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  Belief–desire–intention model

  For popular psychology, the belief–desire–intention (BDI) model of human practical reasoning was developed by Michael Bratman as a way of explaining future-directed intention. BDI is fundamentally reliant on folk psychology (the 'theory theory'), which is the notion that our mental models of the world are theories. It was used as a basis for developing the belief–desire–intention software model. == Applications == BDI was part of the inspiration behind the BDI software architecture, which Bratman was also involved in developing. Here, the notion of intention was seen as a way of limiting time spent on deliberating about what to do, by eliminating choices inconsistent with current intentions. BDI has also aroused some interest in psychology. BDI formed the basis for a computational model of childlike reasoning CRIBB.

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  Parchive

  Parchive (a portmanteau of parity archive, and formally known as Parity Volume Set Specification) is an erasure code system that produces par files for checksum verification of data integrity, with the capability to perform data recovery operations that can repair or regenerate corrupted or missing data. Parchive was originally written to solve the problem of reliable file sharing on Usenet, but it can be used for protecting any kind of data from data corruption, disc rot, bit rot, and accidental or malicious damage. Despite the name, Parchive uses more advanced techniques (specifically error correction codes) than simplistic parity methods of error detection. As of 2015, PAR1 is obsolete, PAR2 is mature for widespread use, and PAR3 is a discontinued experimental version developed by MultiPar author Yutaka Sawada. The original SourceForge Parchive project has been inactive since April 30, 2015. A new PAR3 specification has been worked on since April 28, 2019 by PAR2 specification author Michael Nahas. An alpha version of the PAR3 specification has been published on January 29, 2022 while the program itself is being developed. == History == Parchive was intended to increase the reliability of transferring files via Usenet newsgroups. Usenet was originally designed for informal conversations, and the underlying protocol, NNTP was not designed to transmit arbitrary binary data. Another limitation, which was acceptable for conversations but not for files, was that messages were normally fairly short in length and limited to 7-bit ASCII text. Various techniques were devised to send files over Usenet, such as uuencoding and Base64. Later Usenet software allowed 8 bit Extended ASCII, which permitted new techniques like yEnc. Large files were broken up to reduce the effect of a corrupted download, but the unreliable nature of Usenet remained. With the introduction of Parchive, parity files could be created that were then uploaded along with the original data files. If any of the data files were damaged or lost while being propagated between Usenet servers, users could download parity files and use them to reconstruct the damaged or missing files. Parchive included the construction of small index files (.par in version 1 and .par2 in version 2) that do not contain any recovery data. These indexes contain file hashes that can be used to quickly identify the target files and verify their integrity. Because the index files were so small, they minimized the amount of extra data that had to be downloaded from Usenet to verify that the data files were all present and undamaged, or to determine how many parity volumes were required to repair any damage or reconstruct any missing files. They were most useful in version 1 where the parity volumes were much larger than the short index files. These larger parity volumes contain the actual recovery data along with a duplicate copy of the information in the index files (which allows them to be used on their own to verify the integrity of the data files if there is no small index file available). In July 2001, Tobias Rieper and Stefan Wehlus proposed the Parity Volume Set specification, and with the assistance of other project members, version 1.0 of the specification was published in October 2001. Par1 used Reed–Solomon error correction to create new recovery files. Any of the recovery files can be used to rebuild a missing file from an incomplete download. Version 1 became widely used on Usenet, but it did suffer some limitations: It was restricted to handle at most 255 files. The recovery files had to be the size of the largest input file, so it did not work well when the input files were of various sizes. (This limited its usefulness when not paired with the proprietary RAR compression tool.) The recovery algorithm had a bug, due to a flaw in the academic paper on which it was based. It was strongly tied to Usenet and it was felt that a more general tool might have a wider audience. In January 2002, Howard Fukada proposed that a new Par2 specification should be devised with the significant changes that data verification and repair should work on blocks of data rather than whole files, and that the algorithm should switch to using 16 bit numbers rather than the 8 bit numbers that PAR1 used. Michael Nahas and Peter Clements took up these ideas in July 2002, with additional input from Paul Nettle and Ryan Gallagher (who both wrote Par1 clients). Version 2.0 of the Parchive specification was published by Michael Nahas in September 2002. Peter Clements then went on to write the first two Par2 implementations, QuickPar and par2cmdline. Abandoned since 2004, Paul Houle created phpar2 to supersede par2cmdline. Yutaka Sawada created MultiPar to supersede QuickPar. MultiPar uses par2j.exe (which is partially based on par2cmdline's optimization techniques) to use as MultiPar's backend engine. == Versions == Versions 1 and 2 of the file format are incompatible. (However, many clients support both.) === Par1 === For Par1, the files f1, f2, ..., fn, the Parchive consists of an index file (f.par), which is CRC type file with no recovery blocks, and a number of "parity volumes" (f.p01, f.p02, etc.). Given all of the original files except for one (for example, f2), it is possible to create the missing f2 given all of the other original files and any one of the parity volumes. Alternatively, it is possible to recreate two missing files from any two of the parity volumes and so forth. Par1 supports up to a total of 256 source and recovery files. === Par2 === Par2 files generally use this naming/extension system: filename.vol000+01.PAR2, filename.vol001+02.PAR2, filename.vol003+04.PAR2, filename.vol007+06.PAR2, etc. The number after the "+" in the filename indicates how many blocks it contains, and the number after "vol" indicates the number of the first recovery block within the PAR2 file. If an index file of a download states that 4 blocks are missing, the easiest way to repair the files would be by downloading filename.vol003+04.PAR2. However, due to the redundancy, filename.vol007+06.PAR2 is also acceptable. There is also an index file filename.PAR2, it is identical in function to the small index file used in PAR1. Par2 specification supports up to 32,768 source blocks and up to 65,535 recovery blocks. Input files are split into multiple equal-sized blocks so that recovery files do not need to be the size of the largest input file. Although Unicode is mentioned in the PAR2 specification as an option, most PAR2 implementations do not support Unicode. Directory support is included in the PAR2 specification, but most or all implementations do not support it. === Par3 === The Par3 specification was originally planned to be published as an enhancement over the Par2 specification. However, to date, it has remained closed source by specification owner Yutaka Sawada. A discussion on a new format started in the GitHub issue section of the maintained fork par2cmdline on January 29, 2019. The discussion led to a new format which is also named as Par3. The new Par3 format's specification is published on GitHub, but remains being an alpha draft as of January 28, 2022. The specification is written by Michael Nahas, the author of Par2 specification, with the help from Yutaka Sawada, animetosho and malaire. The new format claims to have multiple advantages over the Par2 format, including support for: More than 216 files and more than 216 blocks. Packing small files into one block, as well as deduplication when a block appears in multiple files. UTF-8 file names. File permissions, hard links, symbolic/soft links, and empty directories. Embedding PAR data inside other formats, like ZIP archives or ISO disk images. "Incremental backups", where a user creates recovery files for some file or folder, change some data, and create new recovery files reusing some of the older files. More error correction code algorithms (such as LDPC and sparse random matrix). BLAKE3 hashes, dropping support for the MD5 hashes used in PAR2. == Software == === Multi-platform === par2+tbb (GPLv2) — a concurrent (multithreaded) version of par2cmdline 0.4 using TBB. Only compatible with x86 based CPUs. It is available in the FreeBSD Ports system as par2cmdline-tbb. Original par2cmdline — (obsolete). Available in the FreeBSD Ports system as par2cmdline. par2cmdline maintained fork by BlackIkeEagle. par2cmdline-mt is another multithreaded version of par2cmdline using OpenMP, GPLv2, or later. Currently merged into BlackIkeEagle's fork and maintained there. ParPar (CC0) is a high performance, multithreaded PAR2 client and Node.js library. Does not support verifying or repair, it can currently only create PAR2 archives. par2deep (LGPL-3.0) — Produce, verify and repair par2 files recursively, both on the command line as well as with the aid of a graphical user interface. It is available in the Python Package Index system as par2deep. par2cron (MIT License) is an o

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  MaPS S.A.

  MaPS S.A. is a software editor founded in 2011 by Thierry Muller. The company is headquartered in Luxembourg. Its platform, called MaPS System, provides Data Management software for Multichannel Marketing. == History and funding == The first version of MaPS System was released under the agency Prem1um S.A. in 2005 in the partnership with Pingroom agency. In combination with MaPS System, Prem1um also provided various consulting services in Marketing, Publishing and Sales. This is where MaPS System takes its names (M stands for Marketing, P for Publishing and S for Sales). In 2011, after being successful, Prem1um S.A. decided to enable the software MaPS System to operate independently under MaPS S.A., as a separate company and editor of the software. The first financial supports were provided by Malta ICI, a Venture Capital firm, and the local partner Chameleon Invest, a seed-capital fund led by Business Angels, who invested €900,000. In a second investment round in 2014 led by Newion Investments, a Venture Capital firm, €1.4 Million were raised, thus amounting to total assets of €2.2 Million. In 2016, the company was taken over by three private investors. In 2018, after two years of continuous growth and European expansion in Belgium, Germany and Switzerland, MaPS S.A acquired Awevo, an e-commerce web agency. == Products == The services included in MaPS System range from the data centralization, Data Governance to an optimized Multichannel Marketing. The software currently includes more than 35 modules for Master Data Management, Product Information Management, Digital Asset Management, Business Process Management including catalogue Publishing features. == Certifications == In 2019, MaPS System and Awevo received "Made in Luxembourg" label, given to the companies whose services are entirely designed in Luxembourg, without any production or development offshoring. MaPS System is a member of ICT Cluster by Luxinnovation.

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  Synthetic data

  Synthetic data are artificially generated data not produced by real-world events. Typically created using algorithms, synthetic data can be deployed to validate mathematical models and to train machine learning models. Data generated by a computer simulation can be seen as synthetic data. This encompasses most applications of physical modeling, such as music synthesizers or flight simulators. The output of such systems approximates the real thing, but is fully algorithmically generated. Synthetic data is used in a variety of fields as a filter for information that would otherwise compromise the confidentiality of particular aspects of the data. In many sensitive applications, datasets theoretically exist but cannot be released to the general public; synthetic data sidesteps the privacy issues that arise from using real consumer information without permission or compensation. == Usefulness == Synthetic data is generated to meet specific needs or certain conditions that may not be found in the original, real data. One of the hurdles in applying up-to-date machine learning approaches for complex scientific tasks is the scarcity of labeled data, a gap effectively bridged by the use of synthetic data, which closely replicates real experimental data. This can be useful when designing many systems, from simulations based on theoretical value, to database processors, etc. This helps detect and solve unexpected issues such as information processing limitations. Synthetic data are often generated to represent the authentic data and allows a baseline to be set. Another benefit of synthetic data is to protect the privacy and confidentiality of authentic data, while still allowing for use in testing systems. Computer security experts claim generated synthetic data "... enables us to create realistic behavior profiles for users and attackers. The data is used to train the fraud detection system itself, thus creating the necessary adaptation of the system to a specific environment." In defense and military contexts, synthetic data is seen as a potentially valuable tool to develop and improve complex AI systems, particularly in contexts where high-quality real-world data is scarce. At the same time, synthetic data together with the testing approach can give the ability to model real-world scenarios. == History == Scientific modelling of physical systems has a long history that runs concurrent with the history of physics. For example, research into synthesis of audio and voice can be traced back to the 1930s and before, driven forward by the developments of the telephone and audio recording technologies. Digitization gave rise to software synthesizers from the 1970s onwards. In the context of privacy-preserving statistical analysis, in 1993, the idea of original fully synthetic data was created by Donald Rubin. Rubin originally designed this to synthesize the Decennial Census long form responses for the short form households. He then released samples that did not include any actual long form records - in this he preserved anonymity of the household. Later that year, the idea of original partially synthetic data was created by Little. Little used this idea to synthesize the sensitive values on the public use file. A 1993 work fitted a statistical model to 60,000 MNIST digits, then it was used to generate over 1 million examples. Those were used to train a LeNet-4 to reach state of the art performance. In 1994, Stephen Fienberg introduced 'critical refinement', in which a parametric posterior predictive distribution (instead of a Bayes bootstrap) is used to do the sampling. Later, other important contributors to the development of synthetic data generation were Trivellore Raghunathan, Jerry Reiter, Donald Rubin, John M. Abowd, and Jim Woodcock. Collectively they came up with a solution for how to treat partially synthetic data with missing data. Similarly, they developed the technique of Sequential Regression Multivariate Imputation. == Calculations == Researchers test the framework on synthetic data, which is "the only source of ground truth on which they can objectively assess the performance of their algorithms". Synthetic data can be generated through the use of random lines, having different orientations and starting positions. Datasets can get fairly complicated. A more complicated dataset can be generated by using a synthesizer build. To create a synthesizer build, first use the original data to create a model or equation that fits the data the best. This model or equation will be called a synthesizer build. This build can be used to generate more data. Constructing a synthesizer build involves constructing a statistical model. In a linear regression line example, the original data can be plotted, and a best fit linear line can be created from the data. This line is a synthesizer created from the original data. The next step will be generating more synthetic data from the synthesizer build or from this linear line equation. In this way, the new data can be used for studies and research, and it protects the confidentiality of the original data. David Jensen from the Knowledge Discovery Laboratory explains how to generate synthetic data: "Researchers frequently need to explore the effects of certain data characteristics on their data model." To help construct datasets exhibiting specific properties, such as auto-correlation or degree disparity, proximity can generate synthetic data having one of several types of graph structure: random graphs that are generated by some random process; lattice graphs having a ring structure; lattice graphs having a grid structure, etc. In all cases, the data generation process follows the same process: Generate the empty graph structure. Generate attribute values based on user-supplied prior probabilities. Since the attribute values of one object may depend on the attribute values of related objects, the attribute generation process assigns values collectively. == Applications == === Fraud detection and confidentiality systems === Testing and training fraud detection and confidentiality systems are devised using synthetic data. Specific algorithms and generators are designed to create realistic data, which then assists in teaching a system how to react to certain situations or criteria. For example, intrusion detection software is tested using synthetic data. This data is a representation of the authentic data and may include intrusion instances that are not found in the authentic data. The synthetic data allows the software to recognize these situations and react accordingly. If synthetic data was not used, the software would only be trained to react to the situations provided by the authentic data and it may not recognize another type of intrusion. === Scientific research === Researchers doing clinical trials or any other research may generate synthetic data to aid in creating a baseline for future studies and testing. Real data can contain information that researchers may not want released, so synthetic data is sometimes used to protect the privacy and confidentiality of a dataset. Using synthetic data reduces confidentiality and privacy issues since it holds no personal information and cannot be traced back to any individual. Beyond privacy protection, synthetic data is also being explored for methodological innovation in drug development. For instance, synthetic data may be used to construct synthetic control arms as an alternative to conventional external control arms based on real-world data (RWD) or randomized controlled trials (RCTs). Collectively, regulatory agencies such as the FDA and EMA appear to be at various stages of recognizing and integrating AI-generated synthetic data into their methodologies. While there is growing consensus on the potential of such data to support model development and the broader lifecycle of medicinal products, to date no drug or medical device has been approved using solely or predominantly synthetic data—particularly not as a comparator arm generated entirely via data-driven algorithms. The quality and statistical handling of synthetic data are expected to become more prominent in future regulatory discussions, particularly in contexts such as predictive modeling (e.g., digital twins), where innovative approaches have already been referenced. === Machine learning === Synthetic data is increasingly being used for machine learning applications: a model is trained on a synthetically generated dataset with the intention of transfer learning to real data. Efforts have been made to enable more data science experiments via the construction of general-purpose synthetic data generators, such as the Synthetic Data Vault. In general, synthetic data has several natural advantages: once the synthetic environment is ready, it is fast and cheap to produce as much data as needed; synthetic data can have perfectly accurate labels, including labeling that may be very expensive or impo

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  Digital Image Processing with Sound

  DIPS (Digital Image Processing with Sound) is a set of plug-in objects that handle real-time digital image processing in Max/MSP programming environment. Combining with the built-in objects of the environment, DIPS enables to program the interaction between audio and visual events with ease, and supports the realization of interactive multimedia art as well as interactive computer music. == Summary of Features == A plug-in software for Max/MSP (Max 5 and 6) More than 300 Max external objects and abstractions More than 90 OpenGL objects included More than 110 visual effect objects (Dfx library, Core Image Filters) A utility library for the easy of programming (prefix Dlib) A comprehensive set of sample patches, and a detailed tutorial Handling images & movie files (QuickTime, OpenGL) Render and move 3D models (OpenGL) Video signal input (QuickTime, video texture) Video input analysis: motion detect, face tracking (OpenCV, OpenGL) Importing 3D models (.obj file) Importing Quartz Composer files OpenGL Shading Language (GLSL) programming interface Easy integration of visual events using DIPSWindowMixer (OpenGL) == Description == DIPS is a free plug-in software (a set of external objects) for Max/MSP. It supports the designing of the interaction between sound and visual events in Max using Apple’s Core Image, OpenGL and OpenCV technologies, and consequently, provides a powerful and user-friendly programming environment for the creation of interactive multimedia art. DIPS can be used to detect a performer’s motions and to track positions of subtle details, such as the face, mouth, and eyes. It can also be used to measure the distance between objects and a Kinect sensor system, and offers powerful tools for realtime image processing of incoming video stream and stored movie files. In addition, it can be used to create complex images in a virtual three-dimensional space. The DIPS consists of a library of more than 300 Max external objects and abstractions, a comprehensive set of sample patches, and a detailed tutorial. Some of its strong points, in comparison with other similar plug-ins and software, are its ease of programming, power, and efficiency. The sample patches and tutorial contained in the installation package allows composers and artists who are interested in the creation of interactive art to realize sophisticated realtime video effects on a live video signal at their first practice. And because of its ease of programming, it is likely that one will soon acquire skills needed to create state-of-the-art interactive performance works, multimedia installations, interactive multimedia artworks, and Max VJ applications using DIPS. == History == Initially developed by Shu Matsuda in 1997, DIPS was a plug-in software for Max/FTS running on SGI Octane and O2 computers. Since 2000, it has been developed by the DIPS Development Group supervised by Takayuki Rai. Current active group members are Shu Matsuda, Yota Morimoto, Takuto Fukuda, and Keitaro Takahashi. Previously, Chikashi Miyama, Daichi Ando and Takayuki Hamano also contributed to its development. 2013 DIPS5 for Max (Mac OS X) 2009 DIPS4 for Max/MSP (Mac OS X) 2006 DIPS3 for Max/MSP (Mac OS X) 2003 DIPS2 for jMax4 (Mac OS X) 2002 DIPS for jMax2 (Mac OS X & Linux) 2000 DIPS for jMax (Linux)

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  Schema crosswalk

  A schema crosswalk is a table that shows equivalent elements (or "fields") in more than one database schema. It maps the elements in one schema to the equivalent elements in another. Crosswalk tables are often employed within or in parallel to enterprise systems, especially when multiple systems are interfaced or when the system includes legacy system data. In the context of Interfaces, they function as an internal extract, transform, load (ETL) mechanism. For example, this is a metadata crosswalk from MARC standards to Dublin Core: Crosswalks show people where to put the data from one scheme into a different scheme. They are often used by libraries, archives, museums, and other cultural institutions to translate data to or from MARC standards, Dublin Core, Text Encoding Initiative (TEI), and other metadata schemes. For example, an archive has a MARC record in its catalog describing a manuscript. Suppose the archive makes a digital copy of that manuscript and wants to display it on the web along with the information from the catalog. In that case, it will have to translate the data from the MARC catalog record into a different format, such as Metadata Object Description Schema, that is viewable on a webpage. Because MARC has various fields than MODS, decisions must be made about where to put the data into MODS. This type of "translating" from one format to another is often called "metadata mapping" or "field mapping," and is related to "data mapping", and "semantic mapping". Crosswalks also have several technical capabilities. They help databases using different metadata schemes to share information. They help metadata harvesters create union catalogs. They enable search engines to search multiple databases simultaneously with a single query. == Challenges for crosswalks == One of the biggest challenges for crosswalks is that no two metadata schemes are 100% equivalent. One scheme may have a field that doesn't exist in another scheme or a field that is split into two different fields in another scheme; this is why data is often lost when mapping from a complex scheme to a simpler one. For example, when mapping from MARC to Simple Dublin Core, the distinction between types of titles is lost: Simple Dublin Core only has one "Title" element, so all of the different types of MARC titles get lumped together without further distinctions. A future attempt to convert the metadata back into MARC would enter the information in the basic MARC 245 Title Statement field, with none of the original distinctions. This is why crosswalks are said to be "lateral" (one-way) mappings from one scheme to another. Separate crosswalks would be required to map from scheme A to scheme B and from scheme B to scheme A. === Difficulties in mapping === Other mapping problems arise when: One scheme has one element that needs to be split up with different parts of it placed in multiple other elements in the second scheme ("one-to-many" mapping) One scheme allows an element to be repeated more than once while another only allows that element to appear once with multiple terms in it Schemes have different data formats (e.g. John Doe or Doe, John) An element in one scheme is indexed, but the equivalent element in the other scheme is not Schemes may use different controlled vocabularies Schemes change their standards over time Some of these problems are not fixable. As Karen Coyle says in "Crosswalking Citation Metadata: The University of California's Experience," "The more metadata experience we have, the more it becomes clear that metadata perfection is not attainable, and anyone who attempts it will be sorely disappointed. When metadata is crosswalked between two or more unrelated sources, there will be data elements that cannot be reconciled in an ideal manner. The key to a successful metadata crosswalk is intelligent flexibility. It is essential to focus on the important goals and be willing to compromise to reach a practical conclusion to projects."

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  Nike+iPod

  The Nike+iPod Sport Kit is an activity tracker device, developed by Nike, Inc., which measures and records the distance and pace of a walk or run. The Nike+iPod consists of a small transmitter device attached to or embedded in a shoe, which communicates with either the Nike+ Sportband, or a receiver plugged into an iPod Nano. It can also work directly with a 2nd Generation iPod Touch (or higher), iPhone 3GS, iPhone 4, iPhone 4S, iPhone 5, The Nike+iPod was announced on May 23, 2006. On September 7, 2010, Nike released the Nike+ Running App (originally called Nike+ GPS) on the App Store, which used a tracking engine powered by MotionX that does not require the separate shoe sensor or pedometer. This application works using the accelerometer and GPS of the iPhone and the accelerometer of the iPod Touch, which does not have a GPS chip. Nike+Running is compatible with the iPhone 6 and iPhone 6 Plus down to iPhone 3GS and iPod touch. On June 21, 2012, Nike released Nike+ Running App for Android. The current app is compatible with all Android phones running 4.0.3 and up. == Overview == The sensor and iPod kit were revealed on May 20, 2006. The kit stores information such as the elapsed time of the workout, the distance traveled, pace, and calories burned by the individual. Nike+ was a collaboration between Nike and Apple; the platform consisted of an iPod, a wireless chip, Nike shoes that accepted the wireless chip, an iTunes membership, and a Nike+ online community. iPods using Nike iPod require a sensor and remote. The next upgraded product was the Sportband kit, which was announced in April 2008. The kit allows users to store run information without the iPod Nano. The Sportband consists of two parts: a rubber holding strap which is worn around the wrist, and a receiver which resembles a USB key-disk. The receiver displays information comparable to that of the iPod kit on the built-in display. After a run, the receiver can be plugged straight into a USB port and the software will upload the run information automatically to the Nike+ website. As of August 2008 "Nike+iPod for the Gym" launched, allowing users to record their cardio workouts directly to their iPods. No Sport kit or shoe sensor is required; all that is needed is a compatible iPod (1st–6th generation iPod Nano or 2nd/3rd gen iPod Touch) and an enabled piece of cardio equipment. As of March 2009, the seven largest commercial equipment providers were shipping enabled equipment (Life Fitness, Technogym, Precor USA, Star Trac, Cybex International, Matrix Fitness and Free Motion). The models of compatible cardio equipment include treadmills, stationary bicycles, stair climbers, ellipticals, and others such as Precor's Adaptive Motion Trainer. Once the user syncs an iPod with iTunes, the cardio workouts are automatically stored at Nikeplus.com, where each workout is visualized and tracked based on the number of calories burned. The calories are converted to "CardioMiles", at a ratio of 100:1, allowing cardio users to take full advantage of all the tools and features of Nikeplus.com, and allow them to engage in challenges with other runners, walkers and cardio users, using a common currency. With the release of the second-generation iPod Touch in 2008, Apple Inc. included a built-in ability to receive Nike+ signals, which allowed the iPod to connect directly to the wireless sensor thus eliminating the need for an external receiver to be connected. Apple also added this capability to the iPhone 3GS (released 2009), iPhone 4 (2010), and third-generation iPod Touch (2009). Those devices use their Broadcom Bluetooth chipset to receive the signals. On June 7, 2010, Polar and Nike introduced the Polar WearLink+ that works with Nike+. This new product works with the Nike+ SportBand and the fifth generation iPod nano in conjunction with the Nike+ iPod Sport Kit. Polar WearLink+ that works with Nike+ communicates directly with the fifth generation iPod nano and Nike+ SportBand using a proprietary digital protocol but it is dual-mode so it is also compatible with most Polar training computers (all those using 5 kHz analog transmission technology). Nike+ had 18 million global users as of April 2013. One year later, Nike updated the number of global users to 28 million. In iOS 6.1.2 (and possibly higher), a hole in the compatibility for the app has allowed jailbroken iPad users to use the native Nike + iPod iPhone and iPod app by moving the app bundle and setting permissions for the app. On April 30, 2018, Nike retired services for legacy Nike wearable devices, such as the Nike+ FuelBand and the Nike+ SportWatch GPS, and previous versions of apps, including Nike Run Club and Nike Training Club version 4.X and lower. Likewise, Nike no longer supported the Nike+ Connect software that transferred data to a NikePlus Profile or the Nike+ Fuel/FuelBand and Nike+ Move apps. == Sports kit equipment == The kit consists of two pieces: a piezoelectric sensor with a Nordic Semiconductor nRF2402 transmitter that is mounted under the inner sole of the shoe and a receiver that connects to the iPod. They communicate using a 2.4 GHz wireless radio and use Nordic Semiconductor's "ShockBurst" network protocol. The wireless data is encrypted in transit, but some uniquely identifying data is sent in the plain. The wireless protocol was reverse engineered and documented by Dmitry Grinberg in 2011. Nike recommends that the shoe be a Nike+ model with a special pocket in which to place the device. Nike has released the sensor for individual sale meaning that consumers no longer have to purchase the whole set (the iPod receiver and sensor). As the sensor battery cannot be replaced, a new one must be purchased every time the battery runs out. Aftermarket solutions are available to users who do not want to use shoes with built-in or hand-made pockets for the foot sensor, such as shoe pouches and containment devices designed to affix the sensor against the shoe laces. No matter how the sensor is integrated with the user's shoes, care must be taken that it is firmly fixed in place and will not jerk around while in use, which would degrade the accuracy. == Sports kit usage == The Sports Kit can be used to track running, which it refers to as "workouts". New workouts are started by plugging the receiving unit into the iPod, then navigating through the iPod menu system. The user chooses a goal for the workout, which might be to cover a specific distance, or burn a number of calories, or work out for a specified time. A workout can also be started without a goal, which is called a "Basic Workout". When the workout goal has been set, the receiver seeks the sensor, possibly asking the user to "walk around to activate [the] sensor". The user then must press the center button on the iPod to begin the workout. Audio feedback is provided in the user's choice of generic male or female voice by the iPod over the course of the workout, depending on the type of workout chosen. For goal-oriented workouts, the feedback will correspond to significant milestones toward the goal. In a distance workout, for example, the audio feedback will inform the user as each mile or kilometer has been completed, as well as the half-way point of the workout, and a countdown of four 100-meter increments at the end of the workout. The iPod's control wheel functions change slightly during a workout. The Pause button now not only pauses the music but also the workout. Similarly, the Menu button is used to access the controls to end the workout. The Forward and Back buttons are unchanged, performing audio track skip and reverse functions. The Center button has two functions: audio feedback about the current distance, time, and pace are provided when the button is tapped once, while if the button is held down the iPod skips to the "PowerSong" - an audio track chosen by the user, generally intended for motivation. In addition to the in-workout audio feedback, there are pre-recorded congratulations provided by Lance Armstrong, Tiger Woods, Joan Benoit Samuelson, and Paula Radcliffe whenever a user achieves a personal best (such as fastest mile, fastest 5K, fastest 10K, longest run yet) or reaches certain long-term milestones (such as 250 miles, 500 kilometers). This "celebrity feedback" is heard after the usual end-of-run statistics. While the Sports Kit can be used immediately after purchase, it will report more accurate results if it is calibrated before the first usage and then regularly afterwards. For calibration, the user finds a fixed known distance of at least 0.25 mile or 400 meters and then sets the Nike+ to calibration mode for the walk or run over that distance. When the walk or run is complete, the device calibrates itself and future workout reporting will reflect statistics closer to that individual user's workout style. Consumer Reports magazine tested the device and found it accurate as long as you keep an even pace. In workouts with varied pa

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  Media aggregation platform

  A Media Aggregation Platform or Media Aggregation Portal (MAP) is an over the top service for distributing web-based streaming media content from multiple sources to a large audience. MAPs consist of networks of sources who host their own content which viewers can choose and access directly from a larger variety of content to choose from than a single source can offer. The service is used by content providers, looking to extend the reach of their content. Unlike multichannel video programming distributor (MVPD) or multiple-system operators (MSO), MAPs rely on the Internet rather than cables or satellite. As more network television channels have moved online in the early 21st century, joining web-native channels like Netflix, MAPs aggregate content the way that MSOs and MVPDs have used cable, and to a lesser extent satellite and IPTV infrastructure. There are companies that offer a similar service for free, including Yidio and StreamingMoviesRight, while others charge a subscription fee like as FreeCast Inc's Rabbit TV Plus. When compared with MSOs and MVPDs, MAP networks have much lower costs due to lack of physical infrastructure. The majority of revenue from MAP services are retained by the content creators, and revenue is instead collected from advertisements, pay-per-view, and subscription-based content offerings instead of licensing and reselling content. MAP service consumers interact and purchase content directly from its source, without the markup added by a middleman.

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  Human-centered AI

  Human-centered AI is the initiative at the intersection of the fields of artificial intelligence (AI) and human-computer interaction (HCI) to develop AI systems in a way that prioritizes human values, needs, and general flourishing. Emphasis is placed on the recognition that artificial intelligence systems are rapidly changing, and will continue to influence, many aspects of the human experience, in areas ranging from scientific inquiry, governance and policy, labor and the economy, and creative expression, with an aim set to adapt current developments and guide future developments on a trajectory which is most beneficial to the human population at large, with the goal of augmenting human intelligence and capacities across these areas, as opposed to replacing them. Particular attention is paid to mitigating negative effects of AI automation on the livelihoods of the labor force, the use of AI in healthcare fields, and imbuing AI systems with societal values. Human-centered AI is linked to related endeavors in AI alignment and AI safety, but while these fields primarily focus on mitigating risks posed by AI that is unaligned to human values and/or uncontrollable AI self-development, human-centered AI places significant focus in exploring how AI systems can augment human capacities and serve as collaborators. == Conceptual history == The importance of the alignment of artificial intelligence development towards human values in some sense predates artificial intelligence itself, as before the modern conception of artificial intelligence as coined at the 1956 Dartmouth Workshop, the conception of robots as constructed, autonomous agents entered the cultural consciousness as early as the 1920s, with Karel Capek's Rossum's Universal Robots. The imagined issues relating to robots' aims and values requiring intentional alignment and direction with those of humans followed soon after, most widely known from science fiction author Isaac Asimov’s Three Laws of Robotics, dating to his 1942 short story “Runaround”. Two of the three eponymous laws are directly concerned with robots’ interaction with and positioned deference towards humans, and have in recent times been reexamined in the face of modern AI. In 1985, after artificial intelligence research had taken off and its effects were more acutely conceptualized, Asimov added a Rule Zero, treating robots' relationship with humanity as a whole, distinct from individual humans. While modern artificial intelligence is largely distinct from robotics, the conceptualization of both robots and AI systems as autonomous agents positions this as a foundation for conceptions of human-centered AI. Aside from robots, artificially intelligent autonomous agents in interaction with humans have been conceived of for at least 75 years. In 1950, Alan Turing published his famous "Imitation Game", often also called the Turing Test, a thought experiment that uses human-machine interaction as an assessor for the intelligence of a system. In recent times, artificial intelligence researchers such as Stanford's Erik Brynjolfsson have conceived of rapid AI development leading to a so-called "Turing Trap". == Augmentation and automation == A major stated aim of human-centered AI is to promote the development of AI in ways that augment human capabilities, rather than replacing them. To this end, organizations and initiatives that take a human-centered approach to AI development focus on frameworks that encourage collaboration between humans and artificial intelligence systems to build towards even greater progress, rather than attempting to automate tasks currently handled by humans. Such avenues include everything from data visualization for big data, allowing human engineers to better understand extremely large datasets, allowing for the design of better machine learning models to handle them, to AI-powered sensors to monitor vitals, allowing for better responsiveness from healthcare providers. Many human-centered AI initiatives often position it as a better alternative to the apparent mainstream in AI development, which is primarily concerned with automation. Driven by the pressures of the market economy, AI development that does replace tasks currently performed by humans with automated processes is incentivized, as it allows for greater profit margins; this often comes at the detriment of the human whose performance is replaced, thus leading to an environment wherein human workers are outcompeted by AI systems across various service-sector and technology-based industries. At the same time, automation and augmentation are not always incompatible; a major aim of human-centered AI is towards the automation of rote tasks that would otherwise hinder a human’s productivity or creativity, freeing them to direct their energy and intelligence towards higher-level tasks, thus achieving augmentation through automation. Empirical research in pharmaceutical sales has shown that a human-centered implementation - where work procedures, training, and incentives are designed around individuals' cognitive needs - improves augmentation performance, while implementation without such adaptation can worsen outcomes relative to a legacy system. == Research == Much of the work done on human-centered AI comes from research institutes, within universities, companies, and as freestanding organizations. The Stanford Institute for Human-Centered AI (abbreviated to HAI) is one such group, engaging academics, industry professionals, and policymakers centered in Stanford University to conduct research and inform policy in various areas in human-centered AI, including on aspects of the intelligence itself, augmentation, and on measuring the impacts of AI systems on sociopolitcal and cultural institutions. Similar groups exist at other universities, including the Chicago Human + AI (CHAI) Lab at the University of Chicago, the HCAI@GU group at the University of Gothenburg, and the Human-Centered AI (HAI) Lab at the University of Oxford. Outside of the academy, companies such as IBM have research initiatives dedicated to advancements in human-centered AI. At Kenyon College, the Integrated Program for Humane Studies (IPHS) launched a human-centered AI program in 2016 integrating artificial intelligence research with humanities and social science inquiry. This approach treats computation and humanistic scholarship as a single unified field of research rather than as separate disciplines requiring collaboration. The program's researchers have published in both AI venues (such as the International Conference on Machine Learning and Frontiers of Computer Science) and humanities journals (such as PMLA and Poetics Today), and the lab was selected in December 2025 by Schmidt Sciences for its Humanities and AI Virtual Institute to apply AI methods to cultural heritage preservation.

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  Artificial intelligence in architecture

  Artificial intelligence in architecture is the use of artificial intelligence in automation, design, and planning in the architectural process or in assisting human skills in the field of architecture. AI has been used by some architects for design, and has been proposed as a way to automate planning and routine tasks in the field. == Implications == === Benefits === Artificial intelligence, according to ArchDaily, is said to potentially significantly augment the architectural profession through its ability to improve the design and planning process as well as increasing productivity. Through its ability to handle a large amount of data, AI is said to potentially allow architects a range of design choices with criteria considerations such as budget, requirements adjusted to space, and sustainability goals calculated as part of the design process. ArchDaily said this may allow the design of optimized alternatives that can then undergo human review. AI tools are also said to potentially allow architects to assimilate urban and environmental data to inform their designs, streamlining initial stages of project planning and increasing efficiency and productivity. The advances in generative design through the input of specific prompts allow architects to produce visual designs, including photorealistic images, and thus render and explore various material choices and spatial configurations. ArchDaily noted this could speed the creative process as well as allow for experimentation and sophistication in the design. Additionally, AI's capacity for pattern recognition and coding could aid architects in organizing design resources and developing custom applications, thus enhancing the efficiency and collaboration between both architects and AI. AI is thought to also be able to contribute to the sustainability of buildings by analyzing various factors and following recommended energy-efficient modifications, thus pushing the industry towards greener practices. The use of AI in building maintenance, project management, and the creation of immersive virtual reality experiences are also thought of as potentially augmenting the architectural design process and workflow. Examples include the use of text-to-image systems such as Midjourney to create detailed architectural images, and the use of AI optimization systems from companies such as Finch3D and Autodesk to automatically generate floor plans from simple programmatic inputs. In contrast to digital-only creative practices, the high materiality of architectural outputs requires transitions from ephemeral digital files to permanent physical structures that are subject to strict safety regulations, material constraints, sensory intuition, and site-specific cultural contexts, making full automation difficult. Early adopters such as architect Stephen Coorlas have actively challenged the boundaries of architectural practice through AI. His early experimental initiative, Speculations on AI and Architecture, confronts the discipline's traditional workflows by training text-to-image AI tools such as Midjourney, Luma AI, and PromeAI to generate more nuanced architectural illustrations including construction documents, architectural details, and assembly sequences for various structures. Coorlas inputs precise terminology and architectural language to provoke the AI into producing axonometric drawings that resemble conventional documentation, then experiments with animating the outputs using AI generated depth maps and other AI image-to-3D wireframe tools. Stephen's inventive process invites architects and designers to reconsider authorship, automation, and the future of visual communication in the built environment. Rather than treating AI as a peripheral tool, Stephen has advocated for AI to be a speculative collaborator capable of engaging with discipline-specific challenges. His work contributes to the growing discourse on generative design, parametric optimization, and the philosophical implications of machine-assisted creativity raising urgent questions about how such technologies will reshape architectural agency, precision, and pedagogy. Another prominent advocate is Architect Andrew Kudless, who in an interview to Dezeen recounted that he uses AI to innovate in architectural design by incorporating materials and scenes not usually present in initial plans, which he believes can significantly alter client presentations. He told Dezeen he believes one should show clients renderings from the onset, with AI assisting in this work, arguing that changes in design should be a positive aspect of the client-designer relationship by actively involving clients in the process. Additionally, Kudless highlighted the AI's potential to facilitate labor in architectural firms, particularly in automating rendering tasks, thus reducing the workload on junior staff while maintaining control over the creative output. === Emergent aesthetics === In an interview for the AItopia series to Dezeen, designer Tim Fu discussed the transformative potential of AI in architecture, and proposed a future where AI could herald a "neoclassical futurist" style, blending the grandeur of classical aesthetics with futuristic design. Through his collaborative project, The AI Stone Carver, Fu showcased how AI can innovate traditional practices by generating design concepts that are then realized through human craftsmanship, such as stone carving by mason Till Apfel. This approach, he believed, celebrated the fusion of diverse architectural styles and also emphasized the unique capabilities of AI in enhancing creative design processes. Fu told Dezeen he envisions the integration of AI in design as a means to revive the ornamentation and detailed aesthetics characteristic of classical architecture, moving away from minimalism, which he said dominates contemporary architecture. He argued that AI's involvement in the ideation phase of design allows for a reversal in the roles of machine and human, enabling architects and designers to focus on creating more intricate and ornamental structures. Fu's optimistic outlook extended to the broader impact of AI on the architectural field, seeing it as an indispensable tool that will shift rather than replace human roles, enriching the field with innovative designs that pay homage to the beauty and qualities of classical architecture not present in contemporary architecture while embracing new technologies. This perspective resonates with designers like Manas Bhatia, whose explorations similarly embrace generative AI as a co-creator and a medium to express ideas, blend architectural traditions, and speculate spatial futures. === Concerns === As AI continues to expand its presence across various industries, its impact on the architectural profession has become a topic of growing discussion. These discussions focus on how AI processes may influence traditional architectural practices, potentially altering job roles, and shaping the nature of creativity. While AI-driven processes may increase efficiency in some aspects of the profession, they also raise questions about the potential loss of unique design perspectives. These thoughts have been countered by many prominent creative figures in the realm of AI architecture, such as Stephen Coorlas, Tim Fu, Hassan Ragab, and Manas Bhatia who have showcased the amplification of creativity in design and potential benefits in terms of restoring creative power to the designer. A key concern is that AI-powered tools could diminish the need for human involvement in specific tasks traditionally performed by architects. This has led to speculation that the profession may increasingly shift toward roles focused on oversight, coordination, and strategic decision-making rather than hands-on design work. In some design scenarios, algorithmically generated solutions can be adjusted to prioritize efficiency and cost-effectiveness, which some argue may overshadow the creative and contextual nuances that define individual architectural styles. As with any discipline though, it has been determined that AI can be configured to provide beneficial results based on inputs and end goals the architect or designer assigns it. There are also concerns about the potential for AI to exacerbate inequalities within the architectural profession. For instance, larger firms with greater resources to invest in advanced AI technologies may gain a competitive edge over smaller firms and independent architects. This dynamic could contribute to industry consolidation, potentially limiting the diversity of architectural practice and stifling innovation. Ethical considerations in regard to cultural sensitivity have also been raised due to the datasets used to train AI. Without proper vetting of data or implementing failsafe overrides, AI generated outcomes can trend toward overly documented and prioritized content.

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  AIVA

  AIVA (Artificial Intelligence Virtual Artist) is an electronic composer recognized by the SACEM. == Description == Created in February 2016, AIVA specializes in classical and symphonic music composition. It became the world's first virtual composer to be recognized by a music society (SACEM). By reading a large collection of existing works of classical music (written by human composers such as Bach, Beethoven, Mozart) AIVA is capable of detecting regularities in music and on this base composing on its own. The algorithm AIVA is based on deep learning and reinforcement learning architectures. Since January 2019, the company offers a commercial product, Music Engine, capable of generating short (up to 3 minutes) compositions in various styles (rock, pop, jazz, fantasy, shanty, tango, 20th century cinematic, modern cinematic, and Chinese). AIVA was presented at TED by Pierre Barreau. == Discography == AIVA is a published composer; its first studio album "Genesis" was released in November 2016. Second album "Among the Stars" in 2018. 2016 CD album « Genesis » Hv-Com – LEPM 048427. Track listing "Genesis": 2018 CD album « Among the Stars » Hv-Com – LEPM 048708 Avignon Symphonic Orchestra [ORAP] also performed Aiva's compositions [2] in April 2017.

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  Media aggregation platform

  A Media Aggregation Platform or Media Aggregation Portal (MAP) is an over the top service for distributing web-based streaming media content from multiple sources to a large audience. MAPs consist of networks of sources who host their own content which viewers can choose and access directly from a larger variety of content to choose from than a single source can offer. The service is used by content providers, looking to extend the reach of their content. Unlike multichannel video programming distributor (MVPD) or multiple-system operators (MSO), MAPs rely on the Internet rather than cables or satellite. As more network television channels have moved online in the early 21st century, joining web-native channels like Netflix, MAPs aggregate content the way that MSOs and MVPDs have used cable, and to a lesser extent satellite and IPTV infrastructure. There are companies that offer a similar service for free, including Yidio and StreamingMoviesRight, while others charge a subscription fee like as FreeCast Inc's Rabbit TV Plus. When compared with MSOs and MVPDs, MAP networks have much lower costs due to lack of physical infrastructure. The majority of revenue from MAP services are retained by the content creators, and revenue is instead collected from advertisements, pay-per-view, and subscription-based content offerings instead of licensing and reselling content. MAP service consumers interact and purchase content directly from its source, without the markup added by a middleman.

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  Neural style transfer

  Neural style transfer (NST) software algorithms are able to manipulate digital images, or videos, in order to adopt the appearance or visual style of another image. NST algorithms are characterized by their use of deep neural networks for the sake of image transformation. Common uses for NST are the creation of artificial artwork from photographs, for example by transferring the appearance of famous paintings to user-supplied photographs. Several notable mobile apps use NST techniques for this purpose, including DeepArt and Prisma. This method has been used by artists and designers around the globe to develop new artwork based on existent style(s). == History == NST is an example of image stylization, a problem studied for over two decades within the field of non-photorealistic rendering. The first two example-based style transfer algorithms were image analogies and image quilting. Both of these methods were based on patch-based texture synthesis algorithms. Given a training pair of images–a photo and an artwork depicting that photo–a transformation could be learned and then applied to create new artwork from a new photo, by analogy. If no training photo was available, it would need to be produced by processing the input artwork; image quilting did not require this processing step, though it was demonstrated on only one style. NST was first published in the paper "A Neural Algorithm of Artistic Style" by Leon Gatys et al., originally released to ArXiv 2015, and subsequently accepted by the peer-reviewed CVPR conference in 2016. The original paper used a VGG-19 architecture that has been pre-trained to perform object recognition using the ImageNet dataset. In 2017, Google AI introduced a method that allows a single deep convolutional style transfer network to learn multiple styles at the same time. This algorithm permits style interpolation in real-time, even when done on video media. == Mathematics == This section closely follows the original paper. === Overview === The idea of Neural Style Transfer (NST) is to take two images—a content image p → {\displaystyle {\vec {p}}} and a style image a → {\displaystyle {\vec {a}}} —and generate a third image x → {\displaystyle {\vec {x}}} that minimizes a weighted combination of two loss functions: a content loss L content ( p → , x → ) {\displaystyle {\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}})} and a style loss L style ( a → , x → ) {\displaystyle {\mathcal {L}}_{\text{style }}({\vec {a}},{\vec {x}})} . The total loss is a linear sum of the two: L NST ( p → , a → , x → ) = α L content ( p → , x → ) + β L style ( a → , x → ) {\displaystyle {\mathcal {L}}_{\text{NST}}({\vec {p}},{\vec {a}},{\vec {x}})=\alpha {\mathcal {L}}_{\text{content}}({\vec {p}},{\vec {x}})+\beta {\mathcal {L}}_{\text{style}}({\vec {a}},{\vec {x}})} By jointly minimizing the content and style losses, NST generates an image that blends the content of the content image with the style of the style image. Both the content loss and the style loss measures the similarity of two images. The content similarity is the weighted sum of squared-differences between the neural activations of a single convolutional neural network (CNN) on two images. The style similarity is the weighted sum of Gram matrices within each layer (see below for details). The original paper used a VGG-19 CNN, but the method works for any CNN. === Symbols === Let x → {\textstyle {\vec {x}}} be an image input to a CNN. Let F l ∈ R N l × M l {\textstyle F^{l}\in \mathbb {R} ^{N_{l}\times M_{l}}} be the matrix of filter responses in layer l {\textstyle l} to the image x → {\textstyle {\vec {x}}} , where: N l {\textstyle N_{l}} is the number of filters in layer l {\textstyle l} ; M l {\textstyle M_{l}} is the height times the width (i.e. number of pixels) of each filter in layer l {\textstyle l} ; F i j l ( x → ) {\textstyle F_{ij}^{l}({\vec {x}})} is the activation of the i th {\textstyle i^{\text{th}}} filter at position j {\textstyle j} in layer l {\textstyle l} . A given input image x → {\textstyle {\vec {x}}} is encoded in each layer of the CNN by the filter responses to that image, with higher layers encoding more global features, but losing details on local features. === Content loss === Let p → {\textstyle {\vec {p}}} be an original image. Let x → {\textstyle {\vec {x}}} be an image that is generated to match the content of p → {\textstyle {\vec {p}}} . Let P l {\textstyle P^{l}} be the matrix of filter responses in layer l {\textstyle l} to the image p → {\textstyle {\vec {p}}} . The content loss is defined as the squared-error loss between the feature representations of the generated image and the content image at a chosen layer l {\displaystyle l} of a CNN: L content ( p → , x → , l ) = 1 2 ∑ i , j ( A i j l ( x → ) − A i j l ( p → ) ) 2 {\displaystyle {\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}},l)={\frac {1}{2}}\sum _{i,j}\left(A_{ij}^{l}({\vec {x}})-A_{ij}^{l}({\vec {p}})\right)^{2}} where A i j l ( x → ) {\displaystyle A_{ij}^{l}({\vec {x}})} and A i j l ( p → ) {\displaystyle A_{ij}^{l}({\vec {p}})} are the activations of the i th {\displaystyle i^{\text{th}}} filter at position j {\displaystyle j} in layer l {\displaystyle l} for the generated and content images, respectively. Minimizing this loss encourages the generated image to have similar content to the content image, as captured by the feature activations in the chosen layer. The total content loss is a linear sum of the content losses of each layer: L content ( p → , x → ) = ∑ l v l L content ( p → , x → , l ) {\displaystyle {\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}})=\sum _{l}v_{l}{\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}},l)} , where the v l {\displaystyle v_{l}} are positive real numbers chosen as hyperparameters. === Style loss === The style loss is based on the Gram matrices of the generated and style images, which capture the correlations between different filter responses at different layers of the CNN: L style ( a → , x → ) = ∑ l = 0 L w l E l , {\displaystyle {\mathcal {L}}_{\text{style }}({\vec {a}},{\vec {x}})=\sum _{l=0}^{L}w_{l}E_{l},} where E l = 1 4 N l 2 M l 2 ∑ i , j ( G i j l ( x → ) − G i j l ( a → ) ) 2 . {\displaystyle E_{l}={\frac {1}{4N_{l}^{2}M_{l}^{2}}}\sum _{i,j}\left(G_{ij}^{l}({\vec {x}})-G_{ij}^{l}({\vec {a}})\right)^{2}.} Here, G i j l ( x → ) {\displaystyle G_{ij}^{l}({\vec {x}})} and G i j l ( a → ) {\displaystyle G_{ij}^{l}({\vec {a}})} are the entries of the Gram matrices for the generated and style images at layer l {\displaystyle l} . Explicitly, G i j l ( x → ) = ∑ k F i k l ( x → ) F j k l ( x → ) {\displaystyle G_{ij}^{l}({\vec {x}})=\sum _{k}F_{ik}^{l}({\vec {x}})F_{jk}^{l}({\vec {x}})} Minimizing this loss encourages the generated image to have similar style characteristics to the style image, as captured by the correlations between feature responses in each layer. The idea is that activation pattern correlations between filters in a single layer captures the "style" on the order of the receptive fields at that layer. Similarly to the previous case, the w l {\displaystyle w_{l}} are positive real numbers chosen as hyperparameters. === Hyperparameters === In the original paper, they used a particular choice of hyperparameters. The style loss is computed by w l = 0.2 {\displaystyle w_{l}=0.2} for the outputs of layers conv1_1, conv2_1, conv3_1, conv4_1, conv5_1 in the VGG-19 network, and zero otherwise. The content loss is computed by w l = 1 {\displaystyle w_{l}=1} for conv4_2, and zero otherwise. The ratio α / β ∈ [ 5 , 50 ] × 10 − 4 {\displaystyle \alpha /\beta \in [5,50]\times 10^{-4}} . === Training === Image x → {\displaystyle {\vec {x}}} is initially approximated by adding a small amount of white noise to input image p → {\displaystyle {\vec {p}}} and feeding it through the CNN. Then we successively backpropagate this loss through the network with the CNN weights fixed in order to update the pixels of x → {\displaystyle {\vec {x}}} . After several thousand epochs of training, an x → {\displaystyle {\vec {x}}} (hopefully) emerges that matches the style of a → {\displaystyle {\vec {a}}} and the content of p → {\displaystyle {\vec {p}}} . As of 2017, when implemented on a GPU, it takes a few minutes to converge. == Extensions == In some practical implementations, it is noted that the resulting image has too much high-frequency artifact, which can be suppressed by adding the total variation to the total loss. Compared to VGGNet, AlexNet does not work well for neural style transfer. NST has also been extended to videos. Subsequent work improved the speed of NST for images by using special-purpose normalizations. In a paper by Fei-Fei Li et al. adopted a different regularized loss metric and accelerated method for training to produce results in real-time (three orders of magnitude faster than Gatys). Their idea was to use not the pixel-based loss defined above but rather a 'perceptual loss' measuring t

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  Umbrella review

  In medical research, an umbrella review is a review of systematic reviews or meta-analyses. They may also be called overviews of reviews, reviews of reviews, summaries of systematic reviews, or syntheses of reviews. Umbrella reviews are among the highest levels of evidence currently available in medicine. By summarizing information from multiple overview articles, umbrella reviews make it easier to review the evidence and allow for comparison of results between each of the individual reviews. Umbrella reviews may address a broader question than a typical review, such as discussing multiple different treatment comparisons instead of only one. They are especially useful for developing guidelines and clinical practice, and when comparing competing interventions.

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  Algorithmic mechanism design

  Algorithmic mechanism design (AMD) lies at the intersection of economic game theory, optimization, and computer science. The prototypical problem in mechanism design is to design a system for multiple self-interested participants, such that the participants' self-interested actions at equilibrium lead to good system performance. Typical objectives studied include revenue maximization and social welfare maximization. Algorithmic mechanism design differs from classical economic mechanism design in several respects. It typically employs the analytic tools of theoretical computer science, such as worst case analysis and approximation ratios, in contrast to classical mechanism design in economics which often makes distributional assumptions about the agents. It also considers computational constraints to be of central importance: mechanisms that cannot be efficiently implemented in polynomial time are not considered to be viable solutions to a mechanism design problem. This often, for example, rules out the classic economic mechanism, the Vickrey–Clarke–Groves auction. == History == Noam Nisan and Amir Ronen first coined "Algorithmic mechanism design" in a research paper published in 1999.

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