In artificial intelligence and cognitive science, the term situated refers to an agent which is embedded in an environment. The term situated is commonly used to refer to robots, but some researchers argue that software agents can also be situated if: they exist in a dynamic (rapidly changing) environment, which they can manipulate or change through their actions, and which they can sense or perceive. Examples might include web-based agents, which can alter data or trigger processes (such as purchases) over the internet, or virtual-reality bots which inhabit and change virtual worlds, such as Second Life. Being situated is generally considered to be part of being embodied, but it is useful to consider each perspective individually. The situated perspective emphasizes that intelligent behaviour derives from the environment and the agent's interactions with it. The nature of these interactions are defined by an agent's embodiment.
Artificial reproduction
Artificial reproduction is the re-creation of life brought about by means other than natural ones. It is new life built by human plans and projects. Examples include artificial selection, artificial insemination, in vitro fertilization, artificial womb, artificial cloning, and kinematic replication. Artificial reproduction is one aspect of artificial life. Artificial reproduction can be categorized into one of two classes according to its capacity to be self-sufficient: non-assisted reproductive technology and assisted reproductive technology. Cutting plants' stems and placing them in compost is a form of assisted artificial reproduction, xenobots are an example of a more autonomous type of reproduction, while the artificial womb presented in the movie the Matrix illustrates a non assisted hypothetical technology. The idea of artificial reproduction has led to various technologies. == Theology == Humans have aspired to create life since immemorial times. Most theologies and religions have conceived this possibility as exclusive of deities. Christian religions consider the possibility of artificial reproduction, in most cases, as heretical and sinful. == Philosophy == Although ancient Greek philosophy raised the concept that man could imitate the creative capacity of nature, classic Greeks thought that if possible, human beings would reproduce things as nature does, and vice versa, nature would do the things that man does in the same way. Aristotle, for example, wrote that if nature made tables, it would make them just as men do. In other words, Aristotle said that if nature were to create a table, such table will look like a human-made table. Correspondingly, Descartes envisioned the human body, and nature, as a machine. Cartesian philosophy does not stop seeing a perfect mirror between nature and the artificial. However, Kant revolutionized this old idea by criticizing such naturalism. Kant pedagogically wrote: "Reason, in order to be taught by nature, must approach nature with its principles in one hand, according to which the agreement among appearances can count as laws, and, in the other hand, the experiment thought out in accord with these principles—in order to be instructed by nature not like a pupil, who has recited to him whatever the teacher wants to say, but like an appointed judge who compels witnesses to answer the questions he puts to them.". Humans are not instructed by nature but rather use nature as raw material to invent. Humans find alternatives to the natural restrictions imposed by natural laws thus, nature is not necessarily mirrored. In accordance with Kant (and contrary to what Aristotle thought) Karl Marx, Alfred Whitehead, Jaques Derrida and Juan David García Bacca noticed that nature is incapable of reproducing tables; or airplanes, or submarines, or computers. If nature tried to create airplanes, it would produce birds. If nature tried to create submarines, it would get fishes. If nature tried to create computers, brains would grow. And if nature tried to create man, modern man, monkeys will be evolved. According to Whitehead, if we look for something natural in artificial life, in the most elaborate cases, if anything, only atoms remain natural. Juan David Garcia Bacca summarized, “It will not come out from wood, it will not be born, a galley; from clay, a vessel; from linen, a dress; from iron, a lever,...From natural, artificial. In the artificial, the natural is reduced to a simple raw material, even though it is perfectly specified with natural specification. The artificial is the real, positive, and original negation of the natural: of species, of genus and of essence. Thus, its ontology is superior to natural ontology. And for this very reason Marx did not attach any importance to Darwin, whose evolutionism is confined to the natural order: to changes, at most, from variety to variety, from species to species... natural. For the same reason, nature has no dialectics, even though continuous evolution and selection can occur. The dialectic cannot emerge from the natural, for deeper reasons than, using today's terms, from a bird, an airplane cannot emerge; from fish, a submarine; from ears, a telephone; from eyes, a television; from a brain, a digital computer; from feet, a car; from hands, an engine; from Euclid, Descartes; from Aristotle, Newton; from Plato, Marx.” According to García Bacca, the major difference between natural causes and artificial causes is that nature does not have plans and projects, while humans design things following plans and projects. In contrast, other influential authors such as Michael Behe have depicted the concept and promoted the idea of intelligent design, a notion that has aroused several doubts and heated controversies, as it reframe natural causes in accordance with a natural plan. Previous ideas that have also provided a positive 'sense' to natural reproduction, are orthogenesis, syntropy, orgone and morphic resonance, among others. Although, these ideas have been historically marginalized and often called pseudoscience, recently Bio-semioticians are reconsidering some of them under symbolic approaches. Current metaphysics of science actually recognizes that the artificial ways of reproduction are diverse from nature, i.e., unnatural, anti-natural or supernatural. Because Biosemiotics does not focus on the function of life but on its meaning, it has a better understanding of the artificial than classic biology. == Science == Biology, being the study of cellular life, addresses reproduction in terms of growth and cellular division (i.e., binary fission, mitosis and meiosis); however, the science of artificial reproduction is not restricted by the mirroring of these natural processes.The science of artificial reproduction is actually transcending the natural forms, and natural rules, of reproduction. For example, xenobots have redefined the classical conception of reproduction. Although xenobots are made of eukariotic cells they do not reproduce by mitosis, but rather by kinematic replication. Such constructive replication does not involve growing but rather building. == Assisted reproductive technologies == Assisted reproductive technology (ART)'s purpose is to assist the development of a human embryo, commonly because of medical concerns due to fertility limitations. == Non-assisted reproductive technologies == Non-assisted reproductive technologies (NART) could have medical motivations but are mostly driven by a wider heterotopic ambition. Although, NARTs are initially designed by humans, they are programed to become independent of humans to a relative or absolute extent. James Lovelock proposed that such novelties could overcome humans. === Artificial cloning === Cloning is the cellular reproductive processes where two or more genetically identical organisms are created, either by natural or artificial means. Artificial cloning normally involves editing the genetic code, somatic cell nuclear transfer and 3D bioprinting. === Non-assisted artificial womb === A non-assisted artificial womb or artificial uterus is a device that allow for ectogenesis or extracorporeal pregnancy by growing an embryonic form outside the body of an organism (that would normally carry the embryo to term) without any human assistance. The aspect of non-assistance is the key distinction between the current artificial womb technology (AWT) in modern medical research, which still relies on human assistance. With this non-assisted hypothetical technology, a zygote or stem cells are used to create an embryo that is then incubated and monitored by artificial intelligence (AI) within a chamber composed of biocompatible material. The AI maintains the necessary conditions for the embryo to develop and thrive, proceeding to mimic organic labor and childbirth in order to best help the embryo adjust to the outside world. Ectogenesis—gestation, depicted in the science fiction movie The Matrix, is a fast approaching reality. This type of innovation presupposes that vertebrate wombs are not the only way for bearing humans or other similar forms of life. === Kinematic replication === Self-replication without binary fission, meiosis, mitosis (or any other form of cellular reproduction that involves division and growing) can be achieved. Xenobots are an example of kinematic replication. They are biobots, named after the African clawed frog (Xenopus laevis). Xenobots are cellular life forms designed by using artificial intelligence to build more of themselves by combining frog cells in a liquid medium. The term kinematic replication is usually reserved for biomolecules (e.g. DNA, RNA, prions, etc.) and artificially designed cellular forms (e.g. xenobots). === Machine constructive replication === Machine constructive replication mimics human traditional manufacturing but is entirely self-automated. Such constructive replication is a more general form of kinematic replication, which does not necessarily
Oversampled binary image sensor
An oversampled binary image sensor is an image sensor with non-linear response capabilities reminiscent of traditional photographic film. Each pixel in the sensor has a binary response, giving only a one-bit quantized measurement of the local light intensity. The response function of the image sensor is non-linear and similar to a logarithmic function, which makes the sensor suitable for high dynamic range imaging. == Working principle == Before the advent of digital image sensors, photography, for the most part of its history, used film to record light information. At the heart of every photographic film are a large number of light-sensitive grains of silver-halide crystals. During exposure, each micron-sized grain has a binary fate: Either it is struck by some incident photons and becomes "exposed", or it is missed by the photon bombardment and remains "unexposed". In the subsequent film development process, exposed grains, due to their altered chemical properties, are converted to silver metal, contributing to opaque spots on the film; unexposed grains are washed away in a chemical bath, leaving behind the transparent regions on the film. Thus, in essence, photographic film is a binary imaging medium, using local densities of opaque silver grains to encode the original light intensity information. Thanks to the small size and large number of these grains, one hardly notices this quantized nature of film when viewing it at a distance, observing only a continuous gray tone. The oversampled binary image sensor is reminiscent of photographic film. Each pixel in the sensor has a binary response, giving only a one-bit quantized measurement of the local light intensity. At the start of the exposure period, all pixels are set to 0. A pixel is then set to 1 if the number of photons reaching it during the exposure is at least equal to a given threshold q. One way to build such binary sensors is to modify standard memory chip technology, where each memory bit cell is designed to be sensitive to visible light. With current CMOS technology, the level of integration of such systems can exceed 109~1010 (i.e., 1 giga to 10 giga) pixels per chip. In this case, the corresponding pixel sizes (around 50~nm ) are far below the diffraction limit of light, and thus the image sensor is oversampling the optical resolution of the light field. Intuitively, one can exploit this spatial redundancy to compensate for the information loss due to one-bit quantizations, as is classic in oversampling delta-sigma converters. Building a binary sensor that emulates the photographic film process was first envisioned by Fossum, who coined the name digital film sensor (now referred to as a quanta image sensor). The original motivation was mainly out of technical necessity. The miniaturization of camera systems calls for the continuous shrinking of pixel sizes. At a certain point, however, the limited full-well capacity (i.e., the maximum photon-electrons a pixel can hold) of small pixels becomes a bottleneck, yielding very low signal-to-noise ratios (SNRs) and poor dynamic ranges. In contrast, a binary sensor whose pixels need to detect only a few photon-electrons around a small threshold q has much less requirement for full-well capacities, allowing pixel sizes to shrink further. == Imaging model == === Lens === Consider a simplified camera model shown in Fig.1. The λ 0 ( x ) {\displaystyle \lambda _{0}(x)} is the incoming light intensity field. By assuming that light intensities remain constant within a short exposure period, the field can be modeled as only a function of the spatial variable x {\displaystyle x} . After passing through the optical system, the original light field λ 0 ( x ) {\displaystyle \lambda _{0}(x)} gets filtered by the lens, which acts like a linear system with a given impulse response. Due to imperfections (e.g., aberrations) in the lens, the impulse response, a.k.a. the point spread function (PSF) of the optical system, cannot be a Dirac delta, thus, imposing a limit on the resolution of the observable light field. However, a more fundamental physical limit is due to light diffraction. As a result, even if the lens is ideal, the PSF is still unavoidably a small blurry spot. In optics, such diffraction-limited spot is often called the Airy disk, whose radius R a {\displaystyle R_{a}} can be computed as R a = 1.22 w f , {\displaystyle R_{a}=1.22\,wf,} where w {\displaystyle w} is the wavelength of the light and f {\displaystyle f} is the F-number of the optical system. Due to the lowpass (smoothing) nature of the PSF, the resulting λ ( x ) {\displaystyle \lambda (x)} has a finite spatial-resolution, i.e., it has a finite number of degrees of freedom per unit space. === Sensor === Fig.2 illustrates the binary sensor model. The s m {\displaystyle s_{m}} denote the exposure values accumulated by the sensor pixels. Depending on the local values of s m {\displaystyle s_{m}} , each pixel (depicted as "buckets" in the figure) collects a different number of photons hitting on its surface. y m {\displaystyle y_{m}} is the number of photons impinging on the surface of the m {\displaystyle m} th pixel during an exposure period. The relation between s m {\displaystyle s_{m}} and the photon count y m {\displaystyle y_{m}} is stochastic. More specifically, y m {\displaystyle y_{m}} can be modeled as realizations of a Poisson random variable, whose intensity parameter is equal to s m {\displaystyle s_{m}} , As a photosensitive device, each pixel in the image sensor converts photons to electrical signals, whose amplitude is proportional to the number of photons impinging on that pixel. In a conventional sensor design, the analog electrical signals are then quantized by an A/D converter into 8 to 14 bits (usually the more bits the better). But in the binary sensor, the quantizer is 1 bit. In Fig.2, b m {\displaystyle b_{m}} is the quantized output of the m {\displaystyle m} th pixel. Since the photon counts y m {\displaystyle y_{m}} are drawn from random variables, so are the binary sensor output b m {\displaystyle b_{m}} . === Spatial and temporal oversampling === If it is allowed to have temporal oversampling, i.e., taking multiple consecutive and independent frames without changing the total exposure time τ {\displaystyle \tau } , the performance of the binary sensor is equivalent to the sensor with same number of spatial oversampling under certain condition. It means that people can make trade off between spatial oversampling and temporal oversampling. This is quite important, since technology usually gives limitation on the size of the pixels and the exposure time. == Advantages over traditional sensors == Due to the limited full-well capacity of conventional image pixel, the pixel will saturate when the light intensity is too strong. This is the reason that the dynamic range of the pixel is low. For the oversampled binary image sensor, the dynamic range is not defined for a single pixel, but a group of pixels, which makes the dynamic range high. == Reconstruction == One of the most important challenges with the use of an oversampled binary image sensor is the reconstruction of the light intensity λ ( x ) {\displaystyle \lambda (x)} from the binary measurement b m {\displaystyle b_{m}} . Maximum likelihood estimation can be used for solving this problem. Fig. 4 shows the results of reconstructing the light intensity from 4096 binary images taken by single photon avalanche diodes (SPADs) camera. A better reconstruction quality with fewer temporal measurements and faster, hardware friendly implementation, can be achieved by more sophisticated algorithms.
Scene statistics
Scene statistics is a discipline within the field of perception. It is concerned with the statistical regularities related to scenes. It is based on the premise that a perceptual system is designed to interpret scenes. Biological perceptual systems have evolved in response to physical properties of natural environments. Therefore natural scenes receive a great deal of attention. Natural scene statistics are useful for defining the behavior of an ideal observer in a natural task, typically by incorporating signal detection theory, information theory or estimation theory. == Within-domain versus across-domain == Geisler (2008) distinguishes between four kinds of domains: (1) Physical environments (2) Images/Scenes (3) Neural responses and (4) Behavior. Within the domain of images/scenes one can study the characteristics of information related to redundancy and efficient coding. Across-domain statistics determine how an autonomous system should make inferences about its environment, process information and control its behavior. To study these statistics it is necessary to sample or register information in multiple domains simultaneously. == Applications == === Prediction of picture and video quality === One of the most successful applications of Natural Scenes Statistics Models has been perceptual picture and video quality prediction. For example, the Visual Information Fidelity (VIF) algorithm, which is used to measure the degree of distortion of pictures and videos, is used extensively by the image and video processing communities to assess perceptual quality. This is often after processing, such as compression, which can degrade the appearance of a visual signal. The premise is that the scene statistics are changed by distortion and that the visual system is sensitive to the changes in the scene statistics. VIF is heavily used in the streaming television industry. Other popular picture quality models that use natural scene statistics include BRISQUE and NIQE, both of which are no-reference since they do not require any reference picture to measure quality against.
Progressive Graphics File
PGF (Progressive Graphics File) is a wavelet-based bitmapped image format that employs lossless and lossy data compression. PGF was created to improve upon and replace the JPEG format. It was developed at the same time as JPEG 2000 but with a focus on speed over compression ratio. PGF can operate at higher compression ratios without taking more encoding/decoding time and without generating the characteristic "blocky and blurry" artifacts of the original DCT-based JPEG standard. It also allows more sophisticated progressive downloads. == Color models == PGF supports a wide variety of color models: Grayscale with 1, 8, 16, or 31 bits per pixel Indexed color with palette size of 256 RGB color image with 12, 16 (red: 5 bits, green: 6 bits, blue: 5 bits), 24, or 48 bits per pixel ARGB color image with 32 bits per pixel Lab color image with 24 or 48 bits per pixel CMYK color image with 32 or 64 bits per pixel == Technical discussion == PGF claims to achieve an improved compression quality over JPEG adding or improving features such as scalability. Its compression performance is similar to the original JPEG standard. Very low and very high compression rates (including lossless compression) are also supported in PGF. The ability of the design to handle a very large range of effective bit rates is one of the strengths of PGF. For example, to reduce the number of bits for a picture below a certain amount, the advisable thing to do with the first JPEG standard is to reduce the resolution of the input image before encoding it — something that is ordinarily not necessary for that purpose when using PGF because of its wavelet scalability properties. The PGF process chain contains the following four steps: Color space transform (in case of color images) Discrete Wavelet Transform Quantization (in case of lossy data compression) Hierarchical bit-plane run-length encoding === Color components transformation === Initially, images have to be transformed from the RGB color space to another color space, leading to three components that are handled separately. PGF uses a fully reversible modified YUV color transform. The transformation matrices are: [ Y r U r V r ] = [ 1 4 1 2 1 4 1 − 1 0 0 − 1 1 ] [ R G B ] ; [ R G B ] = [ 1 3 4 − 1 4 1 − 1 4 − 1 4 1 − 1 4 3 4 ] [ Y r U r V r ] {\displaystyle {\begin{bmatrix}Y_{r}\\U_{r}\\V_{r}\end{bmatrix}}={\begin{bmatrix}{\frac {1}{4}}&{\frac {1}{2}}&{\frac {1}{4}}\\1&-1&0\\0&-1&1\end{bmatrix}}{\begin{bmatrix}R\\G\\B\end{bmatrix}};\qquad \qquad {\begin{bmatrix}R\\G\\B\end{bmatrix}}={\begin{bmatrix}1&{\frac {3}{4}}&-{\frac {1}{4}}\\1&-{\frac {1}{4}}&-{\frac {1}{4}}\\1&-{\frac {1}{4}}&{\frac {3}{4}}\end{bmatrix}}{\begin{bmatrix}Y_{r}\\U_{r}\\V_{r}\end{bmatrix}}} The chrominance components can be, but do not necessarily have to be, down-scaled in resolution. === Wavelet transform === The color components are then wavelet transformed to an arbitrary depth. In contrast to JPEG 1992 which uses an 8x8 block-size discrete cosine transform, PGF uses one reversible wavelet transform: a rounded version of the biorthogonal CDF 5/3 wavelet transform. This wavelet filter bank is exactly the same as the reversible wavelet used in JPEG 2000. It uses only integer coefficients, so the output does not require rounding (quantization) and so it does not introduce any quantization noise. === Quantization === After the wavelet transform, the coefficients are scalar-quantized to reduce the amount of bits to represent them, at the expense of a loss of quality. The output is a set of integer numbers which have to be encoded bit-by-bit. The parameter that can be changed to set the final quality is the quantization step: the greater the step, the greater is the compression and the loss of quality. With a quantization step that equals 1, no quantization is performed (it is used in lossless compression). In contrast to JPEG 2000, PGF uses only powers of two, therefore the parameter value i represents a quantization step of 2i. Just using powers of two makes no need of integer multiplication and division operations. === Coding === The result of the previous process is a collection of sub-bands which represent several approximation scales. A sub-band is a set of coefficients — integer numbers which represent aspects of the image associated with a certain frequency range as well as a spatial area of the image. The quantized sub-bands are split further into blocks, rectangular regions in the wavelet domain. They are typically selected in a way that the coefficients within them across the sub-bands form approximately spatial blocks in the (reconstructed) image domain and collected in a fixed size macroblock. The encoder has to encode the bits of all quantized coefficients of a macroblock, starting with the most significant bits and progressing to less significant bits. In this encoding process, each bit-plane of the macroblock gets encoded in two so-called coding passes, first encoding bits of significant coefficients, then refinement bits of significant coefficients. Clearly, in lossless mode all bit-planes have to be encoded, and no bit-planes can be dropped. Only significant coefficients are compressed with an adaptive run-length/Rice (RLR) coder, because they contain long runs of zeros. The RLR coder with parameter k (logarithmic length of a run of zeros) is also known as the elementary Golomb code of order 2k. === Comparison with other file formats === JPEG 2000 is slightly more space-efficient in handling natural images. The PSNR for the same compression ratio is on average 3% better than the PSNR of PGF. It has a small advantage in compression ratio but longer encoding and decoding times. PNG (Portable Network Graphics) is more space-efficient in handling images with many pixels of the same color. There are several self-proclaimed advantages of PGF over the ordinary JPEG standard: Superior compression performance: The image quality (measured in PSNR) for the same compression ratio is on average 3% better than the PSNR of JPEG. At lower bit rates (e.g. less than 0.25 bits/pixel for gray-scale images), PGF has a much more significant advantage over certain modes of JPEG: artifacts are less visible and there is almost no blocking. The compression gains over JPEG are attributed to the use of DWT. Multiple resolution representation: PGF provides seamless compression of multiple image components, with each component carrying from 1 to 31 bits per component sample. With this feature there is no need for separately stored preview images (thumbnails). Progressive transmission by resolution accuracy, commonly referred to as progressive decoding: PGF provides efficient code-stream organizations which are progressive by resolution. This way, after a smaller part of the whole file has been received, it is possible to see a lower quality of the final picture, the quality can be improved monotonically getting more data from the source. Lossless and lossy compression: PGF provides both lossless and lossy compression in a single compression architecture. Both lossy and lossless compression are provided by the use of a reversible (integer) wavelet transform. Side channel spatial information: Transparency and alpha planes are fully supported ROI extraction: Since version 5, PGF supports extraction of regions of interest (ROI) without decoding the whole image. == Available software == The author published libPGF via a SourceForge, under the GNU Lesser General Public License version 2.0. Xeraina offers a free Windows console encoder and decoder, and PGF viewers based on WIC for 32bit and 64bit Windows platforms. Other WIC applications including File Explorer are able to display PGF images after installing this viewer. Digikam is a popular open-source image editing and cataloging software that uses libPGF for its thumbnails. It makes use of the progressive decoding feature of PGF images to store a single version of each thumbnail, which can then be decoded to different resolutions without loss, thus allowing users to dynamically change the size of the thumbnails without having to recalculate them again.
Summify
Summify was a social news aggregator founded by Mircea Paşoi and Cristian Strat, two former Google and Microsoft interns from Romania. The service emailed its users a periodic summary of news articles shared from their social networks based on their relevance and importance. The platform supported Twitter, Facebook, and Google Reader accounts. == History == In 2009, Paşoi and Strat created ReadFu, a plugin that provided a contextual summary and statistics of the target page of a hyperlink. In January 2010, ReadFu was accepted into the Vancouver-based start-up incubator Bootup Labs. On March 20, 2010 the service was renamed to Summify and a private beta began. On August 11, 2010 Paşoi and Strat announced a new direction for the service. It would become a real-time social news reader that aggregates incoming news from social networks and displays articles by importance using social reactions. After some feedback that the users preferred article digests by email more than the real-time news reader version, Summify discontinued the news reader version. In March 2011, Summify completed a Seed round, with investors including Rob Glaser, Accel Partners, and Stewart Butterfield. Summify received coverage from various news and media outlets such as TechCrunch. It was also featured in various news platforms, such as Time, The Globe and Mail, Mashable, VentureBeat, Gizmodo, Lifehacker, and The Next Web. Summify released a free app on the Apple App Store on July 8, 2011. The app allowed users to read their web summaries from iOS mobile devices. Summify was acquired by Twitter on January 19, 2012. The service shut down soon after, on June 22, 2012.
Comparison of vector graphics editors
A number of vector graphics editors exist for various platforms. Potential users of these editors will make comparisons based on factors such as the availability for the user's platform, the software license, the feature set, the merits of the user interface (UI) and the focus of the program. Some programs are more suitable for artistic work while others are better for technical drawings. Another important factor is the application's support of various vector and bitmap image formats for import and export. The tables in this article compare general and technical information for a number of vector graphics editors. See the article on each editor for further information. This article is neither all-inclusive nor necessarily up-to-date. == Some editors in detail == Adobe Fireworks (formerly Macromedia Fireworks) is a vector editor with bitmap editing capabilities with its main purpose being the creation of graphics for Web and screen. Fireworks supports RGB color scheme and has no CMYK support. This means it is mostly used for screen design. The native Fireworks file format is editable PNG (FWPNG or PNG). Adobe Fireworks has a competitive price, but its features can seem limited in comparison with other products. It is easier to learn than other products and can produce complex vector artwork. The Fireworks editable PNG file format is not supported by other Adobe products. Fireworks can manage the PSD and AI file formats which enables it to be integrated with other Adobe apps. Fireworks can also open FWPNG/PNG, PSD, AI, EPS, JPG, GIF, BMP, TIFF file formats, and save/export to FWPNG/PNG, PSD, AI (v.8), FXG (v.2.0), JPG, GIF, PDF, SWF and some others. Some support for exporting to SVG is available via a free Export extension. On May 6, 2013, Adobe announced that Fireworks would be phased out. Adobe Flash (formerly a Macromedia product) has straightforward vector editing tools that make it easier for designers and illustrators to use. The most important of these tools are vector lines and fills with bitmap-like selectable areas, simple modification of curves via the "selection" or the control points/handles through "direct selection" tools. Flash uses Actionscript for OOP, and has full XML functionality through E4X support. Adobe FreeHand (formerly Macromedia Freehand and Aldus Freehand) is mainly used by professional graphic designers. The functionality of FreeHand includes the flexibility of the application in the wide design environment, catering to the output needs of both traditional image reproduction methods and to contemporary print and digital media with its page-layout capabilities and text attribute controls. Specific functions of FreeHand include a superior image-tracing operation for vector editing, page layout features within multiple-page documents, and embedding custom print-settings (such as variable halftone-screen specifications within a single graphic, etc.) to each document independent of auxiliary printer-drivers. User-operation is considered to be more suited for designers with an artistic background compared to designers with a technical background. When being marketed, FreeHand lacked the promotional backing, development and PR support in comparison to other similar products. FreeHand was transferred to the classic print group after Macromedia was purchased by Adobe in 2005. On May 16, 2007, Adobe announced that no further updates to Freehand would be developed but continues to sell FreeHand MX as a Macromedia product. FreeHand continues to run on Mac OS X Snow Leopard (using an Adobe fix) and on Windows 7. For macOS, Affinity Designer is able to open version 10 & MX Freehand files. Adobe Illustrator is a commonly used editor because of Adobe's market dominance, but is more expensive than other similar products. It is primarily developed consistently in line with other Adobe products and is best integrated with Adobe's Creative Suite packages. The ai file format is proprietary, but some vector editors can open and save in that format. Illustrator imports over two dozen formats, including PSD, PDF and SVG, and exports AI, PDF, SVG, SVGZ, GIF, JPG, PNG, WBMP, and SWF. However, the user must be aware of unchecking the "Preserve Illustrator Editing Capabilities" option if generating interoperable SVG files is desired. Affinity Designer by Serif Europe (the successor to their previous product, DrawPlus) is non-subscription-based software that is often described as an alternative to Adobe Illustrator. The application can open Portable Document Format (PDF), Adobe Photoshop, and Adobe Illustrator files, as well as export to those formats and to the Scalable Vector Graphics (SVG) and Encapsulated PostScript (EPS) formats. It also supports import from some Adobe Freehand files (specifically versions 10 & MX). Apache OpenOffice Draw is the vector graphics editor of the Apache OpenOffice open source office suite. It supports many import and export file formats and is available for multiple desktop operating systems. Boxy SVG is a chromium-based vector graphics editor for creating illustrations, as well as logos, icons, and other elements of graphic design. It is primarily focused on editing drawings in the SVG file format. The program is available as both a web app and a desktop application for Windows, macOS, ChromeOS, and Linux-based operating systems. Collabora Online Draw is the vector graphics editor of the Collabora Online open source office suite. It supports many import and export file formats and is accessible via any modern web browser, it also supports desktop editing features, Collabora Office is available for desktop and mobile operating systems, it is the enterprise ready version of LibreOffice. ConceptDraw PRO is a business diagramming tool and vector graphics editor available for both Windows and macOS. It supports multi-page documents, and includes an integrated presentation mode. ConceptDraw PRO supports imports and exports several formats, including Microsoft Visio and Microsoft PowerPoint. Corel Designer (originally Micrografx Designer) is one of the earliest vector-based graphics editors for the Microsoft Windows platform. The product is mainly used for the creation of engineering drawings and is shipped with extensive libraries for the needs of engineers. It is also flexible enough for most vector graphics design applications. CorelDRAW is an editor used in the graphic design, sign making and fashion design industries. CorelDRAW is capable of limited interoperation by reading file formats from Adobe Illustrator. CorelDRAW has over 50 import and export filters, on-screen and dialog box editing and the ability to create multi-page documents. It can also generate TrueType and Type 1 fonts, although refined typographic control is better suited to a more specific application. Some other features of CorelDRAW include the creation and execution of VBA macros, viewing of colour separations in print preview mode and integrated professional imposing options. Dia is a free and open-source diagramming and vector graphics editor available for Windows, Linux and other Unix-based computer operating systems. Dia has a modular design and several shape packages for flowcharting, network diagrams and circuit diagrams. Its design was inspired by Microsoft Visio, although it uses a Single Document Interface similar to other GNOME software (such as GIMP). DrawPlus, first built for the Windows platform in 1993, has matured into a full featured vector graphics editor for home and professional users. Also available as a feature-limited free 'starter edition': DrawPlus SE. DrawPlus developers, Serif Europe, have now ceased its development in order to focus on its successor, Affinity Designer. Edraw Max is a cross-platform diagram software and vector graphics editor available for Windows, Mac and Linux. It supports kinds of diagram types. It supports imports and exports SVG, PDF, HTML, Multiple page TIFF, Microsoft Visio and Microsoft PowerPoint. Embroidermodder is a free machine embroidery software tool that supports a variety of formats and allows the user to add custom modifications to their embroidery designs. Fatpaint is a free, light-weight, browser-based graphic design application with built-in vector drawing tools. It can be accessed through any browser with Flash 9 installed. Its integration with Zazzle makes it particularly suitable for people who want to create graphics for custom printed products such as T-shirts, mugs, iPhone cases, flyers and other promotional products. Figma is a collaborative web-based online vector graphics editor, used primarily for UX design and prototyping. GIMP, which works mainly with raster images, offers a limited set of features to create and record SVG files. It can also load and handle SVG files created with other software like Inkscape. Inkscape is a free and open-source vector editor with the primary native format being SVG. Inkscape is available for Linux, Windows, Mac OS X, and