Bright Computing, Inc. was a developer of software for deploying and managing high-performance (HPC) clusters, Kubernetes clusters, and OpenStack private clouds in on-premises data centers as well as in the public cloud. In 2022, it was acquired by Nvidia. == History == Bright Computing was founded by Matthijs van Leeuwen in 2009, who spun the company out of ClusterVision, which he had co-founded with Alex Ninaber and Arijan Sauer. Alex and Matthijs had worked together at UK’s Compusys, which was one of the first companies to commercially build HPC clusters. They left Compusys in 2002 to start ClusterVision in the Netherlands, after determining there was a growing market for building and managing supercomputer clusters using off-the-shelf hardware components and open source software, tied together with their own customized scripts. ClusterVision also provided delivery and installation support services for HPC clusters at universities and government entities. In 2004, Martijn de Vries joined ClusterVision and began development of cluster management software. The software was made available to customers in 2008, under the name ClusterVisionOS v4. In 2009, Bright Computing was spun out of ClusterVision. ClusterVisionOS was renamed Bright Cluster Manager, and van Leeuwen was named Bright Computing’s CEO. In February 2016, Bright appointed Bill Wagner as chief executive officer. Matthijs van Leeuwen became chief strategy officer, and then left the company and board of directors in 2018. In January 2022 Bright was acquired by Nvidia. Nvidia cited using Bright's Amsterdam facility as a development center. The acquisition occurred after several layoffs under Bill Wagner. == Customers == Early customers included Boeing, Sandia National Laboratories, Virginia Tech, Hewlett Packard, NSA, and Drexel University. Many early customers were introduced through resellers, including SICORP, Cray, Dell, and Advanced HPC. As of 2019, the company had more than 700 customers, including more than fifty Fortune 500 Companies. == Products and services == Bright Cluster Manager for HPC lets customers deploy and manage complete clusters. It provides management for the hardware, the operating system, the HPC software, and users. In 2014, the company announced Bright OpenStack, software to deploy, provision, and manage OpenStack-based private cloud infrastructures. In 2016, Bright started bundling several machine learning frameworks and associated tools and libraries with the product, to make it very easy to get machine learning workload up and running on a Bright cluster. In December 2018, version 8.2 was released, which introduced support for the ARM64 architecture, edge capabilities to build clusters spread out over many different geographical locations, improved workload accounting & reporting features, as well as many improvements to Bright's integration with Kubernetes. Bright Cluster Manager software was frequently sold through original equipment manufacturer (OEM) resellers, including Dell and HPE. In version 10, Bright Cluster Manager was merged into the NVIDIA Base Command Manager. Bright Computing was covered by Software Magazine and Yahoo! Finance, among other publications. == Awards == In 2016, Bright Computing was awarded a €1.5M Horizon 2020 SME Instrument grant from the European Commission. Bright Computing was one of only 33 grant recipients from 960 submitted proposals. In its category only 5 out of 260 grants were awarded. 2015 HPCwire Editor’s Choice Award for “Best HPC Cluster Solution or Technology" Main Software 50 “Highest Growth” award winner, 2013 Deloitte Technology Fast50 “Rising Star 2013” award winner Bio-IT World Conference & Expo ‘13, Boston, MA, winner of “IT Hardware & Infrastructure” category of the “Best of Show Award” program Red Herring Top 100 Global Award, 2013
Morphing
Morphing is a special effect in motion pictures and animations that changes (or morphs) one image or shape into another through a seamless transition. Traditionally such a depiction would be achieved through dissolving techniques on film. Since the early 1990s, this has been replaced by computer software to create more realistic transitions. A similar method is applied to audio recordings, for example, by changing voices or vocal lines. == Early transformation techniques == Long before digital morphing, several techniques were used for similar image transformations. Some of those techniques are closer to a matched dissolve – a gradual change between two pictures without warping the shapes in the images – while others did change the shapes in between the start and end phases of the transformation. === Tabula scalata === Known since at least the end of the 16th century, Tabula scalata is a type of painting with two images divided over a corrugated surface. Each image is only correctly visible from a certain angle. If the pictures are matched properly, a primitive type of morphing effect occurs when changing from one viewing angle to the other. === Mechanical transformations === Around 1790 French shadow play showman François Dominique Séraphin used a metal shadow figure with jointed parts to have the face of a young woman changing into that of a witch. Some 19th century mechanical magic lantern slides produced changes to the appearance of figures. For instance a nose could grow to enormous size, simply by slowly sliding away a piece of glass with black paint that masked part of another glass plate with the picture. === Matched dissolves === In the first half of the 19th century "dissolving views" were a popular type of magic lantern show, mostly showing landscapes gradually dissolving from a day to night version or from summer to winter. Other uses are known, for instance Henry Langdon Childe showed groves transforming into cathedrals. The 1910 short film Narren-grappen shows a dissolve transformation of the clothing of a female character. Maurice Tourneur's 1915 film Alias Jimmy Valentine featured a subtle dissolve transformation of the main character from respected citizen Lee Randall into his criminal alter ego Jimmy Valentine. The Peter Tchaikovsky Story in a 1959 TV-series episode of Disneyland features a swan automaton transforming into a real ballet dancer. In 1985, Godley & Creme created a "morph" effect using analogue cross-fades on parts of different faces in the video for "Cry". === Animation === In animation, the morphing effect was created long before the introduction of cinema. A phenakistiscope designed by its inventor Joseph Plateau was printed around 1835 and shows the head of a woman changing into a witch and then into a monster. Émile Cohl's 1908 animated film Fantasmagorie featured much morphing of characters and objects drawn in simple outlines. == Digital morphing == In the early 1990s, computer techniques capable of more convincing results saw increasing use. These involved distorting one image at the same time that it faded into another through marking corresponding points and vectors on the "before" and "after" images used in the morph. For example, one would morph one face into another by marking key points on the first face, such as the contour of the nose or location of an eye, and mark where these same points existed on the second face. The computer would then distort the first face to have the shape of the second face at the same time that it faded the two faces. To compute the transformation of image coordinates required for the distortion, the algorithm of Beier and Neely can be used. === Concerns === In 1993 concerns were raised about the authenticity of digitally altered images arising from morphing. Images of fake "tween" people found half way between two morphed people created a skeptical media long before AI. === Early examples === In or before 1986, computer graphics company Omnibus created a digital animation for a Tide commercial with a Tide detergent bottle smoothly morphing into the shape of the United States. The effect was programmed by Bob Hoffman. Omnibus re-used the technique in the movie Flight of the Navigator (1986). It featured scenes with a computer generated spaceship that appeared to change shape. The plaster cast of a model of the spaceship was scanned and digitally modified with techniques that included a reflection mapping technique that was also developed by programmer Bob Hoffman. The 1986 movie The Golden Child implemented early digital morphing effects from animal to human and back. Willow (1988) featured a more detailed digital morphing sequence with a person changing into different animals. A similar process was used a year later in Indiana Jones and the Last Crusade to create Walter Donovan's gruesome demise. Both effects were created by Industrial Light & Magic, using software developed by Tom Brigham and Doug Smythe (AMPAS). In 1991, morphing appeared notably in the Michael Jackson music video "Black or White" and in the movies Terminator 2: Judgment Day and Star Trek VI: The Undiscovered Country. The first application for personal computers to offer morphing was Gryphon Software Morph on the Macintosh. Other early morphing systems included ImageMaster, MorphPlus and CineMorph, all of which premiered for the Amiga in 1992. Other programs became widely available within a year, and for a time the effect became common to the point of cliché. For high-end use, Elastic Reality (based on MorphPlus) saw its first feature film use in In The Line of Fire (1993) and was used in Quantum Leap (work performed by the Post Group). At VisionArt Ted Fay used Elastic Reality to morph Odo for Star Trek: Deep Space Nine. The Snoop Dogg music video "Who Am I? (What's My Name?)", where Snoop Dogg and the others morph into dogs. Elastic Reality was later purchased by Avid, having already become the de facto system of choice, used in many hundreds of films. The technology behind Elastic Reality earned two Academy Awards in 1996 for Scientific and Technical Achievement going to Garth Dickie and Perry Kivolowitz. The effect is technically called a "spatially warped cross-dissolve". The first social network designed for user-generated morph examples to be posted online was Galleries by Morpheus. In late 1991 Yeti Productions employed a young Stephen Regelous to run it's 486 computer graphics system in Wellington New Zealand. After producer Barry Thomas showed him Michael Jackson's "Black or White", Regelous wrote 10,000 lines of C++ code of triangle-based digital morphing software. Together they created morphing based TV commercials for The NZ Cancer Society, Fit food, Salvation Army and others. The Fit food commercial employed morphing with 35mm, pin registered, digitally controlled motion control designed and made by Russell Collins with software by Stephen Regelous. In Taiwan, Aderans, a hair loss solutions provider, did a TV commercial featuring a morphing sequence in which people with lush, thick hair morph into one another, reminiscent of the end sequence of the "Black or White" video. === Present use === Morphing algorithms continue to advance and programs can automatically morph images that correspond closely enough with relatively little instruction from the user. This has led to the use of morphing techniques to create convincing slow-motion effects where none existed in the original film or video footage by morphing between each individual frame using optical flow technology. Morphing has also appeared as a transition technique between one scene and another in television shows, even if the contents of the two images are entirely unrelated. The algorithm in this case attempts to find corresponding points between the images and distort one into the other as they crossfade. While perhaps less obvious than in the past, morphing is used heavily today. Whereas the effect was initially a novelty, today, morphing effects are most often designed to be seamless and invisible to the eye. A particular use for morphing effects is modern digital font design. Using morphing technology, called interpolation or multiple master tech, a designer can create an intermediate between two styles, for example generating a semibold font by compromising between a bold and regular style, or extend a trend to create an ultra-light or ultra-bold. The technique is commonly used by font design studios. == Software == After Effects Animate Elastic Reality FantaMorph Gryphon Software Morph Morph Age Morpheus Nuke SilhouetteFX
Top 10 AI Sales Assistants Compared (2026)
Looking for the best AI sales assistant? An AI sales assistant is software that uses machine learning to help you get more done — it can save you hours every week by automating repetitive work. Most options offer a generous free tier, with paid plans unlocking higher limits, faster processing, and team features. Whether you are a beginner or a pro, the right AI sales assistant slots into your workflow and pays for itself fast. This guide breaks down the top picks, their pros and cons, and who each one is best for.
The Best Free AI Copywriting Tool for Beginners
Curious about the best AI copywriting tool? An AI copywriting tool is software that uses machine learning to help you get more done — it combines speed, accuracy, and an interface that just works. Hands-on testing shows real-world results vary, so a short free trial is the smartest way to decide. Whether you are a beginner or a pro, the right AI copywriting tool slots into your workflow and pays for itself fast. This guide breaks down the top picks, their pros and cons, and who each one is best for.
Language and Computers
Language and Computers: Studies in Practical Linguistics (ISSN 0921-5034) is a book series on corpus linguistics and related areas. As studies in linguistics, volumes in the series have, by definition, their foundations in linguistic theory; however, they are not concerned with theory for theory's sake, but always with a definite direct or indirect interest in the possibilities of practical application in the dynamic area where language and computers meet. The book series was founded in 1988, and is published by Brill|Rodopi. == Editors == Christian Mair Charles F. Meyer == Volumes == Volumes include: # 77. English Corpus Linguistics: Variation in Time, Space and Genre. Selected papers from ICAME 32., Edited by Gisle Andersen and Kristin Bech. ISBN 978-90-420-3679-6 E-ISBN 978-94-012-0940-3 # 76. English Corpus Linguistics: Crossing Paths., Edited by Merja Kytö. ISBN 978-90-420-3518-8 E-ISBN 978-94-012-0793-5 # 75. Corpus Linguistics and Variation in English.Theory and Description., Edited by Joybrato Mukherjee and Magnus Huber. ISBN 978-90-420-3495-2 E-ISBN 978-94-012-0771-3 # 74. English Corpus Linguistics: Looking back, Moving forward. Papers from the 30th International Conference on English Language Research on Computerized Corpora (ICAME 30), Lancaster, UK, 27–31 May 2009., Edited by Sebastian Hoffmann, Paul Rayson and Geoffrey Leech. ISBN 978-90-420-3466-2 E-ISBN 978-94-012-0747-8 #73. Corpus-based Studies in Language Use, Language Learning, and Language Documentation., Edited by John Newman, Harald Baayen and Sally Rice. ISBN 978-90-420-3401-3 E-ISBN 978-94-012-0688-4 #72. The Progressive in Modern English. A Corpus-Based Study of Grammaticalization and Related Changes., by Svenja Kranich. ISBN 978-90-420-3143-2 E-ISBN 978-90-420-3144-9 #71. Corpus-linguistic applications. Current studies, new directions, Edited by Stefan Th. Gries, Stefanie Wulff, and Mark Davies.. ISBN 978-90-420-2800-5 #70. A resource-light approach to morpho-syntactic tagging., by Anna Feldman and Jirka Hana. ISBN 978-90-420-2768-8 #69. Corpus Linguistics. Refinements and Reassessments., Edited by Antoinette Renouf and Andrew Kehoe. ISBN 978-90-420-2597-4 #68. Corpora: Pragmatics and Discourse. Papers from the 29th International Conference on English Language Research on Computerized Corpora (ICAME 29). Ascona, Switzerland, 14–18 May 2008., Edited by Andreas H. Jucker, Daniel Schreier and Marianne Hundt. ISBN 978-90-420-2592-9 #67. Modals and Quasi-modals in English., by Peter Collins. ISBN 978-90-420-2532-5 #66. Linking up contrastive and learner corpus research., Edited by Gaëtanelle Gilquin, Szilvia Papp and María Belén Díez-Bedmar. ISBN 978-90-420-2446-5 #64. Language, People, Numbers. Corpus Linguistics and Society., Edited by Andrea Gerbig and Oliver Mason. ISBN 978-90-420-2350-5 #63. Variation and change in the lexicon. A corpus-based analysis of adjectives in English ending in –ic and –ical. , by Mark Kaunisto. ISBN 978-90-420-2233-1 #62. Corpus Linguistics 25 Years on., Edited by Roberta Facchinetti. ISBN 978-90-420-2195-2 #61. Corpora in the Foreign Language Classroom. Selected papers from the Sixth International Conference on Teaching and Language Corpora (TaLC 6), Edited by Encarnación Hidalgo, Luis Quereda and Juan Santana. ISBN 978-90-420-2142-6 #60. Corpus Linguistics Beyond the Word. Corpus Research from Phrase to Discourse, Edited by Eileen Fitzpatrick. ISBN 978-90-420-2135-8 #59. Corpus Linguistics and the Web., Edited by Marianne Hundt, Nadja Nesselhauf and Carolin Biewer. ISBN 978-90-420-2128-0 #58. English mediopassive constructions. A cognitive, corpus-based study of their origin, spread, and current status, by Marianne Hundt. ISBN 978-90-420-2127-3 / ISBN 90-420-2127-6
Belief–desire–intention model
For popular psychology, the belief–desire–intention (BDI) model of human practical reasoning was developed by Michael Bratman as a way of explaining future-directed intention. BDI is fundamentally reliant on folk psychology (the 'theory theory'), which is the notion that our mental models of the world are theories. It was used as a basis for developing the belief–desire–intention software model. == Applications == BDI was part of the inspiration behind the BDI software architecture, which Bratman was also involved in developing. Here, the notion of intention was seen as a way of limiting time spent on deliberating about what to do, by eliminating choices inconsistent with current intentions. BDI has also aroused some interest in psychology. BDI formed the basis for a computational model of childlike reasoning CRIBB.
Is an AI Sales Assistant Worth It in 2026?
Shopping for the best AI sales assistant? An AI sales assistant is software that uses machine learning to help you get more done — it keeps getting smarter as the underlying models improve. Pricing, accuracy, and the size of the model behind the tool are the three factors that most affect daily usefulness. Whether you are a beginner or a pro, the right AI sales assistant slots into your workflow and pays for itself fast. Below we compare features, pricing, and real output so you can choose with confidence.