In corpus linguistics, a hapax legomenon ( also or ; pl. hapax legomena; sometimes abbreviated to hapax, plural hapaxes) is a word or an expression that occurs only once within a context: either in the written record of an entire language, in the works of an author, or in a single text. The term is also sometimes used to describe a word that occurs in just one of an author's works but more than once in that particular work. Hapax legomenon is a transliteration of Greek ἅπαξ λεγόμενον, meaning "said once". The related terms dis legomenon, tris legomenon, and tetrakis legomenon respectively (, , ) refer to double, triple, or quadruple occurrences, but are far less commonly used. Hapax legomena are quite common, as predicted by Zipf's law, which states that the frequency of any word in a corpus is inversely proportional to its rank in the frequency table. For large corpora, about 40% to 60% of the words are hapax legomena, and another 10% to 15% are dis legomena. Thus, in the Brown Corpus of American English, about half of the 50,000 distinct words are hapax legomena within that corpus. Hapax legomenon refers to the appearance of a word or an expression in a body of text, not to either its origin or its prevalence in speech. It thus differs from a nonce word, which may never be recorded, may find currency and may be widely recorded, or may appear several times in the work which coins it, and so on. == Significance == Hapax legomena in ancient texts are usually difficult to decipher, since it is easier to infer meaning from multiple contexts than from just one. For example, many of the remaining undeciphered Mayan glyphs are hapax legomena, and Biblical (particularly Hebrew; see § Hebrew) hapax legomena sometimes pose problems in translation. Hapax legomena also pose challenges in natural language processing. Some scholars consider Hapax legomena useful in determining the authorship of written works. P. N. Harrison, in The Problem of the Pastoral Epistles (1921) made hapax legomena popular among Bible scholars, when he argued that there are considerably more of them in the three Pastoral Epistles than in other Pauline Epistles. He argued that the number of hapax legomena in a putative author's corpus indicates his or her vocabulary and is characteristic of the author as an individual. Harrison's theory has faded in significance due to a number of problems raised by other scholars. For example, in 1896, W. P. Workman found the following numbers of hapax legomena in each Pauline Epistle: At first glance, the last three totals (for the Pastoral Epistles) are not out of line with the others. To take account of the varying length of the epistles, Workman also calculated the average number of hapax legomena per page of the Greek text, which ranged from 3.6 to 13, as summarized in the diagram on the right. Although the Pastoral Epistles have more hapax legomena per page, Workman found the differences to be moderate in comparison to the variation among other Epistles. This was reinforced when Workman looked at several plays by Shakespeare, which showed similar variations (from 3.4 to 10.4 per page of Irving's one-volume edition), as summarized in the second diagram on the right. Apart from author identity, there are several other factors that can explain the number of hapax legomena in a work: text length: this directly affects the expected number and percentage of hapax legomena; the brevity of the Pastoral Epistles also makes any statistical analysis problematic. text topic: if the author writes on different subjects, of course many subject-specific words will occur only in limited contexts. text audience: if the author is writing to a peer rather than a student, or their spouse rather than their employer, again quite different vocabulary will appear. time: over the course of years, both the language and an author's knowledge and use of language will change. In the particular case of the Pastoral Epistles, all of these variables are quite different from those in the rest of the Pauline corpus, and hapax legomena are no longer widely accepted as strong indicators of authorship; those who reject Pauline authorship of the Pastorals rely on other arguments. There are also subjective questions over whether two forms amount to "the same word": dog vs. dogs, clue vs. clueless, sign vs. signature; many other gray cases also arise. The Jewish Encyclopedia points out that, although there are 1,500 hapaxes in the Hebrew Bible, only about 400 are not obviously related to other attested word forms. A final difficulty with the use of hapax legomena for authorship determination is that there is considerable variation among works known to be by a single author, and disparate authors often show similar values. In other words, hapax legomena are not a reliable indicator. Authorship studies now usually use a wide range of measures to look for patterns rather than relying upon single measurements. == Computer science == In the fields of computational linguistics and natural language processing (NLP), esp. corpus linguistics and machine-learned NLP, it is common to disregard hapax legomena (and sometimes other infrequent words), as they are likely to have little value for computational techniques. This disregard has the added benefit of significantly reducing the memory use of an application, since, by Zipf's law, many words are hapax legomena. == Examples == The following are some examples of hapax legomena in languages or corpora. === Arabic === In the Qurʾān: The proper nouns Iram (Q 89:7, Iram of the Pillars), Bābil (Q 2:102, Babylon), Bakka(t) (Q 3:96, Bakkah), Jibt (Q 4:51), Ramaḍān (Q 2:185, Ramadan), ar-Rūm (Q 30:2, Byzantine Empire), Tasnīm (Q 83:27), Qurayš (Q 106:1, Quraysh), Majūs (Q 22:17, Magian/Zoroastrian), Mārūt (Q 2:102, Harut and Marut), Makka(t) (Q 48:24, Mecca), Nasr (Q 71:23), (Ḏū) an-Nūn (Q 21:87) and Hārūt (Q 2:102, Harut and Marut) occur only once. zanjabīl (زَنْجَبِيل – ginger) is a Qurʾānic hapax (Q 76:17). zamharīr (زَمْهَرِيرًۭ) is a Qurʾānic hapax (Q 76:13), usually glossed as referring to extreme cold. The epitheton ornans aṣ-ṣamad (الصَّمَد – the One besought) is a Qurʾānic hapax (Q 112:2). ṭūd (طُودْ - mountain) is a Qurʾānic hapax (Q 26:63). === Chinese and Japanese === Classical Chinese and Japanese literature contains many Chinese characters that feature only once in the corpus, and their meaning and pronunciation has often been lost. Known in Japanese as kogo (孤語), literally "lonely characters", these can be considered a type of hapax legomenon. For example, the Classic of Poetry (c. 1000 BC) uses the character 篪 exactly once in the verse 「伯氏吹塤, 仲氏吹篪」, and it was only through the discovery of a description by Guo Pu (276–324 AD) that the character could be associated with a specific type of ancient flute. === English === It is fairly common for authors to "coin" new words to convey a particular meaning or for the sake of entertainment, without any suggestion that they are "proper" words. For example, P.G. Wodehouse and Lewis Carroll frequently coined novel words. Indexy, below, appears to be an example of this. Flother, as a synonym for snowflake, is a hapax legomenon of written English found in a manuscript entitled The XI Pains of Hell (c. 1275). Honorificabilitudinitatibus is a hapax legomenon of Shakespeare's works, coming from Erasmus' Adagia Indexy, in Bram Stoker's Dracula, used as an adjective to describe a situational state with no other further use in the language: "If that man had been an ordinary lunatic I would have taken my chance of trusting him; but he seems so mixed up with the Count in an indexy kind of way that I am afraid of doing anything wrong by helping his fads." Manticratic, meaning "of the rule by the Prophet's family or clan", was apparently invented by T. E. Lawrence and appears once in Seven Pillars of Wisdom. Nortelrye, a word for "education", occurs only once in Chaucer's The Reeve's Tale. Sassigassity, perhaps with the meaning of "audacity", occurs only once in Dickens's short story "A Christmas Tree". Slæpwerigne, "sleep-weary", occurs exactly once in the Old English corpus, in the Exeter Book. There is debate over whether it means "weary with sleep" or "weary for sleep". === German === The name of the 9th-century poem Muspilli is a back-formation from "muspille", Old High German hapax legomenon of unclear meaning only found in this text (see Muspilli § Etymology for discussion). === Ancient Greek === According to classical scholar Clyde Pharr, "the Iliad has 1,097 hapax legomena, while the Odyssey has 868". Others have defined the term differently, however, and count as few as 303 in the Iliad and 191 in the Odyssey. panaōrios (παναώριος), ancient Greek for "very untimely", is one of many words that occur only once in the Iliad. The Greek New Testament contains 686 local hapax legomena, which are sometimes called "New Testament hapaxes". 62 of these occur in 1 Peter and 54 occur in 2 Peter
Time-compressed speech
Time-compressed speech refers to an audio recording of verbal text in which the text is presented in a much shorter time interval than it would through normally-paced real time speech. The basic purpose is to make recorded speech contain more words in a given time, yet still be understandable. For example: a paragraph that might normally be expected to take 20 seconds to read, might instead be presented in 15 seconds, which would represent a time-compression of 25% (5 seconds out of 20). The term "time-compressed speech" should not be confused with "speech compression", which controls the volume range of a sound, but does not alter its time envelope. == Methods == While some voice talents are capable of speaking at rates significantly in excess of general norms, the term "time-compressed speech" most usually refers to examples in which the time-reduction has been accomplished through some form of electronic processing of the recorded speech. In general, recorded speech can be electronically time-compressed by: increasing its speed (linear compression); removing silences (selective editing); a combination of the two (non-linear compression). The speed of a recording can be increased, which will cause the material to be presented at a faster rate (and hence in a shorter amount of time), but this has the undesirable side-effect of increasing the frequency of the whole passage, raising the pitch of the voices, which can reduce intelligibility. There are normally silences between words and sentences, and even small silences within certain words, both of which can be reduced or removed ("edited-out") which will also reduce the amount of time occupied by the full speech recording. However, this can also have the effect of removing verbal "punctuation" from the speech, causing words and sentences to run together unnaturally, again reducing intelligibility. Vowels are typically held a minimum of 20 milliseconds, over many cycles of the fundamental pitch. DSP systems can detect the beginning and end of each cycle and then skip over some fraction of those cycles, causing the material to be presented at a faster rate, without changing the pitch, maintaining a "normal" tone of voice. The current preferred method of time-compression is called "non-linear compression", which employs a combination of selectively removing silences; speeding up the speech to make the reduced silences sound normally-proportioned to the text; and finally applying various data algorithms to bring the speech back down to the proper pitch. This produces a more acceptable result than either of the two earlier techniques; however, if unrestrained, removing the silences and increasing the speed can make a selection of speech sound more insistent, possibly to the point of unpleasantness. == Applications == === Advertising === Time-compressed speech is frequently used in television and radio advertising. The advantage of time-compressed speech is that the same number of words can be compressed into a smaller amount of time, reducing advertising costs, and/or allowing more information to be included in a given radio or TV advertisement. It is usually most noticeable in the information-dense caveats and disclaimers presented (usually by legal requirement) at the end of commercials—the aural equivalent of the "fine print" in a printed contract. This practice, however, is not new: before electronic methods were developed, spokespeople who could talk extremely quickly and still be understood were widely used as voice talents for radio and TV advertisements, and especially for recording such disclaimers. === Education === Time-compressed speech has educational applications such as increasing the information density of trainings, and as a study aid. A number of studies have demonstrated that the average person is capable of relatively easily comprehending speech delivered at higher-than-normal rates, with the peak occurring at around 25% compression (that is, 25% faster than normal); this facility has been demonstrated in several languages. Conversational speech (in English) takes place at a rate of around 150 wpm (words per minute), but the average person is able to comprehend speech presented at rates of up to 200-250 wpm without undue difficulty. Blind and severely visually impaired subjects scored similar comprehension levels at even higher rates, up to 300-350 wpm. Blind people have been found to use time-compressed speech extensively, for example, when reviewing recorded lectures from high school and college classes, or professional trainings. Comprehension rates in older blind subjects have been found to be as good, or in some cases better than those found in younger sighted subjects. Other studies have determined that the ability to comprehend highly time-compressed speech tends to fall off with increased age, and is also reduced when the language of the time-compressed speech is not the listener's native language. Non-native speakers can, however, improve their comprehension level of time-compressed speech with multiday training. === Voice Mail === Voice mail systems have employed time-compressed speech since as far back as the 1970s. In this application, the technology enables the rapid review of messages in high-traffic systems, by a relatively small number of people. === Streaming Multimedia === Time-compressed speech has been explored as one of a variety of interrelated factors which may be manipulated to increase the efficiency of streaming multimedia presentations, by significantly reducing the latency times involved in the transfer of large digitally encoded media files.
Device-independent pixel
A device-independent pixel (also: density-independent pixel, dip, dp) is a unit of length. A typical use is to allow mobile device software to scale the display of information and user interaction to different screen sizes. The abstraction allows an application to work in pixels as a measurement, while the underlying graphics system converts the abstract pixel measurements of the application into real pixel measurements appropriate to the particular device. For example, on the Android operating system a device-independent pixel is equivalent to one physical pixel on a 160 dpi screen, while the Windows Presentation Foundation specifies one device-independent pixel as equivalent to 1/96th of an inch. As dp is a physical unit it has an absolute value which can be measured in traditional units, e.g. for Android devices 1 dp equals 1/160 of inch or 0.15875 mm. While traditional pixels only refer to the display of information, device-independent pixels may also be used to measure user input such as input on a touch screen device.
Radioplayer
Radioplayer is a radio technology platform, owned by UK radio broadcasters and operated under licence in some other countries. It operates an internet radio web tuner, a set of mobile phone apps, an in-car adaptor, and a growing range of integrations with other connected devices and platforms. Radioplayer is operated by UK Radioplayer Ltd which is a not-for-profit organisation owned by UK radio broadcasters. Initial shareholders were the BBC, Global Radio, GMG Radio, Absolute Radio and RadioCentre. After consolidation in the radio market, current shareholders are the BBC, Global Radio, Bauer Media Group and RadioCentre. == History == Launched in the UK on 31 March 2011, Radioplayer set out to offer a simple and accessible way to listen to radio via the internet. It contained 157 stations at launch. Initially working internally at the BBC for Tim Davie, then Director of BBC Audio & Music, Michael Hill led the project since March 2009; he was made Managing Director of UK Radioplayer Ltd on 28 July 2010. At launch, Radioplayer was a simple and straightforward Flash-based radio player, linked-to by radio stations on their own website. The player included searching and bookmarking across all of UK radio station content. On 5 October 2012, Radioplayer launched a mobile app on iOS phones with an Android version following shortly afterwards. The apps are unavailable for download outside the United Kingdom. This was followed by a tablet app on 25 September 2013. The apps also support Android Wear, Android Auto, Smart Device Link, Apple Watch and Apple CarPlay. They are also compatible with Chromecast and Airplay. In September 2016, Radioplayer announced it had been chosen by Amazon to integrate with their new voice-controlled 'Echo' device, ahead of its UK launch. In July 2017, Radioplayer integrated with the Sonos and Bose multi-room speaker platforms. UK Radioplayer currently contains around 500 UK stations, from Ofcom-licensed broadcasters. Online-only 'sister-stations' can also be added, but only by broadcasters with Ofcom licences which have been on the platform for over a year. == Radioplayer Car == Radioplayer Car was announced in September 2014 as a hybrid radio receiver that switches between FM, DAB and streaming to find the strongest signal. Speaking in Oslo in June 2015, Michael Hill said that he hoped to launch the product in the UK and Norway during the summer of 2015. In February 2017, Radioplayer Car was launched. It was marketed as the world’s first voice-controlled hybrid radio adaptor for car stereos. A small box, fitted behind the dashboard, links to the auxiliary input on an existing car radio. It connects wirelessly via Bluetooth to the driver’s smartphone by an app. The adaptor enabled drivers to listen to their own smartphone music collections using Bluetooth, take hands-free calls, listen to inbound text messages and receive instant audio travel news, customised by GPS to their location and direction of travel. The hardware was manufactured under licence by car audio interfaces supplier Connects2, and Hyde Park Corner was promoted as the preferred installer of the audio equipment. There were several spin-off benefits of the Radioplayer Car project, including the creation of the hybrid radio metadata API for cars, known as the 'WRAPI' (Worldwide Radioplayer API). == International == Through a separate company called Radioplayer Worldwide, Radioplayer technology is licensed to a number of different territories.
Score bug
A score bug is a digital on-screen graphic which is displayed in a broadcast of a sporting event, displaying the current score and other statistics. It is similar in function to a scoreboard, and is usually placed at either the top or lower third of the television screen. == History == The concept of a persistent score bug was devised by Sky Sports head David Hill, who was dissatisfied over having to wait to see what the score was after tuning into a football match in-progress. The score bug was introduced when Sky launched its coverage of the then newly-formed English Premier League in August 1992. Hill's boss repeatedly demanded that the graphic be removed, describing it as the "stupidest thing [he] had ever seen". Hill defied the boss's demands and kept the graphic in place. ITV introduced a score bug at the start of the 1993–94 football season, and the BBC introduced a score bug towards the end of 1993. The concept was introduced to the United States by ABC Sports and ESPN during coverage of the 1994 FIFA World Cup. Their justification for the graphic was to provide a location for a rotating series of sponsor logos, in order to allow matches to air without commercial interruption. With the acquisition of rights to the National Football League (NFL) by BSkyB's American sibling Fox (a fellow venture of Rupert Murdoch), Hill became the first president of Fox Sports. Under Hill's leadership, Fox introduced a version of the score bug branded as the "Fox Box", which was part of its inaugural season of NFL coverage in 1994. Variety criticized it as an "annoying see-through clock and score graphic" and expressed concern for people "who actually watched the beginning of the game and would rather have their screen clear of graphics". Hill even received a death threat from an irate viewer, with a specific emphasis on him being a "foreigner", but the score bug soon became a ubiquitous feature for American football broadcasts, along with almost all American sports broadcasts in the years that followed. Dick Ebersol of NBC Sports initially opposed the idea of a score bug, as he thought that fans would dislike seeing more graphics on the screen and would change the channel from blowout games if the score was constantly being displayed. Since the 2010s, the on-air design and positioning of some score bugs have been influenced by the needs of Internet video (especially when viewing an event on devices with smaller screens), including bugs noticeably larger than prior iterations designed with television viewing in mind, or designs primarily kept towards the bottom-center of the screen (easing the ability for the bug to remain visible when highlights are cropped for square videos posted on social media). == Details == Score bugs used in team sports typically include the names of both teams, an abbreviation of the team's name, and/or the team's logo; for individual sports, they include the names of individual competitors. In sports where a game clock or playing periods are used, those are generally also displayed as part of the score bug. Some broadcasts also include teams' win-loss records. In 2024, ESPN experimented with adding a persistent win probability meter to its bug in Major League Baseball, which was based on input from its statisticians. === Variations === In addition to the above information, score bugs in some sports include additional information: In baseball, score bugs display the current inning, number of outs, the pitch clock if applicable, and a graphic displaying which bases are occupied; and usually include names of the current pitcher and batter, the pitcher's pitch count, and the number of balls and strikes accrued by the batter. In basketball, score bugs generally include the shot clock, the number of fouls accrued by each team, and whether a team is in the bonus. In cricket, score bugs often take the form of larger dashboards across the bottom of the screen, displaying the current team up and their number of runs, wickets, and overs, a display showing the runs scored and number of balls faced by the current batting partnership, and statistics for the opposing team's bowler (including the number of wickets scored and runs given up). In American football, score bugs usually include the play clock and the down and distance of the current play; they also incorporate graphics indicating when a penalty flag has been thrown. In ice hockey, score bugs display when a penalty or power play is in effect, and often include the number of shots on goal accrued by each team. In golf, Fox popularized the display of a persistent leaderboard graphic in the bottom-right of the screen, usually displaying the top 5. ==== Racing ==== Telecasts of automobile races often include a score bug with the current positions of participants, statistics such as distance behind the leader, and the remaining distance or number of laps. In the mid-2010s, NASCAR broadcasters such as Fox began to transition from horizontal tickers to vertical leaderboards (also referred to as "pylons", in reference to the physical scoring pylons at). The CW differentiated itself by using a horizontal display that divides the field into multiple columns along the bottom of the screen.
Flok (company)
Flok (formerly Loyalblocks) was an American tech startup based in New York City that provides marketing services such as chatbots/AI, customer loyalty programs, mobile apps and CRM services to local businesses. In January 2017, the company was acquired by Wix.com. Around March 2017, Flok ceased regular communication. At some point in 2019 Flok communicated to its customers that it would shut down in March 2020. == Background == Flok was founded in 2011 by Ido Gaver and Eran Kirshenboim and has offices in Tel Aviv, Israel. In May 2013, Flok secured a $9 million Series A Round from General Catalyst Partners with participation from Founder Collective and existing investor Gemini Israel Ventures. In total, Flok has raised over $18 million in venture capital in three rounds. In May 2014, Flok announced a self-service loyalty platform for SMBs to build their own programs with beacon integration. At that time, approximately 40,000 businesses were using the service. In 2016, Flok released a turnkey chatbot service for local businesses, and was featured in AdWeek for developing the first weed bot chatbot for a California cannabis business. == Services == Flok offered an eponymous customer-facing app, that consumers use to receive rewards and deals from partner businesses, and a Flok business app for merchants to manage the platform.
Genigraphics
Genigraphics is a large-format printing service bureau specializing in providing poster session services to medical and scientific conferences throughout the US and Canada. The company began in 1973 as a division of General Electric. == History == Genigraphics began as a computer graphics system, developed by General Electric in the late 1960s, for NASA to use in space flight simulation. The technologies thus developed provided a foundation for the company's expansion into the commercial market. The Computed Images System & Services division (CISS, to become Genigraphics Corporation) of GE delivered the first presentation graphics system to Amoco Oil's corporate headquarters in 1973. It was named the 100 Series, and was based on DEC's PDP 11 series of mini computer systems. The first Genigraphics systems (100 Series and 100A Series) used an array of buttons, dials, knobs and joysticks, along with a built in keyboard, as the means of user interface. The PDP-11/40 computer was housed in a tall cabinet and used random access magnetic tape drives (DECtape) for storing completed presentations. The graphics generator (Forox recorder) was capable of outputting 2,000 line resolution, suitable for 35mm and 72mm film and large sheet film positive using larger cassettes for recording. 4000 and 8000 line resolution was later achieved with duplex scanning and 4x scanning by modifying to the Forox recorder's settings menu. Subsequent models (100B,C,D,D+ and D+/GVP) replaced the knobs and dials with an on screen, text based menu system, a graphics tablet and a pen. The pen/tablet combination gave way to a mouse like device in later models, and served to provide the interface with the graphics tools. User interaction with the computer for functions such as media initialization or modem to modem data transfer required a DECwriter serial terminal. In 1982, GE divested the Genigraphics division along with a host of other "non essential" business units (Genitext, Geniponics) and Genigraphics Corporation was born. Shortly after the divestiture, the headquarters of Genigraphics was moved from Liverpool, New York to Saddle Brook, New Jersey. Major success followed as the company grew exponentially over the next few years selling both systems and slide creation services. Genigraphics film recorders produced high-resolution digital images on 35mm film. The computer-generated scenes for The Last Starfighter were calculated on a Cray X-MP supercomputer and mastered with a Genigraphics film recorder. At its peak, Genigraphics Corporation employed roughly 300 people in 24 offices worldwide, with revenues upwards of $70 million annually. By the late 1980s Genigraphics saw demand for its proprietary systems dwindle and began selling the MASTERPIECE 8770 film recorder and GRAFTIME software as a peripheral for DEC Vaxes, IBM PC AT’s, and Mac NuBus machines. But the MASTERPIECE film recorder proved too expensive to sell in volume. In 1988, the company began a partnership with Microsoft to help develop the PowerPoint software. In exchange, every copy of PowerPoint included a “Send to Genigraphics” link to have files sent to a Genigraphics service bureau to be produced as 35mm slides. This partnership continued until 2001. In 1989, after three years of flat revenue, Genigraphics sold its hardware business in order to focus on its service bureau business and partnership with Microsoft via PowerPoint. In 1994, all assets of Genigraphics, including equipment, software development, in-house artwork, trademarks, and rights to the Microsoft partnership, were sold to InFocus Corporation of Wilsonville, Oregon who continued to operate under the Genigraphics brand name. The twenty-four service bureaus were consolidated to a 20,000 square foot facility next to the FedEx hub in Memphis, Tennessee. This allowed PowerPoint slide orders to be received until 10pm and delivered across the United States by the following morning. In 1995, InFocus registered www.genigraphics.com and was among the first to offer a form of ecommerce allowing 35mm slides, color prints and transparencies, printed booklets, and digital projectors to be purchased online. In 1998, then current management bought Genigraphics from InFocus and have operated it continuously ever since as Genigraphics LLC. That same year, InFocus projector rentals were added to the “Send to Genigraphics” link in PowerPoint and Genigraphics became the rental and repair center for all InFocus national accounts. It also marked Genigraphics entry into the new industry of large format printing; leveraging their knowledge of, and access to, PowerPoint programming code to develop a proprietary printer driver to output directly to an Epson 9500 wide format printer. At the time, Genigraphics was the exclusive 35mm slide vendor for all Kinko’s stores in the United States and poster printing was added to the arrangement. In 2003, Genigraphics closed their 35mm slide E6 photo lab – one of the last high-volume commercial E6 labs in the US – and expanded their large format printing capabilities. Since 2003, Genigraphics has become a major player in the poster session market, providing printing and on-site services to medical and scientific conferences throughout the US and Canada. As of February 2019, over 150,000 medical or scientific ‘ePosters’ are made available through their ResearchPosters.com archive service. === Partnership with Microsoft and development of PowerPoint === As presentations began to be created on personal computers in the late 80’s, Genigraphics sought presentation software partners in Silicon Valley who would be interested in sending files to Genigraphics via dial-up modem to be produced on 35mm slides. In 1987, Michael Beetner, Director of Marketing Planning for Genigraphics, met with Robert Gaskins, head of Microsoft's Graphics Business Unit, who was leading the development of the newly released PowerPoint software. A joint development agreement between Microsoft and Genigraphics was agreed upon and announced at Mac World 1988. According to Erica Robles-Anderson and Patrik Svensson, "It would be hard to overestimate Genigraphics’ influence on PowerPoint. PowerPoint 2.0 was designed for Genigraphics film recorders. It shipped with Genigraphics color palettes, schemes, and the distinctively Genigraphics color-gradient backgrounds. The application contained a ‘Send to Genigraphics’ menu item that wrote the presentation to floppy disk or transmitted the order directly via modem. Within three and a half months PowerPoint orders accounted for ten percent of revenue at Genigraphics service centers. PowerPoint 3.0 was even more intimately dependent upon Genigraphics. The software incorporated a collection of clip art images and symbols that had been produced by hundreds of artists at dozens of service centers across tens of thousands of presentations. Genigraphics artists designed PowerPoint 3.0 colors, templates, and sample presentations. The software even used Genigraphics (rather than Excel) chart style. Bar charts were rendered two-dimensionally with apparent thickness added to make them seemingly recede from the axes. The technique made it easier for viewers to compare bar heights and estimate values from axis ticks and labels. Pie charts were handled analogously. Microsoft paid Genigraphics to produce more than 500 clip art drawings and symbols used in Microsoft programs.” In exchange for Genigraphics development efforts, Microsoft included a “Send to Genigraphics” link in every copy of PowerPoint through the 10.0 version (2000/2001). The arrangement came to an end when Microsoft restructured as a result of anti-trust lawsuits.