AI Coding Projects

AI Coding Projects — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Nuance Communications

Nuance Communications, Inc. was an American multinational computer software technology corporation, headquartered in Burlington, Massachusetts, that markets speech recognition and artificial intelligence software. Nuance merged with its competitor in the commercial large-scale speech application business, ScanSoft, in October 2005. ScanSoft was a Xerox spin-off that was bought in 1999 by Visioneer, a hardware and software scanner company, which adopted ScanSoft as the new merged company name. The original ScanSoft had its roots in Kurzweil Computer Products. In April 2021, Microsoft announced it would buy Nuance Communications. The deal is an all-cash transaction of $19.7 billion, including company debt, or $56 per share. The acquisition was completed in March 2022. == History == The Speech Technology and Research (STAR) Laboratory at SRI International began the journey that, in 1994, resulted in a spin-off company; Corona Corporation (later renamed to Nuance Communications ). Nuance Communications (NUAN) went public on the Nasdaq Stock Market in 1995. Nuance focused on commercializing advanced speech recognition technologies. Nuance was an early spinoff of SRI's Speech Technology and Research (STAR) Laboratory, a world leader in audio processing, speech and speaker analytics and spoken language research. The technology that served as the foundation of Nuance's speech recognition solution started at the STAR Lab and helped launch Nuance more than 20 years ago. In 1995, The SRI Language Modeling Toolkit (SRILM) was developed. This provides the tools to build and apply statistical language models (LMs), primarily for use in speech recognition, statistical tagging and segmentation, and machine translation. In terms of commercialization of natural automated speech recognition, SRI's natural language speech recognition software was the first to be deployed by a major corporation. In 1996, Charles Schwab & Co., Inc., used Nuance's speech recognition technology to allow customers to receive stock quotes over the telephone. One of the key features of the ‘Schwab Discount Brokerage system’, was the ability to recognize English words even when spoken by customers with accents. In 1997, Nuance Communications developed the first large scale commercial dialog system for United Parcel Services (UPS). UPS used the voice recognition platform to handle very large numbers of inquiries about package status. The company that would later merge with Nuance Communications started life as Visioneer, incorporated in 1992. In 1999, Visioneer acquired ScanSoft, Inc. (SSFT), and the combined company became known as ScanSoft. In September 2005, ScanSoft Inc. acquired and merged with Nuance Communications (NUAN), a natural language DOD-project spinoff from SRI International. The resulting company adopted the Nuance name. During the prior decade, the two companies competed in the commercial large-scale speech application business. === Data breach === Between 2014 and 2017, Nuance exposed over 45,000 patient records. == Solutions == Customer service virtual assistants Speech recognition — for people Speech recognition — for business Speech recognition — for physicians Accessibility Power PDF Managed Print Services Transcription === ScanSoft origins === In 1974, Raymond Kurzweil founded Kurzweil Computer Products, Inc. to develop the first omni-font optical character-recognition system – a computer program capable of recognizing text written in any normal font. In 1980, Kurzweil sold his company to Xerox. The company became known as Xerox Imaging Systems (XIS), and later ScanSoft. In March 1992, a new company called Visioneer, Inc. was founded to develop scanner hardware and software products, such as a sheetfed scanner called PaperMax and the document management software PaperPort. Visioneer eventually sold its hardware division to Primax Electronics, Ltd. in January 1999. Two months later, in March, Visioneer acquired ScanSoft from Xerox to form a new public company with ScanSoft as the new company-wide name. Prior to 2001, ScanSoft focused primarily on desktop imaging software such as TextBridge, PaperPort and OmniPage. Beginning with the December 2001 acquisition of Lernout & Hauspie assets, the company moved into the speech recognition business and began to compete with Nuance. Lernout & Hauspie had acquired speech recognition company Dragon Systems in June 2001, shortly before becoming bankrupt in October. Scansoft acquired speech recognition company SpeechWorks in 2003. === Partnership with Siri and Apple Inc. === In 2013, Nuance confirmed that its natural language processing algorithms supported Apple's Siri voice assistant. === Focus on health care === In 2019, Nuance spun off its automotive division as the company Cerence, allowing it to focus on health care applications. === Acquisition by Microsoft === On April 12, 2021, Microsoft announced that it would buy Nuance Communications for $19.7 billion, or $56 a share, a 22% increase over the previous closing price. Nuance's CEO, Mark Benjamin, stayed with the company. This was Microsoft's second-biggest acquisition up to that point, after its purchase of LinkedIn for $24 billion (~$30.7 billion in 2024) in 2016. Shortly after the deal, the Competition and Markets Authority, a UK regulatory body, stated it was looking into the deal on the basis of antitrust concerns. In December 2021, it was reported that the deal would be approved by the European Union. The acquisition was completed on March 4, 2022. In May 2023, Nuance announced an unspecified number of layoffs.
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CloudLibrary

CloudLibrary (stylized as "cloudLibrary") is a cloud-based software system through which libraries lend electronic books; it is also the name of the app that users download to access the e-books. CloudLibrary was created in 2011 by 3M as part of its library systems unit as a competitor to OverDrive, Inc.; in 2015 3M sold the North American part of that unit to Bibliotheca Group GmbH, a company founded in 2011 that was funded by One Equity Partners Capital Advisors, a division of JP Morgan Chase. By 2019, Bibliotecha had tried, unsuccessfully, to negotiate with Amazon to add Kindle-ebook compatibility to cloudLibrary - something that, as of then, Amazon had only made available to Overdrive. In that year, cloudLibrary, along with hoopla offered by Midwest Tape, ODILO, and Baker & Taylor’s Axis 360, were the main competitors to the Overdrive and Libby apps offered by OverDrive, Inc. in the library e-book market. In April 2024, Bibliotheca sold cloudLibrary to the nonprofit cooperative OCLC. By that time, cloudLibrary was used by around 500 libraries in around 20 countries in around 50 languages, and was used to lend audiobooks, digital magazines, newspapers, and comics, and streaming media, along with e-books.
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SitePal

SitePal is a speaking avatar platform for small and medium-sized businesses developed by Oddcast. SitePal allows users to deploy "virtual employees" on websites that can welcome visitors, guide them around the site and answer questions. The use of SitePal on commercial websites has been controversial because many visitors report finding them annoying. Some research has shown that they can increase sales in comparison to using static photographs. == Development == The technology used was the result of more than 4 years of research at Stanford University. The research was based on a literature review and other previous work in the field of artificial intelligence research. The SitePal AI option uses the AIML programming language, which is partially editable by users. This allows web designers to simulate normal human conversation by using keywords or key phrases that the bot can respond to. == Features == The company provides web designers with options to customize the chosen avatar. A large selection of faces, clothing, hair, backgrounds, voices and other details are available. If a web designer wants to use a particular face, Sitepal can create one from a photo. Thus, a mascot or a known face can be simulated. == Speech == Sitepal avatars talk through text-to-speech (tts) software. A short paragraph can be written (up to 900 characters) and the text-to-speech engine will compile the actual speech, which can be reproduced and edited. The tts engine is not perfect, but it comes close to actual speech and is easy to understand. Tts can be further enhanced by some commands, like /laugh and /loud which make the avatar laugh or talk loud. Even pronunciation is possible. The web designer can record and upload his or her own audio messages. Alternatively Sitepal offers professional voice acting service at extra cost. == User interaction == The company provides 5 options for visitor interaction: No interaction. The avatar simply says a pre-fixed message. FAQ mode. Questions can be configured, which are clickable and the user can hear the answer. Lead mode. The avatar prompts the user to type his email and short message, so it can be sent to the webmaster (usually used on a "contact us" page) Chatbot mode. The avatar greets the user, and he can type his questions and have a conversation with the bot. With predetermined replies, this can work as an FAQ as well. API customization. Experienced programmers can make their avatar interact with their website, making it talk when the user clicks on a link or when other triggers occur. Even dual avatar conversations can be created, like a talk show. == Posting options == The company provides five options for posting the avatar: Embed in webpage (via javascript) Embed in HTML Send by email Publish to eBay Embed in Flash == Criticism == Early reviews, such as one by Troy Dreier published in PC World in 2002 were positive and described SitePal as: "an engagingly simple and personal tool, and the price is reasonable for what it adds to a site". Although Dreier did note that the program had "bugs that suggested it hadn't been tested thoroughly". In more recent years, reaction to SitePal has been much more negative with reviews such as Tom Spring writing in a PC World review citing SitePal ads and described his reaction as "Not so nice". Paul Bissex, writing in E-Scribe News described SitePal as "heinous... and embarrassing if anyone is within earshot...they creep me out" == Research on effectiveness == In one single-website research project Anita Campbell had half the visitors to Small Business Trends see a SitePal and the other half see just a static photograph. Over 11,000 visitors the SitePal avatar improved sign-up for a newsletter 144% over the control condition.
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Creepy treehouse

Creepy treehouse is a social media term, or internet slang, referring to websites or technologies that are used for educational purposes but regarded by students as an invasion of privacy. == History == The term was first described in 2008 by Utah Valley University instructional-design services director Jared Stein as "institutionally controlled technology/tool that emulates or mimics pre-existing [sic] technologies or tools that may already be in use by the learners, or by learners' peer groups." This was when social media such as Facebook was starting to become mainstream and professors would try and get students to interact with them on the site for educational purposes. Some professors would require their students to use Facebook or Twitter as part of class assignments. == Usage == The term was first described as "technological innovations by faculty members that make students’ skin crawl." The term also refers to online accounts and websites that users tend to avoid, especially young people who avoid visiting the pages of educators and other adults. Author Martin Weller defines creepy treehouse as a digital space where authority figures are viewed as invading younger people's privacy. One such example is a professor giving his students an option to use a popular video game to learn about history instead of writing an essay. Students in that class chose to write the essay instead as the method was previously unmentioned and it was not an unnatural method of interaction. Another example given was Blackboard Sync, a feature that was used to connect the school website Blackboard with students' Facebook accounts. == Solutions == University of Regina professor Alec Couros suggests that instead of "forcing" student participation with their own digital platforms, professors should use methods like online forums. Jason Jones of chronicle.com suggested letting students create social media groups for the class themselves and explaining why using technologies is required and important.
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Text normalization

Text normalization is the process of transforming text into a single canonical form that it might not have had before. Normalizing text before storing or processing it allows for separation of concerns, since input is guaranteed to be consistent before operations are performed on it. Text normalization requires being aware of what type of text is to be normalized and how it is to be processed afterwards; there is no all-purpose normalization procedure. == Applications == Text normalization is frequently used when converting text to speech. Numbers, dates, acronyms, and abbreviations are non-standard "words" that need to be pronounced differently depending on context. For example: "$200" would be pronounced as "two hundred dollars" in English, but as "lua selau tālā" in Samoan. "vi" could be pronounced as "vie," "vee," or "the sixth" depending on the surrounding words. Text can also be normalized for storing and searching in a database. For instance, if a search for "resume" is to match the word "résumé," then the text would be normalized by removing diacritical marks; and if "john" is to match "John", the text would be converted to a single case. To prepare text for searching, it might also be stemmed (e.g. converting "flew" and "flying" both into "fly"), canonicalized (e.g. consistently using American or British English spelling), or have stop words removed. == Techniques == For simple, context-independent normalization, such as removing non-alphanumeric characters or diacritical marks, regular expressions would suffice. For example, the sed script sed ‑e "s/\s+/ /g" inputfile would normalize runs of whitespace characters into a single space. More complex normalization requires correspondingly complicated algorithms, including domain knowledge of the language and vocabulary being normalized. Among other approaches, text normalization has been modeled as a problem of tokenizing and tagging streams of text and as a special case of machine translation. == Textual scholarship == In the field of textual scholarship and the editing of historic texts, the term "normalization" implies a degree of modernization and standardization – for example in the extension of scribal abbreviations and the transliteration of the archaic glyphs typically found in manuscript and early printed sources. A normalized edition is therefore distinguished from a diplomatic edition (or semi-diplomatic edition), in which some attempt is made to preserve these features. The aim is to strike an appropriate balance between, on the one hand, rigorous fidelity to the source text (including, for example, the preservation of enigmatic and ambiguous elements); and, on the other, producing a new text that will be comprehensible and accessible to the modern reader. The extent of normalization is therefore at the discretion of the editor, and will vary. Some editors, for example, choose to modernize archaic spellings and punctuation, but others do not. An edition of a text might be normalized based on internal criteria, where orthography is standardized according to the language of the original, or external criteria, where the norms of a different time period are applied. For an example of the latter, a published edition of a medieval Icelandic manuscript might be normalized to the conventions of modern Icelandic, or it might be normalized to Classical Old Icelandic. Standards of normalization vary based on language of the edition as well as the specific conventions of the publisher.
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Online exhibition

An online exhibition, also referred to as a virtual exhibition, online gallery, cyber-exhibition, is an exhibition whose venue is cyberspace. Museums and other organizations create online exhibitions for many reasons. For example, an online exhibition may: expand on material presented at, or generate interest in, or create a durable online record of, a physical exhibition; save production costs (insurance, shipping, installation); solve conservation/preservation problems (e.g., handling of fragile or rare objects); reach lots more people: "Access to information is no longer restricted to those who can afford travel and museum visits, but is available to anyone who has access to a computer with an Internet connection. Unlike physical exhibitions, online exhibitions are not restricted by time; they are not forced to open and close but may be available 24 hours a day. In the nonprofit world, many museums, libraries, archives, universities, and other cultural organizations create online exhibitions. A database of such exhibitions is Library and Archival Exhibitions on the Web. Online exhibition organizers may use techniques such as marquee text, display advertisements, and in-event emails to engage patrons. Various guides have been published to help organizations create effective online exhibitions. The earliest museum with a physical existence to create a programme of substantial online exhibitions with high resolution images of artefacts was the Museum of the History of Science in Oxford, the first of which, The Measurers: a Flemish Image of Mathematics in the Sixteenth Century and an exhibition of early photographs, were published on 21 August 1995. == Examples of online exhibitions == International Museum of Women is an online-only museum that does not have a physical building and instead offers online exhibitions about women's issues globally as well as an online community. Online exhibitions include "Imagining Ourselves" (launched 2006) about women's identity, "Women, Power and Politics" (2008), and "Economica: Women and the Global Economy" (2009). Tucson LGBTQ Museum is an online-only museum that does not have a physical building and instead offers online exhibitions about LGBTQ history. The online photographic, audio, video, text, and other historical exhibitions include exhibits from the 1700s to the present day. The effort began in the summer of 1967 and spanned almost 50 years. International New Media Gallery (INMG) is an online museum specialising in moving image and screen-based art. The INMG is dedicated to exploring current debates and topics in art history: touching on areas such as migration, war, environmental activism and the internet itself. The gallery publishes extensive academic catalogues alongside its exhibitions. It also hosts spaces for discussion and debate, both online and offline. Virtual Museum of Modern Nigerian Art – the VMMNA is the first of its kind in Africa. Hosted by the Pan-African University, Lagos, Nigeria this virtual museum offers a good view of the development on Nigerian Art in the past fifty years.
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Institute of Telecommunications Professionals

The Institute of Telecommunications Professionals (ITP) is a membership organisation for professionals in the telecommunications industry, based in the United Kingdom. The Institute was originally founded in 1906. It is now a registered company with Companies House in the United Kingdom, incorporated in 2002. Brendan O' Mahony has been the chief executive of the ITP. Lucy Woods presided over ITP for fifteen years, until 2018, when the organization named Kevin Paige chairman for five years. In 2022 the ITP appointed its new CEO, Charlotte Goodwill. In 2021, the ITP assisted a UK fibre network Vorboss in establishing its training academy. In 2023, the ITP appointed Tim Creswick, the CEO of Vorboss, as the new chair of its board of directors. The institute has an associated journal, the Journal of the Institute of Telecommunications Professionals, established in 2007 and published quarterly.
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Digital goods

Digital goods or e-goods are intangible goods that exist in digital form. Examples are Wikipedia articles; digital media, such as e-books, downloadable music, internet radio, internet television and streaming media; fonts, logos, photos and graphics; digital subscriptions; online ads (as purchased by the advertiser); internet coupons; electronic tickets; electronically treated documentation in many different fields; downloadable software (Digital Distribution) and mobile apps; cloud-based applications and online games; virtual goods used within the virtual economies of online games and communities; community access; workbooks; worksheets; planners; e-learning (online courses); webinars, video tutorials, blog posts; cards; patterns; website themes and templates. == Legal concerns about digital goods == Special legal concerns regarding digital goods include copyright infringement and taxation. Also the question of the ownership (versus licensed use or service only) of purely digital goods is not finally resolved. For instance, the software installers of the digital software distributor gog.com are technically independent to the account but are still subject to the EULA, where a "licensed, not sold" formulation is used. Therefore, it is not clear if the software can be legally used after a hypothetical loss of the account; a question which was also raised before in practice for the similar service Steam. In July 2012, the European Court of Justice ruled in the case UsedSoft GMbH v. Oracle International Corp. that the sale of a software product, either through a physical support or download, constituted a transfer of ownership in EU law, thus the first sale doctrine applies; the ruling thereby breaks the "licensed, not sold" legal theory, but leaves open numerous questions. Therefore, it is also permissible to resell software licenses even if the digital good has been downloaded directly from the Internet, as the first-sale doctrine applied whenever software was originally sold to a customer for an unlimited amount of time, thus prohibiting any software maker from preventing the resale of their software by any of their legitimate owners. The court requires that the previous owner must no longer be able to use the licensed software after the resale, but finds that the practical difficulties in enforcing this clause should not be an obstacle to authorizing resale, as they are also present for software which can be installed from physical supports, where the first-sale doctrine is in force. In several cases, content providers have faced criticism for revoking access to digital goods due to expired licenses or the discontinuation of a product, such as ebooks (which resulted in a lawsuit against Amazon.com, Inc.), digital video (with Sony Interactive Entertainment revoking access to purchased StudioCanal content from its now-defunct PlayStation video store; a similar move involving Warner Bros. Discovery content was averted by an updated license agreement), and video games (such as Ubisoft discontinuing and revoking access to its game The Crew without providing refunds or the ability to redownload the game) In September 2024, the U.S. state of California implemented a consumer protection law that prohibits the use of terms such as "buy" or "purchase" during transactions involving digital goods if there is no way to obtain the purchases in a manner that cannot be revoked by the seller (such as allowing it to be downloaded for permanent, offline access), and requires a disclaimer to be displayed to the customer at the time of purchase.
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Prosthesis

In medicine, a prosthesis (pl.: prostheses; from Ancient Greek: πρόσθεσις, romanized: prósthesis, lit. 'addition, application, attachment'), or a prosthetic implant, is an artificial device that replaces a missing body part, which may be lost through physical trauma, disease, or a condition present at birth (congenital disorder). Prostheses may restore the normal functions of the missing body part, or may perform a cosmetic function. A person who has undergone an amputation is sometimes referred to as an amputee, Rehabilitation for someone with an amputation is primarily coordinated by a physiatrist as part of an inter-disciplinary team consisting of physiatrists, prosthetists, nurses, physical therapists, and occupational therapists. Prostheses can be created by hand or with computer-aided design (CAD), a software interface that helps creators design and analyze the creation with computer-generated 2-D and 3-D graphics as well as analysis and optimization tools. == Types == A person's prosthetic device should be designed and assembled to meet their individual appearance and functional needs. Depending on personal circumstances, co-morbidities, budget or health insurance coverage, and access to medical care, decisions may need to balance aesthetics and function. In addition, for some individuals, a myoelectric device, a body-powered device, or an activity-specific device may be appropriate options. The person's future goals and vocational aspirations and potential capabilities may help them choose between one or more devices. Craniofacial prostheses include intra-oral and extra-oral prostheses. Extra-oral prostheses are further divided into hemifacial, auricular (ear), nasal, orbital and ocular. Intra-oral prostheses include dental prostheses, such as dentures, obturators, and dental implants. Prostheses of the neck include larynx substitutes, trachea and upper esophageal replacements, Some prostheses of the torso include breast prostheses which may be either single or bilateral, full breast devices or nipple prostheses. Penile prostheses are used to treat erectile dysfunction, perform phalloplasty procedures in men, and to build a new penis in female-to-male gender reassignment surgeries. === Limb prostheses === Limb prostheses include both upper- and lower-extremity prostheses. Upper-extremity prostheses are used at varying levels of amputation: forequarter, shoulder disarticulation, transhumeral prosthesis, elbow disarticulation, transradial prosthesis, wrist disarticulation, full hand, partial hand, finger, partial finger. A transradial prosthesis is an artificial limb that replaces an arm missing below the elbow. Upper limb prostheses can be categorized in three main categories: Passive devices, Body Powered devices, and Externally Powered (myoelectric) devices. Passive devices can either be passive hands, mainly used for cosmetic purposes, or passive tools, mainly used for specific activities (e.g. leisure or vocational). An extensive overview and classification of passive devices can be found in a literature review by Maat et.al. A passive device can be static, meaning the device has no movable parts, or it can be adjustable, meaning its configuration can be adjusted (e.g. adjustable hand opening). Despite the absence of active grasping, passive devices are very useful in bimanual tasks that require fixation or support of an object, or for gesticulation in social interaction. According to scientific data a third of the upper limb amputees worldwide use a passive prosthetic hand. Body Powered or cable-operated limbs work by attaching a harness and cable around the opposite shoulder of the damaged arm. A recent body-powered approach has explored the utilization of the user's breathing to power and control the prosthetic hand to help eliminate actuation cable and harness. The third category of available prosthetic devices comprises myoelectric arms. This particular class of devices distinguishes itself from the previous ones due to the inclusion of a battery system. This battery serves the dual purpose of providing energy for both actuation and sensing components. While actuation predominantly relies on motor or pneumatic systems, a variety of solutions have been explored for capturing muscle activity, including techniques such as Electromyography, Sonomyography, Myokinetic, and others. These methods function by detecting the minute electrical currents generated by contracted muscles during upper arm movement, typically employing electrodes or other suitable tools. Subsequently, these acquired signals are converted into gripping patterns or postures that the artificial hand will then execute. In the prosthetics industry, a trans-radial prosthetic arm is often referred to as a "BE" or below elbow prosthesis. Lower-extremity prostheses provide replacements at varying levels of amputation. These include hip disarticulation, transfemoral prosthesis, knee disarticulation, transtibial prosthesis, Syme's amputation, foot, partial foot, and toe. The two main subcategories of lower extremity prosthetic devices are trans-tibial (any amputation transecting the tibia bone or a congenital anomaly resulting in a tibial deficiency) and trans-femoral (any amputation transecting the femur bone or a congenital anomaly resulting in a femoral deficiency). A transfemoral prosthesis is an artificial limb that replaces a leg missing above the knee. Transfemoral amputees can have a very difficult time regaining normal movement. In general, a transfemoral amputee must use approximately 80% more energy to walk than a person with two whole legs. This is due to the complexities in movement associated with the knee. In newer and more improved designs, hydraulics, carbon fiber, mechanical linkages, motors, computer microprocessors, and innovative combinations of these technologies are employed to give more control to the user. In the prosthetics industry, a trans-femoral prosthetic leg is often referred to as an "AK" or above the knee prosthesis. A transtibial prosthesis is an artificial limb that replaces a leg missing below the knee. A transtibial amputee is usually able to regain normal movement more readily than someone with a transfemoral amputation, due in large part to retaining the knee, which allows for easier movement. Lower extremity prosthetics describe artificially replaced limbs located at the hip level or lower. In the prosthetics industry, a transtibial prosthetic leg is often referred to as a "BK" or below the knee prosthesis. Prostheses are manufactured and fit by clinical prosthetists. Prosthetists are healthcare professionals responsible for making, fitting, and adjusting prostheses and for lower limb prostheses will assess both gait and prosthetic alignment. Once a prosthesis has been fit and adjusted by a prosthetist, a rehabilitation physiotherapist (called physical therapist in America) will help teach a new prosthetic user to walk with a leg prosthesis. To do so, the physical therapist may provide verbal instructions and may also help guide the person using touch or tactile cues. This may be done in a clinic or home. There is some research suggesting that such training in the home may be more successful if the treatment includes the use of a treadmill. Using a treadmill, along with the physical therapy treatment, helps the person to experience many of the challenges of walking with a prosthesis. In the United Kingdom, 75% of lower limb amputations are performed due to inadequate circulation (dysvascularity). This condition is often associated with many other medical conditions (co-morbidities) including diabetes and heart disease that may make it a challenge to recover and use a prosthetic limb to regain mobility and independence. For people who have inadequate circulation and have lost a lower limb, there is insufficient evidence due to a lack of research, to inform them regarding their choice of prosthetic rehabilitation approaches. Lower extremity prostheses are often categorized by the level of amputation or after the name of a surgeon: Transfemoral (Above-knee) Transtibial (Below-knee) Ankle disarticulation (more commonly known as Syme's amputation) Knee disarticulation (also see knee replacement) Hip disarticulation, (also see hip replacement) Hemi-pelvictomy Partial foot amputations (Pirogoff, Talo-Navicular and Calcaneo-cuboid (Chopart), Tarso-metatarsal (Lisfranc), Trans-metatarsal, Metatarsal-phalangeal, Ray amputations, toe amputations). Van Nes rotationplasty ==== Prosthetic raw materials ==== Prosthetic are made lightweight for better convenience for the amputee. Some of these materials include: Plastics: Polyethylene Polypropylene Acrylics Polyurethane Wood (early prosthetics) Rubber (early prosthetics) Lightweight metals: Aluminum Composites: Carbon fiber reinforced polymers Wheeled prostheses have also been used extensively in the rehabilitation of injured domestic animals, including dogs, cats, pigs, rabbits, and
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The Morning After (web series)

The Morning After is a Hulu original web series that premiered on January 17, 2011, and ended April 24, 2014. It was produced by Hulu and Jace Hall's HDFilms, streaming Monday through Friday. The show originally featured Brian Kimmet and Ginger Gonzaga as hosts. Later shows used a rotation of hosts including Alison Haislip, Dave Holmes, Damien Fahey, Bradley Hasemeyer, Haley Mancini, Paul Nyhart, and Rachel Perry. The series advertises itself as "a smart, daily shot of pop culture to help Hulu users stay up to date" and typically highlights notable moments from television shows and current news in an entertaining fashion. In keeping with its focus on pop culture, The Morning After will sometimes stream an episode featuring past pop culture titled "From the Archives," such as its April Fools' Day episode. == History == While not the first original series to appear exclusively on Hulu, The Morning After is the company's first self-branded production. It was preceded by If I Can Dream, a reality series co-produced with 19 Entertainment and created by Simon Fuller. Hulu originated the idea in house, based on user feedback and observations from discussion boards hosted by the website. The concept was modeled after The Big Show with Olbermann and Patrick. The company sought out a production partner and ultimately chose Jace Hall and his team at HDFilms to executive produce. Initial stream of the series was held on January 17, 2011, and featured coverage of Piers Morgan, the Golden Globes, and The Bachelor. Senior VP of Content and Distribution Andy Forssell made the announcement for the show the same day. The show aired its last episode April 24, 2014. == Format == A typical episode usually begins with a cold open shared by the varying hosts listing the highlights to be covered. The topics focus on TV and Pop Culture Highlights from the previous night, with the intention of helping Hulu users digest hours of content in a matter of moments. The show has the hosts trade humorous remarks regarding the news and each other, taking turns reviewing the night's TV and injecting their own personality. The Morning After was named as an honoree by the Webbys on April 10, 2012, in the variety section of its online video category.
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Web API

A web API is an application programming interface (API) for either a web server or a web browser. As a web development concept, it can be related to a web application's client side (including any web frameworks being used). A server-side web API consists of one or more publicly exposed endpoints to a defined request–response message system, typically expressed in JSON or XML by means of an HTTP-based web server. A server API (SAPI) is not considered a server-side web API, unless it is publicly accessible by a remote web application. == Client side == A client-side web API is a programmatic interface to extend functionality within a web browser or other HTTP client. Originally these were most commonly in the form of native plug-in browser extensions however most newer ones target standardized JavaScript bindings. The Mozilla Foundation created their WebAPI specification which is designed to help replace native mobile applications with HTML5 applications. Google created their Native Client architecture which is designed to help replace insecure native plug-ins with secure native sandboxed extensions and applications. They have also made this portable by employing a modified LLVM AOT compiler. == Server side == A server-side web API consists of one or more publicly exposed endpoints to a defined request–response message system, typically expressed in JSON or XML. The web API is exposed most commonly by means of an HTTP-based web server. Mashups are web applications which combine the use of multiple server-side web APIs. Webhooks are server-side web APIs that take input as a Uniform Resource Identifier (URI) that is designed to be used like a remote named pipe or a type of callback such that the server acts as a client to dereference the provided URI and trigger an event on another server which handles this event thus providing a type of peer-to-peer IPC. === Endpoints === Endpoints are important aspects of interacting with server-side web APIs, as they specify where resources can be accessed by third-party software. Usually the access is via a URI to which HTTP requests are posted, and from which the response is thus expected. Web APIs may be public or private, the latter of which requires an access token. Endpoints need to be static, otherwise the correct functioning of software that interacts with them cannot be guaranteed. If the location of a resource changes (and with it the endpoint) then previously written software will break, as the required resource can no longer be found at the same place. As API providers still want to update their web APIs, many have introduced a versioning system in the URI that points to an endpoint. === Resources versus services === Web 2.0 Web APIs often use machine-based interactions such as REST and SOAP. RESTful web APIs use HTTP methods to access resources via URL-encoded parameters, and use JSON or XML to transmit data. By contrast, SOAP protocols are standardized by the W3C and mandate the use of XML as the payload format, typically over HTTP. Furthermore, SOAP-based Web APIs use XML validation to ensure structural message integrity, by leveraging the XML schemas provisioned with WSDL documents. A WSDL document accurately defines the XML messages and transport bindings of a Web service. === Documentation === Server-side web APIs are interfaces for the outside world to interact with the business logic. For many companies this internal business logic and the intellectual property associated with it are what distinguishes them from other companies, and potentially what gives them a competitive edge. They do not want this information to be exposed. However, in order to provide a web API of high quality, there needs to be a sufficient level of documentation. One API provider that not only provides documentation, but also links to it in its error messages is Twilio. However, there are now directories of popular documented server-side web APIs. === Growth and impact === The number of available web APIs has grown consistently over the past years, as businesses realize the growth opportunities associated with running an open platform, that any developer can interact with. ProgrammableWeb tracks over 24000 Web APIs that were available in 2022, up from 105 in 2005. Web APIs have become ubiquitous. There are few major software applications/services that do not offer some form of web API. One of the most common forms of interacting with these web APIs is via embedding external resources, such as tweets, Facebook comments, YouTube videos, etc. In fact there are very successful companies, such as Disqus, whose main service is to provide embeddable tools, such as a feature-rich comment system. Any website of the TOP 100 Alexa Internet ranked websites uses APIs and/or provides its own APIs, which is a very distinct indicator for the prodigious scale and impact of web APIs as a whole. As the number of available web APIs has grown, open source tools have been developed to provide more sophisticated search and discovery. APIs.json provides a machine-readable description of an API and its operations, and the related project APIs.io offers a searchable public listing of APIs based on the APIs.json metadata format. === Business === ==== Commercial ==== Many companies and organizations rely heavily on their Web API infrastructure to serve their core business clients. In 2014 Netflix received around 5 billion API requests, most of them within their private API. ==== Governmental ==== Many governments collect a lot of data, and some governments are now opening up access to this data. The interfaces through which this data is typically made accessible are web APIs. Web APIs allow for data, such as "budget, public works, crime, legal, and other agency data" to be accessed by any developer in a convenient manner. == Example == An example of a popular web API is the Astronomy Picture of the Day API operated by the American space agency NASA. It is a server-side API used to retrieve photographs of space or other images of interest to astronomers, and metadata about the images. According to the API documentation, the API has one endpoint: https://api.nasa.gov/planetary/apod The documentation states that this endpoint accepts GET requests. It requires one piece of information from the user, an API key, and accepts several other optional pieces of information. Such pieces of information are known as parameters. The parameters for this API are written in a format known as a query string, which is separated by a question mark character (?) from the endpoint. An ampersand (&) separates the parameters in the query string from each other. Together, the endpoint and the query string form a URL that determines how the API will respond. This URL is also known as a query or an API call. In the below example, two parameters are transmitted (or passed) to the API via the query string. The first is the required API key and the second is an optional parameter — the date of the photograph requested. https://api.nasa.gov/planetary/apod?api_key=DEMO_KEY&date=1996-12-03 Visiting the above URL in a web browser will initiate a GET request, calling the API and showing the user a result, known as a return value or as a return. This API returns JSON, a type of data format intended to be understood by computers, but which is somewhat easy for a human to read as well. In this case, the JSON contains information about a photograph of a white dwarf star: The above API return has been reformatted so that names of JSON data items, known as keys, appear at the start of each line. The last of these keys, named url, indicates a URL which points to a photograph: https://apod.nasa.gov/apod/image/9612/ngc2440_hst2.jpg Following the above URL, a web browser user would see this photo: Although this API can be called by an end user with a web browser (as in this example) it is intended to be called automatically by software or by computer programmers while writing software. JSON is intended to be parsed by a computer program, which would extract the URL of the photograph and the other metadata. The resulting photo could be embedded in a website, automatically sent via text message, or used for any other purpose envisioned by a software developer.
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Video game

A video game, computer game, or simply game is an electronic game that involves interaction with a user interface or input device (such as a joystick, controller, keyboard, or motion sensing device) to generate visual feedback from a display device, most commonly shown in a video format on a television set, computer monitor, flat-panel display or touchscreen on handheld devices, or a virtual reality headset. Most modern video games are audiovisual, with audio complement delivered through speakers or headphones, and sometimes also with other types of sensory feedback (e.g., haptic technology that provides tactile sensations). Some video games also allow microphone and webcam inputs for in-game chatting and livestreaming. Video games are typically categorized according to their hardware platform, which traditionally includes arcade video games, console games, and computer games (which includes LAN games, online games, and browser games). More recently, the video game industry has expanded onto mobile gaming through mobile devices (such as smartphones and tablet computers), virtual and augmented reality systems, and remote cloud gaming. Video games are also classified into a wide range of genres based on their style of gameplay and target audience. The first video game prototypes in the 1950s and 1960s were simple extensions of electronic games using video-like output from large, room-sized mainframe computers. The first consumer video game was the arcade video game Computer Space in 1971, which took inspiration from the earlier 1962 computer game Spacewar!. In 1972 came the now-iconic video game Pong and the first home console, the Magnavox Odyssey. The industry grew quickly during the "golden age" of arcade video games from the late 1970s to early 1980s but suffered from the crash of the North American video game market in 1983 due to loss of publishing control and saturation of the market. Following the crash, the industry matured, was dominated by Japanese companies such as Nintendo, Sega, and Sony, and established practices and methods around the development and distribution of video games to prevent a similar crash in the future, many of which continue to be followed. In the 2000s, the core industry centered on "AAA" games, leaving little room for riskier experimental games. Coupled with the availability of the Internet and digital distribution, this gave room for independent video game development (or "indie games") to gain prominence into the 2010s. Since then, the commercial importance of the video game industry has been increasing. The emerging Asian markets and proliferation of smartphone games in particular are altering player demographics towards casual and cozy gaming, and increasing monetization by incorporating games as a service. Today, video game development requires numerous skills, vision, teamwork, and liaisons between different parties, including developers, publishers, distributors, retailers, hardware manufacturers, and other marketers, to successfully bring a game to its consumers. As of 2020, the global video game market had estimated annual revenues of US$159 billion across hardware, software, and services, which is three times the size of the global music industry and four times that of the film industry in 2019, making it a formidable heavyweight across the modern entertainment industry. The video game market is also a major influence behind the electronics industry, where personal computer component, console, and peripheral sales, as well as consumer demands for better game performance, have been powerful driving factors for hardware design and innovation. == Origins == Early video games used interactive electronic devices with various display formats. The earliest example dates to 1947—a "cathode-ray tube amusement device" was filed for a patent on 25 January 1947, by Thomas T. Goldsmith Jr. and Estle Ray Mann, and issued on 14 December 1948, as U.S. Patent 2455992. Inspired by radar display technology, it consisted of an analog device allowing a user to control the parabolic arc of a dot on the screen to simulate a missile being fired at targets, which were paper drawings fixed to the screen. Other early examples include the Nimrod computer at the 1951 Festival of Britain; Christopher Strachey's Checkers, possibly the first game to display visuals on an electronic screen in 1952; OXO, a tic-tac-toe computer game by Alexander S. Douglas for the EDSAC in 1952; Tennis for Two, an electronic interactive game engineered by William Higinbotham in 1958; and Spacewar!, written by Massachusetts Institute of Technology students Martin Graetz, Steve Russell, and Wayne Wiitanen's on a DEC PDP-1 computer in 1962. Each game had different means of display: NIMROD had a panel of lights to play the game of Nim, OXO had a graphical display to play tic-tac-toe, Tennis for Two had an oscilloscope to display a side view of a tennis court, and Spacewar! had the DEC PDP-1's vector display to have two spaceships battle each other. These inventions laid the foundation for modern video games. In 1966, while working at Sanders Associates, Ralph H. Baer devised a system to play a basic table tennis game on a television screen. With the company's approval, Baer created the prototype known as the "Brown Box". Sanders patented Baer's innovations and licensed them to Magnavox, which commercialized the technology as the first home video game console, the Magnavox Odyssey, released in 1972. Separately, Nolan Bushnell and Ted Dabney, inspired by seeing Spacewar! running at Stanford University, devised a similar version running in a smaller coin-operated arcade cabinet using a less expensive computer. This was released as Computer Space, the first arcade video game, in 1971. Bushnell and Dabney went on to form Atari, Inc., and with Allan Alcorn, created their second arcade game in 1972, the hit ping pong-style Pong, which was directly inspired by the table tennis game on the Odyssey. Atari made a home version of Pong, which was released by Christmas 1975. The success of the Odyssey and Pong, both as an arcade game and home machine, launched the video game industry. Both Baer and Bushnell have been titled "Father of Video Games" for their contributions. == Terminology == The term "video game" was developed to describe electronic games played on a video display rather than on a teletype printer, audio speaker, or similar device. This also distinguished from handheld electronic games such as Merlin, which commonly used LED lights for indicators not in combination for imaging purposes. "Computer game" may also be used as a descriptor, as all these types of games essentially require the use of a computer processor; in some cases, it is used interchangeably with "video game". Particularly in the United Kingdom and Western Europe, this is common due to the historic relevance of domestically produced microcomputers. Other terms used include digital game, for example, by the Australian Bureau of Statistics. The term "computer game" can also refer to PC games, which are played primarily on personal computers or other flexible hardware systems, to distinguish them from console games, arcade games, or mobile games. Other terms, such as "television game", "telegame", or "TV game", had been used in the 1970s and early 1980s, particularly for home gaming consoles that rely on connection to a television set. However, these terms were also used interchangeably with "video game" in the 1970s, primarily due to "video" and "television" being synonymous. In Japan, where consoles like the Odyssey were first imported and then made within the country by the large television manufacturers such as Toshiba and Sharp Corporation, such games are known as "TV games", "TV geemu", or "terebi geemu". The term "TV game" is still commonly used into the 21st century. "Electronic game" may also be used to refer to video games, but this also incorporates devices like early handheld electronic games that lack any video output. The first appearance of the term "video game" emerged around 1973. The Oxford English Dictionary cited a 10 November 1973 BusinessWeek article as the first printed use of the term. Though Bushnell believed the term came from a vending magazine review of Computer Space in 1971, a review of the major vending magazines Vending Times and Cashbox showed that the term may have come even earlier, appearing first in a letter dated July 10, 1972. In the letter, Bushnell uses the term "video game" twice. Per video game historian Keith Smith, the sudden appearance suggested that the term had been proposed and readily adopted by those in the field. Around March 1973, Ed Adlum, who ran Cashbox's coin-operated section until 1972 and then later founded RePlay Magazine, covering the coin-op amusement field, in 1975, used the term in an article in March 1973. In a September 1982 issue of RePlay, Adlum is credited with first naming these games as "video games": "RePlay
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Cups (app)

Cups (stylized as CUPS) was a mobile app launched in New York City in April 2014. It was a mobile payment and discovery platform for independent coffee shops nearby. The app was active in more than 400 cafes in New York, San Francisco, Philadelphia, Nashville, Minneapolis and Saint Paul, and other U.S. cities. == History == Cups was founded in Israel in 2012 by Gilad Rotem and four other co-founders, who were all high school friends. The company ran a limited beta pilot in Tel Aviv and Jerusalem, featuring 80 locations, from September 2012 until September 2014. Customers received all-you-can-drink coffee at certain coffee shops in Tel Aviv for approximately $45 a month. In October 2013, the founders relocated to New York. Cups participated in the Entrepreneur's Roundtable Accelerator program and went live in New York in 2014, initially working with 50 small coffee shops in Manhattan and Brooklyn. In early 2016, the company launched 30 locations in Philadelphia in February, followed by 40 more locations in San Francisco in March. == Functionality == The Cups app gave the user a list of the nearest participating coffee shops to their current location. The app user can order a drink using the app and pay the cashier with their phone. The cashier would enter a code that entered the purchase into the app's system. The app also allowed for onboard tipping and food purchases. The company reimbursed the coffee shop and kept a portion of their sales. In early 2016, the Cups Café Network was launched, using bulk purchasing power to land discounts with service providers which would normally be reserved for larger chains. In this way, the company aimed to help its café partners compete with the larger coffee chains.
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Brand networking

Brand networking is the engagement of a social networking service around a brand by providing consumers with a platform of relevant content, elements of participation, and a currency, score, or ranking. Brand networking creates communities that serve as interactive destinations to encourage brand participation online and off. This evolved level of user participation with the brand facilitates strong relationships with consumers, leverages sales, and generates fan equity. The concept builds on the marketing literature on brand communities, which describes specialized, non-geographically bound groups of consumers organized around shared interest in a brand, and on subsequent research on social-media-based brand communities that examines how such groups operate when embedded in general-purpose networking platforms. == History == The development and growth of social networking in the early 2000s gave birth to brand networking. Brands saw the immediate potential to reach and interact with consumers through online platforms like Facebook and MySpace. At first, the ability to reach consumers through these platforms was inadequate; brands had the option to join as members or simply advertise on these sites. The potential existed to not only display advertisements to consumers, but to encourage them to interact with the brand. This is when brands made the shift to create their own networking platforms. Less evolved attempts to connect brands with consumers via networking are typically built as online platforms meant only to complement a product/service and are limited in functionality. Typically these sites offer consumers the opportunity to interact through discussion boards and group pages. The Guiding Light Community was built to complement the popular CBS television soap opera. The site offers members reward points for contributing content to discussion boards and blogs (which is all geared toward the show). == Structure == Brand networking is more than the utilization of a social networking platform; it is connecting consumers together and constructing relationships directly with the brand. Three key elements, in unity, create effective brand networking: relevant content, elements of participation, and a competitive currency. Websites in conjunction with other media types (television, radio, print) present content around a vertical industry, sector of interest, or cultural and social issues for a brand. This can be in areas such as health, marketing, or business, or any content relevant to the brand message. Such content is not only provided by the brand but also in the form of consumer-generated media. Research on brand-related user-generated content across major platforms suggests that the form and tone of consumer contributions vary by platform, with promotional content more common on some networks and response-oriented content on others. A brand provides participation with consumers online and offline. This is accomplished through the combination of typical social networking features online, such as personalised pages, friend lists, groups, and messaging, alongside elements of involvement offline. This is not simply connecting an online platform with mobile devices, but providing separate mobile features jointly with a secondary media type to drive online usage and build relationships with the brand on the go. By participating in mobile campaigns, users are interacting with the brand outside of traditional brick and mortar or e-commerce destinations. Empirical work on consumer brand engagement in social media frames such participation along cognitive, affective, and behavioural dimensions. The final element of brand networking involves incentivising participation with the other two elements. The addition of a currency or point system acts as an anchor to the brand and network and creates a competitive dynamic between consumers. These points are distributed for activity carried out outside of the networking site. By incentivising usage offline, the brand image is reinforced for the consumer and strengthens the relationship. Consumers are turned into promoters for both the brand and the users' benefit. The use of points, badges, leaderboards, and similar mechanics is described in the marketing literature as gamification, and has been linked to higher participation rates in mobile and loyalty programmes. == Fan equity == Fan equity is the idea that by locking in consumers to a brand, they are turned into fans of the brand. As fans, they promote, interact, and consume on a daily basis and become assets. Apple Inc. is one example of a company often cited as possessing fan equity. Customers of Apple are extremely brand loyal and are assets to the company. Creating a fan-generated brand is a difficult but effective method of business. Through the use of brand networking, a company is able to build a consumer or fan base that provides a strong relationship between business and consumers. The trust is formed and fans do a lot of work for the brand by word of mouth. Peer-to-peer channels are the strongest means of communication for a brand, but also one in which the brand can only influence and not control. Subsequent research links community engagement with brand trust, identifying community engagement as a mediator between social-media brand community participation and trust. This method of business is argued to be a relationship handled by the brand generally for its own gain. Many fans do not realise the work they are doing for companies by using their product or service. Facebook is a fan-based brand that has become a global phenomenon through customer use, with social media features such as sharing and commenting. With the growth of social media, marketing and advertising through social media has continued to expand. Brands can display and promote their products or services at a fast rate, with consumers sharing and contributing to the brand on a global scale. This can also be seen as online word of mouth exposure that can produce positive or negative feedback for brands. Once consumers become fans they are typically loyal, which can create positive word of mouth for a brand. Fans become a valuable asset, boosting the status and reputation of a brand. Different perceptions of brands can be linked to a person's origin or religion, which creates a difficulty when trying to enter a market or gain market share. Businesses need to be aware of the types of products or services they introduce to a specific market, ensuring they are culturally sensitive. Fan pages are created on social media to maintain the relationship between brands and consumers. By engaging and interacting with consumers, brands obtain fans and produce positive imaging. Some fans become attached to brands and are often encouraged to remain as fans through the use of celebrities endorsing the brand. Research on parasocial interaction in social-media environments suggests that one-sided emotional bonds that consumers form with endorsers and brand personae help convert ordinary followers into engaged fans.
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Digital classics

Digital classics is the application of the tools of digital humanities to the field of classics, or more broadly to the study of the ancient world. == History == Classics was one of the first of the humanities disciplines to adopt computing approaches; the first references to the use of computing in the classical humanities date to the early 1960s, which might be surprising considering the reputation of the discipline as old-fashioned and stuffily traditionalist. Major projects such as the Thesaurus Linguae Graecae, founded in 1972, and the text collections of the Packard Humanities Institute set the trend, and there are still a significantly large number of ancient world projects among Humanities Computing projects today. Also, the success of traditional scholarly publications in digital guises, such as seen in the Bryn Mawr Classical Review, and the early adoption of hypertext in high profile projects like the Perseus Digital Library helped to legitimize computing in the study of classics in ways that has not always been the case in other areas of the humanities. This apparent paradox may be as a result of the many methodologies and different sources of evidence that classicists have always had to embrace, from literary sources and linguistics, to art history and archaeology, history, philosophy, religious theory, ancient documents such as inscriptions and papyri, and so forth. The fragmentary nature of many of the texts and languages of the ancient world, the scattered evidence from the material culture of ancient Greece and Rome, and the necessity to evaluate all these varieties of evidence in context are particularly likely to benefit from digital approaches such as databases, text markup, image manipulation and machine learning. == Digital classics projects == There are currently several major projects that aim to encourage and develop digital approaches to classical scholarship. The Stoa Consortium at the University of Kentucky distributes news of the discipline, and serves as a peer-reviewed electronic publication venue, and encourages open source approaches to digital classics. The Perseus Project is a digital library that also provides a collection of digital texts and analysis tools to the public; principally (but not exclusively) classical. Digital Classicist is another project and community which shares information and advice about the digital humanities applied to the field of classics. Epigraphy.info is an international open community pursuing a collaborative environment for digital epigraphy. The Liverpool Classics Mailing List is a project which can be subscribed to in which one receives email regarding Classics events around the world, as well as call for papers, studentships and public lectures.
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