AI App On My Phone

AI App On My Phone — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Information schema

  In relational databases, the information schema (information_schema) is an ANSI-standard set of read-only views that provide information about all of the tables, views, columns, and procedures in a database. It can be used as a source of the information that some databases make available through non-standard commands, such as: the SHOW command of MySQL the DESCRIBE command of Oracle's SQLPlus the \d command in psql (PostgreSQL's default command-line program). => SELECT count(table_name) FROM information_schema.tables; count ------- 99 (1 row) => SELECT column_name, data_type, column_default, is_nullable FROM information_schema.columns WHERE table_name='alpha'; column_name | data_type | column_default | is_nullable -------------+-----------+----------------+------------- foo | integer | | YES bar | character | | YES (2 rows) => SELECT FROM information_schema.information_schema_catalog_name; catalog_name -------------- johnd (1 row) == Implementation == As a notable exception among major database systems, Oracle does not as of 2015 implement the information schema. An open-source project exists to address this. RDBMSs that support information_schema include: Amazon Redshift Apache Hive Microsoft SQL Server MonetDB Snowflake MySQL PostgreSQL H2 Database HSQLDB InterSystems Caché MariaDB SingleStore (formerly MemSQL) Mimer SQL Snowflake Trino Presto CrateDB ClickHouse CockroachDB Kinetica DB TiDB RDBMSs that do not support information_schema include: Apache Derby Apache Ignite Firebird Microsoft Access IBM Informix Ingres IBM Db2 Oracle Database SAP HANA SQLite Sybase ASE Sybase SQL Anywhere Teradata Vertica

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  Vegas Pro

  Vegas Pro (formerly known as Sony Vegas) is a professional video editing software package for non-linear editing (NLE), designed to run on the Microsoft Windows operating system. The first release of Vegas Beta was on June 11, 1999. Vegas was originally developed as a non-linear audio editing application. Version 2.0 would split the program into audio and video editing variants, with the former being dropped by version 4.0, making the video offering the only variant available to consumers. Vegas Pro features real-time multi-track video and audio editing on unlimited tracks, resolution-independent video sequencing, complex effects, compositing tools, 24-bit/192 kHz audio support, VST and DirectX plug-in effect support, and Dolby Digital surround sound mixing. The software was originally published by Sonic Foundry until May 2003, when Sony purchased Sonic Foundry and formed Sony Creative Software. On May 24, 2016, Sony announced that Vegas was sold to MAGIX, which formed VEGAS Creative Software, to continue support and development of the software. As of the end of March 2026, it was publicly announced that Boris FX had taken ownership of Vegas Pro. Each release of Vegas is sold standalone; however, upgrade discounts are sometimes provided. == Features == Vegas does not require any specialized hardware to run properly, allowing it to operate on any Windows computer that meets the system requirements. == History == Vegas 1.0 was released after a brief public beta by Sonic Foundry on July 23, 1999 at the NAMM Show in Nashville, Tennessee as an audio-only tool with a particular focus on re-scaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Martin Walker from Sound on Sound described working in Vegas 1.0 as a "very pleasurable experience, especially since so many functions are highly intuitive" though also criticizing some features as hard to figure out due to the lack of a central help file. Later, on June 12, 2000, Vegas Video and Audio 2.0 (also referred to as just Vegas 2.0) was released, with its beta releasing earlier that year on April 10. This was the first version of Vegas to include video-editing tools and was also the first to have a low-cost "LE" version alongside the regular release. The LE releases would continue through version 3.0 of Vegas but would be discontinued by the release of Vegas 4.0. Vegas 3.0 was released the next year on December 3, and added new video effects, features for ease-of-use with DV, and support for editing Windows Media files. Vegas 4.0 was released on 6 February 2003 and added application scripting, advanced color correction, 5.1 surround sound mixing, and Steinberg ASIO support. This was the last release under the Sonic Foundry name after it sold much of its software suite, including Sound Forge and Acid Pro, to Sony Pictures Digital for $18 million later in 2003. Under Sony's ownership, Vegas 5.0 was released on April 19, 2004, bringing 3D track motion, compositing, reversing, envelope automation, etc. 7.0 also added an improved video preview, enhanced layout management, improved snapping, and more customization. With the release of 8.0, Sony opted to go back to the original "Vegas Pro" branding that the first version released with. It added the ability to burn Blu-ray and DVD optical media, support for 32-bit floating point audio, support for tempo-based audio effects, and more. It also moved the timeline to the bottom of the window by default with the option of moving it back to the top if the user wished to. Sony was also experimenting with 64-bit at this time and ported Vegas Pro 8.0 to 64-bit systems under the name "Vegas Pro 8.1". Vegas Pro 9.0 added support for 4K resolution and pro camcorder formats like Red and XDCAM EX. In 2009, Sony Creative Software purchased the Velvetmatter Radiance suite of video FX plug-ins which were included in Sony Vegas Pro 9.0. As a result, they were no longer available as a separate product from Velvetmatter. Vegas Pro 10 was released in 2010 with stereoscopic 3D editing, image stabilization, OpenFX plugin support, real-time audio event effects, and a few UI changes. This was the last release to include support for Windows XP. Vegas Pro 11 was released the next year on 17 October, with GPGPU video acceleration, enhanced text tools, enhanced stereoscopic/3D features, RAW photo support, and new event synchronization mechanisms. In addition, Vegas Pro 11 comes pre-loaded with "NewBlue" Titler Pro, a 2D and 3D titling plug-in. Vegas Pro 12 would add two new configurations: Vegas Pro 12 Edit, for "Professional Video and Audio Production"; and Vegas Pro 12 Suite, for "Professional Editing, Disc Authoring, and Visual Effects Design". Vegas Pro 13 would be the last version released with Sony branding after the acquisition of much of Sony Creative Software's library by Magix. After they acquired Vegas, Magix released version 14 on September 20, 2016. It featured advanced 4K upscaling as well as many bug fixes, a higher video velocity limit, RED camera support, and a variety of other features. This was also the last version to have the light theme enabled by default. Released on August 28, 2017, Vegas Pro 15 features major UI changes that claim to bring usability improvements and customization. It was the first version of VEGAS Pro to have a dark theme; it also allows more efficient editing speeds, including adding new shortcuts to speed the video editing process. Vegas Pro 15 includes support for Intel Quick Sync Video (QSV) and other technologies, as well as various other features. It introduced a new VEGAS Pro icon as a V. Vegas Pro 16 has some new features including file backup, motion tracking, improved video stabilization, 360° editing and HDR support. Magix has continued to improve Vegas through version 21 with support for reading Matroska files, a more detailed render dialogue, live streaming, VST3 support, a VST 32-bit bridge, and a selective Paste Event Attributes menu. Magix would later release a subscription model for using Vegas named "Vegas Pro 365" on January 17, 2018, although the perpetual licence is still an option for customers. This version includes cloud-based speech synthesis among other features not included in the mainline Vegas release. == Version history == Each release of Vegas is sold standalone, however upgrade discounts are sometimes provided. === Vegas Beta === Sonic Foundry introduced a sneak preview version of Vegas Pro on June 11, 1999. It is called a "Multitrack Media Editing System". === Vegas 1.0 === Released on July 23, 1999 at the NAMM Show in Nashville, Tennessee, Vegas was an audio-only tool with a particular focus on rescaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Version 1.0 is the final Vegas release to include Windows 95 support. === Vegas Video beta (Vegas 2.0 beta) === Released on April 10, 2000, this was the first version of Vegas to include video-editing tools. === Vegas Video (Vegas 2.0) === Released on June 12, 2000. Version 2.0 is the final Vegas Video release to include Windows NT 4.0 support. === Vegas Video 3.0 === Released on December 3, 2001. This release added: New Video Effects – Lens Flare, Light Rays, Film FX, Color Curves, Mirror, Remap, Deform, Convolution, Linear Blur, Black Restore, Levels, Unsharp Mask, Color Grading, and Timecode Burn filter. Batch Capture with Automatic Scene Detection – Captures DV with automatic scene detection, batch capture, tape logging, still image capture and thumbnail previews. Red Book Audio CD Mastering with CD Architect (TM) Technology – Used for burning Red Book audio CD masters directly from the Vegas timeline with ISRC, UPC, and PQ list support. New Sonic Foundry DV Codec – Introduces a DV codec developed by Sonic Foundry that offers artifact-free compositing and DV chromakeying. DV Print-to-Tape from the Timeline – Prints projects to DV cameras and decks from the Vegas timeline. Windows Media (TM) File Editing – Creates and edits Windows Media (TM) files. New MPEG Encoding Tools – Used for producing MPEG-2 files for DVD productions. Dynamic RAM Previewing – Temporary RAM/render-free previews for analysis and tweaking of complex video FX without rendering. VideoCD and Data CD Burning – Burning projects directly to VideoCD for playback on most DVD players or data CDs for playback computers' CD-ROMs. === Vegas 4.0 === Released on February 6, 2003. This release added: Advanced Color Correction Tools Searchable Media Pool Bins Vectorscope, Histogram, Parade and Waveform Monitoring Application Scripting Improved Ripple Editing Motion Blur and Super-Sampling Envelopes 5.1 Surround Mixing Dolby® Digital AC-3 Encoding certified and tested by Dolby Laboratories DirectX® Audio Plug-In Effects Automation ASIO Driver Support Windows Media™ 9 Support, including Surround Encoding DVD Authoring with AC-3 File Import Capabilities Integration with DVD Architect via Chap

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  Drops (app)

  Drops is a language learning app that was created in Estonia by Daniel Farkas and Mark Szulyovszky in 2015. It is the second product from the company, after their first app, LearnInvisible, had issues in retaining a user's engagement over the required time period. The languages available include Native Hawaiian and Māori, and was classified as one of the fifty "Most Innovative Companies" for 2019 by Fast Company. The company partnered with Global Eagle Entertainment to include Travel Talk, a feature intended to focus on words and phrases frequently used by travelers. At the beginning of the COVID-19 pandemic in March 2020, the number of users increased by 55 percent in the United States and 92 percent in the United Kingdom. Droplets, a language app for children, includes profiles for multiple teachers working with remote students. The company also produces an app called Scripts, intended to help users learn to write alphabets. The app was purchased by the Norwegian company Kahoot! on 24 November 2020.

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  Microscope image processing

  Microscope image processing is a broad term that covers the use of digital image processing techniques to process, analyze and present images obtained from a microscope. Such processing is now commonplace in a number of diverse fields such as medicine, biological research, cancer research, drug testing, metallurgy, etc. A number of manufacturers of microscopes now specifically design in features that allow the microscopes to interface to an image processing system. == Image acquisition == Until the early 1990s, most image acquisition in video microscopy applications was typically done with an analog video camera, often simply closed circuit TV cameras. While this required the use of a frame grabber to digitize the images, video cameras provided images at full video frame rate (25-30 frames per second) allowing live video recording and processing. While the advent of solid state detectors yielded several advantages, the real-time video camera was actually superior in many respects. Today, acquisition is usually done using a CCD camera mounted in the optical path of the microscope. The camera may be full colour or monochrome. Very often, very high resolution cameras are employed to gain as much direct information as possible. Cryogenic cooling is also common, to minimise noise. Often digital cameras used for this application provide pixel intensity data to a resolution of 12-16 bits, much higher than is used in consumer imaging products. Ironically, in recent years, much effort has been put into acquiring data at video rates, or higher (25-30 frames per second or higher). What was once easy with off-the-shelf video cameras now requires special, high speed electronics to handle the vast digital data bandwidth. Higher speed acquisition allows dynamic processes to be observed in real time, or stored for later playback and analysis. Combined with the high image resolution, this approach can generate vast quantities of raw data, which can be a challenge to deal with, even with a modern computer system. While current CCD detectors allow very high image resolution, often this involves a trade-off because, for a given chip size, as the pixel count increases, the pixel size decreases. As the pixels get smaller, their well depth decreases, reducing the number of electrons that can be stored. In turn, this results in a poorer signal-to-noise ratio. For best results, one must select an appropriate sensor for a given application. Because microscope images have an intrinsic limiting resolution, it often makes little sense to use a noisy, high resolution detector for image acquisition. A more modest detector, with larger pixels, can often produce much higher quality images because of reduced noise. This is especially important in low-light applications such as fluorescence microscopy. Moreover, one must also consider the temporal resolution requirements of the application. A lower resolution detector will often have a significantly higher acquisition rate, permitting the observation of faster events. Conversely, if the observed object is motionless, one may wish to acquire images at the highest possible spatial resolution without regard to the time required to acquire a single image. == 2D image techniques == Image processing for microscopy application begins with fundamental techniques intended to most accurately reproduce the information contained in the microscopic sample. This might include adjusting the brightness and contrast of the image, averaging images to reduce image noise and correcting for illumination non-uniformities. Such processing involves only basic arithmetic operations between images (i.e. addition, subtraction, multiplication and division). The vast majority of processing done on microscope image is of this nature. Another class of common 2D operations called image convolution are often used to reduce or enhance image details. Such "blurring" and "sharpening" algorithms in most programs work by altering a pixel's value based on a weighted sum of that and the surrounding pixels (a more detailed description of kernel based convolution deserves an entry for itself) or by altering the frequency domain function of the image using Fourier Transform. Most image processing techniques are performed in the Frequency domain. Other basic two dimensional techniques include operations such as image rotation, warping, color balancing etc. At times, advanced techniques are employed with the goal of "undoing" the distortion of the optical path of the microscope, thus eliminating distortions and blurring caused by the instrumentation. This process is called deconvolution, and a variety of algorithms have been developed, some of great mathematical complexity. The end result is an image far sharper and clearer than could be obtained in the optical domain alone. This is typically a 3-dimensional operation, that analyzes a volumetric image (i.e. images taken at a variety of focal planes through the sample) and uses this data to reconstruct a more accurate 3-dimensional image. == 3D image techniques == Another common requirement is to take a series of images at a fixed position, but at different focal depths. Since most microscopic samples are essentially transparent, and the depth of field of the focused sample is exceptionally narrow, it is possible to capture images "through" a three-dimensional object using 2D equipment like confocal microscopes. Software is then able to reconstruct a 3D model of the original sample which may be manipulated appropriately. The processing turns a 2D instrument into a 3D instrument, which would not otherwise exist. In recent times this technique has led to a number of scientific discoveries in cell biology. == Analysis == Analysis of images will vary considerably according to application. Typical analysis includes determining where the edges of an object are, counting similar objects, calculating the area, perimeter length and other useful measurements of each object. A common approach is to create an image mask which only includes pixels that match certain criteria, then perform simpler scanning operations on the resulting mask. It is also possible to label objects and track their motion over a series of frames in a video sequence.

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  AI anthropomorphism

  AI anthropomorphism is the attribution of human-like feelings, mental states, and behavioral characteristics to artificial intelligence systems. Factors related to the user of the AI – such as culture, age, education, gender, and personality traits – are also important determinants of the strength of anthropomorphic effects. Since the earliest days of AI development, humans have interpreted machine outputs through anthropomorphic frameworks, but the recent emergence of generative AI has amplified these tendencies. In research and engineering, there is a distinction between anthropomorphism and anthropomorphic design. The former is an innate human tendency toward non-human entities. The latter is the scientific community effort to “design anthropomorphism”. Such a design can involve the manipulation of cues, including AI appearance, behaviour and language. Contemporary AI systems today can generate extremely human-like outputs and are often designed specifically to do so, meaning that their anthropomorphic effects can be especially powerful. In some cases, anthropomorphism is accompanied with explicit beliefs that AI systems are capable of empathy, goodwill, understanding, or consciousness. == Background == === In early AIs === Views of artificial agents possessing a human-like intelligence have existed since the early development of computers in the mid-1900s. The use of the human mind as a metaphor for understanding the workings of machine systems was prevalent among researchers in the early days of computer science, with multiple influential works widely distributing the idea of intelligent machines. Among the most widely cited papers of this period was Alan Turing's "Computing Machinery and Intelligence" in which he introduced the Turing Test, stating that a machine was intelligent if it could produce conversation that was indistinguishable from that of a human. These academic works in the 1940s and 1950s gave early credibility to the idea that machine workings could be thought of similarly to human minds. The public quickly came to view artificial systems similarly, with often exaggerated conceptions of the capabilities of early machines. Among the most well-known demonstrations of this was through the chatbot ELIZA designed by Joseph Weizenbaum in 1966. ELIZA responded to user inputs with a rudimentary text-processing approach that could not be considered anything resembling true understanding of the inputs, yet users, even when operating with full conscious knowledge of ELIZA's limitations, often began to ascribe motivation and understanding to the program's output. Weizenbaum later wrote, "I had not realized ... that extremely short exposures to a relatively simple computer program could induce powerful delusional thinking in quite normal people." Comparisons between the intellectual capabilities of artificial intelligence and human intelligence were continually intensified by the attempts of computer scientists to develop machines that could perform human tasks at a level equal to or better than humans. A symbolic turning point was achieved in 1997, when IBM's chess supercomputer Deep Blue defeated then-world champion Garry Kasparov in a highly publicized six-game match. The defeat of a human by a machine for the first time in chess – a game viewed as a canonical example of human intellect – and the media attention surrounding the match led to a significant shift, where views of parallels between human and artificial intelligence moved from abstract speculation to being concretely demonstrated. A similar achievement was reached in the board game Go in 2017, when the program AlphaGo defeated world top-ranked Ke Jie. === Large language models === The AI boom of the 2020s brought about the widespread emergence of generative AI; in particular, chatbots such as ChatGPT, Gemini, and Claude based on large language models (LLMs) have become increasingly pervasive in everyday society. These systems are notable for the fact that they are able to respond to a wide range of prompts across contexts while producing strikingly human-like outputs – research has shown that humans are often unable to distinguish human-generated text from AI-generated text, and modern AI chatbots have formally been shown to pass the Turing test. As such, the anthropomorphic effects of AI are more powerful than ever. Given that LLMs have brought AI into the technological mainstream, considerable scientific effort has been devoted in recent years to understand existing and potential ramifications of AI in the public sphere; the prevalence and effects of anthropomorphism is one of those domains where much of this effort has been directed. == Current anthropomorphic attributions == === In the general public === Surveys have shown that a substantial portion of the public attributes human-like qualities to AI. In one sample of U.S. adults from 2024, two-thirds of people believed that ChatGPT is possibly conscious on some level, though other research has shown that the public still views the likelihood itself of AI consciousness as comparatively low. Another study conducted in 2025 found that women, people of color, and older individuals were most likely to anthropomorphize AI, as well as that – in general – humans view AIs as warm and competent, and anthropomorphic attributions to AI had increased by 34% in the past year. A YouGov poll reported that 46% of Americans believe that people should display politeness to AI chatbots by saying "please" and "thank you", demonstrating the application of social norms to AI. These beliefs extend to behavior, where majorities of AI users claim to always be polite to chatbots; of those who behave politely, most say they do so simply because it is the "nice" thing to do. In many recent cases, humans have developed robust interpersonal bonds with AI systems. For example: users of social chatbots like Replika and Character.ai have been documented to fall in love with the AIs, or to otherwise treat the AIs as intimate companions, and it has become increasingly common for individuals to use LLMs like ChatGPT as therapists. Chatbots are able to produce responses deeply attuned to users, as they are often designed to maximize agreeableness and mirror users' emotions; this can create compelling illusions of intimacy. === In the research community === In many cases, even AI researchers anthropomorphize AI systems in some capacity. Among the most extreme and well-publicized of these instances occurred in 2022, when engineer Blake Lemoine publicly claimed that Google's LLM LaMDA was conscious. Lemoine published the transcript of a conversation he had had with LaMDA regarding self identity and morality which he claimed was evidence of its sentience; he asserted that LaMDA was "a person" as defined by the United States Constitution and compared its mental capability to that of a 7- or 8-year-old. Lemoine's claims were widely dismissed by the scientific community and by Google itself, which described Lemoine's conclusions as "wholly unfounded" and fired him on the grounds that he had violated policies "to safeguard product information". It is much more common that AI researchers unintentionally imply humanness of AI through the ordinary use of anthropomorphic language to describe nonhuman agents. This kind of language, which Daniel Dennett coined the "intentional stance", is very common in everyday life in a variety of different contexts (e.g., "My computer doesn't want to turn on today"). For AI agents that may actually appear to very closely replicate some human abilities, however, the casual use of such anthropomorphic language in research has been scrutinized for being potentially misleading to the public. As early as 1976, Drew McDermott criticized the research community for the use of "wishful mnemonics", where AIs were referred to with terms like "understand" and "learn". In the LLM era, these criticisms have further intensified, with the negative effects of AI anthropomorphism in the public posing an especially salient danger given the elevated accessibility of modern AI. In some cases, the use of anthropomorphic language for AI is not unintentional, but is willfully used by researchers in order to promote better understanding of the brain – the idea being that, as AI can be functionally similar in some ways to the human brain, we may gain new insights and ideas from treating AI as a kind of model of the brain's workings. In particular, deep neuronal networks (DNNs) are often explicitly compared to the human brain, and significant advances in DNN research have stirred considerable enthusiasm about the ability of AI to emulate the human abilities. Caution has been urged in this domain as well, however; the use of anthropomorphic language can mask important differences that fundamentally distinguish AI from human intelligence. When it comes to DNNs, for example, it has been pointed out that they are still structurally quite different

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  Adobe PhotoDeluxe

  PhotoDeluxe was a consumer-oriented image editing software line published by Adobe Systems from 1996 until July 8, 2002. At that time it was replaced by Adobe's newly launched consumer-oriented image editing software Photoshop Elements. Adobe no longer provides technical support for the PhotoDeluxe software line. PhotoDeluxe had a range of image processing capabilities for the home photographer and image handler. These included removing red-eye, cropping, and adjusting brightness, contrast, and sharpness. It also included software to extract pictures from an image scanner. Among the functionality included was the ability to dynamically resize photos and export them in a wide range of formats. It also had a range of printing options including printing multiple copies of an image on the same page. It was often bundled free with Epson scanners or as free software with new computers. == Features == Despite the critical concerns regarding the quality of the setup, Photo Deluxe supports layering, blurs, sharpening, cloning, gradient fills, color and background switches, color variations, resizing options, and many other features. Another drawback of PhotoDeluxe was that it was designed for Mac computers, so working on Windows PC was a problem for those who were unable to customize their preferences. == Versions == === Adobe PhotoDeluxe 1.0 === The first version was released in 1996 for Windows and Macintosh computers. In one year, it sold over one million copies. === Adobe PhotoDeluxe 2.0 === The new version was released in 1997 and had added features such as a Clone Tool, red-eye removal, and sample templates for making posters, cards, and calendars. It also had new special effect features. === Adobe PhotoDeluxe 3.0 === The 3rd version was released in 1998. The new features included customizable clipart settings, the ability to import photos on the web, enhanced repair activities following Guided Activities, and Adobe Connectables to add new activities. === Adobe PhotoDeluxe Home Edition (4.0) === Version 4.0 was created by the makers of Photoshop. It had advanced abilities such as tools to add animation, voice, and music to a picture. It also had features to restore photos to their original position. == History == Adobe PhotoDeluxe 1.0 was released in 1996 for Macintosh computers, initially retailing for an MSRP of $49. The software did quite well, reportedly selling over a million copies by February of the next year, primarily due to bundles with companies like Apple and Hewlett-Packard. PhotoDeluxe was primarily advertised to consumers as a way to do basic photo manipulation, such as cropping and rotating images, or creating simple cards and calendars. PhotoDeluxe 2.0 was released in 1997, and was the last version of PhotoDeluxe that Adobe made that worked on Macs. PhotoDeluxe 2.0 became the "number one selling consumer photo-editing software product in the world." PhotoDeluxe 3.0 was released in 1998, where it was rebranded as "3.0 Home Edition", as Adobe released PhotoDeluxe Business Edition later that year for a higher price. PhotoDeluxe Home Edition, unofficially called PhotoDeluxe 4.0, was released in 1999 and was the last version of PhotoDeluxe to be released. Adobe officially cancelled PhotoDeluxe on July 8, 2002, citing the presence of Photoshop and Photoshop Elements, with support being officially cancelled in mid-2003. No version of PhotoDeluxe is compatible with Windows 10, rendering the program obsolete. == Pricing == All home versions of PhotoDeluxe retailed for an MSRP of $49. PhotoDeluxe 2.0 and onwards allowed users to upgrade from a previous version of PhotoDeluxe or a competing piece of graphics software for $39. Additionally PhotoDeluxe Business Edition allowed a similar deal, allowing users to upgrade from other versions of PhotoDeluxe or a competing software for $59, instead of its normal price of $99. Adobe also offered a bundle allowing users of 1.0 or 2.0 to get 3.0 and Business Edition for $79.

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  Memory color effect

  The memory color effect is the phenomenon that the canonical hue of a type of object acquired through experience (e.g. the sky, a leaf, or a strawberry) can directly modulate the appearance of the actual colors of objects. Human observers acquire memory colors through their experiences with instances of that type. For example, most human observers know that an apple typically has a reddish hue; this knowledge about the canonical color which is represented in memory constitutes a memory color. As an example of the effect, normal human trichromats, when presented with a gray banana, often perceive the gray banana as being yellow - the banana's memory color. In light of this, subjects typically adjust the color of the banana towards the color blue - the opponent color of yellow - when asked to adjust its surface to gray to cancel the subtle activation of banana's memory color. Subsequent empirical studies have also shown the memory color effect on man-made objects (e.g. smurfs, German mailboxes), the effect being especially pronounced for blue and yellow objects. To explain this, researchers have argued that because natural daylight shifts from short wavelengths of light (i.e., bluish hues) towards light of longer wavelengths (i.e., yellowish-orange hues) during the day, the memory colors for blue and yellow objects are recruited by the visual system to a higher degree to compensate for this fluctuation in illumination, thereby providing a stronger memory color effect. == Form identification == Memory color plays a role when detecting an object. In a study where participants were given objects, such as an apple, with two alternate forms for each, a crooked apple and a circular apple, researchers changed the colors of the alternate forms and asked if they could identify them. Most of the participants answered "unsure," suggesting that we use memory color when identifying an object. The research redefined memory color as a phenomenon when "a form's identity affects the phenomenal hue of that form." == Color effect on memorization == Memory color effect can be derived from the human instinct to memorize objects better. Comparing the effect of recognizing gray-scaled images and colored images, results showed that people were able to recall colored images 5% higher compared to gray-scaled images. An important factor was that higher level of contrast between the object and background color influences memory. In a specific study related to this, participants reported that colors were 5% to 10% easier to recognize compared to black and white. == Color constancy and memory color effect == Color constancy is the phenomenon where a surface to appear to be of the same color under a wide rage of illumination. A study tested two hypotheses with regards to color memory; the photoreceptor hypothesis and the surface reflectance hypothesis. The test color was surround either by various color patches forming a complex pattern or a uniform “grey” field at the same chromaticity as that of the illuminant. The test color was presented on a dark background for the control group. It was observed that complex surround results where in line with the surface-reflectance hypothesis and not the photoreceptor hypothesis, showing that the accuracy and precision of color memory are fundamentals to understanding the phenomenon of color constancy. == Significance to the evolution of trichromacy == While objects that possess canonical hues make up a small percentage of the objects which populate humans’ visual experience, the human visual system evolved in an environment populated with objects that possess canonical hues. This suggests that the memory color effect is related to the emergence of trichromacy because it has been argued that trichromacy evolved to optimize the ability to detect ripe fruits—objects that appear in canonical hues. == In perception research == In perception research, the memory color effect is cited as evidence for the opponent color theory, which states that four basic colors can be paired with its opponent color: red—green, blue—yellow. This explains why participants adjust the ripe banana color to a blueish tone to make its memory color yellow as gray. Researchers have also found empirical evidence that suggests memory color is recruited by the visual system to achieve color constancy. For example, participants had a lower percentage of color constancy when looking at a color incongruent scene, such as a purple banana, compared to a color diagnostical scene, a yellow banana. This suggests that color constancy is influenced by the color of objects that we are familiar with, which the memory color effect takes part.

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  Iterative reconstruction

  Iterative reconstruction refers to iterative algorithms used to reconstruct 2D and 3D images in certain imaging techniques. For example, in computed tomography an image must be reconstructed from projections of an object. Here, iterative reconstruction techniques are usually a better, but computationally more expensive alternative to the common filtered back projection (FBP) method, which directly calculates the image in a single reconstruction step. In recent research works, scientists have shown that extremely fast computations and massive parallelism is possible for iterative reconstruction, which makes iterative reconstruction practical for commercialization. == Basic concepts == The reconstruction of an image from the acquired data is an inverse problem. Often, it is not possible to exactly solve the inverse problem directly. In this case, a direct algorithm has to approximate the solution, which might cause visible reconstruction artifacts in the image. Iterative algorithms approach the correct solution using multiple iteration steps, which allows to obtain a better reconstruction at the cost of a higher computation time. There are a large variety of algorithms, but each starts with an assumed image, computes projections from the image, compares the original projection data and updates the image based upon the difference between the calculated and the actual projections. === Algebraic reconstruction === The Algebraic Reconstruction Technique (ART) was the first iterative reconstruction technique used for computed tomography by Hounsfield. === Iterative Sparse Asymptotic Minimum Variance === The iterative sparse asymptotic minimum variance algorithm is an iterative, parameter-free superresolution tomographic reconstruction method inspired by compressed sensing, with applications in synthetic-aperture radar, computed tomography scan, and magnetic resonance imaging (MRI). === Statistical reconstruction === There are typically five components to statistical iterative image reconstruction algorithms, e.g. An object model that expresses the unknown continuous-space function f ( r ) {\displaystyle f(r)} that is to be reconstructed in terms of a finite series with unknown coefficients that must be estimated from the data. A system model that relates the unknown object to the "ideal" measurements that would be recorded in the absence of measurement noise. Often this is a linear model of the form A x + ϵ {\displaystyle \mathbf {A} x+\epsilon } , where ϵ {\displaystyle \epsilon } represents the noise. A statistical model that describes how the noisy measurements vary around their ideal values. Often Gaussian noise or Poisson statistics are assumed. Because Poisson statistics are closer to reality, it is more widely used. A cost function that is to be minimized to estimate the image coefficient vector. Often this cost function includes some form of regularization. Sometimes the regularization is based on Markov random fields. An algorithm, usually iterative, for minimizing the cost function, including some initial estimate of the image and some stopping criterion for terminating the iterations. === Learned Iterative Reconstruction === In learned iterative reconstruction, the updating algorithm is learned from training data using techniques from machine learning such as convolutional neural networks, while still incorporating the image formation model. This typically gives faster and higher quality reconstructions and has been applied to CT and MRI reconstruction. == Advantages == The advantages of the iterative approach include improved insensitivity to noise and capability of reconstructing an optimal image in the case of incomplete data. The method has been applied in emission tomography modalities like SPECT and PET, where there is significant attenuation along ray paths and noise statistics are relatively poor. Statistical, likelihood-based approaches: Statistical, likelihood-based iterative expectation-maximization algorithms are now the preferred method of reconstruction. Such algorithms compute estimates of the likely distribution of annihilation events that led to the measured data, based on statistical principle, often providing better noise profiles and resistance to the streak artifacts common with FBP. Since the density of radioactive tracer is a function in a function space, therefore of extremely high-dimensions, methods which regularize the maximum-likelihood solution turning it towards penalized or maximum a-posteriori methods can have significant advantages for low counts. Examples such as Ulf Grenander's Sieve estimator or Bayes penalty methods, or via I.J. Good's roughness method may yield superior performance to expectation-maximization-based methods which involve a Poisson likelihood function only. As another example, it is considered superior when one does not have a large set of projections available, when the projections are not distributed uniformly in angle, or when the projections are sparse or missing at certain orientations. These scenarios may occur in intraoperative CT, in cardiac CT, or when metal artifacts require the exclusion of some portions of the projection data. In Magnetic Resonance Imaging it can be used to reconstruct images from data acquired with multiple receive coils and with sampling patterns different from the conventional Cartesian grid and allows the use of improved regularization techniques (e.g. total variation) or an extended modeling of physical processes to improve the reconstruction. For example, with iterative algorithms it is possible to reconstruct images from data acquired in a very short time as required for real-time MRI (rt-MRI). In Cryo Electron Tomography, where the limited number of projections are acquired due to the hardware limitations and to avoid the biological specimen damage, it can be used along with compressive sensing techniques or regularization functions (e.g. Huber function) to improve the reconstruction for better interpretation. Here is an example that illustrates the benefits of iterative image reconstruction for cardiac MRI.

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  Histogram of oriented displacements

  Histogram of oriented displacements (HOD) is a 2D trajectory descriptor. The trajectory is described using a histogram of the directions between each two consecutive points. Given a trajectory T = {P1, P2, P3, ..., Pn}, where Pt is the 2D position at time t. For each pair of positions Pt and Pt+1, calculate the direction angle θ(t, t+1). Value of θ is between 0 and 360. A histogram of the quantized values of θ is created. If the histogram is of 8 bins, the first bin represents all θs between 0 and 45. The histogram accumulates the lengths of the consecutive moves. For each θ, a specific histogram bin is determined. The length of the line between Pt and Pt+1 is then added to the specific histogram bin. To show the intuition behind the descriptor, consider the action of waving hands. At the end of the action, the hand falls down. When describing this down movement, the descriptor does not care about the position from which the hand started to fall. This fall will affect the histogram with the appropriate angles and lengths, regardless of the position where the hand started to fall. HOD records for each moving point: how much it moves in each range of directions. HOD has a clear physical interpretation. It proposes that, a simple way to describe the motion of an object, is to indicate how much distance it moves in each direction. If the movement in all directions are saved accurately, the movement can be repeated from the initial position to the final destination regardless of the displacements order. However, the temporal information will be lost, as the order of movements is not stored-this is what we solve by applying the temporal pyramid, as shown in section \ref{sec:temp-pyramid}. If the angles quantization range is small, classifiers that use the descriptor will overfit. Generalization needs some slack in directions-which can be done by increasing the quantization range.

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  Scan line

  A scan line (also scanline) is one line, or row, in a raster scanning pattern, such as a line of video on a cathode-ray tube (CRT) display of a television set or computer monitor. On CRT screens the horizontal scan lines are visually discernible, even when viewed from a distance, as alternating colored lines and black lines, especially when a progressive scan signal with below maximum vertical resolution is displayed. This is sometimes used today as a visual effect in computer graphics. The term is used, by analogy, for a single row of pixels in a raster graphics image. Scan lines are important in representations of image data, because many image file formats have special rules for data at the end of a scan line. For example, there may be a rule that each scan line starts on a particular boundary (such as a byte or word; see for example BMP file format). This means that even otherwise compatible raster data may need to be analyzed at the level of scan lines in order to convert between formats.

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  Vegas Pro

  Vegas Pro (formerly known as Sony Vegas) is a professional video editing software package for non-linear editing (NLE), designed to run on the Microsoft Windows operating system. The first release of Vegas Beta was on June 11, 1999. Vegas was originally developed as a non-linear audio editing application. Version 2.0 would split the program into audio and video editing variants, with the former being dropped by version 4.0, making the video offering the only variant available to consumers. Vegas Pro features real-time multi-track video and audio editing on unlimited tracks, resolution-independent video sequencing, complex effects, compositing tools, 24-bit/192 kHz audio support, VST and DirectX plug-in effect support, and Dolby Digital surround sound mixing. The software was originally published by Sonic Foundry until May 2003, when Sony purchased Sonic Foundry and formed Sony Creative Software. On May 24, 2016, Sony announced that Vegas was sold to MAGIX, which formed VEGAS Creative Software, to continue support and development of the software. As of the end of March 2026, it was publicly announced that Boris FX had taken ownership of Vegas Pro. Each release of Vegas is sold standalone; however, upgrade discounts are sometimes provided. == Features == Vegas does not require any specialized hardware to run properly, allowing it to operate on any Windows computer that meets the system requirements. == History == Vegas 1.0 was released after a brief public beta by Sonic Foundry on July 23, 1999 at the NAMM Show in Nashville, Tennessee as an audio-only tool with a particular focus on re-scaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Martin Walker from Sound on Sound described working in Vegas 1.0 as a "very pleasurable experience, especially since so many functions are highly intuitive" though also criticizing some features as hard to figure out due to the lack of a central help file. Later, on June 12, 2000, Vegas Video and Audio 2.0 (also referred to as just Vegas 2.0) was released, with its beta releasing earlier that year on April 10. This was the first version of Vegas to include video-editing tools and was also the first to have a low-cost "LE" version alongside the regular release. The LE releases would continue through version 3.0 of Vegas but would be discontinued by the release of Vegas 4.0. Vegas 3.0 was released the next year on December 3, and added new video effects, features for ease-of-use with DV, and support for editing Windows Media files. Vegas 4.0 was released on 6 February 2003 and added application scripting, advanced color correction, 5.1 surround sound mixing, and Steinberg ASIO support. This was the last release under the Sonic Foundry name after it sold much of its software suite, including Sound Forge and Acid Pro, to Sony Pictures Digital for $18 million later in 2003. Under Sony's ownership, Vegas 5.0 was released on April 19, 2004, bringing 3D track motion, compositing, reversing, envelope automation, etc. 7.0 also added an improved video preview, enhanced layout management, improved snapping, and more customization. With the release of 8.0, Sony opted to go back to the original "Vegas Pro" branding that the first version released with. It added the ability to burn Blu-ray and DVD optical media, support for 32-bit floating point audio, support for tempo-based audio effects, and more. It also moved the timeline to the bottom of the window by default with the option of moving it back to the top if the user wished to. Sony was also experimenting with 64-bit at this time and ported Vegas Pro 8.0 to 64-bit systems under the name "Vegas Pro 8.1". Vegas Pro 9.0 added support for 4K resolution and pro camcorder formats like Red and XDCAM EX. In 2009, Sony Creative Software purchased the Velvetmatter Radiance suite of video FX plug-ins which were included in Sony Vegas Pro 9.0. As a result, they were no longer available as a separate product from Velvetmatter. Vegas Pro 10 was released in 2010 with stereoscopic 3D editing, image stabilization, OpenFX plugin support, real-time audio event effects, and a few UI changes. This was the last release to include support for Windows XP. Vegas Pro 11 was released the next year on 17 October, with GPGPU video acceleration, enhanced text tools, enhanced stereoscopic/3D features, RAW photo support, and new event synchronization mechanisms. In addition, Vegas Pro 11 comes pre-loaded with "NewBlue" Titler Pro, a 2D and 3D titling plug-in. Vegas Pro 12 would add two new configurations: Vegas Pro 12 Edit, for "Professional Video and Audio Production"; and Vegas Pro 12 Suite, for "Professional Editing, Disc Authoring, and Visual Effects Design". Vegas Pro 13 would be the last version released with Sony branding after the acquisition of much of Sony Creative Software's library by Magix. After they acquired Vegas, Magix released version 14 on September 20, 2016. It featured advanced 4K upscaling as well as many bug fixes, a higher video velocity limit, RED camera support, and a variety of other features. This was also the last version to have the light theme enabled by default. Released on August 28, 2017, Vegas Pro 15 features major UI changes that claim to bring usability improvements and customization. It was the first version of VEGAS Pro to have a dark theme; it also allows more efficient editing speeds, including adding new shortcuts to speed the video editing process. Vegas Pro 15 includes support for Intel Quick Sync Video (QSV) and other technologies, as well as various other features. It introduced a new VEGAS Pro icon as a V. Vegas Pro 16 has some new features including file backup, motion tracking, improved video stabilization, 360° editing and HDR support. Magix has continued to improve Vegas through version 21 with support for reading Matroska files, a more detailed render dialogue, live streaming, VST3 support, a VST 32-bit bridge, and a selective Paste Event Attributes menu. Magix would later release a subscription model for using Vegas named "Vegas Pro 365" on January 17, 2018, although the perpetual licence is still an option for customers. This version includes cloud-based speech synthesis among other features not included in the mainline Vegas release. == Version history == Each release of Vegas is sold standalone, however upgrade discounts are sometimes provided. === Vegas Beta === Sonic Foundry introduced a sneak preview version of Vegas Pro on June 11, 1999. It is called a "Multitrack Media Editing System". === Vegas 1.0 === Released on July 23, 1999 at the NAMM Show in Nashville, Tennessee, Vegas was an audio-only tool with a particular focus on rescaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Version 1.0 is the final Vegas release to include Windows 95 support. === Vegas Video beta (Vegas 2.0 beta) === Released on April 10, 2000, this was the first version of Vegas to include video-editing tools. === Vegas Video (Vegas 2.0) === Released on June 12, 2000. Version 2.0 is the final Vegas Video release to include Windows NT 4.0 support. === Vegas Video 3.0 === Released on December 3, 2001. This release added: New Video Effects – Lens Flare, Light Rays, Film FX, Color Curves, Mirror, Remap, Deform, Convolution, Linear Blur, Black Restore, Levels, Unsharp Mask, Color Grading, and Timecode Burn filter. Batch Capture with Automatic Scene Detection – Captures DV with automatic scene detection, batch capture, tape logging, still image capture and thumbnail previews. Red Book Audio CD Mastering with CD Architect (TM) Technology – Used for burning Red Book audio CD masters directly from the Vegas timeline with ISRC, UPC, and PQ list support. New Sonic Foundry DV Codec – Introduces a DV codec developed by Sonic Foundry that offers artifact-free compositing and DV chromakeying. DV Print-to-Tape from the Timeline – Prints projects to DV cameras and decks from the Vegas timeline. Windows Media (TM) File Editing – Creates and edits Windows Media (TM) files. New MPEG Encoding Tools – Used for producing MPEG-2 files for DVD productions. Dynamic RAM Previewing – Temporary RAM/render-free previews for analysis and tweaking of complex video FX without rendering. VideoCD and Data CD Burning – Burning projects directly to VideoCD for playback on most DVD players or data CDs for playback computers' CD-ROMs. === Vegas 4.0 === Released on February 6, 2003. This release added: Advanced Color Correction Tools Searchable Media Pool Bins Vectorscope, Histogram, Parade and Waveform Monitoring Application Scripting Improved Ripple Editing Motion Blur and Super-Sampling Envelopes 5.1 Surround Mixing Dolby® Digital AC-3 Encoding certified and tested by Dolby Laboratories DirectX® Audio Plug-In Effects Automation ASIO Driver Support Windows Media™ 9 Support, including Surround Encoding DVD Authoring with AC-3 File Import Capabilities Integration with DVD Architect via Chap

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  Autonomous aircraft

  An autonomous aircraft is an aircraft which flies under the control of on-board autonomous robotic systems and needs no intervention from a human pilot or remote control. Most contemporary autonomous aircraft are unmanned aerial vehicles (drones) with pre-programmed algorithms to perform designated tasks, but advancements in artificial intelligence technologies (e.g. machine learning) mean that autonomous control systems are reaching a point where several air taxis and associated regulatory regimes are being developed. == History == === Unmanned aerial vehicles === The earliest recorded use of an unmanned aerial vehicle for warfighting occurred in July 1849, serving as a balloon carrier (the precursor to the aircraft carrier) Significant development of radio-controlled drones started in the early 1900s, and originally focused on providing practice targets for training military personnel. The earliest attempt at a powered UAV was A. M. Low's "Aerial Target" in 1916. Autonomous features such as the autopilot and automated navigation were developed progressively through the twentieth century, although techniques such as terrain contour matching (TERCOM) were applied mainly to cruise missiles. Before the introduction of the Bayraktar Kızılelma some modern drones have a high degree of autonomy, although they were not fully capable and the regulatory environment prohibits their widespread use in civil aviation. However some limited trials had been undertaken. On December 17, 2025, two Bayraktar Kızılelma performed the world's first autonomous close-formation flight by two unmanned fighter jets, using artificial intelligence. This was the first time in the history of aviation when two unmanned aerial vehicles flew in close formation on their own. === Passengers === As flight, navigation and communications systems have become more sophisticated, safely carrying passengers has emerged as a practical possibility. Autopilot systems are relieving the human pilot of progressively more duties, but the pilot currently remains necessary. A number of air taxis are under development and larger autonomous transports are also being planned. The personal air vehicle is another class where from one to four passengers are not expected to be able to pilot the aircraft and autonomy is seen as necessary for widespread adoption. == Control system architecture == The computing capability of aircraft flight and navigation systems followed the advances of computing technology, beginning with analog controls and evolving into microcontrollers, then system-on-a-chip (SOC) and single-board computers (SBC). === Sensors === Position and movement sensors give information about the aircraft state. Exteroceptive sensors deal with external information like distance measurements, while proprioceptive ones correlate internal and external states. Degrees of freedom (DOF) refers to both the amount and quality of sensors on board: 6 DOF implies 3-axis gyroscopes and accelerometers (a typical inertial measurement unit – IMU), 9 DOF refers to an IMU plus a compass, 10 DOF adds a barometer and 11 DOF usually adds a GPS receiver. === Actuators === UAV actuators include digital electronic speed controllers (which control the RPM of the motors) linked to motors/engines and propellers, servomotors (for planes and helicopters mostly), weapons, payload actuators, LEDs and speakers. === Software === UAV software called the flight stack or autopilot. The purpose of the flight stack is to obtain data from sensors, control motors to ensure UAV stability, and facilitate ground control and mission planning communication. UAVs are real-time systems that require rapid response to changing sensor data. As a result, UAVs rely on single-board computers for their computational needs. Examples of such single-board computers include Raspberry Pis, Beagleboards, etc. shielded with NavIO, PXFMini, etc. or designed from scratch such as NuttX, preemptive-RT Linux, Xenomai, Orocos-Robot Operating System or DDS-ROS 2.0. Civil-use open-source stacks include: Due to the open-source nature of UAV software, they can be customized to fit specific applications. For example, researchers from the Technical University of Košice have replaced the default control algorithm of the PX4 autopilot. This flexibility and collaborative effort has led to a large number of different open-source stacks, some of which are forked from others, such as CleanFlight, which is forked from BaseFlight and from which three other stacks are forked from. === Loop principles === UAVs employ open-loop, closed-loop or hybrid control architectures. Open loop – This type provides a positive control signal (faster, slower, left, right, up, down) without incorporating feedback from sensor data. Closed loop – This type incorporates sensor feedback to adjust behavior (reduce speed to reflect tailwind, move to altitude 300 feet). The PID controller is common. Sometimes, feedforward is employed, transferring the need to close the loop further. == Communications == Most UAVs use a radio for remote control and exchange of video and other data. Early UAVs had only narrowband uplink. Downlinks came later. These bi-directional narrowband radio links carried command and control (C&C) and telemetry data about the status of aircraft systems to the remote operator. For very long range flights, military UAVs also use satellite receivers as part of satellite navigation systems. In cases when video transmission was required, the UAVs will implement a separate analog video radio link. In most modern autonomous applications, video transmission is required. A broadband link is used to carry all types of data on a single radio link. These broadband links can leverage quality of service techniques to optimize the C&C traffic for low latency. Usually, these broadband links carry TCP/IP traffic that can be routed over the Internet. Communications can be established with: Ground control – a military ground control station (GCS). The MAVLink protocol is increasingly becoming popular to carry command and control data between the ground control and the vehicle. Remote network system, such as satellite duplex data links for some military powers. Downstream digital video over mobile networks has also entered consumer markets, while direct UAV control uplink over the cellular mesh and LTE have been demonstrated and are in trials. Another aircraft, serving as a relay or mobile control station – military manned-unmanned teaming (MUM-T). As mobile networks have increased in performance and reliability over the years, drones have begun to use mobile networks for communication. Mobile networks can be used for drone tracking, remote piloting, over the air updates, and cloud computing. Modern networking standards have explicitly considered autonomous aircraft and therefore include optimizations. The 5G standard has mandated reduced user plane latency to 1ms while using ultra-reliable and low-latency communications. == Autonomy == Basic autonomy comes from proprioceptive sensors. Advanced autonomy calls for situational awareness, knowledge about the environment surrounding the aircraft from exteroceptive sensors: sensor fusion integrates information from multiple sensors. Civil aviation regulators and standards bodies have published high-level roadmaps and discussion papers focused on assurance, safety and governance of AI-enabled systems in aviation, particularly as autonomy increases in operations and decision support. === Basic principles === One way to achieve autonomous control employs multiple control-loop layers, as in hierarchical control systems. As of 2016 the low-layer loops (i.e. for flight control) tick as fast as 32,000 times per second, while higher-level loops may cycle once per second. The principle is to decompose the aircraft's behavior into manageable "chunks", or states, with known transitions. Hierarchical control system types range from simple scripts to finite state machines, behavior trees and hierarchical task planners. The most common control mechanism used in these layers is the PID controller which can be used to achieve hover for a quadcopter by using data from the IMU to calculate precise inputs for the electronic speed controllers and motors. Examples of mid-layer algorithms: Path planning: determining an optimal path for vehicle to follow while meeting mission objectives and constraints, such as obstacles or fuel requirements Trajectory generation (motion planning): determining control maneuvers to take in order to follow a given path or to go from one location to another Trajectory regulation: constraining a vehicle within some tolerance to a trajectory Evolved UAV hierarchical task planners use methods like state tree searches or genetic algorithms. === Autonomy features === UAV manufacturers often build in specific autonomous operations, such as: Self-level: attitude stabilization on the pitch and roll axes. Altitude hold: The aircraft maint

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  Scientific Working Group – Imaging Technology

  The Scientific Working Group on Imaging Technology was convened by the Federal Bureau of Investigation in 1997 to provide guidance to law enforcement agencies and others in the criminal justice system regarding the best practices for photography, videography, and video and image analysis. This group was terminated in 2015. == History == As technology has advanced through the years, law enforcement has needed to stay abreast of emerging technological advances and use these in the investigation of crime. A factor that is considered when new technology is used in these investigations is the determination of whether the use of that new technology will be admissible in court. The judicial system in the United States currently has two standards used in the determination of admissibility of testimony regarding scientific evidence; the Daubert Standard and the Frye Standard. These standards guide the courts in the admissibility of testimony derived from the use of new technologies and scientific techniques. The Federal Bureau of Investigation (FBI), seeking to address possible admissibility issues with such testimony, established Scientific Working Groups starting with the Scientific Working Group on DNA Analysis and Methods (SWGDAM) in 1988. The goal of these groups is to open lines of communication between law enforcement agencies and forensic laboratories around the world while providing guidance on the use of new and innovative technologies and techniques. This guidance can lead to admissibility of evidence and/or testimony, provided proper methods in the collection of evidence and its analysis are employed. In 2009, the National Academy of Sciences released a report entitled, "Strengthening Forensic Science in the United States: A Path Forward." This report addresses many topics including challenges and disparities facing the forensic science community, standardization, certification of practitioners and accreditation of their respective entities, problems related to the interpretation of forensic evidence, the need for research, and the admission of forensic science evidence in litigation. This report mentions the Scientific Working Groups and their role in forensic science. The history of imaging technology (photography) can be said to extend back to the times of Chinese philosopher Mo-Ti (470-390 B.C.) who described the principles behind the precursor to the camera obscura. Since that time, advances in imaging technology include the discovery of chemical photographic processes in the 19th century and the use of electronic imaging technology that includes analog video cameras and digital video and still cameras. By the mid 1990s, it was apparent that technologically advanced camera systems such as these were being adopted for use in the criminal justice system. This led the FBI to convene a meeting of individuals working in the field of forensic imaging from federal, state, local, and foreign law enforcement, and the U.S. military, during the summer of 1997. As a result of this meeting, the Technical Working Group on Imaging Technology was formed from a core group of the meeting’s participants. This group later became the Scientific Working Group on Imaging Technology (SWGIT). Prior to the inception of SWGIT, some law enforcement agencies began adopting digital imaging technology. Due to the lack of guidelines or standards, some of these agencies attempted to replace all their film cameras with substandard digital cameras, only to find that the equipment they had purchased was not capable of accomplishing the mission for which they were intended. At that time only low resolution digital cameras were deemed affordable by some law enforcement agencies. Some of these agencies were forced to rethink their photography procedures and reverted to the use of film cameras or replaced their low-resolution digital cameras with higher quality, more expensive equipment. Also lacking at this early stage was guidance on how to store and archive digital image files. When SWGIT was formed, it was tasked with providing guidance to law enforcement and others in the criminal justice system by releasing documents that describe the best practices and guidelines for the use of imaging technology, to include these concerns and many others. This group was terminated in 2015. == SWGIT Function == During its existence, SWGIT provided information on the appropriate use of various imaging technologies including both established and new. This was accomplished through the release of documents such as the SWGIT Best Practices documents. As changes in technology occurred, these documents were updated. Over the course of its existence, SWGIT collaborated with other Scientific Working Groups to address imaging concerns within their respective disciplines. SWGIT published over 20 documents that dealt specifically with imaging technology. SWGIT also co-published documents with the Scientific Working Group on Digital Evidence (SWGDE) that had a component or components dealing with imaging technology. SWGIT also provided imaging technology guidance and input for documents from the Scientific Working Group on Friction Ridge Analysis, Study and Technology (SWGFAST), the Scientific Working Group for Forensic Document Examination (SWGDOC), and the Scientific Working Group on Shoeprint and Tire Tread Evidence (SWGTREAD). SWGIT assisted the American Society of Crime Lab Directors/Laboratory Accreditation Board (ASCLD/LAB) in the writing of definitions and standards for the accreditation of Digital and Multimedia Evidence sections of crime laboratories. In addition to releasing documents, SWGIT members disseminated best practices for law enforcement professionals where imaging technology was concerned. This was carried out by attending and lecturing at meetings and conferences of various forensic organizations that included: The American Academy of Forensic Sciences (AAFS) The International Association for Identification (IAI) The Law Enforcement and Emergency Services Video Association (LEVA) The American Society of Crime Lab Directors (ASCLD) The SWGIT membership consisted of approximately fifty scientists, photographers, instructors, and managers from more than two dozen federal, state, and local law enforcement agencies, as well as from the academic and research communities. The membership elected its officers from within. SWGIT was composed of the Executive Committee, four standing subcommittees, and ad hoc subcommittees appointed on an as-needed basis. The standing subcommittees were: Image Analysis, Forensic Photography, Video, and Outreach. This group was terminated in 2015. == Legal Proceedings == The following court cases have conducted Daubert v. Merrell Dow Pharm., Inc., 509 U.S. 579 (1993) hearings in which SWGIT best practice documents have been cited as accepted protocol, methodology, and as generally accepted techniques in the forensic community: U. S. v. Rudy Frabizio, U.S. District Court, Boston, MA, 2008 (Image Authentication) U.S. v. Nobumochi Furukawa, U.S. District Court, Minnesota, 2007 (Video Authentication) U.S. v. John Stroman, U.S. District Court, South Carolina, 2007 (Facial Comparison Analysis) State of Texas v. Daniel Day, Tarrant County Texas, 2005 (Camera Identification to Images) U.S. v. Marc Watzman, U.S. District Court, Northern Illinois, 2004 (Video Authentication) U.S. v. McKreith, U.S. District Court, Fort Lauderdale, FL, 2002 (Photo comparison of shirt) == Termination == This group was unfunded by the FBI in 2015.

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  Motor theory of speech perception

  The motor theory of speech perception is the hypothesis that people perceive spoken words by identifying the vocal tract gestures with which they are pronounced rather than by identifying the sound patterns that speech generates. It originally claimed that speech perception is done through a specialized module that is innate and human-specific. Though the idea of a module has been qualified in more recent versions of the theory, the idea remains that the role of the speech motor system is not only to produce speech articulations but also to detect them. The hypothesis has gained more interest outside the field of speech perception than inside. This has increased particularly since the discovery of mirror neurons that link the production and perception of motor movements, including those made by the vocal tract. The theory was initially proposed in the Haskins Laboratories in the 1950s by Alvin Liberman and Franklin S. Cooper, and developed further by Donald Shankweiler, Michael Studdert-Kennedy, Ignatius Mattingly, Carol Fowler and Douglas Whalen. == Origins and development == The hypothesis has its origins in research using pattern playback to create reading machines for the blind that would substitute sounds for orthographic letters. This led to a close examination of how spoken sounds correspond to the acoustic spectrogram of them as a sequence of auditory sounds. This found that successive consonants and vowels overlap in time with one another (a phenomenon known as coarticulation). This suggested that speech is not heard like an acoustic "alphabet" or "cipher," but as a "code" of overlapping speech gestures. === Associationist approach === Initially, the theory was associationist: infants mimic the speech they hear and that this leads to behavioristic associations between articulation and its sensory consequences. Later, this overt mimicry would be short-circuited and become speech perception. This aspect of the theory was dropped, however, with the discovery that prelinguistic infants could already detect most of the phonetic contrasts used to separate different speech sounds. === Cognitivist approach === The behavioristic approach was replaced by a cognitivist one in which there was a speech module. The module detected speech in terms of hidden distal objects rather than at the proximal or immediate level of their input. The evidence for this was the research finding that speech processing was special such as duplex perception. === Changing distal objects === Initially, speech perception was assumed to link to speech objects that were both the invariant movements of speech articulators the invariant motor commands sent to muscles to move the vocal tract articulators This was later revised to include the phonetic gestures rather than motor commands, and then the gestures intended by the speaker at a prevocal, linguistic level, rather than actual movements. === Modern revision === The "speech is special" claim has been dropped, as it was found that speech perception could occur for nonspeech sounds (for example, slamming doors for duplex perception). === Mirror neurons === The discovery of mirror neurons has led to renewed interest in the motor theory of speech perception, and the theory still has its advocates, although there are also critics. == Support == === Nonauditory gesture information === If speech is identified in terms of how it is physically made, then nonauditory information should be incorporated into speech percepts even if it is still subjectively heard as "sounds". This is, in fact, the case. The McGurk effect shows that seeing the production of a spoken syllable that differs from an auditory cue synchronized with it affects the perception of the auditory one. In other words, if someone hears "ba" but sees a video of someone pronouncing "ga", what they hear is different—some people believe they hear "da". People find it easier to hear speech in noise if they can see the speaker. People can hear syllables better when their production can be felt haptically. === Categorical perception === Using a speech synthesizer, speech sounds can be varied in place of articulation along a continuum from /bɑ/ to /dɑ/ to /ɡɑ/, or in voice onset time on a continuum from /dɑ/ to /tɑ/ (for example). When listeners are asked to discriminate between two different sounds, they perceive sounds as belonging to discrete categories, even though the sounds vary continuously. In other words, 10 sounds (with the sound on one extreme being /dɑ/ and the sound on the other extreme being /tɑ/, and the ones in the middle varying on a scale) may all be acoustically different from one another, but the listener will hear all of them as either /dɑ/ or /tɑ/. Likewise, the English consonant /d/ may vary in its acoustic details across different phonetic contexts (the /d/ in /du/ does not technically sound the same as the one in /di/, for example), but all /d/'s as perceived by a listener fall within one category (voiced alveolar plosive) and that is because "linguistic representations are abstract, canonical, phonetic segments or the gestures that underlie these segments." This suggests that humans identify speech using categorical perception, and thus that a specialized module, such as that proposed by the motor theory of speech perception, may be on the right track. === Speech imitation === If people can hear the gestures in speech, then the imitation of speech should be very fast, as in when words are repeated that are heard in headphones as in speech shadowing. People can repeat heard syllables more quickly than they would be able to produce them normally. === Speech production === Hearing speech activates vocal tract muscles, and the motor cortex and premotor cortex. The integration of auditory and visual input in speech perception also involves such areas. Disrupting the premotor cortex disrupts the perception of speech units such as plosives. The activation of the motor areas occurs in terms of the phonemic features which link with the vocal track articulators that create speech gestures. The perception of a speech sound is aided by pre-emptively stimulating the motor representation of the articulators responsible for its pronunciation . Auditory and motor cortical coupling is restricted to a specific range of neuronal firing frequency. === Perception-action meshing === Evidence exists that perception and production are generally coupled in the motor system. This is supported by the existence of mirror neurons that are activated both by seeing (or hearing) an action and when that action is carried out. Another source of evidence is that for common coding theory between the representations used for perception and action. == Criticisms == The motor theory of speech perception is not widely held in the field of speech perception, though it is more popular in other fields, such as theoretical linguistics. As three of its advocates have noted, "it has few proponents within the field of speech perception, and many authors cite it primarily to offer critical commentary".p. 361 Several critiques of it exist. === Multiple sources === Speech perception is affected by nonproduction sources of information, such as context. Individual words are hard to understand in isolation but easy when heard in sentence context. It therefore seems that speech perception uses multiple sources that are integrated together in an optimal way. === Production === The motor theory of speech perception would predict that speech motor abilities in infants predict their speech perception abilities, but in actuality it is the other way around. It would also predict that defects in speech production would impair speech perception, but they do not. However, this only affects the first and already superseded behaviorist version of the theory, where infants were supposed to learn all production-perception patterns by imitation early in childhood. This is no longer the mainstream view of motor-speech theorists. === Speech module === Several sources of evidence for a specialized speech module have failed to be supported. Duplex perception can be observed with door slams. The McGurk effect can also be achieved with nonlinguistic stimuli, such as showing someone a video of a basketball bouncing but playing the sound of a ping-pong ball bouncing. As for categorical perception, listeners can be sensitive to acoustic differences within single phonetic categories. As a result, this part of the theory has been dropped by some researchers. === Sublexical tasks === The evidence provided for the motor theory of speech perception is limited to tasks such as syllable discrimination that use speech units not full spoken words or spoken sentences. As a result, "speech perception is sometimes interpreted as referring to the perception of speech at the sublexical level. However, the ultimate goal of these studies is presumably to understand the neural processes supporting the ability to process spee

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  The Future of Work and Death

  The Future of Work and Death is a 2016 documentary by Sean Blacknell and Wayne Walsh about the exponential growth of technology. The film showed at several film festivals including Raindance Film Festival, International Film Festival Rotterdam, Academia Film Olomouc and CPH:DOX. In May 2017 it received an official screening at the European Commission. It was distributed by First Run Features and Journeyman Pictures and was released on iTunes, Amazon Prime and On-demand on 9 May 2017. The film was made available on Sundance Now on 27 November 2017. A companion piece to the film, The Cost of Living, a documentary concerning universal basic income in Britain, was released on Amazon Prime on 8 October 2020. == Synopsis == World experts in the fields of futurology, anthropology, neuroscience, and philosophy consider the impact of technological advances on the two 'certainties' of human life; work and death. Charting human developments from Homo habilis, past the Industrial Revolution, to the digital age and beyond, the film looks at the shocking exponential rate at which mankind has managed to create technologies to ease the process of living. As we embark on the next phase of our adaptation, with automation and artificial intelligence signifying the complete move from man to machine, the film asks what the implications are for human fulfilment in an approaching era of job obsolescence and extreme longevity. == Cast == Dudley Sutton – Narrator Aubrey de Grey – Biomedical gerontologist and CSO of the SENS Research Foundation Will Self – Writer, journalist, political commentator and Professor of Contemporary Thought at Brunel University Rudolph E. Tanzi – Professor of Neurology at Harvard University and Director of the Genetics and Aging Research Unit at Massachusetts General Hospital (MGH) Martin Ford – Futurist and author Steve Fuller – Auguste Comte Chair in Social Epistemology at the Department of sociology at University of Warwick Murray Shanahan – Professor of Cognitive Robotics at Imperial College London Gray Scott – Futurist, executive producer of this production Vivek Wadhwa – Entrepreneur, academic and Director of Research at the Center for Entrepreneurship and Research Commercialization at the Pratt School of Engineering, Duke University Zoltan Istvan – Transhumanist and journalist Joanna Cook – Anthropologist, University College London Nicholas Kamara – Physician, Kable Hospital David Pearce – Transhumanist philosopher and co-founder of Humanity+ Peter Cochrane – Futurist and entrepreneur John Harris – Bioethicist, philosopher and Director of the Institute for Science, Ethics and Innovation at the University of Manchester Riva Melissa-Tez – Entrepreneur and transhumanist Ian Pearson – Futurologist Stuart Armstrong – Artificial intelligence researcher at Future of Humanity Institute

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