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  ASR-complete

  ASR-complete is, by analogy to "NP-completeness" in complexity theory, a term to indicate that the difficulty of a computational problem is equivalent to solving the central automatic speech recognition problem, i.e. recognize and understanding spoken language. Unlike "NP-completeness", this term is typically used informally. Such problems are hypothesised to include: Spoken natural language understanding Understanding speech from far-field microphones, i.e. handling the reverbation and background noise These problems are easy for humans to do (in fact, they are described directly in terms of imitating humans). Some systems can solve very simple restricted versions of these problems, but none can solve them in their full generality.

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  Color picker

  A color picker (also color chooser or color tool) is a graphical user interface widget, usually found within graphics software or online, used to select colors and, in some cases, to create color schemes (the color picker might be more sophisticated than the palette included with the program). Operating systems such as Microsoft Windows or macOS have a system color picker, which can be used by third-party programs (e.g., Adobe Photoshop). == History == The concept of color pickers dates back to the early days of computer graphics and digital design. Early versions were rudimentary, often featuring basic color palettes and limited functionality. One of the first drawing programs to include a color picker was SketchPad (also referred to as LisaSketch), designed by Bill Atkinson in 1983 to showcase LisaGraf's capabilities. It used a black and white pattern system, using dithering to create the illusion of color depth. With the increased popularity of personal computers with color graphics, there soon came software similar to SketchPad that supported more than two colors, like Broderbund's Dazzle Draw for the Apple II or Electronic Arts' Deluxe Paint. However, the color pickers present in those programs relied on indexed colors. Color pickers, resembling ones used in modern software with support for direct, 24-bit color, appeared soon after the release of the Macintosh II, with the release of programs like Adobe Photoshop and Corel Painter. As the increase of color depth allowed the choice of significantly more colors, the shape and form of color pickers started to diverge. For example, Adobe Photoshop used a hue-saturation color wheel with a slider for brightness in version 0.63, later on switching to a rectangular design accompanied by a hue slider. Corel Painter pioneered the triangular saturation and brightness picker with a hue ring around it, aiming to better represent the continuity of the hue spectrum and the relationship between saturation and brightness. == Purpose == A color picker is used to select and adjust color values. In graphic design and image editing, users typically choose colors via an interface with a visual representation of a color—organized with quasi-perceptually-relevant hue, saturation and lightness dimensions (HSL) – instead of keying in alphanumeric text values. Because color appearance depends on comparison of neighboring colors (see color vision), many interfaces attempt to clarify the relationships between colors. == Interface == Color tools can vary in their interface. Some may use sliders, buttons, text boxes for color values, or direct manipulation. Often a two-dimensional square is used to create a range of color values (such as lightness and saturation) that can be clicked on or selected in some other manner. Drag and drop, color droppers, and various other forms of interfaces are commonly used as well. Usually, color values are also displayed numerically, so they can be precisely remembered and keyed-in later, such as three values of 0-255 representing red, green, and blue, respectively. === Eyedropper === The eyedropper is a tool present in most color pickers and graphics software that allows a user to read a color at a specific point in an image, or position on a display. This enables the color to be transferred to other applications particularly quickly. Modern implementations of eyedropper tools are also available as browser extensions, allowing users to pick colors directly from web pages, such as in Google Chrome and Microsoft Edge. == Working == A color picker has two main parts, first a color slider and second a color canvas. The color slider has a linear or radial gradient of the seven rainbow colors i.e. Violet, Indigo, Blue, Green, Yellow, Orange and Red. It allows one to choose any of the seven primary colors. The color value chosen from the color slider instantly reflects in the color canvas. The color canvas is a mixture of two linear color gradients. First a linear gradient of the current chosen color and second a linear gradient of the black color. This mixture of color gradients lets one choose a lighter and darker version of the current chosen color from the color slider.

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  Shepp–Logan phantom

  The Shepp–Logan phantom is a standard test image created by Larry Shepp and Benjamin F. Logan for their 1974 paper "The Fourier Reconstruction of a Head Section". It serves as the model of a human head in the development and testing of image reconstruction algorithms. == Definition == The function describing the phantom is defined as the sum of 10 ellipses inside a 2×2 square:

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  Pandemonium architecture

  Pandemonium architecture is a theory in cognitive science that describes how visual images are processed by the brain. It has applications in artificial intelligence and pattern recognition. The theory was introduced by the artificial intelligence pioneer Oliver Selfridge in his 1959 paper "Pandemonium - A Paradigm for Learning". It describes the process of object recognition as the exchange of signals within a hierarchical system of detection and association, the elements of which Selfridge metaphorically termed "demons". This model is now recognized as the basis of visual perception in cognitive science. Pandemonium architecture arose in response to the inability of template matching theories to offer a biologically plausible explanation of the image constancy phenomenon. Contemporary researchers praise this architecture for its elegancy and creativity; that the idea of having multiple independent systems (e.g., feature detectors) working in parallel to address the image constancy phenomena of pattern recognition is powerful yet simple. The basic idea of the pandemonium architecture is that a pattern is first perceived in its parts before the "whole". Pandemonium architecture was one of the first computational models in pattern recognition. Although not perfect, the pandemonium architecture influenced the development of modern connectionist, artificial intelligence, and word recognition models. == History == Most research in perception has been focused on the visual system, investigating the mechanisms of how we see and understand objects. A critical function of our visual system is its ability to recognize patterns, but the mechanism by which this is achieved is unclear. The earliest theory that attempted to explain how we recognize patterns is the template matching model. According to this model, we compare all external stimuli against an internal mental representation. If there is "sufficient" overlap between the perceived stimulus and the internal representation, we will "recognize" the stimulus. Although some machines follow a template matching model (e.g., bank machines verifying signatures and accounting numbers), the theory is critically flawed in explaining the phenomena of image constancy: we can easily recognize a stimulus regardless of the changes in its form of presentation (e.g., T and T are both easily recognized as the letter T). It is highly unlikely that we have a stored template for all of the variations of every single pattern. As a result of the biological plausibility criticism of the template matching model, feature detection models began to rise. In a feature detection model, the image is first perceived in its basic individual elements before it is recognized as a whole object. For example, when we are presented with the letter A, we would first see a short horizontal line and two slanted long diagonal lines. Then we would combine the features to complete the perception of A. Each unique pattern consists of different combination of features, which means those that are formed with the same features will generate the same recognition. That is, regardless of how we rotate the letter A, is still perceived as the letter A. It is easy for this sort of architecture to account for the image constancy phenomena because you only need to "match" at the basic featural level, which is presumed to be limited and finite, thus biologically plausible. The best known feature detection model is called the pandemonium architecture. == Pandemonium architecture == The pandemonium architecture was originally developed by Oliver Selfridge in the late 1950s. The architecture is composed of different groups of "demons" working independently to process the visual stimulus. Each group of demons is assigned to a specific stage in recognition, and within each group, the demons work in parallel. There are four major groups of demons in the original architecture. The concept of feature demons, that there are specific neurons dedicated to perform specialized processing is supported by research in neuroscience. Hubel and Wiesel found there were specific cells in a cat's brain that responded to specific lengths and orientations of a line. Similar findings were discovered in frogs, octopuses and a variety of other animals. Octopuses were discovered to be only sensitive to verticality of lines, whereas frogs demonstrated a wider range of sensitivity. These animal experiments demonstrate that feature detectors seem to be a very primitive development. That is, it did not result from the higher cognitive development of humans. Not surprisingly, there is also evidence that the human brain possesses these elementary feature detectors as well. Moreover, this architecture is capable of learning, similar to a back-propagation styled neural network. The weight between the cognitive and feature demons can be adjusted in proportion to the difference between the correct pattern and the activation from the cognitive demons. To continue with our previous example, when we first learned the letter R, we know is composed of a curved, long straight, and a short angled line. Thus when we perceive those features, we perceive R. However, the letter P consists of very similar features, so during the beginning stages of learning, it is likely for this architecture to mistakenly identify R as P. But through constant exposure of confirming R's features to be identified as R, the weights of R's features to P are adjusted so the P response becomes inhibited (e.g., learning to inhibit the P response when a short angled line is detected). In principle, a pandemonium architecture can recognize any pattern. As mentioned earlier, this architecture makes error predictions based on the amount of overlapping features. Such as, the most likely error for R should be P. Thus, in order to show this architecture represents the human pattern recognition system we must put these predictions into test. Researchers have constructed scenarios where various letters are presented in situations that make them difficult to identify; then types of errors were observed, which was used to generate confusion matrices: where all of the errors for each letter are recorded. Generally, the results from these experiments matched the error predictions from the pandemonium architecture. Also as a result of these experiments, some researchers have proposed models that attempted to list all of the basic features in the Roman alphabet. == Criticism == A major criticism of the pandemonium architecture is that it adopts a completely bottom-up processing: recognition is entirely driven by the physical characteristics of the targeted stimulus. This means that it is unable to account for any top-down processing effects, such as context effects (e.g., pareidolia), where contextual cues can facilitate (e.g., word superiority effect: it is relatively easier to identify a letter when it is part of a word than in isolation) processing. However, this is not a fatal criticism to the overall architecture, because is relatively easy to add a group of contextual demons to work along with the cognitive demons to account for these context effects. Although the pandemonium architecture is built on the fact that it can account for the image constancy phenomena, some researchers have argued otherwise; and pointed out that the pandemonium architecture might share the same flaws from the template matching models. For example, the letter H is composed of 2 long vertical lines and a short horizontal line; but if we rotate the H 90 degrees in either direction, it is now composed of 2 long horizontal lines and a short vertical line. In order to recognize the rotated H as H, we would need a rotated H cognitive demon. Thus we might end up with a system that requires a large number of cognitive demons in order to produce accurate recognition, which would lead to the same biological plausibility criticism of the template matching models. However, it is rather difficult to judge the validity of this criticism because the pandemonium architecture does not specify how and what features are extracted from incoming sensory information, it simply outlines the possible stages of pattern recognition. But of course that raises its own questions, to which it is almost impossible to criticize such a model if it does not include specific parameters. Also, the theory appears to be rather incomplete without defining how and what features are extracted, which proves to be especially problematic with complex patterns (e.g., extracting the weight and features of a dog). Some researchers have also pointed out that the evidence supporting the pandemonium architecture has been very narrow in its methodology. Majority of the research that supports this architecture has often referred to its ability to recognize simple schematic drawings that are selected from a small finite set (e.g., letters in the Roman alphabet). Evidence from these types of exper

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  NumPy

  NumPy (pronounced NUM-py) is a library for the Python programming language, adding support for large, multi-dimensional arrays and matrices, along with a large collection of high-level mathematical functions to operate on these arrays. The predecessor of NumPy, Numeric, was originally created by Jim Hugunin with contributions from several other developers. In 2005, Travis Oliphant created NumPy by incorporating features of the competing Numarray into Numeric, with extensive modifications. NumPy is open-source software and has many contributors. NumPy is fiscally sponsored by NumFOCUS. == History == === matrix-sig === The Python programming language was not originally designed for numerical computing, but attracted the attention of the scientific and engineering community early on. In 1995 the special interest group (SIG) matrix-sig was founded with the aim of defining an array computing package; among its members was Python designer and maintainer Guido van Rossum, who extended Python's syntax (in particular the indexing syntax) to make array computing easier. === Numeric === An implementation of a matrix package was completed by Jim Fulton, then expanded to support multi-dimensional arrays by Jim Hugunin and called Numeric (also variously known as the "Numerical Python extensions" or "NumPy"), with influences from the APL family of languages, Basis, MATLAB, FORTRAN, S and S+, and others. Hugunin, a graduate student at the Massachusetts Institute of Technology (MIT), joined the Corporation for National Research Initiatives (CNRI) in 1997 to work on JPython, leaving Paul Dubois of Lawrence Livermore National Laboratory (LLNL) to take over as maintainer. Other early contributors include David Ascher, Konrad Hinsen and Travis Oliphant. === Numarray === A new package called Numarray was written as a more flexible replacement for Numeric. Like Numeric, it too is now deprecated. Numarray had faster operations for large arrays, but was slower than Numeric on small ones, so for a time both packages were used in parallel for different use cases. The last version of Numeric (v24.2) was released on 11 November 2005, while the last version of numarray (v1.5.2) was released on 24 August 2006. There was a desire to get Numeric into the Python standard library, but Guido van Rossum decided that the code was not maintainable in its state then. === NumPy === In early 2005, NumPy developer Travis Oliphant wanted to unify the community around a single array package and ported Numarray's features to Numeric, releasing the result as NumPy 1.0 in 2006. This new project was part of SciPy. To avoid installing the large SciPy package just to get an array object, this new package was separated and called NumPy. Support for Python 3 was added in 2011 with NumPy version 1.5.0. In 2011, PyPy started development on an implementation of the NumPy API for PyPy. As of 2023, it is not yet fully compatible with NumPy. == Features == NumPy targets the CPython reference implementation of Python, which is a non-optimizing bytecode interpreter. Mathematical algorithms written for this version of Python often run much slower than compiled equivalents due to the absence of compiler optimization. NumPy addresses the slowness problem partly by providing multidimensional arrays and functions and operators that operate efficiently on arrays; using these requires rewriting some code, mostly inner loops, using NumPy. Using NumPy in Python gives functionality comparable to MATLAB since they are both interpreted, and they both allow the user to write fast programs as long as most operations work on arrays or matrices instead of scalars. In comparison, MATLAB boasts a large number of additional toolboxes, notably Simulink, whereas NumPy is intrinsically integrated with Python, a more modern and complete programming language. Moreover, complementary Python packages are available; SciPy is a library that adds more MATLAB-like functionality and Matplotlib is a plotting package that provides MATLAB-like plotting functionality. Although MATLAB can perform sparse matrix operations, NumPy alone cannot perform such operations and requires the use of the scipy.sparse library. Internally, both MATLAB and NumPy rely on BLAS and LAPACK for efficient linear algebra computations. Python bindings of the widely used computer vision library OpenCV utilize NumPy arrays to store and operate on data. Since images with multiple channels are simply represented as three-dimensional arrays, indexing, slicing or masking with other arrays are very efficient ways to access specific pixels of an image. The NumPy array as universal data structure in OpenCV for images, extracted feature points, filter kernels and many more vastly simplifies the programming workflow and debugging. Importantly, many NumPy operations release the global interpreter lock, which allows for multithreaded processing. NumPy also provides a C API, which allows Python code to interoperate with external libraries written in low-level languages. === The ndarray data structure === The core functionality of NumPy is its "ndarray", for n-dimensional array, data structure. These arrays are strided views on memory. In contrast to Python's built-in list data structure, these arrays are homogeneously typed: all elements of a single array must be of the same type. Such arrays can also be views into memory buffers allocated by C/C++, Python, and Fortran extensions to the CPython interpreter without the need to copy data around, giving a degree of compatibility with existing numerical libraries. This functionality is exploited by the SciPy package, which wraps a number of such libraries (notably BLAS and LAPACK). NumPy has built-in support for memory-mapped ndarrays. === Limitations === Inserting or appending entries to an array is not as trivially possible as it is with Python's lists. The np.pad(...) routine to extend arrays actually creates new arrays of the desired shape and padding values, copies the given array into the new one and returns it. NumPy's np.concatenate([a1,a2]) operation does not actually link the two arrays but returns a new one, filled with the entries from both given arrays in sequence. Reshaping the dimensionality of an array with np.reshape(...) is only possible as long as the number of elements in the array does not change. These circumstances originate from the fact that NumPy's arrays must be views on contiguous memory buffers. Algorithms that are not expressible as a vectorized operation will typically run slowly because they must be implemented in "pure Python", while vectorization may increase memory complexity of some operations from constant to linear, because temporary arrays must be created that are as large as the inputs. Runtime compilation of numerical code has been implemented by several groups to avoid these problems; open source solutions that interoperate with NumPy include numexpr and Numba. Cython and Pythran are static-compiling alternatives to these. Many modern large-scale scientific computing applications have requirements that exceed the capabilities of the NumPy arrays. For example, NumPy arrays are usually loaded into a computer's memory, which might have insufficient capacity for the analysis of large datasets. Further, NumPy operations are executed on a single CPU. However, many linear algebra operations can be accelerated by executing them on clusters of CPUs or of specialized hardware, such as GPUs and TPUs, which many deep learning applications rely on. As a result, several alternative array implementations have arisen in the scientific python ecosystem over the recent years, such as Dask for distributed arrays and TensorFlow or JAX for computations on GPUs. Because of its popularity, these often implement a subset of NumPy's API or mimic it, so that users can change their array implementation with minimal changes to their code required. A library named CuPy, accelerated by Nvidia's CUDA framework, has also shown potential for faster computing, being a 'drop-in replacement' of NumPy. == Examples == NumPy is conventionally imported as np. === Basic operations === === Universal functions === === Linear algebra === === Multidimensional arrays === === Incorporation with OpenCV === === Nearest-neighbor search === Functional Python and vectorized NumPy version. === F2PY === Quickly wrap native code for faster scripts.

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  Multiple satellite imaging

  Multiple satellite imaging is the process of using multiple satellites to gather more information than a single satellite so that a better estimate of the desired source is possible. Something that cannot be resolved with one telescope might be visible with two or more telescopes. == Background == Interferometry is the process of combining waves in such a way that they constructively interfere. When two or more independent sources detect a signal at the same given frequency those signals can be combined and the result is better than each one individually. An overview of Astronomical interferometers and a History of astronomical interferometry can be referenced from their respective pages. The NASA Origins Program was created in the 1990s to ultimately search for the origin of the universe. The theory that the Origins Program is based on is: since light travels at a constant speed until it is absorbed by something; there is still light that was part of the first light ever created traveling about the universe and ultimately some of that light is coming in the general direction of Earth. So a satellite system capable of collecting light from the beginning of the universe would be able to tell us more about where we came from. There is also the constant search for life in other worlds. A satellite system using the interferometric technologies mentioned above would be able to have a much higher resolution than any of the current deep space imaging systems. == Future == NASA is currently focused on the Vision for Space Exploration and has reduced current funding for scientific unmanned space exploration in favor of human exploration. These budget cuts have slowed the multiple satellite imaging development and relevant scientific missions as Project Prometheus and Terrestrial Planet Finder have ended as well but research continues.

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  Fully probabilistic design

  Decision making (DM) can be seen as a purposeful choice of action sequences. It also covers control, a purposeful choice of input sequences. As a rule, it runs under randomness, uncertainty and incomplete knowledge. A range of prescriptive theories have been proposed how to make optimal decisions under these conditions. They optimise sequence of decision rules, mappings of the available knowledge on possible actions. This sequence is called strategy or policy. Among various theories, Bayesian DM is broadly accepted axiomatically based theory that solves the design of optimal decision strategy. It describes random, uncertain or incompletely known quantities as random variables, i.e. by their joint probability expressing belief in their possible values. The strategy that minimises expected loss (or equivalently maximises expected reward) expressing decision-maker's goals is then taken as the optimal strategy. While the probabilistic description of beliefs is uniquely and deductively driven by rules for joint probabilities, the composition and decomposition of the loss function have no such universally applicable formal machinery. Fully probabilistic design (of decision strategies or control, FPD) removes the mentioned drawback and expresses also the DM goals of by the "ideal" probability, which assigns high (small) values to desired (undesired) behaviours of the closed DM loop formed by the influenced world part and by the used strategy. FPD has axiomatic basis and has Bayesian DM as its restricted subpart. FPD has a range of theoretical consequences , and, importantly, has been successfully used to quite diverse application domains.

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  Kernel (image processing)

  In image processing, a kernel, convolution matrix, or mask is a small matrix used for blurring, sharpening, embossing, edge detection, and more. This is accomplished by doing a convolution between the kernel and an image. Or more simply, when each pixel in the output image is a function of the nearby pixels (including itself) in the input image, the kernel is that function. == Details == The general expression of a convolution is g x , y = ω ∗ f x , y = ∑ i = − a a ∑ j = − b b ω i , j f x − i , y − j , {\displaystyle g_{x,y}=\omega f_{x,y}=\sum _{i=-a}^{a}{\sum _{j=-b}^{b}{\omega _{i,j}f_{x-i,y-j}}},} where g ( x , y ) {\displaystyle g(x,y)} is the filtered image, f ( x , y ) {\displaystyle f(x,y)} is the original image, ω {\displaystyle \omega } is the filter kernel. Every element of the filter kernel is considered by − a ≤ i ≤ a {\displaystyle -a\leq i\leq a} and − b ≤ j ≤ b {\displaystyle -b\leq j\leq b} . Depending on the element values, a kernel can cause a wide range of effects: The above are just a few examples of effects achievable by convolving kernels and images. === Origin === The origin is the position of the kernel which is above (conceptually) the current output pixel. This could be outside of the actual kernel, though usually it corresponds to one of the kernel elements. For a symmetric kernel, the origin is usually the center element. == Convolution == Convolution is the process of adding each element of the image to its local neighbors, weighted by the kernel. This is related to a form of mathematical convolution. The matrix operation being performed—convolution—is not traditional matrix multiplication, despite being similarly denoted by . For example, if we have two three-by-three matrices, the first a kernel, and the second an image piece, convolution is the process of flipping both the rows and columns of the kernel and multiplying locally similar entries and summing. The element at coordinates [2, 2] (that is, the central element) of the resulting image would be a weighted combination of all the entries of the image matrix, with weights given by the kernel: ( [ a b c d e f g h i ] ∗ [ 1 2 3 4 5 6 7 8 9 ] ) [ 2 , 2 ] = {\displaystyle \left({\begin{bmatrix}a&b&c\\d&e&f\\g&h&i\end{bmatrix}}{\begin{bmatrix}1&2&3\\4&5&6\\7&8&9\end{bmatrix}}\right)[2,2]=} ( i ⋅ 1 ) + ( h ⋅ 2 ) + ( g ⋅ 3 ) + ( f ⋅ 4 ) + ( e ⋅ 5 ) + ( d ⋅ 6 ) + ( c ⋅ 7 ) + ( b ⋅ 8 ) + ( a ⋅ 9 ) . {\displaystyle (i\cdot 1)+(h\cdot 2)+(g\cdot 3)+(f\cdot 4)+(e\cdot 5)+(d\cdot 6)+(c\cdot 7)+(b\cdot 8)+(a\cdot 9).} The other entries would be similarly weighted, where we position the center of the kernel on each of the boundary points of the image, and compute a weighted sum. The values of a given pixel in the output image are calculated by multiplying each kernel value by the corresponding input image pixel values. This can be described algorithmically with the following pseudo-code: for each image row in input image: for each pixel in image row: set accumulator to zero for each kernel row in kernel: for each element in kernel row: if element position corresponding to pixel position then multiply element value corresponding to pixel value add result to accumulator endif set output image pixel to accumulator corresponding input image pixels are found relative to the kernel's origin. If the kernel is symmetric then place the center (origin) of the kernel on the current pixel. The kernel will overlap the neighboring pixels around the origin. Each kernel element should be multiplied with the pixel value it overlaps with and all of the obtained values should be summed. This resultant sum will be the new value for the current pixel currently overlapped with the center of the kernel. If the kernel is not symmetric, it has to be flipped both around its horizontal and vertical axis before calculating the convolution as above. The general form for matrix convolution is [ x 11 x 12 ⋯ x 1 n x 21 x 22 ⋯ x 2 n ⋮ ⋮ ⋱ ⋮ x m 1 x m 2 ⋯ x m n ] ∗ [ y 11 y 12 ⋯ y 1 n y 21 y 22 ⋯ y 2 n ⋮ ⋮ ⋱ ⋮ y m 1 y m 2 ⋯ y m n ] = ∑ i = 0 m − 1 ∑ j = 0 n − 1 x ( m − i ) ( n − j ) y ( 1 + i ) ( 1 + j ) {\displaystyle {\begin{bmatrix}x_{11}&x_{12}&\cdots &x_{1n}\\x_{21}&x_{22}&\cdots &x_{2n}\\\vdots &\vdots &\ddots &\vdots \\x_{m1}&x_{m2}&\cdots &x_{mn}\\\end{bmatrix}}{\begin{bmatrix}y_{11}&y_{12}&\cdots &y_{1n}\\y_{21}&y_{22}&\cdots &y_{2n}\\\vdots &\vdots &\ddots &\vdots \\y_{m1}&y_{m2}&\cdots &y_{mn}\\\end{bmatrix}}=\sum _{i=0}^{m-1}\sum _{j=0}^{n-1}x_{(m-i)(n-j)}y_{(1+i)(1+j)}} === Edge handling === Kernel convolution usually requires values from pixels outside of the image boundaries. There are a variety of methods for handling image edges. Extend The nearest border pixels are conceptually extended as far as necessary to provide values for the convolution. Corner pixels are extended in 90° wedges. Other edge pixels are extended in lines. Wrap The image is conceptually wrapped (or tiled) and values are taken from the opposite edge or corner. Mirror The image is conceptually mirrored at the edges. For example, attempting to read a pixel 3 units outside an edge reads one 3 units inside the edge instead. Crop / Avoid overlap Any pixel in the output image which would require values from beyond the edge is skipped. This method can result in the output image being slightly smaller, with the edges having been cropped. Move kernel so that values from outside of image is never required. Machine learning mainly uses this approach. Example: Kernel size 10x10, image size 32x32, result image is 23x23. Kernel Crop Any pixel in the kernel that extends past the input image isn't used and the normalizing is adjusted to compensate. Constant Use constant value for pixels outside of image. Usually black or sometimes gray is used. Generally this depends on application. === Normalization === Normalization is defined as the division of each element in the kernel by the sum of all kernel elements, so that the sum of the elements of a normalized kernel is unity. This will ensure the average pixel in the modified image is as bright as the average pixel in the original image. === Optimization === Fast convolution algorithms include: separable convolution ==== Separable convolution ==== 2D convolution with an M × N kernel requires M × N multiplications for each sample (pixel). If the kernel is separable, then the computation can be reduced to M + N multiplications. Using separable convolutions can significantly decrease the computation by doing 1D convolution twice instead of one 2D convolution. === Implementation === Here a concrete convolution implementation done with the GLSL shading language :

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  Yahoo Groups

  Yahoo! Groups was a free-to-use system of electronic mailing lists offered by Yahoo!. Prior to February 2020, Yahoo! Groups was one of the world's largest collections of online discussion boards. It allowed members to subscribe to various groups, read subscribed discussions online, view and share photos, files and bookmarks within a group, access a group calendar, create polls for group members, and receive email notifications of new discussion topics. Some groups were simply announcement boards, to which only the group moderators could post, while others were discussion forums. Depending on each group's settings, membership could be open to everyone or only to invited or approved people. On February 1, 2020, Yahoo! removed online access to discussions and all other features except simple membership management, essentially turning all groups into mailing lists, and on October 13, 2020, it announced that Yahoo Groups would shut down completely on December 15, 2020. == History == In 1998 Yahoo! Clubs was launched as an extension of services developed by Yahoo! Messenger. In August 2000 Yahoo acquired eGroups.com. Yahoo! Groups was launched in early 2001 as an integration of technology from eGroups.com and community groups from both eGroups.com and Yahoo! Clubs. In 2001 Yahoo! deleted adult groups from its search directory, making it very difficult to locate Yahoo! groups with adult content. The Groups Updates Email feature was introduced in 2010. It summarized, in a single email, all the updates that occurred every twenty-four hours in all groups. In September 2010, a major facelift was rolled out, making Yahoo! Groups look very similar to Facebook. In December, Yahoo! Groups Japan emailed its users and posted a notice on its homepage, to announce that its service, which commenced in February 2004, would be closing on May 28, 2014. In October 2019, Yahoo! announced that all content that had been posted to Yahoo! Groups will be deleted on December 14, 2019; that date was later amended to January 31, 2020. Yahoo! announced that adding new content would be blocked on October 28, 2019. Once the content was deleted, users of Yahoo! Groups were only able to browse the group directory, request invitations and, if members of a group, send messages to that group. On October 13, 2020, Yahoo! announced they would be shutting down Yahoo! Groups on December 15, 2020. The site was closed down a few days after the advertised date, displaying a message that the service was officially shut down. This message stopped appearing at the end of January 2021 and the Yahoo! Groups web address began redirecting to the main Yahoo! page. === Criticism and controversy === On August 31, 2010, Yahoo! Groups started rolling out a major software change, which was denounced by a large number of users. The re-model was completely abandoned on January 12, 2011. == Site statistics == In August 2008, Yahoo! Group staff reported that there were 113 million users, and nine million Groups using 22 languages. In July 2010, the web analytics website Quantcast reported around 915 thousand unique visitors daily to the Yahoo! Groups website (US). In January 2011, that number had increased to 933 thousand unique visitors daily. The number did not include Yahoo! Group members who accessed the Groups site via email. In September 2010, at its "Product Runway" event, Yahoo! told reporters that Yahoo! Groups had 115 million group members and that there were 10 million Yahoo! groups. == Archives ==

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  Digital art

  Digital art, or the digital arts, is artistic work that uses digital technology as part of the creative or presentational process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art. Digital art includes pieces stored on physical media, such as with digital painting, as well as digital galleries on websites. Digital art also extends to the field of visual computing. == History == In the early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user interactive computer-graphics interface known as Sketchpad. Between 1974 and 1977, Salvador Dalí created two big canvases of Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko) and prints of Lincoln in Dalivision based on a portrait of Abraham Lincoln processed on a computer by Leon Harmon published in "The Recognition of Faces". The technique is similar to what later became known as photographic mosaics. Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Center in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color using flood fills. == Art made for digital media == Artwork that is highly computational, presented through digital media, and explicitly engages with digital technologies are categorized as "art made for digital media". This differs from art using digital tools, which incorporate digital technology in the creation process but may exist outside the digital world. Digital art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statement about the art form". == Art that uses digital tools == Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings when created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Despite differing viewpoints on digital technology's impact on the arts, a consensus exists within the digital art community about its significant contribution to expanding the creative domain, i.e., that it has greatly broadened the creative opportunities available to professional and non-professional artists alike. == Art theorists and art historians == Notable art theorists and historians in this field include: Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Tina Rivers Ryan, Fred Forest and Edward A. Shanken. === Digital painting === Digital painting is either a physical painting made with the use of digital electronics and spray paint robotics within the digital art fine art context or pictorial art imagery made with pixels on a computer screen that mimics artworks from the traditional histories of painting and illustration. === Artificial intelligence art === Artists have used artificial intelligence to create artwork since at least the 1960s. Since their design in 2014, some artists have created artwork using a generative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate. It can be used to generate pictures that have visual effects similar to traditional fine art. The essential idea of image generators is that people can use text descriptions to let AI convert their text into visual picture content. Anyone can turn their language into a painting through a picture generator. == Digital art education == Digital art education has become more common with the advancement of digital hardware and software. From hardware such as graphics tablets, styluses, tablets, 3D scanners, virtual reality headsets, and digital cameras; to software such as digital art software, 3D modeling software, 3D rendering, digital sculpting, 2D graphics software, digital painting, 3D terrain generation, 2D animation software, 3D animation software, raster graphics editors, vector graphics editors, mathematical art software, and video editing software. == Scholarship and archives == In addition to the creation of original art, research methods that utilize AI have been generated to quantitatively analyze digital art collections. This has been made possible due to the large-scale digitization of artwork in the past few decades. Although the main goal of digitization was to allow for accessibility and exploration of these collections, the use of AI in analyzing them has brought about new research perspectives. Two computational methods, close reading and distant viewing, are the typical approaches used to analyze digitized art. Close reading focuses on specific visual aspects of one piece. Some tasks performed by machines in close reading methods include computational artist authentication and analysis of brushstrokes or texture properties. In contrast, through distant viewing methods, the similarity across an entire collection for a specific feature can be statistically visualized. Common tasks relating to this method include automatic classification, object detection, multimodal tasks, knowledge discovery in art history, and computational aesthetics. Whereas distant viewing includes the analysis of large collections, close reading involves one piece of artwork. Whilst 2D and 3D digital art is beneficial as it allows the preservation of history that would otherwise have been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans – i.e., who should own the digital copyrights. === Computer demos === Computer demos are based on computer programs, usually non-interactive. It produces audiovisual presentations. They are a novel form of art, which emerged as a consequence of the home computer revolution in the early 1980s. In the classification of digital art, they can be best described as real-time procedurally generated animated audio-visuals. This form of art does not concentrate only on the aesthetics of the final presentation, but also on the complexities and skills involved in creating the presentation. As such, it can be fully enjoyed only by persons with a relatively high knowledge level of relevant computer technologies. An example is that, as said by Hua Jin and Jie Yang, Using computer-aided design software to present the class content in art design teaching," is not to advocate computer-aided design instead of hand-drawn performance, but to make it serve the profession earlier through a more reasonable course arrangement." On the other hand, many of the created pieces of art are primarily aesthetic or amusing, and those can be enjoyed by the general public. === Digital installation art === Digital installation art constitutes a broad field of artistic practices and a variety of forms. Some resemble video installations, especially large-scale works involving projections and live video capture. By using projection techniques that enhance an audience's impression of sensory envelopment, many digital installations attempt to create immersive environments. While others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site-specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces. Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people, indicating their personal space.Noah Wardrip-Fruin's "Screen"(2003) utilizes a Cave Automatic Virtual Environment (CAVE) to create an interactive, text-based digital experience that engages the viewer in a multi-sensory interaction. === Internet art and net.art === Internet art is digital art that uses the specific characteristics of the Internet and is exhibited on the Internet. The term "internet art" is included by "net art" for which artists assume that network will be refreshed through history. So the term "post-internet art" is used to exclude artworks outside of the internet media. A representative example is Protocols for Achievements, which is a digital photo frame that confronts the aestheti

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  Level set (data structures)

  In computer science, a level set is a data structure designed to represent discretely sampled dynamic level sets of functions. A common use of this form of data structure is in efficient image rendering. The underlying method constructs a signed distance field that extends from the boundary, and can be used to solve the motion of the boundary in this field. == Chronological developments == The powerful level-set method is due to Osher and Sethian 1988. However, the straightforward implementation via a dense d-dimensional array of values, results in both time and storage complexity of O ( n d ) {\displaystyle O(n^{d})} , where n {\displaystyle n} is the cross sectional resolution of the spatial extents of the domain and d {\displaystyle d} is the number of spatial dimensions of the domain. === Narrow band === The narrow band level set method, introduced in 1995 by Adalsteinsson and Sethian, restricted most computations to a thin band of active voxels immediately surrounding the interface, thus reducing the time complexity in three dimensions to O ( n 2 ) {\displaystyle O(n^{2})} for most operations. Periodic updates of the narrowband structure, to rebuild the list of active voxels, were required which entailed an O ( n 3 ) {\displaystyle O(n^{3})} operation in which voxels over the entire volume were accessed. The storage complexity for this narrowband scheme was still O ( n 3 ) . {\displaystyle O(n^{3}).} Differential constructions over the narrow band domain edge require careful interpolation and domain alteration schemes to stabilise the solution. === Sparse field === This O ( n 3 ) {\displaystyle O(n^{3})} time complexity was eliminated in the approximate "sparse field" level set method introduced by Whitaker in 1998. The sparse field level set method employs a set of linked lists to track the active voxels around the interface. This allows incremental extension of the active region as needed without incurring any significant overhead. While consistently O ( n 2 ) {\displaystyle O(n^{2})} efficient in time, O ( n 3 ) {\displaystyle O(n^{3})} storage space is still required by the sparse field level set method. See for implementation details. === Sparse block grid === The sparse block grid method, introduced by Bridson in 2003, divides the entire bounding volume of size n 3 {\displaystyle n^{3}} into small cubic blocks of m 3 {\displaystyle m^{3}} voxels each. A coarse grid of size ( n / m ) 3 {\displaystyle (n/m)^{3}} then stores pointers only to those blocks that intersect the narrow band of the level set. Block allocation and deallocation occur as the surface propagates to accommodate to the deformations. This method has a suboptimal storage complexity of O ( ( n m ) 3 + m 3 n 2 ) {\displaystyle O\left((nm)3+m^{3}n^{2}\right)} , but retains the constant time access inherent to dense grids. === Octree === The octree level set method, introduced by Strain in 1999 and refined by Losasso, Gibou and Fedkiw, and more recently by Min and Gibou uses a tree of nested cubes of which the leaf nodes contain signed distance values. Octree level sets currently require uniform refinement along the interface (i.e. the narrow band) in order to obtain sufficient precision. This representation is efficient in terms of storage, O ( n 2 ) , {\displaystyle O(n^{2}),} and relatively efficient in terms of access queries, O ( log n ) . {\displaystyle O(\log \,n).} An advantage of the level method on octree data structures is that one can solve the partial differential equations associated with typical free boundary problems that use the level set method. The CASL research group has developed this line of work in computational materials, computational fluid dynamics, electrokinetics, image-guided surgery and controls. === Run-length encoded === The run-length encoding (RLE) level set method, introduced in 2004, applies the RLE scheme to compress regions away from the narrow band to just their sign representation while storing with full precision the narrow band. The sequential traversal of the narrow band is optimal and storage efficiency is further improved over the octree level set. The addition of an acceleration lookup table allows for fast O ( log ⁡ r ) {\displaystyle O(\log r)} random access, where r is the number of runs per cross section. Additional efficiency is gained by applying the RLE scheme in a dimensional recursive fashion, a technique introduced by Nielsen & Museth's similar DT-Grid. === Hash Table Local Level Set === The Hash Table Local Level Set method was introduced in 2011 by Eyiyurekli and Breen and extended in 2012 by Brun, Guittet, and Gibou, only computes the level set data in a band around the interface, as in the Narrow Band Level-Set Method, but also only stores the data in that same band. A hash table data structure is used, which provides an O ( 1 ) {\displaystyle O(1)} access to the data. However, Brun et al. conclude that their method, while being easier to implement, performs worse than a quadtree implementation. They find that as it is, [...] a quadtree data structure seems more adapted than the hash table data structure for level-set algorithms. Three main reasons for worse efficiency are listed: to obtain accurate results, a rather large band is required close to the interface, which counterbalances the absence of grid nodes far from the interface; the performances are deteriorated by extrapolation procedures on the outer edges of the local grid and the width of the band restricts the time step and slows down the method. === Point-based === Corbett in 2005 introduced the point-based level set method. Instead of using a uniform sampling of the level set, the continuous level set function is reconstructed from a set of unorganized point samples via moving least squares.

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  Haskins Laboratories

  Haskins Laboratories, Inc. is an independent research laboratory, founded in 1935 and located in New Haven, Connecticut since 1970. Many current Haskins researchers are affiliated with Yale University's Child Study Center and/or the University of Connecticut. Haskins is a multidisciplinary and international community of researchers who conduct basic research on spoken and written language and global literacy. A guiding perspective of their research has been to view speech and language as emerging from biological processes, including those of adaptation, response to stimuli, and conspecific interaction. Haskins Laboratories has a long history of technological and theoretical innovation, from creating systems of rules for speech synthesis and development of an early working prototype of a reading machine for the blind to developing the landmark concept of phonemic awareness as the critical preparation for learning to read an alphabetic writing system. == Research tools and facilities == Haskins Laboratories is equipped, in-house, with a comprehensive suite of tools and capabilities to advance its mission of research into language and literacy. As of 2014, these included: Anechoic chamber Electroencephalography BioSemi 264 electrode, 24 bit Active Two System EGI 128 electrode, Geodesic EEG System 300 Electromagnetic articulography (EMMA) Carstens AG501 NDI WAVE Eye tracking: HL is equipped with 3 SR Research eye-trackers. 2 Model Eyelink 1000 systems. 1 Model Eyelink 1000plus system. Magnetic resonance imaging: Haskins has access to MRI scanners through agreements with the University of Connecticut and the Yale School of Medicine. On-site, HL has a Linux computer cluster dedicated to analysis of MRI data. Motion capture: HL is equipped with a Vicon motion capture system with one Basler high-speed digital camera, six Vicon MX T-20 cameras and a Vicon MX Giganet for synching camera data and connecting cameras to the data capture computer. Near infrared spectroscopy: HL has a TechEn CW6 8x8 system (four emitters; eight detectors). Ultrasound sonogram == History == Many researchers have contributed to scientific breakthroughs at Haskins Laboratories since its founding. All of them are indebted to the pioneering work and leadership of Caryl Parker Haskins, Franklin S. Cooper, Alvin Liberman, Seymour Hutner and Luigi Provasoli. The history presented here focuses on the research program of the division of Haskins Laboratories that, since the 1940s, has been most well known for its work in the areas of speech, language, and reading. === 1930s === Caryl Haskins and Franklin S. Cooper established Haskins Laboratories in 1935. It was originally affiliated with Harvard University, MIT, and Union College in Schenectady, NY. Caryl Haskins conducted research in microbiology, radiation physics, and other fields in Cambridge, MA and Schenectady. In 1939 Haskins Laboratories moved its center to New York City. Seymour Hutner joined the staff to set up a research program in microbiology, genetics, and nutrition. The descendant of the division led by Hutner program eventually became a department of Pace University in New York. The two identically named organizations are no longer formally affiliated. === 1940s === The U. S. Office of Scientific Research and Development, under Vannevar Bush asked Haskins Laboratories to evaluate and develop technologies for assisting blinded World War II veterans. Experimental psychologist Alvin Liberman joined Haskins Laboratories to assist in developing a "sound alphabet" to represent the letters in a text for use in a reading machine for the blind. Luigi Provasoli joined Haskins Laboratories to set up a research program in marine biology. The program in marine biology moved to Yale University in 1970 and disbanded with Provasoli's retirement in 1978. === 1950s === Franklin S. Cooper invented the pattern playback, a machine that converts pictures of the acoustic patterns of speech back into sound. With this device, Alvin Liberman, Cooper, and Pierre Delattre (and later joined by Katherine Safford Harris, Leigh Lisker, Arthur Abramson, and others), discovered the acoustic cues for the perception of phonetic segments (consonants and vowels). Liberman and colleagues proposed a motor theory of speech perception to resolve the acoustic complexity: they hypothesized that we perceive speech by tapping into a biological specialization, a speech module, that contains knowledge of the acoustic consequences of articulation. Liberman, aided by Frances Ingemann and others, organized the results of the work on speech cues into a groundbreaking set of rules for speech synthesis by the Pattern Playback. === 1960s === Franklin S. Cooper and Katherine Safford Harris, working with Peter MacNeilage, were the first researchers in the U.S. to use electromyographic techniques, pioneered at the University of Tokyo, to study the neuromuscular organization of speech. Leigh Lisker and Arthur Abramson looked for simplification at the level of articulatory action in the voicing of certain contrasting consonants. They showed that many acoustic properties of voicing contrasts arise from variations in voice onset time, the relative phasing of the onset of vocal cord vibration and the end of a consonant. Their work has been widely replicated and elaborated, here and abroad, over the following decades. Donald Shankweiler and Michael Studdert-Kennedy used a dichotic listening technique (presenting different nonsense syllables simultaneously to opposite ears) to demonstrate the dissociation of phonetic (speech) and auditory (nonspeech) perception by finding that phonetic structure devoid of meaning is an integral part of language, typically processed in the left cerebral hemisphere. Liberman, Cooper, Shankweiler, and Studdert-Kennedy summarized and interpreted fifteen years of research in "Perception of the Speech Code", still among the most cited papers in the speech literature. It set the agenda for many years of research at Haskins and elsewhere by describing speech as a code in which speakers overlap (or coarticulate) segments to form syllables. Researchers at Haskins connected their first computer to a speech synthesizer designed by Haskins Laboratories' engineers. Ignatius Mattingly, with British collaborators, John N. Holmes and J.N. Shearme, adapted the Pattern playback rules to write the first computer program for synthesizing continuous speech from a phonetically spelled input. A further step toward a reading machine for the blind combined Mattingly's program with an automatic look-up procedure for converting alphabetic text into strings of phonetic symbols. === 1970s === In 1970, Haskins Laboratories moved to New Haven, Connecticut, and entered into affiliation agreements with Yale University and the University of Connecticut; Haskins remains fully independent of both Yale and UConn, administratively and financially. The lab's original location in New Haven, at 270 Crown Street (from 1970 to 2005), was leased from Yale University. Isabelle Liberman, Donald Shankweiler, and Alvin Liberman teamed up with Ignatius Mattingly to study the relationship between speech perception and reading, a topic implicit in Haskins Laboratories' research program since its inception. They developed the concept of phonemic awareness, the knowledge that would-be readers must be aware of the phonemic structure of their language in order to be able to read. Leonard Katz related the work to contemporary cognitive theory and provided expertise in experimental design and data analysis. Under the broad rubric of the "alphabetic principle", this is the core of the lab's present program of reading pedagogy. Patrick Nye joined Haskins Laboratories to lead a team working on the reading machine for the blind. The project culminated when the addition of an optical character recognizer allowed investigators to assemble the first automatic text-to-speech reading machine. By the end of the decade this technology had advanced to the point where commercial concerns assumed the task of designing and manufacturing reading machines for the blind. In 1973, Franklin S. Cooper was selected to form a panel of six experts charged with investigating the famous 18-minute gap in the White House office tapes of President Richard Nixon related to the Watergate scandal. Building on earlier work, Philip Rubin developed the sinewave synthesis program, which was then used by Robert Remez, Rubin, and colleagues to show that listeners can perceive continuous speech without traditional speech cues from a pattern of sinewaves that track the changing resonances of the vocal tract. This paved the way for a view of speech as a dynamic pattern of trajectories through articulatory-acoustic space. Philip Rubin and colleagues developed Paul Mermelstein's anatomically simplified vocal tract model, originally worked on at Bell Laboratories, into the first articulatory synthesizer that can be controlled in a phy

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  Fyuse

  Fyuse is a spatial photography app which lets users capture and share interactive 3D images. By tilting or swiping one's smartphone, one can view such "fyuses" from various angles — as if one were walking around an object or subject. The app blends photography and video to create an interactive medium and was first published for iOS in April 2014. The Android version was released at the end of 2014. == The app == Fyuse lets users capture panoramas, selfies, and full 360° views of objects and allows one to view captured moments from different angles. It has its own personal gallery, social network and standalone web integration. With the app, Fyusion also created a social networking platform similar to Instagram. Fyuses can be shared, commented on, liked and re-shared to one's followers (called Echoes). One can build a network of followers and with engagement tracking, one can see how many times an image has been interacted with The images can also be saved for private, offline view, or shared to other social networks, like Facebook or Twitter, or embedded on a website where the images can be interacted with by desktop users via dragging the mouse. Furthermore, in the compass tab other fyuses can be discovered using the app's system of tags and categories. One's Fyuse feed is prepopulated with top users, and one can follow people to see when they post a new fyuse. The app will also find one's friends if one signs up with Facebook or connects it with one's Twitter account. To create a fyuse one moves around a person or object with one's phone's camera in one direction or moving/tilting one's phone around while holding one's finger on the screen. By combining photography and video the app allows one to capture moments that one may not have otherwise been able to capture by recording not one moment in time but stitched together little moments. According to Fyusion CEO Radu Rusu, a photo freezes a moment in time, while a video captures moments in a linear timeline — both still flat, when viewed. A fyuse image captures a moment in space, where one can not only see one side of something, but also around it. When it is done rendering, fyuses can also be edited – one can trim the fyuse for length and edit the brightness, contrast, exposure, saturation and sharpness. One can also add a vignette and apply a filters, with options to adjust their intensity. After editing, one can write a description, add hashtags, and tag parts of the fyuse before one can (voluntarily) publish and share it. Version 1.0 has been described as "alpha prototype" and version 2.0 was released on 17 December 2014. Version 3.0 introduced 3D tagging by which users can layer 3D graphic that animate accordingly with each interaction to add some context to the content. Version 4.0 was released on December 21, 2016 for iOS. Since January 2016 (v3.2) the app allows the export of fyuses as Live Photos. The app has also been described as a more sophisticated version of 3D stickers and flip images. == Applications == The app has many applications for e-commerce such as for fashion designers who want to showcase a garment from every angle, or real estate listings and Airbnb-type sites that want to make their rental properties seem as enticing as possible. The app can also be used for interactive art, 360° panoramas and selfies. == History == San Francisco-based Fyusion Inc.'s three founders — Radu B. Rusu, CTO Stefan Holzer, and VP of Engineering Stephen Miller — worked together at Willow Garage, the robotics research lab started by early Google employee Scott Hassan in the area of "personal robotics" — Hassan decided to turn the lab into more of an incubator, suggesting that the members spin off their technologies into consumer-facing enterprises. Rusu first set out with an open-source 3D perception software startup called Open Perception. Fyusion was officially founded in 2013, and soon after Rusu and his cofounders patented the technology for spatial photography. The company closed a seed funding round at the end of May, raising $3.35 million from investors, including an angel investment from Sun Microsystems cofounder Andreas Bechtolsheim. In 2014 the Fyuse team consisted of 13 employees, mostly engineers and designers, recruited from around the globe. In March 2015 the team displayed their app at Katy Perry's premiere for the movie "Prismatic World Tour on Epix" where Perry also took Fyuse for a test run. == Augmented reality == In September 2016 Fyusion unveiled its platform for creating augmented reality content using ones smartphone. It takes the images from ones smartphone and converts them into 3D holographic images, which one can then view on an AR headset. According to Rusu "by making it easy for people to capture their surroundings on any mobile device, [Fyusion is] revolutionizing the way that people view the world around them" and also states that for "AR to be successful, anyone should be able to create content for it" opposed to the current "small number of content creators and an even smaller number of hardware players". According to him "the applications of [Fyusion's] technology for consumers and businesses are incredibly limitless". The platform uses the company's patented 3D spatio-temporal platform that uses advanced sensor fusion, machine learning and computer vision algorithms and part of the platform is built into the Fyuse app. Before committing to releasing a separate consumer product the company intends to wait until the HoloLens device becomes available to the public. Until then any Fyuse representation created using Fyuse is AR ready and will be able to be shown in HoloLens in the future. == Fyuse - Point of No Return == Fyuse - Point of No Return is a science fiction short advert for Fyuse 3.0 in which Fyuse's digital medium is extrapolated into the future. In the film a woman uses a mini scanning-drone to 3D scan a tree with Fyuse and later recreate it as an augmented reality object at another place.

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  MoltenVK

  MoltenVK is a software library which allows Vulkan applications to run on top of Metal on Apple's macOS, iOS, and tvOS operating systems. It is the first software component to be released for the Vulkan Portability Initiative, a project to have a subset of Vulkan run on platforms lacking native Vulkan drivers. There are some limitations compared with a native Vulkan implementation. == History == MoltenVK was first released as a proprietary and commercially licensed product by The Brenwill Workshop on July 27, 2016. On July 31, 2017, Khronos announced the formation of the Vulkan Portability Technical Subgroup. === Open source === On February 26, 2018, Khronos announced that Vulkan became available on macOS and iOS products through the MoltenVK library. Valve announced that Dota 2 will run on macOS using the Vulkan API with the aid of MoltenVK, and that they had made an arrangement with developer The Brenwill Workshop Ltd to release MoltenVK as open-source software under the Apache License version 2.0. On May 30, 2018, Qt was updated with Vulkan for Qt on macOS using MoltenVK. On May 31, 2018, optional Vulkan support for Dota 2 on macOS was released. Benchmarks for the game were available the following day, showing better performance using Vulkan and MoltenVK compared to OpenGL. On July 20, 2018, Wine was updated with Vulkan support on macOS using MoltenVK. On 29 July 2018, the first app using MoltenVK was accepted onto the App Store, after initially being rejected. On 6 August 2018, Google open-sourced Filament, a crossplatform real-time physically based rendering engine with MoltenVK for macOS/iOS. On November 28, 2018, Valve released Artifact, their first Vulkan-only game on macOS using MoltenVK. === Version 1.0 === On 29 January 2019, MoltenVK 1.0.32 was released with early prototype of Vulkan Portability Extensions. RPCS3 and Dolphin emulators were updated with Vulkan support on macOS using MoltenVK. On 13 April 2019, MoltenVK 1.0.34 was released with support for tessellation. On July 30, 2019, MoltenVK 1.0.36 was released targeting Metal 3.0. On July 31, 2020, MoltenVK 1.0.44 was released, adding support for the tvOS platform. On January 23, 2020, MoltenVK was updated to support for some of the new features of Vulkan 1.2, as of Vulkan SDK 1.2.121. === Version 1.1 === On October 1, 2020, MoltenVK 1.1.0 was released, adding full support for Vulkan 1.1, as of Vulkan SDK 1.2.154. On 9 December 2020, MoltenVK 1.1.1 was released, providing support for Vulkan on Apple silicon GPUs and support for the Mac Catalyst platform for porting iOS/iPadOS apps to macOS. === Version 1.2 === On October 18, 2022, MoltenVK 1.2.0 was released, adding full support for Vulkan 1.2 as of Vulkan SDK 1.3.231. In January 2023, MoltenVK 1.2.2 added support for Vulkan as of SDK 1.3.239, while this version of Vulkan SDK fixed some issues with the interconnectivity with Metal API, while version 1.2.3 supported some additional extensions. === Version 1.3 === On May 1, 2025, MoltenVK 1.3 was released with support for Vulkan 1.3. === Version 1.4 === On August 20, 2025, MoltenVK 1.4 was released with support for Vulkan 1.4.

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  Imix video cube

  The Imix (also known as ImMix) Video Cube is one of the first computer non-linear editing systems that was a full broadcast quality online video finishing machine. After its release in 1994, Imix released a more advanced version, the Imix Turbo Cube, which boasted 4 channels of real time layered visual effects. It was a hardware computer system controlled by an Apple Macintosh computer.

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