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Have you seen the size of Arrakis? It’s an absolute unit of a planet, covered primarily in rock and desert, with giant sandworms, spaceships, and bandits who all want you dead. It’s not a happy place. And if you were forced to walk every step of the

Posted on : June 13, 2025 By Tech World Times Development and Testing  Rate this post Sorting helps organize data in a specific order. It is used in search, reports, and efficient storage. Different sorting algorithms offer different performance. In this article, we will explain the Time Complexity of Sorting Algorithms in simple words. We will cover Python, Java, and C++ examples. 1. What Is Time Complexity? Time complexity tells how fast an algorithm runs. It measures the number of steps as input grows. It is written in Big-O notation. For example, O(n²) means steps grow with the square of inputs. 2. Types of Time Complexity Here are common types: O(1): Constant time O(n): Linear time O(n log n): Log-linear time O(n²): Quadratic time We will now apply these to sorting. 3. Bubble Sort Bubble Sort compares two numbers and swaps them if needed. It repeats until the list is sorted. Time Complexity: Best Case: O(n) (if already sorted) Average Case: O(n²) Worst Case: O(n²) Python Example: pythonCopyEditdef bubble_sort(arr): n = len(arr) for i in range(n): for j in range(n - i - 1): if arr[j] > arr[j+1]: arr[j], arr[j+1] = arr[j+1], arr[j] Java Example: javaCopyEditvoid bubbleSort(int arr[]) { int n = arr.length; for (int i = 0; i < n-1; i++) for (int j = 0; j < n-i-1; j++) if (arr[j] > arr[j+1]) { int temp = arr[j]; arr[j] = arr[j+1]; arr[j+1] = temp; } } C++ Example: cppCopyEditvoid bubbleSort(int arr[], int n) { for (int i = 0; i < n-1; i++) for (int j = 0; j < n-i-1; j++) if (arr[j] > arr[j+1]) swap(arr[j], arr[j+1]); } 4. Selection Sort This sort picks the smallest number and places it at the front. Time Complexity: Best Case: O(n²) Average Case: O(n²) Worst Case: O(n²) Python Example: pythonCopyEditdef selection_sort(arr): for i in range(len(arr)): min_idx = i for j in range(i+1, len(arr)): if arr[j] < arr[min_idx]: min_idx = j arr[i], arr[min_idx] = arr[min_idx], arr[i] 5. Insertion Sort This algorithm builds the final list one item at a time. Time Complexity: Best Case: O(n) Average Case: O(n²) Worst Case: O(n²) Java Example: javaCopyEditvoid insertionSort(int arr[]) { for (int i = 1; i < arr.length; i++) { int key = arr[i]; int j = i - 1; while (j >= 0 && arr[j] > key) { arr[j + 1] = arr[j]; j = j - 1; } arr[j + 1] = key; } } 6. Merge Sort Merge Sort splits the array into halves and merges them back in order. Time Complexity of Sorting Algorithms like Merge Sort is usually better. Best Case: O(n log n) Average Case: O(n log n) Worst Case: O(n log n) Python Example: pythonCopyEditdef merge_sort(arr): if len(arr) > 1: mid = len(arr) // 2 left = arr[:mid] right = arr[mid:] merge_sort(left) merge_sort(right) i = j = k = 0 while i < len(left) and j < len(right): if left[i] < right[j]: arr[k] = left[i] i += 1 else: arr[k] = right[j] j += 1 k += 1 arr[k:] = left[i:] + right[j:] 7. Quick Sort Quick Sort picks a pivot and places smaller numbers before it. Time Complexity: Best Case: O(n log n) Average Case: O(n log n) Worst Case: O(n²) C++ Example: cppCopyEditint partition(int arr[], int low, int high) { int pivot = arr[high]; int i = low - 1; for (int j = low; j < high; j++) { if (arr[j] < pivot) { i++; swap(arr[i], arr[j]); } } swap(arr[i+1], arr[high]); return i + 1; } void quickSort(int arr[], int low, int high) { if (low < high) { int pi = partition(arr, low, high); quickSort(arr, low, pi - 1); quickSort(arr, pi + 1, high); } } 8. Built-in Sort Methods Languages have built-in sort functions. These are well-optimized. Python: sorted() or list.sort() uses TimSort Time Complexity: O(n log n) Java: Arrays.sort() uses Dual-Pivot QuickSort Time Complexity: O(n log n) C++: std::sort() uses IntroSort Time Complexity: O(n log n) These are better for most real-world tasks. 9. Time Complexity Comparison Table AlgorithmBestAverageWorstStableBubble SortO(n)O(n²)O(n²)YesSelection SortO(n²)O(n²)O(n²)NoInsertion SortO(n)O(n²)O(n²)YesMerge SortO(n log n)O(n log n)O(n log n)YesQuick SortO(n log n)O(n log n)O(n²)NoTimSort (Python)O(n)O(n log n)O(n log n)YesIntroSort (C++)O(n log n)O(n log n)O(n log n)No 10. How to Choose the Right Algorithm? Use Merge Sort for large stable data. Use Quick Sort for faster average speed. Use Insertion Sort for small or nearly sorted lists. Use built-in sort functions unless you need control. Conclusion The Time Complexity of Sorting Algorithms helps us pick the right tool. Bubble, Selection, and Insertion Sort are simple but slow. Merge and Quick Sort are faster and used often. Built-in functions are highly optimized. Python, Java, and C++ each have their strengths. Understand your problem and input size. Then pick the sorting method. This ensures better speed and performance in your code. Tech World TimesTech World Times (TWT), a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com

While IO Interactive may be heavily focused on its inaugural James Bond game, 2026’s 007 First Light, it’s still providing ambitious new levels and updates for Hitman: World of Assassination and its new science fiction action game MindsEye. To continue to build hype for First Light and IOI’s growing partnership with the James Bond brand, the latest World of Assassination level is a Bond crossover, as Hitman protagonist Agent 47 targets Le Chiffre, the main villain of the 2006 movie Casino Royale. Available through July 6, 2025, the Le Chiffre event in World of Assassination features actor Mads Mikkelsen reprising his fan-favorite Bond villain role, not only providing his likeness but voicing the character as he confronts the contract killer in France. Den of Geek attended the first-ever in-person IO Interactive Showcase, a partner event with Summer Game Fest held at The Roosevelt Hotel in Hollywood. Mikkelsen and the developers shared insight on the surprise new World of Assassination level, with the level itself playable in its entirety to attendees on the Nintendo Switch 2 and PlayStation Portal. The developers also included an extended gameplay preview for MindsEye, ahead of its June 10 launch, while sharing some details about the techno-thriller. Matching his background from Casino Royale, Le Chiffre is a terrorist financier who manipulates the stock market by any means necessary to benefit himself and his clients. After an investment deal goes wrong, Le Chiffre tries to recoup a brutal client’s losses through a high-stakes poker game in France, with Agent 47 hired to assassinate the criminal mastermind on behalf of an unidentified backer. The level opens with 47 infiltrating a high society gala linked to the poker game, with the contract killer entering under his oft-used assumed name of Tobias Rieper, a facade that Le Chiffre immediately sees through. At the IO Interactive Showcase panel, Mikkelsen observed that the character of Le Chiffre is always one that he enjoyed and held a special place for him and his career. Reprising his villainous role also gave Mikkelsen the chance to reunite with longtime Agent 47 voice actor David Bateson since their ‘90s short film Tom Merritt, though both actors recorded their respective lines separately. Mikkelsen enjoyed that Le Chiffre’s appearance in World of Assassination gave him a more physical role than he had in Casino Royale, rather than largely placing him at a poker table. Of course, like most Hitman levels, there are multiple different ways that players can accomplish their main objective of killing Le Chiffre and escaping the premises. The game certainly gives players multiple avenues to confront the evil financier over a game of poker before closing in for the kill, but it’s by no means the only way to successfully assassinate him. We won’t give away how we ultimately pulled off the assassination, but rest assured that it took multiple tries, careful plotting, and with all the usual trial-and-error that comes from playing one of Hitman’s more difficult and immersively involved levels. Moving away from its more grounded action titles, IO Interactive also provided a deeper look at its new sci-fi game MindsEye, developed by Build a Rocket Boy. Set in the fictional Redrock City, the extended gameplay sneak peek at the showcase featured protagonist Adam Diaz fighting shadowy enemies in the futuristic city’s largely abandoned streets. While there were no hands-on demos at the showcase itself, the preview demonstrated Diaz using his abilities and equipment, including an accompanying drone, to navigate the city from a third-person perspective and use an array of weapons to dispatch those trying to hunt him down. MindsEye marks the first game published through IOI Partners, an initiative that has IOI publish games from smaller, external developers. The game did not have a hands-on demo at the showcase and, given its bug-heavy and poorly-received launch, this distinction is not particularly surprising. Build a Robot Boy has since pledged to support the game through June to fix its technical issues but, given the game’s hands-on access at the IOI Showcase, there were already red flags surrounding the game’s performance. With that in mind, most of the buzz at the showcase was unsurprisingly centered around 007 First Light and updates to Hitman: World of Assassination, and IO Interactive did not disappoint in that regard. Even with Hitman: World of Assassination over four years old now, the game continues to receive impressive post-release support from IO Interactive, both in bringing the title to the Nintendo Switch 2 and with additional DLC. At the showcase, IOI hinted at additional special levels for World of Assassintation with high-profile guest targets like Le Chiffre, without identifying who or if they’re also explicitly tied to the James Bond franchise. But with 007 First Light slated for its eagerly anticipated launch next year, it’s a safe bet that IOI has further plans to hype its own role in building out the James Bond legacy for the foreseeable future. The Hitman: World of Assassination special Le Chiffre level is available now through July 6, 2025 on all the game’s major platforms, including the Nintendo Switch 2. MindsEye is now on sale for PlayStation 5, Xbox Series X|S, and PC.

We did it gang. We completed another week in the impossible survival sim that is real life. Give yourself a appreciative pat on the back and gaze wistfully towards whatever adventures or blissful respite the weekend might bring.This week I've mostly been recovering from my birthday celebrations, which entailed a bountiful Korean Barbecue that left me with a rampant case of the meat sweats and a pub crawl around one of Manchester's finest suburbs. There was no time for video games, but that's not always a bad thing. Distance makes the heart grow fonder, after all.I was welcomed back to the imaginary office with a news bludgeon to the face. The headlines this week have come thick and fast, bringing hardware announcements, more layoffs, and some notable sales milestones. As always, there's a lot to digest, so let's venture once more into the fray. The first Xbox handhelds have finally arrivedvia Game Developer // Microsoft finally stopped flirting with the idea of launching a handheld this week and unveiled not one, but two devices called the ROG Xbox Ally and ROG Xbox Ally X. The former is pitched towards casual players, while the latter aims to entice hardcore video game aficionados. Both devices were designed in collaboration with Asus and will presumably retail at price points that reflect their respective innards. We don't actually know yet, mind, because Microsoft didn't actually state how much they'll cost. You have the feel that's where the company really needs to stick the landing here.Related:Switch 2 tops 3.5 million sales to deliver Nintendo's biggest console launchvia Game Developer // Four days. That's all it took for the Switch 2 to shift over 3.5 million units worldwide to deliver Nintendo's biggest console launch ever. The original Switch needed a month to reach 2.74 million sales by contrast, while the PS5 needed two months to sell 4.5 million units worldwide. Xbox sales remain a mystery because Microsoft just doesn't talk about that sort of thing anymore, which is decidedly frustrating for those oddballs (read: this writer) who actually enjoy sifting through financial documents in search of those juicy juicy numbers.Inside the ‘Dragon Age’ Debacle That Gutted EA’s BioWare Studiovia Bloomberg (paywalled) // How do you kill a franchise like Dragon Age and leave a studio with the pedigree of BioWare in turmoil? According to a new report from Bloomberg, the answer will likely resonate with developers across the industry: corporate meddling. Sources speaking to the publication explained how Dragon Age: The Veilguard, which failed to meet the expectations of parent company EA, was in constant disarray because the American publisher couldn't decide whether it should be a live-service or single player title. Indecision from leadership within EA and an eventual pivot away from the live-service model only caused more confusion, with BioWare being told to implement foundational changes within impossible timelines. It's a story that's all the more alarming because of how familiar it feels.Related:Sony is making layoffs at Days Gone developer Bend Studiovia Game Developer // Sony has continued its Tony Award-winning tun as the Grim Reaper by cutting even more jobs within PlayStation Studios. Days Gone developer Bend Studio was the latest casualty, with the first-party developer confirming a number of employees were laid off just months after the cancellation of a live-service project. Sony didn't confirm how many people lost their jobs, but Bloomberg reporter Jason Schreier heard that around 40 people (roughly 30 percent of the studio's headcount) were let go. Embracer CEO Lars Wingefors to become executive chair and focus on M&Avia Game Developer // Somewhere, in a deep dark corner of the world, the monkey's paw has curled. Embracer CEO Lars Wingefors, who demonstrated his leadership nous by spending years embarking on a colossal merger and acquisition spree only to immediately start downsizing, has announced he'll be stepping down as CEO. The catch? Wingefors is currently proposed to be appointed executive chair of the board of Embracer. In his new role, he'll apparently focus on strategic initiatives, capital allocation, and mergers and acquisitions. And people wonder why satire is dead. Related:Hong Kong Outlaws a Video Game, Saying It Promotes 'Armed Revolution'via The New York Times (paywalled) // National security police in Hong Kong have banned a Taiwanese video game called Reversed Front: Bonfire for supposedly "advocating armed revolution." Authorities in the region warned that anybody who downloads or recommends the online strategy title will face serious legal charges. The game has been pulled from Apple's marketplace in Hong Kong but is still available for download elsewhere. It was never available in mainland China. Developer ESC Taiwan, part of an group of volunteers who are vocal detractors of China's Communist Party, thanked Hong Kong authorities for the free publicity in a social media post and said the ban shows how political censorship remains prominent in the territory. RuneScape developer accused of ‘catering to American conservatism’ by rolling back Pride Month eventsvia PinkNews // Runescape developers inside Jagex have reportedly been left reeling after the studio decided to pivot away from Pride Month content to focus more on "what players wanted." Jagex CEO broke the news to staff with a post on an internal message board, prompting a rush of complaints—with many workers explaining the content was either already complete or easy to implement. Though Jagex is based in the UK, it's parent company CVC Capital Partners operates multiple companies in the United States. It's a situation that left one employee who spoke to PinkNews questioning whether the studio has caved to "American conservatism." SAG-AFTRA suspends strike and instructs union members to return to workvia Game Developer // It has taken almost a year, but performer union SAG-AFTRA has finally suspended strike action and instructed members to return to work. The decision comes after protracted negotiations with major studios who employ performers under the Interactive Media Agreement. SAG-AFTRA had been striking to secure better working conditions and AI protections for its members, and feels it has now secured a deal that will install vital "AI guardrails."A Switch 2 exclusive Splatoon spinoff was just shadow-announced on Nintendo Todayvia Game Developer // Nintendo did something peculiar this week when it unveiled a Splatoon spinoff out of the blue. That in itself might not sound too strange, but for a short window the announcement was only accessible via the company's new Nintendo Today mobile app. It's a situation that left people without access to the app questioning whether the news was even real. Nintendo Today prevented users from capturing screenshots or footage, only adding to the sense of confusion. It led to this reporter branding the move a "shadow announcement," which in turn left some of our readers perplexed. Can you ever announce and announcement? What does that term even mean? Food for thought. A wonderful new Big Walk trailer melted this reporter's heartvia House House (YouTube) //  The mad lads behind Untitled Goose Game are back with a new jaunt called Big Walk. This one has been on my radar for a while, but the studio finally debuted a gameplay overview during Summer Game Fest and it looks extraordinary in its purity. It's about walking and talking—and therein lies the charm. Players are forced to cooperate to navigate a lush open world, solve puzzles, and embark upon hijinks. Proximity-based communication is the core mechanic in Big Walk—whether that takes the form of voice chat, written text, hand signals, blazing flares, or pictograms—and it looks like it'll lead to all sorts of weird and wonderful antics. It's a pitch that cuts through because it's so unashamedly different, and there's a lot to love about that. I'm looking forward to this one.

Posted on : June 13, 2025 By Tech World Times Uncategorized  Rate this post Sorting is important in programming. It helps organize data. Sorting improves performance in searching, analysis, and reporting. There are many sorting algorithms. One of the simplest is Insertion Sort. In this article, we will learn how to implement Insertion Sort in Java. We will explain each step in simple words. You will see examples and understand how it works. What Is Insertion Sort? Insertion Sort is a simple sorting algorithm. It works like how you sort playing cards. You take one card at a time and place it in the right position. It compares the current element with those before it. If needed, it shifts elements to the right. Then, it inserts the current element at the correct place. How Insertion Sort Works Let’s understand with a small list: Example List: [8, 3, 5, 1] Steps: First element (8) is already sorted. Compare 3 with 8. Move 8 right. Insert 3 before it → [3, 8, 5, 1] Compare 5 with 8. Move 8 right. Insert 5 after 3 → [3, 5, 8, 1] Compare 1 with 8, 5, 3. Move them right. Insert 1 at start → [1, 3, 5, 8] Now the list is sorted! Why Use Insertion Sort? Insertion Sort is simple and easy to code. It works well for: Small datasets Nearly sorted lists Educational purposes and practice However, it is not good for large datasets. It has a time complexity of O(n²). Time Complexity of Insertion Sort Best Case (already sorted): O(n) Average Case: O(n²) Worst Case (reversed list): O(n²) It performs fewer steps in nearly sorted data. How to Implement Insertion Sort in Java Now let’s write the code for Insertion Sort in Java. We will explain each part. Step 1: Define a Class javaCopyEditpublic class InsertionSortExample { // Code goes here } We create a class named InsertionSortExample. Step 2: Create the Sorting Method javaCopyEditpublic static void insertionSort(int[] arr) { int n = arr.length; for (int i = 1; i < n; i++) { int key = arr[i]; int j = i - 1; while (j >= 0 && arr[j] > key) { arr[j + 1] = arr[j]; j = j - 1; } arr[j + 1] = key; } } Let’s break it down: arr[i] is the current value (called key). j starts from the previous index. While arr[j] > key, shift arr[j] to the right. Insert the key at the correct position. This logic sorts the array step by step. Step 3: Create the Main Method Now we test the code. javaCopyEditpublic static void main(String[] args) { int[] numbers = {9, 5, 1, 4, 3}; System.out.println("Before sorting:"); printArray(numbers); insertionSort(numbers); System.out.println("After sorting:"); printArray(numbers); } This method: Creates an array of numbers Prints the array before sorting Calls the sort method Prints the array after sorting Step 4: Print the Array Let’s add a helper method to print the array. javaCopyEditpublic static void printArray(int[] arr) { for (int number : arr) { System.out.print(number + " "); } System.out.println(); } Now you can see how the array changes before and after sorting. Full Code Example javaCopyEditpublic class InsertionSortExample { public static void insertionSort(int[] arr) { int n = arr.length; for (int i = 1; i < n; i++) { int key = arr[i]; int j = i - 1; while (j >= 0 && arr[j] > key) { arr[j + 1] = arr[j]; j = j - 1; } arr[j + 1] = key; } } public static void printArray(int[] arr) { for (int number : arr) { System.out.print(number + " "); } System.out.println(); } public static void main(String[] args) { int[] numbers = {9, 5, 1, 4, 3}; System.out.println("Before sorting:"); printArray(numbers); insertionSort(numbers); System.out.println("After sorting:"); printArray(numbers); } } Sample Output yamlCopyEditBefore sorting: 9 5 1 4 3 After sorting: 1 3 4 5 9 This confirms that the sorting works correctly. Advantages of Insertion Sort in Java Easy to implement Works well with small inputs Stable sort (keeps equal items in order) Good for educational use When Not to Use Insertion Sort Avoid Insertion Sort when: The dataset is large Performance is critical Better algorithms like Merge Sort or Quick Sort are available Real-World Uses Sorting small records in a database Teaching algorithm basics Handling partially sorted arrays Even though it is not the fastest, it is useful in many simple tasks. Final Tips Practice with different inputs Add print statements to see how it works Try sorting strings or objects Use Java’s built-in sort methods for large arrays Conclusion Insertion Sort in Java is a great way to learn sorting. It is simple and easy to understand. In this guide, we showed how to implement it step-by-step. We covered the logic, code, and output. We also explained when to use it. Now you can try it yourself. Understanding sorting helps in coding interviews and software development. Keep practicing and exploring other sorting methods too. The more you practice, the better you understand algorithms. Tech World TimesTech World Times (TWT), a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com

Development and Testing  Rate this post Sorting is a basic task in programming. It arranges data in order. There are many sorting algorithms. Selection Sort is one of the simplest sorting methods. It is easy to understand and code. But it is not the fastest. In this guide, we will explain the Selection Sort Time Complexity. We will cover best, worst, and average cases. What Is Selection Sort? Selection Sort works by selecting the smallest element from the list. It places it in the correct position. It repeats this process for all elements. One by one, it moves the smallest values to the front. Let’s see an example: Input: [5, 3, 8, 2]Step 1: Smallest is 2 → swap with 5 → [2, 3, 8, 5]Step 2: Smallest in remaining is 3 → already correctStep 3: Smallest in remaining is 5 → swap with 8 → [2, 3, 5, 8] Now the list is sorted.How Selection Sort Works Selection Sort uses two loops. The outer loop moves one index at a time. The inner loop finds the smallest element. After each pass, the smallest value is moved to the front. The position is fixed. Selection Sort does not care if the list is sorted or not. It always does the same steps. Selection Sort Algorithm Here is the basic algorithm: Start from the first element Find the smallest in the rest of the list Swap it with the current element Repeat for each element This repeats until all elements are sorted. Selection Sort Code (Java Example) javaCopyEditpublic class SelectionSort { public static void sort(int[] arr) { int n = arr.length; for (int i = 0; i < n - 1; i++) { int min = i; for (int j = i + 1; j < n; j++) { if (arr[j] < arr[min]) { min = j; } } int temp = arr[min]; arr[min] = arr[i]; arr[i] = temp; } } } This code uses two loops. The outer loop runs n-1 times. The inner loop finds the minimum. Selection Sort Time Complexity Now let’s understand the main topic. Let’s analyze Selection Sort Time Complexity in three cases. 1. Best Case Even if the array is already sorted, Selection Sort checks all elements. It keeps comparing and swapping. Time Complexity: O(n²) Reason: Inner loop runs fully, regardless of the order Example Input: [1, 2, 3, 4, 5] Even here, every comparison still happens. Only fewer swaps occur, but comparisons remain the same. 2. Worst Case This happens when the array is in reverse order. But Selection Sort does not optimize for this. Time Complexity: O(n²) Reason: Still needs full comparisons Example Input: [5, 4, 3, 2, 1] Even in reverse, the steps are the same. It compares and finds the smallest element every time. 3. Average Case This is when elements are randomly placed. It is the most common scenario in real-world problems. Time Complexity: O(n²) Reason: Still compares each element in the inner loop Example Input: [3, 1, 4, 2, 5] Selection Sort does not change behavior based on input order. So the complexity remains the same. Why Is It Always O(n²)? Selection Sort compares all pairs of elements. The number of comparisons does not change. Total comparisons = n × (n – 1) / 2 That’s why the time complexity is always O(n²).It does not reduce steps in any case. It does not take advantage of sorted elements. Space Complexity Selection Sort does not need extra space. It sorts in place. Space Complexity: O(1) Only a few variables are used No extra arrays or memory needed This is one good point of the Selection Sort. Comparison with Other Algorithms Let’s compare Selection Sort with other basic sorts: AlgorithmBest CaseAverage CaseWorst CaseSpaceSelection SortO(n²)O(n²)O(n²)O(1)Bubble SortO(n)O(n²)O(n²)O(1)Insertion SortO(n)O(n²)O(n²)O(1)Merge SortO(n log n)O(n log n)O(n log n)O(n)Quick SortO(n log n)O(n log n)O(n²)O(log n) As you see, Selection Sort is slower than Merge Sort and Quick Sort. Advantages of Selection Sort Very simple and easy to understand Works well with small datasets Needs very little memory Good for learning purposes Disadvantages of Selection Sort Slow on large datasets Always takes the same time, even if sorted Not efficient for real-world use When to Use Selection Sort Use Selection Sort when: You are working with a very small dataset You want to teach or learn sorting logic You want stable, low-memory sorting Avoid it for: Large datasets Performance-sensitive programs Conclusion Selection Sort Time Complexity is simple to understand. But it is not efficient for big problems. It always takes O(n²) time, no matter the case. That is the same for best, worst, and average inputs. Still, it is useful in some cases. It’s great for learning sorting basics. It uses very little memory. If you’re working with small arrays, Selection Sort is fine. For large data, use better algorithms. Understanding its time complexity helps you choose the right algorithm. Always pick the tool that fits your task. Tech World TimesTech World Times (TWT), a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com

Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals She spent nearly 40 years taking theater and dance pictures, providing glimpses behind the scenes and creating images that the public couldn’t otherwise access Stephanie Rudig - Freelance Writer June 11, 2025 Photographer Martha Swope sitting on a floor covered with prints of her photos in 1987 Andrea Legge / © NYPL Martha Swope wanted to be a dancer. She moved from her home state of Texas to New York to attend the School of American Ballet, hoping to start a career in dance. Swope also happened to be an amateur photographer. So, in 1957, a fellow classmate invited her to bring her camera and document rehearsals for a little theater show he was working on. The classmate was director and choreographer Jerome Robbins, and the show was West Side Story. One of those rehearsal shots ended up in Life magazine, and Swope quickly started getting professional bookings. It’s notoriously tough to make it on Broadway, but through photography, Swope carved out a career capturing theater and dance. Over the course of nearly four decades, she photographed hundreds more rehearsals, productions and promotional studio shots. Unidentified male chorus members dancing during rehearsals for musical West Side Story in 1957 Martha Swope / © NYPL At a time when live performances were not often or easily captured, Swope’s photographs caught the animated moments and distilled the essence of a show into a single image: André De Shields clad in a jumpsuit as the title character in The Wiz, Patti LuPone with her arms raised overhead in Evita, the cast of Cats leaping in feline formations, a close-up of a forlorn Sheryl Lee Ralph in Dreamgirls and the row of dancers obscuring their faces with their headshots in A Chorus Line were all captured by Swope’s camera. She was also the house photographer for the New York City Ballet and the Martha Graham Dance Company and photographed other major dance companies such as the Ailey School. Her vision of the stage became fairly ubiquitous, with Playbill reporting that in the late 1970s, two-thirds of Broadway productions were photographed by Swope, meaning her work dominated theater and dance coverage. Carol Rosegg was early in her photography career when she heard that Swope was looking for an assistant. “I didn't frankly even know who she was,” Rosegg says. “Then the press agent who told me said, ‘Pick up any New York Times and you’ll find out.’” Swope’s background as a dancer likely equipped her to press the shutter at the exact right moment to capture movement, and to know when everyone on stage was precisely posed. She taught herself photography and early on used a Brownie camera, a simple box model made by Kodak. “She was what she described as ‘a dancer with a Brownie,’” says Barbara Stratyner, a historian of the performing arts who curated exhibitions of Swope’s work at the New York Public Library. An ensemble of dancers in rehearsal for the stage production Cats in 1982 Martha Swope / © NYPL “Dance was her first love,” Rosegg says. “She knew everything about dance. She would never use a photo of a dancer whose foot was wrong; the feet had to be perfect.” According to Rosegg, once the photo subjects knew she was shooting, “the anxiety level came down a little bit.” They knew that they’d look good in the resulting photos, and they likely trusted her intuition as a fellow dancer. Swope moved with the bearing of a dancer and often stood with her feet in ballet’s fourth position while she shot. She continued to take dance classes throughout her life, including at the prestigious Martha Graham School. Stratyner says, “As Graham got older, [Swope] was, I think, the only person who was allowed to photograph rehearsals, because Graham didn’t want rehearsals shown.” Photographic technology and the theater and dance landscapes evolved greatly over the course of Swope’s career. Rosegg points out that at the start of her own career, cameras didn’t even automatically advance the film after each shot. She explains the delicate nature of working with film, saying, “When you were shooting film, you actually had to compose, because you had 35 shots and then you had to change your film.” Swope also worked during a period of changing over from all black-and-white photos to a mixture of black-and-white and color photography. Rosegg notes that simultaneously, Swope would shoot black-and-white, and she herself would shoot color. Looking at Swope’s portfolio is also an examination of increasingly crisp photo production. Advances in photography made shooting in the dark or capturing subjects under blinding stage lights easier, and they allowed for better zooming in from afar. Martha Graham rehearses dancer Takako Asakawa and others in Heretic, a dance work choreographed by Graham, in 1986 Martha Swope / © NYPL It’s much more common nowadays to get a look behind the curtain of theater productions via social media. “The theater photographers of today need to supply so much content,” Rosegg says. “We didn’t have any of that, and getting to go backstage was kind of a big deal.” Photographers coming to document a rehearsal once might have been seen as an intrusion, but now, as Rosegg puts it, “everybody is desperate for you to come, and if you’re not there, they’re shooting it on their iPhone.” Even with exclusive behind-the-scenes access to the hottest tickets in town and the biggest stars of the day, Swope remained unpretentious. She lived and worked in a brownstone with her apartment above her studio, where the film was developed in a closet and the bathroom served as a darkroom. Rosegg recalls that a phone sat in the darkroom so they could be reached while printing, and she would be amazed at the big-name producers and theater glitterati who rang in while she was making prints in an unventilated space. From left to right: Paul Winfield, Ruby Dee, Marsha Jackson and Denzel Washington in the stage production Checkmates in 1988 Martha Swope / © NYPL Swope’s approachability extended to how she chose to preserve her work. She originally sold her body of work to Time Life, and, according to Stratyner, she was unhappy with the way the photos became relatively inaccessible. She took back the rights to her collection and donated it to the New York Public Library, where many photos can be accessed by researchers in person, and the entire array of photos is available online to the public in the Digital Collections. Searching “Martha Swope” yields over 50,000 items from more than 800 productions, featuring a huge variety of figures, from a white-suited John Travolta busting a disco move in Saturday Night Fever to Andrew Lloyd Webber with Nancy Reagan at a performance of Phantom of the Opera. Swope’s extensive career was recognized in 2004 with a special Tony Award, a Tony Honors for Excellence in Theater, which are given intermittently to notable figures in theater who operate outside of traditional awards categories. She also received a lifetime achievement award from the League of Professional Theater Women in 2007. Though she retired in 1994 and died in 2017, her work still reverberates through dance and Broadway history today. For decades, she captured the fleeting moments of theater that would otherwise never be seen by the public. And her passion was clear and straightforward. As she once told an interviewer: “I’m not interested in what’s going on on my side of the camera. I’m interested in what’s happening on the other side.” Get the latest Travel & Culture stories in your inbox.

Guided by visual effects supervisor John Knoll, ILM embraced continually evolving methodologies to craft breathtaking visual effects for the iconic space battles in First Contact and Rogue One. By Jay Stobie Visual effects supervisor John Knoll (right) confers with modelmakers Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Bolstered by visual effects from Industrial Light & Magic, Star Trek: First Contact (1996) and Rogue One: A Star Wars Story (2016) propelled their respective franchises to new heights. While Star Trek Generations (1994) welcomed Captain Jean-Luc Picard’s (Patrick Stewart) crew to the big screen, First Contact stood as the first Star Trek feature that did not focus on its original captain, the legendary James T. Kirk (William Shatner). Similarly, though Rogue One immediately preceded the events of Star Wars: A New Hope (1977), it was set apart from the episodic Star Wars films and launched an era of storytelling outside of the main Skywalker saga that has gone on to include Solo: A Star Wars Story (2018), The Mandalorian (2019-23), Andor (2022-25), Ahsoka (2023), The Acolyte (2024), and more. The two films also shared a key ILM contributor, John Knoll, who served as visual effects supervisor on both projects, as well as an executive producer on Rogue One. Currently, ILM’s executive creative director and senior visual effects supervisor, Knoll – who also conceived the initial framework for Rogue One’s story – guided ILM as it brought its talents to bear on these sci-fi and fantasy epics. The work involved crafting two spectacular starship-packed space clashes – First Contact’s Battle of Sector 001 and Rogue One’s Battle of Scarif. Although these iconic installments were released roughly two decades apart, they represent a captivating case study of how ILM’s approach to visual effects has evolved over time. With this in mind, let’s examine the films’ unforgettable space battles through the lens of fascinating in-universe parallels and the ILM-produced fleets that face off near Earth and Scarif. A final frame from the Battle of Scarif in Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). A Context for Conflict In First Contact, the United Federation of Planets – a 200-year-old interstellar government consisting of more than 150 member worlds – braces itself for an invasion by the Borg – an overwhelmingly powerful collective composed of cybernetic beings who devastate entire planets by assimilating their biological populations and technological innovations. The Borg only send a single vessel, a massive cube containing thousands of hive-minded drones and their queen, pushing the Federation’s Starfleet defenders to Earth’s doorstep. Conversely, in Rogue One, the Rebel Alliance – a fledgling coalition of freedom fighters – seeks to undermine and overthrow the stalwart Galactic Empire – a totalitarian regime preparing to tighten its grip on the galaxy by revealing a horrifying superweapon. A rebel team infiltrates a top-secret vault on Scarif in a bid to steal plans to that battle station, the dreaded Death Star, with hopes of exploiting a vulnerability in its design. On the surface, the situations could not seem to be more disparate, particularly in terms of the Federation’s well-established prestige and the Rebel Alliance’s haphazardly organized factions. Yet, upon closer inspection, the spaceborne conflicts at Earth and Scarif are linked by a vital commonality. The threat posed by the Borg is well-known to the Federation, but the sudden intrusion upon their space takes its defenses by surprise. Starfleet assembles any vessel within range – including antiquated Oberth-class science ships – to intercept the Borg cube in the Typhon Sector, only to be forced back to Earth on the edge of defeat. The unsanctioned mission to Scarif with Jyn Erso (Felicity Jones) and Cassian Andor (Diego Luna) and the sudden need to take down the planet’s shield gate propels the Rebel Alliance fleet into rushing to their rescue with everything from their flagship Profundity to GR-75 medium transports. Whether Federation or Rebel Alliance, these fleets gather in last-ditch efforts to oppose enemies who would embrace their eradication – the Battles of Sector 001 and Scarif are fights for survival. From Physical to Digital By the time Jonathan Frakes was selected to direct First Contact, Star Trek’s reliance on constructing traditional physical models (many of which were built by ILM) for its features was gradually giving way to innovative computer graphics (CG) models, resulting in the film’s use of both techniques. “If one of the ships was to be seen full-screen and at length,” associate visual effects supervisor George Murphy told Cinefex’s Kevin H. Martin, “we knew it would be done as a stage model. Ships that would be doing a lot of elaborate maneuvers in space battle scenes would be created digitally.” In fact, physical and CG versions of the U.S.S. Enterprise-E appear in the film, with the latter being harnessed in shots involving the vessel’s entry into a temporal vortex at the conclusion of the Battle of Sector 001. Despite the technological leaps that ILM pioneered in the decades between First Contact and Rogue One, they considered filming physical miniatures for certain ship-related shots in the latter film. ILM considered filming physical miniatures for certain ship-related shots in Rogue One. The feature’s fleets were ultimately created digitally to allow for changes throughout post-production. “If it’s a photographed miniature element, it’s not possible to go back and make adjustments. So it’s the additional flexibility that comes with the computer graphics models that’s very attractive to many people,” John Knoll relayed to writer Jon Witmer at American Cinematographer’s TheASC.com. However, Knoll aimed to develop computer graphics that retained the same high-quality details as their physical counterparts, leading ILM to employ a modern approach to a time-honored modelmaking tactic. “I also wanted to emulate the kit-bashing aesthetic that had been part of Star Wars from the very beginning, where a lot of mechanical detail had been added onto the ships by using little pieces from plastic model kits,” explained Knoll in his chat with TheASC.com. For Rogue One, ILM replicated the process by obtaining such kits, scanning their parts, building a computer graphics library, and applying the CG parts to digitally modeled ships. “I’m very happy to say it was super-successful,” concluded Knoll. “I think a lot of our digital models look like they are motion-control models.” John Knoll (second from left) confers with Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Legendary Lineages In First Contact, Captain Picard commanded a brand-new vessel, the Sovereign-class U.S.S. Enterprise-E, continuing the celebrated starship’s legacy in terms of its famous name and design aesthetic. Designed by John Eaves and developed into blueprints by Rick Sternbach, the Enterprise-E was built into a 10-foot physical model by ILM model project supervisor John Goodson and his shop’s talented team. ILM infused the ship with extraordinary detail, including viewports equipped with backlit set images from the craft’s predecessor, the U.S.S. Enterprise-D. For the vessel’s larger windows, namely those associated with the observation lounge and arboretum, ILM took a painstakingly practical approach to match the interiors shown with the real-world set pieces. “We filled that area of the model with tiny, micro-scale furniture,” Goodson informed Cinefex, “including tables and chairs.” Rogue One’s rebel team initially traversed the galaxy in a U-wing transport/gunship, which, much like the Enterprise-E, was a unique vessel that nonetheless channeled a certain degree of inspiration from a classic design. Lucasfilm’s Doug Chiang, a co-production designer for Rogue One, referred to the U-wing as the film’s “Huey helicopter version of an X-wing” in the Designing Rogue One bonus featurette on Disney+ before revealing that, “Towards the end of the design cycle, we actually decided that maybe we should put in more X-wing features. And so we took the X-wing engines and literally mounted them onto the configuration that we had going.” Modeled by ILM digital artist Colie Wertz, the U-wing’s final computer graphics design subtly incorporated these X-wing influences to give the transport a distinctive feel without making the craft seem out of place within the rebel fleet. While ILM’s work on the Enterprise-E’s viewports offered a compelling view toward the ship’s interior, a breakthrough LED setup for Rogue One permitted ILM to obtain realistic lighting on actors as they looked out from their ships and into the space around them. “All of our major spaceship cockpit scenes were done that way, with the gimbal in this giant horseshoe of LED panels we got from [equipment vendor] VER, and we prepared graphics that went on the screens,” John Knoll shared with American Cinematographer’s Benjamin B and Jon D. Witmer. Furthermore, in Disney+’s Rogue One: Digital Storytelling bonus featurette, visual effects producer Janet Lewin noted, “For the actors, I think, in the space battle cockpits, for them to be able to see what was happening in the battle brought a higher level of accuracy to their performance.” The U.S.S. Enterprise-E in Star Trek: First Contact (Credit: Paramount). Familiar Foes To transport First Contact’s Borg invaders, John Goodson’s team at ILM resurrected the Borg cube design previously seen in Star Trek: The Next Generation (1987) and Star Trek: Deep Space Nine (1993), creating a nearly three-foot physical model to replace the one from the series. Art consultant and ILM veteran Bill George proposed that the cube’s seemingly straightforward layout be augmented with a complex network of photo-etched brass, a suggestion which produced a jagged surface and offered a visual that was both intricate and menacing. ILM also developed a two-foot motion-control model for a Borg sphere, a brand-new auxiliary vessel that emerged from the cube. “We vacuformed about 15 different patterns that conformed to this spherical curve and covered those with a lot of molded and cast pieces. Then we added tons of acid-etched brass over it, just like we had on the cube,” Goodson outlined to Cinefex’s Kevin H. Martin. As for Rogue One’s villainous fleet, reproducing the original trilogy’s Death Star and Imperial Star Destroyers centered upon translating physical models into digital assets. Although ILM no longer possessed A New Hope’s three-foot Death Star shooting model, John Knoll recreated the station’s surface paneling by gathering archival images, and as he spelled out to writer Joe Fordham in Cinefex, “I pieced all the images together. I unwrapped them into texture space and projected them onto a sphere with a trench. By doing that with enough pictures, I got pretty complete coverage of the original model, and that became a template upon which to redraw very high-resolution texture maps. Every panel, every vertical striped line, I matched from a photograph. It was as accurate as it was possible to be as a reproduction of the original model.” Knoll’s investigative eye continued to pay dividends when analyzing the three-foot and eight-foot Star Destroyer motion-control models, which had been built for A New Hope and Star Wars: The Empire Strikes Back (1980), respectively. “Our general mantra was, ‘Match your memory of it more than the reality,’ because sometimes you go look at the actual prop in the archive building or you look back at the actual shot from the movie, and you go, ‘Oh, I remember it being a little better than that,’” Knoll conveyed to TheASC.com. This philosophy motivated ILM to combine elements from those two physical models into a single digital design. “Generally, we copied the three-footer for details like the superstructure on the top of the bridge, but then we copied the internal lighting plan from the eight-footer,” Knoll explained. “And then the upper surface of the three-footer was relatively undetailed because there were no shots that saw it closely, so we took a lot of the high-detail upper surface from the eight-footer. So it’s this amalgam of the two models, but the goal was to try to make it look like you remember it from A New Hope.” A final frame from Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Forming Up the Fleets In addition to the U.S.S. Enterprise-E, the Battle of Sector 001 debuted numerous vessels representing four new Starfleet ship classes – the Akira, Steamrunner, Saber, and Norway – all designed by ILM visual effects art director Alex Jaeger. “Since we figured a lot of the background action in the space battle would be done with computer graphics ships that needed to be built from scratch anyway, I realized that there was no reason not to do some new designs,” John Knoll told American Cinematographer writer Ron Magid. Used in previous Star Trek projects, older physical models for the Oberth and Nebula classes were mixed into the fleet for good measure, though the vast majority of the armada originated as computer graphics. Over at Scarif, ILM portrayed the Rebel Alliance forces with computer graphics models of fresh designs (the MC75 cruiser Profundity and U-wings), live-action versions of Star Wars Rebels’ VCX-100 light freighter Ghost and Hammerhead corvettes, and Star Wars staples (Nebulon-B frigates, X-wings, Y-wings, and more). These ships face off against two Imperial Star Destroyers and squadrons of TIE fighters, and – upon their late arrival to the battle – Darth Vader’s Star Destroyer and the Death Star. The Tantive IV, a CR90 corvette more popularly referred to as a blockade runner, made its own special cameo at the tail end of the fight. As Princess Leia Organa’s (Carrie Fisher and Ingvild Deila) personal ship, the Tantive IV received the Death Star plans and fled the scene, destined to be captured by Vader’s Star Destroyer at the beginning of A New Hope. And, while we’re on the subject of intricate starship maneuvers and space-based choreography… Although the First Contact team could plan visual effects shots with animated storyboards, ILM supplied Gareth Edwards with a next-level virtual viewfinder that allowed the director to select his shots by immersing himself among Rogue One’s ships in real time. “What we wanted to do is give Gareth the opportunity to shoot his space battles and other all-digital scenes the same way he shoots his live-action. Then he could go in with this sort of virtual viewfinder and view the space battle going on, and figure out what the best angle was to shoot those ships from,” senior animation supervisor Hal Hickel described in the Rogue One: Digital Storytelling featurette. Hickel divulged that the sequence involving the dish array docking with the Death Star was an example of the “spontaneous discovery of great angles,” as the scene was never storyboarded or previsualized. Visual effects supervisor John Knoll with director Gareth Edwards during production of Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Tough Little Ships The Federation and Rebel Alliance each deployed “tough little ships” (an endearing description Commander William T. Riker [Jonathan Frakes] bestowed upon the U.S.S. Defiant in First Contact) in their respective conflicts, namely the U.S.S. Defiant from Deep Space Nine and the Tantive IV from A New Hope. VisionArt had already built a CG Defiant for the Deep Space Nine series, but ILM upgraded the model with images gathered from the ship’s three-foot physical model. A similar tactic was taken to bring the Tantive IV into the digital realm for Rogue One. “This was the Blockade Runner. This was the most accurate 1:1 reproduction we could possibly have made,” model supervisor Russell Paul declared to Cinefex’s Joe Fordham. “We did an extensive photo reference shoot and photogrammetry re-creation of the miniature. From there, we built it out as accurately as possible.” Speaking of sturdy ships, if you look very closely, you can spot a model of the Millennium Falcon flashing across the background as the U.S.S. Defiant makes an attack run on the Borg cube at the Battle of Sector 001! Exploration and Hope The in-universe ramifications that materialize from the Battles of Sector 001 and Scarif are monumental. The destruction of the Borg cube compels the Borg Queen to travel back in time in an attempt to vanquish Earth before the Federation can even be formed, but Captain Picard and the Enterprise-E foil the plot and end up helping their 21st century ancestors make “first contact” with another species, the logic-revering Vulcans. The post-Scarif benefits take longer to play out for the Rebel Alliance, but the theft of the Death Star plans eventually leads to the superweapon’s destruction. The Galactic Civil War is far from over, but Scarif is a significant step in the Alliance’s effort to overthrow the Empire. The visual effects ILM provided for First Contact and Rogue One contributed significantly to the critical and commercial acclaim both pictures enjoyed, a victory reflecting the relentless dedication, tireless work ethic, and innovative spirit embodied by visual effects supervisor John Knoll and ILM’s entire staff. While being interviewed for The Making of Star Trek: First Contact, actor Patrick Stewart praised ILM’s invaluable influence, emphasizing, “ILM was with us, on this movie, almost every day on set. There is so much that they are involved in.” And, regardless of your personal preferences – phasers or lasers, photon torpedoes or proton torpedoes, warp speed or hyperspace – perhaps Industrial Light & Magic’s ability to infuse excitement into both franchises demonstrates that Star Trek and Star Wars encompass themes that are not competitive, but compatible. After all, what goes together better than exploration and hope? – Jay Stobie (he/him) is a writer, author, and consultant who has contributed articles to ILM.com, Skysound.com, Star Wars Insider, StarWars.com, Star Trek Explorer, Star Trek Magazine, and StarTrek.com. Jay loves sci-fi, fantasy, and film, and you can learn more about him by visiting JayStobie.com or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy.