AI Chat Character

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Google Books Ngram Viewer

The Google Books Ngram Viewer is an online search engine that charts the frequencies of any set of search strings using a yearly count of n-grams found in printed sources published between 1500 and 2022 in Google's text corpora in English, Chinese (simplified), French, German, Hebrew, Italian, Russian, or Spanish. There are also some specialized English corpora, such as American English, British English, and English Fiction. The program can search for a word or a phrase. The n-grams are matched with the text within the selected corpus, and if found in 40 or more books, are then displayed as a graph. The program supports searches for parts of speech and wildcards. It is routinely used in research. == History == The Ngram Viewer was created by Google software engineers Will Brockman and Jon Orwant , who teamed up with Harvard researchers Jean-Baptiste Michel and Erez Lieberman Aiden. The service was released on December 16, 2010. Before the release, it was difficult to quantify the rate of linguistic change because of the absence of a database that was designed for this purpose, said Steven Pinker, a well-known linguist who was one of the co-authors of the Science paper published on the same day. The Google Books Ngram Viewer was developed in the hope of opening a new window to quantitative research in the humanities field, and the database contained 500 billion words from 5.2 million books publicly available from the very beginning. The intended audience was scholarly, but the Google Books Ngram Viewer made it possible for anyone with a computer to see a graph that represents the diachronic change of the use of words and phrases with ease. Lieberman said in response to The New York Times that the developers aimed to provide even children with the ability to browse cultural trends throughout history. In the Science paper, Lieberman and his collaborators called the method of high-volume data analysis in digitized texts "culturomics". == Usage == Commas delimit user-entered search terms, where each comma-separated term is searched in the database as an n-gram (for example, "nursery school" is a 2-gram or bigram). The Ngram Viewer then returns a plotted line chart. Due to limitations on the size of the Ngram database, only matches found in at least 40 books are indexed. == Limitations == The data sets of the Ngram Viewer have been criticized for their reliance upon inaccurate optical character recognition (OCR) and for including large numbers of incorrectly dated and categorized texts. Because of these errors, and because they are uncontrolled for bias (such as the increasing amount of scientific literature, which causes other terms to appear to decline in popularity), care must be taken in using the corpora to study language or test theories. Furthermore, the data sets may not reflect general linguistic or cultural change and can only hint at such an effect because they do not involve any metadata like date published, author, length, or genre, to avoid any potential copyright infringements. Systemic errors like the confusion of s and f in pre-19th century texts (due to the use of ſ, the long s, which is similar in appearance to f) can cause systemic bias. Although the Google Books team claims that the results are reliable from 1800 onwards, poor OCR and insufficient data mean that frequencies given for languages such as Chinese may only be accurate from 1970 onward, with earlier parts of the corpus showing no results at all for common terms, and data for some years containing more than 50% noise. Guidelines for doing research with data from Google Ngram have been proposed that try to address some of the issues discussed above.
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FreePBX Distro

The FreePBX Distro was a freeware unified communications software system that consisted of FreePBX, a graphical user interface (GUI) for configuring, controlling and managing Asterisk PBX software. The FreePBX Distro included packages that offer VoIP, PBX, Fax, IVR, voice-mail and email functions. The FreePBX Distro Linux distribution was based on CentOS, which maintains binary compatibility with Red Hat Enterprise Linux. FreePBX has contributed to the popularity of Asterisk. As a result of CentOS Linux being discontinued and the last version of CentOS 7 going out of support on June 30, 2024, FreePBX 17 has moved over to and is supported on Debian Linux. FreePBX will no longer be providing a pre-configured FreePBX Distro, but will provide a script to install FreePBX on a fresh install of Debian Linux. In-place migration will not be possible, but will be possible by restoring a backup on the new version from the previous version. As FreePBX 16 will be supported until the release of FreePBX 18, FreePBX on this distribution will still work and be supported, however, there will be no further support for the underlying operating system. == Installation == The Official FreePBX Distro is installed from a ISO image available by web download, that includes the system CentOS, Asterisk, FreePBX GUI and assorted dependencies. This can then either be burned to DVD or written to a USB stick for installation == Support for telephony hardware == The FreePBX Distro has built-in support for cards from multiple vendors, including Digium, OpenVox, Alto, Rhino Equipment, Xorcom and Sangoma. The FreePBX Distro supports a large number of phone models via open-source modules. Supported VoIP phone manufacturers include Algo, AND, AudioCodes, Cisco, Cyberdata, Digium, Grandstream, Mitel/Aastra, Nortel/Avaya, Panasonic, Polycom, Sangoma, Snom, Xorcom and Yealink. == Development == FreePBX made its debut in 2004 as the AMP project (Asterisk Management Portal). The FreePBX Distro was released in 2011 as an turnkey solution for building a PBX using Asterisk, CentOS and FreePBX. FreePBX has over 1 million active production PBXs and over 20,000 new systems added each month. The core telephony engine is Asterisk, as configured by the Open Source FreePBX GUI. The last stable release is FreePBX Distro Stable SNG7-PBX16-64bit-2302-1 based on these main components: FreePBX 16 CentOS 7.8 Asterisk 16, 18, 19 (20 supported by upgrade once installed)
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Robert Abel and Associates

Robert Abel and Associates (RA&A) was an American pioneering animation production company specializing in television commercials made with computer graphics. Founded by Robert Abel and Con Pederson in 1971, RA&A was especially known for their art direction and won many Clio Awards. Abel and his team created some of the most advanced and impressive computer-animated works of their time, including full ray-traced renders and fluid character animation at a time when such things were largely unknown. A variety of high-profile television advertisements, graphics sequences for motion pictures (including The Andromeda Strain and Tron), and work on laserdisc video games such as Cube Quest, put Abel and his team on the map in the early 1980s. The company was also originally commissioned to create the visual effects for Star Trek: The Motion Picture, but were subsequently taken off the project for mishandling funds. The company was also notable on its work for The Jacksons' 1981 music video "Can You Feel It." RA&A was on the southwest corner of Highland Avenue and Romaine in the heart of Hollywood, California. RA&A closed in 1987 following an ill-fated merger with now-defunct Omnibus Computer Graphics, Inc., a company which had been based in Toronto. Many people who worked at RA&A went on to other ground-breaking projects, including the founding of Wavefront Technologies, Rhythm & Hues and other studios. Many RA&A people went on to win Academy Awards.
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WebAR

WebAR, previously known as the Augmented Web, is a web technology that allows for augmented reality functionality within a web browser. It is a combination of HTML, Web Audio, WebGL, and WebRTC. From 2020s more known as web-based Augmented Reality or WebAR, which is about the use of augmented reality elements in browsers. It was the focus of a Birds of a Feather meeting at ISMAR2012 and is now the focus of the W3C Augmented Web Community Group. == Features == Browser augmented reality for smartphones has a number of features that distinguish it from similar content in special apps. No special applications are needed for Web AR. A regular browser is enough. And it can run to a certain extent on most browsers. It is easy to set up marketing analytics. By connecting the website to services that collect statistics, it is convenient to receive geographic coordinates, demographic characteristics and other information about users. Ability to add a CTA button. It is extremely important for marketing websites to place it so that the user can add contact information or place an order after considering the offer. Rich content. Browser augmented reality for tablets and smartphones supports 2D and 3D graphics, animation and other formats. Image marker tracking. If a QR code is selected as an activator for an AR element or just a picture on a flat surface, the device can easily read it. Various activation ways. Web AR can be marker and markerless, attached to geolocation, it can also be hidden in a direct link. Game content. Even simple games with simple mechanics, transferred into augmented reality, can delight the website visitor. Cross-platform. You can view content that complements our usual reality using any modern smartphone model. == Limitations == Performance is simply better on an app, where there's capacity for more memory and programs are executed in native code therefore it provides better visuals, better animations and better interactivity than in WebAR experience. A web page can only have access to certain parts of the device you're using, whereas a native app can access all of a device's capabilities. Meaning if you want the convenience of WebAR, you need to be thinking of simple but effective experiences instead. Compatibility. Not every mobile device has the required HW for AR performance. == Implementation == Browser support is evolving quickly and can best be monitored using services like Can I Use. Since this is a web application, there are platforms that support the creation of WebAR that are similar to normal web development platforms. Something which enables the creation of 3D assets and environments using a web framework that looks similar to HTML. Applications (like for example – A-Frame) are supported by 8th Wall, which is by the end of 2021 the leading SLAM tracking SDK for WebAR on the market. WebAR is currently limited mostly by the browser – so how much the technology will develop rather depends on what the big players like Google and Apple develop. For iOS device users, Apple developed AR Quick Look, an extension that enables users to use ARKit on the web. For Android devices your browser should support WebXR, an API that allows users to view AR/VR content without installing extra plugins or software, and have ARCore installed. There are many tools and frameworks that help developers in expanding the immersive web with WebAR. For example, AR.js is an open-source library for Augmented Reality on the Web for improved WebAR performance on smartphones that includes marker-based technology (simplified QR-codes) and location-based AR. Apple at the WWDC Conference 2018, announced that it has developed a new file format, working together with Pixar, called USDZ Universal. This file will allow developers to create 3d models for augmented reality. USDZ format was created by Apple together with Pixar Animation Studio and allowed developers to create 3D models for AR. == Industries == Where WebAR can be used from virtual guides, which can help students navigate through campus to virtual film posters: E-commerce and Advertising. Education. Entertainment. Business. Fashion. == Examples == Promotion of Spider-Man: Into the Spider-Verse for which 8th Wall developed the AR platform that made this interactive WebAR promoting the Sony animated smash hit. Everyone can invite teenage Spiderman/Miles Morales into their homes for some one-on-one interaction, take pictures and share the experience with friends. Sony Pictures included the QR code to launch this WebAR site in print promotions for the movie. Also in 2017 the advertising of Jumanji: The Next Level gave us the world's first WebAR activation with usage of Amazon Lex to power voice interaction (the same tool that powers Amazon Alexa), the experience sends users on a wild 3D adventure into the world of Jumanji! This was a collaboration between Sony Pictures and Trigger - The Mixed Reality Agency. The WebAR technology is powered by 8th Wall. And you can check it via the link to the official YouTube recording of the experience. RPR & Microsoft's Holographic Retail Platform, where Web AR brings a new twist to online shopping by allowing users to interact with 3D holographic images of models right from their smartphones' browsers. This experience is designed to increase buyer confidence and reduce clothing returns, which are two of the greatest challenges to purchasing clothing online. Digital Porsche Brand Academy was developed by the Team of svarmony Technologies GmbH and it is the first-to-market training tool that uses augmented reality to provide Porsche employees an immersive experience learning about the company's history and values. The star of this WebAR experience is an animated avatar that serves as a tour guide for Porsche's past, present, and future. Employees can explore realistically animated Porsche-locations, take a ride in a virtual Porsche, help assemble a car, and test Porsche knowledge via a quiz. The Digital Porsche Brand Academy is a great starter kit for employees to establish a relationship with the brand and align with the company's plans. == Future == By freeing smartphone users from having to install numerous apps, WebAR can make Augmented Reality far more accessible for them and more beneficial for business. The further development of the WebAR can be accelerated by the widespread social acceptance of the headsets that can give the whole other level of AR experience. This means instant access to the information when the contextually relevant content is appearing as the person's real background is changing.
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Contract management software

Contract management software constitutes software and associated data management used to support contract management, contract lifecycle management, and contractor management on projects in the procurement of goods and services. It may be used together with project management software. == History == Historically, contract management was seen as a "paper-intensive" process. Early steps from the early 2000's reported by the Aberdeen Group required extensive data conversion work to enable documents to be handled electronically. With the adoption of the European Union's General Data Protection Regulation (GDPR) in 2016, companies needed to take additional steps in regards to contract management. Each data responsible entity was obliged to sign data processing agreements (DPAs) with the various vendors, who treat personal data on behalf of the data responsible. DPAs need to be regularly controlled, adjusted and renewed, which adds an extra agreement to such vendors or at least an extra DPA addendum to each agreement. By 2018, Ardent Partner's research had found that software used for automating contract management activities was being more extensively used among major companies or businesses with "Best-in-Class" procurement teams. Contract management process automation was found to be closely linked with more effective internal business collaboration, standardization and risk management. == Advantages and key functions == Using contract management software can have multiple benefits compared to manually managing paper contracts. This software can help keep track of multiple activities and can have features for automating administration, ensuring compliance, monitoring risk, running reports and triggering alerts. In addition to these types of features, contract management software systems provide a centralized repository for employees to quickly access all contracts worldwide in one place. Contract management software is produced by many companies, working on a range of scales and offering varying degrees of customizability. Basic functions should include the ability to store contract documents, track changes to contract documents, search documents for a particular criterion, send key date alerts and to report required aspects of the contract. Other functions include managing a new contract request, capturing related data, following a document through a review and approval process, and collecting digital signatures. Contract management software may also be an aid to project portfolio management and spend analysis, and may also monitor KPIs. Leading contract management software provides contract visibility, monitoring, and compliance to automate and streamline the contract lifecycle process. Contract management software which uses artificial intelligence (AI) can identify contract types based on pattern recognition. AI contracting software trains its algorithms on a set of contract data to recognize patterns and extract variables such as clauses, dates, and parties. It also offers simple prediction capabilities, by sorting through a large volume of contracts and flagging individual contracts based on specified criteria. AI software can also read contracts in multiple formats and languages, extract contract data, and provide analytics. It can reduce the risk of human error in contract drafting and review. A centralized repository provides a critical advantage allowing for all contract documents to be stored within one location. Having contracts stored in multiple locations can delay and interrupt the contracting process. == Contract risk management software (CRMS) for capital projects == Very large enterprises, such as capital expenditure (capex) projects, involve multiple parties and high risk and uncertainty. They are unlike traditional operating contracts in that they are subject to shared deadlines in unique situations. As the complexity of these unique projects increases, the relationships between parties become more important. This requires contract management software, or contract risk management software (CRMS), to become more dynamic and responsive. The terms of these capex contracts necessarily involve assumptions at the start of the process and are likely to change over the lifetime of the project lifecycle. For this reason, CRMS must be capable of recording one single instance of agreed changes to contract terms and incorporating these changes in an auditable and legally robust way. With multiple decision makers involved, CRMS should also make accountability more transparent and enable faster decisions about variation proposals.
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Webby Awards

The Webby Awards (colloquially referred to as the Webbys) are awards for excellence on the Internet presented annually by the International Academy of Digital Arts and Sciences, a judging body composed of over three thousand industry experts and technology innovators. Categories include websites, advertising and media, online film and video, mobile sites and apps, and social. Two winners are selected in each category, one by members of The International Academy of Digital Arts and Sciences, and one by the public who cast their votes during Webby People's Voice voting. Each winner presents a five-word acceptance speech, a trademark of the annual awards show. In its early years, the award was hailed as the "Internet's highest honor" and was associated with the phrase "The Oscars of the Internet." == History == In its early years, the organization was one of several vying to be the premiere internet awards show. Both shows would compare themselves to the Oscars, as did media outlets such as The New York Times to Canada's Globe & Mail. The winners of the First Annual Webby Awards in 1995 were presented by John Brancato and Michael Ferris, writers for Columbia Pictures. It was held at the Hollywood Roosevelt Hotel. The televised Webby Awards were sponsored by the Academy of Web Design and Cool Site of the Day. The first Webby Awards were produced by Kay Dangaard at the Hollywood Roosevelt Hotel as a nod to the first site of the Academy of Motion Picture Arts and Sciences (Oscars). That first year, they were called "Webbie" Awards. The first "Site of the Year" winner was the pioneer webisodic serial The Spot. The modern Webby Awards were co-founded by Tiffany Shlain, a filmmaker, when she was hired by The Web Magazine to re-establish them, and were first held in San Francisco in 1997. They quickly became known for its requirement that winners give their acceptance speeches in five words. After this, the awards became more successful than the magazine and IDG closed the publication. Shlain and co-founder Maya Draisin Farrah continued to run The Webby Awards until 2004. The International Academy of Digital Arts and Sciences, which selects the winners of The Webby Awards, was established in 1998 by co-founders Tiffany Shlain, Spencer Ante and Maya Draisin. Members of the Academy include Kevin Spacey, Grimes, Questlove, Internet inventor Vint Cerf, Instagram's Head of Fashion Partnerships Eva Chen, comedian Jimmy Kimmel, Twitter founder Biz Stone, Vice Media co-founder and CEO Shane Smith, Tumblr's David Karp, Director of Harvard's Berkman Klein Center for Internet & Society Susan P. Crawford, Refinery29's Executive Creative Director Piera Gelardi, and CEO and co-founder of Gimlet Media Alex Blumberg. The Webby Awards is owned and operated by the Webby Media Group, a division of Recognition Media, which also owns and produces the Lovie Awards in Europe and Netted by the Webbys, a daily email publication launched in 2009. David-Michel Davies, CEO of Webby Media Group, current Executive Director of the Webby Awards and co-founder of Internet Week New York, was named Executive Director of the Webby Awards in 2005. In 2009, the 13th Annual Webby Awards received nearly 10,000 entries from all 50 US states and over 60 countries. That same year, more than 500,000 votes were cast in The Webby People's Voice Awards. In 2012, the 16th Annual Webby awards received 1.5 million votes from more than 200 countries for the People's Voice awards. In 2015, the 19th Annual Webby Awards received nearly 13,000 entries from all 50 U.S. states and over 60 countries worldwide. == Nomination process == The 2000 awards began the transition to nominee submissions. Previously, nominees had been selected by an internal committee. As early as 2017, organizations wanting to nominate themselves were charged $395 for a single entry. An "ad campaign entry" would cost $595. By 2024, those fees had risen to $495 and $675, respectively. Executive Academy Members with category-specific expertise evaluate the shortlisted entries based on the appropriate Website, Advertising & Media, Online Film & Video, Mobile Sites & Apps, and Social category criteria, and cast ballots to determine Webby Honorees, Nominees and Webby Winners. Deloitte provides vote tabulation consulting for the Webby Awards. In addition to the award given in each category by the International Academy of Digital Arts and Sciences, another winner is selected in each category as determined by the general public during People's Voice voting. Winners of both the Academy-selected and People's Voice-selected awards are invited to the Webbys. == Awards granted == The Webby Awards are presented in over a hundred categories among all four types of entries. A website can be entered in multiple categories and receive multiple awards. In each category, two awards are handed out: a Webby Award selected by The International Academy of Digital Arts and Sciences, and a People's Voice Award selected by the general public. == Ceremony == Between 2005 and 2019, the Webby Awards were presented in New York City. Many of the ceremony hosts are comedians and comedic actors. Comedian Rob Corddry hosted the ceremony from 2005 to 2007. Seth Meyers of Saturday Night Live hosted in 2008 and 2009, B.J. Novak of the sitcom The Office in 2010, and Lisa Kudrow in 2011. Comedian, actor, and writer Patton Oswalt hosted from 2012 to 2014. Comedian Hannibal Buress hosted in 2015. The Webbys are famous for limiting recipients to five-word speeches, which are often humorous, although some exceed the limit. In 2005 when accepting his Lifetime Achievement Award, former Vice President Al Gore's speech was "Please don't recount this vote." He was introduced by Vint Cerf who used the same format to state, "We all invented the Internet." In 2013, the creator of the Graphics Interchange Format (GIF), Steve Wilhite, accepted his Webby and delivered his now famous five-word speech, "It's pronounced 'Jif' not 'Gif'." == Criticism == The Webbys have been criticized for their pay-to-enter and pay-to-attend policy (winners and nominees also have to pay to attend the award ceremony), and thus for not taking most websites into consideration before distributing their awards. Gawker, its Valleywag column, and others, have called the awards a scam, with Valleywag saying, "...somewhere along the way, the organizers figured out that this goofy charade could be milked for profit." In response, Webby Awards executive director David-Michel Davies told the Wall Street Journal that entry fees "provide the best and most sustainable model for ensuring that our judging process remains consistent and rigorous and is not dependent on things like sponsorships that can fluctuate from year to year." == Anthem Awards == In 2021, the Webby organization started a new line of awards, the Anthem Awards, to honor the purpose and mission-driven work of people, companies and organizations worldwide. The finalists and winners are selected by the International Academy of Digital Arts and Sciences.
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Online exhibition

An online exhibition, also referred to as a virtual exhibition, online gallery, cyber-exhibition, is an exhibition whose venue is cyberspace. Museums and other organizations create online exhibitions for many reasons. For example, an online exhibition may: expand on material presented at, or generate interest in, or create a durable online record of, a physical exhibition; save production costs (insurance, shipping, installation); solve conservation/preservation problems (e.g., handling of fragile or rare objects); reach lots more people: "Access to information is no longer restricted to those who can afford travel and museum visits, but is available to anyone who has access to a computer with an Internet connection. Unlike physical exhibitions, online exhibitions are not restricted by time; they are not forced to open and close but may be available 24 hours a day. In the nonprofit world, many museums, libraries, archives, universities, and other cultural organizations create online exhibitions. A database of such exhibitions is Library and Archival Exhibitions on the Web. Online exhibition organizers may use techniques such as marquee text, display advertisements, and in-event emails to engage patrons. Various guides have been published to help organizations create effective online exhibitions. The earliest museum with a physical existence to create a programme of substantial online exhibitions with high resolution images of artefacts was the Museum of the History of Science in Oxford, the first of which, The Measurers: a Flemish Image of Mathematics in the Sixteenth Century and an exhibition of early photographs, were published on 21 August 1995. == Examples of online exhibitions == International Museum of Women is an online-only museum that does not have a physical building and instead offers online exhibitions about women's issues globally as well as an online community. Online exhibitions include "Imagining Ourselves" (launched 2006) about women's identity, "Women, Power and Politics" (2008), and "Economica: Women and the Global Economy" (2009). Tucson LGBTQ Museum is an online-only museum that does not have a physical building and instead offers online exhibitions about LGBTQ history. The online photographic, audio, video, text, and other historical exhibitions include exhibits from the 1700s to the present day. The effort began in the summer of 1967 and spanned almost 50 years. International New Media Gallery (INMG) is an online museum specialising in moving image and screen-based art. The INMG is dedicated to exploring current debates and topics in art history: touching on areas such as migration, war, environmental activism and the internet itself. The gallery publishes extensive academic catalogues alongside its exhibitions. It also hosts spaces for discussion and debate, both online and offline. Virtual Museum of Modern Nigerian Art – the VMMNA is the first of its kind in Africa. Hosted by the Pan-African University, Lagos, Nigeria this virtual museum offers a good view of the development on Nigerian Art in the past fifty years.
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Gnowit

Gnowit (pronounced "know it") is a Canadian software company that provides automated, near-real-time monitoring of legislative, regulatory, and political activity across Canada. Its platform aggregates and analyzes information from government publications, parliamentary debates, committee, and proceedings to provide searchable alerts and reports for organizations monitoring public policy and regulatory developments. The system uses natural-language processing and machine learning techniques to organize and filter large volumes of public information.; the company reports that new publication documents are captured and millions of items are added to its repository daily. == History, Founders and Leadership == Gnowit was co-founded in Ottawa in 2010 by Shahzad Khan and Mohammad Al-Azzouni; Khan serves as chief executive officer. Khan holds a PhD in Computer Science from the University of Cambridge, has more than two decades of experience in AI/ML and computational linguistics, and has authored or co-authored 37 peer-reviewed publications and five patents. Traditionally, companies performed this analysis manually; Gnowit has delivered efficiencies achieved through AI innovations. The company has participated in several Canadian startup and accelerator programs, including Carleton University's Lead To Win initiative, the University of Ottawa's Startup Garage, the Invest Ottawa incubator, and the League of Innovators' BOOST program. === Kubernetes validation (2019–2020) === As part of a Canada's Centre of Excellence in Next Generation Networks (CENGN) project, Gnowit validated a containerized version of its web-intelligence software on Kubernetes. Between 2019 and 2020, Gnowit participated in a project with Canada’s Centre of Excellence in Next Generation Networks (CENGN) to test and scale its platform using containerized infrastructure based on Kubernetes. The initiative focused on improving scalability and supporting the company’s transition from a monolithic software architecture to a cloud-native deployment model. == Products and services == Gnowit markets several modules for public-affairs, compliance, and market-intelligence teams. Legislative & Regulatory Monitoring (vAnalyst). vAnalyst is a monitoring platform that tracks legislative and regulatory activity across Canadian federal, provincial, and territorial jurisdictions. The system aggregates parliamentary debates, bills, committee proceedings, and regulatory publications and provides searchable alerts and reporting tools. The product monitors more than two million web sources to surface relevant items quickly. Parliamentary Live (vAnalyst). Monitors live video feeds from parliamentary sessions and committees with same-day transcripts, AI-generated summaries, witness summaries, and motion detection; municipal coverage is offered as an option. Gnowit can avail transcripts up to two weeks before official releases. These transcripts enable users to navigate and review lengthy parliamentary sittings and committee discussions through searchable text. Municipal Monitoring (vAnalyst). The platform also tracks council meetings, agendas, bylaws, and other municipal government publications from hundreds of Canadian municipalities. The platform aggregates these sources into a single searchable interface for reviewing local government decisions. Curation Edge (analyst service). Curation Edge is an add-on service in which expert analysts work and collaborate with clients to develop a tailored curation guide and deliver daily newsletters or briefs on legislation and media. These reports provide concise summaries, relevant links, and optional metadata, prioritizing key updates with additional context and analysis. The service is customizable, including branding and formatting for executive audiences, and is intended to reduce information overload, support decision-making, and streamline the synthesis and distribution of information. === Coverage and sources === Gnowit monitors sources span Canadian government materials across federal, provincial, and territorial jurisdictions Hansard transcripts (All Jurisdictions, including committees), order papers, committee transcripts, gazettes, bills, acts and regulations, consultations, regulatory-agency publications, and global news media as well as press releases and council-meeting materials from hundreds of municipalities. == Partnerships and support == Gnowit reports collaborations with Canadian academic and ecosystem partners, including: Algonquin College Carleton University McGill University University of Ottawa Université du Québec en Outaouais (UQO) Queen's University The company also participated in the accelerator program at Invest Ottawa and has received support from Canadian research and innovation programs, including: NRC Industrial Research Assistance Program (NRC-IRAP) Mitacs Ontario Centre of Innovation (OCI) (formerly OCE) Gnowit has also referenced membership in the Southern Ontario Smart Computing Innovation Platform (Government of Canada profile: FedDev Ontario – SOSCIP overview). == Technology == Gnowit develops technology intended to support timely decision-making by delivering updates from monitored web sources as they are published. The platform applies artificial intelligence (AI) and machine learning (ML) techniques to monitor, capture, clean, analyze, filter, and organize text, and to generate concise briefs. Its technical approach combines Boolean queries, shallow language processing techniques, and machine learning classifiers within a self-service interface. The company has described its longer-term development framework in relation to a belief–desire–intention (BDI) model of intelligent agents on the web. Gnowit and its founder are listed as inventors/assignees on patents concerning multi-document clustering, salient-content extraction, and sentiment analysis methods that are consistent with these features: US 9,600,470 – Method and system relating to re-labelling multi-document clusters (assignee: Whyz Technologies Ltd.). US 9,336,202 – Method and system relating to salient content extraction for information retrieval (assignee: Whyz Technologies Ltd.). CA 2,865,184 C – Method and system relating to re-labelling multi-document clusters. CA 2,865,186 C – Procédé et système concernant l'analyse de sentiment d'un contenu (sentiment analysis; French record). CA 2,865,187 C – Method and system relating to salient content extraction for information retrieval. == Research and community == In January 2025, Gnowit personnel contributed to regulatory NLP by co-authoring a peer-reviewed paper at the 1st Regulatory NLP Workshop (RegNLP 2025), co-located with COLING in Abu Dhabi. Titled Unifying Large Language Models and Knowledge Graphs for Efficient Regulatory Information Retrieval and Answer Generation, the work introduces PolicyInsight, a framework that joins a dynamic policy data model and knowledge graph with LLMs to monitor policy texts, detect changes, and support retrieval and answer generation; the author list includes Shahzad Khan (CEO, Gnowit Inc.). (ACL Anthology, aclweb.org). Similar information-retrieval technologies are widely used for competitive intelligence, policy monitoring, and media analysis. == White paper == Gnowit has published a practical guide, Automated Government Information Monitoring, which outlines how GR and regulatory teams can design a monitoring and briefing workflow and describes Gnowit's automation features and export options (PDF, email, dashboards, CSV/JSON/XML/API).
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Automatic acquisition of sense-tagged corpora

The knowledge acquisition bottleneck is perhaps the major impediment to solving the word-sense disambiguation (WSD) problem. Unsupervised learning methods rely on knowledge about word senses, which is barely formulated in dictionaries and lexical databases. Supervised learning methods depend heavily on the existence of manually annotated examples for every word sense, a requisite that can so far be met only for a handful of words for testing purposes, as it is done in the Senseval exercises. == Existing methods == Therefore, one of the most promising trends in WSD research is using the largest corpus ever accessible, the World Wide Web, to acquire lexical information automatically. WSD has been traditionally understood as an intermediate language engineering technology which could improve applications such as information retrieval (IR). In this case, however, the reverse is also true: Web search engines implement simple and robust IR techniques that can be successfully used when mining the Web for information to be employed in WSD. The most direct way of using the Web (and other corpora) to enhance WSD performance is the automatic acquisition of sense-tagged corpora, the fundamental resource to feed supervised WSD algorithms. Although this is far from being commonplace in the WSD literature, a number of different and effective strategies to achieve this goal have already been proposed. Some of these strategies are: acquisition by direct Web searching (searches for monosemous synonyms, hypernyms, hyponyms, parsed gloss' words, etc.), Yarowsky algorithm (bootstrapping), acquisition via Web directories, and acquisition via cross-language meaning evidences. == Summary == === Optimistic results === The automatic extraction of examples to train supervised learning algorithms reviewed has been, by far, the best explored approach to mine the web for word-sense disambiguation. Some results are certainly encouraging: In some experiments, the quality of the Web data for WSD equals that of human-tagged examples. This is the case of the monosemous relatives plus bootstrapping with Semcor seeds technique and the examples taken from the ODP Web directories. In the first case, however, Semcor-size example seeds are necessary (and only available for English), and it has only been tested with a very limited set of nouns; in the second case, the coverage is quite limited, and it is not yet clear whether it can be grown without compromising the quality of the examples retrieved. It has been shown that a mainstream supervised learning technique trained exclusively with web data can obtain better results than all unsupervised WSD systems which participated at Senseval-2. Web examples made a significant contribution to the best Senseval-2 English all-words system. === Difficulties === There are, however, several open research issues related to the use of Web examples in WSD: High precision in the retrieved examples (i.e., correct sense assignments for the examples) does not necessarily lead to good supervised WSD results (i.e., the examples are possibly not useful for training). The most complete evaluation of Web examples for supervised WSD indicates that learning with Web data improves over unsupervised techniques, but the results are nevertheless far from those obtained with hand-tagged data, and do not even beat the most-frequent-sense baseline. Results are not always reproducible; the same or similar techniques may lead to different results in different experiments. Compare, for instance, Mihalcea (2002) with Agirre and Martínez (2004), or Agirre and Martínez (2000) with Mihalcea and Moldovan (1999). Results with Web data seem to be very sensitive to small differences in the learning algorithm, to when the corpus was extracted (search engines change continuously), and on small heuristic issues (e.g., differences in filters to discard part of the retrieved examples). Results are strongly dependent on bias (i.e., on the relative frequencies of examples per word sense). It is unclear whether this is simply a problem of Web data, or an intrinsic problem of supervised learning techniques, or just a problem of how WSD systems are evaluated (indeed, testing with rather small Senseval data may overemphasize sense distributions compared to sense distributions obtained from the full Web as corpus). In any case, Web data has an intrinsic bias, because queries to search engines directly constrain the context of the examples retrieved. There are approaches that alleviate this problem, such as using several different seeds/queries per sense or assigning senses to Web directories and then scanning directories for examples; but this problem is nevertheless far from being solved. Once a Web corpus of examples is built, it is not entirely clear whether its distribution is safe from a legal perspective. === Future === Besides automatic acquisition of examples from the Web, there are some other WSD experiments that have profited from the Web: The Web as a social network has been successfully used for cooperative annotation of a corpus (OMWE, Open Mind Word Expert project), which has already been used in three Senseval-3 tasks (English, Romanian and Multilingual). The Web has been used to enrich WordNet senses with domain information: topic signatures and Web directories, which have in turn been successfully used for WSD. Also, some research benefited from the semantic information that the Wikipedia maintains on its disambiguation pages. It is clear, however, that most research opportunities remain largely unexplored. For instance, little is known about how to use lexical information extracted from the Web in knowledge-based WSD systems; and it is also hard to find systems that use Web-mined parallel corpora for WSD, even though there are already efficient algorithms that use parallel corpora in WSD.
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Control communications

In telecommunications, control communications is the branch of technology devoted to the design, development, and application of communications facilities used specifically for control purposes, such as for controlling (a) industrial processes, (b) movement of resources, (c) electric power generation, distribution, and utilization, (d) communications networks, and (e) transportation systems.
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Futel

Futel is a public arts organization in Portland, Oregon dedicated to preserving and maintaining public telephone hardware and offering free phone and basic information services. Futel was founded by Karl Anderson, a former software engineer, and Elijah St. Clair. == Technology == Karl Anderson stated that one motivation for the project was to explore the idea of urban furniture. Other reasons were to preserve an important part of hacker history, and to salvage and re-use manufactured items at the end of their lifecycle. The original Futel phones were set up in Portland, Oregon. The organization cleans and repurposes old public payphones which are often salvaged from Craigslist or scrappers. Using interface boxes, they are converted into VoIP phones which are made available publicly, with no cost for phone calls. Anderson has said the service runs on "Asterisk and OpenVPN and a lot of scripts." The payphones operate using publicly-available internet connections. The phones have automated phone trees and users can make a call to local social services, to a weather forecast line, or access local transit information. Volunteers act as telephone operators, offering information about the Futel service, or are available for conversation. Users using Futel's phones may also access voicemail boxes. The system has a "wildcard line" where people can listen to samples of audio left on the main voicemail line along with commentary from Anderson and others. == Network == In February 2021, there were 10 Futel phones in Portland and 3 in other cities. Phones were set up in Detroit and Ypsilanti, Michigan, and Long Beach, Washington. The organization has provided free phone service for a Portland-area homeless encampment after receiving funding from the Awesome Foundation. In 2019 the organization reported their phones being used to make 12,000 phone calls. Futel also said their usage went up and not down during the first year of the COVID-19 pandemic when they outfitted their phone kiosks with handwashing stations and used volunteers to keep the phones clean. The project is funded is primarily through grants and is staffed with volunteers. The project has inspired others such as the PhilTel project in Philadelphia and the RandTel project in Randolph, Vermont. Futel publishes a zine called Party Line.
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International Webmasters Association

The International Webmasters Association (IWA) is a non-profit association for education and certification of web professionals founded in 1996. It provides a Certified Web Professional certification. One of its objectives is to build a World Wide Web that is a true global community. According to the IWA, as of 2025 it has more than 100 official chapters with over 300,000 individual members in 106 countries. In 2001, the IWA merged with the HTML Writers Guild (HWG) and joined the World Wide Web Consortium (W3C). IWA's accomplishments include the publishing of the industry's first guidelines for ethical and professional standards, web certification and education programs, specialized employment resources, and technical assistance to individuals and businesses. IWA members participate to the activities of W3C WCAG Working Group, ATAG Working Group, and the XHTML Working Group. They have also participated in other initiatives such as the Multimodal Interaction Working Group which developed EMMA, the Extensible MultiModal Annotation markup language.
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Color normalization

Color normalization is a topic in computer vision concerned with artificial color vision and object recognition. In general, the distribution of color values in an image depends on the illumination, which may vary depending on lighting conditions, cameras, and other factors. Color normalization allows for object recognition techniques based on color to compensate for these variations. == Main concepts == === Color constancy === Color constancy is a feature of the human internal model of perception, which provides humans with the ability to assign a relatively constant color to objects even under different illumination conditions. This is helpful for object recognition as well as identification of light sources in an environment. For example, humans see an object approximately as the same color when the sun is bright or when the sun is dim. === Applications === Color normalization has been used for object recognition on color images in the field of robotics, bioinformatics and general artificial intelligence, when it is important to remove all intensity values from the image while preserving color values. One example is in case of a scene shot by a surveillance camera over the day, where it is important to remove shadows or lighting changes on same color pixels and recognize the people that passed. Another example is automated screening tools used for the detection of diabetic retinopathy as well as molecular diagnosis of cancer states, where it is important to include color information during classification. == Known issues == The main issue about certain applications of color normalization is that the result looks unnatural or too distant from the original colors. In cases where there is a subtle variation between important aspects, this can be problematic. More specifically, the side effect can be that pixels become divergent and not reflect the actual color value of the image. A way of combating this issue is to use color normalization in combination with thresholding to correctly and consistently segment a colored image. == Transformations and algorithms == There is a vast array of different transformations and algorithms for achieving color normalization and a limited list is presented here. The performance of an algorithm is dependent on the task and one algorithm which performs better than another in one task might perform worse in another (no free lunch theorem). Additionally, the choice of the algorithm depends on the preferences of the user for the end-result, e.g. they may want a more natural-looking color image. === Grey world === The grey world normalization makes the assumption that changes in the lighting spectrum can be modelled by three constant factors applied to the red, green and blue channels of color. More specifically, a change in illuminated color can be modelled as a scaling α, β and γ in the R, G and B color channels and as such the grey world algorithm is invariant to illumination color variations. Therefore, a constancy solution can be achieved by dividing each color channel by its average value as shown in the following formula: ( α R , β G , γ B ) → ( α R α n ∑ i R , β G β n ∑ i G , γ B γ n ∑ i B ) {\displaystyle \left(\alpha R,\beta G,\gamma B\right)\rightarrow \left({\frac {\alpha R}{{\frac {\alpha }{n}}\sum _{i}R}},{\frac {\beta G}{{\frac {\beta }{n}}\sum _{i}G}},{\frac {\gamma B}{{\frac {\gamma }{n}}\sum _{i}B}}\right)} As mentioned above, grey world color normalization is invariant to illuminated color variations α, β and γ, however it has one important problem: it does not account for all variations of illumination intensity and it is not dynamic; when new objects appear in the scene it fails. To solve this problem there are several variants of the grey world algorithm. Additionally there is an iterative variation of the grey world normalization, however it was not found to perform significantly better. === Histogram equalization === Histogram equalization is a non-linear transform which maintains pixel rank and is capable of normalizing for any monotonically increasing color transform function. It is considered to be a more powerful normalization transformation than the grey world method. The results of histogram equalization tend to have an exaggerated blue channel and look unnatural, due to the fact that in most images the distribution of the pixel values is usually more similar to a Gaussian distribution, rather than uniform. === Histogram specification === Histogram specification transforms the red, green and blue histograms to match the shapes of three specific histograms, rather than simply equalizing them. It refers to a class of image transforms which aims to obtain images of which the histograms have a desired shape. As specified, firstly it is necessary to convert the image so that it has a particular histogram. Assume an image x. The following formula is the equalization transform of this image: y = f ( x ) = ∫ 0 x p x ( u ) d u {\displaystyle y=f(x)=\int \limits _{0}^{x}p_{x}(u)du} Then assume wanted image z. The equalization transform of this image is: y ′ = g ( z ) = ∫ 0 z p z ( u ) d u {\displaystyle y'=g(z)=\int \limits _{0}^{z}p_{z}(u)du} Of course p z ( u ) {\displaystyle p_{z}(u)} is the histogram of the output image. The formula to find the inverse of the above transform is: z = g − 1 ( y ′ ) {\displaystyle z=g^{-1}(y')} Therefore, since images y and y' have the same equalized histogram they are actually the same image, meaning y = y' and the transform from the given image x to the wanted image z is: z = g − 1 ( y ′ ) = g − 1 ( y ) = g − 1 ( f ( x ) ) {\displaystyle z=g^{-1}(y')=g^{-1}(y)=g^{-1}(f(x))} Histogram specification has the advantage of producing more realistic looking images, as it does not exaggerate the blue channel like histogram equalization. === Comprehensive Color Normalization === The comprehensive color normalization is shown to increase localization and object classification results in combination with color indexing. It is an iterative algorithm which works in two stages. The first stage is to use the red, green and blue color space with the intensity normalized, to normalize each pixel. The second stage is to normalize each color channel separately, so that the sum of the color components is equal to one third of the number of pixels. The iterations continue until convergence, meaning no additional changes. Formally: Normalize the color image f ( t ) = [ f i j ( t ) ] i = 1... N , j = 1... M {\displaystyle f^{(t)}=[f_{ij}^{(t)}]_{i=1...N,j=1...M}} which consists of color vectors f i j ( t ) = ( r i j ( t ) , g i j ( t ) , b i j ( t ) ) T . {\displaystyle f_{ij}^{(t)}=(r_{ij}^{(t)},g_{ij}^{(t)},b_{ij}^{(t)})^{T}.} For the first step explained above, compute: S i j := r i j ( t ) + g i j ( t ) + b i j ( t ) {\displaystyle S_{ij}:=r_{ij}^{(t)}+g_{ij}^{(t)}+b_{ij}^{(t)}} which leads to r i j ( t + 1 ) = r i j ( t ) S i j , g i j ( t + 1 ) = g i j ( t ) S i j {\displaystyle r_{ij}^{(t+1)}={\frac {r_{ij}^{(t)}}{S_{ij}}},g_{ij}^{(t+1)}={\frac {g_{ij}^{(t)}}{S_{ij}}}} and b i j ( t + 1 ) = b i j ( t ) S i j . {\displaystyle b_{ij}^{(t+1)}={\frac {b_{ij}^{(t)}}{S_{ij}}}.} For the second step explained above, compute: r ′ = 3 N M ∑ i = 1 N ∑ j = 1 M r i j ( t + 1 ) {\displaystyle r'={\frac {3}{NM}}\sum _{i=1}^{N}\sum _{j=1}^{M}r_{ij}^{(t+1)}} and normalize r i j ( t + 2 ) = r i j ( t + 1 ) r ′ . {\displaystyle r_{ij}^{(t+2)}={\frac {r_{ij}^{(t+1)}}{r'}}.} Of course the same process is done for b' and g'. Then these two steps are repeated until the changes between iteration t and t+2 are less than some set threshold. Comprehensive color normalization, just like the histogram equalization method previously mentioned, produces results that may look less natural due to the reduction in the number of color values.
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PureWow

PureWow is an American digital media company that publishes women's lifestyle content. Acquired by Gary Vaynerchuk in 2017 as part of Gallery Media Group, PureWow tailors lifestyle topics for Millennials and Generation X, including fashion, beauty, home decor, recipes, entertainment, travel, technology, literature, wellness and money. == History == PureWow was founded by Ryan Harwood in September 2010, along with Bob Pittman's Pilot Group and the women of wowOwow Joni Evans, Mary Wells Lawrence, Whoopi Goldberg, Liz Smith, Candice Bergen, and Lesley Stahl, among others. In January 2013, PureWow hired former Real Simple editor Mary Kate McGrath as its first editor-in-chief. In August 2014, PureWow was listed as no. 352 on Inc. Magazine's 2014 list of the top 500 fastest-growing privately owned companies. In May 2015, PureWow raised $2.5 million. In 2017, serial entrepreneur Gary Vaynerchuk and Miami Dolphins' owner Stephen Ross' venture firm, RSE Ventures, acquired PureWow to form Gallery Media Group as a creative agency and media firm. PureWow's CEO, Ryan Harwood serves as the chief executive of Gallery Media Group. == Editions == PureWow publishes national content as well as local content for New York City, Los Angeles, Chicago, San Francisco, Dallas, and the Hamptons. The company publishes content across fashion, beauty, homecare topics, technology, entertainment, books, wellness and finances. PureWow articles are distributed via its website PureWow.com, email, and over social media channels.
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The Morning After (web series)

The Morning After is a Hulu original web series that premiered on January 17, 2011, and ended April 24, 2014. It was produced by Hulu and Jace Hall's HDFilms, streaming Monday through Friday. The show originally featured Brian Kimmet and Ginger Gonzaga as hosts. Later shows used a rotation of hosts including Alison Haislip, Dave Holmes, Damien Fahey, Bradley Hasemeyer, Haley Mancini, Paul Nyhart, and Rachel Perry. The series advertises itself as "a smart, daily shot of pop culture to help Hulu users stay up to date" and typically highlights notable moments from television shows and current news in an entertaining fashion. In keeping with its focus on pop culture, The Morning After will sometimes stream an episode featuring past pop culture titled "From the Archives," such as its April Fools' Day episode. == History == While not the first original series to appear exclusively on Hulu, The Morning After is the company's first self-branded production. It was preceded by If I Can Dream, a reality series co-produced with 19 Entertainment and created by Simon Fuller. Hulu originated the idea in house, based on user feedback and observations from discussion boards hosted by the website. The concept was modeled after The Big Show with Olbermann and Patrick. The company sought out a production partner and ultimately chose Jace Hall and his team at HDFilms to executive produce. Initial stream of the series was held on January 17, 2011, and featured coverage of Piers Morgan, the Golden Globes, and The Bachelor. Senior VP of Content and Distribution Andy Forssell made the announcement for the show the same day. The show aired its last episode April 24, 2014. == Format == A typical episode usually begins with a cold open shared by the varying hosts listing the highlights to be covered. The topics focus on TV and Pop Culture Highlights from the previous night, with the intention of helping Hulu users digest hours of content in a matter of moments. The show has the hosts trade humorous remarks regarding the news and each other, taking turns reviewing the night's TV and injecting their own personality. The Morning After was named as an honoree by the Webbys on April 10, 2012, in the variety section of its online video category.
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