MySocialCloud is a cloud-based bookmark vault and password website that allows users to log into all of their online accounts from a single, secure website. The company's investors include Sir Richard Branson, Insight Venture Partners’ Jerry Murdock, and PhotoBucket founder Alex Welch. The company and its founders have been featured in TechCrunch and The Huffington Post. == History == MySocialCloud was co-founded by Scott Ferreira, Stacey Ferreira, and Shiv Prakash in 2011. The idea for a one-stop password storage and login tool came when a computer crash left Scott without documents he used to store access information to his online data. In 2013, the siblings sold MySocialCloud to Reputation.com. == Services == MySocialCloud is cloud-based, and the platform lets users securely store passwords and automatically log into several social media websites simultaneously. The website auto-populates password fields, letting the user log into all of the sites at the push of a button. The service also provides users with security updates for the websites they have included in their profile, and informs users if a website has been hacked. Security played a major role during development of the platform. Passwords stored on the service are salted and hashed with a two-way encryption method known as AES.
Artificial Inventor Project
The Artificial Inventor Project (AIP) is a global legal initiative headed by Professor Ryan Abbott dedicated to pursuing intellectual property (IP) rights for inventions and creative works generated autonomously by artificial intelligence (AI) systems without traditional human inventorship or authorship. The project coordinates a series of pro bono test cases worldwide, aiming to prompt law reform and public debate on how IP law should accommodate non-human creators. == History == In 2019, AIP filed patent applications in multiple jurisdictions, including the United States, United Kingdom, European Patent Office, Australia, Switzerland, and South Africa, naming the AI system DABUS (Device for the Autonomous Bootstrapping of Unified Sentience), created by Stephen Thaler, as the inventor. The aim was to challenge legal norms that require inventors to be natural persons and highlight pressing policy questions about AI-generated innovation and IP regimes. == Legal proceedings by jurisdiction == === Australia === In July 2021, a Federal Court of Australia judge (Beach J) ruled that AI can be considered an inventor under the Patents Act 1990, ordering IP Australia to reinstate the relevant patent. However, the full court then overturned this ruling on appeal and denied further review. === European Patent Office === The EPO Board of Appeal determined in 2022 that only a human inventor may be named, rendering DABUS‑based applications unacceptable. === South Africa === In 2021, a patent was granted listing DABUS as the inventor. As South Africa’s procedural system does not involve substantive inventorship review, the grant proceeded on formal grounds alone. === Switzerland === On 26 June 2025, the Swiss Federal Administrative Court ruled that artificial intelligence systems such as DABUS cannot be listed as inventors on patent applications. The court upheld the existing practice of the Swiss Federal Institute of Intellectual Property (IPI), affirming that only natural persons may be recognized as inventors under Swiss patent law. === United Kingdom === In December 2023, the UK Supreme Court unanimously held that AI systems cannot be legally recognized as inventors, affirming that "an inventor must be a person" under current British law. === United States === In Thaler v. Hirshfeld (2021), a U.S. federal court agreed with the USPTO that inventors must be natural persons, rejecting the DABUS application and setting a precedent consistent with existing statute and administrative policy. == Criticism and impact == The project has fueled substantial discourse. Critics caution that allowing AI inventorship may complicate notions of accountability and ownership. Proponents argue that legal recognition must evolve to avoid disincentivizing innovation produced by AI and to maintain honesty about the true source of invention.
Cybernetic Serendipity
Cybernetic Serendipity was an exhibition of cybernetic art curated by Jasia Reichardt, shown at the Institute of Contemporary Arts, London, England, from 2 August to 20 October 1968, and then toured across the United States. Two stops in the United States were the Corcoran Annex (Corcoran Gallery of Art), Washington, D.C., from 16 July to 31 August 1969, and the newly opened Exploratorium in San Francisco, from 1 November to 18 December 1969. == Content == One part of the exhibition was concerned with algorithms and devices for generating music. Some exhibits were pamphlets describing the algorithms, whilst others showed musical notation produced by computers. Devices made musical effects and played tapes of sounds made by computers. Peter Zinovieff lent part of his studio equipment - visitors could sing or whistle a tune into a microphone and his equipment would improvise a piece of music based on the tune. Another part described computer projects such as Gustav Metzger's self-destructive Five Screens With Computer, a design for a new hospital, a computer programmed structure, and dance choreography. The machines and installations were a very noticeable part of the exhibition. Gordon Pask produced a collection of large mobiles (Colloquy of Mobiles (1968)) with interacting parts that let the viewers join in the conversation. Many machines formed kinetic environments or displayed moving images. Bruce Lacey contributed his radio-controlled robots and a light-sensitive owl. Nam June Paik was represented by Robot K-456 and televisions with distorted images. Jean Tinguely provided two of his painting machines. Edward Ihnatowicz's biomorphic hydraulic ear (Sound Activated Mobile (SAM, 1968)) turned toward sounds and John Billingsley's Albert 1967 turned to face light. Wen-Ying Tsai presented his interactive cybernetic sculptures of vibrating stainless-steel rods, stroboscopic light, and audio feedback control. Several artists exhibited machines that drew patterns that the visitor could take away, or involved visitors in games. Cartoonist Rowland Emett designed the mechanical computer Forget-me-not, which was commissioned by Honeywell. Another section explored the computer's ability to produce text - both essays and poetry. Different programs produced Haiku, children's stories, and essays. One of the first computer-generated poems, by Alison Knowles and James Tenney, was included in the exhibition and catalogue. Computer-generated movies were represented by John Whitney's Permutations and a Bell Labs movie on their technology for producing movies. Some samples included images of tesseracts rotating in four dimensions, a satellite orbiting the Earth, and an animated data structure. Computer graphics were also represented, including pictures produced on cathode ray oscilloscopes and digital plotters. There was a variety of posters and graphics demonstrating the power of computers to do complex (and apparently random) calculations. Other graphics showed a simulated Mondrian and the iconic decreasing squares spiral that appeared on the exhibition's poster and book. The Boeing Company exhibited their use of wireframe graphics. The innovative computer-generated sculpture, Quad 1, was displayed at the Cybernetic Serendipity exhibit. Created by the American abstract expressionist sculptor, Robert Mallary, in 1968, Quad 1 is widely believed to be the world's first Computer Aided Design sculpture. Keith Albarn & Partners contributed to the design of the exhibition. Reflecting the prominence of music in the show, a ten-track album Cybernetic Serendipity Music was released by the ICA to accompany the show. Artists featured included Iannis Xenakis, John Cage, and Peter Zinovieff, a detail of whose graphic score for 'Four Sacred April Rounds’ (1968) was used as the cover artwork. == Attendance == Time magazine noted that there had been 40,000 visitors to the London exhibition. Other reports suggested visitor numbers were as high as 44,000 to 60,000. However, the ICA did not accurately count visitors. == After-effects == The exhibition provided the energy for the formation of British Computer Arts Society which continued to explore the interaction between science, technology and art, and put on exhibitions (for example Event One at the Royal College of Art). Several pieces were purchased by the Exploratorium in 1971, some of which are on display to this day. In 2014 the ICA held a retrospective exhibition Cybernetic Serendipity: A Documentation which included documents, installation photographs, press reviews and publications and a series of discussions in one of which Peter Zinovieff took part. To coincide with the exhibition, Cybernetic Serendipity Music was re-released as a limited-edition vinyl LP by The Vinyl Factory. The Victoria and Albert Museum marked the 50th anniversary with an exhibition in 2018 entitled "Chance and Control: Art in the Age of Computers". The V&A exhibition included many works by artists who featured in the original ICA show, plus related ephemera. "Chance and Control" subsequently toured to Chester Visual Arts and Firstsite, Colchester. In 2020, The Centre Pompidou exhibited the replica of Gordon Pask's 1968 Colloquy of Mobiles, reproduced by Paul Pangaro and TJ McLeish in 2018. In 2022 the Australian National University's School of Cybernetics launched the school by presenting an exhibition Australian Cybernetic: a point through time. The exhibition included works from Cybernetic Serendipity (1968), Australia ‘75: Festival of Creative Arts and Science (1975), and contemporary pieces curated by the School of Cybernetics. In describing Reichardt's Cybernetic Serendipity exhibition the school stated that it "represented points of expanding the cybernetic imagination" and was a "ground-breaking" "glimpse of a future in which computers were entangled with people and cultures, and through this she fashioned a blueprint for the future of computing that has since inspired generations".
Local coordinates
Local coordinates are the ones used in a local coordinate system or a local coordinate space. Simple examples: Houses. In order to work in a house construction, the measurements are referred to a control arbitrary point that will allow to check it: stick/sticks on the ground, steel bar, nails... Addresses. Using house numbers to locate a house on a street; the street is a local coordinate system within a larger system composed of city townships, states, countries, postal codes, etc. Local systems exist for convenience. On ancient times, every work was made on relative bases as there was no conception of global systems. Practically, it is better to use local systems for small works as houses, buildings... For most of the applications, it is desired the position of one element relative to one building or location, and in a more local way, relative to one furniture or person. In a regular way, you will not give your position by geographical coordinates rather than "I am 15 meters away of the entry to the building". So it is a pretty common way to locate things. It is possible to bring latitude and longitude for all terrestrial locations, but unless one has a highly precise GPS device or you make astronomical observations, this is impractical. It is much simpler to use a tape, a rope, a chain... The position information (global) should be transformed into a location. Position refers to a numeric or symbolic description within a spatial reference system, whereas location refers to information about surrounding objects and their interrelationships. (Topological space) == Use == In computer graphics and computer animation, local coordinate spaces are also useful for their ability to model independently transformable aspects of geometrical scene graphs. When modeling a car, for example, it is desirable to describe the center of each wheel with respect to the car's coordinate system, but then specify the shape of each wheel in separate local spaces centered about these points. This way, the information describing each wheel can be simply duplicated four times, and independent transformations (e.g., steering rotation) can be similarly effected. Bounding volumes of objects may be described more accurately using extents in the local coordinates, (i.e. an object oriented bounding box, contrasted with the simpler axis aligned bounding box). The trade-off for this flexibility is additional computational cost: the rendering system must access the higher-level coordinate system of the car and combine it with the space of each wheel in order to draw everything in its proper place. Local coordinates also afford digital designers a means around the finite limits of numerical representation. The tread marks on a tire, for example, can be described using millimeters by allowing the whole tire to occupy the entire range of numeric precision available. The larger aspects of the car, such as its frame, might be described in centimeters, and the terrain that the car travels on could be specified in meters. In differential topology, local coordinates on a manifold are defined by means of an atlas of charts. The basic idea behind coordinate charts is that each small patch of a manifold can be endowed with a set of local coordinates. These are collected together into an atlas, and stitched together in such a way that they are self-consistent on the manifold. In Cartography and Maps, the traditional way of works are local datum. With a local datum the land can be mapped on relative small areas as a country. With the need of global systems, the transformations on between datum became a problem, so geodetic datum have been created. More than 150 local datum have been used in the world.
Concurrency control
In information technology and computer science, especially in the fields of computer programming, operating systems, multiprocessors, and databases, concurrency control ensures that correct results for concurrent operations are generated, while getting those results as quickly as possible. Computer systems, both software and hardware, consist of modules, or components. Each component is designed to operate correctly, i.e., to obey or to meet certain consistency rules. When components that operate concurrently interact by messaging or by sharing accessed data (in memory or storage), a certain component's consistency may be violated by another component. The general area of concurrency control provides rules, methods, design methodologies, and theories to maintain the consistency of components operating concurrently while interacting, and thus the consistency and correctness of the whole system. Introducing concurrency control into a system means applying operation constraints which typically result in some performance reduction. Operation consistency and correctness should be achieved with as good as possible efficiency, without reducing performance below reasonable levels. Concurrency control can require significant additional complexity and overhead in a concurrent algorithm compared to the simpler sequential algorithm. For example, a failure in concurrency control can result in data corruption from torn read or write operations. == Concurrency control in databases == Comments: This section is applicable to all transactional systems, i.e., to all systems that use database transactions (atomic transactions; e.g., transactional objects in Systems management and in networks of smartphones which typically implement private, dedicated database systems), not only general-purpose database management systems (DBMSs). DBMSs need to deal also with concurrency control issues not typical just to database transactions but rather to operating systems in general. These issues (e.g., see Concurrency control in operating systems below) are out of the scope of this section. Concurrency control in Database management systems (DBMS; e.g., Bernstein et al. 1987, Weikum and Vossen 2001), other transactional objects, and related distributed applications (e.g., Grid computing and Cloud computing) ensures that database transactions are performed concurrently without violating the data integrity of the respective databases. Thus concurrency control is an essential element for correctness in any system where two database transactions or more, executed with time overlap, can access the same data, e.g., virtually in any general-purpose database system. Consequently, a vast body of related research has been accumulated since database systems emerged in the early 1970s. A well established concurrency control theory for database systems is outlined in the references mentioned above: serializability theory, which allows to effectively design and analyze concurrency control methods and mechanisms. An alternative theory for concurrency control of atomic transactions over abstract data types is presented in (Lynch et al. 1993), and not utilized below. This theory is more refined, complex, with a wider scope, and has been less utilized in the Database literature than the classical theory above. Each theory has its pros and cons, emphasis and insight. To some extent they are complementary, and their merging may be useful. To ensure correctness, a DBMS usually guarantees that only serializable transaction schedules are generated, unless serializability is intentionally relaxed to increase performance, but only in cases where application correctness is not harmed. For maintaining correctness in cases of failed (aborted) transactions (which can always happen for many reasons) schedules also need to have the recoverability (from abort) property. A DBMS also guarantees that no effect of committed transactions is lost, and no effect of aborted (rolled back) transactions remains in the related database. Overall transaction characterization is usually summarized by the ACID rules below. As databases have become distributed, or needed to cooperate in distributed environments (e.g., Federated databases in the early 1990, and Cloud computing currently), the effective distribution of concurrency control mechanisms has received special attention. === Database transaction and the ACID rules === The concept of a database transaction (or atomic transaction) has evolved in order to enable both a well understood database system behavior in a faulty environment where crashes can happen any time, and recovery from a crash to a well understood database state. A database transaction is a unit of work, typically encapsulating a number of operations over a database (e.g., reading a database object, writing, acquiring lock, etc.), an abstraction supported in database and also other systems. Each transaction has well defined boundaries in terms of which program/code executions are included in that transaction (determined by the transaction's programmer via special transaction commands). Every database transaction obeys the following rules (by support in the database system; i.e., a database system is designed to guarantee them for the transactions it runs): Atomicity - Either the effects of all or none of its operations remain ("all or nothing" semantics) when a transaction is completed (committed or aborted respectively). In other words, to the outside world a committed transaction appears (by its effects on the database) to be indivisible (atomic), and an aborted transaction does not affect the database at all. Either all the operations are done or none of them are. Consistency - Every transaction must leave the database in a consistent (correct) state, i.e., maintain the predetermined integrity rules of the database (constraints upon and among the database's objects). A transaction must transform a database from one consistent state to another consistent state (however, it is the responsibility of the transaction's programmer to make sure that the transaction itself is correct, i.e., performs correctly what it intends to perform (from the application's point of view) while the predefined integrity rules are enforced by the DBMS). Thus since a database can be normally changed only by transactions, all the database's states are consistent. Isolation - Transactions cannot interfere with each other (as an end result of their executions). Moreover, usually (depending on concurrency control method) the effects of an incomplete transaction are not even visible to another transaction. Providing isolation is the main goal of concurrency control. Durability - Effects of successful (committed) transactions must persist through crashes (typically by recording the transaction's effects and its commit event in a non-volatile memory). The concept of atomic transaction has been extended during the years to what has become Business transactions which actually implement types of Workflow and are not atomic. However also such enhanced transactions typically utilize atomic transactions as components. === Why is concurrency control needed? === If transactions are executed serially, i.e., sequentially with no overlap in time, no transaction concurrency exists. However, if concurrent transactions with interleaving operations are allowed in an uncontrolled manner, some unexpected, undesirable results may occur, such as: The lost update problem: A second transaction writes a second value of a data-item (datum) on top of a first value written by a first concurrent transaction, and the first value is lost to other transactions running concurrently which need, by their precedence, to read the first value. The transactions that have read the wrong value end with incorrect results. The dirty read problem: Transactions read a value written by a transaction that has been later aborted. This value disappears from the database upon abort, and should not have been read by any transaction ("dirty read"). The reading transactions end with incorrect results. The incorrect summary problem: While one transaction takes a summary over the values of all the instances of a repeated data-item, a second transaction updates some instances of that data-item. The resulting summary does not reflect a correct result for any (usually needed for correctness) precedence order between the two transactions (if one is executed before the other), but rather some random result, depending on the timing of the updates, and whether certain update results have been included in the summary or not. Most high-performance transactional systems need to run transactions concurrently to meet their performance requirements. Thus, without concurrency control such systems can neither provide correct results nor maintain their databases consistently. === Concurrency control mechanisms === ==== Categories ==== The main categories of concurrency control mechanis
Qloo
Qloo (pronounced "clue") is a company that uses artificial intelligence (AI) to understand taste and cultural correlations. It provides companies with an application programming interface (API). It received funding from Leonardo DiCaprio, Elton John, Barry Sternlicht, Pierre Lagrange and others. Qloo establishes consumer preference correlations via machine learning across data spanning cultural domains including music, film, television, dining, nightlife, fashion, books, and travel. The recommender system uses AI to predict correlations for further applications. == History == Qloo was founded in 2012 by chief executive officer Alex Elias and chief operating officer Jay Alger. Qloo initially launched an app designed for consumers, allowing them to understand their own tastes and receive personalized recommendations. The company amassed several million users and built a large catalog of cultural entities and corresponding user sentiment. In 2012, Qloo raised $1.4 million in seed funding from investors including Cedric the Entertainer, and venture capital firm Kindler Capital. Qloo had a public beta release in November 2012 after its initial funding. In 2013, the company raised an additional $1.6 million from Cross Creek Pictures founding partner Tommy Thompson, and Samih Toukan and Hussam Khoury, founders of Maktoob, an Internet services company purchased by Yahoo! for $164 million in 2009. On November 14, 2013, a website and an iPhone app were announced. The company later released an Android app, and tablet versions, in mid-2014. In 2015, Twitter approached Qloo about powering personalized social feeds and targeted eCommerce ads on the platform based on what users were posting. Qloo developed an enterprise-grade API to support Twitter’s needs. Twitter ended up pivoting to enable brands to use the social platform for customer service and support, but Qloo was able to sell access to its cultural intelligence via API to many other enterprise clients, marking the official transition from a B2C company to a B2B company. In 2016, Qloo secured $4.5 million in venture capital investment. The $4.5 million was split between a number of investors, including Barry Sternlicht, Pierre Lagrange, and Leonardo DiCaprio. In July 2017, Qloo raised $6.5 million in funding rounds from AXA Strategic Ventures, and Elton John. Following the investment, the founders stated in an interview with Tech Crunch that they would use the investment to expand Qloo's database. They hoped the move would secure larger contracts with corporate clients. At the time, clients already included Fortune 500 companies such as Twitter, PepsiCo, and BMW. In 2019, the company announced that it had acquired cultural recommendation service TasteDive, with Alex Elias becoming chairman of TasteDive. In September 2019, Qloo was named among the Top 14 Artificial Intelligence APIs by ProgrammableWeb. In 2022, Qloo raised $15M in Series B funding from Eldridge and AXA Venture Partners, enabling the privacy-centric AI leader to expand its team of world-class data scientists, enrich its technology, and build on its sales channels in order to continue to offer premier insights into global consumer taste for Fortune 500 companies across the globe. Qloo was recognized as the "Best Decision Intelligence Company" at the 2023 AI Breakthrough Awards. Also in 2023, the company was awarded a Top Performer Award by SourceForge. As of 2024, Qloo is a three-time Inc. 5000 honoree: No. 360 (2022), No. 344 (2021), No. 187 (2020). Qloo raised $25 million Series C round on February 21, 2024. The round was led by AI Ventures with participation from AXA Venture Partners, Eldridge, and Moderne Ventures, allowing Qloo to address new commercial surface areas for Taste AI, including on-device learning and foundational models leveraging Qloo, as well as introduce self-service platform to make consumer and taste analytics available to small and mid-sized enterprises and individuals. Qloo also announced pursuing opportunistic M&A using its balance sheet along the lines of the TasteDive acquisition completed, which expanded Qloo's first-party data moat and corpus of cultural learning. This latest financing brought the total amount raised since the company's founding in 2012 to over $56 million. == Services and features == Qloo calls itself a cultural AI platform to provide real-time correlation data across domains of culture and entertainment including: film, music, television, dining, nightlife, fashion, books, and travel. Each category contains subcategories. Qloo’s knowledge of a user's taste in one category can be utilized to offer suggestions in other categories. Users then rate the suggestions, providing it with feedback for future suggestions. Qloo has partnerships with companies such as Expedia and iTunes. == Technology == Qloo’s Taste AI technology uses machine learning to decode and predict consumers’ interests, maintaining user anonymity. It is powered by 3.7 billion lifestyle entities (brands, music, film, TV, dining, nightlife, fashion, books, travel, and more) and trillions of anonymized consumer behavioral signals. Through AI, Qloo identifies patterns in these data signals, making predictions about how much interest a person or group has in a concept or thing. Central to Qloo’s technology are algorithms designed to detect and mitigate biases within datasets and models, allowing Qloo to assess the fairness of its AI systems with a focus on attributes such as age, gender, and race, enabling the company to fine-tune its AI models to align with their ethical standards. They also use visualization tools to probe the behavior of their AI models for conducting counterfactual analyses and for comparing the performances of the AI models across diverse demographic segments. Qloo’s Taste AI doesn’t collect or use any Personally Identifiable Information (PII). Instead, it derives recommendations for audience segments based on co-occurrences between lifestyle entities and anonymized behavioral signals. == Applications == Starbucks uses Qloo to create in-store music playlists tailored to specific neighborhoods. Hershey’s uses Qloo to customize the content of assorted candy bags. Michelin uses Qloo to serve recommendations in its Michelin Guide app. Netflix leverages Qloo’s technology to enhance merchandising by identifying actors who resonate with certain demographics. Qloo also works with PepsiCo, Samsung, The New York Mets, BuzzFeed, and Ticketmaster, Universal Music Group, and OOH advertising company JCDecaux.
Jeremy Renner Official
Jeremy Renner Official (or Jeremy Renner on the Google Play Store) was a mobile app created by American actor Jeremy Renner. He created the app in March 2017 to hear the input and comments of his fans. The app was shut down in September 2019 in part due to the frequent bullying and trolling that the platform had experienced. The app featured optional microtransactions, with some ranging up to roughly US$400 despite the app itself being free. Upon shutting down the app, Renner issued a mass-refund for the collectible "stars" in the app for purchases made within the last ninety days, from the day the announcement was posted. He then posted an apology to the app itself, and the app was deleted from both the Google Play Store and the App Store shortly after. == Usage == Upon downloading the app, the user was faced with a video of Renner speaking about his fans and superfans, regular giveaways, and real-life updates. While the app was active, Renner posted regular questions and comments for fans. Renner occasionally livestreamed about his work and day-to-day life. The community developed to include memes, selfies, and a "Happy Rennsday" event on Wednesdays. == History == === 2017–2019 === The app launched in March 2017 with a promotional contest. Renner's fans were encouraged to download the app and create comments about being Renner's biggest fan; Renner would then choose a winner and transport the winner and a guest to have lunch with him at the Calgary Expo. In the first few months Renner teased behind-the-scenes of projects he was working on, which he now sporadically does on Instagram. The app was similarly designed to Instagram as well, with a near identically styled layout. Around midway through 2019, a hoax account of Renner was made to mock the celebrity, joking about masturbating to porn and defending another hoax account of Casey Anthony. FastCompany wrote extensively about Renner's app in April 2019, calling it "a surprising new kind of social media". The Ringer stated "Jeremy Renner's Jeremy Renner app is the Jeremy Renner of apps." === After deletion (2019–2020) === After the shutdown of the app, a comedy-based pseudo-app with modular endings was released, called "The Jeremy Renner App Experience", in which the player plays as Jeremy Renner on the day of the Jeremy Renner Official app's shutdown. The app details several different choices on how Renner handles the situation. A six-part podcast was also created to mock the app's deletion, called The Renner Files, featuring Carolyn Goldfarb and Sarah Ramos. == Controversies == === Marketing === One of the main controversies of Renner's app was its marketing. The app's developers, Escapex, specialized in and grew famous for making similar monetized apps for celebrities. The marketing campaign was based on direct contact with Renner, whose chances were increased with regular payments for "stars", although very few encounters seemed to happen with Renner himself. The multiple problems with the app led the CEO of Escapex, Sephi Shapira, to call the app a "freak situation", and added "Am I concerned about this? Not more than I'm concerned about 50 other things I'm dealing with as a startup company." Along with the marketing failures, the app was seen as misrepresenting itself as seemingly erotic with some advertisements featuring Renner suggestively staring at the camera, despite the actual app being initially considered safe for children. === Harassment === After its release in 2017, the app was met with waves of harassment and bullying by many users on the app, most frequently by using impersonation — referenced in Renner's apology/deletion notice. Some death threats were made across the app by fraud accounts pretending to be several controversial celebrities, including O. J. Simpson and Casey Anthony. As early as October 2017, there were claims of censorship, bullying, and "contest-rigging". In September 2019, comedian Stefan Heck publicized his discovery of the fact that replies through the app appeared as if they were sent by Renner himself in push notifications. After several users abused this feature, Renner asked Escapex to shut down the app.