Josef "Sepp" Hochreiter (born 14 February 1967) is a German computer scientist. Since 2018 he has led the Institute for Machine Learning at the Johannes Kepler University of Linz after having led the Institute of Bioinformatics from 2006 to 2018. In 2017 he became the head of the Linz Institute of Technology (LIT) AI Lab. Hochreiter is also a founding director of the Institute of Advanced Research in Artificial Intelligence (IARAI). Previously, he was at Technische Universität Berlin, at University of Colorado Boulder, and at the Technical University of Munich. He is a chair of the Critical Assessment of Massive Data Analysis (CAMDA) conference. Hochreiter has made contributions in the fields of machine learning, deep learning and bioinformatics, most notably the development of the long short-term memory (LSTM) neural network architecture, but also in meta-learning, reinforcement learning and biclustering with application to bioinformatics data. == Scientific career == === Long short-term memory (LSTM) === Hochreiter developed the long short-term memory (LSTM) neural network architecture in his diploma thesis in 1991 leading to the main publication in 1997. LSTM overcomes the problem of numerical instability in training recurrent neural networks (RNNs) that prevents them from learning from long sequences (vanishing or exploding gradient). In 2007, Hochreiter and others successfully applied LSTM with an optimized architecture to very fast protein homology detection without requiring a sequence alignment. LSTM networks have also been used in Google Voice for transcription and search, and in the Google Allo chat app for generating response suggestion with low latency. === Other machine learning contributions === Beyond LSTM, Hochreiter has developed "Flat Minimum Search" to increase the generalization of neural networks and introduced rectified factor networks (RFNs) for sparse coding which have been applied in bioinformatics and genetics. Hochreiter introduced modern Hopfield networks with continuous states and applied them to the task of immune repertoire classification. Hochreiter worked with Jürgen Schmidhuber in the field of reinforcement learning on actor-critic systems that learn by "backpropagation through a model". Hochreiter has been involved in the development of factor analysis methods with application to bioinformatics, including FABIA for biclustering, HapFABIA for detecting short segments of identity by descent and FARMS for preprocessing and summarizing high-density oligonucleotide DNA microarrays to analyze RNA gene expression. In 2006, Hochreiter and others proposed an extension of the support vector machine (SVM), the "Potential Support Vector Machine" (PSVM), which can be applied to non-square kernel matrices and can be used with kernels that are not positive definite. Hochreiter and his collaborators have applied PSVM to feature selection, including gene selection for microarray data. == Awards == Hochreiter was awarded the IEEE CIS Neural Networks Pioneer Prize in 2021 for his work on LSTM.
Cyclodisparity
In vision science, cyclodisparity is the difference in the rotation angle of an object or scene viewed by the left and right eyes. Cyclodisparity can result from the eyes' torsional rotation (cyclorotation) or can be created artificially by presenting to the eyes two images that need to be rotated relative to each other for binocular fusion to take place. == Human and animal vision == The eyes and visual system can compensate for cyclodisparity up to a certain point; if the cyclodisparity is larger than a threshold, the images cannot be fused, resulting stereoblindness, and in double vision in subjects who otherwise have full stereo vision. When a human subject is presented with images that have artificial cyclodisparity, cyclovergence is evoked, that is, a motor response of the eye muscles that rotates the two eyes in opposite directions, thereby reducing cyclodisparity. Visually-induced cyclovergence of up to 8 degrees has been observed in normal subjects. Furthermore, up to about 8 degrees can usually be compensated by purely sensory means, that is, without physical eye rotation. This means that the normal human observer can achieve binocular image fusion in presence of cyclodisparity of up to approximately 16 degrees. Cyclodisparity due to images having been rotated inward can be compensated better when the gaze is directed downwards, and cyclodisparity due to an outward rotation can be compensated better when the gaze is directed upwards. A proposed explanation for this phenomenon is that the motor system is coordinated in such a way that the eyes perform a torsional movement to reduce the size of the search zones and thus the computational load required for solving the correspondence problem. The resulting cyclovergence at near gaze is smaller than the cyclovergence predicted by Listing's law. == Video processing and computer vision == Active camera torsion can be used in machine and computer vision for several purposes. For instance, camera torsion can be used to make improved use of the search range over which matching detectors or stereo matching algorithms operate, or to make a 3D slanted surface appear frontoparallel for further stereo processing. For image compression purposes, images with cyclodisparity are advantageously encoded using global motion compensation using a rotational motion model.
Economía Feminista
Economía Feminista, in English: Feminist Economics, is an Argentine digital media, focused on disclosure and creation of economics information about the gender gap. The media is managed by Mercedes D`Alessandro, Magalí Brosio, Violeta Guitart and Agurtzane Urrutia. == Concept == Economía Femini(s)ta, is a portmanteau of feminista and minita. It attempts to end stereotypes about women. It was created in 2015 and its goal is to be a source of economic data to help to display economic differences by gender, especially in Argentina. == Awards == Economía Feminista was awarded the Lola Mora prize in 2016 for the best digital media by Dirección General de la Mujer, promoted by Buenos Aires city's Legislature.
Filter (social media)
Filters are digital image effects often used on social media. They initially simulated the effects of camera filters, and they have since developed with facial recognition technology and computer-generated augmented reality. Social media filters—especially beauty filters—are often used to alter the appearance of selfies taken on smartphones or other similar devices. While filters are commonly associated with beauty enhancement and feature alterations, there is a wide range of filters that have different functions. From adjusting photo tones to using face animations and interactive elements, users have access to a range of tools. These filters allow users to enhance photos and allow room for creative expression and fun interactions with digital content. == History == Beauty filters originate from Purikura ("print club"), a type of Japanese photographic arcade game machine conceived in 1994 by Sasaki Miho, a female employee at Atlus, and released in 1995 by Atlus and Sega primarily for female visitors at Japanese arcades. They allowed the manipulation of digital selfie photos with kawaii beauty filters similar to later Snapchat filters. Purikura filters included beautifying the image, cat whiskers, bunny ears, writing text, scribbling graffiti, selecting backdrops, borders, insertable decorations, icons, hair extensions, twinkling diamond tiaras, tenderized light effects, and predesigned decorative margins. To capitalize on the Purikura phenomenon in Japan during the late 1990s, Japanese mobile phones began including a front-facing camera, starting with the Kyocera Visual Phone VP‑210 in 1999. The Sanyo SCP-5300 released in 2002 was the first camera phone with filter effects, such as illumination, white‑balance control, sepia, black and white, and negative colors. Purikura-like beauty filters later appeared in smartphone apps such as Instagram and Snapchat in the 2010s. In 2010, Apple introduced the iPhone 4—the first iPhone model with a front-facing camera. It gave rise to a dramatic increase in selfies, which could be touched up with more flattering lighting effects with applications such as Instagram. The American photographer Cole Rise was involved in the creation of the original filters for Instagram around 2010, designing several of them himself, including Sierra, Mayfair, Sutro, Amaro, and Willow. However, the technology for virtual lens filters was invented and patented by Patrick Levy-Rosenthal in 2007. The patent received 100 citations, including Facebook, Nvidia, Microsoft, Samsung, and Snap. In September, 2011, the Instagram 2.0 update for the application introduced "live filters," which allowed the user to preview the effect of the filter while shooting with the application's camera. #NoFilter, a hashtag label to describe an image that had not been filtered, became popular around 2013. An update in 2014 allowed users to adjust the intensity of the filters as well as fine-tune other aspects of the image, features that had been available for years on applications such as VSCO and Litely. In 2014, Snapchat started releasing sponsored filters to monetize the participatory use of the application. In September 2015, Snapchat acquired Looksery and released a feature called "lenses," animated filters using facial recognition technology. Some of the early lenses available on Snapchat at the time were Heart Eyes, Terminator, Puke Rainbows, Old, Scary, Rage Face, Heart Avalanche. The Coachella filter released April 2016 was a popular early augmented reality filter. In April 2017, Facebook released the Camera Effects Platform, which is the first augmented reality platform that allows developers to create their own filters and effects on Facebook's Camera. In December 2017, Snapchat also launched their Lens Studio augmented reality developer tool that allows users and advertisers to do the same on the Snapchat application. In April 2022,TikTok joined the two, and launched their own augmented reality developer platform called Effect house. In February 2023, Effect House gave opened up the access to generative AI tools that allowed creators to change facial features in real time. In November 2023, TikTok released a feature where users no longer needed Effect House to create their own filters, as they are now able to create their own effects on the TikTok application. In August 2024, Meta announced that it would be removing third-party filter effects from its family of apps by January 14, 2025. The AR development software Meta Spark AR will also be retired at the same time; it was at one point the "world's largest mobile AR platform". Brand and creator effects represent the vast majority of filters available on Meta platforms, with over 2 million third-party filters available as of 2021. == Beauty filter == A beauty filter is a filter applied to still photographs, or to video in real time, to enhance the physical attractiveness of the subject. Typical effects of such filters include smoothing skin texture and modifying the proportions of facial features, for example enlarging the eyes or narrowing the nose. Filters may be included as a built-in feature of social media apps such as Instagram or Snapchat, or implemented through standalone applications such as Facetune. In 2020, the "Perfect Skin" filter for Snapchat and Instagram which was created by Brazilian augmented reality developer Brenno Faustino gained more than 36 million impressions in the first 24 hours of its release. In 2021, TikTok users pointed out how the default front-facing camera on the platform automatically applied the retouch and other feature-altering filters. Users noted that these filters slimmed down faces, smoothed skin, whitened teeth, and altered facial features such as nose and eye size, without the option to disable this feature through settings. In March 2023, the "Bold Glamour" filter was released on TikTok and instantly went viral with over 18 million videos created within its first week. This filter subtly enhances the user's facial features seamlessly, giving the illusion of fuller eyebrows, taller cheekbones, enhanced eye make up, a smaller nose, plumper lips, and clearer skin, giving off a natural yet distinct effect. As of May 2024, the filter has been used in over 220 million videos and has become a pivotal moment for beauty filters on digital platforms. Critics have raised concerns that the widespread use of such filters on social media may lead to negative body image, particularly among girls. Though Meta's intention of removing third-party filters will likely see all beauty filters removed, academics feel that the damage of beautifying filters is already done. === Background === The manipulation of photos to enhance attractiveness has long been possible using software such as Adobe Photoshop and, before that, analogue techniques such as airbrushing. However, such tools required considerable technical and artistic skill, and so their use was mostly limited to professional contexts, such as magazines or advertisements. By contrast, filters work in an automated fashion through the use of complex algorithms, requiring little or no input from the user. This ease of use, in combination with the increase in processing power of smartphones, and the rise of social media and selfie culture, have led to photographic manipulation occurring on a much wider scale than ever before. One of the earliest examples of a content-aware digital photographic filter is red-eye reduction. === Effects === Typical changes applied by beauty filters include: Smoothing skin texture; minimizing fine lines and blemishes Erasing under-eye bags Erasing naso-labial lines ("laugh lines") Application of virtual makeup, such as lipstick or eyeshadow Slimming the face; erasing double chins Enlarging the eyes Whitening teeth Narrowing the nose Increasing fullness of the lips Beauty filters most frequently target the face, though in some cases they may affect other body parts. For example, the app "Retouch Me" was reported to have a feature which allows users to superimpose visible abdominal muscles (a "six pack") onto photos featuring the subject's bare stomach. === Reception and psychological effects === Some commentators have expressed concern that beauty filters may create unrealistic beauty standards, particularly among girls, and contribute to rates of body dysmorphic disorder. A correlation has been established between negative body image and the use of beautifying filters, though the direction of causation is unknown. The inability to discern whether a particular image has been filtered is thought to exacerbate their negative psychological effects. Policymakers have advocated for social networks to disclose the use of filters; TikTok, Instagram, and Snapchat all label filtered photos and videos with the name of the filter applied. It has also been noted that beauty filters on social media tend to highlight Eurocentric features, like lighter eyes, a smaller nose, and flushed ch
AMiner (database)
AMiner (formerly ArnetMiner) is a free online service used to index, search, and mine big scientific data. == Overview == AMiner (ArnetMiner) is designed to search and perform data mining operations against academic publications on the Internet, using social network analysis to identify connections between researchers, conferences, and publications. This allows it to provide services such as expert finding, geographic search, trend analysis, reviewer recommendation, association search, course search, academic performance evaluation, and topic modeling. AMiner was created as a research project in social influence analysis, social network ranking, and social network extraction. A number of peer-reviewed papers have been published arising from the development of the system. It has been in operation for more than three years, and has indexed 130,000,000 researchers and more than 265 million publications. The research was funded by the Chinese National High-tech R&D Program and the National Science Foundation of China. AMiner is commonly used in academia to identify relationships between and draw statistical correlations about research and researchers. It has attracted more than 10 million independent IP accesses from 220 countries and regions. The product has been used in Elsevier's SciVerse platform, and academic conferences such as SIGKDD, ICDM, PKDD, WSDM. == Operation == AMiner automatically extracts the researcher profile from the web. It collects and identifies the relevant pages, then uses a unified approach to extract data from the identified documents. It also extracts publications from online digital libraries using heuristic rules. It integrates the extracted researchers’ profiles and the extracted publications. It employs the researcher name as the identifier. A probabilistic framework has been proposed to deal with the name ambiguity problem in the integration. The integrated data is stored into a researcher network knowledge base (RNKB). The principal other product in the area are Google Scholar, Elsevier's Scirus, and the open source project CiteSeer. == History == It was initiated and created by professor Jie Tang from Tsinghua University, China. It was first launched in March 2006. The following provide a list of updates in the past years: March 2006, Version 0.1, Functions include researcher profiling, expert search, conference search, and publication search. The system was developed in Perl; August 2006, Version 1.0, The system was re-implemented in Java; July 2007, Version 2.0, New functions include researcher interest mining, association search, survey paper finding (unavailable now); April 2008, Version 3.0, New functions include query understanding, new GUI, and search log analysis; November 2008, Version 4.0, New functions include graph search, topic modeling, NSF/NSFC funding information extraction; April 2009, Version 5.0, New functions include Profile edition, open API service, Bole search, course search (unavailable now); December 2009, Version 6.0, New functions include academic performance evaluation, user feedback, conference analysis; May 2010, Version 7.0, New functions include name disambiguation, paper-reviewer recommendation, ArnetPage creation; March 2012, Version II, renamed as AMiner, rewrote all the codes and redesign the GUI. New functions include: geographic search, ArnetAPP platform. June 2014, Version II, renamed as AMiner, rewrote all the codes and redesign the GUI. New functions include: geographic search, ArnetAPP platform. December 2015, a completely new version got online. May 2017, professional version got online. April 2018, New functions include Trend Analysis, a deep learning based Name Disambiguation == Resources == AMiner published several datasets for academic research purpose, including Open Academic Graph, DBLP+citation (a data set augmenting citations into the DBLP data from Digital Bibliography & Library Project), Name Disambiguation, Social Tie Analysis. For more available datasets and source codes for research, please refer to.
TiDB
TiDB (; "Ti" stands for Titanium) is an open-source NewSQL database that supports Hybrid Transactional and Analytical Processing (HTAP) workloads. Designed to be MySQL compatible, it is developed and supported primarily by PingCAP and licensed under Apache 2.0. It is also available as a paid product. TiDB drew its initial design inspiration from Google's Spanner and F1 papers. == Release history == See all TiDB release notes. On December 19, 2024, TiDB 8.5 GA was released. On May 24, 2024, TiDB 8.1 GA was released. On December 1, 2023, TiDB 7.5 GA was released. On May 31, 2023, TiDB 7.1 GA was released. On April 7, 2022, TiDB 6.0 GA was released. On April 7, 2021 TiDB 5.0 GA was released. On May 28, 2020, TiDB 4.0 GA was released. On June 28, 2019, TiDB 3.0 GA was released. On April 27, 2018, TiDB 2.0 GA was released. On October 16, 2017, TiDB 1.0 GA was released. == Main features == === Horizontal scalability === TiDB can expand both SQL processing and storage capacity by adding new nodes. === MySQL compatibility === TiDB acts like it is a MySQL 8.0 server to applications. A user can continue to use all of the existing MySQL client libraries. Because TiDB's SQL processing layer is built from scratch, it is not a MySQL fork. === Distributed transactions with strong consistency === TiDB internally shards a table into small range-based chunks that are referred to as "Regions". Each Region defaults to approximately 100 MB in size, and TiDB uses a two-phase commit internally to ensure that regions are maintained in a transactionally consistent way. === Cloud native === TiDB is designed to work in the cloud. The storage layer of TiDB, called TiKV, became a Cloud Native Computing Foundation (CNCF) member project in August 2018, as a Sandbox level project, and became an incubation-level hosted project in May 2019. TiKV graduated from CNCF in September 2020. === Real-time HTAP === TiDB can support both online transaction processing (OLTP) and online analytical processing (OLAP) workloads. TiDB has two storage engines: TiKV, a rowstore, and TiFlash, a columnstore. === High availability === TiDB uses the Raft consensus algorithm to ensure that data is available and replicated throughout storage in Raft groups. In the event of failure, a Raft group will automatically elect a new leader for the failed member, and self-heal the TiDB cluster. === Vector Search === TiDB has a vector data type and vector indexes. This allows TiDB to be used as Vector database in AI Retrieval-augmented generation applications. == Deployment methods == === Kubernetes with Operator === TiDB can be deployed in a Kubernetes-enabled cloud environment by using TiDB Operator. An Operator is a method of packaging, deploying, and managing a Kubernetes application. It is designed for running stateful workloads and was first introduced by CoreOS in 2016. TiDB Operator was originally developed by PingCAP and open-sourced in August, 2018. TiDB Operator can be used to deploy TiDB on a laptop, Google Cloud Platform’s Google Kubernetes Engine, and Amazon Web Services’ Elastic Container Service for Kubernetes. === TiUP === TiDB 4.0 introduces TiUP, a cluster operation and maintenance tool. It helps users quickly install and configure a TiDB cluster with a few commands. == Tools == TiDB has a series of open-source tools built around it to help with data replication and migration for existing MySQL and MariaDB users. === TiDB Data Migration (DM) === TiDB Data Migration (DM) is suited for replicating data from already sharded MySQL or MariaDB tables to TiDB. A common use case of DM is to connect MySQL or MariaDB tables to TiDB, treating TiDB almost as a slave, then directly run analytical workloads on this TiDB cluster in near real-time. === Backup & Restore === Backup & Restore (BR) is a distributed backup and restore tool for TiDB cluster data. === Dumpling === Dumpling is a data export tool that exports data stored in TiDB or MySQL. It lets users make logical full backups or full dumps from TiDB or MySQL. === TiDB Lightning === TiDB Lightning is a tool that supports high speed full-import of a large MySQL dump into a new TiDB cluster. This tool is used to populate an initially empty TiDB cluster with much data, in order to speed up testing or production migration. The import speed improvement is achieved by parsing SQL statements into key-value pairs, then directly generate Sorted String Table (SST) files to RocksDB. === TiCDC === TiCDC is a change data capture tool which streams data from TiDB to other systems like Apache Kafka.
Virtual Print Fee
Virtual Print Fee (VPF) is a subsidy paid by a film distributor towards the purchase of digital cinema projection equipment for use by a film exhibitor in the presentation of first release motion pictures. The subsidy is paid in the form of a fee per booking of a movie, intended to match the savings that occurs by not shipping a film print. The model is designed to help redistribute the savings realized by studios when using digital distribution instead of film print distribution and is intended to vanish when the transition phase is over when the vast majority of cinemas screens are equipped. == History == The first public demonstration of digital projection for cinema took place at ShoWest in 1999, and it was readily apparent that the technology was further ahead than the business model. Early technology presentations attempted to claim that the technology would pay for itself through new revenues generated by new forms of content. But exhibitors knew their audience, and could see that digital projection was only a replacement technology, creating new financial liabilities, and not new revenue. It wasn’t until the rollout of digital 3-D years later in 2005 that digital projection demonstrated that it could be used to generate additional revenue. The economics were challenging. Film projectors and platters cost in the neighborhood of US$30,000, while early digital projectors cost up to US$150,000. Further, film projectors had a lifetime of 30 years with relatively small annual expenditures in maintenance and replacement parts. On the other hand, exhibitors felt they would be lucky to get 10 years of service from a digital projector, after which there would have to be a refresh in capital expenditure. Meanwhile, distributors would realize significant savings by eliminating the high cost of film prints with corresponding shipping costs, and instead distributing digital files either by satellite or hard drive. The Virtual Print Fee was designed to better balance savings and expenditures for both exhibitors and distributors. It is intended to primarily assist in the replacement of film projectors, and not assist in the purchase of new projection equipment for new construction. To give confidence to financial institutions that digital cinema technology was stable and worthy of investment, Digital Cinema Initiatives was created in 2002, resulting in the release of the first version of the DCI Digital Cinema System Specification in 2005. The DCI Specification continues to be the core specification for digital cinema, establishing the baseline technology and system requirements for which studios will release digital movies. The first set of VPF agreements executed with four major studios were announced by Christie/AIX in November 2005. Christie/AIX at that time was a subsidiary of Access Integrated Technology, now renamed Cinedigm Digital Cinema Corp. The agreements were for the rollout of digital cinema technology to 4000 screens. Since that time, numerous other Digital Cinema Deployment Agreements have been executed around the world, allowing exhibitors in nearly every territory to benefit from VPF subsidies in the conversion from film projection to digital projection.