonhattan, Mark Sonnabaum, Jonathan Hedstrom and Christopher Gervais.
Zamzar
Zamzar is an online file converter and compressor, created by brothers Mike and Chris Whyley in England in 2006. It allows users to convert files online, without downloading a software tool, and supports over 1,200 different conversion types. Since its formation, the service has converted over 510 million files for users from 245 different countries. The service supports the conversion of documents, images, audio, video, e-Books, CAD files and compressed file formats. Users can type in a URL or upload one or more files (if they are all of the same format) from their computer; Zamzar will then convert the file(s) to another user-specified format, such as an Adobe PDF file to a Microsoft Word document. Once conversion is complete, users can immediately download the file from their web browser. Users can also choose to receive an email with a link to download the converted file. In February 2021 Zamzar expanded their tool and announced a new file compression service. The compressor is visually similar to the conversion tool with a drag and drop download feature. As with the converter, users have the option to subscribe for a paid plan if they wish to compress multiple or larger files than the free service permits == File conversion API == in 2015 Zamzar launched a file conversion API, allowing users to integrate file conversion capabilities into their own websites and applications. Sample code is provided to allow users to integrate file conversion capabilities in C#, Java, Node.js, PHP, Python and cURL. Zamzar also maintains a project on GitHub which allows users to perform file conversion from the command line on Linux, MacOS or Windows systems. == Email file conversion == It is also possible to send files for conversion by emailing them to Zamzar. Zamzar launched this capability in 2012, allowing users to email files to dedicated email addresses for the file to be automatically converted to a different format. A link is then emailed back to the end user to allow them to download their converted file. == User privilege levels == Zamzar is currently free to use, but there is a limit of two conversions per hour for files up to 100MB. Users can pay a monthly subscription in order to access preferential features, such as unlimited file conversions, online file management, shorter response and queuing times and other benefits. == Name == Its name comes from Franz Kafka's The Metamorphosis. Its main character is called Gregor Samsa and it is from his surname that Zamzar is derived. The founders of the service considered three other names – Konvertieren, Khamailen and Obrogo – before settling on Zamzar.
Color space
A color space is a specific organization of colors. In combination with color profiling supported by various physical devices, it supports reproducible representations of color – whether such representation entails an analog or a digital representation. A color space may be arbitrary, i.e. with physically realized colors assigned to a set of physical color swatches with corresponding assigned color names (including discrete numbers in – for example – the Pantone collection), or structured with mathematical rigor (as with the NCS System, Adobe RGB and sRGB). A "color space" is a useful conceptual tool for understanding the color capabilities of a particular device or digital file. When trying to reproduce color on another device, color spaces can show whether shadow/highlight detail and color saturation can be retained, and by how much either will be compromised. A "color model" is an abstract mathematical model describing the way colors can be represented as tuples of numbers (e.g. triples in RGB or quadruples in CMYK); however, a color model with no associated mapping function to an absolute color space is a more or less arbitrary color system with no connection to any globally understood system of color interpretation. Adding a specific mapping function between a color model and a reference color space establishes within the reference color space a definite "footprint", known as a gamut, and for a given color model, this defines a color space. For example, Adobe RGB and sRGB are two different absolute color spaces, both based on the RGB color model. When defining a color space, the usual reference standard is the CIELAB or CIEXYZ color spaces, which were specifically designed to encompass all colors the average human can see. Since "color space" identifies a particular combination of the color model and the mapping function, the word is often used informally to identify a color model. However, even though identifying a color space automatically identifies the associated color model, this usage is incorrect in a strict sense. For example, although several specific color spaces are based on the RGB color model, there is no such thing as the singular RGB color space. == History == In 1802, Thomas Young postulated the existence of three types of photoreceptors (now known as cone cells) in the eye, each of which was sensitive to a particular range of visible light. Hermann von Helmholtz developed the Young–Helmholtz theory further in 1850: that the three types of cone photoreceptors could be classified as short-preferring (blue), middle-preferring (green), and long-preferring (red), according to their response to the wavelengths of light striking the retina. The relative strengths of the signals detected by the three types of cones are interpreted by the brain as a visible color. But it is not clear that they thought of colors as being points in color space. The color-space concept was likely due to Hermann Grassmann, who developed it in two stages. First, he developed the idea of vector space, which allowed the algebraic representation of geometric concepts in n-dimensional space. Fearnley-Sander (1979) describes Grassmann's foundation of linear algebra as follows: The definition of a linear space (vector space)... became widely known around 1920, when Hermann Weyl and others published formal definitions. In fact, such a definition had been given thirty years previously by Peano, who was thoroughly acquainted with Grassmann's mathematical work. Grassmann did not put down a formal definition—the language was not available—but there is no doubt that he had the concept. With this conceptual background, in 1853, Grassmann published a theory of how colors mix; it and its three color laws are still taught, as Grassmann's law. As noted first by Grassmann... the light set has the structure of a cone in the infinite-dimensional linear space. As a result, a quotient set (with respect to metamerism) of the light cone inherits the conical structure, which allows color to be represented as a convex cone in the 3- D linear space, which is referred to as the color cone. == Examples == Colors can be created in printing with color spaces based on the CMYK color model, using the subtractive primary colors of pigment (cyan, magenta, yellow, and key [black]). To create a three-dimensional representation of a given color space, we can assign the amount of magenta color to the representation's X axis, the amount of cyan to its Y axis, and the amount of yellow to its Z axis. The resulting 3-D space provides a unique position for every possible color that can be created by combining those three pigments. Colors can be created on computer monitors with color spaces based on the RGB color model, using the additive primary colors (red, green, and blue). A three-dimensional representation would assign each of the three colors to the X, Y, and Z axes. Colors generated on a given monitor will be limited by the reproduction medium, such as the phosphor (in a CRT monitor) or filters and backlight (LCD monitor). Another way of creating colors on a monitor is with an HSL or HSV color model, based on hue, saturation, brightness (value/lightness). With such a model, the variables are assigned to cylindrical coordinates. Many color spaces can be represented as three-dimensional values in this manner, but some have more, or fewer dimensions, and some, such as Pantone, cannot be represented in this way at all. == Conversion == Color space conversion is the translation of the representation of a color from one basis to another. This typically occurs in the context of converting an image that is represented in one color space to another color space, the goal being to make the translated image look as similar as possible to the original. == RGB density == The RGB color model is implemented in different ways, depending on the capabilities of the system used. The most common incarnation in general use as of 2021 is the 24-bit implementation, with 8 bits, or 256 discrete levels of color per channel. Any color space based on such a 24-bit RGB model is thus limited to a range of 256×256×256 ≈ 16.7 million colors. Some implementations use 16 bits per component for 48 bits total, resulting in the same gamut with a larger number of distinct colors. This is especially important when working with wide-gamut color spaces (where most of the more common colors are located relatively close together), or when a large number of digital filtering algorithms are used consecutively. The same principle applies for any color space based on the same color model, but implemented at different bit depths. == Lists == CIE 1931 XYZ color space was one of the first attempts to produce a color space based on measurements of human color perception (earlier efforts were by James Clerk Maxwell, König & Dieterici, and Abney at Imperial College) and it is the basis for almost all other color spaces. The CIERGB color space is a linearly-related companion of CIE XYZ. Additional derivatives of CIE XYZ include the CIELUV, CIEUVW, and CIELAB. === Generic === RGB uses additive color mixing, because it describes what kind of light needs to be emitted to produce a given color. RGB stores individual values for red, green and blue. RGBA is RGB with an additional channel, alpha, to indicate transparency. Common color spaces based on the RGB model include sRGB, Adobe RGB, ProPhoto RGB, scRGB, and CIE RGB. CMYK uses subtractive color mixing used in the printing process, because it describes what kind of inks need to be applied so the light reflected from the substrate and through the inks produces a given color. One starts with a white substrate (canvas, page, etc.), and uses ink to subtract color from white to create an image. CMYK stores ink values for cyan, magenta, yellow and black. There are many CMYK color spaces for different sets of inks, substrates, and press characteristics (which change the dot gain or transfer function for each ink and thus change the appearance). YIQ was formerly used in NTSC (North America, Japan and elsewhere) television broadcasts for historical reasons. This system stores a luma value roughly analogous to (and sometimes incorrectly identified as) luminance, along with two chroma values as approximate representations of the relative amounts of blue and red in the color. It is similar to the YUV scheme used in most video capture systems and in PAL (Australia, Europe, except France, which uses SECAM) television, except that the YIQ color space is rotated 33° with respect to the YUV color space and the color axes are swapped. The YDbDr scheme used by SECAM television is rotated in another way. YPbPr is a scaled version of YUV. It is most commonly seen in its digital form, YCbCr, used widely in video and image compression schemes such as MPEG and JPEG. xvYCC is an international digital video color space standard published by the IEC (IEC 61966-2-4). It is based on the ITU BT.601 and BT.709
Amazon Kinesis
Amazon Kinesis is a family of services provided by Amazon Web Services (AWS) for processing and analyzing real-time streaming data at a large scale. Launched in November 2013, it offers developers the ability to build applications that can consume and process data from multiple sources simultaneously. Kinesis supports multiple use cases, including real-time analytics, log and event data collection, and real-time processing of data generated by IoT devices. == History == Amazon Kinesis was launched by Amazon Web Services (AWS) in November 2013 as a managed service for processing and analyzing real-time streaming data at a large scale. The service was introduced to address the growing need for businesses to process and analyze data as it was generated, rather than in batches, allowing for real-time insights and decision-making. Since its launch, the Amazon Kinesis family of services has expanded to include four main components: Kinesis Data Streams, Kinesis Data Firehose, Kinesis Data Analytics, and Kinesis Video Streams. Each of these components serves a specific purpose in the processing and analysis of real-time streaming data. In August 2015, AWS announced the availability of Kinesis Data Firehose, a fully managed service for delivering real-time streaming data to destinations such as Amazon S3, Amazon Redshift, and Amazon Elasticsearch. A year later in August 2016, AWS launched Kinesis Data Analytics, enabling customers to analyze streaming data in real time using standard SQL queries. AWS introduced Kinesis Video Streams, a fully managed service for securely capturing, processing, and storing video streams for analytics and machine learning applications, was introduced by AWS in November 2017. == Components == Amazon Kinesis is composed of four main services: Kinesis Data Streams, Kinesis Data Firehose, Kinesis Data Analytics, and Kinesis Video Streams. === Kinesis Data Streams === Kinesis Data Streams is a scalable and durable real-time data streaming service that captures and processes gigabytes of data per second from multiple sources. It enables the storage and processing of data in real time, making it useful for applications that require immediate insights, such as monitoring and alerting. === Kinesis Data Firehose === Kinesis Data Firehose is a fully managed service for delivering real-time streaming data to destinations such as Amazon S3, Amazon Redshift, Amazon Elasticsearch, and AWS-partner data stores. With Data Firehose, users can configure and scale data delivery without manual intervention. === Kinesis Data Analytics === Kinesis Data Analytics enables the analysis of streaming data in real time using standard SQL or Apache Flink. === Kinesis Video Streams === Kinesis Video Streams is a fully managed service for securely capturing, processing, and storing video streams for analytics and machine learning. It supports multiple video codecs and streaming protocols, making it suitable for various use cases, such as security and surveillance, video-enabled IoT devices, and live event broadcasting. == Integration == Amazon Kinesis can be easily integrated with other AWS services, such as AWS Lambda, Amazon S3, Amazon Redshift, and Amazon OpenSearch. This integration enables developers to build end-to-end streaming data processing applications, taking advantage of the extensive AWS ecosystem. == Use cases == Some common use cases for Amazon Kinesis include: Real-time analytics: Analyzing streaming data in real time to provide immediate insights and make data-driven decisions. Log and event data collection: Collecting, processing, and analyzing log and event data generated by applications, infrastructure, and devices. IoT data processing: Processing and analyzing large volumes of data generated by IoT devices in real time. Machine learning: Ingesting and processing video streams for machine learning applications, such as object recognition, facial recognition, and sentiment analysis. == Pricing == Amazon Kinesis follows a pay-as-you-go pricing model, with costs depending on the chosen service, data volume, and processing power required. AWS provides a free tier for Kinesis Data Streams and Kinesis Data Firehose, allowing users to get started with the services at no cost.
MyPertamina
MyPertamina is a digital financial service platform from Pertamina that integrated with the apps LinkAja. This application is used for non-cash fuel oil payments at Pertamina's public fueling stations. == History == Originally, MyPertamina were merchandise outlets of Pertamina products. It was launched on December 21, 2016, with 3 outlets in Jakarta. MyPertamina sells clothes, hats, and other products with Pertamina products brands. One month later (January 2017), Pertamina and Bank Mandiri entered into a partnership to launch the Mandiri Credit Card Pertamina Mastercard product, so that consumers can make payments when users fill up fuel at Pertamina gas stations. In August 2017, MyPertamina app and electronic card were launched through MyPertamina Loyalty program at Gaikindo Indonesia International Auto Show 2017. The card can be used on EDC machines for non-cash payments. Initial balances are in its own app, that can be top up by ATMs and online banking.
Rapid application development
Rapid application development (RAD), also called rapid application building (RAB), is both a general term for adaptive software development approaches, and the name for James Martin's method of rapid development. In general, RAD approaches to software development put less emphasis on planning and more emphasis on an adaptive process. Prototypes are often used in addition to or sometimes even instead of design specifications. RAD is especially well suited for (although not limited to) developing software that is driven by user interface requirements. Graphical user interface builders are often called rapid application development tools. Other approaches to rapid development include the adaptive, agile, spiral, and unified models. == History == Rapid application development was a response to plan-driven waterfall processes, developed in the 1970s and 1980s, such as the Structured Systems Analysis and Design Method (SSADM). One of the problems with these methods is that they were based on a traditional engineering model used to design and build things like bridges and buildings. Software is an inherently different kind of artifact. Software can change the process used to solve a problem. As a result, knowledge gained from the development process itself can feed back to the requirements and design of the solution. Plan-driven approaches attempt to define requirements, the solution, and the implementation plan, and have a process that discourages changes. RAD approaches, on the other hand, recognize that software development is a knowledge intensive process and provide flexible processes that help take advantage of knowledge gained during the project to improve or adapt the solution. The first such RAD alternative was developed by Barry Boehm and was known as the spiral model. Boehm and other subsequent RAD approaches emphasized developing prototypes as well as or instead of rigorous design specifications. Prototypes had several advantages over traditional specifications: Risk reduction. A prototype could test some of the most difficult potential parts of the system early on in the life-cycle. This can provide valuable information as to the feasibility of a design and can prevent the team from pursuing solutions that turn out to be too complex or time-consuming to implement. This benefit of finding problems earlier in the life-cycle rather than later was a key benefit of the RAD approach. The earlier a problem can be found the cheaper it is to address. Users are better at using and reacting than at creating specifications. In the waterfall model it was common for a user to sign off on a set of requirements but then when presented with an implemented system to suddenly realize that a given design lacked some critical features or was too complex. In general most users give much more useful feedback when they can experience a prototype of the running system rather than abstractly define what that system should be. Prototypes can be usable and can evolve into the completed product. One approach used in some RAD methods was to build the system as a series of prototypes that evolve from minimal functionality to moderately useful to the final completed system. The advantage of this besides the two advantages above was that the users could get useful business functionality much earlier in the process. Starting with the ideas of Barry Boehm and others, James Martin developed the rapid application development approach during the 1980s at IBM and finally formalized it by publishing a book in 1991, Rapid Application Development. This has resulted in some confusion over the term RAD even among IT professionals. It is important to distinguish between RAD as a general alternative to the waterfall model and RAD as the specific method created by Martin. The Martin method was tailored toward knowledge intensive and UI intensive business systems. These ideas were further developed and improved upon by RAD pioneers like James Kerr and Richard Hunter, who together wrote the seminal book on the subject, Inside RAD, which followed the journey of a RAD project manager as he drove and refined the RAD Methodology in real-time on an actual RAD project. These practitioners, and those like them, helped RAD gain popularity as an alternative to traditional systems project life cycle approaches. The RAD approach also matured during the period of peak interest in business re-engineering. The idea of business process re-engineering was to radically rethink core business processes such as sales and customer support with the new capabilities of Information Technology in mind. RAD was often an essential part of larger business re engineering programs. The rapid prototyping approach of RAD was a key tool to help users and analysts "think out of the box" about innovative ways that technology might radically reinvent a core business process. Much of James Martin's comfort with RAD stemmed from Dupont's Information Engineering division and its leader Scott Schultz and their respective relationships with John Underwood who headed up a bespoke RAD development company that pioneered many successful RAD projects in Australia and Hong Kong. Successful projects that included ANZ Bank, Lendlease, BHP, Coca-Cola Amatil, Alcan, Hong Kong Jockey Club and numerous others. Success that led to both Scott Shultz and James Martin both spending time in Australia with John Underwood to understand the methods and details of why Australia was disproportionately successful in implementing significant mission critical RAD projects. == James Martin approach == The James Martin approach to RAD divides the process into four distinct phases: Requirements planning phase – combines elements of the system planning and systems analysis phases of the systems development life cycle (SDLC). Users, managers, and IT staff members discuss and agree on business needs, project scope, constraints, and system requirements. It ends when the team agrees on the key issues and obtains management authorization to continue. User design phase – during this phase, users interact with systems analysts and develop models and prototypes that represent all system processes, inputs, and outputs. The RAD groups or subgroups typically use a combination of joint application design (JAD) techniques and CASE tools to translate user needs into working models. User design is a continuous interactive process that allows users to understand, modify, and eventually approve a working model of the system that meets their needs. Construction phase – focuses on program and application development task similar to the SDLC. In RAD, however, users continue to participate and can still suggest changes or improvements as actual screens or reports are developed. Its tasks are programming and application development, coding, unit-integration and system testing. Cutover phase – resembles the final tasks in the SDLC implementation phase, including data conversion, testing, changeover to the new system, and user training. Compared with traditional methods, the entire process is compressed. As a result, the new system is built, delivered, and placed in operation much sooner. == Advantages == In modern Information Technology environments, many systems are now built using some degree of Rapid Application Development (not necessarily the James Martin approach). In addition to Martin's method, agile methods and the Rational Unified Process are often used for RAD development. The purported advantages of RAD include: Better quality. By having users interact with evolving prototypes the business functionality from a RAD project can often be much higher than that achieved via a waterfall model. The software can be more usable and has a better chance to focus on business problems that are critical to end users rather than technical problems of interest to developers. However, this excludes other categories of what are usually known as Non-functional requirements (AKA constraints or quality attributes) including security and portability. Risk control. Although much of the literature on RAD focuses on speed and user involvement a critical feature of RAD done correctly is risk mitigation. It's worth remembering that Boehm initially characterized the spiral model as a risk based approach. A RAD approach can focus in early on the key risk factors and adjust to them based on empirical evidence collected in the early part of the process. E.g., the complexity of prototyping some of the most complex parts of the system. More projects completed on time and within budget. By focusing on the development of incremental units the chances for catastrophic failures that have dogged large waterfall projects is reduced. In the Waterfall model it was common to come to a realization after six months or more of analysis and development that required a radical rethinking of the entire system. With RAD this kind of information can be discovered and acted upon earlier in the proces