AI For Business Owners Course

AI For Business Owners Course — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Qloo

  Qloo (pronounced "clue") is a company that uses artificial intelligence (AI) to understand taste and cultural correlations. It provides companies with an application programming interface (API). It received funding from Leonardo DiCaprio, Elton John, Barry Sternlicht, Pierre Lagrange and others. Qloo establishes consumer preference correlations via machine learning across data spanning cultural domains including music, film, television, dining, nightlife, fashion, books, and travel. The recommender system uses AI to predict correlations for further applications. == History == Qloo was founded in 2012 by chief executive officer Alex Elias and chief operating officer Jay Alger. Qloo initially launched an app designed for consumers, allowing them to understand their own tastes and receive personalized recommendations. The company amassed several million users and built a large catalog of cultural entities and corresponding user sentiment. In 2012, Qloo raised $1.4 million in seed funding from investors including Cedric the Entertainer, and venture capital firm Kindler Capital. Qloo had a public beta release in November 2012 after its initial funding. In 2013, the company raised an additional $1.6 million from Cross Creek Pictures founding partner Tommy Thompson, and Samih Toukan and Hussam Khoury, founders of Maktoob, an Internet services company purchased by Yahoo! for $164 million in 2009. On November 14, 2013, a website and an iPhone app were announced. The company later released an Android app, and tablet versions, in mid-2014. In 2015, Twitter approached Qloo about powering personalized social feeds and targeted eCommerce ads on the platform based on what users were posting. Qloo developed an enterprise-grade API to support Twitter’s needs. Twitter ended up pivoting to enable brands to use the social platform for customer service and support, but Qloo was able to sell access to its cultural intelligence via API to many other enterprise clients, marking the official transition from a B2C company to a B2B company. In 2016, Qloo secured $4.5 million in venture capital investment. The $4.5 million was split between a number of investors, including Barry Sternlicht, Pierre Lagrange, and Leonardo DiCaprio. In July 2017, Qloo raised $6.5 million in funding rounds from AXA Strategic Ventures, and Elton John. Following the investment, the founders stated in an interview with Tech Crunch that they would use the investment to expand Qloo's database. They hoped the move would secure larger contracts with corporate clients. At the time, clients already included Fortune 500 companies such as Twitter, PepsiCo, and BMW. In 2019, the company announced that it had acquired cultural recommendation service TasteDive, with Alex Elias becoming chairman of TasteDive. In September 2019, Qloo was named among the Top 14 Artificial Intelligence APIs by ProgrammableWeb. In 2022, Qloo raised $15M in Series B funding from Eldridge and AXA Venture Partners, enabling the privacy-centric AI leader to expand its team of world-class data scientists, enrich its technology, and build on its sales channels in order to continue to offer premier insights into global consumer taste for Fortune 500 companies across the globe. Qloo was recognized as the "Best Decision Intelligence Company" at the 2023 AI Breakthrough Awards. Also in 2023, the company was awarded a Top Performer Award by SourceForge. As of 2024, Qloo is a three-time Inc. 5000 honoree: No. 360 (2022), No. 344 (2021), No. 187 (2020). Qloo raised $25 million Series C round on February 21, 2024. The round was led by AI Ventures with participation from AXA Venture Partners, Eldridge, and Moderne Ventures, allowing Qloo to address new commercial surface areas for Taste AI, including on-device learning and foundational models leveraging Qloo, as well as introduce self-service platform to make consumer and taste analytics available to small and mid-sized enterprises and individuals. Qloo also announced pursuing opportunistic M&A using its balance sheet along the lines of the TasteDive acquisition completed, which expanded Qloo's first-party data moat and corpus of cultural learning. This latest financing brought the total amount raised since the company's founding in 2012 to over $56 million. == Services and features == Qloo calls itself a cultural AI platform to provide real-time correlation data across domains of culture and entertainment including: film, music, television, dining, nightlife, fashion, books, and travel. Each category contains subcategories. Qloo’s knowledge of a user's taste in one category can be utilized to offer suggestions in other categories. Users then rate the suggestions, providing it with feedback for future suggestions. Qloo has partnerships with companies such as Expedia and iTunes. == Technology == Qloo’s Taste AI technology uses machine learning to decode and predict consumers’ interests, maintaining user anonymity. It is powered by 3.7 billion lifestyle entities (brands, music, film, TV, dining, nightlife, fashion, books, travel, and more) and trillions of anonymized consumer behavioral signals. Through AI, Qloo identifies patterns in these data signals, making predictions about how much interest a person or group has in a concept or thing. Central to Qloo’s technology are algorithms designed to detect and mitigate biases within datasets and models, allowing Qloo to assess the fairness of its AI systems with a focus on attributes such as age, gender, and race, enabling the company to fine-tune its AI models to align with their ethical standards. They also use visualization tools to probe the behavior of their AI models for conducting counterfactual analyses and for comparing the performances of the AI models across diverse demographic segments. Qloo’s Taste AI doesn’t collect or use any Personally Identifiable Information (PII). Instead, it derives recommendations for audience segments based on co-occurrences between lifestyle entities and anonymized behavioral signals. == Applications == Starbucks uses Qloo to create in-store music playlists tailored to specific neighborhoods. Hershey’s uses Qloo to customize the content of assorted candy bags. Michelin uses Qloo to serve recommendations in its Michelin Guide app. Netflix leverages Qloo’s technology to enhance merchandising by identifying actors who resonate with certain demographics. Qloo also works with PepsiCo, Samsung, The New York Mets, BuzzFeed, and Ticketmaster, Universal Music Group, and OOH advertising company JCDecaux.

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  Fuse Services Framework

  Fuse Services Framework is an open source SOAP and REST web services platform based on Apache CXF for use in enterprise IT organizations. It is productized and supported by the Fuse group at FuseSource Corp. Fuse Services Framework service-enables new and existing systems for use in enterprise SOA infrastructure. Fuse Services Framework is a pluggable, small-footprint engine that creates high performance, secure and robust services in minutes using front-end programming APIs like JAX-WS and JAX-RS. It supports multiple transports and bindings and is extensible so developers can add bindings for additional message formats so all systems can work together without having to communicate through a centralized server. Fuse Services Framework is now a part of Red Hat JBoss Fuse. Fabric8 is a free Apache 2.0 Licensed upstream community for the JBoss Fuse product from Red Hat.

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  Taskworld

  Taskworld is a cloud-based collaboration platform created by Fred Mouawad. The SaaS (software as a service) is designed to facilitate project and task management, collaboration, delegation, communication, knowledge management, measure progress and provide performance metrics for evidence-based evaluations within teams. It allows team members to assign and receive tasks, add followers, record comments, share and store unlimited files and organize projects. == Background == An initial version of Taskworld was custom-built by the IT team working for Mouawad in 2006. This was done as a way to try and overcome internal issues regarding delegation, accountability and time-management. The application was constructed to prevent tasks from falling through the cracks and make it easy to follow up on-going projects where many individuals throughout various departments of the organization were involved. Mouawad’s Synergia One group of companies later implemented the application internally as the ‘Task Management System’ and found a general improvement in execution across international offices and departments. This successful implementation led Mouawad to found the ‘My Taskworld’ website which later evolved into ‘Taskworld.' The company was officially founded in February 2012, and in June later that year, Mouawad presented a prototype of the Taskworld website to an Executive Program at the Stanford Graduate School of Business. == Reception == The launch of the app was covered by the media as an addition to the Synergia One group of companies founded by CEO Fred Mouawad. The mobile app is currently available on both android and iOS platforms. Google Play gives the app 3.8 out of 5 stars while the Apple App Store gave it 2.9 out of 5 stars. Alex Williams in a 2014 article for Tech Crunch said, “Taskworld’s technology plays to human emotions. As the feedback is continuous, people are compelled to engage with the service. But in some respects, Taskworld is fairly simple and still needing more to make it a potent competitor in the market.” == Features == Taskworld's main features include, but are not limited to: Project &Task Management - Taskworld includes up to five levels of hierarchy including Project Group, Project, Tasklist, Task and Checklist. Some features in this group are assigning tasks, setting due dates, adding followers, task comments, set repeating tasks, tasks in multiple locations, project templates, copy project, archiving, smart notifications, drag and drop Kanban boards, image preview boards, file management, people page and personnel directory, customizable tags and colored labels. Enterprise Messaging - The app includes a native chat application with channels and groups, private and direct messaging capabilities. Other communication features inside of the app include project chat, drag and drop file attachments, an email bridge to send and receive messages and @mentions. Overview & Analytics - Taskworld includes several features under this section including a dashboard, workspace snapshot, workspace filter, interactive calendar, project analytics and health status, project burndown chart, project burn-up chart and interactive timeline. == Languages and customers == Taskworld is used by 4,000 companies in 80 countries. The app is currently available in eight languages: English, French, German, Spanish, Mandarin, Portuguese, Thai and Korean. == Customer support == The Taskworld User Guide offers details on how to use features of the application. Customer support is offered inside of the application for questions and feedback regarding the software, and also via email. The Taskworld customer support team has received a 98% Customer Satisfaction Rating, according to customer ratings on its support platform Zendesk. Free, live demos are also offered for those companies who need assistance.

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  Zhura

  Zhura ( ZUR-ə) is a free, web-based screenwriting software application for writing and formatting screenplays to the film industry standard, as well as other formats. Zhura allows users to collaborate on scripts in public or private groups and uses Creative Commons Licensing for all work in the public workspace. On March 29, 2010, Zhura announced its merger with Scripped. Scripped's CEO, Sunil Rajaraman, remains the company's Chief Executive Officer (CEO) as of 2022. The Zhura CEO was Eric MacDonald, a former Cascade Communications engineer. Scripped later closed on April 1, 2015 after a catastrophic, irrecoverable data loss. == Script editor == Screenplay Template – The script editor provides a built-in screenplay template which formats the document to a standard for scripts as recommended by the AMPAS. The screenplay document is composed of seven elements: scene, action, character, dialogue, parenthetical, transition, and shot (see image). Each element has a specific style to which the script editor conforms as you type.Script Formats – Other major script formats for stage play, sitcom, audio drama and comic book are also supported as well as the ability to switch between them.Auto-Complete – Characters, scene headings and custom transitions are “remembered” as they are written and “recalled” with tab-completion when a writer starts a new character, scene heading or transition, respectively.Multiple Editors – With a collaborative editing model comparable to Google Docs, two or more users can edit the same script simultaneously, regardless of having a different operating system or web browser. Import/Export – A screenplay written in another program can be imported into the script editor and automatically conformed to the screenplay template. The closer the original script has adhered to the standard format, the better it will appear when imported. Supported import/export formats include Text (.txt) Word (.doc) Rich Text (.rtf) and OpenDocument (.odt). Scripts can also be exported as a PDF file with additional options.Tracking Changes – Similar to the “tracking” feature in Microsoft Word, a user can review all changes made to a script in the revision history as well as highlight the contributions of each writer. Offline Mode – The Google Gears-based offline functionality is in the process of being updated and is not available for new subscribers, according to the company founders. == Community == Scripped supports typical social networking features such as discussion boards, comments, user profiles, public and private writing groups, internal web mail and instant messaging within the script editor. There is also the option to share scripts with others outside of Scripped by making scripts externally viewable. Scripped is made up entirely of user-generated scripts that other users can share, critique and edit, offering creative support to a community of writers. == Licensing of user-created work == There are three types of work-spaces on Scripped (personal, group and public) with unique copyright and licensing management for the work created in each area. Any work a user originates may be moved from the personal area to a public or group area at any time. Once another user edits a script, however, it cannot be moved into the originator’s personal area. Personal Workspace – Any script created or video uploaded in the user’s personal workspace remains copyrighted to that user. Until the user moves that script or video from their personal area into a group or public area, no other user shares a copyright or license to that work. Private Group Workspace – The copyright to any script created or video uploaded in a private group workspace is allocated by the individual members of the group, however they see fit. Public Workspace – Any script created or video uploaded in the public workspace is assigned a Creative Commons license by the originator of that work. The originator of a script may select one of four Creative Commons licenses before introducing that script to the public. The selection of the license is determined by what the author wants to allow others to do with the work. Below is a list of Creative Commons licenses available for all scripts and videos in the public workspace. Share Alike (BY-SA) This license lets others remix, tweak, and build upon your work even for commercial reasons, as long as they credit the original user and license their new creations under the identical terms. This license is often compared to open source software licenses. All new works based on the original user's will carry the same license, so any derivatives will also allow commercial use. No Derivatives (BY-ND) This license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to the original user. Non-Commercial, No Derivatives (BY-NC-ND) This license is the most restrictive of the four licenses, allowing redistribution. This license is often called the "free advertising" license because it allows others to download the original user work and share them with others as long as they mention the original user and link back to them, but they can't change them in any way or use them commercially. Non-Commercial, Share Alike (BY-NC-SA) This license lets others remix, tweak, and build upon the original user's work non-commercially, as long as they credit the original user and license their new creations under the identical terms. Others can download and redistribute the original user's work just like the BY-NC-ND license, but they can also translate, make remixes, and produce new stories based on the original user's work. All new work based on the original user's work will carry the same license, so any derivatives will also be non-commercial in nature. == Events == In April 2008, Zhura partnered with Improv Asylum, a comedy troupe in Boston, Massachusetts to produce a live sketch comedy show called "You Wrote It, Live" entirely written by the public on Zhura. Another show was produced in June.

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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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  Service-oriented software engineering

  Service-oriented software engineering (SOSE), also referred to as service engineering, is a software engineering methodology focused on the development of software systems by composition of reusable services (service-orientation) often provided by other service providers. Since it involves composition, it shares many characteristics of component-based software engineering, the composition of software systems from reusable components, but it adds the ability to dynamically locate necessary services at run-time. These services may be provided by others as web services, but the essential element is the dynamic nature of the connection between the service users and the service providers. == Service-oriented interaction pattern == There are three types of actors in a service-oriented interaction: service providers, service users and service registries. They participate in a dynamic collaboration which can vary from time to time. Service providers are software services that publish their capabilities and availability with service registries. Service users are software systems (which may be services themselves) that accomplish some task through the use of services provided by service providers. Service users use service registries to discover and locate the service providers they can use. This discovery and location occurs dynamically when the service user requests them from a service registry.

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  GazoPa

  GazoPa was an image search engine that used features from an image to search for and identify similar images which closed in 2011. GazoPa began in TechCrunch50 in 2008 before launching into a state of open beta in 2009. GazoPa branched out and released a flower photo community site called "GazoPa Bloom" in 2010. This site was for exploring flower images and, if users need help identifying a flower, uploading images for other people try to identify them. Both sites closed to the public in 2011 when the company decided to focus on other areas of their business.

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  Gerrit (software)

  Gerrit ( GERR-it) is a free, web-based team code collaboration tool. Software developers in a team can review each other's modifications on their source code using a Web browser and approve or reject those changes. It integrates closely with Git, a distributed version control system. Gerrit is a fork of Rietveld, a code review tool for Subversion. Both are named after Dutch designer Gerrit Rietveld. == History == Originally written in Python like Rietveld, it is now written in Java (Java EE Servlet) with SQL since version 2 and a custom-made Git-based database (NoteDb) since version 3. In versions 2.0–2.16 Gerrit used Google Web Toolkit for its browser-based front-end. After being developed and used in parallel with GWT for versions 2.14–2.16, a new Polymer web UI replaced the GWT UI in version 3.0.

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  Evntlive

  Evntlive was an interactive digital concert venue that allowed music fans worldwide to stream concerts to their computer, tablet, or phone. Based in Redwood City, CA, EVNTLIVE Beta launched on April 15, 2013. EVNTLIVE provided users with the ability to switch camera angles, view All Access interviews and clips from artists, buy music, and chat with other online concert-goers in the in-app feature. Users could watch live and on-demand concerts with both free and pay-per-view concerts offered. In its first two months, EVNTLIVE streamed live performances of popular artists ranging from Bon Jovi to Wale, as well as music festivals such as Taste of Country and Mountain Jam; including performances by The Lumineers, Gary Clark Jr., Phil Lesh & Friends, Primus, and more. On December 6, 2013, Evntlive was acquired and absorbed by Yahoo!. The site ceased operations and redirected viewers to Yahoo! Music and Yahoo! Screen promptly afterwards. == About the Platform == EvntLive is an HTML5, web-based platform available on laptops, iPads, and mobile devices. Users must register for a free account on Evntlive’s website in order to reserve tickets and access live and on-demand content. Once they reserve tickets, they can view All Access features from their favorite artists or bands, purchase music, and interact with other online audience members using Buzz. Users can also switch between alternate camera angles as though they are on the concert floor - sharing the experience with their friends online in real-time. EvntLive was acquired by Yahoo in December 2013 == Artists == Bon Jovi Wale Escape the Fate The Parlotones === Taste of Country Music Festival === Trace Adkins Willie Nelson Justin Moore Montgomery Gentry Craig Campbell Blackberry Smoke Gloriana Dustin Lynch LoCash Cowboys Rachel Farley Parmalee Joe Nichols === Mountain Jam Music Festival === Source: The Lumineers Primus Widespread Panic Gov't Mule Phil Lesh The Avett Brothers Dispatch Rubblebucket Michael Franti Jackie Greene Deer Tick Gary Clark Jr. ALO The London Souls Nicki Bluhm Amy Helm The Lone Bellow The Revivalists Swear and Shake Roadkill Ghost Choir Michael Bernard Fitzgerald Michele Clark 's Sunset Sessions Semi Precious Weapons Dale Earnhardt Jr. Jr. DigiTour Media Pentatonix Allstar Weekend Tyler Ward === Launch Music Festival ===

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  Software bot

  A software bot is a type of software agent in the service of software project management and software engineering. A software bot has an identity and potentially personified aspects in order to serve their stakeholders. Software bots often compose software services and provide an alternative user interface, which is sometimes, but not necessarily conversational. Software bots are typically used to execute tasks, suggest actions, engage in dialogue, and promote social and cultural aspects of a software project. The term bot is derived from robot. However, robots act in the physical world and software bots act only in digital spaces. Some software bots are designed and behave as chatbots, but not all chatbots are software bots. Discussions about the past and future of software bots show that software bots have been adopted for many years. == Usage == Software bots are used to support development activities, such as communication among software developers and automation of repetitive tasks. Software bots have been adopted by several communities related to software development, such as open-source communities on GitHub and Stack Overflow. GitHub bots have user accounts and can open, close, or comment on pull requests and issues. GitHub bots have been used to assign reviewers, ask contributors to sign the Contributor License Agreement, report continuous integration failures, review code and pull requests, welcome newcomers, run automated tests, merge pull requests, fix bugs and vulnerabilities, etc. The Slack tool includes an API for developing software bots. There are slack bots for keeping track of todo lists, coordinating standup meetings, and managing support tickets. The ChatBot company products further simplify the process of creating a custom Slack bot. On Wikipedia, Wikipedia bots automate a variety of tasks, such as creating stub articles, consistently updating the format of multiple articles, and so on. Bots like ClueBot NG are capable of recognizing vandalism and automatically remove disruptive content. == Taxonomies and Classification Frameworks == Lebeuf et al. provide a faceted taxonomy to characterize bots based on a literature review. It is composed of 3 main facets: (i) properties of the environment that the bot was created in; (ii) intrinsic properties of the bot itself; and (iii) the bot's interactions within its environment. They further detail the facets into sets of sub-facets under each of the main facets. Paikari and van der Hoek defined a set of dimensions to enable comparison of software bots, applied specifically to chatbots. It resulted in six dimensions: Type: the main purpose of the bot (information, collaboration, or automation) Direction of the "conversation" (input, output, or bi-directional) Guidance (human-mediated, or autonomous) Predictability (deterministic, or evolving) Interaction style (dull, alternate vocabulary, relationship-builder, human-like) Communication channel (text, voice, or both) Erlenhov et al. raised the question of the difference between a bot and simple automation, since much research done in the name of software bots uses the term bot to describe various different tools and sometimes things are "just" plain old development tools. After interviewing and surveying over 100 developers the authors found that not one, but three definitions dominated the community. They created three personas based on these definitions and the difference between what the three personas see as being a bot is mainly the association with a different set of human-like traits. The chat bot persona (Charlie) primarily thinks of bots as tools that communicates with the developer through a natural language interface (typically voice or chat), and caring little about what tasks the bot is used for or how it actually implements these tasks. The autonomous bot persona (Alex) thinks of bots as tools that work on their own (without requiring much input from a developer) on a task that would normally be done by a human. The smart bot persona (Sam) separates bots and plain old development tools through how smart (technically sophisticated) a tool is. Sam cares less about how the tool communicates, but more about if it is unusually good or adaptive at executing a task. The authors recommends that people doing research or writing about bots try to put their work in the context of one of the personas since the personas have different expectations and problems with the tools. == Example of notable bots == Dependabot and Renovatebot update software dependencies and detect vulnerabilities. (https://dependabot.com/) Probot is an organization that create and maintain bots for GitHub. The example bots using Probot are the following. Auto Assign (https://probot.github.io/apps/auto-assign/) license bot (https://probot.github.io/) Sentiment bot (https://probot.github.io/apps/sentiment-bot/) Untrivializer bot (https://probot.github.io/apps/untrivializer/) Refactoring-Bot (Refactoring-Bot): provides refactoring based on static code analysis Looks good to me bot (LGTM) is a Semmle product that inspects pull requests on GitHub for code style and unsafe code practices. == Issues and threats == Software bots may not be well accepted by humans. A study from the University of Antwerp has compared how developers active on Stack Overflow perceive answers generated by software bots. They find that developers perceive the quality of software bot-generated answers to be significantly worse if the identity of the software bot is made apparent. By contrast, answers from software bots with human-like identity were better received. In practice, when software bots are used on platforms like GitHub or Wikipedia, their username makes it clear that they are bots, e.g., DependaBot, RenovateBot, DatBot, SineBot. Bots may be subject to special rules. For instance, the GitHub terms of service does not allow 'bots' but accepts 'machine account', where a 'machine account' has two properties: 1) a human takes full responsibility of the bot's actions 2) it cannot create other accounts.

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  System requirements specification

  A System Requirements Specification (SysRS) (abbreviated SysRS to be distinct from a software requirements specification (SRS)) is a structured collection of information that embodies the requirements of a system. A business analyst (BA), sometimes titled system analyst, is responsible for analyzing the business needs of their clients and stakeholders to help identify business problems and propose solutions. Within the systems development life cycle domain, the BA typically performs a liaison function between the business side of an enterprise and the information technology department or external service providers.

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  Convolution

  In mathematics (in particular, functional analysis), convolution is a mathematical operation on two functions f {\displaystyle f} and g {\displaystyle g} that produces a third function f ∗ g {\displaystyle fg} , as the integral of the product of the two functions after one is reflected about the y-axis and shifted. The term convolution refers to both the resulting function and to the process of computing it. The integral is evaluated for all values of shift, producing the convolution function. The choice of which function is reflected and shifted before the integral does not change the integral result (see commutativity). Graphically, it expresses how the 'shape' of one function is modified by the other. Some features of convolution are similar to cross-correlation: for real-valued functions, of a continuous or discrete variable, convolution f ∗ g {\displaystyle fg} differs from cross-correlation f ⋆ g {\displaystyle f\star g} only in that either f ( x ) {\displaystyle f(x)} or g ( x ) {\displaystyle g(x)} is reflected about the y-axis in convolution; thus it is a cross-correlation of g ( − x ) {\displaystyle g(-x)} and f ( x ) {\displaystyle f(x)} , or f ( − x ) {\displaystyle f(-x)} and g ( x ) {\displaystyle g(x)} . For complex-valued functions, the cross-correlation operator is the adjoint of the convolution operator. Convolution has applications that include probability, statistics, acoustics, spectroscopy, signal processing and image processing, computer vision and human vision, geophysics, engineering, physics, and differential equations. The convolution can be defined for functions on Euclidean space and other groups (as algebraic structures). For example, periodic functions, such as the discrete-time Fourier transform, can be defined on a circle and convolved by periodic convolution. (See row 18 at DTFT § Properties.) A discrete convolution can be defined for functions on the set of integers. Generalizations of convolution have applications in the field of numerical analysis and numerical linear algebra, and in the design and implementation of finite impulse response filters in signal processing. Computing the inverse of the convolution operation is known as deconvolution. == Definition == The convolution of f {\displaystyle f} and g {\displaystyle g} is written f ∗ g {\displaystyle fg} , denoting the operator with the symbol ∗ {\displaystyle } . It is defined as the integral of the product of the two functions after one is reflected about the y-axis and shifted. As such, it is a particular kind of integral transform: ( f ∗ g ) ( t ) := ∫ − ∞ ∞ f ( τ ) g ( t − τ ) d τ . {\displaystyle (fg)(t):=\int _{-\infty }^{\infty }f(\tau )g(t-\tau )\,d\tau .} An equivalent definition is (see commutativity): ( f ∗ g ) ( t ) := ∫ − ∞ ∞ f ( t − τ ) g ( τ ) d τ . {\displaystyle (fg)(t):=\int _{-\infty }^{\infty }f(t-\tau )g(\tau )\,d\tau .} While the symbol t {\displaystyle t} is used above, it need not represent the time domain. At each t {\displaystyle t} , the convolution formula can be described as the area under the function f ( τ ) {\displaystyle f(\tau )} weighted by the function g ( − τ ) {\displaystyle g(-\tau )} shifted by the amount t {\displaystyle t} . As t {\displaystyle t} changes, the weighting function g ( t − τ ) {\displaystyle g(t-\tau )} emphasizes different parts of the input function f ( τ ) {\displaystyle f(\tau )} ; If t {\displaystyle t} is a positive value, then g ( t − τ ) {\displaystyle g(t-\tau )} is equal to g ( − τ ) {\displaystyle g(-\tau )} that slides or is shifted along the τ {\displaystyle \tau } -axis toward the right (toward + ∞ {\displaystyle +\infty } ) by the amount of t {\displaystyle t} , while if t {\displaystyle t} is a negative value, then g ( t − τ ) {\displaystyle g(t-\tau )} is equal to g ( − τ ) {\displaystyle g(-\tau )} that slides or is shifted toward the left (toward − ∞ {\displaystyle -\infty } ) by the amount of | t | {\displaystyle |t|} . For functions f {\displaystyle f} , g {\displaystyle g} supported on only [ 0 , ∞ ) {\displaystyle [0,\infty )} (i.e., zero for negative arguments), the integration limits can be truncated, resulting in: ( f ∗ g ) ( t ) = ∫ 0 t f ( τ ) g ( t − τ ) d τ for f , g : [ 0 , ∞ ) → R . {\displaystyle (fg)(t)=\int _{0}^{t}f(\tau )g(t-\tau )\,d\tau \quad \ {\text{for }}f,g:[0,\infty )\to \mathbb {R} .} For the multi-dimensional formulation of convolution, see domain of definition (below). === Notation === A common engineering notational convention is: f ( t ) ∗ g ( t ) := ∫ − ∞ ∞ f ( τ ) g ( t − τ ) d τ ⏟ ( f ∗ g ) ( t ) , {\displaystyle f(t)g(t)\mathrel {:=} \underbrace {\int _{-\infty }^{\infty }f(\tau )g(t-\tau )\,d\tau } _{(fg)(t)},} which has to be interpreted carefully to avoid confusion. For instance, f ( t ) ∗ g ( t − t 0 ) {\displaystyle f(t)g(t-t_{0})} is equivalent to ( f ∗ g ) ( t − t 0 ) {\displaystyle (fg)(t-t_{0})} , but f ( t − t 0 ) ∗ g ( t − t 0 ) {\displaystyle f(t-t_{0})g(t-t_{0})} is in fact equivalent to ( f ∗ g ) ( t − 2 t 0 ) {\displaystyle (fg)(t-2t_{0})} . === Relations with other transforms === Given two functions f ( t ) {\displaystyle f(t)} and g ( t ) {\displaystyle g(t)} with bilateral Laplace transforms (two-sided Laplace transform) F ( s ) = ∫ − ∞ ∞ e − s u f ( u ) d u {\displaystyle F(s)=\int _{-\infty }^{\infty }e^{-su}\ f(u)\ {\text{d}}u} and G ( s ) = ∫ − ∞ ∞ e − s v g ( v ) d v {\displaystyle G(s)=\int _{-\infty }^{\infty }e^{-sv}\ g(v)\ {\text{d}}v} respectively, the convolution operation ( f ∗ g ) ( t ) {\displaystyle (fg)(t)} can be defined as the inverse Laplace transform of the product of F ( s ) {\displaystyle F(s)} and G ( s ) {\displaystyle G(s)} . More precisely, F ( s ) ⋅ G ( s ) = ∫ − ∞ ∞ e − s u f ( u ) d u ⋅ ∫ − ∞ ∞ e − s v g ( v ) d v = ∫ − ∞ ∞ ∫ − ∞ ∞ e − s ( u + v ) f ( u ) g ( v ) d u d v {\displaystyle {\begin{aligned}F(s)\cdot G(s)&=\int _{-\infty }^{\infty }e^{-su}\ f(u)\ {\text{d}}u\cdot \int _{-\infty }^{\infty }e^{-sv}\ g(v)\ {\text{d}}v\\&=\int _{-\infty }^{\infty }\int _{-\infty }^{\infty }e^{-s(u+v)}\ f(u)\ g(v)\ {\text{d}}u\ {\text{d}}v\end{aligned}}} Let t = u + v {\displaystyle t=u+v} , then F ( s ) ⋅ G ( s ) = ∫ − ∞ ∞ ∫ − ∞ ∞ e − s t f ( u ) g ( t − u ) d u d t = ∫ − ∞ ∞ e − s t ∫ − ∞ ∞ f ( u ) g ( t − u ) d u ⏟ ( f ∗ g ) ( t ) d t = ∫ − ∞ ∞ e − s t ( f ∗ g ) ( t ) d t . {\displaystyle {\begin{aligned}F(s)\cdot G(s)&=\int _{-\infty }^{\infty }\int _{-\infty }^{\infty }e^{-st}\ f(u)\ g(t-u)\ {\text{d}}u\ {\text{d}}t\\&=\int _{-\infty }^{\infty }e^{-st}\underbrace {\int _{-\infty }^{\infty }f(u)\ g(t-u)\ {\text{d}}u} _{(fg)(t)}\ {\text{d}}t\\&=\int _{-\infty }^{\infty }e^{-st}(fg)(t)\ {\text{d}}t.\end{aligned}}} Note that F ( s ) ⋅ G ( s ) {\displaystyle F(s)\cdot G(s)} is the bilateral Laplace transform of ( f ∗ g ) ( t ) {\displaystyle (fg)(t)} . A similar derivation can be done using the unilateral Laplace transform (one-sided Laplace transform). The convolution operation also describes the output (in terms of the input) of an important class of operations known as linear time-invariant (LTI). See LTI system theory for a derivation of convolution as the result of LTI constraints. In terms of the Fourier transforms of the input and output of an LTI operation, no new frequency components are created. The existing ones are only modified (amplitude and/or phase). In other words, the output transform is the pointwise product of the input transform with a third transform (known as a transfer function). See Convolution theorem for a derivation of that property of convolution. Conversely, convolution can be derived as the inverse Fourier transform of the pointwise product of two Fourier transforms. == Visual explanation == == Historical developments == One of the earliest uses of the convolution integral appeared in D'Alembert's derivation of Taylor's theorem in Recherches sur différents points importants du système du monde, published in 1754. Also, an expression of the type: ∫ f ( u ) ⋅ g ( x − u ) d u {\displaystyle \int f(u)\cdot g(x-u)\,du} is used by Sylvestre François Lacroix on page 505 of his book entitled Treatise on differences and series, which is the last of 3 volumes of the encyclopedic series: Traité du calcul différentiel et du calcul intégral, Chez Courcier, Paris, 1797–1800. Soon thereafter, convolution operations appear in the works of Pierre Simon Laplace, Jean-Baptiste Joseph Fourier, Siméon Denis Poisson, and others. The term itself did not come into wide use until the 1950s or 1960s. Prior to that it was sometimes known as Faltung (which means folding in German), composition product, superposition integral, and Carson's integral. Yet it appears as early as 1903, though the definition is rather unfamiliar in older uses. The operation: ∫ 0 t φ ( s ) ψ ( t − s ) d s , 0 ≤ t < ∞ , {\displaystyle \int _{0}^{t}\varphi (s)\psi (t-s)\,ds,\quad 0\leq t<\infty ,} is a particular case of composition products considered by the Italian mathematician Vito Volterra in 1913. == Circular c

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  Hildon

  Hildon is an application framework originally developed for mobile devices (PDAs, mobile phones, etc.) running the Linux operating system as well as the Symbian operating system. The Symbian variant of Hildon was discontinued with the cancellation of Series 90. It was developed by Nokia for the Maemo operating system. It focuses on providing a finger-friendly interface. It is primarily a set of GTK extensions that provide mobile-device–oriented functionality, but also provides a desktop environment that includes a task navigator for opening and switching between programs, a control panel for user settings, and status bar, task bar and home applets. It is standard on the Maemo platform used by the Nokia Internet Tablets and the Nokia N900 smartphone. Hildon has also been selected as the framework for Ubuntu Mobile and Embedded Edition. Hildon was an early instance of a software platform for generic computing in a tablet device intended for internet consumption. But Nokia didn't commit to it as their only platform for their future mobile devices and the project competed against other in-house platforms. The strategic advantage of a modern platform was not exploited, being displaced by the Series 60, though its development is continued by the Maemo Leste project. == Components == The Hildon framework includes components that effectively provide a desktop environment. === Hildon Application Manager === Hildon Application Manager is the Hildon graphical package manager, it uses the Debian package management tools APT (Advanced Packaging Tool and dpkg) and provides a graphical interface for installing, updating and removing packages. It is a limited package manager, designed specifically for end-users, in that it doesn't directly offer the user access to system files and libraries. With the Diablo release of Maemo, Hildon Application Manager now supports "Seamless Software Update" (SSU), which implements a variety of features to allow system upgrades to be easily performed through it. === Hildon Control Panel === Hildon Control Panel is the user settings interface for Hildon. It provides simple access to control panels used to change system settings. === Hildon Desktop === Hildon Desktop is the primary UI component of Hildon, so makes up the bulk of what a user will see as "Hildon". It controls application launching and switching, general system control, and provides interfaces for task bar (application menu and task switcher), status bar (brightness and volume control), and home (internet radio and web search) applets. === Hildon Library === The Hildon library, originally developed by Nokia but since Maemo 5, developed by Igalia and Lanedo (who developed MaemoGTK+, the Maemo version of GTK+). It is a set of mobile specific GTK+ widgets for applications in Maemo. Up to Maemo 4, these widgets were designed for stylus usage. However, in Maemo 5, most widgets were deprecated and new widgets for direct finger manipulation were introduced, including a kinetic panning container.

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  LiveChat

  LiveChat is an AI customer service software with chatbot, online chat, help desk software, and web analytics capabilities. LiveChat is used by over 76,000 companies. It was first launched in 2002 and is offered via a SaaS (software as a service) business model by Text. Organizations use LiveChat as a single point of contact to manage customer service and online sales activities with a single program. == Product == LiveChat is proprietary software. LiveChat's website chat widget can be embedded on customers' websites as a small chat box, often displayed in the bottom right corner of the web browser. It can be used to conduct chats, share files and save transcripts. The agent application is used by company employees to respond to questions asked by the customers. This is available through both web-based application, desktop applications, and mobile apps. Web chat sessions can be initiated by the visiting customer, or by the agent, either manually or automatically by the LiveChat system when the visitor meets the predefined criteria (i.e. searched keyword, time on website, encountered error, etc.). LiveChat's system attempts to identify the best prospects visiting a website based on data gathered from past purchasing decisions. Other features include real-time website traffic monitoring, built-in ticketing system and agents' efficiency analytics. LiveChat is available in 48 languages. == Research and reception == Reviewing LiveChat's usefulness for online learning in 2020, psychologist Jaclyn Broadbent said "LiveChat occurs as a real-time conversation, it can be time-consuming for staff and disruptive to other tasks." However, using it has resulted in reduced communication traffic from other channels, such as the discussion boards or email. As a teacher, the best time to be available on LiveChat is when you are doing other administrative jobs." Since 2014 LiveChat has been publishing Customer Service Report - an annual study of customer satisfaction and analysis of online business communication trends. It includes research of thousands of companies and millions of customer service email and live support interactions.

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  Bright Computing

  Bright Computing, Inc. was a developer of software for deploying and managing high-performance (HPC) clusters, Kubernetes clusters, and OpenStack private clouds in on-premises data centers as well as in the public cloud. In 2022, it was acquired by Nvidia. == History == Bright Computing was founded by Matthijs van Leeuwen in 2009, who spun the company out of ClusterVision, which he had co-founded with Alex Ninaber and Arijan Sauer. Alex and Matthijs had worked together at UK’s Compusys, which was one of the first companies to commercially build HPC clusters. They left Compusys in 2002 to start ClusterVision in the Netherlands, after determining there was a growing market for building and managing supercomputer clusters using off-the-shelf hardware components and open source software, tied together with their own customized scripts. ClusterVision also provided delivery and installation support services for HPC clusters at universities and government entities. In 2004, Martijn de Vries joined ClusterVision and began development of cluster management software. The software was made available to customers in 2008, under the name ClusterVisionOS v4. In 2009, Bright Computing was spun out of ClusterVision. ClusterVisionOS was renamed Bright Cluster Manager, and van Leeuwen was named Bright Computing’s CEO. In February 2016, Bright appointed Bill Wagner as chief executive officer. Matthijs van Leeuwen became chief strategy officer, and then left the company and board of directors in 2018. In January 2022 Bright was acquired by Nvidia. Nvidia cited using Bright's Amsterdam facility as a development center. The acquisition occurred after several layoffs under Bill Wagner. == Customers == Early customers included Boeing, Sandia National Laboratories, Virginia Tech, Hewlett Packard, NSA, and Drexel University. Many early customers were introduced through resellers, including SICORP, Cray, Dell, and Advanced HPC. As of 2019, the company had more than 700 customers, including more than fifty Fortune 500 Companies. == Products and services == Bright Cluster Manager for HPC lets customers deploy and manage complete clusters. It provides management for the hardware, the operating system, the HPC software, and users. In 2014, the company announced Bright OpenStack, software to deploy, provision, and manage OpenStack-based private cloud infrastructures. In 2016, Bright started bundling several machine learning frameworks and associated tools and libraries with the product, to make it very easy to get machine learning workload up and running on a Bright cluster. In December 2018, version 8.2 was released, which introduced support for the ARM64 architecture, edge capabilities to build clusters spread out over many different geographical locations, improved workload accounting & reporting features, as well as many improvements to Bright's integration with Kubernetes. Bright Cluster Manager software was frequently sold through original equipment manufacturer (OEM) resellers, including Dell and HPE. In version 10, Bright Cluster Manager was merged into the NVIDIA Base Command Manager. Bright Computing was covered by Software Magazine and Yahoo! Finance, among other publications. == Awards == In 2016, Bright Computing was awarded a €1.5M Horizon 2020 SME Instrument grant from the European Commission. Bright Computing was one of only 33 grant recipients from 960 submitted proposals. In its category only 5 out of 260 grants were awarded. 2015 HPCwire Editor’s Choice Award for “Best HPC Cluster Solution or Technology" Main Software 50 “Highest Growth” award winner, 2013 Deloitte Technology Fast50 “Rising Star 2013” award winner Bio-IT World Conference & Expo ‘13, Boston, MA, winner of “IT Hardware & Infrastructure” category of the “Best of Show Award” program Red Herring Top 100 Global Award, 2013

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