AI For Business Microsoft

AI For Business Microsoft — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Carrier cloud

  In cloud computing, a carrier cloud is a class of cloud that integrates wide area networks (WAN) and other attributes of communications service providers’ carrier-grade networks to enable the deployment of highly-complex applications in the cloud. In contrast, classic cloud computing focuses on the data center and does not address the network connecting data centers and cloud users. This may result in unpredictable response times and security issues when business-critical data are transferred over the Internet. == History == The advent of virtualization technology, cost-effective computing hardware, and ubiquitous Internet connectivity have enabled the first wave of cloud services starting in the early years of the 21st century. But many businesses and other organizations hesitated to move to more demanding applications, from on-premises dedicated hardware to private or public clouds. As a response, communications service providers started in the 2010/2011 time frame to develop carrier clouds that address perceived weaknesses in existing cloud services. Cited weaknesses vary but often include possible downtime, security issues, high cost of custom software and data transfer, inflexibility of some cloud apps, poor customer and nonfulfillment of service level agreements (SLAs). == Characteristics == To enable the deployment of time-sensitive and business critical applications in the cloud, the carrier cloud is designed to match or even exceed the characteristics of on-premises deployments. Therefore, the carrier cloud is characterized by some or all of the following items: Configurable, elastic network performance: Typical cloud computing solutions use the best effort of the public Internet to connect cloud users and data centers. This approach provides instant connectivity but does not offer control over network capacities, latencies, and jitter. Carrier clouds address these gaps with content delivery networks and/or dedicated virtual private networks (VPN) at OSI layers 1 (optical wavelengths), 2 (data link layer), and 3 (network layer). These VPNs can be configured to offer the desired performance parameters and exhibit the same type of elasticity for the network that regular clouds provide for servers and storage. To achieve the requested performance parameters, such as low latency, cloud applications can be (automatically) allocated to distributed data centers that are close enough to the cloud users. Automatic resource placement: For a cloud with multiple data centers, information about both the data center and the connecting network is relevant for a decision of where to place cloud images and storage volumes. For this decision, carrier clouds can obtain relevant information about the network, e.g., using the Application-Layer Traffic Optimization (ALTO) protocol. High level of security and governance: Cloud application providers are subject to general and domain specific security, privacy, and governance requirements and regulations, such as the European Data Protection Directive and the U.S. Health Insurance Portability and Accountability Act. For added security, the wide area network of the carrier cloud can provide segregated encrypted or unencrypted network links that are not accessible from the general Internet. At the data center, the carrier cloud provides e.g. virtual private servers, management processes, logs, and documentation to fulfill security and governance rules. Location control: Fundamentally, cloud users should not be concerned with the geographic location of their cloud resources. However, privacy and other regulations may mandate that certain types of data must not be sent outside a national jurisdiction or other geographical region. Open APIs: Carrier clouds provide graphical user interfaces and Web application programming interfaces that allow cloud application providers to set up, manage, and monitor both, the data center and the WAN, of their cloud services. == Architecture == Carrier clouds encompass data centers at different network tiers and wide area networks that connect multiple data centers to each other as well as to the cloud users. Links between data centers are used for failover, overflow, backup, and geographic diversity. Carrier clouds can be set up as public, private, or hybrid clouds. The carrier cloud federates these cloud entities by using a single management system to orchestrate, manage, and monitor data center and network resources as a single system.

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  Projection-slice theorem

  In mathematics, the projection-slice theorem, central slice theorem or Fourier slice theorem in two dimensions states that the results of the following two calculations are equal: Take a two-dimensional function f(r), project (e.g. using the Radon transform) it onto a (one-dimensional) line, and do a Fourier transform of that projection. Take that same function, but do a two-dimensional Fourier transform first, and then slice the function through its origin, parallel to the projection line. In operator terms, if F1 and F2 are the 1- and 2-dimensional Fourier transform operators mentioned above, P1 is the projection operator (which projects a 2-D function onto a 1-D line), S1 is a slice operator (which extracts a 1-D central slice from a function), then F 1 P 1 = S 1 F 2 . {\displaystyle F_{1}P_{1}=S_{1}F_{2}.} This idea can be extended to higher dimensions. This theorem is used, for example, in the analysis of medical CT scans where a "projection" is an x-ray image of an internal organ. The Fourier transforms of these images are seen to be slices through the Fourier transform of the 3-dimensional density of the internal organ, and these slices can be interpolated to build up a complete Fourier transform of that density. The inverse Fourier transform is then used to recover the 3-dimensional density of the object. This technique was first derived by Ronald N. Bracewell in 1956 for a radio-astronomy problem. == The projection-slice theorem in N dimensions == In N dimensions, the projection-slice theorem states that the Fourier transform of the projection of an N-dimensional function f(r) onto an m-dimensional linear submanifold is equal to an m-dimensional slice of the N-dimensional Fourier transform of that function consisting of an m-dimensional linear submanifold through the origin in the Fourier space which is parallel to the projection submanifold. In operator terms: F m P m = S m F N . {\displaystyle F_{m}P_{m}=S_{m}F_{N}.\,} == The generalized Fourier-slice theorem == In addition to generalizing to N dimensions, the projection-slice theorem can be further generalized with an arbitrary change of basis. For convenience of notation, we consider the change of basis to be represented as B, an N-by-N invertible matrix operating on N-dimensional column vectors. Then the generalized Fourier-slice theorem can be stated as F m P m B = S m B − T | B − T | F N {\displaystyle F_{m}P_{m}B=S_{m}{\frac {B^{-T}}{|B^{-T}|}}F_{N}} where B − T = ( B − 1 ) T {\displaystyle B^{-T}=(B^{-1})^{T}} is the transpose of the inverse of the change of basis transform. == Proof in two dimensions == The projection-slice theorem is easily proven for the case of two dimensions. Without loss of generality, we can take the projection line to be the x-axis. There is no loss of generality because if we use a shifted and rotated line, the law still applies. Using a shifted line (in y) gives the same projection and therefore the same 1D Fourier transform results. The rotated function is the Fourier pair of the rotated Fourier transform, for which the theorem again holds. If f(x, y) is a two-dimensional function, then the projection of f(x, y) onto the x axis is p(x) where p ( x ) = ∫ − ∞ ∞ f ( x , y ) d y . {\displaystyle p(x)=\int _{-\infty }^{\infty }f(x,y)\,dy.} The Fourier transform of f ( x , y ) {\displaystyle f(x,y)} is F ( k x , k y ) = ∫ − ∞ ∞ ∫ − ∞ ∞ f ( x , y ) e − 2 π i ( x k x + y k y ) d x d y . {\displaystyle F(k_{x},k_{y})=\int _{-\infty }^{\infty }\int _{-\infty }^{\infty }f(x,y)\,e^{-2\pi i(xk_{x}+yk_{y})}\,dxdy.} The slice is then s ( k x ) {\displaystyle s(k_{x})} s ( k x ) = F ( k x , 0 ) = ∫ − ∞ ∞ ∫ − ∞ ∞ f ( x , y ) e − 2 π i x k x d x d y {\displaystyle s(k_{x})=F(k_{x},0)=\int _{-\infty }^{\infty }\int _{-\infty }^{\infty }f(x,y)\,e^{-2\pi ixk_{x}}\,dxdy} = ∫ − ∞ ∞ [ ∫ − ∞ ∞ f ( x , y ) d y ] e − 2 π i x k x d x {\displaystyle =\int _{-\infty }^{\infty }\left[\int _{-\infty }^{\infty }f(x,y)\,dy\right]\,e^{-2\pi ixk_{x}}dx} = ∫ − ∞ ∞ p ( x ) e − 2 π i x k x d x {\displaystyle =\int _{-\infty }^{\infty }p(x)\,e^{-2\pi ixk_{x}}dx} which is just the Fourier transform of p(x). The proof for higher dimensions is easily generalized from the above example. == The FHA cycle == If the two-dimensional function f(r) is circularly symmetric, it may be represented as f(r), where r = |r|. In this case the projection onto any projection line will be the Abel transform of f(r). The two-dimensional Fourier transform of f(r) will be a circularly symmetric function given by the zeroth-order Hankel transform of f(r), which will therefore also represent any slice through the origin. The projection-slice theorem then states that the Fourier transform of the projection equals the slice or F 1 A 1 = H , {\displaystyle F_{1}A_{1}=H,} where A1 represents the Abel-transform operator, projecting a two-dimensional circularly symmetric function onto a one-dimensional line, F1 represents the 1-D Fourier-transform operator, and H represents the zeroth-order Hankel-transform operator. == Extension to fan beam or cone-beam CT == The projection-slice theorem is suitable for CT image reconstruction with parallel beam projections. It does not directly apply to fanbeam or conebeam CT. The theorem was extended to fan-beam and conebeam CT image reconstruction by Shuang-ren Zhao in 1995.

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  Adobe Prelude

  Adobe Prelude was an ingest and logging software application for tagging media with metadata for searching, post-production workflows, and footage lifecycle management. Adobe Prelude is also made to work closely with Adobe Premiere Pro. It is part of the Adobe Creative Cloud and is geared towards professional video editing alone or with a group. The software also offers features like rough cut creation. A speech transcription feature was removed in December 2014. == History == Adobe announced that on April 23, 2012 Adobe OnLocation would be shut down and Adobe Prelude would launch on May 7, 2012. Adobe stated OnLocation's production was stopping because of the growing trend in the industry toward tapeless, native workflows, Adobe stresses that Adobe Prelude is not a direct replacement for OnLocation. Adobe OnLocation was available in CS5 but not in CS6 and Adobe Prelude is only available in CS6. Adobe still offers technical support for OnLocation. In 2021, Adobe announced they would be discontinuing Adobe Prelude, starting by removing it from their website on September 8, 2021. Support for existing users will continue through September 8, 2024. == Features == Prelude is used to tag media, log data, create and export metadata and generate rough cuts that can be sent to Adobe Premiere Pro. A user can add a tag to a piece of media that will show up on Premiere Pro or if another user opens that media with Prelude. Ingest Footage Prelude can ingest all kinds of file types. Once ingested, Prelude can duplicate, transcode and verify the files. Log Footage Prelude can log data only using the keyboard. Create Rough Cuts Prelude is able to generate Rough Cuts. Rough Cuts are a combination of sub clips that will hold any metadata a user feeds into it. Rough cuts can hold metadata such as markers and comments, and this metadata will stay on this footage. Workflow Accessibility Prelude is an XMP - based open platform that allows for custom integration into many video editing platforms. == Features from OnLocation == Many features from Adobe OnLocation went to Adobe Prelude or Adobe Premiere Pro. Adobe OnLocation thrived on tape - based cameras and setting up a shot before shooting it, with the change in the industry, this problem is irrelevant in post production. Adobe OnLocation also allowed the user to add tags and scripting metadata that would carry over to Premiere Pro. OnLocation also had a Media Browser pane, which is the standard for any Adobe program today, Prelude has this Media Browser as well. == Prelude Live Logger == Prelude Live Logger is an application integrated with Prelude CC. Prelude Live Logger is designed to capture notes to use during video logging and editing while you shoot footage on an iPad's camera. Editors can import and combine this metadata with footage from Prelude throughout editing to facilitate various tasks.

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  Projection-slice theorem

  In mathematics, the projection-slice theorem, central slice theorem or Fourier slice theorem in two dimensions states that the results of the following two calculations are equal: Take a two-dimensional function f(r), project (e.g. using the Radon transform) it onto a (one-dimensional) line, and do a Fourier transform of that projection. Take that same function, but do a two-dimensional Fourier transform first, and then slice the function through its origin, parallel to the projection line. In operator terms, if F1 and F2 are the 1- and 2-dimensional Fourier transform operators mentioned above, P1 is the projection operator (which projects a 2-D function onto a 1-D line), S1 is a slice operator (which extracts a 1-D central slice from a function), then F 1 P 1 = S 1 F 2 . {\displaystyle F_{1}P_{1}=S_{1}F_{2}.} This idea can be extended to higher dimensions. This theorem is used, for example, in the analysis of medical CT scans where a "projection" is an x-ray image of an internal organ. The Fourier transforms of these images are seen to be slices through the Fourier transform of the 3-dimensional density of the internal organ, and these slices can be interpolated to build up a complete Fourier transform of that density. The inverse Fourier transform is then used to recover the 3-dimensional density of the object. This technique was first derived by Ronald N. Bracewell in 1956 for a radio-astronomy problem. == The projection-slice theorem in N dimensions == In N dimensions, the projection-slice theorem states that the Fourier transform of the projection of an N-dimensional function f(r) onto an m-dimensional linear submanifold is equal to an m-dimensional slice of the N-dimensional Fourier transform of that function consisting of an m-dimensional linear submanifold through the origin in the Fourier space which is parallel to the projection submanifold. In operator terms: F m P m = S m F N . {\displaystyle F_{m}P_{m}=S_{m}F_{N}.\,} == The generalized Fourier-slice theorem == In addition to generalizing to N dimensions, the projection-slice theorem can be further generalized with an arbitrary change of basis. For convenience of notation, we consider the change of basis to be represented as B, an N-by-N invertible matrix operating on N-dimensional column vectors. Then the generalized Fourier-slice theorem can be stated as F m P m B = S m B − T | B − T | F N {\displaystyle F_{m}P_{m}B=S_{m}{\frac {B^{-T}}{|B^{-T}|}}F_{N}} where B − T = ( B − 1 ) T {\displaystyle B^{-T}=(B^{-1})^{T}} is the transpose of the inverse of the change of basis transform. == Proof in two dimensions == The projection-slice theorem is easily proven for the case of two dimensions. Without loss of generality, we can take the projection line to be the x-axis. There is no loss of generality because if we use a shifted and rotated line, the law still applies. Using a shifted line (in y) gives the same projection and therefore the same 1D Fourier transform results. The rotated function is the Fourier pair of the rotated Fourier transform, for which the theorem again holds. If f(x, y) is a two-dimensional function, then the projection of f(x, y) onto the x axis is p(x) where p ( x ) = ∫ − ∞ ∞ f ( x , y ) d y . {\displaystyle p(x)=\int _{-\infty }^{\infty }f(x,y)\,dy.} The Fourier transform of f ( x , y ) {\displaystyle f(x,y)} is F ( k x , k y ) = ∫ − ∞ ∞ ∫ − ∞ ∞ f ( x , y ) e − 2 π i ( x k x + y k y ) d x d y . {\displaystyle F(k_{x},k_{y})=\int _{-\infty }^{\infty }\int _{-\infty }^{\infty }f(x,y)\,e^{-2\pi i(xk_{x}+yk_{y})}\,dxdy.} The slice is then s ( k x ) {\displaystyle s(k_{x})} s ( k x ) = F ( k x , 0 ) = ∫ − ∞ ∞ ∫ − ∞ ∞ f ( x , y ) e − 2 π i x k x d x d y {\displaystyle s(k_{x})=F(k_{x},0)=\int _{-\infty }^{\infty }\int _{-\infty }^{\infty }f(x,y)\,e^{-2\pi ixk_{x}}\,dxdy} = ∫ − ∞ ∞ [ ∫ − ∞ ∞ f ( x , y ) d y ] e − 2 π i x k x d x {\displaystyle =\int _{-\infty }^{\infty }\left[\int _{-\infty }^{\infty }f(x,y)\,dy\right]\,e^{-2\pi ixk_{x}}dx} = ∫ − ∞ ∞ p ( x ) e − 2 π i x k x d x {\displaystyle =\int _{-\infty }^{\infty }p(x)\,e^{-2\pi ixk_{x}}dx} which is just the Fourier transform of p(x). The proof for higher dimensions is easily generalized from the above example. == The FHA cycle == If the two-dimensional function f(r) is circularly symmetric, it may be represented as f(r), where r = |r|. In this case the projection onto any projection line will be the Abel transform of f(r). The two-dimensional Fourier transform of f(r) will be a circularly symmetric function given by the zeroth-order Hankel transform of f(r), which will therefore also represent any slice through the origin. The projection-slice theorem then states that the Fourier transform of the projection equals the slice or F 1 A 1 = H , {\displaystyle F_{1}A_{1}=H,} where A1 represents the Abel-transform operator, projecting a two-dimensional circularly symmetric function onto a one-dimensional line, F1 represents the 1-D Fourier-transform operator, and H represents the zeroth-order Hankel-transform operator. == Extension to fan beam or cone-beam CT == The projection-slice theorem is suitable for CT image reconstruction with parallel beam projections. It does not directly apply to fanbeam or conebeam CT. The theorem was extended to fan-beam and conebeam CT image reconstruction by Shuang-ren Zhao in 1995.

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  Computer audition

  Computer audition (CA) or machine listening is the general field of study of algorithms and systems for audio interpretation by machines. Since the notion of what it means for a machine to "hear" is very broad and somewhat vague, computer audition attempts to bring together several disciplines that originally dealt with specific problems or had a concrete application in mind. The engineer Paris Smaragdis, interviewed in Technology Review, talks about these systems — "software that uses sound to locate people moving through rooms, monitor machinery for impending breakdowns, or activate traffic cameras to record accidents." Inspired by models of human audition, CA deals with questions of representation, transduction, grouping, use of musical knowledge and general sound semantics for the purpose of performing intelligent operations on audio and music signals by the computer. Technically this requires a combination of methods from the fields of signal processing, auditory modelling, music perception and cognition, pattern recognition, and machine learning, as well as more traditional methods of artificial intelligence for musical knowledge representation. == Applications == Like computer vision versus image processing, computer audition versus audio engineering deals with understanding of audio rather than processing. It also differs from problems of speech understanding by machine since it deals with general audio signals, such as natural sounds and musical recordings. Applications of computer audition are widely varying, and include search for sounds, genre recognition, acoustic monitoring, music transcription, score following, audio texture, music improvisation, emotion in audio and so on. == Related disciplines == Computer Audition overlaps with the following disciplines: Music information retrieval: methods for search and analysis of similarity between music signals. Auditory scene analysis: understanding and description of audio sources and events. Computational musicology and mathematical music theory: use of algorithms that employ musical knowledge for analysis of music data. Computer music: use of computers in creative musical applications. Machine musicianship: audition driven interactive music systems. == Areas of study == Since audio signals are interpreted by the human ear–brain system, that complex perceptual mechanism should be simulated somehow in software for "machine listening". In other words, to perform on par with humans, the computer should hear and understand audio content much as humans do. Analyzing audio accurately involves several fields: electrical engineering (spectrum analysis, filtering, and audio transforms); artificial intelligence (machine learning and sound classification); psychoacoustics (sound perception); cognitive sciences (neuroscience and artificial intelligence); acoustics (physics of sound production); and music (harmony, rhythm, and timbre). Furthermore, audio transformations such as pitch shifting, time stretching, and sound object filtering, should be perceptually and musically meaningful. For best results, these transformations require perceptual understanding of spectral models, high-level feature extraction, and sound analysis/synthesis. Finally, structuring and coding the content of an audio file (sound and metadata) could benefit from efficient compression schemes, which discard inaudible information in the sound. Computational models of music and sound perception and cognition can lead to a more meaningful representation, a more intuitive digital manipulation and generation of sound and music in musical human-machine interfaces. The study of CA could be roughly divided into the following sub-problems: Representation: signal and symbolic. This aspect deals with time-frequency representations, both in terms of notes and spectral models, including pattern playback and audio texture. Feature extraction: sound descriptors, segmentation, onset, pitch and envelope detection, chroma, and auditory representations. Musical knowledge structures: analysis of tonality, rhythm, and harmonies. Sound similarity: methods for comparison between sounds, sound identification, novelty detection, segmentation, and clustering. Sequence modeling: matching and alignment between signals and note sequences. Source separation: methods of grouping of simultaneous sounds, such as multiple pitch detection and time-frequency clustering methods. Auditory cognition: modeling of emotions, anticipation and familiarity, auditory surprise, and analysis of musical structure. Multi-modal analysis: finding correspondences between textual, visual, and audio signals. === Representation issues === Computer audition deals with audio signals that can be represented in a variety of fashions, from direct encoding of digital audio in two or more channels to symbolically represented synthesis instructions. Audio signals are usually represented in terms of analogue or digital recordings. Digital recordings are samples of acoustic waveform or parameters of audio compression algorithms. One of the unique properties of musical signals is that they often combine different types of representations, such as graphical scores and sequences of performance actions that are encoded as MIDI files. Since audio signals usually comprise multiple sound sources, then unlike speech signals that can be efficiently described in terms of specific models (such as source-filter model), it is hard to devise a parametric representation for general audio. Parametric audio representations usually use filter banks or sinusoidal models to capture multiple sound parameters, sometimes increasing the representation size in order to capture internal structure in the signal. Additional types of data that are relevant for computer audition are textual descriptions of audio contents, such as annotations, reviews, and visual information in the case of audio-visual recordings. === Features === Description of contents of general audio signals usually requires extraction of features that capture specific aspects of the audio signal. Generally speaking, one could divide the features into signal or mathematical descriptors such as energy, description of spectral shape etc., statistical characterization such as change or novelty detection, special representations that are better adapted to the nature of musical signals or the auditory system, such as logarithmic growth of sensitivity (bandwidth) in frequency or octave invariance (chroma). Since parametric models in audio usually require very many parameters, the features are used to summarize properties of multiple parameters in a more compact or salient representation. === Musical knowledge === Finding specific musical structures is possible by using musical knowledge as well as supervised and unsupervised machine learning methods. Examples of this include detection of tonality according to distribution of frequencies that correspond to patterns of occurrence of notes in musical scales, distribution of note onset times for detection of beat structure, distribution of energies in different frequencies to detect musical chords and so on. === Sound similarity and sequence modeling === Comparison of sounds can be done by comparison of features with or without reference to time. In some cases an overall similarity can be assessed by close values of features between two sounds. In other cases when temporal structure is important, methods of dynamic time warping need to be applied to "correct" for different temporal scales of acoustic events. Finding repetitions and similar sub-sequences of sonic events is important for tasks such as texture synthesis and machine improvisation. === Source separation === Since one of the basic characteristics of general audio is that it comprises multiple simultaneously sounding sources, such as multiple musical instruments, people talking, machine noises or animal vocalization, the ability to identify and separate individual sources is very desirable. Unfortunately, there are no methods that can solve this problem in a robust fashion. Existing methods of source separation rely sometimes on correlation between different audio channels in multi-channel recordings. The ability to separate sources from stereo signals requires different techniques than those usually applied in communications where multiple sensors are available. Other source separation methods rely on training or clustering of features in mono recording, such as tracking harmonically related partials for multiple pitch detection. Some methods, before explicit recognition, rely on revealing structures in data without knowing the structures (like recognizing objects in abstract pictures without attributing them meaningful labels) by finding the least complex data representations, for instance describing audio scenes as generated by a few tone patterns and their trajectories (polyphonic voices) and acoustical contours drawn by a tone (c

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  Chasys Photo

  Chasys Photo (previously called Chasys Draw Artist, then Chasys Draw IES) is a suite of applications including a layer-based raster graphics editor with adjustment layers, linked layers, timeline and frame-based animation, icon editing, image stacking and comprehensive plug-in support (Chasys Draw IES Artist), a fast multi-threaded image file converter (Chasys Draw IES Converter) and a fast image viewer (Chasys Draw IES Viewer), with RAW image support in all components. It supports the native file formats of several competitors including Adobe Photoshop, Affinity Photo, Corel Photo-Paint, GIMP, Krita, Paint.NET and PaintShop Pro, and the whole suite is designed to make effective use of multi-core processors, touch-screens and pen-input devices. The software is developed by John Paul Chacha in Nairobi, Kenya. Chasys Draw IES is currently released as freeware, and is available for computers running Microsoft Windows operating systems. It is available in three distributions: the standard distro, a portable version and a Microsoft Store version. The suite is coded in a blend of C, C++ and assembly language. It runs on x86 processors and supports the MMX, SSE, SSE2, S-SSE3, and SSE4.1 instruction sets. == History == Chasys Draw is a project that was started in November 2001 by John Paul Chacha, mostly as a hobby than anything else. The original Chasys Draw was a rather simple bitmap editor done in Visual Basic, a lot like MS Paint save for its ability to do gradients. This application underwent many changes, eventually leading up to Chasys Draw 5. This was the first version to have its own native format, referred to simply as CD5. Major updates to the graphics code in May 2002 resulted in Chasys Draw DTFx (Direct Tool eFfects). The new graphics code being referred to here was actually a miniature bitmap abstraction engine that allowed for fast per-pixel operations and direct image buffer access (much as the DIB engine does for GDI). The engine was named JpDRAW. This version was also done in VB, but was much faster than all the previous versions. The new graphics code allowed for more tools to be implemented than was ever possible before. Later on in 2002, the developer decided to completely abandon VB as a programming platform and moved all the code to C/C++. The move to C/C++ allowed the development of a full-fledged graphics engine which was named JpDRAW2. Chasys was renamed to Chasys Draw Artist, and the CD5 image format was also updated to reflect the new features. By coincidence, the module that implemented the file format was the fifth module to be added, so the format was called Chasys Draw module 5, retaining the .cd5 file extension. First public release In April 2004, Chasys Draw Artist was released to the public via the internet for the first time (version 1.27). The release was done via betanews). In 2005, Chasys Draw underwent major user interface changes as well as internal changes. By December of that year, the project had reached version 1.63. This was the first version to introduce advanced features such as anti-aliasing. It was also the first version with full support for alpha channels. The CD5 image format was also upgraded to version 2, adding advanced compression, full alpha channels, encryption and metadata. Version 1.63 was the first version to win an IEEE (Kenya chapter) award in ICT. The "chazy-glass" interface, from which the all later versions' user interfaces borrowed, was introduced in version 1.80. Chasys Draw Artist adopted photo editing features in version 2.01. Comprehensive tutorials were added and many features were re-designed to make them easier to use. Multi-threading was introduced to accelerate some tasks, such as the improved auto-save engine. Utilities such as a converter and browser were added. Version 2.43 of Chasys Draw Artist was quietly released to the public in late 2007 without any announcements. It featured many fixes to the formal version 2.42, as well as many new features. The quiet release was due to a decision to re-build Chasys Draw Artist from scratch, while still continuing support for the old architecture. An experimental version 2.45 was released only to beta-testers for the purpose of testing new technologies that would be included in the new architecture and was officially withdrawn in May 2008. During the time when the versions 2.43~2.45 were being released, work was underway to create a new layer-based Chasys Draw, which was released as Chasys Draw IES (Image Editing Suite), with the initial version number 2.50. A new multi-layer tag-based image format was created to support layering and blending modes; this was named CD5 v3. The next version introduced animation and multi-resolution support as editing modes, and the next one brought in an unlimited undo engine, new plug-ins and several internal fixes. Further development led to the introduction of super-resolution and image stacking, support for video and video capture, Anti-aliasing, metadata save and restore, a "Pen and Path" tool, physical measurement specification, and a video sequence composer engine. The user interface was enhanced with adaptive scrolling and the auto-save engine was optimized. Some memory management was added for machines with low RAM. By version 2.60, Chasys Draw IES was capable of loading Photoshop's PSD files, as well as load and save JPEG 2000. This version also had shell integration with thumbnails and application-level support for multi-monitor display setups. Metadata was extended to support save, restore and scaling for text formatting and path data. There was also a new palette with exchangeable swatches, loadable from all kinds of palette files. A slicing tool for web and user interface design was also included. A C++ code module output for inline image generation was added, as was a constrained recolor brush. The concept of a "fully anti-aliased work-flow" was introduced in version 2.62, in which all drawing and selection tools were anti-aliased by default. Support for Photoshop plug-ins using Adobe's 8bf format was added in version 2.66, allowing users to utilize thousands of free plug-ins available online. Equivalents for the Pantone palettes (PMS 100 to 814-2x) were added, and the "Just-in-Time" memory compressor significantly reduced the editor's memory requirements. First freeware release Chasys Draw IES went freeware on 6 June 2009. With the coming of the freeware IES, two blending modes (Hue and Chroma) were added. Textures were improved to allow multiple layer-based textures. The TextArt G3 engine was enhanced with LINK metadata, and alpha shift was improved. IES 2.72 added the Luma Wand tool, fixed PNG and TIFF transparency issues, and fixed Smart-Paste transparency. IES 2.74 introduced alpha protection, and 2.75 followed with a new adjustments engine that faced out many effects implemented by the effects engine. The adjustments engine was designed to appeal to experienced image editors. IES 2.76 introduced a new transform engine and the Resizer for IES plug-in supporting multi-core and 18 scaling methods, including customizable windowed Sinc interpolation. IES 2.77 added Greyscale with Tint adjustment, separated the Lock and Click-Thru layer properties, extended the Cloning Brush with three options (this, below and composite) and also extended the Color Picker with multiple point sampling. IES 3.01 brought a new look and many breakthrough tools to the suite. It was geared toward touch and was fully compatible with Windows 7. The toolbox was reorganized, with some tools being grouped and new ones added. Some message boxes were replaced with a new popup system, and the working of the workspace was changed to use a back-blitter, which enabled the addition of new blending modes, Screen and Mask. The printing interface was modified and given accurate proofing. Alpha Function Adjustment was added and a new Anti-Quantization Engine included for all adjustments to remove the need for 16 bits per channel editing. An internal clipboard was created to cater for copying images that are too large for the Windows clipboard, and translucency full-page gradients added. Some new tutorials were added and keyboard shortcuts made configurable. IES 3.05 brought the power of custom full-page gradients to the suite, supporting .ggr, .grd and .gra gradients. New gradient styles were included, as was support for Adobe color tables (.act), palette previewing, point color editing and a highly improved TextArt engine. Digital lightroom IES 3.11 was introduced on 14 December 2009. It was done on a new development base and added a new application, raw-Input. This was a RAW image format processor based on dcraw. This application allowed the use of Chasys Draw IES in processing digital negatives, which are popular with professional photographers. Chasys Draw IES 3.24 was released with a re-designed user interface, powered by a higher performance graphics core and better memory management. A history palette w

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  Odor source localization

  Odor source localization (OSL) is the problem of locating the origin of an airborne or waterborne chemical plume using one or more mobile sensors, typically robots equipped with chemical sensors. The task sits at the intersection of robotics, fluid dynamics and machine olfaction. Chemical plumes in turbulent flows are intermittent and patchy, and most chemical sensors respond slowly and have limited selectivity, so the instantaneous reading available to a moving sensor is a poor proxy for the underlying time-averaged concentration field. Robotic OSL has been studied since the late 1980s and has applications including the detection of gas leaks, search and rescue after industrial accidents, and environmental monitoring of industrial emissions. == History == Robotic odor search emerged in the late 1980s and 1990s, drawing on earlier work in chemical ecology that had described how moths and other insects locate distant pheromone sources. R. A. Russell at Monash University was among the first to build mobile robots that followed chemical trails on the floor and tracked airborne odor plumes. Distributed and multi-robot odor search were investigated by Hayes, Martinoli and Goodman at the California Institute of Technology and EPFL, who studied cooperative plume-tracing on simulated and physical robot swarms. In 2007 Vergassola, Villermaux and Shraiman introduced infotaxis, an information-theoretic search strategy in which a sensor moves so as to maximize the expected information gain about source location, rather than following a chemical concentration gradient; the paper appeared in Nature and prompted substantial follow-up work in the robotics community. From the mid-2010s, multi-rotor unmanned aerial vehicles carrying lightweight chemical sensors became a common experimental platform for OSL research. == Problem formulation == OSL is generally decomposed into three sub-problems: plume detection (deciding whether a chemical signal is present), plume traversal (moving so as to remain in contact with the plume), and source declaration (deciding when the source has been reached). The mathematical difficulty depends strongly on the assumed dispersion model. In laminar or low-Reynolds number flows a Gaussian advection–diffusion model gives a smooth concentration field with a well-defined gradient. In turbulent flows, which dominate most realistic environments, the plume is filamentary: the sensor receives short, randomly spaced bursts of chemical separated by periods of zero signal, and the time-averaged field is not a useful guide on the time scales at which a robot must act. Source-term estimation, surveyed by Hutchinson and colleagues, additionally aims to recover both the position and the release rate of the source from the observed concentrations, often using probabilistic filters. == Biological inspiration == Many OSL strategies are explicitly modeled on the behavior of male moths flying upwind toward a pheromone source. As reviewed by Cardé and Willis, moths combine an upwind surge whenever they detect a filament of pheromone with a wider crosswind cast when contact is lost, producing a characteristic zig-zag trajectory that has been transposed onto mobile robots by several groups. Other biological models draw on the search behavior of dogs and of marine animals such as blue crabs and lobsters, which integrate chemical and bilateral hydrodynamic cues over much shorter ranges. == Algorithms and strategies == === Reactive strategies === Reactive strategies select the next motion as a direct function of the current sensor reading. Chemotaxis steers along the locally estimated concentration gradient, which is effective in laminar plumes but degrades severely in turbulence. Anemotaxis exploits a measured wind direction by surging upwind when chemical contact is made. The bio-inspired cast-and-surge family combines anemotaxis with a deterministic crosswind cast on contact loss, and is the dominant reactive approach for turbulent environments. === Probabilistic and information-theoretic strategies === Probabilistic methods maintain a posterior distribution over possible source locations and choose actions that improve that distribution. The infotaxis strategy of Vergassola, Villermaux and Shraiman selects the move that maximizes the expected reduction in entropy of the source-location posterior, and is effective in regimes where the spatial gradient is unusable. Bayesian source-term estimation extends this idea by inferring both source position and release rate, typically using particle filters or sequential Monte Carlo. === Map-based strategies === Map-based methods build a spatial model of the time-averaged gas distribution from sensor readings collected along the robot's trajectory and search for local maxima in that model. Lilienthal and colleagues describe a family of kernel-based gas distribution mapping techniques in which point measurements are convolved with a Gaussian kernel to produce a spatially extrapolated estimate. Such methods are most useful when the source can be assumed quasi-stationary and the robot is able to revisit locations. === Multi-robot and swarm strategies === Multiple robots searching cooperatively can shorten search times. Cooperative formations spread the sensors across the crosswind axis, making detection of an intermittent plume more likely. Swarm-based approaches, reviewed by Wang and colleagues, deploy larger numbers of simpler agents and rely on collective behavior rather than centralized planning; reported advantages include improved coverage of the search area and the possibility of locating multiple sources in parallel. == Sensors and platforms == Most OSL systems use metal-oxide semiconductor (MOX) sensors, photoionization detectors or electrochemical cells, which trade off sensitivity, selectivity, response time and power consumption. Ishida and colleagues describe how these sensors interact with airflow around the robot body, an effect that motivates careful aerodynamic design and active sampling. Mobile platforms include wheeled ground robots for indoor and structured outdoor environments, multi-rotor unmanned aerial vehicles for open spaces and elevated sources, and autonomous underwater vehicles for chemical plumes in the marine environment. == Notable systems == Among the early demonstrations, R. A. Russell's series of differential-drive robots at Monash University localized volatile sources in still and ventilated rooms during the 1990s. The Smelling Nano Aerial Vehicle reported by Burgués and colleagues used a Crazyflie nano-quadcopter (approximately 27 grams in mass and 10 cm across) carrying a custom MOX gas sensing board, and built three-dimensional gas distribution maps of indoor releases from sweeping flights of less than three minutes. The GADEN simulator, released by Monroy and colleagues, couples three-dimensional dispersion computed from an OpenFOAM CFD solver with models of MOX and photo-ionization gas sensors, and is widely used to test mobile-robot olfaction algorithms in simulation. == Applications == Reported applications include the localization of natural-gas and methane leaks in urban infrastructure, search for chemical contamination after industrial accidents, search and rescue, and environmental monitoring of industrial emissions. Drug- and explosives-detection robots are an adjacent application area, although these typically rely on close-range sniffing rather than long-range plume tracking. == Open challenges == Open challenges identified in recent reviews include the limited speed, selectivity and stability of available chemical sensors; the scarcity of standardized, large-scale benchmarks comparable to those available in computer vision; reliable handling of multi-source environments, where standard single-source assumptions fail; and the integration of OSL with other autonomous-vehicle subsystems such as obstacle avoidance and navigation in three-dimensional turbulent flow.

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  Normalization (image processing)

  In image processing, normalization is a process that changes the range of pixel intensity values, a kind of intensity mapping. Applications include photographs with poor contrast due to glare, for example. A typical case is contrast stretching. In more general fields of data processing, such as digital signal processing, it is referred to as dynamic range expansion. The purpose of dynamic range expansion in the various applications is usually to bring the image, or other type of signal, into a range that is more familiar or normal to the senses, hence the term normalization. Often, the motivation is to achieve consistency in dynamic range for a set of data, signals, or images to avoid mental distraction or fatigue. For example, a newspaper will strive to make all of the images in an issue share a similar range of grayscale. Auto-normalization in image processing software typically normalizes to the full dynamic range of the number system specified in the image file format. == Definition == Normalization transforms an n-dimensional grayscale image I : { X ⊆ R n } → { Min , . . , Max } {\displaystyle I:\{\mathbb {X} \subseteq \mathbb {R} ^{n}\}\rightarrow \{{\text{Min}},..,{\text{Max}}\}} with intensity values in the range ( Min , Max ) {\displaystyle ({\text{Min}},{\text{Max}})} , into a new image I N : { X ⊆ R n } → { newMin , . . , newMax } {\displaystyle I_{N}:\{\mathbb {X} \subseteq \mathbb {R} ^{n}\}\rightarrow \{{\text{newMin}},..,{\text{newMax}}\}} with intensity values in the range ( newMin , newMax ) {\displaystyle ({\text{newMin}},{\text{newMax}})} . The linear normalization of a grayscale digital image is performed according to the formula I N = ( I − Min ) newMax − newMin Max − Min + newMin {\displaystyle I_{N}=(I-{\text{Min}}){\frac {{\text{newMax}}-{\text{newMin}}}{{\text{Max}}-{\text{Min}}}}+{\text{newMin}}} For example, if the intensity range of the image is 50 to 180 and the desired range is 0 to 255 the process entails subtracting 50 from each of pixel intensity, making the range 0 to 130. Then each pixel intensity is multiplied by 255/130, making the range 0 to 255. Normalization might also be non-linear, as the relationship between I {\displaystyle I} and I N {\displaystyle I_{N}} may not be linear. An example of non-linear normalization is when the normalization follows a sigmoid function, in which case the normalized image is computed according to the formula I N = ( newMax − newMin ) 1 1 + e − I − β α + newMin {\displaystyle I_{N}=({\text{newMax}}-{\text{newMin}}){\frac {1}{1+e^{-{\frac {I-\beta }{\alpha }}}}}+{\text{newMin}}} Where α {\displaystyle \alpha } defines the width of the input intensity range, and β {\displaystyle \beta } defines the intensity around which the range is centered. Gamma correction (log/inverse log) is also a common transformation function. === Colorspace === Intensity operations generally operate on a colorspace that maps to the human perception of lightness without intentionally changing the other properties. This can be done, for example, by operating on the L component of the CIELAB color space, or approximately by operating on the Y component of YCbCr. It is also possible to operate on each of the RGB color channels, though the result will not always make sense. == Contrast stretching == This is the most significant and essential technique of spatial-based image enhancement. The basic intent of this contrast enhancement technique is to adjust the local contrast in the image so as to bring out the clear regions or objects in the image. Low-contrast images often result from poor or non-uniform lighting conditions, a limited dynamic range of the imaging sensor, or improper settings of the lens aperture. This operation tries to change the intensity of the pixel in the image, particularly in the input image, to obtain an enhanced image. It is based on the number of techniques, namely local, global, dark and bright levels of contrast. The contrast enhancement is considered as the amount of color or gray differentiation that lies among the different features in an image. The contrast enhancement improves the quality of image by increasing the luminance difference between the foreground and background. A contrast stretching transformation can be achieved by: Stretching the dark range of input values into a wider range of output values: This involves increasing the brightness of the darker areas in the image to enhance details and improve visibility. Shifting the mid-range of input values: This involves adjusting the brightness levels of the mid-tones in the image to improve overall contrast and clarity. Compressing the bright range of input values: This process involves reducing the brightness of the brighter areas in the image to prevent overexposure resulting in a more balanced and visually appealing image. It can be described as the following piecewise funciton: I N = { s 1 r 1 I if I < r 1 s 2 − s 1 r 1 − r 2 ( I − r 1 ) if r 1 ≤ I ≤ r 2 1 − s 2 1 − r 2 ( I − r 2 ) if I > r 2 {\displaystyle I_{N}={\begin{cases}{\frac {s_{1}}{r_{1}}}I&{\text{if }}Ir_{2}\end{cases}}} Where: ( r 1 , s 1 ) {\displaystyle (r_{1},s_{1})} defines the transition point between the "dark" range to the "main" range. ( r 2 , s 2 ) {\displaystyle (r_{2},s_{2})} defines the transition point between the "main" range to the "bright" range. A typical linear stretch is obtained when ( r 1 , s 1 ) = ( r min , 0 ) {\displaystyle (r_{1},s_{1})=(r_{\text{min}},0)} and ( r 2 , s 2 ) = ( r max , 1 ) {\displaystyle (r_{2},s_{2})=(r_{\text{max}},1)} , where r min {\displaystyle r_{\text{min}}} and r max {\displaystyle r_{\text{max}}} denote the minimum and maximum levels in the source image. === Global contrast stretching === Global Contrast Stretching considers all color palate ranges at once to determine the maximum and minimum values for the entire RGB color image. This approach utilizes the combination of RGB colors to derive a single maximum and minimum value for contrast stretching across the entire image. === Local contrast stretching === Local contrast stretching (LCS) is an image enhancement method that focuses on locally adjusting each pixel's value to improve the visualization of structures within an image, particularly in both the darkest and lightest portions. It operates by utilizing sliding windows, known as kernels, which traverse the image. The central pixel within each kernel is adjusted using the following formula: I p ( x , y ) = 255 × [ I 0 ( x , y ) − m i n ] ( m a x − m i n ) {\displaystyle I_{p}(x,y)=255\times {\frac {[I_{0}(x,y)-min]}{(max-min)}}} Where: Ip(x,y) is the color level for the output pixel (x,y) after the contrast stretching process. I0(x,y) is the color level input for data pixel (x, y). max is the maximum value for color level in the input image within the selected kernel. min is the minimum value for color level in the input image within the selected kernel. A piecewise form (see above) may also be used. LCS can be applied to the three color channels of an image separately.

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  WIPO GREEN

  WIPO GREEN is a World Intellectual Property Organization program established in 2013 that supports global efforts to address climate change and food security through sharing of sustainable technology innovations. == WIPO GREEN database == The WIPO GREEN database is the foundation of the platform. The database is a free, solutions-oriented, global innovation catalog that connects needs for solving environmental or climate change problems with sustainable solutions from prototypes to marketable products available for sale, license, collaborations, knowledge transfer, joint ventures, or collaborations. Green technology innovators can promote their products, businesses, organizations, and governments looking for green technologies can explain their needs and seek collaboration with providers. As of July 2022, WIPO GREEN has over 120,000 technologies, needs and experts, more than 2000 users in 110 countries, and has recorded over 1000 connections made between technology providers and seekers. The database utilizes AI-assisted auto-matching, user uploads tracing and alerts, full-text search for solutions based on long need descriptions, and the Patent2Solution search function for finding commercial applications of a patent, which are some of the unique features of the database. Free registration is required for detailed record view and uploading. All technologies uploaded to the WIPO GREEN database remain the property of the rights holder. It is up to the rights holder and the collaborating parties to structure agreements in the manner they feel is most appropriate and effective. WIPO GREEN does not require that technologies or innovations uploaded to the database be patented or in the process of being patented. Therefore, technology providers can upload their technology while related patent applications are pending. Technology providers are encouraged to upload technology solutions on the WIPO GREEN database and connect with other users to explore partnerships, technology transfers, including funding and licensing opportunities. == Acceleration projects == Acceleration projects work with WIPO GREEN partners and local organizations to explore local challenges and green opportunities for particular environmental needs. These projects are organized annually in different countries or regions around and connect providers and seekers of green technologies. For example, the Latin America Acceleration Project explores innovative new technologies in the region and facilitates green technology exchange between providers and seekers in green opportunities in intensified crop rotation, soil re-carbonization, and forest management in Argentina; zero-till or conservation agriculture in Brazil; and wine production in Chile. In October 2021, a project in Indonesia on palm oil mill effluent (POME), a by-product of palm oil production that emits greenhouse gases and reportedly harms flora and fauna in local rivers, identified viable green solutions to turn the high organic content of POME wastewater into biogas and other environmentally friendly uses. Former projects took place in Cambodia, Indonesia, and the Philippines around wastewater treatment, agriculture, and water technologies. == The Green Technology Book == In November 2022 at UNFCCC COP27, WIPO introduced its new Flagship publication the Green Technology Book. This digital-first publication aims to put innovation, technology and intellectual property at the forefront in the fight against climate change. The inaugural edition of this annual publication focused on available solutions for climate-change adaptation to reduce vulnerability as well as to increase resilience to the impacts of climate change. The book was created in cooperation with the Climate Technology Center and Network (CTCN) and the Egyptian Academy of Scientific Research and Technology (ASTR). It features 200 adaptation technologies, which are also available in the WIPO GREEN database of innovative technologies and needs. == Partners Network == WIPO GREEN partners are public or private institutions that wish to collaborate to advance WIPO GREEN’s mission. The network is aimed at helping the implementation and diffusion of green technology innovations around the world. Partners include government institutions, intergovernmental organizations, academia, and businesses – from small and medium-sized enterprises to Fortune 500 companies. As of 2022, WIPO GREEN has a network of over 146 partner organizations involved in green technology.

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  Automaton

  An automaton ( ; pl.: automata or automatons) is a relatively self-operating machine or control mechanism designed to automatically follow a sequence of operations or respond to predetermined instructions. Some automata, such as bellstrikers in mechanical clocks, are designed to give the illusion to the casual observer that they are operating under their own power or will, like a mechanical robot. The term has long been commonly associated with automated puppets that resemble moving humans or animals, built to impress and/or to entertain people. Animatronics are a modern type of automata with electronics, often used for the portrayal of characters or creatures in films and in theme park attractions. == Etymology == The word automaton is the latinization of the Ancient Greek automaton (αὐτόματον), which means "acting of one's own will". It was first used by Homer to describe an automatic door opening, or automatic movement of wheeled tripods. It is more often used to describe non-electronic moving machines, especially those that have been made to resemble human or animal actions, such as the jacks on old public striking clocks, or the cuckoo and any other animated figures on a cuckoo clock. == History == === Ancient === There are many examples of automata in Greek mythology: Hephaestus created automata for his workshop; Talos was an artificial man of bronze; King Alkinous of the Phaiakians employed gold and silver watchdogs. According to Aristotle, Daedalus used quicksilver to make his wooden statue of Aphrodite move. In other Greek legends he used quicksilver to install voice in his moving statues. The automata in the Hellenistic world were intended as tools, toys, religious spectacles, or prototypes for demonstrating basic scientific principles. Numerous water-powered automata were built by Ktesibios, a Greek inventor and the first head of the Great Library of Alexandria; for example, he "used water to sound a whistle and make a model owl move. He had invented the world's first 'cuckoo clock'". This tradition continued in Alexandria with inventors such as the Greek mathematician Hero of Alexandria (sometimes known as Heron), whose writings on hydraulics, pneumatics, and mechanics described siphons, a fire engine, a water organ, the aeolipile, and a programmable cart. Philo of Byzantium was famous for his inventions. Complex mechanical devices are known to have existed in Hellenistic Greece, though the only surviving example is the Antikythera mechanism, the earliest known analog computer. The clockwork is thought to have come originally from Rhodes, where there was apparently a tradition of mechanical engineering; the island was renowned for its automata; to quote Pindar's seventh Olympic Ode: The animated figures stand Adorning every public street And seem to breathe in stone, or move their marble feet. However, the information gleaned from recent scans of the fragments indicate that it may have come from the colonies of Corinth in Sicily and implies a connection with Archimedes. According to Jewish legend, King Solomon used his wisdom to design a throne with mechanical animals which hailed him as king when he ascended it; upon sitting down an eagle would place a crown upon his head, and a dove would bring him a Torah scroll. It is also said that when King Solomon stepped upon the throne, a mechanism was set in motion. As soon as he stepped upon the first step, a golden ox and a golden lion each stretched out one foot to support him and help him rise to the next step. On each side, the animals helped the King up until he was comfortably seated upon the throne. In ancient China, a curious account of automata is found in the Lie Zi text, believed to have originated around 400 BCE and compiled around the fourth century CE. Within it there is a description of a much earlier encounter between King Mu of Zhou (1023–957 BCE) and a mechanical engineer known as Yan Shi, an 'artificer'. The latter proudly presented the king with a very realistic and detailed life-size, human-shaped figure of his mechanical handiwork: The king stared at the figure in astonishment. It walked with rapid strides, moving its head up and down, so that anyone would have taken it for a live human being. The artificer touched its chin, and it began singing, perfectly in tune. He touched its hand, and it began posturing, keeping perfect time...As the performance was drawing to an end, the robot winked its eye and made advances to the ladies in attendance, whereupon the king became incensed and would have had Yen Shih [Yan Shi] executed on the spot had not the latter, in mortal fear, instantly taken the robot to pieces to let him see what it really was. And, indeed, it turned out to be only a construction of leather, wood, glue and lacquer, variously coloured white, black, red and blue. Examining it closely, the king found all the internal organs complete—liver, gall, heart, lungs, spleen, kidneys, stomach and intestines; and over these again, muscles, bones and limbs with their joints, skin, teeth and hair, all of them artificial...The king tried the effect of taking away the heart, and found that the mouth could no longer speak; he took away the liver and the eyes could no longer see; he took away the kidneys and the legs lost their power of locomotion. The king was delighted. Other notable examples of automata include Archytas' dove, mentioned by Aulus Gellius. Similar Chinese accounts of flying automata are written of the 5th century BC Mohist philosopher Mozi and his contemporary Lu Ban, who made artificial wooden birds (ma yuan) that could successfully fly according to the Han Fei Zi and other texts. === Medieval === The manufacturing tradition of automata continued in the Greek world well into the Middle Ages. On his visit to Constantinople in 949 ambassador Liutprand of Cremona described automata in the emperor Theophilos' palace, including "lions, made either of bronze or wood covered with gold, which struck the ground with their tails and roared with open mouth and quivering tongue," "a tree of gilded bronze, its branches filled with birds, likewise made of bronze gilded over, and these emitted cries appropriate to their species" and "the emperor's throne" itself, which "was made in such a cunning manner that at one moment it was down on the ground, while at another it rose higher and was to be seen up in the air." Similar automata in the throne room (singing birds, roaring and moving lions) were described by Luitprand's contemporary the Byzantine emperor Constantine Porphyrogenitus, in his book De Ceremoniis (Perì tês Basileíou Tákseōs). In the mid-8th century, the first wind powered automata were built: "statues that turned with the wind over the domes of the four gates and the palace complex of the Round City of Baghdad". The "public spectacle of wind-powered statues had its private counterpart in the 'Abbasid palaces where automata of various types were predominantly displayed." Also in the 8th century, the Muslim alchemist, Jābir ibn Hayyān (Geber), included recipes for constructing artificial snakes, scorpions, and humans that would be subject to their creator's control in his coded Book of Stones. In 827, Abbasid caliph al-Ma'mun had a silver and golden tree in his palace in Baghdad, which had the features of an automatic machine. There were metal birds that sang automatically on the swinging branches of this tree built by Muslim inventors and engineers. The Abbasid caliph al-Muqtadir also had a silver and golden tree in his palace in Baghdad in 917, with birds on it flapping their wings and singing. In the 9th century, the Banū Mūsā brothers invented a programmable automatic flute player and which they described in their Book of Ingenious Devices. Al-Jazari described complex programmable humanoid automata amongst other machines he designed and constructed in the Book of Knowledge of Ingenious Mechanical Devices in 1206. His automaton was a boat with four automatic musicians that floated on a lake to entertain guests at royal drinking parties. His mechanism had a programmable drum machine with pegs (cams) that bump into little levers that operate the percussion. The drummer could be made to play different rhythms and drum patterns if the pegs were moved around. Al-Jazari constructed a hand washing automaton first employing the flush mechanism now used in modern toilets. It features a female automaton standing by a basin filled with water. When the user pulls the lever, the water drains and the automaton refills the basin. His "peacock fountain" was another more sophisticated hand washing device featuring humanoid automata as servants who offer soap and towels. Mark E. Rosheim describes it as follows: "Pulling a plug on the peacock's tail releases water out of the beak; as the dirty water from the basin fills the hollow base a float rises and actuates a linkage which makes a servant figure appear from behind a door under the peacock and offer soap.

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  ViEWER

  ViEWER, the Virtual Environment Workbench for Education and Research, is a proprietary, freeware computer program for Microsoft Windows written by researchers at the University of Idaho for the study of visual perception and complex immersive three-dimensional environments. It was created using C++ and OpenGL, and has been used by Dr. Brian Dyre, Dr. Steffen Werner, Dr. Ernesto Bustamante, Dr. Ben Barton, and their undergraduate and graduate researchers in visual perception, signal detection, and child-safety experiments.

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  Fyuse

  Fyuse is a spatial photography app which lets users capture and share interactive 3D images. By tilting or swiping one's smartphone, one can view such "fyuses" from various angles — as if one were walking around an object or subject. The app blends photography and video to create an interactive medium and was first published for iOS in April 2014. The Android version was released at the end of 2014. == The app == Fyuse lets users capture panoramas, selfies, and full 360° views of objects and allows one to view captured moments from different angles. It has its own personal gallery, social network and standalone web integration. With the app, Fyusion also created a social networking platform similar to Instagram. Fyuses can be shared, commented on, liked and re-shared to one's followers (called Echoes). One can build a network of followers and with engagement tracking, one can see how many times an image has been interacted with The images can also be saved for private, offline view, or shared to other social networks, like Facebook or Twitter, or embedded on a website where the images can be interacted with by desktop users via dragging the mouse. Furthermore, in the compass tab other fyuses can be discovered using the app's system of tags and categories. One's Fyuse feed is prepopulated with top users, and one can follow people to see when they post a new fyuse. The app will also find one's friends if one signs up with Facebook or connects it with one's Twitter account. To create a fyuse one moves around a person or object with one's phone's camera in one direction or moving/tilting one's phone around while holding one's finger on the screen. By combining photography and video the app allows one to capture moments that one may not have otherwise been able to capture by recording not one moment in time but stitched together little moments. According to Fyusion CEO Radu Rusu, a photo freezes a moment in time, while a video captures moments in a linear timeline — both still flat, when viewed. A fyuse image captures a moment in space, where one can not only see one side of something, but also around it. When it is done rendering, fyuses can also be edited – one can trim the fyuse for length and edit the brightness, contrast, exposure, saturation and sharpness. One can also add a vignette and apply a filters, with options to adjust their intensity. After editing, one can write a description, add hashtags, and tag parts of the fyuse before one can (voluntarily) publish and share it. Version 1.0 has been described as "alpha prototype" and version 2.0 was released on 17 December 2014. Version 3.0 introduced 3D tagging by which users can layer 3D graphic that animate accordingly with each interaction to add some context to the content. Version 4.0 was released on December 21, 2016 for iOS. Since January 2016 (v3.2) the app allows the export of fyuses as Live Photos. The app has also been described as a more sophisticated version of 3D stickers and flip images. == Applications == The app has many applications for e-commerce such as for fashion designers who want to showcase a garment from every angle, or real estate listings and Airbnb-type sites that want to make their rental properties seem as enticing as possible. The app can also be used for interactive art, 360° panoramas and selfies. == History == San Francisco-based Fyusion Inc.'s three founders — Radu B. Rusu, CTO Stefan Holzer, and VP of Engineering Stephen Miller — worked together at Willow Garage, the robotics research lab started by early Google employee Scott Hassan in the area of "personal robotics" — Hassan decided to turn the lab into more of an incubator, suggesting that the members spin off their technologies into consumer-facing enterprises. Rusu first set out with an open-source 3D perception software startup called Open Perception. Fyusion was officially founded in 2013, and soon after Rusu and his cofounders patented the technology for spatial photography. The company closed a seed funding round at the end of May, raising $3.35 million from investors, including an angel investment from Sun Microsystems cofounder Andreas Bechtolsheim. In 2014 the Fyuse team consisted of 13 employees, mostly engineers and designers, recruited from around the globe. In March 2015 the team displayed their app at Katy Perry's premiere for the movie "Prismatic World Tour on Epix" where Perry also took Fyuse for a test run. == Augmented reality == In September 2016 Fyusion unveiled its platform for creating augmented reality content using ones smartphone. It takes the images from ones smartphone and converts them into 3D holographic images, which one can then view on an AR headset. According to Rusu "by making it easy for people to capture their surroundings on any mobile device, [Fyusion is] revolutionizing the way that people view the world around them" and also states that for "AR to be successful, anyone should be able to create content for it" opposed to the current "small number of content creators and an even smaller number of hardware players". According to him "the applications of [Fyusion's] technology for consumers and businesses are incredibly limitless". The platform uses the company's patented 3D spatio-temporal platform that uses advanced sensor fusion, machine learning and computer vision algorithms and part of the platform is built into the Fyuse app. Before committing to releasing a separate consumer product the company intends to wait until the HoloLens device becomes available to the public. Until then any Fyuse representation created using Fyuse is AR ready and will be able to be shown in HoloLens in the future. == Fyuse - Point of No Return == Fyuse - Point of No Return is a science fiction short advert for Fyuse 3.0 in which Fyuse's digital medium is extrapolated into the future. In the film a woman uses a mini scanning-drone to 3D scan a tree with Fyuse and later recreate it as an augmented reality object at another place.

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  MetroHero

  MetroHero is a semi-defunct real-time transit tracking and performance analysis application for the Washington Metro rapid transit system. Originally available on iOS, Android, and the web, it allows users to view live maps of all trains on a specific line, summary statistics relating to real-time system performance, and user feedback on current Metro conditions. The app launched in 2015, followed by ARIES for Transit, a related project from the same developers, and continued functioning until its original developers shut it down in 2023. Afterwards, forks of the application went live to allow for its continued public use, and the Washington Metropolitan Area Transit Authority (WMATA), Metro's operator, announced that it would launch a similar app. The app has been described by local news media as popular and well-liked among Washington, D.C.-area residents. == History and main development == MetroHero was initially developed by James and Jennifer Pizzurro, who both attended George Washington University and studied computer science. They said that they were inspired to create the app after experiencing train delays and searching for an app to track a train after boarding; such an app did not exist for the Washington Metro. The development of the app was not endorsed by WMATA, but it did use publicly available data from the agency. MetroHero launched as an Android application in September 2015, followed by the release of an iOS-compatible web app in December of that year. A standalone iOS app launched in April 2018, but the web app remained supported. By April 2018, MetroHero had approximately 13,000 monthly active users. James Pizzurro has stated that the app's intended audience was regular Metro commuters who wanted to communicate with each other about active problems, as opposed to tourists and riders who only wanted train time data. Throughout the application's development, the Pizzurros had been advocates for Metro's transparency with riders and the community by providing more high-quality data and taking on the feedback of developers. In particular, they criticized Metro's reluctance to uniquely identify individual train trips and its decision to obscure data under certain circumstances, which have posed problems for MetroHero's data collection. In addition to their work on MetroHero, the app's developers led or participated in other initiatives related to transit in the Greater Washington area. In 2019, MetroHero partnered with a local transit group to analyze Metrobus data and publish a "Metrobus Report Card", along with proposed goals and recommendations based on the report's findings. Based on this experience, MetroHero's developers began a sister project, the Adherence + Reliability + Integrity Evaluation System for Transit (ARIES for Transit), which displays data and issues grades for Washington- and Baltimore-area transit systems. Separately, James Pizzurro used MetroHero data to inform Rail Transit OPS, an independent Metro oversight group, and assist in its documentation of Metro system incidents. == Application == The MetroHero application uses several interfaces, including an overall dashboard and a live map, to display data to its users. On the dashboard, system-wide train summary data, such as the number of operating trains and headway adherence, is visible. The map offers a visual representation of all trains' positions throughout the system, filtered by line. Individual stations and trains can be selected to see ratings and comments provided by other users, including both positive and negative notes like cleanliness and crowdedness. Additionally, a list of train wait times is given, along with aggregate data like average wait time. Any train delays or service incidents are visible in the app. MetroHero uses several data sources for the various components of its application. Train positions and other operational data are provided by WMATA as part of its initiative to release open data for third-party developers. However, MetroHero's developers noted that the Metro-provided information is sometimes inaccurate and incomplete, thereby limiting the accuracy of MetroHero. The app also collects crowdsourced data from its users, who can report conditions in train cars and stations and add to reports sent by other people. Additionally, MetroHero parses data from Twitter feeds to learn about system incidents, including delays and fires. In addition to the web app, Android app, and iOS app, MetroHero's initial developers maintained automated social media accounts that alerted customers about Metro service; these accounts were discontinued upon the original app's eventual shutdown. MetroHero also hosts archived performance data for later review, a feature that is sometimes used after major incidents. == Shutdown and future == In February 2023, James Pizzurro announced that MetroHero would be shut down on July 1, 2023, citing "positive changes ... in the app landscape and in WMATA's data management and communication" and the costs and time associated with maintaining the app. Shortly before the application's end date, the Pizzurros shared MetroHero's source code on GitHub, which prompted others to fork the code and begin maintaining new instances of MetroHero to succeed the original app. The original website went offline on July 1, as planned. Historically, WMATA has not offered its own real-time map or similar service, citing other apps from third parties which accomplished the same task. However, on June 30, 2023, Randy Clarke, WMATA's general manager, announced that Metro would begin offering a similar service as MetroHero did. The app, initially named MetroMeter, was planned to begin operating in early July and would provide real-time information on trains, headways, and service schedules. Metro also noted its intentions to extend this service to Metrobus and MetroAccess. On July 20, Metro announced that the app had been renamed to MetroPulse and launched it in beta. MetroHero's other project, ARIES for Transit, was not affected by the shutdown. == Reception == MetroHero was generally well-received and has been recognized for its usage among Washington-area commuters. DCist called it one of the "most praised" Metro tracking apps, and WMATA publicly acknowledged its popularity when announcing its decision to establish MetroPulse. Chris Barnes, a member of the Metro Riders' Advisory Council, said that the app is considered important among riders because it fulfills a need for riders to have reliable and transparent transit information, albeit somewhat hindered by flaws in WMATA's data.

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  Clubhouse (app)

  Clubhouse is an American social audio app for iOS and Android developed by Alpha Exploration Co. that enables users to participate in real-time, audio-only communication within virtual "rooms". Launched in March 2020 by Paul Davison and Rohan Seth, the platform is characterized by its "drop-in" nature, where users can join live discussions on a wide range of topics as either listeners or speakers. The application gained attention in early 2021, operating on an invite-only model and featuring appearances from public figures such as Elon Musk, Oprah Winfrey, and Mark Zuckerberg. During this period, Clubhouse reached a reported valuation of approximately $4 billion and contributed to the expansion of similar social audio features like Twitter Spaces and Spotify Greenroom. The app later expanded to Android in May 2021 and removed its waitlist in July 2021, opening access to the general public. == History == Clubhouse began as an invite only social media startup by Paul Davison and Rohan Seth in Fall 2019. Originally designed for podcasts with the name Talkshow, the app was rebranded as "Clubhouse" and officially released for the iOS operating system in March 2020 and as of May 2021 the Android systems as well. Clubhouse was valued at $100 million after receiving funding from notable angel investors. These investors included Ryan Hoover (Founder, Product Hunt), Balaji Srinivasan (Former CTO, Coinbase), James Beshara (Co-Founder, Tilt.com), and several venture capitalists, including a $12 million Series A investment from the venture capital firm, Andreessen Horowitz, in May 2020. The app gained popularity in the early months of the COVID-19 pandemic. It had 600,000 registered users by December 2020. In January 2021, CEO Paul Davison announced that the active weekly user base on the app consisted of approximately 2 million individuals. The company announced that it would start working on an Android version of the app. In that month, the app became widely used in Germany when German podcast hosts Philipp Klöckner and Philipp Gloeckler began an invite-chain over a Telegram group. It brought German influencers, journalists, and politicians to the platform. Clubhouse raised their Series B at a $1 billion valuation. On February 1, 2021, Clubhouse had an estimated 3.5 million downloads on a global level which grew rapidly to 8.1 million downloads by February 15. This significant growth in popularity was because celebrities such as Elon Musk and Mark Zuckerberg made appearances on the app. In the same month, Clubhouse hired an Android Software Developer. A year after the app's release, the number of weekly active users was greater than 10 million, but the user base declined 21% during three weeks from late February to early March. This decline was reportedly caused by a decrease in the number of Clubhouse users after its initial release. During its initial roll out, the app was accessible only by invitation, and invitation codes on eBay were selling at up to $400. On April 5, 2021, Clubhouse partnered with Stripe to launch its first monetizing feature called Clubhouse Payments. Although testing began with only 1,000 users, after a week, the company rolled out the functionality to another 60,000 or more users in the US. In the same month, Twitter entered in discussions to purchase Clubhouse for $4 billion. The talks ended with no acquisition. Later, the company raised their Series C round of funding at a $4 billion valuation. The app also received interest in a partnership, with the National Football League announcing a content deal that month; Twitter Spaces later poached Clubhouse's exclusive NFL deal with 20 official NFL Spaces scheduled for the 2021-22 season. Finally, On May 9, 2021, Clubhouse launched a beta version of the Android app for users in the US, and on May 21, 2021, Clubhouse became available worldwide for Android users. In July 2021, Clubhouse announced a partnership with TED to offer exclusive talks. and on July 21, 2021, the company discarded its invitation system and made the application available to all, though a wait list for registration was still applied in order to manage new traffic. As of the time of the announcement, the company stated it had 10 million users on the wait list. On September 23, 2021, the company announced a new feature named "Wave". In October 2021, Clubhouse rolled out new features called "Replays and Clips". In April 2023, the company announced it was reducing its staff by half amid a "resetting" due to post-pandemic market shifts. == Features == === Rooms === The primary feature of Clubhouse is real-time virtual "rooms" in which users can communicate with each other via audio. Rooms are divided into different categories based on levels of privacy. Moderator roles are denoted by a green star that appears next to the user's name. When a user joins a room, they are initially assigned to the role of a "listener" and cannot unmute themselves. Listeners can notify the moderators of their intent to join the stage and speak by clicking on the "raise hand" icon. Users who are invited to the stage become "speakers" and can unmute themselves. Users can exit a room by tapping the "leave quietly" button or with the help of peace sign emoji. === Houses === In August 2022, Clubhouse announced a feature called Houses, an invite-based version of the rooms. === Events === A lot of conversations in Clubhouse are of spontaneous nature. However, users can schedule conversations by creating events. While scheduling an event, users can first name the event and then set the date and time at which the conversation will begin. Users can also add co-hosts to help moderate the event. Once the event has been created, it is added to the Clubhouse "bulletin". The bulletin shows upcoming scheduled events and allows users to set notifications for events by clicking the bell icon corresponding to the event. Users can access the bulletin by clicking on the calendar icon at the top of the home page. === Clubs === At the Clubhouse, clubs are user communities that regularly discuss a common interest. Many clubs are present in Clubhouse which represents a wide array of topics. Users can find clubs by name under the search tab. A club consists of three categories of users: "Admin", "Leader", and "Member". Members can create private rooms and invite more users into the club. Leaders have all the privileges of a member. Apart from that, they are authorized to create/schedule club-branded open rooms. An admin can modify club settings, add/delete users, change user privileges and create/schedule any type of room. There are three types of clubs: "Open", "By Approval", and "Closed" for membership. Any user can join an open club by pressing the "Join The Club" button on the club profile. In case of approval, users need to apply and wait for membership by clicking the "Apply To Join" button on the club profile. The admins of the respective club are privileged to accept or reject the user's request. In a closed club, membership is limited to users selected by the club admin. All users of a club will be notified when a public room within the club is created. The club creation is restricted to active users and whoever creates the club will become the club admin. Eligible users can create a club by going to their profile, press the "+" sign present in the "Member of" section. Clubs in which a user is a member are shown on their profile page. The first club to half a million members was the Human Behavior Club founded by The Digital Doctor (Dr. Sohaib Imtiaz). === Backchannel === Backchannel is the messaging function which allows users to interact individually or within a group via text. The Backchannel feature was initially leaked on June 18, 2021, in response to the launch of Spotify Greenroom. This is notable step because, until this point, Clubhouse was voice only with no way to hyperlink or message. It was entirely dependent on Instagram and Twitter for text messaging. The feature was initially leaked in the App Store, which the company says was an accident on Twitter. A month later, after multiple failed attempts, the Clubhouse Backchannel finally launched on July 14, 2021. === Explore === The homepage of Clubhouse provides access to ongoing chat rooms, which are recommended based on the people and clubs that are followed by the user. As the users tap on the magnifying glass icon, they will be redirected to the explore page. On that page, users can search for people and clubs to follow and also find conversations categorized by topics. === Clubhouse Payments === This is the direct payment service provided by the app, which allows users to send money to content creators. It includes those users who had enabled this functionality in their profile. Money can be sent from users to the creator by clicking on their profile. Press "Send Money" then enter the amount you want to send. When a user does this for the first time, they'll be prompted to reg

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  GamePigeon

  GamePigeon is a mobile app for iOS devices, developed by Vitalii Zlotskii and released on September 13, 2016. The game takes advantage of the iOS 10 update, which expanded how users could interact with Apple's Messages app. GamePigeon is only available through the Messages app, which allows players to start and respond to different party games in conversations. == Release == The app was first released on September 13, 2016, coinciding with the launch of iOS 10. The app was released for free, although it includes in-app purchases to unlock additional items, such as cosmetic skins, avatar items, new game modes, and an option to remove ads. == Games in the app == The following is a list of games that users can play within GamePigeon: Sources: Poker was one of the games included in GamePigeon at launch, although it has since been removed and is no longer listed on the game's App Store description. == Reception == GamePigeon has enjoyed commercial success, with VentureBeat noting that GamePigeon was ranked number-one in the "Top Free" category of the iMessage App Store, six months after its release. Critically, GamePigeon has been generally well received, being highlighted by online media publications early on shortly after the iOS 10 launch. It has since been included on many "best iMessage apps" lists. Based on over 162,000 ratings, the game holds a 4.0 out of 5 rating on the App Store. Julian Chokkattu of Digital Trends wrote "GamePigeon should be like the pre-installed versions of Solitaire and Minesweeper that used to come with older iterations of Windows." On its launch day, Boy Genius Report included it on a list of "10 of the best iMessage apps, games and stickers for iOS 10 on launch day." The Daily Dot wrote, "GamePigeon is easily the best current gaming option within iMessages." 8-ball and cup pong have been particularly well received by media outlets. The Daily Dot had specific praise for the app's billiards game: "8-Ball controls shockingly smoothly with your fingers, and there’s nothing quite like destroying a dear friend in poker." During his 2020 U.S. presidential campaign, Cory Booker was cited as playing the game with his family. In 2017, CNBC cited one teenager who expressed that GamePigeon was one of just a few reasons that those in her age range use the iMessage app. The game has received particular positive reception for allowing introverted individuals to exercise a form social activity; similarly, the game was highlighted as a way to maintain social distancing guidelines during the COVID-19 pandemic. As an April Fools' Day joke in 2020, The Chronicle, a Duke University newspaper, published that Duke's athletic program adopted GamePigeon's Cup Pong as an official varsity sport.

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