Query rewriting is a typically automatic transformation that takes a set of database tables, views, and/or queries, usually indices, often gathered data and query statistics, and other metadata, and yields a set of different queries, which produce the same results but execute with better performance (for example, faster, or with lower memory use). Query rewriting can be based on relational algebra or an extension thereof (e.g. multiset relational algebra with sorting, aggregation and three-valued predicates i.e. NULLs as in the case of SQL). The equivalence rules of relational algebra are exploited, in other words, different query structures and orderings can be mathematically proven to yield the same result. For example, filtering on fields A and B, or cross joining R and S can be done in any order, but there can be a performance difference. Multiple operations may be combined, and operation orders may be altered. The result of query rewriting may not be at the same abstraction level or application programming interface (API) as the original set of queries (though often is). For example, the input queries may be in relational algebra or SQL, and the rewritten queries may be closer to the physical representation of the data, e.g. array operations. Query rewriting can also involve materialization of views and other subqueries; operations that may or may not be available to the API user. The query rewriting transformation can be aided by creating indices from which the optimizer can choose (some database systems create their own indexes if deemed useful), mandating the use of specific indices, creating materialized and/or denormalized views, or helping a database system gather statistics on the data and query use, as the optimality depends on patterns in data and typical query usage. Query rewriting may be rule based or optimizer based. Some sources discuss query rewriting as a distinct step prior to optimization, operating at the level of the user accessible algebra API (e.g. SQL). There are other, largely unrelated concepts also named similarly, for example, query rewriting by search engines.
Digital art
Digital art, or the digital arts, is artistic work that uses digital technology as part of the creative or presentational process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art. Digital art includes pieces stored on physical media, such as with digital painting, as well as digital galleries on websites. Digital art also extends to the field of visual computing. == History == In the early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user interactive computer-graphics interface known as Sketchpad. Between 1974 and 1977, Salvador Dalí created two big canvases of Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko) and prints of Lincoln in Dalivision based on a portrait of Abraham Lincoln processed on a computer by Leon Harmon published in "The Recognition of Faces". The technique is similar to what later became known as photographic mosaics. Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Center in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color using flood fills. == Art made for digital media == Artwork that is highly computational, presented through digital media, and explicitly engages with digital technologies are categorized as "art made for digital media". This differs from art using digital tools, which incorporate digital technology in the creation process but may exist outside the digital world. Digital art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statement about the art form". == Art that uses digital tools == Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings when created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Despite differing viewpoints on digital technology's impact on the arts, a consensus exists within the digital art community about its significant contribution to expanding the creative domain, i.e., that it has greatly broadened the creative opportunities available to professional and non-professional artists alike. == Art theorists and art historians == Notable art theorists and historians in this field include: Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Tina Rivers Ryan, Fred Forest and Edward A. Shanken. === Digital painting === Digital painting is either a physical painting made with the use of digital electronics and spray paint robotics within the digital art fine art context or pictorial art imagery made with pixels on a computer screen that mimics artworks from the traditional histories of painting and illustration. === Artificial intelligence art === Artists have used artificial intelligence to create artwork since at least the 1960s. Since their design in 2014, some artists have created artwork using a generative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate. It can be used to generate pictures that have visual effects similar to traditional fine art. The essential idea of image generators is that people can use text descriptions to let AI convert their text into visual picture content. Anyone can turn their language into a painting through a picture generator. == Digital art education == Digital art education has become more common with the advancement of digital hardware and software. From hardware such as graphics tablets, styluses, tablets, 3D scanners, virtual reality headsets, and digital cameras; to software such as digital art software, 3D modeling software, 3D rendering, digital sculpting, 2D graphics software, digital painting, 3D terrain generation, 2D animation software, 3D animation software, raster graphics editors, vector graphics editors, mathematical art software, and video editing software. == Scholarship and archives == In addition to the creation of original art, research methods that utilize AI have been generated to quantitatively analyze digital art collections. This has been made possible due to the large-scale digitization of artwork in the past few decades. Although the main goal of digitization was to allow for accessibility and exploration of these collections, the use of AI in analyzing them has brought about new research perspectives. Two computational methods, close reading and distant viewing, are the typical approaches used to analyze digitized art. Close reading focuses on specific visual aspects of one piece. Some tasks performed by machines in close reading methods include computational artist authentication and analysis of brushstrokes or texture properties. In contrast, through distant viewing methods, the similarity across an entire collection for a specific feature can be statistically visualized. Common tasks relating to this method include automatic classification, object detection, multimodal tasks, knowledge discovery in art history, and computational aesthetics. Whereas distant viewing includes the analysis of large collections, close reading involves one piece of artwork. Whilst 2D and 3D digital art is beneficial as it allows the preservation of history that would otherwise have been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans – i.e., who should own the digital copyrights. === Computer demos === Computer demos are based on computer programs, usually non-interactive. It produces audiovisual presentations. They are a novel form of art, which emerged as a consequence of the home computer revolution in the early 1980s. In the classification of digital art, they can be best described as real-time procedurally generated animated audio-visuals. This form of art does not concentrate only on the aesthetics of the final presentation, but also on the complexities and skills involved in creating the presentation. As such, it can be fully enjoyed only by persons with a relatively high knowledge level of relevant computer technologies. An example is that, as said by Hua Jin and Jie Yang, Using computer-aided design software to present the class content in art design teaching," is not to advocate computer-aided design instead of hand-drawn performance, but to make it serve the profession earlier through a more reasonable course arrangement." On the other hand, many of the created pieces of art are primarily aesthetic or amusing, and those can be enjoyed by the general public. === Digital installation art === Digital installation art constitutes a broad field of artistic practices and a variety of forms. Some resemble video installations, especially large-scale works involving projections and live video capture. By using projection techniques that enhance an audience's impression of sensory envelopment, many digital installations attempt to create immersive environments. While others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site-specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces. Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people, indicating their personal space.Noah Wardrip-Fruin's "Screen"(2003) utilizes a Cave Automatic Virtual Environment (CAVE) to create an interactive, text-based digital experience that engages the viewer in a multi-sensory interaction. === Internet art and net.art === Internet art is digital art that uses the specific characteristics of the Internet and is exhibited on the Internet. The term "internet art" is included by "net art" for which artists assume that network will be refreshed through history. So the term "post-internet art" is used to exclude artworks outside of the internet media. A representative example is Protocols for Achievements, which is a digital photo frame that confronts the aestheti
MobileNet
MobileNet is a family of convolutional neural network (CNN) architectures designed for image classification, object detection, and other computer vision tasks. They are designed for small size, low latency, and low power consumption, making them suitable for on-device inference and edge computing on resource-constrained devices like mobile phones and embedded systems. They were originally designed to be run efficiently on mobile devices with TensorFlow Lite. The need for efficient deep learning models on mobile devices led researchers at Google to develop MobileNet. As of June 2025, the family has five versions, each improving upon the previous one in terms of performance and efficiency. == Features == === V1 === MobileNetV1 was published in April 2017. Its main architectural innovation was incorporation of depthwise separable convolutions. It was first developed by Laurent Sifre during an internship at Google Brain in 2013 as an architectural variation on AlexNet to improve convergence speed and model size. The depthwise separable convolution decomposes a single standard convolution into two convolutions: a depthwise convolution that filters each input channel independently and a pointwise convolution ( 1 × 1 {\displaystyle 1\times 1} convolution) that combines the outputs of the depthwise convolution. This factorization significantly reduces computational cost. The MobileNetV1 has two hyperparameters: a width multiplier α {\displaystyle \alpha } that controls the number of channels in each layer. Smaller values of α {\displaystyle \alpha } lead to smaller and faster models, but at the cost of reduced accuracy, and a resolution multiplier ρ {\displaystyle \rho } , which controls the input resolution of the images. Lower resolutions result in faster processing but potentially lower accuracy. === V2 === MobileNetV2 was published in March 2019. It uses inverted residual layers and linear bottlenecks. Inverted residuals modify the traditional residual block structure. Instead of compressing the input channels before the depthwise convolution, they expand them. This expansion is followed by a 1 × 1 {\displaystyle 1\times 1} depthwise convolution and then a 1 × 1 {\displaystyle 1\times 1} projection layer that reduces the number of channels back down. This inverted structure helps to maintain representational capacity by allowing the depthwise convolution to operate on a higher-dimensional feature space, thus preserving more information flow during the convolutional process. Linear bottlenecks removes the typical ReLU activation function in the projection layers. This was rationalized by arguing that that nonlinear activation loses information in lower-dimensional spaces, which is problematic when the number of channels is already small. === V3 === MobileNetV3 was published in 2019. The publication included MobileNetV3-Small, MobileNetV3-Large, and MobileNetEdgeTPU (optimized for Pixel 4). They were found by a form of neural architecture search (NAS) that takes mobile latency into account, to achieve good trade-off between accuracy and latency. It used piecewise-linear approximations of swish and sigmoid activation functions (which they called "h-swish" and "h-sigmoid"), squeeze-and-excitation modules, and the inverted bottlenecks of MobileNetV2. === V4 === MobileNetV4 was published in September 2024. The publication included a large number of architectures found by NAS. Inspired by Vision Transformers, the V4 series included multi-query attention. It also unified both inverted residual and inverted bottleneck from the V3 series with the "universal inverted bottleneck", which includes these two as special cases. === V5 === MobileNetV5's architecture was published shortly after the release of Gemma 3n in June 2025. While the announcement stated a technical report on MobileNetV5 would be available soon, this has not yet materialised. The network is 10 times larger than the largest V4 variant.
Reparameterization trick
The reparameterization trick (aka "reparameterization gradient estimator") is a technique used in statistical machine learning, particularly in variational inference, variational autoencoders, and stochastic optimization. It allows for the efficient computation of gradients through random variables, enabling the optimization of parametric probability models using stochastic gradient descent, and the variance reduction of estimators. It was developed in the 1980s in operations research, under the name of "pathwise gradients", or "stochastic gradients". Its use in variational inference was proposed in 2013. == Mathematics == Let z {\displaystyle z} be a random variable with distribution q ϕ ( z ) {\displaystyle q_{\phi }(z)} , where ϕ {\displaystyle \phi } is a vector containing the parameters of the distribution. === REINFORCE estimator === Consider an objective function of the form: L ( ϕ ) = E z ∼ q ϕ ( z ) [ f ( z ) ] {\displaystyle L(\phi )=\mathbb {E} _{z\sim q_{\phi }(z)}[f(z)]} Without the reparameterization trick, estimating the gradient ∇ ϕ L ( ϕ ) {\displaystyle \nabla _{\phi }L(\phi )} can be challenging, because the parameter appears in the random variable itself. In more detail, we have to statistically estimate: ∇ ϕ L ( ϕ ) = ∇ ϕ ∫ d z q ϕ ( z ) f ( z ) {\displaystyle \nabla _{\phi }L(\phi )=\nabla _{\phi }\int dz\;q_{\phi }(z)f(z)} The REINFORCE estimator, widely used in reinforcement learning and especially policy gradient, uses the following equality: ∇ ϕ L ( ϕ ) = ∫ d z q ϕ ( z ) ∇ ϕ ( ln q ϕ ( z ) ) f ( z ) = E z ∼ q ϕ ( z ) [ ∇ ϕ ( ln q ϕ ( z ) ) f ( z ) ] {\displaystyle \nabla _{\phi }L(\phi )=\int dz\;q_{\phi }(z)\nabla _{\phi }(\ln q_{\phi }(z))f(z)=\mathbb {E} _{z\sim q_{\phi }(z)}[\nabla _{\phi }(\ln q_{\phi }(z))f(z)]} This allows the gradient to be estimated: ∇ ϕ L ( ϕ ) ≈ 1 N ∑ i = 1 N ∇ ϕ ( ln q ϕ ( z i ) ) f ( z i ) {\displaystyle \nabla _{\phi }L(\phi )\approx {\frac {1}{N}}\sum _{i=1}^{N}\nabla _{\phi }(\ln q_{\phi }(z_{i}))f(z_{i})} The REINFORCE estimator has high variance, and many methods were developed to reduce its variance. === Reparameterization estimator === The reparameterization trick expresses z {\displaystyle z} as: z = g ϕ ( ϵ ) , ϵ ∼ p ( ϵ ) {\displaystyle z=g_{\phi }(\epsilon ),\quad \epsilon \sim p(\epsilon )} Here, g ϕ {\displaystyle g_{\phi }} is a deterministic function parameterized by ϕ {\displaystyle \phi } , and ϵ {\displaystyle \epsilon } is a noise variable drawn from a fixed distribution p ( ϵ ) {\displaystyle p(\epsilon )} . This gives: L ( ϕ ) = E ϵ ∼ p ( ϵ ) [ f ( g ϕ ( ϵ ) ) ] {\displaystyle L(\phi )=\mathbb {E} _{\epsilon \sim p(\epsilon )}[f(g_{\phi }(\epsilon ))]} Now, the gradient can be estimated as: ∇ ϕ L ( ϕ ) = E ϵ ∼ p ( ϵ ) [ ∇ ϕ f ( g ϕ ( ϵ ) ) ] ≈ 1 N ∑ i = 1 N ∇ ϕ f ( g ϕ ( ϵ i ) ) {\displaystyle \nabla _{\phi }L(\phi )=\mathbb {E} _{\epsilon \sim p(\epsilon )}[\nabla _{\phi }f(g_{\phi }(\epsilon ))]\approx {\frac {1}{N}}\sum _{i=1}^{N}\nabla _{\phi }f(g_{\phi }(\epsilon _{i}))} == Examples == For some common distributions, the reparameterization trick takes specific forms: Normal distribution: For z ∼ N ( μ , σ 2 ) {\displaystyle z\sim {\mathcal {N}}(\mu ,\sigma ^{2})} , we can use: z = μ + σ ϵ , ϵ ∼ N ( 0 , 1 ) {\displaystyle z=\mu +\sigma \epsilon ,\quad \epsilon \sim {\mathcal {N}}(0,1)} Exponential distribution: For z ∼ Exp ( λ ) {\displaystyle z\sim {\text{Exp}}(\lambda )} , we can use: z = − 1 λ log ( ϵ ) , ϵ ∼ Uniform ( 0 , 1 ) {\displaystyle z=-{\frac {1}{\lambda }}\log(\epsilon ),\quad \epsilon \sim {\text{Uniform}}(0,1)} Discrete distribution can be reparameterized by the Gumbel distribution (Gumbel-softmax trick or "concrete distribution") and diffusion models. In general, any distribution that is differentiable with respect to its parameters can be reparameterized by inverting the multivariable CDF function, then apply the implicit method. See for an exposition and application to the Gamma, Beta, Dirichlet, and von Mises distributions. == Applications == === Variational autoencoder === In Variational Autoencoders (VAEs), the VAE objective function, known as the Evidence Lower Bound (ELBO), is given by: ELBO ( ϕ , θ ) = E z ∼ q ϕ ( z | x ) [ log p θ ( x | z ) ] − D KL ( q ϕ ( z | x ) | | p ( z ) ) {\displaystyle {\text{ELBO}}(\phi ,\theta )=\mathbb {E} _{z\sim q_{\phi }(z|x)}[\log p_{\theta }(x|z)]-D_{\text{KL}}(q_{\phi }(z|x)||p(z))} where q ϕ ( z | x ) {\displaystyle q_{\phi }(z|x)} is the encoder (recognition model), p θ ( x | z ) {\displaystyle p_{\theta }(x|z)} is the decoder (generative model), and p ( z ) {\displaystyle p(z)} is the prior distribution over latent variables. The gradient of ELBO with respect to θ {\displaystyle \theta } is simply E z ∼ q ϕ ( z | x ) [ ∇ θ log p θ ( x | z ) ] ≈ 1 L ∑ l = 1 L ∇ θ log p θ ( x | z l ) {\displaystyle \mathbb {E} _{z\sim q_{\phi }(z|x)}[\nabla _{\theta }\log p_{\theta }(x|z)]\approx {\frac {1}{L}}\sum _{l=1}^{L}\nabla _{\theta }\log p_{\theta }(x|z_{l})} but the gradient with respect to ϕ {\displaystyle \phi } requires the trick. Express the sampling operation z ∼ q ϕ ( z | x ) {\displaystyle z\sim q_{\phi }(z|x)} as: z = μ ϕ ( x ) + σ ϕ ( x ) ⊙ ϵ , ϵ ∼ N ( 0 , I ) {\displaystyle z=\mu _{\phi }(x)+\sigma _{\phi }(x)\odot \epsilon ,\quad \epsilon \sim {\mathcal {N}}(0,I)} where μ ϕ ( x ) {\displaystyle \mu _{\phi }(x)} and σ ϕ ( x ) {\displaystyle \sigma _{\phi }(x)} are the outputs of the encoder network, and ⊙ {\displaystyle \odot } denotes element-wise multiplication. Then we have ∇ ϕ ELBO ( ϕ , θ ) = E ϵ ∼ N ( 0 , I ) [ ∇ ϕ log p θ ( x | z ) + ∇ ϕ log q ϕ ( z | x ) − ∇ ϕ log p ( z ) ] {\displaystyle \nabla _{\phi }{\text{ELBO}}(\phi ,\theta )=\mathbb {E} _{\epsilon \sim {\mathcal {N}}(0,I)}[\nabla _{\phi }\log p_{\theta }(x|z)+\nabla _{\phi }\log q_{\phi }(z|x)-\nabla _{\phi }\log p(z)]} where z = μ ϕ ( x ) + σ ϕ ( x ) ⊙ ϵ {\displaystyle z=\mu _{\phi }(x)+\sigma _{\phi }(x)\odot \epsilon } . This allows us to estimate the gradient using Monte Carlo sampling: ∇ ϕ ELBO ( ϕ , θ ) ≈ 1 L ∑ l = 1 L [ ∇ ϕ log p θ ( x | z l ) + ∇ ϕ log q ϕ ( z l | x ) − ∇ ϕ log p ( z l ) ] {\displaystyle \nabla _{\phi }{\text{ELBO}}(\phi ,\theta )\approx {\frac {1}{L}}\sum _{l=1}^{L}[\nabla _{\phi }\log p_{\theta }(x|z_{l})+\nabla _{\phi }\log q_{\phi }(z_{l}|x)-\nabla _{\phi }\log p(z_{l})]} where z l = μ ϕ ( x ) + σ ϕ ( x ) ⊙ ϵ l {\displaystyle z_{l}=\mu _{\phi }(x)+\sigma _{\phi }(x)\odot \epsilon _{l}} and ϵ l ∼ N ( 0 , I ) {\displaystyle \epsilon _{l}\sim {\mathcal {N}}(0,I)} for l = 1 , … , L {\displaystyle l=1,\ldots ,L} . This formulation enables backpropagation through the sampling process, allowing for end-to-end training of the VAE model using stochastic gradient descent or its variants. === Variational inference === More generally, the trick allows using stochastic gradient descent for variational inference. Let the variational objective (ELBO) be of the form: ELBO ( ϕ ) = E z ∼ q ϕ ( z ) [ log p ( x , z ) − log q ϕ ( z ) ] {\displaystyle {\text{ELBO}}(\phi )=\mathbb {E} _{z\sim q_{\phi }(z)}[\log p(x,z)-\log q_{\phi }(z)]} Using the reparameterization trick, we can estimate the gradient of this objective with respect to ϕ {\displaystyle \phi } : ∇ ϕ ELBO ( ϕ ) ≈ 1 L ∑ l = 1 L ∇ ϕ [ log p ( x , g ϕ ( ϵ l ) ) − log q ϕ ( g ϕ ( ϵ l ) ) ] , ϵ l ∼ p ( ϵ ) {\displaystyle \nabla _{\phi }{\text{ELBO}}(\phi )\approx {\frac {1}{L}}\sum _{l=1}^{L}\nabla _{\phi }[\log p(x,g_{\phi }(\epsilon _{l}))-\log q_{\phi }(g_{\phi }(\epsilon _{l}))],\quad \epsilon _{l}\sim p(\epsilon )} === Dropout === The reparameterization trick has been applied to reduce the variance in dropout, a regularization technique in neural networks. The original dropout can be reparameterized with Bernoulli distributions: y = ( W ⊙ ϵ ) x , ϵ i j ∼ Bernoulli ( α i j ) {\displaystyle y=(W\odot \epsilon )x,\quad \epsilon _{ij}\sim {\text{Bernoulli}}(\alpha _{ij})} where W {\displaystyle W} is the weight matrix, x {\displaystyle x} is the input, and α i j {\displaystyle \alpha _{ij}} are the (fixed) dropout rates. More generally, other distributions can be used than the Bernoulli distribution, such as the gaussian noise: y i = μ i + σ i ⊙ ϵ i , ϵ i ∼ N ( 0 , I ) {\displaystyle y_{i}=\mu _{i}+\sigma _{i}\odot \epsilon _{i},\quad \epsilon _{i}\sim {\mathcal {N}}(0,I)} where μ i = m i ⊤ x {\displaystyle \mu _{i}=\mathbf {m} _{i}^{\top }x} and σ i 2 = v i ⊤ x 2 {\displaystyle \sigma _{i}^{2}=\mathbf {v} _{i}^{\top }x^{2}} , with m i {\displaystyle \mathbf {m} _{i}} and v i {\displaystyle \mathbf {v} _{i}} being the mean and variance of the i {\displaystyle i} -th output neuron. The reparameterization trick can be applied to all such cases, resulting in the variational dropout method.
Hidden layer
In artificial neural networks, a hidden layer is a layer of artificial neurons that is neither an input layer nor an output layer. The simplest examples appear in multilayer perceptrons (MLP), as illustrated in the diagram. An MLP without any hidden layer is essentially just a linear model. With hidden layers and activation functions, however, nonlinearity is introduced into the model. In typical machine learning practice, the weights and biases are initialized, then iteratively updated during training via backpropagation.
KoalaPad
The KoalaPad is a graphics tablet, released in 1983 by US company Koala Technologies Corporation, for the Apple II, TRS-80 Color Computer (as the TRS-80 Touch Pad), Atari 8-bit computers, Commodore 64, and IBM PC compatibles. Originally designed by Dr. David Thornburg as a low-cost computer drawing tool for schools, the Koala Pad and the bundled drawing program, KoalaPainter, was popular with home users as well. KoalaPainter was called KoalaPaint in some versions for the Apple II, and PC Design for the IBM PC. A program called Graphics Exhibitor was included for creating slideshow presentations from KoalaPainter drawings. == Description == The pad was four inches square (i.e. roughly 10×10 cm) and mounted on a slightly inclined base with the back of the pad higher than the front. At the top, "behind" the pad, were two buttons. The pad hooked into the computer using the analog signals of the joystick ports (the so-called paddle inputs), which meant that it had a low resolution and tended to jostle the cursor if moved during use. As an alternative to the drawing stylus, the pad could as easily be operated by the user's fingers for tasks that demanded less precision, such as selecting between menu items (thus using the pad as a kind of "indirect touch screen"). The top-mounted buttons tended to be somewhat frustrating to use, as the user had to "reach around" the stylus to push the buttons in order to start or stop drawing. A similar tablet from Atari, the Atari CX77 Touch Tablet, addressed this with a built-in button on the stylus, which some enterprising users adapted for use with their KoalaPad. == KoalaPainter == The pad shipped with a simple bitmap graphics editor developed by Audio Light called KoalaPainter, PC Design or Micro Illustrator depending on the target machine (see release history). Although bundled with the pad, KoalaPainter could also be operated using an ordinary digital joystick. One unique feature of the program, for its time, was that it held two pictures in the computer's memory, allowing the user to flip from one to the other—a function commonly used in order to study the differences between an original and a modified picture, and to copy and paste between two different pictures. Some third-party bitmap editors could also be used with the KoalaPad, such as Broderbund's Dazzle Draw for the Apple II. === Release history === KoalaPainter for Commodore 64 (1983) and Atari 8-bit computers (1983) PC Design for the IBM PC (1983) Micro Illustrator for the Apple II (1983), Atari 8-bit computers (1983) and Commodore Plus/4 (1984) KoalaPainter II for Commodore 64 (1984) === Reception === Ahoy! called KoalaPainter "a very powerful and effective color drawing package", and concluded that it and the KoalaPad were "excellent in ease of use, a fine choice for a beginner as well as young children". BYTE's reviewer stated in December 1984 that he made far fewer errors when using an Apple Mouse with MousePaint than with a KoalaPad and its software. He found that MousePaint was easier to use and more efficient, predicting that the mouse would receive more software support than the pad. Cassie Stahl in InfoWorld's Essential Guide to Atari Computers praised the tablet and its documentation, rating it "Excellent" among all categories and stating that "Playing with the KoalaPad becomes addictive. It does everything it claims to, and it does it well". She also liked Micro Illustrator, rating it "Excellent" except for "Good" for Performance. While criticizing the limited erase function, Stahl reported an undocumented feature enabling exporting pictures to other software. === File format === The Commodore 64 version of KoalaPainter used a fairly simple file format corresponding directly to the way bitmapped graphics are handled on the computer: A two-byte load address, followed immediately by 8,000 bytes of raw bitmap data, 1,000 bytes of raw "Video Matrix" data, 1,000 bytes of raw "Color RAM" data, and a one-byte Background Color field. == KoalaWare == Koala Technologies offered more software beyond the bundled KoalaPainter and Graphics Exhibitor for use with the pad. Among these applications, marketed under the moniker KoalaWare (like KoalaPainter itself), was educational software for use with customized keypads and overlays, such as spelling tools, music programs, and mathematics instruction software, as well as software for "translating" graphical designs into Logo programs.
Domain adaptation
Domain adaptation is a field associated with machine learning and transfer learning. It addresses the challenge of training a model on one data distribution (the source domain) and applying it to a related but different data distribution (the target domain). A common example is spam filtering, where a model trained on emails from one user (source domain) is adapted to handle emails for another user with significantly different patterns (target domain). Domain adaptation techniques can also leverage unrelated data sources to improve learning. When multiple source distributions are involved, the problem extends to multi-source domain adaptation. Domain adaptation is a specific type of transfer learning. According to the taxonomy laid out by Pan and Yang (2010), it falls into the category of transductive transfer learning. In this setting, the source and target tasks are the same (e.g., both are object recognition), but the domains differ (different marginal distributions). This distinguishes it from inductive transfer learning (where labeled data is available for the target task) and unsupervised transfer learning (where labels are unavailable in both domains). == Classification of domain adaptation problems == Domain adaptation setups are classified in two different ways: according to the distribution shift between the domains, and according to the available data from the target domain. === Distribution shifts === Common distribution shifts are classified as follows: Covariate Shift occurs when the input distributions of the source and destination change, but the relationship between inputs and labels remains unchanged. The above-mentioned spam filtering example typically falls in this category. Namely, the distributions (patterns) of emails may differ between the domains, but emails labeled as spam in the one domain should similarly be labeled in another. Prior Shift (Label Shift) occurs when the label distribution differs between the source and target datasets, while the conditional distribution of features given labels remains the same. An example is a classifier of hair color in images from Italy (source domain) and Norway (target domain). The proportions of hair colors (labels) differ, but images within classes like blond and black-haired populations remain consistent across domains. A classifier for the Norway population can exploit this prior knowledge of class proportions to improve its estimates. Concept Shift (Conditional Shift) refers to changes in the relationship between features and labels, even if the input distribution remains the same. For instance, in medical diagnosis, the same symptoms (inputs) may indicate entirely different diseases (labels) in different populations (domains). === Data available during training === Domain adaptation problems typically assume that some data from the target domain is available during training. Problems can be classified according to the type of this available data: Unsupervised: Unlabeled data from the target domain is available, but no labeled data. In the above-mentioned example of spam filtering, this corresponds to the case where emails from the target domain (user) are available, but they are not labeled as spam. Domain adaptation methods can benefit from such unlabeled data, by comparing its distribution (patterns) with the labeled source domain data. Semi-supervised: Most data that is available from the target domain is unlabelled, but some labeled data is also available. In the above-mentioned case of spam filter design, this corresponds to the case that the target user has labeled some emails as being spam or not. Supervised: All data that is available from the target domain is labeled. In this case, domain adaptation reduces to refinement of the source domain predictor. In the above-mentioned example classification of hair-color from images, this could correspond to the refinement of a network already trained on a large dataset of labeled images from Italy, using newly available labeled images from Norway. == Formalization == Let X {\displaystyle X} be the input space (or description space) and let Y {\displaystyle Y} be the output space (or label space). The objective of a machine learning algorithm is to learn a mathematical model (a hypothesis) h : X → Y {\displaystyle h:X\to Y} able to attach a label from Y {\displaystyle Y} to an example from X {\displaystyle X} . This model is learned from a learning sample S = { ( x i , y i ) ∈ ( X × Y ) } i = 1 m {\displaystyle S=\{(x_{i},y_{i})\in (X\times Y)\}_{i=1}^{m}} . Usually in supervised learning (without domain adaptation), we suppose that the examples ( x i , y i ) ∈ S {\displaystyle (x_{i},y_{i})\in S} are drawn i.i.d. from a distribution D S {\displaystyle D_{S}} of support X × Y {\displaystyle X\times Y} (unknown and fixed). The objective is then to learn h {\displaystyle h} (from S {\displaystyle S} ) such that it commits the least error possible for labelling new examples coming from the distribution D S {\displaystyle D_{S}} . The main difference between supervised learning and domain adaptation is that in the latter situation we study two different (but related) distributions D S {\displaystyle D_{S}} and D T {\displaystyle D_{T}} on X × Y {\displaystyle X\times Y} . The domain adaptation task then consists of the transfer of knowledge from the source domain D S {\displaystyle D_{S}} to the target one D T {\displaystyle D_{T}} . The goal is then to learn h {\displaystyle h} (from labeled or unlabelled samples coming from the two domains) such that it commits as little error as possible on the target domain D T {\displaystyle D_{T}} . The major issue is the following: if a model is learned from a source domain, what is its capacity to correctly label data coming from the target domain? == Four algorithmic principles == === Reweighting algorithms === The objective is to reweight the source labeled sample such that it "looks like" the target sample (in terms of the error measure considered). === Iterative algorithms === A method for adapting consists in iteratively "auto-labeling" the target examples. The principle is simple: a model h {\displaystyle h} is learned from the labeled examples; h {\displaystyle h} automatically labels some target examples; a new model is learned from the new labeled examples. Note that there exist other iterative approaches, but they usually need target labeled examples. === Search of a common representation space === The goal is to find or construct a common representation space for the two domains. The objective is to obtain a space in which the domains are close to each other while keeping good performances on the source labeling task. This can be achieved through the use of Adversarial machine learning techniques where feature representations from samples in different domains are encouraged to be indistinguishable. === Hierarchical Bayesian Model === The goal is to construct a Bayesian hierarchical model p ( n ) {\displaystyle p(n)} , which is essentially a factorization model for counts n {\displaystyle n} , to derive domain-dependent latent representations allowing both domain-specific and globally shared latent factors. == Software packages == Several compilations of domain adaptation and transfer learning algorithms have been implemented over the past decades: SKADA (Python) ADAPT (Python) TLlib (Python) Domain-Adaptation-Toolbox (MATLAB)