AI Chat Unblocked For School

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  • Server.com

    Server.com

    Server.com is a domain name that was owned by software as a service (SaaS) company Server Corporation. They offered a suite of services from 1996 until 2007. It was the first SaaS site to offer a variety of services and the first to use the term WebApp to describe its services. It was selected as an Incredibly Useful Site by Yahoo! Internet Life magazine. net magazine listed Server.com among the 100 most influential websites of all time. Server.com launched in 1996 offering the first online personal information manager. In 1997, they rolled out the first threaded message board service; the first web based mailing list manager; one of the first online calendar services; and one of the first online form builders. In 2000, Server.com partnered with NBCi and became server.snap.com until 2001. In 2001, Server.com was serving 100 million monthly pageviews. Media Life declared it one of the 20 biggest ad domains on the Web. In 2002, Server.com developed one of the first web-based RSS aggregators. In 2007, all services were moved to YourWebApps.com. The domain name Server.com was sold in 2009 for $770,000.

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  • Vinted

    Vinted

    Vinted Group UAB is a Lithuanian technology company best known for its online marketplace Vinted. Vinted is the leading second-hand fashion marketplace in Europe and a go-to destination for all kinds of second-hand items. According to the company, its mission is to make second-hand the first choice worldwide. The company operates as an ecosystem of businesses, including the Vinted Marketplace (its peer-to-peer resale platform), Vinted Go (logistics and shipping services), Vinted Pay (in-app payment solutions), and Vinted Ventures (an investment arm supporting the circular economy). Headquartered in Vilnius, Lithuania, it also has offices in Germany and the Netherlands and employs more than 2,200 people. == History == Vinted was co-founded in 2008 by Milda Mitkute and Justas Janauskas in Vilnius, Lithuania. The idea originated when Mitkute was moving house and wanted a way to sell clothes she no longer needed. Janauskas helped her create a website where users could trade clothing items. In 2016, Dutch entrepreneur Thomas Plantenga joined Vinted as a strategy consultant and later became Chief Executive Officer, leading the company through a period of international growth. In 2019, Vinted became Lithuania’s first technology unicorn after raising €128 million at a €1 billion valuation in a funding round led by Lightspeed Venture Partners. In October 2020, it acquired United Wardrobe, a Dutch competitor, and in November 2020 German Kleiderkreisel and Mamikreisel were officially merged into the Vinted platform. In 2024 it acquired Trendsales, a Danish resale platform. According to Vogue Business, Vinted’s revenue grew 61% between 2022 and 2023 and the company posted a net profit of €17.8 million in 2023. Usage of Vinted in the UK has grown from 1.2 million users in 2021, to 8 million in 2023. In 2024, the group reported consolidated revenue of €813.4 million (up 36% from 2023) and a net profit of €76.7 million, up 330% from 2023. As of 2024, Vinted was valued at approximately €5 billion, operating in more than 26 markets worldwide and announcing plans to launch in Ireland, Greece, Latvia, Slovenia, and Estonia in 2025. As of 2025 the company employed more than 2,200 people. In April 2026, Vinted completed a secondary share transaction of €880m, valuing the company at €8bn. == Products and operations == Vinted primarily resells clothing but now supports multiple categories including homeware, kidswear, electronics, books, collectibles, and high-value fashion. Vinted has worked with public figures such as Paul Mescal and Alexa Chung on exclusive wardrobe sales and has also partnered directly with charities including Oxfam on initiatives which promote the social and environmental value of second-hand fashion, such as the Style for Change fashion show at London Fashion Week. In 2025, Vinted produced its first television format, the second-hand fashion competition series RE/Style, hosted by Emma Willis. The show features emerging fashion designers from across Europe creating runway-ready looks from second-hand garments and aired on Prime Video UK. In 2025, Vinted was reported as France’s top clothing retailer by sales volume. == Criticism == Vinted has faced scrutiny from European data protection authorities in France, Lithuania, and Poland following complaints regarding GDPR compliance and account blocking practices. In July 2024, the Lithuanian authority fined the company €2,375,276. The case was coordinated by a dedicated Vinted Working Group under the European Data Protection Board. In early 2024, Swedish police reported around 300 fraud cases linked to the platform, in which users’ bank accounts were targeted by scammers. In October 2024, Channel 4 in the United Kingdom aired a documentary examining safety and privacy concerns related to the platform, including the sexualisation of underage users’ images and risks associated with second-hand baby products lacking safety certification. In November 2025, BBC News reported that Vinted’s update to its sizing system in the United Kingdom led to widespread user criticism. Vinted said the update was intended to standardise sizing across international brands.

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  • Vulnerability Discovery Model

    Vulnerability Discovery Model

    A Vulnerability Discovery Model (VDM) uses discovery event data with software reliability models for predicting the same. A thorough presentation of VDM techniques is available in. Numerous model implementations are available in the MCMCBayes open source repository. Several VDM examples include: Alhazmi-Malaiya: Time based model (Alhazmi-Malaiya Logistic (AML) model) Alhazmi-Malaiya: Effort based model Rescorla: Quadratic Model and Exponential Model Anderson: Thermodynamic Model Kim: Weibull Model Linear Model Hump-Shaped Model Independent and Dependent Model Vulnerability Discovery Modeling using Bayesian model averaging Multivariate Vulnerability Discovery Models

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  • Joseph Stanislaus Ostoja-Kotkowski

    Joseph Stanislaus Ostoja-Kotkowski

    Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio

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  • Dailyhunt

    Dailyhunt

    Dailyhunt (formerly Newshunt) is an Indian content and news aggregator application based in Bangalore, India that provides local language content in 14 Indian languages from multiple content providers. Viru serves as Founder of Dailyhunt with Co-founder Umang Bedi. == History == Dailyhunt, earlier called Newshunt, was created as a Symbian app in 2009 by two ex-Nokia employees Umesh Kulkarni and Chandrashekhar Sohoni. Later in 2011, Newshunt became available on the Android platform. It was by that time that Virendra Gupta, founder of Verse acquired the application. Virendra Gupta, better known as Viru, had started Verse in 2007 as a value-added service (VAS) company. In 2011, he acquired Newshunt from its owners Umesh and Chandrashekhar. Umesh became the CTO and stayed on to oversee its transition towards the smartphone era. In 2015, Viru renamed Newshunt as Dailyhunt. In early 2018, Viru roped in Umang Bedi, to be the President of Dailyhunt and lead the business with him while focusing on making the benefits of the platform available to a larger audience. Umang was elevated to co-founder in 2020. == Funding == In September 2014, Dailyhunt (then known as Newshunt) closed its Series B funding of INR 1 billion ( or approx $12 million in 2014) from Sequoia Capital India. The Series C funding round was led by Falcon Capital and was closed with $40 million in February 2015. In October 2016, the company received its Series D funding of $25 million from ByteDance and a Series E funding of $6.39 million from Falcon Edge Capital in September 2018. Additionally, Dailyhunt raised $3 Mn (INR 21.75 Cr) in a Series F funding round from Stonebridge Capital in August 2019. Other investors of Dailyhunt include Matrix Partners India, Omidyar Network, Goldman Sachs and Sofina. == Tie-ups and partnerships == In January 2021, Dailyhunt partnered with Twitter to bring ‘Twitter Moments’ to the Indian social app. Dailyhunt app now has a dedicated tab called “Twitter Moments India” to showcase curated tweets pertaining to news and other events. In January 2021, Dailyhunt announced the premiere of Season 2 of the popular show QuoteUnquote with KK (Kapil Khandelwal) on the app. It was the first podcast to have been launched on the Dailyhunt app. In September 2020, Dailyhunt signed up as an Associate Sponsor with Star Sports for Dream 11 IPL 2020. In May 2020, Snapdeal partnered with Dailyhunt to add new content on marketplace. In March 2019, Discovery Communications India, the factual entertainment network, entered into a multi-year partnership with Dailyhunt to showcase short-form content.

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  • Geometric primitive

    Geometric primitive

    In vector computer graphics, CAD systems, and geographic information systems, a geometric primitive (or prim) is the simplest (i.e. 'atomic' or irreducible) geometric shape that the system can handle (draw, store). Sometimes the subroutines that draw the corresponding objects are called "geometric primitives" as well. The most "primitive" primitives are point and straight line segments, which were all that early vector graphics systems had. In constructive solid geometry, primitives are simple geometric shapes such as a cube, cylinder, sphere, cone, pyramid, torus. Modern 2D computer graphics systems may operate with primitives which are curves (segments of straight lines, circles and more complicated curves), as well as shapes (boxes, arbitrary polygons, circles). A common set of two-dimensional primitives includes lines, points, and polygons, although some people prefer to consider triangles primitives, because every polygon can be constructed from triangles (polygon triangulation). All other graphic elements are built up from these primitives. In three dimensions, triangles or polygons positioned in three-dimensional space can be used as primitives to model more complex 3D forms. In some cases, curves (such as Bézier curves, circles, etc.) may be considered primitives; in other cases, curves are complex forms created from many straight, primitive shapes. == Common primitives == The set of geometric primitives is based on the dimension of the region being represented: Point (0-dimensional), a single location with no height, width, or depth. Line or curve (1-dimensional), having length but no width, although a linear feature may curve through a higher-dimensional space. Planar surface or curved surface (2-dimensional), having length and width. Volumetric region or solid (3-dimensional), having length, width, and depth. In GIS, the terrain surface is often spoken of colloquially as "2 1/2 dimensional," because only the upper surface needs to be represented. Thus, elevation can be conceptualized as a scalar field property or function of two-dimensional space, affording it a number of data modeling efficiencies over true 3-dimensional objects. A shape of any of these dimensions greater than zero consists of an infinite number of distinct points. Because digital systems are finite, only a sample set of the points in a shape can be stored. Thus, vector data structures typically represent geometric primitives using a strategic sample, organized in structures that facilitate the software interpolating the remainder of the shape at the time of analysis or display, using the algorithms of Computational geometry. A Point is a single coordinate in a Cartesian coordinate system. Some data models allow for Multipoint features consisting of several disconnected points. A Polygonal chain or Polyline is an ordered list of points (termed vertices in this context). The software is expected to interpolate the intervening shape of the line between adjacent points in the list as a parametric curve, most commonly a straight line, but other types of curves are frequently available, including circular arcs, cubic splines, and Bézier curves. Some of these curves require additional points to be defined that are not on the line itself, but are used for parametric control. A Polygon is a polyline that closes at its endpoints, representing the boundary of a two-dimensional region. The software is expected to use this boundary to partition 2-dimensional space into an interior and exterior. Some data models allow for a single feature to consist of multiple polylines, which could collectively connect to form a single closed boundary, could represent a set of disjoint regions (e.g., the state of Hawaii), or could represent a region with holes (e.g., a lake with an island). A Parametric shape is a standardized two-dimensional or three-dimensional shape defined by a minimal set of parameters, such as an ellipse defined by two points at its foci, or three points at its center, vertex, and co-vertex. A Polyhedron or Polygon mesh is a set of polygon faces in three-dimensional space that are connected at their edges to completely enclose a volumetric region. In some applications, closure may not be required or may be implied, such as modeling terrain. The software is expected to use this surface to partition 3-dimensional space into an interior and exterior. A triangle mesh is a subtype of polyhedron in which all faces must be triangles, the only polygon that will always be planar, including the Triangulated irregular network (TIN) commonly used in GIS. A parametric mesh represents a three-dimensional surface by a connected set of parametric functions, similar to a spline or Bézier curve in two dimensions. The most common structure is the Non-uniform rational B-spline (NURBS), supported by most CAD and animation software. == Application in GIS == A wide variety of vector data structures and formats have been developed during the history of Geographic information systems, but they share a fundamental basis of storing a core set of geometric primitives to represent the location and extent of geographic phenomena. Locations of points are almost always measured within a standard Earth-based coordinate system, whether the spherical Geographic coordinate system (latitude/longitude), or a planar coordinate system, such as the Universal Transverse Mercator. They also share the need to store a set of attributes of each geographic feature alongside its shape; traditionally, this has been accomplished using the data models, data formats, and even software of relational databases. Early vector formats, such as POLYVRT, the ARC/INFO Coverage, and the Esri shapefile support a basic set of geometric primitives: points, polylines, and polygons, only in two dimensional space and the latter two with only straight line interpolation. TIN data structures for representing terrain surfaces as triangle meshes were also added. Since the mid 1990s, new formats have been developed that extend the range of available primitives, generally standardized by the Open Geospatial Consortium's Simple Features specification. Common geometric primitive extensions include: three-dimensional coordinates for points, lines, and polygons; a fourth "dimension" to represent a measured attribute or time; curved segments in lines and polygons; text annotation as a form of geometry; and polygon meshes for three-dimensional objects. Frequently, a representation of the shape of a real-world phenomenon may have a different (usually lower) dimension than the phenomenon being represented. For example, a city (a two-dimensional region) may be represented as a point, or a road (a three-dimensional volume of material) may be represented as a line. This dimensional generalization correlates with tendencies in spatial cognition. For example, asking the distance between two cities presumes a conceptual model of the cities as points, while giving directions involving travel "up," "down," or "along" a road imply a one-dimensional conceptual model. This is frequently done for purposes of data efficiency, visual simplicity, or cognitive efficiency, and is acceptable if the distinction between the representation and the represented is understood, but can cause confusion if information users assume that the digital shape is a perfect representation of reality (i.e., believing that roads really are lines). == In 3D modelling == In CAD software or 3D modelling, the interface may present the user with the ability to create primitives which may be further modified by edits. For example, in the practice of box modelling the user will start with a cuboid, then use extrusion and other operations to create the model. In this use the primitive is just a convenient starting point, rather than the fundamental unit of modelling. A 3D package may also include a list of extended primitives which are more complex shapes that come with the package. For example, a teapot is listed as a primitive in 3D Studio Max. == In graphics hardware == Various graphics accelerators exist with hardware acceleration for rendering specific primitives such as lines or triangles, frequently with texture mapping and shaders. Modern 3D accelerators typically accept sequences of triangles as triangle strips.

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  • T-vertices

    T-vertices

    T-vertices is a term used in computer graphics to describe a problem that can occur during mesh refinement or mesh simplification. The most common case occurs in naive implementations of continuous level of detail, where a finer-level mesh is "sewn" together with a coarser-level mesh by simply aligning the finer vertices on the edges of the coarse polygons. The result is a continuous mesh, however due to the nature of the z-buffer and certain lighting algorithms such as Gouraud shading, visual artifacts can often be detected. Some modeling algorithms such as subdivision surfaces will fail when a model contains T-vertices.

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  • Texture atlas

    Texture atlas

    In computer graphics, a texture atlas (also called a spritesheet or an image sprite in 2D game development) is an image containing multiple smaller images, usually packed together to reduce overall dimensions. An atlas can consist of uniformly-sized images or images of varying dimensions. A sub-image is drawn using custom texture coordinates to pick it out of the atlas. == Benefits == In an application where many small textures are used frequently, it is often more efficient to store the textures in a texture atlas which is treated as a single unit by the graphics hardware. This reduces both the disk I/O overhead and the overhead of a context switch by increasing memory locality. Careful alignment may be needed to avoid bleeding between sub textures when used with mipmapping and texture compression. In web development, images are packed into a sprite sheet to reduce the number of image resources that need to be fetched in order to display a page. == Gallery ==

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  • List of software palettes

    List of software palettes

    This is a list of software palettes used by computers. Systems that use a 4-bit or 8-bit pixel depth can display up to 16 or 256 colors simultaneously. Many personal computers in the early 1990s displayed at most 256 different colors, freely selected by software (either by the user or by a program) from their wider hardware's RGB color palette. Usual selections of colors in limited subsets (generally 16 or 256) of the full palette includes some RGB level arrangements commonly used with the 8-bit palettes as master palettes or universal palettes (i.e., palettes for multipurpose uses). These are some representative software palettes, but any selection can be made in such of systems. For specific hardware color palettes, see the list of monochrome and RGB palettes, list of 8-bit computer hardware graphics, the list of 16-bit computer hardware graphics and the list of video game console palettes articles. Each palette is represented by an array of color patches. A one-pixel size version appears below each palette, to make it easy to compare palette sizes. For each unique palette, an image color test chart and sample image (truecolor original follows) rendered with that palette (without dithering) are given. The test chart shows the full 8-bit, 256 levels of the red, green, and blue (RGB) primary colors and cyan, magenta, and yellow complementary colors, along with a full 8-bit, 256 levels grayscale. Gradients of RGB intermediate colors (orange, lime green, sea green, sky blue, violet and fuchsia), and a full hue spectrum are also present. Color charts are not gamma corrected. These elements illustrate the color depth and distribution of the colors of any given palette, and the sample image indicates how the color selection of such palettes could represent real-life images. == System specifics == These are selections of colors officially employed as system palettes in some popular operating systems for personal computers that support 8-bit displays. === Microsoft Windows and IBM OS/2 default 16-color palette === Used by these platforms as a roughly backward compatible palette for the CGA, EGA and VGA text modes, but with colors arranged in a different order. Also, is the default palette for 16 color icons. The corresponding indices into this palette are: === Microsoft Windows default 20-color palette === In 256-color mode, there are four additional standard Windows colors, twenty system reserved colors in total; thus the system leaves 236 palette indexes free for applications to use. The system color entries inside a 256-color palette table are the first ten plus the last ten. In any case, the additional system colors do not seem to add a sharp color richness: they are only some intermediate shades of grayish colors. Since Windows 95, these additional colors can be changed by the system when a color scheme needs custom colors, reducing their utility as static, unchanging palette entries. The complete 20-color Windows system palette is: === Apple Macintosh default 16-color palette === When Apple Computer introduced the Macintosh II in 1987, this 16-color palette was included in System 4.1. === RISC OS default palette === Acorn RISC OS 2.x and 3.x provided this 16-color palette: === Solaris default 16-color palette === Solaris OS used this color palette: == RGB arrangements == These are selections of colors based in evenly ordered RGB levels which provide complete RGB combinations, mainly used as master palettes to display any kind of image within the limitations of the 8-bit pixel depth. === 6 level RGB === Having six levels for every primary, with 6³ = 216 combinations. The index can be addressed by (36×R)+(6×G)+B, with all R, G and B values in a range from 0 to 5. Intended as homogeneous RGB cube, it gives six true grays. Also, there is room for another sorts of 40 colors, so operating systems or programs can add extra colors. Systems that use this software palette are: Web-safe colors Apple Macintosh 256 color default palette. It also contains four gradients of ten shades each for gray, red, green and blue. === 6-7-6 levels RGB === This palette is constructed with six levels for red and blue primaries and seven levels for the green primary, giving 6×7×6 = 252 combinations. The index can be addressed by (42×R)+(6×G)+B, with R and B values in a range from 0 to 5 and G in a range from 0 to 6. The same case as the former, but with an added level of green due to the greater sensibility of the normal human eye to this frequency. It does not provide true grays, but remaining indexes can be filled with four intermediate grays. In any case, there is little room for any other color. === 6-8-5 levels RGB === This palette is constructed with six levels for red, eight levels for green and five levels for the blue primaries, giving 6×8×5 = 240 combinations. The index can be addressed by (40×R)+(5×G)+B, with R ranging from 0 to 5, G from 0 to 7 and B from 0 to 4. Levels are chosen in function of sensibility of the normal human eye to every primary color. Also, it does not provide true grays. Remaining indexes can be filled with sixteen intermediate grays or other fixed colors. In fact, this is the best balanced RGB master software palette, in a compromise between the RGB arrangement based in the human eye's sensibility and a sufficient remaining palette entries for another purposes. === 8-8-4 levels RGB === The 8-8-4 level RGB use eight levels for each of the red and green color components (3+3 high order bits), and four levels (2 low order bits) for the blue component, due to the lesser sensitivity of the normal human eye to this primary color. This results in an 8×8×4 = 256-color palette as follows: This RGB software palette occupies the full 8-bit range of possible palette entries, so there is no room for other fixed colors. Software using this palette must draw their user interface elements with the same colors used to show pictures. Also again, it does not provide true grays. == Other common uses of software palettes == === Grayscale palettes === Simple palette made doing every triplet RGB primaries having equal values as a continuous gradient from black to white through the full available palette entries. Here is the 8-bit, 256 levels palette: Used to display pure grayscale TIFF or JPEG images, for example. === Color gradient palettes === Palettes made of a continuous color gradient from darkest to lightest arbitrary hues. The pixel data is treated as if it were grayscale, but the color table plays with RGB color combinations, not only gray. The relationship between the original luminance and the mapped one can vary, but the lighting scale is preserved along all the palette entries. One very common case of such palettes is the sepia tone palette, which gives an image an old fashioned and aged look (left). Another gradient example, based on blue hues, is presented here (right), but any hue or mixing of hues can be used. Many cell phones with built-in cameras have options to take colorized photos using this technique. === Adaptive palettes === Those whose whole number of available indexes are filled with RGB combinations selected from the statistical order of appearance (usually balanced) of a concrete full true color original image. There exist many algorithms to pick the colors through color quantization; one well known is the Heckbert's median-cut algorithm. Here is the 8-bit, 256 color palette used with the color test chart and the image sample above: Adaptive palettes only work well with a unique image. Trying to display different images with adaptive palettes over an 8-bit display usually results in only one image with correct colors, because the images have different palettes and only one can be displayed at a time. Here is an example of what happens when an indexed color image is displayed with any color palette that is not its own adaptive palette: === False color palettes === Arbitrary gradient color scales, usually 256 shades, with no relationship with real colors of a given image. They are employed to artificially colorize a grayscale image to reveal details and/or to map the pixel level values to amounts of some physical magnitude (potential, temperature, altitude, etc.) Note, in the example above, that new details can be seen as blue over magenta in the background's dark areas of the original photograph. Here is the 8-bit, 256 color gradient palette used with the color test chart and the image sample above: There exist many false color palettes, some of them standardized, used mainly in scientific applications: astronomy and radioastronomy, satellite land imaging, thermography, study of materials, tomography and magnetic resonance imaging in medicine, etc.

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  • Real-time computer graphics

    Real-time computer graphics

    Real-time computer graphics or real-time rendering is the sub-field of computer graphics focused on producing and analyzing images in real time. The term can refer to anything from rendering an application's graphical user interface (GUI) to real-time image analysis, but is most often used in reference to interactive 3D computer graphics, typically using a graphics processing unit (GPU). One example of this concept is a video game that rapidly renders changing 3D environments to produce an illusion of motion. Computers have been capable of generating 2D images such as simple lines, images and polygons in real time since their invention. However, quickly rendering detailed 3D objects is a daunting task for traditional Von Neumann architecture-based systems. An early workaround to this problem was the use of sprites, 2D images that could imitate 3D graphics. Different techniques for rendering now exist, such as ray-tracing and rasterization. Using these techniques and advanced hardware, computers can now render images quickly enough to create the illusion of motion while simultaneously accepting user input. This means that the user can respond to rendered images in real time, producing an interactive experience. == Principles of real-time 3D computer graphics == The goal of computer graphics is to generate computer-generated images, or frames, using certain desired metrics. One such metric is the number of frames generated in a given second. Real-time computer graphics systems differ from traditional (i.e., non-real-time) rendering systems in that non-real-time graphics typically rely on ray tracing. In this process, millions or billions of rays are traced from the camera to the world for detailed rendering—this expensive operation can take hours or days to render a single frame. Real-time graphics systems must render each image in less than 1/30th of a second. Ray tracing is far too slow for these systems; instead, they employ the technique of z-buffer triangle rasterization. In this technique, every object is decomposed into individual primitives, usually triangles. Each triangle gets positioned, rotated and scaled on the screen, and rasterizer hardware (or a software emulator) generates pixels inside each triangle. These triangles are then decomposed into atomic units called fragments that are suitable for displaying on a display screen. The fragments are drawn on the screen using a color that is computed in several steps. For example, a texture can be used to "paint" a triangle based on a stored image, and then shadow mapping can alter that triangle's colors based on line-of-sight to light sources. === Video game graphics === Real-time graphics optimizes image quality subject to time and hardware constraints. GPUs and other advances increased the image quality that real-time graphics can produce. GPUs are capable of handling millions of triangles per frame, and modern DirectX/OpenGL class hardware is capable of generating complex effects, such as shadow volumes, motion blurring, and triangle generation, in real-time. The advancement of real-time graphics is evidenced in the progressive improvements between actual gameplay graphics and the pre-rendered cutscenes traditionally found in video games. Cutscenes are typically rendered in real-time—and may be interactive. Although the gap in quality between real-time graphics and traditional off-line graphics is narrowing, offline rendering remains much more accurate. === Advantages === Real-time graphics are typically employed when interactivity (e.g., player feedback) is crucial. When real-time graphics are used in films, the director has complete control of what has to be drawn on each frame, which can sometimes involve lengthy decision-making. Teams of people are typically involved in the making of these decisions. In real-time computer graphics, the user typically operates an input device to influence what is about to be drawn on the display. For example, when the user wants to move a character on the screen, the system updates the character's position before drawing the next frame. Usually, the display's response-time is far slower than the input device—this is justified by the immense difference between the (fast) response time of a human being's motion and the (slow) perspective speed of the human visual system. This difference has other effects too: because input devices must be very fast to keep up with human motion response, advancements in input devices (e.g., the current Wii remote) typically take much longer to achieve than comparable advancements in display devices. Another important factor controlling real-time computer graphics is the combination of physics and animation. These techniques largely dictate what is to be drawn on the screen—especially where to draw objects in the scene. These techniques help realistically imitate real world behavior (the temporal dimension, not the spatial dimensions), adding to the computer graphics' degree of realism. Real-time previewing with graphics software, especially when adjusting lighting effects, can increase work speed. Some parameter adjustments in fractal generating software may be made while viewing changes to the image in real time. == Rendering pipeline == The graphics rendering pipeline ("rendering pipeline" or simply "pipeline") is the foundation of real-time graphics. Its main function is to render a two-dimensional image in relation to a virtual camera, three-dimensional objects (an object that has width, length, and depth), light sources, lighting models, textures and more. === Architecture === The architecture of the real-time rendering pipeline can be divided into conceptual stages: application, geometry and rasterization. === Application stage === The application stage is responsible for generating "scenes", or 3D settings that are drawn to a 2D display. This stage is implemented in software that developers optimize for performance. This stage may perform processing such as collision detection, speed-up techniques, animation and force feedback, in addition to handling user input. Collision detection is an example of an operation that would be performed in the application stage. Collision detection uses algorithms to detect and respond to collisions between (virtual) objects. For example, the application may calculate new positions for the colliding objects and provide feedback via a force feedback device such as a vibrating game controller. The application stage also prepares graphics data for the next stage. This includes texture animation, animation of 3D models, animation via transforms, and geometry morphing. Finally, it produces primitives (points, lines, and triangles) based on scene information and feeds those primitives into the geometry stage of the pipeline. === Geometry stage === The geometry stage manipulates polygons and vertices to compute what to draw, how to draw it and where to draw it. Usually, these operations are performed by specialized hardware or GPUs. Variations across graphics hardware mean that the "geometry stage" may actually be implemented as several consecutive stages. ==== Model and view transformation ==== Before the final model is shown on the output device, the model is transformed onto multiple spaces or coordinate systems. Transformations move and manipulate objects by altering their vertices. Transformation is the general term for the four specific ways that manipulate the shape or position of a point, line or shape. ==== Lighting ==== In order to give the model a more realistic appearance, one or more light sources are usually established during transformation. However, this stage cannot be reached without first transforming the 3D scene into view space. In view space, the observer (camera) is typically placed at the origin. If using a right-handed coordinate system (which is considered standard), the observer looks in the direction of the negative z-axis with the y-axis pointing upwards and the x-axis pointing to the right. ==== Projection ==== Projection is a transformation used to represent a 3D model in a 2D space. The two main types of projection are orthographic projection (also called parallel) and perspective projection. The main characteristic of an orthographic projection is that parallel lines remain parallel after the transformation. Perspective projection utilizes the concept that if the distance between the observer and model increases, the model appears smaller than before. Essentially, perspective projection mimics human sight. ==== Clipping ==== Clipping is the process of removing primitives that are outside of the view box in order to facilitate the rasterizer stage. Once those primitives are removed, the primitives that remain will be drawn into new triangles that reach the next stage. ==== Screen mapping ==== The purpose of screen mapping is to find out the coordinates of the primitives during the clipping stage. ==== Rasterizer stage ==== The rasterizer

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  • VOCEDplus

    VOCEDplus

    VOCEDplus is a free international research database about tertiary education, maintained and developed by staff at the c (NCVER) in Adelaide, South Australia. The focus of the database content is the relation of post-compulsory education and training to workforce needs, skills development, and social inclusion. == Structure == The content of the VOCEDplus database encompasses vocational education and training (VET), higher education, lifelong learning, informal learning, VET in schools, adult and community education, apprenticeships/traineeships, international education, providers of education and training, and workforce development. It is international in scope and contains over 84,000 English language records, many with links to full text documents. VOCEDplus contains extensive Australian materials and includes a wide range of international information, covering outcomes of tertiary education in the shape of published research, practice, policy, and statistics. Entries are included for the following types of publications: reports; annual reports; papers; discussion papers; occasional papers; working papers; books; book chapters; conference papers; conference proceedings; journals; journal articles; policy documents; published statistics; theses; podcasts; and teaching and training materials. Each database entry contains standard bibliographic information and an abstract. Many entries include full text access via the publisher's website or a digitised copy. == History == === 1989-1997 === In the early years VOCEDplus was known as VOCED. The original database was produced by a network of clearinghouses across Australia with the aim of sharing activities in the technical and further education (TAFE) sector. VOCED was produced in hardcopy and an electronic version was distributed on diskette. === 1997-2001 === 1997 - the first web version of VOCED was made available from the National Centre for Vocational Education Research (NCVER) organisational website 1998 - a major project to upgrade the database and expand its international coverage commenced 2001 - creation of VOCED's own website 2001 - VOCED endorsed as the UNESCO international database for technical and vocational education and training (TVET) research information === 2001-2009 === Many changes to the database and website occurred during this period with a focus on continuous improvement to meet the needs of users and utilise emerging technologies. 2006 - materials produced for two adult literacy and learning programs funded by the Australian Department of Education, Employment and Workplace Relations (DEEWR) - the Workplace English Language and Learning (WELL) Programme and the Adult Literacy National Project (ALNP) included in VOCED 2007 - the Australian clearinghouse network transferred most of the hardcopy collections to NCVER, to form a centralised repository of resources 2009 - materials produced by Reframing the Future (RTF) a vocational education and training workforce development initiative of the Australian, State and Territory Governments included in VOCED === 2009-2014 === A major rebuild of the database and website was undertaken during this period to take advantage of the potential of new technologies to provide improved services and incorporate Web 2.0 technologies (RSS feeds, and share and bookmark tools). 2009 - scope expanded to more fully encompass the higher education sector 2011 - launch of VOCEDplus with the name change representing the enhanced features and extended focus 2012 - a major retrospective digitisation project commenced and by the end of the 2012-2013 financial year a total of 9,328 publications (593,534 pages/microfiche frames) had been digitised, ensuring these publications are available electronically for free === 2014-2019 === A number of significant curated content products were released during this period. 2015 - release of a refreshed look to adopt the new NCVER branding plus a number of search enhancements (Guided search, Expert search, and Glossary search) were added 2015 - first in the series of 'Focus on...' pages released 2016 - launch of the 'Pod Network', a convenient and efficient platform that allows instant access to research and a multitude of resources on a range of subjects 2017 - completion of the 'Pod Network', consisting of 20 Pods (on broad subjects including Apprenticeships and traineeships, Foundation skills, Teaching and learning, Career development, and Students) and 74 Podlets (on narrow topics including Online learning, Social media, VET in schools, STEM skills, and Adult literacy) 2018 - launch of the 'Timeline of Australian VET Policy Initiatives' and the 'VET Knowledge Bank' which contains a suite of products capturing Australia's diverse, complex and ever-changing VET system 2019 - after an internal review, a refreshed, streamlined version of the 'Pod Network' was released, consisting of 13 Pods and 20 Podlets 2019 - launch of the 'VET Practitioner Resource' which contains a range of information to support VET practitioners in their work and is organised into three sections: (1) Teaching, training and assessment: standards, guidance, research and good practice resources to inform daily work; (2) Practitioners as researchers: information for undertaking practitioner-led research; and (3) The VET workforce: information about VET teachers and trainers, and the professional development needs of the VET workforce 2019 - VOCEDplus celebrated 30 years of providing information to the tertiary education sector and the homepage was refreshed to make it more modern and easier to use === 2020- === VOCEDplus continued to be accessible throughout the COVID-19 pandemic. 2020-2021 - the VET Knowledge Bank added a dedicated page, 'COVID-19 announcements', that showcases the measures introduced by the Australian, state and territory governments to mitigate the impact of the pandemic and promote economic recovery 2020-2024 - published research about the effects of the pandemic on education and training, providers, students, labour markets, employment and employees was collected and made permanently available in the database 2024 - VOCEDplus celebrated 35 years of providing information to the tertiary education sector. The homepage was refreshed and a number of enhancements and new features were implemented including a new My Profile feature, improvements to My Selection, accessible search history and saved searches, enhanced search functionality, and improved navigation.

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  • Unspent transaction output

    Unspent transaction output

    In cryptocurrencies, an unspent transaction output (UTXO, often capitalized as UTxO) is a distinctive element in a subset of digital currency models. A UTXO represents a certain amount of cryptocurrency that has been authorized by a sender and is available to be spent by a recipient. The utilization of UTXOs in transaction processes is a key feature of many cryptocurrencies, but it primarily characterizes those implementing the UTXO model. UTXOs employ public key cryptography to ascertain and transfer ownership. More specifically, the recipient's public key is formatted into the UTXO, thereby limiting the capability to spend the UTXO to the account that can demonstrate ownership of the corresponding private key. A valid digital signature associated with the public key must be included for the UTXO to be spent. In the UTXO model, each unit of currency is treated as a discrete object. The history of a UTXO is documented only within the blocks where it is transferred. To ascertain the total balance of an account, one must scan each block to find the latest UTXOs linked to that account. While all nodes within a blockchain network must consent to the block history, the blocks relevant to an account's balance are unique to that account. UTXOs constitute a chain of ownership depicted as a series of digital signatures dating back to the coin's inception, regardless of whether the coin was minted via mining, staking, or another procedure determined by the cryptocurrency protocol. The UTXO model was invented for Bitcoin. Cardano uses an extended version of the UTXO model known as EUTXO. == Origins == The conceptual framework of the UTXO model can be traced back to Hal Finney's Reusable Proofs of Work proposal, which itself was based on Adam Back's 1997 Hashcash proposal. Bitcoin, released in 2009, was the first widespread implementation of the UTXO model in practice. == UTXO model vs. account Model == Cryptocurrencies that utilize the UTXO model function differently compared to those using the account model. In the UTXO model, individual units of cryptocurrency, termed as unspent transaction outputs (UTXOs), are transferred between users, analogous to the exchange of physical cash. This model impacts how transactions and ownership are recorded and verified within the blockchain network. The account model preserves a record of each account and its corresponding balance for every block added to the network. This setup enables quicker balance verification without the need to scan historical blocks, but it increases the raw size of each block (though data compression techniques can be utilized to alleviate this). However, both models necessitate the inspection of past blocks to fully authenticate the origin of coins. In the UTXO model, each object is immutable - units of coins cannot be 'edited' in the same way an account balance is modified when a transaction occurs. Rather, the balance is computed from the transaction history dating back to when the coins were first minted. This simplicity enhances security, as a UTXO either exists in its anticipated form or it does not. In contrast, the account model requires meticulous verification of the account's status during transactions, which can lead to oversights if not conducted correctly. In valid blockchain transactions, only unspent outputs (UTXOs) are permissible for funding subsequent transactions. This requirement is critical to prevent double-spending and fraud. Accordingly, inputs in a transaction are removed from the UTXO set, while outputs create new UTXOs that are added to the set. The holders of private keys, such as those with cryptocurrency wallets, can utilize these UTXOs for future transactions.

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  • Prompt engineering

    Prompt engineering

    Prompt engineering is the process of structuring natural language inputs (known as prompts) to produce specified outputs from a generative artificial intelligence (GenAI) model. Context engineering is the related area of software engineering that focuses on the management of non-prompt contexts supplied to the GenAI model, such as metadata, API tools, and tokens. It can also be defined as the practice of designing and refining input instructions given to a generative AI model to produce more accurate, relevant, or useful outputs. Effective prompt engineering involves understanding how a model interprets language, and may include techniques such as few-shot prompting, chain-of-thought prompting, and role assignment. It is increasingly considered a skill for working with large language models (LLMs) in both research and professional contexts. During the 2020s AI boom, prompt engineering became regarded as a business capability across corporations and industries. Employees with the title prompt engineer were hired to create prompts that would increase productivity and efficacy, although the individual title has since lost traction amid AI models that produce better prompts than humans and corporate training in prompting for general employees. Common prompting techniques include multi-shot, chain-of-thought, and tree-of-thought prompting, as well as the use of assigning roles to the model. Automated prompt generation methods, such as retrieval-augmented generation (RAG), provide for greater accuracy and a wider scope of functions for prompt engineers. Prompt injection is a type of cybersecurity attack that targets machine learning models through malicious prompts. == Terminology == The Oxford English Dictionary defines prompt engineering as "The action or process of formulating and refining prompts for an artificial intelligence program, algorithm, etc., in order to optimize its output or to achieve a desired outcome; the discipline or profession concerned with this." In 2023, prompt ("an instruction given to an artificial intelligence program, algorithm, etc., which determines or influences the content it generates") was the runner-up to Oxford's word of the year. === Prompt === A prompt is some natural language text that describes and prescribes the task that an artificial intelligence (AI) should perform. A prompt for a text-to-text language model can be a query, a command, or a longer statement referencing context, instructions, and conversation history. The process of prompt engineering may involve designing clear queries, refining wording, providing relevant context, specifying the style of output, and assigning a character for the AI to mimic in order to guide the model toward more accurate, useful, and consistent responses. When communicating with a text-to-image or a text-to-audio model, a typical prompt contains a description of a desired output such as "a high-quality photo of an astronaut riding a horse" or "Lo-fi slow BPM electro chill with organic samples". Prompt engineering may be applied to text-to-image models to achieve a desired subject, style, layout, lighting, and aesthetic. === Techniques === Common terms used to describe various specific prompt engineering techniques include chain-of-thought, tree-of-thought, and retrieval-augmented generation (RAG). A 2024 survey of the field identified over 50 distinct text-based prompting techniques, 40 multimodal variants, and a vocabulary of 33 terms used across prompting research, highlighting a present lack of standardised terminology for prompt engineering. Vibe coding is an AI-assisted software development method where a user prompts an LLM with a description of what they want and lets it generate or edit the code. In 2025, "vibe coding" was the Collins Dictionary word of the year. === Context engineering === Context engineering is a related process that focuses on the context elements that accompany user prompts, which include system instructions, retrieved knowledge, tool definitions, conversation summaries, and task metadata. Context engineering is performed to improve reliability, provenance and token efficiency in production LLM systems. The concept emphasises operational practices such as token budgeting, provenance tags, versioning of context artifacts, observability (logging which context was supplied), and context regression tests to ensure that changes to supplied context do not silently alter system behaviour. == Rationale == Research has found that the performance of large language models (LLMs) is highly sensitive to choices such as the ordering of examples, the quality of demonstration labels, and even small variations in phrasing. In some cases, reordering examples in a prompt produced accuracy shifts of more than 40 percent. === In-context learning === A model's ability to temporarily learn from prompts is known as in-context learning. In-context learning is an emergent ability of large language models. It is an emergent property of model scale, meaning that breaks in scaling laws occur, leading to its efficacy increasing at a different rate in larger models than in smaller models. Unlike training and fine-tuning, which produce lasting changes, in-context learning is temporary. Training models to perform in-context learning can be viewed as a form of meta-learning, or "learning to learn". === Prompting to estimate model sensitivity === Research consistently demonstrates that LLMs are highly sensitive to subtle variations in prompt formatting, structure, and linguistic properties. Some studies have shown up to 76 accuracy points across formatting changes in few-shot settings. Linguistic features significantly influence prompt effectiveness—such as morphology, syntax, and lexico-semantic changes—which meaningfully enhance task performance across a variety of tasks. Clausal syntax, for example, improves consistency and reduces uncertainty in knowledge retrieval. This sensitivity persists even with larger model sizes, additional few-shot examples, or instruction tuning. To address sensitivity of models and make them more robust, several evaluative methods have been proposed. FormatSpread facilitates systematic analysis by evaluating a range of plausible prompt formats, offering a more comprehensive performance interval. Similarly, PromptEval estimates performance distributions across diverse prompts, enabling robust metrics such as performance quantiles and accurate evaluations under constrained budgets. == Prompting techniques == === Multi-shot === A prompt may include a few examples for a model to learn from in context, an approach called few-shot learning. For example, the prompt may ask the model to complete "maison → house, chat → cat, chien →", with the expected response being dog. === Chain-of-thought === Chain-of-thought (CoT) prompting is a technique that allows large language models (LLMs) to solve a problem as a series of intermediate steps before giving a final answer. In 2022, Google Brain reported that chain-of-thought prompting improves reasoning ability by inducing the model to answer a multi-step problem with steps of reasoning that mimic a train of thought. Chain-of-thought techniques were developed to help LLMs handle multi-step reasoning tasks, such as arithmetic or commonsense reasoning questions. When applied to PaLM, a 540 billion parameter language model, according to Google, CoT prompting significantly aided the model, allowing it to perform comparably with task-specific fine-tuned models on several tasks, achieving state-of-the-art results at the time on the GSM8K mathematical reasoning benchmark. It is possible to fine-tune models on CoT reasoning datasets to enhance this capability further and stimulate better interpretability. As originally proposed by Google, each CoT prompt is accompanied by a set of input/output examples—called exemplars—to demonstrate the desired model output, making it a few-shot prompting technique. However, according to a later paper from researchers at Google and the University of Tokyo, simply appending the words "Let's think step-by-step" was also effective, which allowed for CoT to be employed as a zero-shot technique. ==== Self-consistency ==== Self-consistency performs several chain-of-thought rollouts, then selects the most commonly reached conclusion out of all the rollouts. === Tree-of-thought === Tree-of-thought prompting generalizes chain-of-thought by generating multiple lines of reasoning in parallel, with the ability to backtrack or explore other paths. It can use tree search algorithms like breadth-first, depth-first, or beam. === Text-to-image prompting === In 2022, text-to-image models like DALL-E 2, Stable Diffusion, and Midjourney were released to the public. These models take text prompts as input and use them to generate images. Early text-to-image models typically do not understand negation, grammar and sentence structure in the same way as large language models, and may thus requi

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  • Score bug

    Score bug

    A score bug is a digital on-screen graphic which is displayed in a broadcast of a sporting event, displaying the current score and other statistics. It is similar in function to a scoreboard, and is usually placed at either the top or lower third of the television screen. == History == The concept of a persistent score bug was devised by Sky Sports head David Hill, who was dissatisfied over having to wait to see what the score was after tuning into a football match in-progress. The score bug was introduced when Sky launched its coverage of the then newly-formed English Premier League in August 1992. Hill's boss repeatedly demanded that the graphic be removed, describing it as the "stupidest thing [he] had ever seen". Hill defied the boss's demands and kept the graphic in place. ITV introduced a score bug at the start of the 1993–94 football season, and the BBC introduced a score bug towards the end of 1993. The concept was introduced to the United States by ABC Sports and ESPN during coverage of the 1994 FIFA World Cup. Their justification for the graphic was to provide a location for a rotating series of sponsor logos, in order to allow matches to air without commercial interruption. With the acquisition of rights to the National Football League (NFL) by BSkyB's American sibling Fox (a fellow venture of Rupert Murdoch), Hill became the first president of Fox Sports. Under Hill's leadership, Fox introduced a version of the score bug branded as the "Fox Box", which was part of its inaugural season of NFL coverage in 1994. Variety criticized it as an "annoying see-through clock and score graphic" and expressed concern for people "who actually watched the beginning of the game and would rather have their screen clear of graphics". Hill even received a death threat from an irate viewer, with a specific emphasis on him being a "foreigner", but the score bug soon became a ubiquitous feature for American football broadcasts, along with almost all American sports broadcasts in the years that followed. Dick Ebersol of NBC Sports initially opposed the idea of a score bug, as he thought that fans would dislike seeing more graphics on the screen and would change the channel from blowout games if the score was constantly being displayed. Since the 2010s, the on-air design and positioning of some score bugs have been influenced by the needs of Internet video (especially when viewing an event on devices with smaller screens), including bugs noticeably larger than prior iterations designed with television viewing in mind, or designs primarily kept towards the bottom-center of the screen (easing the ability for the bug to remain visible when highlights are cropped for square videos posted on social media). == Details == Score bugs used in team sports typically include the names of both teams, an abbreviation of the team's name, and/or the team's logo; for individual sports, they include the names of individual competitors. In sports where a game clock or playing periods are used, those are generally also displayed as part of the score bug. Some broadcasts also include teams' win-loss records. In 2024, ESPN experimented with adding a persistent win probability meter to its bug in Major League Baseball, which was based on input from its statisticians. === Variations === In addition to the above information, score bugs in some sports include additional information: In baseball, score bugs display the current inning, number of outs, the pitch clock if applicable, and a graphic displaying which bases are occupied; and usually include names of the current pitcher and batter, the pitcher's pitch count, and the number of balls and strikes accrued by the batter. In basketball, score bugs generally include the shot clock, the number of fouls accrued by each team, and whether a team is in the bonus. In cricket, score bugs often take the form of larger dashboards across the bottom of the screen, displaying the current team up and their number of runs, wickets, and overs, a display showing the runs scored and number of balls faced by the current batting partnership, and statistics for the opposing team's bowler (including the number of wickets scored and runs given up). In American football, score bugs usually include the play clock and the down and distance of the current play; they also incorporate graphics indicating when a penalty flag has been thrown. In ice hockey, score bugs display when a penalty or power play is in effect, and often include the number of shots on goal accrued by each team. In golf, Fox popularized the display of a persistent leaderboard graphic in the bottom-right of the screen, usually displaying the top 5. ==== Racing ==== Telecasts of automobile races often include a score bug with the current positions of participants, statistics such as distance behind the leader, and the remaining distance or number of laps. In the mid-2010s, NASCAR broadcasters such as Fox began to transition from horizontal tickers to vertical leaderboards (also referred to as "pylons", in reference to the physical scoring pylons at). The CW differentiated itself by using a horizontal display that divides the field into multiple columns along the bottom of the screen.

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  • Computer Dreams

    Computer Dreams

    Computer Dreams is a 1988 film created by Digital Vision Entertainment and released by MPI Home Video. Written, produced and directed by Geoffrey de Valois and hosted by Amanda Pays, it consists primarily of clips and behind-the-scenes work of early computer graphics animation. Notably included are Luxo Jr. and Red's Dream, the first two short films from Pixar. The film is an hour long and features an electronic score by Music Fantastic. It was revised and re-released on DVD as The History of Computer Animation, Volume 2. It won the Winner Gold Special Jury Award at the 1989 Houston International Film Festival, and the 1989 Golden Decade Award from the US Film & Video Festival. Music used includes: Gail Lennon - Desire, Gail Lennon - Like A Dream, Shandi Sinnamon - Making It,

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