AI For Business Hkbu

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  Unspent transaction output

  In cryptocurrencies, an unspent transaction output (UTXO, often capitalized as UTxO) is a distinctive element in a subset of digital currency models. A UTXO represents a certain amount of cryptocurrency that has been authorized by a sender and is available to be spent by a recipient. The utilization of UTXOs in transaction processes is a key feature of many cryptocurrencies, but it primarily characterizes those implementing the UTXO model. UTXOs employ public key cryptography to ascertain and transfer ownership. More specifically, the recipient's public key is formatted into the UTXO, thereby limiting the capability to spend the UTXO to the account that can demonstrate ownership of the corresponding private key. A valid digital signature associated with the public key must be included for the UTXO to be spent. In the UTXO model, each unit of currency is treated as a discrete object. The history of a UTXO is documented only within the blocks where it is transferred. To ascertain the total balance of an account, one must scan each block to find the latest UTXOs linked to that account. While all nodes within a blockchain network must consent to the block history, the blocks relevant to an account's balance are unique to that account. UTXOs constitute a chain of ownership depicted as a series of digital signatures dating back to the coin's inception, regardless of whether the coin was minted via mining, staking, or another procedure determined by the cryptocurrency protocol. The UTXO model was invented for Bitcoin. Cardano uses an extended version of the UTXO model known as EUTXO. == Origins == The conceptual framework of the UTXO model can be traced back to Hal Finney's Reusable Proofs of Work proposal, which itself was based on Adam Back's 1997 Hashcash proposal. Bitcoin, released in 2009, was the first widespread implementation of the UTXO model in practice. == UTXO model vs. account Model == Cryptocurrencies that utilize the UTXO model function differently compared to those using the account model. In the UTXO model, individual units of cryptocurrency, termed as unspent transaction outputs (UTXOs), are transferred between users, analogous to the exchange of physical cash. This model impacts how transactions and ownership are recorded and verified within the blockchain network. The account model preserves a record of each account and its corresponding balance for every block added to the network. This setup enables quicker balance verification without the need to scan historical blocks, but it increases the raw size of each block (though data compression techniques can be utilized to alleviate this). However, both models necessitate the inspection of past blocks to fully authenticate the origin of coins. In the UTXO model, each object is immutable - units of coins cannot be 'edited' in the same way an account balance is modified when a transaction occurs. Rather, the balance is computed from the transaction history dating back to when the coins were first minted. This simplicity enhances security, as a UTXO either exists in its anticipated form or it does not. In contrast, the account model requires meticulous verification of the account's status during transactions, which can lead to oversights if not conducted correctly. In valid blockchain transactions, only unspent outputs (UTXOs) are permissible for funding subsequent transactions. This requirement is critical to prevent double-spending and fraud. Accordingly, inputs in a transaction are removed from the UTXO set, while outputs create new UTXOs that are added to the set. The holders of private keys, such as those with cryptocurrency wallets, can utilize these UTXOs for future transactions.

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  Digital art

  Digital art, or the digital arts, is artistic work that uses digital technology as part of the creative or presentational process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art. Digital art includes pieces stored on physical media, such as with digital painting, as well as digital galleries on websites. Digital art also extends to the field of visual computing. == History == In the early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user interactive computer-graphics interface known as Sketchpad. Between 1974 and 1977, Salvador Dalí created two big canvases of Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko) and prints of Lincoln in Dalivision based on a portrait of Abraham Lincoln processed on a computer by Leon Harmon published in "The Recognition of Faces". The technique is similar to what later became known as photographic mosaics. Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Center in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color using flood fills. == Art made for digital media == Artwork that is highly computational, presented through digital media, and explicitly engages with digital technologies are categorized as "art made for digital media". This differs from art using digital tools, which incorporate digital technology in the creation process but may exist outside the digital world. Digital art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statement about the art form". == Art that uses digital tools == Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings when created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Despite differing viewpoints on digital technology's impact on the arts, a consensus exists within the digital art community about its significant contribution to expanding the creative domain, i.e., that it has greatly broadened the creative opportunities available to professional and non-professional artists alike. == Art theorists and art historians == Notable art theorists and historians in this field include: Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Tina Rivers Ryan, Fred Forest and Edward A. Shanken. === Digital painting === Digital painting is either a physical painting made with the use of digital electronics and spray paint robotics within the digital art fine art context or pictorial art imagery made with pixels on a computer screen that mimics artworks from the traditional histories of painting and illustration. === Artificial intelligence art === Artists have used artificial intelligence to create artwork since at least the 1960s. Since their design in 2014, some artists have created artwork using a generative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate. It can be used to generate pictures that have visual effects similar to traditional fine art. The essential idea of image generators is that people can use text descriptions to let AI convert their text into visual picture content. Anyone can turn their language into a painting through a picture generator. == Digital art education == Digital art education has become more common with the advancement of digital hardware and software. From hardware such as graphics tablets, styluses, tablets, 3D scanners, virtual reality headsets, and digital cameras; to software such as digital art software, 3D modeling software, 3D rendering, digital sculpting, 2D graphics software, digital painting, 3D terrain generation, 2D animation software, 3D animation software, raster graphics editors, vector graphics editors, mathematical art software, and video editing software. == Scholarship and archives == In addition to the creation of original art, research methods that utilize AI have been generated to quantitatively analyze digital art collections. This has been made possible due to the large-scale digitization of artwork in the past few decades. Although the main goal of digitization was to allow for accessibility and exploration of these collections, the use of AI in analyzing them has brought about new research perspectives. Two computational methods, close reading and distant viewing, are the typical approaches used to analyze digitized art. Close reading focuses on specific visual aspects of one piece. Some tasks performed by machines in close reading methods include computational artist authentication and analysis of brushstrokes or texture properties. In contrast, through distant viewing methods, the similarity across an entire collection for a specific feature can be statistically visualized. Common tasks relating to this method include automatic classification, object detection, multimodal tasks, knowledge discovery in art history, and computational aesthetics. Whereas distant viewing includes the analysis of large collections, close reading involves one piece of artwork. Whilst 2D and 3D digital art is beneficial as it allows the preservation of history that would otherwise have been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans – i.e., who should own the digital copyrights. === Computer demos === Computer demos are based on computer programs, usually non-interactive. It produces audiovisual presentations. They are a novel form of art, which emerged as a consequence of the home computer revolution in the early 1980s. In the classification of digital art, they can be best described as real-time procedurally generated animated audio-visuals. This form of art does not concentrate only on the aesthetics of the final presentation, but also on the complexities and skills involved in creating the presentation. As such, it can be fully enjoyed only by persons with a relatively high knowledge level of relevant computer technologies. An example is that, as said by Hua Jin and Jie Yang, Using computer-aided design software to present the class content in art design teaching," is not to advocate computer-aided design instead of hand-drawn performance, but to make it serve the profession earlier through a more reasonable course arrangement." On the other hand, many of the created pieces of art are primarily aesthetic or amusing, and those can be enjoyed by the general public. === Digital installation art === Digital installation art constitutes a broad field of artistic practices and a variety of forms. Some resemble video installations, especially large-scale works involving projections and live video capture. By using projection techniques that enhance an audience's impression of sensory envelopment, many digital installations attempt to create immersive environments. While others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site-specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces. Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people, indicating their personal space.Noah Wardrip-Fruin's "Screen"(2003) utilizes a Cave Automatic Virtual Environment (CAVE) to create an interactive, text-based digital experience that engages the viewer in a multi-sensory interaction. === Internet art and net.art === Internet art is digital art that uses the specific characteristics of the Internet and is exhibited on the Internet. The term "internet art" is included by "net art" for which artists assume that network will be refreshed through history. So the term "post-internet art" is used to exclude artworks outside of the internet media. A representative example is Protocols for Achievements, which is a digital photo frame that confronts the aestheti

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  Bitstrips

  Bitstrips, Inc. was a Canadian media and technology company based in Toronto, founded in 2007 by Jacob Blackstock, David Kennedy, Shahan Panth, Dorian Baldwin, and Jesse Brown. The company created and offered a web application, Bitstrips.com, which allowed users to create comic strips using personalized avatars, and preset templates and poses. Brown and Blackstock explained that the service was meant to enable self-expression without the need to have artistic skills. Bitstrips was first presented in 2008 at South by Southwest in Austin, Texas, and the service later piloted and launched a version designed for use as educational software. The service achieved increasing prominence following the launch of versions for Facebook and mobile platforms. In 2014, Bitstrips launched a spin-off app known as Bitmoji, which allows users to create personalized stickers for use in instant messaging. In July 2016, Snapchat Inc. announced that it had acquired the company; the Bitstrips comic service was shut down, but Bitmoji remains operational, and has subsequently been given greater prominence within Snapchat's overall platform. == History == Bitstrips was co-developed by Toronto-based comic artist Jacob Blackstock and his high school friend, journalist Jesse Brown. The service was originally envisioned as a means to allow anyone to create their own comic strip without needing artistic skills. Brown explained that "it's so difficult and time-consuming to tell a story in comic book form, drawing the same characters again and again in these tiny little panels, and just the amount of craftsmanship required. And even if you can do it well, which I never could, it takes years to make a story." Brown stated that the service would be "groundwork for a whole new way to communicate", and went as far as describing the service as being a "YouTube for comics". Blackstock explained that the concept of Bitstrips was influenced by his own use of comics as a form of socialization; a student, Blackstock and his friends drew comics featuring each other and shared them during classes. He felt that Bitstrips was a "medium for self-expression", stating that "It's not just about you making the comics, but since you and your friends star in these comics, it's like you're the medium. The visual nature of comics just speaks so much louder than text." The service was publicly unveiled at South by Southwest in 2008. In 2009, the service introduced a version oriented towards the educational market, Bitstrips for Schools, which was initially piloted at a number of schools in Ontario. The service was praised by educators for being engaging to students, especially within language classes. Brown noted that students were using the service to create comics outside of class as well, stating that it was "so gratifying and shocking what people do with your tool to make their own stories in ways that you never would have anticipated. Some of them are just brilliant." In December 2012, Bitstrips launched a version for Facebook; by July 2013, Bitstrips had 10 million unique users on Facebook, having created over 50 million comics. In October 2013, Bitstrips launched a mobile app; in two months, Bitstrips became a top-downloaded app in 40 countries, and over 30 million avatars had been created with it. In November 2013, Bitstrips secured a round of funding from Horizons Ventures and Li Ka-shing. In October 2014, Bitstrips launched Bitmoji, a spin-off app that allows users to create stickers featuring Bitstrips characters in various templates. In July 2016, following unconfirmed reports earlier in the year, Snapchat Inc. announced that it had acquired Bitstrips. The company's staff continue to operate out of Toronto, but the original Bitstrips comic service was shut down in favour of focusing exclusively on Bitmoji, leaving many Bitstrips users to call for a reboot of the comic service.

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  Passenger drone

  A passenger drone is an autonomous aircraft that is designed to carry a small number of passengers to a destination. In 2021, Ehang, a technology company based in Guangzhou, China, developed the Ehang 184, the world's first passenger drone. == History == Unmanned aerial vehicles were first introduced in World War 1, when Britain first developed the Aerial Target, an aircraft controlled remotely through radio signals. A year later in the United States, testing of Kettering Bug, a 12-foot long biplane attached with a bomb and that launched via a “slingshot-like rail”, was also under progress. Both of their unreliable test results and their possibility of endangering friendly troops in deployment caused neither aircraft to be used during the war. Production of UAVs continued after World War I and into World War II and the Vietnam War, where they would be invaluable in assisting with training as well as reconnaissance. Late 20th century also saw the proposition and development of unique methods of travel, including personal jetpacks and even flying cars. While the previously mentioned are not drones, they serve as a precursor and foundation for the passenger drones of today. The first passenger drone was unveiled on January 6 of 2016 at the international Consumer Electronics Show (CES) in Las Vegas. Produced by Ehang, a Chinese company based in Guangzhou, the 184 was a one passenger drone equipped with four propellers that could fly for approximately 23 minutes at a top speed of 63 mph. Since then, many new companies have entered the market, but none yet have been accessible by the public. == Technological development == Since 2013, improvements in designs to wing structures have contributed to the economic feasibility of passenger drones. New structural advancements, such as the flapping-wing propulsion system based on the mechanisms of birds’ wings, are more available as they have proven their capabilities in laboratory testing. As of September 29th, 2015, most market-ready drones are delivery drones with a carrying capacity limited to small packages - with a typical max capacity of under 5 pounds. However, while the technology exists for drones with larger carrying capacities, specifically those capable of carrying multiple humans, the execution of this technology is not yet market accessible. This capacity limit must be addressed for passenger drones; given current designs strive to carry a maximum of 5 people. However, some estimates believe that passengers drones could become a reality, specifically for paid transportation and emergency purposes, as early as 2026. With implementation of this technology, there could be significant effects on ground traffic including reducing gridlock in heavily congested areas and conserving up to 15% of the fuel currently used in heavy traffic patterns. However, extensive growth of the passenger drone market also risks clouding the low-altitude airspace and causing new safety risks. However, this concern is being addressed by recent advancements in the Internet of Drones (IoD) which links drones together to ensure appropriate pathing and reduce mid-air collisions. While this brings additional security issues, including maintaining reliable communication channels in the case of technological failure, researchers hope that this will help reduce crashes that can result in damage to passengers, buildings, and people in and around the airspace. == Notable companies == Ehang is a Chinese company that has developed numerous drones including passenger plane Ehang 184. EHang 184 was their first model, developed as an eight dual rotor wing blade drone that can carry two passengers. The model was retired in 2020 and is replaced by the Ehang 216. Ehang also released a one passenger drone, Ehang 116. Ehang in 2021 unveiled the model VT-30. VT-30 is designed to have eight dual rotor wing blades to complement its fixed wing platform. Flyastro, a Texas-based drone company, developed the Astro ALTA, with two and four person passenger models. The company is known for being the first to develop a solar-powered airplane. The development team initially began with the model, Elroy. It was a two passenger drone with similar design to the ALTA. Once flight was achieved, the model Astro ALTA began development. Joby Aviation is a California based company that has developed a five passenger drone, with one seat for the pilot. The company expects to complete its FAA certification process 2022. Joby in 2020 acquired a 75 million dollar investment from service provider Uber Technologies Inc., leading to Uber Elevate and Expands partnership. Archer Aviation is a California-based company that has developed a two passenger model called Maker. It has fixed wings with twelve rotor wings. Archer is developing five person model. United Airlines has partnered with Archer for commercial sale of the model, Maker. Maker is expected to be released within Los Angeles and Miami by 2024. CityAirbus is a drone project developed by Airbus, a European multinational aerospace company, based in the Netherlands. CityAirbus has developed a four- person passenger drone with fixed wings that include rotor wing blades. Its expected certification for public flight is in 2025. Boeing, an American multinational aviation corporation is developing a passenger drone model called the Passenger Air Vehicle (PAV). The model is a fixed wing with eight rotor blade wings attached onto a platform underneath the base structure. This model can hold two passengers and still is in development. Volocopter is a German aircraft manufacturer that is developing a passenger drone called Volocity. The model consist of eighteen rotor wings above the cockpit on a circular ring. Japan Airlines, an investor of Volocopter plans to have public test in Japan as early as 2023. == Future use == === Potential benefits === Passenger drones can greatly reduce the time for travel. As passenger drones flight paths are not restricted by conventional roads, the travel distance is shortened. Current ventures such as Joby Aviation, after acquiring Uber Air, plan to take advantage of this technology in the form of air taxis. Other potential benefits include the use of passenger drones by emergency services such as search and rescue missions and the delivery of life saving goods. Companies like Ehang have already begun using passenger drones as emergency vehicles as a response to the potential river collapses during the flood season in China. === Concerns === Passenger and air traffic safety remains at the forefront of concerns. Regulations for air traffic centered around passenger drones are still underway and would continue to develop with increasing use cases for passenger drones. Remote security threats on commercial drones such as Man-In-The-Middle (MITM) attack have also exposed the vulnerabilities in current drone systems. Among American adults, 54 percent say that they would feel unsafe flying inside a passenger drone. Passenger drones can be very noisy; a single passenger drone such as Joby Aviation’s all-electric vertical take-off and landing (“eVTOL”) aircraft has an estimated noise production of 70 decibels (dB), a noise level equating to “loud traffic”.

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  Unit of work

  A unit of work is a behavioral pattern in software development. Martin Fowler has defined it as everything one does during a business transaction which can affect the database. When the unit of work is finished, it will provide everything that needs to be done to change the database as a result of the work. A unit of work encapsulates one or more code repositories[de] and a list of actions to be performed which are necessary for the successful implementation of self-contained and consistent data change. A unit of work is also responsible for handling concurrency issues, and can be used for transactions and stability patterns.[de]

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  Lenna

  Lenna (or Lena) is a standard test image used in the field of digital image processing, starting in 1973. It is a picture of the Swedish model Lena Forsén, shot by photographer Dwight Hooker and cropped from the centerfold of the November 1972 issue of Playboy magazine. Lenna has attracted controversy because of its subject matter. Starting in the mid-2010s, many journals have deemed it inappropriate and discouraged its use, while others have banned it from publication outright. Forsén herself has called for it to be retired, saying "It's time I retired from tech." The spelling "Lenna" came from the model's desire to encourage the proper pronunciation of her name. "I didn't want to be called Leena [English: ]," she explained. == History == Before Lenna, the first use of a Playboy magazine image to illustrate image processing algorithms was in 1961. Lawrence G. Roberts used two cropped six-bit grayscale facsimile scanned images from Playboy's July 1960 issue featuring Playmate Teddi Smith, in his master's thesis on image dithering at Massachusetts Institute of Technology. Lenna was originally intended for high resolution color image processing study. Its history was described in the May 2001 newsletter of the IEEE Professional Communication Society, in an article by Jamie Hutchinson: Alexander Sawchuk estimates that it was in June or July of 1973 when he, then an assistant professor of electrical engineering at the University of Southern California Signal and Image Processing Institute (SIPI), along with a graduate student and the SIPI lab manager, was hurriedly searching the lab for a good image to scan for a colleague's conference paper. They got tired of their stock of usual test images, dull stuff dating back to television standards work in the early 1960s. They wanted something glossy to ensure good output dynamic range, and they wanted a human face. Just then, somebody happened to walk in with a recent issue of Playboy. The engineers tore away the top third of the centerfold so they could wrap it around the drum of their Muirhead wirephoto scanner, which they had outfitted with analog-to-digital converters (one each for the red, green, and blue channels) and a Hewlett Packard 2100 minicomputer. The Muirhead had a fixed resolution of 100 lines per inch and the engineers wanted a 512×512 image, so they limited the scan to the top 5.12 inches of the picture, effectively cropping it at the subject's shoulders. The image's reach was limited in the 1970s and 80s, which is reflected in it initially only appearing in .org domains, but in July 1991, the image featured on the cover of Optical Engineering alongside Peppers, another popular test image. This drew the attention of Playboy to the potential copyright infringement. The peak of image hits on the internet was in 1995. The scan became one of the most used images in computer history. The use of the photo in electronic imaging has been described as "clearly one of the most important events in [its] history". The image spread to over 100 different domains, particularly .com and .edu. In a 1999 issue of IEEE Transactions on Image Processing "Lena" was used in three separate articles, and the picture continued to appear in scientific journals throughout the beginning of the 21st century. Lenna is so widely accepted in the image processing community that Forsén was a guest at the 50th annual Conference of the Society for Imaging Science and Technology (IS&T) in 1997. In 2015, Lena Forsén was also guest of honor at the banquet of IEEE ICIP 2015. After delivering a speech, she chaired the best paper award ceremony. To explain why the image became a standard in the field, David C. Munson, editor-in-chief of IEEE Transactions on Image Processing, stated that it was a good test image because of its detail, flat regions, shading, and texture. He also noted that "the Lena image is a picture of an attractive woman. It is not surprising that the (mostly male) image processing research community gravitated toward an image that they found attractive." While Playboy often cracks down on illegal uses of its material and did initially send a notice to the publisher of Optical Engineering about its unauthorized use in that publication, over time it has decided to overlook the wide use of Lena. Eileen Kent, VP of new media at Playboy, said, "We decided we should exploit this, because it is a phenomenon." == Criticism == The use of the image has produced controversy because Playboy is "seen (by some) as being degrading to women". In a 1999 essay on reasons for the male predominance in computer science, applied mathematician Dianne P. O'Leary wrote: Suggestive pictures used in lectures on image processing ... convey the message that the lecturer caters to the males only. For example, it is amazing that the "Lena" pin-up image is still used as an example in courses and published as a test image in journals today. A 2012 paper on compressed sensing used a photo of the model Fabio Lanzoni as a test image to draw attention to this issue. The use of the test image at the magnet school Thomas Jefferson High School for Science and Technology in Fairfax County, Virginia, provoked a guest editorial by a senior in The Washington Post in 2015 about its detrimental impact on aspiring female students in computer science. In 2017, the Journal of Modern Optics published an editorial titled "On alternatives to Lenna" suggesting three images (Pirate, Cameraman, and Peppers) that "are reasonably close to Lenna in feature space". In 2018, the Nature Nanotechnology journal announced that they would no longer consider articles using Lenna. In the same year SPIE, the publishers of Optical Engineering, also announced that they "strongly discourage" the use of Lenna, and would no longer consider new submissions containing the image "without convincing scientific justification for its use". They noted that aside from the copyright and ethical issues, that it was also no longer useful as a standard image: "In today's age of high-resolution digital image technology, it seems difficult to argue that a 512 × 512 image produced with a 1970s-era analog scanner is the best we have to offer as an image quality test standard". Forsén stated in the 2019 documentary film Losing Lena, "I retired from modeling a long time ago. It's time I retired from tech, too... Let's commit to losing me." The Institute of Electrical and Electronics Engineers (IEEE) announced that, starting April 1, 2024, it will no longer allow use of Lenna in its publications.

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  HTK Limited

  HTK Limited is a software-as-a-service company that provides mobile phone messaging and IVR services. Founded in 1996, HTK is headquartered in Ipswich, Suffolk, UK. HTK provide mass notification services. Specifically, the "Police Direct" messaging service to Suffolk and Norfolk Constabularies. In 2010 the HTK Horizon SaaS platform was selected by the Scottish Environment Protection Agency (SEPA) for their Floodline Warnings Direct service. == History == HTK was founded in 1996 by Marlon Bowser and Adrian Gregory and from the outset focused on what has now become commonly known as Software-as-a-Service. in 2004, according to the Deloitte Fast 50 (UK), HTK was the 17th fastest growing company in the East of England. In 2005 The Times listed HTK 65th nationally and 4th in the East of England in the Sunday Times & Microsoft "Tech Track 100" awards. In 2009 the company was approved as a supplier to UK Government under a new framework agreement. In 2010 HTK launched version 2.2 of its Horizon platform, with a feature set that signals a shift from mass notification into the customer service automation market.

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  Georges Giralt PhD Award

  The Georges Giralt PhD Award is a European scientific prize for extraordinary contributions to robotics. It is awarded yearly at the European Robotics Forum by euRobotics AISBL, a non-profit organisation based in Brussels with the objective of turning robotics beneficial for Europe’s economy and society. Georges Giralt received his PhD in 1958, from Paul Sabatier University, in the domain of electrical machines, and soon afterwards became a pioneer in robotics, in Europe and worldwide. He was especially instrumental in bringing in scientific foundations and methodology when the domain was still young, and a loose coupling of mechanical and electrical engineering, adopting the early results of automatic control. The high reputation of the Georges Giralt PhD Award is based on the prominent role of the awarding institution euRobotics. With more than 250 member organisations, euRobotics represents the academic and industrial robotics community in Europe. Moreover, it provides the European robotics community with a legal entity to engage in a public/private partnership with the European Commission. The award is covered by various media. Entitled for participation in the Georges Giralt PhD Award are all robotics-related dissertations which have been successfully defended at a European university. The US-American counterpart is the Dick Volz Award. == Award winners == 2026: Antonio González Morgado 2025: Erfan Shahriari 2024: Manuel Keppler 2023: Antonio Andriella, Ribin Balachandran 2022: Antonio Loquercio, Michael Lutter 2021: Giuseppe Averta, Bernd Henze 2020: Cosimo Della Santina 2019: Grazioso Stanislao, Teodor Tomic 2018: Frank Bonnet, Daniel Leidner 2017: Johannes Englsberger 2016: Alexander Dietrich, Mark Müller 2015: Jörg Stückler 2014: Manuel Catalano, Fabien Expert, Rainer Jaekel 2013: Jens Kober 2012: Sami Haddadin 2011: Mario Pratts 2010: Ludovic Righetti 2009: Alejandro-Dizan Vasquez-Govea 2008: Cyrill Stachniss, Eduardo Rocon 2007: Pierre Lamon 2006: Martijn Wisse 2005: Juan Andrade Cetto 2004: Gilles Duchemin 2003: Ralf Koeppe 2002: Gianluca Antonelli, Jens-Steffen Gutmann

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  Matchbox Educable Noughts and Crosses Engine

  The Matchbox Educable Noughts and Crosses Engine (sometimes called the Machine Educable Noughts and Crosses Engine or MENACE) was a mechanical computer made from 304 matchboxes designed and built by artificial intelligence researcher Donald Michie and his colleague Roger Chambers, in 1961. It was designed to play human opponents in games of noughts and crosses (tic-tac-toe) by returning a move for any given state of play and to refine its strategy through reinforcement learning. This was one of the first types of artificial intelligence. Michie and Chambers did not have immediate access to a computer; they worked around this by building the engine out of matchboxes. The matchboxes they used each represented a single possible layout of a noughts and crosses grid. When the computer first played, it would randomly choose moves based on the current layout. As it played more games, through a reinforcement loop, it disqualified strategies that led to losing games, and supplemented strategies that led to winning games. Michie held a tournament against MENACE in 1961, wherein he experimented with different openings. Following MENACE's maiden tournament against Michie, it demonstrated successful artificial intelligence in its strategy. Michie's essays on MENACE's weight initialisation and the BOXES algorithm used by MENACE became popular in the field of computer science research. Michie was honoured for his contribution to machine learning research, and was twice commissioned to program a MENACE simulation on an actual computer. == Origin == Donald Michie (1923–2007) had been on the team decrypting the German Tunny Code during World War II. Fifteen years later, he wanted to further display his mathematical and computational prowess with an early convolutional neural network. Since computer equipment was not obtainable for such uses, and Michie did not have a computer readily available, he decided to display and demonstrate artificial intelligence in a more esoteric format and constructed a functional mechanical computer out of matchboxes and beads. MENACE was constructed as the result of a bet with a computer science colleague who postulated that such a machine was impossible. Michie undertook the task of collecting and defining each matchbox as a "fun project", later turned into a demonstration tool. Michie completed his essay on MENACE in 1963, "Experiments on the mechanization of game-learning", as well as his essay on the BOXES Algorithm, written with R. A. Chambers and had built up an AI research unit in Hope Park Square, Edinburgh, Scotland. MENACE learned by playing successive matches of noughts and crosses. Each time, it would eliminate a losing strategy by the human player confiscating the beads that corresponded to each move. It reinforced winning strategies by making the moves more likely, by supplying extra beads. This was one of the earliest versions of the Reinforcement Loop, the schematic algorithm of looping the algorithm, dropping unsuccessful strategies until only the winning ones remain. This model starts as completely random, and gradually learns. == Composition == MENACE was made from 304 matchboxes glued together in an arrangement similar to a chest of drawers. Each box had a code number, which was keyed into a chart. This chart had drawings of tic-tac-toe game grids with various configurations of X, O, and empty squares, corresponding to all possible permutations a game could go through as it progressed. After removing duplicate arrangements (ones that were simply rotations or mirror images of other configurations), MENACE used 304 permutations in its chart and thus that many matchboxes. Each individual matchbox tray contained a collection of coloured beads. Each colour represented a move on a square on the game grid, and so matchboxes with arrangements where positions on the grid were already taken would not have beads for that position. Additionally, at the front of the tray were two extra pieces of card in a "V" shape, the point of the "V" pointing at the front of the matchbox. Michie and his artificial intelligence team called MENACE's algorithm "Boxes", after the apparatus used for the machine. The first stage "Boxes" operated in five phases, each setting a definition and a precedent for the rules of the algorithm in relation to the game. == Operation == MENACE played first, as O, since all matchboxes represented permutations only relevant to the "X" player. To retrieve MENACE's choice of move, the opponent or operator located the matchbox that matched the current game state, or a rotation or mirror image of it. For example, at the start of a game, this would be the matchbox for an empty grid. The tray would be removed and lightly shaken so as to move the beads around. Then, the bead that had rolled into the point of the "V" shape at the front of the tray was the move MENACE had chosen to make. Its colour was then used as the position to play on, and, after accounting for any rotations or flips needed based on the chosen matchbox configuration's relation to the current grid, the O would be placed on that square. Then the player performed their move, the new state was located, a new move selected, and so on, until the game was finished. When the game had finished, the human player observed the game's outcome. As a game was played, each matchbox that was used for MENACE's turn had its tray returned to it ajar, and the bead used kept aside, so that MENACE's choice of moves and the game states they belonged to were recorded. Michie described his reinforcement system with "reward" and "punishment". Once the game was finished, if MENACE had won, it would then receive a "reward" for its victory. The removed beads showed the sequence of the winning moves. These were returned to their respective trays, easily identifiable since they were slightly open, as well as three bonus beads of the same colour. In this way, in future games MENACE would become more likely to repeat those winning moves, reinforcing winning strategies. If it lost, the removed beads were not returned, "punishing" MENACE, and meaning that in future it would be less likely, and eventually incapable if that colour of bead became absent, to repeat the moves that cause a loss. If the game was a draw, one additional bead was added to each box. == Results in practice == === Optimal strategy === Noughts and crosses has a well-known optimal strategy. A player must place their symbol in a way that blocks the other player from achieving any rows while simultaneously making a row themself. However, if both players use this strategy, the game always ends in a draw. If the human player is familiar with the optimal strategy, and MENACE can quickly learn it, then the games will eventually only end in draws. The likelihood of the computer winning increases quickly when the computer plays against a random-playing opponent. When playing against a player using optimal strategy, the odds of a draw grow to 100%. In Donald Michie's official tournament against MENACE in 1961 he used optimal strategy, and he and the computer began to draw consistently after twenty games. Michie's tournament had the following milestones: Michie began by consistently opening with "Variant 0", the middle square. At 15 games, MENACE abandoned all non-corner openings. At just over 20, Michie switched to consistently using "Variant 1", the bottom-right square. At 60, he returned to Variant 0. As he neared 80 games, he moved to "Variant 2", the top-middle. At 110, he switched to "Variant 3", the top right. At 135, he switched to "Variant 4", middle-right. At 190, he returned to Variant 1, and at 210, he returned to Variant 0. The trend in changes of beads in the "2" boxes runs: === Correlation === Depending on the strategy employed by the human player, MENACE produces a different trend on scatter graphs of wins. Using a random turn from the human player results in an almost-perfect positive trend. Playing the optimal strategy returns a slightly slower increase. The reinforcement does not create a perfect standard of wins; the algorithm will draw random uncertain conclusions each time. After the j-th round, the correlation of near-perfect play runs: 1 − D D − D ( j + 2 ) ∑ i = 0 j D ( j i + 1 ) V i {\displaystyle {1-D \over D-D^{(j+2)}}\sum _{i=0}^{j}D^{(ji+1)}V_{i}} Where Vi is the outcome (+1 is win, 0 is draw and -1 is loss) and D is the decay factor (average of past values of wins and losses). Below, Mn is the multiplier for the n-th round of the game. == Legacy == Donald Michie's MENACE proved that a computer could learn from failure and success to become good at a task. It used what would become core principles within the field of machine learning before they had been properly theorised. For example, the combination of how MENACE starts with equal numbers of types of beads in each matchbox, and how these are then selected at random, creates a learning behaviour similar to weight initialisation

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  OpenPipeline

  openPipeline is an open-source plug-in for Autodesk Maya that is designed to assist in a Production Pipeline structure and Computer animation. == Development == Created in Maya Embedded Language, openPipeline was initiated at Eyebeam Atelier and further developed at Pratt Institute in the Digital Arts Lab. The initial release date was December 28, 2006. == Contributors == Rob O'Neill (Creator) Paris Mavroidis Meng-Han Ho

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  Vegas Pro

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

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  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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  List of Haskell software and tools

  This is a list of Haskell software and tools, including compilers, interpreters, build tools, package managers, integrated development environments, libraries, and other development utilities. == Compilers, interpreters and editors == Emacs — text editor Glasgow Haskell Compiler (GHC) Hugs — bytecode interpreter (discontinued) IntelliJ IDEA — IDE with Haskell support via plugins Vim — text editor Visual Studio Code — editor/IDE with Haskell support via extensions == Libraries and frameworks == Parsec — parser combinator library Servant — web framework Yesod — web framework == Build tools and package management == Cabal — build system and packaging infrastructure Haskell Platform — bundled distribution of Haskell tools and libraries (deprecated) Stack — build tool and dependency manager == Language tools and static analysis == Fourmolu — code formatter based on Ormolu Haskell Language Server — implementation of the Language Server Protocol for Haskell HLint — source code suggestion and linting tool Hoogle — Haskell API search engine Ormolu — code formatter Stan — static analysis tool Stylish Haskell — source code formatter == Interactive environments == GHCi — interactive REPL for the Glasgow Haskell Compiler IHaskell — Jupyter kernel for Haskell == Debugging and profiling tools == hp2ps — heap profiling visualization tool ThreadScope — parallel execution visualizer for Haskell programs == Documentation generators == Haddock — API documentation generator for Haskell == Parser and lexer generators == Alex — lexer generator for Haskell Happy — parser generator for Haskell == Testing frameworks == HUnit — unit testing framework QuickCheck — property-based testing library == Version control == Darcs — distributed version control system written in Haskell

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  VideoThang

  VideoThang was free video editing software for Windows 2000, XP, and Vista. The software has three parts to it which are My Stuff, Edit My Stuff, and My Mix. The software accepts MOV, AVI, MPG, MP4, PNG, WMV, FLV, and MP3 standards. Its official website is now no longer available. == Reception == Jan Ozer, of Pcmag, said that the software "suffers from several unfortunate design and implementation flaws that dramatically limit output quality and overall utility." Jon L. Jacobi, of PC World, said that the software "may not be the most flexible multimedia editor in the world, but the trim/zoom basics are there, it's free, and it's so simple to use that just about anyone in the world should be able figure it out." Amit Agarwal, of Digital Inspiration, said that the software "doesn’t offer loads of features like other video editors but is perfect for making quick video slideshows of your pictures that you can upload on the web or share via email."

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  Depop

  Depop Limited is a social e-commerce company based in London, with additional offices in Milan and New York City. The company allows users to buy and sell items, which are mostly used and vintage pieces of clothing. == History == Depop was founded in 2011 by entrepreneur Simon Beckerman at an Italian technological incubator and business start-up centre, H-Farm. Beckerman came up with the original outline of the application during his time working on PIG, a fashion magazine based in Italy that he co-founded. The idea was to create a platform where products shown in the magazine could be purchased by users online. This idea turned into a concept similar to a flea market but on the internet, where people could sell their items while also being in control of advertising, public relations, and the creative process behind their accounts. While being financially supported by H-Farm, Beckerman worked within a team to create and lay out the Depop application while exposing it to numerous investors. In 2013, Beckerman became a member of the company's board to help improve the application and business while concurrently ceding his role of CEO. Maria Raga, Depop's co-founder and former CEO, took on the role of vice president of operations in 2014, and in 2016, she became chief executive. According to Raga, the main goal while developing Depop was to become the next Airbnb or Spotify, but to make an impact on fashion. Paolo Barberis and Nana Bianca were two of the first investors in the platform in 2012 with a seed investment. Its headquarters were moved to London in 2012. Depop expanded and opened additional offices in Milan and New York City. Beckerman raised €1 million in funding in October 2013 from Red Circle Investment and brought on Faroese Runar Reistrup as new CEO. In 2015, Depop secured another investment of $8 million from Balderton Capital and HV Capital. In March 2016, former CEO, Runar Reistrup, stated that Depop's growth was achieved through word of mouth. During his time as CEO, this growth involved taking Depop as a startup and working to raise funds to eventually amass a significant user base within the United States. In June 2019, Depop raised $62 million in Series C from General Atlantic to fund its expansion. Previous investors HV Capital, Balderton Capital, Creandum, Octopus Ventures, TempoCap and Sebastian Siemiatkowski also participated. During this time, Depop held workshops and conversations as part of their Depop Live NY events, and the company also opened a London store through their partnership with Selfridges. In 2020, Depop's gross merchandise sales and revenue both more than doubled to $650 million and $70 million respectively. This may be attributed to Depop's responsiveness to user trends, its lack of issues regarding inventory management, and the increase in users looking to resell. As of 2024, Depop has over 35 million users, according to their website. Depop is popular for Gen Z and young millennials, it is the 10th most-visited shopping platform for Gen Z consumers in the US, and, in a poll conducted by The Strategist in 2019, Depop was voted by teenagers as their favorite resale website. === Acquisition by Etsy === In June 2021, Depop was acquired by Etsy for $1.6 billion in cash, making it Etsy's most expensive acquisition; however, Depop continues to operate as a standalone brand independent from Etsy. This means that in addition to Depop keeping its existing team, the company retained its London location. At the time of acquisition, Etsy CEO Josh Silverman’s goal was to counteract the influx of buyers starting to go back to physical shops for their purchases. He saw Depop for its potential as a platform supporting a variety of products and creating a greater community of users. According to Silverman, Depop may expand and improve its services for its significant Gen Z user base. For Etsy, this acquisition maintains the company's foothold in the clothing industry and allows the company to expand its customer base to a younger demographic; at the same time, Depop is now able to make use of Etsy's company operations. When Maria Raga relinquished her position as Depop's CEO in 2022, Etsy assigned the role to Kruti Patel Goyal, who was Etsy's former chief product officer and a leader there for eleven years. When Goyal was appointed president and chief growth officer for Etsy in May, Peter Semple, former chief marketing officer, was assigned CEO of Depop officially on August 1st. === Acquisition by eBay === In February 2026, Etsy announced a proposed sale of Depop to eBay for $1.2 billion that was estimated to close within the year. == Business model == === Selling === Depop operates as a marketplace and social platform, where users can follow friends and other influencers to view their buying and selling activities. Through the platform, users are able to sell branded and designer items, as well as vintage pieces. Depop users are also encouraged by the platform to use other social networking services such as Instagram to promote their shop profiles. Celebrities have resold their own items on Depop, with some donating proceeds to charitable causes. Depop's user interface is modeled after that of Instagram. According to Depop, users who list and sell items provide their own photos with item descriptions. Users also note their designer items' authenticity and if they include any labels, tags, and receipts. These listings will appear in users' feeds. The platform's "Explore" page features items picked out by Depop staff. According to Depop, purchases are made via Apple Pay, Google Pay, credit and debit cards, and Klarna. Depop payments stay in-app, allowing for the company to mediate disputes and process refunds. Depop payments allow sellers to directly receive their payments in their bank account. To get paid by Depop, a seller has to add a bank account and verify their identification by uploading an ID. On July 18, 2024, Depop CEO Kruti Patel Goyal announced the removal of selling fees for US sellers, while maintaining a payment processing fee. This policy adjustment aimed to enhance seller revenue and support the growth of the second-hand market. === Buying === A Depop transaction includes the agreed sale price of the item, shipping fees, VAT or other applicable taxes and duties, and the marketplace fee for buyers in the U.S. or U.K. For international deliveries, packages may be subject to import taxes, customs duties, or fees, payable upon arrival or at checkout if Depop collects the tax on behalf of the buyer. For domestic purchases, relevant taxes may be collected by the seller or charged by the platform at checkout, ensuring no additional taxes are due upon delivery. For users in Australia, the United Kingdom, and the United States, Depop allows users to receive a full refund if their item does not arrive, arrives damaged, or is considerably different from the original when the issue is reported within 30 days. === Competitors === As of June 2021, Depop's competitors include Vinted, a platform founded by Milda Mitkute and Justas Janauskas in 2008 and valued at €3.5 billion, as well as the U.S. resale site Poshmark, valued at $3.5 billion. Additional competitors include Grailed, a peer-to-peer e-commerce site founded in 2014 that is recognized for its high-end second-hand menswear and streetwear, and Vestiaire Collection, a European resale app established in 2009 which specializes in authenticated pre-owned luxury items. The popularity of Depop has negatively impacted traditional second-hand stores, which can struggle to compete due to high labor costs and quality demands. There is an oversupply of clothes with the rise of fast fashion; this has taken a toll on the revenue aspect of the second-hand clothing industry. == Criticism == In November 2019, Business of Fashion reported that users within the Depop app were receiving sexually suggestive messages. In February 2020, Jessica Hamilton, a Depop buyer, reported that she found many scammers on the platform. She noticed this issue after she attempted to purchase a Nintendo Switch from a seller who would suspiciously only accept payment through a direct bank transfer without buyer protection. Hamilton blamed the company for its lack of action and relaxed security measures compared to other e-commerce sites, which made the platform especially susceptible to hackers. Without a clear strategy for managing scams, Depop lost some users' trust because of its negligence. In October 2020, some Depop buyers were tricked into paying sellers directly to bypass Depop's buyer protections, and the Depop sellers then sold those users' information on the dark web. In response, Depop claimed that it would improve security through mandatory password updates and multi-factor authentication. Users have criticized Depop for belatedly taking action against this issue.

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