GITEX AI Vietnam is an upcoming technology exhibition and conference scheduled to take place in Hanoi, Vietnam, on 1–2 October 2026. The event is organised by KAOUN International in partnership with the Dubai World Trade Centre and the Vietnam National Innovation Center (NIC). It is part of the global GITEX network of technology exhibitions. The event supported by Vietnam's Ministry of Finance and Ministry of Science and Technology. == Activity == GITEX AI Vietnam was announced in 2025 as part of GITEX's expansion into Southeast Asia. Its launch coincides with Vietnam's National Innovation Week. Media reports linked to the announcement projected Vietnam's digital economy could reach around US$200 billion by 2030. The event includes exhibitions, conferences, and networking sessions. Co-located platforms include AI Everything Vietnam, Startups North Star Vietnam, GITEX Cyber Valley Vietnam, and FDX Vietnam. Expected participants include policymakers, technology companies, startups, investors, and researchers.
Framebuffer
A framebuffer (frame buffer, or sometimes framestore) is a portion of random-access memory (RAM) containing a bitmap that drives a video display. It is a memory buffer containing data representing all the pixels in a complete video frame. Modern video cards contain framebuffer circuitry in their cores. This circuitry converts an in-memory bitmap into a video signal that can be displayed on a computer monitor. In computing, a screen buffer is a part of computer memory used by a computer application for the representation of the content to be shown on the computer display. The screen buffer may also be called the video buffer, the regeneration buffer, or regen buffer for short. The phrase "screen buffer” refers to a logical function, while video memory refers to a hardware storage location. In particular, the screen buffer may be placed in the main RAM, the video memory, or some other hardware location. To reduce latency and avoid screen tearing, multiple frames can be buffered, and this technique is called multiple buffering. When this is so, at any time, only one frame would be visible, and the others would not be. The currently invisible frames are located in the off-screen buffer. The information in the buffer typically consists of color values for every pixel to be shown on the display. Color values are commonly stored in 1-bit binary (monochrome), 4-bit palettized, 8-bit palettized, 16-bit high color and 24-bit true color formats. An additional alpha channel is sometimes used to retain information about pixel transparency. The total amount of memory required for the framebuffer depends on the resolution of the output signal, and on the color depth or palette size. == History == Computer researchers had long discussed the theoretical advantages of a framebuffer but were unable to produce a machine with sufficient memory at an economically practicable cost. In 1947, the Manchester Baby computer used a Williams tube, later the Williams-Kilburn tube, to store 1024 bits on a cathode-ray tube (CRT) memory and displayed on a second CRT. Other research labs were exploring these techniques with MIT Lincoln Laboratory achieving a 4096 display in 1950. A color-scanned display was implemented in the late 1960s, called the Brookhaven RAster Display (BRAD), which used a drum memory and a television monitor. In 1969, A. Michael Noll of Bell Telephone Laboratories, Inc. implemented a scanned display with a frame buffer, using magnetic-core memory. A year or so later, the Bell Labs system was expanded to display an image with a color depth of three bits on a standard color TV monitor. The vector graphics used in the computer had to be converted for the scanned graphics of a TV display. In the early 1970s, the development of MOS memory (metal–oxide–semiconductor memory) integrated-circuit chips, particularly high-density DRAM (dynamic random-access memory) chips with at least 1 kb memory, made it practical to create, for the first time, a digital memory system with framebuffers capable of holding a standard video image. This led to the development of the SuperPaint system by Richard Shoup at Xerox PARC in 1972. Shoup was able to use the SuperPaint framebuffer to create an early digital video-capture system. By synchronizing the output signal to the input signal, Shoup was able to overwrite each pixel of data as it shifted in. Shoup also experimented with modifying the output signal using color tables. These color tables allowed the SuperPaint system to produce a wide variety of colors outside the range of the limited 8-bit data it contained. This scheme would later become commonplace in computer framebuffers. In 1974, Evans & Sutherland released the first commercial framebuffer, the Picture System, costing about $15,000. It was capable of producing resolutions of up to 512 by 512 pixels in 8-bit grayscale, and became a boon for graphics researchers who did not have the resources to build their own framebuffer. The New York Institute of Technology would later create the first 24-bit color system using three of the Evans & Sutherland framebuffers. Each framebuffer was connected to an RGB color output (one for red, one for green and one for blue), with a Digital Equipment Corporation PDP 11/04 minicomputer controlling the three devices as one. In 1975, the UK company Quantel produced the first commercial full-color broadcast framebuffer, the Quantel DFS 3000. It was first used in TV coverage of the 1976 Montreal Olympics to generate a picture-in-picture inset of the Olympic flaming torch while the rest of the picture featured the runner entering the stadium. The rapid improvement of integrated-circuit technology made it possible for many of the home computers of the late 1970s to contain low-color-depth framebuffers. Today, nearly all computers with graphical capabilities utilize a framebuffer for generating the video signal. Amiga computers, created in the 1980s, featured special design attention to graphics performance and included a unique Hold-And-Modify framebuffer capable of displaying 4096 colors. Framebuffers also became popular in high-end workstations and arcade system boards throughout the 1980s. SGI, Sun Microsystems, HP, DEC and IBM all released framebuffers for their workstation computers in this period. These framebuffers were usually of a much higher quality than could be found in most home computers, and were regularly used in television, printing, computer modeling and 3D graphics. Framebuffers were also used by Sega for its high-end arcade boards, which were also of a higher quality than on home computers. == Display modes == Framebuffers used in personal and home computing often had sets of defined modes under which the framebuffer can operate. These modes reconfigure the hardware to output different resolutions, color depths, memory layouts and refresh rate timings. In the world of Unix machines and operating systems, such conveniences were usually eschewed in favor of directly manipulating the hardware settings. This manipulation was far more flexible in that any resolution, color depth and refresh rate was attainable – limited only by the memory available to the framebuffer. An unfortunate side-effect of this method was that the display device could be driven beyond its capabilities. In some cases, this resulted in hardware damage to the display. More commonly, it simply produced garbled and unusable output. Modern CRT monitors fix this problem through the introduction of protection circuitry. When the display mode is changed, the monitor attempts to obtain a signal lock on the new refresh frequency. If the monitor is unable to obtain a signal lock or if the signal is outside the range of its design limitations, the monitor will ignore the framebuffer signal and possibly present the user with an error message. LCD monitors tend to contain similar protection circuitry, but for different reasons. Since the LCD must digitally sample the display signal (thereby emulating an electron beam), any signal that is out of range cannot be physically displayed on the monitor. == Color palette == Framebuffers have traditionally supported a wide variety of color modes. Due to the expense of memory, most early framebuffers used 1-bit (2 colors per pixel), 2-bit (4 colors), 4-bit (16 colors) or 8-bit (256 colors) color depths. The problem with such small color depths is that a full range of colors cannot be produced. The solution to this problem was indexed color, which adds a lookup table to the framebuffer. Each color stored in framebuffer memory acts as a color index. The lookup table serves as a palette with a limited number of different colors, while the rest is used as an index table. Here is a typical indexed 256-color image and its own palette (shown as a rectangle of swatches): In some designs, it was also possible to write data to the lookup table (or switch between existing palettes) on the fly, allowing dividing the picture into horizontal bars with their own palette and thus rendering an image that had a far wider palette. For example, viewing an outdoor shot photograph, the picture could be divided into four bars: the top one with emphasis on sky tones, the next with foliage tones, the next with skin and clothing tones, and the bottom one with ground colors. This required each palette to have overlapping colors, but, carefully done, allowed great flexibility. == Memory access == While framebuffers are commonly accessed via a memory mapping directly to the CPU memory space, this is not the only method by which they may be accessed. Framebuffers have varied widely in the methods used to access memory. Some of the most common are: Mapping the entire framebuffer to a given memory range. Port commands to set each pixel, range of pixels or palette entry. Mapping a memory range smaller than the framebuffer memory, then bank switching as necessary. The framebuffer organization may be packed pixel or planar. The framebuffer may be all
Weird SoundCloud
Weird SoundCloud, or SoundClown, is a mashup parody music scene taking place on the online distribution platform SoundCloud. The scene has been described by its producers and music journalists to be a satirical take on electronic dance music, and useless, throwaway internet content. One critic, Audra Schroeder, categorized it as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." == Origins == In a January 2014 interview, DJ Kevin Wang suggested that the Weird SoundCloud has "been around in the last one to two years", but started to gain much more popularity the previous year through electronic dance music internet blogs. Weird SoundCloud producer Ideaot suggested that some in the phenomenon came from the YouTube poop scene. Another producer in the community, DJ @@ (AT-AT), reasoned that producers joining the scene "want to express their musicality, see it as a more mature form of YouTube Poop," or are "just looking for recognition on social media sites." AT-AT said that it was "a fun thing to do, and after I stopped making proper music I felt I needed a bit of an outlet for my creativity. The fact that people enjoyed it and/or treated it as a travesty (Direct quote from one of my tracks) spurs me on." == Characteristics == Weird SoundCloud is a mash-up and parody music genre labeled by journalist Audra Schroeder as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." Most tracks range from around 30 seconds to one minute in length. The people who make weird SoundCloud are known as SoundClowns, a term coined by producer Dicksoak. Ideaot described the weird SoundCloud community as "largely just people who are friends with each other." Noisey critic Ryan Bassil spotlight the variety of music coming out of the weird SoundCloud landscape: "One minute you could be listening to the Seinfeld theme reimagined as an aneurysm inducing dubstep corker, the next, you're recovering from hearing a version of Tenacious D's "Tribute" that's akin to having a stroke." Bassil analyzes that the tracks "often take the past and repurpose it into something that, although not altogether useful, sounds fresh and reflective of the abstract, confusing panoramic that encapsulates the modern internet." Bassil compared the lexicon of SoundClown's track titles to that of Reddit and Twitter users. According to Dicksoak, most works of the style are critiques of EDM or "are just uploaded because they sound funny." However, Bassil disagreed, writing that there are also many tracks that keep repurposing a certain meme, such as "mom's spaghetti" or the re-use of vocals from recordings by hip hop group Death Grips. He describe the scene's re-use of memes as a satirical take on pointless online content that is only on the internet to "do nothing other than fill the void": They're changing the format of the original work's intended message or audience - a technique often employed by top-tier digital media companies - and in doing so they're sarcastically, ironically, taking the piss out of what Web 2.0's turned into - an open arena where the most ridiculous, unashamed, often pointless piggy-back content can rack up thousands and thousands of clicks. == Notable examples == There are mash-ups that "disrupt the flow of popular music", in the words of writer Schroeder, such as a "flutedrop" remix of the Miley Cyrus song "Wrecking Ball" and Shaliek's mashup of music by Bruno Mars and Korn. In November 2013, Wang released a set of mp3 files on SoundCloud named Best Drops Ever, which included tracks like "A Drop So Epic a Bunch of NYU Bros Already Bought a 3-Day Weekend Pass for It" and "A Drop So Crazy You'll Kill Your Family". All of the tracks start as normal electronic dance music build-ups, before they drop into a "bait and switch" audio or film clip such as Filet-O-Fish commercials, the Whitney Houston song "I Will Always Love You" and the film Bambi (1942) that ruins the anticipation. The collection is a parody of the over-importance and over-focus of the drop and lack of care of the overall quality of a song common in the modern electronic dance music scene. Wang has released more than 45 tracks in the weird SoundCloud, some of them receiving around a million plays. Subgenres of Weird SoundCloud include Macklecore, mash-ups and remixes that include the works of American hip-hop recording artist Macklemore, and Biggiewave, which include samples of songs from the album Ready to Die (1994) by The Notorious B.I.G. Common audio and meme sources used include Skrillex, the Martin Garrix track "Animals", Thomas the Tank Engine, Shrek, Macklemore, "Gangnam Style", the Bruno Mars track "Uptown Funk", the Disturbed track "Down with the Sickness", Space Jam, the Childish Gambino track "Bonfire", the Death Grips track "Takyon" and air horn sound effects. == Reception == Bassil praised the SoundClown scene as "loveable and strangely honest", reasoning that it "just reminds me that we're all humans on the internet, all searching for #content that means something, something to connect with, but usually only dredging up bastardised versions of things we've already read, seen, or watched before." Bassil also described the weird SoundCloud as a more successful version of a similar scene known as weird YouTube; the reason for the success of SoundClowns is due to SoundCloud's discovery algorithm: "Small collectives and trends are able to form, and there's an abundance of tracks from artists who are almost forging careers out of it, as opposed to uploading one viral hit." Publications have made lists of weird SoundCloud works, such as BuzzFeed's "23 Of The Weirdest Songs On Soundcloud", Obsev's "Weird SoundCloud Mashups That Must've Been Made While Drunk", and Thump's "9 of the Best and Most Upsetting Soundclowns we Could Find", where writer Isabelle Hellyer called it the "most influential genre of music in human history." A Your EDM writer called it "oddly addicting."
Letter frequency
Letter frequency is the number of times letters of the alphabet appear on average in written language. Letter frequency analysis dates back to the Arab mathematician Al-Kindi (c. AD 801–873), who formally developed the method to break ciphers. Letter frequency analysis gained importance in Europe with the development of movable type in AD 1450, wherein one must estimate the amount of type required for each letterform. Linguists use letter frequency analysis as a rudimentary technique for language identification, where it is particularly effective as an indication of whether an unknown writing system is alphabetic, syllabic, or logographic. The use of letter frequencies and frequency analysis plays a fundamental role in cryptograms and several word puzzle games, including hangman, Scrabble, Wordle and the television game show Wheel of Fortune. One of the earliest descriptions in classical literature of applying the knowledge of English letter frequency to solving a cryptogram is found in Edgar Allan Poe's famous story "The Gold-Bug", where the method is successfully applied to decipher a message giving the location of a treasure hidden by Captain Kidd. Herbert S. Zim, in his classic introductory cryptography text Codes and Secret Writing, gives the English letter frequency sequence as "ETAON RISHD LFCMU GYPWB VKJXZQ", the most common letter pairs as "TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO", and the most common doubled letters as "LL EE SS OO TT FF RR NN PP CC". Different ways of counting can produce somewhat different orders. Letter frequencies also have a strong effect on the design of some keyboard layouts. The most frequent letters are placed on the home row of the Blickensderfer typewriter, the Dvorak keyboard layout, Colemak and other optimized layouts, while the commonly used QWERTY layout places common letters apart from each other to prevent typewriter jamming. == Background == The frequency of letters in text has been studied for use in cryptanalysis, and frequency analysis in particular, dating back to the Arab mathematician al-Kindi (c. AD 801–873 ), who formally developed the method (the ciphers breakable by this technique go back at least to the Caesar cipher used by Julius Caesar, so this method could have been explored in classical times). Letter frequency analysis gained additional importance in Europe with the development of movable type in AD 1450, wherein one must estimate the amount of type required for each letterform, as evidenced by the variations in letter compartment size in typographer's type cases. No exact letter frequency distribution underlies a given language, since all writers write slightly differently. However, most languages have a characteristic distribution which is strongly apparent in longer texts. Even language changes as extreme as from Old English to modern English (regarded as mutually unintelligible) show strong trends in related letter frequencies: over a small sample of Biblical passages, from most frequent to least frequent, enaid sorhm tgþlwu æcfy ðbpxz of Old English compares to eotha sinrd luymw fgcbp kvjqxz of modern English, with the most extreme differences concerning letterforms not shared. Linotype machines for the English language assumed the letter order, from most to least common, to be etaoin shrdlu cmfwyp vbgkqj xz based on the experience and custom of manual compositors. The equivalent for the French language was elaoin sdrétu cmfhyp vbgwqj xz. Arranging the alphabet in Morse into groups of letters that require equal amounts of time to transmit, and then sorting these groups in increasing order, yields e it san hurdm wgvlfbk opxcz jyq. Letter frequency was used by other telegraph systems, such as the Murray Code. Similar ideas are used in modern data-compression techniques such as Huffman coding. Letter frequencies, like word frequencies, tend to vary, both by writer and by subject. For instance, ⟨d⟩ occurs with greater frequency in fiction, as most fiction is written in past tense and thus most verbs will end in the inflectional suffix -ed / -d. One cannot write an essay about x-rays without using ⟨x⟩ frequently, and the essay will have an idiosyncratic letter frequency if the essay is about, say, Queen Zelda of Zanzibar requesting X-rays from Qatar to examine hypoxia in zebras. Different authors have habits which can be reflected in their use of letters. Hemingway's writing style, for example, is visibly different from Faulkner's. Letter, bigram, trigram, word frequencies, word length, and sentence length can be calculated for specific authors and used to prove or disprove authorship of texts, even for authors whose styles are not so divergent. Accurate average letter frequencies can only be gleaned by analyzing a large amount of representative text. With the availability of modern computing and collections of large text corpora, such calculations are easily made. Examples can be drawn from a variety of sources (press reporting, religious texts, scientific texts and general fiction) and there are differences especially for general fiction with the position of ⟨h⟩ and ⟨i⟩, with ⟨h⟩ becoming more common. Different dialects of a language will also affect a letter's frequency. For example, an author in the United States would produce something in which ⟨z⟩ is more common than an author in the United Kingdom writing on the same topic: words like "analyze", "apologize", and "recognize" contain the letter in American English, whereas the same words are spelled "analyse", "apologise", and "recognise" in British English. This would highly affect the frequency of the letter ⟨z⟩, as it is rarely used by British writers in the English language. The "top twelve" letters constitute about 80% of the total usage. The "top eight" letters constitute about 65% of the total usage. Letter frequency as a function of rank can be fitted well by several rank functions, with the two-parameter Cocho/Beta rank function being the best. Another rank function with no adjustable free parameter also fits the letter frequency distribution reasonably well (the same function has been used to fit the amino acid frequency in protein sequences.) A spy using the VIC cipher or some other cipher based on a straddling checkerboard typically uses a mnemonic such as "a sin to err" (dropping the second "r") or "at one sir" to remember the top eight characters. == Relative frequencies of letters in the English language == There are three ways to count letter frequency that result in very different charts for common letters. The first method, used in the chart below, is to count letter frequency in lemmas of a dictionary. The lemma is the word in its canonical form. The second method is to include all word variants when counting, such as "abstracts", "abstracted" and "abstracting" and not just the lemma of "abstract". This second method results in letters like ⟨s⟩ appearing much more frequently, such as when counting letters from lists of the most used English words on the Internet. ⟨s⟩ is especially common in inflected words (non-lemma forms) because it is added to form plurals and third person singular present tense verbs. A final method is to count letters based on their frequency of use in actual texts, resulting in certain letter combinations like ⟨th⟩ becoming more common due to the frequent use of common words like "the", "then", "both", "this", etc. Absolute usage frequency measures like this are used when creating keyboard layouts or letter frequencies in old fashioned printing presses. An analysis of entries in the Concise Oxford dictionary, ignoring frequency of word use, gives an order of "EARIOTNSLCUDPMHGBFYWKVXZJQ". The letter-frequency table above is taken from Pavel Mička's website, which cites Robert Lewand's Cryptological Mathematics. According to Lewand, arranged from most to least common in appearance, the letters are: etaoinshrdlcumwfgypbvkjxqz. Lewand's ordering differs slightly from others, such as Cornell University Math Explorer's Project, which produced a table after measuring 40,000 words. In English, the space character occurs almost twice as frequently as the top letter (⟨e⟩) and the non-alphabetic characters (digits, punctuation, etc.) collectively occupy the fourth position (having already included the space) between ⟨t⟩ and ⟨a⟩. == Relative frequencies of the first letters of a word in the English language == The frequency of the first letters of words or names is helpful in pre-assigning space in physical files and indexes. Given 26 filing cabinet drawers, rather than a 1:1 assignment of one drawer to one letter of the alphabet, it is often useful to use a more equal-frequency-letter code by assigning several low-frequency letters to the same drawer (often one drawer is labeled VWXYZ), and to split up the most-frequent initial letters (⟨s, a, c⟩) into several drawers (often 6 drawers Aa-An, Ao-Az, Ca-Cj, Ck-Cz, Sa-Si, Sj-Sz). The same system is used in some mult
Telenet
Telenet was an American commercial packet-switched network which went into service in August 16, 1975. It was the first FCC-licensed public data network in the United States. Various commercial and government interests paid monthly fees for dedicated lines connecting their computers and local networks to this backbone network. Free public dialup access to Telenet, for those who wished to access these systems, was provided in hundreds of cities throughout the United States. == History == After establishing that commercial operation of "value added carriers" was legal in the U.S., Bolt Beranek and Newman (BBN), who were the private contractors for constructing packet switching nodes (Interface Message Processor) for the ARPANET, set out to create a private sector version. The original founding company, Telenet Inc., was established by BBN. In January 1975, Telenet Communications Corporation announced that they had acquired the necessary venture capital after a two-year quest. Initially, Bob Kahn was the first President of Telenet; he then moved to ARPA as Larry Roberts left to become President of the company. Barry Wessler also joined from ARPA. On August 16 of the same year they began operating the first public data network. The network offered an email service called Telemail. Telenet had its first offices in downtown Washington, D.C., then moved to McLean, Virginia. It was acquired by GTE in 1979, and then moved to offices in Reston, Virginia. It was later acquired by Sprint and called "Sprintnet". Sprint migrated customers from Telenet to the modern-day Sprintlink IP network, one of many networks composing today's Internet. == Coverage == Originally, the public network had switching nodes in seven US cities: Washington, D.C. (network operations center as well as switching) Boston, Massachusetts New York, New York Chicago, Illinois Dallas, Texas San Francisco, California Los Angeles, California The switching nodes were fed by Telenet Access Controller (TAC) terminal concentrators both colocated and remote from the switches. By 1980, there were over 1000 switches in the public network. At that time, the next largest network using Telenet switches was that of Southern Bell, which had approximately 250 switches. In 1977, Telenet added a London node and a Network Control Centre in a London building of Britain's Post Office Telecommunications. == Internal network technology == Telenet initially used a proprietary virtual connection host interface. The network used statically defined hop-by-hop routing, using Prime commercial minicomputers as switches, but then migrated to a purpose-built multiprocessing switch based on 6502 microprocessors. Among the innovations of this second-generation switch was a patented arbitrated bus interface that created a switched fabric among the microprocessors. By contrast, a typical microprocessor-based system of the time used a bus; switched fabrics did not become common until about twenty years later, with the advent of PCI Express and HyperTransport. Most interswitch lines ran at 56 kbit/s, with a few, such as New York-Washington, at T1 (i.e., 1.544 Mbit/s). Originally, the switching tables could not be altered separately from the main executable code, and topology updates had to be made by deliberately crashing the switch code and forcing a reboot from the network management center. Improvements in the software allowed new tables to be loaded, but the network never used dynamic routing protocols. Multiple static routes, on a switch-by-switch basis, could be defined for fault tolerance. Network management functions continued to run on Prime minicomputers. Roberts and Barry Wessler joined the international effort to standardize the a protocol for packet-switched data communication based on virtual circuits shortly before it was finalized. The CCITT proposal for X.25 was being prepared by Rémi Després and other international experts. A few minor changes, which complemented the proposed specification, were accommodated to enable Telenet to join the agreement. Telenet adopted X.25 shortly after the protocol was published in March 1976. Its X.25 host interface was the first in the industry. The main internal protocol was a proprietary variant on X.75; Telenet also ran standard X.75 gateways to other packet switching networks. == Accessing the network == === Basic asynchronous access === Users could use modems on the Public Switched Telephone Network to dial TAC ports, calling either from "dumb" terminals or from computers emulating such terminals. Organizations with a large number of local terminals could install a TAC on their own site, which used a dedicated line, at up to 56 kbit/s, to connect to a switch at the nearest Telenet location. Dialup modems supported had a maximum speed of 1200 bit/s, and later 4800 bit/s. For example, a customer in NYC could dial into the local number, then type in a command similar to: which would connect (that "c") them to a computer system designated as number "555" located in the same vicinity as the standard telephone "area code" 301. One significant customer was an early (what would now be called) internet service provider The Source which had their equipment in Mclean, Va. Telenet offered a much lower nighttime rate when there were few corporate customers, and this let The Source set up a modestly priced offering to tens of thousands of customers. Another prominent customer in the 1980s was Quantum Link (now AOL). === Other access protocols === Telenet supported remote concentrators for IBM 3270 family intelligent terminals, which communicated, via X.25 to Telenet-written software that ran in IBM 370x series front-end processors. Telenet also supported Block Mode Terminal Interfaces (BMTI) for IBM Remote Job Entry terminals supporting the 2780/3780 and HASP Bisync protocols. === PC Pursuit === In the late 1980s, Telenet offered a service called PC Pursuit. For a flat monthly fee, customers could dial into the Telenet network in one city, then dial out on the modems in another city to access bulletin board systems and other services. PC Pursuit was popular among computer hobbyists because it sidestepped long-distance charges. In this sense, PC Pursuit was similar to the Internet, allowing any user to call any system as if it were local. On connection to the network, the user entered a 5-letter code for the target city they wished to call. This consisted of a 2-letter state code and a 3-letter acronym for the city. For instance, to call a system in Cleveland, Ohio, the user would enter the code OHCLV, for "OHio", "CLeVeland". Once connected, the user could dial out to any local number, and the system simulated a direct connection between the two endpoints.
Learning curve (machine learning)
In machine learning (ML), a learning curve (or training curve) is a graphical representation that shows how a model's performance on a training set (and usually a validation set) changes with the number of training iterations (epochs) or the amount of training data. Typically, the number of training epochs or training set size is plotted on the x-axis, and the value of the loss function (and possibly some other metric such as the cross-validation score) on the y-axis. Synonyms include error curve, experience curve, improvement curve and generalization curve. More abstractly, learning curves plot the difference between learning effort and predictive performance, where "learning effort" usually means the number of training samples, and "predictive performance" means accuracy on testing samples. Learning curves have many useful purposes in ML, including: choosing model parameters during design, adjusting optimization to improve convergence, and diagnosing problems such as overfitting (or underfitting). Learning curves can also be tools for determining how much a model benefits from adding more training data, and whether the model suffers more from a variance error or a bias error. If both the validation score and the training score converge to a certain value, then the model will no longer significantly benefit from more training data. == Formal definition == When creating a function to approximate the distribution of some data, it is necessary to define a loss function L ( f θ ( X ) , Y ) {\displaystyle L(f_{\theta }(X),Y)} to measure how good the model output is (e.g., accuracy for classification tasks or mean squared error for regression). We then define an optimization process which finds model parameters θ {\displaystyle \theta } such that L ( f θ ( X ) , Y ) {\displaystyle L(f_{\theta }(X),Y)} is minimized, referred to as θ ∗ {\displaystyle \theta ^{}} . === Training curve for amount of data === If the training data is { x 1 , x 2 , … , x n } , { y 1 , y 2 , … y n } {\displaystyle \{x_{1},x_{2},\dots ,x_{n}\},\{y_{1},y_{2},\dots y_{n}\}} and the validation data is { x 1 ′ , x 2 ′ , … x m ′ } , { y 1 ′ , y 2 ′ , … y m ′ } {\displaystyle \{x_{1}',x_{2}',\dots x_{m}'\},\{y_{1}',y_{2}',\dots y_{m}'\}} , a learning curve is the plot of the two curves i ↦ L ( f θ ∗ ( X i , Y i ) ( X i ) , Y i ) {\displaystyle i\mapsto L(f_{\theta ^{}(X_{i},Y_{i})}(X_{i}),Y_{i})} i ↦ L ( f θ ∗ ( X i , Y i ) ( X i ′ ) , Y i ′ ) {\displaystyle i\mapsto L(f_{\theta ^{}(X_{i},Y_{i})}(X_{i}'),Y_{i}')} where X i = { x 1 , x 2 , … x i } {\displaystyle X_{i}=\{x_{1},x_{2},\dots x_{i}\}} === Training curve for number of iterations === Many optimization algorithms are iterative, repeating the same step (such as backpropagation) until the process converges to an optimal value. Gradient descent is one such algorithm. If θ i ∗ {\displaystyle \theta _{i}^{}} is the approximation of the optimal θ {\displaystyle \theta } after i {\displaystyle i} steps, a learning curve is the plot of i ↦ L ( f θ i ∗ ( X , Y ) ( X ) , Y ) {\displaystyle i\mapsto L(f_{\theta _{i}^{}(X,Y)}(X),Y)} i ↦ L ( f θ i ∗ ( X , Y ) ( X ′ ) , Y ′ ) {\displaystyle i\mapsto L(f_{\theta _{i}^{}(X,Y)}(X'),Y')}
Squeaky Dolphin
Squeaky Dolphin is a program developed by the Government Communications Headquarters (GCHQ), a British intelligence and security organization, to collect and analyze data from social media networks. The program was first revealed to the general public on NBC on 27 January 2014 based on documents previously leaked by Edward Snowden. == Scope of surveillance == According to a document of the GCHQ dated August 2012, the program enables broad, real-time surveillance of the following items: YouTube video views The Like button on Facebook. Facebook has since then encrypted the data. Blogspot/Blogger visits Twitter, which has however encrypted its communications since this presentation was made The program can be supplemented with commercially available analytic software to determine which videos are popular among residents of specific cities. The dashboard software chosen was made by Splunk. The presentation, which was originally shown to an NSA audience and was made public by the NBC, contains a note saying the program was "Not interested in individuals just broad trends!". However, "according to other Snowden documents" obtained by NBC, in 2010, "GCHQ exploited unencrypted data from Twitter to identify specific users around the world and target them with propaganda."