AI Chatbot Jailbreak Prompt Reddit

AI Chatbot Jailbreak Prompt Reddit — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Mark V. Shaney

    Mark V. Shaney

    Mark V. Shaney is a synthetic Usenet user whose postings in the net.singles newsgroups were generated by Markov chain techniques, based on text from other postings. The username is a play on the words "Markov chain". Many readers were fooled into thinking that the quirky, sometimes uncannily topical posts were written by a real person. The system was designed by Rob Pike with coding by Bruce Ellis. Don P. Mitchell wrote the Markov chain code, initially demonstrating it to Pike and Ellis using the Tao Te Ching as a basis. They chose to apply it to the net.singles netnews group. The program is fairly simple. It ingests the sample text (the Tao Te Ching, or the posts of a Usenet group) and creates a massive list of every sequence of three successive words (triplet) which occurs in the text. It then chooses two words at random, and looks for a word which follows those two in one of the triplets in its massive list. If there is more than one, it picks at random (identical triplets count separately, so a sequence which occurs twice is twice as likely to be picked as one which only occurs once). It then adds that word to the generated text. Then, in the same way, it picks a triplet that starts with the second and third words in the generated text, and that gives a fourth word. It adds the fourth word, then repeats with the third and fourth words, and so on. This algorithm is called a third-order Markov chain (because it uses sequences of three words). == Examples == A classic example, from 1984, originally sent as a mail message, later posted to net.singles is reproduced here: >From mvs Fri Nov 16 17:11 EST 1984 remote from alice It looks like Reagan is going to say? Ummm... Oh yes, I was looking for. I'm so glad I remembered it. Yeah, what I have wondered if I had committed a crime. Don't eat with your assessment of Reagon and Mondale. Up your nose with a guy from a firm that specifically researches the teen-age market. As a friend of mine would say, "It really doesn't matter"... It looks like Reagan is holding back the arms of the American eating public have changed dramatically, and it got pretty boring after about 300 games. People, having a much larger number of varieties, and are very different from what one can find in Chinatowns across the country (things like pork buns, steamed dumplings, etc.) They can be cheap, being sold for around 30 to 75 cents apiece (depending on size), are generally not greasy, can be adequately explained by stupidity. Singles have felt insecure since we came down from the Conservative world at large. But Chuqui is the way it happened and the prices are VERY reasonable. Can anyone think of myself as a third sex. Yes, I am expected to have. People often get used to me knowing these things and then a cover is placed over all of them. Along the side of the $$ are spent by (or at least for ) the girls. You can't settle the issue. It seems I've forgotten what it is, but I don't. I know about violence against women, and I really doubt they will ever join together into a large number of jokes. It showed Adam, just after being created. He has a modem and an autodial routine. He calls my number 1440 times a day. So I will conclude by saying that I can well understand that she might soon have the time, it makes sense, again, to get the gist of my argument, I was in that (though it's a Republican administration). _-_-_-_-Mark Other quotations from Mark's Usenet posts are: "I spent an interesting evening recently with a grain of salt." (Alternatively reported as "While at a conference a few weeks back, I spent an interesting evening with a grain of salt.") "I hope that there are sour apples in every bushel." (see also sour grapes) == History == In The Usenet Handbook Mark Harrison writes that after September 1981, students joined Usenet en masse, "creating the USENET we know today: endless dumb questions, endless idiots posing as savants, and (of course) endless victims for practical jokes." In December, Rob Pike created the netnews group net.suicide as prank, "a forum for bad jokes". Some users thought it was a legitimate forum, some discussed "riding motorcycles without helmets". At first, most posters were "real people", but soon "characters" began posting. Pike created a "vicious" character named Bimmler. At its peak, net.suicide had ten frequent posters; nine were "known to be characters." But ultimately, Pike deleted the newsgroup because it was too much work to maintain; Bimmler messages were created "by hand". The "obvious alternative" was software, running on a Bell Labs computer created by Bruce Ellis, based on the Markov code by Don Mitchell, which became the online character Mark V. Shaney. Kernighan and Pike listed Mark V. Shaney in the acknowledgements in The Practice of Programming, noting its roots in Mitchell's markov, which, adapted as shaney, was used for "humorous deconstructionist activities" in the 1980s. Dewdney pointed out "perhaps Mark V. Shaney's magnum opus: a 20-page commentary on the deconstructionist philosophy of Jean Baudrillard" directed by Pike, with assistance from Henry S. Baird and Catherine Richards, to be distributed by email. The piece was based on Jean Baudrillard's "The Precession of Simulacra", published in Simulacra and Simulation (1981). == Reception == The program was discussed by A. K. Dewdney in the Scientific American "Computer Recreations" column in 1989, by Penn Jillette in his PC Computing column in 1991, and in several books, including the Usenet Handbook, Bots: the Origin of New Species, Hippo Eats Dwarf: A Field Guide to Hoaxes and Other B.S., and non-computer-related journals such as Texas Studies in Literature and Language. Dewdney wrote about the program's output, "The overall impression is not unlike what remains in the brain of an inattentive student after a late-night study session. Indeed, after reading the output of Mark V. Shaney, I find ordinary writing almost equally strange and incomprehensible!" He noted the reactions of newsgroup users, who have "shuddered at Mark V. Shaney's reflections, some with rage and others with laughter:" The opinions of the new net.singles correspondent drew mixed reviews. Serious users of the bulletin board's services sensed satire. Outraged, they urged that someone "pull the plug" on Mark V. Shaney's monstrous rantings. Others inquired almost admiringly whether the program was a secret artificial intelligence project that was being tested in a human conversational environment. A few may even have thought that Mark V. Shaney was a real person, a tortured schizophrenic desperately seeking a like-minded companion. Concluding, Dewdney wrote, "If the purpose of computer prose is to fool people into thinking that it was written by a sane person, Mark V. Shaney probably falls short." A 2012 article in Observer compared Mark V. Shaney's "strangely beautiful" postings to the Horse_ebooks account on Twitter and music reviews at Pitchfork, saying that "this mash-up of gibberish and human sentiment" is what "made Mark V. Shaney so endlessly fascinating".

    Read more →
  • Human–robot interaction

    Human–robot interaction

    Human–robot interaction (HRI) is the study of interactions between humans and robots. Human–robot interaction is a multidisciplinary field with contributions from human–computer interaction, artificial intelligence, robotics, natural language processing, design, psychology and philosophy. A subfield known as physical human–robot interaction (pHRI) has tended to focus on device design to enable people to safely interact with robotic systems. == Origins == Human–robot interaction has been a topic of both science fiction and academic speculation even before any robots existed. Because much of active HRI development depends on natural language processing, many aspects of HRI are continuations of human communications, a field of research which is much older than robotics. The origin of HRI as a discrete problem was stated by 20th-century author Isaac Asimov in 1941, in his novel I, Robot. Asimov coined Three Laws of Robotics, namely: A robot may not injure a human being or, through inaction, allow a human being to come to harm. A robot must obey the orders given it by human beings except where such orders would conflict with the First Law. A robot must protect its own existence as long as such protection does not conflict with the First or Second Laws. These three laws provide an overview of the goals engineers and researchers hold for safety in the HRI field, although the fields of robot ethics and machine ethics are more complex than these three principles. However, generally human–robot interaction prioritizes the safety of humans that interact with potentially dangerous robotics equipment. Solutions to this problem range from the philosophical approach of treating robots as ethical agents (individuals with moral agency), to the practical approach of creating safety zones. These safety zones use technologies such as lidar to detect human presence or physical barriers to protect humans by preventing any contact between machine and operator. Although initially robots in the human–robot interaction field required some human intervention to function, research has expanded this to the extent that fully autonomous systems are now far more common than in the early 2000s. Autonomous systems include from simultaneous localization and mapping systems which provide intelligent robot movement to natural-language processing and natural-language generation systems which allow for natural, human-esque interaction which meet well-defined psychological benchmarks. Anthropomorphic robots (machines which imitate human body structure) are better described by the biomimetics field, but overlap with HRI in many research applications. Examples of robots which demonstrate this trend include Willow Garage's PR2 robot, the NASA Robonaut, and Honda ASIMO. However, robots in the human–robot interaction field are not limited to human-like robots: Paro and Kismet are both robots designed to elicit emotional response from humans, and so fall into the category of human–robot interaction. Goals in HRI range from industrial manufacturing through Cobots, medical technology through rehabilitation, autism intervention, and elder care devices, entertainment, human augmentation, and human convenience. Future research therefore covers a wide range of fields, much of which focuses on assistive robotics, robot-assisted search-and-rescue, and space exploration. == The goal of friendly human–robot interactions == Robots are artificial agents with capacities of perception and action in the physical world often referred by researchers as workspace. Their use has been generalized in factories but nowadays they tend to be found in the most technologically advanced societies in such critical domains as search and rescue, military battle, mine and bomb detection, scientific exploration, law enforcement, entertainment and hospital care. These new domains of applications imply a closer interaction with the user, sharing the workspace but also goals in terms of task achievement. The subfield of physical human–robot interaction (pHRI) has largely focused on device design to enable people to safely interact with robotic systems but is increasingly developing algorithmic approaches in an attempt to support fluent and expressive interactions between humans and robotic systems. With the advance in AI, the research is focusing on one part towards the safest physical interaction but also on a socially correct interaction, dependent on cultural criteria. The goal is to build an intuitive, and easy communication with the robot through speech, gestures, and facial expressions. Kerstin Dautenhahn refers to friendly Human–robot interaction as "Robotiquette" defining it as the "social rules for robot behaviour (a 'robotiquette') that is comfortable and acceptable to humans" The robot has to adapt itself to our way of expressing desires and orders and not the contrary. But every day environments such as homes have much more complex social rules than those implied by factories or even military environments. Thus, the robot needs perceiving and understanding capacities to build dynamic models of its surroundings. It needs to categorize objects, recognize and locate humans and further recognize their emotions. The need for dynamic capacities pushes forward every sub-field of robotics. Furthermore, by understanding and perceiving social cues, robots can enable collaborative scenarios with humans. For example, with the rapid rise of personal fabrication machines such as desktop 3D printers, laser cutters, etc., entering our homes, scenarios may arise where robots can collaboratively share control, co-ordinate and achieve tasks together. Industrial robots have already been integrated into industrial assembly lines and are collaboratively working with humans. The social impact of such robots have been studied and has indicated that workers still treat robots and social entities, rely on social cues to understand and work together. On the other end of HRI research the cognitive modelling of the "relationship" between human and the robots benefits the psychologists and robotic researchers the user study are often of interests on both sides. This research endeavours part of human society. For effective human – humanoid robot interaction numerous communication skills and related features should be implemented in the design of such artificial agents/systems. == General HRI research == HRI research spans a wide range of fields, some general to the nature of HRI. === Methods for perceiving humans === Methods for perceiving humans in the environment are based on sensor information. Research on sensing components and software led by Microsoft provide useful results for extracting the human kinematics (see Kinect). An example of older technique is to use colour information for example the fact that for light skinned people the hands are lighter than the clothes worn. In any case a human modelled a priori can then be fitted to the sensor data. The robot builds or has (depending on the level of autonomy the robot has) a 3D mapping of its surroundings to which is assigned the humans locations. Most methods intend to build a 3D model through vision of the environment. The proprioception sensors permit the robot to have information over its own state. This information is relative to a reference. Theories of proxemics may be used to perceive and plan around a person's personal space. A speech recognition system is used to interpret human desires or commands. By combining the information inferred by proprioception, sensor and speech the human position and state (standing, seated). In this matter, natural-language processing is concerned with the interactions between computers and human (natural) languages, in particular how to program computers to process and analyze large amounts of natural-language data. For instance, neural-network architectures and learning algorithms that can be applied to various natural-language processing tasks including part-of-speech tagging, chunking, named-entity recognition, and semantic role labeling. === Methods for motion planning === Motion planning in dynamic environments is a challenge that can at the moment only be achieved for robots with 3 to 10 degrees of freedom. Humanoid robots or even 2 armed robots, which can have up to 40 degrees of freedom, are unsuited for dynamic environments with today's technology. However lower-dimensional robots can use the potential field method to compute trajectories which avoid collisions with humans. === Cognitive models and theory of mind === Humans exhibit negative social and emotional responses as well as decreased trust toward some robots that closely, but imperfectly, resemble humans; this phenomenon has been termed the "Uncanny Valley". However recent research in telepresence robots has established that mimicking human body postures and expressive gestures has made the robots likeable and engaging in a remote setting. Further, the presence o

    Read more →
  • RIPAC (microprocessor)

    RIPAC (microprocessor)

    RIPAC was a VLSI single-chip microprocessor designed for automatic recognition of the connected speech, one of the first of this use. The project of the microprocessor RIPAC started in 1984. RIPAC was aimed to provide efficient real-time speech recognition services to the italian telephone system provided by SIP. The microprocessor was presented in September 1986 at The Hague (Netherlands) at EUSPICO conference. It was composed of 70.000 transistors and structured as Harvard architecture. The name RIPAC is the acronym for "Riconoscimento del PArlato Connesso", that means "Recognition of the connected speech" in Italian. The microprocessor was designed by the Italian companies CSELT and ELSAG and was produced by SGS: a combination of Hidden Markov Model and Dynamic Time Warping algorithms was used for processing speech signals. It was able to do real-time speech recognition of Italian and many languages with a good affordability. The chip, issued by U.S. Patent No. 4,907,278, worked at first run.

    Read more →
  • Yap (company)

    Yap (company)

    Yap Speech Cloud was a multimodal speech recognition system developed by American technology company Yap Inc. It offered a fully cloud-based speech-to-text transcription platform that was used by customers such as Microsoft. The Company was a contestant at the inaugural TechCrunch conference and was subsequently acquired by Amazon in September 2011 to help develop products such as Alexa Voice Service, Echo, and Fire TV.

    Read more →
  • PlantUML

    PlantUML

    PlantUML is an open-source tool allowing users to create diagrams from a plain text language. Besides various UML diagrams, PlantUML has support for various other software development related formats (such as Archimate, Block diagram, BPMN, C4, Computer network diagram, ERD, Gantt chart, Mind map, and WBD), as well as visualisation of JSON and YAML files. The language of PlantUML is an example of a domain-specific language. Besides its own DSL, PlantUML also understands AsciiMath, Creole, DOT, and LaTeX. It uses Graphviz software to lay out its diagrams and Tikz for LaTeX support. Images can be output as PNG, SVG, LaTeX and even ASCII art. PlantUML has also been used to allow blind people to design and read UML diagrams. == Applications that use PlantUML == There are various extensions or add-ons that incorporate PlantUML. Atom has a community maintained PlantUML syntax highlighter and viewer. Confluence wiki has a PlantUML plug-in for Confluence Server, which renders diagrams on-the-fly during a page reload. There is an additional PlantUML plug-in for Confluence Cloud. Doxygen integrates diagrams for which sources are provided after the startuml command. Eclipse has a PlantUML plug-in. Google Docs has an add-on called PlantUML Gizmo that works with the PlantUML.com server. IntelliJ IDEA can create and display diagrams embedded into Markdown (built-in) or in standalone files (using a plugin). LaTeX using the Tikz package has limited support for PlantUML. LibreOffice has Libo_PlantUML extension to use PlantUML diagrams. MediaWiki has a PlantUML plug-in which renders diagrams in pages as SVG or PNG. Microsoft Word can use PlantUML diagrams via a Word Template Add-in. There is an additional Visual Studio Tools for Office add-in called PlantUML Gizmo that works in a similar fashion. NetBeans has a PlantUML plug-in. Notepad++ has a PlantUML plug-in. Obsidian has a PlantUML plug-in. Org-mode has a PlantUML org-babel support. Rider has a PlantUML plug-in. Sublime Text has a PlantUML package called PlantUmlDiagrams for Sublime Text 2 and 3. Visual Studio Code has various PlantUML extensions on its marketplace, most popular being PlantUML by jebbs. Vnote open source notetaking markdown application has built in PlantUML support. Xcode has a community maintained Source Editor Extension to generate and view PlantUML class diagrams from Swift source code. == Text format to communicate UML at source code level == PlantUML uses well-formed and human-readable code to render the diagrams. There are other text formats for UML modelling, but PlantUML supports many diagram types, and does not need an explicit layout, though it is possible to tweak the diagrams if necessary. +--------------------------------------+ | TEDx Talks Recommendation | | System | +--------------------------------------+ | +----------------------------------+ | | | Visitor | | | +----------------------------------+ | | | + View Recommended Talks | | | | + Search Talks | | | +----------------------------------+ | +--------------------------------------+ | | V +--------------------------------------+ | Authenticated User | +--------------------------------------+ | +----------------------------------+ | | | User | | | +----------------------------------+ | | | + View Recommended Talks | | | | + Search Talks | | | | + Save Favorite Talks | | | +----------------------------------+ | +--------------------------------------+ | | V +--------------------------------------+ | Admin | +--------------------------------------+ | +----------------------------------+ | | | Admin | | | +----------------------------------+ | | | + CRUD Talks | | | | + Manage Users | | | +----------------------------------+ | +--------------------------------------+

    Read more →
  • DAVI

    DAVI

    The Dutch Automated Vehicle Initiative (DAVI) is a research and demonstration initiative developing automated vehicles for use on public roads. The project is unique in that, besides simply making driverless cars, it also focuses on having automated vehicles share information among each other. The aim is to have the cars help to avoid traffic congestion by reducing the safety distance between the cars (from 2 seconds to 0.5 seconds) and avoiding sudden traffic slow-downs due to maneuvers undertaken by drivers.

    Read more →
  • Kai's Power Tools

    Kai's Power Tools

    Kai's Power Tools (KPT) are a set of API plugins created by the German computer scientist Kai Krause in 1992 that were designed for use with Adobe Photoshop and Corel Photo-Paint. Kai's Power Tools were sold to Corel in 2000 when MetaCreations was closed. There are various versions of Kai's Power Tools. KPT 3, 5, 6, and X sets are compilations of different filters. The program interface features a reward-based function in which a bonus function is revealed as the user moves towards more complex aspects of the tool. == Filters == The KPT Convolver is a mathematics based filter; the level of precision and varying effects can be achieved by using numerical values of colour, tint, hue, saturation, contrast, brightness, luminosity, and posterize. The KPT Projector takes the current image or selection and offers a number of interactive perspective warp effects. To a large extent, with its draggable distortion handles and its moving, scaling and rotating options, this simply duplicates Adobe Photoshop's Free Transform capabilities. What is completely different is the ability to rotate the bitmap image in 3D space and to tile the results if desired. It can also animate the distortions by dragging keyframes from the preview window into an animation palette. KPT 6 will then preview the animation and output it to various sizes in avi or mov format. This animation capability is even more useful with the KPT Turbulence filter. This is another distortion filter, but one that treats the image as if it was completely liquid. The preview panel shows the animation in real time. The KPT Goo filter is used to produce a single frame freeform liquid distortion. This filter is available both with KPT 6 and the standalone version. It works by effectively turning a bitmap image into a liquid that can be interactively smeared, smudged, twirled, and pinched with the range of tools on offer. The obvious use is to distort photographic portraits into caricatures. KPT Materializer can create advanced surface textures based on bump maps that define troughs and peaks. It can use any external image for the basis of the bump map or alternatively the user can pick out the hue, saturation, luminance or red, green, or blue channel of the current image. It can then offset, scale and rotate the texture map, control its lighting, and even blend in a reflection map. The filter can be used for anything from providing an oil-painting feel to an entire image, to giving the illusion of depth to a selection. Also producing the impression of depth is the KPT Gel filter which uses various paint tools to synthesize photo-realistic 3D materials such as metals, liquids, or plastics. Gel painting is very different from traditional 2D painting as the brush strokes pool together when they touch and refract the underlying image. It can also manipulate 3D paint—once it has been added—by twirling, pinching, and carving it. The opposite is true of the Equalizer filter, which is used for applying variations on sharpening effects. The filter has three modes. The first mode, Equalizer, looks and works rather like the graphic equalizer on a stereo system, enabling adjustment of the level of pixel contrast within nine bands of different visual frequencies. The second mode, Contrast Sharpen, allows for increasing the contrast between light and dark areas in an image. The third mode, Bounded Sharpen, can sharpen an image without causing oversharpening, which can lead to halo effects. This feature is particularly useful when pulling out the detail in an image softened by resizing. KPT SceneBuilder is used for producing photorealistic 3D scenes by importing and rendering 3DS files. The main image window offers three tabs for editing in 2D and 3D mode and for setting up the object's final texture. Many users regard this filter as being the most impressive because it acts as a standalone 3D rendering tool and provides control over everything from transparency, reflection, refraction, bump mapping through to multiple light sources, and so on but without the ability to create or edit objects. The final filter, KPT SkyEffects, also has its roots in Metacreations' experience with 3D programs such as Bryce and RayDream. This filter is designed to simulate the interaction between the light from the sun or moon with no less than six atmospheric layers of haze, fog and cloud. The filter is typical of the KPT 6 collection as a whole: at times the interface is inspired and offers the ability to create beautiful reddening sunsets simply by interactively dragging the sun toward the horizon, producing realistic sunsets and moonscapes. == Other effects == Kai's Power Tools 6 features a lens flare effect for precisely managing the type of glow, halo, streaks, and reflection. The addition of a library of preset effects helps to overcome this by allowing the user to choose a standard effect and then interactively position the flare in the image preview. KPT 6 provides a new engine in the form of the KPT Reaction, which takes a reaction seed and turns it into a seamlessly tiling pattern based on a reaction diffusion process. It offers random noise, regular dots or reticulated voronoi patterns or a bitmap image itself as the seed. Corel has no plans for any updates.

    Read more →
  • Shape factor (image analysis and microscopy)

    Shape factor (image analysis and microscopy)

    Shape factors are dimensionless quantities used in image analysis and microscopy that numerically describe the shape of a particle, independent of its size. Shape factors are calculated from measured dimensions, such as diameter, chord lengths, area, perimeter, centroid, moments, etc. The dimensions of the particles are usually measured from two-dimensional cross-sections or projections, as in a microscope field, but shape factors also apply to three-dimensional objects. The particles could be the grains in a metallurgical or ceramic microstructure, or the microorganisms in a culture, for example. The dimensionless quantities often represent the degree of deviation from an ideal shape, such as a circle, sphere or equilateral polyhedron. Shape factors are often normalized, that is, the value ranges from zero to one. A shape factor equal to one usually represents an ideal case or maximum symmetry, such as a circle, sphere, square or cube. == Aspect ratio == The most common shape factor is the aspect ratio, a function of the largest diameter and the smallest diameter orthogonal to it: A R = d min d max {\displaystyle A_{R}={\frac {d_{\min }}{d_{\max }}}} The normalized aspect ratio varies from approaching zero for a very elongated particle, such as a grain in a cold-worked metal, to near unity for an equiaxed grain. The reciprocal of the right side of the above equation is also used, such that the AR varies from one to approaching infinity. == Circularity == Another very common shape factor is the circularity (or isoperimetric quotient), a function of the perimeter P and the area A: f circ = 4 π A P 2 {\displaystyle f_{\text{circ}}={\frac {4\pi A}{P^{2}}}} The circularity of a circle is 1, and much less than one for a starfish footprint. The reciprocal of the circularity equation is also used, such that fcirc varies from one for a circle to infinity. == Elongation shape factor == The less-common elongation shape factor is defined as the square root of the ratio of the two second moments in of the particle around its principal axes. f elong = i 2 i 1 {\displaystyle f_{\text{elong}}={\sqrt {\frac {i_{2}}{i_{1}}}}} == Compactness shape factor == The compactness shape factor is a function of the polar second moment in of a particle and a circle of equal area A. f comp = A 2 2 π i 1 2 + i 2 2 {\displaystyle f_{\text{comp}}={\frac {A^{2}}{2\pi {\sqrt {{i_{1}}^{2}+{i_{2}}^{2}}}}}} The fcomp of a circle is one, and much less than one for the cross-section of an I-beam. == Waviness shape factor == The waviness shape factor of the perimeter is a function of the convex portion Pcvx of the perimeter to the total. f wav = P cvx P {\displaystyle f_{\text{wav}}={\frac {P_{\text{cvx}}}{P}}} Some properties of metals and ceramics, such as fracture toughness, have been linked to grain shapes. == An application of shape factors == Greenland, the largest island in the world, has an area of 2,166,086 km2; a coastline (perimeter) of 39,330 km; a north–south length of 2670 km; and an east–west length of 1290 km. The aspect ratio of Greenland is A R = 1290 2670 = 0.483 {\displaystyle A_{R}={\frac {1290}{2670}}=0.483} The circularity of Greenland is f circ = 4 π ( 2166086 ) 39330 2 = 0.0176. {\displaystyle f_{\text{circ}}={\frac {4\pi (2166086)}{39330^{2}}}=0.0176.} The aspect ratio is agreeable with an eyeball-estimate on a globe. Such an estimate on a typical flat map, using the Mercator projection, would be less accurate due to the distorted scale at high latitudes. The circularity is deceptively low, due to the fjords that give Greenland a very jagged coastline (see the coastline paradox). A low value of circularity does not necessarily indicate a lack of symmetry, and shape factors are not limited to microscopic objects.

    Read more →
  • Feature hashing

    Feature hashing

    In machine learning, feature hashing, also known as the hashing trick (by analogy to the kernel trick), is a fast and space-efficient way of vectorizing features, i.e. turning arbitrary features into indices in a vector or matrix. It works by applying a hash function to the features and using their hash values as indices directly (after a modulo operation), rather than looking the indices up in an associative array. In addition to its use for encoding non-numeric values, feature hashing can also be used for dimensionality reduction. This trick is often attributed to Weinberger et al. (2009), but there exists a much earlier description of this method published by John Moody in 1989. == Motivation == === Motivating example === In a typical document classification task, the input to the machine learning algorithm (both during learning and classification) is free text. From this, a bag of words (BOW) representation is constructed: the individual tokens are extracted and counted, and each distinct token in the training set defines a feature (independent variable) of each of the documents in both the training and test sets. Machine learning algorithms, however, are typically defined in terms of numerical vectors. Therefore, the bags of words for a set of documents is regarded as a term-document matrix where each row is a single document, and each column is a single feature/word; the entry i, j in such a matrix captures the frequency (or weight) of the j'th term of the vocabulary in document i. (An alternative convention swaps the rows and columns of the matrix, but this difference is immaterial.) Typically, these vectors are extremely sparse—according to Zipf's law. The common approach is to construct, at learning time or prior to that, a dictionary representation of the vocabulary of the training set, and use that to map words to indices. Hash tables and tries are common candidates for dictionary implementation. E.g., the three documents John likes to watch movies. Mary likes movies too. John also likes football. can be converted, using the dictionary to the term-document matrix ( John likes to watch movies Mary too also football 1 1 1 1 1 0 0 0 0 0 1 0 0 1 1 1 0 0 1 1 0 0 0 0 0 1 1 ) {\displaystyle {\begin{pmatrix}{\textrm {John}}&{\textrm {likes}}&{\textrm {to}}&{\textrm {watch}}&{\textrm {movies}}&{\textrm {Mary}}&{\textrm {too}}&{\textrm {also}}&{\textrm {football}}\\1&1&1&1&1&0&0&0&0\\0&1&0&0&1&1&1&0&0\\1&1&0&0&0&0&0&1&1\end{pmatrix}}} (Punctuation was removed, as is usual in document classification and clustering.) The problem with this process is that such dictionaries take up a large amount of storage space and grow in size as the training set grows. On the contrary, if the vocabulary is kept fixed and not increased with a growing training set, an adversary may try to invent new words or misspellings that are not in the stored vocabulary so as to circumvent a machine learned filter. To address this challenge, Yahoo! Research attempted to use feature hashing for their spam filters. Note that the hashing trick isn't limited to text classification and similar tasks at the document level, but can be applied to any problem that involves large (perhaps unbounded) numbers of features. === Mathematical motivation === Mathematically, a token is an element t {\displaystyle t} in a finite (or countably infinite) set T {\displaystyle T} . Suppose we only need to process a finite corpus, then we can put all tokens appearing in the corpus into T {\displaystyle T} , meaning that T {\displaystyle T} is finite. However, suppose we want to process all possible words made of the English letters, then T {\displaystyle T} is countably infinite. Most neural networks can only operate on real vector inputs, so we must construct a "dictionary" function ϕ : T → R n {\displaystyle \phi :T\to \mathbb {R} ^{n}} . When T {\displaystyle T} is finite, of size | T | = m ≤ n {\displaystyle |T|=m\leq n} , then we can use one-hot encoding to map it into R n {\displaystyle \mathbb {R} ^{n}} . First, arbitrarily enumerate T = { t 1 , t 2 , . . , t m } {\displaystyle T=\{t_{1},t_{2},..,t_{m}\}} , then define ϕ ( t i ) = e i {\displaystyle \phi (t_{i})=e_{i}} . In other words, we assign a unique index i {\displaystyle i} to each token, then map the token with index i {\displaystyle i} to the unit basis vector e i {\displaystyle e_{i}} . One-hot encoding is easy to interpret, but it requires one to maintain the arbitrary enumeration of T {\displaystyle T} . Given a token t ∈ T {\displaystyle t\in T} , to compute ϕ ( t ) {\displaystyle \phi (t)} , we must find out the index i {\displaystyle i} of the token t {\displaystyle t} . Thus, to implement ϕ {\displaystyle \phi } efficiently, we need a fast-to-compute bijection h : T → { 1 , . . . , m } {\displaystyle h:T\to \{1,...,m\}} , then we have ϕ ( t ) = e h ( t ) {\displaystyle \phi (t)=e_{h(t)}} . In fact, we can relax the requirement slightly: It suffices to have a fast-to-compute injection h : T → { 1 , . . . , n } {\displaystyle h:T\to \{1,...,n\}} , then use ϕ ( t ) = e h ( t ) {\displaystyle \phi (t)=e_{h(t)}} . In practice, there is no simple way to construct an efficient injection h : T → { 1 , . . . , n } {\displaystyle h:T\to \{1,...,n\}} . However, we do not need a strict injection, but only an approximate injection. That is, when t ≠ t ′ {\displaystyle t\neq t'} , we should probably have h ( t ) ≠ h ( t ′ ) {\displaystyle h(t)\neq h(t')} , so that probably ϕ ( t ) ≠ ϕ ( t ′ ) {\displaystyle \phi (t)\neq \phi (t')} . At this point, we have just specified that h {\displaystyle h} should be a hashing function. Thus we reach the idea of feature hashing. == Algorithms == === Feature hashing (Weinberger et al. 2009) === The basic feature hashing algorithm presented in (Weinberger et al. 2009) is defined as follows. First, one specifies two hash functions: the kernel hash h : T → { 1 , 2 , . . . , n } {\displaystyle h:T\to \{1,2,...,n\}} , and the sign hash ζ : T → { − 1 , + 1 } {\displaystyle \zeta :T\to \{-1,+1\}} . Next, one defines the feature hashing function: ϕ : T → R n , ϕ ( t ) = ζ ( t ) e h ( t ) {\displaystyle \phi :T\to \mathbb {R} ^{n},\quad \phi (t)=\zeta (t)e_{h(t)}} Finally, extend this feature hashing function to strings of tokens by ϕ : T ∗ → R n , ϕ ( t 1 , . . . , t k ) = ∑ j = 1 k ϕ ( t j ) {\displaystyle \phi :T^{}\to \mathbb {R} ^{n},\quad \phi (t_{1},...,t_{k})=\sum _{j=1}^{k}\phi (t_{j})} where T ∗ {\displaystyle T^{}} is the set of all finite strings consisting of tokens in T {\displaystyle T} . Equivalently, ϕ ( t 1 , . . . , t k ) = ∑ j = 1 k ζ ( t j ) e h ( t j ) = ∑ i = 1 n ( ∑ j : h ( t j ) = i ζ ( t j ) ) e i {\displaystyle \phi (t_{1},...,t_{k})=\sum _{j=1}^{k}\zeta (t_{j})e_{h(t_{j})}=\sum _{i=1}^{n}\left(\sum _{j:h(t_{j})=i}\zeta (t_{j})\right)e_{i}} ==== Geometric properties ==== We want to say something about the geometric property of ϕ {\displaystyle \phi } , but T {\displaystyle T} , by itself, is just a set of tokens, we cannot impose a geometric structure on it except the discrete topology, which is generated by the discrete metric. To make it nicer, we lift it to T → R T {\displaystyle T\to \mathbb {R} ^{T}} , and lift ϕ {\displaystyle \phi } from ϕ : T → R n {\displaystyle \phi :T\to \mathbb {R} ^{n}} to ϕ : R T → R n {\displaystyle \phi :\mathbb {R} ^{T}\to \mathbb {R} ^{n}} by linear extension: ϕ ( ( x t ) t ∈ T ) = ∑ t ∈ T x t ζ ( t ) e h ( t ) = ∑ i = 1 n ( ∑ t : h ( t ) = i x t ζ ( t ) ) e i {\displaystyle \phi ((x_{t})_{t\in T})=\sum _{t\in T}x_{t}\zeta (t)e_{h(t)}=\sum _{i=1}^{n}\left(\sum _{t:h(t)=i}x_{t}\zeta (t)\right)e_{i}} There is an infinite sum there, which must be handled at once. There are essentially only two ways to handle infinities. One may impose a metric, then take its completion, to allow well-behaved infinite sums, or one may demand that nothing is actually infinite, only potentially so. Here, we go for the potential-infinity way, by restricting R T {\displaystyle \mathbb {R} ^{T}} to contain only vectors with finite support: ∀ ( x t ) t ∈ T ∈ R T {\displaystyle \forall (x_{t})_{t\in T}\in \mathbb {R} ^{T}} , only finitely many entries of ( x t ) t ∈ T {\displaystyle (x_{t})_{t\in T}} are nonzero. Define an inner product on R T {\displaystyle \mathbb {R} ^{T}} in the obvious way: ⟨ e t , e t ′ ⟩ = { 1 , if t = t ′ , 0 , else. ⟨ x , x ′ ⟩ = ∑ t , t ′ ∈ T x t x t ′ ⟨ e t , e t ′ ⟩ {\displaystyle \langle e_{t},e_{t'}\rangle ={\begin{cases}1,{\text{ if }}t=t',\\0,{\text{ else.}}\end{cases}}\quad \langle x,x'\rangle =\sum _{t,t'\in T}x_{t}x_{t'}\langle e_{t},e_{t'}\rangle } As a side note, if T {\displaystyle T} is infinite, then the inner product space R T {\displaystyle \mathbb {R} ^{T}} is not complete. Taking its completion would get us to a Hilbert space, which allows well-behaved infinite sums. Now we have an inner product space, with enough structure to describe the geometry of the feature hashing function ϕ : R T → R n {\displaystyle \phi :\ma

    Read more →
  • Automate This

    Automate This

    Automate This: How Algorithms Came to Rule Our World is a book written by Christopher Steiner and published by Penguin Group. == Book == Steiner begins his study of algorithms on Wall Street in the 1980s but also provides examples from other industries. For example, he explains the history of Pandora Radio and the use of algorithms in music identification. He expresses concern that such use of algorithms may lead to the homogenization of music over time. Steiner also discusses the algorithms that eLoyalty (now owned by Mattersight Corporation following divestiture of the technology) was created by dissecting 2 million speech patterns and can now identify a caller's personality style and direct the caller with a compatible customer support representative. Steiner's book shares both the warning and the opportunity that algorithms bring to just about every industry in the world, and the pros and cons of the societal impact of automation (e.g. impact on employment).

    Read more →
  • Oculus Medium

    Oculus Medium

    Oculus Medium is a digital sculpting software that works with virtual reality headsets and 6DoF motion controllers. It is used to create and paint digital sculptures. Medium works only on Oculus Rift. It was released on December 5, 2016, following with a major update in 2018 introducing new features and a revamped UI. On December 9, 2019, Oculus Medium was acquired by Adobe and re-named to "Medium by Adobe".

    Read more →
  • Office automation

    Office automation

    Office automation refers to the varied computer machinery and software used to digitally create, collect, store, manipulate, and relay office information needed for accomplishing basic tasks. Raw data storage, electronic transfer, and the management of electronic business information comprise the basic activities of an office automation system. Office automation helps in optimizing or automating existing office procedures. The backbone of office automation is a local area network, which allows users to transfer data, mail and voice across the network. All office functions, including dictation, typing, filing, copying, fax, telex, microfilm and records management, telephone and telephone switchboard operations, fall into this category. Office automation was a popular term in the 1970s and 1980s as the desktop computer exploded onto the scene. Advantages of office automation include that it can get many tasks accomplished faster, it eliminates the need for a large staff, less storage is required to store data, and multiple people can update data simultaneously in the event of changes in schedule. == Outline == Businesses can easily purchase and stock their wares with the aid of technology. Many of the manual tasks that used to be done by hand can now be done through hand held devices and UPC and SKU coding. In the retail setting, automation also increases choice. Customers can easily process their payments through automated credit card machines and no longer have to wait in line for an employee to process and manually type in the credit card numbers. Office payrolls have been automated, which means no one has to manually cut checks, and those checks that are cut can be printed through computer programs. Direct deposit can be automatically set up and this further reduces the manual process, and most employees who participate in direct deposit often find their paychecks come earlier than if they'd have to wait for their checks to be written and then cleared by the bank. Other ways automation has reduced employee manpower on tasks is automated voice direction. Through the use of prompts, automated phone menus and directed calls, the need for employees to be dedicated to answer the phones has been reduced, and in some cases, eliminated.

    Read more →
  • Digital sculpting

    Digital sculpting

    Digital sculpting, also known as sculpt modeling or 3D sculpting, is the use of software that offers tools to push, pull, smooth, grab, pinch or otherwise manipulate a digital object as if it were made of a real-life substance such as clay. == Sculpting technology == The geometry used in digital sculpting programs to represent the model can vary; each offers different benefits and limitations. The majority of digital sculpting tools on the market use mesh-based geometry, in which an object is represented by an interconnected surface mesh of polygons that can be pushed and pulled around. This is somewhat similar to the physical process of beating copper plates to sculpt a scene in relief. Other digital sculpting tools use voxel-based geometry, in which the volume of the object is the basic element. Material can be added and removed, much like sculpting in clay. Still other tools make use of more than one basic geometry representation. A benefit of mesh-based programs is that they support sculpting at multiple resolutions on a single model. Areas of the model that are finely detailed can have very small polygons while other areas can have larger polygons. In many mesh-based programs, the mesh can be edited at different levels of detail, and the changes at one level will propagate to higher and lower levels of model detail. A limitation of mesh-based sculpting is the fixed topology of the mesh; the specific arrangement of the polygons can limit the ways in which detail can be added or manipulated. A benefit of voxel-based sculpting is that voxels allow complete freedom over form. The topology of a model can be altered continually during the sculpting process as material is added and subtracted, which frees the sculptor from considering the layout of polygons on the model's surface. After sculpting, it may be necessary to retopologize the model to obtain a clean mesh for use in animation or real-time rendering. Voxels, however, are more limited in handling multiple levels of detail. Unlike mesh-based modeling, broad changes made to voxels at a low level of detail may completely destroy finer details. == Uses == Sculpting can often introduce details to meshes that would otherwise have been difficult or impossible to create using traditional 3D modeling techniques. This makes it preferable for achieving photorealistic and hyperrealistic results, though, many stylized results are achieved as well. Sculpting is primarily used in high poly organic modeling (the creation of 3D models which consist mainly of curves or irregular surfaces, as opposed to hard surface modeling). It is also used by auto manufacturers in their design of new cars. It can create the source meshes for low poly game models used in video games. In conjunction with other 3D modeling and texturing techniques and Displacement and Normal mapping, it can greatly enhance the appearance of game meshes often to the point of photorealism. Some sculpting programs like 3D-Coat, Zbrush, and Mudbox offer ways to integrate their workflows with traditional 3D modeling and rendering programs. Conversely, 3D modeling applications like 3ds Max, Maya and MODO are now incorporating sculpting capability as well, though these are usually less advanced than tools found in sculpting-specific applications. High poly sculpts are also extensively used in CG artwork for movies, industrial design, art, photorealistic illustrations, and for prototyping in 3D printing. == 3D print == Sculptors and digital artists use digital sculpting to create a model (or Digital Twin) to be materialized through CNC technologies including 3D printing. The final sculptures are often called Digital Sculpture or 3D printed art. While digital technologies have emerged in many art disciplines (painting, photography), this is less the case for digital sculpture due to the higher complexity and technology limitations to produce the final sculpture. == Sculpting Process == The best way to learn sculpture is by understanding primary, secondary and tertiary forms. First, break down the object you want to make down its basic shapes, such as a sphere or cube. Focus on making the large, overall shape of the object. After that, work on the bigger shapes on top of or inside the object. These can be protrusions or cut outs. Then, do a final detail pass, such as pores or lines to break up the shape. == Sculpting programs == There are a number of digital sculpting tools available. Some popular tools for creating are: Traditional 3D modeling suites are also beginning to include sculpting capability. 3D modeling programs which currently feature some form of sculpting include the following:

    Read more →
  • Audio-visual speech recognition

    Audio-visual speech recognition

    Audio visual speech recognition (AVSR) is a technique that uses image processing capabilities in lip reading to aid speech recognition systems in recognizing indeterministic phones or giving preponderance among near probability decisions. Each system of lip reading and speech recognition works separately, then their results are mixed at the stage of feature fusion. As the name suggests, it has two parts. First one is the audio part and second one is the visual part. In audio part we use features like log mel spectrogram, mfcc etc. from the raw audio samples and we build a model to get feature vector out of it . For visual part generally we use some variant of convolutional neural network to compress the image to a feature vector after that we concatenate these two vectors (audio and visual ) and try to predict the target object.

    Read more →
  • Vegas Pro

    Vegas Pro

    Vegas Pro (formerly known as Sony Vegas) is a professional video editing software package for non-linear editing (NLE), designed to run on the Microsoft Windows operating system. The first release of Vegas Beta was on June 11, 1999. Vegas was originally developed as a non-linear audio editing application. Version 2.0 would split the program into audio and video editing variants, with the former being dropped by version 4.0, making the video offering the only variant available to consumers. Vegas Pro features real-time multi-track video and audio editing on unlimited tracks, resolution-independent video sequencing, complex effects, compositing tools, 24-bit/192 kHz audio support, VST and DirectX plug-in effect support, and Dolby Digital surround sound mixing. The software was originally published by Sonic Foundry until May 2003, when Sony purchased Sonic Foundry and formed Sony Creative Software. On May 24, 2016, Sony announced that Vegas was sold to MAGIX, which formed VEGAS Creative Software, to continue support and development of the software. As of the end of March 2026, it was publicly announced that Boris FX had taken ownership of Vegas Pro. Each release of Vegas is sold standalone; however, upgrade discounts are sometimes provided. == Features == Vegas does not require any specialized hardware to run properly, allowing it to operate on any Windows computer that meets the system requirements. == History == Vegas 1.0 was released after a brief public beta by Sonic Foundry on July 23, 1999 at the NAMM Show in Nashville, Tennessee as an audio-only tool with a particular focus on re-scaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Martin Walker from Sound on Sound described working in Vegas 1.0 as a "very pleasurable experience, especially since so many functions are highly intuitive" though also criticizing some features as hard to figure out due to the lack of a central help file. Later, on June 12, 2000, Vegas Video and Audio 2.0 (also referred to as just Vegas 2.0) was released, with its beta releasing earlier that year on April 10. This was the first version of Vegas to include video-editing tools and was also the first to have a low-cost "LE" version alongside the regular release. The LE releases would continue through version 3.0 of Vegas but would be discontinued by the release of Vegas 4.0. Vegas 3.0 was released the next year on December 3, and added new video effects, features for ease-of-use with DV, and support for editing Windows Media files. Vegas 4.0 was released on 6 February 2003 and added application scripting, advanced color correction, 5.1 surround sound mixing, and Steinberg ASIO support. This was the last release under the Sonic Foundry name after it sold much of its software suite, including Sound Forge and Acid Pro, to Sony Pictures Digital for $18 million later in 2003. Under Sony's ownership, Vegas 5.0 was released on April 19, 2004, bringing 3D track motion, compositing, reversing, envelope automation, etc. 7.0 also added an improved video preview, enhanced layout management, improved snapping, and more customization. With the release of 8.0, Sony opted to go back to the original "Vegas Pro" branding that the first version released with. It added the ability to burn Blu-ray and DVD optical media, support for 32-bit floating point audio, support for tempo-based audio effects, and more. It also moved the timeline to the bottom of the window by default with the option of moving it back to the top if the user wished to. Sony was also experimenting with 64-bit at this time and ported Vegas Pro 8.0 to 64-bit systems under the name "Vegas Pro 8.1". Vegas Pro 9.0 added support for 4K resolution and pro camcorder formats like Red and XDCAM EX. In 2009, Sony Creative Software purchased the Velvetmatter Radiance suite of video FX plug-ins which were included in Sony Vegas Pro 9.0. As a result, they were no longer available as a separate product from Velvetmatter. Vegas Pro 10 was released in 2010 with stereoscopic 3D editing, image stabilization, OpenFX plugin support, real-time audio event effects, and a few UI changes. This was the last release to include support for Windows XP. Vegas Pro 11 was released the next year on 17 October, with GPGPU video acceleration, enhanced text tools, enhanced stereoscopic/3D features, RAW photo support, and new event synchronization mechanisms. In addition, Vegas Pro 11 comes pre-loaded with "NewBlue" Titler Pro, a 2D and 3D titling plug-in. Vegas Pro 12 would add two new configurations: Vegas Pro 12 Edit, for "Professional Video and Audio Production"; and Vegas Pro 12 Suite, for "Professional Editing, Disc Authoring, and Visual Effects Design". Vegas Pro 13 would be the last version released with Sony branding after the acquisition of much of Sony Creative Software's library by Magix. After they acquired Vegas, Magix released version 14 on September 20, 2016. It featured advanced 4K upscaling as well as many bug fixes, a higher video velocity limit, RED camera support, and a variety of other features. This was also the last version to have the light theme enabled by default. Released on August 28, 2017, Vegas Pro 15 features major UI changes that claim to bring usability improvements and customization. It was the first version of VEGAS Pro to have a dark theme; it also allows more efficient editing speeds, including adding new shortcuts to speed the video editing process. Vegas Pro 15 includes support for Intel Quick Sync Video (QSV) and other technologies, as well as various other features. It introduced a new VEGAS Pro icon as a V. Vegas Pro 16 has some new features including file backup, motion tracking, improved video stabilization, 360° editing and HDR support. Magix has continued to improve Vegas through version 21 with support for reading Matroska files, a more detailed render dialogue, live streaming, VST3 support, a VST 32-bit bridge, and a selective Paste Event Attributes menu. Magix would later release a subscription model for using Vegas named "Vegas Pro 365" on January 17, 2018, although the perpetual licence is still an option for customers. This version includes cloud-based speech synthesis among other features not included in the mainline Vegas release. == Version history == Each release of Vegas is sold standalone, however upgrade discounts are sometimes provided. === Vegas Beta === Sonic Foundry introduced a sneak preview version of Vegas Pro on June 11, 1999. It is called a "Multitrack Media Editing System". === Vegas 1.0 === Released on July 23, 1999 at the NAMM Show in Nashville, Tennessee, Vegas was an audio-only tool with a particular focus on rescaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Version 1.0 is the final Vegas release to include Windows 95 support. === Vegas Video beta (Vegas 2.0 beta) === Released on April 10, 2000, this was the first version of Vegas to include video-editing tools. === Vegas Video (Vegas 2.0) === Released on June 12, 2000. Version 2.0 is the final Vegas Video release to include Windows NT 4.0 support. === Vegas Video 3.0 === Released on December 3, 2001. This release added: New Video Effects – Lens Flare, Light Rays, Film FX, Color Curves, Mirror, Remap, Deform, Convolution, Linear Blur, Black Restore, Levels, Unsharp Mask, Color Grading, and Timecode Burn filter. Batch Capture with Automatic Scene Detection – Captures DV with automatic scene detection, batch capture, tape logging, still image capture and thumbnail previews. Red Book Audio CD Mastering with CD Architect (TM) Technology – Used for burning Red Book audio CD masters directly from the Vegas timeline with ISRC, UPC, and PQ list support. New Sonic Foundry DV Codec – Introduces a DV codec developed by Sonic Foundry that offers artifact-free compositing and DV chromakeying. DV Print-to-Tape from the Timeline – Prints projects to DV cameras and decks from the Vegas timeline. Windows Media (TM) File Editing – Creates and edits Windows Media (TM) files. New MPEG Encoding Tools – Used for producing MPEG-2 files for DVD productions. Dynamic RAM Previewing – Temporary RAM/render-free previews for analysis and tweaking of complex video FX without rendering. VideoCD and Data CD Burning – Burning projects directly to VideoCD for playback on most DVD players or data CDs for playback computers' CD-ROMs. === Vegas 4.0 === Released on February 6, 2003. This release added: Advanced Color Correction Tools Searchable Media Pool Bins Vectorscope, Histogram, Parade and Waveform Monitoring Application Scripting Improved Ripple Editing Motion Blur and Super-Sampling Envelopes 5.1 Surround Mixing Dolby® Digital AC-3 Encoding certified and tested by Dolby Laboratories DirectX® Audio Plug-In Effects Automation ASIO Driver Support Windows Media™ 9 Support, including Surround Encoding DVD Authoring with AC-3 File Import Capabilities Integration with DVD Architect via Chap

    Read more →