Scale-space theory is a framework for multi-scale signal representation developed by the computer vision, image processing and signal processing communities with complementary motivations from physics and biological vision. It is a formal theory for handling image structures at different scales, by representing an image as a one-parameter family of smoothed images, the scale-space representation, parametrized by the size of the smoothing kernel used for suppressing fine-scale structures. The parameter t {\displaystyle t} in this family is referred to as the scale parameter, with the interpretation that image structures of spatial size smaller than about t {\displaystyle {\sqrt {t}}} have largely been smoothed away in the scale-space level at scale t {\displaystyle t} . The main type of scale space is the linear (Gaussian) scale space, which has wide applicability as well as the attractive property of being possible to derive from a small set of scale-space axioms. The corresponding scale-space framework encompasses a theory for Gaussian derivative operators, which can be used as a basis for expressing a large class of visual operations for computerized systems that process visual information. This framework also allows visual operations to be made scale invariant, which is necessary for dealing with the size variations that may occur in image data, because real-world objects may be of different sizes and in addition the distance between the object and the camera may be unknown and may vary depending on the circumstances. == Definition == The notion of scale space applies to signals of arbitrary numbers of variables. The most common case in the literature applies to two-dimensional images, which is what is presented here. Consider a given image f {\displaystyle f} where f ( x , y ) {\displaystyle f(x,y)} is the greyscale value of the pixel at position ( x , y ) {\displaystyle (x,y)} . The linear (Gaussian) scale-space representation of f {\displaystyle f} is a family of derived signals L ( x , y ; t ) {\displaystyle L(x,y;t)} defined by the convolution of f ( x , y ) {\displaystyle f(x,y)} with the two-dimensional Gaussian kernel g ( x , y ; t ) = 1 2 π t e − ( x 2 + y 2 ) / 2 t {\displaystyle g(x,y;t)={\frac {1}{2\pi t}}e^{-(x^{2}+y^{2})/2t}\,} such that L ( ⋅ , ⋅ ; t ) = g ( ⋅ , ⋅ ; t ) ∗ f ( ⋅ , ⋅ ) , {\displaystyle L(\cdot ,\cdot ;t)\ =g(\cdot ,\cdot ;t)f(\cdot ,\cdot ),} where the semicolon in the argument of L {\displaystyle L} implies that the convolution is performed only over the variables x , y {\displaystyle x,y} , while the scale parameter t {\displaystyle t} after the semicolon just indicates which scale level is being defined. This definition of L {\displaystyle L} works for a continuum of scales t ≥ 0 {\displaystyle t\geq 0} , but typically only a finite discrete set of levels in the scale-space representation would be actually considered. The scale parameter t = σ 2 {\displaystyle t=\sigma ^{2}} is the variance of the Gaussian filter and as a limit for t = 0 {\displaystyle t=0} the filter g {\displaystyle g} becomes an impulse function such that L ( x , y ; 0 ) = f ( x , y ) , {\displaystyle L(x,y;0)=f(x,y),} that is, the scale-space representation at scale level t = 0 {\displaystyle t=0} is the image f {\displaystyle f} itself. As t {\displaystyle t} increases, L {\displaystyle L} is the result of smoothing f {\displaystyle f} with a larger and larger filter, thereby removing more and more of the details that the image contains. Since the standard deviation of the filter is σ = t {\displaystyle \sigma ={\sqrt {t}}} , details that are significantly smaller than this value are to a large extent removed from the image at scale parameter t {\displaystyle t} , see the following figures and for graphical illustrations. === Why a Gaussian filter? === When faced with the task of generating a multi-scale representation one may ask: could any filter g of low-pass type and with a parameter t which determines its width be used to generate a scale space? The answer is no, as it is of crucial importance that the smoothing filter does not introduce new spurious structures at coarse scales that do not correspond to simplifications of corresponding structures at finer scales. In the scale-space literature, a number of different ways have been expressed to formulate this criterion in precise mathematical terms. The conclusion from several different axiomatic derivations that have been presented is that the Gaussian scale space constitutes the canonical way to generate a linear scale space, based on the essential requirement that new structures must not be created when going from a fine scale to any coarser scale. Conditions, referred to as scale-space axioms, that have been used for deriving the uniqueness of the Gaussian kernel include linearity, shift invariance, semi-group structure, non-enhancement of local extrema, scale invariance and rotational invariance. In the works, the uniqueness claimed in the arguments based on scale invariance has been criticized, and alternative self-similar scale-space kernels have been proposed. The Gaussian kernel is, however, a unique choice according to the scale-space axiomatics based on causality or non-enhancement of local extrema. === Alternative definition === Equivalently, the scale-space family can be defined as the solution of the diffusion equation (for example in terms of the heat equation), ∂ t L = 1 2 ∇ 2 L , {\displaystyle \partial _{t}L={\frac {1}{2}}\nabla ^{2}L,} with initial condition L ( x , y ; 0 ) = f ( x , y ) {\displaystyle L(x,y;0)=f(x,y)} . This formulation of the scale-space representation L means that it is possible to interpret the intensity values of the image f as a "temperature distribution" in the image plane and that the process that generates the scale-space representation as a function of t corresponds to heat diffusion in the image plane over time t (assuming the thermal conductivity of the material equal to the arbitrarily chosen constant 1/2). Although this connection may appear superficial for a reader not familiar with differential equations, it is indeed the case that the main scale-space formulation in terms of non-enhancement of local extrema is expressed in terms of a sign condition on partial derivatives in the 2+1-D volume generated by the scale space, thus within the framework of partial differential equations. Furthermore, a detailed analysis of the discrete case shows that the diffusion equation provides a unifying link between continuous and discrete scale spaces, which also generalizes to nonlinear scale spaces, for example, using anisotropic diffusion. Hence, one may say that the primary way to generate a scale space is by the diffusion equation, and that the Gaussian kernel arises as the Green's function of this specific partial differential equation. == Motivations == The motivation for generating a scale-space representation of a given data set originates from the basic observation that real-world objects are composed of different structures at different scales. This implies that real-world objects, in contrast to idealized mathematical entities such as points or lines, may appear in different ways depending on the scale of observation. For example, the concept of a "tree" is appropriate at the scale of meters, while concepts such as leaves and molecules are more appropriate at finer scales. For a computer vision system analysing an unknown scene, there is no way to know a priori what scales are appropriate for describing the interesting structures in the image data. Hence, the only reasonable approach is to consider descriptions at multiple scales in order to be able to capture the unknown scale variations that may occur. Taken to the limit, a scale-space representation considers representations at all scales. Another motivation to the scale-space concept originates from the process of performing a physical measurement on real-world data. In order to extract any information from a measurement process, one has to apply operators of non-infinitesimal size to the data. In many branches of computer science and applied mathematics, the size of the measurement operator is disregarded in the theoretical modelling of a problem. The scale-space theory on the other hand explicitly incorporates the need for a non-infinitesimal size of the image operators as an integral part of any measurement as well as any other operation that depends on a real-world measurement. There is a close link between scale-space theory and biological vision. Many scale-space operations show a high degree of similarity with receptive field profiles recorded from the mammalian retina and the first stages in the visual cortex. In these respects, the scale-space framework can be seen as a theoretically well-founded paradigm for early vision, which in addition has been thoroughly tested by algorithms and experiments. == Gaussian derivatives == At any scale in scale space, we c
Imo.im
imo.im is a proprietary audio/video calling and instant messaging software service. It allows sending music, video, PDFs and other files, along with various free stickers. It supports encrypted group video and voice calls with up to 20 participants. According to its developer, the service possesses over 200 million users and over 50 million messages per day are sent through it. == History == The product was created as a web-based application in 2005 for accessing multiple chat platforms, including Facebook Messenger, Google Talk, Yahoo! Messenger, and Skype chat. It was developed by Pagebites, which is a subsidiary of Singularity IM, Inc. and required a subscriber's phone number to verify the users' account. In March 2014, support for all third-party messaging networks ended. In January 2018, the app reached 500 million installs. imo.im has implemented end-to-end encryption for its chats and calls, ensuring that the conversations remain private between the sender and receiver.
Bin picking
Bin picking (also referred to as random bin picking) is a core problem in computer vision and robotics. The goal is to have a robot with sensors and cameras attached to it pick-up known objects with random poses out of a bin using a suction gripper, parallel gripper, or other kind of robot end effector. Early work on bin picking made use of Photometric Stereo in recovering the shapes of objects and to determine their orientation in space. Amazon previously held a competition focused on bin picking referred to as the "Amazon Picking Challenge", which was held from 2015 to 2017. The challenge tasked entrants with building their own robot hardware and software that could attempt simplified versions of the general task of picking and stowing items on shelves. The robots were scored by how many items were picked and stowed in a fixed amount of time. The first Amazon Robotics challenge was won by a team from TU Berlin in 2015, followed by a team from TU Delft and the Dutch company "Fizyr" in 2016. The last Amazon Robotics Challenge was won by the Australian Centre for Robotic Vision at Queensland University of Technology with their robot named Cartman. The Amazon Robotics/Picking Challenge was discontinued following the 2017 competition. Although there can be some overlap, bin picking is distinct from "each picking" and the bin packing problem.
FIRST Global Challenge
The FIRST Global Challenge is a yearly robotics competition organized by the International First Committee Association. It promotes STEM education and careers for youth and was created by Dean Kamen in 2016 as an expansion of FIRST, an organization with similar objectives. == History == FIRST Global is a trade name for the International First Committee Association, a nonprofit corporation based in Manchester, New Hampshire, with a 501(c)(3) designation from the IRS. The nonprofit was founded by the co-founder of FIRST, Dean Kamen, with the objective of promoting STEM education and careers in the developing world through Olympics-style robotics competitions. Former US Congressman, Joe Sestak was the organization's president in 2017, but left after the 2017 Challenge. Each year, the FIRST Global Challenge is held in a different city. For example, Mexico City was selected to host the 2018 Challenge after the United States hosted the 2017 edition in Washington, DC. This is a change from FIRST's system of championships, where one city hosts for several years at a time. In May 2020, it was announced that FIRST Global would not host a traditional challenge in 2020 due to the COVID-19 pandemic and shifted to a remote model. One of the three champions were Team Bangladesh. In 2022, FIRST Global returned to in-person events with the 2022 Challenge in Geneva, Switzerland. == Editions == === Washington, D.C. 2017 === The 2017 FIRST Global Challenge was held in Washington, D.C., from July 16–18, and the challenge was the use of robots to separate different colored balls, representing clean water and impurities in water, symbolizing the Engineering Grand Challenge (based on the Millennium Development Goal) of improving access to clean water in the developing world. Around 160 teams composed of 15- to 18-year-olds from 157 countries participated, and around 60% of teams were created or led by young women. Six continental teams also participated. === Mexico City 2018 === The 2018 FIRST Global Challenge was held in Mexico City from August 15–18. The 2018 Challenge was called Energy Impact and explored the impact of various types of energy on the world and how they can be made more sustainable. In the challenge, robots worked together in teams of three to give cubes to human players, turn a crank, and score cubes in goals in order to generate electrical power. The challenge was based on three Engineering Grand Challenges; making solar energy affordable, making fusion energy a reality, and creating carbon sequestration methods. === Dubai 2019 === The 2019 challenge, called Ocean Opportunities, was held in Dubai from October 24–27 and was the first challenge hosted outside of North America. The challenge was themed around clearing the ocean of pollutants, and had two alliances of three teams each attempting to score large and small balls representing pollutants into processing areas and a processing barge. The processing barge had multiple levels, with higher levels worth more points. At the end of the match, robots "docked" with the barge by driving onto or climbing up it, with climbing worth more points. The event was opened by Sheikh Hamdan bin Mohammed Al Maktoum, Crown Prince of Dubai. === Geneva 2022 === The 2022 challenge called Carbon Capture, was held in Geneva from October 13–16. The challenge was themed around removing carbon dioxide (CO2) emissions from the atmosphere. In the Carbon Capture game, six different countries worked together to capture and store black balls representing carbon particles. The storage tower had multiple cantilevered bars that the robots mounted to, with the higher bars worth a greater multiplier. At the end of a match, robots "docked" on the storage tower's base or climbed the bars with their alliance indicator ball. Each match started with a "global alliance" of six countries, then divided into two "regional alliances" each consisting of three countries. The event was opened by Dr. Martina Hirayama, Switzerland State Secretary for Education, Research and Innovation (SERI). === Singapore 2023 === The 2023 challenge, called Hydrogen Horizons, was held in Singapore from October 7–10. The challenge is themed around renewable energy with a focus on hydrogen technologies. === Athens 2024 === The 2024 challenge was hosted in the Peace and Friendship Stadium in Attica, Greece. === Panama 2025 === The 2025 challenge, Eco Equilibrium, was hosted in the Panama Convention Centre in Panama City, Panama. == Subordinate programs == === Global STEM Corps === The Global STEM Corps is a FIRST Global initiative that connects qualified volunteer mentors with students in developing countries to prepare them for competitions. === New Technology Experience === The New Technology Experience (NTE) is an annual component of the FIRST Global Challenge that was added to the organization's offerings in 2021. It was established as a means for the student community to stay current with cutting-edge technology and is integrated with each year's theme. The 2021 NTE was the CubeSat Prototype Challenge. The 2022 NTE, Carbon Countermeasures, was presented in partnership with XPRIZE.
Clips (software)
Clips is a discontinued mobile video editing software application created by Apple Inc. It was released onto the iOS App Store on April 6, 2017, for free. Initially, it was only available on 64-bit devices running iOS 10.3 or later; as of version 3.1.3, it requires iOS 16.0 or later. Apple describes it as an app for "making and sharing fun videos with text, effects, graphics, and more.". Its final release was on May 9, 2024 before was removed from the App Store on October 10, 2025. == Features == After launching of the app, the user sees the view of the front-facing camera. The app allows the user to create a new clip by tapping on a red record button, or use photos or videos from the device's photo library. Once a clip is recorded, it can be added to a project timeline shown at the bottom of the screen. The user can share their project on social media platforms. The user can also add filters and effects to the project. "Live Titles" (available in several styles) can also be created by dictating to the device.
Graphics processing unit
A graphics processing unit (GPU) is a specialized electronic circuit designed for digital image processing and to accelerate computer graphics, being present either as a component on a discrete graphics card or embedded on motherboards, mobile phones, personal computers, workstations, and game consoles. GPUs are increasingly being used for artificial intelligence (AI) processing due to linear algebra acceleration, which is also used extensively in graphics processing. Although there is no single definition of the term, and it may be used to describe any video display system, in modern use a GPU includes the ability to internally perform the calculations needed for various graphics tasks, like rotating and scaling 3D images, and often the additional ability to run custom programs known as shaders. This contrasts with earlier graphics controllers known as video display controllers which had no internal calculation capabilities, or blitters, which performed only basic memory movement operations. The modern GPU emerged during the 1990s, adding the ability to perform operations like drawing lines and text without CPU help, and later adding 3D functionality. Graphics functions are generally independent and this lends these tasks to being implemented on separate calculation engines. Modern GPUs include hundreds, or thousands, of calculation units. This made them useful for non-graphic calculations involving embarrassingly parallel problems due to their parallel structure. The ability of GPUs to rapidly perform vast numbers of calculations has led to their adoption in diverse fields including artificial intelligence (AI) where they excel at handling data-intensive and computationally demanding tasks. Other non-graphical uses include the training of neural networks and cryptocurrency mining. == History == === 1960s === Dedicated 3D graphics hardware dates back to graphic terminals such as the Adage AGT-30 from 1967 with analog matrix processors. In 1969 Evans & Sutherland (E&S) introduced the Line Drawing System-1 (LDS-1), which was the first all-digital system to provide matrix multiplication. Also in 1969, the low-cost graphics terminal IMLAC PDS-1 was introduced. It later saw use as an early 3D gaming machine with the likes of Maze War. === 1970s === In professional hardware, in 1972 PLATO IV system becomes operational at the University of Illinois Urbana-Champaign. Between around 1973 and 1978, several networked multiplayer wireframe 3D games are implemented and popularized by users of the system. Also in 1972, the E&S Continuous Tone 1 (CT1) "Watkins box" system (consisting of an E&S LDS-2 and Shaded Picture System) is delivered to Case Western Reserve University. It offered the first real-time Gouraud shading. In 1975, a joint effort between Evans & Sutherland Computer Corporation and the University of Utah's computer graphics department results in the first ever MOSFET video framebuffer, capable of color and smooth shading. E&S Continuous Tone 3 (CT3) system was delivered in 1977 to Lufthansa for pilot training using computer simulation. It was the first graphics system capable of real-time texture mapping. Ikonas made graphics systems with 8- and 24-bit graphics and 3D acceleration in the late 70s. Arcade system boards have used specialized 2D graphics circuits since the 1970s. In early video game hardware, RAM for frame buffers was expensive, so video chips composited data together as the display was being scanned out on the monitor. A specialized barrel shifter circuit helped the CPU animate the framebuffer graphics for various 1970s arcade video games from Midway and Taito, such as Gun Fight (1975), Sea Wolf (1976), and Space Invaders (1978). The Namco Galaxian arcade system in 1979 used specialized graphics hardware that supported RGB color, multi-colored sprites, and tilemap backgrounds. The Galaxian hardware was widely used during the golden age of arcade video games, by game companies such as Namco, Centuri, Gremlin, Irem, Konami, Midway, Nichibutsu, Sega, and Taito. The Atari 2600 in 1977 used a video shifter called the Television Interface Adaptor. Atari 8-bit computers (1979) had ANTIC, a video processor which interpreted instructions describing a "display list"—the way the scan lines map to specific bitmapped or character modes and where the memory is stored (so there did not need to be a contiguous frame buffer). 6502 machine code subroutines could be triggered on scan lines by setting a bit on a display list instruction. ANTIC also supported smooth vertical and horizontal scrolling independent of the CPU. === 1980s === In the 1980s significant advancements were made in professional 3D graphics hardware. Perhaps most impactful was the 1981 development of the Geometry Engine, a VLSI vector processor ASIC designed by Jim Clark and Marc Hannah at Stanford University. This processor is the forerunner of modern tensor cores and other similar processors marketed for graphics and AI. The Geometry Engine went on to be used in Silicon Graphics workstations for many years. Silicon Graphics's first product, shipped in November 1983, was the IRIS 1000, a terminal with hardware-accelerated 3D graphics based on the Geometry Engine. The Geometry Engine was capable of approximately 6 million operations per second. The 1981 NEC μPD7220 was the first implementation of a personal computer graphics display processor as a single large-scale integration (LSI) integrated circuit chip. This enabled the design of low-cost, high-performance video graphics cards such as those from Number Nine Visual Technology. It became the best-known GPU until the mid-1980s. It was the first fully integrated VLSI (very large-scale integration) metal–oxide–semiconductor (NMOS) graphics display processor for PCs, supported up to 1024×1024 resolution, and laid the foundations for the PC graphics market. It was used in a number of graphics cards and was licensed for clones such as the Intel 82720, the first of Intel's graphics processing units. The Williams Electronics arcade games Robotron: 2084, Joust, Sinistar, and Bubbles, all released in 1982, contain custom blitter chips for operating on 16-color bitmaps. In 1984, Hitachi released the ARTC HD63484, the first major CMOS graphics processor for personal computers. The ARTC could display up to 4K resolution when in monochrome mode. It was used in a number of graphics cards and terminals during the late 1980s. In 1985, the Amiga was released with a custom graphics chip called Agnus including a blitter for bitmap manipulation, line drawing, and area fill. It also included a coprocessor with its own simple instruction set, that was capable of manipulating graphics hardware registers in sync with the video beam (e.g. for per-scanline palette switches, sprite multiplexing, and hardware windowing), or driving the blitter. Also in 1985, IBM released the Professional Graphics Controller, designed by later to be Nvidia co-founder Curtis Priem, which was a rudimentary 3D card with 640 × 480 256-color graphics which used a dedicated CPU to draw graphics independently of the main system. It was used as the basis of cards by a number of makers (including Matrox) and its analog RGB signaling led directly to the VGA video standard. Priem later in the 80s worked on the influential Sun Microsystems GX (also known as cgsix) accelerated 2D graphics card. In 1986, Texas Instruments released the TMS34010, the first fully programmable graphics processor. It could run general-purpose code but also had a graphics-oriented instruction set. During 1990–1992, this chip became the basis of the Texas Instruments Graphics Architecture ("TIGA") Windows accelerator cards. Following in 1987, the IBM 8514 graphics system was released. It was one of the first video cards for IBM PC compatibles that implemented fixed-function 2D primitives in electronic hardware. Sharp's X68000, released in 1987, used a custom graphics chipset with a 65,536 color palette and hardware support for sprites, scrolling, and multiple playfields. It served as a development machine for Capcom's CP System arcade board. Fujitsu's FM Towns computer, released in 1989, had support for a 16,777,216 color palette. For context, IBM also introduced its Video Graphics Array (VGA) display system in 1987, with a maximum resolution of 640 × 480 pixels. Unlike 8514/A, VGA had no hardware acceleration features. In November 1988, NEC Home Electronics announced its creation of the Video Electronics Standards Association (VESA) to develop and promote a Super VGA (SVGA) computer display standard as a successor to VGA. Super VGA enabled graphics display resolutions up to 800 × 600 pixels, a 56% increase. In 1988 SGI sold IRIS workstation graphics with 10-12 Geometry Engines and introduced the IrisVision add-in board for IBM MicroChannel bus (RS/6000) based on the Geometry Engine as well. In 1988 as well, the first dedicated polygonal 3D graphics boards in arcade machines were introduced wit
The Future of Work and Death
The Future of Work and Death is a 2016 documentary by Sean Blacknell and Wayne Walsh about the exponential growth of technology. The film showed at several film festivals including Raindance Film Festival, International Film Festival Rotterdam, Academia Film Olomouc and CPH:DOX. In May 2017 it received an official screening at the European Commission. It was distributed by First Run Features and Journeyman Pictures and was released on iTunes, Amazon Prime and On-demand on 9 May 2017. The film was made available on Sundance Now on 27 November 2017. A companion piece to the film, The Cost of Living, a documentary concerning universal basic income in Britain, was released on Amazon Prime on 8 October 2020. == Synopsis == World experts in the fields of futurology, anthropology, neuroscience, and philosophy consider the impact of technological advances on the two 'certainties' of human life; work and death. Charting human developments from Homo habilis, past the Industrial Revolution, to the digital age and beyond, the film looks at the shocking exponential rate at which mankind has managed to create technologies to ease the process of living. As we embark on the next phase of our adaptation, with automation and artificial intelligence signifying the complete move from man to machine, the film asks what the implications are for human fulfilment in an approaching era of job obsolescence and extreme longevity. == Cast == Dudley Sutton – Narrator Aubrey de Grey – Biomedical gerontologist and CSO of the SENS Research Foundation Will Self – Writer, journalist, political commentator and Professor of Contemporary Thought at Brunel University Rudolph E. Tanzi – Professor of Neurology at Harvard University and Director of the Genetics and Aging Research Unit at Massachusetts General Hospital (MGH) Martin Ford – Futurist and author Steve Fuller – Auguste Comte Chair in Social Epistemology at the Department of sociology at University of Warwick Murray Shanahan – Professor of Cognitive Robotics at Imperial College London Gray Scott – Futurist, executive producer of this production Vivek Wadhwa – Entrepreneur, academic and Director of Research at the Center for Entrepreneurship and Research Commercialization at the Pratt School of Engineering, Duke University Zoltan Istvan – Transhumanist and journalist Joanna Cook – Anthropologist, University College London Nicholas Kamara – Physician, Kable Hospital David Pearce – Transhumanist philosopher and co-founder of Humanity+ Peter Cochrane – Futurist and entrepreneur John Harris – Bioethicist, philosopher and Director of the Institute for Science, Ethics and Innovation at the University of Manchester Riva Melissa-Tez – Entrepreneur and transhumanist Ian Pearson – Futurologist Stuart Armstrong – Artificial intelligence researcher at Future of Humanity Institute