AI Chatbot Design

AI Chatbot Design — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Sports Card Investor

    Sports Card Investor

    Sports Card Investor is an American sports collectibles media platform and mobile application founded by Geoff Wilson. The platform provides market data, analysis, and editorial content focused on sports trading cards and related collectibles. It operates a website, mobile app, and digital media channels covering developments in the sports card industry. The company posted its first YouTube video in July 2019, shortly before a period of rapid growth in sports card collecting in the early 2020s, which was marked by increased trading volumes and mainstream media attention. == History == Sports Card Investor was founded by Geoff Wilson, an entrepreneur and collector who began publishing sports card–related content online before launching the platform's dedicated app and subscription tools. In February 2020, the company launched Market Movers, the first website and app to chart sports card prices and track card collections. The platform expanded its media presence through partnerships and distribution agreements. In 2023, Yahoo Sports announced a new collectibles coverage initiative that included additional content from Sports Card Investor. In February 2024, the Sports Card Investor studio relocated to CardsHQ in Atlanta, Georgia, and visitors to the facility can watch Sports Card Investor videos being filmed. == Platform and content == The Sports Card Investor app provides users with pricing data, portfolio-tracking tools, and market-trend analysis for trading cards. The company also produces video and editorial content discussing market developments, grading trends, and major card releases. Coverage in industry publications has referenced Sports Card Investor in discussions about shifts in sports card licensing rights and hobby market reactions. == Industry context == The growth of Sports Card Investor coincided with a broader resurgence in trading card markets, including record sales and expanded retail presence. Mainstream outlets have cited the company and its founder in reporting on collectibles investing trends, grading practices, and market volatility. The Sports Card Investor app has attracted over 37,000 reviews on the Apple App Store, reflecting its strong user engagement within the sports card community.

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  • Generative art

    Generative art

    Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu

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  • Data event

    Data event

    A data event is a relevant state transition defined in an event schema. Typically, event schemata are described by pre- and post condition for a single or a set of data items. In contrast to ECA (Event condition action), which considers an event to be a signal, the data event not only refers to the change (signal), but describes specific state transitions, which are referred to in ECA as conditions. Considering data events as relevant data item state transitions allows defining complex event-reaction schemata for a database. Defining data event schemata for relational databases is limited to attribute and instance events. Object-oriented databases also support collection properties, which allows defining changes in collections as data events, too.

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  • Computers & Graphics

    Computers & Graphics

    Computers & Graphics is a peer-reviewed scientific journal that covers computer graphics and related subjects such as data visualization, human-computer interaction, virtual reality, and augmented reality. It was established in 1975 and originally published by Pergamon Press. It is now published by Elsevier, which acquired Pergamon Press in 1991. From 2018 to 2022 Graphics and Visual Computing was an open access sister journal sharing the same editorial team and double-blind peer-review policies. It has since merged into GMOD, the International Journal of Graphical Models. == History == The journal was established in 1975 by founding editor-in-chief Robert Schiffman (University of Colorado, Boulder), as Computers & Graphics-UK. Schiffman, who co-organized the first SIGGRAPH conference in 1974, had the conference proceedings published as the first issue of the journal. He was succeeded in 1978 by Larry Feeser (Rensselaer Polytechnic Institute). In 1983 José Luis Encarnação (Technische Hochschule Darmstadt) took over. Joaquim Jorge (University of Lisbon) has been Editor-in-Chief since 2007. == Replicability == The journal is working with the Graphics Replicability Stamp Initiative to promote replicable results in publication. == Abstracting and indexing == The journal is abstracted and indexed in: Current Contents/Engineering, Computing & Technology EBSCO databases Ei Compendex Inspec ProQuest databases Science Citation Index Expanded Scopus Chinese Computer Federation/Recommended List of International Conferences and Journals on CAD & Graphics and Multimedia. According to the Journal Citation Reports, the journal has a 2022 impact factor of 2.5.

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  • Zamzar

    Zamzar

    Zamzar is an online file converter and compressor, created by brothers Mike and Chris Whyley in England in 2006. It allows users to convert files online, without downloading a software tool, and supports over 1,200 different conversion types. Since its formation, the service has converted over 510 million files for users from 245 different countries. The service supports the conversion of documents, images, audio, video, e-Books, CAD files and compressed file formats. Users can type in a URL or upload one or more files (if they are all of the same format) from their computer; Zamzar will then convert the file(s) to another user-specified format, such as an Adobe PDF file to a Microsoft Word document. Once conversion is complete, users can immediately download the file from their web browser. Users can also choose to receive an email with a link to download the converted file. In February 2021 Zamzar expanded their tool and announced a new file compression service. The compressor is visually similar to the conversion tool with a drag and drop download feature. As with the converter, users have the option to subscribe for a paid plan if they wish to compress multiple or larger files than the free service permits == File conversion API == in 2015 Zamzar launched a file conversion API, allowing users to integrate file conversion capabilities into their own websites and applications. Sample code is provided to allow users to integrate file conversion capabilities in C#, Java, Node.js, PHP, Python and cURL. Zamzar also maintains a project on GitHub which allows users to perform file conversion from the command line on Linux, MacOS or Windows systems. == Email file conversion == It is also possible to send files for conversion by emailing them to Zamzar. Zamzar launched this capability in 2012, allowing users to email files to dedicated email addresses for the file to be automatically converted to a different format. A link is then emailed back to the end user to allow them to download their converted file. == User privilege levels == Zamzar is currently free to use, but there is a limit of two conversions per hour for files up to 100MB. Users can pay a monthly subscription in order to access preferential features, such as unlimited file conversions, online file management, shorter response and queuing times and other benefits. == Name == Its name comes from Franz Kafka's The Metamorphosis. Its main character is called Gregor Samsa and it is from his surname that Zamzar is derived. The founders of the service considered three other names – Konvertieren, Khamailen and Obrogo – before settling on Zamzar.

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  • AI content watermarking

    AI content watermarking

    AI content watermarking is the process of embedding imperceptible yet detectable signals into content generated by artificial intelligence systems, such as text, images, audio, or video. The technique allows the content to be traced and identified as machine-generated without compromising its quality for the end user. AI watermarking has emerged as a key approach to address growing concerns about misinformation, deepfakes, copyright infringement, and the traceability of synthetic content in the context of the rapid development of generative artificial intelligence. Unlike traditional visible watermarks used in photography, AI content watermarks are typically invisible to humans and can only be detected and deciphered algorithmically. The concept is distinct from the watermarking of AI models themselves (to prevent model theft) and from the watermarking of training data (to combat unauthorized data use). Modern AI watermarking schemes are typically formalized as a pair of algorithms, an embedding (or generation) algorithm and a detection algorithm, sharing a secret key, whose performance is evaluated along three competing axes: quality (the watermark must not noticeably degrade outputs), detectability (the watermark must be statistically distinguishable from unwatermarked content), and robustness (the watermark must persist under adversarial or incidental modifications). == Background == Digital watermarking has been used for decades to protect physical and digital media, from paper currency to photographs. Classical schemes typically embedded a fixed bit-string into a fixed cover signal, with robustness criteria defined against a small fixed set of distortions such as JPEG compression or additive Gaussian noise. The rapid advancement of generative AI in the early 2020s, however, created a new and qualitatively different demand: rather than protecting a single artifact, watermarks for AI content must be embedded automatically across an open-ended distribution of generated outputs while remaining robust to a much wider class of adversarial transformations, including paraphrasing, image regeneration via diffusion models, and re-recording. Large image generation models such as DALL-E, Stable Diffusion, and Midjourney, along with large language models like ChatGPT, made it possible to produce highly realistic synthetic text, images, audio, and video at scale, raising significant ethical and security concerns. In July 2023, the Biden administration secured voluntary commitments from leading AI companies, including OpenAI, Alphabet, Meta, and Amazon, to develop watermarking and other provenance technologies to help users identify AI-generated content. == Formal definitions and design goals == Most modern AI watermarking schemes can be formalized as a pair of algorithms ( W m , D e t e c t ) {\displaystyle ({\mathsf {Wm}},{\mathsf {Detect}})} parameterized by a secret key k {\displaystyle k} . The embedding algorithm W m {\displaystyle {\mathsf {Wm}}} takes a generative model M {\displaystyle M} (and optionally a prompt) and returns a watermarked output x {\displaystyle x} ; the detection algorithm D e t e c t ( x , k ) {\displaystyle {\mathsf {Detect}}(x,k)} outputs a real-valued score (typically a p-value or log-likelihood ratio) used to decide whether x {\displaystyle x} was produced by the watermarked generator. The literature evaluates such schemes along several largely conflicting criteria: Criteria for evaluation include imperceptibility or quality preservation, measured for text via perplexity and human preference judgments, and for images and audio via metrics such as PSNR, SSIM, LPIPS, or PESQ. Detectability is typically expressed as the true positive rate at a fixed false positive rate (e.g. 1% or 10^-6), or as the number of tokens or pixels needed to reach a given confidence level. Robustness refers to the requirement that the watermark should survive expected modifications like JPEG or MP3 compression, cropping, noise, paraphrasing, or machine translation. Distortion-freeness is a stronger property requiring that the marginal distribution of any single watermarked output be statistically identical to the unwatermarked model's distribution. Schemes due to Aaronson, Christ et al., and Kuditipudi et al. are distortion-free in this sense, while the original Kirchenbauer et al. scheme is not. Forgery resistance or unforgeability means an adversary without the secret key should be unable to produce content that passes detection. == Techniques == AI watermarking techniques vary significantly depending on the type of content being watermarked. At its core, the process involves two main stages: embedding (or encoding) the watermark, and detection. There are two primary methods for embedding: watermarking during content generation, which requires access to the AI model itself but is generally more robust, and post-generation watermarking, which can be applied to content from any source, including closed-source models. Watermarks can be broadly classified as visible, including overt marks such as logos or text overlays, or imperceptible, which are detectable only by algorithms. They can also be classified by durability: robust watermarks are designed to withstand common transformations such as compression, cropping, and re-encoding, while fragile watermarks are easily destroyed by any alteration, making them useful for tamper detection. A further axis distinguishes zero-bit watermarks, which only signal "this content was generated by model M," from multi-bit watermarks, which embed an arbitrary payload (such as a user identifier) that can be recovered at detection time. === Text === Text watermarking is considered one of the most challenging modalities because natural language offers relatively limited redundancy compared to images or audio. Modern approaches for large language models alter the autoregressive sampling process so that some statistical signature is left in the choice of tokens, while leaving the surface form of the text unchanged. The literature distinguishes three main families of generation-time text watermarks. Logit-biasing schemes (e.g. KGW) add a fixed bias δ {\displaystyle \delta } to a pseudorandomly selected subset of vocabulary logits before softmax sampling. Reweighting or sampling-based schemes (e.g. SynthID-Text) compose multiple pseudorandom tournaments over the model's full distribution. Distortion-free schemes based on the Gumbel-max trick or inverse transform sampling (Aaronson 2022; Kuditipudi et al. 2023; Christ et al. 2024) preserve the marginal output distribution of the model. ==== KGW: token-probability shifting ==== The pioneering "green list / red list" scheme of Kirchenbauer et al. (KGW), introduced at ICML 2023, is the foundation for most subsequent text watermarks. At each decoding step t {\displaystyle t} , a pseudorandom function (PRF) keyed by a secret k {\displaystyle k} is applied to a context window of h {\displaystyle h} previous tokens to deterministically partition the vocabulary V {\displaystyle V} of size N {\displaystyle N} into a "green list" G ⊂ V {\displaystyle G\subset V} of size γ N {\displaystyle \gamma N} and its complement, the "red list" R = V ∖ G {\displaystyle R=V\setminus G} , where γ ∈ ( 0 , 1 ) {\displaystyle \gamma \in (0,1)} (typically γ = 1 / 2 {\displaystyle \gamma =1/2} ) is the green fraction. A logits processor then increments every green-list logit by a fixed bias δ > 0 {\displaystyle \delta >0} before softmax: ℓ v ′ = ℓ v + δ ⋅ 1 [ v ∈ G ] {\displaystyle \ell '_{v}=\ell _{v}+\delta \cdot \mathbf {1} [v\in G]} so that, after sampling, green tokens are over-represented but generation is not constrained to green tokens alone; high-entropy positions tolerate the bias gracefully, while low-entropy positions (where one token dominates the logits) override the watermark and preserve correctness on factual content. Detection requires only the secret key and the candidate text, not the language model itself. The detector recomputes the partition g ( ⋅ ) {\displaystyle g(\cdot )} for each token, counts the number of green hits | G | hits {\displaystyle |G|_{\text{hits}}} in a sequence of length T {\displaystyle T} , and computes a one-proportion z-test statistic: z = | G | hits − γ T T γ ( 1 − γ ) {\displaystyle z={\frac {|G|_{\text{hits}}-\gamma T}{\sqrt {T\gamma (1-\gamma )}}}} Under the null hypothesis that the text was written by an unwatermarked source (human or another model), the green-hit count is approximately binomially distributed with mean γ T {\displaystyle \gamma T} ; a large positive z {\displaystyle z} rejects the null hypothesis. The original paper reports that fewer than 25 watermarked tokens are sufficient to detect a watermark with a false positive rate below 10^-5 on the OPT-1.3B model. A follow-up study by the same group documented robustness under temperature sampling, top-p (nucleus) sampling, and human paraphrasing, and proposed sliding-window

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  • Zé Delivery

    Zé Delivery

    Zé Delivery is a startup developed by Brazilian drinks company AmBev which offers an app for delivering drinks. The app is available for Android and iOS. Created in 2016 by AmBev's ZX Ventures hub, the service has an international presence in Argentina, Paraguay, Bolivia, Panama and the Dominican Republic. It is also present in more than 300 Brazilian cities. Because it has an extensive category of alcoholic beverages, the service is only used by people over 18. It also offers soft drinks, juices, energy drinks and other non-alcoholic beverages.

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  • Global serializability

    Global serializability

    In concurrency control of databases, transaction processing (transaction management), and other transactional distributed applications, global serializability (or modular serializability) is a property of a global schedule of transactions. A global schedule is the unified schedule of all the individual database (and other transactional object) schedules in a multidatabase environment (e.g., federated database). Complying with global serializability means that the global schedule is serializable, has the serializability property, while each component database (module) has a serializable schedule as well. In other words, a collection of serializable components provides overall system serializability, which is usually incorrect. A need in correctness across databases in multidatabase systems makes global serializability a major goal for global concurrency control (or modular concurrency control). With the proliferation of the Internet, Cloud computing, Grid computing, and small, portable, powerful computing devices (e.g., smartphones), as well as increase in systems management sophistication, the need for atomic distributed transactions and thus effective global serializability techniques, to ensure correctness in and among distributed transactional applications, seems to increase. In a federated database system or any other more loosely defined multidatabase system, which are typically distributed in a communication network, transactions span multiple (and possibly distributed) databases. Enforcing global serializability in such system, where different databases may use different types of concurrency control, is problematic. Even if every local schedule of a single database is serializable, the global schedule of a whole system is not necessarily serializable. The massive communication exchanges of conflict information needed between databases to reach conflict serializability globally would lead to unacceptable performance, primarily due to computer and communication latency. Achieving global serializability effectively over different types of concurrency control has been open for several years. == The global serializability problem == === Problem statement === The difficulties described above translate into the following problem: Find an efficient (high-performance and fault tolerant) method to enforce Global serializability (global conflict serializability) in a heterogeneous distributed environment of multiple autonomous database systems. The database systems may employ different concurrency control methods. No limitation should be imposed on the operations of either local transactions (confined to a single database system) or global transactions (span two or more database systems). === Quotations === Lack of an appropriate solution for the global serializability problem has driven researchers to look for alternatives to serializability as a correctness criterion in a multidatabase environment (e.g., see Relaxing global serializability below), and the problem has been characterized as difficult and open. The following two quotations demonstrate the mindset about it by the end of the year 1991, with similar quotations in numerous other articles: "Without knowledge about local as well as global transactions, it is highly unlikely that efficient global concurrency control can be provided... Additional complications occur when different component DBMSs [Database Management Systems] and the FDBMSs [Federated Database Management Systems] support different concurrency mechanisms... It is unlikely that a theoretically elegant solution that provides conflict serializability without sacrificing performance (i.e., concurrency and/or response time) and availability exists." === Proposed solutions === Several solutions, some partial, have been proposed for the global serializability problem. Among them: Global conflict graph (serializability graph, precedence graph) checking Distributed Two-phase locking (Distributed 2PL) Distributed Timestamp ordering Tickets (local logical timestamps which define local total orders, and are propagated to determine global partial order of transactions) == Relaxing global serializability == Some techniques have been developed for relaxed global serializability (i.e., they do not guarantee global serializability; see also Relaxing serializability). Among them (with several publications each): Quasi serializability Two-level serializability Another common reason nowadays for Global serializability relaxation is the requirement of availability of internet products and services. This requirement is typically answered by large scale data replication. The straightforward solution for synchronizing replicas' updates of a same database object is including all these updates in a single atomic distributed transaction. However, with many replicas such a transaction is very large, and may span several computers and networks that some of them are likely to be unavailable. Thus such a transaction is likely to end with abort and miss its purpose. Consequently, Optimistic replication (Lazy replication) is often utilized (e.g., in many products and services by Google, Amazon, Yahoo, and alike), while global serializability is relaxed and compromised for eventual consistency. In this case relaxation is done only for applications that are not expected to be harmed by it. Classes of schedules defined by relaxed global serializability properties either contain the global serializability class, or are incomparable with it. What differentiates techniques for relaxed global conflict serializability (RGCSR) properties from those of relaxed conflict serializability (RCSR) properties that are not RGCSR is typically the different way global cycles (span two or more databases) in the global conflict graph are handled. No distinction between global and local cycles exists for RCSR properties that are not RGCSR. RCSR contains RGCSR. Typically RGCSR techniques eliminate local cycles, i.e., provide local serializability (which can be achieved effectively by regular, known concurrency control methods); however, obviously they do not eliminate all global cycles (which would achieve global serializability).

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  • Switch (app)

    Switch (app)

    Switch was a mobile-only job-matching app that connected candidates directly to hiring managers. Candidates could upload their resumes and connect their social and professional media profiles, but remain anonymous while searching. Users received a daily set of job recommendations that fit their backgrounds and salary criteria, and swipe right to apply. Employers post many jobs on Switch directly, which eliminates the need for third-party job boards and recruiters, and connects job seekers to hiring managers. Switch reveals a candidate’s identity to one employer at a time, only after the candidate matches with that employer. When candidates and employers match, they can chat within the app. Switch is available for iOS, with an Android version in development. == History == === Founding === Yarden Tadmor founded Switch in New York City in January 2014. For the first 10 months, Tadmor funded the company himself. By December 2014, Switch had raised $1.4 million in funding from venture capitals firms Metamorphic Ventures, SG VC, BAM and Rhodium. Tadmor's inspiration for Switch came after being frustrated by his experience both as a job seeker, and also as a supervisor hiring at numerous technology startup companies. Tadmor has said of Switch, “We operate on the five-second resume principle, which is usually the amount of time a recruiter spends on a resume. They scan through the typical data points and move on.” Switch was designed for passive job seekers to browse openings discreetly and connect quickly. Originally, Switch served only the New York metro area technology sector while in early beta, but Tadmor always intended to expand into national coverage. Soon, the company started including all major metropolitan markets across the U.S. In May 2015, Switch announced it would start sourcing tech and media jobs from all the job boards available online. Later in 2015, Switch began to post jobs in smaller urban areas. The company also expanded industries and jobs to include restaurant staff, retail sales, healthcare, nursing and education. Tadmor subsequently founded Livekick, a one-on-one private fitness and yoga instruction company, based in New York. == Operation == In May 2015, Switch reported generating over 400,000 job applications. The company said that nine of the 50 largest websites in the U.S. were using the service. It had grown its customer base to thousands of companies in a few months from launch including Microsoft, Amazon, Facebook, IBM, Yahoo!, eBay, DropBox, SoundCloud, and Wikipedia. John Cline, software development manager at eBay, told ABC’s Good Morning America that Switch is now his “main way of finding new prospective employees.” Switch uses a double opt-in technique, meaning job seekers and employers must both say yes before moving forward. They also use swiping technology and intelligent matching algorithms to connect job seekers and employers. The user experience is different for each group, but the major attraction for both sides is the speed at which they can be connected. === Features === Swipe is a major aspect of the Switch user experience. Job seekers swipe to apply to jobs, or left to pass on positions. Employers respond and swipe right to reciprocate interest, or left to eliminate the candidate. Direct connection between job seekers and employers allows hiring managers and job seekers to start an immediate conversation. Hiring managers can message with job seekers within the app, and both parties can quickly vet one another and decide whether to move forward. Easy profile creation from social media and in-app profile editing helps job seekers focus on finding a job. === Users === Job Seekers can either load their profile manually or pull in professional credentials from social media. They can post validated photos on their Facebook account. Switch’s matching algorithm analyzes the job seeker’s location, experience, and skills to bring them jobs they may be interested in. Job seekers swipe to apply and, if the employer shows interest too, only then does Switch’s system reveal the job seeker’s identity to the corporate recruiter or hiring manager. The job seeker and hiring manager can then chat through the app. Employers behave similarly to job seekers. Hiring managers or corporate recruiters sign up online, add open positions, then view Switch-recommended candidates or wait for job seekers to swipe right. Employers can select relevant job seekers by swiping right on their profiles, then chat directly in the app. === Subscriptions === The app is currently free for users and employers. == Company overview == === Financials === Switch closed out its seed round in May 2015 with $2 million in seed round funding. Investors include Marker VC, Metamorphic, Rhodium, 500 Startups, BAM, SG VC and Marcel Legrand. In a July 2015 interview with Tadmor, he claimed that Switch had raised $2.4 million to date. == Reception == Thanks to its swipe technology and double opt-in make-up, the media often refers to Switch as the Tinder for jobs. Switch has received features in lists and app reviews as an effective tool to improve your digital job search, particularly on the mobile platform. “It’s minimal effort to connect with relevant matches,” said Good Morning America workplace contributor Tory Johnson. “Which is what everybody wants to find.”

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  • Olio (app)

    Olio (app)

    Olio is a mobile app for sharing by giving away, getting, borrowing or lending things in your community for free, aiming to reduce household and food waste. It does this by connecting neighbours with spare food or household items to others nearby who wish to pick up those items. The food must be edible; it can be raw or cooked, sealed or open. Non-food items often listed on Olio include books, clothes and furniture. Those donating surplus food can be individuals or companies such as food retailers, restaurants, corporate canteens, food photographers etc., and donations can take place on an ad-hoc or recurrent basis. For example, some supermarket chains in the UK, including Tesco, the Midcounties Co-operative, Morrisons, Sainsbury's and Iceland have piloted Olio as an 'online food bank' to donate food and to reduce their waste. In March 2022, Olio partnered with Pandamart in Singapore. First launched in early 2015 by Tessa Clarke and Saasha Celestial-One, by October 2017 the company had raised $2.2 million in funding. Olio subsequently performed a series A funding round of $6 million in 2018 and a Series B of $43 million. Notable investors include Accel, Octopus Ventures and VNV Global. The Olio app had around 7 million registered users as of May 2023.

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  • Reflection lines

    Reflection lines

    Engineers use reflection lines to judge a surface's quality. Reflection lines reveal surface flaws, particularly discontinuities in normals indicating that the surface is not C 2 {\displaystyle C^{2}} . Reflection lines may be created and examined on physical surfaces or virtual surfaces with the help of computer graphics. For example, the shiny surface of an automobile body is illuminated with reflection lines by surrounding the car with parallel light sources. Virtually, a surface can be rendered with reflection lines by modulating the surfaces point-wise color according to a simple calculation involving the surface normal, viewing direction and a square wave environment map. == Mathematical definition == Consider a point p {\displaystyle p} on a surface M {\displaystyle M} with (normalized) normal n {\displaystyle n} . If an observer views this point from infinity at view direction v {\displaystyle v} then the reflected view direction r {\displaystyle r} is: r = v − 2 ( n ⋅ v ) n . {\displaystyle r=v-2(n\cdot v)n.} (The vector v {\displaystyle v} is decomposed into its normal part v n = ( n ⋅ v ) v {\displaystyle v_{n}=(n\cdot v)v} and tangential part v t = v − v n {\displaystyle v_{t}=v-v_{n}} . Upon reflection, the tangential part is kept and the normal part is negated.) For reflection lines we consider the surface M {\displaystyle M} surrounded by parallel lines with direction a {\displaystyle a} , representing infinite, non-dispersive light sources. For each point p {\displaystyle p} on M {\displaystyle M} we determine which line is seen from direction v {\displaystyle v} . The position on each line is of no interest. Define the vector r p {\displaystyle r_{p}} to be the reflection direction r {\displaystyle r} projected onto a plane P {\displaystyle P} that is orthogonal to a {\displaystyle a} : r p = r − ( r ⋅ a ) a {\displaystyle r_{p}=r-(r\cdot a)a} and similarly let v p {\displaystyle v_{p}} be the viewing direction projected onto P {\displaystyle P} : v p = v − ( v ⋅ a ) a {\displaystyle v_{p}=v-(v\cdot a)a} Finally, define v o {\displaystyle v_{o}} to be the direction lying in P {\displaystyle P} perpendicular to a {\displaystyle a} and v p {\displaystyle v_{p}} : v o = a × v p {\displaystyle v_{o}=a\times v_{p}} Using these vectors, the reflection line function θ ( p ) : M → ( − π , π ] {\displaystyle \theta (p):M\rightarrow (-\pi ,\pi ]} is a scalar function mapping points p {\displaystyle p} on the surface to angles between v p {\displaystyle v_{p}} and r p {\displaystyle r_{p}} : θ = arctan ⁡ ( r p ⋅ v o , r p ⋅ v p ) {\displaystyle \theta =\arctan {(r_{p}\cdot v_{o},r_{p}\cdot v_{p})}} where a r c t a n ( y , x ) {\displaystyle arctan(y,x)} is the atan2 function producing a number in the range ( − π , π ] {\displaystyle (-\pi ,\pi ]} . ( v p {\displaystyle v_{p}} and v o {\displaystyle v_{o}} can be viewed as a local coordinate system in P {\displaystyle P} with x {\displaystyle x} -axis in direction v p {\displaystyle v_{p}} and y {\displaystyle y} -axis in direction v o {\displaystyle v_{o}} .) Finally, to render the reflection lines positive values θ > 0 {\displaystyle \theta >0} are mapped to a light color and non-positive values to a dark color. == Highlight lines == Highlight lines are a view-independent alternative to reflection lines. Here the projected normal is directly compared against some arbitrary vector x {\displaystyle x} perpendicular to the light source: θ = arctan ⁡ ( n a ⋅ a ⊥ , n a ⋅ x ) {\displaystyle \theta =\arctan {(n_{a}\cdot a^{\perp },n_{a}\cdot x)}} where n a {\displaystyle n_{a}} is the surface normal projected on the light source plane P {\displaystyle P} : n a ^ / | n a ^ | , n a ^ = n − ( n ⋅ a ) a {\displaystyle {\hat {n_{a}}}/|{\hat {n_{a}}}|,{\hat {n_{a}}}=n-(n\cdot a)a} The relationship between reflection lines and highlight lines is likened to that between specular and diffuse shading.

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  • IMPACT (computer graphics)

    IMPACT (computer graphics)

    IMPACT (sometimes spelled Impact) is a computer graphics architecture for Silicon Graphics computer workstations. IMPACT Graphics was developed in 1995 and was available as a high-end graphics option on workstations released during the mid-1990s. IMPACT graphics gives the workstation real-time 2D and 3D graphics rendering capability similar to that of even high-end PCs made well after IMPACT's introduction. IMPACT graphics systems consist of either one or two Geometry Engines and one or two Raster Engines in various configurations. IMPACT graphics consists of five graphics subsystems: the Command Engine, Geometry Subsystem, Raster Engine, framebuffer and Display Subsystem. IMPACT Graphics can produce resolutions up to 1600 x 1200 pixels with 32-bit color and can also process unencoded NTSC and PAL analog television signals. IMPACT graphics subsystems come in three configurations for SGI Indigo2 IMPACT workstations: Solid IMPACT, High IMPACT, and Maximum IMPACT. The equivalent configurations also exist for the SGI Octane workstation but are referred to as SI, SSI, and MXI (I-series). Later Octane workstations used a similar configuration but with updated ASIC chips and are referred to as SE, SSE, and MXE (E-series). IMPACT uses Rambus RDRAM for texture memory. The IMPACT graphics architecture was superseded by SGI's VPro graphics architecture in 1997.

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  • Automate This

    Automate This

    Automate This: How Algorithms Came to Rule Our World is a book written by Christopher Steiner and published by Penguin Group. == Book == Steiner begins his study of algorithms on Wall Street in the 1980s but also provides examples from other industries. For example, he explains the history of Pandora Radio and the use of algorithms in music identification. He expresses concern that such use of algorithms may lead to the homogenization of music over time. Steiner also discusses the algorithms that eLoyalty (now owned by Mattersight Corporation following divestiture of the technology) was created by dissecting 2 million speech patterns and can now identify a caller's personality style and direct the caller with a compatible customer support representative. Steiner's book shares both the warning and the opportunity that algorithms bring to just about every industry in the world, and the pros and cons of the societal impact of automation (e.g. impact on employment).

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  • Open-source software security

    Open-source software security

    Open-source software security is the measure of assurance or guarantee in the freedom from danger and risk inherent to an open-source software system. == Implementation debate == === Benefits === Proprietary software forces the user to accept the level of security that the software vendor is willing to deliver and to accept the rate that patches and updates are released. It is assumed that any compiler that is used creates code that can be trusted, but it has been demonstrated by Ken Thompson that a compiler can be subverted using a compiler backdoor to create faulty executables that are unwittingly produced by a well-intentioned developer. With access to the source code for the compiler, the developer has at least the ability to discover if there is any mal-intention. Kerckhoffs' principle is based on the idea that an enemy can steal a secure military system and not be able to compromise the information. His ideas were the basis for many modern security practices, and followed that security through obscurity is a bad practice. === Drawbacks === Simply making source code available does not guarantee review. An example of this occurring is when Marcus Ranum, an expert on security system design and implementation, released his first public firewall toolkit. At one time, there were over 2,000 sites using his toolkit, but only 10 people gave him any feedback or patches. Having a large amount of eyes reviewing code can "lull a user into a false sense of security". Having many users look at source code does not guarantee that security flaws will be found and fixed. == Metrics and models == There are a variety of models and metrics to measure the security of a system. These are a few methods that can be used to measure the security of software systems. === Number of days between vulnerabilities === It is argued that a system is most vulnerable after a potential vulnerability is discovered, but before a patch is created. By measuring the number of days between the vulnerability and when the vulnerability is fixed, a basis can be determined on the security of the system. There are a few caveats to such an approach: not every vulnerability is equally bad, and fixing a lot of bugs quickly might not be better than only finding a few and taking a little bit longer to fix them, taking into account the operating system, or the effectiveness of the fix. === Poisson process === The Poisson process can be used to measure the rates at which different people find security flaws between open and closed source software. The process can be broken down by the number of volunteers Nv and paid reviewers Np. The rates at which volunteers find a flaw is measured by λv and the rate that paid reviewers find a flaw is measured by λp. The expected time that a volunteer group is expected to find a flaw is 1/(Nv λv) and the expected time that a paid group is expected to find a flaw is 1/(Np λp). === Morningstar model === By comparing a large variety of open source and closed source projects a star system could be used to analyze the security of the project similar to how Morningstar, Inc. rates mutual funds. With a large enough data set, statistics could be used to measure the overall effectiveness of one group over the other. An example of such as system is as follows: 1 Star: Many security vulnerabilities. 2 Stars: Reliability issues. 3 Stars: Follows best security practices. 4 Stars: Documented secure development process. 5 Stars: Passed independent security review. === Coverity scan === Coverity in collaboration with Stanford University has established a new baseline for open-source quality and security. The development is being completed through a contract with the Department of Homeland Security. They are utilizing innovations in automated defect detection to identify critical types of bugs found in software. The level of quality and security is measured in rungs. Rungs do not have a definitive meaning, and can change as Coverity releases new tools. Rungs are based on the progress of fixing issues found by the Coverity Analysis results and the degree of collaboration with Coverity. They start with Rung 0 and currently go up to Rung 2. Rung 0 The project has been analyzed by Coverity's Scan infrastructure, but no representatives from the open-source software have come forward for the results. Rung 1 At rung 1, there is collaboration between Coverity and the development team. The software is analyzed with a subset of the scanning features to prevent the development team from being overwhelmed. Rung 2 There are 11 projects that have been analyzed and upgraded to the status of Rung 2 by reaching zero defects in the first year of the scan. These projects include: AMANDA, ntp, OpenPAM, OpenVPN, Overdose, Perl, PHP, Postfix, Python, Samba, and Tcl.

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  • Glow (app)

    Glow (app)

    Glow is a fertility awareness and period-tracking app. It is part of a suite of mobile apps focused on women's reproductive health and childcare, which includes Eve by Glow (a dedicated period tracker), Glow Nurture (a pregnancy tracker), and Glow Baby (a baby development tracker). The Glow company also operates an online shop that sells several fertility-related products, including ovulation test strips, pregnancy tests, and wearable breast pumps. In 2024, Glow was reported to have approximately 25 million users across its various apps and community message boards. == History == Glow debuted in August 2013 as an iOS app. It was founded by Michael Huang and Max Levchin and launched with $6 million in Series A funding from venture capital firms Founders Fund and Andreesen Horowitz. In 2014, Glow raised an additional $17 million in Series B funding, with Formation 8 joining existing investors. In 2015, Glow launched Ruby, an app dedicated to sexual health. That year, Wired reported that the company had added features to their apps allowing men to monitor their fertility. Glow subsequently released an additional set of apps focused on pregnancy tracking and infant development. In 2016, Glow reported that it had a total of approximately 3 million users; by 2018, this had grown to 15 million. Vox described it as one of the “big two” period and fertility tracking apps and the one that had started the “boom” in the femtech space. == Application and features == Glow was initially described as a fertility application that applied data-driven methods to menstrual and ovulation tracking. Core features include cycle logging, ovulation prediction, and symptom tracking. The app also provides educational content related to reproductive health and childcare, as well as a set of online message boards that allow individuals to share experiences and seek peer support. == Privacy and legal issues == Glow has received significant media attention for its privacy and security practices. In 2016, Consumer Reports identified potential exploits in the Glow app that they claimed could have exposed private user data to hackers. Glow subsequently reported that it had fixed the vulnerabilities and told The Washington Post they had no evidence that user data had been compromised. In September 2020, the California Attorney General announced a settlement with Glow related to Consumer Reports’ findings, which included a $250,000 civil penalty. Following the US Supreme Court's 2022 Dobbs v. Jackson ruling, which legalized state-level bans on abortion, Glow (and other fertility trackers, such as Clue and Flo) came under additional scrutiny over concerns that user data on abortions could be reported to law enforcement. After this surge of media interest, a research team affiliated with the University of New South Wales conducted an investigation into the privacy practices of several popular fertility apps, including Glow. Their review of Glow was mixed, noting that they provided several privacy settings and de-identified sensitive data, but that user information could still be disclosed in the future if the app was sold. Glow rejected that claim, telling the Australian Associated Press that it "did not share" personal data. The company also cited several internal security measures it had implemented and its apps' offline data protection setting, which allows users to permanently delete their health-related data. == Reception == In 2014, Fast Company reported that 20,000 women had used Glow to conceive. Later that year, The Guardian included Glow Nurture on its list of the best iPhone apps of 2014. Media coverage often praised Glow's array of menstrual tracking options, although some reviews also noted that fertility apps are not birth control tools and cautioned against relying on them for that purpose. In 2019, Cosmopolitan singled Glow's community of users as one of its standout features.

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