AI Chatbot Questionnaire

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

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  Color histogram

  In image processing and photography, a color histogram is a representation of the distribution of colors in an image. For digital images, a color histogram represents the number of pixels that have colors in each of a fixed list of color ranges that span the image's color space (the set of all possible colors). A color histogram can be built for any kind of color space, although the term is more often used for three-dimensional spaces such as RGB or HSV. For monochromatic images, the term intensity histogram may be used instead. For multi-spectral images, where each pixel is represented by an arbitrary number of measurements (for example, beyond the three measurements in RGB), a color histogram is N-dimensional, with N being the number of measurements taken. Each measurement has its own wavelength range of the light spectrum, some of which may be outside the visible spectrum. If the set of possible color values is sufficiently small, each of those colors may be placed on a range by itself; then the histogram is merely the count of pixels that have each possible color. Most often, the space is divided into an appropriate number of ranges, often arranged as a regular grid, each containing many similar color values. A color histogram may also be represented and displayed as a smooth function defined over the color space that approximates the pixel counts. Like other kinds of histograms, a color histogram is a statistic that can be viewed as an approximation of an underlying continuous distribution of color values. == Overview == Color histograms are flexible constructs that can be built from images in various color spaces, whether RGB, rg chromaticity or any other color space of any dimension. A histogram of an image is produced first by discretization of the colors in the image into a number of bins, and counting the number of image pixels in each bin. For example, a red–blue chromaticity histogram can be formed by first normalizing color pixel values by dividing RGB values by R+G+B, then quantizing the normalized R and B coordinates into N bins each. A two-dimensional histogram of red–blue chromaticity divided into four bins (N=4) may yield a histogram similar to this table: A histogram can be N-dimensional. Although harder to display, a three-dimensional color histogram for the above example could be thought of as four separate red–blue histograms, where each of the four histograms contains the red–blue values for a bin of green (0–63, 64–127, 128–191, and 192–255). The histogram provides a compact summarization of the distribution of data in an image. A color histogram of an image is relatively invariant with translation and rotation about the viewing axis, and varies only slowly with the angle of view. By comparing histogram signatures of two images and matching the color content of one image with the other, a color histogram is particularly well suited for the problem of recognizing an object of unknown position and rotation within a scene. Importantly, translation of an RGB image into the illumination invariant rg-chromaticity space allows the histogram to operate well in varying light levels. 1. What is a histogram? A histogram is a graphical representation of the number of pixels in an image. In a more simple way to explain, a histogram is a bar graph, whose X-axis represents the tonal scale (black at the left and white at the right), and Y-axis represents the number of pixels in an image in a certain area of the tonal scale. For example, the graph of a luminance histogram shows the number of pixels for each brightness level (from black to white), and when there are more pixels, the peak at the certain luminance level is higher. 2. What is a color histogram? A color histogram of an image represents the distribution of the composition of colors in the image. It shows different types of colors appeared and the number of pixels in each type of the colors appeared. The relation between a color histogram and a luminance histogram is that a color histogram can be also expressed as “three luminance histograms”, each of which shows the brightness distribution of each individual red/green/blue color channel. == Characteristics of a color histogram == A color histogram focuses only on the proportion of the number of different types of colors, regardless of the spatial location of the colors. The values of a color histogram are from statistics. They show the statistical distribution of colors and the essential tone of an image. In general, as the color distributions of the foreground and background in an image are different, there might be a bimodal distribution in the histogram. For the luminance histogram alone, there is no perfect histogram and in general, the histogram can tell whether it is over-exposure or not, but there are times when you might think the image is over exposed by viewing the histogram; however, in reality it is not. == Principles of the formation of a color histogram == The formation of a color histogram is rather simple. From the definition above, we can simply count the number of pixels for each 256 scales in each of the 3 RGB channel, and plot them on 3 individual bar graphs. In general, a color histogram is based on a certain color space, such as RGB or HSV. When we compute the pixels of different colors in an image, if the color space is large, then we can first divide the color space into certain numbers of small intervals. Each of the intervals is called a bin. This process is called color quantization. Then, by counting the number of pixels in each of the bins, we get a color histogram of the image. The concrete steps of the principles can be viewed in Example 1. == Examples == === Example 1 === Given the following image of a cat (an original version and a version that has been reduced to 256 colors for easy histogram purposes), the following data represents a color histogram in the RGB color space, using four bins. Bin 0 corresponds to intensities 0–63 Bin 1 is 64–127 Bin 2 is 128–191 and Bin 3 is 192–255. === Example 2 === Application in camera: Nowadays, some cameras have the ability to show the 3 color histograms when we take photos. We can examine clips (spikes on either the black or white side of the scale) in each of the 3 RGB color histograms. If we find one or more clipping on a channel of the 3 RGB channels, then this would result in a loss of detail for that color. To illustrate this, consider this example: We know that each of the three R, G, B channels has a range of values from 0 to 255 (8 bit). So consider a photo that has a luminance range of 0–255. Assume the photo we take is made of 4 blocks that are adjacent to each other and we set the luminance scale for each of the 4 blocks of original photo to be 10, 100, 205, 245. Thus, the image looks like the topmost figure on the right. Then, we overexpose the photo a little, say, the luminance scale of each block is increased by 10. Thus, the luminance scale for each of the 4 blocks of new photo is 20, 110, 215, 255. Then, the image looks like the second figure on the right. There is not much difference between both figures, all we can see is that the whole image becomes brighter (the contrast for each of the blocks remain the same). Now, we overexpose the original photo again, this time the luminance scale of each block is increased by 50. Thus, the luminance scale for each of the 4 blocks of the new photo is 60, 150, 255, 255. The new image now looks like the third figure on the right. Note that the scale for the last block is 255 instead of 295, for 255 is the top scale and thus the last block has clipped. When this happens, we lose the contrast of the last 2 blocks, and thus we cannot recover the image no matter how we adjust it. To conclude, when taking photos with a camera that displays histograms, always keep the brightest tone in the image below the largest scale 255 on the histogram in order to avoid losing details. == Drawbacks and other approaches == The main drawback of histograms for classification is that the representation is dependent on the color of the object being studied, ignoring its shape and texture. Color histograms can potentially be identical for two images with different object content which happens to share color information. Conversely, without spatial or shape information, similar objects of different color may be indistinguishable based solely on color histogram comparisons. There is no way to distinguish a red and white cup from a red and white plate. Put it another way: histogram-based algorithms have no concept of a generic 'cup', and a model of a red and white cup is no use when given an otherwise identical blue and white cup. Another problem is that color histograms have high sensitivity to noisy interference such as lighting intensity changes and quantization errors. High dimensionality (bins) color histograms are also another issue. Some color histogram feature spaces often occupy more than one hundred di

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  Pocketbook (application)

  Pocketbook was a Sydney-based free budget planner and personal finance app launched in 2012. The app helped users setup and manage budgets, track spending and manage bills. As of 2016 Pocketbook claimed to support over 250,000 Australians, in January 2018 that number was 435,000. After being acquired by Zip Co Ltd in 2016, it was announced in 2022 that the app was to be shut down and all user accounts deleted. == History == Pocketbook was founded by Alvin Singh and Bosco Tan in 2012. It was conceived in 2011 in a Wolli Creek apartment as a tool for Alvin and Bosco to take control of their money. In 2013, Pocketbook raised $500,000 from technology fund Tank Stream Ventures, and a group of investors including TV personality David Koch, Geoff Levy, David Shein and Peter Cooper. In September 2016 Digital retail finance and payment industry player zipMoney (now trading as Zip Co Limited) acquired Pocketbook in a $7.5m deal == Features == The app synced with the bank account of users and would organize spending into different categories. Users could also be reminded of bill payments, analyse spending and set spending limits. They can also be alerted of fraudulent transactions and deductions. The app employs security measures like end to end encryption, CloudFlare protection, fraud detection, identity protection etc. Pocketbook was available via web and mobile version. == Awards == Personal Finance Innovator of the Year by Fintech Business Awards 2017 Innovator of the Year by OPTUS MyBusiness Awards 2017 Best Finance App of 2016 by Australian Fintech Best Personal Finance App: Pocketbook won the 2016 Finder Innovation Awards, presented at a gala dinner hosted by media personality and The New Inventors presenter James O'Loghlin. Best Mobile App of the Year Winner: StartCon hosted the first annual Australasian Startup Awards. Over 200 nominations in 14 categories and an overall winner were reviewed, and winners were determined by public voting, with over 63,000 votes in total. Best New Startup 2014 by StartupSmart. Finalist in the SWIFT Innotribe startup competition in Dubai in 2013.

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  Screen space directional occlusion

  Screen space directional occlusion (SSDO) is a computer graphics technique enhancing screen space ambient occlusion (SSAO) by taking direction into account to sample the ambient light (both the light coming directly at an object, as well as the light reflected off of the object directly behind it), to better approximate global illumination. SSDO was introduced by Tobias Ritschel, Thorsten Grosch, and Hans-Peter Seidel in their 2009 ACM Symposium on Interactive 3D Graphics and Games paper Approximating dynamic global illumination in image space, which describes it as extending SSAO to directional occlusion with one diffuse indirect bounce of light; later literature notes that SSDO still suffers from common screen-space artifacts such as noise and banding. == Method == The original SSDO paper describes a two-pass screen-space approach, with one pass for direct lighting and a second pass for indirect bounces. Later literature describes SSDO as assuming a general shadowing direction that allows color bleeding and a single light bounce.

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  Generative art

  Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu

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  AI nationalism

  AI nationalism is the idea that nations should develop and control their own artificial intelligence technologies to advance their own interests and ensure technological sovereignty. This concept is gaining traction globally, leading countries to implement new laws, form strategic alliances, and invest significantly in domestic AI capabilities. == Global trends and national strategies == In 2018, British technology investor Ian Hogarth published an influential essay titled AI Nationalism. He argued that as AI gains more power and its economic and military significance expands, governments will take measures to bolster their own domestic AI industries, and predicted that the advancement of machine learning systems would lead to what he termed "AI nationalism." He anticipated that this rise in AI would accelerate a global arms race, resulting in more closed economies, restrictions on foreign acquisitions, and limitations on the movement of talent. Hogarth predicted that AI policy would become a central focus of government agendas. He also criticized Britain’s approach to AI strategy, citing the sale of London-based DeepMind—one of the leading AI laboratories, acquired by Google for a relatively modest £400 million in 2014—as a significant misstep. AI nationalism is chiefly reflected in the escalating rhetoric of an artificial intelligence arms race, portraying AI development as a zero-sum game where the winner gains significant economic, political, and military advantages. This mindset, as highlighted in a 2017 Pentagon report, warns that sharing AI technology could erode technological supremacy and enhance rivals' capabilities. The winner-takes-all mentality of AI nationalism poses risks including unsafe AI development, increased geopolitical tension, and potential military aggression (such as cyberattacks or targeting AI professionals). Several countries, including Canada, France, and India, have formulated national strategies to advance their positions in AI. In the United States, a leading player in the global AI arena, trade policies have been enacted to restrict China's access to critical microchips, reflecting a strategic effort to maintain a technological edge. The United States’ National Security Commission on Artificial Intelligence (NSCAI) frames AI development as a critical aspect of a broader technology competition crucial for national success. It emphasizes the need to outpace China in AI to maintain strategic advantage, reflecting AI nationalism by linking geopolitical power directly to advancements in AI. France has seen notable governmental support for local AI startups, particularly those specializing in language technologies that cater to French and other non-English languages. In Saudi Arabia, Crown Prince Mohammed bin Salman is investing billions in AI research and development. The country has actively collaborated with major technology firms such as Amazon, IBM, and Microsoft to establish itself as a prominent AI hub. == Historical and cultural context == AI nationalism is seen as deeply connected to historical racism and imperialism. It is viewed not merely as a technological competition but as a contest over racial and civilizational superiority. Historically, technological achievements were often used to justify colonialism and racial hierarchies, with Western societies perceiving their advancements as evidence of superiority. In the context of AI, this historical context continues to shape views on intelligence and development. Some argue that AI nationalism reinforces the idea of fundamental civilizational divides, especially between the Western world and China. This perspective often frames China's progress in AI as a direct challenge to Western values, presenting the AI competition as a struggle over values. AI nationalism is said to draw from long-standing anti-Asian stereotypes, such as the "Yellow Peril," which portray Asian nations as threats to Western civilization. This viewpoint links Asian technological advances with dehumanization and artificiality, reflecting persistent anxieties about China's growing role in the global tech landscape. == Implications == AI nationalism is seen as a component of a broader trend towards the fragmentation of the internet, where digital services are increasingly influenced by local regulations and national interests. This shift is creating a new technological landscape in which the impact of artificial intelligence on individuals' lives can vary significantly depending on their geographic location. J. Paul Goode argues that AI nationalism may exacerbate existing societal divisions by promoting the development of systems that embed cultural biases, thereby privileging certain groups while disadvantaging others.

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  Key–value database

  A key-value database, or key-value store, is a data storage paradigm designed for storing, retrieving, and managing associative arrays, a data structure more commonly known today as a dictionary. Dictionaries contain a collection of objects, or records, which in turn have many different fields within them. These records are stored and retrieved using a key that uniquely identifies the record, and is used to find the data within the database. Key-value databases differ from the better known relational databases (RDB). RDBs pre-define the data structure in the database as a series of tables containing fields with well-defined data types. Exposing the data types to the database program allows it to apply various optimizations. In contrast, key-value systems treat the value as opaque to the database itself, and typically support only simple operations such as storing, retrieving, updating, and deleting a value by its key. This offers considerable flexibility and makes such systems well suited to low-latency, high-throughput workloads dominated by direct key lookups, but less suitable for applications that require complex queries or explicit relationships among records. A lack of standardization, limited transaction support, and relatively simple query interfaces long restricted many key-value systems to specialized uses, but the rapid move to cloud computing after 2010 helped drive renewed interest in them as part of the broader NoSQL movement. Some graph databases, such as ArangoDB, are also key–value databases internally, adding the concept of relationships (pointers) between records as a first-class data type. == Types and examples == Key–value systems span a wide consistency spectrum, from eventually consistent designs to strongly consistent or serializable ones, and some allow the consistency level to be configured as part of the trade-off against latency and availability. Renewed interest in key–value and other NoSQL systems was driven in part by the demands of big data, distributed, and cloud applications. Their scalability and availability made them attractive for cloud data management, although limited transaction support, low-level query interfaces, and the lack of standardization remained obstacles to wider adoption. Some maintain data in memory (RAM), while others employ solid-state drives or rotating disks. Some key–value systems add additional structure to their keys. For example, Oracle NoSQL Database organizes records using composite keys with "major" and "minor" components, an arrangement that Oracle compares to a directory-path structure in a file system. More generally, however, key–value stores are defined by their use of unique keys associated with opaque values and by their emphasis on simple key-based operations. Unix included dbm (database manager), a minimal database library written by Ken Thompson for managing associative arrays with a single key and hash-based access. Later implementations and related libraries included sdbm, GNU dbm (gdbm), and Berkeley DB. A more recent example is RocksDB, a persistent key–value storage engine developed at Facebook and designed for large-scale applications. Other examples include in-memory systems such as Memcached and Redis, and persistent systems such as Berkeley DB, Riak, and Voldemort.

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  Digital Michelangelo Project

  The Digital Michelangelo Project was a pioneering initiative undertaken during the 1998–1999 academic year to digitize the sculptures and architecture of Michelangelo using advanced laser scanning technology. The project was led by a team of 30 faculty, staff, and students from Stanford University and the University of Washington, with the aim of creating high-resolution 3D models of Michelangelo's works for scholarly, educational, and preservation purposes. == Objectives == The primary goals of the Digital Michelangelo Project were: To apply recent advancements in laser rangefinder technology for digitizing large cultural artifacts. To create detailed digital archives of Michelangelo's sculptures and architectural spaces for future study and analysis. To explore potential educational and curatorial applications for 3D scanned data. === Artworks digitized === The project involved scanning several iconic works by Michelangelo, including: David The Unfinished Slaves (Atlas, Awakening, Bearded, and Youthful) St. Matthew The allegorical statues from the Medici tombs (Night, Day, Dawn, and Dusk) The architectural interiors of the Tribuna del David at the Galleria dell'Accademia and the New Sacristy in the Medici Chapels. == Technology and methodology == === 3D scanning === The project's primary scanner was a laser triangulation rangefinder mounted on a motorized gantry, custom-built by Cyberware Inc. The scanner used a laser sheet to project onto an object, capturing its shape through triangulation. Multiple scans were taken from various angles and combined into a single, detailed 3D mesh. The resolution achieved was fine enough to capture even Michelangelo's chisel marks, with triangles approximately 0.25 mm on each side. In addition to shape data, color data was captured using a spotlight and a secondary camera, enabling the creation of textured 3D models. === Data processing === The project developed a software suite for processing the scanned data. This included: Aligning and merging multiple scans into a seamless 3D model. Filling holes in the geometry caused by inaccessible areas. Correcting color data for lighting inconsistencies and shadowing. Non-photorealistic rendering techniques were also applied, highlighting surface features such as Michelangelo’s chisel marks for enhanced visualization. == Logistical challenges == The scale and complexity of the project presented several challenges: Data size: The dataset for David alone comprised 2 billion polygons and 7,000 color images, occupying 60 GB of storage. Artifact safety: Ensuring the safety of the statues during scanning required extensive crew training, foam-encased equipment, and collision-prevention mechanisms. == Applications and impact == The digitized models have numerous potential applications: Art history: Allowing precise measurements and geometric analysis, such as determining chisel types or evaluating structural balance. Education: Providing new ways to study art, including interactive viewing from unconventional angles and with custom lighting. Museum curation: Enhancing visitor experiences through interactive kiosks and virtual models. The project demonstrated the potential for 3D technology to preserve and disseminate cultural heritage. == Data distribution == The project's models are available through Stanford University for scholarly purposes, under strict licensing due to Italian intellectual property laws. === ScanView === To provide public access to the 3D models while respecting usage restrictions, the project developed ScanView, a client/server rendering system. ScanView allows users to view and interact with high-resolution 3D models without downloading the data. The client component consists of a freely available viewer program and simplified 3D models. Users can navigate these models locally, adjusting position, orientation, lighting, and surface appearance. When a user finalizes a view, the client queries a remote server for a high-resolution rendering of the model, which is sent back to overwrite the simplified version on the user’s screen. A typical query-response cycle takes 1–2 seconds, depending on network conditions. To protect the models from unauthorized reconstruction, the system employs several security measures, including: Encrypting queries Perturbing viewpoint and lighting parameters Adding noise and warping rendered images Compressing images before transmission ScanView operates on Windows-based PCs and provides access to selected models, including David and St. Matthew, as well as other artifacts such as fragments of the Forma Urbis Romae and items from the Stanford 3D Scanning Repository. == Sponsors == The Digital Michelangelo Project was supported by Stanford University, Interval Research Corporation, and the Paul G. Allen Foundation for the Arts.

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  VOCEDplus

  VOCEDplus is a free international research database about tertiary education, maintained and developed by staff at the c (NCVER) in Adelaide, South Australia. The focus of the database content is the relation of post-compulsory education and training to workforce needs, skills development, and social inclusion. == Structure == The content of the VOCEDplus database encompasses vocational education and training (VET), higher education, lifelong learning, informal learning, VET in schools, adult and community education, apprenticeships/traineeships, international education, providers of education and training, and workforce development. It is international in scope and contains over 84,000 English language records, many with links to full text documents. VOCEDplus contains extensive Australian materials and includes a wide range of international information, covering outcomes of tertiary education in the shape of published research, practice, policy, and statistics. Entries are included for the following types of publications: reports; annual reports; papers; discussion papers; occasional papers; working papers; books; book chapters; conference papers; conference proceedings; journals; journal articles; policy documents; published statistics; theses; podcasts; and teaching and training materials. Each database entry contains standard bibliographic information and an abstract. Many entries include full text access via the publisher's website or a digitised copy. == History == === 1989-1997 === In the early years VOCEDplus was known as VOCED. The original database was produced by a network of clearinghouses across Australia with the aim of sharing activities in the technical and further education (TAFE) sector. VOCED was produced in hardcopy and an electronic version was distributed on diskette. === 1997-2001 === 1997 - the first web version of VOCED was made available from the National Centre for Vocational Education Research (NCVER) organisational website 1998 - a major project to upgrade the database and expand its international coverage commenced 2001 - creation of VOCED's own website 2001 - VOCED endorsed as the UNESCO international database for technical and vocational education and training (TVET) research information === 2001-2009 === Many changes to the database and website occurred during this period with a focus on continuous improvement to meet the needs of users and utilise emerging technologies. 2006 - materials produced for two adult literacy and learning programs funded by the Australian Department of Education, Employment and Workplace Relations (DEEWR) - the Workplace English Language and Learning (WELL) Programme and the Adult Literacy National Project (ALNP) included in VOCED 2007 - the Australian clearinghouse network transferred most of the hardcopy collections to NCVER, to form a centralised repository of resources 2009 - materials produced by Reframing the Future (RTF) a vocational education and training workforce development initiative of the Australian, State and Territory Governments included in VOCED === 2009-2014 === A major rebuild of the database and website was undertaken during this period to take advantage of the potential of new technologies to provide improved services and incorporate Web 2.0 technologies (RSS feeds, and share and bookmark tools). 2009 - scope expanded to more fully encompass the higher education sector 2011 - launch of VOCEDplus with the name change representing the enhanced features and extended focus 2012 - a major retrospective digitisation project commenced and by the end of the 2012-2013 financial year a total of 9,328 publications (593,534 pages/microfiche frames) had been digitised, ensuring these publications are available electronically for free === 2014-2019 === A number of significant curated content products were released during this period. 2015 - release of a refreshed look to adopt the new NCVER branding plus a number of search enhancements (Guided search, Expert search, and Glossary search) were added 2015 - first in the series of 'Focus on...' pages released 2016 - launch of the 'Pod Network', a convenient and efficient platform that allows instant access to research and a multitude of resources on a range of subjects 2017 - completion of the 'Pod Network', consisting of 20 Pods (on broad subjects including Apprenticeships and traineeships, Foundation skills, Teaching and learning, Career development, and Students) and 74 Podlets (on narrow topics including Online learning, Social media, VET in schools, STEM skills, and Adult literacy) 2018 - launch of the 'Timeline of Australian VET Policy Initiatives' and the 'VET Knowledge Bank' which contains a suite of products capturing Australia's diverse, complex and ever-changing VET system 2019 - after an internal review, a refreshed, streamlined version of the 'Pod Network' was released, consisting of 13 Pods and 20 Podlets 2019 - launch of the 'VET Practitioner Resource' which contains a range of information to support VET practitioners in their work and is organised into three sections: (1) Teaching, training and assessment: standards, guidance, research and good practice resources to inform daily work; (2) Practitioners as researchers: information for undertaking practitioner-led research; and (3) The VET workforce: information about VET teachers and trainers, and the professional development needs of the VET workforce 2019 - VOCEDplus celebrated 30 years of providing information to the tertiary education sector and the homepage was refreshed to make it more modern and easier to use === 2020- === VOCEDplus continued to be accessible throughout the COVID-19 pandemic. 2020-2021 - the VET Knowledge Bank added a dedicated page, 'COVID-19 announcements', that showcases the measures introduced by the Australian, state and territory governments to mitigate the impact of the pandemic and promote economic recovery 2020-2024 - published research about the effects of the pandemic on education and training, providers, students, labour markets, employment and employees was collected and made permanently available in the database 2024 - VOCEDplus celebrated 35 years of providing information to the tertiary education sector. The homepage was refreshed and a number of enhancements and new features were implemented including a new My Profile feature, improvements to My Selection, accessible search history and saved searches, enhanced search functionality, and improved navigation.

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  Text-to-image personalization

  Text-to-Image personalization is a task in deep learning for computer graphics that augments pre-trained text-to-image generative models. In this task, a generative model that was trained on large-scale data (usually a foundation model), is adapted such that it can generate images of novel, user-provided concepts. These concepts are typically unseen during training, and may represent specific objects (such as the user's pet) or more abstract categories (new artistic style or object relations). Text-to-Image personalization methods typically bind the novel (personal) concept to new words in the vocabulary of the model. These words can then be used in future prompts to invoke the concept for subject-driven generation, inpainting, style transfer and even to correct biases in the model. To do so, models either optimize word-embeddings, fine-tune the generative model itself, or employ a mixture of both approaches. == Technology == Text-to-Image personalization was first proposed during August 2022 by two concurrent works, Textual Inversion and DreamBooth. In both cases, a user provides a few images (typically 3–5) of a concept, like their own dog, together with a coarse descriptor of the concept class (like the word "dog"). The model then learns to represent the subject through a reconstruction based objective, where prompts referring to the subject are expected to reconstruct images from the training set. In Textual Inversion, the personalized concepts are introduced into the text-to-image model by adding new words to the vocabulary of the model. Typical text-to-image models represent words (and sometimes parts-of-words) as tokens, or indices in a predefined dictionary. During generation, an input prompt is converted into such tokens, each of which is converted into a ‘word-embedding’: a continuous vector representation which is learned for each token as part of the model's training. Textual Inversion proposes to optimize a new word-embedding vector for representing the novel concept. This new embedding vector can then be assigned to a user-chosen string, and invoked whenever the user's prompt contains this string. In DreamBooth, rather than optimizing a new word vector, the full generative model itself is fine-tuned. The user first selects an existing token, typically one which rarely appears in prompts. The subject itself is then represented by a string containing this token, followed by a coarse descriptor of the subject's class. A prompt describing the subject will then take the form: "A photo of " (e.g. "a photo of sks cat" when learning to represent a specific cat). The text-to-image model is then tuned so that prompts of this form will generate images of the subject. == Textual Inversion == The key idea in Textual Inversion is to add a new term to the vocabulary of the diffusion model that corresponds to the new (personalized) concept. Textual Inversion operates by inverting the concepts into new pseudo-words within the textual embedding space of a pre-trained text-to-image model. These pseudo-words can be injected into new scenes using simple natural language descriptions, allowing for simple and intuitive modifications. The method allows a user to leverage multi-modal information — using a text-driven interface for ease of editing, but providing visual cues when approaching the limits of natural language. The resulting model is extremely light-weight per concept: only 1K long, but succeeds to encode detailed visual properties of the concept. == Extensions == Several approaches were proposed to refine and improve over the original methods. These include the following. Low-rank Adaptation (LoRA) - an adapter-based technique for efficient finetuning of models. In the case of text-to-image models, LoRA is typically used to modify the cross-attention layers of a diffusion model. Perfusion - a low rank update method that also locks the activations of the key matrix in the diffusion model's cross attention layers to the concept's coarse class. Extended Textual Inversion - a technique that learns an individual word embedding for each layer in the diffusion model's denoising network. Encoder-based methods that use another neural network to quickly personalize a model == Challenges and limitations == Text-to-image personalization methods must contend with several challenges. At their core is the goal of achieving high-fidelity to the personal concept while maintaining high alignment between novel prompts containing the subject, and the generated images (typically referred to as ‘editability’). Another challenge that personalization methods must contend with is memory requirements. Initial implementations of personalization methods required more than 20 Gigabytes of GPU memory, and more recent approaches have reported requirements of more than 40 Gigabytes. However, optimizations such as Flash Attention have since reduced this requirement considerably. Approaches that tune the entire generative model may also create checkpoints that are several gigabytes in size, making it difficult to share or store many models. Embedding based approaches require only a few kilobytes, but typically struggle to preserve identity while maintaining editability. More recent approaches have proposed hybrid tuning goals which optimize both an embedding and a subset of network weights. These can reduce storage requirements to as little as 100 Kilobytes while achieving quality comparable to full tuning methods. Finally, optimization processes can be lengthy, requiring several minutes of tuning for each novel concept. Encoder and quick-tuning methods aim to reduce this to seconds or less.

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  Stop Motion Studio

  Stop Motion Studio is a stop motion animation software developed by Cateater LLC. It is available as both an app for iOS and Android and as a software for Windows and Mac. Two versions of the software exist, the standard Stop Motion Studio for free, and the paid Stop Motion Studio Pro, which contains extra, more advanced features. The software is commonly used in brickfilming.

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  Text Database and Dictionary of Classic Mayan

  The project Text Database and Dictionary of Classic Mayan (abbr. TWKM) promotes research on the writing and language of pre-Hispanic Maya culture. It is housed in the Faculty of Arts at the University of Bonn and was established with funding from the North Rhine-Westphalian Academy of Sciences, Humanities and the Arts. The project has a projected run-time of fifteen years and is directed by Nikolai Grube from the Department of Anthropology of the Americas at the University of Bonn. The goal of the project is to conduct computer-based studies of all extant Maya hieroglyphic texts from an epigraphic and cultural-historical standpoint, and to produce and publish a database and a comprehensive dictionary of the Classic Mayan language. == Subject of the Project == The text database, as well as the dictionary that will be compiled by the conclusion of the project, will be assembled based on all known texts from the pre-Hispanic Maya culture. These texts were produced and used between approximately the third century B.C. through A.D. 1500, in a region that today includes parts of the countries of Mexico, Guatemala, Belize, and Honduras. The thousands of hieroglyphic inscriptions on monuments, ceramics, or daily objects that have survived into the present offer insight into the language's vocabulary and structure. The project's database and dictionary will digitally represent original spellings using the logo-syllabic Maya hieroglyphs, as well as their transcription and transliteration in the Roman alphabet. The data will be additionally annotated with various epigraphic analyses, translations, and further object-specific information. == Project Partners == TWKM will employ digital technologies in order to compile and make available the data and metadata, as well as to publish the project's research results. The project thereby methodologically positions itself in the field of the digital humanities. The project will be conducted in cooperation with the project partners (below), the research association for the eHumanities TextGrid, as well as the University and Regional Library of Bonn (ULB). The working environment that is currently under construction, in which the data and metadata will be compiled and annotated, will be realized in theTextGrid Laboratory, a software of the virtual research environment. A further component of this software, the TextGrid Repository, will make the data that are authorized for publication freely available online and ensure their long-term storage. The tools for data compilation and annotation attained from the modularly constructed and extended TextGrid lab thereby provide all the necessary materials for facilitating the research team's the typical epigraphic workflow. The workflow usually begins by documenting the texts and the objects on which they are preserved, and by compiling descriptive data. It then continues with the various levels of epigraphic and linguistic analysis, and concludes in the best case scenario with a translation of the analyzed inscription and a corresponding publication. In cooperation with the ULB, selected data will additionally be made available. The project's Virtual Inscription Archive will present online, in the Digital Collections of the ULB, hieroglyphic inscriptions selected from the published data in the repository, including an image of and brief information about the texts and the objects on which they are written, epigraphic analysis, and translation. == Project Goal == One of the project's goals is to produce a dictionary of Classic Mayan, in both digital and print form, towards the end of the project run-time. Additionally, a database with a corpus of inscriptions, including their translations and epigraphic analyses, will be made freely available online. The database furthermore will provide an ontology-like link of the contextual object data with the inscriptions and with each other, thereby allowing a cultural-historical arrangement of all contents within the periods of pre-Hispanic Maya culture. The contents of the database are additionally linked to citations of relevant literature. As a result, the database will also make freely available to both the scientific community and other interested parties a bibliography representing the research history and a base of knowledge concerning ancient Maya culture and script. In addition, the Classic Maya script, in its temporally defined stages of language development, will be gathered into and documented in a comprehensive language corpus with the aid of the information gathered by the project. In collaboration with all project participants, the corpus data can be used, together with the aid of various comparable analyses and also computational linguistic methods, such as inference-based methods, to confirm readings of some hieroglyphs that are currently only partially confirmed, and to eventually completely decipher the Classic Maya script.

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  Sprite multiplexing

  Sprite multiplexing is a computer graphics technique where additional sprites (moving images) can be drawn on the screen, beyond the nominal maximum. It is largely historical, applicable principally to older hardware, where limited resources (such as CPU speed and memory) meant only a relatively small number of sprites were supported. On the other hand, it is also true that without multiplexing, the sprite circuitry would be idle much of the time, and limited resources were wasted. == Description == The sprite multiplexing technique is based on the idea that while the hardware may only support a finite number of sprites, it is sometimes possible to re-use the same sprite "slots" more than once per frame or scan line. The program will first use the hardware to draw one or more sprite(s), as normal. Before the next frame (or next scanline) needs to be drawn, the software reprograms the hardware to display additional sprites, in other positions. For example, the Nintendo Entertainment System explicitly supports hardware sprite multiplexing, where it has 64 hardware sprites, but is only capable of rendering 8 of them per scanline. On the older Atari 2600, sprite multiplexing was not intentionally designed in, but programmers discovered they could reset the TIA graphics chip to draw additional sprites on the same scanline. The sprite multiplexing technique relies on the program being able to identify what part of the video screen is being drawn at the moment, or being triggered by the video hardware to run a subroutine at the crucial moment. The programmer must carefully consider the layout of the screen. If the video graphics hardware is not reprogrammed in time for the extra sprites to be displayed, they will not appear, or will be drawn incorrectly. Modern video graphics hardware typically does not use hardware sprites, since modern computer systems do not have the kind of limitations that sprite hardware is designed to circumvent. == Implementations == Systems that allow the programmer to employ the sprite multiplexing technique include: Atari 2600 Atari 8-bit computers Amiga Commodore 64 MSX Nintendo Entertainment System Super Nintendo Entertainment System Master System Sega Genesis/Mega Drive

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  Conversica

  Conversica is a US-based cloud software technology company, headquartered in San Mateo, California, that provides two-way AI-driven conversational software and a suite of Intelligent Virtual Assistants for businesses to engage customers via email, chat, and SMS. == History == 2007: The company was founded by Ben Brigham in Bellingham, Washington, originally as AutoFerret.com. The company's initial product was a Customer Relationship Management (CRM) targeted at automotive dealerships. This soon expanded to lead generation, and then lead validation and qualification. The AI Conversica uses currently was made to follow up on and filter out low-quality leads. The focus of the company shifted toward this automated lead engagement technology. 2010: The company started commercially selling AVA, the first Automated Virtual Assistant for sales, and the company name was changed to AVA.ai. Early customers for AVA were automotive dealerships. As the company moved away from generating leads themselves, and providing the CRM themselves, it became necessary to integrate with existing CRM and Marketing Automation platforms, such as DealerSocket, VinSolutions and Salesforce. 2013: The company raised $16m Series A funding, led by Kennet Partners, and named Mark Bradley as CEO. It also moved its headquarters from Bellingham, Washington to Foster City, California. 2014: The company changed its name from AVA.ai to Conversica. 2015: Alex Terry joined Conversica as its CEO. The business expanded to include customers in additional verticals, including technology, education, and financial services. 2016: The company raised $34m Series B funding, led by Providence Strategic Growth. 2017: Conversica expanded its intelligent automation platform and IVAs to support additional communication channels (e-mail and SMS text messaging) and communication languages. Conversica also opened a new technology center in Seattle, Washington to expand its AI and machine learning capabilities. 2018: The company raised $31m Series C funding, led by Providence Strategic Growth. Conversica also acquired Intelligens.ai, providing a regional presence in Latin America with an office in Las Condes, Santiago, Chile. The company launched an AI-powered Admissions Assistant for Higher Education industry. 2019: Conversica was selected by Fast Company magazine as one of the Top 10 Most Innovative AI Companies in the World, and was named Marketo's Technology Partner of the Year. The company officially expanded into the EMEA region with the opening of a London office. As of August 2019, Conversica has over 50 different integrations with third parties. In October Conversica won three awards at the fourth annual Global Annual Achievement Awards for Artificial Intelligence. Also that month, Alex Terry stepped down from his role as CEO and was replaced by Jim Kaskade. 2020: As part of Conversica's response to COVID-19, they optimized the business to become profitable in both 2Q20 and 3Q20, before reinvesting in 4Q20. The company transitioned both international operations in EMEA and LATAM to an indirect model with partners (LeadFabric and Nectia Cloud Solutions respectively), and moved a portion of its US-based employees to near-shore centers in Mexico and Brazil, effectively downsizing the company from 250 to 200. Conversica's reseller partner, Nectia, is a major Latin American affiliate and Chile's number one Salesforce partner, and, as part of the partnership, Nectia devoted capital to a brand new company segment, Predict-IA, dedicated to web-based artificial intelligent solutions. Predict-IA was able to immediately service all LATAM opportunities and clients with Conversica's AI Assistants with end-to-end services (marketing, sales, professional services, customer success, and technical support). Conversica's reseller partner, Leadfabric, has offices in Belgium, Amsterdam, Paris, UK, Taiwan, and Romania. == Technology == Conversica's Revenue Digital Assistants™ are AI assistants who engage with leads, prospects, customers, employees, and other persons of interest (Contacts) in a two-way human-like manner, via email, SMS text, and website chat, in English, French, German, Spanish, Portuguese, and Japanese. The RDAs are built on an Intelligent Automation platform that leverages natural language understanding, natural language processing, natural language generation, deep learning and machine learning. The Assistants are generally deployed alongside sales and marketing, customer success, account management, and higher education admissions teams, as part of an augmented workforce. The Intelligent Automation platform integrates with over 50 external systems, including CRM, Marketing Automation, and other systems of record. A partial list of integration partners includes: Salesforce, Marketo, Oracle, HubSpot, DealerSocket, Reynolds & Reynolds, CDK Global, VinSolutions and many more.

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  WhatsApp

  WhatsApp Messenger, commonly known simply as WhatsApp, is an American social media, instant messaging (IM), and Voice over IP (VoIP) service accessible via desktop and mobile app. Owned by Meta Platforms, the service allows users to send text messages, voice messages, and video messages, make voice and video calls, and share images, documents, user locations, and other content. The service requires a cellular mobile telephone number to register. WhatsApp was launched in May 2009. In January 2018, WhatsApp released a standalone business app called WhatsApp Business which can communicate with the standard WhatsApp client. As of May 2025, the service had 3 billion monthly active users, making it the most used messenger app. The name of the app is meant to sound like "what's up". The service was created by WhatsApp Inc. of Mountain View, California, which was acquired by Facebook in February 2014 for approximately US$19.3 billion. It became the world's most popular messaging application in 2015, with 900 million users, and had more than 2 billion active users worldwide in February 2020. WhatsApp Business had approximately 200 million monthly users in 2023. By 2016, it had become the primary means of Internet communication in regions including the Americas, the Indian subcontinent, and large parts of Europe and Africa. == History == === 2009–2014 === WhatsApp was founded by Brian Acton and Jan Koum, former employees of Yahoo. Koum incorporated WhatsApp Inc. in California on February 24, 2009. A month earlier, Koum had purchased an iPhone, and he and Acton decided to create an app for the App Store. The idea started off as an app that would display statuses in a phone's Contacts menu, showing if a person was at work or on a call. Their discussions often took place at the home of Koum's Russian friend Alex Fishman in West San Jose. They realized that to take the idea further, they would need an iPhone developer. Fishman visited RentACoder.com, found Russian developer Igor Solomennikov, and introduced him to Koum. Koum named the app WhatsApp to sound like "what's up" and it was published on the Apple App Store and BlackBerry App World in May and June 2009 respectively. However, when early versions of WhatsApp kept crashing, Koum considered giving up and looking for a new job. Acton encouraged him to wait for a "few more months". In June 2009, when the app had been downloaded by only a handful of Fishman's Russian-speaking friends, Apple launched push technology, allowing users to be pinged even when not using the app. Koum updated WhatsApp so that everyone in the user's network would be notified when a user's status changed. This new facility, to Koum's surprise, was used by users to ping "each other with jokey custom statuses like, 'I woke up late' or 'I'm on my way.'" Fishman said, "At some point it sort of became instant messaging". WhatsApp 2.0, released for iPhone in August 2009, featured a purpose-designed messaging component; the number of active users suddenly increased to 250,000. Although Acton was working on another startup idea, he decided to join the company. In October 2009, Acton persuaded five former friends at Yahoo! to invest $250,000 in seed funding, and Acton became a co-founder and was given a stake. He officially joined WhatsApp on November 1. Koum then hired a friend in Los Angeles, Chris Peiffer, to develop a BlackBerry version, which arrived two months later. Subsequently, WhatsApp for Symbian OS was added in May 2010, and for Android OS in August 2010. In 2010 Google made multiple acquisition offers for WhatsApp, which were all declined. To cover the cost of sending verification texts to users, WhatsApp was changed from a free service to a paid one. In December 2009, the ability to send photos was added to the iOS version. By early 2011, WhatsApp was one of the top 20 apps in the U.S. Apple App Store. In April 2011, Sequoia Capital invested about $8 million for more than 15% of the company, after months of negotiation by Sequoia partner Jim Goetz. By February 2013, WhatsApp had about 200 million active users and 50 staff members. Sequoia invested another $50 million at a $1.5 billion valuation. Some time in 2013 WhatsApp acquired Santa Clara–based startup SkyMobius, the developers of Vtok, a video and voice calling app. As of December 2013, the service had 400 million monthly active users. That year, the company had $148 million in expenses and a net loss of $138 million. === 2014–2015 === On February 19, 2014, one year after the venture capital financing round at a $1.5 billion valuation, Facebook, Inc. (now Meta Platforms) agreed to acquire the company for US$19 billion, its largest acquisition to date. At the time, it was the largest acquisition of a venture-capital-backed company in history. Sequoia Capital received an approximate 5,000% return on its initial investment. Facebook paid $4 billion in cash, $12 billion in Facebook shares, and an additional $3 billion in restricted stock units granted to WhatsApp's founders Koum and Acton. Employee stock was scheduled to vest over four years subsequent to closing. Days after the announcement, WhatsApp users experienced a loss of service, leading to anger across social media. The acquisition was influenced by the data provided by Onavo, Facebook's research app for monitoring competitors and trending usage of social activities on mobile phones, as well as startups that were performing "unusually well". The acquisition caused many users to try, or move to, other message services. Telegram claimed that it acquired 8 million new users, and Line, 2 million. At a keynote presentation at the Mobile World Congress in Barcelona in February 2014, Facebook CEO Mark Zuckerberg said that Facebook's acquisition of WhatsApp was closely related to the Internet.org vision. A TechCrunch article said about Zuckerberg's vision:The idea, he said, is to develop a group of basic internet services that would be free of charge to use – "a 911 for the internet". These could be a social networking service like Facebook, a messaging service, maybe search and other things like weather. Providing a bundle of these free of charge to users will work like a gateway drug of sorts – users who may be able to afford data services and phones these days just don't see the point of why they would pay for those data services. This would give them some context for why they are important, and that will lead them to pay for more services like this – or so the hope goes. Three days after announcing the Facebook purchase, Koum said they were working to introduce voice calls. He also said that new mobile phones would be sold in Germany with the WhatsApp brand, and that their ultimate goal was to be on all smartphones. In August 2014, WhatsApp was the most popular messaging app in the world, with more than 600 million users. By early January 2015, WhatsApp had 700 million monthly users and over 30 billion messages every day. In April 2015, Forbes predicted that between 2012 and 2018, the telecommunications industry would lose $386 billion because of "over-the-top" services like WhatsApp and Skype. That month, WhatsApp had over 800 million users. By September 2015, it had grown to 900 million; and by February 2016, one billion. On November 30, 2015, the Android WhatsApp client made links to Telegram unclickable and not copyable. Multiple sources confirmed that it was intentional, not a bug, and that it had been implemented when the Android source code that recognized Telegram URLs had been identified. (The word "telegram" appeared in WhatsApp's code.) Some considered it an anti-competitive measure; WhatsApp offered no explanation. === 2016–2019 === On January 18, 2016, WhatsApp's co-founder Jan Koum announced that it would no longer charge users a $1 annual subscription fee, in an effort to remove a barrier faced by users without payment cards. He also said that the app would not display any third-party ads, and that it would have new features such as the ability to communicate with businesses. On May 18, 2017, the European Commission announced that it was fining Facebook €110 million for "providing misleading information about WhatsApp takeover" in 2014. The Commission said that in 2014 when Facebook acquired the messaging app, it "falsely claimed it was technically impossible to automatically combine user information from Facebook and WhatsApp." However, in the summer of 2016, WhatsApp had begun sharing user information with its parent company, allowing information such as phone numbers to be used for targeted Facebook advertisements. Facebook acknowledged the breach, but said the errors in their 2014 filings were "not intentional". In September 2017, WhatsApp's co-founder Brian Acton left the company to start a nonprofit group, later revealed as the Signal Foundation, which developed the WhatsApp competitor Signal. He explained his reasons for leaving in an interview with Forbes a year later. WhatsApp also

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  Imo.im

  imo.im is a proprietary audio/video calling and instant messaging software service. It allows sending music, video, PDFs and other files, along with various free stickers. It supports encrypted group video and voice calls with up to 20 participants. According to its developer, the service possesses over 200 million users and over 50 million messages per day are sent through it. == History == The product was created as a web-based application in 2005 for accessing multiple chat platforms, including Facebook Messenger, Google Talk, Yahoo! Messenger, and Skype chat. It was developed by Pagebites, which is a subsidiary of Singularity IM, Inc. and required a subscriber's phone number to verify the users' account. In March 2014, support for all third-party messaging networks ended. In January 2018, the app reached 500 million installs. imo.im has implemented end-to-end encryption for its chats and calls, ensuring that the conversations remain private between the sender and receiver.

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