Timnit W. Gebru (Amharic and Tigrinya: ትምኒት ገብሩ; 1982/1983) is an Eritrean Ethiopian-born computer scientist who works in the fields of artificial intelligence (AI), algorithmic bias and data mining. She is a co-founder of Black in AI, an advocacy group that has pushed for more Black roles in AI development and research. She is the founder of the Distributed Artificial Intelligence Research Institute (DAIR). In December 2020, public controversy erupted over the circumstances surrounding Gebru's departure from Google, where she was technical co-lead of the Ethical Artificial Intelligence Team. Gebru had coauthored a paper on the risks of large language models (LLMs) acting as stochastic parrots, and submitted it for publication. According to Jeff Dean, head of Google AI, the paper was submitted without waiting for Google's internal review, which then asserted that it ignored too much relevant research. Google management requested that Gebru either withdraw the paper or remove the names of all the authors employed by Google. Gebru requested the identity and feedback of every reviewer, and stated that if Google refused, she would talk to her manager about "a last date". Google terminated her employment immediately, stating that they were accepting her resignation. Gebru maintained that she had not formally offered to resign, and only threatened to. Gebru has been widely recognized for her expertise in the ethics of artificial intelligence. She was named one of the World's 50 Greatest Leaders by Fortune and one of Nature's ten people who shaped science in 2021, and in 2022, one of Time's most influential people. == Early life and education == Gebru was raised in Addis Ababa, Ethiopia. Her father, an electrical engineer with a Doctor of Philosophy (PhD), died when she was five years old, and she was raised by her mother, an economist. Both her parents are from Eritrea. When Gebru was 15, during the Eritrean–Ethiopian War, she fled Ethiopia after some of her family were deported to Eritrea and compelled to fight in the war. She was initially denied a U.S. visa and briefly lived in Ireland, but she eventually received political asylum in the U.S., an experience she said was "miserable". Gebru settled in Somerville, Massachusetts to attend high school, where she says she immediately started to experience racial discrimination, with some teachers refusing to allow her to take certain Advanced Placement courses, despite being a high-achiever. After she completed high school, an encounter with the police set Gebru on a course toward a focus on ethics in technology. A friend of hers, a Black woman, was assaulted in a bar, and Gebru called the police to report it. She says that instead of filing the assault report, her friend was arrested and remanded to a cell. Gebru called it a pivotal moment and a "blatant example of systemic racism." In 2001, Gebru was accepted at Stanford University. There, she earned her Bachelor of Science and Master of Science degrees in electrical engineering and her PhD in computer vision in 2017. Gebru was advised during her PhD program by Fei-Fei Li. During the 2008 United States presidential election, Gebru canvassed in support of Barack Obama. Gebru presented her doctoral research at the 2017 LDV Capital Vision Summit competition, where computer vision scientists present their work to members of industry and venture capitalists. Gebru won the competition, starting a series of collaborations with other entrepreneurs and investors. Both during her PhD program in 2016 and in 2018, Gebru returned to Ethiopia with Jelani Nelson's programming campaign, AddisCoder. While working on her PhD, Gebru authored a paper that was never published about her concern over the future of AI. She wrote of the dangers of the lack of diversity in the field, centered on her experiences with the police and on a ProPublica investigation into predictive policing, which revealed a projection of human biases in machine learning. In the paper, she scathed the "boy's club culture", reflecting on her experiences at conference gatherings of drunken male attendees sexually harassing her, and criticized the hero worship of the field's celebrities. == Career == === 2004–2013: Software development at Apple === Gebru joined Apple as an intern while at Stanford, working in their hardware division making circuitry for audio components, and was offered a full-time position the following year. Of her work as an audio engineer, her manager told Wired she was "fearless", and well-liked by her colleagues. During her tenure at Apple, Gebru became more interested in building software, namely computer vision that could detect human figures. She went on to develop signal processing algorithms for the first iPad. At the time, she said she did not consider the potential use for surveillance, saying "I just found it technically interesting." Long after leaving the company, during the #AppleToo movement in the summer of 2021, which was led by Apple engineer Cher Scarlett, who consulted with Gebru, Gebru revealed she experienced "so many egregious things" and "always wondered how they manage[d] to get out of the spotlight." She said that accountability at Apple was long overdue, and warned they could not continue to fly under the radar for much longer. Gebru also criticized the way the media covers Apple and other tech giants, saying that the press helps shield such companies from public scrutiny. === 2013–2017: Research at Stanford and Microsoft === In 2013, Gebru joined Fei-Fei Li's lab at Stanford, where she combined deep learning with Google Street View to estimate the demographics of United States neighbourhoods, showing that socioeconomic attributes such as voting patterns, income, race, and education can be inferred from observations of cars. In 2015, Gebru attended the field's top conference, Neural Information Processing Systems (NIPS), in Montreal, Canada. Out of 3,700 attendees, she noted she was one of only a few Black researchers. When she attended again the following year, she kept a tally and noted that there were only five Black men and that she was the only Black woman out of 8,500 delegates. Together with her colleague Rediet Abebe, Gebru founded Black in AI, a community of Black researchers working in artificial intelligence that aims to increase the presence, visibility, and well-being of Black professionals and leaders within the field. In the summer of 2017, Gebru joined Microsoft as a postdoctoral researcher in the Fairness, Accountability, Transparency, and Ethics in AI (FATE) lab. In 2017, Gebru spoke at the Fairness and Transparency conference, where MIT Technology Review interviewed her about biases that exist in AI systems and how adding diversity in AI teams can fix that issue. In her interview with Jackie Snow, Snow asked Gebru, "How does the lack of diversity distort artificial intelligence and specifically computer vision?" and Gebru pointed out that there are biases that exist in the software developers. While at Microsoft, Gebru co-authored a research paper called Gender Shades, which became the namesake of a project of a broader Massachusetts Institute of Technology project led by co-author Joy Buolamwini. The pair investigated facial recognition software, finding that in one particular implementation Black women were 35% less likely to be recognized than White men. === 2018–2020: Artificial intelligence ethics at Google === Gebru joined Google in 2018, where she co-led a team on the ethics of artificial intelligence with Margaret Mitchell. She studied the implications of artificial intelligence, looking to improve the ability of technology to do social good. In 2019, Gebru and other artificial intelligence researchers "signed a letter calling on Amazon to stop selling its facial-recognition technology to law enforcement agencies because it is biased against women and people of color", citing a study that was conducted by MIT researchers showing that Amazon's facial recognition system had more trouble identifying darker-skinned females than any other technology company's facial recognition software. In a New York Times interview, Gebru has further expressed that she believes facial recognition is too dangerous to be used for law enforcement and security purposes at present. === Exit from Google === In 2020 Gebru and five co-authors wrote a paper titled "On the Dangers of Stochastic Parrots: Can Language Models Be Too Big? 🦜". The paper examined risks of very large language models, including their environmental footprint, financial costs, the inscrutability of large models, the potential for LLMs to display prejudice against certain groups, the inability of LLMs to understand the language they process, and the use of LLMs to spread disinformation. In December 2020, her employment with Google ended after Google management asked her to either withdraw the paper before publication, or remove the names of all the Google employees from
History of machine translation
Machine translation is a sub-field of computational linguistics that investigates the use of software to translate text or speech from one natural language to another. In the 1950s, machine translation became a reality in research, although references to the subject can be found as early as the 17th century. The Georgetown experiment, which involved successful fully automatic translation of more than sixty Russian sentences into English in 1954, was one of the earliest recorded projects. Researchers of the Georgetown experiment asserted their belief that machine translation would be a solved problem within a few years. In the Soviet Union, similar experiments were performed shortly after. Consequently, the success of the experiment ushered in an era of significant funding for machine translation research in the United States. The achieved progress was much slower than expected; in 1966, the ALPAC report found that ten years of research had not fulfilled the expectations of the Georgetown experiment and resulted in dramatically reduced funding. Interest grew in statistical models for machine translation, which became more common and also less expensive in the 1980s as available computational power increased. Although there exists no autonomous system of "fully automatic high quality translation of unrestricted text," there are many programs now available that are capable of providing useful output within strict constraints. Several of these programs are available online, such as Google Translate and the SYSTRAN system that powers AltaVista's BabelFish (which was replaced by Microsoft Bing translator in May 2012). == The beginning == The origins of machine translation can be traced back to the work of Al-Kindi, a 9th-century Arabic cryptographer who developed techniques for systemic language translation, including cryptanalysis, frequency analysis, and probability and statistics, which are used in modern machine translation. The idea of machine translation later appeared in the 17th century. In 1629, René Descartes proposed a universal language, with equivalent ideas in different tongues sharing one symbol. In the mid-1930s the first patents for "translating machines" were applied for by Georges Artsrouni, for an automatic bilingual dictionary using punched tape. Russian Peter Troyanskii submitted a more detailed proposal that included both the bilingual dictionary and a method for dealing with grammatical roles between languages, based on the grammatical system of Esperanto. This system was separated into three stages: stage one consisted of a native-speaking editor in the source language to organize the words into their logical forms and to exercise the syntactic functions; stage two required the machine to "translate" these forms into the target language; and stage three required a native-speaking editor in the target language to normalize this output. Troyanskii's proposal remained unknown until the late 1950s, by which time computers were well-known and utilized. == The early years == The first set of proposals for computer based machine translation was presented in 1949 by Warren Weaver, a researcher at the Rockefeller Foundation, "Translation memorandum". These proposals were based on information theory, successes in code breaking during the Second World War, and theories about the universal principles underlying natural language. A few years after Weaver submitted his proposals, research began in earnest at many universities in the United States. On 7 January 1954 the Georgetown–IBM experiment was held in New York at the head office of IBM. This was the first public demonstration of a machine translation system. The demonstration was widely reported in the newspapers and garnered public interest. The system itself, however, was no more than a "toy" system. It had only 250 words and translated 49 carefully selected Russian sentences into English – mainly in the field of chemistry. Nevertheless, it encouraged the idea that machine translation was imminent and stimulated the financing of the research, not only in the US but worldwide. Early systems used large bilingual dictionaries and hand-coded rules for fixing the word order in the final output which was eventually considered too restrictive in linguistic developments at the time. For example, generative linguistics and transformational grammar were exploited to improve the quality of translations. During this period operational systems were installed. The United States Air Force used a system produced by IBM and Washington University in St. Louis, while the Atomic Energy Commission and Euratom, in Italy, used a system developed at Georgetown University. While the quality of the output was poor it met many of the customers' needs, particularly in terms of speed. At the end of the 1950s, Yehoshua Bar-Hillel was asked by the US government to look into machine translation, to assess the possibility of fully automatic high-quality translation by machines. Bar-Hillel described the problem of semantic ambiguity or double-meaning, as illustrated in the following sentence: Little John was looking for his toy box. Finally he found it. The box was in the pen. The word pen may have two meanings: the first meaning, something used to write in ink with; the second meaning, a container of some kind. To a human, the meaning is obvious, but Bar-Hillel claimed that without a "universal encyclopedia" a machine would never be able to deal with this problem. At the time, this type of semantic ambiguity could only be solved by writing source texts for machine translation in a controlled language that uses a vocabulary in which each word has exactly one meaning. == The 1960s, the ALPAC report and the seventies == Research in the 1960s in both the Soviet Union and the United States concentrated mainly on the Russian–English language pair. The objects of translation were chiefly scientific and technical documents, such as articles from scientific journals. The rough translations produced were sufficient to get a basic understanding of the articles. If an article discussed a subject deemed to be confidential, it was sent to a human translator for a complete translation; if not, it was discarded. A great blow came to machine-translation research in 1966 with the publication of the ALPAC report. The report was commissioned by the US government and delivered by ALPAC, the Automatic Language Processing Advisory Committee, a group of seven scientists convened by the US government in 1964. The US government was concerned that there was a lack of progress being made despite significant expenditure. The report concluded that machine translation was more expensive, less accurate and slower than human translation, and that despite the expenditures, machine translation was not likely to reach the quality of a human translator in the near future. The report recommended, however, that tools be developed to aid translators – automatic dictionaries, for example – and that some research in computational linguistics should continue to be supported. The publication of the report had a profound impact on research into machine translation in the United States, and to a lesser extent the Soviet Union and United Kingdom. Research, at least in the US, was almost completely abandoned for over a decade. In Canada, France and Germany, however, research continued. In the US the main exceptions were the founders of SYSTRAN (Peter Toma) and Logos (Bernard Scott), who established their companies in 1968 and 1970 respectively and served the US Department of Defense. In 1970, the SYSTRAN system was installed for the United States Air Force, and subsequently by the Commission of the European Communities in 1976. The METEO System, developed at the Université de Montréal, was installed in Canada in 1977 to translate weather forecasts from English to French, and was translating close to 80,000 words per day or 30 million words per year until it was replaced by a competitor's system on 30 September 2001. While research in the 1960s concentrated on limited language pairs and input, demand in the 1970s was for low-cost systems that could translate a range of technical and commercial documents. This demand was spurred by the increase of globalisation and the demand for translation in Canada, Europe, and Japan. == The 1980s and early 1990s == By the 1980s, both the diversity and the number of installed systems for machine translation had increased. A number of systems relying on mainframe technology were in use, such as SYSTRAN, Logos, Ariane-G5, and Metal. As a result of the improved availability of microcomputers, there was a market for lower-end machine translation systems. Many companies took advantage of this in Europe, Japan, and the USA. Systems were also brought onto the market in China, Eastern Europe, Korea, and the Soviet Union. During the 1980s there was a lot of activity in MT in Japan especially. With the fifth-generation co
AARON
AARON is the collective name for a series of computer programs written by artist Harold Cohen that create original artistic images autonomously, which set it apart from previous programs. Proceeding from Cohen's initial question "What are the minimum conditions under which a set of marks functions as an image?", AARON was in development between 1972 and the 2010s. As the software is not open source, its development effectively ended with Cohen's death in 2016. The name "AARON" does not seem to be an acronym; rather, it was a name chosen to start with the letter "A" so that the names of successive programs could follow it alphabetically. However, Cohen did not create any other major programs. Initial versions of AARON created abstract drawings that grew more complex through the 1970s. More representational imagery was added in the 1980s; first rocks, then plants, then people. In the 1990s more representational figures set in interior scenes were added, along with color. AARON returned to more abstract imagery, this time in color, in the early 2000s. Cohen used machines that allowed AARON to produce physical artwork. The first machines drew in black and white using a succession of custom-built "turtle" and flatbed plotter devices. Cohen would sometimes color these images by hand in fabric dye (Procion), or scale them up to make larger paintings and murals. In the 1990s Cohen built a series of digital painting machines to output AARON's images in ink and fabric dye. His later work used a large-scale inkjet printer on canvas. Development of AARON began in the C programming language then switched to Lisp in the early 1990s. Cohen credits Lisp with helping him solve the challenges he faced in adding color capabilities to AARON. An article about Cohen appeared in Computer Answers that describes AARON and shows two line drawings that were exhibited at the Tate gallery. The article goes on to describe the workings of AARON, then running on a DEC VAX 750 minicomputer. Raymond Kurzweil's company has produced a downloadable screensaver of AARON for Microsoft Windows PCs. This version of AARON can also produce printable images. AARON's source code is not publicly available, but Cohen has described AARON's operations in various essays and it is discussed in abstract in Pamela McCorduck's book. AARON cannot learn new styles or imagery on its own; each new capability must be hand-coded by Cohen. It is capable of producing a practically infinite supply of distinct images in its own style. Examples of these images have been exhibited in galleries worldwide. AARON's artwork has been used as an artistic equivalent of the Turing test. It does seem however that AARON's output follows a noticeable formula (figures standing next to a potted plant, framed within a colored square is a common theme). Cohen is very careful not to claim that AARON is creative. But he does ask "If what AARON is making is not art, what is it exactly, and in what ways, other than its origin, does it differ from the 'real thing?' If it is not thinking, what exactly is it doing?" — The further exploits of AARON, Painter. The Whitney Museum featured AARON in 2024, showcasing the evolution of AARON as the earliest artificial intelligence (AI) program for artmaking.
Jaggies
Jaggies are visual artifacts in raster images, most frequently from aliasing, which in turn is often caused by non-linear mixing effects producing high-frequency components, or missing or poor anti-aliasing filtering prior to sampling. Jaggies are stair-like lines that appear where there should be "smooth" straight lines or curves. For example, when a nominally straight, un-aliased line steps across one pixel either horizontally or vertically, a "dogleg" occurs halfway through the line, where it crosses the threshold from one pixel to the other. Jaggies should not be confused with most compression artifacts, which are a different phenomenon. == Causes == Jaggies occur due to the "staircase effect". This is because a line represented in raster mode is approximated by a sequence of pixels. Jaggies can occur for a variety of reasons, the most common being that the output device (display monitor or printer) does not have sufficient resolution to portray a smooth line. In addition, jaggies often occur when a bit-mapped image is scaled to a higher resolution. This is one of the advantages that vector graphics have over bitmapped graphics – a vector image can be losslessly scaled to any arbitrary resolution or stretched infinitely in either axis without introducing jaggies. == Solutions == The effect of jaggies can be reduced by a graphics technique known as spatial anti-aliasing. Anti-aliasing smooths out jagged lines by surrounding them with transparent pixels to simulate the appearance of fractionally-filled pixels when viewed at a distance. The downside of anti-aliasing is that it reduces contrast – rather than sharp black/white transitions, there are shades of gray – and the resulting image can appear fuzzy. This is an inescapable trade-off: if the resolution is insufficient to display the desired detail, the output will either be jagged, fuzzy, or some combination thereof. While machine learning-based upscaling techniques such as DLSS can be used to infer this missing information, other types of artifacts may be introduced in the process. In real-time 3D rendering such as in video games, various anti-aliasing techniques are used to remove jaggies created by the edges of polygons and other contrasting lines. Since anti-aliasing can impose a significant performance overhead, games for home computers often allow users to choose the level and type of anti-aliasing in use in order to optimize their experience, whereas on consoles this setting is typically fixed for each title to ensure a consistent experience. While anti-aliasing is generally implemented through graphics APIs like DirectX and Vulkan, some consoles such as the Xbox 360 and PlayStation 3 are also capable of anti-aliasing to little direct performance cost by way of dedicated hardware which performs anti-aliasing on the contents of the framebuffer once it has been rendered by the GPU. Jaggies in bitmaps, such as sprites and surface materials, are most often dealt with by separate texture filtering routines, which are far easier to perform than anti-aliasing filtering. Texture filtering became ubiquitous on PCs after the introduction of 3Dfx's Voodoo GPU. == Notable uses of the term == In the 1985 game Rescue on Fractalus! for the Atari 8-bit computers, the graphics depicting the cockpit of the player's spacecraft contains two window struts, which are not anti-aliased and are therefore very "jagged". The developers made fun of this and named the in-game enemies "Jaggi", and also initially titled the game Behind Jaggi Lines!. The latter idea was scrapped by the marketing department before release.
Lenna
Lenna (or Lena) is a standard test image used in the field of digital image processing, starting in 1973. It is a picture of the Swedish model Lena Forsén, shot by photographer Dwight Hooker and cropped from the centerfold of the November 1972 issue of Playboy magazine. Lenna has attracted controversy because of its subject matter. Starting in the mid-2010s, many journals have deemed it inappropriate and discouraged its use, while others have banned it from publication outright. Forsén herself has called for it to be retired, saying "It's time I retired from tech." The spelling "Lenna" came from the model's desire to encourage the proper pronunciation of her name. "I didn't want to be called Leena [English: ]," she explained. == History == Before Lenna, the first use of a Playboy magazine image to illustrate image processing algorithms was in 1961. Lawrence G. Roberts used two cropped six-bit grayscale facsimile scanned images from Playboy's July 1960 issue featuring Playmate Teddi Smith, in his master's thesis on image dithering at Massachusetts Institute of Technology. Lenna was originally intended for high resolution color image processing study. Its history was described in the May 2001 newsletter of the IEEE Professional Communication Society, in an article by Jamie Hutchinson: Alexander Sawchuk estimates that it was in June or July of 1973 when he, then an assistant professor of electrical engineering at the University of Southern California Signal and Image Processing Institute (SIPI), along with a graduate student and the SIPI lab manager, was hurriedly searching the lab for a good image to scan for a colleague's conference paper. They got tired of their stock of usual test images, dull stuff dating back to television standards work in the early 1960s. They wanted something glossy to ensure good output dynamic range, and they wanted a human face. Just then, somebody happened to walk in with a recent issue of Playboy. The engineers tore away the top third of the centerfold so they could wrap it around the drum of their Muirhead wirephoto scanner, which they had outfitted with analog-to-digital converters (one each for the red, green, and blue channels) and a Hewlett Packard 2100 minicomputer. The Muirhead had a fixed resolution of 100 lines per inch and the engineers wanted a 512×512 image, so they limited the scan to the top 5.12 inches of the picture, effectively cropping it at the subject's shoulders. The image's reach was limited in the 1970s and 80s, which is reflected in it initially only appearing in .org domains, but in July 1991, the image featured on the cover of Optical Engineering alongside Peppers, another popular test image. This drew the attention of Playboy to the potential copyright infringement. The peak of image hits on the internet was in 1995. The scan became one of the most used images in computer history. The use of the photo in electronic imaging has been described as "clearly one of the most important events in [its] history". The image spread to over 100 different domains, particularly .com and .edu. In a 1999 issue of IEEE Transactions on Image Processing "Lena" was used in three separate articles, and the picture continued to appear in scientific journals throughout the beginning of the 21st century. Lenna is so widely accepted in the image processing community that Forsén was a guest at the 50th annual Conference of the Society for Imaging Science and Technology (IS&T) in 1997. In 2015, Lena Forsén was also guest of honor at the banquet of IEEE ICIP 2015. After delivering a speech, she chaired the best paper award ceremony. To explain why the image became a standard in the field, David C. Munson, editor-in-chief of IEEE Transactions on Image Processing, stated that it was a good test image because of its detail, flat regions, shading, and texture. He also noted that "the Lena image is a picture of an attractive woman. It is not surprising that the (mostly male) image processing research community gravitated toward an image that they found attractive." While Playboy often cracks down on illegal uses of its material and did initially send a notice to the publisher of Optical Engineering about its unauthorized use in that publication, over time it has decided to overlook the wide use of Lena. Eileen Kent, VP of new media at Playboy, said, "We decided we should exploit this, because it is a phenomenon." == Criticism == The use of the image has produced controversy because Playboy is "seen (by some) as being degrading to women". In a 1999 essay on reasons for the male predominance in computer science, applied mathematician Dianne P. O'Leary wrote: Suggestive pictures used in lectures on image processing ... convey the message that the lecturer caters to the males only. For example, it is amazing that the "Lena" pin-up image is still used as an example in courses and published as a test image in journals today. A 2012 paper on compressed sensing used a photo of the model Fabio Lanzoni as a test image to draw attention to this issue. The use of the test image at the magnet school Thomas Jefferson High School for Science and Technology in Fairfax County, Virginia, provoked a guest editorial by a senior in The Washington Post in 2015 about its detrimental impact on aspiring female students in computer science. In 2017, the Journal of Modern Optics published an editorial titled "On alternatives to Lenna" suggesting three images (Pirate, Cameraman, and Peppers) that "are reasonably close to Lenna in feature space". In 2018, the Nature Nanotechnology journal announced that they would no longer consider articles using Lenna. In the same year SPIE, the publishers of Optical Engineering, also announced that they "strongly discourage" the use of Lenna, and would no longer consider new submissions containing the image "without convincing scientific justification for its use". They noted that aside from the copyright and ethical issues, that it was also no longer useful as a standard image: "In today's age of high-resolution digital image technology, it seems difficult to argue that a 512 × 512 image produced with a 1970s-era analog scanner is the best we have to offer as an image quality test standard". Forsén stated in the 2019 documentary film Losing Lena, "I retired from modeling a long time ago. It's time I retired from tech, too... Let's commit to losing me." The Institute of Electrical and Electronics Engineers (IEEE) announced that, starting April 1, 2024, it will no longer allow use of Lenna in its publications.
Superquadrics
In mathematics, the superquadrics or super-quadrics (also superquadratics) are a family of geometric shapes defined by formulas that resemble those of ellipsoids and other quadrics, except that the squaring operations are replaced by arbitrary powers. They can be seen as the three-dimensional relatives of the superellipses. The term may refer to the solid object or to its surface, depending on the context. The equations below specify the surface; the solid is specified by replacing the equality signs by less-than-or-equal signs. The superquadrics include many shapes that resemble cubes, octahedra, cylinders, lozenges and spindles, with rounded or sharp corners. Because of their flexibility and relative simplicity, they are popular geometric modeling tools, especially in computer graphics. It becomes an important geometric primitive widely used in computer vision, robotics, and physical simulation. Some authors, such as Alan Barr, define "superquadrics" as including both the superellipsoids and the supertoroids. In modern computer vision literatures, superquadrics and superellipsoids are used interchangeably, since superellipsoids are the most representative and widely utilized shape among all the superquadrics. Comprehensive coverage of geometrical properties of superquadrics and methods of their recovery from range images and point clouds are covered in several computer vision literatures. == Formulas == === Implicit equation === The surface of the basic superquadric is given by | x | r + | y | s + | z | t = 1 {\displaystyle \left|x\right|^{r}+\left|y\right|^{s}+\left|z\right|^{t}=1} where r, s, and t are positive real numbers that determine the main features of the superquadric. Namely: less than 1: a pointy octahedron modified to have concave faces and sharp edges. exactly 1: a regular octahedron. between 1 and 2: an octahedron modified to have convex faces, blunt edges and blunt corners. exactly 2: a sphere greater than 2: a cube modified to have rounded edges and corners. infinite (in the limit): a cube Each exponent can be varied independently to obtain combined shapes. For example, if r=s=2, and t=4, one obtains a solid of revolution which resembles an ellipsoid with round cross-section but flattened ends. This formula is a special case of the superellipsoid's formula if (and only if) r = s. If any exponent is allowed to be negative, the shape extends to infinity. Such shapes are sometimes called super-hyperboloids. The basic shape above spans from -1 to +1 along each coordinate axis. The general superquadric is the result of scaling this basic shape by different amounts A, B, C along each axis. Its general equation is | x A | r + | y B | s + | z C | t = 1. {\displaystyle \left|{\frac {x}{A}}\right|^{r}+\left|{\frac {y}{B}}\right|^{s}+\left|{\frac {z}{C}}\right|^{t}=1.} === Parametric description === Parametric equations in terms of surface parameters u and v (equivalent to longitude and latitude if m equals 2) are x ( u , v ) = A g ( v , 2 r ) g ( u , 2 r ) y ( u , v ) = B g ( v , 2 s ) f ( u , 2 s ) z ( u , v ) = C f ( v , 2 t ) − π 2 ≤ v ≤ π 2 , − π ≤ u < π , {\displaystyle {\begin{aligned}x(u,v)&{}=Ag\left(v,{\frac {2}{r}}\right)g\left(u,{\frac {2}{r}}\right)\\y(u,v)&{}=Bg\left(v,{\frac {2}{s}}\right)f\left(u,{\frac {2}{s}}\right)\\z(u,v)&{}=Cf\left(v,{\frac {2}{t}}\right)\\&-{\frac {\pi }{2}}\leq v\leq {\frac {\pi }{2}},\quad -\pi \leq u<\pi ,\end{aligned}}} where the auxiliary functions are f ( ω , m ) = sgn ( sin ω ) | sin ω | m g ( ω , m ) = sgn ( cos ω ) | cos ω | m {\displaystyle {\begin{aligned}f(\omega ,m)&{}=\operatorname {sgn}(\sin \omega )\left|\sin \omega \right|^{m}\\g(\omega ,m)&{}=\operatorname {sgn}(\cos \omega )\left|\cos \omega \right|^{m}\end{aligned}}} and the sign function sgn(x) is sgn ( x ) = { − 1 , x < 0 0 , x = 0 + 1 , x > 0. {\displaystyle \operatorname {sgn}(x)={\begin{cases}-1,&x<0\\0,&x=0\\+1,&x>0.\end{cases}}} === Spherical product === Barr introduces the spherical product which given two plane curves produces a 3D surface. If f ( μ ) = ( f 1 ( μ ) f 2 ( μ ) ) , g ( ν ) = ( g 1 ( ν ) g 2 ( ν ) ) {\displaystyle f(\mu )={\begin{pmatrix}f_{1}(\mu )\\f_{2}(\mu )\end{pmatrix}},\quad g(\nu )={\begin{pmatrix}g_{1}(\nu )\\g_{2}(\nu )\end{pmatrix}}} are two plane curves then the spherical product is h ( μ , ν ) = f ( μ ) ⊗ g ( ν ) = ( f 1 ( μ ) g 1 ( ν ) f 1 ( μ ) g 2 ( ν ) f 2 ( μ ) ) {\displaystyle h(\mu ,\nu )=f(\mu )\otimes g(\nu )={\begin{pmatrix}f_{1}(\mu )\ g_{1}(\nu )\\f_{1}(\mu )\ g_{2}(\nu )\\f_{2}(\mu )\end{pmatrix}}} This is similar to the typical parametric equation of a sphere: x = x 0 + r sin θ cos φ y = y 0 + r sin θ sin φ ( 0 ≤ θ ≤ π , 0 ≤ φ < 2 π ) z = z 0 + r cos θ {\displaystyle {\begin{aligned}x&=x_{0}+r\sin \theta \;\cos \varphi \\y&=y_{0}+r\sin \theta \;\sin \varphi \qquad (0\leq \theta \leq \pi ,\;0\leq \varphi <2\pi )\\z&=z_{0}+r\cos \theta \end{aligned}}} which give rise to the name spherical product. Barr uses the spherical product to define quadric surfaces, like ellipsoids, and hyperboloids as well as the torus, superellipsoid, superquadric hyperboloids of one and two sheets, and supertoroids. == Plotting code == The following GNU Octave code generates a mesh approximation of a superquadric:
Quack.com
Quack.com was an early voice portal company. The domain name later was used for Quack, an iPad search application from AOL. == History == It was founded in 1998 by Steven Woods, Jeromy Carriere and Alex Quilici as a Pittsburgh, Pennsylvania, USA, based voice portal infrastructure company named Quackware. Quack was the first company to try to create a voice portal: a consumer-based destination "site" in which consumers could not only access information by voice alone, but also complete transactions. Quackware launched a beta phone service in 1999 that allowed consumers to purchase books from sites such as Amazon and CDs from sites such as CDNow by answering a short set of questions. Quack followed with a set of information services from movie listings (inspired by, but expanding upon, Moviefone) to news, weather and stock quotes. This concept introduced a series of lookalike startups including Tellme Networks which raised more money than any Internet startup in history on a similar concept. Quack received its first venture funding from HDL Capital in 1999 and moved operations to Mountain View in Silicon Valley, California in 1999. A deal with Lycos was announced in May 2000. In September 2000 Quack was acquired for $200 million by America Online (AOL) and moved onto the Netscape campus with what was left of the Netscape team. Quack was attacked in the Canadian press for being representative of the Canadian "brain drain" to the US during the Internet bubble, focusing its recruiting efforts on the University of Waterloo, hiring more than 50 engineers from Waterloo in less than 10 months. Quack competitor Tellme Networks raised enormous funds in what became a highly competitive market in 2000, with the emergence of more than a dozen additional competitors in a 12-month period. Following its acquisition by America Online in an effort led by Ted Leonsis to bring Quack into AOL Interactive, the Quack voice service became AOLbyPhone as one of AOL's "web properties" along with MapQuest, Moviefone and others. Quack secured several patents that underlie the technical challenges of delivering interactive voice services. Constructing a voice portal required integrations and innovations not only in speech recognition and speech generation, but also in databases, application specification, constraint-based reasoning and artificial intelligence and computational linguistics. "Quack"'s name derived from the company goal of providing not only voice-based services, but more broadly "Quick Ubiquitous Access to Consumer Knowledge". The patents assigned to Quack.com include: System and method for voice access to Internet-based information, System and method for advertising with an Internet Voice Portal and recognizing the axiom that in interactive voice systems one must "know the set of possible answers to a question before asking it". System and method for determining if one web site has the same information as another web site. Quack.com was spoofed in The Simpsons in March 2002 in the episode "Blame It on Lisa" in which a "ComQuaak" sign is replaced by another equally crazy telecom company name. == 2010 onwards == In July 2010, quack.com became the focus of a new AOL iPad application, that was a web search experience. The product delivers web results and blends in picture, video and Twitter results. It enables you to preview the web results before you go to the site, search within each result, and flip through the results pages, making full use of the iPad's touch screen features. The iPad app was free via iTunes, but support discontinued in 2012.