Clesh

Clesh (clip load edit share) is a cloud-based video editing platform, created by Forbidden Technologies plc, designed for the consumers, prosumers, and online communities to integrate user-generated content. The core technology is based on FORscene which is geared towards professionals working for example in broadcasting, news media, post production. Video, audio, and graphical content is uploaded to Clesh via a standard web browser, a mobile device such as a phone / tablet, or desktop software for DV capture over FireWire. The hosted material can then be reviewed, searched, edited, and published online by anyone with a standard web browser or compatible mobile device. Clesh supports storyboard shot selection, frame-accurate editing, transitions and various other functions such as; pan, zoom, colour and light correction, and audio levels. Content can be published in formats for example; Podcast, Mpeg2, HTML video or in a proprietary Java format. Cloud-based software provides greater scope for sharing information and collaborating compared to LAN or desktop based systems. Users of cloud-based software rely on the cloud's owner for adequate security, performance and resilience. Clesh does not assert any rights over uploaded content in contrast to other platforms (such as YouTube). All rights to any content uploaded to Clesh remain with the Author. == Features == Some of the services available to Clesh users: Access via Java enabled desktops or Android smartphones or tablets Real-time video rendering including effects and transitions Multiple audio tracks Secured log-on Frame accurate timeline for fine cut editing Logging / meta-data annotation assigns text to portions of video (usable by Clesh and web search engines) Storyboard assembles rough cuts using drag-and-drop Import, host, organise and search for media (DV tape and various video, audio, and still image formats) Publish content to in formats such as podcast, MPEG-2, web (Java Applet), Flash, Ogg, HTML and JPEG Chatrooms to talk to other Clesh users Showreel (a gallery for publishing material visible to internet users) Moderation for approval of material prior to distribution downstream Re-branding and integration support for white-label deployment == Technology == Clesh is based on the same technology as FORscene. An array of servers on the internet backbone provide the cloud computing platform to host Clesh. As a white-label solution Clesh would be branded and hosted per the client requirement. == User interface == End-users access Clesh on clients such as standard Java-enabled Web Browsers and / or Android enabled mobile devices such as tablets and smartphones. == History == Clesh was launched January 2006 and subject to several upgrades during the year to extend functionality including; storyboard, podcasting, moderation, chat and a showreel. During 2007 consumers are offered Clesh via a subscription model. Upgrades include Web Start and graphics upload. Mr Paparazzi selects Clesh as the platform to host its video offering and TrueTube does the same in 2008 by choosing to use Clesh to manage its video portal. Several further upgrades are applied and include; better audio quality, image enhancement controls, transitions, fades, titles, and additional publishing options such as JPEG. In 2010 a version of Clesh is demonstrated on an Android OS tablet device (Samsung Galaxy S Tab), and several upgrades are applied including; HTML publishing, pan, zoom, and overlays.

Euratlas

Euratlas is a Switzerland-based software company dedicated to elaborate digital history maps of Europe. Founded in 2001, Euratlas has created a collection of history maps of Europe from year 1 AD to year 2000 AD that present the evolution of every country from the Roman Empire to present times. The evolution includes sovereign states and their administrative subdivisions, but also unorganized peoples and dependent territories. The maps show European country borders at regular intervals of 100 years, but not year by year. This leaves out many important turning points in history. Euratlas is considered a digital humanities company, and a scholar research software used in the field of historic cartography. It is broadly known among American and European universities, who mainly use Euratlas as a research tool and as a digital library atlas. == Sequential mapping policy == This concept was first designed by the German scholar Christian Kruse (1753–1827). Kruse, well aware that historical accounts are often biased for geographical, philosophical or political reasons, created a set of sequential maps in order to give a global vision of the successive political situations. Nowadays, the majority of atlases don't use this approach, but are event-based, like the well-known Penguin Atlas of History. The sequential approach intends to make the sequence of maps more neutral and suitable for students, historians and professionals of several fields. Although, this approach has been discussed as it leaves out many important history events that are not reflected on any of the maps because of the century interval. == Geo-referenced historical data == Initially, the European maps by century were developed as vector maps. From 2006 on, they have been converted to a geographic information system (GIS) database, enabling geo-referenced data capabilities. The map information is distributed in several layers: physical (geography information layer); political information layer (supranational entities, sovereign states, administrative divisions, dependent states and autonomous peoples); and special layers for cities and uncertain borders. The software database also contains much non-geographical information about political relationships between the various kinds of territories. == Map projection == Euratlas History Maps uses a Mercator projection, with the center in Europe. The maps include the North-African coast and the Near-East, offering a complete view of the Mediterranean Basin. The European Russia plains are shown, but not Scandinavia, specially Finland, which is cropped off the map view.

Richard S. Sutton

Richard Stuart Sutton (born 1957 or 1958) is a Canadian computer scientist. He is a professor of computing science at the University of Alberta, fellow & Chief Scientific Advisor at the Alberta Machine Intelligence Institute, and a research scientist at Keen Technologies. Sutton is considered one of the founders of modern computational reinforcement learning. In particular, he contributed to temporal difference learning and policy gradient methods. He received the 2024 Turing Award with Andrew Barto. == Education and early life == Richard Sutton was born in either 1957 or 1958 in Toledo, Ohio, and grew up in Oak Brook, Illinois, a suburb of Chicago, United States. Sutton received his Bachelor of Arts (BA) degree in psychology from Stanford University in 1978 before taking a Master of Science (1980) and PhD (1984) in computer science from the University of Massachusetts Amherst supervised by Andrew Barto. His doctoral dissertation introduced actor-critic architectures and temporal credit assignment. He was influenced by Harry Klopf's work in the 1970s, which proposed that supervised learning is insufficient for AI or explaining intelligent behavior, and trial-and-error learning, driven by "hedonic aspects of behavior", is necessary. This focused his interest to reinforcement learning. == Career and research == Sutton held a postdoctoral research position at the University of Massachusetts Amherst in 1984. He worked at GTE Laboratories in Waltham, Massachusetts as principal member of technical staff from 1985 to 1994, then returned to the University of Massachusetts Amherst as a senior research scientist. He joined AT&T Labs Shannon Laboratory in Florham Park, New Jersey as principal technical staff member from 1998 to 2002. He has been a professor of computing science at the University of Alberta since 2003, where he helped establish the Reinforcement Learning and Artificial Intelligence Laboratory. In 2017 he became a distinguished research scientist with Google DeepMind and helped launch DeepMind Alberta in Edmonton, a research office operated in close collaboration with the University of Alberta. 1984: Postdoctoral researcher, University of Massachusetts Amherst (Amherst, Massachusetts) 1985–1994: Principal member of technical staff, Computer and Intelligent Systems Laboratory, GTE Laboratories (Waltham, Massachusetts) 1995–1998: Senior research scientist, University of Massachusetts Amherst (Amherst, Massachusetts) 1998–2002: Principal technical staff member, Artificial Intelligence Department, AT&T Labs Shannon Laboratory (Florham Park, New Jersey) 2003–present: Professor of computing science, University of Alberta (Edmonton, Alberta) 2017–2023: Distinguished research scientist, DeepMind Alberta, Google DeepMind (Edmonton, Alberta) 2024–Present: Research scientist, Keen Technologies === Reinforcement learning === Sutton joined Andrew Barto in the early 1980s at UMass, trying to explore the behavior of neurons in the human brain as the basis for human intelligence, a concept that had been advanced by computer scientist A. Harry Klopf. Sutton and Barto used mathematics toward furthering the concept and using it as the basis for artificial intelligence. This concept became known as reinforcement learning and went on to becoming a key part of artificial intelligence techniques. Barto and Sutton used Markov decision processes (MDP) as the mathematical foundation to explain how agents (algorithmic entities) made decisions when in a stochastic or random environment, receiving rewards at the end of every action. Traditional MDP theory assumed the agents knew all information about the MDPs in their attempt toward maximizing their cumulative rewards. Barto and Sutton's reinforcement learning techniques allowed for both the environment and the rewards to be unknown, and thus allowed for these category of algorithms to be applied to a wide array of problems. Sutton returned to Canada in the 2000s and continued working on the topic which continued to develop in academic circles until one of its first major real world applications saw Google's AlphaGo program built on this concept defeating the then prevailing human champion. Barto and Sutton have widely been credited and accepted as pioneers of modern reinforcement learning, with the technique itself being foundational to the AI boom. In a 2019 essay, Sutton proposed the "bitter lesson", which criticized the field of AI research for failing to learn that "building in how we think we think does not work in the long run", arguing that "70 years of AI research [had shown] that general methods that leverage computation are ultimately the most effective, and by a large margin", beating efforts building on human knowledge about specific fields like computer vision, speech recognition, chess or Go. Sutton argues that large language models aren’t capable of learning on-the-job, and so new model architectures are required to enable continual learning. Sutton further argues that a special training phase will be unnecessary — the agent will learn on-the-fly, rendering large language models obsolete. In 2023, Sutton and John Carmack announced a partnership for the development of artificial general intelligence (AGI). === Awards and honors === Sutton has been a Fellow of the Association for the Advancement of Artificial Intelligence (AAAI) since 2001; his nomination read: "For significant contributions to many topics in machine learning, including reinforcement learning, temporal difference techniques, and neural networks." In 2003, he received the President's Award from the International Neural Network Society and in 2013, the Outstanding Achievement in Research award from the University of Massachusetts Amherst. He received the 2024 Turing Award from the Association for Computing Machinery together with Andrew Barto; the citation of the award read: "For developing the conceptual and algorithmic foundations of reinforcement learning." In 2016, Sutton was elected Fellow of the Royal Society of Canada. In 2021, he was elected Fellow of the Royal Society (FRS) of London. === Research === Sutton introduced temporal-difference methods for prediction and control, establishing convergence properties and practical algorithms. He proposed integrated learning and planning through the Dyna architecture. He co-developed the options framework for temporal abstraction in reinforcement learning. He co-authored the first modern policy gradient formulation with function approximation. Sutton's essay The Bitter Lesson argued that general methods that scale with computation dominate domain-specific approaches in the long run. His former doctoral students include David Silver and Doina Precup. === Selected publications === His publications include: == Personal life == Sutton became a Canadian citizen in 2015, and his renunciation of US citizenship was reported in 2017.

Computational creativity

Computational creativity (also known as artificial creativity, mechanical creativity, creative computing or creative computation) is a multidisciplinary endeavour that is located at the intersection of the fields of artificial intelligence, cognitive psychology, philosophy, and the arts (e.g., computational art as part of computational culture). Is the application of computer systems to emulate human-like creative processes, facilitating the generation of artistic and design outputs that mimic innovation and originality. The goal of computational creativity is to model, simulate or replicate creativity using a computer, to achieve one of several ends: To construct a program or computer capable of human-level creativity. To better understand human creativity and to formulate an algorithmic perspective on creative behavior in humans. To design programs that can enhance human creativity without necessarily being creative themselves. The field of computational creativity concerns itself with theoretical and practical issues in the study of creativity. Theoretical work on the nature and proper definition of creativity is performed in parallel with practical work on the implementation of systems that exhibit creativity, with one strand of work informing the other. The applied form of computational creativity is known as media synthesis. == Theoretical issues == Theoretical approaches concern the essence of creativity. Especially, under what circumstances it is possible to call the model a "creative" if eminent creativity is about rule-breaking or the disavowal of convention. This is a variant of Ada Lovelace's objection to machine intelligence, as recapitulated by modern theorists such as Teresa Amabile. If a machine can do only what it was programmed to do, how can its behavior ever be called creative? Indeed, not all computer theorists would agree with the premise that computers can only do what they are programmed to do—a key point in favor of computational creativity. == Defining creativity in computational terms == Because no single perspective or definition seems to offer a complete picture of creativity, the AI researchers Newell, Shaw and Simon developed the combination of novelty and usefulness into the cornerstone of a multi-pronged view of creativity, one that uses the following four criteria to categorize a given answer or solution as creative: The answer is novel and useful (either for the individual or for society) The answer demands that we reject ideas we had previously accepted The answer results from intense motivation and persistence The answer comes from clarifying a problem that was originally vague Margaret Boden focused on the first two of these criteria, arguing instead that creativity (at least when asking whether computers could be creative) should be defined as "the ability to come up with ideas or artifacts that are new, surprising, and valuable". Mihaly Csikszentmihalyi argued that creativity had to be considered instead in a social context, and his DIFI (Domain-Individual-Field Interaction) framework has since strongly influenced the field. In DIFI, an individual produces works whose novelty and value are assessed by the field—other people in society—providing feedback and ultimately adding the work, now deemed creative, to the domain of societal works from which an individual might be later influenced. Whereas the above reflects a top-down approach to computational creativity, an alternative thread has developed among bottom-up computational psychologists involved in artificial neural network research. During the late 1980s and early 1990s, for example, such generative neural systems were driven by genetic algorithms. Experiments involving recurrent nets were successful in hybridizing simple musical melodies and predicting listener expectations. == Historical evolution of computational creativity == The use computational processes to generate creative artifacts has been present from early times in history. During the late 1800's, methods for composing music combinatorily were explored, involving prominent figures like Mozart, Bach, Haydn, and Kiernberger. This approach extended to analytical endeavors as early as 1934, where simple mechanical models were built to explore mathematical problem solving. Professional interest in the creative aspect of computation also was commonly addressed in early discussions of artificial intelligence. The 1956 Dartmouth Conference, listed creativity, invention, and discovery as key goals for artificial intelligence. As the development of computers allowed systems of greater complexity, the 1970's and 1980's saw invention of early systems that modelled creativity using symbolic or rule-based approaches. The field of creative storytelling investigated several such models. Meehan's TALE-SPIN (1977) generated narratives through simulation of character goals and decision trees. Dehn's AUTHOR (1981) approached generation by simulating an author's process for crafting a story. Beyond narrative generation, computational creativity expanded into artistic and scientific domains. Artistic image generation was one of the disciplines that saw early potential in generated artifacts through computational creativity. One of the most prominent examples was Harold Cohen's AARON, which produced art through composition and adaptation of figures based on a large set of symbolic rules and heuristics for visual composition. Some systems also tackled creativity in scientific endeavors. BACON was said to rediscover natural laws like Boyle's Law and Kepler's law through hypothesis testing in constrained spaces. By the 1990's the modeling techniques became more adaptive, attempting to implement cognitive creative rules for generation. Turner's MINSTREL (1993) introduced TRAMs (Transform Recall Adapt Methods) to simulate creative re-use of prior material for generative storytelling. Meanwhile, Pérez y Pérez's MEXICA (1999) modeled the creative writing process using cycles of engagement and reflection. As systems increasingly incorporated models of internal evaluation, another approach that emerged was that of combining symbolic generation with domain-specific evaluation metrics, modeling generative and selective steps to creativity In the field of generational humor, the JAPE system (1994) generated pun-based riddles using Prolog and WordNet, applying symbolic pattern-matching rules and a large lexical database (WordNet) to compose riddles involving wordplay. WordNet is a system developed by George Miller and his team at Princeton, its platform and inspired word-mapping structures have been used as the backbone of several syntactic and semantic AI programs. A notable system for music generation was David Cope's EMI (Experiments in Musical Intelligence) or Emmy, which was trained in the styles of artists like Bach, Beethoven, or Chopin and generated novel pieces in their style through pattern abstraction and recomposition. In the 2000s and beyond, machine learning began influencing creative system design. Researchers such as Mihalcea and Strapparava trained classifiers to distinguish humorous from non-humorous text, using stylistic and semantic features. Meanwhile custom computational approaches led to chess systems like Deep Blue generating quasi-creative gameplay strategies through search algorithms and parallel processing constrained by specific rules and patterns for evaluation. The institutional development of computational creativity grew along its technical advances. Dedicated workshops such as the IJWCC emerged in the 1990s, growing out of interdisciplinary conferences focused on AI and creativity. By the early 2000s, the field coalesced around annual conferences like the International Conference on Computational Creativity (ICCC). Recently, with the advent of Deep Learning, Transformers, and further refinement in Machine Learning structures, computational creativity's implementation space has new tools for development. == Machine learning for computational creativity == While traditional computational approaches to creativity rely on the explicit formulation of prescriptions by developers and a certain degree of randomness in computer programs, machine learning methods allow computer programs to learn on heuristics from input data enabling creative capacities within the computer programs. Especially, deep artificial neural networks allow to learn patterns from input data that allow for the non-linear generation of creative artefacts. Before 1989, artificial neural networks have been used to model certain aspects of creativity. Peter Todd (1989) first trained a neural network to reproduce musical melodies from a training set of musical pieces. Then he used a change algorithm to modify the network's input parameters. The network was able to randomly generate new music in a highly uncontrolled manner. In 1992, Todd extended this work, using the so-called distal teacher approach that had been d

Jakub Pachocki

Jakub Pachocki (born 1991) is a Polish computer scientist and former competitive programmer. He is best known as OpenAI's chief scientist and for his role in overseeing development of GPT-4. == Background == Pachocki was born in 1991 in Gdańsk, Poland. In high school, he was a six-time finalist of the Polish Olympiad in Informatics. In 2009, he qualified for the International Olympiad in Informatics, winning a silver medal. Pachocki obtained his undergraduate degree in Computer Science from the University of Warsaw. He represented his university at the International Collegiate Programming Contest with his team winning a gold medal and coming second place overall in 2012. In the same year he was also the champion of the Google Code Jam. From 2011 to 2012, Pachocki worked at Facebook as a software engineering intern. Pachocki attended graduate school at Carnegie Mellon University, where he obtained his PhD under the supervision of Gary Miller. == Career == After graduation, Pachocki did postdoc work at Harvard University and Simons Institute for the Theory of Computing. === OpenAI === In 2017, Pachocki joined OpenAI. In 2021, he became OpenAI's research director where he led the development of GPT-4 and OpenAI Five. In May 2024, he became chief scientist after his mentor Ilya Sutskever left the company. OpenAI CEO Sam Altman has called Pachocki "easily one of the greatest minds of our generation". == Competitive programming achievements == International Olympiad in Informatics: Silver medal (2009) International Collegiate Programming Contest World Finals: Gold medal (second place overall in 2012) Google Code Jam: Champion (2012), Third place (2011) Facebook Hacker Cup: Second place (2013) TopCoder Open Algorithm: Second place (2012) A more comprehensive list of achievements can be found at the Competitive Programming Hall Of Fame website.

Mojito (framework)

Mojito is an environment agnostic, Model-View-Controller (MVC) web application framework. It was designed by Yahoo. == Features == Mojito supports agile development of web applications. Mojito has built-in support for unit testing, Internationalization, syntax and coding convention checks. Both server and client components are written in JavaScript. Mojito allows developers designing web applications to leverage the utilities of both configuration and MVC framework. Mojito is capable of running on both JavaScript-enabled web browsers and servers using Node.js because they both utilize JavaScript. Mojito applications mainly consist of two components: JSON Configuration files: these define relationships between code components, assets, routing paths, and framework defaults and are available at the application and mojit level. Directories: these reflect MVC architecture and are used to separate resources such as assets, libraries, middleware, etc. == Architecture == In Mojito, both server and "client" side scripting is done in JavaScript, allowing it to run on both client and server thereby breaking the "front-end back-end barrier." It has both client and server runtimes. === Server runtime === This block houses operations needed by server side components. Services include: Routing rules, HTTP Server, config loader and disk-based loader. === Client runtime === This block houses operations called upon while running client sides components. Services include local storage/cache access and JSON based /URL based loader === Core === Core function can be accessed on client or server. Services include Registry, Dispatcher, Front controller, Resource store. === Container === mojit object comes into the picture. This container also include the services used by mojits. API and Mojito services are the blocks which caters to services needed for execution of mojits. === API (Action Context) === Mojito services are a customizable service block. It offers mojits a range of services which might be needed by mojit to carry out certain actions. These services can be availed at both client and server side. Reusable services can be created and aggregated to the core here. == Mojits == Mojits are the modules of a Mojito application. An application consists of one or more mojits. A mojit encompasses a Model, Views and a Controller defined by JSON configuration files. It includes a View factory where views are created according to the model and a View cache that holds frequently requested views to aid performance. === Application Architecture === A Mojito application is a set of mojits facilitated by configurable JSON files which define the code for model, view and controller. This MVC structure works with API block and Mojito services, and can be deployed at both client and server side. While the application is deployed at client side, it can call server-side modules using binders. Binders are mojit codes that let mojits request services from each other. Mojit Proxy acts as an intermediary between binders and mojit's API (application context) block and other mojits. Controllers are command-issuing units of mojits. Models mirror the core logic and hold data. Applications can have multiple models. They can be centrally accessed from controllers. View files are created in accordance with controllers and models, and are marked-up before they are sent to users as output. === Application Directory Structure === Directory structure of a Mojito application with one mojit: [mojito_app]/ |-- application.json |-- assets/ | `-- favicon.icon |-- yui_modules/ | `-- .{affinity}.js |-- index.js |-- mojits/ | `-- [mojit_name | |-- assets/ | |-- yui_modules/ | | `-- .{affinity}.js | |-- binders/ | | `-- {view_name}.js | |-- controller.{affinity}.js | |-- defaults.json | |-- definition.json | |-- lang/ | | `-- {mojit_name}_{lang}.js | |-- models/ | | `-- {model_name}.{affinity}.js | |-- tests/ | | |-- yui_modules/ | | | `-- {module_name}.{affinity}-tests.js | | |-- controller.{affinity}-tests.js | | `-- models/ | | `-- {model_name}.{affinity}-tests.js | `-- views/ | |-- {view_name}.{view_engine}.html | `-- {view_name}.{device}.{view_engine}.html |-- package.json |-- routes.json (deprecated) |-- server.js == Model, View and Controller == The Model hosts data, which is accessed by the Controller and presented to the View. Controller also handles any client requests for data, in which case controller fetches data from the model and passes the data to the client. All three components are clustered in the mojit. Mojits are physically illustrated by directory structures and an application can have multiple mojits. Every mojit can have one controller, one or more views and zero or more models. === Model === The model it represents the application data and is independent of view or controller. Model contains code to manipulate the data. They are found in the models directory of each mojit. Functions include: Storing information for access by controller. Validation and error handling. Metadata required by the view === Controller === The controller acts like a connecting agent between model and view. It supplies input to Model and after fetching data from model, passes it to View. Functions include Redirection Monitors authentication Web safety Encoding === View === The view acts as a presentation filter by highlighting some model attributes and suppressing others. A view can be understood as a visual permutation of the model. The view renders data received from controller and displays it to the end user.

Linguistic value

In artificial intelligence, fuzzy logic operations research, and related fields, a linguistic value is a natural language term which is derived using quantitative or qualitative reasoning such as with probability and statistics or fuzzy sets and systems. Variables that take linguistic values are called linguistic variables. == Examples of linguistic variables and values == For example, "age" may be a linguistic variable if its values are not numerical, e.g. very young, quite young, not young, old, not very old etc. These values could be derived from the numeric values for age. As another example, if a shuttle heat shield is deemed of having a linguistic value of a "very low" percentage of damage in re-entry, based upon knowledge from experts in the field, that probability would be given a value of say, 5%. From there on out, if it were to be used in an equation, the variable of percentage of damage will be at 5% if it deemed very low percentage.