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  • Rademacher complexity

    Rademacher complexity

    In computational learning theory (machine learning and theory of computation), Rademacher complexity, named after Hans Rademacher, measures richness of a class of sets with respect to a probability distribution. The concept can also be extended to real valued functions. == Definitions == === Rademacher complexity of a set === Given a set A ⊆ R m {\displaystyle A\subseteq \mathbb {R} ^{m}} , the Rademacher complexity of A is defined as follows: Rad ⁡ ( A ) := 1 m E σ [ sup a ∈ A ∑ i = 1 m σ i a i ] {\displaystyle \operatorname {Rad} (A):={\frac {1}{m}}\mathbb {E} _{\sigma }\left[\sup _{a\in A}\sum _{i=1}^{m}\sigma _{i}a_{i}\right]} where σ 1 , σ 2 , … , σ m {\displaystyle \sigma _{1},\sigma _{2},\dots ,\sigma _{m}} are independent random variables drawn from the Rademacher distribution i.e. Pr ( σ i = + 1 ) = Pr ( σ i = − 1 ) = 1 / 2 {\displaystyle \Pr(\sigma _{i}=+1)=\Pr(\sigma _{i}=-1)=1/2} for i ∈ { 1 , 2 , … , m } {\displaystyle i\in \{1,2,\dots ,m\}} , and a = ( a 1 , … , a m ) ∈ A {\displaystyle a=(a_{1},\ldots ,a_{m})\in A} . Some authors take the absolute value of the sum before taking the supremum, but if A {\displaystyle A} is symmetric this makes no difference. === Rademacher complexity of a function class === Let S = { z 1 , z 2 , … , z m } ⊆ Z {\displaystyle S=\{z_{1},z_{2},\dots ,z_{m}\}\subseteq Z} be a sample of points and consider a function class F {\displaystyle {\mathcal {F}}} of real-valued functions over Z {\displaystyle Z} . Then, the empirical Rademacher complexity of F {\displaystyle {\mathcal {F}}} given S {\displaystyle S} is defined as: Rad S ⁡ ( F ) = 1 m E σ [ sup f ∈ F | ∑ i = 1 m σ i f ( z i ) | ] {\displaystyle \operatorname {Rad} _{S}({\mathcal {F}})={\frac {1}{m}}\mathbb {E} _{\sigma }\left[\sup _{f\in {\mathcal {F}}}\left|\sum _{i=1}^{m}\sigma _{i}f(z_{i})\right|\right]} This can also be written using the previous definition: Rad S ⁡ ( F ) = Rad ⁡ ( F ∘ S ) {\displaystyle \operatorname {Rad} _{S}({\mathcal {F}})=\operatorname {Rad} ({\mathcal {F}}\circ S)} where F ∘ S {\displaystyle {\mathcal {F}}\circ S} denotes function composition, i.e.: F ∘ S := { ( f ( z 1 ) , … , f ( z m ) ) ∣ f ∈ F } {\displaystyle {\mathcal {F}}\circ S:=\{(f(z_{1}),\ldots ,f(z_{m}))\mid f\in {\mathcal {F}}\}} The worst case empirical Rademacher complexity is Rad ¯ m ( F ) = sup S = { z 1 , … , z m } Rad S ⁡ ( F ) {\displaystyle {\overline {\operatorname {Rad} }}_{m}({\mathcal {F}})=\sup _{S=\{z_{1},\dots ,z_{m}\}}\operatorname {Rad} _{S}({\mathcal {F}})} Let P {\displaystyle P} be a probability distribution over Z {\displaystyle Z} . The Rademacher complexity of the function class F {\displaystyle {\mathcal {F}}} with respect to P {\displaystyle P} for sample size m {\displaystyle m} is: Rad P , m ⁡ ( F ) := E S ∼ P m [ Rad S ⁡ ( F ) ] {\displaystyle \operatorname {Rad} _{P,m}({\mathcal {F}}):=\mathbb {E} _{S\sim P^{m}}\left[\operatorname {Rad} _{S}({\mathcal {F}})\right]} where the above expectation is taken over an identically independently distributed (i.i.d.) sample S = ( z 1 , z 2 , … , z m ) {\displaystyle S=(z_{1},z_{2},\dots ,z_{m})} generated according to P {\displaystyle P} . == Intuition == The Rademacher complexity is typically applied on a function class of models that are used for classification, with the goal of measuring their ability to classify points drawn from a probability space under arbitrary labellings. When the function class is rich enough, it contains functions that can appropriately adapt for each arrangement of labels, simulated by the random draw of σ i {\displaystyle \sigma _{i}} under the expectation, so that this quantity in the sum is maximized. The Rademacher complexity of a set A {\displaystyle A} can be rewritten as Rad ⁡ ( A ) := 1 m E σ [ sup a ∈ A ∑ i = 1 m σ i a i ] = 1 m 2 m ∑ σ ∈ { − 1 / m , + 1 / m } m [ sup a ∈ A ⟨ σ , a ⟩ ] . {\displaystyle \operatorname {Rad} (A):={\frac {1}{m}}\mathbb {E} _{\sigma }\left[\sup _{a\in A}\sum _{i=1}^{m}\sigma _{i}a_{i}\right]={\frac {1}{{\sqrt {m}}2^{m}}}\sum _{\sigma \in \{-1/{\sqrt {m}},+1/{\sqrt {m}}\}^{m}}\left[\sup _{a\in A}\langle \sigma ,a\rangle \right].} Each term in the summation is the farthest distance of the set A {\displaystyle A} from the origin, along a unit-length direction σ {\displaystyle \sigma } . The directions are along the vertices of a hypercube. Thus, we can also write it as Rad ⁡ ( A ) = 1 2 m 1 2 m − 1 ∑ σ ∈ { − 1 / m , + 1 / m } m / { − 1 , + 1 } [ sup a ∈ A ⟨ σ , a ⟩ − inf a ∈ A ⟨ σ , a ⟩ ] {\displaystyle \operatorname {Rad} (A)={\frac {1}{2{\sqrt {m}}}}{\frac {1}{2^{m-1}}}\sum _{\sigma \in \{-1/{\sqrt {m}},+1/{\sqrt {m}}\}^{m}/\{-1,+1\}}\left[\sup _{a\in A}\langle \sigma ,a\rangle -\inf _{a\in A}\langle \sigma ,a\rangle \right]} Here, the set { − 1 / m , + 1 / m } m / { − 1 , + 1 } {\displaystyle \{-1/{\sqrt {m}},+1/{\sqrt {m}}\}^{m}/\{-1,+1\}} denotes half of the vertices of a hypercube, selected so that each diagonal has exactly one vertex selected. In words, this states that 2 m Rad ⁡ ( A ) {\displaystyle 2{\sqrt {m}}\operatorname {Rad} (A)} is precisely the average width of the set A {\displaystyle A} along all diagonal directions of a hypercube. == Examples == A singleton set has 0 width in any direction, so it has Rademacher complexity 0. The set A = { ( 1 , 1 ) , ( 1 , 2 ) } ⊆ R 2 {\displaystyle A=\{(1,1),(1,2)\}\subseteq \mathbb {R} ^{2}} has average width 1 / 2 {\displaystyle 1/{\sqrt {2}}} along the two diagonal directions of the square, so it has Rademacher complexity 1 / 4 {\displaystyle 1/4} . The unit cube [ 0 , 1 ] m {\displaystyle [0,1]^{m}} has constant width m {\displaystyle {\sqrt {m}}} along the diagonal directions, so it has Rademacher complexity 1 / 2 {\displaystyle 1/2} . Similarly, the unit cross-polytope { x ∈ R m : ‖ x ‖ 1 ≤ 1 } {\displaystyle \{x\in \mathbb {R} ^{m}:\|x\|_{1}\leq 1\}} has constant width 2 / m {\displaystyle 2/{\sqrt {m}}} along the diagonal directions, so it has Rademacher complexity 1 / m {\displaystyle 1/m} . == Using the Rademacher complexity == The Rademacher complexity can be used to derive data-dependent upper-bounds on the learnability of function classes. Intuitively, a function-class with smaller Rademacher complexity is easier to learn. === Bounding the representativeness === In machine learning, it is desired to have a training set that represents the true distribution of some sample data S {\displaystyle S} . This can be quantified using the notion of representativeness. Denote by P {\displaystyle P} the probability distribution from which the samples are drawn. Denote by H {\displaystyle H} the set of hypotheses (potential classifiers) and denote by F {\displaystyle {\mathcal {F}}} the corresponding set of error functions, i.e., for every hypothesis h ∈ H {\displaystyle h\in H} , there is a function f h ∈ F {\displaystyle f_{h}\in F} , that maps each training sample (features,label) to the error of the classifier h {\displaystyle h} (note in this case hypothesis and classifier are used interchangeably). For example, in the case that h {\displaystyle h} represents a binary classifier, the error function is a 0–1 loss function, i.e. the error function f h {\displaystyle f_{h}} returns 0 if h {\displaystyle h} correctly classifies a sample and 1 else. We omit the index and write f {\displaystyle f} instead of f h {\displaystyle f_{h}} when the underlying hypothesis is irrelevant. Define: L P ( f ) := E z ∼ P [ f ( z ) ] {\displaystyle L_{P}(f):=\mathbb {E} _{z\sim P}[f(z)]} – the expected error of some error function f ∈ F {\displaystyle f\in {\mathcal {F}}} on the real distribution P {\displaystyle P} ; L S ( f ) := 1 m ∑ i = 1 m f ( z i ) {\displaystyle L_{S}(f):={1 \over m}\sum _{i=1}^{m}f(z_{i})} – the estimated error of some error function f ∈ F {\displaystyle f\in {\mathcal {F}}} on the sample S {\displaystyle S} . The representativeness of the sample S {\displaystyle S} , with respect to P {\displaystyle P} and F {\displaystyle {\mathcal {F}}} , is defined as: Rep P ⁡ ( F , S ) := sup f ∈ F ( L P ( f ) − L S ( f ) ) {\displaystyle \operatorname {Rep} _{P}({\mathcal {F}},S):=\sup _{f\in F}(L_{P}(f)-L_{S}(f))} Smaller representativeness is better, since it provides a way to avoid overfitting: it means that the true error of a classifier is not much higher than its estimated error, and so selecting a classifier that has low estimated error will ensure that the true error is also low. Note however that the concept of representativeness is relative and hence can not be compared across distinct samples. The expected representativeness of a sample can be bounded above by the Rademacher complexity of the function class: If F {\displaystyle {\mathcal {F}}} is a set of functions with range within [ 0 , 1 ] {\displaystyle [0,1]} , then Rad P , m ⁡ ( F ) − ln ⁡ 2 2 m ≤ E S ∼ P m [ Rep P ⁡ ( F , S ) ] ≤ 2 Rad P , m ⁡ ( F ) {\displaystyle \operatorname {Rad} _{P,m}({\mathcal {F}})-{\sqrt {\frac {\ln 2}{2m}}}\leq \mathbb {E} _{S\sim P^{m}}[\operatorname {Rep} _{P}({\

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  • Audio mining

    Audio mining

    Audio mining is a technique by which the content of an audio signal can be automatically analyzed and searched. It is most commonly used in the field of automatic speech recognition, where the analysis tries to identify any speech within the audio. The term audio mining is sometimes used interchangeably with audio indexing, phonetic searching, phonetic indexing, speech indexing, audio analytics, speech analytics, word spotting, and information retrieval. Audio indexing, however, is mostly used to describe the pre-process of audio mining, in which the audio file is broken down into a searchable index of words. == History == Academic research on audio mining began in the late 1970s in schools like Carnegie Mellon University, Columbia University, the Georgia Institute of Technology, and the University of Texas. Audio data indexing and retrieval began to receive attention and demand in the early 1990s, when multimedia content started to develop and the volume of audio content significantly increased. Before audio mining became the mainstream method, written transcripts of audio content were created and manually analyzed. == Process == Audio mining is typically split into four components: audio indexing, speech processing and recognition systems, feature extraction and audio classification. The audio will typically be processed by a speech recognition system in order to identify word or phoneme units that are likely to occur in the spoken content. This information may either be used immediately in pre-defined searches for keywords or phrases (a real-time "word spotting" system), or the output of the speech recognizer may be stored in an index file. One or more audio mining index files can then be loaded at a later date in order to run searches for keywords or phrases. The results of a search will normally be in terms of hits, which are regions within files that are good matches for the chosen keywords. The user may then be able to listen to the audio corresponding to these hits in order to verify if a correct match was found. === Audio Indexing === In audio, there is the main problem of information retrieval - there is a need to locate the text documents that contain the search key. Unlike humans, a computer is not able to distinguish between the different types of audios such as speed, mood, noise, music or human speech - an effective searching method is needed. Hence, audio indexing allows efficient search for information by analyzing an entire file using speech recognition. An index of content is then produced, bearing words and their locations done through content-based audio retrieval, focusing on extracted audio features. It is done through mainly two methods: Large Vocabulary Continuous Speech Recognition (LVCSR) and Phonetic-based Indexing. ==== Large Vocabulary Continuous Speech Recognizers (LVCSR) ==== In text-based indexing or large vocabulary continuous speech recognition (LVCSR), the audio file is first broken down into recognizable phonemes. It is then run through a dictionary that can contain several hundred thousand entries and matched with words and phrases to produce a full text transcript. A user can then simply search a desired word term and the relevant portion of the audio content will be returned. If the text or word could not be found in the dictionary, the system will choose the next most similar entry it can find. The system uses a language understanding model to create a confidence level for its matches. If the confidence level be below 100 percent, the system will provide options of all the found matches. ===== Advantages and disadvantages ===== The main draw of LVCSR is its high accuracy and high searching speed. In LVCSR, statistical methods are used to predict the likelihood of different word sequences, hence the accuracy is much higher than the single word lookup of a phonetic search. If the word can be found, the probability of the word spoken is very high. Meanwhile, while initial processing of audio takes a fair bit of time, searching is quick as just a simple test to text matching is needed. On the other hand, LVCSR is susceptible to common issues of speech recognition. The inherent random nature of audio and problems of external noise all affect the accuracies of text-based indexing. Another problem with LVCSR is its over reliance on its dictionary database. LVCSR only recognizes words that are found in their dictionary databases, and these dictionaries and databases are unable to keep up with the constant evolving of new terminology, names and words. Should the dictionary not contain a word, there is no way for the system to identify or predict it. This reduces the accuracy and reliability of the system. This is named the Out-of-vocabulary (OOV) problem. Audio mining systems try to cope with OOV by continuously updating the dictionary and language model used, but the problem still remains significant and has probed a search for alternatives. Additionally, due to the need to constantly update and maintain task-based knowledge and large training databases to cope with the OOV problem, high computational costs are incurred. This makes LVCSR an expensive approach to audio mining. ==== Phonetic-based Indexing ==== Phonetic-based indexing also breaks the audio file into recognizable phonemes, but instead of converting them to a text index, they are kept as they are and analyzed to create a phonetic-based index. The process of phonetic-based indexing can be split into two phases. The first phase is indexing. It begins by converting the input media into a standard audio representation format (PCM). Then, an acoustic model is applied to the speech. This acoustic model represents characteristics of both an acoustic channel (an environment in which the speech was uttered and a transducer through which it was recorded) and a natural language (in which human beings expressed the input speech). This produces a corresponding phonetic search track, or phonetic audio track (PAT), a highly compressed representation of the phonetic content of the input media. The second phase is searching. The user's search query term is parsed into a possible phoneme string using a phonetic dictionary. Then, multiple PAT files can be scanned at high speed during a single search for likely phonetic sequences that closely match corresponding strings of phonemes in the query term. ===== Advantages and disadvantages ===== Phonetic indexing is most attractive as it is largely unaffected by linguistic issues such as unrecognized words and spelling errors. Phonetic preprocessing maintains an open vocabulary that does not require updating. That makes it particularly useful for searching specialized terminology or words in foreign languages that do not commonly appear in dictionaries. It is also more effective for searching audio files with disruptive background noise and/or unclear utterances as it can compile results based on the sounds it can discern, and should the user wish to, they can search through the options until they find the desired item. Furthermore, in contrast to LVCSR, it can process audio files very quickly as there are very few unique phonemes between languages. However, phonemes cannot be effectively indexed like an entire word, thus searching on a phonetic-based system is slow. An issue with phonetic indexing is its low accuracy. Phoneme-based searches result in more false matches than text-based indexing. This is especially prevalent for short search terms, which have a stronger likelihood of sounding similar to other words or being part of bigger words. It could also return irrelevant results from other languages. Unless the system recognizes exactly the entire word, or understands phonetic sequences of languages, it is difficult for phonetic-based indexing to return accurate findings. === Speech processing and recognition system === Deemed as the most critical and complex component of audio mining, speech recognition requires the knowledge of human speech production system and its modeling. To correspond the Human speech production system, the electrical speech production system is developed to consist of: Speech generation Speech perception Voiced & unvoiced speech Model of human speech The electrical speech production system converts acoustic signal into corresponding representation of the spoken through the acoustic models in their software where all phonemes are represented. A statistical language model aids in the process by identifying how likely words are to follow each other in certain languages. Put together with a complex probability analysis, the speech recognition system is capable of taking an unknown speech signal and transcribing it into words based on the program's dictionary. ASR (automatic speech recognition) system includes: Acoustic analysis: input sound waveform is transformed into a feature Acoustic model: establishes relationship between speech signal and phonemes, pronunciation model and lang

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  • Edits (app)

    Edits (app)

    Edits is an American photo and short form video editing software service owned by Meta Platforms. It allows users to create videos and edit them by using features like green screens, and AI animation, and also provides real-time statistics to Instagram creators to track their accounts. Accounts directly from Instagram can be imported, and videos can be exported vice-versa. It is available solely on iOS and Android. On Apple, it supports over 32 different languages, including French, Spanish, and Chinese. It has been noted by critics as a direct competitor for apps like CapCut, owned by Chinese brand ByteDance. The Instagram head, Adam Mosseri, also acknowledged these similarities. Launched on April 22 for both iOS and Android. It received over 5M+ users on Apple and Android combined in its first 4 days since its launch. == History == On January 19, 2025, following the ban of all ByteDance Apps from the Google Play Store, and App Store, Instagram head Adam Mosseri announced on Threads that they would be launching the app in February for iOS, followed by an Android counterpart. He said the app is working with select people to test its features. In a separate post, he emphasized that the app is "more for creators than casual video makers". == Features == Edits contains many similar features to other competition of video editors like KineMaster, Inshot, and CapCut. When creating a video, users have the option to export in resolution of HD, 4K, and 2K, along with having HDR and SDR support. Like many traditional video editing software, it includes a timeline, and basic undo-redo buttons. On the bottom bar, 7 tabs for editing exist, namely the Split, Volume, Adjust, Speed, Delete, Filters, Green Screen, Voice FX, Extract Audio, Mirror, Slip, Replace and Duplicate bars. Basic features, like splitting, and adjusting speed and volume of clips are present, along with more advanced Green Screens, and AI features. Being a mobile video editor app, Edits also has drag-and-drop features to ease customer usage. Users have the ability to record videos directly within the app. This feature allows users to create content without needing extra software or devices. They can choose from several focal lengths, which affect how close or wide the shot appears. The app also supports different frame rates. Users have the ability to record videos directly within the app. This feature allows users to create content without needing extra software or devices. Once users are done filming your clips, they can simply transfer them into a project to start editing immediately. Upcoming features for the app include Keyframes, AI-powered modification, Collaboration, and Enhanced creativity. == Reception == Since its release, it received over 5 million downloads in 4 days. Critically, the app received great rankings from many. From users, the app received an average of 4.45 stars over Google Play Store and App Store in the first few days, with Google Play Store receiving the least stars. As in reviews, it was received mixed by the public. Many people praised the smoothness and intuivity of the app. "The app is more than just a basic editor, offering a full suite of creative tools, including a dedicated tab for inspiration and trending audio, as well as a tab for managing drafts," said a blogger. Some users were disappointed with the range of editing tools, some users have noted that it could benefit from more transition options between clips. Some even reported crashing between clips.

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  • Reverse correlation technique

    Reverse correlation technique

    The reverse correlation technique is a data driven study method used primarily in psychological and neurophysiological research. This method earned its name from its origins in neurophysiology, where cross-correlations between white noise stimuli and sparsely occurring neuronal spikes could be computed quicker when only computing it for segments preceding the spikes. The term has since been adopted in psychological experiments that usually do not analyze the temporal dimension, but also present noise to human participants. In contrast to the original meaning, the term is here thought to reflect that the standard psychological practice of presenting stimuli of defined categories to the participants is "reversed": Instead, the participant's mental representations of categories are estimated from interactions of the presented noise and the behavioral responses. It is used to create composite pictures of individual and/or group mental representations of various items (e.g. faces, bodies, and the self) that depict characteristics of said items (e.g. trustworthiness and self-body image). This technique is helpful when evaluating the mental representations of those with and without mental illnesses. == Terms == This technique utilizes spike-triggered average to explain what areas of signal and noise in an image are valuable for the given research question. Signal is information used to produce objects of value that help explain and connect the world around us. Noise is commonly referred to as unwanted signal that obscures the information that the signal is trying to present. Most importantly for reverse correlation studies, noise is randomly varying information. To determine the areas of importance using reverse correlation, noise is applied to a base image and then evaluated by observers. A base image is any image void of noise that relates to the research question. A base image that has noise superimposed on top is the stimuli that is presented to and evaluated by participants. Each time a new set of stimuli is presented to a participant, this is known as a trial. After a participant has responded to hundreds to thousands of trials, a researcher is ready to create a classification image. A classification image (abbreviated as "CI" in some studies) is a single image that represents the average noise patterns in the images selected by participants. A classification image can also be computed for groups by averaging the individuals’ classification images. These classification images are what researchers use to interpret the data and draw conclusions. As a whole, the reverse correlation method is a process that results in a composite image (from an individual or group) that can be used to estimate and interpret mental representations. == Basic study layout == The reverse correlation method is typically executed as an in-lab computer experiment. This method follows four broad steps. Each of the following steps are described in greater detail below. After creating a research question and determining that the reverse correlation method is the most suitable technique to answer the question, a researcher must (1) design randomly varying stimuli. After the stimuli have been prepared, a researcher should (2) collect data from participants who will see and respond to approximately 300 -1,000 trials. Each trial will either consist of one or two images (side by side) derived from the same base image with noise superimposed on top. Participant responses will depend on the chosen study design; if a researcher presents only one image at a time, participants rate the image on a 4pt scale, but when two images are shown, the participant is asked to choose which best aligns with the given category (e.g. choose the image that looks the most aggressive). Once all of the data is collected, the researcher will (3) compute classification images for each participant and using those images compute group classification images. Finally, with the classification images available, the researcher will (4) evaluate the images and draw conclusions about their results. === Step 1: making stimuli === When designing the stimuli for a reverse correlation study, the two primary factors that one should consider are (1) the base image and (2) the noise that will be used. While not all bases are images per se, the majority are and for this reason the base is typically referred to as a base image. The base image should represent whatever the research question is addressing. For example, if you are interested in peoples’ mental representations of Chinese people, it would not make sense to use a base image of a Spanish or Caucasian person. Again, if you are interested in the mental representations of male vocal patterns, it would make the most sense to use a base vocal pattern that has been produced by a male. Having a base is important because it provides a kind of anchor for participants to work from. When there is no base image, the number of trials that are required increases dramatically, thus making it harder to collect data. While there are studies that have excluded a base image, (e.g. the S study), for more elaborate and nuanced research questions, it is important to have a base image that is a fair representation of what participants are being asked to categorize. Photographs of faces are generally the most popular base image. Although the reverse correlation method is capable of investigating a wide variety of research questions, the most common application of the method is for evaluating faces on a single trait. Reverse correlation studies that address evaluations of the face are sometimes referred to as being a face space reverse correlation model (FSRCM). Thankfully, there are existing databases for face images of varying demographics and emotion that work well as base images. The reverse correlation method can also be used to help researchers identify what areas of an image (e.g. the areas on the face) have diagnostic value. In order to identify these areas of value, researchers start by minimizing the space a participant can pull information from. By imposing a “mask” on an image (e.g. blur an image while leaving random areas un-blurred), this reduces the information individuals might see, and forces them to focus on certain areas. Then, if/when participants are able to correctly identify an image with a trait repeatedly, we can draw conclusions about what areas have diagnostic value. While faces and visual stimuli are the most popular, this is not the only stimuli that can be used in a reverse correlation study. This method was originally designed for auditory stimuli which allows researchers to investigate how perceivers interpret auditory information and create trait based attributions to different sound patterns. For example, by segmenting a vocal recording of a single word (total sound time 426 ms) into six segments (71 ms each), and varying each segment's pitch using Gaussian distributions, researchers were able to uncover what vocal patterns people associated with certain traits. Specifically, this study investigated how listeners rated sound clips of the word “really” as sounding more interrogative (i.e. like the more common reverse correlation studies this study had participants listen to two sound clips per trial, choose which fit the category the best, and then created an average of the pitch contours). Beyond face and auditory perception, research utilizing the reverse correlation method has expanded to investigate how individuals see three-dimensional objects in images with noise (but no signal). After selecting your base image, regardless of what the image is, it is helpful to apply a Gaussian blur to smooth noise in the image. While noise will be applied later, it is helpful to reduce existing noise in the photo before applying your chosen noise. There are three primary choices when it comes to noise: white noise, sine-wave noise, and Gabor noise. The latter two of these constrain the configurations that the noise can have, and because of this white noise is usually the most commonly used. Regardless of the type of noise that is chosen, it is crucial that the noise randomly varies. === Step 2: data collection === Once the stimuli for the study has been developed, the researcher must make a few decisions before actually collecting the data. The researcher must come to a conclusion on how many stimuli will be presented at a time and how many trials the participants will see. In terms of stimuli presentation, a researcher can choose from either a 2-Image Forced Choice (2IFC) or a 4-Alternative Forced Choice (4AFC). The 2IFC presents two images at once (side by side) and requires participants to choose between the two on a specified category (e.g. which image looks the most like a male). Typically the noise from the left image is the mathematical inverse of the noise from the right image. This method was developed to better answer questions that could n

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  • StatMuse

    StatMuse

    StatMuse Inc. is an American artificial intelligence company founded in 2014. It operates an eponymous website that hosts a database of sports statistics covering the four major North American sports leagues, the Women's National Basketball Association (WNBA), NCAA Division I men's basketball, NCAA Division I Football Bowl Subdivision, the Big Five association football leagues in Europe, and various professional golf tours. == History == The company was founded by friends Adam Elmore and Eli Dawson in 2014. In email correspondence to the Springfield News-Leader, Elmore detailed that he and Dawson, fans of the National Basketball Association (NBA), were compelled to create StatMuse after they realized there was no online platform where they could search "Lebron James most points" [sic] and quickly get a result "showing his highest scoring games." As a startup, the company's goal was to utilize a type of artificial intelligence called natural language processing (NLP) for sports. In 2015, the company was part of the second group of startups accepted into the Disney Accelerator program. The company secured support from several investors, including The Walt Disney Company, Techstars, Allen & Company, the NFL Players Association, Greycroft and NBA Commissioner David Stern. As part of their partnership with Disney, StatMuse signed a content deal with ESPN (owned by Disney) to provide stats content on social media and television during the 2015–16 NBA season. Initially, the company only had stats available for the NBA, but eventually expanded to provide stats for the other major North American sports leagues. The company's initial demographic was players of fantasy sports, but it eventually expanded to target general sports fans as well. StatMuse offers responses to user queries in the voices of sports-related public figures. Dawson shared with VentureBeat that StatMuse brings people in and records them saying different words and phrases. These celebrity voices were made accessible through Google's Google Assistant service, Microsoft's Cortana virtual assistant, and Amazon's Echo devices. The company launched its phone app in September 2017. The app allows users to access StatMuse's sports statistics database by submitting queries in their natural language. Upon the launch of the phone app, Fitz Tepper of TechCrunch wrote that: "The technology isn't perfect – some of the pauses between words are a bit awkward, making it clear that some phrases are being stitched together on the fly. But this is the exception, and on the whole, most responses sound pretty good." StatMuse plug-ins for Slack and Facebook Messenger were also made, providing text-based sports stats. In 2019, StatMuse received investment from the Google Assistant Investment program. The service launched a premium option dubbed StatMuse+ in May 2023, offering options that had previously been included for free, such as unlimited searches and full results in data tables. The premium version also included early access to new features and a personalized search history, as well as not having ads. The app received a variety of feedback. In January 2024, the service launched a Premier League version of the website dubbed StatMuse FC. It is planned to introduce more leagues on the website.

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  • Kuwahara filter

    Kuwahara filter

    The Kuwahara filter is a non-linear smoothing filter used in image processing for adaptive noise reduction. Most filters that are used for image smoothing are linear low-pass filters that effectively reduce noise but also blur out the edges. However the Kuwahara filter is able to apply smoothing on the image while preserving the edges. It is named after Michiyoshi Kuwahara, Ph.D., who worked at Kyoto and Osaka Sangyo Universities in Japan, developing early medical imaging of dynamic heart muscle in the 1970s and 80s. == The Kuwahara operator == Suppose that I ( x , y ) {\displaystyle I(x,y)} is a grey scale image and that we take a square window of size 2 a + 1 {\displaystyle 2a+1} centered around a point ( x , y ) {\displaystyle (x,y)} in the image. This square can be divided into four smaller square regions Q i = 1 ⋯ 4 {\displaystyle Q_{i=1\cdots 4}} each of which will be Q i ( x , y ) = { [ x , x + a ] × [ y , y + a ] if i = 1 [ x − a , x ] × [ y , y + a ] if i = 2 [ x − a , x ] × [ y − a , y ] if i = 3 [ x , x + a ] × [ y − a , y ] if i = 4 {\displaystyle Q_{i}(x,y)={\begin{cases}\left[x,x+a\right]\times \left[y,y+a\right]&{\mbox{ if }}i=1\\\left[x-a,x\right]\times \left[y,y+a\right]&{\mbox{ if }}i=2\\\left[x-a,x\right]\times \left[y-a,y\right]&{\mbox{ if }}i=3\\\left[x,x+a\right]\times \left[y-a,y\right]&{\mbox{ if }}i=4\\\end{cases}}} where × {\displaystyle \times } is the cartesian product. Pixels located on the borders between two regions belong to both regions so there is a slight overlap between subregions. The arithmetic mean m i ( x , y ) {\displaystyle m_{i}(x,y)} and standard deviation σ i ( x , y ) {\displaystyle \sigma _{i}(x,y)} of the four regions centered around a pixel (x,y) are calculated and used to determine the value of the central pixel. The output of the Kuwahara filter Φ ( x , y ) {\displaystyle \Phi (x,y)} for any point ( x , y ) {\displaystyle (x,y)} is then given by Φ ( x , y ) = m i ( x , y ) {\textstyle \Phi (x,y)=m_{i}(x,y)} where i = a r g min j ⁡ σ j ( x , y ) {\displaystyle i=\operatorname {arg\min } _{j}\sigma _{j}(x,y)} . This means that the central pixel will take the mean value of the area that is most homogenous. The location of the pixel in relation to an edge plays a great role in determining which region will have the greater standard deviation. If for example the pixel is located on a dark side of an edge it will most probably take the mean value of the dark region. On the other hand, should the pixel be on the lighter side of an edge it will most probably take a light value. On the event that the pixel is located on the edge it will take the value of the more smooth, least textured region. The fact that the filter takes into account the homogeneity of the regions ensures that it will preserve the edges while using the mean creates the blurring effect. Similarly to the median filter, the Kuwahara filter uses a sliding window approach to access every pixel in the image. The size of the window is chosen in advance and may vary depending on the desired level of blur in the final image. Bigger windows typically result in the creation of more abstract images whereas small windows produce images that retain their detail. Typically windows are chosen to be square with sides that have an odd number of pixels for symmetry. However, there are variations of the Kuwahara filter that use rectangular windows. Additionally, the subregions do not need to overlap or have the same size as long as they cover all of the window. == Color images == For color images, the filter should not be performed by applying the filter to each RGB channel separately, and then recombining the three filtered color channels to form the filtered RGB image. The main problem with that is that the quadrants will have different standard deviations for each of the channels. For example, the upper left quadrant may have the lowest standard deviation in the red channel, but the lower right quadrant may have the lowest standard deviation in the green channel. This situation would result in the color of the central pixel to be determined by different regions, which might result in color artifacts or blurrier edges. To overcome this problem, for color images a slightly modified Kuwahara filter must be used. The image is first converted into another color space, the HSV color space. The modified filter then operates on only the "brightness" channel, the Value coordinate in the HSV model. The variance of the "brightness" of each quadrant is calculated to determine the quadrant from which the final filtered color should be taken from. The filter will produce an output for each channel which will correspond to the mean of that channel from the quadrant that had the lowest standard deviation in "brightness". This ensures that only one region will determine the RGB values of the central pixel. ImageMagick uses a similar approach, but using the Rec. 709 Luma as the brightness metric. === Julia Implementation === == Applications == Originally the Kuwahara filter was proposed for use in processing RI-angiocardiographic images of the cardiovascular system. The fact that any edges are preserved when smoothing makes it especially useful for feature extraction and segmentation and explains why it is used in medical imaging. The Kuwahara filter however also finds many applications in artistic imaging and fine-art photography due to its ability to remove textures and sharpen the edges of photographs. The level of abstraction helps create a desirable painting-like effect in artistic photographs especially in the case of the colored image version of the filter. These applications have known great success and have encouraged similar research in the field of image processing for the arts. Although the vast majority of applications have been in the field of image processing there have been cases that use modifications of the Kuwahara filter for machine learning tasks such as clustering. The Kuwahara filter has been implemented in CVIPtools. The Kuwahara filter is present as a shader node in Blender. == Drawbacks and restrictions == The Kuwahara filter despite its capabilities in edge preservation has certain drawbacks. At a first glance it is noticeable that the Kuwahara filter does not take into account the case where two regions have equal standard deviations. This is not often the case in real images since it is rather hard to find two regions with exactly the same standard deviation due to the noise that is always present. In cases where two regions have similar standard deviations the value of the center pixel could be decided at random by the noise in these regions. Again this would not be a problem if the regions had the same mean. However, it is not unusual for regions of very different means to have the same standard deviation. This makes the Kuwahara filter susceptible to noise. Different ways have been proposed for dealing with this issue, one of which is to set the value of the center pixel to ( m 1 + m 2 ) / 2 {\textstyle (m_{1}+m_{2})/2} in cases where the standard deviation of two regions do not differ more than a certain value D {\displaystyle D} . The Kuwahara filter is also known to create block artifacts in the images especially in regions of the image that are highly textured. These blocks disrupt the smoothness of the image and are considered to have a negative effect in the aesthetics of the image. This phenomenon occurs due to the division of the window into square regions. A way to overcome this effect is to take windows that are not rectangular(i.e. circular windows) and separate them into more non-rectangular regions. There have also been approaches where the filter adapts its window depending on the input image. == Extensions of the Kuwahara filter == The success of the Kuwahara filter has spurred an increase the development of edge-enhancing smoothing filters. Several variations have been proposed for similar use most of which attempt to deal with the drawbacks of the original Kuwahara filter. The "Generalized Kuwahara filter" proposed by P. Bakker considers several windows that contain a fixed pixel. Each window is then assigned an estimate and a confidence value. The value of the fixed pixel then takes the value of the estimate of the window with the highest confidence. This filter is not characterized by the same ambiguity in the presence of noise and manages to eliminate the block artifacts. The "Mean of Least Variance"(MLV) filter, proposed by M.A. Schulze also produces edge-enhancing smoothing results in images. Similarly to the Kuwahara filter it assumes a window of size 2 d − 1 × 2 d − 1 {\displaystyle 2d-1\times 2d-1} but instead of searching amongst four subregions of size d × d {\displaystyle d\times d} for the one with minimum variance it searches amongst all possible d × d {\displaystyle d\times d} subregions. This means the central pixel of the window will be assigned the mean of the one subregion out of a poss

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  • Automatic scorer

    Automatic scorer

    An automatic scorer is the computerized scoring system to keep track of scoring in ten-pin bowling. It was introduced en masse in bowling alleys in the 1970s and combined with mechanical pinsetters to detect overturned pins. By eliminating the need for manual score-keeping, these systems have introduced new bowlers into the game who otherwise would not participate because they had to count the score themselves, as many do not understand the mathematical formula involved in bowler scoring. At first, people were skeptical about whether a computer could keep an accurate score. In the twenty-first century, automatic scorers are used in most bowling centers around the world. The three manufacturers of these specialty computers have been Brunswick Bowling, AMF Bowling (later QubicaAMF), and RCA. == History == Automatic equipment is considered a cornerstone of the modern bowling center. The traditional bowling center of the early 20th century was advanced in automation when the pinsetter person ("pin boy"), who set back up by hand the bowled down pins, was replaced by a machine that automatically replaced the pins in their proper play positions. This machine came out in the 1950s. A detection system was developed from the pinsetter mechanism in the 1960s that could tell which pins had been knocked down, and that information could be transferred to a digital computer. Automatic electronic scoring was first conceived by Robert Reynolds, who was described by a newspaper story at the time as "a West Coast electronics calculator expert." He worked with the technical staff of Brunswick Bowling to develop it. The goal was realized in the late 1960s when a specialized computer was designed for the purpose of automatic scorekeeping for bowling. The field test for the automatic scorer took place at Village Lanes bowling center, Chicago in 1967. The scoring machine received approval for official use by the American Bowling Congress in August of that year. They were first used in national official league gaming on October 10, 1967. In November, Brunswick announced that they were accepting orders for the new digital computer, which cost around $3,000 per bowling lane. Bowling centers that installed these new automatic scoring devices in the 1970s charged a ten cents extra per line of scoring for the convenience. == Description == Each Automatic Scorer computer unit kept score for four lanes. It had two bowler identification panels serving two lanes each. The bowler pushed it into his named position when his turn came up so the computer knew who was bowling and score accordingly. After the bowler rolled the bowling ball down the lane and knocked down pins, the pinsetter detected which pins were down and relayed this information back to the computer for scoring. The result was then printed on a scoresheet and projected overhead onto a large screen for all to see. The Automatic Scorer digital computer was mathematically accurate, however the detection system at the pinsetter mechanism sometimes reported the wrong number of pins knocked down. The computer could be corrected manually for any errors in the system; similarly, human errors, such as neglecting to move the bowler identification mechanism, could be corrected for by manual action. The scorer could take into account bowlers' handicaps and could adjust for late-arriving bowlers. The automatic scorer is directly connected to the foul detection unit. As a result, foul line violations are automatically scored. Brunswick had put ten years of research and development into the Automatic Scorer, and by 1972 there were over 500 of these computers installed in bowling centers around the world. AMF Bowling, competitor to Brunswick, entered into the automatic scorer computer field during the 1970s and their systems were installed into their brand of bowling centers. By 1974, RCA was also making these computers for automatic scoring. == Reception and further developments == The purposes of the computerized scoring were to avoid errors by human scorers and to prevent cheating. It had the side benefit of speeding up the progress of the game and introducing new bowlers to the game. Score-keeping for bowling is based on a formula that many new to bowling were not familiar with and thought difficult to learn. These casual bowlers unfamiliar with the formula thought the scores given by the computers were confusing. Some bowlers were not comfortable with automatic scorers when they were introduced in the 1970s, so kept score using the traditional method on paper score sheets. The introduction of this device increased the popularity of the sport. Automatic scorers came to be considered a normal part of modern bowling installations worldwide, with owners and managers saying that bowlers expect such equipment to be present in bowling establishments and that business increased following their introduction. Brunswick introduced a color television style automatic scorer in 1983. Bowling center owners could use these style automatic scorers for advertising, management, videos, and live television. By the 2010s, these types of electronic visual displays could show bowler avatars and social media connections to publicize the bowlers' scores. Some are capable of being extended entertainment systems of games for children and adults. Some scoring systems support variations on traditional bowling, such as different kinds of bingo games where certain pins have to be knocked down at certain times or practice regimes where certain spares have to be accomplished. By this point, QubicaAMF Worldwide, an outgrowth of AMF, was one of the leading providers of bowling scoring equipment.

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  • Avid DS

    Avid DS

    Avid DS (which was called Avid DS Nitris until early 2008) is a high-end offline and finishing system comprising a non-linear editing system and visual effects software. It was developed by Softimage (this company was owned by Microsoft at the time of DS v1.0's launch before being acquired from Microsoft by Avid Technology, Inc. shortly thereafter) in Montreal. DS was discontinued on September 30, 2013 with support ending on the same date the following year. == Software == DS was called ‘Digital Studio’ in development. It was envisioned to be a complete platform for video/audio work. The first previews of the system were on the SGI platform, but this version was never released. The system was rewritten on Windows NT with different video hardware platforms (Matrox DigiSuite or Play Trinity running on a NetPower system) before the final system was released on Intergraph/StudioZ hardware in January 1998. After its acquisition by Avid, DS was always positioned as a high end video finishing tool. However, many users found it to be uniquely soup-to-nuts in its capabilities. From version 1.0 of the product, it competed with products like Autodesk Smoke, Quantel and Avid Symphony. The toolset in DS offered video timeline editing, an object-oriented vector-based paint tool, 2D layer compositing, sample based audio and starting with version 3.01 of the product, a 3D environment. Originally, a subset of the Softimage|XSI 3D software was planned to become part of the DS toolset, both were built on the same software foundation, but over time the code bases divided between the applications and the integration never happened. While the first version of the DS still lacked a few key features (no 3D, poor keying, no real-time effects), it had some significant features compared to the competing products at the time. It offered a large number of built in effects. Avid OMF import was available, positioning Softimage DS as a strong finishing tool for then typical off-line Avid systems. Lastly the integration of the toolset of Softimage DS was beyond what other product offered. A Softimage DS user could quickly go from editing, to paint, to compositing with a few mouse clicks all inside the same interface. Some of the lacking features were quickly resolved, within months of version 1.0 a new chroma keyer was released. Early versions of the software (up thru 4.0) added additional key features. Development continued with one of the first uncompressed HD editing systems (version 4.01) and an attempt to make the system more friendly to Media Composer editors in version 6. In later versions (v7.5 on beyond) DS was criticized for slow development of compositing tools, mainly lack of a new 3D environment and better tracking tools. Many DS users felt that Avid had not been giving DS the attention that it deserved. On July 7, 2013, Avid sent out an email marking the end of life of the DS product. "To Our Avid DS customers, We are writing to inform you that Avid will be realigning our business strategy to focus on a core suite of products to best leverage our developmental and creative resources. As part of this transition, we will be ceasing future development of Avid DS with a final sale date of September 30th, 2013" == Hardware == Up until version 10.5, DS was sold as a turn-key system; the software was not available without purchasing CPU, I/O and storage hardware from Avid. Beginning with 10.5, customers were able to configure their own systems using widely available components, based on recommended system requirements. In turn-key systems, there were many hardware refreshes over time. StudioZ single stream: Intergraph TDZ-425 with 30 minutes of uncompressed SCSI storage. CPUs at the time were Pentium II/300 MHz. StudioZ dual stream: Intergraph TDZ-2000 GT1 with one hour of fibre channel storage. CPUs on first systems were Pentium II/400 MHz, but last shipping systems had Pentium III/1 GHz. DS was one of the first applications to show that real-time effects could be processed with just the CPUs of the system, not requiring special video cards with real-time effect hardware. Equinox: Developed by Avid, it was one of the first uncompressed HD video cards available. Systems were available on CPUs from Pentium III/1 GHz to Pentium 4/2.8 GHz. Storage was typically SCSI, but fibre channel was also supported. Nitris DNA: Developed by Avid, the Nitris hardware was probably the largest hardware update to the system since it was released. 10-bit HD and SD support was standard. Real-time down and cross convert. This was the only hardware for DS that had on-board effect processing. This allowed a system at the time to play back dual-stream uncompressed HD effects in real-time at 16-bit precision. This was also the first hardware from Avid to support the DNxHD codec. Starting with Pentium 4, Intel Core Xeons were supported. SCSI storage was primarily used. AJA Video Systems: First available as a 4:4:4 option to be used in conjunction with Nitris hardware. Final-generation DS systems used the AJA Video Systems Kona 3 (Xena 2K) card as the only I/O for the system. The last systems shipped with two Intel Core Xeon 6-core processors. SAS is the recommended storage for these systems. == History ==

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  • Google Mobile Services

    Google Mobile Services

    Google Mobile Services (GMS) is a collection of proprietary applications and application programming interfaces (APIs) services from Google that are typically pre-installed on the majority of Android devices, such as smartphones, tablets, and smart TVs. GMS is not a part of the Android Open Source Project (AOSP), which means an Android manufacturer needs to obtain a license from Google in order to legally pre-install GMS on an Android device. This license is provided by Google without any licensing fees except in the EU. == Core applications == The following are core applications that are part of Google Mobile Services: Google Search Google Chrome YouTube Google Play Google Drive Gmail Google Meet Google Maps Google Photos Google TV YouTube Music === Historically === Google+ Google Hangouts Google Wallet Google Play Magazines Google Play Music Google Play Movies & TV Google Duo == Reception, competitors, and regulators == === FairSearch === Numerous European firms filed a complaint to the European Commission stating that Google had manipulated their power and dominance within the market to push their Services to be used by phone manufacturers. The firms were joined under the name FairSearch, and the main firms included were Microsoft, Expedia, TripAdvisor, Nokia and Oracle. FairSearch's major problem with Google's practices was that they believed Google were forcing phone manufacturers to use their Mobile Services. They claimed Google managed this by asking these manufacturers to sign a contract stating that they must preinstall specific Google Mobile Services, such as Maps, Search and YouTube, in order to get the latest version of Android. Google swiftly responded stating that they "continue to work co-operatively with the European Commission". === Aptoide === The third-party Android app store Aptoide also filed an EU competition complaint against Google once again stating that they are misusing their power within the market. Aptoide alleged that Google was blocking third-party app stores from being on Google Play, as well as blocking Google Chrome from downloading any third-party apps and app stores. As of June 2014, Google had not responded to these allegations. === Abuse of Android dominance === In May 2019, Umar Javeed, Sukarma Thapar, Aaqib Javeed vs. Google LLC & Ors. the Competition Commission of India ordered an antitrust probe against Google for abusing its dominant position with Android to block market rivals. In Prima Facie opinion the commission held that mandatory pre-installation of the entire Google Mobile Services (GMS) suite, under Mobile Application Distribution Agreements (MADA), amounts to the imposition of unfair conditions on the device manufacturers. === EU antitrust ruling === On July 18, 2018, the European Commission fined Google €4.34 billion for breaching EU antitrust rules which resulted in a change of licensing policy for the GMS in the EU. A new paid licensing agreement for smartphones and tablets shipped into the EEA was created. The change is that the GMS is now decoupled from the base Android and will be offered under a separate paid licensing agreement. === Privacy policy === At the same time, Google faced problems with various European data protection agencies, most notably In the United Kingdom and France. The problem they faced was that they had a set of 60 rules merged into one, which allowed Google to "track users more closely". Google once again came out and stated that their new policies still abide by European Union laws. === Android distributions without Google Mobile Services === After surveillance and privacy concerns, several custom android distributions have been implemented, such as GrapheneOS, LineageOS, CalyxOS, iodéOS or /e/OS, and they come either without any GMS installed by default or with microG, that adds a compatibility layer.

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  • Scene statistics

    Scene statistics

    Scene statistics is a discipline within the field of perception. It is concerned with the statistical regularities related to scenes. It is based on the premise that a perceptual system is designed to interpret scenes. Biological perceptual systems have evolved in response to physical properties of natural environments. Therefore natural scenes receive a great deal of attention. Natural scene statistics are useful for defining the behavior of an ideal observer in a natural task, typically by incorporating signal detection theory, information theory or estimation theory. == Within-domain versus across-domain == Geisler (2008) distinguishes between four kinds of domains: (1) Physical environments (2) Images/Scenes (3) Neural responses and (4) Behavior. Within the domain of images/scenes one can study the characteristics of information related to redundancy and efficient coding. Across-domain statistics determine how an autonomous system should make inferences about its environment, process information and control its behavior. To study these statistics it is necessary to sample or register information in multiple domains simultaneously. == Applications == === Prediction of picture and video quality === One of the most successful applications of Natural Scenes Statistics Models has been perceptual picture and video quality prediction. For example, the Visual Information Fidelity (VIF) algorithm, which is used to measure the degree of distortion of pictures and videos, is used extensively by the image and video processing communities to assess perceptual quality. This is often after processing, such as compression, which can degrade the appearance of a visual signal. The premise is that the scene statistics are changed by distortion and that the visual system is sensitive to the changes in the scene statistics. VIF is heavily used in the streaming television industry. Other popular picture quality models that use natural scene statistics include BRISQUE and NIQE, both of which are no-reference since they do not require any reference picture to measure quality against.

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  • The Future of Work and Death

    The Future of Work and Death

    The Future of Work and Death is a 2016 documentary by Sean Blacknell and Wayne Walsh about the exponential growth of technology. The film showed at several film festivals including Raindance Film Festival, International Film Festival Rotterdam, Academia Film Olomouc and CPH:DOX. In May 2017 it received an official screening at the European Commission. It was distributed by First Run Features and Journeyman Pictures and was released on iTunes, Amazon Prime and On-demand on 9 May 2017. The film was made available on Sundance Now on 27 November 2017. A companion piece to the film, The Cost of Living, a documentary concerning universal basic income in Britain, was released on Amazon Prime on 8 October 2020. == Synopsis == World experts in the fields of futurology, anthropology, neuroscience, and philosophy consider the impact of technological advances on the two 'certainties' of human life; work and death. Charting human developments from Homo habilis, past the Industrial Revolution, to the digital age and beyond, the film looks at the shocking exponential rate at which mankind has managed to create technologies to ease the process of living. As we embark on the next phase of our adaptation, with automation and artificial intelligence signifying the complete move from man to machine, the film asks what the implications are for human fulfilment in an approaching era of job obsolescence and extreme longevity. == Cast == Dudley Sutton – Narrator Aubrey de Grey – Biomedical gerontologist and CSO of the SENS Research Foundation Will Self – Writer, journalist, political commentator and Professor of Contemporary Thought at Brunel University Rudolph E. Tanzi – Professor of Neurology at Harvard University and Director of the Genetics and Aging Research Unit at Massachusetts General Hospital (MGH) Martin Ford – Futurist and author Steve Fuller – Auguste Comte Chair in Social Epistemology at the Department of sociology at University of Warwick Murray Shanahan – Professor of Cognitive Robotics at Imperial College London Gray Scott – Futurist, executive producer of this production Vivek Wadhwa – Entrepreneur, academic and Director of Research at the Center for Entrepreneurship and Research Commercialization at the Pratt School of Engineering, Duke University Zoltan Istvan – Transhumanist and journalist Joanna Cook – Anthropologist, University College London Nicholas Kamara – Physician, Kable Hospital David Pearce – Transhumanist philosopher and co-founder of Humanity+ Peter Cochrane – Futurist and entrepreneur John Harris – Bioethicist, philosopher and Director of the Institute for Science, Ethics and Innovation at the University of Manchester Riva Melissa-Tez – Entrepreneur and transhumanist Ian Pearson – Futurologist Stuart Armstrong – Artificial intelligence researcher at Future of Humanity Institute

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  • Tiimo

    Tiimo

    Tiimo is an app designed to help neurodivergent individuals with planning their life. In August 2024 the company raised €1.4 million, bringing their total funding to €4.3 million. At that point they had over 500,000 users, including 50,000 paid users. The app has Apple Watch support and a learning platform that includes courses on well-being and neurodiversity. The app was founded by Helene Lassen Nørlem and Melissa Würtz Azari in 2015. After being a finalist in 2024, in December 2025 Tiimo was won Apple’s iPhone App of the Year. The premium version is $10/mo and features an AI chatbot alongside the daily planner.

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  • Interlacing (bitmaps)

    Interlacing (bitmaps)

    In computing, interlacing (also known as interleaving) is a method of encoding a bitmap image such that a person who has partially received it sees a degraded copy of the entire image. When communicating over a slow communications link, this is often preferable to seeing a perfectly clear copy of one part of the image, as it helps the viewer decide more quickly whether to abort or continue the transmission. Interlacing is supported by the following formats, where it is optional: GIF interlacing stores the lines in the order 0 , 8 , 16 , … , ( 8 n ) , 4 , 12 , … , ( 8 n + 4 ) , 2 , 6 , 10 , 14 , … , ( 4 n + 2 ) , 1 , 3 , 5 , 7 , 9 , … , ( 2 n + 1 ) . {\displaystyle 0,8,16,\dots ,(8n),\ 4,12,\dots ,(8n+4),\ 2,6,10,14,\dots ,(4n+2),\ 1,3,5,7,9,\dots ,(2n+1).} PNG uses the Adam7 algorithm, which interlaces in both the vertical and horizontal direction. TGA uses two optional interlacing algorithms: Two-way: 0 , 2 , 4 , … , ( 2 n ) , 1 , 3 , … , ( 2 n + 1 ) , {\displaystyle 0,2,4,\dots ,(2n),\ 1,3,\dots ,(2n+1),} And four-way: 0 , 4 , 8 , … , ( 4 n ) , 1 , 5 , … , ( 4 n + 1 ) , 2 , 6 , … , ( 4 n + 2 ) , 3 , 7 , … , ( 4 n + 3 ) . {\displaystyle 0,4,8,\dots ,(4n),\ 1,5,\dots ,(4n+1),\ 2,6,\dots ,\ (4n+2),3,7,\dots ,(4n+3).} JPEG, JPEG 2000, and JPEG XR (actually using a frequency decomposition hierarchy rather than interlacing of pixel values) PGF (also using a frequency decomposition) Interlacing is a form of incremental decoding, because the image can be loaded incrementally. Another form of incremental decoding is progressive scan. In progressive scan the loaded image is decoded line for line, so instead of becoming incrementally clearer it becomes incrementally larger. The main difference between the interlace concept in bitmaps and in video is that even progressive bitmaps can be loaded over multiple frames. For example: Interlaced GIF is a GIF image that seems to arrive on your display like an image coming through a slowly opening Venetian blind. A fuzzy outline of an image is gradually replaced by seven successive waves of bit streams that fill in the missing lines until the image arrives at its full resolution. Interlaced graphics were once widely used in web design and before that in the distribution of graphics files over bulletin board systems and other low-speed communications methods. The practice is much less common today, as common broadband internet connections allow most images to be downloaded to the user's screen nearly instantaneously, and interlacing is usually an inefficient method of encoding images. Interlacing has been criticized because it may not be clear to viewers when the image has finished rendering, unlike non-interlaced rendering, where progress is apparent (remaining data appears as blank). Also, the benefits of interlacing to those on low-speed connections may be outweighed by having to download a larger file, as interlaced images typically do not compress as well.

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  • Pulse-coupled networks

    Pulse-coupled networks

    Pulse-coupled networks or pulse-coupled neural networks (PCNNs) are neural models proposed by modeling a cat's visual cortex, and developed for high-performance biomimetic image processing. In 1989, Eckhorn introduced a neural model to emulate the mechanism of cat's visual cortex. The Eckhorn model provided a simple and effective tool for studying small mammal’s visual cortex, and was soon recognized as having significant application potential in image processing. In 1994, Johnson adapted the Eckhorn model to an image processing algorithm, calling this algorithm a pulse-coupled neural network. The basic property of the Eckhorn's linking-field model (LFM) is the coupling term. LFM is a modulation of the primary input by a biased offset factor driven by the linking input. These drive a threshold variable that decays from an initial high value. When the threshold drops below zero it is reset to a high value and the process starts over. This is different than the standard integrate-and-fire neural model, which accumulates the input until it passes an upper limit and effectively "shorts out" to cause the pulse. LFM uses this difference to sustain pulse bursts, something the standard model does not do on a single neuron level. It is valuable to understand, however, that a detailed analysis of the standard model must include a shunting term, due to the floating voltages level in the dendritic compartment(s), and in turn this causes an elegant multiple modulation effect that enables a true higher-order network (HON). A PCNN is a two-dimensional neural network. Each neuron in the network corresponds to one pixel in an input image, receiving its corresponding pixel's color information (e.g. intensity) as an external stimulus. Each neuron also connects with its neighboring neurons, receiving local stimuli from them. The external and local stimuli are combined in an internal activation system, which accumulates the stimuli until it exceeds a dynamic threshold, resulting in a pulse output. Through iterative computation, PCNN neurons produce temporal series of pulse outputs. The temporal series of pulse outputs contain information of input images and can be used for various image processing applications, such as image segmentation and feature generation. Compared with conventional image processing means, PCNNs have several significant merits, including robustness against noise, independence of geometric variations in input patterns, capability of bridging minor intensity variations in input patterns, etc. A simplified PCNN called a spiking cortical model was developed in 2009. == Applications == PCNNs are useful for image processing, as discussed in a book by Thomas Lindblad and Jason M. Kinser. PCNNs have been used in a variety of image processing applications, including: image segmentation, pattern recognition, feature generation, face extraction, motion detection, region growing, image denoising and image enhancement Multidimensional pulse image processing of chemical structure data using PCNN has been discussed by Kinser, et al. They have also been applied to an all pairs shortest path problem.

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  • AdBlock

    AdBlock

    AdBlock is an ad-blocking browser extension for Google Chrome, Apple Safari (desktop and mobile), Firefox, Samsung Internet, Microsoft Edge and Opera. AdBlock allows users to prevent page elements, such as advertisements, from being displayed. It is free to download and use, and it includes optional donations to the developers. The AdBlock extension was created on December 8, 2009, which is the day that supports for extensions was added to Google Chrome. It was one of the first Google Chrome extensions that was made. Since 2016, AdBlock has been based on the Adblock Plus source code. In July 2018, AdBlock acquired uBlock, a commercial ad-blocker owned by uBlock LLC and based on uBlock Origin. In April 2021, eyeo GmbH (developer of Adblock Plus) announced its purchase of AdBlock, Inc (formerly BetaFish, Inc). == Crowdfunding == Gundlach launched a crowdfunding campaign on Crowdtilt in August 2013 in order to fund an ad campaign to raise awareness of ad-blocking and to rent a billboard at Times Square. After the one-month campaign, it raised $55,000. == Sales and acceptable ads == AdBlock was sold to an anonymous buyer in 2015 and on October 15, 2015, Gundlach's name was taken down from the site. In the terms of the deal, the original developer Michael Gundlach left operations to Adblock's continuing director, Gabriel Cubbage, and as of October 2, 2015, AdBlock began participating in the Acceptable Ads program. Acceptable Ads identifies "non-annoying" ads, which AdBlock shows by default. The intent is to allow non-invasive advertising, to either maintain support for websites that rely on advertising as a main source of revenue or for websites that have an agreement with the program. == Filters == AdBlock uses EasyList, the same filter syntax as Adblock Plus for Firefox, and natively supports the use of a number of filter lists. == Partnership with Amnesty International == On March 12, 2016, in support of World Day Against Cyber Censorship, and in partnership with Amnesty International, instead of blocking ads, AdBlock replaced ads with banners linked to articles on Amnesty's website, written by prominent free speech advocates such as Edward Snowden, to raise awareness of government-imposed online censorship and digital privacy issues around the world. The campaign was met with both praise and criticism, with AdBlock's CEO, Gabriel Cubbage, defending the decision in an essay on AdBlock's website, saying "We’re showing you Amnesty banners, just for today, because we believe users should be part of the conversation about online privacy. Tomorrow, those spaces will be vacant again. But take a moment to consider that in an increasingly information-driven world, when your right to digital privacy is threatened, so is your right to free expression." Meanwhile, Simon Sharwood of The Register characterized Cubbage's position as "'You should control your computer except when we feel political', says AdBlock CEO". == AdBlock for Firefox == On September 13, 2014, the AdBlock team released a version for Firefox users, ported from the code for Google Chrome, released under the same free software license as the original Adblock. The extension was removed on April 2, 2015, by an administrator on Mozilla Add-ons. On December 7, 2015, the official AdBlock site's knowledge base article stated that with version 44 or higher of Firefox desktop and Firefox Mobile, AdBlock will not be supported. The last version of Adblock for those platforms will work on older versions of Firefox. AdBlock was released again on Mozilla Add-ons on November 17, 2016. On April 1, 2012, Adblock developer Michael Gundlach tweaked the code to display LOLcats instead of simply blocking ads. Initially developed as a short-lived April Fools joke, the response was so positive that CatBlock was continued to be offered as an optional add-on supported by a monthly subscription. On October 23, 2014, the developer decided to end official support for CatBlock, and made it open-source, under GPLv3 licensing, as the original extension.

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