Simon John Godsill (born 2 December 1965) is professor of statistical signal processing at the University of Cambridge, and a professorial fellow at Corpus Christi College. He is also a member of the Centre for Science and Policy. His main area of research is Bayesian statistics and stochastic sampling methodologies, particularly particle filtering. == Education == Godsill obtained both undergraduate and Ph.D. degrees from the Department of Engineering at Cambridge University, whilst a member of Selwyn College. He obtained a first class degree in the Electrical and Information Sciences Tripos. The title of his 1993 Ph.D. thesis was "The Restoration of Degraded Audio Signals" and his Ph.D. supervisor was Peter Rayner, whom he shared with Michael Richard Lynch. == Career == Godsill has published over 250 articles in peer reviewed journals, along with the books Digital audio restoration: a statistical model based approach and Compressed sensing & sparse filtering. == Business interests == Godsill is currently a director of CEDAR Audio Ltd, a Cambridge-based company that applies Bayesian mathematics for purposes of noise reduction in audio data. In February 2005, the company received a Sci-Tech Academy Award (a 'Technical Oscar') for its services to the movie industry, and a stream of innovations appeared over the following years with corresponding recognition including induction into the Audio Technology Hall of Fame (2008), a Cinema Audio Society Award (2009). Godsill is also a director at Input Dynamics Ltd, a Cambridge-based company that applies Bayesian techniques to touch screen technology. Godsill is involved with the research effort at BMLL Technologies, a Cambridge spin-off working in the field of machine learning application in the financial sector.
Inpainting
Inpainting is a conservation process where damaged, deteriorated, or missing parts of an artwork are filled in to present a complete image. This process is commonly used in image restoration. It can be applied to both physical and digital art mediums such as oil or acrylic paintings, chemical photographic prints, sculptures, or digital images and video. With its roots in physical artwork, such as painting and sculpture, traditional inpainting is performed by a trained art conservator who has carefully studied the artwork to determine the mediums and techniques used in the piece, potential risks of treatments, and ethical appropriateness of treatment. == History == The modern use of inpainting can be traced back to Pietro Edwards (1744–1821), Director of the Restoration of the Public Pictures in Venice, Italy. Using a scientific approach, Edwards focused his restoration efforts on the intentions of the artist. It was during the 1930 International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art, that the modern approach to inpainting was established. Helmut Ruhemann (1891–1973), a German restorer and conservator, led the discussions on the use of inpainting in conservation. Helmut Ruhemann was a leading figure in modernizing restoration and conservation. His greatest contribution to the field of conservation "was his insistence on following the methods of the original painter exactly, and on understanding the painter's artistic intention". After his career of over 40 years as a conservator, Ruhemann published his treatise The Cleaning of Paintings: Problems & Potentialities in 1968. In describing his method, Ruhemann states that "The surface [of the fill] should be slightly lower than that of the surrounding paint to allow for the thickness of the inpainting...Inpainting medium should look and behave like the original medium, but must not darken with age." Cesare Brandi (1906–1988) developed the teoria del restauro, the inpainting approach combining aesthetics and psychology. However, this approach was used primarily by Italian restorers and conservators, with the terminology becoming widespread in the 1990s. Technological advancements led to new applications of inpainting. Widespread use of digital techniques range from entirely automatic computerized inpainting to tools used to simulate the process manually. Since the mid-1990s, the process of inpainting has evolved to include digital media. More commonly known as image or video interpolation, a form of estimation, digital inpainting includes the use of computer software that relies on sophisticated algorithms to replace lost or corrupted parts of the image data. == Ethics == In order to preserve the integrity of an original artwork, any inpainting technique or treatment applied to physical or digital work should be reversible or distinguishable from the original content of the artwork. Prior to any treatments, conservators proceed according to the American Institute of Conservation of Historical and Artistic Works. There are several ethic considerations before Inpainting can be justified. Various deliberation decisions over the ethical appropriateness of the amount and type of inpainting done, resides on many factors. As most conservation treatments, inpainting's ethical questions rest mainly with authenticity, reversibility and documentation.Any intervention to compensate for loss should be documented in treatment records and reports and should be detectable by common examination methods. Such compensation should be reversible and should not falsely modify the known aesthetic, conceptual, and physical characteristics of the cultural property, especially by removing or obscuring original material.New technologies and the aesthetic demand for perfect images without imperfections challenge conservators' ethical practices to protect the integrity of originals. == Methods == Inpainting methods and techniques depend on the desired goal and type of image being treated. Treatments to fill in the gaps are different between physical and digital art. In inpainting, detailed records of the initial state of the images can help with the treatment and replicate the original closer. === Physical inpainting === Inpainting is rooted in the conservation and restoration of paintings. Inpainting can aim to make a visual improvement to the artwork as a whole by repairing missing or damaged parts using methods and materials equivalent to the original artist's work. ==== Application techniques ==== By studying the painting methods of various artists and the composition of paints used historically, conservators are able to restore works very closely to their original visual appearance. The picture as a whole determines how to fill in the gap. Helmut Ruhemann's inpainting techniques by Jessell have procedures to "preserve" the quality of oil and tempera paintings. === Digital inpainting === Many programs are able to reconstruct missing or damaged areas of digital photographs and videos. Most widely known for use with digital images is Adobe Photoshop. Given the various abilities of the digital camera and the digitization of old photos, inpainting has become an automatic process that can be performed on digital images. The inpainting techniques can be applied to object removal, text removal, and other automatic modifications of images and videos. In video special effects, inpainting is usually performed after video matting. They can also be observed in applications like image compression and super-resolution. In photography and cinema, it is used for film restoration to reverse, repair, or mitigate deterioration (e.g., physical damage such as cracks in photographs, scratches and dust spots in film, or chemical damage resulting in image loss; performed infrared cleaning). It can also be used for removing red-eye, the stamped date from photographs, and objects for creative effect. This technique can be used to replace any lost blocks in the coding and transmission of images, for example, in a streaming video. It can also be used to remove logos or watermarks in videos. Deep learning neural network-based inpainting can be used for decensoring images. Deep image prior-based techniques can be used for digital image inpainting, where a trained deep learning model is either unavailable or infeasible. Deep models for visual content generation, like text-to-image or text-to-video, learn complex priors over the distribution of visual content, and can be used to inpaint missing parts. For example, videos can be separated into layers, using a technique called omnimatte, which either pretrain an omnimatte model or without any training using an omnimatte-zero model. Three main groups of 2D image-inpainting algorithms can be found in the literature. The first one to be noted is structural (or geometric) inpainting, the second one is texture inpainting, the last one is a combination of these two techniques. They use the information of the known or non-destroyed image areas in order to fill the gap, similar to how physical images are restored. ==== Structural ==== Structural or geometric inpainting is used for smooth images that have strong, defined borders. There are many different approaches to geometric inpainting, but they all come from the idea that geometry can be recovered from similar areas or domains. Bertalmio proposed a method of structural inpainting that mimics how conservators address painting restoration. Bertalmio proposed that by progressively transferring similar information from the borders of an inpainting domain inwards, the gap can be filled. ==== Textural ==== While structural/geometric inpainting works to repair smooth images, textural inpainting works best with images that are heavily textured. Texture has a repetitive pattern which means that a missing portion cannot be restored by continuing the level lines into the gap; level lines provide a complete, stable representation of an image. To repair texture in an image, one can combine frequency and spatial domain information to fill in a selected area with a desired texture. This method, while the most simple and very effective, works well when selecting a texture to be in-painted. For a texture that covers a wider area or a larger frame one would have to go through the image segmenting the areas to be in-painted and selecting the corresponding textures from throughout the image; there are programs that can help find the corresponding areas that work in a similar way as 'find and replace' works in a word processor. ==== Combined structural and textural ==== Combined structural and textural inpainting approaches simultaneously try to perform texture- and structure-filling in regions of missing image information. Most parts of an image consist of texture and structure and the boundaries between image regions contain a large amount of structural information. This is the result when blending differ
Fabric computing
Fabric computing or unified computing involves constructing a computing fabric consisting of interconnected nodes that look like a weave or a fabric when seen collectively from a distance. Usually the phrase refers to a consolidated high-performance computing system consisting of loosely coupled storage, networking and parallel processing functions linked by high bandwidth interconnects (such as 10 Gigabit Ethernet and InfiniBand) but the term has also been used to describe platforms such as the Azure Services Platform and grid computing in general (where the common theme is interconnected nodes that appear as a single logical unit). The fundamental components of fabrics are "nodes" (processor(s), memory, and/or peripherals) and "links" (functional connections between nodes). While the term "fabric" has also been used in association with storage area networks and with switched fabric networking, the introduction of compute resources provides a complete "unified" computing system. Other terms used to describe such fabrics include "unified fabric", "data center fabric" and "unified data center fabric". Ian Foster, director of the Computation Institute at the Argonne National Laboratory and University of Chicago suggested in 2007 that grid computing "fabrics" were "poised to become the underpinning for next-generation enterprise IT architectures and be used by a much greater part of many organizations". == History == While the term has been in use since the mid to late 1990s the growth of cloud computing and Cisco's evangelism of unified data center fabrics followed by unified computing (an evolutionary data center architecture whereby blade servers are integrated or unified with supporting network and storage infrastructure) starting March 2009 has renewed interest in the technology. There have been mixed reactions to Cisco's architecture, particularly from rivals who claim that these proprietary systems will lock out other vendors. Analysts claim that this "ambitious new direction" is "a big risk" as companies such as IBM and HP who have previously partnered with Cisco on data center projects (accounting for $2–3bn of Cisco's annual revenue) are now competing with them. In 2007, Wombat Financial Software launched the "Wombat Data Fabric," the first commercial off-the-shelf software platform providing high performance / low-latency RDMA-based messaging across an Infiniband switch. == Key characteristics == The main advantages of fabrics are that massive concurrent processing combined with a huge, tightly coupled address space makes it possible to solve huge computing problems (such as those presented by delivery of cloud computing services); and that they are both scalable and able to be dynamically reconfigured. Challenges include a non-linearly degrading performance curve, whereby adding resources does not linearly increase performance which is a common problem with parallel computing and maintaining security. == Companies == As of 2015 companies offering unified or fabric computing systems include Avaya, Brocade, Cisco, Dell, Egenera, HPE, IBM, Liquid Computing Corporation, TIBCO, Unisys, and Xsigo Systems.
Color science
Color science is the scientific study of color including lighting and optics; measurement of light and color; the physiology, psychophysics, and modeling of color vision; and color reproduction. It is the modern extension of traditional color theory. == Organizations == International Commission on Illumination (CIE) Illuminating Engineering Society (IES) Inter-Society Color Council (ISCC) Society for Imaging Science and Technology (IS&T) International Colour Association (AIC) Optica, formerly the Optical Society of America (OSA) The Colour Group Society of Dyers and Colourists (SDC) American Association of Textile Chemists and Colorists (AATCC) Association for Research in Vision and Ophthalmology (ARVO) ACM SIGGRAPH Vision Sciences Society (VSS) Council for Optical Radiation Measurements (CORM) == Journals == The preeminent scholarly journal publishing research papers in color science is Color Research and Application, started in 1975 by founding editor-in-chief Fred Billmeyer, along with Gunter Wyszecki, Michael Pointer and Rolf Kuehni, as a successor to the Journal of Colour (1964–1974). Previously most color science work had been split between journals with broader or partially overlapping focus such as the Journal of the Optical Society of America (JOSA), Photographic Science and Engineering (1957–1984), and the Journal of the Society of Dyers and Colourists (renamed Coloration Technology in 2001). Other journals where color science papers are published include the Journal of Imaging Science & Technology, the Journal of Perceptual Imaging, the Journal of the International Colour Association (JAIC), the Journal of the Color Science Association of Japan, Applied Optics, and the Journal of Vision. == Conferences == Congress of the International Color Association IS&T Color and Imaging Conference (CIC) SIGGRAPH International Symposium for Color Science and Art == Selected books == Berns, Roy S. (2019). Billmeyer and Saltzman's Principles of Color Technology (4th ed.). Wiley. doi:10.1002/9781119367314. 3rd ed. (2000). Daw, Nigel (2012). How Vision Works: The Physiological Mechanisms Behind What We See. Oxford. doi:10.1093/acprof:oso/9780199751617.001.0001. Elliot, Andrew J.; Fairchild, Mark D.; Franklin, Anna, eds. (2015). Handbook of Color Psychology. Cambridge. doi:10.1017/CBO9781107337930. Fairchild, Mark D. (2013). Color Appearance Models (3rd ed.). Wiley. doi:10.1002/9781118653128. Author's website. 2nd ed. (2005). Hunt, Robert W. G. (2004). The Reproduction of Colour (6th ed.). Wiley. doi:10.1002/0470024275. Kuehni, Rolf G. (2012). Color: An Introduction to Practice and Principles (3rd ed.). Wiley. doi:10.1002/9781118533567. 1st ed. (1997). Luo, Ming R., ed. (2016). Encyclopedia of Color Science and Technology. Springer. doi:10.1007/978-1-4419-8071-7. MacAdam, David L., ed. (1970). Sources of Color Science. MIT Press. Reinhard, Erik; Khan, Erum Arif; Akyuz, Ahmet Oguz; Johnson, Garrett (2008). Color Imaging: Fundamentals and Applications. CRC Press. doi:10.1201/b10637. Schanda, János, ed. (2007). Colorimetry: Understanding the CIE System. Wiley. doi:10.1002/9780470175637. Shamey, Renzo; Kuehni, Rolf G. (2020). Pioneers of Color Science. Springer. doi:10.1007/978-3-319-30811-1. Wyszecki, Günter; Stiles, Walter S. (1982). Color Science: Concepts and Methods, Quantitative Data and Formulae (2nd ed.). Wiley.
Content as a service
Content as a service (CaaS) or managed content as a service (MCaaS) is a service-oriented model, where the service provider delivers the content on demand to the service consumer via web services that are licensed under subscription. The content is hosted by the service provider centrally in the cloud and offered to a number of consumers that need the content delivered into any applications or system, hence content can be demanded by the consumers as and when required. Content as a Service is a way to provide raw content (in other words, without the need for a specific human compatible representation, such as HTML) in a way that other systems can make use of it. Content as a Service is not meant for direct human consumption, but rather for other platforms to consume and make use of the content according to their particular needs. This happens usually on the cloud, with a centralized platform which can be globally accessible and provides a standard format for your content. With Content as a Service, you centralize your content into a single repository, where you can manage it, categorize it, make it available to others, search for it, or do whatever you wish with it. == Overview == The content delivered typically could be one or more of the following The technical terminology related to equipment or spares that is required to procure or design the materials The industrial terminology of the equipment or spares Technical values pertaining to various types, specifications, applications, characteristics of equipment or spares Sourcing information which will help in procurement or supply-chain management of equipment or spares Descriptive specifications of equipment or spares based on the product reference number or identifier UNSPSC codes or industry practiced classifications ISO, IEC compliant terminology Ontology or Technical Dictionary of products & services Predefined content for specific business needs The term "Content as a service" (CaaS) is considered to be part of the nomenclature of cloud computing service models & Service-oriented architecture along with Software as a service (SaaS), Infrastructure as a service (IaaS), and Platform as a service (PaaS).
Django (web framework)
Django ( JANG-goh; sometimes stylized as django) is a free and open-source, Python-based web framework that runs on a web server. It follows the model–template–views (MTV) architectural pattern. It is maintained by the Django Software Foundation (DSF), an independent organization established in the US as a 501(c)(3) non-profit. Django's primary goal is to ease the creation of complex, database-driven websites. The framework emphasizes reusability and "pluggability" of components, less code, low coupling, rapid development, and the principle of don't repeat yourself. Python is used throughout, even for settings, files, and data models. Django also provides an optional administrative create, read, update and delete interface that is generated dynamically through introspection and configured via admin models. Some well-known sites that use Django include Instagram, Mozilla, Disqus, Bitbucket, Nextdoor, and Clubhouse. == History == Django was created in the autumn of 2003, when the web programmers at the Lawrence Journal-World newspaper, Adrian Holovaty and Simon Willison, began using Python to build applications. Jacob Kaplan-Moss was hired early in Django's development shortly before Willison's internship ended. It was released publicly under a BSD license in July 2005. The framework was named after guitarist Django Reinhardt. Holovaty is a romani jazz guitar player inspired in part by Reinhardt's music. In June 2008, it was announced that a newly formed Django Software Foundation (DSF) would maintain Django in the future. == Features == === Components === Despite having its own nomenclature, such as naming the callable objects generating the HTTP responses "views", the core Django framework can be seen as an MVC architecture. It consists of an object-relational mapper (ORM) that mediates between data models (defined as Python classes) and a relational database ("Model"), a system for processing HTTP requests with a web templating system ("View"), and a regular-expression-based URL dispatcher ("Controller"). Also included in the core framework are: a lightweight and standalone web server for development and testing a form serialization and validation system that can translate between HTML forms and values suitable for storage in the database a template system that utilizes the concept of inheritance borrowed from object-oriented programming a caching framework that can use any of several cache methods support for middleware classes that can intervene at various stages of request processing and carry out custom functions an internal dispatcher system that allows components of an application to communicate events to each other via pre-defined signals an internationalization system, including translations of Django's own components into a variety of languages a serialization system that can produce and read XML and/or JSON representations of Django model instances a system for extending the capabilities of the template engine an interface to Python's built-in unit test framework === Bundled applications === The main Django distribution also bundles a number of applications in its "contrib" package, including: an extensible authentication system the dynamic administrative interface tools for generating RSS and Atom syndication feeds a "Sites" framework that allows one Django installation to run multiple websites, each with their own content and applications tools for generating Sitemaps built-in mitigation for cross-site request forgery, cross-site scripting, SQL injection, password cracking and other typical web attacks, most of them turned on by default a framework for creating geographic information system (GIS) applications === Extensibility === Django's configuration system allows third-party code to be plugged into a regular project, provided that it follows the reusable app conventions. More than 5000 packages are available to extend the framework's original behavior, providing solutions to issues the original tool didn't tackle: registration, search, API provision and consumption, CMS, etc. This extensibility is, however, mitigated by internal components' dependencies. While the Django philosophy implies loose coupling, the template filters and tags assume one engine implementation, and both the auth and admin bundled applications require the use of the internal ORM. None of these filters or bundled apps are mandatory to run a Django project, but reusable apps tend to depend on them, encouraging developers to keep using the official stack in order to benefit fully from the apps ecosystem. === Server arrangements === Django can be run on ASGI or WSGI-compliant web servers. Django officially supports five database backends: PostgreSQL, MySQL, MariaDB, SQLite, and Oracle. Microsoft SQL Server can be used with mssql-django. == Version history == The Django team will occasionally designate certain releases to be "long-term support" (LTS) releases. LTS releases will get security and data loss fixes applied for a guaranteed period of time, typically 3+ years, regardless of the pace of releases afterwards. == Community == === DjangoCon === There is a semiannual conference for Django developers and users, named "DjangoCon", that has been held since September 2008. DjangoCon is held annually in Europe, in May or June; while another is held in the United States in August or September, in various cities. ==== United States ==== The 2012 DjangoCon took place in Washington, D.C., from September 3 to 8. 2013 DjangoCon was held in Chicago at the Hyatt Regency Hotel and the post-conference Sprints were hosted at Digital Bootcamp, computer training center. The 2014 DjangoCon US returned to Portland, OR from August 30 to 6 September. The 2015 DjangoCon US was held in Austin, TX from September 6 to 11 at the AT&T Executive Center. The 2016 DjangoCon US was held in Philadelphia, PA at The Wharton School of the University of Pennsylvania from July 17 to 22. The 2017 DjangoCon US was held in Spokane, WA; in 2018 DjangoCon US was held in San Diego, CA. DjangoCon US 2019 was held again in San Diego, CA from September 22 to 27. DjangoCon 2021 took place virtually and in 2022, DjangoCon US returned to San Diego from October 16 to 21. DjangoCon US 2023 was held from October 16 to 20 at the Durham, NC convention center and DjangoCon US 2024 took place also in Durham in September 22 to 27. DjangoCon US 2025 was held from September 8 to 12 in Chicago, Illinois. ==== Europe ==== The 2025 edition of DjangoCon Europe took place in Dublin, Ireland from 23 to 27 April. In 2024, the conference was hosted in Vigo, Spain. Edinburgh, Scotland served as the venue for DjangoCon Europe in 2023. The 2022 conference was organized in Porto, Portugal. In 2021, DjangoCon Europe was held virtually due to the COVID-19 pandemic. The 2020 edition was also conducted as a fully virtual event. DjangoCon Europe 2019 was held in Copenhagen, Denmark. In 2018, the event took place in Heidelberg, Germany. The 2017 conference was convened in Florence, Italy. DjangoCon Europe 2012 was organized in Zurich, Switzerland. ==== Australia ==== Django mini-conferences are usually held every year as part of the Australian Python Conference 'PyCon AU'. Previously, these mini-conferences have been held in: Hobart, Australia, in July 2013, Brisbane, Australia, in August 2014 and 2015, Melbourne, Australia in August 2016 and 2017, and Sydney, Australia, in August 2018 and 2019. ==== Africa ==== The first DjangoCon Africa was held in Zanzibar, Tanzania, from 6 to 11 November 2023. The event hosted approximately 200 attendees from 22 countries, including 103 women. The conference featured 26 talks on topics such as software development, education, careers, accessibility, and agriculture, often highlighting perspectives from across the African continent. Future editions of the conference are planned, with details available on the official website === Community groups & programs === Django has spawned user groups and meetups around the world, a notable group is the Django Girls organization, which began in Poland but now has had events in 91 countries. Another initiative is Djangonaut Space, a mentorship program aimed at supporting new contributors to the Django ecosystem. The program pairs experienced mentors with developers to guide them through making meaningful contributions to Django and its community. It emphasizes long-term engagement, inclusion, and collaborative open-source development. == Ports to other languages == Programmers have ported Django's template engine design from Python to other languages, providing decent cross-platform support. Some of these options are more direct ports; others, though inspired by Django and retaining its concepts, take the liberty to deviate from Django's design: Liquid for Ruby Template::Swig for Perl Twig for PHP and JavaScript Jinja for Python ErlyDTL for Erlang == CMSs based on Django Framework == Django as a framework is capable of building a complete CMS
Morphobank
MorphoBank is a web application for collaborative evolutionary research, specifically phylogenetic systematics or cladistics, on the phenotype. Historically, scientists conducting research on phylogenetic systematics have worked individually or in small groups employing traditional single-user software applications such as MacClade, Mesquite and Nexus Data Editor. As the hypotheses under study have grown more complex, large research teams have assembled to tackle the problem of discovering the Tree of Life for the estimated 4-100 million living species(Wilson 2003, pp. 77–80) and the many thousands more extinct species known from fossils. Because the phenotype is fundamentally visual, and as phenotype-based phylogenetic studies have continued to increase in size, it becomes important that observations be backed up by labeled images. Traditional desktop software applications currently in wide use do not provide robust support for team-based research or for image manipulation and storage. MorphoBank is a particularly important tool for the growing scientific field of phenomics. The development of MorphoBank, which began in 2001, has been funded by the National Science Foundation's Directorates for Geosciences, Biological Sciences and Computer and Information Science and Engineering. The significance of the scientific work on MorphoBank has been featured in the New York Times(here and here), among other publications. == Advantages == Teams of scientists studying phylogenetics to build the Tree of Life assemble large spreadsheets of observations about species (referred to as "matrices"). These teams require simultaneous access by each team member to a single and secure copy of the team's data during a scientific research project. This single copy of the data also changes with great frequency during the data collection phase. Images that can be very helpful for documenting homology statements must be displayed, labeled and shared as homology statements develop. This cannot be accomplished elegantly with a desktop software package alone because in a desktop environment each collaborator is working on his own private copy of project data. Changes made by one participant cannot automatically propagate to others, preventing collaborators from seeing each other's data edits until they are manually (and due to the effort involved, often only periodically) merged into a single "true" dataset. In all but the smallest and most disciplined of teams, file version control and the reconciliation of changes made on multiple copies of the data emerge quickly as significant drags on productivity. MorphoBank is an attempt to address these issues by leveraging the ubiquity of the web and modern web-based application techniques, including Ajax, web service layers, and rich web applications to provide a full-featured, net-accessible collaborative workspace for phylogenetic research. In particular, MorphoBank makes it easy to: Share all kinds of data with geographically separated team members, including taxonomy, character and specimen data, media (including images, video and audio), phylogenetic matrices (including data in the widely used NEXUS and TNT format) and other data such as documents and genetic sequences. Label high-resolution images using a web-based image annotation application. Collaboratively edit project data such as phylogenetic matrices using a built-in web-based matrix editor. The editor allows the linking of labeled images to individual cells of a matrix. Manage access to project data. Access ranges from full-access for team members to anonymous read-only access for potential reviewers. Publish completed project data on the web in support of a published paper with a persistent URL. Search The Encyclopedia of Life for taxon exemplar images. Store high resolution CT data Create ontologies for updating and populating matrix cells. These tasks are difficult or impossible in most existing software applications. == History == In 2001 the National Science Foundation (NSF) sponsored a workshop, at the American Museum of Natural History in New York to develop the outlines of a web-based system for a collaborative, media-rich research tool for morphological phylogenetics. An application prototype presented at the workshop was later refined with feedback from the workshop and became MorphoBank version 1.0. A grant from the US National Oceanic and Atmospheric Administration funded further revisions resulting in version 2.0, released in 2005. Current support from the NSF is funding current feature enhancements to MorphoBank. MorphoBank was hosted by Stony Brook University until late October 2021 and received back up support from the American Museum of Natural History. The current version is 3.0. Rationale for the software was described in the journal Cladistics. MorphoBank has also received support from NESCENT and the San Diego Supercomputer Center. Since 2018, MorphoBank has been supported in part by Phoenix Bioinformatics, a non-profit company founded to sustain databases for the basic sciences. A permanent move of MorphoBank from Stony Brook University to Phoenix Bioinformatics was complete in late October 2021. The San Diego Supercomputer Center has previously provided technical and hosting resources to the MorphoBank project. == Usage == MorphoBank hosts the products of peer-reviewed scientific research on phenotypes. An increasing volume of systematics data is "born digital" and MorphoBank is well suited to handle this type of material. On August 24, 2007, 62 active research projects were hosted by MorphoBank, as well as 6 completed (and published) projects. By 2017 over 2000 scientists and their students were registered content builders (users are not required to register and are even more numerous) and has more than 500 publicly available projects with approximately 80,000 images that are the products of scientific research. Over 1,500 active research projects are hosted by MorphoBank. The software has been used to assemble phylogenetic research on such groups as mammals, from bats to whales, bivalve molluscs, arachnids, fossil plants and living and extinct amniotes. It has also been used more broadly in evolutionary and paleontological research to host curated images associated with published research on lacewing insects geckos, raptor birds, dinosaurs, frogs and nematodes. MorphoBank is increasingly used in conjunction with the Paleobiology Database. Example published projects: Project 1097: Blank CE, 2013 Origin and early evolution of photosynthetic eukaryotes in freshwater environments – reinterpreting proterozoic paleobiology and biogeochemical processes in light of trait evolution Project 2520: Carvalho, T. P., R. E. Reis, and J. P. Friel, 2017 A new species of Hoplomyzon (Siluriformes: Aspredinidae) from Maracaibo Basin, Venezuela: osteological description using high-resolution Project 2651: Baron, M. G., Norman, D. B., Barrett, P. M., 2017 A new hypothesis of dinosaur relationships and early dinosaur evolution MorphoBank has been particularly important to the Assembling the Tree of Life initiative sponsored by the National Science Foundation. MorphoBank is well-suited to such projects because of its tools for merging taxonomic, character and matrix-based data, as well as its collaborative features. Highlights of this research include a collaborative matrix on mammal evolution published in Science that included over 4,000 phenomic characters scored for over 80 species, a matrix on extant baleen whales featuring nearly 600 images, and more.