Evolutionary computation (EC) from computer science is a family of algorithms for global optimization inspired by biological evolution, and a subfield of computational intelligence and soft computing studying these algorithms. In technical terms, they are a family of population-based trial and error problem solvers with a metaheuristic or stochastic optimization character. In evolutionary computation, an initial set of candidate solutions is generated and iteratively updated. Each new generation is produced by stochastically removing less desired solutions, and introducing small random changes as well as, depending on the method, mixing parental information. In biological terminology, a population of solutions is subjected to natural selection (or artificial selection), mutation and possibly recombination. These biological functions serve as role models for the genetic operators - mutation, crossover, and selection - used in the EC procedures. As a result, the population will gradually evolve to increase in fitness, in this case the chosen fitness function of the algorithm. Evolutionary computation techniques can produce highly optimized solutions in a wide range of problem settings, making them popular in computer science. Many variants and extensions exist, suited to more specific families of problems and data structures. Evolutionary computation is also sometimes used in evolutionary biology as an in silico experimental procedure to study common aspects of general evolutionary processes. == History == The concept of mimicking evolutionary processes to solve problems originates before the advent of computers, such as when Alan Turing proposed a method of genetic search in 1948 . Turing's B-type u-machines resemble primitive neural networks, and connections between neurons were learnt via a sort of genetic algorithm. His P-type u-machines resemble a method for reinforcement learning, where pleasure and pain signals direct the machine to learn certain behaviors. However, Turing's paper went unpublished until 1968, and he died in 1954, so this early work had little to no effect on the field of evolutionary computation that was to develop. Evolutionary computing as a field began in earnest in the 1950s and 1960s. There were several independent attempts to use the process of evolution in computing at this time, which developed separately for roughly 15 years. Three branches emerged in different places to attain this goal: evolution strategies, evolutionary programming, and genetic algorithms. A fourth branch, genetic programming, eventually emerged in the early 1990s. These approaches differ in the method of selection, the permitted mutations, and the representation of genetic data. By the 1990s, the distinctions between the historic branches had begun to blur, and the term 'evolutionary computing' was coined in 1991 to denote a field that exists over all four paradigms. In 1962, Lawrence J. Fogel initiated the research of Evolutionary Programming in the United States, which was considered an artificial intelligence endeavor. In this system, finite state machines are used to solve a prediction problem: these machines would be mutated (adding or deleting states, or changing the state transition rules), and the best of these mutated machines would be evolved further in future generations. The final finite state machine may be used to generate predictions when needed. The evolutionary programming method was successfully applied to prediction problems, system identification, and automatic control. It was eventually extended to handle time series data and to model the evolution of gaming strategies. In 1964, Ingo Rechenberg and Hans-Paul Schwefel introduce the paradigm of evolution strategies in Germany. Since traditional gradient descent techniques produce results that may get stuck in local minima, Rechenberg and Schwefel proposed that random mutations (applied to all parameters of some solution vector) may be used to escape these minima. Child solutions were generated from parent solutions, and the more successful of the two was kept for future generations. This technique was first used by the two to successfully solve optimization problems in fluid dynamics. Initially, this optimization technique was performed without computers, instead relying on dice to determine random mutations. By 1965, the calculations were performed wholly by machine. John Henry Holland introduced genetic algorithms in the 1960s, and it was further developed at the University of Michigan in the 1970s. While the other approaches were focused on solving problems, Holland primarily aimed to use genetic algorithms to study adaptation and determine how it may be simulated. Populations of chromosomes, represented as bit strings, were transformed by an artificial selection process, selecting for specific 'allele' bits in the bit string. Among other mutation methods, interactions between chromosomes were used to simulate the recombination of DNA between different organisms. While previous methods only tracked a single optimal organism at a time (having children compete with parents), Holland's genetic algorithms tracked large populations (having many organisms compete each generation). By the 1990s, a new approach to evolutionary computation that came to be called genetic programming emerged, advocated for by John Koza among others. In this class of algorithms, the subject of evolution was itself a program written in a high-level programming language (there had been some previous attempts as early as 1958 to use machine code, but they met with little success). For Koza, the programs were Lisp S-expressions, which can be thought of as trees of sub-expressions. This representation permits programs to swap subtrees, representing a sort of genetic mixing. Programs are scored based on how well they complete a certain task, and the score is used for artificial selection. Sequence induction, pattern recognition, and planning were all successful applications of the genetic programming paradigm. Many other figures played a role in the history of evolutionary computing, although their work did not always fit into one of the major historical branches of the field. The earliest computational simulations of evolution using evolutionary algorithms and artificial life techniques were performed by Nils Aall Barricelli in 1953, with first results published in 1954. Another pioneer in the 1950s was Alex Fraser, who published a series of papers on simulation of artificial selection. As academic interest grew, dramatic increases in the power of computers allowed practical applications, including the automatic evolution of computer programs. Evolutionary algorithms are now used to solve multi-dimensional problems more efficiently than software produced by human designers, and also to optimize the design of systems. == Techniques == Evolutionary computing techniques mostly involve metaheuristic optimization algorithms. Broadly speaking, the field includes: Agent-based modeling Ant colony optimization Particle swarm optimization Swarm intelligence Artificial immune systems Artificial life Digital organism Cultural algorithms Differential evolution Dual-phase evolution Estimation of distribution algorithm Evolutionary algorithm Genetic algorithm Evolutionary programming Genetic programming Gene expression programming Grammatical evolution Evolution strategy Learnable evolution model Learning classifier system Memetic algorithms Neuroevolution Self-organization such as self-organizing maps, competitive learning Over recent years many dubious algorithms have been proposed, that are often just copies of existing algorithms (frequently Particle Swarm Optimization), where only the metaphor changed, but the algorithm itself is not new at all. A thorough catalogue with many of these dubious algorithms has been published in the Evolutionary Computation Bestiary. It is also important to note that many of these dubiously 'novel' algorithms have poor experimental validation. == Evolutionary algorithms == Evolutionary algorithms form a subset of evolutionary computation in that they generally only involve techniques implementing mechanisms inspired by biological evolution such as reproduction, mutation, recombination and natural selection. Candidate solutions to the optimization problem play the role of individuals in a population, and the cost function determines the environment within which the solutions "live" (see also fitness function). Evolution of the population then takes place after the repeated application of the above operators. In this process, there are two main forces that form the basis of evolutionary systems: Recombination (e.g. crossover) and mutation create the necessary diversity and thereby facilitate novelty, while selection acts as a force increasing quality. Many aspects of such an evolutionary process are stochastic. Changed pieces of information due to recombination and mutati
KeyBase
KeyBase is a database and web application for managing and deploying interactive taxonomic keys for plants and animals developed by the Royal Botanic Gardens Victoria. KeyBase provides a medium where pathway keys which were traditionally developed for print and other classical types of media, can be used more effectively in the internet environment. The platform uses a concept called "keys" which can be easily linked together, joined with other keys, or merged into larger other seamless keys groups, with each still available to be browsed independently. Keys in the KeyBase database can be filtered and displayed in a variety of ways, filters, and formats.
Agent mining
Agent mining is a research field that combines two areas of computer science: multiagent systems and data mining. It explores how intelligent computer agents can work together to discover, analyze, and learn from large amounts of data more effectively than traditional methods. == Historical context == The interaction and the integration between multiagent systems and data mining have a long history. The very early work on agent mining focused on agent-based knowledge discovery, agent-based distributed data mining, and agent-based distributed machine learning, and using data mining to enhance agent intelligence. The International Workshop on Agents and Data Mining Interaction has been held for more than 10 times, co-located with the International Conference on Autonomous Agents and Multi-Agent Systems. Several proceedings are available from Springer Lecture Notes in Computer Science.
Age Of
Age Of is the eighth studio album by American electronic producer Oneohtrix Point Never, released on June 1, 2018, on Warp Records. Recorded over two years, it is the first Oneohtrix Point Never album to prominently feature Daniel Lopatin's own vocals. The album was accompanied by the MYRIAD tour, which premiered as a "conceptual concertscape" in 2018 at the Park Avenue Armory and ended its run in 2019. It features contributions from James Blake (who additionally produced and mixed the album), Anohni, Prurient, Kelsey Lu and Eli Keszler. The artwork, which employs Jim Shaw's "The Great Whatsit" as a central image, was designed by David Rudnick. While not entering the official United States Billboard 200 chart, it peaked at number 59 on the magazine's Top Current Albums chart. == Background == Lopatin produced Age Of in parts of a two-year period, during which he was also producing for other artists, including Anohni, FKA Twigs, Iggy Pop, and David Byrne. After composing the soundtrack for the Safdie Brothers' 2017 film Good Time, Lopatin moved to an Airbnb lodge in South Central Massachusetts, derived from his aspiration to live out the modern cliche of musicians moving to the woods to record albums; the eerie atmosphere in the lodge at nighttime influenced his desire to make "weird, little nightmare ballads". In addition to Lopatin's own singing, the album also features vocal performances from Anohni and Prurient, while instrumentalists Kelsey Lu and Eli Keszler contribute to several tracks. When the record was nearly finished, Lopatin reached out to musician James Blake to contribute to the mixing process, eventually traveling to Los Angeles to complete the album. The track "The Station" was originally composed as a demo for R&B singer Usher which was ultimately not used. On July 9, 2018, Lopatin released the original topline (vocal melody) demo for The Station through Sendspace. The track "Toys 2" imagines a theoretical sequel to the 1992 film Toys where actor Robin Williams' image has been recreated with CGI (as his will specifically forbade any usage of his image after his death), and pokes fun at the common electronic music trope of composing a soundtrack to a theoretical film (which Lopatin described as "horribly cliché"). == Concept and MYRIAD == Influences on Age Of included Stanley Kubrick's 1968 film 2001: A Space Odyssey, which inspired the narrative of the album's accompanying performance installation and tour MYRIAD, as well as William Strauss's The Fourth Turning, a favorite book of former White House Chief Strategist Steve Bannon, which Lopatin described as "insidious, like the voice of a computer insisting on the truth about history without any sensitivity given to how complex and non-linear systems might be"; Lopatin was subsequently inspired to "[use] that sort of taxonomy as a kind of farce to then create these little frameworks for understanding". Other inspirations included the writings of the 1990s multidisciplinary collective Cybernetic Culture Research Unit and the works of singer-songwriters such as Bruce Cockburn, Bob Dylan, and Paul Simon. Around the time Lopatin began finalizing Age Of in his Airbnb lodge, he began working on the concept for MYRIAD, a conceptual concert performance which premiered at Park Avenue Armory. He described the concept as a four-part "epochal song cycle" showcasing the idiocy of previous generations of living organisms. The loose story concerns a group of artificial intelligences near the end of time named a "Limitless Living Informational Intelligence" (represented in the MYRIAD logo as nine squares) which, for leisurely purposes, attempt to replicate the cultures and behaviors of the previously existent human species. It does this by determining an "average" of human experiences through the species' "recorded output", and does so through imperfect, heuristic techniques. The show was consequently divided into four sections, each representing an epoch of the cycle concept loosely inspired by the Strauss–Howe generational theory: the Age of Ecco, the Age of Harvest, the Age of Excess, and the Age of Bondage. Ecco is "a phase of pre-evolutionary ignorance", Harvest is "living in agrarian harmony with the world", Excess is "the age of unchecked industrial ambition", and Bondage is "an era of engorgement, wherein "we keep making more and more shit until there's no space left." MYRIAD mainly featured "three-hundred pound sculptures that hang from the ceiling like kebabs that secrete ooze", and a full ensemble that toured to perform songs from Age Of, including Eli Keszler, Kelly Moran and Aaron David Ross. The sculptures, as well as the visuals displayed on five polygon panels, were created by frequent Oneohtrix Point Never collaborator Nate Boyce. Initially, Lopatin planned for each of the album's four epoches to be represented by fragrances, the more noisy epochs being pleasant to the nose to make a "weird dissonance". However, due to lack of time and resources, that part of the plan was scrapped. == Composition == Whereas previous Oneohtrix Point Never albums followed musical styles from only distinctive eras, Age Of is the first album by Lopatin to incorporate elements of unique genres from a variety of periods, hence the "incompleteness" of its title according to reviewer Heather Phares, and his first pop-song-oriented release since his work for Ford & Lopatin. The sound palettes it uses are those from a variety of styles such as chamber pop, "android"-like folk and country music, yacht rock, smooth jazz, R&B, Future-style soul, black metal, new age, and stadium pop, as well as post-industrial sounds on tracks like "Warning", "We'll Take It" and "Same", and, in particular, baroque music and medieval music on the opening title track, "Age Of". Critics also noted elements of Lopatin's past discography being present on Age Of. The instrumentation of Age Of is made up of MIDI harpsichords, guitars, pianos, brass and vocals, as well as Lopatin's trademark unorthodox sound design, samples and synth presets. The LP's use of the harpsichord shows its similarities "with Eastern instruments such as the koto and with rapid-fire electronic melodies", wrote Phares. == Critical reception == Age Of was critically well-received upon its distribution. Some reviewers praised the album's use of collaborators. Reviewing the album for AllMusic, Heather Phares called Age Of a "landmark work" for Lopatin. She praised it as his "widest-ranging" release, elaborating that he "matches the album's ambition with plenty of emotion" and "gives his music exciting new shapes." Ross Devlin of The Skinny, in a five-star review of the record, also highlighted the album's amount of ambition, particularly the "wealth of exquisitely baroque moments, exploring history as a pliable, multi-dimensional rift", that gave it "exceptional sonic depth". The Observer praised Age Of for continuing the "off-kilter composition and unexpected instrumentation" of Lopatin's previous releases, and critic Matt McDermott highlighted that the producer increased his musical range with the record: "It's a dizzying trip meant to shore up Lopatin's status as an avant-garde auteur while aiding his forays into mainstream pop culture." Age Of was ranked the 15th best release of the year in The Wire magazine's annual critics' poll. == Track listing == Notes "Myriad Industries" is stylized as "myriad.industries". Sample credits "Age Of" contains a sample of "Blow the Wind" by Jocelyn Pook. "Manifold" contains a sample from "Overture (Ararat the Border Crossing)" by Tayfun Erdem; and a sample from "Venice Beach in Winter" (listed in the liner notes as "a keyboard sample from Reharmonization") by Julian Bradley. "Myriad Industries" contains a sample of "EchoSpace" by Gil Trythall. == Accolades == == Personnel == Daniel Lopatin – production, lead vocals, album art, design James Blake – additional production, mixing, keyboards Gabriel Schuman, Joshua Smith and Evan Sutton – assistance Greg Calbi – mastering David Rudnick – album art, design Prurient – vocals Kelsey Lu – keyboards Anohni – vocals Eli Keszler – drums Shaun Trujillo – words == Charts ==
European Conference on Artificial Intelligence
The European Conference on Artificial Intelligence (ECAI) is the leading conference in the field of Artificial Intelligence in Europe, and is commonly listed together with IJCAI and AAAI as one of the three major general AI conferences worldwide. The conference series has been held without interruption since 1974, originally under the name AISB. The conference was originally held biennially, but has been organized annually since ECAI 2022. The conferences are held under the auspices of the European Coordinating Committee for Artificial Intelligence (ECCAI) and organized by one of the member societies. The journal AI Communications, sponsored by the same society, regularly publishes special issues in which conference attendees report on the conference. Publication of a paper in ECAI is considered by some journals to be archival: the paper should be considered equivalent to a journal publication and that the contents of ECAI papers cannot be reformulated as separate journal submissions unless a significant amount of new material is added. == List of ECAI conferences == ECAI-1992 took place in Vienna, Austria. ECAI-1996 took place in Budapest, Hungary. ECAI-1998 tool place in Brighton, United Kingdom. ECAI-2000 took place in Berlin, Germany. ECAI-2004 took place in Valencia, Spain. ECAI-2006 took place in Riva del Garda, Italy. ECAI-2008 took place in Patras, Greece. ECAI-2010 took place in Lisbon, Portugal. ECAI-2012 took place in Montpellier, France. ECAI-2014 took place in Prague, Czech Republic. ECAI-2016 took place in The Hague, Netherlands. ECAI-2018 took place in Stockholm, Sweden. ECAI-2020 took place in Santiago de Compostela, Spain. ECAI-2022 took place in Vienna, Austria. ECAI-2023 took place in Kraków, Poland. ECAI-2024 took place in Santiago de Compostela, Spain. ECAI-2025 took place in Bologna, Italy.
Vegas Pro
Vegas Pro (formerly known as Sony Vegas) is a professional video editing software package for non-linear editing (NLE), designed to run on the Microsoft Windows operating system. The first release of Vegas Beta was on June 11, 1999. Vegas was originally developed as a non-linear audio editing application. Version 2.0 would split the program into audio and video editing variants, with the former being dropped by version 4.0, making the video offering the only variant available to consumers. Vegas Pro features real-time multi-track video and audio editing on unlimited tracks, resolution-independent video sequencing, complex effects, compositing tools, 24-bit/192 kHz audio support, VST and DirectX plug-in effect support, and Dolby Digital surround sound mixing. The software was originally published by Sonic Foundry until May 2003, when Sony purchased Sonic Foundry and formed Sony Creative Software. On May 24, 2016, Sony announced that Vegas was sold to MAGIX, which formed VEGAS Creative Software, to continue support and development of the software. As of the end of March 2026, it was publicly announced that Boris FX had taken ownership of Vegas Pro. Each release of Vegas is sold standalone; however, upgrade discounts are sometimes provided. == Features == Vegas does not require any specialized hardware to run properly, allowing it to operate on any Windows computer that meets the system requirements. == History == Vegas 1.0 was released after a brief public beta by Sonic Foundry on July 23, 1999 at the NAMM Show in Nashville, Tennessee as an audio-only tool with a particular focus on re-scaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Martin Walker from Sound on Sound described working in Vegas 1.0 as a "very pleasurable experience, especially since so many functions are highly intuitive" though also criticizing some features as hard to figure out due to the lack of a central help file. Later, on June 12, 2000, Vegas Video and Audio 2.0 (also referred to as just Vegas 2.0) was released, with its beta releasing earlier that year on April 10. This was the first version of Vegas to include video-editing tools and was also the first to have a low-cost "LE" version alongside the regular release. The LE releases would continue through version 3.0 of Vegas but would be discontinued by the release of Vegas 4.0. Vegas 3.0 was released the next year on December 3, and added new video effects, features for ease-of-use with DV, and support for editing Windows Media files. Vegas 4.0 was released on 6 February 2003 and added application scripting, advanced color correction, 5.1 surround sound mixing, and Steinberg ASIO support. This was the last release under the Sonic Foundry name after it sold much of its software suite, including Sound Forge and Acid Pro, to Sony Pictures Digital for $18 million later in 2003. Under Sony's ownership, Vegas 5.0 was released on April 19, 2004, bringing 3D track motion, compositing, reversing, envelope automation, etc. 7.0 also added an improved video preview, enhanced layout management, improved snapping, and more customization. With the release of 8.0, Sony opted to go back to the original "Vegas Pro" branding that the first version released with. It added the ability to burn Blu-ray and DVD optical media, support for 32-bit floating point audio, support for tempo-based audio effects, and more. It also moved the timeline to the bottom of the window by default with the option of moving it back to the top if the user wished to. Sony was also experimenting with 64-bit at this time and ported Vegas Pro 8.0 to 64-bit systems under the name "Vegas Pro 8.1". Vegas Pro 9.0 added support for 4K resolution and pro camcorder formats like Red and XDCAM EX. In 2009, Sony Creative Software purchased the Velvetmatter Radiance suite of video FX plug-ins which were included in Sony Vegas Pro 9.0. As a result, they were no longer available as a separate product from Velvetmatter. Vegas Pro 10 was released in 2010 with stereoscopic 3D editing, image stabilization, OpenFX plugin support, real-time audio event effects, and a few UI changes. This was the last release to include support for Windows XP. Vegas Pro 11 was released the next year on 17 October, with GPGPU video acceleration, enhanced text tools, enhanced stereoscopic/3D features, RAW photo support, and new event synchronization mechanisms. In addition, Vegas Pro 11 comes pre-loaded with "NewBlue" Titler Pro, a 2D and 3D titling plug-in. Vegas Pro 12 would add two new configurations: Vegas Pro 12 Edit, for "Professional Video and Audio Production"; and Vegas Pro 12 Suite, for "Professional Editing, Disc Authoring, and Visual Effects Design". Vegas Pro 13 would be the last version released with Sony branding after the acquisition of much of Sony Creative Software's library by Magix. After they acquired Vegas, Magix released version 14 on September 20, 2016. It featured advanced 4K upscaling as well as many bug fixes, a higher video velocity limit, RED camera support, and a variety of other features. This was also the last version to have the light theme enabled by default. Released on August 28, 2017, Vegas Pro 15 features major UI changes that claim to bring usability improvements and customization. It was the first version of VEGAS Pro to have a dark theme; it also allows more efficient editing speeds, including adding new shortcuts to speed the video editing process. Vegas Pro 15 includes support for Intel Quick Sync Video (QSV) and other technologies, as well as various other features. It introduced a new VEGAS Pro icon as a V. Vegas Pro 16 has some new features including file backup, motion tracking, improved video stabilization, 360° editing and HDR support. Magix has continued to improve Vegas through version 21 with support for reading Matroska files, a more detailed render dialogue, live streaming, VST3 support, a VST 32-bit bridge, and a selective Paste Event Attributes menu. Magix would later release a subscription model for using Vegas named "Vegas Pro 365" on January 17, 2018, although the perpetual licence is still an option for customers. This version includes cloud-based speech synthesis among other features not included in the mainline Vegas release. == Version history == Each release of Vegas is sold standalone, however upgrade discounts are sometimes provided. === Vegas Beta === Sonic Foundry introduced a sneak preview version of Vegas Pro on June 11, 1999. It is called a "Multitrack Media Editing System". === Vegas 1.0 === Released on July 23, 1999 at the NAMM Show in Nashville, Tennessee, Vegas was an audio-only tool with a particular focus on rescaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Version 1.0 is the final Vegas release to include Windows 95 support. === Vegas Video beta (Vegas 2.0 beta) === Released on April 10, 2000, this was the first version of Vegas to include video-editing tools. === Vegas Video (Vegas 2.0) === Released on June 12, 2000. Version 2.0 is the final Vegas Video release to include Windows NT 4.0 support. === Vegas Video 3.0 === Released on December 3, 2001. This release added: New Video Effects – Lens Flare, Light Rays, Film FX, Color Curves, Mirror, Remap, Deform, Convolution, Linear Blur, Black Restore, Levels, Unsharp Mask, Color Grading, and Timecode Burn filter. Batch Capture with Automatic Scene Detection – Captures DV with automatic scene detection, batch capture, tape logging, still image capture and thumbnail previews. Red Book Audio CD Mastering with CD Architect (TM) Technology – Used for burning Red Book audio CD masters directly from the Vegas timeline with ISRC, UPC, and PQ list support. New Sonic Foundry DV Codec – Introduces a DV codec developed by Sonic Foundry that offers artifact-free compositing and DV chromakeying. DV Print-to-Tape from the Timeline – Prints projects to DV cameras and decks from the Vegas timeline. Windows Media (TM) File Editing – Creates and edits Windows Media (TM) files. New MPEG Encoding Tools – Used for producing MPEG-2 files for DVD productions. Dynamic RAM Previewing – Temporary RAM/render-free previews for analysis and tweaking of complex video FX without rendering. VideoCD and Data CD Burning – Burning projects directly to VideoCD for playback on most DVD players or data CDs for playback computers' CD-ROMs. === Vegas 4.0 === Released on February 6, 2003. This release added: Advanced Color Correction Tools Searchable Media Pool Bins Vectorscope, Histogram, Parade and Waveform Monitoring Application Scripting Improved Ripple Editing Motion Blur and Super-Sampling Envelopes 5.1 Surround Mixing Dolby® Digital AC-3 Encoding certified and tested by Dolby Laboratories DirectX® Audio Plug-In Effects Automation ASIO Driver Support Windows Media™ 9 Support, including Surround Encoding DVD Authoring with AC-3 File Import Capabilities Integration with DVD Architect via Chap
Transdermal optical imaging
Transdermal optical imaging, also known as transdermal optical imagery or TOI, is a method of detecting blood flow of the face by measuring hemoglobin concentration using a digital video camera. Because of the translucent property of skin, light can travel beneath the skin and re-emit. The re-emitted light from underneath the skin is affected by chromophores, mainly hemoglobin and melanin, which differ in color. The color difference allows TOI machine learning software to separate the images into layers, which are known as bitplanes. It extracts signals rich in hemoglobin and signals rich in melanin, then discards the melanin-rich signals to obtain a recording of hemoglobin changes under the skin. Transdermal optical imaging has been proposed as an alternative to cuff-based methods of measuring blood pressure because it is able to measure heart rate accurately in a "contactless and non-invasive" way. Transdermal optical imaging may be able to detect hidden emotions using the patterns of blood flow in the face.