Wenn

This paper is available on arxiv under CC 4.0 license. . Authors: Gemini Team, Google Table of Links Abstract and Introduction Model Architecture Training Infrastructure Training Dataset Evaluation Responsible Deployment Discussion and Conclusion, References Contributions and Acknowledgments Appendix 8. Contributions and Acknowledgments Leads Rohan Anil, Co-Lead, Text Sebastian Borgeaud, Co-Lead, Text Yonghui Wu, Co-Lead, Text Jean-Baptiste Alayrac, Co-Lead, MM Vision Jiahui Yu, Co-Lead, MM Vision Radu Soricut*, Co-Lead, MM Vision* Johan Schalkwyk, Lead, MM Audio Andrew M. Dai, Co-Lead, Data Anja Hauth*, Co-Lead, Data* Katie Millican, Co-Lead, Data David Silver, Co-Lead, Fine-Tuning Slav Petrov, Co-Lead, Fine-Tuning Melvin Johnson, Lead, Instruction Tuning Ioannis Antonoglou*, Co-Lead, RL Techniques* Julian Schrittwieser, Co-Lead, RL Techniques Amelia Glaese, Lead, Human Data Jilin Chen, Lead, Safety Emily Pitler, Co-Lead, Tool Use Timothy Lillicrap, Co-Lead, Tool Use Angeliki Lazaridou, Co-Lead, Eval Orhan Firat, Co-Lead, Eval James Molloy, Co-Lead, Infra Michael Isard, Co-Lead, Infra Paul R. Barham, Co-Lead, Infra Tom Hennigan, Co-Lead, Infra Benjamin Lee, Co-Lead, Codebase & Parallelism Fabio Viola, Co-Lead, Codebase & Parallelism Malcolm Reynolds, Co-Lead, Codebase & Parallelism Yuanzhong Xu, Co-Lead, Codebase & Parallelism Ryan Doherty, Lead, Ecosystem Eli Collins, Lead, Product Clemens Meyer, Co-Lead, Operations Eliza Rutherford, Co-Lead, Operations Erica Moreira, Co-Lead, Operations Kareem Ayoub, Co-Lead, Operations Megha Goel, Co-Lead, Operations Core Contributors George Tucker Enrique Piqueras Maxim Krikun Iain Barr Nikolay Savinov Ivo Danihelka Becca Roelofs Core Contributors Anaïs White Anders Andreassen Tamara von Glehn Lakshman Yagati Mehran Kazemi Lucas Gonzalez Misha Khalman Jakub Sygnowski Alexandre Frechette Charlotte Smith Laura Culp Lev Proleev Yi Luan Xi Chen James Lottes Nathan Schucher Federico Lebron Alban Rrustemi Natalie Clay Phil Crone Tomas Kocisky Jeffrey Zhao Bartek Perz Dian Yu Heidi Howard Adam Bloniarz Jack W. Rae Han Lu Laurent Sifre Marcello Maggioni Fred Alcober Dan Garrette Megan Barnes Shantanu Thakoor Jacob Austin Gabriel Barth-Maron William Wong Rishabh Joshi Rahma Chaabouni Deeni Fatiha Arun Ahuja Ruibo Liu Yunxuan Li Sarah Cogan Jeremy Chen Core Contributors Chao Jia Chenjie Gu Qiao Zhang Jordan Grimstad Ale Jakse Hartman Martin Chadwick Gaurav Singh Tomar Xavier Garcia Evan Senter Emanuel Taropa Thanumalayan Sankaranarayana Pillai Jacob Devlin Michael Laskin Diego de Las Casas Dasha Valter Connie Tao Lorenzo Blanco Adrià Puigdomènech Badia David Reitter Mianna Chen Jenny Brennan Clara Rivera Sergey Brin Shariq Iqbal Gabriela Surita Jane Labanowski Abhi Rao Stephanie Winkler Emilio Parisotto Yiming Gu Kate Olszewska Yujing Zhang Ravi Addanki Antoine Miech Annie Louis Laurent El Shafey Denis Teplyashin Geoff Brown Elliot Catt Nithya Attaluri Jan Balaguer Jackie Xiang Pidong Wang Zoe Ashwood Anton Briukhov Albert Webson Sanjay Ganapathy Smit Sanghavi Core Contributors Ajay Kannan Ming-Wei Chang Axel Stjerngren Josip Djolonga Yuting Sun Ankur Bapna Matthew Aitchison Pedram Pejman Henryk Michalewski Tianhe Yu Cindy Wang Juliette Love Junwhan Ahn Dawn Bloxwich Kehang Han Peter Humphreys Thibault Sellam James Bradbury Varun Godbole Sina Samangooei Bogdan Damoc Alex Kaskasoli Sébastien M. R. Arnold Vijay Vasudevan Shubham Agrawal Jason Riesa Dmitry Lepikhin Richard Tanburn Srivatsan Srinivasan Hyeontaek Lim Sarah Hodkinson Pranav Shyam Johan Ferret Steven Hand Ankush Garg Tom Le Paine Jian Li Yujia Li Minh Giang Alexander Neitz Zaheer Abbas Sarah York Machel Reid Elizabeth Cole Aakanksha Chowdhery Dipanjan Das Dominika Rogozińska Vitaly Nikolaev Core Contributors Pablo Sprechmann Zachary Nado Lukas Zilka Flavien Prost Luheng He Marianne Monteiro Gaurav Mishra Chris Welty Josh Newlan Dawei Jia Miltiadis Allamanis Clara Huiyi Hu Raoul de Liedekerke Justin Gilmer Carl Saroufim Shruti Rijhwani Shaobo Hou Disha Shrivastava Anirudh Baddepudi Alex Goldin Adnan Ozturel Albin Cassirer Yunhan Xu Daniel Sohn Devendra Sachan Reinald Kim Amplayo Craig Swanson Dessie Petrova Shashi Narayan Arthur Guez Siddhartha Brahma Jessica Landon Miteyan Patel Ruizhe Zhao Kevin Villela Luyu Wang Wenhao Jia Matthew Rahtz Mai Giménez Legg Yeung Hanzhao Lin James Keeling Petko Georgiev Diana Mincu Boxi Wu Salem Haykal Rachel Saputro Kiran Vodrahalli Core Contributors James Qin Zeynep Cankara Abhanshu Sharma Nick Fernando Will Hawkins Behnam Neyshabur Solomon Kim Adrian Hutter Priyanka Agrawal Alex Castro-Ros George van den Driessche Tao Wang Fan Yang Shuo-yiin Chang Paul Komarek Ross McIlroy Mario Lučić Guodong Zhang Wael Farhan Michael Sharman Paul Natsev Paul Michel Yong Cheng Yamini Bansal Siyuan Qiao Kris Cao Siamak Shakeri Christina Butterfield Justin Chung Paul Kishan Rubenstein Shivani Agrawal Arthur Mensch Kedar Soparkar Karel Lenc Timothy Chung Aedan Pope Loren Maggiore Jackie Kay Priya Jhakra Shibo Wang Joshua Maynez Mary Phuong Taylor Tobin Andrea Tacchetti Maja Trebacz Kevin Robinson Yash Katariya Sebastian Riedel Core Contributors Paige Bailey Kefan Xiao Nimesh Ghelani Lora Aroyo Ambrose Slone Neil Houlsby Xuehan Xiong Zhen Yang Elena Gribovskaya Jonas Adler Mateo Wirth Lisa Lee Music Li Thais Kagohara Jay Pavagadhi Sophie Bridgers Anna Bortsova Sanjay Ghemawat Zafarali Ahmed Tianqi Liu Richard Powell Vijay Bolina Mariko Iinuma Polina Zablotskaia James Besley Da-Woon Chung Timothy Dozat Ramona Comanescu Xiance Si Jeremy Greer Guolong Su Martin Polacek Raphaël Lopez Kaufman Simon Tokumine Hexiang Hu Elena Buchatskaya Yingjie Miao Mohamed Elhawaty Aditya Siddhant Nenad Tomasev Jinwei Xing Christina Greer Helen Miller Shereen Ashraf Aurko Roy Zizhao Zhang Ada Ma Angelos Filos Core Contributors Milos Besta Rory Blevins Ted Klimenko Chih-Kuan Yeh Soravit Changpinyo Jiaqi Mu Oscar Chang Mantas Pajarskas Carrie Muir Vered Cohen Charline Le Lan Krishna Haridasan Amit Marathe Steven Hansen Sholto Douglas Rajkumar Samuel Mingqiu Wang Sophia Austin Chang Lan Jiepu Jiang Justin Chiu Jaime Alonso Lorenzo Lars Lowe Sjösund Sébastien Cevey Zach Gleicher Thi Avrahami Anudhyan Boral Hansa Srinivasan Vittorio Selo Rhys May Konstantinos Aisopos Léonard Hussenot Livio Baldini Soares Kate Baumli Michael B. Chang Adrià Recasens Ben Caine Alexander Pritzel Filip Pavetic Fabio Pardo Anita Gergely Justin Frye Vinay Ramasesh Dan Horgan Kartikeya Badola Nora Kassner Subhrajit Roy Ethan Dyer Core Contributors Víctor Campos Alex Tomala Yunhao Tang Dalia El Badawy Elspeth White Basil Mustafa Oran Lang Abhishek Jindal Sharad Vikram Zhitao Gong Sergi Caelles Ross Hemsley Gregory Thornton Fangxiaoyu Feng Wojciech Stokowiec Ce Zheng Phoebe Thacker Çağlar Ünlü Zhishuai Zhang Mohammad Saleh James Svensson Max Bileschi Piyush Patil Ankesh Anand Roman Ring Katerina Tsihlas Arpi Vezer Marco Selvi Toby Shevlane Mikel Rodriguez Tom Kwiatkowski Samira Daruki Keran Rong Allan Dafoe Nicholas FitzGerald Keren Gu-Lemberg Mina Khan Lisa Anne Hendricks Marie Pellat Vladimir Feinberg James Cobon-Kerr Tara Sainath Maribeth Rauh Sayed Hadi Hashemi Richard Ives Yana Hasson YaGuang Li Eric Noland Core Contributors Yuan Cao Nathan Byrd Le Hou Qingze Wang Thibault Sottiaux Michela Paganini Jean-Baptiste Lespiau Alexandre Moufarek Samer Hassan Kaushik Shivakumar Joost van Amersfoort Amol Mandhane Pratik Joshi Anirudh Goyal Matthew Tung Andrew Brock Hannah Sheahan Vedant Misra Cheng Li Nemanja Rakićević Mostafa Dehghani Fangyu Liu Sid Mittal Junhyuk Oh Seb Noury Eren Sezener Fantine Huot Matthew Lamm Nicola De Cao Charlie Chen Contributors Gamaleldin Elsayed Ed Chi Mahdis Mahdieh Ian Tenney Nan Hua Ivan Petrychenko Patrick Kane Dylan Scandinaro Rishub Jain Jonathan Uesato Romina Datta Adam Sadovsky Oskar Bunyan Dominik Rabiej Shimu Wu John Zhang Contributors Gautam Vasudevan Edouard Leurent Mahmoud Alnahlawi Ionut Georgescu Nan Wei Ivy Zheng Betty Chan Pam G Rabinovitch Piotr Stanczyk Ye Zhang David Steiner Subhajit Naskar Michael Azzam Matthew Johnson Adam Paszke Chung-Cheng Chiu Jaume Sanchez Elias Afroz Mohiuddin Faizan Muhammad Jin Miao Andrew Lee Nino Vieillard Sahitya Potluri Jane Park Elnaz Davoodi Jiageng Zhang Jeff Stanway Drew Garmon Abhijit Karmarkar Zhe Dong Jong Lee Aviral Kumar Luowei Zhou Jonathan Evens William Isaac Zhe Chen Johnson Jia Anselm Levskaya Zhenkai Zhu Chris Gorgolewski Peter Grabowski Yu Mao Alberto Magni Kaisheng Yao Javier Snaider Norman Casagrande Paul Suganthan Evan Palmer Contributors Geoffrey Irving Edward Loper Manaal Faruqui Isha Arkatkar Nanxin Chen Izhak Shafran Michael Fink Alfonso Castaño Irene Giannoumis Wooyeol Kim Mikołaj Rybiński Ashwin Sreevatsa Jennifer Prendki David Soergel Adrian Goedeckemeyer Willi Gierke Mohsen Jafari Meenu Gaba Jeremy Wiesner Diana Gage Wright Yawen Wei Harsha Vashisht Yana Kulizhskaya Jay Hoover Maigo Le Lu Li Chimezie Iwuanyanwu Lu Liu Kevin Ramirez Andrey Khorlin Albert Cui Tian LIN Marin Georgiev Marcus Wu Ricardo Aguilar Keith Pallo Abhishek Chakladar Alena Repina Xihui Wu Tom van der Weide Priya Ponnapalli Caroline Kaplan Jiri Simsa Shuangfeng Li Olivier Dousse Fan Yang Jeff Piper Nathan Ie Contributors Minnie Lui Rama Pasumarthi Nathan Lintz Anitha Vijayakumar Lam Nguyen Thiet Daniel Andor Pedro Valenzuela Cosmin Paduraru Daiyi Peng Katherine Lee Shuyuan Zhang Somer Greene Duc Dung Nguyen Paula Kurylowicz Sarmishta Velury Sebastian Krause Cassidy Hardin Lucas Dixon Lili Janzer Kiam Choo Ziqiang Feng Biao Zhang Achintya Singhal Tejasi Latkar Mingyang Zhang Quoc Le Elena Allica Abellan Dayou Du Dan McKinnon Natasha Antropova Tolga Bolukbasi Orgad Keller David Reid Daniel Finchelstein Maria Abi Raad Remi Crocker Peter Hawkins Robert Dadashi Colin Gaffney Sid Lall Ken Franko Egor Filonov Anna Bulanova Rémi Leblond Vikas Yadav Shirley Chung Harry Askham Luis C. Cobo Contributors Kelvin Xu Felix Fischer Jun Xu Christina Sorokin Chris Alberti Chu-Cheng Lin Colin Evans Hao Zhou Alek Dimitriev Hannah Forbes Dylan Banarse Zora Tung Jeremiah Liu Mark Omernick Colton Bishop Chintu Kumar Rachel Sterneck Ryan Foley Rohan Jain Swaroop Mishra Jiawei Xia Taylor Bos Geoffrey Cideron Ehsan Amid Francesco Piccinno Xingyu Wang Praseem Banzal Petru Gurita Hila Noga Premal Shah Daniel J. Mankowitz Alex Polozov Nate Kushman Victoria Krakovna Sasha Brown MohammadHossein Bateni Dennis Duan Vlad Firoiu Meghana Thotakuri Tom Natan Anhad Mohananey Matthieu Geist Sidharth Mudgal Sertan Girgin Hui Li Jiayu Ye Ofir Roval Reiko Tojo Contributors Michael Kwong James Lee-Thorp Christopher Yew Quan Yuan Sumit Bagri Danila Sinopalnikov Sabela Ramos John Mellor Abhishek Sharma Aliaksei Severyn Jonathan Lai Kathy Wu Heng-Tze Cheng David Miller Nicolas Sonnerat Denis Vnukov Rory Greig Jennifer Beattie Emily Caveness Libin Bai Julian Eisenschlos Alex Korchemniy Tomy Tsai Mimi Jasarevic Weize Kong Phuong Dao Zeyu Zheng Frederick Liu Fan Yang Rui Zhu Mark Geller Tian Huey Teh Jason Sanmiya Evgeny Gladchenko Nejc Trdin Andrei Sozanschi Daniel Toyama Evan Rosen Sasan Tavakkol Linting Xue Chen Elkind Oliver Woodman John Carpenter George Papamakarios Rupert Kemp Sushant Kafle Tanya Grunina Rishika Sinha Contributors Alice Talbert Abhimanyu Goyal Diane Wu Denese Owusu-Afriyie Cosmo Du Chloe Thornton Jordi Pont-Tuset Pradyumna Narayana Jing Li Saaber Fatehi John Wieting Omar Ajmeri Benigno Uria Tao Zhu Yeongil Ko Laura Knight Amélie Héliou Ning Niu Shane Gu Chenxi Pang Dustin Tran Yeqing Li Nir Levine Ariel Stolovich Norbert Kalb Rebeca Santamaria-Fernandez Sonam Goenka Wenny Yustalim Robin Strudel Ali Elqursh Balaji Lakshminarayanan Charlie Deck Shyam Upadhyay Hyo Lee Mike Dusenberry Zonglin Li Xuezhi Wang Kyle Levin Raphael Hoffmann Dan Holtmann-Rice Olivier Bachem Summer Yue Sho Arora Eric Malmi Daniil Mirylenka Qijun Tan Christy Koh Soheil Hassas Yeganeh Contributors Siim Põder Steven Zheng Francesco Pongetti Mukarram Tariq Yanhua Sun Lucian Ionita Mojtaba Seyedhosseini Pouya Tafti Ragha Kotikalapudi Zhiyu Liu Anmol Gulati Jasmine Liu Xinyu Ye Bart Chrzaszcz Lily Wang Nikhil Sethi Tianrun Li Ben Brown Shreya Singh Wei Fan Aaron Parisi Joe Stanton Chenkai Kuang Vinod Koverkathu Christopher A. Choquette-Choo Yunjie Li TJ Lu Abe Ittycheriah Prakash Shroff Pei Sun Mani Varadarajan Sanaz Bahargam Rob Willoughby David Gaddy Ishita Dasgupta Guillaume Desjardins Marco Cornero Brona Robenek Bhavishya Mittal Ben Albrecht Ashish Shenoy Fedor Moiseev Henrik Jacobsson Alireza Ghaffarkhah Morgane Rivière Alanna Walton Clément Crepy Alicia Parrish Contributors Yuan Liu Zongwei Zhou Clement Farabet Carey Radebaugh Praveen Srinivasan Claudia van der Salm Andreas Fidjeland Salvatore Scellato Eri Latorre-Chimoto Hanna Klimczak-Plucińska David Bridson Dario de Cesare Tom Hudson Piermaria Mendolicchio Lexi Walker Alex Morris Ivo Penchev Matthew Mauger Alexey Guseynov Alison Reid Seth Odoom Lucia Loher Victor Cotruta Madhavi Yenugula Dominik Grewe Anastasia Petrushkina Tom Duerig Antonio Sanchez Steve Yadlowsky Amy Shen Amir Globerson Adam Kurzrok Lynette Webb Sahil Dua Dong Li Preethi Lahoti Surya Bhupatiraju Dan Hurt Haroon Qureshi Ananth Agarwal Tomer Shani Matan Eyal Anuj Khare Shreyas Rammohan Belle Lei Wang Chetan Tekur Mihir Sanjay Kale Jinliang Wei Contributors Ruoxin Sang Brennan Saeta Tyler Liechty Yi Sun Yao Zhao Stephan Lee Pandu Nayak Doug Fritz Manish Reddy Vuyyuru John Aslanides Nidhi Vyas Martin Wicke Xiao Ma Taylan Bilal Evgenii Eltyshev Daniel Balle Nina Martin Hardie Cate James Manyika Keyvan Amiri Yelin Kim Xi Xiong Kai Kang Florian Luisier Nilesh Tripuraneni David Madras Mandy Guo Austin Waters Oliver Wang Joshua Ainslie Jason Baldridge Han Zhang Garima Pruthi Jakob Bauer Feng Yang Riham Mansour Jason Gelman Yang Xu George Polovets Ji Liu Honglong Cai Warren Chen XiangHai Sheng Emily Xue Sherjil Ozair Adams Yu Christof Angermueller Contributors Xiaowei Li Weiren Wang Julia Wiesinger Emmanouil Koukoumidis Yuan Tian Anand Iyer Madhu Gurumurthy Mark Goldenson Parashar Shah MK Blake Hongkun Yu Anthony Urbanowicz Jennimaria Palomaki Chrisantha Fernando Kevin Brooks Ken Durden Harsh Mehta Nikola Momchev Elahe Rahimtoroghi Maria Georgaki Amit Raul Sebastian Ruder Morgan Redshaw Jinhyuk Lee Komal Jalan Dinghua Li Ginger Perng Blake Hechtman Parker Schuh Milad Nasr Mia Chen Kieran Milan Vladimir Mikulik Trevor Strohman Juliana Franco Tim Green Program Leads Demis Hassabis Koray Kavukcuoglu Overall Technical Leads (equal contribution) Jeffrey Dean Oriol Vinyals The roles are defined as below: • : Individual(s) responsible for the sub-team throughout the project. Lead Individual that had significant impact throughout the project. • Core Contributor: : Individual that had contributions to the project and was partially involved with the effort. • Contributor Responsible for the organizational aspects of the Gemini effort • Program Lead: Responsible for the technical direction of the overall Gemini effort • Overall Technical Lead: Within each role, contributions are equal, and are listed in a randomized order. Ordering within each role does not indicate ordering of the contributions. Gemini is a cross-Google effort, with members from Google DeepMind (GDM), Google Research (GR), Knowledge and Information (K&I), Core ML, Cloud, Labs, and more. We thank our reviewers and colleagues for their valuable discussions and feedback on the report— Alexandra Belias, Arielle Bier, Eleanor Tomlinson, Emily Hossellman, Gaby Pearl, Helen King, Hollie Dobson, Jaclyn Konzelmann, Jennifer Beroshi, Joel Moss, Jon Small, Jonathan Fildes, Oli Gaymond, Rebecca Bland, Reena Jana, and Tom Lue. Our work is made possible by the dedication and efforts of numerous teams at Google. We would like to acknowledge the support from Abhi Mohan, Adekunle Bello, Aishwarya Nagarajan, Alaa Saade, Alejandro Lince, Alexander Chen, Alexander Kolbasov, Alexander Schiffhauer, Amar Subramanya, Ameya Shringi, Amin Vahdat, Anda Rabatić, Anthonie Gross, Antoine Yang, Anthony Green, Anton Ruddock, Art Khurshudov, Artemis Chen, Arthur Argenson, Avinatan Hassidim, Beiye Liu, Benjamin Schroeder, Bin Ni, Brett Daw, Bryan Chiang, Burak Gokturk, Carl Crous, Carrie Grimes Bostock, Charbel Kaed, Charlotte Banks, Che Diaz, Chris Larkin, Christy Lian, Claire Cui, Clare Bycroft, Corentin Tallec, Daniel Herndon, Dave Burke, David Battle, David Engel, Dipannita Shaw, Donghyun Koo, Doug Ritchie, Dragos Stefanescu, Elissa Wolf, Emre Sargin, Eran Ofek, Eric Herren, Estella King, Fatema Alkhanaizi, Felix Gimeno, Fernando Pereira, Florent Altché, Gabriel Carvajal, Gaurav Gandhi, George Powell, Goran Pavičić, Harry Richardson, Hassan Wassel, Hongji Li, Idan Szpektor, Igor Ivanisevic, Ivan Jambrešić, Ivan Jurin, Jade Fowler, James Assiene, Jay Yagnik, Jeanbastien Grill, Jeff Seibert, Jenna LaPlante, Jessica Austin, Jianxing Lu, Jim O’Keeffe, Jin Huang, Joe Heyward, Johannes Welbl, John Jumper, Jonathan Caton, Josh Woodward, Joshua Foster, Kathryn Tunyasuvunakool, Katrina Wong, Kavya Kopparapu, Kelvin Nguyen, Kira Yin, Konstantin Sharlaimov, Kun Li, Lee Hong, Lilly Taylor, Longfei Shen, Luc Mercier, Maciej Mikuła, Mania Abdi, Manuel Sanchez, Maria Ines Aranguren, Mario Carlos Cortes III, Matthew Tait, Matthias Lochbrunner, Mehdi Ghissassi, Micah Mosley, Michael Bendersky, Michael Figurnov, Michael Harris, Michael Mathieu, Michael O’Neill, Michael Vorburger, Mihir Paradkar, Nandita Dukkipati, Nathan Carter, Nathan Watson, Neil Rabinowitz, Nikhil Dandekar, Nishant Ranka, Obaid Sarvana, Olcan Sercinoglu, Olivier Lacombe, Ottavia Bertolli, Paul Caron, Pranesh Srinivasan, Praveen Kumar, Rahul Sukthankar, Raia Hadsell, Rajagopal Ananthanarayanan, Roberto Lupi, Rosie Zou, Sachin Menezes, Sadegh Jazayeri, Sam Cheung, Sameer Bidichandani, Sania Alex, Sanjiv Kumar, Sara Wiltberger, Sarah Fitzgerald, Saz Basu, Sebastian Nowozin, Shannon Hepburn, Shayne Cardwell, Sissie Hsiao, Srinivasan Venkatachary, Sugato Basu, Sundar Pichai, Sundeep Tirumalareddy, Susannah Young, Swetha Vijayaraghavan, Tania Bedrax-Weiss, Taylor Applebaum, Teiva Harsanyi, Terry Chen, Tim Blyth, Ting Liu, Tom Cobley, Tomas Izo, Trystan Upstill, Varun Singhai, Vedrana Klarić Trupčević, Victor Cai, Vladimir Pudovkin, Vu Dang, Wenbo Zhao, Wesley Crow, Wesley Szeng, Xiaodan Song, Yazhou Zu, Ye Tian, Yicong Wang, Yixing Wang, Yossi Matias, Yunlong Jiao, Zachary Jessup, Zhenchuan Pang, Žiga Avsec, Zimeng Yang, and Zoubin Ghahramani. We’d also like to recognize the AlphaCode team, the Borg Scheduling team, the Facilities team, the Gemini Demo Team, the Global Server Ops (GSO) team, the JAX team, the the Legal team, ML SRE team, the ML Supercomputer (MLSC) team, the PartIR team, the Platforms Infrastructure Engineering (PIE) team, and the XLA Compiler team. We thank everyone at Google not explicitly mentioned above, who have shared excitement, given feedback on early Gemini models or created interesting demo uses of Gemini, and worked with or supported the core Gemini team on many aspects of this project.

Gemini -  A Family of Highly Capable Multimodal Models: Contributions and Acknowledgments

To Build, or Not to Build, That is the Question: Techno-Optimism vs. Decelerationism

নির্মাণ করা, না নির্মাণ করা, এটাই প্রশ্ন: টেকনো-অপটিমিজম বনাম মন্থরতাবাদ

Bauen oder nicht bauen, das ist die Frage: Technooptimismus vs. Entschleunigungismus

Construir o no construir, esa es la cuestión: tecnooptimismo versus desaceleracionismo

Construire ou ne pas construire, telle est la question : techno-optimisme contre décélérationnisme

निर्माण करें, या न करें, यही प्रश्न है: तकनीकी-आशावाद बनाम मंदीवाद

構築すべきか、構築すべきでないか、それが問題です: テクノオプティミズム vs. 減速主義

건설하느냐, 건설하지 않느냐, 그것이 문제이다: 기술 낙관주의 vs. 감속주의

Construir ou não construir, eis a questão: Tecno-otimismo vs.

Строить или не строить, вот в чем вопрос: технооптимизм против деселерационизма

İnşa Etmek ya da İnşa Etmemek Sorun Bu: Tekno-İyimserlik ve Yavaşlamacılık

Xây dựng hay không xây dựng, đó là câu hỏi: Lạc quan về công nghệ và chủ nghĩa giảm tốc

建设还是不建设，这就是问题：技术乐观主义与减速主义

: I built a bot that automatically sends personalized, context-aware messages to every new listing posted on . The bot found me a flat in Berlin! TLDR wg-gesucht.de If you’re interested in the technical side of this project, feel free to while reading this article! dig through the code Intro As my exchange semester at Technische Universität Berlin approached, I started looking for places to live. Without an existing network in Berlin, I used the website to contact potential flatshares. This was a very repetitive process, and I decided to automate it. wg-geuscht.de Automate the Boring Stuff With JavaScript I set up email alerts for all new potential flats in my price range on and used Google Clouds with a to watch for any incoming email to my Gmail inbox. wg-gesucht.de Pub/Sub service push subscription Once a new email arrives, the service sends a webhook notification to my server. Parsing the Email On the server, written in JavaScript with , I read the latest email in my Gmail inbox and parsed it with Regex to see if the email contained links to any wg-geuscht listings. Express Navigating the Listing For each listing, I spawned a Chromium browser using , an end-to-end testing framework. This allowed me to navigate the website just as one would when interacting with it themselves. I signed into my account, took note of the listing description, and hit send message. Playwright Generating a Message Using GPT-3.5 Turbo The message is generated using with the following prompt: GPT-3.5 Turbo const prompt = `
Can you spice up the following text: "${starterText}"
The updated text should explain why I would fit in the flatshare with the
following listing text: "${listingText}". Add some emojies as well.
Mention that my semester is from September to March, so a stay for that
perioud would be ideal (but Im always flexible)! And if the listing is
written in German, the answer should be in German as well. And if the listing
says I need to say a specific word, start the whole text with that word!
`; The generated message was sent alongside a couple of images of myself. The Result The time it took from a listing that went live to my bot sending a response was around 10 seconds, making me confident in being the first responder. This was the response that secured me a flat: Hallo zusammen! 🦄

Das scheint ja eine richtig coole WG zu sein, in die ich perfekt reinpassen würde! 😄

Ich bin Isak und ich glaube, dass ich perfekt in dein WG-Zimmer passen würde! Mein Semester in Berlin geht von September bis März, also wäre ein Aufenthalt für diesen Zeitraum ideal (aber ich bin auch immer flexibel!). Die Lage der Wohnung klingt super, besonders die Nähe zum RAW-Gelände und zum Boxhagener Platz. Und hey, eine Tram-Station direkt vor der Tür ist auch genial! 🚋

Die Wohnung hört sich toll an, mit Balkon, Badewanne und Waschmaschine. Da fühlt man sich doch gleich wie zuhause! Wenn du Interesse hast, würde ich mich freuen, von dir zu hören. 📞

Liebe Grüße und hoffentlich bis bald!

Isak

P.S. Wenn die Anzeige auf Deutsch ist, dann antworte ich auch gerne auf Deutsch. Aber sei gewarnt, mein Deutsch ist manchmal etwas holprig. Ich verstehe nur Bahnhof! 😄 Closing Thoughts Looking back, I spent more time tinkering with the bot than I would have manually responding to email notifications. But with that being said, I am happy with how this project turned out. I got a lot of good laughs from the silly responses the bot would send, and the frequency of people getting back to me was noticeably increased (most likely because I was their first responder). I recently tried spinning the bot up again, but since my search in June, captcha verification has been implemented on their site. This may be for the better. For all I know, many of the listings themselves were created using ChatGPT.

How I Moved to Berlin Using ChatGPT and JavaScript

কিভাবে আমি ChatGPT এবং JavaScript ব্যবহার করে বার্লিনে চলে এসেছি

Wie ich mit ChatGPT und JavaScript nach Berlin gezogen bin

Cómo me mudé a Berlín usando ChatGPT y JavaScript

Comment j'ai déménagé à Berlin en utilisant ChatGPT et JavaScript

चैटजीपीटी और जावास्क्रिप्ट का उपयोग करके मैं बर्लिन कैसे चला गया

ChatGPT と JavaScript を使用してベルリンに移住した方法

ChatGPT와 JavaScript를 사용하여 베를린으로 이사한 방법

Como me mudei para Berlim usando ChatGPT e JavaScript

Как я переехал в Берлин, используя ChatGPT и JavaScript

ChatGPT ve JavaScript Kullanarak Berlin'e Nasıl Taşındım

Cách tôi chuyển đến Berlin bằng ChatGPT và JavaScript

我如何使用 ChatGPT 和 JavaScript 搬到柏林

The Notebooks of Leonardo Da Vinci — Complete by Leonardo da Vinci, is part of the HackerNoon Books Series. You can jump to any chapter in this book here . PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE Chapter VI. ﻿PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE Leonardo distinctly separates these branches of his subject, as may be seen in the beginning of No. 295. Attempts have been made to cast doubts on the results which Leonardo arrived at by experiment on the perspective of colour, but not with justice, as may be seen from the original text of section 294. The question as to the composition of the atmosphere, which is inseparable from a discussion on Aerial Perspective, forms a separate theory which is treated at considerable length. Indeed the author enters into it so fully that we cannot escape the conviction that he must have dwelt with particular pleasure on this part of his subject, and that he attached great importance to giving it a character of general applicability. General rules (289—291). 289. The variety of colour in objects cannot be discerned at a great distance, excepting in those parts which are directly lighted up by the solar rays. 290. As to the colours of objects: at long distances no difference is perceptible in the parts in shadow. 291. OF THE VISIBILITY OF COLOURS. Which colour strikes most? An object at a distance is most conspicuous, when it is lightest, and the darkest is least visible. An exceptional case. 292. Of the edges [outlines] of shadows. Some have misty and ill defined edges, others distinct ones. No opaque body can be devoid of light and shade, except it is in a mist, on ground covered with snow, or when snow is falling on the open country which has no light on it and is surrounded with darkness. And this occurs [only] in spherical bodies, because in other bodies which have limbs and parts, those sides of limbs which face each other reflect on each other the accidental [hue and tone] of their surface. An experiment. 293. ALL COLOURS ARE AT A DISTANCE UNDISTINGUISHABLE AND UNDISCERNIBLE. All colours at a distance are undistinguishable in shadow, because an object which is not in the highest light is incapable of transmitting its image to the eye through an atmosphere more luminous than itself; since the lesser brightness must be absorbed by the greater. For instance: We, in a house, can see that all the colours on the surface of the walls are clearly and instantly visible when the windows of the house are open; but if we were to go out of the house and look in at the windows from a little distance to see the paintings on those walls, instead of the paintings we should see an uniform deep and colourless shadow. The practice of the prospettiva de colori. 294. HOW A PAINTER SHOULD CARRY OUT THE PERSPECTIVE OF COLOUR IN PRACTICE. In order to put into practice this perspective of the variation and loss or diminution of the essential character of colours, observe at every hundred braccia some objects standing in the landscape, such as trees, houses, men and particular places. Then in front of the first tree have a very steady plate of glass and keep your eye very steady, and then, on this plate of glass, draw a tree, tracing it over the form of that tree. Then move it on one side so far as that the real tree is close by the side of the tree you have drawn; then colour your drawing in such a way as that in colour and form the two may be alike, and that both, if you close one eye, seem to be painted on the glass and at the same distance. Then, by the same method, represent a second tree, and a third, with a distance of a hundred braccia between each. And these will serve as a standard and guide whenever you work on your own pictures, wherever they may apply, and will enable you to give due distance in those works. [14] But I have found that as a rule the second is 4/5 of the first when it is 20 braccia beyond it. [Footnote: This chapter is one of those copied in the Manuscript of the Vatican library Urbinas 1270, and the original text is rendered here with no other alterations, but in the orthography. H. LUDWIG, in his edition of this copy translates lines 14 and 15 thus: "Ich finde aber als Regel, dass der zweite um vier Funftel des ersten abnimmt, wenn er namlich zwanzig Ellen vom ersten entfernt ist (?)". He adds in his commentary: "Das Ende der Nummer ist wohl jedenfalls verstummelt". However the translation given above shows that it admits of a different rendering.] The rules of aerial perspective (295—297). 295. OF AERIAL PERSPECTIVE. There is another kind of perspective which I call Aerial Perspective, because by the atmosphere we are able to distinguish the variations in distance of different buildings, which appear placed on a single line; as, for instance, when we see several buildings beyond a wall, all of which, as they appear above the top of the wall, look of the same size, while you wish to represent them in a picture as more remote one than another and to give the effect of a somewhat dense atmosphere. You know that in an atmosphere of equal density the remotest objects seen through it, as mountains, in consequence of the great quantity of atmosphere between your eye and them—appear blue and almost of the same hue as the atmosphere itself [Footnote 10: quado il sole e per leuante (when the sun is in the East). Apparently the author refers here to morning light in general. H. LUDWIG however translates this passage from the Vatican copy "wenn namlich die Sonne (dahinter) im Osten steht".] when the sun is in the East [Footnote 11: See Footnote 10]. Hence you must make the nearest building above the wall of its real colour, but the more distant ones make less defined and bluer. Those you wish should look farthest away you must make proportionately bluer; thus, if one is to be five times as distant, make it five times bluer. And by this rule the buildings which above a [given] line appear of the same size, will plainly be distinguished as to which are the more remote and which larger than the others. 296. The medium lying between the eye and the object seen, tinges that object with its colour, as the blueness of the atmosphere makes the distant mountains appear blue and red glass makes objects seen beyond it, look red. The light shed round them by the stars is obscured by the darkness of the night which lies between the eye and the radiant light of the stars. 297. Take care that the perspective of colour does not disagree with the size of your objects, hat is to say: that the colours diminish from their natural [vividness] in proportion as the objects at various distances dimmish from their natural size. On the relative density of the atmosphere (298—290). 298. WHY THE ATMOSPHERE MUST BE REPRESENTED AS PALER TOWARDS THE LOWER PORTION. Because the atmosphere is dense near the earth, and the higher it is the rarer it becomes. When the sun is in the East if you look towards the West and a little way to the South and North, you will see that this dense atmosphere receives more light from the sun than the rarer; because the rays meet with greater resistance. And if the sky, as you see it, ends on a low plain, that lowest portion of the sky will be seen through a denser and whiter atmosphere, which will weaken its true colour as seen through that medium, and there the sky will look whiter than it is above you, where the line of sight travels through a smaller space of air charged with heavy vapour. And if you turn to the East, the atmosphere will appear darker as you look lower down because the luminous rays pass less freely through the lower atmosphere. 299. OF THE MODE OF TREATING REMOTE OBJECTS IN PAINTING. It is easy to perceive that the atmosphere which lies closest to the level ground is denser than the rest, and that where it is higher up, it is rarer and more transparent. The lower portions of large and lofty objects which are at a distance are not much seen, because you see them along a line which passes through a denser and thicker section of the atmosphere. The summits of such heights are seen along a line which, though it starts from your eye in a dense atmosphere, still, as it ends at the top of those lofty objects, ceases in a much rarer atmosphere than exists at their base; for this reason the farther this line extends from your eye, from point to point the atmosphere becomes more and more rare. Hence, O Painter! when you represent mountains, see that from hill to hill the bases are paler than the summits, and in proportion as they recede beyond each other make the bases paler than the summits; while, the higher they are the more you must show of their true form and colour. On the colour of the atmosphere (300-307). 300. OF THE COLOUR OF THE ATMOSPHERE. I say that the blueness we see in the atmosphere is not intrinsic colour, but is caused by warm vapour evaporated in minute and insensible atoms on which the solar rays fall, rendering them luminous against the infinite darkness of the fiery sphere which lies beyond and includes it. And this may be seen, as I saw it by any one going up [Footnote 5: With regard to the place spoken of as M'oboso (compare No. 301 line 20) its identity will be discussed under Leonardo's Topographical notes in Vol. II.] Monboso, a peak of the Alps which divide France from Italy. The base of this mountain gives birth to the four rivers which flow in four different directions through the whole of Europe. And no mountain has its base at so great a height as this, which lifts itself almost above the clouds; and snow seldom falls there, but only hail in the summer, when the clouds are highest. And this hail lies [unmelted] there, so that if it were not for the absorption of the rising and falling clouds, which does not happen twice in an age, an enormous mass of ice would be piled up there by the hail, and in the middle of July I found it very considerable. There I saw above me the dark sky, and the sun as it fell on the mountain was far brighter here than in the plains below, because a smaller extent of atmosphere lay between the summit of the mountain and the sun. Again as an illustration of the colour of the atmosphere I will mention the smoke of old and dry wood, which, as it comes out of a chimney, appears to turn very blue, when seen between the eye and the dark distance. But as it rises, and comes between the eye and the bright atmosphere, it at once shows of an ashy grey colour; and this happens because it no longer has darkness beyond it, but this bright and luminous space. If the smoke is from young, green wood, it will not appear blue, because, not being transparent and being full of superabundant moisture, it has the effect of condensed clouds which take distinct lights and shadows like a solid body. The same occurs with the atmosphere, which, when overcharged with moisture appears white, and the small amount of heated moisture makes it dark, of a dark blue colour; and this will suffice us so far as concerns the colour of the atmosphere; though it might be added that, if this transparent blue were the natural colour of the atmosphere, it would follow that wherever a larger mass air intervened between the eye and the element of fire, the azure colour would be more intense; as we see in blue glass and in sapphires, which are darker in proportion as they are larger. But the atmosphere in such circumstances behaves in an opposite manner, inasmuch as where a greater quantity of it lies between the eye and the sphere of fire, it is seen much whiter. This occurs towards the horizon. And the less the extent of atmosphere between the eye and the sphere of fire, the deeper is the blue colour, as may be seen even on low plains. Hence it follows, as I say, that the atmosphere assumes this azure hue by reason of the particles of moisture which catch the rays of the sun. Again, we may note the difference in particles of dust, or particles of smoke, in the sun beams admitted through holes into a dark chamber, when the former will look ash grey and the thin smoke will appear of a most beautiful blue; and it may be seen again in in the dark shadows of distant mountains when the air between the eye and those shadows will look very blue, though the brightest parts of those mountains will not differ much from their true colour. But if any one wishes for a final proof let him paint a board with various colours, among them an intense black; and over all let him lay a very thin and transparent [coating of] white. He will then see that this transparent white will nowhere show a more beautiful blue than over the black—but it must be very thin and finely ground. [Footnote 7: reta here has the sense of malanno.] 301. Experience shows us that the air must have darkness beyond it and yet it appears blue. If you produce a small quantity of smoke from dry wood and the rays of the sun fall on this smoke, and if you then place behind the smoke a piece of black velvet on which the sun does not shine, you will see that all the smoke which is between the eye and the black stuff will appear of a beautiful blue colour. And if instead of the velvet you place a white cloth smoke, that is too thick smoke, hinders, and too thin smoke does not produce, the perfection of this blue colour. Hence a moderate amount of smoke produces the finest blue. Water violently ejected in a fine spray and in a dark chamber where the sun beams are admitted produces these blue rays and the more vividly if it is distilled water, and thin smoke looks blue. This I mention in order to show that the blueness of the atmosphere is caused by the darkness beyond it, and these instances are given for those who cannot confirm my experience on Monboso. 302. When the smoke from dry wood is seen between the eye of the spectator and some dark space [or object], it will look blue. Thus the sky looks blue by reason of the darkness beyond it. And if you look towards the horizon of the sky, you will see the atmosphere is not blue, and this is caused by its density. And thus at each degree, as you raise your eyes above the horizon up to the sky over your head, you will see the atmosphere look darker [blue] and this is because a smaller density of air lies between your eye and the [outer] darkness. And if you go to the top of a high mountain the sky will look proportionately darker above you as the atmosphere becomes rarer between you and the [outer] darkness; and this will be more visible at each degree of increasing height till at last we should find darkness. That smoke will look bluest which rises from the driest wood and which is nearest to the fire and is seen against the darkest background, and with the sunlight upon it. 303. A dark object will appear bluest in proportion as it has a greater mass of luminous atmosphere between it and the eye. As may be seen in the colour of the sky. 304. The atmosphere is blue by reason of the darkness above it because black and white make blue. 305. In the morning the mist is denser above than below, because the sun draws it upwards; hence tall buildings, even if the summit is at the same distance as the base have the summit invisible. Therefore, also, the sky looks darkest [in colour] overhead, and towards the horizon it is not blue but rather between smoke and dust colour. The atmosphere, when full of mist, is quite devoid of blueness, and only appears of the colour of clouds, which shine white when the weather is fine. And the more you turn to the west the darker it will be, and the brighter as you look to the east. And the verdure of the fields is bluish in a thin mist, but grows grey in a dense one. The buildings in the west will only show their illuminated side, where the sun shines, and the mist hides the rest. When the sun rises and chases away the haze, the hills on the side where it lifts begin to grow clearer, and look blue, and seem to smoke with the vanishing mists; and the buildings reveal their lights and shadows; through the thinner vapour they show only their lights and through the thicker air nothing at all. This is when the movement of the mist makes it part horizontally, and then the edges of the mist will be indistinct against the blue of the sky, and towards the earth it will look almost like dust blown up. In proportion as the atmosphere is dense the buildings of a city and the trees in a landscape will look fewer, because only the tallest and largest will be seen. Darkness affects every thing with its hue, and the more an object differs from darkness, the more we see its real and natural colour. The mountains will look few, because only those will be seen which are farthest apart; since, at such a distance, the density increases to such a degree that it causes a brightness by which the darkness of the hills becomes divided and vanishes indeed towards the top. There is less [mist] between lower and nearer hills and yet little is to be distinguished, and least towards the bottom. 306. The surface of an object partakes of the colour of the light which illuminates it; and of the colour of the atmosphere which lies between the eye and that object, that is of the colour of the transparent medium lying between the object and the eye; and among colours of a similar character the second will be of the same tone as the first, and this is caused by the increased thickness of the colour of the medium lying between the object and the eye. 307. OF PAINTING. Of various colours which are none of them blue that which at a great distance will look bluest is the nearest to black; and so, conversely, the colour which is least like black will at a great distance best preserve its own colour. Hence the green of fields will assume a bluer hue than yellow or white will, and conversely yellow or white will change less than green, and red still less. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Leonardo da Vinci (2004). The Notebooks of Leonardo Da Vinci — Complete. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/5000/pg5000.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at https://www.gutenberg.org/policy/license.html .

PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE

Today, most people with opt to deal with their condition with the help of a continuous glucose monitor or CGMs. Since finger prick testing is not really convenient, CGMs are a great option. And they give a surge of information nonstop as well. However, most data is useless unless the right tools are used to analyze it. diabetes CGMs is a system used to follow glucose levels at daytime and nights. CGM systems measure glucose levels at customary interims, 24 hours every day, and make an interpretation of the readings into dynamic information, generating glucose direction and rate of change. This is when Sugarmate joins the party. Basically, it is a that offers you an alternative approach to manage your diabetes. Sugarmate's founder Josh Juster has type 1 diabetes and has been living with it for more than 25 years. He made Sugarmate as an approach to help other people in the network, by consolidating his enthusiasm for diabetes tech and buyer programming advancement. software The Sugarmate concept appeared when Josh started using the GCM. Josh also had an Apple Watch and thought it'd be more convenient to see all the data on the watch's face. However, there was a minor blemish. Apple puts a hard limit on how often each app can update the watch’s face. So Josh has come up with a brilliant idea to squeeze the software into the Apple calendar . Since the calendar app can update the watch face with no restrictions, building an app that could push his glucose monitor’s readings into a calendar could be viewable on . And this is how Sugarmate appeared. App Apple Watch Sugarmate offers quite a few unique features that can save somebody’s life: Below Normal Call It makes an automatic phone call to the user’s chosen number when your readings are below normal and you are sleeping. Urgent Low SMS You can text friends or family with your location if your sugar level drops too low. The text is automatically sent to your emergency number when you are in a dangerous condition. Additional Alerts These are customizable alerts for when you're climbing, falling or you're steady but high. As a lean group, the Sugarmate team depends on Heroku and outsider adds-on to robotize their tasks. Usually, the team can deal with their dynos manually as new clients join. However, a few situations require committed preparing assets. For instance, when a client demands a report in the application, Sugarmate's back-end utilizes an outsider instrument called HireFire to consequently convey another dyno explicitly to process that report. When the report is delivered, the dyno closes down. Built for iPhone, iPad, , CarPlay, Web, Mac & Amazon Alexa, Android, and Windows, Sugarmate makes your everyday life hassle-free and helps get the most out of your CGM. Apple Watch Read the whole story here: Read more yummy stories: Improving the Lives of People with Diabetes Created by Tatsiana Isakova What's Inside Junk Food? How Come Junk Food is Still An Epidemic? Machine Learning Food Datasets Collection Meal Planning Introduction Digital Transformation of Restaurant Industry Will Amazon Go Grocery Improve Our Shopping? How Italy Fighting with Food Waste How Walmart is Growing Food Subscription Business Food Tech Stories: Yummy Trends in 2020 Credits Photo by on Rahul Chakraborty Unsplash Photo by on Free To Use Sounds Unsplash Photo by on Jay Wennington Unsplash

Food Tech Stories: How Sugarmate Helps People With Diabetes

Dieser Artikel dient als Auftakt zu Bitcoin und anderen Kryptowährungen über Hackernoon. Das Ziel ist es so viele Menschen wie möglich mit wichtigen Informationen rund um Bitcoin und Co. zu versorgen und sie zum Nachdenken zu bringen. Denn Bitcoin ist nicht so einfach, wie es auf den ersten Blick scheinen mag. Er ist wie der Wolf im Schafspelz. Je tiefer man gräbt, desto mehr Informationen, Zusammenhänge und Fragen entstehen üblicherweise. Daher wird Bitcoin auch oft mit einem Kaninchenbau (Rabbit Hole) verglichen. Sobald man den Kaninchenbau betreten hat, wird man auf dem Weg nach unten viele verschiedene Abzweigungen finden, die es sich lohnt zu verfolgen. Denn am Ende ist das Zusammenspiel aus allen relevanten Faktoren wichtig. Erst dann kann man das Potential von BTC richtig bemessen und eine vorsichtige Prognose für die Zukunft machen. Heute sprechen wir über Bitcoin UTXOs und welche Informationen wir daraus ziehen können. In diesem Zusammenhang gehen wir kurz auf das Bitcoin Halving und das Stock to Flow Verhältnis ein. Hier geht es um harte Fakten, anstatt um irgendwelche Mondprognosen. Viel Spaß mit dem ersten Artikel von . Bitcoin2Go Was genau ist ein UTXO? Unter UTXO versteht man im Bitcoin Universum “Unspent Transaction Output”. Die Summe aller UTXO einer Bitcoin Adresse repräsentieren das jeweilige Guthaben. Das sogenannte UTXO-Set repräsentiert hingegen die Summe aller UTXOs. In diesem Set finden wir also den Status Quo über die aktuelle Anzahl an BTC im Netzwerk. Durch die Bitcoin UTXOs können wir also nicht nur sagen auf welcher Adresse sich wie viel Guthaben versteckt, sondern genau sagen, wie viele BTC für welchen Zeitraum nicht mehr bewegt wurden. Das hilft uns das Anlageverhalten der Investoren besser zu analysieren. Wie viele Bitcoins wurden mehr als ein Jahr nicht mehr bewegt? Um diese Frage zu beantworten, müssen wir den Bitcoin UTXO Age Distribution Chart zur Hilfe nehmen. In diesem Chart lassen sich alle UTXOs und deren jeweiliges Alter ablesen. Es ist ein gestapeltes Flächendiagramm, bei dem alle verfügbaren Bitcoins in farblich unterschiedliche Altersklassen (=Schichten) dargestellt werden und beschreibt dabei deren Veränderung in Abhängigkeit der Zeit. Bitcoin UTXO Age Distribution Chart. Quelle: https://www.noncedata.com/servlet/web/Dashboard_selectPage In diesem Chart werden die verschiedenen UTXOs nach ihrem Alter in farbige Altersklassen eingeordnet. Dadurch könne wir genau sagen wie viele Bitcoin für wie lange nicht mehr bewegt wurden. Für unser Beispiel wollen wir die Frage beantworten, wie viele Bitcoins länger als ein Jahr nicht mehr bewegt wurden. Hierzu gehen wir zurück auf den Interaktiven Chart (Link findest du unter dem Chart) und fahren mit der Maus nach rechts außen, um das aktuelle Alter und Anzahl der UTXOs zu sehen. Insgesamt wurden ca. 63% aller in Umlauf befindlichen Bitcoins mehr als ein Jahr nicht mehr bewegt. Das sind bei einer umlaufenden Menge von ca. 18.38 Millionen BTC umgerechnet ca. 11,5 Millionen BTC. Es wurden also knapp 2/3 aller Bitcoins länger als ein Jahr nicht mehr transferiert. Das heißt also, dass Investoren zunehmen bullish sind und ihre Bitcoin Position weiter ausbauen, um auf das nächste Bitcoin Kurs Allzeithoch zu warten. Für weitere Informationen zu UTXOs, wie Bitcoin Transaktionen grundsätzlich aufgebaut sind, wie du den Bitcoin UTXO Age Distribution Chart verwendest und was es mit den Bitcoin Hodl Waves auf sich hat, empfehlen wir dir . diesen Artikel Welche Rolle spielt dabei das Bitcoin Halving? Das Bitcoin Halving wurde in den letzten Wochen intensiv behandelt. Leider waren viele Informationen rund um das Halving entweder sehr einseitig oder grundsätzlich falsch. Daher wollen wir in ein paar Sätzen die grundsätzliche Funktion vom Bitcoin Halving erklären. Zudem spielt das Verständnis davon eine wichtige Rolle für den letzten Abschnitt dieses Artikels. Wer direkt etwas tiefer in das Bitcoin Halving einsteigen will, dem empfehlen wir folgenden Artikel: https://bitcoin-2go.de/bitcoin-halving/ Das dritte Bitcoin Halving fand erst vor wenigen Tagen statt. Am 11.05.2020 wurde die BTC Geschichte um einen weiteren fundamentalen Einschnitt erweitert. Viele Bitcoiner haben diesem Tag schon seit mehreren Monaten und Jahren entgegengefiebert. Doch warum ist dieses regelmäßige Event so wichtig für das Bitcoin Ökosystem? Hierzu müssen wir erstmal verstehen wie überhaupt neue Bitcoins entstehen. Insgesamt kann es nicht mehr als 21 Millionen BTC geben — soweit, sogut. Aktuell befinden sich ca. 18,38 Millionen BTC bereits in Umlauf. Bedeutet also, dass noch weitere 2,62 Millionen BTC über die nächsten Jahr entstehen werden. Um genauer zu sein, wird die maximale Anzahl voraussichtlich im Jahr 2140 erreicht. Neue Bitcoins entstehen durch neue Blöcke. Miner investieren ihre Computerleistung, um auf die Suche nach neuen Blöcken zu gehen. Sobald ein valider Block gefunden wurde, bekommt der Miner eine Belohnung (Block Reward) in Form von BTC. Diese Belohnung wird mit jedem Halving halbiert. Vor dem letzten Halving sind ca. 1.800 neue BTC jeden Tag neu entstanden. Aktuell nur noch ca. 900 BTC pro Tag. In 4 Jahren reduziert sich diese Anzahl weiter auf 450 BTC usw. Das Halving reduziert also regelmäßig das Angebot an neuen Bitcoins. Dadurch wird Bitcoin noch knapper und seltener. BTC wird sozusagen mit jedem Halving “härter”. An dieser Stelle haben wir eine perfekte Überleitung zum Stock to Flow Verhältnis, womit die Härte eines Gutes bestimmt werden kann. Was ist das Stock to Flow Verhältnis? Das bestimmt die Härte eines Gutes. Je härter das Gut, desto besser eignet es sich als Wertaufbewahrungsmittel. Es wird schon seit vielen Jahren bei Edelmetallen angewandt, um die verschiedenen Härtegrade zu bestimmen und miteinander zu vergleichen. Stock to Flow Verhältnis Das Stock to Flow wird bestimmt indem die umlaufende Menge ( ) durch die jährliche Produktionsrate ( ) geteilt wird. Je höher der Quotient, desto härter ist das zugrundeliegende Gut. stock flow Das Stock to Flow Verhältnis von Bitcoin können wir demnach wie folgt bestimmen: Umlaufende Menge: ca. 18.360.000 BTC Jährliche Produktionsrate : 900 BTC * 365 Tage= 328.500 BTC Bitcoin Stock to Flow Verhältnis = 18.360.000 / 328.500 = 55,89 Zum Vergleich liegt das Stock to Flow Verhältnis von Silber bei ca. 25 und das von Gold bei ca. 62. Bitcoin ist also mehr als doppelt so hart wie Silber und fast so hart wie Gold. Beim nächsten Halving wird sich dieses Verhältnis mehr als verdoppelt und Gold eindeutig hinter sich lassen. Ab diesem Zeitpunkt wird Bitcoin das härteste Gut in der Menschheitsgeschichte. Die Vergangenheit hat gezeigt, dass der Mensch immer das härteste Gut wählt, um seine Werte aufzubewahren. Daher ist es nur eine Frage der Zeit bis sich Bitcoin als digitales Gold durchsetzt. Alles was Bitcoin dafür tun muss ist überleben. Wenn du bereits länger mit dem Gedanken spielst in Bitcoin zu investieren, dann könnten dir folgende Artikel bei der Auswahl der richtigen Handelsplattform helfen: Bitcoin Börsen Vergleich: https://bitcoin-2go.de/wo-bitcoin-kaufen/ Bitcoin kaufen Schritt für Schritt Anleitung: https://bitcoin-2go.de/bitcoin-kaufen-anleitung/ Bitcoin kaufen mit SOFORT-Überweisung: https://bitcoin-2go.de/bitcoin-kaufen-sofortueberweisung/ Bitcoin kaufen mit PayPal: https://bitcoin-2go.de/bitcoin-kaufen-mit-paypal/ Wir hoffen, dass dir der Artikel gefallen hat.

Warum Bitcoin aktuell aus fundamentaler Sicht extrem bullish ist

Are you looking for Top Benefits and Trends of Blockchain, Ethereum & Hyperledger in 2019? Have a look at some blockchain trends and blockchain benefits that will rule 2019: The blockchain technologies (Ethereum & Hyperledger) are at the peak of hype, research, and debate for tech giants and large corporations across the world. As it was in the last year, there are whole new sets of blockchain benefits and blockchain trends which will be followed by blockchain development companies and businesses in 2019. As per a research report by IDC, a total of over $1.5 Billion have already been spent by companies on blockchain technology like ethereum & hyperledger as of October 2018. This number is expected to reach a whopping $11.7 billion by the year 2022, at a CAGR of 73.2%. Statista also reveals that the size of the Blockchain market will reach an estimated value of US $2.3 Billion by the year 2021. Complimenting such estimates, Upwork’s 2018 quarterly index of top skills in the US market reported Blockchain development is the most sought-after skill out of 20 most relevant skill sets. So what are the top Blockchain benefits and trends in 2019? You’ll find the answer to this question as you read ahead. First up, here are the blockchain trends of 2019: Blockchain Trend 1- New ecosystems & business models created by Blockchain: Around the time Blockchain development was at the peak of its hype in 2017, a McKinsey report stated that the underlying technology behind the bitcoin revolution would create new business ecosystems to the tune of over $50 trillion by the year 2025. Fast-forward to 2 years, companies like Kodak (which failed to capitalize on the Digital revolutions in the 1990s and paid a heavy price), are now filing ICOs and creating new ecosystems. The now dethroned king in the photography business- Kodak is now planning for a resurgence with , a blockchain-based image rights management platform created in collaboration with WENN digital. KODAKOne 2019 might see similar innovative blockchain benefits used by firms, with new ecosystems helping corporations and consumers to capitalize on the promises of the blockchain Tech. Blockchain Trend 2: The rise of Ricardian contracts in Blockchain: The use of smart contracts (a program that automates the execution of agreements between two parties based on terms and conditions coded in a machine-readable language) in the Ethereum Blockchain platform spewed up myriad posts and articles on the internet, with thoughts on how Smart contracts can revolutionize entire industries and activities. This year, Ricardian contracts might perhaps one-up the former in the game of blockchain benefits and additions, and give enthusiasts and CIOs a new trend to catch up to. In essence, the most basic difference between a Smart contract and a Ricardian contract is that while the former consists of machine-readable code which executes the action that both parties in a contract are bound- the latter is both machine and human readable, and is, in fact, a human-created agreement that is translated into a form readable by software. The creator of Ricardian contracts, Ian Grigg defines it as “a digital contract that deﬁnes the terms and conditions of interaction, between two or more peers, that is cryptographically signed and veriﬁed. Importantly it is both human and machine readable and digitally signed”. Blockchain Trends 3: The growth of BaaS (Blockchain as a service): Just like how enterprise software such as SAP platforms help businesses to manage operations, 2019 will be a year when we’ll see new platforms offering companies with a decent list of templates to choose for implementing a blockchain network of their choosing. Using platforms for such technology saves time in the creation of specialized platforms which cost time and money. This is known as BaaS, or Blockchain as a service, a cloud-based service through which companies can readily leverage the power of blockchain without the need for understanding the core of technology and bearing the headache of its setup and infrastructure. Companies such as Amazon with AWS, Microsoft with its Azure cloud services and Oracle are already providing such BaaS platforms for a few well-known clients. However, 2019 will encourage more enterprises to rely on BaaS, harness blockchain benefits and move ahead of the competition. Blockchain Trends 4: Hybrid Blockchain There are mainly two types of Blockchain networks: public blockchain networks and private blockchain networks. A public blockchain network is one which provides the best of blockchain benefits. It is transparent, decentralized, immutable and distributed and can have incredible use cases in the public domain. However, public blockchains are limited in the fact that these networks are slow and transactions take a lot of time due to encryption methods such as proof of stake. Now let’s talk about private blockchain networks. Private blockchain networks are mostly similar to a public blockchain. But these are centralized, meaning that the networks are owned either by an individual or an enterprise. The owner(s) of a blockchain network can thus restrict read/edit permissions to the other users of the network. While a private blockchain moves away with the benefit of decentralization, such networks are much faster and cheaper as they can be controlled by a specific amount of users and the consensus can be regulated. What is a hybrid blockchain? A hybrid blockchain is the amalgamation of both public and private blockchain. SO how does hybrid blockchain work? In principle, a hybrid blockchain is centralized, i.e., owned by an entity. But such a network works in two different states, one would be a private state and the other, a public state of blockchain network. The advantage of hybrid blockchain networks is that certain parts of the network can be kept public, and certain parts private. This would be cheaper and faster than a public blockchain, at the same time also allows access to the blockchain benefits of the same. Enterprises and governments are expected to push forward towards implementation of hybrid blockchain networks in 2019. Blockchain trends 5: Tokenization of assets on Blockchain One important feature of a blockchain network is the fact that data stored on it is immutable by nature. This means that any transaction that takes place/any data that is added can never be tampered with or removed. This feature will find an incredible utility in 2019 with the tokenization of digital assets. In fact, blockchain tokenization can also apply to physical assets such as real estate. To understand how it would work, imagine that a physical asset is valued at $100,000. This asset can be tokenized on a blockchain network with its digital representation consisting of 100,000 tokens. Now, buyers can buy a specific amount of tokens to own a certain percentage of this digital representation of the physical asset being tokenized. Say, for example, owing 50,000 tokens would equate to 50% stake in ownership of the asset. The transaction data that led to this ownership will go through a consensus method, and would eventually become an immutable record on a blockchain network. Though this method does have certain limitations with regard to legal aspects, 2019 might be the year where we’ll see new regulations put in place to facilitate and control tokenization through blockchain. Now that you’re acquainted with the blockchain trends in 2019. It’s time to know the blockchain benefits, and how this technology can be useful across various industries and businesses. Blockchain benefits with IoT The core promise of the blockchain technology is of a trustless and secure network. While that indeed is a big deal in 2019, blockchain needs something to compliment itself in order to serve in the best possible way. Enter the Internet of Things. The use of IoT devices will result in over 20 billion things connected to the internet by the end of 2020. But the greatest threat to such an interconnected world is that of security, one which blockchain promises to resolve. Blockchain networks possess high resistance to cyber hacking and attacks. Having IoT data pass through these networks could potentially make IoT devices more secure than ever before. Blockchain benefits for the public sector According to IDC, over 150 million people will have a blockchain-based digital identity by the year 2022. Digital identification has one of the most hyped use cases for blockchain benefits ever since it gained popularity. Having a form of identity proof recognizable by entities, institutions and the government is essential for accessing services facilitating life and growth. However, the current mediums of identity verification are simply not efficient enough for any government or entity to keep track of. This is why over 45 governments were involved in the development of over 200 blockchain-based initiatives for identity verification in 2018. Thus we can expect that 2019 will be the year when finally we’ll come to see digital identification methods based on blockchain being put into practice. Blockchain Benefits for Retail & Manufacturing The decentralized and distributed nature of the blockchain can be incredibly useful in supply chain management. It’s use cases involve tracking of raw materials for manufacturing processes, as well as tracking the source of organic foods. Among those who’ll benefit from the use of blockchain in retail will be regulatory agencies and end consumers, who can gather verified data through blockchain networks to determine counterfeit products and verify the authenticity of any purchased goods. According to Gartner, 30% of the total manufacturing companies with annual turnover of over $5 Billion will derive these blockchain benefits for safety and efficiency in their business. In fact, retail giants such as Walmart and Carrefour are already ready to deploy blockchain-based food-tracking systems in 2019. Blockchain benefits in Healthcare One of the greatest use cases of blockchain technology comes in the healthcare sector. In a world without blockchain, it happens very often that data collected from patients turn out to be far from accurate. Inaccurate data can have huge implications in the longer turn as this data is also put to use by medical students and professionals for research purposes. The immutable nature of blockchain can prove useful in cases such as these. Storing patient data on blockchain networks can help to achieve two main goals. The first of these is to allow patients to claim ownership of their data. The second primary goal is to enable efficient access to such data to researchers and medical professionals. Blockchain can also help prevent drug counterfeiting, a practice which presents a loss of over 10.2 Billion Euros to the European pharmaceutical industry each year. This can provide a deeper understanding of blockchain use cases in the healthcare sector. linked blog from IBM Blockchain benefits in Insurance The annual SAP digital transformation executive study reveals that executives in the banking & insurance sector plan to double their investments in 2019. This reflects the reports of another recent survey as per which nearly 70% of health insurers in the US plan to invest in blockchain development this year. The Insurance sector is without a doubt, one of the most important sectors in need of great blockchain benefits. Insurance companies rely on a huge amount of data for the execution of policies and processing transactions. Through the use of complementary technologies such as IoT and smart contracts, using blockchain can help companies store, validate records and facilitate an efficient process of registering claims for those insured. Top insurance corporations such as Liberty Mutual, Swiss RE, Allianz, and Aegon have already jumped on the blockchain bandwagon with the launch of their B3i initiative. It is a startup platform which aims to use blockchain for delivering secure and transparent access to services for insured customers. Key Takeaways: We started with a question- what are the top blockchain benefits and trends in 2019? By now, I believe you’d be well-acquainted with the knowledge of the top blockchain trends and blockchain benefits that will impact 2019. The blockchain benefits might have also helped you understand how blockchain development is shaping our present and making way for a more transparent, secure and independent future. Here are a few takeaways: Corporations and governments will attain more literacy towards blockchain use cases and their applications in 2019. Enterprises will be more willing to invest in blockchain development by using BaaS through top cloud platform providers such as Microsoft Azure and Oracle. Programs such as smart contracts and Ricardian contracts will move us closer towards automated documentation and identity verification procedures we’ll likely see in future. The use of hybrid blockchain development will be encouraged by enterprises and governments. We might see new legal regulations formed and implemented for the tokenization of assets. More blockchain use cases will be formed, in which we’ll see it combined with advancements such as AI and IoT. Do you like reading the article? Please share your thoughts in the comment box. Thanks!

What are Blockchain Benefits and Trends in 2019?

At CES 2018, Kodak announced the launching of the KodakOne protocol, a virtual economy that revolved around the photographer. It seemed like convenient timing- the total market capitalization for cryptocurrencies was nearing an all-time high at 800 billion USD. Green was across the board for a large majority of tokens across all major exchanges. Incidentally, Eastman Kodak’s stock on the New York Stock Exchange skyrocketed by conventional metrics. In a span of three days (from January 8th to January 10th), the price of Kodak’s stock nearly tripled from $3.10 to $10.70. As of Friday, May 4th, KODK traded at $5.29 on the New York Stock Exchange. Does the KodakOne announcement indicate their intentions to capitalize on the crypto hype or is it inherently valuable? I recently sat down with , CEO of , and Philipp Köhn, COO of KodakOne at a quaint café located in Venice, California. We spent the better part of an hour digging deep into the tedious compensatory process photographers face, and how Wenn Digital (the company partnering with Kodak to develop the KodakOne blockchain protocol) plans to empower photographers and protect photographers’ intellectual property. Jan Denecke KodakOne What problem is KodakOne trying to solve? As it stands, the infringement of one’s photograph takes about one to two clicks. Within a very short period of time, a photographer’s content can be unrightfully used on hundreds of websites. In the current space, photographers contract technical providers to run web crawlers (which essentially scope out the entire web to identify where their photos are being used). Upon realizing that their photo has been used , a photographer will then have to hire a legal team to identify, and contact the website administrators, and depending on the jurisdiction, issue cease and desist letters. x number of times As a result, photographers spend considerable time and money fulfilling the time-consuming and expensive responsibilities of a de factor project manager in infringement checking, according to Köhn. Significant amounts of money must be distributed proportionally to all parties involved in the process; this oftentimes defeats the entire purpose of a photographer’s seeking compensation in the first place. “ What a lot of people don’t realize is that the moment a digital asset is released on the Internet, you don’t know where it’s going. Blockchain is solving that problem- you’ll know exactly where the image is going, and you’ll know how to control it.” — Jan Denecke, CEO KodakOne Legal boundaries concerning copyright infringement vary from territory to territory. By creating a distributed ledger and integrating artificial intelligence to run crawlers, the middleman is eliminated (which cuts down on time and costs for the photographer). The photographer clearly sees where the photo is being used and thus be compensated accordingly, with KodakCoin. The ability to track the distribution of photographs on the distributed ledger can hopefully turn would-be infringers into future clients. How will they solve the problem in the short-term? Over the course of the next twelve months, the KodakOne team will focus heavily on product development, community building and management. The KodakOne platform is slated to have a beta opening in December, with curated partnerships with some renowned photography agencies and photographers. The full launch of the KodakOne platform is slated for Q3 and Q4 of 2019. One of the most critical points, according to Köhn, is building the community and inviting photographers from all over the world to take advantage of the KodakOne platform. The team even envisions a marketplace, to be established later down the road, that streamlines all verticals within the image creation process. The KodakCoin would enable photographers to book flights, book hotel rooms, contract out models, and purchase camera equipment from major manufacturers. A huge hurdle that could prevent the network effect with the protocol is simply unawareness of how the blockchain could benefit image creators. Leading up to the official launch of the KodakOne platform in Q3 and Q4 of 2019, significant efforts will be made in outreach and community management to educate the public and develop the virtual photographer economy. Its most recent task on the roadmap: wrapping up Reg-D investment approval by the Securities and Exchange Commission (which would enable high net-worth or institutional investors to participate in the ICO). What do you think? Will KodakOne effectively empower photographers with their protocol? If you liked this content, please subscribe to . You will get early beta access to Lunar Labs, a suite of tools to optimize your cryptocurrency trading experience, as well as the latest crypto news and market updates sent directly to your email. You can also visit our site by to learn more about what we do! our mailing list here clicking here Originally published at lunardigitalassets.com on May 14, 2018.

Interview with KodakOne: Is Kodak Capitalizing on the Crypto Hype?

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