Fresh Paint is a painting app developed by Microsoft and released on May 25, 2012. == History == Fresh Paint originated from a Microsoft Research project known as Project Gustav, an endeavor to reproduce the behavior of physical oil paint on a digital medium. To push the boundaries of simulating oil on a digital medium, the research team created a physics model that precisely replicated on a screen what would happen in the real world if you combined oil, a surface and a tool such as a paint brush. Two publications, Detail-Preserving Paint Modeling for 3D Brushes and Simple Data-Driven Modeling of Brushes, were released as a result of the team’s findings. After a variety of internal testing Project, Gustav was codenamed Digital Art. Partnering with The Museum of Modern Art, Digital Art was tested for a year by 60,000 people. With feedback culled from MoMA, developers expanded the existing physics model, experimenting with how real oil paint blended and reacted to the texture of a canvas. After final adjustments were made, Digital Art was rebranded as Fresh Paint. It was released to the public on 25 May 2012.
Fuse Mediation Router
Fuse Mediation Router is an open source tool for integrating services using Enterprise Integration Patterns based on Apache Camel for use in enterprise IT organizations. It is certified, productized and fully supported by the people who wrote the code. Fuse Mediation Router uses a standard method of notation to go from diagram to implementation without coding. Fuse Mediation Router is a rule-based routing and process mediation engine that combines the ease of basic POJO development with the clarity of the standard Enterprise Integration Patterns. It can be deployed inside any container or be used stand-alone, and works directly with any kind of transport or messaging model to rapidly integrate existing services and applications. Fuse Mediation Router is now a part of Red Hat JBoss Fuse. == Tooling == FuseSource offers graphical, Eclipse-based tooling for Apache Camel for download.
VHS
VHS (Video Home System) is a discontinued standard for consumer-level analog video recording on tape cassettes, introduced in 1976 by JVC. It was the dominant home video format throughout the tape media period of the 1980s and 1990s. Magnetic tape video recording was adopted by the television industry in the 1950s in the form of the first commercialized video tape recorders (VTRs), but the devices were expensive and used only in professional environments. In the 1970s, videotape technology became affordable for home use, and widespread adoption of videocassette recorders (VCRs) began; the VHS became the most popular media format for VCRs as it would win the "format war" against Betamax (backed by Sony) and a number of other competing tape standards. The cassettes themselves use a 0.5-inch (12.7 mm) magnetic tape between two spools and typically offer a capacity of at least two hours. The popularity of VHS was intertwined with the rise of the video rental market, when films were released on pre-recorded videotapes for home viewing. Newer improved tape formats such as S-VHS were later developed, as well as the earliest optical disc format, LaserDisc; the lack of global adoption of these formats increased VHS's lifetime, which eventually peaked and started to decline in the late 1990s after the introduction of DVD, a digital optical disc format. VHS rentals were surpassed by DVD in the United States in 2003, which eventually became the preferred low-end method of movie distribution. For home recording purposes, VHS and VCRs were surpassed by (typically hard disk–based) digital video recorders (DVR) in the 2000s. Production of all VHS equipment ceased by 2016, although the format has since gained some popularity amongst collectors. A niche revival of VHS has taken place with This Is How The World Ends becoming the first straight-to-VHS release in 20 years. == History == === Before VHS === In 1956, after several attempts by other companies, the first commercially successful VTR, the Ampex VRX-1000, was introduced by Ampex Corporation. At a price of US$50,000 in 1956 (equivalent to $592,000 in 2025) and US$300 (equivalent to $3,600 in 2025) for a 90-minute reel of tape, it was intended only for the professional market. Kenjiro Takayanagi, a television broadcasting pioneer then working for JVC as its vice president, saw the need for his company to produce VTRs for the Japanese market at a more affordable price. In 1959, JVC developed a two-head video tape recorder and, by 1960, a color version for professional broadcasting. In 1964, JVC released the DV220, which would be the company's standard VTR until the mid-1970s. In 1969, JVC collaborated with Sony and Matsushita Electric (Matsushita was the majority stockholder of JVC until 2011) to build a video recording standard for the Japanese consumer. The effort produced the U-matic format in 1971, which was the first cassette format to become a unified standard for different companies. It was preceded by the reel-to-reel 1⁄2-inch EIAJ format. The U-matic format was successful in businesses and some broadcast television applications, such as electronic news-gathering, and was produced by all three companies until the late 1980s, but because of cost and limited recording time, very few of the machines were sold for home use. Therefore, soon after the U-Matic release, all three companies started working on new consumer-grade video recording formats of their own. Sony started working on Betamax, Matsushita started working on VX, and JVC released the CR-6060 in 1975, based on the U-matic format. === VHS development === In 1971, JVC engineers Yuma Shiraishi and Shizuo Takano put together a team to develop a VTR for consumers. By the end of 1971, they created an internal diagram, "VHS Development Matrix", which established twelve objectives for JVC's new VTR; among them: The system must be compatible with any ordinary television set. Picture quality must be similar to a normal air broadcast. The tape must have at least a two-hour recording capacity. Tapes must be interchangeable between machines. The overall system should be versatile, meaning it can be scaled and expanded, such as connecting a video camera, or dubbing between two recorders. Recorders should be affordable, easy to operate, and have low maintenance costs. Recorders must be capable of being produced in high volume, their parts must be interchangeable, and they must be easy to service. In early 1972, the commercial video recording industry in Japan took a financial hit. JVC cut its budgets and restructured its video division, shelving the VHS project. However, despite the lack of funding, Takano and Shiraishi continued to work on the project in secret. By 1973, the two engineers had produced a functional prototype. === Competition with Betamax === In 1974, the Japanese Ministry of International Trade and Industry (MITI), desiring to avoid consumer confusion, attempted to force the Japanese video industry to standardize on just one home video recording format. Later, Sony had a functional prototype of the Betamax format, and was very close to releasing a finished product. With this prototype, Sony persuaded the MITI to adopt Betamax as the standard, and allow it to license the technology to other companies. JVC believed that an open standard, with the format shared among competitors without licensing the technology, was better for the consumer. To prevent the MITI from adopting Betamax, JVC worked to convince other companies, in particular Matsushita (Japan's largest electronics manufacturer at the time, marketing its products under the National brand in most territories and the Panasonic brand in North America, and JVC's majority stockholder), to accept VHS, and thereby work against Sony and the MITI. Matsushita agreed, fearing Sony would dominate the market with a Betamax monopoly. Matsushita also regarded Betamax's one-hour recording time limit as a disadvantage. Matsushita's backing of JVC persuaded Hitachi, Mitsubishi, and Sharp to back the VHS standard as well. Sony's release of its Betamax unit to the Japanese market in 1975 placed further pressure on the MITI to side with the company. However, the collaboration of JVC and its partners was much stronger, which eventually led the MITI to drop its push for an industry standard. JVC released the first VHS machines in Japan in late 1976, and in the United States in mid-1977. Sony's Betamax competed with VHS throughout the late 1970s and into the 1980s (see Videotape format war). Betamax's major advantages were its smaller cassette size, theoretical higher video quality, and earlier availability, but its shorter recording time proved to be a major shortcoming. Originally, Beta I machines using the NTSC television standard were able to record one hour of programming at their standard tape speed of 1.5 inches per second (ips). The first VHS machines could record for two hours, due to both a slightly slower tape speed (1.31 ips) and significantly longer tape. Betamax's smaller cassette limited the size of the reel of tape, and could not compete with VHS's two-hour capability by extending the tape length. Instead, Sony had to slow the tape down to 0.787 ips (Beta II) in order to achieve two hours of recording in the same cassette size. Sony eventually created a Beta III speed of 0.524 ips, which allowed NTSC Betamax to break the two-hour limit, but by then VHS had already won the format battle. Additionally, VHS had a "far less complex tape transport mechanism" than Betamax, and VHS machines were faster at rewinding and fast-forwarding than their Sony counterparts. VHS eventually won the war, gaining 60% of the North American market by 1980. == Initial releases of VHS-based devices == The first VCR to use VHS was the Victor HR-3300, and was introduced by the president of JVC in Japan on September 9, 1976. JVC started selling the HR-3300 in Akihabara, Tokyo, Japan, on October 31, 1976. Region-specific versions of the JVC HR-3300 were also distributed later on, such as the HR-3300U in the United States, and the HR-3300EK in the United Kingdom. The United States received its first VHS-based VCR, the RCA VBT200, on August 23, 1977. The RCA unit was designed by Matsushita and was the first VHS-based VCR manufactured by a company other than JVC. It was also capable of recording four hours in LP (long play) mode. The UK received its first VHS-based VCR, the Victor HR-3300EK, in 1978. Quasar and General Electric followed-up with VHS-based VCRs – all designed by Matsushita. By 1999, Matsushita alone produced just over half of all Japanese VCRs. TV/VCR combos, combining a TV set with a VHS mechanism, were also once available for purchase. Combo units containing both a VHS mechanism and a DVD player were introduced in the late 1990s, and at least one combo unit, the Panasonic DMP-BD70V, included a Blu-ray player. == Technical details == VHS has been standardized in IEC 60774–1. === Cassette and
Virtual advertising
Virtual advertising is the use of digital technology to insert virtual advertisements into a live or pre-recorded television show, often in sports events. This technique is often used to allow broadcasters to overlay existing physical advertising panels inside the sports venue with virtual content on the screen when broadcasting the same event in multiple regions; a Spanish football game can be broadcast in Mexico with Mexican advertisements. Similarly, virtual content can be inserted onto empty space within the sports venue such as the pitch, where physical advertising cannot be placed due to regulatory or safety reasons. Virtual advertising content is intended to be photorealistic, so that the viewer has the impression they are seeing the real in-stadium advertising. == History == Throughout the 1980s, 1990s, and 2000s, advertising on television and in newspapers was a popular method of spreading information. The marketer Jeremiah Lynwood stated that "Thirty years ago, [U.S.] consumers viewed an average of 560 ads per day", mostly from newspapers, television shows, gasoline pumps, and so on. Lynwood also stated that, at the time, "American consumers may be exposed to 3,000 commercial messages every day". Within that time frame, the exposure of daily ads have supported many local and big businesses. With the arrival of the 2000s and 2010s, technological advances have created new opportunities for many businesses to grow. In the 21st century, virtual advertising has been used to create virtual product placements in television shows hours, days, or years after they have been produced. Advertisements can be targeted to regional markets and updated over time to ensure maximum efficiency of advertising money. A good example of how virtual advertising is used in everyday life is in sports. Virtual advertising uses the latest technology to place an ad in position to the field of play, regardless of camera motion, and the players' movement over the logos. Recently, the NHL have virtually inserted sponsors on the glass above the physical boards in NHL stadiums. Big brands will not spend their time or money on hitting a certain region when their main goal is to build global brand awareness. Digital signage opportunities allow these larger brands to purchase signage in a stadium during games that are instead nationally televised. This gets even more expansive thanks to social media outlets like Twitter, Facebook, and Amazon. On the other hand, local businesses sign when there are smaller games going on. The signage is much more affordable and still reaches a vast number of people. Virtual advertising may even make live attendance more attractive to sport fans because the technology allows the playing field and surrounding areas to be cleared of advertisements while television viewers at home are exposed to commercials. For the most part, virtual advertising makes a live attendance more attractive to sports fans, because instead of being at home watching commercials, live fans are able to be clear of advertisements and enjoy the game without pop-up ads. == Technology == The technology used in virtual insertions often uses automated processes such as: automatic detection of playfield limits, automatic detection of cuts, recognition of playfield surface, recognition of existing logos for logo replacements, etc. An operator is usually dedicated to the visual control of the effect but new systems allow to use the instant replay operator. == Examples == === Live events === Virtual advertisements can be effectively integrated into live television in real-time. For example, Fox Sports Net places a virtual advertisement on the glass behind the goaltender that can only be seen on television. The advertising in the playfields is property of the club, except in some professional sports where the league or federation owns the advertising rights. However, the advertising rights broadcast on the screen are property of the broadcasters or the TV channel. This means that second right holders can benefit from selling this virtual advertising. The number of TV viewers is also higher than the people in the stadium, generating more visibility to the advertised marks and more income to the broadcasters. Virtual advertising was first introduced in football during the 2015 Audi Cup at the Allianz Arena in Munich. AIM Sport implemented the technology to digitally overlay advertisements on the stadium's perimeter boards, allowing different sponsors to be displayed to viewers in different broadcast regions. In Formula One, virtual ads are placed on the grass or as virtual billboards. In baseball, Major League Baseball places virtual advertisements on a back-board behind the batter which can be targeted differently in local markets or countries. During the World Series, MLB international broadcasts of the World Series feature different advertisements on a per market basis, showing a different ad in the US, Canadian, Latin American and Japanese markets. In tennis, e.g. during the 2019 ATP Finals in London's O2 Arena certain logos in the background were replaced for various country feeds. In table tennis e.g. during the ITTF World Tour Australian Open 2019 virtual advertising overlays were used by uniqFEED AG in Switzerland. Since the 2022–23 season, the National Hockey League (NHL) has used digitally enhanced dasherboards (DED) to erase and replace ads on each arena's boards with up to 120 thirty-second segments on all or part of the rink. Each broadcaster can use a different set of ads. DED were first used at the 2016 World Cup of Hockey, which was organized by the NHL. At UEFA Euro 2024, AIM Sport provided virtual advertising for all matches, marking one of the largest implementations of the technology in an international tournament. In addition to the tournament itself, virtual advertising was also used in the participating teams' domestic matches, extending region-specific advertising beyond the competition itself.
Plug compatibility
Plug compatibility is a characteristic of computer hardware that performs exactly like that of another vendor. Manufacturers who made replacements for IBM peripherals were referred to as plug-compatible manufacturers (PCMs). Later plug-compatible mainframe (also PCM) referred to IBM-compatible mainframe computers. PCM can also mean plug-compatible machine or plug-compatible module. == Plug compatibility and peripherals == Before the rise of the plug-compatible peripheral industry, computing systems were either configured with peripherals designed and built by the CPU vendor or designed to use vendor-selected rebadged devices. The first examples of plug-compatible IBM subsystems were tape drives and controls offered by Telex beginning 1965. Memorex in 1968 was first to enter the IBM plug-compatible disk market, followed shortly thereafter by a number of suppliers such as CDC, Itel, and Storage Technology Corporation. This was boosted by the world's largest user of computing equipment, the US General Services Administration, buying plug-compatible equipment. Eventually there were third-party plug-compatible alternatives to most first-party peripherals and first-party system main memory. == Plug compatibility and computer systems == A plug-compatible machine is one that is backward compatible with a prior machine. In particular, a new computer system that is plug-compatible has not only the same connectors and protocol interfaces to peripherals, but also binary-code compatibility—it runs the same software as the old system. A plug compatible manufacturer, or PCM, is a company that makes such products. One recurring theme in plug-compatible systems is the ability to be bug compatible as well. That is, if the forerunner system had software or interface problems, then the successor must have (or simulate) the same problems. Otherwise, the new system may generate unpredictable results, defeating the objective of full compatibility. Thus, it is important for customers to understand the difference between a bug and a feature, where the latter is defined as an intentional modification to the previous system (e.g. higher speed, lighter weight, smaller package, better operator controls, etc.). === Plug compatibility and IBM mainframes === The original example of plug-compatible mainframes was the Amdahl 470 mainframe computer which was plug-compatible with the IBM System 360 and 370, costing millions of dollars to develop. Similar systems were available from Comparex, Fujitsu, and Hitachi. Not all were large systems. Most of these system vendors eventually left the PCM market. In late 1981, there were eight PCM companies, and collectively they had 36 IBM-compatible models. == Non-computer usage of plug compatibility == Plug compatibility may also be used to describe replacement criteria for other components available from multiple sources. For example, a plug-compatible cooling fan may need to have not only the same physical size and shape, but also similar capability, run from the same voltage, use similar power, attach with a standard electrical connector, and have similar mounting arrangements. Some non-conforming units may be re-packaged or modified to meet plug-compatible requirements, as where an adapter plate is provided for mounting, or a different tool and instructions are supplied for installation, and these modifications would be reflected in the bill of materials for such components. Similar issues arise for computer system interfaces when competitors wish to offer an easy upgrade path. In general, plug-compatible systems are designed where industry or de facto standards have rigorously defined the environment, and there is a large installed population of machines that can benefit from third-party enhancements. Plug compatible does not mean identical. However, nothing prevents a company from developing follow-on products that are backward-compatible with its own early products.
Bayesian programming
Bayesian programming is a formalism and a methodology for having a technique to specify probabilistic models and solve problems when less than the necessary information is available. Edwin T. Jaynes proposed that probability could be considered as an alternative and an extension of logic for rational reasoning with incomplete and uncertain information. In his founding book Probability Theory: The Logic of Science he developed this theory and proposed what he called "the robot," which was not a physical device, but an inference engine to automate probabilistic reasoning—a kind of Prolog for probability instead of logic. Bayesian programming is a formal and concrete implementation of this "robot". Bayesian programming may also be seen as an algebraic formalism to specify graphical models such as, for instance, Bayesian networks, dynamic Bayesian networks, Kalman filters or hidden Markov models. Indeed, Bayesian programming is more general than Bayesian networks and has a power of expression equivalent to probabilistic factor graphs. == Formalism == A Bayesian program is a means of specifying a family of probability distributions. The constituent elements of a Bayesian program are presented below: Program { Description { Specification ( π ) { Variables Decomposition Forms Identification (based on δ ) Question {\displaystyle {\text{Program}}{\begin{cases}{\text{Description}}{\begin{cases}{\text{Specification}}(\pi ){\begin{cases}{\text{Variables}}\\{\text{Decomposition}}\\{\text{Forms}}\\\end{cases}}\\{\text{Identification (based on }}\delta )\end{cases}}\\{\text{Question}}\end{cases}}} A program is constructed from a description and a question. A description is constructed using some specification ( π {\displaystyle \pi } ) as given by the programmer and an identification or learning process for the parameters not completely specified by the specification, using a data set ( δ {\displaystyle \delta } ). A specification is constructed from a set of pertinent variables, a decomposition and a set of forms. Forms are either parametric forms or questions to other Bayesian programs. A question specifies which probability distribution has to be computed. === Description === The purpose of a description is to specify an effective method of computing a joint probability distribution on a set of variables { X 1 , X 2 , ⋯ , X N } {\displaystyle \left\{X_{1},X_{2},\cdots ,X_{N}\right\}} given a set of experimental data δ {\displaystyle \delta } and some specification π {\displaystyle \pi } . This joint distribution is denoted as: P ( X 1 ∧ X 2 ∧ ⋯ ∧ X N ∣ δ ∧ π ) {\displaystyle P\left(X_{1}\wedge X_{2}\wedge \cdots \wedge X_{N}\mid \delta \wedge \pi \right)} . To specify preliminary knowledge π {\displaystyle \pi } , the programmer must undertake the following: Define the set of relevant variables { X 1 , X 2 , ⋯ , X N } {\displaystyle \left\{X_{1},X_{2},\cdots ,X_{N}\right\}} on which the joint distribution is defined. Decompose the joint distribution (break it into relevant independent or conditional probabilities). Define the forms of each of the distributions (e.g., for each variable, one of the list of probability distributions). ==== Decomposition ==== Given a partition of { X 1 , X 2 , … , X N } {\displaystyle \left\{X_{1},X_{2},\ldots ,X_{N}\right\}} containing K {\displaystyle K} subsets, K {\displaystyle K} variables are defined L 1 , ⋯ , L K {\displaystyle L_{1},\cdots ,L_{K}} , each corresponding to one of these subsets. Each variable L k {\displaystyle L_{k}} is obtained as the conjunction of the variables { X k 1 , X k 2 , ⋯ } {\displaystyle \left\{X_{k_{1}},X_{k_{2}},\cdots \right\}} belonging to the k t h {\displaystyle k^{th}} subset. Recursive application of Bayes' theorem leads to: P ( X 1 ∧ X 2 ∧ ⋯ ∧ X N ∣ δ ∧ π ) = P ( L 1 ∧ ⋯ ∧ L K ∣ δ ∧ π ) = P ( L 1 ∣ δ ∧ π ) × P ( L 2 ∣ L 1 ∧ δ ∧ π ) × ⋯ × P ( L K ∣ L K − 1 ∧ ⋯ ∧ L 1 ∧ δ ∧ π ) {\displaystyle {\begin{aligned}&P\left(X_{1}\wedge X_{2}\wedge \cdots \wedge X_{N}\mid \delta \wedge \pi \right)\\={}&P\left(L_{1}\wedge \cdots \wedge L_{K}\mid \delta \wedge \pi \right)\\={}&P\left(L_{1}\mid \delta \wedge \pi \right)\times P\left(L_{2}\mid L_{1}\wedge \delta \wedge \pi \right)\times \cdots \times P\left(L_{K}\mid L_{K-1}\wedge \cdots \wedge L_{1}\wedge \delta \wedge \pi \right)\end{aligned}}} Conditional independence hypotheses then allow further simplifications. A conditional independence hypothesis for variable L k {\displaystyle L_{k}} is defined by choosing some variable X n {\displaystyle X_{n}} among the variables appearing in the conjunction L k − 1 ∧ ⋯ ∧ L 2 ∧ L 1 {\displaystyle L_{k-1}\wedge \cdots \wedge L_{2}\wedge L_{1}} , labelling R k {\displaystyle R_{k}} as the conjunction of these chosen variables and setting: P ( L k ∣ L k − 1 ∧ ⋯ ∧ L 1 ∧ δ ∧ π ) = P ( L k ∣ R k ∧ δ ∧ π ) {\displaystyle P\left(L_{k}\mid L_{k-1}\wedge \cdots \wedge L_{1}\wedge \delta \wedge \pi \right)=P\left(L_{k}\mid R_{k}\wedge \delta \wedge \pi \right)} We then obtain: P ( X 1 ∧ X 2 ∧ ⋯ ∧ X N ∣ δ ∧ π ) = P ( L 1 ∣ δ ∧ π ) × P ( L 2 ∣ R 2 ∧ δ ∧ π ) × ⋯ × P ( L K ∣ R K ∧ δ ∧ π ) {\displaystyle {\begin{aligned}&P\left(X_{1}\wedge X_{2}\wedge \cdots \wedge X_{N}\mid \delta \wedge \pi \right)\\={}&P\left(L_{1}\mid \delta \wedge \pi \right)\times P\left(L_{2}\mid R_{2}\wedge \delta \wedge \pi \right)\times \cdots \times P\left(L_{K}\mid R_{K}\wedge \delta \wedge \pi \right)\end{aligned}}} Such a simplification of the joint distribution as a product of simpler distributions is called a decomposition, derived using the chain rule. This ensures that each variable appears at the most once on the left of a conditioning bar, which is the necessary and sufficient condition to write mathematically valid decompositions. ==== Forms ==== Each distribution P ( L k ∣ R k ∧ δ ∧ π ) {\displaystyle P\left(L_{k}\mid R_{k}\wedge \delta \wedge \pi \right)} appearing in the product is then associated with either a parametric form (i.e., a function f μ ( L k ) {\displaystyle f_{\mu }\left(L_{k}\right)} ) or a question to another Bayesian program P ( L k ∣ R k ∧ δ ∧ π ) = P ( L ∣ R ∧ δ ^ ∧ π ^ ) {\displaystyle P\left(L_{k}\mid R_{k}\wedge \delta \wedge \pi \right)=P\left(L\mid R\wedge {\widehat {\delta }}\wedge {\widehat {\pi }}\right)} . When it is a form f μ ( L k ) {\displaystyle f_{\mu }\left(L_{k}\right)} , in general, μ {\displaystyle \mu } is a vector of parameters that may depend on R k {\displaystyle R_{k}} or δ {\displaystyle \delta } or both. Learning takes place when some of these parameters are computed using the data set δ {\displaystyle \delta } . An important feature of Bayesian programming is this capacity to use questions to other Bayesian programs as components of the definition of a new Bayesian program. P ( L k ∣ R k ∧ δ ∧ π ) {\displaystyle P\left(L_{k}\mid R_{k}\wedge \delta \wedge \pi \right)} is obtained by some inferences done by another Bayesian program defined by the specifications π ^ {\displaystyle {\widehat {\pi }}} and the data δ ^ {\displaystyle {\widehat {\delta }}} . This is similar to calling a subroutine in classical programming and provides an easy way to build hierarchical models. === Question === Given a description (i.e., P ( X 1 ∧ X 2 ∧ ⋯ ∧ X N ∣ δ ∧ π ) {\displaystyle P\left(X_{1}\wedge X_{2}\wedge \cdots \wedge X_{N}\mid \delta \wedge \pi \right)} ), a question is obtained by partitioning { X 1 , X 2 , ⋯ , X N } {\displaystyle \left\{X_{1},X_{2},\cdots ,X_{N}\right\}} into three sets: the searched variables, the known variables and the free variables. The 3 variables S e a r c h e d {\displaystyle Searched} , K n o w n {\displaystyle Known} and F r e e {\displaystyle Free} are defined as the conjunction of the variables belonging to these sets. A question is defined as the set of distributions: P ( S e a r c h e d ∣ Known ∧ δ ∧ π ) {\displaystyle P\left(Searched\mid {\text{Known}}\wedge \delta \wedge \pi \right)} made of many "instantiated questions" as the cardinal of K n o w n {\displaystyle Known} , each instantiated question being the distribution: P ( Searched ∣ Known ∧ δ ∧ π ) {\displaystyle P\left({\text{Searched}}\mid {\text{Known}}\wedge \delta \wedge \pi \right)} === Inference === Given the joint distribution P ( X 1 ∧ X 2 ∧ ⋯ ∧ X N ∣ δ ∧ π ) {\displaystyle P\left(X_{1}\wedge X_{2}\wedge \cdots \wedge X_{N}\mid \delta \wedge \pi \right)} , it is always possible to compute any possible question using the following general inference: P ( Searched ∣ Known ∧ δ ∧ π ) = ∑ Free [ P ( Searched ∧ Free ∣ Known ∧ δ ∧ π ) ] = ∑ Free [ P ( Searched ∧ Free ∧ Known ∣ δ ∧ π ) ] P ( Known ∣ δ ∧ π ) = ∑ Free [ P ( Searched ∧ Free ∧ Known ∣ δ ∧ π ) ] ∑ Free ∧ Searched [ P ( Searched ∧ Free ∧ Known ∣ δ ∧ π ) ] = 1 Z × ∑ Free [ P ( Searched ∧ Free ∧ Known ∣ δ ∧ π ) ] {\displaystyle {\begin{aligned}&P\left({\text{Searched}}\mid {\text{Known}}\wedge \delta \wedge \pi \right)\\={}&\sum _{\text{Free}}\left[P\left({\text{Searched}}\wedge {\text{Free}}\mid {\text{Known}}\wedge \delta \wedge \
The Morning After (web series)
The Morning After is a Hulu original web series that premiered on January 17, 2011, and ended April 24, 2014. It was produced by Hulu and Jace Hall's HDFilms, streaming Monday through Friday. The show originally featured Brian Kimmet and Ginger Gonzaga as hosts. Later shows used a rotation of hosts including Alison Haislip, Dave Holmes, Damien Fahey, Bradley Hasemeyer, Haley Mancini, Paul Nyhart, and Rachel Perry. The series advertises itself as "a smart, daily shot of pop culture to help Hulu users stay up to date" and typically highlights notable moments from television shows and current news in an entertaining fashion. In keeping with its focus on pop culture, The Morning After will sometimes stream an episode featuring past pop culture titled "From the Archives," such as its April Fools' Day episode. == History == While not the first original series to appear exclusively on Hulu, The Morning After is the company's first self-branded production. It was preceded by If I Can Dream, a reality series co-produced with 19 Entertainment and created by Simon Fuller. Hulu originated the idea in house, based on user feedback and observations from discussion boards hosted by the website. The concept was modeled after The Big Show with Olbermann and Patrick. The company sought out a production partner and ultimately chose Jace Hall and his team at HDFilms to executive produce. Initial stream of the series was held on January 17, 2011, and featured coverage of Piers Morgan, the Golden Globes, and The Bachelor. Senior VP of Content and Distribution Andy Forssell made the announcement for the show the same day. The show aired its last episode April 24, 2014. == Format == A typical episode usually begins with a cold open shared by the varying hosts listing the highlights to be covered. The topics focus on TV and Pop Culture Highlights from the previous night, with the intention of helping Hulu users digest hours of content in a matter of moments. The show has the hosts trade humorous remarks regarding the news and each other, taking turns reviewing the night's TV and injecting their own personality. The Morning After was named as an honoree by the Webbys on April 10, 2012, in the variety section of its online video category.