AI Content Remover

AI Content Remover — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Corpus of Linguistic Acceptability

    Corpus of Linguistic Acceptability

    Corpus of Linguistic Acceptability (CoLA) is a dataset the primary purpose of which is to serve as a benchmark for evaluating the ability of artificial neural networks, including large language models, to judge the grammatical correctness of sentences. It consists of 10,657 English sentences from published linguistics literature that were manually labeled either as grammatical or ungrammatical. == Public version == The publicly available version of CoLA contains 9,594 sentences that belong to training and development sets. It excludes 1,063 sentences reserved for a held-out test set.

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  • Adobe PhotoDeluxe

    Adobe PhotoDeluxe

    PhotoDeluxe was a consumer-oriented image editing software line published by Adobe Systems from 1996 until July 8, 2002. At that time it was replaced by Adobe's newly launched consumer-oriented image editing software Photoshop Elements. Adobe no longer provides technical support for the PhotoDeluxe software line. PhotoDeluxe had a range of image processing capabilities for the home photographer and image handler. These included removing red-eye, cropping, and adjusting brightness, contrast, and sharpness. It also included software to extract pictures from an image scanner. Among the functionality included was the ability to dynamically resize photos and export them in a wide range of formats. It also had a range of printing options including printing multiple copies of an image on the same page. It was often bundled free with Epson scanners or as free software with new computers. == Features == Despite the critical concerns regarding the quality of the setup, Photo Deluxe supports layering, blurs, sharpening, cloning, gradient fills, color and background switches, color variations, resizing options, and many other features. Another drawback of PhotoDeluxe was that it was designed for Mac computers, so working on Windows PC was a problem for those who were unable to customize their preferences. == Versions == === Adobe PhotoDeluxe 1.0 === The first version was released in 1996 for Windows and Macintosh computers. In one year, it sold over one million copies. === Adobe PhotoDeluxe 2.0 === The new version was released in 1997 and had added features such as a Clone Tool, red-eye removal, and sample templates for making posters, cards, and calendars. It also had new special effect features. === Adobe PhotoDeluxe 3.0 === The 3rd version was released in 1998. The new features included customizable clipart settings, the ability to import photos on the web, enhanced repair activities following Guided Activities, and Adobe Connectables to add new activities. === Adobe PhotoDeluxe Home Edition (4.0) === Version 4.0 was created by the makers of Photoshop. It had advanced abilities such as tools to add animation, voice, and music to a picture. It also had features to restore photos to their original position. == History == Adobe PhotoDeluxe 1.0 was released in 1996 for Macintosh computers, initially retailing for an MSRP of $49. The software did quite well, reportedly selling over a million copies by February of the next year, primarily due to bundles with companies like Apple and Hewlett-Packard. PhotoDeluxe was primarily advertised to consumers as a way to do basic photo manipulation, such as cropping and rotating images, or creating simple cards and calendars. PhotoDeluxe 2.0 was released in 1997, and was the last version of PhotoDeluxe that Adobe made that worked on Macs. PhotoDeluxe 2.0 became the "number one selling consumer photo-editing software product in the world." PhotoDeluxe 3.0 was released in 1998, where it was rebranded as "3.0 Home Edition", as Adobe released PhotoDeluxe Business Edition later that year for a higher price. PhotoDeluxe Home Edition, unofficially called PhotoDeluxe 4.0, was released in 1999 and was the last version of PhotoDeluxe to be released. Adobe officially cancelled PhotoDeluxe on July 8, 2002, citing the presence of Photoshop and Photoshop Elements, with support being officially cancelled in mid-2003. No version of PhotoDeluxe is compatible with Windows 10, rendering the program obsolete. == Pricing == All home versions of PhotoDeluxe retailed for an MSRP of $49. PhotoDeluxe 2.0 and onwards allowed users to upgrade from a previous version of PhotoDeluxe or a competing piece of graphics software for $39. Additionally PhotoDeluxe Business Edition allowed a similar deal, allowing users to upgrade from other versions of PhotoDeluxe or a competing software for $59, instead of its normal price of $99. Adobe also offered a bundle allowing users of 1.0 or 2.0 to get 3.0 and Business Edition for $79.

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  • Imaging

    Imaging

    Imaging is the process of creating visual representations of objects, scenes, or phenomena. The term encompasses both the formation of images through physical processes and the technologies used to capture, store, process, and display them. While traditional imaging relies on visible light, modern imaging systems can visualize information across the electromagnetic spectrum and through other physical phenomena such as sound waves, magnetic fields, and particle emissions, enabling the visualization of subjects invisible to the human eye. Imaging science is the multidisciplinary field concerned with the theoretical foundations and practical applications of image creation and analysis. The field draws on physics, mathematics, electrical engineering, computer science, computer vision, and perceptual psychology to develop systems that generate, collect, duplicate, analyze, modify, and visualize images. == Principles == === The imaging chain === The imaging chain is a conceptual framework describing the interconnected components of any imaging system. Understanding each link in this chain allows engineers and scientists to optimize system performance for specific applications. The chain begins with the subject and its observable properties, typically energy that is emitted, reflected, or transmitted. A light source or other energy source may illuminate the subject to make these properties detectable. The capture device then collects this energy using appropriate sensors: optical systems for electromagnetic radiation, transducers for acoustic waves, or antenna arrays for radio frequencies. In digital systems, a processor converts the captured signals into a format suitable for rendering, applying algorithms for noise reduction, enhancement, or reconstruction. Finally, a display renders the processed information as a visible image on media such as paper, screens, or projection surfaces. Throughout this process, the characteristics of the human visual system inform design decisions, as the ultimate purpose of most imaging systems is to convey information to human observers. === Coherent and non-coherent imaging === Imaging systems are often classified by whether they use coherent or non-coherent illumination. Coherent imaging employs an active source that produces waves with a consistent phase relationship, as in radar, synthetic aperture radar, medical ultrasound, and optical coherence tomography. These systems can capture phase information in addition to amplitude, enabling techniques such as holography and interferometry. Non-coherent imaging systems, including conventional photography, fluorescence microscopy, and telescopes, rely on illumination sources where light waves have random phase relationships. == Methods and applications == Imaging methods span a wide range of physical principles, each suited to particular applications. Optical imaging encompasses photography, cinematography, microscopy, and telescopic observation. These methods capture electromagnetic radiation in or near the visible spectrum and form the basis of most consumer and scientific imaging. Extensions include thermography, which visualizes infrared radiation to reveal temperature distributions, and multispectral imaging, which captures data across multiple wavelength bands for applications in remote sensing and materials analysis. Medical imaging comprises techniques designed to visualize the interior of the human body for diagnostic and therapeutic purposes. Radiography and computed tomography use X-rays to image dense structures such as bone. Magnetic resonance imaging exploits nuclear magnetic properties to produce detailed soft-tissue images without ionizing radiation. Ultrasound imaging uses high-frequency sound waves and is particularly valuable for real-time imaging and fetal monitoring. Nuclear medicine techniques such as positron emission tomography track radioactive tracers to reveal metabolic activity. Emerging modalities include photoacoustic imaging, which combines optical and acoustic principles, and Magneto-acousto-electrical tomography, which maps electrical conductivity in biological tissues. Acoustic imaging uses sound waves to create images. Beyond medical ultrasound, applications include sonar for underwater navigation and mapping, seismic imaging for geological exploration, and industrial non-destructive testing. Radar and microwave imaging employ radio waves to detect and image objects. Synthetic aperture radar produces high-resolution images from aircraft or satellites regardless of weather or lighting conditions, making it essential for Earth observation and reconnaissance. Ground-penetrating radar images subsurface structures for archaeological and engineering applications. Electron and particle imaging use beams of electrons or other particles to achieve resolutions far beyond the diffraction limit of visible light. Electron microscopes can image individual atoms, enabling advances in materials science and structural biology. Chemical imaging combines spectroscopy with spatial imaging to map the chemical composition of samples, with applications in pharmaceutical development, food safety, and forensics. LIDAR (Light Detection and Ranging) measures distances using laser pulses to create three-dimensional representations of surfaces and objects, widely used in autonomous vehicles, topographic mapping, and forestry. Computational and digital imaging encompasses image processing, computer graphics, three-dimensional rendering, and digital image restoration. Computer vision applies algorithmic analysis to extract information from images automatically. == History == Photography and imaging have always been intertwined. When Joseph Nicéphore Niépce created the first permanent photograph using heliography in 1826, and Louis Daguerre refined the process into the daguerreotype a decade later, they weren't just inventing a new art form, they were laying the groundwork for an entire scientific discipline built on silver halide chemistry. For most of the nineteenth century, photography remained the province of specialists. That changed with George Eastman's Kodak camera, introduced in 1888 with the slogan "You press the button, we do the rest." Suddenly, anyone could take pictures. Around the same time, Wilhelm Röntgen stumbled onto X-rays in 1895, an accident that would spawn the entire field of medical imaging. World War II proved to be a turning point. Radar technology, developed frantically on both sides of the conflict, introduced concepts that engineers would later adapt for synthetic aperture radar and medical ultrasound. Then the charge-coupled device came: Willard Boyle and George E. Smith built the first one at Bell Labs in 1969, and within a few decades it had made film nearly obsolete. Magnetic resonance imaging arrived in the 1970s, offering doctors something X-rays never could, detailed views of soft tissue without any radiation. Digital cameras took over fast. By the 2000s, film was already in decline; by the 2010s, smartphones had put a surprisingly capable camera in nearly every pocket. Features that once required real skill, proper exposure, sharp focus, accurate color, became automatic. Today, billions of photos get uploaded to social media every day. As a result, a growing issue is that generative artificial intelligence can fabricate photorealistic images from scratch. What counts as a "real" photograph is no longer necessarily obvious.

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  • Stairstep interpolation

    Stairstep interpolation

    In the field of image processing, stairstep interpolation is a widely employed method technique for interpolating pixels after enlarging an image. The fundamental concept is to interpolate multiple times, in small increments, using any interpolation algorithm that is better than nearest-neighbor interpolation such as; bilinear interpolation, and bicubic interpolation. A common scenario is to interpolate an image by using a bicubic interpolation which increases the image size by no more than 10% (110% of the original size) at a time until the desired size is reached. Fred Miranda, a developer, popularized this method by creating and developing several Photoshop plug-ins that incorporate this technique. == Example ==

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  • Data remanence

    Data remanence

    Data remanence is the residual representation of digital data that remains even after attempts have been made to remove or erase the data. This residue may result from data being left intact by a nominal file deletion operation, by reformatting of storage media that does not remove data previously written to the media, or through physical properties of the storage media that allow previously written data to be recovered. Data remanence may make inadvertent disclosure of sensitive information possible should the storage media be released into an uncontrolled environment (e.g., thrown in refuse containers or lost). Various techniques have been developed to counter data remanence. These techniques are classified as clearing, purging/sanitizing, or destruction. Specific methods include overwriting, degaussing, encryption, and media destruction. Effective application of countermeasures can be complicated by several factors, including media that are inaccessible, media that cannot effectively be erased, advanced storage systems that maintain histories of data throughout the data's life cycle, and persistence of data in memory that is typically considered volatile. Several standards exist for the secure removal of data and the elimination of data remanence. == Causes == Many operating systems, file managers, and other software provide a facility where a file is not immediately deleted when the user requests that action. Instead, the file is moved to a holding area (i.e. the "trash"), making it easy for the user to undo a mistake. Similarly, many software products automatically create backup copies of files that are being edited, to allow the user to restore the original version, or to recover from a possible crash (autosave feature). Even when an explicit deleted file retention facility is not provided or when the user does not use it, operating systems do not actually remove the contents of a file when it is deleted unless they are aware that explicit erasure commands are required, like on a solid-state drive. (In such cases, the operating system will issue the Serial ATA TRIM command or the SCSI UNMAP command to let the drive know to no longer maintain the deleted data.) Instead, they simply remove the file's entry from the file system directory because this requires less work and is therefore faster, and the contents of the file—the actual data—remain on the storage medium. The data will remain there until the operating system reuses the space for new data. In some systems, enough filesystem metadata are also left behind to enable easy undeletion by commonly available utility software. Even when undelete has become impossible, the data, until it has been overwritten, can be read by software that reads disk sectors directly. Computer forensics often employs such software. Likewise, reformatting, repartitioning, or reimaging a system is unlikely to write to every area of the disk, though all will cause the disk to appear empty or, in the case of reimaging, empty except for the files present in the image, to most software. Finally, even when the storage media is overwritten, physical properties of the media may permit recovery of the previous contents. In most cases however, this recovery is not possible by just reading from the storage device in the usual way, but requires using laboratory techniques such as disassembling the device and directly accessing/reading from its components. § Complications below gives further explanations for causes of data remanence. == Countermeasures == There are three levels commonly recognized for eliminating remnant data: === Clearing === Clearing is the removal of sensitive data from storage devices in such a way that there is assurance that the data may not be reconstructed using normal system functions or software file/data recovery utilities. The data may still be recoverable, but not without special laboratory techniques. Clearing is typically an administrative protection against accidental disclosure within an organization. For example, before a hard drive is re-used within an organization, its contents may be cleared to prevent their accidental disclosure to the next user. === Purging === Purging or sanitizing is the physical rewrite of sensitive data from a system or storage device done with the specific intent of rendering the data unrecoverable at a later time. Purging, proportional to the sensitivity of the data, is generally done before releasing media beyond control, such as before discarding old media, or moving media to a computer with different security requirements. === Destruction === The storage media is made unusable for conventional equipment. Effectiveness of destroying the media varies by medium and method. Depending on recording density of the media, and/or the destruction technique, this may leave data recoverable by laboratory methods. Conversely, destruction using appropriate techniques is the most secure method of preventing retrieval. == Specific methods == === Overwriting === A common method used to counter data remanence is to overwrite the storage media with new data. This is often called wiping or shredding a disk or file, by analogy to common methods of destroying print media, although the mechanism bears no similarity to these. Because such a method can often be implemented in software alone, and may be able to selectively target only part of the media, it is a popular, low-cost option for some applications. Overwriting is generally an acceptable method of clearing, as long as the media is writable and not damaged. The simplest overwrite technique writes the same data everywhere—often just a pattern of all zeros. At a minimum, this will prevent the data from being retrieved simply by reading from the media again using standard system functions. The UEFI in modern machines may offer an ATA class disk erase function as well. The ATA-6 standard governs secure erases specifications. Bitlocker is whole disk encryption and illegible without the key. Writing a fresh GPT allows a new file system to be established. Blocks will set empty but LBA read is illegible. New data will be unaffected and work fine. In an attempt to counter more advanced data recovery techniques, specific overwrite patterns and multiple passes have often been prescribed. These may be generic patterns intended to eradicate any trace signatures; an example is the seven-pass pattern 0xF6, 0x00, 0xFF, , 0x00, 0xFF, , sometimes erroneously attributed to US standard DOD 5220.22-M. One challenge with overwriting is that some areas of the disk may be inaccessible, due to media degradation or other errors. Software overwrite may also be problematic in high-security environments, which require stronger controls on data commingling than can be provided by the software in use. The use of advanced storage technologies may also make file-based overwrite ineffective (see the related discussion below under § Complications). There are specialized machines and software that are capable of doing overwriting. The software can sometimes be a standalone operating system specifically designed for data destruction. There are also machines specifically designed to wipe hard drives to the department of defense specifications DOD 5220.22-M. Writing zero to each block on hard disks and SSDs has the advantage of affording the firmware to deploy spare blocks when bad blocks are identified. Bitlocker has the advantage that data is illegible without the key. Seatools and other tools can erase disks with zero which is typical to revive old consumer class disks but they can wipe server disks albeit slowly. Modern 28TB and larger disks have an enormous number of LBA48 blocks. 40TB and 60TB disks will take proportionately longer times to wipe. ==== Feasibility of recovering overwritten data ==== Peter Gutmann investigated data recovery from nominally overwritten media in the mid-1990s. He suggested magnetic force microscopy may be able to recover such data, and developed specific patterns, for specific drive technologies, designed to counter such. These patterns have come to be known as the Gutmann method. Gutmann's belief in the possibility of data recovery is based on many questionable assumptions and factual errors that indicate a low level of understanding of how hard drives work. Daniel Feenberg, an economist at the private National Bureau of Economic Research, claims that the chances of overwritten data being recovered from a modern hard drive amount to "urban legend". He also points to the "18+1⁄2-minute gap" Rose Mary Woods created on a tape of Richard Nixon discussing the Watergate break-in. Erased information in the gap has not been recovered, and Feenberg claims doing so would be an easy task compared to recovery of a modern high density digital signal. As of November 2007, the United States Department of Defense considers overwriting acceptable for clearing magnetic media within the same security area/

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  • Inpainting

    Inpainting

    Inpainting is a conservation process where damaged, deteriorated, or missing parts of an artwork are filled in to present a complete image. This process is commonly used in image restoration. It can be applied to both physical and digital art mediums such as oil or acrylic paintings, chemical photographic prints, sculptures, or digital images and video. With its roots in physical artwork, such as painting and sculpture, traditional inpainting is performed by a trained art conservator who has carefully studied the artwork to determine the mediums and techniques used in the piece, potential risks of treatments, and ethical appropriateness of treatment. == History == The modern use of inpainting can be traced back to Pietro Edwards (1744–1821), Director of the Restoration of the Public Pictures in Venice, Italy. Using a scientific approach, Edwards focused his restoration efforts on the intentions of the artist. It was during the 1930 International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art, that the modern approach to inpainting was established. Helmut Ruhemann (1891–1973), a German restorer and conservator, led the discussions on the use of inpainting in conservation. Helmut Ruhemann was a leading figure in modernizing restoration and conservation. His greatest contribution to the field of conservation "was his insistence on following the methods of the original painter exactly, and on understanding the painter's artistic intention". After his career of over 40 years as a conservator, Ruhemann published his treatise The Cleaning of Paintings: Problems & Potentialities in 1968. In describing his method, Ruhemann states that "The surface [of the fill] should be slightly lower than that of the surrounding paint to allow for the thickness of the inpainting...Inpainting medium should look and behave like the original medium, but must not darken with age." Cesare Brandi (1906–1988) developed the teoria del restauro, the inpainting approach combining aesthetics and psychology. However, this approach was used primarily by Italian restorers and conservators, with the terminology becoming widespread in the 1990s. Technological advancements led to new applications of inpainting. Widespread use of digital techniques range from entirely automatic computerized inpainting to tools used to simulate the process manually. Since the mid-1990s, the process of inpainting has evolved to include digital media. More commonly known as image or video interpolation, a form of estimation, digital inpainting includes the use of computer software that relies on sophisticated algorithms to replace lost or corrupted parts of the image data. == Ethics == In order to preserve the integrity of an original artwork, any inpainting technique or treatment applied to physical or digital work should be reversible or distinguishable from the original content of the artwork. Prior to any treatments, conservators proceed according to the American Institute of Conservation of Historical and Artistic Works. There are several ethic considerations before Inpainting can be justified. Various deliberation decisions over the ethical appropriateness of the amount and type of inpainting done, resides on many factors. As most conservation treatments, inpainting's ethical questions rest mainly with authenticity, reversibility and documentation.Any intervention to compensate for loss should be documented in treatment records and reports and should be detectable by common examination methods. Such compensation should be reversible and should not falsely modify the known aesthetic, conceptual, and physical characteristics of the cultural property, especially by removing or obscuring original material.New technologies and the aesthetic demand for perfect images without imperfections challenge conservators' ethical practices to protect the integrity of originals. == Methods == Inpainting methods and techniques depend on the desired goal and type of image being treated. Treatments to fill in the gaps are different between physical and digital art. In inpainting, detailed records of the initial state of the images can help with the treatment and replicate the original closer. === Physical inpainting === Inpainting is rooted in the conservation and restoration of paintings. Inpainting can aim to make a visual improvement to the artwork as a whole by repairing missing or damaged parts using methods and materials equivalent to the original artist's work. ==== Application techniques ==== By studying the painting methods of various artists and the composition of paints used historically, conservators are able to restore works very closely to their original visual appearance. The picture as a whole determines how to fill in the gap. Helmut Ruhemann's inpainting techniques by Jessell have procedures to "preserve" the quality of oil and tempera paintings. === Digital inpainting === Many programs are able to reconstruct missing or damaged areas of digital photographs and videos. Most widely known for use with digital images is Adobe Photoshop. Given the various abilities of the digital camera and the digitization of old photos, inpainting has become an automatic process that can be performed on digital images. The inpainting techniques can be applied to object removal, text removal, and other automatic modifications of images and videos. In video special effects, inpainting is usually performed after video matting. They can also be observed in applications like image compression and super-resolution. In photography and cinema, it is used for film restoration to reverse, repair, or mitigate deterioration (e.g., physical damage such as cracks in photographs, scratches and dust spots in film, or chemical damage resulting in image loss; performed infrared cleaning). It can also be used for removing red-eye, the stamped date from photographs, and objects for creative effect. This technique can be used to replace any lost blocks in the coding and transmission of images, for example, in a streaming video. It can also be used to remove logos or watermarks in videos. Deep learning neural network-based inpainting can be used for decensoring images. Deep image prior-based techniques can be used for digital image inpainting, where a trained deep learning model is either unavailable or infeasible. Deep models for visual content generation, like text-to-image or text-to-video, learn complex priors over the distribution of visual content, and can be used to inpaint missing parts. For example, videos can be separated into layers, using a technique called omnimatte, which either pretrain an omnimatte model or without any training using an omnimatte-zero model. Three main groups of 2D image-inpainting algorithms can be found in the literature. The first one to be noted is structural (or geometric) inpainting, the second one is texture inpainting, the last one is a combination of these two techniques. They use the information of the known or non-destroyed image areas in order to fill the gap, similar to how physical images are restored. ==== Structural ==== Structural or geometric inpainting is used for smooth images that have strong, defined borders. There are many different approaches to geometric inpainting, but they all come from the idea that geometry can be recovered from similar areas or domains. Bertalmio proposed a method of structural inpainting that mimics how conservators address painting restoration. Bertalmio proposed that by progressively transferring similar information from the borders of an inpainting domain inwards, the gap can be filled. ==== Textural ==== While structural/geometric inpainting works to repair smooth images, textural inpainting works best with images that are heavily textured. Texture has a repetitive pattern which means that a missing portion cannot be restored by continuing the level lines into the gap; level lines provide a complete, stable representation of an image. To repair texture in an image, one can combine frequency and spatial domain information to fill in a selected area with a desired texture. This method, while the most simple and very effective, works well when selecting a texture to be in-painted. For a texture that covers a wider area or a larger frame one would have to go through the image segmenting the areas to be in-painted and selecting the corresponding textures from throughout the image; there are programs that can help find the corresponding areas that work in a similar way as 'find and replace' works in a word processor. ==== Combined structural and textural ==== Combined structural and textural inpainting approaches simultaneously try to perform texture- and structure-filling in regions of missing image information. Most parts of an image consist of texture and structure and the boundaries between image regions contain a large amount of structural information. This is the result when blending differ

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  • Docic

    Docic

    Docic is a Tunisian digital health platform available as a web and mobile application, headquartered in Tunis, Tunisia. Founded in 2022 by Sami Kallel, an orthopedic surgeon, and Sofiane Trabelsi. The service helps patients and healthcare professionals store, organize, and share medical records digitally and to connect with the doctor online. == History == Docic was founded in 2022 as a health-technology company based in Tunisia, after which the mobile application was subsequently developed and made available to users. The platform was designed to provide healthcare professionals with access to patients’ complete medical history, including updates and recent changes, aiming at supporting clinical decision-making and reducing the risk of medical errors. In January 2025, Docic was listed amongst companies that have received the Startup Act label, which is a recognition under the Tunisian legal framework made to support innovative startups.

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  • ALL-IN-1

    ALL-IN-1

    ALL-IN-1 was an office automation product developed and sold by Digital Equipment Corporation in the 1980s. It was one of the first purchasable off the shelf electronic mail products. It was later known as Office Server V3.2 for OpenVMS Alpha and OpenVMS VAX systems before being discontinued. == Overview == ALL-IN-1 was advertised as an office automation system including functionality in Electronic Messaging, Word Processing and Time Management. It offered an application development platform and customization capabilities that ranged from scripting to code-level integration. ALL-IN-1 was designed and developed by Skip Walter, John Churin and Marty Skinner from Digital Equipment Corporation who began work in 1977. Sheila Chance was hired as the software engineering manager in 1981. The first version of the software, called CP/OSS, the Charlotte Package of Office System Services, named after the location of the developers, was released in May 1982. In 1983, the product was renamed ALL-IN-1 and the Charlotte group continued to develop versions 1.1 through 1.3. Digital then made the decision to move most of the development activity to its central engineering facility in Reading, United Kingdom, where a group there took responsibility for the product from version 2.0 (released in field test in 1984 and to customers in 1985) onward. The Charlotte group continued to work on the Time Management subsystem until version 2.3 and other contributions were made from groups based in Sophia Antipolis, France (System for Customization Management and the integration with VAX Notes), Reading (Message Router and MAILbus), and Nashua, New Hampshire (FMS). ALL-IN-1 V3.0 introduced shared file cabinets and the File Cabinet Server (FCS) to lay the foundation for an eventual integration with TeamLinks, Digital's PC office client. Previous integrations with PCs included PC ALL-IN-1, a DOS-based product introduced in 1989 that never proved popular with customers. Bob Wyman was the first product manager. He oversaw the growth of the product culminating in over $2 billion per year in revenue and market leadership in the proprietary office automation sector. Other consultants from Digital Equipment Corporation involved include Frank Nicodem, Donald Vickers and Tony Redmond.

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  • Pythia (machine learning)

    Pythia (machine learning)

    Pythia is an ancient text restoration model that recovers missing characters from damaged text input using deep neural networks. It was created by Yannis Assael, Thea Sommerschield, and Jonathan Prag, researchers from Google DeepMind and the University of Oxford. To study the society and the history of ancient civilisations, ancient history relies on disciplines such as epigraphy, the study of ancient inscribed texts. Hundreds of thousands of these texts, known as inscriptions, have survived to our day, but are often damaged over the centuries. Illegible parts of the text must then be restored by specialists, called epigraphists, in order to extract meaningful information from the text and use it to expand our knowledge of the context in which the text was written. Pythia takes as input the damaged text, and is trained to return hypothesised restorations of ancient Greek inscriptions, working as an assistive aid for ancient historians. Its neural network architecture works at both the character- and word-level, thereby effectively handling long-term context information, and dealing efficiently with incomplete word representations. Pythia is applicable to any discipline dealing with ancient texts (philology, papyrology, codicology) and can work in any language (ancient or modern).

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  • Exposure Notification

    Exposure Notification

    The (Google/Apple) Exposure Notification System (GAEN) is a framework and protocol specification developed by Apple Inc. and Google to facilitate digital contact tracing during the COVID-19 pandemic. When used by health authorities, it augments more traditional contact tracing techniques by automatically logging close approaches among notification system users using Android or iOS smartphones. Exposure Notification is a decentralized reporting protocol built on a combination of Bluetooth Low Energy technology and privacy-preserving cryptography. It is an opt-in feature within COVID-19 apps developed and published by authorized health authorities. Unveiled on April 10, 2020, it was made available on iOS on May 20, 2020, as part of the iOS 13.5 update and on December 14, 2020, as part of the iOS 12.5 update for older iPhones. On Android, it was added to devices via a Google Play Services update, supporting all versions since Android Marshmallow. The Apple/Google protocol is similar to the Decentralized Privacy-Preserving Proximity Tracing (DP-3T) protocol created by the European DP-3T consortium and the Temporary Contact Number (TCN) protocol by Covid Watch, but is implemented at the operating system level, which allows for more efficient operation as a background process. Since May 2020, a variant of the DP-3T protocol is supported by the Exposure Notification Interface. Other protocols are constrained in operation because they are not privileged over normal apps. This leads to issues, particularly on iOS devices where digital contact tracing apps running in the background experience significantly degraded performance. The joint approach is also designed to maintain interoperability between Android and iOS devices, which constitute nearly all of the market. The ACLU stated the approach "appears to mitigate the worst privacy and centralization risks, but there is still room for improvement". In late April, Google and Apple shifted the emphasis of the naming of the system, describing it as an "exposure notification service", rather than "contact tracing" system. == Technical specification == Digital contact tracing protocols typically have two major responsibilities: encounter logging and infection reporting. Exposure Notification only involves encounter logging which is a decentralized architecture. The majority of infection reporting is centralized in individual app implementations. To handle encounter logging, the system uses Bluetooth Low Energy to send tracking messages to nearby devices running the protocol to discover encounters with other people. The tracking messages contain unique identifiers that are encrypted with a secret daily key held by the sending device. These identifiers change every 15–20 minutes as well as Bluetooth MAC address in order to prevent tracking of clients by malicious third parties through observing static identifiers over time. The sender's daily encryption keys are generated using a random number generator. Devices record received messages, retaining them locally for 14 days. If a user tests positive for infection, the last 14 days of their daily encryption keys can be uploaded to a central server, where it is then broadcast to all devices on the network. The method through which daily encryption keys are transmitted to the central server and broadcast is defined by individual app developers. The Google-developed reference implementation calls for a health official to request a one-time verification code (VC) from a verification server, which the user enters into the encounter logging app. This causes the app to obtain a cryptographically signed certificate, which is used to authorize the submission of keys to the central reporting server. The received keys are then provided to the protocol, where each client individually searches for matches in their local encounter history. If a match meeting certain risk parameters is found, the app notifies the user of potential exposure to the infection. Google and Apple intend to use the received signal strength (RSSI) of the beacon messages as a source to infer proximity. RSSI and other signal metadata will also be encrypted to resist deanonymization attacks. === Version 1.0 === To generate encounter identifiers, first a persistent 32-byte private Tracing Key ( t k {\displaystyle tk} ) is generated by a client. From this a 16 byte Daily Tracing Key is derived using the algorithm d t k i = H K D F ( t k , N U L L , 'CT-DTK' | | D i , 16 ) {\displaystyle dtk_{i}=HKDF(tk,NULL,{\text{'CT-DTK'}}||D_{i},16)} , where H K D F ( Key, Salt, Data, OutputLength ) {\displaystyle HKDF({\text{Key, Salt, Data, OutputLength}})} is a HKDF function using SHA-256, and D i {\displaystyle D_{i}} is the day number for the 24-hour window the broadcast is in starting from Unix Epoch Time. These generated keys are later sent to the central reporting server should a user become infected. From the daily tracing key a 16-byte temporary Rolling Proximity Identifier is generated every 10 minutes with the algorithm R P I i , j = Truncate ( H M A C ( d t k i , 'CT-RPI' | | T I N j ) , 16 ) {\displaystyle RPI_{i,j}={\text{Truncate}}(HMAC(dtk_{i},{\text{'CT-RPI'}}||TIN_{j}),16)} , where H M A C ( Key, Data ) {\displaystyle HMAC({\text{Key, Data}})} is a HMAC function using SHA-256, and T I N j {\displaystyle TIN_{j}} is the time interval number, representing a unique index for every 10 minute period in a 24-hour day. The Truncate function returns the first 16 bytes of the HMAC value. When two clients come within proximity of each other they exchange and locally store the current R P I i , j {\displaystyle RPI_{i,j}} as the encounter identifier. Once a registered health authority has confirmed the infection of a user, the user's Daily Tracing Key for the past 14 days is uploaded to the central reporting server. Clients then download this report and individually recalculate every Rolling Proximity Identifier used in the report period, matching it against the user's local encounter log. If a matching entry is found, then contact has been established and the app presents a notification to the user warning them of potential infection. === Version 1.1 === Unlike version 1.0 of the protocol, version 1.1 does not use a persistent tracing key, rather every day a new random 16-byte Temporary Exposure Key ( t e k i {\displaystyle tek_{i}} ) is generated. This is analogous to the daily tracing key from version 1.0. Here i {\displaystyle i} denotes the time is discretized in 10 minute intervals starting from Unix Epoch Time. From this two 128-bit keys are calculated, the Rolling Proximity Identifier Key ( R P I K i {\displaystyle RPIK_{i}} ) and the Associated Encrypted Metadata Key ( A E M K i {\displaystyle AEMK_{i}} ). R P I K i {\displaystyle RPIK_{i}} is calculated with the algorithm R P I K i = H K D F ( t e k i , N U L L , 'EN-RPIK' , 16 ) {\displaystyle RPIK_{i}=HKDF(tek_{i},NULL,{\text{'EN-RPIK'}},16)} , and A E M K i {\displaystyle AEMK_{i}} using the algorithm A E M K i = H K D F ( t e k i , N U L L , 'EN-AEMK' , 16 ) {\displaystyle AEMK_{i}=HKDF(tek_{i},NULL,{\text{'EN-AEMK'}},16)} . From these values a temporary Rolling Proximity Identifier ( R P I i , j {\displaystyle RPI_{i,j}} ) is generated every time the BLE MAC address changes, roughly every 15–20 minutes. The following algorithm is used: R P I i , j = A E S 128 ( R P I K i , 'EN-RPI' | | 0 x 000000000000 | | E N I N j ) {\displaystyle RPI_{i,j}=AES128(RPIK_{i},{\text{'EN-RPI'}}||{\mathtt {0x000000000000}}||ENIN_{j})} , where A E S 128 ( Key, Data ) {\displaystyle AES128({\text{Key, Data}})} is an AES cryptography function with a 128-bit key, the data is one 16-byte block, j {\displaystyle j} denotes the Unix Epoch Time at the moment the roll occurs, and E N I N j {\displaystyle ENIN_{j}} is the corresponding 10-minute interval number. Next, additional Associated Encrypted Metadata is encrypted. What the metadata represents is not specified, likely to allow the later expansion of the protocol. The following algorithm is used: Associated Encrypted Metadata i , j = A E S 128 _ C T R ( A E M K i , R P I i , j , Metadata ) {\displaystyle {\text{Associated Encrypted Metadata}}_{i,j}=AES128\_CTR(AEMK_{i},RPI_{i,j},{\text{Metadata}})} , where A E S 128 _ C T R ( Key, IV, Data ) {\displaystyle AES128\_CTR({\text{Key, IV, Data}})} denotes AES encryption with a 128-bit key in CTR mode. The Rolling Proximity Identifier and the Associated Encrypted Metadata are then combined and broadcast using BLE. Clients exchange and log these payloads. Once a registered health authority has confirmed the infection of a user, the user's Temporary Exposure Keys t e k i {\displaystyle tek_{i}} and their respective interval numbers i {\displaystyle i} for the past 14 days are uploaded to the central reporting server. Clients then download this report and individually recalculate every Rolling Proximity Identifier starting from interval number i {\displaystyle i} ,

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  • Multiple satellite imaging

    Multiple satellite imaging

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

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  • Colors!

    Colors!

    Colors! is a series of digital painting applications for handheld game consoles and mobile devices. Originally created as a homebrew application for Nintendo DS (as Colors!), which was since legitimately distributed on PlayStation Vita, iOS, and Android, the project eventually evolved into an officially licensed application for Nintendo 3DS (as Colors! 3D) and Nintendo Switch (as Colors Live). == History == === Colors! === Colors! was originally released in June 2007 as a simple homebrew painting application for the Nintendo DS. It was developed by Jens Andersson, a programmer and designer on sabbatical from the games industry who wanted to experiment with the potential of the new handheld platform. Shortly after, Rafał Piasek created an online gallery where users could upload paintings made with the program. Colors! quickly became one of the best-known homebrew applications on the Nintendo DS, and in September 2008, it was also released for the iPhone and iPod Touch. As of August 2010, it had been downloaded almost half a million times. It was voted the most popular homebrew application on the Nintendo DS by readers of the R4 for DS blog. Development of Colors! DS homebrew officially ended in December 2010 although the official gallery still accepted submissions from DS users until 2020 when Colors! Gallery was discontinued. === Colors! 3D === Colors! 3D is a successor to the application Colors! for the Nintendo 3DS. It was released as an officially licensed application for the Nintendo eShop in North America on April 5, 2012, and in the PAL region on April 19, 2012. It was later released in Japan on August 21, 2013, published by Arc System Works. Colors! 3D allows users to draw on five layers, each on their own stereoscopic 3D plane. Drawing is done on the bottom screen, while the top screen displays the painting in 3D. While drawing, players can use the various controls on the Nintendo 3DS to change layers, zoom and pan, and alter the pressure of their brush. Pressing the L button allows users to access a menu to change brush type, size, and opacity, modify the layers, use the camera to provide references, and more. When the user finishes their painting, they can export it to the SD card for viewing in the Nintendo 3DS Camera application. Users can also upload their finished creations to an online gallery, viewed on the 3DS or the official website. Gallery features include hashtags and the ability to follow artists and post comments. Each painting also features a replay feature that allows viewers to see how it was drawn. The application also features local multiplayer, allowing several people to work cooperatively on a painting. In April 2024, the developers of Colors! 3D collaborated with the Pretendo Network project to officially add support for the application, meaning Colors! 3D will continue to operate as normal when using Pretendo Network. ==== Reception ==== IGN gave the application a score of 9.0 and an Editor's Choice award, praising its simple interface and tutorials. Destructoid gave the app a 9.0, calling it "a simple and incredibly fun tool with an amazing community of artists proudly displaying their beautiful and funny 3D images." Nintendo Life gave the app a 9/10, stating, "Though lacking in any structured play, Colors! 3D’s robust free drawing system and unique ability to let anyone create their own three-dimensional artwork more than make up for this." === Colors Live === A Nintendo Switch successor called Colors Live (stylised as Colors L!ve) was released in 2020 after being funded via a Kickstarter campaign. This expanded upon the features of previous installments by adding new brushes, increasing the maximum number of layers to ten, and introducing blend modes. A new game mode called Colors Quest was also included. A pressure-sensitive pen called the Colors SonarPen was developed in collaboration with GreenBulb to facilitate drawing on the Nintendo Switch, and comes pre-bundled with physical copies of the game. ==== Colors Quest ==== This new mode acts as a story-driven adventure wherein players are given a daily drawing challenge with a specific theme and certain stipulations that must be fulfilled. Once the drawing is complete, players must anonymously score other players' submissions, these scores are then aggregated to produce a personal ranking that measures the improvement in the player's art skills over time.

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  • Frankenstein complex

    Frankenstein complex

    The Frankenstein complex is a term coined by Isaac Asimov in his robot series, referring to the fear of mechanical men. == History == Some of Asimov's science fiction short stories and novels predict that this suspicion will become strongest and most widespread in respect of "mechanical men" that most-closely resemble human beings (see android), but it is also present on a lower level against robots that are plainly electromechanical automatons. The "Frankenstein complex" is similar in many respects to Masahiro Mori's uncanny valley hypothesis. The name, "Frankenstein complex", is derived from the name of Victor Frankenstein in the 1818 novel Frankenstein; or, The Modern Prometheus by Mary Shelley. In Shelley's story, Frankenstein created an intelligent, somewhat superhuman being, but he finds that his creation is horrifying to behold and abandons it. This ultimately leads to Victor's death at the conclusion of a vendetta between himself and his creation. In much of his fiction, Asimov depicts the general attitude of the public towards robots as negative, with ordinary people fearing that robots will either replace them or dominate them, although dominance would not be allowed under the specifications of the Three Laws of Robotics, the first of which is: "A robot may not harm a human being or, through inaction, allow a human being to come to harm." However, Asimov's fictitious earthly public is not fully persuaded by this, and remains largely suspicious and fearful of robots. I, Robot's short story "Little Lost Robot" is about this "fear of robots". In Asimov's robot novels, the Frankenstein complex is a major problem for roboticists and robot manufacturers. They do all they can to reassure the public that robots are harmless, even though this sometimes involves hiding the truth because they think that the public would misunderstand it. The fear by the public and the response of the manufacturers is an example of the theme of paternalism, the dread of paternalism, and the conflicts that arise from it in Asimov's fiction. The same theme occurs in many later works of fiction featuring robots, although it is rarely referred to as such.

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  • Human–robot interaction

    Human–robot interaction

    Human–robot interaction (HRI) is the study of interactions between humans and robots. Human–robot interaction is a multidisciplinary field with contributions from human–computer interaction, artificial intelligence, robotics, natural language processing, design, psychology and philosophy. A subfield known as physical human–robot interaction (pHRI) has tended to focus on device design to enable people to safely interact with robotic systems. == Origins == Human–robot interaction has been a topic of both science fiction and academic speculation even before any robots existed. Because much of active HRI development depends on natural language processing, many aspects of HRI are continuations of human communications, a field of research which is much older than robotics. The origin of HRI as a discrete problem was stated by 20th-century author Isaac Asimov in 1941, in his novel I, Robot. Asimov coined Three Laws of Robotics, namely: A robot may not injure a human being or, through inaction, allow a human being to come to harm. A robot must obey the orders given it by human beings except where such orders would conflict with the First Law. A robot must protect its own existence as long as such protection does not conflict with the First or Second Laws. These three laws provide an overview of the goals engineers and researchers hold for safety in the HRI field, although the fields of robot ethics and machine ethics are more complex than these three principles. However, generally human–robot interaction prioritizes the safety of humans that interact with potentially dangerous robotics equipment. Solutions to this problem range from the philosophical approach of treating robots as ethical agents (individuals with moral agency), to the practical approach of creating safety zones. These safety zones use technologies such as lidar to detect human presence or physical barriers to protect humans by preventing any contact between machine and operator. Although initially robots in the human–robot interaction field required some human intervention to function, research has expanded this to the extent that fully autonomous systems are now far more common than in the early 2000s. Autonomous systems include from simultaneous localization and mapping systems which provide intelligent robot movement to natural-language processing and natural-language generation systems which allow for natural, human-esque interaction which meet well-defined psychological benchmarks. Anthropomorphic robots (machines which imitate human body structure) are better described by the biomimetics field, but overlap with HRI in many research applications. Examples of robots which demonstrate this trend include Willow Garage's PR2 robot, the NASA Robonaut, and Honda ASIMO. However, robots in the human–robot interaction field are not limited to human-like robots: Paro and Kismet are both robots designed to elicit emotional response from humans, and so fall into the category of human–robot interaction. Goals in HRI range from industrial manufacturing through Cobots, medical technology through rehabilitation, autism intervention, and elder care devices, entertainment, human augmentation, and human convenience. Future research therefore covers a wide range of fields, much of which focuses on assistive robotics, robot-assisted search-and-rescue, and space exploration. == The goal of friendly human–robot interactions == Robots are artificial agents with capacities of perception and action in the physical world often referred by researchers as workspace. Their use has been generalized in factories but nowadays they tend to be found in the most technologically advanced societies in such critical domains as search and rescue, military battle, mine and bomb detection, scientific exploration, law enforcement, entertainment and hospital care. These new domains of applications imply a closer interaction with the user, sharing the workspace but also goals in terms of task achievement. The subfield of physical human–robot interaction (pHRI) has largely focused on device design to enable people to safely interact with robotic systems but is increasingly developing algorithmic approaches in an attempt to support fluent and expressive interactions between humans and robotic systems. With the advance in AI, the research is focusing on one part towards the safest physical interaction but also on a socially correct interaction, dependent on cultural criteria. The goal is to build an intuitive, and easy communication with the robot through speech, gestures, and facial expressions. Kerstin Dautenhahn refers to friendly Human–robot interaction as "Robotiquette" defining it as the "social rules for robot behaviour (a 'robotiquette') that is comfortable and acceptable to humans" The robot has to adapt itself to our way of expressing desires and orders and not the contrary. But every day environments such as homes have much more complex social rules than those implied by factories or even military environments. Thus, the robot needs perceiving and understanding capacities to build dynamic models of its surroundings. It needs to categorize objects, recognize and locate humans and further recognize their emotions. The need for dynamic capacities pushes forward every sub-field of robotics. Furthermore, by understanding and perceiving social cues, robots can enable collaborative scenarios with humans. For example, with the rapid rise of personal fabrication machines such as desktop 3D printers, laser cutters, etc., entering our homes, scenarios may arise where robots can collaboratively share control, co-ordinate and achieve tasks together. Industrial robots have already been integrated into industrial assembly lines and are collaboratively working with humans. The social impact of such robots have been studied and has indicated that workers still treat robots and social entities, rely on social cues to understand and work together. On the other end of HRI research the cognitive modelling of the "relationship" between human and the robots benefits the psychologists and robotic researchers the user study are often of interests on both sides. This research endeavours part of human society. For effective human – humanoid robot interaction numerous communication skills and related features should be implemented in the design of such artificial agents/systems. == General HRI research == HRI research spans a wide range of fields, some general to the nature of HRI. === Methods for perceiving humans === Methods for perceiving humans in the environment are based on sensor information. Research on sensing components and software led by Microsoft provide useful results for extracting the human kinematics (see Kinect). An example of older technique is to use colour information for example the fact that for light skinned people the hands are lighter than the clothes worn. In any case a human modelled a priori can then be fitted to the sensor data. The robot builds or has (depending on the level of autonomy the robot has) a 3D mapping of its surroundings to which is assigned the humans locations. Most methods intend to build a 3D model through vision of the environment. The proprioception sensors permit the robot to have information over its own state. This information is relative to a reference. Theories of proxemics may be used to perceive and plan around a person's personal space. A speech recognition system is used to interpret human desires or commands. By combining the information inferred by proprioception, sensor and speech the human position and state (standing, seated). In this matter, natural-language processing is concerned with the interactions between computers and human (natural) languages, in particular how to program computers to process and analyze large amounts of natural-language data. For instance, neural-network architectures and learning algorithms that can be applied to various natural-language processing tasks including part-of-speech tagging, chunking, named-entity recognition, and semantic role labeling. === Methods for motion planning === Motion planning in dynamic environments is a challenge that can at the moment only be achieved for robots with 3 to 10 degrees of freedom. Humanoid robots or even 2 armed robots, which can have up to 40 degrees of freedom, are unsuited for dynamic environments with today's technology. However lower-dimensional robots can use the potential field method to compute trajectories which avoid collisions with humans. === Cognitive models and theory of mind === Humans exhibit negative social and emotional responses as well as decreased trust toward some robots that closely, but imperfectly, resemble humans; this phenomenon has been termed the "Uncanny Valley". However recent research in telepresence robots has established that mimicking human body postures and expressive gestures has made the robots likeable and engaging in a remote setting. Further, the presence o

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  • Augment (app)

    Augment (app)

    Augment is an augmented reality SaaS platform that allows users to visualize their products in 3D in real environment and in real-time through tablets or smartphones. The software can be used for retail, e-commerce, architecture, and other purposes. Augment created a mobile app of the same name, used to visualize 3D models in augmented reality and a web application called Augment Manager for 3D content management. The company is based in Paris, France, and was founded in October 2011 by Jean-François Chianetta, Cyril Champier, and Mickaël Jordan. In March 2016, Augment announced €3 million in its series-A round from Salesforce Ventures, which bringing the total funding since launch to $4.7 million. Augment lets businesses and 3D professionals visualize projects in their actual size and environment, on iPhone, iPad, and Android, using the power of augmented reality. Users can print the Augment tracker or create their own tracker to place the 3D models in space and at scale in real time. Common uses of the technology include product presentations, interactive print campaigns and e-Commerce product visualization. Augment has just released its augmented reality SDK solutions for retail and augmented commerce. The SDK solutions, available for both native mobile app and web integrations, allow companies to embed augmented reality product visualization in their existing eCommerce platforms. == Technology == Augment uses the following 3D technologies: Vuforia Augmented Reality SDK OpenGL == Customer cases == Companies such as Coca-Cola, Siemens, Nokia, Nestle, and Boeing are using Augment's solutions. == History == Augment was first created by Jean-François Chianetta in October 2011. Chianetta later teamed up with Cyril Champier and Mickaël Jordan for further development. The co-founding team was among the 12 startups of Season 3 of French accelerator Le Camping. The team raised one million euros (US$1,300,000) in April 2013 and moved its office to Paris. In March 2016, Augment raised US$3M Series A funding from Salesforce and other investors. In 2013, Augment's first service, Boost Business Catalog, was made available to help businesses catalogue and display their product models. Customers can rotate the images in 3D and view augmented content before deciding what to buy. == Awards == "Best Innovation" at Ecommerce Mag Trophy 2013

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