Twitter was blocked in Nigeria from 5 June 2021 to 13 January 2022. The government imposed a ban on the social network after it deleted tweets made by, and temporarily suspended, the Nigerian president Muhammadu Buhari, warning the southeastern people of Nigeria, predominantly Igbo people, of a potential repeat of the 1967 Nigerian Civil War due to the ongoing insurgency in Southeastern Nigeria. The Nigerian government claimed that the deletion of the president's tweets factored into their decision, but it was ultimately based on "a litany of problems with the social media platform in Nigeria, where misinformation and fake news spread through it have had real world violent consequences", citing the persistent use of the platform for activities that are capable of undermining Nigeria's corporate existence. In January 2022, Nigeria lifted its blocking of Twitter after the platform agreed to establish a legal entity within the country sometime in the first quarter of 2022. == Background == On 1 June 2021, Nigerian President Muhammadu Buhari posted a tweet threatening a crackdown on regional separatists "in the language they understand". The next day, Twitter deleted the tweet, claiming it was in violation of Twitter rules, but gave no further details. Nigeria's Information Minister Lai Mohammed said that Twitter's actions were part of an unfair double standard, as Twitter had not banned incitement tweets from other groups. During the Nigerian Civil War a majority of deaths resulted from the blockade of Biafra which caused the deaths of millions of civilians from starvation, a fact that was not alluded to in the tweet. The Nigerian government has long held concerns over the use of Twitter in the country. The ongoing local End SARS protest began on Twitter and got amplified in 2020 when it had 48 million tweets in ten days. Buhari's government floated the idea of social media regulation on different occasions prior to banning Twitter. Attempts to pass an anti-social media bill in the past have failed majorly due to massive outcry on Twitter. Days before the ban, the country's minister of information called Twitter's activities in Nigeria suspicious, citing its influence on the End SARS protests. == Aftermath == Three days after Twitter was suspended, it was reported that the move had cost the country over 6 billion naira and would also contribute to the worsening unemployment in the country. ExpressVPN reported an over 200 percent increase in web traffic and searches for VPN spiked across the country. In response, Nigeria's Minister of Justice and Attorney General of the Federation Abubakar Malami at first openly threatened to prosecute citizens who bypass the ban using a VPN but then denied saying so after a screenshot of a Twitter deactivation notification he shared on Facebook showed a VPN logo. Nigeria's cultural minister Lai Mohammed stated the ban would be lifted once Twitter submitted to locally licensing, registration and conditions. "It will be licensed by the broadcasting commission, and must agree not to allow its platform to be used by those who are promoting activities that are inimical to the corporate existence of Nigeria." In late June 2021, Twitter announced it would enter talks with the Nigerian government over the platform's suspension. The talks began in July 2021. On 15 September 2021, Mohammed said the Nigerian government will lift the ban on Twitter in a "few days." The Minister said Twitter gave a progress report of their talks with them, adding that it has been productive and quite respectful. On 1 October 2021, President Muhammadu Buhari in his Independence Day broadcast said Twitter must meet the Nigerian government's five conditions before the suspension of the social media platform will be lifted. The conditions are: Respect for national security and cohesion; registration, physical presence and representation in Nigeria; fair taxation; dispute resolution; local content. == Reactions == The ban was condemned by Amnesty International, the British, Canadian and Swedish diplomatic missions to Nigeria, as well as the United States and the European Union in a joint statement. Two domestic organizations, the Socio-Economic Rights and Accountability Project (SERAP) and the Nigerian Bar Association, indicated intent to challenge the ban in court. Twitter itself called the ban "deeply concerning". Former U.S. President Donald Trump, who was permanently suspended from Twitter following the United States Capitol attack in January, praised the ban, stating "Congratulations to the country of Nigeria, who just banned Twitter because they banned their President", and also called on other countries to ban Twitter and Facebook due to "not allowing free and open speech." == Lifting of the ban == On 12 January 2022, the Nigerian Government lifted the ban after Twitter agreed to pay an "applicable tax" and establish "a legal entity in Nigeria during the first quarter of 2022".
Adobe Presenter
Adobe Presenter is eLearning software released by Adobe Systems available on the Microsoft Windows platform as a Microsoft PowerPoint plug-in, and on both Windows and OS X as the screencasting and video editing tool Adobe Presenter Video Express. It is mainly targeted towards learning professionals and trainers. In addition to recording one's computer desktop and speech, it also provides the option to add quizzes and track performance by integrating with learning management systems. Adobe Presenter was designed to replace the discontinued Adobe Ovation software, which had similar functions. == Predecessor == Adobe Ovation was originally released by Serious Magic. It converted PowerPoint slides into visual presentations with additional effects. Ovation included themes called PowerLooks that could add motion and polish the presentations. They were available in a variety of color variations complete with animated backgrounds and dynamic text effects. Ovation could make text with jagged edges more readable. TimeKeeper could be used to set the period of the presentation, and the PointPrompter scrolled down the notes. Ovation's development has been discontinued, nor does it support PowerPoint 2007. == Features == The main purpose of Adobe Presenter is to capture on-screen presentations and convert them into more interactive and engaging videos. Support is given to convert Microsoft PowerPoint 2010 and 2013 presentations into videos. It also allows for content authoring on PowerPoint and ActionScript 3, and offers integration with Adobe Captivate. Slide branching enables users to control slide navigation and titles and create complex slide branching to guide viewers through the content of the presentation. Video editing tools are also provided, and offer the ability to upload to video-sharing platforms such as YouTube, Vimeo and other sites. Multimedia features such as annotations, eLearning templates, actors, audio narration and drag-and-drop elements enrich users' presentations. Quizzes and surveys is another highlighted feature, which include generating question pools, importing questions from existing quizzes and in-course collaboration which allows presenters to receive feedback by allowing them to comment on specific content within a course or ask questions for more clarity. Presenters could opt to receive feedback from viewers through video analytics and create Experience API, SCORM and AICC-compliant content. Options to publish to Adobe Connect are provided. Other unique features include universal standards support, file size control, navigational restrictions among others.
Joseph Stanislaus Ostoja-Kotkowski
Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio
Supertoroid
In geometry and computer graphics, a supertoroid or supertorus is usually understood to be a family of doughnut-like surfaces (technically, a topological torus) whose shape is defined by mathematical formulas similar to those that define the superellipsoids. The plural of "supertorus" is either supertori or supertoruses. The family was described and named by Alan Barr in 1994. Barr's supertoroids have been fairly popular in computer graphics as a convenient model for many objects, such as smooth frames for rectangular things. One quarter of a supertoroid can provide a smooth and seamless 90-degree joint between two superquadric cylinders. However, they are not algebraic surfaces (except in special cases). == Formulas == Alan Barr's supertoroids are defined by parametric equations similar to the trigonometric equations of the torus, except that the sine and cosine terms are raised to arbitrary powers. Namely, the generic point P(u, v) of the surface is given by P ( u , v ) = ( X ( u , v ) Y ( u , v ) Z ( u , v ) ) = ( ( a + C u s ) C v t ( b + C u s ) S v t S u s ) {\displaystyle P(u,v)=\left({\begin{array}{c}X(u,v)\\Y(u,v)\\Z(u,v)\end{array}}\right)=\left({\begin{array}{c}(a+C_{u}^{s})C_{v}^{t}\\(b+C_{u}^{s})S_{v}^{t}\\S_{u}^{s}\end{array}}\right)} where C θ ε = sgn ( cos θ ) | cos θ | ε , S θ ε = sgn ( sin θ ) | sin θ | ε , {\displaystyle {\begin{aligned}C_{\theta }^{\varepsilon }&=\operatorname {sgn} (\cos \theta )\,\left|\,\cos \theta \,\right|^{\varepsilon },\\S_{\theta }^{\varepsilon }&=\operatorname {sgn} (\sin \theta )\ \left|\,\sin \theta \ \right|^{\varepsilon },\end{aligned}}} sgn is the sign function, and the parameters u, v range from 0 to 360 degrees (0 to 2π radians). In these formulas, the parameter s > 0 controls the "squareness" of the vertical sections, t > 0 controls the squareness of the horizontal sections, and a, b ≥ 1 are the major radii in the x and y directions. With s = t = 1 and a = b = R one obtains the ordinary torus with major radius R and minor radius 1, with the center at the origin and rotational symmetry about the z-axis. In general, the supertorus defined as above spans the intervals: − ( a + 1 ) ≤ x ≤ + ( a + 1 ) − ( b + 1 ) ≤ y ≤ + ( b + 1 ) − 1 ≤ z ≤ + 1 {\displaystyle {\begin{array}{rcccl}-(a+1)&\leq &x&\leq &+(a+1)\\[4pt]-(b+1)&\leq &y&\leq &+(b+1)\\[4pt]-1&\leq &z&\leq &+1\end{array}}} The whole shape is symmetric about the planes x = 0, y = 0, and z = 0. The hole runs in the z direction and spans the intervals − ( a − 1 ) ≤ x ≤ + ( a − 1 ) − ( b − 1 ) ≤ y ≤ + ( b − 1 ) − ∞ ≤ z ≤ + ∞ {\displaystyle {\begin{array}{rcccl}-(a-1)&\leq &x&\leq &+(a-1)\\[4pt]-(b-1)&\leq &y&\leq &+(b-1)\\[4pt]-\infty &\leq &z&\leq &+\infty \end{array}}} A curve of constant u on this surface is a horizontal Lamé curve with exponent 2 t , {\displaystyle {\tfrac {2}{t}},} scaled in x and y and displaced in z. A curve of constant v, projected on the plane x = 0 or y = 0, is a Lamé curve with exponent 2 s , {\displaystyle {\tfrac {2}{s}},} scaled and horizontally shifted. If v = 0, the curve is planar and spans the intervals: a − 1 ≤ x ≤ a + 1 − 1 ≤ z ≤ + 1 {\displaystyle {\begin{array}{rcccl}a-1&\leq &x&\leq &a+1\\[4pt]-1&\leq &z&\leq &+1\end{array}}} and similarly if v = 90°, 180°, 270°. The curve is also planar if a = b. In general, if a ≠ b and v is not a multiple of 90 degrees, the curve of constant v will not be planar; and, conversely, a vertical plane section of the supertorus will not be a Lamé curve. The basic supertoroid shape defined above is often modified by non-uniform scaling to yield supertoroids of specific width, length, and vertical thickness. == Plotting code == The following GNU Octave code generates plots of a supertorus:
KE Software
KE Software is a formerly Australian-owned computer software company based in Manchester, United Kingdom, which specialises in collection management programs for museums, galleries and archives. The Axiell Group acquired the firm in 2014. == History == KE Software had its origins in investigations into electronic systems for managing natural science collections conducted in the late 1970s under a joint program of the University of Melbourne, the then National Museum of Victoria and the Australian Museum, which led to the development of the Titan Database in 1984. Much of the credit for the development of the project was due to the work of Martin Hallett of the Museum of Victoria which evolved into Textpress, and by 2000, the KE EMu database program. KE Software was bought by Axiell in 2014 and the team merged with the Axiell staff. Axiell continues to sell and support EMu. == Products == The firm has two main products: the Ke EMu Electronic Museum management system, a collections management system for museums; and Vitalware Vital Records Management System. The first version of Ke EMu was launched in 1997 and uses the Texpress database engine with client/server architecture on a Windows or Unix/Linux server. Ke Emu is consistent with the Dublin Core / Darwin Core standards for archive and museum catalogue metadata. "The company’s clients include the three largest museums in the world.: == KE EMu == KE EMu is considered one of the more effective and purpose-designed museum cataloguing programs. particularly in the creation of public interfaces to museum catalogue data. KE EMu was further developed in 1997 as a multilingual platform, which has been utilised in bilingual institutions such as the Canadian Museum of Civilisation. Subsequently this evolved into Texpress and KE EMu (standing for Electronic MUseum) in 2000, which is "now used across the world in natural science museums with huge collections'". KE EMu is used by a large number of museums and galleries around the world, including the Smithsonian Anthropological Collection, American Museum of Natural HistoryVancouver Art Gallery, New York Botanical Garden, the University of Chicago Research Archives, the University of Pennsylvania Museum in Philadelphia, the National Museum of Australia, the Australian Museum, Museum of Victoria, University of Melbourne Archives, and the Alexander Turnbull Library, National Library of New Zealand. There are over 300 clients, and more than 5000 users of the EMu software worldwide. The program has been described as providing "...comprehensive museum management (collection management plus other administrative needs for a museum), workflow and project management, flexible metadata, various stats and metrics, and comprehensive web interface with support for mobile devices and kiosks" == KE Vitalware == The firm's vitalware software is used by a number of governments and commercial organisations for managing and accessing large data sets, such as the birth records of the Trinidad and Tobago Registrar General, the Government of Anguilla, Ministry for Infrastructure, Communications, Utility and Housing, and the Mississippi Department of Information Technology Services. == Further development == A specialist tracking component for KE EMu has been developed by Forbes Hawkins of Museum Victoria. This enables locations to be barcoded, and data to be updated as items are moved around the stores, or between venues, display, laboratories and other locations. This system has been considered by Museums around the world. The company has been working with Australian government agencies to digitize birth deaths and marriage registers in order to cross match identity data. The program has also been used for managing the Australian Plant Disease Database and the Australian Plant Pest Database as the program "...has several features that have proven to be invaluable for a plant disease database".
Pooling layer
In neural networks, a pooling layer is a kind of network layer that downsamples and aggregates information that is dispersed among many vectors into fewer vectors. It has several uses. It removes redundant information, thus reducing the amount of computation and memory required, which makes the model more robust to small variations in the input; and it increases the receptive field of neurons in later layers in the network. == Convolutional neural network pooling == Pooling is most commonly used in convolutional neural networks (CNN). Below is a description of pooling in 2-dimensional CNNs. The generalization to n-dimensions is immediate. As notation, we consider a tensor x ∈ R H × W × C {\displaystyle x\in \mathbb {R} ^{H\times W\times C}} , where H {\displaystyle H} is height, W {\displaystyle W} is width, and C {\displaystyle C} is the number of channels. A pooling layer outputs a tensor y ∈ R H ′ × W ′ × C ′ {\displaystyle y\in \mathbb {R} ^{H'\times W'\times C'}} . We define two variables f , s {\displaystyle f,s} called "filter size" (aka "kernel size") and "stride". Sometimes, it is necessary to use a different filter size and stride for horizontal and vertical directions. In such cases, we define 4 variables: f H , f W , s H , s W {\displaystyle f_{H},f_{W},s_{H},s_{W}} . The receptive field of an entry in the output tensor, y {\displaystyle y} , are all the entries in x {\displaystyle x} that can affect that entry. === Max pooling === Max Pooling (MaxPool) is commonly used in CNNs to reduce the spatial dimensions of feature maps. Define M a x P o o l ( x | f , s ) 0 , 0 , 0 = max ( x 0 : f − 1 , 0 : f − 1 , 0 ) {\displaystyle \mathrm {MaxPool} (x|f,s)_{0,0,0}=\max(x_{0:f-1,0:f-1,0})} where 0 : f − 1 {\displaystyle 0:f-1} means the range 0 , 1 , … , f − 1 {\displaystyle 0,1,\dots ,f-1} . Note that we need to avoid the off-by-one error. The next input is M a x P o o l ( x | f , s ) 1 , 0 , 0 = max ( x s : s + f − 1 , 0 : f − 1 , 0 ) {\displaystyle \mathrm {MaxPool} (x|f,s)_{1,0,0}=\max(x_{s:s+f-1,0:f-1,0})} and so on. The receptive field of y i , j , c {\displaystyle y_{i,j,c}} is x i s + f − 1 , j s + f − 1 , c {\displaystyle x_{is+f-1,js+f-1,c}} , so in general, M a x P o o l ( x | f , s ) i , j , c = m a x ( x i s : i s + f − 1 , j s : j s + f − 1 , c ) {\displaystyle \mathrm {MaxPool} (x|f,s)_{i,j,c}=\mathrm {max} (x_{is:is+f-1,js:js+f-1,c})} If the horizontal and vertical filter size and strides differ, then in general, M a x P o o l ( x | f , s ) i , j , c = m a x ( x i s H : i s H + f H − 1 , j s W : j s W + f W − 1 , c ) {\displaystyle \mathrm {MaxPool} (x|f,s)_{i,j,c}=\mathrm {max} (x_{is_{H}:is_{H}+f_{H}-1,js_{W}:js_{W}+f_{W}-1,c})} More succinctly, we can write y k = max ( { x k ′ | k ′ in the receptive field of k } ) {\displaystyle y_{k}=\max(\{x_{k'}|k'{\text{ in the receptive field of }}k\})} . If H {\displaystyle H} is not expressible as k s + f {\displaystyle ks+f} where k {\displaystyle k} is an integer, then for computing the entries of the output tensor on the boundaries, max pooling would attempt to take as inputs variables off the tensor. In this case, how those non-existent variables are handled depends on the padding conditions, illustrated on the right. Global Max Pooling (GMP) is a specific kind of max pooling where the output tensor has shape R C {\displaystyle \mathbb {R} ^{C}} and the receptive field of y c {\displaystyle y_{c}} is all of x 0 : H , 0 : W , c {\displaystyle x_{0:H,0:W,c}} . That is, it takes the maximum over each entire channel. It is often used just before the final fully connected layers in a CNN classification head. === Average pooling === Average pooling (AvgPool) is similarly defined A v g P o o l ( x | f , s ) i , j , c = a v e r a g e ( x i s : i s + f − 1 , j s : j s + f − 1 , c ) = 1 f 2 ∑ k ∈ i s : i s + f − 1 ∑ l ∈ j s : j s + f − 1 x k , l , c {\displaystyle \mathrm {AvgPool} (x|f,s)_{i,j,c}=\mathrm {average} (x_{is:is+f-1,js:js+f-1,c})={\frac {1}{f^{2}}}\sum _{k\in is:is+f-1}\sum _{l\in js:js+f-1}x_{k,l,c}} Global Average Pooling (GAP) is defined similarly to GMP. It was first proposed in Network-in-Network. Similarly to GMP, it is often used just before the final fully connected layers in a CNN classification head. === Interpolations === There are some interpolations of max pooling and average pooling. Mixed Pooling is a linear sum of max pooling and average pooling. That is, M i x e d P o o l ( x | f , s , w ) = w M a x P o o l ( x | f , s ) + ( 1 − w ) A v g P o o l ( x | f , s ) {\displaystyle \mathrm {MixedPool} (x|f,s,w)=w\mathrm {MaxPool} (x|f,s)+(1-w)\mathrm {AvgPool} (x|f,s)} where w ∈ [ 0 , 1 ] {\displaystyle w\in [0,1]} is either a hyperparameter, a learnable parameter, or randomly sampled anew every time. Lp Pooling is similar to average pooling, but uses Lp norm average instead of average: y k = ( 1 N ∑ k ′ in the receptive field of k | x k ′ | p ) 1 / p {\displaystyle y_{k}=\left({\frac {1}{N}}\sum _{k'{\text{ in the receptive field of }}k}|x_{k'}|^{p}\right)^{1/p}} where N {\displaystyle N} is the size of receptive field, and p ≥ 1 {\displaystyle p\geq 1} is a hyperparameter. If all activations are non-negative, then average pooling is the case of p = 1 {\displaystyle p=1} , and max pooling is the case of p → ∞ {\displaystyle p\to \infty } . Square-root pooling is the case of p = 2 {\displaystyle p=2} . Stochastic pooling samples a random activation x k ′ {\displaystyle x_{k'}} from the receptive field with probability x k ′ ∑ k ″ x k ″ {\displaystyle {\frac {x_{k'}}{\sum _{k''}x_{k''}}}} . It is the same as average pooling in expectation. Softmax pooling is like max pooling, but uses softmax, i.e. ∑ k ′ e β x k ′ x k ′ ∑ k ″ e β x k ″ {\displaystyle {\frac {\sum _{k'}e^{\beta x_{k'}}x_{k'}}{\sum _{k''}e^{\beta x_{k''}}}}} where β > 0 {\displaystyle \beta >0} . Average pooling is the case of β ↓ 0 {\displaystyle \beta \downarrow 0} , and max pooling is the case of β ↑ ∞ {\displaystyle \beta \uparrow \infty } Local Importance-based Pooling generalizes softmax pooling by ∑ k ′ e g ( x k ′ ) x k ′ ∑ k ″ e g ( x k ″ ) {\displaystyle {\frac {\sum _{k'}e^{g(x_{k'})}x_{k'}}{\sum _{k''}e^{g(x_{k''})}}}} where g {\displaystyle g} is a learnable function. === Other poolings === Spatial pyramidal pooling applies max pooling (or any other form of pooling) in a pyramid structure. That is, it applies global max pooling, then applies max pooling to the image divided into 4 equal parts, then 16, etc. The results are then concatenated. It is a hierarchical form of global pooling, and similar to global pooling, it is often used just before a classification head. Region of Interest Pooling (also known as RoI pooling) is a variant of max pooling used in R-CNNs for object detection. It is designed to take an arbitrarily-sized input matrix, and output a fixed-sized output matrix. Covariance pooling computes the covariance matrix of the vectors { x k , l , 0 : C − 1 } k ∈ i s : i s + f − 1 , l ∈ j s : j s + f − 1 {\displaystyle \{x_{k,l,0:C-1}\}_{k\in is:is+f-1,l\in js:js+f-1}} which is then flattened to a C 2 {\displaystyle C^{2}} -dimensional vector y i , j , 0 : C 2 − 1 {\displaystyle y_{i,j,0:C^{2}-1}} . Global covariance pooling is used similarly to global max pooling. As average pooling computes the average, which is a first-degree statistic, and covariance is a second-degree statistic, covariance pooling is also called "second-order pooling". It can be generalized to higher-order poolings. Blur Pooling means applying a blurring method before downsampling. For example, the Rect-2 blur pooling means taking an average pooling at f = 2 , s = 1 {\displaystyle f=2,s=1} , then taking every second pixel (identity with s = 2 {\displaystyle s=2} ). == Vision Transformer pooling == In Vision Transformers (ViT), there are the following common kinds of poolings. BERT-like pooling uses a dummy [CLS] token, "classification". For classification, the output at [CLS] is the classification token, which is then processed by a LayerNorm-feedforward-softmax module into a probability distribution, which is the network's prediction of class probability distribution. This is the one used by the original ViT and Masked Autoencoder. Global average pooling (GAP) does not use the dummy token, but simply takes the average of all output tokens as the classification token. It was mentioned in the original ViT as being equally good. Multihead attention pooling (MAP) applies a multi headed attention block to pooling. Specifically, it takes as input a list of vectors x 1 , x 2 , … , x n {\displaystyle x_{1},x_{2},\dots ,x_{n}} , which might be thought of as the output vectors of a layer of a ViT. It then applies a feedforward layer F F N {\displaystyle \mathrm {FFN} } on each vector, resulting in a matrix V = [ F F N ( v 1 ) , … , F F N ( v n ) ] {\displaystyle V=[\mathrm {FFN} (v_{1}),\dots ,\mathrm {FFN} (v_{n})]} . This is then sent to a multi-headed attention, resulting in M u l t i h e a d e d A
Shape table
Shape tables are a feature of the Apple II ROMs which allows for manipulation of small images encoded as a series of vectors. An image (or shape) can be drawn in the high-resolution graphics mode—with scaling and rotation—via software routines in the ROM. Shape tables are supported via Applesoft BASIC and from machine code in the "Programmer's Aid" package that was bundled with the original Integer BASIC ROMs for that computer. Applesoft's high-resolution graphics routines were not optimized for speed, so shape tables were not typically used for performance-critical software such as games, which were typically written in assembly language and used pre-shifted bitmap shapes. Shape tables were used primarily for static shapes and sometimes for fancy text; Beagle Bros offered a number of fonts in Font Mechanic as Applesoft shape tables. == Technical details == The vectors of a two-dimensional graphic, each encoding a direction from the previous pixel along with a flag indicating whether the new pixel should be illuminated or not, were encoded up to three in a byte. These were stored in a table via the Monitor or the POKE command. From there, the graphic could be referenced by number (a table could contain up to 255 shapes), and built-in Applesoft routines permitted scaling, rotating, and drawing or erasing the shape. An XOR mode was also available to allow the shape to be visible on any color background; this had the advantage, also, of allowing the shape to be easily erased by redrawing it. Apple did not provide any utilities for creating shape tables; they had to be created by hand, usually by plotting on graph paper, then calculating the hexadecimal values and entering them into the computer. Beagle Bros created a shape table editing program, which eliminated the "number crunching", called Apple Mechanic, and a related program, Font Mechanic.