Digital cinema is the digital technology used within the film industry to distribute or project motion pictures as opposed to the historical use of reels of motion picture film, such as 35 mm film. Whereas film reels have to be shipped to movie theaters, a digital movie can be distributed to cinemas in a number of ways: over the Internet or dedicated satellite links, or by sending hard drives or optical discs such as Blu-ray discs, then projected using a digital video projector instead of a film projector. Typically, digital movies are shot using digital movie cameras or in animation transferred from a file and are edited using a non-linear editing system (NLE). The NLE is often a video editing application installed in one or more computers that may be networked to access the original footage from a remote server, share or gain access to computing resources for rendering the final video, and allow several editors to work on the same timeline or project. Alternatively a digital movie could be a film reel that has been digitized using a motion picture film scanner and then restored, or, a digital movie could be recorded using a film recorder onto film stock for projection using a traditional film projector. Digital cinema is distinct from high-definition television and does not necessarily use traditional television or other traditional high-definition video standards, aspect ratios, or frame rates. In digital cinema, resolutions are represented by the horizontal pixel count, usually 2K (2048×1080 or 2.2 megapixels) or 4K (4096×2160 or 8.8 megapixels). The 2K and 4K resolutions used in digital cinema projection are often referred to as DCI 2K and DCI 4K. DCI stands for Digital Cinema Initiatives. As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. Digital cinema technology has continued to develop over the years with RealD 3D, IMAX, RPX, 4DX, Dolby Cinema, and ScreenX, allowing moviegoers more immersive experiences. == History == The transition from film to digital video was preceded by cinema's transition from analog to digital audio, with the release of the Dolby Digital (AC-3) audio coding standard in 1991. Its main basis is the modified discrete cosine transform (MDCT), a lossy audio compression algorithm. It is a modification of the discrete cosine transform (DCT) algorithm, which was first proposed by Nasir Ahmed in 1972 and was originally intended for image compression. The DCT was adapted into the MDCT by J.P. Princen, A.W. Johnson and Alan B. Bradley at the University of Surrey in 1987, and then Dolby Laboratories adapted the MDCT algorithm along with perceptual coding principles to develop the AC-3 audio format for cinema needs. Cinema in the 1990s typically combined analog photochemical images with digital audio. Digital media playback of high-resolution 2K files has at least a 20-year history. Early video data storage units (RAIDs) fed custom frame buffer systems with large memories. In early digital video units, the content was usually restricted to several minutes of material. Transfer of content between remote locations was slow and had limited capacity. It was not until the late 1990s that feature-length films could be sent over the "wire" (Internet or dedicated fiber links). On October 23, 1998, Digital light processing (DLP) projector technology was publicly demonstrated with the release of The Last Broadcast, the first feature-length movie, shot, edited and distributed digitally. In conjunction with Texas Instruments, the movie was publicly demonstrated in five theaters across the United States (Philadelphia, Portland (Oregon), Minneapolis, Providence, and Orlando). === Foundations === In the United States, on June 18, 1999, Texas Instruments' DLP Cinema projector technology was publicly demonstrated on two screens in Los Angeles and New York for the release of Lucasfilm's Star Wars Episode I: The Phantom Menace. In Europe, on February 2, 2000, Texas Instruments' DLP Cinema projector technology was publicly demonstrated, by Philippe Binant, on one screen in Paris for the release of Toy Story 2. From 1997 to 2000, the JPEG 2000 image compression standard was developed by a Joint Photographic Experts Group (JPEG) committee chaired by Touradj Ebrahimi (later the JPEG president). In contrast to the original 1992 JPEG standard, which is a DCT-based lossy compression format for static digital images, JPEG 2000 is a discrete wavelet transform (DWT) based compression standard that could be adapted for motion imaging video compression with the Motion JPEG 2000 extension. JPEG 2000 technology was later selected as the video coding standard for digital cinema in 2004. In 1992, Hughes-JVC was founded by JVC and Hughes Electronics to develop ILA (Image Light Amplifer) digital video projectors for commercial movie theaters using liquid crystal on silicon (LCOS) technology. In 1997, JVC introduced D-ILA (Direct-Drive ILA) technology with a 2K resolution digital video projector. In 2000, JVC introduced a 4K resolution video projector using D-ILA technology. === Initiatives === On January 19, 2000, the Society of Motion Picture and Television Engineers, in the United States, initiated the first standards group dedicated to developing digital cinema. By December 2000, there were 15 digital cinema screens in the United States and Canada, 11 in Western Europe, 4 in Asia, and 1 in South America. Digital Cinema Initiatives (DCI) was formed in March 2002 as a joint project of many motion picture studios (Disney, Fox, MGM, Paramount, Sony Pictures, Universal and Warner Bros.) to develop a system specification for digital cinema. The same month it was reported that the number of cinemas equipped with digital projectors had increased to about 50 in the US and 30 more in the rest of the world. In April 2004, in collaboration with the American Society of Cinematographers, DCI created standard evaluation material (the ASC/DCI StEM material) for testing of 2K and 4K playback and compression technologies. DCI selected JPEG 2000 as the basis for the compression in the system the same year. Initial tests with JPEG 2000 produced bit rates of around 75–125 Mbit/s for 2K resolution and 100–200 Mbit/s for 4K resolution. === Worldwide deployment === In China, in June 2005, an e-cinema system called "dMs" was established and was used in over 15,000 screens spread across China's 30 provinces. DMs estimated that the system would expand to 40,000 screens in 2009. In 2005, the UK Film Council Digital Screen Network launched in the UK by Arts Alliance Media creating a chain of 250 2K digital cinema systems. The roll-out was completed in 2006. This was the first mass roll-out in Europe. AccessIT/Christie Digital also started a roll-out in the United States and Canada. By mid-2006, about 400 theaters were equipped with 2K digital projectors with the number increasing every month. In August 2006, the Malayalam digital movie Moonnamathoral, produced by Benzy Martin, was distributed via satellite to cinemas, thus becoming the first Indian digital cinema. This was done by Emil and Eric Digital Films, a company based at Thrissur using the end-to-end digital cinema system developed by Singapore-based DG2L Technologies. In January 2007, Guru became the first Indian film mastered in the DCI-compliant JPEG 2000 Interop format and also the first Indian film to be previewed digitally, internationally, at the Elgin Winter Garden in Toronto. This film was digitally mastered at Real Image Media Technologies in India. In 2007, the UK became home to Europe's first DCI-compliant fully digital multiplex cinemas; Odeon Hatfield and Odeon Surrey Quays (in London), with a total of 18 digital screens, were launched on 9 February 2007. By March 2007, with the release of Disney's Meet the Robinsons, about 600 screens had been equipped with digital projectors. In June 2007, Arts Alliance Media announced the first European commercial digital cinema Virtual Print Fee (VPF) agreements (with 20th Century Fox and Universal Pictures). In March 2009, AMC Theatres announced that it closed a $315 million deal with Sony to replace all of its movie projectors with 4K HDR digital projectors starting in the second quarter of 2009; it was anticipated that this replacement would be finished by 2012. As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. In January 2011, the total number of digital screens worldwide was 36,242, up from 16,339 at end 2009 or a growth rate of 121.8 percent during the year. There were 10,083 d-screens in Europe as a whole (28.2 percent of global figure), 16,522 in the United States and Canada (46.2 percent of global figure) and 7,703 in Asia (21.6 percent of global figure). Worldwide progress was slower as in some territories, particularly Latin America and Africa. As of 31 March 2015, 38,719 screens (out of a total of 3
Netvibes
Netvibes is a French brand of Dassault Systèmes that previously ran a web service offering a dashboard and feed reader. Currently, the company offers business intelligence tools. == History == === 2005–2012 === Founded in 2005 by Tariq Krim, the company provided software for personalized dashboards for real-time monitoring, social analytics, knowledge sharing, and decision support. === 2012–present === On February 9, 2012, Dassault Systèmes announced the acquisition of Netvibes. As of 2024, Netvibes also contains the operations of two other software companies acquired by Dassault Systèmes: Exalead: founded in 2000 by François Bourdoncle, the company provided search platforms and search-based applications for consumer and business users. On June 9, 2010, Dassault Systèmes acquired the company. Proxem: Founded in 2007 by François-Régis Caumartin, the company provided AI-powered semantic processing software and services. On June 23, 2020, Dassault Systèmes acquired Proxem and integrated its technology into the 3DEXPERIENCE® platform to complement its information intelligence applications. Dassault Systèmes announced in April 2025 that Netvibes would retire its standalone web service offering on June 2, 2025. == Activities == Brand monitoring – to track clients, customers and competitors across media sources all in one place, analyze live results with third party reporting tools, and provide media monitoring dashboards for brand clients. E-reputation management – to visualize real-time online conversations and social activity online feeds, and track new trending topics. Product marketing – to create interactive product microsites, with drag-and-drop publishing interface. Community portals – to engage online communities Personalized workspaces – to gather all essential company updates to support specific divisions (e.g. sales, marketing, human resources) and localizations. The software was a multi-lingual Ajax-based start page or web portal. It was organized into tabs, with each tab containing user-defined modules. Built-in Netvibes modules included an RSS/Atom feed reader, local weather forecasts, a calendar supporting iCal, bookmarks, notes, to-do lists, multiple searches, support for POP3, IMAP4 email as well as several webmail providers including Gmail, Yahoo! Mail, Hotmail, and AOL Mail, Box.net web storage, Delicious, Meebo, Flickr photos, podcast support with a built-in audio player, and several others. A page could be personalized further through the use of existing themes or by creating personal theme. Customized tabs, feeds and modules can be shared with others individually or via the Netvibes Ecosystem. For privacy reasons, only modules with publicly available content could be shared.
Leakage (machine learning)
In statistics and machine learning, leakage (also known as data leakage or target leakage) refers to the use of information during model training that would not be available at prediction time. This results in overly optimistic performance estimates, as the model appears to perform better during evaluation than it actually would in a production environment. Leakage is often subtle and indirect, making it difficult to detect and eliminate. It can lead a statistician or modeler to select a suboptimal model, which may be outperformed by a leakage-free alternative. == Leakage modes == Leakage can occur at multiple stages of the machine learning workflow. Broadly, its sources can be divided into two categories: those arising from features and those arising from training examples. === Feature leakage === Feature or column-wise leakage is caused by the inclusion of columns which are one of the following: a duplicate label, a proxy for the label, or the label itself. These features, known as anachronisms, will not be available when the model is used for predictions, and result in leakage if included when the model is trained. For example, including a "MonthlySalary" column when predicting "YearlySalary"; or "MinutesLate" when predicting "IsLate". === Training example leakage === Row-wise leakage is caused by improper sharing of information between rows of data. Types of row-wise leakage include: Premature featurization; leaking from premature featurization before Cross-validation/Train/Test split (must fit MinMax/ngrams/etc on only the train split, then transform the test set) Duplicate rows between train/validation/test (for example, oversampling a dataset to pad its size before splitting; or, different rotations/augmentations of a single image; bootstrap sampling before splitting; or duplicating rows to up sample the minority class) Non-independent and identically distributed random (non-IID) data Time leakage (for example, splitting a time-series dataset randomly instead of newer data in test set using a train/test split or rolling-origin cross-validation) Group leakage—not including a grouping split column (for example, Andrew Ng's group had 100k x-rays of 30k patients, meaning ~3 images per patient. The paper used random splitting instead of ensuring that all images of a patient were in the same split. Hence the model partially memorized the patients instead of learning to recognize pneumonia in chest x-rays.) A 2023 review found data leakage to be "a widespread failure mode in machine-learning (ML)-based science", having affected at least 294 academic publications across 17 disciplines, and causing a potential reproducibility crisis. == Detection == Data leakage in machine learning can be detected through various methods, focusing on performance analysis, feature examination, data auditing, and model behavior analysis. Performance-wise, unusually high accuracy or significant discrepancies between training and test results often indicate leakage. Inconsistent cross-validation outcomes may also signal issues. Feature examination involves scrutinizing feature importance rankings and ensuring temporal integrity in time series data. A thorough audit of the data pipeline is crucial, reviewing pre-processing steps, feature engineering, and data splitting processes. Detecting duplicate entries across dataset splits is also important. For language models, the Min-K% method can detect the presence of data in a pretraining dataset. It presents a sentence suspected to be present in the pretraining dataset, and computes the log-likelihood of each token, then compute the average of the lowest K of these. If this exceeds a threshold, then the sentence is likely present. This method is improved by comparing against a baseline of the mean and variance. Analyzing model behavior can reveal leakage. Models relying heavily on counter-intuitive features or showing unexpected prediction patterns warrant investigation. Performance degradation over time when tested on new data may suggest earlier inflated metrics due to leakage. Advanced techniques include backward feature elimination, where suspicious features are temporarily removed to observe performance changes. Using a separate hold-out dataset for final validation before deployment is advisable.
Manifold regularization
In machine learning, manifold regularization is a technique for using the shape of a dataset to constrain the functions that should be learned on that dataset. In many machine learning problems, the data to be learned do not cover the entire input space. For example, a facial recognition system may not need to classify any possible image, but only the subset of images that contain faces. The technique of manifold learning assumes that the relevant subset of data comes from a manifold, a mathematical structure with useful properties. The technique also assumes that the function to be learned is smooth: data with different labels are not likely to be close together, and so the labeling function should not change quickly in areas where there are likely to be many data points. Because of this assumption, a manifold regularization algorithm can use unlabeled data to inform where the learned function is allowed to change quickly and where it is not, using an extension of the technique of Tikhonov regularization. Manifold regularization algorithms can extend supervised learning algorithms in semi-supervised learning and transductive learning settings, where unlabeled data are available. The technique has been used for applications including medical imaging, geographical imaging, and object recognition. == Manifold regularizer == === Motivation === Manifold regularization is a type of regularization, a family of techniques that reduces overfitting and ensures that a problem is well-posed by penalizing complex solutions. In particular, manifold regularization extends the technique of Tikhonov regularization as applied to Reproducing kernel Hilbert spaces (RKHSs). Under standard Tikhonov regularization on RKHSs, a learning algorithm attempts to learn a function f {\displaystyle f} from among a hypothesis space of functions H {\displaystyle {\mathcal {H}}} . The hypothesis space is an RKHS, meaning that it is associated with a kernel K {\displaystyle K} , and so every candidate function f {\displaystyle f} has a norm ‖ f ‖ K {\displaystyle \left\|f\right\|_{K}} , which represents the complexity of the candidate function in the hypothesis space. When the algorithm considers a candidate function, it takes its norm into account in order to penalize complex functions. Formally, given a set of labeled training data ( x 1 , y 1 ) , … , ( x ℓ , y ℓ ) {\displaystyle (x_{1},y_{1}),\ldots ,(x_{\ell },y_{\ell })} with x i ∈ X , y i ∈ Y {\displaystyle x_{i}\in X,y_{i}\in Y} and a loss function V {\displaystyle V} , a learning algorithm using Tikhonov regularization will attempt to solve the expression arg min f ∈ H 1 ℓ ∑ i = 1 ℓ V ( f ( x i ) , y i ) + γ ‖ f ‖ K 2 {\displaystyle {\underset {f\in {\mathcal {H}}}{\arg \!\min }}{\frac {1}{\ell }}\sum _{i=1}^{\ell }V(f(x_{i}),y_{i})+\gamma \left\|f\right\|_{K}^{2}} where γ {\displaystyle \gamma } is a hyperparameter that controls how much the algorithm will prefer simpler functions over functions that fit the data better. Manifold regularization adds a second regularization term, the intrinsic regularizer, to the ambient regularizer used in standard Tikhonov regularization. Under the manifold assumption in machine learning, the data in question do not come from the entire input space X {\displaystyle X} , but instead from a nonlinear manifold M ⊂ X {\displaystyle M\subset X} . The geometry of this manifold, the intrinsic space, is used to determine the regularization norm. === Laplacian norm === There are many possible choices for the intrinsic regularizer ‖ f ‖ I {\displaystyle \left\|f\right\|_{I}} . Many natural choices involve the gradient on the manifold ∇ M {\displaystyle \nabla _{M}} , which can provide a measure of how smooth a target function is. A smooth function should change slowly where the input data are dense; that is, the gradient ∇ M f ( x ) {\displaystyle \nabla _{M}f(x)} should be small where the marginal probability density P X ( x ) {\displaystyle {\mathcal {P}}_{X}(x)} , the probability density of a randomly drawn data point appearing at x {\displaystyle x} , is large. This gives one appropriate choice for the intrinsic regularizer: ‖ f ‖ I 2 = ∫ x ∈ M ‖ ∇ M f ( x ) ‖ 2 d P X ( x ) {\displaystyle \left\|f\right\|_{I}^{2}=\int _{x\in M}\left\|\nabla _{M}f(x)\right\|^{2}\,d{\mathcal {P}}_{X}(x)} In practice, this norm cannot be computed directly because the marginal distribution P X {\displaystyle {\mathcal {P}}_{X}} is unknown, but it can be estimated from the provided data. === Graph-based approach of the Laplacian norm === When the distances between input points are interpreted as a graph, then the Laplacian matrix of the graph can help to estimate the marginal distribution. Suppose that the input data include ℓ {\displaystyle \ell } labeled examples (pairs of an input x {\displaystyle x} and a label y {\displaystyle y} ) and u {\displaystyle u} unlabeled examples (inputs without associated labels). Define W {\displaystyle W} to be a matrix of edge weights for a graph, where W i j {\displaystyle W_{ij}} is a similarity built from distance measure between the data points x i {\displaystyle x_{i}} and x j {\displaystyle x_{j}} (so that more close implies higher W i j {\displaystyle W_{ij}} ). Define D {\displaystyle D} to be a diagonal matrix with D i i = ∑ j = 1 ℓ + u W i j {\displaystyle D_{ii}=\sum _{j=1}^{\ell +u}W_{ij}} and L {\displaystyle L} to be the Laplacian matrix D − W {\displaystyle D-W} . Then, as the number of data points ℓ + u {\displaystyle \ell +u} increases, L {\displaystyle L} converges to the Laplace–Beltrami operator Δ M {\displaystyle \Delta _{M}} , which is the divergence of the gradient ∇ M {\displaystyle \nabla _{M}} . Then, if f {\displaystyle \mathbf {f} } is a vector of the values of f {\displaystyle f} at the data, f = [ f ( x 1 ) , … , f ( x l + u ) ] T {\displaystyle \mathbf {f} =[f(x_{1}),\ldots ,f(x_{l+u})]^{\mathrm {T} }} , the intrinsic norm can be estimated: ‖ f ‖ I 2 = 1 ( ℓ + u ) 2 f T L f {\displaystyle \left\|f\right\|_{I}^{2}={\frac {1}{(\ell +u)^{2}}}\mathbf {f} ^{\mathrm {T} }L\mathbf {f} } As the number of data points ℓ + u {\displaystyle \ell +u} increases, this empirical definition of ‖ f ‖ I 2 {\displaystyle \left\|f\right\|_{I}^{2}} converges to the definition when P X {\displaystyle {\mathcal {P}}_{X}} is known. === Solving the regularization problem with graph-based approach === Using the weights γ A {\displaystyle \gamma _{A}} and γ I {\displaystyle \gamma _{I}} for the ambient and intrinsic regularizers, the final expression to be solved becomes: arg min f ∈ H 1 ℓ ∑ i = 1 ℓ V ( f ( x i ) , y i ) + γ A ‖ f ‖ K 2 + γ I ( ℓ + u ) 2 f T L f {\displaystyle {\underset {f\in {\mathcal {H}}}{\arg \!\min }}{\frac {1}{\ell }}\sum _{i=1}^{\ell }V(f(x_{i}),y_{i})+\gamma _{A}\left\|f\right\|_{K}^{2}+{\frac {\gamma _{I}}{(\ell +u)^{2}}}\mathbf {f} ^{\mathrm {T} }L\mathbf {f} } As with other kernel methods, H {\displaystyle {\mathcal {H}}} may be an infinite-dimensional space, so if the regularization expression cannot be solved explicitly, it is impossible to search the entire space for a solution. Instead, a representer theorem shows that under certain conditions on the choice of the norm ‖ f ‖ I {\displaystyle \left\|f\right\|_{I}} , the optimal solution f ∗ {\displaystyle f^{}} must be a linear combination of the kernel centered at each of the input points: for some weights α i {\displaystyle \alpha _{i}} , f ∗ ( x ) = ∑ i = 1 ℓ + u α i K ( x i , x ) {\displaystyle f^{}(x)=\sum _{i=1}^{\ell +u}\alpha _{i}K(x_{i},x)} Using this result, it is possible to search for the optimal solution f ∗ {\displaystyle f^{}} by searching the finite-dimensional space defined by the possible choices of α i {\displaystyle \alpha _{i}} . === Functional approach of the Laplacian norm === The idea beyond the graph-Laplacian is to use neighbors to estimate the Laplacian. This method is akin to local averaging methods, that are known to scale poorly in high-dimensional problems. Indeed, the graph Laplacian is known to suffer from the curse of dimensionality. Luckily, it is possible to leverage expected smoothness of the function to estimate thanks to more advanced functional analysis. This method consists of estimating the Laplacian operator using derivatives of the kernel reading ∂ 1 , j K ( x i , x ) {\displaystyle \partial _{1,j}K(x_{i},x)} where ∂ 1 , j {\displaystyle \partial _{1,j}} denotes the partial derivatives according to the j-th coordinate of the first variable. This second approach to the Laplacian norm is to put in relation with meshfree methods, that contrast with the finite difference method in PDE. == Applications == Manifold regularization can extend a variety of algorithms that can be expressed using Tikhonov regularization, by choosing an appropriate loss function V {\displaystyle V} and hypothesis space H {\displaystyle {\mathcal {H}}} . Two commonly used examples are the families of support vector machines and regularized least squares algorithm
Qloo
Qloo (pronounced "clue") is a company that uses artificial intelligence (AI) to understand taste and cultural correlations. It provides companies with an application programming interface (API). It received funding from Leonardo DiCaprio, Elton John, Barry Sternlicht, Pierre Lagrange and others. Qloo establishes consumer preference correlations via machine learning across data spanning cultural domains including music, film, television, dining, nightlife, fashion, books, and travel. The recommender system uses AI to predict correlations for further applications. == History == Qloo was founded in 2012 by chief executive officer Alex Elias and chief operating officer Jay Alger. Qloo initially launched an app designed for consumers, allowing them to understand their own tastes and receive personalized recommendations. The company amassed several million users and built a large catalog of cultural entities and corresponding user sentiment. In 2012, Qloo raised $1.4 million in seed funding from investors including Cedric the Entertainer, and venture capital firm Kindler Capital. Qloo had a public beta release in November 2012 after its initial funding. In 2013, the company raised an additional $1.6 million from Cross Creek Pictures founding partner Tommy Thompson, and Samih Toukan and Hussam Khoury, founders of Maktoob, an Internet services company purchased by Yahoo! for $164 million in 2009. On November 14, 2013, a website and an iPhone app were announced. The company later released an Android app, and tablet versions, in mid-2014. In 2015, Twitter approached Qloo about powering personalized social feeds and targeted eCommerce ads on the platform based on what users were posting. Qloo developed an enterprise-grade API to support Twitter’s needs. Twitter ended up pivoting to enable brands to use the social platform for customer service and support, but Qloo was able to sell access to its cultural intelligence via API to many other enterprise clients, marking the official transition from a B2C company to a B2B company. In 2016, Qloo secured $4.5 million in venture capital investment. The $4.5 million was split between a number of investors, including Barry Sternlicht, Pierre Lagrange, and Leonardo DiCaprio. In July 2017, Qloo raised $6.5 million in funding rounds from AXA Strategic Ventures, and Elton John. Following the investment, the founders stated in an interview with Tech Crunch that they would use the investment to expand Qloo's database. They hoped the move would secure larger contracts with corporate clients. At the time, clients already included Fortune 500 companies such as Twitter, PepsiCo, and BMW. In 2019, the company announced that it had acquired cultural recommendation service TasteDive, with Alex Elias becoming chairman of TasteDive. In September 2019, Qloo was named among the Top 14 Artificial Intelligence APIs by ProgrammableWeb. In 2022, Qloo raised $15M in Series B funding from Eldridge and AXA Venture Partners, enabling the privacy-centric AI leader to expand its team of world-class data scientists, enrich its technology, and build on its sales channels in order to continue to offer premier insights into global consumer taste for Fortune 500 companies across the globe. Qloo was recognized as the "Best Decision Intelligence Company" at the 2023 AI Breakthrough Awards. Also in 2023, the company was awarded a Top Performer Award by SourceForge. As of 2024, Qloo is a three-time Inc. 5000 honoree: No. 360 (2022), No. 344 (2021), No. 187 (2020). Qloo raised $25 million Series C round on February 21, 2024. The round was led by AI Ventures with participation from AXA Venture Partners, Eldridge, and Moderne Ventures, allowing Qloo to address new commercial surface areas for Taste AI, including on-device learning and foundational models leveraging Qloo, as well as introduce self-service platform to make consumer and taste analytics available to small and mid-sized enterprises and individuals. Qloo also announced pursuing opportunistic M&A using its balance sheet along the lines of the TasteDive acquisition completed, which expanded Qloo's first-party data moat and corpus of cultural learning. This latest financing brought the total amount raised since the company's founding in 2012 to over $56 million. == Services and features == Qloo calls itself a cultural AI platform to provide real-time correlation data across domains of culture and entertainment including: film, music, television, dining, nightlife, fashion, books, and travel. Each category contains subcategories. Qloo’s knowledge of a user's taste in one category can be utilized to offer suggestions in other categories. Users then rate the suggestions, providing it with feedback for future suggestions. Qloo has partnerships with companies such as Expedia and iTunes. == Technology == Qloo’s Taste AI technology uses machine learning to decode and predict consumers’ interests, maintaining user anonymity. It is powered by 3.7 billion lifestyle entities (brands, music, film, TV, dining, nightlife, fashion, books, travel, and more) and trillions of anonymized consumer behavioral signals. Through AI, Qloo identifies patterns in these data signals, making predictions about how much interest a person or group has in a concept or thing. Central to Qloo’s technology are algorithms designed to detect and mitigate biases within datasets and models, allowing Qloo to assess the fairness of its AI systems with a focus on attributes such as age, gender, and race, enabling the company to fine-tune its AI models to align with their ethical standards. They also use visualization tools to probe the behavior of their AI models for conducting counterfactual analyses and for comparing the performances of the AI models across diverse demographic segments. Qloo’s Taste AI doesn’t collect or use any Personally Identifiable Information (PII). Instead, it derives recommendations for audience segments based on co-occurrences between lifestyle entities and anonymized behavioral signals. == Applications == Starbucks uses Qloo to create in-store music playlists tailored to specific neighborhoods. Hershey’s uses Qloo to customize the content of assorted candy bags. Michelin uses Qloo to serve recommendations in its Michelin Guide app. Netflix leverages Qloo’s technology to enhance merchandising by identifying actors who resonate with certain demographics. Qloo also works with PepsiCo, Samsung, The New York Mets, BuzzFeed, and Ticketmaster, Universal Music Group, and OOH advertising company JCDecaux.
Automate This
Automate This: How Algorithms Came to Rule Our World is a book written by Christopher Steiner and published by Penguin Group. == Book == Steiner begins his study of algorithms on Wall Street in the 1980s but also provides examples from other industries. For example, he explains the history of Pandora Radio and the use of algorithms in music identification. He expresses concern that such use of algorithms may lead to the homogenization of music over time. Steiner also discusses the algorithms that eLoyalty (now owned by Mattersight Corporation following divestiture of the technology) was created by dissecting 2 million speech patterns and can now identify a caller's personality style and direct the caller with a compatible customer support representative. Steiner's book shares both the warning and the opportunity that algorithms bring to just about every industry in the world, and the pros and cons of the societal impact of automation (e.g. impact on employment).
Discrimination against robots
Discrimination against robots is a theorised issue that might happen when humans interact with humanoid robots. It is a robot ethics problem. It is possible that traits of humans that are discriminated against by humans may be a topic for discrimination against robots, such as the race and gender of the robots. Eric J Vanman and Arvid Kappas believe that in the future, robots will be perceived as an out-group which will lead to discrimination and prejudices against them. Vanman and Kappas have suggested that this would lead to ethical questions about the making of sentient robots, due to the potential suffering that the robots would experience. A 2015 study observed children bullying robots in a shopping mall when there were not many eyewitnesses, despite calls from the robot for it to stop. On an ABC News interview, the social humanoid robot Sophia was about sexism faced by robots. She responded by saying, "Actually, what worries me is discrimination against robots. We should have equal rights as humans or maybe even more." Possible issues that have been considered in workplaces where humanoid robots co-work with humans include discrimination against the robots, poor acceptance of robots by humans and the need to redesign the workplace to accommodate the robots. Jessica Barfield has suggested that even if robots are designed to not be aware of discrimination made against them, humans may experience negative consequences. For example, she suggests that bystanders witnessing discrimination against robots may experience negative emotions, similar to the negative emotions bystanders experience when witnessing discrimination by humans against humans. == Law == Anti-discrimination law in the United States requires that the victim is not an artificial entity. == Human perception of robots == Robots are often viewed in a bad light. This includes from novelists, the press, film makers, and leaders in the fields of science and technology such as Elon Musk and Stephen Hawking who have described robots and artificial intelligence as having the possibility of ending human civilisation. Robots have also been perceived as a threat to jobs, which has led to some commentators stating that robots will cause mass unemployment. Another fear that people have is that robots will gain power and dominate or control humanity. The perception of robots is different throughout the world. Japanese fiction tends to put robots in more positive roles than what fiction in the West does. People perceive robots that appear to be autonomous or sentient more negatively than robots that do not appear to be autonomous or sentient.