AI Chatbot That Sends Pictures — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.
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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Adobe GoLive was a WYSIWYG HTML editor and web site management application from Adobe Systems. It replaced Adobe PageMill as Adobe's primary HTML editor and was itself discontinued in favor of Dreamweaver. The last version of GoLive that Adobe released was GoLive 9. == History == GoLive originated as the flagship product of a company named GoNet Communication, Inc. then based in Menlo Park, California, and the development company GoNet Communications GmbH in Hamburg, Germany, in 1996. Later GoNet changed its name to GoLive Systems, Inc, and the name of its product to GoLive CyberStudio. Adobe acquired GoLive in 1999 and re-branded the GoLive CyberStudio product to what became Adobe GoLive. Adobe took over the Hamburg office as an Adobe development site to continue to develop the product. At the time of the acquisition, CyberStudio was a Macintosh-only application. In the spring of 1999 Adobe released Adobe GoLive for both Macintosh and Microsoft Windows. The first versions of Dreamweaver and CyberStudio were released in a similar timeframe. However, Dreamweaver eventually became the dominant WYSIWYG HTML editor in market share. After the Adobe acquisition of Macromedia (the company that had owned Dreamweaver), GoLive was progressively re-targeted toward Adobe's traditional design market, and the product became better integrated with Adobe's existing suite of design-oriented software products and less focused on the professional web development market. The Adobe CS2 Premium suite contained GoLive CS2. With the release of Creative Suite 3, Adobe integrated Dreamweaver as a replacement for GoLive and released GoLive 9 as a standalone product. In April 2008, Adobe announced that sales and development of GoLive would cease in favor of Dreamweaver. == General description and distinctive aspects == GoLive incorporated a largely modeless workflow that relied heavily on drag-and-drop. Most user interaction was done via a contextual inspector rather than the modal workflow found in Dreamweaver. Among its features were a separate editor for tables that supported nesting, and a two-dimensional panel for applying CSS styles to elements. GoLive supported drag-and-drop of native Adobe Photoshop and Adobe Illustrator files via what the company called "Smart Objects", which then automatically guided the user through saving those files in web-supported formats. Updates to the original Photoshop or Illustrator assets were automatically tracked by GoLive. It also implemented a tool called "Components" which allowed updates to interface elements throughout a site to be updated globally by changing one single file. As a website management tool, GoLive allowed users to transfer and publish content directly from within the application, and allowed individual files to be excluded from uploading. == Features == One of the new features of GoLive version 5 was Dynamic Link, which was a method of creating dynamic, database-driven web content without the need to know a server-side language and with full WYSIWYG support in the GoLive user interface. GoLive had a powerful set of extensibility API which could be used to add additional functionality to the product. The GoLive SDK provided interfaces which allowed developers to use a combination of XML, JavaScript and C/C++ to create plugins for the product. The extensibility API allowed developers access to custom drawing and event handling using JavaScript, as well as a full JavaScript debugger and command line interpreter. This allowed intermediate-level developers using interpreted JavaScript to create sophisticated user interfaces. == Language and framework structure == Adobe GoLive is coded in the C++ programming language. It uses a custom C++ framework called SCL (Simple Class Library) which was initially built from scratch by the engineers at GoLive Systems Inc. The SCL framework was also used in the short-lived Adobe Atmosphere 3D software. == Release history == As the final version, GoLive 9 was discontinued in April 2008.
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A separable filter in image processing can be written as product of two more simple filters. Typically a 2-dimensional convolution operation is separated into two 1-dimensional filters. This reduces the computational costs on an N × M {\displaystyle N\times M} image with a m × n {\displaystyle m\times n} filter from O ( M ⋅ N ⋅ m ⋅ n ) {\displaystyle {\mathcal {O}}(M\cdot N\cdot m\cdot n)} down to O ( M ⋅ N ⋅ ( m + n ) ) {\displaystyle {\mathcal {O}}(M\cdot N\cdot (m+n))} . == Examples == 1. A two-dimensional smoothing filter: 1 3 [ 1 1 1 ] ∗ 1 3 [ 1 1 1 ] = 1 9 [ 1 1 1 1 1 1 1 1 1 ] {\displaystyle {\frac {1}{3}}{\begin{bmatrix}1\\1\\1\end{bmatrix}}{\frac {1}{3}}{\begin{bmatrix}1&1&1\end{bmatrix}}={\frac {1}{9}}{\begin{bmatrix}1&1&1\\1&1&1\\1&1&1\end{bmatrix}}} 2. Another two-dimensional smoothing filter with stronger weight in the middle: 1 4 [ 1 2 1 ] ∗ 1 4 [ 1 2 1 ] = 1 16 [ 1 2 1 2 4 2 1 2 1 ] {\displaystyle {\frac {1}{4}}{\begin{bmatrix}1\\2\\1\end{bmatrix}}{\frac {1}{4}}{\begin{bmatrix}1&2&1\end{bmatrix}}={\frac {1}{16}}{\begin{bmatrix}1&2&1\\2&4&2\\1&2&1\end{bmatrix}}} 3. The Sobel operator, used commonly for edge detection: [ 1 2 1 ] ∗ [ 1 0 − 1 ] = [ 1 0 − 1 2 0 − 2 1 0 − 1 ] {\displaystyle {\begin{bmatrix}1\\2\\1\end{bmatrix}}{\begin{bmatrix}1&0&-1\end{bmatrix}}={\begin{bmatrix}1&0&-1\\2&0&-2\\1&0&-1\end{bmatrix}}} This works also for the Prewitt operator. In the examples, there is a cost of 3 multiply–accumulate operations for each vector which gives six total (horizontal and vertical). This is compared to the nine operations for the full 3x3 matrix. Another notable example of a separable filter is the Gaussian blur whose performance can be greatly improved the bigger the convolution window becomes.
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The Kuwahara filter is a non-linear smoothing filter used in image processing for adaptive noise reduction. Most filters that are used for image smoothing are linear low-pass filters that effectively reduce noise but also blur out the edges. However the Kuwahara filter is able to apply smoothing on the image while preserving the edges. It is named after Michiyoshi Kuwahara, Ph.D., who worked at Kyoto and Osaka Sangyo Universities in Japan, developing early medical imaging of dynamic heart muscle in the 1970s and 80s. == The Kuwahara operator == Suppose that I ( x , y ) {\displaystyle I(x,y)} is a grey scale image and that we take a square window of size 2 a + 1 {\displaystyle 2a+1} centered around a point ( x , y ) {\displaystyle (x,y)} in the image. This square can be divided into four smaller square regions Q i = 1 ⋯ 4 {\displaystyle Q_{i=1\cdots 4}} each of which will be Q i ( x , y ) = { [ x , x + a ] × [ y , y + a ] if i = 1 [ x − a , x ] × [ y , y + a ] if i = 2 [ x − a , x ] × [ y − a , y ] if i = 3 [ x , x + a ] × [ y − a , y ] if i = 4 {\displaystyle Q_{i}(x,y)={\begin{cases}\left[x,x+a\right]\times \left[y,y+a\right]&{\mbox{ if }}i=1\\\left[x-a,x\right]\times \left[y,y+a\right]&{\mbox{ if }}i=2\\\left[x-a,x\right]\times \left[y-a,y\right]&{\mbox{ if }}i=3\\\left[x,x+a\right]\times \left[y-a,y\right]&{\mbox{ if }}i=4\\\end{cases}}} where × {\displaystyle \times } is the cartesian product. Pixels located on the borders between two regions belong to both regions so there is a slight overlap between subregions. The arithmetic mean m i ( x , y ) {\displaystyle m_{i}(x,y)} and standard deviation σ i ( x , y ) {\displaystyle \sigma _{i}(x,y)} of the four regions centered around a pixel (x,y) are calculated and used to determine the value of the central pixel. The output of the Kuwahara filter Φ ( x , y ) {\displaystyle \Phi (x,y)} for any point ( x , y ) {\displaystyle (x,y)} is then given by Φ ( x , y ) = m i ( x , y ) {\textstyle \Phi (x,y)=m_{i}(x,y)} where i = a r g min j σ j ( x , y ) {\displaystyle i=\operatorname {arg\min } _{j}\sigma _{j}(x,y)} . This means that the central pixel will take the mean value of the area that is most homogenous. The location of the pixel in relation to an edge plays a great role in determining which region will have the greater standard deviation. If for example the pixel is located on a dark side of an edge it will most probably take the mean value of the dark region. On the other hand, should the pixel be on the lighter side of an edge it will most probably take a light value. On the event that the pixel is located on the edge it will take the value of the more smooth, least textured region. The fact that the filter takes into account the homogeneity of the regions ensures that it will preserve the edges while using the mean creates the blurring effect. Similarly to the median filter, the Kuwahara filter uses a sliding window approach to access every pixel in the image. The size of the window is chosen in advance and may vary depending on the desired level of blur in the final image. Bigger windows typically result in the creation of more abstract images whereas small windows produce images that retain their detail. Typically windows are chosen to be square with sides that have an odd number of pixels for symmetry. However, there are variations of the Kuwahara filter that use rectangular windows. Additionally, the subregions do not need to overlap or have the same size as long as they cover all of the window. == Color images == For color images, the filter should not be performed by applying the filter to each RGB channel separately, and then recombining the three filtered color channels to form the filtered RGB image. The main problem with that is that the quadrants will have different standard deviations for each of the channels. For example, the upper left quadrant may have the lowest standard deviation in the red channel, but the lower right quadrant may have the lowest standard deviation in the green channel. This situation would result in the color of the central pixel to be determined by different regions, which might result in color artifacts or blurrier edges. To overcome this problem, for color images a slightly modified Kuwahara filter must be used. The image is first converted into another color space, the HSV color space. The modified filter then operates on only the "brightness" channel, the Value coordinate in the HSV model. The variance of the "brightness" of each quadrant is calculated to determine the quadrant from which the final filtered color should be taken from. The filter will produce an output for each channel which will correspond to the mean of that channel from the quadrant that had the lowest standard deviation in "brightness". This ensures that only one region will determine the RGB values of the central pixel. ImageMagick uses a similar approach, but using the Rec. 709 Luma as the brightness metric. === Julia Implementation === == Applications == Originally the Kuwahara filter was proposed for use in processing RI-angiocardiographic images of the cardiovascular system. The fact that any edges are preserved when smoothing makes it especially useful for feature extraction and segmentation and explains why it is used in medical imaging. The Kuwahara filter however also finds many applications in artistic imaging and fine-art photography due to its ability to remove textures and sharpen the edges of photographs. The level of abstraction helps create a desirable painting-like effect in artistic photographs especially in the case of the colored image version of the filter. These applications have known great success and have encouraged similar research in the field of image processing for the arts. Although the vast majority of applications have been in the field of image processing there have been cases that use modifications of the Kuwahara filter for machine learning tasks such as clustering. The Kuwahara filter has been implemented in CVIPtools. The Kuwahara filter is present as a shader node in Blender. == Drawbacks and restrictions == The Kuwahara filter despite its capabilities in edge preservation has certain drawbacks. At a first glance it is noticeable that the Kuwahara filter does not take into account the case where two regions have equal standard deviations. This is not often the case in real images since it is rather hard to find two regions with exactly the same standard deviation due to the noise that is always present. In cases where two regions have similar standard deviations the value of the center pixel could be decided at random by the noise in these regions. Again this would not be a problem if the regions had the same mean. However, it is not unusual for regions of very different means to have the same standard deviation. This makes the Kuwahara filter susceptible to noise. Different ways have been proposed for dealing with this issue, one of which is to set the value of the center pixel to ( m 1 + m 2 ) / 2 {\textstyle (m_{1}+m_{2})/2} in cases where the standard deviation of two regions do not differ more than a certain value D {\displaystyle D} . The Kuwahara filter is also known to create block artifacts in the images especially in regions of the image that are highly textured. These blocks disrupt the smoothness of the image and are considered to have a negative effect in the aesthetics of the image. This phenomenon occurs due to the division of the window into square regions. A way to overcome this effect is to take windows that are not rectangular(i.e. circular windows) and separate them into more non-rectangular regions. There have also been approaches where the filter adapts its window depending on the input image. == Extensions of the Kuwahara filter == The success of the Kuwahara filter has spurred an increase the development of edge-enhancing smoothing filters. Several variations have been proposed for similar use most of which attempt to deal with the drawbacks of the original Kuwahara filter. The "Generalized Kuwahara filter" proposed by P. Bakker considers several windows that contain a fixed pixel. Each window is then assigned an estimate and a confidence value. The value of the fixed pixel then takes the value of the estimate of the window with the highest confidence. This filter is not characterized by the same ambiguity in the presence of noise and manages to eliminate the block artifacts. The "Mean of Least Variance"(MLV) filter, proposed by M.A. Schulze also produces edge-enhancing smoothing results in images. Similarly to the Kuwahara filter it assumes a window of size 2 d − 1 × 2 d − 1 {\displaystyle 2d-1\times 2d-1} but instead of searching amongst four subregions of size d × d {\displaystyle d\times d} for the one with minimum variance it searches amongst all possible d × d {\displaystyle d\times d} subregions. This means the central pixel of the window will be assigned the mean of the one subregion out of a poss
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Structural risk minimization (SRM) is an inductive principle of use in machine learning. Commonly in machine learning, a generalized model must be selected from a finite data set, with the consequent problem of overfitting – the model becoming too strongly tailored to the particularities of the training set and generalizing poorly to new data. The SRM principle addresses this problem by balancing the model's complexity against its success at fitting the training data. This principle was first set out in a 1974 book by Vladimir Vapnik and Alexey Chervonenkis and uses the VC dimension. In practical terms, Structural Risk Minimization is implemented by minimizing E t r a i n + β H ( W ) {\displaystyle E_{train}+\beta H(W)} , where E t r a i n {\displaystyle E_{train}} is the train error, the function H ( W ) {\displaystyle H(W)} is called a regularization function, and β {\displaystyle \beta } is a constant. H ( W ) {\displaystyle H(W)} is chosen such that it takes large values on parameters W {\displaystyle W} that belong to high-capacity subsets of the parameter space. Minimizing H ( W ) {\displaystyle H(W)} in effect limits the capacity of the accessible subsets of the parameter space, thereby controlling the trade-off between minimizing the training error and minimizing the expected gap between the training error and test error. The SRM problem can be formulated in terms of data. Given n data points consisting of data x and labels y, the objective J ( θ ) {\displaystyle J(\theta )} is often expressed in the following manner: J ( θ ) = 1 2 n ∑ i = 1 n ( h θ ( x i ) − y i ) 2 + λ 2 ∑ j = 1 d θ j 2 {\displaystyle J(\theta )={\frac {1}{2n}}\sum _{i=1}^{n}(h_{\theta }(x^{i})-y^{i})^{2}+{\frac {\lambda }{2}}\sum _{j=1}^{d}\theta _{j}^{2}} The first term is the mean squared error (MSE) term between the value of the learned model, h θ {\displaystyle h_{\theta }} , and the given labels y {\displaystyle y} . This term is the training error, E t r a i n {\displaystyle E_{train}} , that was discussed earlier. The second term, places a prior over the weights, to favor sparsity and penalize larger weights. The trade-off coefficient, λ {\displaystyle \lambda } , is a hyperparameter that places more or less importance on the regularization term. Larger λ {\displaystyle \lambda } encourages sparser weights at the expense of a more optimal MSE, and smaller λ {\displaystyle \lambda } relaxes regularization allowing the model to fit to data. Note that as λ → ∞ {\displaystyle \lambda \to \infty } the weights become zero, and as λ → 0 {\displaystyle \lambda \to 0} , the model typically suffers from overfitting.
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ShowBiz is a video editor by ArcSoft for the Windows operating system. It can create VCD and DVDs and can also export to the formats AVI, MPEG, WMV, and MOV. ShowBiz also contains a DVD burning and menu building feature. As of 2003, it was one of the three most dominant bundled titles. == Reception == PC Magazine reviewer Jan Ozer states: "ArcSoft's ShowBiz has evolved into a competent editor that's generally more usable than Dazzle's MovieStar program, providing more configuration controls, better preview features, and a much greater range of fun effects." John Virata, senior editor of Digital Media Online, says in his three page review of ShowBiz DVD 2, "It is an easy editor to work with and has a logically laid out interface that takes you step by step through the video creation and DVD creation process"
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VideoThang was free video editing software for Windows 2000, XP, and Vista. The software has three parts to it which are My Stuff, Edit My Stuff, and My Mix. The software accepts MOV, AVI, MPG, MP4, PNG, WMV, FLV, and MP3 standards. Its official website is now no longer available. == Reception == Jan Ozer, of Pcmag, said that the software "suffers from several unfortunate design and implementation flaws that dramatically limit output quality and overall utility." Jon L. Jacobi, of PC World, said that the software "may not be the most flexible multimedia editor in the world, but the trim/zoom basics are there, it's free, and it's so simple to use that just about anyone in the world should be able figure it out." Amit Agarwal, of Digital Inspiration, said that the software "doesn’t offer loads of features like other video editors but is perfect for making quick video slideshows of your pictures that you can upload on the web or share via email."
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Perceptual robotics is an interdisciplinary science linking Robotics and Neuroscience. It investigates biologically motivated robot control strategies, concentrating on perceptual rather than cognitive processes and thereby sides with J. J. Gibson's view against the Poverty of the stimulus theory. As a working definition, the following quote from Chapter 64 by H. Bülthoff, C. Wallraven and M. Giese from The Springer Handbook of Robotics, edited by Bruno Siciliano and Oussama Khatib, published by Springer in 2007, could be used: In the following we will apply the term Perceptual Robotics to signify the design of robots based on principles that are derived from human perception on all three levels in the sense of Marr. This includes a realization in terms of specific neural circuits as well as the transfer of more abstract biologically-inspired strategies for the solution of relevant computational problems.
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NER is one of several formulas for accessing live subtitles in television broadcasts and events that are produced using speech recognition. The three letters stand for number, edit error and recognition error. It has been promoted as an alternative to Word error rate (Word Error Rate) which is a more objective measure. The overall score is calculated as follows: Firstly, the number of edit and recognition errors is deducted from the total number of words in the live subtitles. This number is then divided by the total number of words in the live subtitles and finally multiplied by one hundred. N E R v a l u e = N − E − R N ∗ 100 {\displaystyle NERvalue={\frac {N-E-R}{N}}100} . The acronyms stand for the following: N (number) = total number of words in the live subtitles E (Edit error) = edit error R (Recognition error) = recognition error This measurement process has been used for public television broadcasts in European countries like Italy and Switzerland. One major drawback with NER is that it requires a human assessor to rate errors as either: 1 Minor edition or recognition errors 2 Normal edition or recognition errors 3 Serious errors which are then weighted in the assessment process. This is both subjective, time consuming and costly. Also, NER fails to account for words left out subtitles which is something that does not take account of the D/deaf audience who want verbatim subtitles. As a result, NER cannot accurately reflect the audience's experience of subtitles. Another problem is the inconsistency of human evaluation of subtitles, particularly with live subtitles, where there are differing opinions of the importance of subtitle errors. By way of contrast, Word error rate is an objective measure of subtitle errors, since it measures the textual discrepancy between the subtitles and the speech.
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ShowBiz is a video editor by ArcSoft for the Windows operating system. It can create VCD and DVDs and can also export to the formats AVI, MPEG, WMV, and MOV. ShowBiz also contains a DVD burning and menu building feature. As of 2003, it was one of the three most dominant bundled titles. == Reception == PC Magazine reviewer Jan Ozer states: "ArcSoft's ShowBiz has evolved into a competent editor that's generally more usable than Dazzle's MovieStar program, providing more configuration controls, better preview features, and a much greater range of fun effects." John Virata, senior editor of Digital Media Online, says in his three page review of ShowBiz DVD 2, "It is an easy editor to work with and has a logically laid out interface that takes you step by step through the video creation and DVD creation process"
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Cybernetics is the transdisciplinary study of circular causal processes such as feedback and recursion, where the effects of a system's actions (its outputs) return as inputs to that system, influencing subsequent actions. It is concerned with general principles that are relevant across multiple contexts, including engineering, ecological, economic, biological, cognitive and social systems and also in practical activities such as designing, learning, and managing. Cybernetics' transdisciplinary character means that it intersects with a number of other fields, resulting in a wide influence and diverse interpretations. The field is named after an example of circular causal feedback—that of steering a ship (the ancient Greek κυβερνήτης (kybernḗtēs) refers to the person who steers a ship). In steering a ship, the position of the rudder is adjusted in continual response to the effect it is observed as having, forming a feedback loop through which a steady course can be maintained in a changing environment, responding to disturbances from cross winds and tide. Cybernetics has its origins in exchanges between numerous disciplines during the 1940s. Initial developments were consolidated through meetings such as the Macy conferences and the Ratio Club. Early focuses included purposeful behaviour, neural networks, heterarchy, information theory, and self-organising systems. As cybernetics developed, it became broader in scope to include work in design, family therapy, management and organisation, pedagogy, sociology, the creative arts and the counterculture. == Definitions == Cybernetics has been defined in a variety of ways, reflecting "the richness of its conceptual base". One of the best known definitions is that of the American scientist Norbert Wiener, who characterised cybernetics as concerned with "control and communication in the animal and the machine". Another early definition is that of the Macy cybernetics conferences, where cybernetics was understood as the study of "circular causal and feedback mechanisms in biological and social systems". Margaret Mead emphasised the role of cybernetics as "a form of cross-disciplinary thought which made it possible for members of many disciplines to communicate with each other easily in a language which all could understand". Other definitions include: "the art of governing or the science of government" (André-Marie Ampère); "the art of steersmanship" (Ross Ashby); "the study of systems of any nature which are capable of receiving, storing, and processing information so as to use it for control" (Andrey Kolmogorov); and "a branch of mathematics dealing with problems of control, recursiveness, and information, focuses on forms and the patterns that connect" (Gregory Bateson). == Etymology == The Ancient Greek term κυβερνητικός (kubernētikos, '(good at) steering') appears in Plato's Republic and Alcibiades, where the metaphor of a steersman is used to signify the governance of people. The French word cybernétique was also used in 1834 by the physicist André-Marie Ampère to denote the sciences of government in his classification system of human knowledge. According to Norbert Wiener, the word cybernetics was coined by a research group involving himself and Arturo Rosenblueth in the summer of 1947. It has been attested in print since at least 1948 through Wiener's book Cybernetics: Or Control and Communication in the Animal and the Machine. In the book, Wiener states: After much consideration, we have come to the conclusion that all the existing terminology has too heavy a bias to one side or another to serve the future development of the field as well as it should; and as happens so often to scientists, we have been forced to coin at least one artificial neo-Greek expression to fill the gap. We have decided to call the entire field of control and communication theory, whether in the machine or in the animal, by the name Cybernetics, which we form from the Greek κυβερνήτης or steersman. Moreover, Wiener explains, the term was chosen to recognize James Clerk Maxwell's 1868 publication on feedback mechanisms involving governors, noting that the term governor is also derived from κυβερνήτης (kubernḗtēs) via a Latin corruption gubernator. Finally, Wiener motivates the choice by steering engines of a ship being "one of the earliest and best-developed forms of feedback mechanisms". == History == === First wave === The initial focus of cybernetics was on parallels between regulatory feedback processes in biological and technological systems. Two foundational articles were published in 1943: "Behavior, Purpose and Teleology" by Arturo Rosenblueth, Norbert Wiener, and Julian Bigelow – based on the research on living organisms that Rosenblueth did in Mexico – and the paper "A Logical Calculus of the Ideas Immanent in Nervous Activity" by Warren McCulloch and Walter Pitts. The foundations of cybernetics were then developed through a series of transdisciplinary conferences funded by the Josiah Macy, Jr. Foundation, between 1946 and 1953. The conferences were chaired by McCulloch and had participants that included Ross Ashby, Gregory Bateson, Heinz von Foerster, Margaret Mead, John von Neumann, and Norbert Wiener. In the UK, similar focuses were explored by the Ratio Club, an informal dining club of young psychiatrists, psychologists, physiologists, mathematicians and engineers that met between 1949 and 1958. Wiener introduced the neologism cybernetics to denote the study of "teleological mechanisms" and popularized it through the book Cybernetics: Or Control and Communication in the Animal and the Machine. During the 1950s, cybernetics was developed as a primarily technical discipline, such as in Qian Xuesen's 1954 "Engineering Cybernetics". The text was quickly translated into multiple languages and became a foundational text on automation. In the Soviet Union, Cybernetics was initially considered with suspicion but became accepted from the mid to late 1950s. By the 1960s and 1970s, however, cybernetics' transdisciplinarity fragmented, with technical focuses separating into separate fields. Artificial intelligence (AI) was founded as a distinct discipline at the Dartmouth workshop in 1956, differentiating itself from the broader cybernetics field. After some uneasy coexistence, AI gained funding and prominence. Consequently, cybernetic sciences such as the study of artificial neural networks were downplayed. Similarly, computer science became defined as a distinct academic discipline in the 1950s and early 1960s. === Second wave === The second wave of cybernetics came to prominence from the 1960s onwards, with its focus shifting away from technology toward social, ecological, and philosophical concerns. It was still grounded in biology, notably Maturana and Varela's autopoiesis, and built on earlier work on self-organising systems and the presence of anthropologists Mead and Bateson in the Macy meetings. The Biological Computer Laboratory, founded in 1958 and active until the mid-1970s under the direction of Heinz von Foerster at the University of Illinois at Urbana–Champaign, was a major incubator of this trend in cybernetics research. Focuses of the second wave of cybernetics included management cybernetics, such as Stafford Beer's biologically inspired viable system model; work in family therapy, drawing on Bateson; social systems, such as in the work of Niklas Luhmann; epistemology and pedagogy, such as in the development of radical constructivism. Cybernetics' core theme of circular causality was developed beyond goal-oriented processes to concerns with reflexivity and recursion, notably in Mead's invocation at the inaugural meeting of the American Society for Cybernetics (ASC) to apply cybernetics to the activities of the ASC itself. This focus on reflexivity was especially prominent in the development of second-order cybernetics (or the cybernetics of cybernetics), developed and promoted by Heinz von Foerster, which focused on questions of observation, cognition, epistemology, and ethics. The 1960s onwards also saw cybernetics begin to develop exchanges with the creative arts, design, and architecture, notably with the Cybernetic Serendipity exhibition (ICA, London, 1968), curated by Jasia Reichardt, and the unrealised Fun Palace project (London, unrealised, 1964 onwards), where Gordon Pask was consultant to architect Cedric Price and theatre director Joan Littlewood. In 1962, Qian Xuesen recruited Song Jian and Guan Zhaozhi to establish China's first cybernetics laboratory with him. Following the Sino-Soviet split, cybernetics was deemed disreputable in China. The field was again favored in the 1970s and 1980s following Deng Xiaoping's emphasis on modernisation. === Third wave === From the 1990s onwards, there has been a renewed interest in cybernetics from a number of directions. Early cybernetic work on artificial neural networks has been returned to as a paradigm in machine learning and artifi
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Pharmacy automation involves the mechanical processes of handling and distributing medications. Any pharmacy task may be involved, including counting small objects (e.g., tablets, capsules); measuring and mixing powders and liquids for compounding; tracking and updating customer information in databases (e.g., personally identifiable information (PII), medical history, drug interaction risk detection); and inventory management. This article focuses on the changes that have taken place in the local, or community pharmacy since the 1960s. == History == Dispensing medications in a community pharmacy before the 1970s was a time-consuming operation. The pharmacist dispensed prescriptions in tablet or capsule form with a simple tray and spatula. Many new medications were developed by pharmaceutical manufacturers at an ever-increasing pace, and medications prices were rising steeply. A typical community pharmacist was working longer hours and often forced to hire staff to handle increased workloads which resulted in less time to focus on safety issues. These additional factors led to use of a machine to count medications. The original electronic portable digital tablet counting technology was invented in Manchester, England between 1967 and 1970 by the brothers John and Frank Kirby. I had the original idea of how the machine would work and it was my patent, but it was a joint effort getting it to work in a saleable form. It was 3 years of very hard work. I had originally studied heavy electrical engineering before changing over to Medical School and qualifying as a Medical Doctor in 1968. In fact I was Senior House (Casualty) Officer (A&E or ER) in 1970 at North Manchester General Hospital when I filed the patent. I must have been the only hospital doctor in Britain with an oscilloscope, a soldering iron and a drawing board in his room in the Doctors' Residence. The housekeepers were bemused by all the wires. Frank originally trained as a Banker but quit to take a job with a local electronics firm during the development. He died in 1987, a terrible loss. [Extract from personal communication received in March 2010 from John Kirby.] Frank and John Kirby and their associate Rodney Lester were pioneers in pharmacy automation and small-object counting technology. In 1967, the Kirbys invented a portable digital tablet counter to count tablets and capsules. With Lester they formed a limited company. In 1970, their invention was patented and put into production in Oldham, England. The tablet counter aided the pharmacy industry with time-consuming manual counting of drug prescriptions. A counting machine consistently counted medications accurately and quickly. This aspect of pharmacy automation was quickly adopted, and innovations emerged every decade to aid the pharmacy industry to deliver medications quickly, safely, and economically. Modern pharmacies have many new options to improve their workflow by using the new technology, and can choose intelligently from the many options available. === Chronology === On 1 January 1971 commercial production of the first portable digital tablet counters in the World began. John Kirby had filed U.K. Patent number GB1358378(A) on 8 September 1970 and U.S. patent number 3789194 on 9 August 1971. These early electronic counters were designed to help pharmacies replace the common (but often inaccurate) practice of counting medications by hand. In 1975, the digital technology was exported to America. In early 1980 a dedicated research, development and production facility was built in Oldham, England at a cost of £500,000. Between 1982 and 1983, two separate development facilities had been created. In America, overseen by Rodney Lester; and in England, overseen by the Kirby brothers. In 1987, Frank Kirby died. In 1989, John Kirby moved his UK facility to Devon, England. A simple to operate machine had been developed to accurately and quickly count prescription medications. Technology improvements soon resulted in a more compact model. The price of such equipment in 1980 was around £1,300. This substantial investment in new technology was a major financial consideration, but the pharmacy community considered the use of a counting machine as a superior method compared to hand-counting medications. These early devices became known as tablet counter, capsule counter, pill counter, or drug counter. The new counting technology replaced manual methods in many industries such as, vitamin and diet supplement manufacturing. Technicians needed a small, affordable device to count and bottle medications. In England and America, the 1980s and 1990s saw new the development of high-speed machines for counting and bottle filling, Like their pharmacy-based counterparts, these industrial units were designed to be fast and simple to operate, yet remain small and cost effective. In America, in the late 1990s/early 2000s a new type of tablet counter appeared. It was simple to use, compact, inexpensive, and had good counting accuracy. At the turn of the millennium technical advances allowed the design of counters with a software verification system. With an onboard computer, displaying photo images of medications to assist the pharmacist or pharmacy technician to verify that the correct medication was being dispensed. In addition, a database for storing all prescriptions that were counted on the device. Between September 2005 and May 2007, American Capital made a major financial investment in Kirby Lester, which then relocated to a larger facility to expand its research and development capabilities. This move added extra space for product research and development facility (R&D). It allowed the opportunity to develop new advanced technology products that met the pharmacy's needs for simple, accurate, and cost-effective ways to dispense prescriptions safely. Pictured here is an early American type of integrated counter and packaging device. This machine was a third generation step in the evolution of pharmacy automated devices. Later models held pre-counted containers of commonly-prescribed medications. == Global variations == In the EU member states legislation was introduced in 1998 which had a major effect on UK Pharmacy operations. It effectively prohibited the use of tablet counters for counting and dispensing bulk packaged tablets. Both usage and sales of the machines in the UK declined rapidly as a result of the introduction of blister packaging for medicines. == Current state of the industry == A tablet counter has become a standard in more than 30,000 sites in 35 countries (as of 2010) (including many non-pharmacy sites, such as manufacturing facilities that use a counting machine as a check for small items). During the 1990s through 2012, numerous new pharmacy automation products came to market. During this timeframe, counting technologies, robotics, workflow management software, and interactive voice recognition (IVR) systems for retail (both chain and independent), outpatient, government, and closed-door pharmacies (mail order and central fill) were all introduced. Additionally, the concept of scalability - of migrating from an entry-level product to the next level of automation (e.g., counting technology to robotics) - was introduced and subsequently launched a new product line in 1997. Pharmacists everywhere are making the switch to automation for its increased speed, greater accuracy, and better security. As the industry evolves and customer expectations grow, automation is becoming less of a luxury and more of a necessity. Especially for independent pharmacies, automation is now a means of keeping up with the competition of large chain pharmacies. == Technological changes and design improvements == Constant developments in technology make the dispensing of prescription medications safer, more accurate and more efficient. In America, in 2008, "next-generation" counting and verification systems were introduced. Based on the counting technology employed in preceding models, later machines included the ability to help the pharmacy operate more effectively. Equipped with a new computer interface to a pharmacy management system, with workflow and inventory software. It also included "checks and balances" to ensure the technician and pharmacist were dispensing the correct medication for each patient. This is something that is important to keep reported correctly when dealing with controlled substances like narcotics. This was a step forward to verify all 100% of prescriptions that were dispensed by pharmacy staff. In America, in 2009, further advanced counters were designed that included the ability to dispense hands-free – a feature that many operators had desired. This allowed pharmacies to automate their most commonly dispensed medications via calibrated cassettes. Thirty of a pharmacy's common medications would now be dispensed automatically. Another new model doubled that throughput via an enclosed robotic mechanism. Robo
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SAP NetWeaver Visual Composer is SAP’s web-based software modelling tool. It enables business process specialists and developers to create business application components, without coding. Visual Composer produces applications in a declarative form, enabling code-free execution mode for multiple runtime environments. It provides application lifecycle support by maintaining the connection between an application and its model throughout its lifecycle. Visual Composer is designed with an open architecture, which enables developers to extend its design-time environment and modelling language, as well as to integrate external data services. The tool aims to increase productivity by reducing development effort time, and narrowing the gap between application definition and implementation. Starting with a blank canvas, the Visual Composer user, typically a business process specialist, draws the application in Visual Composer Storyboard (workspace), without writing code, to prototype, design and produce applications. A typical workflow for creating, deploying and running an application using Visual Composer is: Create a model Discover data services and add them to the model Select necessary UI elements and add them to the model Connect model elements to define the model logic and data flow Edit the layout Arranging the UI elements and the controls of the application on forms and tables. Deploy the model This step includes compilation, validation and deployment to a selected environment. Run the application The application can run using different runtime environment (such as Adobe Flex and HTML). In 2014 a runtime environment was introduced that is utilizing HTML5 capabilities of SAPUI5.
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Non-separable wavelets are multi-dimensional wavelets that are not directly implemented as tensor products of wavelets on some lower-dimensional space. They have been studied since 1992. They offer a few important advantages. Notably, using non-separable filters leads to more parameters in design, and consequently better filters. The main difference, when compared to the one-dimensional wavelets, is that multi-dimensional sampling requires the use of lattices (e.g., the quincunx lattice). The wavelet filters themselves can be separable or non-separable regardless of the sampling lattice. Thus, in some cases, the non-separable wavelets can be implemented in a separable fashion. Unlike separable wavelet, the non-separable wavelets are capable of detecting structures that are not only horizontal, vertical or diagonal (show less anisotropy). == Examples == Red-black wavelets Contourlets Shearlets Directionlets Steerable pyramids Non-separable schemes for tensor-product wavelets
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Evolutionary robotics is an embodied approach to Artificial Intelligence (AI) in which robots are automatically designed using Darwinian principles of natural selection. The design of a robot, or a subsystem of a robot such as a neural controller, is optimized against a behavioral goal (e.g. run as fast as possible). Usually, designs are evaluated in simulations as fabricating thousands or millions of designs and testing them in the real world is prohibitively expensive in terms of time, money, and safety. An evolutionary robotics experiment starts with a population of randomly generated robot designs. The worst performing designs are discarded and replaced with mutations and/or combinations of the better designs. This evolutionary algorithm continues until a prespecified amount of time elapses or some target performance metric is surpassed. Evolutionary robotics methods are particularly useful for engineering machines that must operate in environments in which humans have limited intuition (nanoscale, space, etc.). Evolved simulated robots can also be used as scientific tools to generate new hypotheses in biology and cognitive science, and to test old hypothesis that require experiments that have proven difficult or impossible to carry out in reality. == History == In the early 1990s, two separate European groups demonstrated different approaches to the evolution of robot control systems. Dario Floreano and Francesco Mondada at EPFL evolved controllers for the Khepera robot. Adrian Thompson, Nick Jakobi, Dave Cliff, Inman Harvey, and Phil Husbands evolved controllers for a Gantry robot at the University of Sussex. However the body of these robots was presupposed before evolution. The first simulations of evolved robots were reported by Karl Sims and Jeffrey Ventrella of the MIT Media Lab, also in the early 1990s. However these so-called virtual creatures never left their simulated worlds. The first evolved robots to be built in reality were 3D-printed by Hod Lipson and Jordan Pollack at Brandeis University at the turn of the 21st century.
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