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  • Reparameterization trick

    Reparameterization trick

    The reparameterization trick (aka "reparameterization gradient estimator") is a technique used in statistical machine learning, particularly in variational inference, variational autoencoders, and stochastic optimization. It allows for the efficient computation of gradients through random variables, enabling the optimization of parametric probability models using stochastic gradient descent, and the variance reduction of estimators. It was developed in the 1980s in operations research, under the name of "pathwise gradients", or "stochastic gradients". Its use in variational inference was proposed in 2013. == Mathematics == Let z {\displaystyle z} be a random variable with distribution q ϕ ( z ) {\displaystyle q_{\phi }(z)} , where ϕ {\displaystyle \phi } is a vector containing the parameters of the distribution. === REINFORCE estimator === Consider an objective function of the form: L ( ϕ ) = E z ∼ q ϕ ( z ) [ f ( z ) ] {\displaystyle L(\phi )=\mathbb {E} _{z\sim q_{\phi }(z)}[f(z)]} Without the reparameterization trick, estimating the gradient ∇ ϕ L ( ϕ ) {\displaystyle \nabla _{\phi }L(\phi )} can be challenging, because the parameter appears in the random variable itself. In more detail, we have to statistically estimate: ∇ ϕ L ( ϕ ) = ∇ ϕ ∫ d z q ϕ ( z ) f ( z ) {\displaystyle \nabla _{\phi }L(\phi )=\nabla _{\phi }\int dz\;q_{\phi }(z)f(z)} The REINFORCE estimator, widely used in reinforcement learning and especially policy gradient, uses the following equality: ∇ ϕ L ( ϕ ) = ∫ d z q ϕ ( z ) ∇ ϕ ( ln ⁡ q ϕ ( z ) ) f ( z ) = E z ∼ q ϕ ( z ) [ ∇ ϕ ( ln ⁡ q ϕ ( z ) ) f ( z ) ] {\displaystyle \nabla _{\phi }L(\phi )=\int dz\;q_{\phi }(z)\nabla _{\phi }(\ln q_{\phi }(z))f(z)=\mathbb {E} _{z\sim q_{\phi }(z)}[\nabla _{\phi }(\ln q_{\phi }(z))f(z)]} This allows the gradient to be estimated: ∇ ϕ L ( ϕ ) ≈ 1 N ∑ i = 1 N ∇ ϕ ( ln ⁡ q ϕ ( z i ) ) f ( z i ) {\displaystyle \nabla _{\phi }L(\phi )\approx {\frac {1}{N}}\sum _{i=1}^{N}\nabla _{\phi }(\ln q_{\phi }(z_{i}))f(z_{i})} The REINFORCE estimator has high variance, and many methods were developed to reduce its variance. === Reparameterization estimator === The reparameterization trick expresses z {\displaystyle z} as: z = g ϕ ( ϵ ) , ϵ ∼ p ( ϵ ) {\displaystyle z=g_{\phi }(\epsilon ),\quad \epsilon \sim p(\epsilon )} Here, g ϕ {\displaystyle g_{\phi }} is a deterministic function parameterized by ϕ {\displaystyle \phi } , and ϵ {\displaystyle \epsilon } is a noise variable drawn from a fixed distribution p ( ϵ ) {\displaystyle p(\epsilon )} . This gives: L ( ϕ ) = E ϵ ∼ p ( ϵ ) [ f ( g ϕ ( ϵ ) ) ] {\displaystyle L(\phi )=\mathbb {E} _{\epsilon \sim p(\epsilon )}[f(g_{\phi }(\epsilon ))]} Now, the gradient can be estimated as: ∇ ϕ L ( ϕ ) = E ϵ ∼ p ( ϵ ) [ ∇ ϕ f ( g ϕ ( ϵ ) ) ] ≈ 1 N ∑ i = 1 N ∇ ϕ f ( g ϕ ( ϵ i ) ) {\displaystyle \nabla _{\phi }L(\phi )=\mathbb {E} _{\epsilon \sim p(\epsilon )}[\nabla _{\phi }f(g_{\phi }(\epsilon ))]\approx {\frac {1}{N}}\sum _{i=1}^{N}\nabla _{\phi }f(g_{\phi }(\epsilon _{i}))} == Examples == For some common distributions, the reparameterization trick takes specific forms: Normal distribution: For z ∼ N ( μ , σ 2 ) {\displaystyle z\sim {\mathcal {N}}(\mu ,\sigma ^{2})} , we can use: z = μ + σ ϵ , ϵ ∼ N ( 0 , 1 ) {\displaystyle z=\mu +\sigma \epsilon ,\quad \epsilon \sim {\mathcal {N}}(0,1)} Exponential distribution: For z ∼ Exp ( λ ) {\displaystyle z\sim {\text{Exp}}(\lambda )} , we can use: z = − 1 λ log ⁡ ( ϵ ) , ϵ ∼ Uniform ( 0 , 1 ) {\displaystyle z=-{\frac {1}{\lambda }}\log(\epsilon ),\quad \epsilon \sim {\text{Uniform}}(0,1)} Discrete distribution can be reparameterized by the Gumbel distribution (Gumbel-softmax trick or "concrete distribution") and diffusion models. In general, any distribution that is differentiable with respect to its parameters can be reparameterized by inverting the multivariable CDF function, then apply the implicit method. See for an exposition and application to the Gamma, Beta, Dirichlet, and von Mises distributions. == Applications == === Variational autoencoder === In Variational Autoencoders (VAEs), the VAE objective function, known as the Evidence Lower Bound (ELBO), is given by: ELBO ( ϕ , θ ) = E z ∼ q ϕ ( z | x ) [ log ⁡ p θ ( x | z ) ] − D KL ( q ϕ ( z | x ) | | p ( z ) ) {\displaystyle {\text{ELBO}}(\phi ,\theta )=\mathbb {E} _{z\sim q_{\phi }(z|x)}[\log p_{\theta }(x|z)]-D_{\text{KL}}(q_{\phi }(z|x)||p(z))} where q ϕ ( z | x ) {\displaystyle q_{\phi }(z|x)} is the encoder (recognition model), p θ ( x | z ) {\displaystyle p_{\theta }(x|z)} is the decoder (generative model), and p ( z ) {\displaystyle p(z)} is the prior distribution over latent variables. The gradient of ELBO with respect to θ {\displaystyle \theta } is simply E z ∼ q ϕ ( z | x ) [ ∇ θ log ⁡ p θ ( x | z ) ] ≈ 1 L ∑ l = 1 L ∇ θ log ⁡ p θ ( x | z l ) {\displaystyle \mathbb {E} _{z\sim q_{\phi }(z|x)}[\nabla _{\theta }\log p_{\theta }(x|z)]\approx {\frac {1}{L}}\sum _{l=1}^{L}\nabla _{\theta }\log p_{\theta }(x|z_{l})} but the gradient with respect to ϕ {\displaystyle \phi } requires the trick. Express the sampling operation z ∼ q ϕ ( z | x ) {\displaystyle z\sim q_{\phi }(z|x)} as: z = μ ϕ ( x ) + σ ϕ ( x ) ⊙ ϵ , ϵ ∼ N ( 0 , I ) {\displaystyle z=\mu _{\phi }(x)+\sigma _{\phi }(x)\odot \epsilon ,\quad \epsilon \sim {\mathcal {N}}(0,I)} where μ ϕ ( x ) {\displaystyle \mu _{\phi }(x)} and σ ϕ ( x ) {\displaystyle \sigma _{\phi }(x)} are the outputs of the encoder network, and ⊙ {\displaystyle \odot } denotes element-wise multiplication. Then we have ∇ ϕ ELBO ( ϕ , θ ) = E ϵ ∼ N ( 0 , I ) [ ∇ ϕ log ⁡ p θ ( x | z ) + ∇ ϕ log ⁡ q ϕ ( z | x ) − ∇ ϕ log ⁡ p ( z ) ] {\displaystyle \nabla _{\phi }{\text{ELBO}}(\phi ,\theta )=\mathbb {E} _{\epsilon \sim {\mathcal {N}}(0,I)}[\nabla _{\phi }\log p_{\theta }(x|z)+\nabla _{\phi }\log q_{\phi }(z|x)-\nabla _{\phi }\log p(z)]} where z = μ ϕ ( x ) + σ ϕ ( x ) ⊙ ϵ {\displaystyle z=\mu _{\phi }(x)+\sigma _{\phi }(x)\odot \epsilon } . This allows us to estimate the gradient using Monte Carlo sampling: ∇ ϕ ELBO ( ϕ , θ ) ≈ 1 L ∑ l = 1 L [ ∇ ϕ log ⁡ p θ ( x | z l ) + ∇ ϕ log ⁡ q ϕ ( z l | x ) − ∇ ϕ log ⁡ p ( z l ) ] {\displaystyle \nabla _{\phi }{\text{ELBO}}(\phi ,\theta )\approx {\frac {1}{L}}\sum _{l=1}^{L}[\nabla _{\phi }\log p_{\theta }(x|z_{l})+\nabla _{\phi }\log q_{\phi }(z_{l}|x)-\nabla _{\phi }\log p(z_{l})]} where z l = μ ϕ ( x ) + σ ϕ ( x ) ⊙ ϵ l {\displaystyle z_{l}=\mu _{\phi }(x)+\sigma _{\phi }(x)\odot \epsilon _{l}} and ϵ l ∼ N ( 0 , I ) {\displaystyle \epsilon _{l}\sim {\mathcal {N}}(0,I)} for l = 1 , … , L {\displaystyle l=1,\ldots ,L} . This formulation enables backpropagation through the sampling process, allowing for end-to-end training of the VAE model using stochastic gradient descent or its variants. === Variational inference === More generally, the trick allows using stochastic gradient descent for variational inference. Let the variational objective (ELBO) be of the form: ELBO ( ϕ ) = E z ∼ q ϕ ( z ) [ log ⁡ p ( x , z ) − log ⁡ q ϕ ( z ) ] {\displaystyle {\text{ELBO}}(\phi )=\mathbb {E} _{z\sim q_{\phi }(z)}[\log p(x,z)-\log q_{\phi }(z)]} Using the reparameterization trick, we can estimate the gradient of this objective with respect to ϕ {\displaystyle \phi } : ∇ ϕ ELBO ( ϕ ) ≈ 1 L ∑ l = 1 L ∇ ϕ [ log ⁡ p ( x , g ϕ ( ϵ l ) ) − log ⁡ q ϕ ( g ϕ ( ϵ l ) ) ] , ϵ l ∼ p ( ϵ ) {\displaystyle \nabla _{\phi }{\text{ELBO}}(\phi )\approx {\frac {1}{L}}\sum _{l=1}^{L}\nabla _{\phi }[\log p(x,g_{\phi }(\epsilon _{l}))-\log q_{\phi }(g_{\phi }(\epsilon _{l}))],\quad \epsilon _{l}\sim p(\epsilon )} === Dropout === The reparameterization trick has been applied to reduce the variance in dropout, a regularization technique in neural networks. The original dropout can be reparameterized with Bernoulli distributions: y = ( W ⊙ ϵ ) x , ϵ i j ∼ Bernoulli ( α i j ) {\displaystyle y=(W\odot \epsilon )x,\quad \epsilon _{ij}\sim {\text{Bernoulli}}(\alpha _{ij})} where W {\displaystyle W} is the weight matrix, x {\displaystyle x} is the input, and α i j {\displaystyle \alpha _{ij}} are the (fixed) dropout rates. More generally, other distributions can be used than the Bernoulli distribution, such as the gaussian noise: y i = μ i + σ i ⊙ ϵ i , ϵ i ∼ N ( 0 , I ) {\displaystyle y_{i}=\mu _{i}+\sigma _{i}\odot \epsilon _{i},\quad \epsilon _{i}\sim {\mathcal {N}}(0,I)} where μ i = m i ⊤ x {\displaystyle \mu _{i}=\mathbf {m} _{i}^{\top }x} and σ i 2 = v i ⊤ x 2 {\displaystyle \sigma _{i}^{2}=\mathbf {v} _{i}^{\top }x^{2}} , with m i {\displaystyle \mathbf {m} _{i}} and v i {\displaystyle \mathbf {v} _{i}} being the mean and variance of the i {\displaystyle i} -th output neuron. The reparameterization trick can be applied to all such cases, resulting in the variational dropout method.

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  • Data access layer

    Data access layer

    A data access layer (DAL) is a software architectural layer that provides access to data from one or more sources, such as a relational database, NoSQL database, SQL query engine, file system, or other persistent storage. It separates client code from the details of storage systems, query execution, connection handling, and data retrieval. Data access layers are commonly used to centralize data access logic, reduce coupling between applications and data sources, and provide a consistent interface for retrieving, writing, or querying data. Depending on the system, a data access layer may be implemented as application code, a shared library, an intermediary service, or part of a broader database abstraction layer. == In application architecture == In application software, a data access layer provides a boundary between business logic or application code and the systems used to store or retrieve data. For example, a data access layer may expose methods or interfaces for retrieving, writing, or querying data while hiding details such as connection management, SQL statements, storage APIs, error handling, and result conversion. Depending on the application, the layer may return objects, records, tabular results, documents, streams, or other representations of data. A common implementation is a set of classes, functions, or methods that directly reference database queries, stored procedures, storage APIs, or other data sources. For example, instead of using commands such as insert, delete, and update throughout an application to access a specific table, methods such as registerUser or loginUser may be implemented inside the data access layer. Business logic methods from an application can also be mapped to the data access layer. Instead of making several database queries directly, an application can call a single DAL method that abstracts those database calls. Applications using a data access layer may be either dependent on or independent from a particular database server. If the data access layer supports multiple database systems, the application can use any database system that the DAL can access. In either case, the data access layer provides a centralized location for calls into the underlying data store, which can make it easier to maintain, test, or port the application to other storage systems. == Implementation patterns == A data access layer can be implemented using several patterns and technologies, including data access objects, repositories, stored procedures, query builders, database drivers, or object–relational mapping tools. These mechanisms may implement part or all of a data access layer, but are not always equivalent to the layer itself. Object–relational mapping tools are commonly used in data access layers for object-oriented applications that map records in a relational database to objects in a programming language. Other data access layers may expose lower-level database interfaces, tabular results, document-oriented data, files, streams, or protocol-level interfaces. == Use with multiple underlying data systems == A data access layer may be used to abstract differences between multiple underlying data systems, allowing applications to access them through a more consistent interface. In such designs, applications call the DAL rather than interacting directly with each database or storage system. The layer may then handle connection management, query generation, result mapping, error handling, and other implementation details. A data access layer may be implemented as a shared library or as an intermediary service, such as a proxy or gateway. In this configuration, client applications or services connect to the data access layer, which then communicates with one or more underlying databases or query engines. This can provide a common location for authentication, authorization, logging, routing, and translation between different database interfaces. == Interfaces and protocols == Data access layers may expose or use standardized interfaces and protocols for database access. Examples include Open Database Connectivity (ODBC), Java Database Connectivity (JDBC), database-native wire protocols, and newer interfaces such as Apache Arrow Database Connectivity (ADBC) and Arrow Flight SQL. In systems that support multiple data stores, a data access layer may provide a consistent interface while using different drivers, protocols, or query mechanisms internally. == Distinction from related patterns == A data access layer is related to, but broader than, a data access object, which is usually an object-oriented design pattern for encapsulating access to a persistence mechanism. It is also related to a database abstraction layer, which focuses on hiding differences between database systems. In practice, the terms may overlap.

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  • Event condition action

    Event condition action

    Event condition action (ECA) is a short-cut for referring to the structure of active rules in event-driven architecture and active database systems. Such a rule traditionally consisted of three parts: The event part specifies the signal that triggers the invocation of the rule The condition part is a logical test that, if satisfied or evaluates to true, causes the action to be carried out The action part consists of updates or invocations on the local data This structure was used by the early research in active databases which started to use the term ECA. Current state of the art ECA rule engines use many variations on rule structure. Also other features not considered by the early research is introduced, such as strategies for event selection into the event part. In a memory-based rule engine, the condition could be some tests on local data and actions could be updates to object attributes. In a database system, the condition could simply be a query to the database, with the result set (if not null) being passed to the action part for changes to the database. In either case, actions could also be calls to external programs or remote procedures. Note that for database usage, updates to the database are regarded as internal events. As a consequence, the execution of the action part of an active rule can match the event part of the same or another active rule, thus triggering it. The equivalent in a memory-based rule engine would be to invoke an external method that caused an external event to trigger another ECA rule. ECA rules can also be used in rule engines that use variants of the Rete algorithm for rule processing. == ECA rule engines == Rulecore Concurrent Rules Apart Database Detect Invocation Rules ConceptBase ECArules

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  • I Am Rich

    I Am Rich

    I Am Rich is a discontinued 2008 mobile app for iPhones which had minimal function and was priced at US$999.99 (equivalent to $1,495 in 2025). The app was pulled from the App Store less than 24 hours after its launch. Receiving negative reviews from critics, only eight copies were sold. In the years since, several similar applications have been released at lower prices. == Overview == I Am Rich was developed as a joke by German software developer, Armin Heinrich, after he saw iPhone users complaining about software priced above $0.99. The app only showed a glowing red gem and an icon that, when pressed, displayed the following mantra in large text: I am richI deserv [sic] itI am good,healthy & successful Heinrich told The New York Times that "I regard it as art. I did not expect many people to buy it and did not expect all the fuss about it." The application is described as "a work of art with no hidden function at all", with its only purpose being to show other people that they were able to afford it. Vox writer Zachary Crockett called it "the ultimate Veblen good in app form". == Release == Heinrich released and distributed I Am Rich through the App Store on 5 August 2008. The app was sold for US$999.99 (equivalent to $1,495 in 2025), €799.99 (equivalent to €1,078 in 2023), and £599.99 (equivalent to £978.12 in 2025)—the highest prices Apple allowed for App Store content. Without explanation, the application was removed from the App Store by Apple less than a day after its release. === Purchases === Eight people bought the application, at least one of whom claimed to have done so accidentally. Six US sales and two European sales netted $5,600 for Heinrich and $2,400 for Apple (respectively equivalent to $8,374 and $3,589 in 2025). In correspondence with the Los Angeles Times, Heinrich told the newspaper that Apple had refunded two purchasers of his app, and that he was happy to not have dissatisfied customers. == Reception == Discussing the app on the website Silicon Alley Insider, Dan Frommer described the program as a "scam", "worthless", and finally "a joke that smells like a scammy rip-off" on August 5, 6, and 8, respectively. Without purchasing the app, Fox News's Paul Wagenseil guessed that the secret mantra was "German for 'Sucker!'" (Heinrich is German). Wired's Brian X. Chen described I Am Rich as a waste of money to "prove you're a jerk", and contrasted the expenditure with donating to cancer foundations and Third World countries. Heinrich told the Los Angeles Times's Mark Milian that he had received correspondence from satisfied customers: "I've got e-mails from customers telling me that they really love the app [... and that they had] no trouble spending the money". In an interview with The New York Times, though, he told of receiving many insulting emails and telephone messages. == Similar applications == The next year, Heinrich released I Am Rich LE. Priced at US$9.99 (equivalent to $14.99 in 2025), the new app has several new features (including a calculator, "help system", and the "famous mantra without the spelling mistakes") to meet Apple's requirement that apps have "definable content". Some customers were disappointed by the new functionality, poorly rating the app due to its ostensible improvements. On 23 February 2009, CNET Asia reported on the "conceptually similar" app, I Am Richer, developed by Mike DG for Google's Android. The app was released on the Android Market for US$200 (equivalent to $300.14 in 2025), a limit imposed by Google, who had no objection to the application. With the same name, the I Am Rich that was released on the Windows Phone Marketplace on 22 December 2010, was developed by DotNetNuzzi. Described by MobileCrunch as equally useless as the original, this app cost US$499.99 (equivalent to $738.2 in 2025), the price cap imposed by Microsoft.

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  • Viola–Jones object detection framework

    Viola–Jones object detection framework

    The Viola–Jones object detection framework is a machine learning object detection framework proposed in 2001 by Paul Viola and Michael Jones. It was motivated primarily by the problem of face detection, although it can be adapted to the detection of other object classes. In short, it consists of a sequence of classifiers. Each classifier is a single perceptron with several binary masks (Haar features). To detect faces in an image, a sliding window is computed over the image. For each image, the classifiers are applied. If at any point, a classifier outputs "no face detected", then the window is considered to contain no face. Otherwise, if all classifiers output "face detected", then the window is considered to contain a face. The algorithm is efficient for its time, able to detect faces in 384 by 288 pixel images at 15 frames per second on a conventional 700 MHz Intel Pentium III. It is also robust, achieving high precision and recall. While it has lower accuracy than more modern methods such as convolutional neural network, its efficiency and compact size (only around 50k parameters, compared to millions of parameters for typical CNN like DeepFace) means it is still used in cases with limited computational power. For example, in the original paper, they reported that this face detector could run on the Compaq iPAQ at 2 fps (this device has a low power StrongARM without floating point hardware). == Problem description == Face detection is a binary classification problem combined with a localization problem: given a picture, decide whether it contains faces, and construct bounding boxes for the faces. To make the task more manageable, the Viola–Jones algorithm only detects full view (no occlusion), frontal (no head-turning), upright (no rotation), well-lit, full-sized (occupying most of the frame) faces in fixed-resolution images. The restrictions are not as severe as they appear, as one can normalize the picture to bring it closer to the requirements for Viola-Jones. any image can be scaled to a fixed resolution for a general picture with a face of unknown size and orientation, one can perform blob detection to discover potential faces, then scale and rotate them into the upright, full-sized position. the brightness of the image can be corrected by white balancing. the bounding boxes can be found by sliding a window across the entire picture, and marking down every window that contains a face. This would generally detect the same face multiple times, for which duplication removal methods, such as non-maximal suppression, can be used. The "frontal" requirement is non-negotiable, as there is no simple transformation on the image that can turn a face from a side view to a frontal view. However, one can train multiple Viola-Jones classifiers, one for each angle: one for frontal view, one for 3/4 view, one for profile view, a few more for the angles in-between them. Then one can at run time execute all these classifiers in parallel to detect faces at different view angles. The "full-view" requirement is also non-negotiable, and cannot be simply dealt with by training more Viola-Jones classifiers, since there are too many possible ways to occlude a face. == Components of the framework == A full presentation of the algorithm is in. Consider an image I ( x , y ) {\displaystyle I(x,y)} of fixed resolution ( M , N ) {\displaystyle (M,N)} . Our task is to make a binary decision: whether it is a photo of a standardized face (frontal, well-lit, etc) or not. Viola–Jones is essentially a boosted feature learning algorithm, trained by running a modified AdaBoost algorithm on Haar feature classifiers to find a sequence of classifiers f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} . Haar feature classifiers are crude, but allows very fast computation, and the modified AdaBoost constructs a strong classifier out of many weak ones. At run time, a given image I {\displaystyle I} is tested on f 1 ( I ) , f 2 ( I ) , . . . f k ( I ) {\displaystyle f_{1}(I),f_{2}(I),...f_{k}(I)} sequentially. If at any point, f i ( I ) = 0 {\displaystyle f_{i}(I)=0} , the algorithm immediately returns "no face detected". If all classifiers return 1, then the algorithm returns "face detected". For this reason, the Viola-Jones classifier is also called "Haar cascade classifier". === Haar feature classifiers === Consider a perceptron f w , b {\displaystyle f_{w,b}} defined by two variables w ( x , y ) , b {\displaystyle w(x,y),b} . It takes in an image I ( x , y ) {\displaystyle I(x,y)} of fixed resolution, and returns f w , b ( I ) = { 1 , if ∑ x , y w ( x , y ) I ( x , y ) + b > 0 0 , else {\displaystyle f_{w,b}(I)={\begin{cases}1,\quad {\text{if }}\sum _{x,y}w(x,y)I(x,y)+b>0\\0,\quad {\text{else}}\end{cases}}} A Haar feature classifier is a perceptron f w , b {\displaystyle f_{w,b}} with a very special kind of w {\displaystyle w} that makes it extremely cheap to calculate. Namely, if we write out the matrix w ( x , y ) {\displaystyle w(x,y)} , we find that it takes only three possible values { + 1 , − 1 , 0 } {\displaystyle \{+1,-1,0\}} , and if we color the matrix with white on + 1 {\displaystyle +1} , black on − 1 {\displaystyle -1} , and transparent on 0 {\displaystyle 0} , the matrix is in one of the 5 possible patterns shown on the right. Each pattern must also be symmetric to x-reflection and y-reflection (ignoring the color change), so for example, for the horizontal white-black feature, the two rectangles must be of the same width. For the vertical white-black-white feature, the white rectangles must be of the same height, but there is no restriction on the black rectangle's height. ==== Rationale for Haar features ==== The Haar features used in the Viola-Jones algorithm are a subset of the more general Haar basis functions, which have been used previously in the realm of image-based object detection. While crude compared to alternatives such as steerable filters, Haar features are sufficiently complex to match features of typical human faces. For example: The eye region is darker than the upper-cheeks. The nose bridge region is brighter than the eyes. Composition of properties forming matchable facial features: Location and size: eyes, mouth, bridge of nose Value: oriented gradients of pixel intensities Further, the design of Haar features allows for efficient computation of f w , b ( I ) {\displaystyle f_{w,b}(I)} using only constant number of additions and subtractions, regardless of the size of the rectangular features, using the summed-area table. === Learning and using a Viola–Jones classifier === Choose a resolution ( M , N ) {\displaystyle (M,N)} for the images to be classified. In the original paper, they recommended ( M , N ) = ( 24 , 24 ) {\displaystyle (M,N)=(24,24)} . ==== Learning ==== Collect a training set, with some containing faces, and others not containing faces. Perform a certain modified AdaBoost training on the set of all Haar feature classifiers of dimension ( M , N ) {\displaystyle (M,N)} , until a desired level of precision and recall is reached. The modified AdaBoost algorithm would output a sequence of Haar feature classifiers f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} . The details of the modified AdaBoost algorithm is detailed below. ==== Using ==== To use a Viola-Jones classifier with f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} on an image I {\displaystyle I} , compute f 1 ( I ) , f 2 ( I ) , . . . f k ( I ) {\displaystyle f_{1}(I),f_{2}(I),...f_{k}(I)} sequentially. If at any point, f i ( I ) = 0 {\displaystyle f_{i}(I)=0} , the algorithm immediately returns "no face detected". If all classifiers return 1, then the algorithm returns "face detected". === Learning algorithm === The speed with which features may be evaluated does not adequately compensate for their number, however. For example, in a standard 24x24 pixel sub-window, there are a total of M = 162336 possible features, and it would be prohibitively expensive to evaluate them all when testing an image. Thus, the object detection framework employs a variant of the learning algorithm AdaBoost to both select the best features and to train classifiers that use them. This algorithm constructs a "strong" classifier as a linear combination of weighted simple “weak” classifiers. h ( x ) = sgn ⁡ ( ∑ j = 1 M α j h j ( x ) ) {\displaystyle h(\mathbf {x} )=\operatorname {sgn} \left(\sum _{j=1}^{M}\alpha _{j}h_{j}(\mathbf {x} )\right)} Each weak classifier is a threshold function based on the feature f j {\displaystyle f_{j}} . h j ( x ) = { − s j if f j < θ j s j otherwise {\displaystyle h_{j}(\mathbf {x} )={\begin{cases}-s_{j}&{\text{if }}f_{j}<\theta _{j}\\s_{j}&{\text{otherwise}}\end{cases}}} The threshold value θ j {\displaystyle \theta _{j}} and the polarity s j ∈ ± 1 {\displaystyle s_{j}\in \pm 1} are determined in the training, as well as the coefficients α j {\displaystyle \alpha _{j}} . Here a simplified version of the lea

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  • The Visualization Handbook

    The Visualization Handbook

    The Visualization Handbook is a textbook by Charles D. Hansen and Christopher R. Johnson that serves as a survey of the field of scientific visualization by presenting the basic concepts and algorithms in addition to a current review of visualization research topics and tools. It is commonly used as a textbook for scientific visualization graduate courses. It is also commonly cited as a reference for scientific visualization and computer graphics in published papers, with almost 500 citations documented on Google Scholar. == Table of Contents == PART I - Introduction Overview of Visualization - William J. Schroeder and Kenneth M. Martin PART II - Scalar Field Visualization: Isosurfaces Accelerated Isosurface Extraction Approaches -Yarden Livnat Time-Dependent Isosurface Extraction - Han-Wei Shen Optimal Isosurface Extraction - Paolo Cignoni, Claudio Montani, Robert Scopigno, and Enrico Puppo Isosurface Extraction Using Extrema Graphs - Takayuki Itoh and Koji Koyamada Isosurfaces and Level-Sets - Ross Whitaker PART III - Scalar Field Visualization: Volume Rendering Overview of Volume Rendering - Arie E. Kaufman and Klaus Mueller Volume Rendering Using Splatting - Roger Crawfis, Daqing Xue, and Caixia Zhang Multidimensional Transfer Functions for Volume Rendering - Joe Kniss, Gordon Kindlmann, and Charles D. Hansen Pre-Integrated Volume Rendering - Martin Kraus and Thomas Ertl Hardware-Accelerated Volume Rendering - Hanspeter Pfister PART IV - Vector Field Visualization Overview of Flow Visualization - Daniel Weiskopf and Gordon Erlebacher Flow Textures: High-Resolution Flow Visualization - Gordon Erlebacher, Bruno Jobard, and Daniel Weiskopf Detection and Visualization of Vortices - Ming Jiang, Raghu Machiraju, and David Thompson PART V - Tensor Field Visualization Oriented Tensor Reconstruction - Leonid Zhukov and Alan H. Barr Diffusion Tensor MRI Visualization - Song Zhang, David Laidlaw, and Gordon Kindlmann Topological Methods for Flow Visualization - Gerik Scheuermann and Xavier Tricoche PART VI - Geometric Modeling for Visualization 3D Mesh Compression - Jarek Rossignac Variational Modeling Methods for Visualization - Hans Hagen and Ingrid Hotz Model Simplification - Jonathan D. Cohen and Dinesh Manocha PART VII - Virtual Environments for Visualization Direct Manipulation in Virtual Reality - Steve Bryson The Visual Haptic Workbench - Milan Ikits and J. Dean Brederson Virtual Geographic Information Systems - William Ribarsky Visualization Using Virtual Reality - R. Bowen Loftin, Jim X. Chen, and Larry Rosenblum PART VIII - Large-Scale Data Visualization Desktop Delivery: Access to Large Datasets - Philip D. Heermann and Constantine Pavlakos Techniques for Visualizing Time-Varying Volume Data - Kwan-Liu Ma and Eric B. Lum Large-Scale Data Visualization and Rendering: A Problem-Driven Approach - Patrick McCormick and James Ahrens Issues and Architectures in Large-Scale Data Visualization - Constantine Pavlakos and Philip D. Heermann Consuming Network Bandwidth with Visapult - Wes Bethel and John Shalf PART IX - Visualization Software and Frameworks The Visualization Toolkit - William J. Schroeder and Kenneth M. Martin Visualization in the SCIRun Problem-Solving Environment - David M. Weinstein, Steven Parker, Jenny Simpson, Kurt Zimmerman, and Greg M. Jones Numerical Algorithms Group IRIS Explorer - Jeremy Walton AVS and AVS/Express - Jean M. Favre and Mario Valle Vis5D, Cave5D, and VisAD - Bill Hibbard Visualization with AVS - W. T. Hewitt, Nigel W. John, Matthew D. Cooper, K. Yien Kwok, George W. Leaver, Joanna M. Leng, Paul G. Lever, Mary J. McDerby, James S. Perrin, Mark Riding, I. Ari Sadarjoen, Tobias M. Schiebeck, and Colin C. Venters ParaView: An End-User Tool for Large-Data Visualization - James Ahrens, Berk Geveci, and Charles Law The Insight Toolkit: An Open-Source Initiative in Data Segmentation and Registration - Terry S. Yoo amira: A Highly Interactive System for Visual Data Analysis - Detlev Stalling, Malte Westerhoff, and Hans-Christian Hege PART X - Perceptual Issues in Visualization Extending Visualization to Perceptualization: The Importance of Perception in Effective Communication of Information - David S. Ebert Art and Science in Visualization - Victoria Interrante Exploiting Human Visual Perception in Visualization - Alan Chalmers and Kirsten Cater PART XI - Selected Topics and Applications Scalable Network Visualization - Stephen G. Eick Visual Data-Mining Techniques - Daniel A. Keim, Mike Sips, and Mihael Ankerst Visualization in Weather and Climate Research - Don Middleton, Tim Scheitlin, and Bob Wilhelmson Painting and Visualization - Robert M. Kirby, Daniel F. Keefe, and David Laidlaw Visualization and Natural Control Systems for Microscopy - Russell M. Taylor II, David Borland, Frederick P. Brooks, Jr., Mike Falvo, Kevin Jeffay, Gail Jones, David Marshburn, Stergios J. Papadakis, Lu-Chang Qin, Adam Seeger, F. Donelson Smith, Dianne Sonnenwald, Richard Superfine, Sean Washburn, Chris Weigle, Mary Whitton, Leandra Vicci, Martin Guthold, Tom Hudson, Philip Williams, and Warren Robinett Visualization for Computational Accelerator Physics - Kwan-Liu Ma, Greg Schussman, and Brett Wilson

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  • Film-out

    Film-out

    Film-out is the process in the computer graphics, video production and filmmaking disciplines of transferring images or animation from videotape or digital files to a traditional film print. Film-out is a broad term that encompasses the conversion of frame rates, color correction, as well as the actual printing, also called scannior recording. The film-out process is different depending on the regional standard of the master videotape in question – NTSC, PAL, or SECAM – or likewise on the several emerging region-independent formats of high definition video (HD video); thus each type is covered separately, taking into account regional film-out industries, methods and technical considerations. == Live action video == Many modern documentaries and low-budget films are shot on videotape or other digital video media, instead of film stock, and completed as digital video. Video production means substantially lower costs than 16 mm or 35 mm film production on all levels. Until recently, the relatively low cost of video ended when the issue of a theatrical presentation was raised, which required a print for film projection. With the growing presence of digital projection, this is becoming less of a factor. === Standard definition (SD) video === Film-out of standard-definition video – or any source that has an incompatible frame rate – is the up-conversion of video media to film for theatrical viewing. The video-to-film conversion process consists of two major steps: first, the conversion of video into digital film frames which are then stored on a computer or on HD videotape; and secondly, the printing of these digital film frames onto actual film. To understand these two steps, it is important to understand how video and film differ. Film (sound film, at least) has remained unchanged for almost a century and creates the illusion of moving images through the rapid projection of still images, frames, upon a screen, typically 24 per second. Traditional interlaced SD video has no real frame rate, (though the term frame is applied to video, it has a different meaning). Instead, video consists of a very fast succession of horizontal lines that continually cascade down the television screen – streaming top to bottom, before jumping back to the top and then streaming down to the bottom again, repeatedly, almost 60 alternating screen-fulls every second for NTSC, or exactly 50 such screen-fulls per second for PAL and SECAM. Since visual movement in video is infused in this continuous cascade of scan lines, there is no discrete image or real frame that can be identified at any one time. Therefore, when transferring video to film, it is necessary to invent individual film frames, 24 for every second of elapsed time. The bulk of the work done by a film-out company is this first step, creating film frames out of the stream of interlaced video. Each company employs its own (often proprietary) technology for turning interlaced video into high-resolution digital video files of 24 discrete images every second, called 24 progressive video or 24p. The technology must filter out all the visually unappealing artifacting that results from the inherent mismatch between video and film movement. Moreover, the conversion process usually requires human intervention at every edit point of a video program, so that each type of scene can be calibrated for maximum visual quality. The use of archival footage in video especially calls for extra attention. Step two, the scanning to film, is the rote part of the process. This is the mechanical step where lasers print each of the newly created frames of the 24p video, stored on computer files or HD videotape, onto rolls of film. Most companies that do film-out, do all the stages of the process themselves for a lump sum. The job includes converting interlaced video into 24p and often a color correction session – (calibrating the image for theatrical projection), before scanning to physical film, (possibly followed by color correction of the film print made from the digital intermediary) – is offered. At the very least, film-out can be understood as the process of converting interlaced video to 24p and then scanning it to film. ==== NTSC video ==== NTSC is the most challenging of the formats when it comes to standards conversion and, specifically, converting to film prints. NTSC runs at the approximate rate of 29.97 video frames (consisting of two interlaced screen-fulls of scan lines, called fields, per frame) per second. In this way, NTSC resolves actual live action movement at almost – but not quite – 60 alternating half-resolution images every second. Because of this 29.97 rate, no direct correlation to film frames at 24 frames per second can be achieved. NTSC is hardest to reconcile with film, thus motivating its own unique processes. ==== PAL and SECAM video ==== PAL and SECAM run at 25 interlaced video frames per second, which can be slowed down or frame-dropped, then deinterlaced, to correlate frame for frame with film running at 24 actual frames per second. PAL and SECAM are less complex and demanding than NTSC for film-out. PAL and SECAM conversions do agitate, though, with the unpleasant choice between slowing down video (and audio pitch, noticeably) by four percent, from 25 to 24 frames per second, in order to maintain a 1:1 frame match, slightly changing the rhythm and feel of the program; or maintaining original speed by periodically dropping frames, thereby creating jerkiness and possible loss of vital detail in fast-moving action or precise edits. === High definition (HD) digital video === High definition digital video can be shot at a variety of frame rates, including 29.97 interlaced (like NTSC) or progressive; or 25 interlaced (like PAL) or progressive; or even 24-progressive (just like film). HD, if shot in 24-progressive, scans nearly perfectly to film without the need for a frame or field conversion process. Other issues remain though, based on the different resolutions, color spaces, and compression schemes that exist in the high-definition video world. == Computer graphics and animation == Artists working with CGI-Computer-generated imagery animation computers create pictures frame by frame. Once the finished product is done, the frames are outputted, normally in a DPX file. These picture data files can then be put on to film using a film recorder for film out. SGI computers started the high-end CGI-Computer-generated imagery animation systems, but with faster computers and the growth of Linux-based systems, many others are on the market now. Movies fully rendered and animated in CGI such as Toy Story, and Antz utilize the film-out method to produce 35mm copies for archival and release prints. Most CGI work is done in 2K Display resolution files (about the size of QXGA) and then output to the Film-out device for creation of 35 mm elements. With 4K Display resolution digital intermediates on the rise, newer types of film-out recorders are being developed to accept 4k resolution files. A 2K movie requires a Storage Area Network storage several terabytes in size to be properly stored and played out. Computer graphics files are handled the same way but in single frames and may use DPX, TIFF or other file formats. == Digital intermediates == Film-out-recording is the last step of digital intermediate workflow. DPX files that were scanned on a motion picture film scanner are stored on a storage area network (often abbreviated as SAN). The scanned DPX footage is edited and composited-FX on workstations, then mastered back on film. Film restoration is also done this way. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == Images for graphic design and print industries == The days of newspapers and magazines shooting 35mm film are almost gone. Digital cameras can now shoot all the images needed, storing them as files (e.g. JPEG, DPX or another format) that are readily edited prior to use. Once the final copy is approved, it can be filmed out for publishing. Digital stills are not the only way to get pictures used in the graphic design and print industries. Film scanners and computer graphics programs are also common sources for graphic design and print industries. == Types of devices == The following devices are used in film-out processes: CRT recorder. Camera and a special TV display Kinescope – early type Electronic Video Recording or EVR – early type EBR Electron Beam Film Recorder 16 mm by 3M Laser film recorder, like Kodak's high-end Lightning II recorder and Arri's Arrilaser. DLP Film recorder, like Cinevation's real-time Cinevator. == History == Lately it has become possible to transfer video images, inclu

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  • RockMyRun

    RockMyRun

    Rock My Run (stylized as RockMyRun; trademarked slogan: "The Best Running Music in the World™") is a mobile running/fitness app founded in 2011 that provides running and workout music in the form of DJ mixes. It is owned by Rock My World, Inc., a health and fitness technology company based in San Diego, California. The app allows users to listen to these professional DJ mixes on their smartphone while running or working out to enhance and motivate their performance. Rock My World, Inc. also developed the app Jolt.ai for the software Slack. == History == During the early stages of the company, Rock My World, Inc. raised more than $2 million in funding generated by the Irvine Company's The Vine SD and from institutional investors including Skullcandy, ZTE and Lighter Capital and were admitted to the Plug and Play Tech Center in Sunnyvale and to the tech incubator EvoNexus in San Diego. In an interview with co-founder and ex-Qualcomm staff Adam Riggs-Zeigen, he said that "from the beginning [their] big goal is to help people live healthier lives." == Features == The RockMyRun app contains thousands of mixes or "stations" produced by its professional DJs intended to increase enjoyment and performance during exercise. DJs who have provided mixes for the app include David Guetta, Zedd, Steve Aoki, Major Lazer and Afrojack. All of the music can be personalized based on the user's steps per minute, heart rate or ideal cadence allowing the user to "always hear the right music at the right time at the right tempo". All RockMyRun mixes are organized into stations to help users discover music that suits their needs. RockMyRun contains mixes of all genres and each station is categorized into their respective genres and displays tags to let users know the type of music contained in the mix. RockMyRun has two membership types; it is free as a standard member, but for uninterrupted listening and additional features, users can upgrade to a paid "Rockstar" membership. Since March 2023, couples can now be on the same RockMyRun playlists and "share" earbuds. This allows people to train together, easier. A group of DJs curate playlists for specific training needs and different energy levels. == Reception == RockMyRun has been featured on television programs such as The Today Show on two occasions and on The Rachael Ray Show, and in positive reviews by many publications and websites including The New York Times on four separate occasions, TIME, The Huffington Post, The Denver Post, Men's Fitness, Real Simple, The Vulcan Post, The L.A. Times, Glamour, Paste magazine, PCMag, Dubai Week, BetaNews, CNET, CNBC, Reuters, Insider, Tom's Guide and Yahoo! Tech. RockMyRun has also been mentioned/recommended in books/publications such as A Practical Guide to Teacher Wellbeing by Elizabeth Holmes and Applying Music in Exercise and Sport by Dr. Costas Karageorghis. Ultimate Ears placed RockMyRun at the top of their list at No. 1 on their "5 Favorite Workout Music Apps". In a positive review by David Strausser for AndroidGuys in 2015, he praised the app in a detailed review, saying "The mixes are incredible and the rates are reasonable. The app is quick, beautiful." In 2015, Jill Duffy of PC Magazine gave a review of the app, pointing out its key features, and stating that the app is great if you enjoy listening to different, or new music, that can match your tempo while running. Also in 2015, Digital Trends listed RockMyRun, as one of the best exercise music apps in the article "No need to make exercise playlists with these music apps". In 2018, Redbull.com recommended RockMyRun in preparation for the Wings for Life World Run in their article "10 essential hacks for running to work to get you in World Run shape". In 2019, The Fashion Spot included RockMyRun in their list of "The Best Workout Apps for People Who Hate to Work Out", saying: "RockMyRun matches music to the tempo of your running pace – the music literally follows your steps/heart rate. The app has thousands of mixes/music options along with tracking capabilities." Also in 2019, MakeUseOf.com included RockMyRun in their list of "The 7 Best Running and Workout Music Apps". In September 2022, VeryWellFit listed RockMyRun as the first of three "Other Playlist Options" in the article "How to Create a Running Playlist, According to Running Coaches". Tech Grapple recommended the app in "The best workout free music apps for iPhone and Android" saying that "RockMyRun is the best application that you can use during workout. It comes with amazing DJs to craft mixes that will keep you moving." == Partners == RockMyRun is partnered with the following brands/companies: C25K Del Taco JLab Audio iFit Active Network, LLC Night Nation Run (the world's first running music festival) Lady Foot Locker Mayweather Boxing + Fitness Mio Global Orangetheory Fitness Red Rock Apps Tapout Fitness

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  • Lawbot

    Lawbot

    Lawbots are a broad class of customer-facing legal AI applications that are used to automate specific legal tasks, such as document automation and legal research. The terms robot lawyer and lawyer bot are used as synonyms to lawbot. A robot lawyer or a robo-lawyer refers to a legal AI application that can perform tasks that are typically done by paralegals or young associates at law firms. However, there is some debate on the correctness of the term. Some commentators say that legal AI is technically speaking neither a lawyer nor a robot and should not be referred to as such. Other commentators believe that the term can be misleading and note that the robot lawyer of the future will not be one all-encompassing application but a collection of specialized bots for various tasks. Lawbots use various artificial intelligence techniques or other intelligent systems to limit humans' direct ongoing involvement in certain steps of a legal matter. The user interfaces on lawbots vary from smart searches and step-by-step forms to chatbots. Consumer and enterprise-facing lawbot solutions often do not require direct supervision from a legal professional. Depending on the task, some client-facing solutions used at law firms operate under an attorney supervision. == Levels of autonomy == The following levels of autonomy (LoA) are suggested for automated AI legal reasoning: Level 0 (LoA0): No automation for AI legal reasoning Level 1 (LoA1): Simple assistance automation Level 2 (LoA2): Advanced assistance automation Level 3 (LoA3): Semi-autonomous automation Level 4 (LoA4): Domain automation Level 5 (LoA5): Fully-autonomous automation Level 6 (LoA6): Superhuman automation == Examples == Some legal AI solutions are developed and marketed directly to the customers or consumers, whereas other applications are tools for the attorneys at law firms. There are already hundreds of legal AI solutions that operate in multitude of ways varying in sophistication and dependence on scripted algorithms. One notable legal technology chatbot application is DoNotPay. It had started off as an app for contesting parking tickets, but has since expanded to include features that help users with many different types of legal issues, ranging from consumer protection to immigration rights and other social issues. == Impact on the legal industry == In the 2016 report, Deloitte estimated that more than 110,000 law jobs in just the United Kingdom alone could disappear within the next twenty years due to automation. This change could result in the creation of more highly skilled jobs and in the reduction of paralegal and temporary positions. Deloitte's report asserts that "there is significant potential for high-skilled roles that involve repetitive processes to be automated by smart and self-learning algorithms". According to Lawyers to Engage, between 22% of a lawyer’s work and 35% of a legal assistant’s work can be automated in the US. Top law schools like Harvard have already begun to integrate Artificial Intelligence into the curriculum. Legal tech start-up companies have begun developing applications that assist law firms with completing low-risk legal processes. These applications can enable lawyers to focus on more work that requires their specific expertise. The automation of processes like contract reviewing, enforcement of negotiations (smart contracts) and client intake (expert systems) allows law firms to streamline their procedures and improve efficiency. In addition, automation benefits small-to-medium law firms that do not have the resources to utilize junior talent on such routine tasks. The increase of law firms utilizing automated applications could result into legal tech becoming a necessity in the industry. Digital Reason CEO, Tim Estes, stated that those who refuse the opportunity to integrate AI in their workflow are “most at risk.” In 2018, Forbes reported a 713% increase in investments in legal tech. This rapid growth is reflective of law firms beginning to “cede business to… new model legal providers… that meld technological, business and legal expertise.” == Access to law and justice == It has been widely estimated for at least the last generation that all the programs and resources devoted to ensuring access to justice address only 20% of the civil legal needs of low-income people in the United States. Drawing on this experience, in late 2011, the U.S. government-funded Legal Services Corporation decided to convene a summit of leaders to explore how best to use technology in the access-to-justice community. The group adopted a mission for The Summit on the Use of Technology to Expand Access to Justice (Summit) consistent with the magnitude of the challenge: "to explore the potential of technology to move the United States toward providing some form of effective assistance to 100% of persons otherwise unable to afford an attorney for dealing with essential civil legal needs". In April 2017, joined by Microsoft and Pro Bono Net, the Legal Services Corporation (LSC) announced a pilot program to develop online, statewide legal portals to direct individuals with civil legal needs to the most appropriate forms of assistance. == Technological limitations == Current research in subjects such as computational privacy, explainable machine learning, Bayesian deep learning, knowledge-intensive machine learning, and transfer learning reveals that we do not yet have the technology to enable Level 4 to 6 AI lawbots. In 2023, OpenLaw began developing a model called Law Bot, which interacts in a conversational way as an attorney. The dialogue format makes it possible for Law Bot to answer follow-up questions, challenge incorrect premises, and reject inappropriate requests. Currently, they try to ensure it is in full compliance with all laws and regulations while conducting further beta testing before releasing it to the general public.

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  • Texture compression

    Texture compression

    Texture compression is a specialized form of image compression designed for storing texture maps in 3D computer graphics rendering systems. Unlike conventional image compression algorithms, texture compression algorithms are optimized for random access. Texture compression can be applied to reduce memory usage at runtime. Texture data is often the largest source of memory usage in a mobile application. == Tradeoffs == In their seminal paper on texture compression, Beers, Agrawala and Chaddha list four features that tend to differentiate texture compression from other image compression techniques. These features are: Decoding Speed It is highly desirable to be able to render directly from the compressed texture data and so, in order not to impact rendering performance, decompression must be fast. Random Access Since predicting the order that a renderer accesses texels would be difficult, any texture compression scheme must allow fast random access to decompressed texture data. This tends to rule out many better-known image compression schemes such as JPEG or run-length encoding. Compression Rate and Visual Quality In a rendering system, lossy compression can be more tolerable than for other use cases. Some texture compression libraries, such as crunch, allow the developer to flexibly trade off compression rate vs. visual quality, using methods such as rate–distortion optimization (RDO). Encoding Speed Texture compression is more tolerant of asymmetric encoding/decoding rates as the encoding process is often done only once during the application authoring process. Given the above, most texture compression algorithms involve some form of fixed-rate lossy vector quantization of small fixed-size blocks of pixels into small fixed-size blocks of coding bits, sometimes with additional extra pre-processing and post-processing steps. Block Truncation Coding is a very simple example of this family of algorithms. Because their data access patterns are well-defined, texture decompression may be executed on-the-fly during rendering as part of the overall graphics pipeline, reducing overall bandwidth and storage needs throughout the graphics system. As well as texture maps, texture compression may also be used to encode other kinds of rendering map, including bump maps and surface normal maps. Texture compression may also be used together with other forms of map processing such as mipmaps and anisotropic filtering. == Availability == Some examples of practical texture compression systems are S3 Texture Compression (S3TC), PVRTC, Ericsson Texture Compression (ETC) and Adaptive Scalable Texture Compression (ASTC); these may be supported by special function units in modern graphics processing units (GPUs). OpenGL and OpenGL ES, as implemented on many video accelerator cards and mobile GPUs, can support multiple common kinds of texture compression - generally through the use of vendor extensions. == Supercompression == A compressed-texture can be further compressed in what is called "supercompression". Fixed-rate texture compression formats are optimized for random access and are much less efficient compared to image formats such as PNG. By adding further compression, a programmer can reduce the efficiency gap. The extra layer can be decompressed by the CPU so that the GPU receives a normal compressed texture, or in newer methods, decompressed by the GPU itself. Supercompression saves the same amount of VRAM as regular texture compression, but saves more disk space and download size. == Neural Texture Compression == Random-Access Neural Compression of Material Textures (Neural Texture Compression) is a Nvidia's technology which enables two additional levels of detail (16× more texels, so four times higher resolution) while maintaining similar storage requirements as traditional texture compression methods. The key idea is compressing multiple material textures and their mipmap chains together, and using a small neural network, that is optimized for each material, to decompress them.

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  • Lost Art-Database

    Lost Art-Database

    The Lost Art-Datenbank is an online database published by the German Lost Art Foundation (Deutsches Zentrum Kulturgutverluste. It contains information on cultural objects looted from Jewish collectors or transferred due to Nazi persecution during the Nazi era. Until 2015, it was managed by the Koordinierungsstelle für Kulturgutverluste (Magdeburg Coordination Office). == Creation == Following the Washington Conference of 1998, and the commitments to provide more transparency regarding looted art, Germany launched the Lost Art Database in 2000 order to help Holocaust victims and their families track down artworks that had been looted from them or lost due to Nazi persecution. == Functionality == The Lost Art Database lists art and books and other cultural objects that were lost, seized, stolen or forceably sold during the Nazi era. The database is divided into search requests from victims' families, heirs or institutions and "found" reports from cultural institutions on items with unresolved provenance gaps from the Nazi periods. The section on reports of finds lists objects that are known to have been unlawfully seized or relocated as a result of the war. In addition, reports are published here on cultural objects for which an uncertain or incomplete provenance may indicate a possible unlawful seizure or war-related relocation. The publication of reports in the Lost Art Internet Database is carried out on behalf of and with the consent of the reporting persons and institutions. The responsibility for the content of the reports lies with these legal or natural persons. There have been controversies over which items should be included in the database. Lost Art is based on the Washington Principles adopted in 1998, which Germany has committed itself to implementing (Joint Declaration, 1999). The Lost Art Database is considered a key resource in the search for looted art and the victims of persecution. Every item in the Lost Art Database has an identifier, known as a Lost Art ID. Proveana is the linked research database. == Other lost art databases == Other countries have launched databases to help identify Nazi looted art. Each database has its own area of focus. The German Lost Art Database allows families or heirs to submit information. Other countries have databases that focus on looted artworks that have not been found or artworks that were repatriated to the national authorities after the defeat of the Nazis but were never returned to their original owners. Other databases have been created for stolen antiquities, looted art from colonial era, art stolen from Syria, Iraq, Ukraine, or from museums or collectors.

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  • Psychology in cybersecurity

    Psychology in cybersecurity

    The psychology of cybersecurity (often intersecting with usable security and cyberpsychology) is an interdisciplinary field studying how human behavior, cognitive biases, and social dynamics influence information security. While traditional cybersecurity focuses on hardware and software vulnerabilities, this discipline addresses the "human factor," which is exploited in cyberattacks. Psychology in cybersecurity draws from cognitive psychology and human–computer interaction. == History and evolution == The challenge of human behavior in computing was noted as early as the 1960s with multi-user mainframes like the Compatible Time-Sharing System (CTSS). In 1966, a software error on CTSS caused the system's master password file to be displayed to every user upon login—one of the earliest documented security incidents attributable to a combination of system design and human factors. These behaviors gained broader significance in the 1990s as the Internet became widely accessible. High-profile incidents involving figures like Kevin Mitnick demonstrated how human trust could be exploited through social engineering such as pretexting over the phone. == Cognitive and behavioral factors == Much of the psychology of cybersecurity focuses on decision-making under stress or uncertainty. Researchers apply frameworks like dual process theory to explain why humans fall for phishing or business email compromise. Threat actors design malicious communications to trigger fast, emotional "System 1" thinking—using urgency, authority, or panic, which prompts users to click a link or wire funds before their analytical "System 2" can assess the situation's legitimacy. Industry research has consistently documented the effectiveness of these techniques at scale, pointing to several recurring psychological phenomena that influence daily security practices: Cognitive biases: The optimism bias leads users to believe they are unlikely to be targeted by cybercriminals, resulting in lax password practices or delayed software updates. The availability heuristic causes individuals to focus on highly publicized, sophisticated threats while ignoring common, statistically probable risks like credential reuse. Social influence: Attackers leverage established principles of persuasion, such as those categorized by Robert Cialdini. Impersonating a CEO leverages the psychological trigger of authority, while fake tech support scams use reciprocity (offering to fix a problem before asking for network credentials). == Neurological and pre-cognitive factors == Functional magnetic resonance imaging (fMRI) studies show that neural activation in visual and attentional regions decreases with repeated exposure to the same stimulus, a phenomenon termed repetition suppression. Experiments have confirmed this effect in the context of security warnings: static warning designs produce declines in user attention and adherence. Information processing research on phishing indicates that affective cues, such as artificial urgency or fear, increase cognitive load and elicit automatic heuristic processing, reducing the likelihood of analytical evaluation and facilitating compliance with malicious requests. == Security fatigue and organizational dynamics == Aggressive cybersecurity postures can sometimes lead to mental and emotional exhaustion, a phenomenon known as security fatigue. === Alert fatigue === One example is alert fatigue, which most frequently affects both end-users and security operations center analysts. Continuous exposure to browser warnings or antivirus pop-ups, particularly those that are false positives, conditions users to dismiss alerts automatically due to the volume of notifications rather than their repetitive appearance (see § Neurological and pre-cognitive factors). The scale of this problem is significant in enterprise: SOC teams in large organizations receive thousands of alerts daily, and a survey published in ACM Computer Surveys found that analysts spend over 25% of their time handling false positives, meaning that malicious indicators can be buried in the noise. === Password fatigue === Similarly, password fatigue is the feeling experienced by many people who are required to remember an excessive number of passwords as part of their daily routine, such as to log in to a computer at work. Users cope with the memory burden by making predictable, iterative changes to their passwords (such as updating "Password01!" to "Password02!"), which decreases password security.

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  • WaveMaker

    WaveMaker

    WaveMaker is a Java-based low-code development platform designed for building software applications and platforms. The company, WaveMaker Inc., is based in Mountain View, California. The platform is intended to assist enterprises in speeding up their application development and IT modernization initiatives through low-code capabilities. Additionally, for independent software vendors (ISVs), WaveMaker serves as a customizable low-code component that integrates into their products. The WaveMaker Platform is a licensed software platform allowing organizations to establish their own end-to-application platform-as-a-service (PaaS) for the creation and operation of custom apps. It allows developers and business users to create apps that are customizable. These applications can seamlessly consume APIs, visualize data, and automatically adapt to multi-device responsive interfaces. WaveMaker's low-code platform allows organizations to deploy applications on either public or private cloud infrastructure. Containers can be deployed on top of virtual machines or directly on bare metal. The software features a graphical user interface (GUI) console for managing IT app infrastructure, leveraging the capabilities of Docker containerization. The solution offers functionalities for automating application deployment, managing the application lifecycle, overseeing release management, and controlling deployment workflows and access permissions: Apps for web, tablet, and smartphone interfaces Enterprise technologies like Java, Hibernate, Spring, AngularJS, JQuery Docker-provided APIs and CLI Software stack packaging, container provisioning, stack and app upgrading, replication, and fault tolerance == WaveMaker Studio == WaveMaker RAD Platform is built around WaveMaker Studio, a WYSIWYG rapid development tool that allows business users to compose an application using a drag-and-drop method. WaveMaker Studio supports rapid application development (RAD) for the web, similar to what products like PowerBuilder and Lotus Notes provided for client-server computing. WaveMaker Studio allows developers to produce an application once, then automatically adjust it for a particular target platform, whether a PC, mobile phone, or tablet. Applications created using the WaveMaker Studio follow a model–view–controller architecture. WaveMaker Studio has been downloaded more than two million times. The Studio community consists of 30,000 registered users. Applications generated by WaveMaker Studio are licensed under the Apache license. Studio 8 was released on September 25, 2015. The prior version, Studio 7, has some notable development milestones. It was based on AngularJS framework, previous Studio versions (6.7, 6.6, 6.5) use the Dojo Toolkit. Some of the features WaveMaker Studio 7 include: Automatic generation of Hibernate mapping, and Hibernate queries from database schema import. Automatic creation of Enterprise Data Widgets based on schema import. Each widget can display data from a database table as a grid or edit form. Edit form implements create, update, and delete functions automatically. WYSIWYG Ajax development studio runs in a browser. Deployment to Tomcat, IBM WebSphere, Weblogic, JBoss. Mashup tool to assemble web applications based on SOAP, REST and RSS web services, Java Services and databases. Supports existing CSS, HTML and Java code. The ability to deploy a standard Java .war file. == Technologies and frameworks == WaveMaker allows users to build applications that run on "Open Systems Stack" based on the following technologies and frameworks: AngularJS, Bootstrap, NVD3, HTML, CSS, Apache Cordova, Hibernate, Spring, Spring Security, Java. The various supported integrations include: Databases: Oracle, MySQL, Microsoft SQL Server, PostgreSQL, IBM DB2, HSQLDB Authentication: LDAP, Active Directory, CAS, Custom Java Service, Database Version Control: Bitbucket (or Stash), GitHub, Apache Subversion Deployment: Amazon AWS, Microsoft Azure, WaveMaker Private Cloud (Docker containerization), IBM Web Sphere, Apache Tomcat, SpringSource tcServer, Oracle WebLogic Server, JBoss(WildFly), GlassFish App Stores: Google Play, Apple App Store, Windows Store == History == In 2003, WaveMaker was founded as ActiveGrid. Then, in 2007, it was rebranded as Wavemaker. It was acquired by VMware in 2011. In March 2013, support for the WaveMaker project was discontinued. In May 2013, Pramati Technologies acquired the assets of WaveMaker. In February 2014, Wavemaker Studio 6.7 was released, which was the last open source version of Studio. In September 2014 WaveMaker Inc. launched the WaveMaker RAD Platform, which allowed organizations to run their own application platform for building and running apps. In March 2023, WaveMaker released version 11.5, which includes enhanced low-code development capabilities and new AI-driven tools to streamline the application development process.

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  • CityEngine

    CityEngine

    ArcGIS CityEngine is a commercial 3D modeling program. Developed by Esri R&D Center Zurich (formerly Procedural Inc.), it specializes in the generation of 3D urban environments to support the creation of detailed large-scale 3D city models. Unlike traditional 3D modeling methodology, which uses computer-aided design (CAD) tools and techniques, CityEngine takes a procedural modeling approach which shapes generation via a rules-based system. Due to its integration with the wider ArcGIS platform, CityEngine can also be used with geographic information system (GIS) datasets. CityEngine can be used for urban planning and architecture, graphics visualization, game development, entertainment, and archeology. CityEngine can be used to visualize the building information modeling (BIM) data of buildings in a larger urban context, making for more realistic construction projects. == History and releases == === Software history === ArcGIS CityEngine, originally named Esri CityEngine, was developed at Swiss technology university ETH Zurich by Pascal Mueller, the co-founder and CEO of Procedural Inc. While researching for his PhD at the ETH Computer Vision Lab, Mueller invented a number of techniques for procedural modeling of 3D architecture that make up the foundation of CityEngine. CityEngine publically debuted at the 2001 SIGGRAPH conference; since then, additional research papers have been published that have contributed to CityEngine and its features. The first commercial version of CityEngine was released in 2008. In 2007, Procedural Inc. was founded and separated from ETH Zurich, the top-ranking technology university in Switzerland. In the summer of 2011, Procedural Inc. was acquired by Esri Inc., becoming Esri R&D Center Zurich. Esri CityEngine was renamed to ArcGIS CityEngine in June 2020 to offically make it a part of the ArcGIS software suite. === Releases === === Licensing and pricing === ArcGIS CityEngine is included in the Professional and Professional Plus tiers of ArcGIS Online. Pricing may vary by region and distributors. In the US, the professional tier costs US$2,200 per year; in the UK, it is £4,200 per year (excluding VAT). CityEngine can be purchased elsewhere via a local Esri partner. . Once purchased, users can download and obtain license details from the MyEsri portal. == Features == CGA (computer generated architecture) parametric modeling rules to control mass, geometry assets, proportions, or texturing of buildings or streets on a citywide scale Select a target location and import geo-referenced satellite imagery and 3D terrain of the location to more quickly build accurate urban environments through OpenStreetMap integration Interactively control specific street or building parameters, such as height or age Import/export geo-spatial/vector data with industry-standard formats such as Esri Shapefile, File Geodatabase, and OpenStreetMap, as well as file formats for WebGL, KMZ, Collada, Autodesk FBX, Autodesk Maya, 3DS, Wavefront OBJ, RenderMan RIB, Alembic, e-on software's Vue, Universal Scene Description USD, Khronos Group GLTF, Unreal Engine, and Unreal Datasmith Script and generate rules-based reports to show socioeconomic figures (e.g., Gross Floor Area (GFA) and Floor Area Ratio (FAR)) to analyze their urban design proposals. VR viewing of modeled environments with Samsung Gear VR Use a variety of materials through the Esri materials library == Procedural modeling == ArcGIS CityEngine uses a procedural modeling approach to automatically generate models through a predefined rule set. The rules are defined through a CGA shape grammar system, enabling the creation of complex parametric models. Users can change or add the shape grammar as needed. Urban environments can be modeled within CityEngine by starting with creating a street network (either from the street drawing tool or with data imported from map data). Then, lots may be subdivided as many times as specified, resulting in a map of multiple lots and streets. CityEngine can then be instructed to start generating the buildings using defined procedural modeling rules. At this point, the city model can be re-designed and adjusted by changing the parameters or the shape grammar. === Geodesign === Though CityEngine is not an analytical tool like GIS, discussions about geodesign often mention the use of ArcGIS CityEngine. As it can be used to enhance 3D shape generation in ArcGIS, ArcGIS CityEngine is a critical product to improve the applicability of geodesign by using geospatial information to design or analyze a city. == Applications == === Urban design and planning === Garsdale Design used ArcGIS CityEngine in the creation of city master plans in Iraq before 2013, both to model existing historic areas and also model future plans. Larger companies like Foster+Partners and HOK Architects have also used CityEngine in their urban planning projects. === Urban and environmental studies === Because its primary feature is building informative city models, some urban researchers use CityEngine to compare land-use planning schemes, for example in very dense global cities such as Hong Kong and Seoul. Environmental scientists can also utilize the instant 3D model generation in CityEngine, which can make for more convenient informative research than modeling a city by creating each building individually. === Game development === CityEngine can be used as a tool in the creation of video games that require detailed 3D environments to assign interactive scripts. === Movie industry === Zootopia (also known outside of the US as Zootopolis), which won the 2016 Academy Award for Best Animated Feature Film, used CityEngine to model the city in its movie. multi-scaling city, the designers used CityEngine due to its rule-based system. CityEngine was also used to create Big Hero 6's San-Fransokyo. === Military === Due to its integration with the Esri product suite and its ability to process geospatial data to create 3D scenes/maps, CityEngine can be used within military/defense organizations. == List of movies and TV shows using CityEngine == Studios and companies rarely state what software they use in their pipelines. When CityEngine is mentioned as a tool in production, it's often in a small reference in a larger article. Movies only claimed to use CityEngine by a single Esri employee Presented at FMX 2025 workshop == Ports == ArcGIS CityEngine is built on top of Eclipse IDE, and has therefore able to be used on Windows and Linux operating systems. Support for macOS was stopped in March 2021. == Plugins and extensions == ArcGIS CityEngine currently works with a number of third party 3D modeling, rendering, and analytical software products via its SDK and API; these currently are: ArcGIS CityEngine for ArcGIS Urban: ArcGIS Urban Suite Puma: ArcGIS CityEngine for Rhinoceros 3D Palladio: ArcGIS CityEngine for Houdini Serlio: ArcGIS CityEngine for Maya PyPRT: ArcGIS CityEngine for Python ArcGIS CityEngine provides a Python scripting interface built on Jython (current version 2.7.0) which allows users to create their own tools and functionality. == Publications ==

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  • Wargame (hacking)

    Wargame (hacking)

    In hacking, a wargame (or war game) is a cyber-security challenge and mind sport in which the competitors must exploit or defend a vulnerability in a system or application, and/or gain or prevent access to a computer system. A wargame usually involves a capture the flag logic, based on pentesting, semantic URL attacks, knowledge-based authentication, password cracking, reverse engineering of software (often JavaScript, C and assembly language), code injection, SQL injections, cross-site scripting, exploits, IP address spoofing, forensics, and other hacking techniques. == Wargames for preparedness == Wargames are also used as a method of cyberwarfare preparedness. The NATO Cooperative Cyber Defence Centre of Excellence (CCDCOE) organizes an annual event, Locked Shields, which is an international live-fire cyber exercise. The exercise challenges cyber security experts through real-time attacks in fictional scenarios and is used to develop skills in national IT defense strategies. == Additional applications == Wargames can be used to teach the basics of web attacks and web security, giving participants a better understanding of how attackers exploit security vulnerabilities. Wargames are also used as a way to "stress test" an organization's response plan and serve as a drill to identify gaps in cyber disaster preparedness.

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