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  Stereo cameras

  The stereo cameras approach is a method of distilling a noisy video signal into a coherent data set that a computer can begin to process into actionable symbolic objects, or abstractions. Stereo cameras is one of many approaches used in the broader fields of computer vision and machine vision. == Calculation == In this approach, two cameras with a known physical relationship (i.e. a common field of view the cameras can see, and how far apart their focal points sit in physical space) are correlated via software. By finding mappings of common pixel values, and calculating how far apart these common areas reside in pixel space, a rough depth map can be created. This is very similar to how the human brain uses stereoscopic information from the eyes to gain depth cue information, i.e. how far apart any given object in the scene is from the viewer. The camera attributes must be known, focal length and distance apart etc., and a calibration done. Once this is completed, the systems can be used to sense the distances of objects by triangulation. Finding the same singular physical point in the two left and right images is known as the correspondence problem. Correctly locating the point gives the computer the capability to calculate the distance that the robot or camera is from the object. On the BH2 Lunar Rover the cameras use five steps: a bayer array filter, photometric consistency dense matching algorithm, a Laplace of Gaussian (LoG) edge detection algorithm, a stereo matching algorithm and finally uniqueness constraint. == Uses == This type of stereoscopic image processing technique is used in applications such as 3D reconstruction, robotic control and sensing, crowd dynamics monitoring and off-planet terrestrial rovers; for example, in mobile robot navigation, tracking, gesture recognition, targeting, 3D surface visualization, immersive and interactive gaming. Although the Xbox Kinect sensor is also able to create a depth map of an image, it uses an infrared camera for this purpose, and does not use the dual-camera technique. Other approaches to stereoscopic sensing include time of flight sensors and ultrasound.

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  Algorithmic transparency

  Algorithmic transparency is the principle that the factors that influence the decisions made by algorithms should be visible, or transparent, to the people who use, regulate, and are affected by systems that employ those algorithms. Although the phrase was coined in 2016 by Nicholas Diakopoulos and Michael Koliska about the role of algorithms in deciding the content of digital journalism services, the underlying principle dates back to the 1970s and the rise of automated systems for scoring consumer credit. The phrases "algorithmic transparency" and "algorithmic accountability" are sometimes used interchangeably – especially since they were coined by the same people – but they have subtly different meanings. Specifically, "algorithmic transparency" states that the inputs to the algorithm and the algorithm's use itself must be known, but they need not be fair. "Algorithmic accountability" implies that the organizations that use algorithms must be accountable for the decisions made by those algorithms, even though the decisions are being made by a machine, and not by a human being. Current research around algorithmic transparency interested in both societal effects of accessing remote services running algorithms, as well as mathematical and computer science approaches that can be used to achieve algorithmic transparency. In the United States, the Federal Trade Commission's Bureau of Consumer Protection studies how algorithms are used by consumers by conducting its own research on algorithmic transparency and by funding external research. In the European Union, the data protection laws that came into effect in May 2018 include a "right to explanation" of decisions made by algorithms, though it is unclear what this means. Furthermore, the European Union founded The European Center for Algorithmic Transparency (ECAT).

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  VMDS

  VMDS abbreviates the relational database technology called Version Managed Data Store provided by GE Energy as part of its Smallworld technology platform and was designed from the outset to store and analyse the highly complex spatial and topological networks typically used by enterprise utilities such as power distribution and telecommunications. VMDS was originally introduced in 1990 as has been improved and updated over the years. Its current version is 6.0. VMDS has been designed as a spatial database. This gives VMDS a number of distinctive characteristics when compared to conventional attribute only relational databases. == Distributed server processing == VMDS is composed of two parts: a simple, highly scalable data block server called SWMFS (Smallworld Master File Server) and an intelligent client API written in C and Magik. Spatial and attribute data are stored in data blocks that reside in special files called data store files on the server. When the client application requests data it has sufficient intelligence to work out the optimum set of data blocks that are required. This request is then made to SWMFS which returns the data to the client via the network for processing. This approach is particularly efficient and scalable when dealing with spatial and topological data which tends to flow in larger volumes and require more processing then plain attribute data (for example during a map redraw operation). This approach makes VMDS well suited to enterprise deployment that might involve hundreds or even thousands of concurrent clients. == Support for long transactions == Relational databases support short transactions in which changes to data are relatively small and are brief in terms in duration (the maximum period between the start and the end of a transaction is typically a few seconds or less). VMDS supports long transactions in which the volume of data involved in the transaction can be substantial and the duration of the transaction can be significant (days, weeks or even months). These types of transaction are common in advanced network applications used by, for example, power distribution utilities. Due to the time span of a long transaction in this context the amount of change can be significant (not only within the scope of the transaction, but also within the context of the database as a whole). Accordingly, it is likely that the same record might be changed more than once. To cope with this scenario VMDS has inbuilt support for automatically managing such conflicts and allows applications to review changes and accept only those edits that are correct. == Spatial and topological capabilities == As well as conventional relational database features such as attribute querying, join fields, triggers and calculated fields, VMDS has numerous spatial and topological capabilities. This allows spatial data such as points, texts, polylines, polygons and raster data to be stored and analysed. Spatial functions include: find all features within a polygon, calculate the Voronoi polygons of a set of sites and perform a cluster analysis on a set of points. Vector spatial data such as points, polylines and polygons can be given topological attributes that allow complex networks to be modelled. Network analysis engines are provided to answer questions such as find the shortest path between two nodes or how to optimize a delivery route (the travelling salesman problem). A topology engine can be configured with a set of rules that define how topological entities interact with each other when new data is added or existing data edited. == Data abstraction == In VMDS all data is presented to the application as objects. This is different from many relational databases that present the data as rows from a table or query result using say JDBC. VMDS provides a data modelling tool and underlying infrastructure as part of the Smallworld technology platform that allows administrators to associate a table in the database with a Magik exemplar (or class). Magik get and set methods for the Magik exemplar can be automatically generated that expose a table's field (or column). Each VMDS row manifests itself to the application as an instance of a Magik object and is known as an RWO (or real world object). Tables are known as collections in Smallworld parlance. # all_rwos hold all the rwos in the database and is heterogeneous all_rwos << my_application.rwo_set() # valve_collection holds the valve collection valves << all_rwos.select(:collection, {:valve}) number_of_valves << valves.size Queries are built up using predicate objects: # find 'open' valves. open_valves << valves.select(predicate.eq(:operating_status, "open")) number_of_open_valves << open_valves.size _for valve _over open_valves.elements() _loop write(valve.id) _endloop Joins are implemented as methods on the parent RWO. For example, a manager might have several employees who report to him: # get the employee collection. employees << my_application.database.collection(:gis, :employees) # find a manager called 'Steve' and get the first matching element steve << employees.select(predicate.eq(:name, "Steve").and(predicate.eq(:role, "manager")).an_element() # display the names of his direct reports. name is a field (or column) # on the employee collection (or table) _for employee _over steve.direct_reports.elements() _loop write(employee.name) _endloop Performing a transaction: # each key in the hash table corresponds to the name of the field (or column) in # the collection (or table) valve_data << hash_table.new_with( :asset_id, 57648576, :material, "Iron") # get the valve collection directly valve_collection << my_application.database.collection(:gis, :valve) # create an insert transaction to insert a new valve record into the collection a # comment can be provide that describes the transaction transaction << record_transaction.new_insert(valve_collection, valve_data, "Inserted a new valve") transaction.run()

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  AI: When a Robot Writes a Play

  AI: When a Robot Writes a Play (in Czech: AI: Když robot píše hru) is a 2021 experimental theatre play, where 90% of its script was automatically generated by artificial intelligence (the GPT-2 language model). The play is in Czech language, but an English version of the script also exists. == Creation == The play is the first result of the THEaiTRE research project, aiming to commemorate the centenary of the R.U.R. play by Karel Čapek by investigating to what extent artificial intelligence could be used to create theatre play scripts. The script of the play was created using the THEaiTRobot tool, based on the GPT-2 language model. First, the play dramaturge, David Košťák, described the initial setting of each scene in a few sentences, and wrote the first line for each character. Next, THEaiTRobot suggested a continuation of the script, which the dramaturge could use, reject, or use part of it and let the tool generate a new continuation. Another option was to manually insert another line or a scenic remark. The script was generated in English and was automatically translated to Czech by the state-of-the-art CUBBITT machine translation tool. The resulting script was then further post-edited by the dramaturge. The resulting script was made freely available for non-commercial use both in English and in Czech, with marked manually inserted texts and manual edits. The analysis shows that 90% of the English script is automatically generated, with 10% manually written or manually post-edited. In the Czech script, a larger amount of edits were made, but the analysis claims that these additional edits are corrections of errors of the automated translation and stylistic corrections which do not change the meaning of the lines as represented by the English script, but rather bring the Czech script closer to the English one. == Characters == The play contains 9 characters. The Robot appears in all the scenes, while each of the other characters appears in only one scene. Robot – The lead character, a male humanoid robot. Master – An old man, the creator of the Robot. Boy – A schoolboy. Masseuse – A sex worker in a brothel. Stranger – An engineer. Man. Psychologist. Administrator – A female clerk at an employment agency. Actress – A film actress and a model in a robot-like costume. == Plot == The play is composed of 8 scenes. It tells the story of a humanoid robot, who encounters 8 other characters and engages into various typically human situations and activities, related to death, love, sex, violence, etc. The individual scenes are not tightly linked, but there are some linking points, such as the central character of the robot or some repeated and developing themes, such as the robot's search for love. The scenes often contain some absurd turns and it is often hard to find sense in them. It is therefore a very complicated piece interpretationally, requiring the director and the actors to invest a lot of effort and creativity in finding a meaningful interpretation which would not deviate from the script. In the interpretation by Švanda theatre, who premiered the play and who also participated on the creation of the script, the scenes typically contain non-verbally expressed content which can add a lot to the meaning of the scene compared to what is contained in the actual script (as the script only contains the lines said by the characters). === Scene 1: Death === The play opens by the Robot parting with his dying Master. The Master gives the Robot several last lessons and talks with him about death, soul, and love. === Scene 2: Sense of Humour === In the second scene, the Robot meets a sad and angry Boy, who complains that he wants to go to school, that his girlfriend is crazy, that he wants to buy a car, etc. The Robot tries to help the Boy by giving him advice, but the Boy's reactions are quite negative and irritated. The Boy then repeatedly asks the Robot to tell him a joke; the Robot keeps refusing, but ultimately tells the following joke: When you are dead. When your children are dead. When your grandchildren are dead, I will be still alive. === Scene 3: Nightclub === The Robot wants to feel pleasure, so he goes to a "night club" (a brothel), where he meets a "Masseuse" (a prostitute). The Robot is initially "a bit cold", but eventually manages to enjoy the experience and falls in love with the Masseuse. In the Švanda theatre performance, the Robot and the Masseuse seem to have a sort of virtual sex without touching each other, reminiscent of the sex scene in Demolition Man. === Scene 4: Fear of the Dark === It is the night. The Robot is standing under a lamp, unable to move away from the light as he finds that he is afraid of the dark. He meets a Stranger, an engineer who tells him that robots don't have feelings and that people cannot be trusted, and keeps hurting him. In the Švanda theatre performance, the Man repeatedly zaps the Robot with some kind of electric pulse. === Scene 5: Killer Robot === A Man approaches the Robot and repeatedly asks him to kill him. Instead, the Robot sticks a finger into the Man's anus, which leads to an argument between the Man and the Robot. === Scene 6: Burn Out === The Robot meets a Psychologist, who keeps asking him lots of questions regarding his life, burnout feeling, love, relationships, and emotions. They also talk about the Robot using a device called emotion machine which helps him to get rid of stress. === Scene 7: Search for Job === The Robot comes to an employment agency. He meets an Administrator and asks her to help him find a job. He expresses the wish to become an actor, and talks about his experience as a clown. He reveals his name to be Troy McClure, which is a character from The Simpsons who is an actor. In the Švanda theatre performance, the Administrator starts to seduce the Robot once his name is revealed, which he keeps ignoring; the Administrator then becomes irritated. === Scene 8: Love at First Sight === The Robot meets a human Actress in a robotic costume and falls in love with her immediately. The Actress is first reluctant, but the Robot manages to seduce her and she also falls in love with him. The Robot tells her about a binary world, in which he lives and where he will also take her. Ultimately, the Actress agrees, and the whole play concludes by the Robot and the Actress promising each to other to always be together. In the Švanda theatre performance, the Robot does not have a physical body in this scene, we can only hear his voice and see a pulsating light (based on the line in the script where the Robot says: "I have no body. So I don't need to wear clothes. You can't see me, you only hear me."), and the Actress eventually also agrees to lose her physical body so that she can be with the Robot forever. == Theatrical performances == The play premiered on 26 February 2021 in Švanda Theatre in Prague, Czech Republic, directed by Daniel Hrbek. Due to the COVID-19 pandemic, the play was not played in front of a live audience, but it was broadcast online, in Czech language with English subtitles. The play was followed by a panel discussion by the project members and experts on artificial intelligence. The premiere was viewed by 13,498 spectators worldwide. A short trailer of the premiere is available on YouTube. In 2021, after the opening of the theatres in the Czech Republic to spectators, the play can be viewed at Švanda Theatre. The performance takes approximately 60 minutes, and is followed by a discussion of the creators with the audience. The derniere is planned for 4 February 2023. == Reception == The play received a number of reviews, both in its country of origin as well as internationally. It is praised as first of its kind, although some reviewers note the similarity to previous works, such as the musical Beyond the Fence, the play Lifestyle of the Richard and Family, or the short movie Sunspring; however, these works used less advanced technology, and either were very short (Sunspring) or necessitated a larger amount of human interventions. The reviewers note that the script is far from perfect, with many inconsistencies and nonsensical parts, and conclude that the technology is definitely not yet ready to replace human authors; however, some find some parts of the script frighteningly human-like. The amount of human intervention is a somewhat controversial topic, with some reviewers finding the human influence too large (especially in interpreting the script and putting the play on scene), while others feel that a greater amount of human intervention would have been favorable as this could greatly improve the quality of the play. The reviews also frequently comment on the amount of sex, violence and strong language in the play; this can be attributed to the method used for creating the script, where the GPT-2 language model reflects topics and language common in the human-written articles on the internet that were used to train the model. Furthermore, some r

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  Digital image correlation and tracking

  Digital image correlation and tracking is an optical method that employs tracking and image registration techniques for accurate 2D and 3D measurements of changes in 2D images or 3D volumes. This method is often used to measure full-field displacement and strains, and it is widely applied in many areas of science and engineering. Compared to strain gauges and extensometers, digital image correlation methods provide finer details about deformation, due to the ability to provide both local and average data. == Overview == Digital image correlation (DIC) techniques have been increasing in popularity, especially in micro- and nano-scale mechanical testing applications due to their relative ease of implementation and use. Advances in computer technology and digital cameras have been the enabling technologies for this method and while white-light optics has been the predominant approach, DIC can be and has been extended to almost any imaging technology. The concept of using cross-correlation to measure shifts in datasets has been known for a long time, and it has been applied to digital images since at least the early 1970s. The present-day applications are almost innumerable, including image analysis, image compression, velocimetry, and strain estimation. Much early work in DIC in the field of mechanics was led by researchers at the University of South Carolina in the early 1980s and has been optimized and improved in recent years. Commonly, DIC relies on finding the maximum of the correlation array between pixel intensity array subsets on two or more corresponding images, which gives the integer translational shift between them. It is also possible to estimate shifts to a finer resolution than the resolution of the original images, which is often called "sub-pixel" registration because the measured shift is smaller than an integer pixel unit. For sub-pixel interpolation of the shift, other methods do not simply maximize the correlation coefficient. An iterative approach can also be used to maximize the interpolated correlation coefficient by using non-linear optimization techniques. The non-linear optimization approach tends to be conceptually simpler and can handle large deformations more accurately, but as with most nonlinear optimization techniques, it is slower. The two-dimensional discrete cross correlation r i j {\displaystyle r_{ij}} can be defined in several ways, one possibility being: r i j = ∑ m ∑ n [ f ( m + i , n + j ) − f ¯ ] [ g ( m , n ) − g ¯ ] ∑ m ∑ n [ f ( m , n ) − f ¯ ] 2 ∑ m ∑ n [ g ( m , n ) − g ¯ ] 2 . {\displaystyle r_{ij}={\frac {\sum _{m}\sum _{n}[f(m+i,n+j)-{\bar {f}}][g(m,n)-{\bar {g}}]}{\sqrt {\sum _{m}\sum _{n}{[f(m,n)-{\bar {f}}]^{2}}\sum _{m}\sum _{n}{[g(m,n)-{\bar {g}}]^{2}}}}}.} Here f(m, n) is the pixel intensity or the gray-scale value at a point (m, n) in the original image, g(m, n) is the gray-scale value at a point (m, n) in the translated image, f ¯ {\displaystyle {\bar {f}}} and g ¯ {\displaystyle {\bar {g}}} are mean values of the intensity matrices f and g respectively. However, in practical applications, the correlation array is usually computed using Fourier-transform methods, since the fast Fourier transform is a much faster method than directly computing the correlation. F = F { f } , G = F { g } . {\displaystyle \mathbf {F} ={\mathcal {F}}\{f\},\quad \mathbf {G} ={\mathcal {F}}\{g\}.} Then taking the complex conjugate of the second result and multiplying the Fourier transforms together elementwise, we obtain the Fourier transform of the correlogram, R {\displaystyle \ R} : R = F ∘ G ∗ , {\displaystyle R=\mathbf {F} \circ \mathbf {G} ^{},} where ∘ {\displaystyle \circ } is the Hadamard product (entry-wise product). It is also fairly common to normalize the magnitudes to unity at this point, which results in a variation called phase correlation. Then the cross-correlation is obtained by applying the inverse Fourier transform: r = F − 1 { R } . {\displaystyle \ r={\mathcal {F}}^{-1}\{R\}.} At this point, the coordinates of the maximum of r i j {\displaystyle r_{ij}} give the integer shift: ( Δ x , Δ y ) = arg ⁡ max ( i , j ) { r } . {\displaystyle (\Delta x,\Delta y)=\arg \max _{(i,j)}\{r\}.} == Deformation mapping == For deformation mapping, the mapping function that relates the images can be derived from comparing a set of subwindow pairs over the whole images. (Figure 1). The coordinates or grid points (xi, yj) and (xi, yj) are related by the translations that occur between the two images. If the deformation is small and perpendicular to the optical axis of the camera, then the relation between (xi, yj) and (xi, yj) can be approximated by a 2D affine transformation such as: x ∗ = x + u + ∂ u ∂ x Δ x + ∂ u ∂ y Δ y , {\displaystyle x^{}=x+u+{\frac {\partial u}{\partial x}}\Delta x+{\frac {\partial u}{\partial y}}\Delta y,} y ∗ = y + v + ∂ v ∂ x Δ x + ∂ v ∂ y Δ y . {\displaystyle y^{}=y+v+{\frac {\partial v}{\partial x}}\Delta x+{\frac {\partial v}{\partial y}}\Delta y.} Here u and v are translations of the center of the sub-image in the X and Y directions respectively. The distances from the center of the sub-image to the point (x, y) are denoted by Δ x {\displaystyle \Delta x} and Δ y {\displaystyle \Delta y} . Thus, the correlation coefficient rij is a function of displacement components (u, v) and displacement gradients ∂ u ∂ x , ∂ u ∂ y , ∂ v ∂ x , ∂ v ∂ y . {\displaystyle {\frac {\partial u}{\partial x}},{\frac {\partial u}{\partial y}},{\frac {\partial v}{\partial x}},{\frac {\partial v}{\partial y}}.} DIC has proven to be very effective at mapping deformation in macroscopic mechanical testing, where the application of specular markers (e.g. paint, toner powder) or surface finishes from machining and polishing provide the needed contrast to correlate images well. However, these methods for applying surface contrast do not extend to the application of free-standing thin films for several reasons. First, vapor deposition at normal temperatures on semiconductor grade substrates results in mirror-finish quality films with RMS roughnesses that are typically on the order of several nanometers. No subsequent polishing or finishing steps are required, and unless electron imaging techniques are employed that can resolve microstructural features, the films do not possess enough useful surface contrast to adequately correlate images. Typically this challenge can be circumvented by applying paint that results in a random speckle pattern on the surface, although the large and turbulent forces resulting from either spraying or applying paint to the surface of a free-standing thin film are too high and would break the specimens. In addition, the sizes of individual paint particles are on the order of μms, while the film thickness is only several hundred nanometers, which would be analogous to supporting a large boulder on a thin sheet of paper. == Digital volume correlation == Digital Volume Correlation (DVC, and sometimes called Volumetric-DIC) extends the 2D-DIC algorithms into three dimensions to calculate the full-field 3D deformation from a pair of 3D images. This technique is distinct from 3D-DIC, which only calculates the 3D deformation of an exterior surface using conventional optical images. The DVC algorithm is able to track full-field displacement information in the form of voxels instead of pixels. The theory is similar to above except that another dimension is added: the z-dimension. The displacement is calculated from the correlation of 3D subsets of the reference and deformed volumetric images, which is analogous to the correlation of 2D subsets described above. DVC can be performed using volumetric image datasets. These images can be obtained using confocal microscopy, X-ray computed tomography, Magnetic Resonance Imaging or other techniques. Similar to the other DIC techniques, the images must exhibit a distinct, high-contrast 3D "speckle pattern" to ensure accurate displacement measurement. DVC was first developed in 1999 to study the deformation of trabecular bone using X-ray computed tomography images. Since then, applications of DVC have grown to include granular materials, metals, foams, composites and biological materials. To date it has been used with images acquired by MRI imaging, Computer Tomography (CT), micro-CT, confocal microscopy, and lightsheet microscopy. DVC is currently considered to be ideal in the research world for 3D quantification of local displacements, strains, and stress in biological specimens. It is preferred because of the non-invasiveness of the method over traditional experimental methods. Two of the key challenges are improving the speed and reliability of the DVC measurement. The 3D imaging techniques produce noisier images than conventional 2D optical images, which reduces the quality of the displacement measurement. Computational speed is restricted by the file sizes of 3D images, which are significantly larger than 2D images. For example, an

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  Interviewer effect

  The interviewer effect (also called interviewer variance or interviewer error) is the distortion of response to an interviewer-administered data collection effort which results from differential reactions to the social style and personality of interviewers or to their presentation of particular questions. The use of fixed-wording questions is one method of reducing interviewer bias. Anthropological research and case-studies are also affected by the problem, which is exacerbated by the self-fulfilling prophecy, when the researcher is also the interviewer it is also any effect on data gathered from interviewing people that is caused by the behavior or characteristics (real or perceived) of the interviewer. Interviewer effects can also be associated with the characteristics of the interviewer, such as race. Whether black respondents are interviewed by white interviewers or black interviewers has a strong impact on their responses to both attitude questions and behavioral ones. In the latter case, for example, if black respondents are interviewed by black interviewers in pre-election surveys, they are more likely to actually vote in the upcoming election than if they are interviewed by white interviewers. Furthermore, the race of the interviewer can also affect answers to factual questions that might take the form of a test of how informed the respondent is. Black respondents in a survey of political knowledge, for example, get fewer correct answers to factual questions about politics when interviewed by white interviewers than when interviewed by black interviewers. This is consistent with the research literature on stereotype threat, which finds diminished test performance of potentially stigmatised groups when the interviewer or test supervisor is from a perceived higher status group. Interviewer effects can be mitigated somewhat by randomly assigning subjects to different interviewers, or by using tools such as computer-assisted telephone interviewing (CATI).

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  Basic Formal Ontology

  Basic Formal Ontology (BFO) is a top-level ontology developed by Barry Smith and colleagues to promote interoperability among domain ontologies. The BFO methodology accomplishes this through a process of downward population. BFO is a formal ontology. The structure of BFO is based on a division of entities into two disjoint categories of continuant and occurrent, the former consists of objects and spatial regions, the latter contains processes conceived as extended through (or spanning) time. BFO thereby seeks to consolidate both time and space within a single framework A guide to building BFO-conformant domain ontologies was published by MIT Press in 2015. In 2021, the standard ISO/IEC 21838-2:2021 Information Technology — Top-level Ontologies (TLO) — Part 2: Basic Formal Ontology (BFO) was published by the Joint Technical Committee of the International Standards Organization and the International Electrotechnical Commission. ISO/IEC 21838 is a multi-part standard. Part 1 of the standard specifies the requirements that must be met if an ontology is to be classified as a top-level ontology by the standard. == History == BFO arose against the background of research in ontologies in the domain of geospatial information science by David Mark, Pierre Grenon, Achille Varzi and others, with a special role for the study of vagueness and of the ways sharp boundaries in the geospatial and other domains are created by fiat. BFO has passed through four major releases. 2001: release of BFO 1 2007: release of BFO 1.1 2015: release of BFO 2.0 2020: release of BFO 2020 2021: release of BFO 2020 as an ISO/IEC Standard The current revision was released in 2020, and this forms the basis of the standard ISO/IEC 21838-2, which was released by the Joint Committee of the International Standards Organization and International Electrotechnical Commission in 2021. == Applications == BFO has been adopted as a foundational ontology by over 650 ontology projects, principally in the areas of biomedical ontology, security and defense (intelligence) ontology, and industry ontologies. Example applications of BFO can be seen in the Ontology for Biomedical Investigations (OBI). In January 2024, BFO and the Common Core Ontologies (CCO), a suite of BFO-extension ontologies, were adopted as the "baseline standards for formal DOD and IC ontology" development work in the DOD and Intelligence Community. A memorandum to this effect was signed by the chief data officers of the DOD, the Office of the Director of National Intelligence and the Chief Digital and Artificial Intelligence Office.

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  Knowledge organization system

  Knowledge organization system (KOS), concept system, or concept scheme is the generic term used in knowledge organization (KO) for the selection of concepts with an indication of selected semantic relations. Despite their differences in type, coverage, and application, all KOS aim to support the organization of knowledge and information to facilitate their management and retrieval. KOS vary in complexity from simple sorted lists to complex relational networks. They represent both structural and functional features, and serve to eliminate ambiguity, control synonyms, establish relationships, and present properties. From their origins in library and information science (LIS), KOS have been applied to other domains and disciplines within science and industry, although scholarly research and debate remain primarily within the KO field. Challenges of KOS include ambiguity of terminology, repercussions of biased systems, and potential obsolescence. KOS can be expressed in RDF and RDFS as per the Simple Knowledge Organization System (SKOS) recommendation by W3C, which aims to enable the sharing and linking of KOS via the Web. One of the largest collections of KOS is the BARTOC registry. == Types == While different schema of KOS have been proposed, most are generally arranged in terms of the complexity of their construction and maintenance. Some scholars argue that organizing KOS on a spectrum oversimplifies the shared characteristics among them, and may even result in a non-ideal structure being chosen. The following types are not exhaustive, and are often not mutually-exclusive in practice. === Term lists === Term lists are the least structured form of KOS. They include lists, glossaries, dictionaries, and synonym rings. Authority files and gazetteers may also be considered term lists, however other scholars categorize them and directories as "metadata-like models". Examples include the Union List of Artist Names name authority file and the GeoNames gazetteer. === Categorization and classification === KOS that emphasize specific (and often hierarchical) structures include subject headings, taxonomies, categorization schema, and classification schema & systems. Despite inconsistent use of the terms "categorization" and "classification" in some literature, categorization is generally loosely-assembled grouping schema and may include attributes that are not mutually exclusive (or having fuzzy boundaries), while classification is related to the arrangement of non-overlapping and mutually-exclusive classes. Classification schema may be universal (such as Dewey Decimal Classification and Information Coding Classification) or domain-specific (such as the National Library of Medicine Classification). === Relationship models === The types of KOS with greatest complexity and which utilize connections between concepts include thesauri, semantic networks, and ontologies. One of the most prominent examples of a semantic network is WordNet. === Others === Certain structures proposed to be considered types of KOS—but are not consistently included in schema—include folksonomies, topic maps, web directory structures, publication organization systems, and bibliometric maps. Some KOS organize other KOS themselves—for instance, PeriodO is a gazetteer of periodization categories. == Applications == Some early KOS were developed as a support system for abstracting and indexing services to be used by specially-trained searchers. With the growth of information digitization, usability became increasingly accessible, and more complex structures were developed. Prominent examples of KOS outside of LIS include organism taxonomy in biology, the periodic table of elements in chemistry, SIC and NAICS classification systems for industry & business, and AGROVOC agricultural controlled vocabulary. == Challenges == The study and design of KOS is an ongoing topic of discussion among KO scholars. === Terminology === [There is] a serious lack of vocabulary control in the literature on controlled vocabulary. Inconsistency of terminology within the study of KOS is a common issue. For instance, "ontology" is used for both a specific type of KOS as well as a generic term for any KOS. The terms "taxonomy", "classification", and "categorization" are also sometimes used interchangeably. === Bias === As knowledge can be historically and culturally biased, scholars have also discussed how KOS themselves can perpetuate harmful practices or stereotypes. For example, a number of concerns and criticisms about the classification of mental disorders in the Diagnostic and Statistical Manual of Mental Disorders have been raised, contributing to ongoing revisions. Ethical and intentional design approaches have been proposed for multi-perspective KOS in efforts to mitigate bias and other harmful practices. === Obsolescence === The possible obsolescence of the thesaurus and other simpler KOS has been the topic of debate, especially in the face of increasingly complex ontologies, the growing usage of "Google-like retrieval systems", and the move of KO theory and research away from LIS and toward computer science. Supporters of thesauri argue its continued usefulness for metadata enrichment, vocabulary mapping, and web services, as well as its usage in specific domains such as corporate intranets and digital image libraries.

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  Matchbox Educable Noughts and Crosses Engine

  The Matchbox Educable Noughts and Crosses Engine (sometimes called the Machine Educable Noughts and Crosses Engine or MENACE) was a mechanical computer made from 304 matchboxes designed and built by artificial intelligence researcher Donald Michie and his colleague Roger Chambers, in 1961. It was designed to play human opponents in games of noughts and crosses (tic-tac-toe) by returning a move for any given state of play and to refine its strategy through reinforcement learning. This was one of the first types of artificial intelligence. Michie and Chambers did not have immediate access to a computer; they worked around this by building the engine out of matchboxes. The matchboxes they used each represented a single possible layout of a noughts and crosses grid. When the computer first played, it would randomly choose moves based on the current layout. As it played more games, through a reinforcement loop, it disqualified strategies that led to losing games, and supplemented strategies that led to winning games. Michie held a tournament against MENACE in 1961, wherein he experimented with different openings. Following MENACE's maiden tournament against Michie, it demonstrated successful artificial intelligence in its strategy. Michie's essays on MENACE's weight initialisation and the BOXES algorithm used by MENACE became popular in the field of computer science research. Michie was honoured for his contribution to machine learning research, and was twice commissioned to program a MENACE simulation on an actual computer. == Origin == Donald Michie (1923–2007) had been on the team decrypting the German Tunny Code during World War II. Fifteen years later, he wanted to further display his mathematical and computational prowess with an early convolutional neural network. Since computer equipment was not obtainable for such uses, and Michie did not have a computer readily available, he decided to display and demonstrate artificial intelligence in a more esoteric format and constructed a functional mechanical computer out of matchboxes and beads. MENACE was constructed as the result of a bet with a computer science colleague who postulated that such a machine was impossible. Michie undertook the task of collecting and defining each matchbox as a "fun project", later turned into a demonstration tool. Michie completed his essay on MENACE in 1963, "Experiments on the mechanization of game-learning", as well as his essay on the BOXES Algorithm, written with R. A. Chambers and had built up an AI research unit in Hope Park Square, Edinburgh, Scotland. MENACE learned by playing successive matches of noughts and crosses. Each time, it would eliminate a losing strategy by the human player confiscating the beads that corresponded to each move. It reinforced winning strategies by making the moves more likely, by supplying extra beads. This was one of the earliest versions of the Reinforcement Loop, the schematic algorithm of looping the algorithm, dropping unsuccessful strategies until only the winning ones remain. This model starts as completely random, and gradually learns. == Composition == MENACE was made from 304 matchboxes glued together in an arrangement similar to a chest of drawers. Each box had a code number, which was keyed into a chart. This chart had drawings of tic-tac-toe game grids with various configurations of X, O, and empty squares, corresponding to all possible permutations a game could go through as it progressed. After removing duplicate arrangements (ones that were simply rotations or mirror images of other configurations), MENACE used 304 permutations in its chart and thus that many matchboxes. Each individual matchbox tray contained a collection of coloured beads. Each colour represented a move on a square on the game grid, and so matchboxes with arrangements where positions on the grid were already taken would not have beads for that position. Additionally, at the front of the tray were two extra pieces of card in a "V" shape, the point of the "V" pointing at the front of the matchbox. Michie and his artificial intelligence team called MENACE's algorithm "Boxes", after the apparatus used for the machine. The first stage "Boxes" operated in five phases, each setting a definition and a precedent for the rules of the algorithm in relation to the game. == Operation == MENACE played first, as O, since all matchboxes represented permutations only relevant to the "X" player. To retrieve MENACE's choice of move, the opponent or operator located the matchbox that matched the current game state, or a rotation or mirror image of it. For example, at the start of a game, this would be the matchbox for an empty grid. The tray would be removed and lightly shaken so as to move the beads around. Then, the bead that had rolled into the point of the "V" shape at the front of the tray was the move MENACE had chosen to make. Its colour was then used as the position to play on, and, after accounting for any rotations or flips needed based on the chosen matchbox configuration's relation to the current grid, the O would be placed on that square. Then the player performed their move, the new state was located, a new move selected, and so on, until the game was finished. When the game had finished, the human player observed the game's outcome. As a game was played, each matchbox that was used for MENACE's turn had its tray returned to it ajar, and the bead used kept aside, so that MENACE's choice of moves and the game states they belonged to were recorded. Michie described his reinforcement system with "reward" and "punishment". Once the game was finished, if MENACE had won, it would then receive a "reward" for its victory. The removed beads showed the sequence of the winning moves. These were returned to their respective trays, easily identifiable since they were slightly open, as well as three bonus beads of the same colour. In this way, in future games MENACE would become more likely to repeat those winning moves, reinforcing winning strategies. If it lost, the removed beads were not returned, "punishing" MENACE, and meaning that in future it would be less likely, and eventually incapable if that colour of bead became absent, to repeat the moves that cause a loss. If the game was a draw, one additional bead was added to each box. == Results in practice == === Optimal strategy === Noughts and crosses has a well-known optimal strategy. A player must place their symbol in a way that blocks the other player from achieving any rows while simultaneously making a row themself. However, if both players use this strategy, the game always ends in a draw. If the human player is familiar with the optimal strategy, and MENACE can quickly learn it, then the games will eventually only end in draws. The likelihood of the computer winning increases quickly when the computer plays against a random-playing opponent. When playing against a player using optimal strategy, the odds of a draw grow to 100%. In Donald Michie's official tournament against MENACE in 1961 he used optimal strategy, and he and the computer began to draw consistently after twenty games. Michie's tournament had the following milestones: Michie began by consistently opening with "Variant 0", the middle square. At 15 games, MENACE abandoned all non-corner openings. At just over 20, Michie switched to consistently using "Variant 1", the bottom-right square. At 60, he returned to Variant 0. As he neared 80 games, he moved to "Variant 2", the top-middle. At 110, he switched to "Variant 3", the top right. At 135, he switched to "Variant 4", middle-right. At 190, he returned to Variant 1, and at 210, he returned to Variant 0. The trend in changes of beads in the "2" boxes runs: === Correlation === Depending on the strategy employed by the human player, MENACE produces a different trend on scatter graphs of wins. Using a random turn from the human player results in an almost-perfect positive trend. Playing the optimal strategy returns a slightly slower increase. The reinforcement does not create a perfect standard of wins; the algorithm will draw random uncertain conclusions each time. After the j-th round, the correlation of near-perfect play runs: 1 − D D − D ( j + 2 ) ∑ i = 0 j D ( j i + 1 ) V i {\displaystyle {1-D \over D-D^{(j+2)}}\sum _{i=0}^{j}D^{(ji+1)}V_{i}} Where Vi is the outcome (+1 is win, 0 is draw and -1 is loss) and D is the decay factor (average of past values of wins and losses). Below, Mn is the multiplier for the n-th round of the game. == Legacy == Donald Michie's MENACE proved that a computer could learn from failure and success to become good at a task. It used what would become core principles within the field of machine learning before they had been properly theorised. For example, the combination of how MENACE starts with equal numbers of types of beads in each matchbox, and how these are then selected at random, creates a learning behaviour similar to weight initialisation

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  Ballin' (Mustard and Roddy Ricch song)

  "Ballin'" is a song by American record producer Mustard featuring American rapper Roddy Ricch. The track was released as the third single from Mustard's third studio album, Perfect Ten, on August 20, 2019, though it was available as early as the end of June 2019. The song and its accompanying video received acclaim from music critics, with Complex magazine naming it the Best Song of 2019. It peaked at number 11 on the Billboard Hot 100, marking Mustard's highest charting song in the US. The song received a nomination for Best Rap/Sung Performance at the 2020 Grammy Awards, making it the first time Ricch has been nominated for a Grammy and Mustard's first nomination as an artist. Later in 2019, the two released another collaboration, "High Fashion". == Background == Roddy Ricch revealed in an interview that the song was composed in late 2018, but Mustard wanted to keep it for his album, Perfect Ten, which he was still working on. The song was later included on the album, released in June 2019. Ricch said he knew the song was "hard enough" the first time he heard it, while Mustard proclaimed "this is going to be the one". == Composition and lyrics == "Ballin'" has a "rags to riches" theme. In its intro, the song samples girl group 702's 1997 top ten hit "Get It Together". The song features a "smooth, bouncy beat", with Roddy Ricch rapping about his come-up and ascent in the music industry. In the first verse, Ricch salutes fellow Los Angeles rapper, the late Nipsey Hussle and his girlfriend Lauren London: "I run these racks up with my queen like London and Nip". The line simultaneously references Ricch and Hussle's collaboration "Racks in the Middle", released earlier in 2019 as Hussle's last single before his death. Billboard's Heran Mamo noted that "in typical Hussle fashion", Roddy Ricch "narrates his life's hardships before delving into his newfound treasures". == Critical reception == The song was widely acclaimed by music critics. Charles Holmes of Rolling Stone magazine called it "a song of the year contender", while Complex and Billboard both named it as a "standout track" on the album. Pitchfork magazine included "Ballin'" in its list of The Best Rap Songs of 2019 and called it "the centerpiece of Mustard's underappreciated album Perfect Ten". Complex later named it the Best Song of 2019, calling it "a feel-good anthem so infectious you'll need antibiotics just to stop running it back". == Chart performance == "Ballin'" was at the time Mustard's highest charting song in the US, peaking at number 11 on the Billboard Hot 100. It was also Roddy Ricch's highest charting song, until he surpassed it a week later, with the release of his album track "The Box", which eventually reached number 1 on the chart. It reached number one on Billboard's Rhythmic Songs chart, becoming Mustard's second number one following "Pure Water" and Ricch's first number one. The song also topped the Rap Airplay chart. == Music video == The music video for the track was teased by Mustard on his Instagram page on September 29, 2019. The music video for the track was eventually released on October 2, 2019 to critical acclaim. The video features Mustard and Roddy Ricch driving a Lamborghini Aventador in Los Angeles, where they both are from, playing poker in a casino, and going to a strip club. This is contrasted with scenes in which Mustard and Roddy Ricch as children play cards with Monopoly money and playing with miniature toy Lamborghinis together, aspiring for wealth and luxury, representing how they went from "rags to riches". The video also pays tribute to rapper Nipsey Hussle, who had been killed a few months ago. == Live performances == On December 16, 2019, Roddy Ricch performed the song live, alongside an 8-piece orchestra, at Peppermint Club in Los Angeles for Audiomack's Trap Symphony series. Along with Mustard, he performed it at The Pop Out: Ken & Friends on June 19, 2024. == Other uses == The song can be heard on "Elyse's Skit", track 10 off Roddy Ricch's debut album Please Excuse Me for Being Antisocial. In the skit, which is an actual voicenote recording, the mother of a woman named Elyse sends her daughter a voicenote, with "Ballin'" playing in the background, while the mother proceeds to say "I can't get that damn song out my head", jokingly calling it "inappropriate music". Ricch called the skit "something natural". In 2023, AI covers of the song using models based on pop culture characters and real-world celebrities gained viral popularity. == Awards and nominations == 62nd Annual Grammy Awards == Charts == == Certifications ==

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  Vinelink.com

  Vinelink.com (VINE) is a national website in the United States that allows victims of crime, and the general public, to track the movements of prisoners held by the various states and territories. The first four letters in the websites name, "vine", are an acronym for "Victim Information and Notification Everyday". Vinelink.com displays information, based on the information provided by the various states' departments of correction and other law enforcement agencies, on whether an inmate is in custody, has been released, has been granted parole or probation, or has escaped from custody. In some cases, the website will reveal whether a defendant has been granted parole or probation, but then subsequently violated conditions of their release and become a fugitive. Information provided on Vinelink.com represents metadata, in that the website lists a defendant's custody status; but does not list what the individual is charged with, their criminal history, or the amount of their bail, if applicable. Internet users accessing the Vinelink.com website choose from a map of states and provinces within the United States where they wish to perform a search for an inmate. The user may then search for an individual using the inmate's or parolee's name, or by entering the inmate's specific department of corrections inmate number, if known. When the inmate's custody status changes, users who have registered to be notified of such changes will be notified via email, phone or both. This information is currently released upon request, without the website requesting reasons for the users search or requiring payment, as public records available to the general public. Inmate information is available for most states, and for Puerto Rico, on the website. The states of Arizona, Georgia, Massachusetts, Montana, New Hampshire and West Virginia provide very limited information on the site. In March of 2025, The Maine Sheriff's Association entered into a contract to pilot the use of the VINE system in three counties in the state as well as a regional jail, therefore making South Dakota the only state that does not participate in the VINE system to any degree. The website does not provide data on prisoners detained by the Federal Bureau of Prisons which has its own inmate locator web site nor for inmates of the U.S. military prisons.

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  Uncertain database

  An uncertain database is a kind of database studied in database theory. The goal of uncertain databases is to manage information on which there is some uncertainty. Uncertain databases make it possible to explicitly represent and manage uncertainty on the data, usually in a succinct way. == Formal definition == At the basis of uncertain databases is the notion of possible world. Specifically, a possible world of an uncertain database is a (certain) database which is one of the possible realizations of the uncertain database. A given uncertain database typically has more than one, and potentially infinitely many, possible worlds. A formalism to represent uncertain databases then explains how to succinctly represent a set of possible worlds into one uncertain database. == Types of uncertain databases == Uncertain database models differ in how they represent and quantify these possible worlds: Incomplete databases are a compact representation of the set of possible worlds – the use of NULL in SQL, arguably the most commonplace instantiation of uncertain databases, is an example of incomplete database model. Probabilistic databases are a compact representation of a probability distribution over the set of possible worlds. Fuzzy databases are a compact representation of a fuzzy set of the possible worlds. Though mostly studied in the relational setting, uncertain database models can also be defined in other relational models such as graph databases or XML databases. === Incomplete database === The most common database model is the relational model. Multiple incomplete database models have been defined over the relational model, that form extensions to the relational algebra. These have been called Imieliński–Lipski algebras: Relations with NULL values, also called Codd tables c-tables v-tables === Example === The following table is a relation of an incomplete database, described in the formalism of NULL values: There are infinitely many possible worlds for this incomplete database, obtained by replacing the "NULL" values with concrete values. For instance, the following relation is a possible world:

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  Joseph Stanislaus Ostoja-Kotkowski

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

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  Sieve of Eratosthenes

  In mathematics, the sieve of Eratosthenes is an ancient algorithm for finding all prime numbers up to any given limit. It does so by iteratively marking as composite (i.e., not prime) the multiples of each prime, starting with the first prime number, 2. The multiples of a given prime are generated as a sequence of numbers starting from that prime, with constant difference between them that is equal to that prime. This is the sieve's key distinction from using trial division to sequentially test each candidate number for divisibility by each prime. Once all the multiples of each discovered prime have been marked as composites, the remaining unmarked numbers are primes. The earliest known reference to the sieve (Ancient Greek: κόσκινον Ἐρατοσθένους, kóskinon Eratosthénous) is in Nicomachus of Gerasa's Introduction to Arithmetic, an early 2nd-century CE book which attributes it to Eratosthenes of Cyrene, a 3rd-century BCE Greek mathematician, though describing the sieving by odd numbers instead of by primes. One of a number of prime number sieves, it is one of the most efficient ways to find all of the smaller primes. It may be used to find primes in arithmetic progressions. == Overview == A prime number is a natural number that has exactly two distinct natural number divisors: the number 1 and itself. To find all the prime numbers less than or equal to a given integer n by Eratosthenes's method: Create a list of consecutive integers from 2 through n: (2, 3, 4, ..., n). Initially, let p equal 2, the smallest prime number. Enumerate the multiples of p by counting in increments of p from 2p to n, and mark them in the list (these will be 2p, 3p, 4p, ...; the p itself should not be marked). Find the smallest number in the list greater than p that is not marked. If there was no such number, stop. Otherwise, let p now equal this new number (which is the next prime), and repeat from step 3. When the algorithm terminates, the numbers remaining not marked in the list are all the primes below n. The main idea here is that every value given to p will be prime, because if it were composite it would be marked as a multiple of some other, smaller prime. Note that some of the numbers may be marked more than once (e.g., 15 will be marked both for 3 and 5). The key property of the sieve is that only additions are needed, no multiplications or divisions are used. As a refinement, it is sufficient to mark the numbers in step 3 starting from p2, as all the smaller multiples of p will have already been marked at that point. This means that the algorithm is allowed to terminate in step 4 when p2 is greater than n. Another refinement is to initially list odd numbers only, (3, 5, ..., n), and count in increments of 2p in step 3, thus marking only odd multiples of p. This actually appears in the original algorithm. This can be generalized with wheel factorization, forming the initial list only from numbers coprime with the first few primes and not just from odds (i.e., numbers coprime with 2), and counting in the correspondingly adjusted increments so that only such multiples of p are generated that are coprime with those small primes, in the first place. === Example === To find all the prime numbers less than or equal to 30, proceed as follows. First, generate a list of natural numbers from 2 to 30: 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 The first number in the list is 2; cross out every 2nd number in the list after 2 by counting up from 2 in increments of 2 (these will be all the multiples of 2 in the list): 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 The next number in the list after 2 is 3; cross out every 3rd number in the list after 3 by counting up from 3 in increments of 3 (these will be all the multiples of 3 in the list): 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 The next number not yet crossed out in the list after 3 is 5; cross out every 5th number in the list after 5 by counting up from 5 in increments of 5 (i.e. all the multiples of 5): 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 The next number not yet crossed out in the list after 5 is 7; the next step would be to cross out every 7th number in the list after 7, but they are all already crossed out at this point, as these numbers (14, 21, 28) are also multiples of smaller primes because 7 × 7 is greater than 30. The numbers not crossed out at this point in the list are all the prime numbers below 30: 2 3 5 7 11 13 17 19 23 29 == Algorithm and variants == === Pseudocode === The sieve of Eratosthenes can be expressed in pseudocode, as follows: algorithm Sieve of Eratosthenes is input: an integer n > 1. output: all prime numbers from 2 through n. let A be an array of Boolean values, indexed by integers 2 to n, initially all set to true. for i = 2, 3, 4, ..., not exceeding √n do if A[i] is true for j = i2, i2+i, i2+2i, i2+3i, ..., not exceeding n do set A[j] := false return all i such that A[i] is true. This algorithm produces all primes not greater than n. It includes a common optimization, which is to start enumerating the multiples of each prime i from i2. The time complexity of this algorithm is O(n log log n), provided the array update is an O(1) operation, as is usually the case. === Segmented sieve === As Sorenson notes, the problem with the sieve of Eratosthenes is not the number of operations it performs but rather its memory requirements. For large n, the range of primes may not fit in memory; worse, even for moderate n, its cache use is highly suboptimal. The algorithm walks through the entire array A, exhibiting almost no locality of reference. A solution to these problems is offered by segmented sieves, where only portions of the range are sieved at a time. These have been known since the 1970s, and work as follows: Divide the range 2 through n into segments of some size Δ ≥ √n. Find the primes in the first (i.e. the lowest) segment, using the regular sieve. For each of the following segments, in increasing order, with m being the segment's topmost value, find the primes in it as follows: Set up a Boolean array of size Δ. Mark as non-prime the positions in the array corresponding to the multiples of each prime p ≤ √m found so far, by enumerating its multiples in steps of p starting from the lowest multiple of p between m - Δ and m. The remaining non-marked positions in the array correspond to the primes in the segment. It is not necessary to mark any multiples of these primes, because all of these primes are larger than √m, as for k ≥ 1, one has ( k Δ + 1 ) 2 > ( k + 1 ) Δ {\displaystyle (k\Delta +1)^{2}>(k+1)\Delta } . If Δ is chosen to be √n, the space complexity of the algorithm is O(√n), while the time complexity is the same as that of the regular sieve. For ranges with upper limit n so large that the sieving primes below √n as required by the page segmented sieve of Eratosthenes cannot fit in memory, a slower but much more space-efficient sieve like the pseudosquares prime sieve, developed by Jonathan P. Sorenson, can be used instead. === Incremental sieve === An incremental formulation of the sieve generates primes indefinitely (i.e., without an upper bound) by interleaving the generation of primes with the generation of their multiples (so that primes can be found in gaps between the multiples), where the multiples of each prime p are generated directly by counting up from the square of the prime in increments of p (or 2p for odd primes). The generation must be initiated only when the prime's square is reached, to avoid adverse effects on efficiency. It can be expressed symbolically under the dataflow paradigm as primes = [2, 3, ...] \ [[p², p²+p, ...] for p in primes], using list comprehension notation with \ denoting set subtraction of arithmetic progressions of numbers. Primes can also be produced by iteratively sieving out the composites through divisibility testing by sequential primes, one prime at a time. It is not the sieve of Eratosthenes but is often confused with it, even though the sieve of Eratosthenes directly generates the composites instead of testing for them. Trial division has worse theoretical complexity than that of the sieve of Eratosthenes in generating ranges of primes. When testing each prime, the optimal trial division algorithm uses all prime numbers not exceeding its square root, whereas the sieve of Eratosthenes produces each composite from its prime factors only, and gets the primes "for free", between the composites. The widely known 1975 functional sieve code by David Turner is often presented as an example of the sieve of Eratosthenes but is actually a sub-optimal trial division sieve. == Algorithmic complexity == The sieve of Eratosthenes is a popular way to benchmark computer performance. The time complexity of calculating all primes below n in the random access machine model is O(n log log n) ope

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  Nike+iPod

  The Nike+iPod Sport Kit is an activity tracker device, developed by Nike, Inc., which measures and records the distance and pace of a walk or run. The Nike+iPod consists of a small transmitter device attached to or embedded in a shoe, which communicates with either the Nike+ Sportband, or a receiver plugged into an iPod Nano. It can also work directly with a 2nd Generation iPod Touch (or higher), iPhone 3GS, iPhone 4, iPhone 4S, iPhone 5, The Nike+iPod was announced on May 23, 2006. On September 7, 2010, Nike released the Nike+ Running App (originally called Nike+ GPS) on the App Store, which used a tracking engine powered by MotionX that does not require the separate shoe sensor or pedometer. This application works using the accelerometer and GPS of the iPhone and the accelerometer of the iPod Touch, which does not have a GPS chip. Nike+Running is compatible with the iPhone 6 and iPhone 6 Plus down to iPhone 3GS and iPod touch. On June 21, 2012, Nike released Nike+ Running App for Android. The current app is compatible with all Android phones running 4.0.3 and up. == Overview == The sensor and iPod kit were revealed on May 20, 2006. The kit stores information such as the elapsed time of the workout, the distance traveled, pace, and calories burned by the individual. Nike+ was a collaboration between Nike and Apple; the platform consisted of an iPod, a wireless chip, Nike shoes that accepted the wireless chip, an iTunes membership, and a Nike+ online community. iPods using Nike iPod require a sensor and remote. The next upgraded product was the Sportband kit, which was announced in April 2008. The kit allows users to store run information without the iPod Nano. The Sportband consists of two parts: a rubber holding strap which is worn around the wrist, and a receiver which resembles a USB key-disk. The receiver displays information comparable to that of the iPod kit on the built-in display. After a run, the receiver can be plugged straight into a USB port and the software will upload the run information automatically to the Nike+ website. As of August 2008 "Nike+iPod for the Gym" launched, allowing users to record their cardio workouts directly to their iPods. No Sport kit or shoe sensor is required; all that is needed is a compatible iPod (1st–6th generation iPod Nano or 2nd/3rd gen iPod Touch) and an enabled piece of cardio equipment. As of March 2009, the seven largest commercial equipment providers were shipping enabled equipment (Life Fitness, Technogym, Precor USA, Star Trac, Cybex International, Matrix Fitness and Free Motion). The models of compatible cardio equipment include treadmills, stationary bicycles, stair climbers, ellipticals, and others such as Precor's Adaptive Motion Trainer. Once the user syncs an iPod with iTunes, the cardio workouts are automatically stored at Nikeplus.com, where each workout is visualized and tracked based on the number of calories burned. The calories are converted to "CardioMiles", at a ratio of 100:1, allowing cardio users to take full advantage of all the tools and features of Nikeplus.com, and allow them to engage in challenges with other runners, walkers and cardio users, using a common currency. With the release of the second-generation iPod Touch in 2008, Apple Inc. included a built-in ability to receive Nike+ signals, which allowed the iPod to connect directly to the wireless sensor thus eliminating the need for an external receiver to be connected. Apple also added this capability to the iPhone 3GS (released 2009), iPhone 4 (2010), and third-generation iPod Touch (2009). Those devices use their Broadcom Bluetooth chipset to receive the signals. On June 7, 2010, Polar and Nike introduced the Polar WearLink+ that works with Nike+. This new product works with the Nike+ SportBand and the fifth generation iPod nano in conjunction with the Nike+ iPod Sport Kit. Polar WearLink+ that works with Nike+ communicates directly with the fifth generation iPod nano and Nike+ SportBand using a proprietary digital protocol but it is dual-mode so it is also compatible with most Polar training computers (all those using 5 kHz analog transmission technology). Nike+ had 18 million global users as of April 2013. One year later, Nike updated the number of global users to 28 million. In iOS 6.1.2 (and possibly higher), a hole in the compatibility for the app has allowed jailbroken iPad users to use the native Nike + iPod iPhone and iPod app by moving the app bundle and setting permissions for the app. On April 30, 2018, Nike retired services for legacy Nike wearable devices, such as the Nike+ FuelBand and the Nike+ SportWatch GPS, and previous versions of apps, including Nike Run Club and Nike Training Club version 4.X and lower. Likewise, Nike no longer supported the Nike+ Connect software that transferred data to a NikePlus Profile or the Nike+ Fuel/FuelBand and Nike+ Move apps. == Sports kit equipment == The kit consists of two pieces: a piezoelectric sensor with a Nordic Semiconductor nRF2402 transmitter that is mounted under the inner sole of the shoe and a receiver that connects to the iPod. They communicate using a 2.4 GHz wireless radio and use Nordic Semiconductor's "ShockBurst" network protocol. The wireless data is encrypted in transit, but some uniquely identifying data is sent in the plain. The wireless protocol was reverse engineered and documented by Dmitry Grinberg in 2011. Nike recommends that the shoe be a Nike+ model with a special pocket in which to place the device. Nike has released the sensor for individual sale meaning that consumers no longer have to purchase the whole set (the iPod receiver and sensor). As the sensor battery cannot be replaced, a new one must be purchased every time the battery runs out. Aftermarket solutions are available to users who do not want to use shoes with built-in or hand-made pockets for the foot sensor, such as shoe pouches and containment devices designed to affix the sensor against the shoe laces. No matter how the sensor is integrated with the user's shoes, care must be taken that it is firmly fixed in place and will not jerk around while in use, which would degrade the accuracy. == Sports kit usage == The Sports Kit can be used to track running, which it refers to as "workouts". New workouts are started by plugging the receiving unit into the iPod, then navigating through the iPod menu system. The user chooses a goal for the workout, which might be to cover a specific distance, or burn a number of calories, or work out for a specified time. A workout can also be started without a goal, which is called a "Basic Workout". When the workout goal has been set, the receiver seeks the sensor, possibly asking the user to "walk around to activate [the] sensor". The user then must press the center button on the iPod to begin the workout. Audio feedback is provided in the user's choice of generic male or female voice by the iPod over the course of the workout, depending on the type of workout chosen. For goal-oriented workouts, the feedback will correspond to significant milestones toward the goal. In a distance workout, for example, the audio feedback will inform the user as each mile or kilometer has been completed, as well as the half-way point of the workout, and a countdown of four 100-meter increments at the end of the workout. The iPod's control wheel functions change slightly during a workout. The Pause button now not only pauses the music but also the workout. Similarly, the Menu button is used to access the controls to end the workout. The Forward and Back buttons are unchanged, performing audio track skip and reverse functions. The Center button has two functions: audio feedback about the current distance, time, and pace are provided when the button is tapped once, while if the button is held down the iPod skips to the "PowerSong" - an audio track chosen by the user, generally intended for motivation. In addition to the in-workout audio feedback, there are pre-recorded congratulations provided by Lance Armstrong, Tiger Woods, Joan Benoit Samuelson, and Paula Radcliffe whenever a user achieves a personal best (such as fastest mile, fastest 5K, fastest 10K, longest run yet) or reaches certain long-term milestones (such as 250 miles, 500 kilometers). This "celebrity feedback" is heard after the usual end-of-run statistics. While the Sports Kit can be used immediately after purchase, it will report more accurate results if it is calibrated before the first usage and then regularly afterwards. For calibration, the user finds a fixed known distance of at least 0.25 mile or 400 meters and then sets the Nike+ to calibration mode for the walk or run over that distance. When the walk or run is complete, the device calibrates itself and future workout reporting will reflect statistics closer to that individual user's workout style. Consumer Reports magazine tested the device and found it accurate as long as you keep an even pace. In workouts with varied pa

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