This list of monochrome and RGB palettes includes generic repertoires of colors (color palettes) to produce black-and-white and RGB color pictures by a computer's display hardware. RGB is the most common method to produce colors for displays; so these complete RGB color repertoires have every possible combination of R-G-B triplets within any given maximum number of levels per component. Each palette is represented by a series of color patches. When the number of colors is low, a 1-pixel-size version of the palette appears below it, for easily comparing relative palette sizes. Huge palettes are given directly in one-color-per-pixel color patches. For each unique palette, an image color test chart and sample image (truecolor original follows) rendered with that palette (without dithering) are given. The test chart shows the full 256 levels of the red, green, and blue (RGB) primary colors and cyan, magenta, and yellow complementary colors, along with a full 256-level grayscale. Gradients of RGB intermediate colors (orange, lime green, sea green, sky blue, violet, and fuchsia), and a full hue spectrum are also present. Color charts are not gamma corrected. These elements illustrate the color depth and distribution of the colors of any given palette, and the sample image indicates how the color selection of such palettes could represent real-life images. These images are not necessarily representative of how the image would be displayed on the original graphics hardware, as the hardware may have additional limitations regarding the maximum display resolution, pixel aspect ratio and color placement. Implementation of these formats is specific to each machine. Therefore, the number of colors that can be simultaneously displayed in a given text or graphic mode might be different. Also, the actual displayed colors are subject to the output format used - PAL or NTSC, composite or component video, etc. - and might be slightly different. For simulated images and specific hardware and alternate methods to produce colors other than RGB (ex: composite), see the List of 8-bit computer hardware palettes, the List of 16-bit computer hardware palettes and the List of video game console palettes. For various software arrangements and sorts of colors, including other possible full RGB arrangements within 8-bit color depth displays, see the List of software palettes. == Monochrome palettes == These palettes only have some shades of gray, from black to white (considered the darkest and lightest "grays", respectively). The general rule is that those palettes have 2n different shades of gray, where n is the number of bits needed to represent a single pixel. === Monochrome (1-bit grayscale) === Monochrome graphics displays typically have a black background with a white or light gray image, though green and amber monochrome monitors were also common. Such a palette requires only one bit per pixel. Where photo-realism was desired, these early computer systems had a heavy reliance on dithering to make up for the limits of the technology. In some systems, as Hercules and CGA graphic cards for the IBM PC, a bit value of 1 represents white pixels (light on) and a value of 0 the black ones (light off); others, like the Playdate and Atari ST and Apple Macintosh with monochrome monitors, a bit value of 0 means a white pixel (no ink) and a value of 1 means a black pixel (dot of ink), which it approximates to the printing logic. === 2-bit Grayscale === In a 2-bit color palette each pixel's value is represented by 2 bits resulting in a 4-value palette (22 = 4). 2-bit dithering: It has black, white and two intermediate levels of gray as follows: A monochrome 2-bit palette is used on: The Monochrome Display Adapter for the IBM PC NeXT Computer, NeXTcube and NeXTstation monochrome graphic displays. Original Game Boy system portable video game console. Macintosh PowerBook 150 monochrome LC displays. Amiga with A2024 monochrome monitor in high-resolution mode. The original Amazon Kindle The original WonderSwan The Tiger Electronics Game.com portable video game console The original Neo Geo Pocket. === 4-bit Grayscale === In a 4-bit color palette each pixel's value is represented by 4 bits resulting in a 16-value palette (24 = 16): 4-bit grayscale dithering does a fairly good job of reducing visible banding of the level changes: A monochrome 4-bit palette is used on: MOS Technology VDC (on the Commodore 128 with monochrome monitor) Amstrad CPC series with a GT64/GT65 Green Monitor (16 unique green shades) Amstrad CPC Plus series with the MM12 Monochrome monitor (16 shades of grey) Some Apple PowerBooks equipped with monochrome displays like the PowerBook 5300 The original VideoNow === 8-bit Grayscale === In an 8-bit color palette each pixel's value is represented by 8 bits resulting in a 256-value palette (28 = 256). This is usually the maximum number of grays in ordinary monochrome systems; each image pixel occupies a single memory byte. Most scanners can capture images in 8-bit grayscale, and image file formats like TIFF and JPEG natively support this monochrome palette size. Alpha channels employed for video overlay also use (conceptually) this palette. The gray level indicates the opacity of the blended image pixel over the background image pixel. == Dichrome palettes == === 16-bit RG palette === The RG or red–green color space is a color space that uses only two primary colors: red and green. It was used on early color processes for films. It was used as an additive format, similar to the RGB color model but without a blue channel, on processes such as Kinemacolor, Prizma, Technicolor I, Raycol, etc., producing shades of black, red, green and yellow. Alternatively, it was used as a subtractive format on Brewster Color I, Kodachrome I, Prizma II, Technicolor II, etc., producing shades of transparent, red, green and black. Until recently, its primary use was in low-cost light-emitting diode displays in which red and green tended to be far more common than the still nascent blue LED technology, but full-color LEDs with blue have become more common in recent years. ColorCode 3-D, a anaglyph stereoscopic color scheme, uses the RG color space to simulate a broad spectrum of color in one eye, while the blue portion of the spectrum transmits a black-and-white (black-and-blue) image to the other eye to give depth perception. === 16-bit RB palette === === 16-bit GB palette === == Regular RGB palettes == Here are grouped those full RGB hardware palettes that have the same number of binary levels (i.e., the same number of bits) for every red, green and blue components using the full RGB color model. Thus, the total number of colors are always the number of possible levels by component, n, raised to a power of 3: n×n×n = n3. === 3-bit RGB === 3-bit RGB dithering: Systems with a 3-bit RGB palette use 1 bit for each of the red, green and blue color components. That is, each component is either "on" or "off" with no intermediate states. This results in an 8-color palette ((21)3 = 23 = 8) that has black, white, the three RGB primary colors red, green and blue and their correspondent complementary colors cyan, magenta and yellow as follows: The color indices vary between implementations; therefore, index numbers are not given. The 3-bit RGB palette is used by: Text terminals following the ECMA-48 standard (sometimes known as the "ANSI standard", although ANSI X3.128 does not define colors) World System Teletext Level 1/1.5 Videotex Oric computers BBC Micro PC-8801 (up to the MkII) PC-9801 (with original 8086 CPU, before the VM/VX models) Sharp X1 (models before the X1 Turbo Z) Sharp MZ 700 FM-7, FM New 7, FM 77 (before the FM77AV) Sinclair QL Space Invaders Part II (arcade hardware) Macintosh SE (with a color printer or external monitor) Atari 2600 (SECAM version) Color Maximite (PIC32 based microcomputer) Arcadia 2001 PV-1000 Monkey Magic (arcade hardware) VIC-20 (high-res mode) Mouse Trap (arcade hardware) Sanyo MBC-550 series Windows 1.0 (includes dithering) === 6-bit RGB === Systems with a 6-bit RGB palette use 2 bits for each of the red, green, and blue color components. This results in a (22)3 = 43 = 64-color palette as follows: 6-bit RGB systems include the following: Enhanced Graphics Adapter (EGA) for IBM PC/AT (16 colors at once) Sega Master System video game console (32 colors at once) GIME for TRS-80 Color Computer 3 (16 colors at once) Pebble Time smartwatch which has a 6-bit (64 color) e-paper display Parallax Propeller using the reference VGA circuit === 9-bit RGB === Systems with a 9-bit RGB palette use 3 bits for each of the red, green, and blue color components. This results in a (23)3 = 83 = 512-color palette as follows: 9-bit RGB systems include the following: Atari ST (Normally 4 to 16 at once without tricks) MSX2 computers (up to 16 at once) Sega Genesis video game console, (64 colors at once) Sega Nomad TurboGrafx-16 (NEC PC-Engine) ZX Spectrum Next The NEC PC-88
AI-complete
In the field of artificial intelligence (AI), tasks that are hypothesized to require artificial general intelligence to solve are informally known as AI-complete or AI-hard. Calling a problem AI-complete reflects the belief that it cannot be solved by a simple specific algorithm. Prior to 2013, problems supposed to be AI-complete included computer vision, natural language understanding, and dealing with unexpected circumstances while solving any real-world problem. AI-complete tasks were notably considered useful for distinguishing humans from automated agents, as CAPTCHAs aim to do. == History == The term was coined by Fanya Montalvo by analogy with NP-complete and NP-hard in complexity theory, which formally describes the most famous class of difficult problems. Early uses of the term are in Erik Mueller's 1987 PhD dissertation and in Eric Raymond's 1991 Jargon File. Expert systems, that were popular in the 1980s, were able to solve very simple and/or restricted versions of AI-complete problems, but never in their full generality. When AI researchers attempted to "scale up" their systems to handle more complicated, real-world situations, the programs tended to become excessively brittle without commonsense knowledge or a rudimentary understanding of the situation: they would fail as unexpected circumstances outside of its original problem context would begin to appear. When human beings are dealing with new situations in the world, they are helped by their awareness of the general context: they know what the things around them are, why they are there, what they are likely to do and so on. They can recognize unusual situations and adjust accordingly. Expert systems lacked this adaptability and were brittle when facing new situations. DeepMind published a work in May 2022 in which they trained a single model to do several things at the same time. The model, named Gato, can "play Atari, caption images, chat, stack blocks with a real robot arm and much more, deciding based on its context whether to output text, joint torques, button presses, or other tokens." Similarly, some tasks once considered to be AI-complete, like machine translation, are among the capabilities of large language models. == AI-complete problems == AI-complete problems have been hypothesized to include: AI peer review (composite natural language understanding, automated reasoning, automated theorem proving, formalized logic expert system) Bongard problems Computer vision (and subproblems such as object recognition) Natural language understanding (and subproblems such as text mining, machine translation, and word-sense disambiguation) Autonomous driving Dealing with unexpected circumstances while solving any real world problem, whether navigation, planning, or even the kind of reasoning done by expert systems. == Formalization == Computational complexity theory deals with the relative computational difficulty of computable functions. By definition, it does not cover problems whose solution is unknown or has not been characterized formally. Since many AI problems have no formalization yet, conventional complexity theory does not enable a formal definition of AI-completeness. == Research == Roman Yampolskiy suggests that a problem C {\displaystyle C} is AI-Complete if it has two properties: It is in the set of AI problems (Human Oracle-solvable). Any AI problem can be converted into C {\displaystyle C} by some polynomial time algorithm. On the other hand, a problem H {\displaystyle H} is AI-Hard if and only if there is an AI-Complete problem C {\displaystyle C} that is polynomial time Turing-reducible to H {\displaystyle H} . This also gives as a consequence the existence of AI-Easy problems, that are solvable in polynomial time by a deterministic Turing machine with an oracle for some problem. Yampolskiy has also hypothesized that the Turing Test is a defining feature of AI-completeness. Groppe and Jain classify problems which require artificial general intelligence to reach human-level machine performance as AI-complete, while only restricted versions of AI-complete problems can be solved by the current AI systems. For Šekrst, getting a polynomial solution to AI-complete problems would not necessarily be equal to solving the issue of artificial general intelligence, while emphasizing the lack of computational complexity research being the limiting factor towards achieving artificial general intelligence. For Kwee-Bintoro and Velez, solving AI-complete problems would have strong repercussions on society.
Bruno Zamborlin
Bruno Zamborlin (born 1983 in Vicenza) is an AI researcher, entrepreneur and artist based in London, working in the field of human-computer interaction. His work focuses on converting physical objects into touch-sensitive, interactive surfaces using vibration sensors and artificial intelligence. In 2013, he founded Mogees Limited a start-up to transform everyday objects into musical instruments and games using a vibration sensor and a mobile phone. With HyperSurfaces, he converts physical surfaces of any material, shape and form into data-enabled-interactive surfaces using a vibration sensor and a coin-sized chipset. As an artist, he has created art installations around the world, with his most recent work comprising a unique series of "sound furnitures" that was showcased at the Italian Pavilion of the Venice Biennale 2023. He regularly performed with UK-based electronic music duo Plaid (Warp Records). He is also honorary visiting research fellow at Goldsmiths, University of London. == Early life and education == From 2008-2011, Zamborlin worked at the IRCAM (Institute for Research and Coordination Acoustic Musical) – Centre Pompidou as a member of the Sound Music Movement Interaction team. Under the supervision of Frederic Bevilacqua, he started experimenting with the use of artificial intelligence and human movements, and contributed to the creation of Gesture Follower, a software used to analyse body movements of performers and dancers through motion sensors in order to control sound and visual media in real-time, slowing down or speeding up their reproduction based on the speed the gestures are performed. He has lived in London since 2011, where he developed a joint PhD between Goldsmiths, University of London and IRCAM - Centre Pompidou/Pierre and Marie Curie University Paris in AI, focussing on the concept of Interactive Machine Learning applied to digital musical instruments and performing arts. == Career == Zamborlin founded Mogees Limited in 2013 in London, with IRCAM being amongst the early partners. Mogees transform physical objects into musical instruments and games using a vibration sensor and a series of apps for smartphones and desktop. After a campaign on Kickstarter in 2014, Mogees was used both by common users and artists such as Rodrigo y Gabriela, Jean-Michel Jarre and Plaid. The algorithms implemented in these apps employ a special version of physical modelling sound synthesis, where the vibration produced by users when interacting with the physical object are used as exciter for a digital resonator which runs in the app. The result is a hybrid, half acoustic and half digital sound which is a function of both software and acoustic properties of the physical object the users decide to play. In 2017, Zamborlin founded HyperSurfaces together with computational artist Parag K Mital. to merge "the physical and the digital worlds". HyperSurfaces technology converts any surface made of any material, shape and size into data-enabled interactive objects, employing a vibration sensor and proprietary AI algorithms running on a coin-sized chipset. The vibrations generated by people's interactions on the surface are converted into an electric signal by a piezoelectric sensor and analysed in realtime by AI algorithms that run on the chipset. Anytime the AI recognises in the vibration signal one of the events that have been predefined by the user beforehand, a corresponding notification message is generated in realtime and sent to some application. The technology can be applied to anything ranging from button-less human-computer interaction applications for automotive and smart home to the Internet of things. Because the AI algorithms employed by HyperSurfaces run locally on a chipset, without the need to access cloud-based services, they are considered to be part of the field of edge computing. Also, because the AI can be trained beforehand to recognise the events its users are interested in, HyperSurfaces algorithms belong to the field of supervised machine learning. == Selected awards == IRISA Prix Jeune Chercheur, 13 October 2012 NeMoDe, New Economic Models in the Digital Economy, 25 October 2012 == Patents and academic publications == United States pending US10817798B2, Bruno Zamborlin & Carmine Emanuele Cella, "Method to recognize a gesture and corresponding device", published 27 April 2016, assigned to Mogees Limited GB Pending WO/2019/086862, Bruno Zamborlin; Conor Barry & Alessandro Saccoia et al., "A user interface for vehicles", published 9 May 2019, assigned to Mogees Limited GB Pending WO/2019/086863, Bruno Zamborlin; Conor Barry & Alessandro Saccoia et al., "Trigger for game events", published 9 May 2019, assigned to Mogees Limited Bevilacqua, Frédéric; Zamborlin, Bruno; Sypniewski, Anthony; Schnell, Norbert; Guédy, Fabrice; Rasamimanana, Nicolas (2010). "Continuous Realtime Gesture Following and Recognition". Gesture in Embodied Communication and Human-Computer Interaction. Lecture Notes in Computer Science. Vol. 5934. pp. 73–84. doi:10.1007/978-3-642-12553-9_7. ISBN 978-3-642-12552-2. S2CID 16251822. Retrieved 17 January 2021. Rasamimanana, Nicolas; Bevilacqua, Frédéric; Schnell, Norbert; Guédy, Fabrice; Flety, Emmanuel; Maestracci, Come; Zamborlin, Bruno (January 2010). "Modular musical objects towards embodied control of digital music". Proceedings of the fifth international conference on Tangible, embedded, and embodied interaction. Tei '11. pp. 9–12. doi:10.1145/1935701.1935704. ISBN 9781450304788. S2CID 10782645. Retrieved 17 January 2021. Bevilacqua, Frédéric; Schnell, Norbert; Rasamimanana, Nicolas; Zamborlin, Bruno; Guedy, Fabrice (2011). "Online Gesture Analysis and Control of Audio Processing". Musical Robots and Interactive Multimodal Systems. Springer Tracts in Advanced Robotics. Vol. 74. pp. 127–142. doi:10.1007/978-3-642-22291-7_8. ISBN 978-3-642-22290-0. Retrieved 17 January 2021. Zamborlin, Bruno; Bevilacqua, Frédéric; Gillies, Marco; D'Inverno, Mark (15 January 2014). "Fluid gesture interaction design: Applications of continuous recognition for the design of modern gestural interfaces". ACM Transactions on Interactive Intelligent Systems. 3 (4): 22:1–22:30. doi:10.1145/2543921. S2CID 7887245. Retrieved 17 January 2021. Leslie, Grace; Zamborlin, Bruno; Schnell, Norbert; Jodlowski, Pierre (15 June 2010). "A Collaborative, Interactive Sound Installation". Proceedings of the International Computer Music Conference. Retrieved 17 January 2021. Kimura, Mari; Rasamimanana, Nicolas; Bevilacqua, Frédéric; Zamborlin, Bruno; Schnell, Bruno; Flety, Emmanuel (2012). "Extracting Human Expression For Interactive Composition with the Augmented Violin". International Conference on New Interfaces for Musical Expression. Retrieved 17 January 2021. Ferretti, Stefano; Roccetti, Marco; Zamborlin, Bruno (13 January 2009). "On SPAWC: Discussion on a Musical Signal Parser and Well-Formed Composer". 2009 6th IEEE Consumer Communications and Networking Conference. pp. 1–5. doi:10.1109/CCNC.2009.4784966. ISBN 978-1-4244-2308-8. S2CID 14213587. Zamborlin, Bruno; Partesana, Giorgio; Liuni, Marco (15 May 2011). "(LAND)MOVES". Conference on New Interfaces for Musical Expression, NIME: 537–538. Retrieved 17 January 2021.
NFA minimization
In automata theory (a branch of theoretical computer science), NFA minimization is the task of transforming a given nondeterministic finite automaton (NFA) into an equivalent NFA that has a minimum number of states, transitions, or both. While efficient algorithms exist for DFA minimization, NFA minimization is PSPACE-complete. No efficient (polynomial time) algorithms are known, and under the standard assumption that P ≠ PSPACE, none exist. The most efficient known algorithm is the Kameda–Weiner algorithm. == Non-uniqueness of minimal NFA == Unlike deterministic finite automata, minimal NFAs may not be unique. There may be multiple NFAs with the same number of states that accept the same regular language, but for which there is no equivalent NFA or DFA with fewer states.
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Video renderer
A video renderer is software that processes a video file and sends it sequentially to the video display controller card for display on a computer screen. An example of a video renderer, is the VMR-7 that was used by Microsoft's DirectShow. An example of a UNIX video renderer is the one container within GStreamer. Commonly used video renderers are: Enhanced Video Renderer VMR9 Renderless Haali's Video Renderer Madvr Video Renderer JRVR, a part of JRiver Media Center
Ann Copestake
Ann Alicia Copestake is professor of computational linguistics and head of the Department of Computer Science and Technology at the University of Cambridge and a fellow of Wolfson College, Cambridge. == Education == Copestake was educated at the University of Cambridge where she was awarded a Bachelor of Arts degree in Natural Sciences. After two years working for Unilever Research she completed the Cambridge Diploma in Computer Science. She went on to study at the University of Sussex where she was awarded a PhD in 1992 for research on lexical semantics supervised by Gerald Gazdar. == Career and research == Copestake started doing research in Natural language processing and Computational Linguistics at the University of Cambridge in 1985. Since then she has been a visiting researcher at Xerox PARC (1993/4) and the University of Stuttgart (1994/5). From July 1994 to October 2000 she worked at the Center for the Study of Language and Information (CSLI) at Stanford University, as a Senior Researcher. Copestake was appointed a University Lecturer at Cambridge in October 2000. In the UK, her research has been funded by the Engineering and Physical Sciences Research Council (EPSRC) and Arts and Humanities Research Council (AHRC). According to Google Scholar and Scopus her most cited publications include papers on minimal recursion semantics, multiword expressions, polysemy, named-entity recognition and feature structure grammars.