OpenVX is an open, royalty-free standard for cross-platform acceleration of computer vision applications. It is designed by the Khronos Group to facilitate portable, optimized and power-efficient processing of methods for vision algorithms. This is aimed for embedded and real-time programs within computer vision and related scenarios. It uses a connected graph representation of operations. == Overview == OpenVX specifies a higher level of abstraction for programming computer vision use cases than compute frameworks such as OpenCL. The high level makes the programming easy and the underlying execution will be efficient on different computing architectures. This is done while having a consistent and portable vision acceleration API. OpenVX is based on a connected graph of vision nodes that can execute the preferred chain of operations. It uses an opaque memory model, allowing to move image data between the host (CPU) memory and accelerator, such as GPU memory. As a result, the OpenVX implementation can optimize the execution through various techniques, such as acceleration on various processing units or dedicated hardware. This architecture facilitates applications programmed in OpenVX on different systems with different power and performance, including battery-sensitive, vision-enabled, wearable displays. OpenVX is complementary to the open source vision library OpenCV. OpenVX in some applications offers a better optimized graph management than OpenCV. == History == OpenVX 1.0 specification was released in October 2014. OpenVX sample implementation was released in December 2014. OpenVX 1.1 specification was released on May 2, 2016. OpenVX 1.2 was released on May 1, 2017. Updated OpenVX adopters program and OpenVX 1.2 conformance test suite was released on November 21, 2017. OpenVX 1.2.1 was released on November 27, 2018. OpenVX 1.3 was released on October 22, 2019. == Implementations, frameworks and libraries == AMD MIVisionX Archived 2019-08-05 at the Wayback Machine - for AMD's CPUs and GPUs. Cadence - for Cadence Design Systems's Tensilica Vision DSPs. Imagination - for Imagination Technologies's PowerVR GPUs Synopsys - for Synopsys' DesignWare EV Vision Processors Texas Instruments’ OpenVX (TIOVX) - for Texas Instruments’ Jacinto™ ADAS SoCs. NVIDIA VisionWorks - for CUDA-capable Nvidia GPUs and SoCs. OpenVINO - for Intel's CPUs, GPUs, VPUs, and FPGAs.
Software bot
A software bot is a type of software agent in the service of software project management and software engineering. A software bot has an identity and potentially personified aspects in order to serve their stakeholders. Software bots often compose software services and provide an alternative user interface, which is sometimes, but not necessarily conversational. Software bots are typically used to execute tasks, suggest actions, engage in dialogue, and promote social and cultural aspects of a software project. The term bot is derived from robot. However, robots act in the physical world and software bots act only in digital spaces. Some software bots are designed and behave as chatbots, but not all chatbots are software bots. Discussions about the past and future of software bots show that software bots have been adopted for many years. == Usage == Software bots are used to support development activities, such as communication among software developers and automation of repetitive tasks. Software bots have been adopted by several communities related to software development, such as open-source communities on GitHub and Stack Overflow. GitHub bots have user accounts and can open, close, or comment on pull requests and issues. GitHub bots have been used to assign reviewers, ask contributors to sign the Contributor License Agreement, report continuous integration failures, review code and pull requests, welcome newcomers, run automated tests, merge pull requests, fix bugs and vulnerabilities, etc. The Slack tool includes an API for developing software bots. There are slack bots for keeping track of todo lists, coordinating standup meetings, and managing support tickets. The ChatBot company products further simplify the process of creating a custom Slack bot. On Wikipedia, Wikipedia bots automate a variety of tasks, such as creating stub articles, consistently updating the format of multiple articles, and so on. Bots like ClueBot NG are capable of recognizing vandalism and automatically remove disruptive content. == Taxonomies and Classification Frameworks == Lebeuf et al. provide a faceted taxonomy to characterize bots based on a literature review. It is composed of 3 main facets: (i) properties of the environment that the bot was created in; (ii) intrinsic properties of the bot itself; and (iii) the bot's interactions within its environment. They further detail the facets into sets of sub-facets under each of the main facets. Paikari and van der Hoek defined a set of dimensions to enable comparison of software bots, applied specifically to chatbots. It resulted in six dimensions: Type: the main purpose of the bot (information, collaboration, or automation) Direction of the "conversation" (input, output, or bi-directional) Guidance (human-mediated, or autonomous) Predictability (deterministic, or evolving) Interaction style (dull, alternate vocabulary, relationship-builder, human-like) Communication channel (text, voice, or both) Erlenhov et al. raised the question of the difference between a bot and simple automation, since much research done in the name of software bots uses the term bot to describe various different tools and sometimes things are "just" plain old development tools. After interviewing and surveying over 100 developers the authors found that not one, but three definitions dominated the community. They created three personas based on these definitions and the difference between what the three personas see as being a bot is mainly the association with a different set of human-like traits. The chat bot persona (Charlie) primarily thinks of bots as tools that communicates with the developer through a natural language interface (typically voice or chat), and caring little about what tasks the bot is used for or how it actually implements these tasks. The autonomous bot persona (Alex) thinks of bots as tools that work on their own (without requiring much input from a developer) on a task that would normally be done by a human. The smart bot persona (Sam) separates bots and plain old development tools through how smart (technically sophisticated) a tool is. Sam cares less about how the tool communicates, but more about if it is unusually good or adaptive at executing a task. The authors recommends that people doing research or writing about bots try to put their work in the context of one of the personas since the personas have different expectations and problems with the tools. == Example of notable bots == Dependabot and Renovatebot update software dependencies and detect vulnerabilities. (https://dependabot.com/) Probot is an organization that create and maintain bots for GitHub. The example bots using Probot are the following. Auto Assign (https://probot.github.io/apps/auto-assign/) license bot (https://probot.github.io/) Sentiment bot (https://probot.github.io/apps/sentiment-bot/) Untrivializer bot (https://probot.github.io/apps/untrivializer/) Refactoring-Bot (Refactoring-Bot): provides refactoring based on static code analysis Looks good to me bot (LGTM) is a Semmle product that inspects pull requests on GitHub for code style and unsafe code practices. == Issues and threats == Software bots may not be well accepted by humans. A study from the University of Antwerp has compared how developers active on Stack Overflow perceive answers generated by software bots. They find that developers perceive the quality of software bot-generated answers to be significantly worse if the identity of the software bot is made apparent. By contrast, answers from software bots with human-like identity were better received. In practice, when software bots are used on platforms like GitHub or Wikipedia, their username makes it clear that they are bots, e.g., DependaBot, RenovateBot, DatBot, SineBot. Bots may be subject to special rules. For instance, the GitHub terms of service does not allow 'bots' but accepts 'machine account', where a 'machine account' has two properties: 1) a human takes full responsibility of the bot's actions 2) it cannot create other accounts.
Nuclear electronics
Nuclear electronics is a subfield of electronics concerned with the design and use of high-speed electronic systems for nuclear physics and elementary particle physics research, and for industrial and medical use. Essential elements of such systems include fast detectors for charged particles, discriminators for separating them by energy, counters for counting the pulses produced by individual particles, fast logic circuits (including coincidence and veto gates), for identification of particular types of complex particle events, and pulse height analyzers (PHAs) for sorting and counting gamma rays or particle interactions by energy, for spectral analysis. == Elementary components == Some of the essential components that make up the elements of a nuclear electronic analysis system include: Detectors Bias voltage supplies Preamplifiers Discriminators Coincidence and veto logic gates Counters Pulse height analyzers These elements were originally developed and built in the laboratories of the scientists doing the pioneering work in the field, but are nowadays designed, developed, and manufactured by a variety of specialized vendors: EG&G Ortec Oxford Instruments Stanford Research Systems Tennelec CAEN
FaceApp
FaceApp is a photo and video editing application for iOS and Android developed by FaceApp Technology Limited, a company based in Cyprus. The app generates highly realistic transformations of human faces in photographs by using neural networks. The app can transform a face to make it smile, look younger, look older, or change gender. == History == FaceApp was launched on iOS in January 2017 and on Android in February 2017. It was developed by Yaroslav Goncharov, a former executive at Yandex, and created by the Russian company Wireless Lab. == Features == There are multiple options to manipulate the photo uploaded such as editor options of adding an impression, make-up, smiles, hair colors, hairstyles, glasses, age or beards. Filters, lens blur and backgrounds along with overlays, tattoos, and vignettes are also a part of the app. The gender change transformations of FaceApp have attracted particular interest from the LGBT and transgender communities, due to their ability to realistically simulate the appearance of a person as the opposite gender. == Criticism == In 2017, FaceApp faced criticism for a "hot" filter that appeared to lighten users' skin tones, prompting accusations of racial bias. The feature was briefly renamed "spark" before being removed. Founder Yaroslav Goncharov attributed the issue to training data bias and apologized. In August of that year, more criticism arose when it featured "ethnicity filters" depicting "White", "Black", "Asian", and "Indian". The filters were immediately removed from the app. In 2019, FaceApp faced criticism over its handling of user data, including concerns that it stored users' photos on its servers and could use them for commercial purposes. Founder Yaroslav Goncharov stated that images were processed on cloud servers like Google Cloud Platform and Amazon Web Services, not transferred to Russia, and were temporarily stored only to support editing functions before being deleted. U.S. Senator Chuck Schumer raised concerns about data privacy and called for an FBI investigation.
Digital intermediate
Digital intermediate (DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. == Definition and overview == A digital intermediate often replaces or augments the photochemical timing process and is usually the final creative adjustment to a movie before distribution in theaters. It is distinguished from the telecine process in which film is scanned and color is manipulated early in the process to facilitate editing. However the lines between telecine and DI are continually blurred and are often executed on the same hardware by colorists of the same background. These two steps are typically part of the overall color management process in a motion picture at different points in time. A digital intermediate is also customarily done at higher resolution and with greater color fidelity than telecine transfers. Although originally used to describe a process that started with film scanning and ended with film recording, digital intermediate is also used to describe color correction and color grading and even final mastering when a digital camera is used as the image source and/or when the final movie is not output to film. This is due to recent advances in digital cinematography and digital projection technologies that strive to match film origination and film projection. In traditional photochemical film finishing, an intermediate is produced by exposing film to the original camera negative. The intermediate is then used to mass-produce the films that get distributed to theaters. Color grading is done by varying the amount of red, green, and blue light used to expose the intermediate. The digital intermediate process uses digital tools to color grade, which allows for much finer control of individual colors and areas of the image, and allows for the adjustment of image structure (grain, sharpness, etc.). The intermediate for film reproduction can then be produced by means of a film recorder. The physical intermediate film that is a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (IN) stock, which is inherently finer-grain than original camera negative (OCN). One of the key technical achievements that made the transition to DI possible was the use of 3D look-up tables, which could be used to mimic how the digital image would look once it was printed onto release print stock. This removed a large amount of guesswork from the film-making process, and allowed greater freedom in the colour grading process while reducing risk. The digital master is often used as a source for a DCI-compliant distribution of the motion picture for digital projection. For archival purposes, the digital master created during the digital intermediate process can be recorded to very stable high dynamic range yellow-cyan-magenta (YCM) separations on black-and-white film with an expected 100-year or longer life. While still subject to the natural degradation of any analog chemical master, this archival format, long used in the industry prior to the invention of DI, was considered valuable for providing an archival medium that is independent of changes in digital data recording technologies and file formats that might otherwise render digitally archived material unreadable in the long term. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == History == Telecine tools to electronically capture film images are nearly as old as broadcast television, but the resulting images were widely considered unsuitable for exposing back onto film for theatrical distribution. Film scanners and recorders with quality sufficient to produce images that could be inter-cut with regular film began appearing in the 1970s, with significant improvements in the late 1980s and early 1990s. During this time, digitally processing an entire feature-length film was impractical because the scanners and recorders were extremely slow and the image files were too large compared to computing power available. Instead, individual shots or short sequences were processed for visual effects. In 1992, Visual Effects Supervisor/Producer Chris F. Woods broke through several "techno-barriers" in creating a digital studio to produce the visual effects for the 1993 release Super Mario Bros. It was the first feature film project to digitally scan a large number of VFX plates (over 700) at 2K resolution. It was also the first film scanned and recorded at Kodak's just launched Cinesite facility in Hollywood. This project based studio was the first feature film to use Discreet Logic's (now Autodesk) Flame and Inferno systems, which enjoyed early dominance as high resolution / high performance digital compositing systems. Digital film compositing for visual effects was immediately embraced, while optical printer use for VFX declined just as quickly. Chris Watts further revolutionized the process on the 1998 feature film Pleasantville, becoming the first visual effects supervisor for New Line Cinema to scan, process, and record the majority of a feature-length, live-action, Hollywood film digitally. The first Hollywood film to utilize a digital intermediate process from beginning to end was O Brother, Where Art Thou? in 2000 and in Europe it was Chicken Run released that same year. The process rapidly caught on in the mid-2000s. Around 50% of Hollywood films went through a digital intermediate in 2005, increasing to around 70% by mid-2007. This is due not only to the extra creative options the process affords film makers but also the need for high-quality scanning and color adjustments to produce movies for digital cinema. == Milestones == 1990: The Rescuers Down Under – First feature-length film to be entirely recorded to film from digital files; in this case animation assembled on computers using Walt Disney Feature Animation and Pixar's CAPS system. 1992: Visual effects supervisor and producer Chris F. Woods creates a VFX studio to produce the visual effects for the 1993 film Super Mario Bros. It was the first 35mm feature film to digitally scan a large number of VFX plates (over 700) at 2K resolution, as well as to output the finished VFX to 35mm negative at 2K. 1993: Snow White and the Seven Dwarfs – First film to be entirely scanned to digital files, manipulated, and recorded back to film at 4K resolution. The restoration project was done entirely at 4K resolution and 10-bit color depth using the Cineon system to digitally remove dirt and scratches and restore faded colors. 1998: Pleasantville – The first time the majority of a new feature film was scanned, processed, and recorded digitally. The black-and-white meets color world portrayed in the movie was filmed entirely in color and selectively desaturated and contrast adjusted digitally. The work was done in Los Angeles by Cinesite utilizing a Spirit DataCine for scanning at 2K resolution and a MegaDef color correction system from UK Company Pandora International 1998: Zingo - The first feature film to use digital color correction via digital intermediate in its entirety. The work was performed at the Digital Film Lab in Copenhagen, using a Spirit Datacine to transfer the entire film to digital files at 2K resolution. The digital intermediate process was also used to perform a digital blowup of the film's original Super 16 source format to a 35mm output. 1999: Pacific Ocean Post Film, a team led by John McCunn and Greg Kimble used Kodak film scanners & laser film printer, Cineon software as well as proprietary tools to rebuild and repair the first two reels of the 1968 Beatles' film Yellow Submarine for re-release. 1999: Star Wars: Episode I – The Phantom Menace - Industrial Light & Magic (ILM) scanned the entirety of the visual effects-laden film for the purposes of digital enhancement and the integration of thousands of separately filmed elements with computer generated characters and environments. Outside of the approximately 2000 effects shots that were digitally manipulated, the remaining 170 non-effects shots were also scanned for continuity. However, after the digital shots were manipulated at ILM, they were filmed out individually and sent to Deluxe Labs where they were processed and color timed photochemically. 2000: Sorted - The first feature-length, color 35mm motion picture to fully utilize the digital intermediate process in its entirety from inception to completion. The film was produced at Wave Pictures' digital intermediate film facility in London, England. It was scanned at 2K resolution with 8 bits color depth per color / per pixel using a pin registered, liquid gate Oxberry
Keyword extraction
Keyword extraction is tasked with the automatic identification of terms that best describe the subject of a document. Key phrases, key terms, key segments or just keywords are the terminology which is used for defining the terms that represent the most relevant information contained in the document. Although the terminology is different, function is the same: characterization of the topic discussed in a document. The task of keyword extraction is an important problem in text mining, information extraction, information retrieval and natural language processing (NLP). == Keyword assignment vs. extraction == Keyword assignment methods can be roughly divided into: keyword assignment (keywords are chosen from controlled vocabulary or taxonomy) and keyword extraction (keywords are chosen from words that are explicitly mentioned in original text). Methods for automatic keyword extraction can be supervised, semi-supervised, or unsupervised. Unsupervised methods can be further divided into simple statistics, linguistics or graph-based, or ensemble methods that combine some or most of these methods.
Problematic social media use
Excessive use of social media can lead to problems including impaired functioning and a reduction in overall wellbeing, for both users and those around them. Such usage is associated with a risk of mental health problems, sleep problems, academic struggles, and daytime fatigue. Psychological or behavioural dependence on social media platforms can result in significant negative functions in peoples daily lives. The risk of problems is also related to the type of platform of social media or online community being used. People of different ages and genders may be affected in different ways by problematic social media use. == Signs and symptoms == Signs of social media addiction or excessive use of social media include many behaviours similar to substance use disorders, including mood modification, salience, tolerance, stress withdrawal symptoms, psychological distress, anxiety and depression, conflict, and relapse, and low self esteem. People with problematic social media habits are at risk of being addicted and may require more time on social media as time passes. Frequent social media use may also be associated with self-reported symptoms of attention deficit hyperactivity disorder. Social anxiety (or fear of missing out) is another potential symptom. Social anxiety is defined as having intense anxiety or fear of being judged, negatively evaluated, or rejected in a social or performance situation. The fear of missing out can contribute to excessive usage due to frequent checking the media constantly throughout the day to check in and see what others are doing instead of doing other activities. Common signs include displacement, or replacing meaningful other activities with social media, and loneliness. == Causes and mechanisms == There are many theories for the mechanism or cause behind a person having problematic social media use. The transition from normal to problematic social media use occurs when a person relies on it to relieve stress, loneliness, depression, or provide continuous rewards. Cognitive-behavioral model – People increase their use of social media when they are in unfamiliar environments or awkward situations; Social skill model – People pull out their phones and use social media when they prefer virtual communication as opposed to face-to-face interactions because they lack self-presentation skills; Socio-cognitive model – This person uses social media because they love the feeling of people liking and commenting on their photos and tagging them in pictures. They are attracted to the positive outcomes they receive on social media. There are parallels to the gambling industry inherent to the design of various social media sites, with "'ludic loops' or repeated cycles of uncertainty, anticipation and feedback" potentially contributing to problematic social media use. Another factor directly facilitating the development of addiction to social media is the implicit attitude toward the IT artifact. Social media use may also stimulate the reward pathway in the brain. There is also a theory that social media addiction fulfills a basic evolutionary drives in the wake of mass urbanization worldwide. The basic psychological needs of "secure, predictable community life that evolved over millions of years" remain unchanged, leading some to find online communities to cope with the new individualized way of life in some modern societies. The "Evolutionary Mismatch" hypothesis holds that modern digital platforms amplify social competition and comparison in ways our ancestors never faced, possibly triggering maladaptive patterns such as anxiety, depression, or compulsive use. Similarly, some scholars compare social media to "junk food": The approach taken to develop social media platforms may contribute to problematic social media use. The ability to scroll and stream content endlessly and how app developers distort time by affecting the 'flow' of content when scrolling, potentially resulting in the Zeigarnik effect (the human brain will continue to pursue an unfinished task until a satisfying closure. Autoplay modes, the personalized nature of the content results in emotional attachment (the user values this above its actual value, which is referred to as the endowment effect), and the exposure effect (repeated exposure to a distinct stimulus by the user can condition the user into an enhanced or improved attitude toward it). The interactive nature of the platforms, including the ability to "like" content has also been linked. Even though social media can satisfy personal communication needs, those who use it at higher rates are shown to have higher levels of psychological distress. == Diagnosis == While there is no official diagnostic term or measurement, problematic social media use is conceptualized as a non-substance-related disorder, resulting in preoccupation and compulsion to engage excessively in social media platforms despite negative consequences. No diagnosis exists for problematic social media use in either the ICD-11 or DSM-5. Excessive use of an activity, like social media, does not directly equate with addiction. There are other factors that could lead to someone's social media addiction including personality traits and pre-existing tendencies. While the extent of social media use and addiction are positively correlated, it is erroneous to employ use (the degree to which one makes use of the site's features, the effort exerted during use sessions, access frequency, etc.) as a proxy for addiction. Indicators of a potential dependence on social media include: Mood swings: a person uses social media to regulate his or her mood, or as a means of escaping real world conflicts. Relevance: social media starts to dominate a person's thoughts at the expense of other activities. Salience: social media becomes the most important part of someone's life. Tolerance: a person increases their time spent on social media to experience previously associated feelings they had while using social media. Withdrawal: when a person can not access social media their sleeping or eating habits change or signs of depression or anxiety can become present. Conflicts in real life: when social media is used excessively, it can affect real-life relationships with family and friends. Relapse: the tendency for previously affected individuals to revert to previous patterns of excessive social media use. There have been several scales developed and validated that help to understand the issues regarding problematic social media use. There is not one single scale that is being used by all researchers. == Treatment == Screen time recommendations for children and families have been developed by the American Academy of Pediatrics. Possible therapeutic interventions published include: Self-help interventions, including application-specific timers; Cognitive behavioural therapy; and Organisational and schooling support. Medications have not been shown to be effective in randomized, controlled trials for the related conditions of Internet addiction disorder or gaming disorder. == Prevention == Prevention approaches include screen time monitoring apps and other tech-based approaches to improve efficiency and decrease screen time and tools to help with addiction to online platform products. Parents' methods for monitoring, regulating, and understanding their children's social media use are referred to as parental mediation. Parental mediation strategies include active, restrictive, and co-using methods. Active mediation involves direct parent-child conversations that are intended to educate children on social media norms and safety, as well as the variety and purposes of online content. Restrictive mediation entails the implementation of rules, expectations, and limitations regarding children's social media use and interactions. Co-use is when parents jointly use social media alongside their children, and is most effective when parents are actively participating (like asking questions, making inquisitive/supportive comments) versus being passive about it. Active mediation is the most common strategy used by parents, though the key to success for any mediation strategy is consistency/reliability. When parents reinforce rules inconsistently, have no mediation strategy, or use highly restrictive strategies for monitoring their children's social media use, there is an observable increase in children's aggressive behaviours. When parents openly express that they are supportive of their child's autonomy and provide clear, consistent rules for media use, problematic usage and aggression decreases. Knowing that consistent, autonomy-supportive mediation has more positive outcomes than inconsistent, controlling mediation, parents can consciously foster more direct, involved, and genuine dialogue with their children. This can help prevent or reduce problematic social media use in children and teenagers. == Outcomes == === Adolescents and teens === Increased social medi