AI Analytics Ui

AI Analytics Ui — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Moral outsourcing

  Moral outsourcing is the placing of responsibility for ethical decision-making onto external entities, often algorithms. The term is often used in discussions of computer science and algorithmic fairness, but it can apply to any situation in which one appeals to outside agents in order to absolve themselves of responsibility for their actions. In this context, moral outsourcing specifically refers to the tendency of society to blame technology, rather than its creators or users, for any harm it may cause. == Definition == The term "moral outsourcing" was first coined by Dr. Rumman Chowdhury, a data scientist concerned with the overlap between artificial intelligence and social issues. Chowdhury used the term to describe looming fears of a so-called “Fourth Industrial Revolution” following the rise of artificial intelligence. Moral outsourcing is often applied by technologists to shrink away from their part in building offensive products. In her TED Talk, Chowdhury gives the example of a creator excusing their work by saying they were simply doing their job. This is a case of moral outsourcing and not taking ownership for the consequences of creation. When it comes to AI, moral outsourcing allows for creators to decide when the machine is human and when it is a computer - shifting the blame and responsibility of moral plights off of the technologists and onto the technology. Conversations around AI and bias and its impacts require accountability to bring change. It is difficult to address these biased systems if their creators use moral outsourcing to avoid taking any responsibility for the issue. One example of moral outsourcing is the anger that is directed at machines for “taking jobs away from humans” rather than companies for employing that technology and jeopardizing jobs in the first place. The term "moral outsourcing" refers to the concept of outsourcing, or enlisting an external operation to complete specific work for another organization. In the case of moral outsourcing, the work of resolving moral dilemmas or making choices according to an ethical code is supposed to be conducted by another entity. == Real-world applications == In the medical field, AI is increasingly involved in decision-making processes about which patients to treat, and how to treat them. The responsibility of the doctor to make informed decisions about what is best for their patients is outsourced to an algorithm. Sympathy is also noted to be an important part of medical practice; an aspect that artificial intelligence, glaringly, is missing. This form of moral outsourcing is a major concern in the medical community. Another field of technology in which moral outsourcing is frequently brought up is autonomous vehicles. California Polytechnic State University professor Keith Abney proposed an example scenario: "Suppose we have some [troublemaking] teenagers, and they see an autonomous vehicle, they drive right at it. They know the autonomous vehicle will swerve off the road and go off a cliff, but should it?" The decision of whether to sacrifice the autonomous vehicle (and any passengers inside) or the vehicle coming at it will be written into the algorithms defining the car's behavior. In the case of moral outsourcing, the responsibility of any damage caused by an accident may be attributed to the autonomous vehicle itself, rather than the creators who wrote the protocol the vehicle will use to "decide" what to do. Moral outsourcing is also used to delegate the consequences of predictive policing algorithms to technology, rather than the creators or the police. There are many ethical concerns with predictive policing due to the fact that it results in the over-policing of low income and minority communities. In the context of moral outsourcing, the positive feedback loop of sending disproportionate police forces into minority communities is attributed to the algorithm and the data being fed into this system--rather than the users and creators of the predictive policing technology. == Outside of technology == === Religion === Moral outsourcing is also commonly seen in appeals to religion to justify discrimination or harm. In his book What It Means to be Moral, sociologist Phil Zuckerman contradicts the popular religious notion that morality comes from God. Religion is oftentimes cited as a foundation for a moral stance without any tangible relation between the religious beliefs and personal stance. In these cases, religious individuals will "outsource" their personal beliefs and opinions by claiming that they are a result of their religious identification. This is seen where religion is cited as a factor for political beliefs, medical beliefs, and in extreme cases an excuse for violence. === Manufacturing === Moral outsourcing can also be seen in the business world in terms of manufacturing goods and avoiding environmental responsibility. Some companies in the United States will move their production process to foreign countries with more relaxed environmental policies to avoid the pollution laws that exist in the US. A study by the Harvard Business Review found that "in countries with tight environmental regulation, companies have 29% lower domestic emissions on average. On the other hand, such a tightening in regulation results in 43% higher emissions abroad." The consequences of higher pollution rates are then attributed to the loose regulations in these countries, rather than on the companies themselves who purposefully moved into these areas to avoid strict pollution policy.

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  Mean opinion score

  Mean opinion score (MOS) is a measure used in the domain of Quality of Experience and telecommunications engineering, representing overall quality of a stimulus or system. It is the arithmetic mean over all individual "values on a predefined scale that a subject assigns to his opinion of the performance of a system quality". Such ratings are usually gathered in a subjective quality evaluation test, but they can also be algorithmically estimated. MOS is a commonly used measure for video, audio, and audiovisual quality evaluation, but not restricted to those modalities. ITU-T has defined several ways of referring to a MOS in Recommendation ITU-T P.800.1, depending on whether the score was obtained from audiovisual, conversational, listening, talking, or video quality tests. == Rating scales and mathematical definition == The MOS is expressed as a single rational number, typically in the range 1–5, where 1 is lowest perceived quality, and 5 is the highest perceived quality. Other MOS ranges are also possible, depending on the rating scale that has been used in the underlying test. The Absolute Category Rating scale is very commonly used, which maps ratings between Bad and Excellent to numbers between 1 and 5, as seen in below table. Other standardized quality rating scales exist in ITU-T Recommendations (such as ITU-T P.800 or ITU-T P.910). For example, one could use a continuous scale ranging between 1–100. Which scale is used depends on the purpose of the test. In certain contexts there are no statistically significant differences between ratings for the same stimuli when they are obtained using different scales. The MOS is calculated as the arithmetic mean over single ratings performed by human subjects for a given stimulus in a subjective quality evaluation test. Thus: M O S = ∑ n = 1 N R n N {\displaystyle MOS={\frac {\sum _{n=1}^{N}{R_{n}}}{N}}} Where R {\displaystyle R} are the individual ratings for a given stimulus by N {\displaystyle N} subjects. == Properties of the MOS == The MOS is subject to certain mathematical properties and biases. In general, there is an ongoing debate on the usefulness of the MOS to quantify Quality of Experience in a single scalar value. When the MOS is acquired using a categorical rating scales, it is based on – similar to Likert scales – an ordinal scale. In this case, the ranking of the scale items is known, but their interval is not. Therefore, it is mathematically incorrect to calculate a mean over individual ratings in order to obtain the central tendency; the median should be used instead. However, in practice and in the definition of MOS, it is considered acceptable to calculate the arithmetic mean. It has been shown that for categorical rating scales (such as ACR), the individual items are not perceived equidistant by subjects. For example, there may be a larger "gap" between Good and Fair than there is between Good and Excellent. The perceived distance may also depend on the language into which the scale is translated. However, there exist studies that could not prove a significant impact of scale translation on the obtained results. Several other biases are present in the way MOS ratings are typically acquired. In addition to the above-mentioned issues with scales that are perceived non-linearly, there is a so-called "range-equalization bias": subjects, over the course of a subjective experiment, tend to give scores that span the entire rating scale. This makes it impossible to compare two different subjective tests if the range of presented quality differs. In other words, the MOS is never an absolute measure of quality, but only relative to the test in which it has been acquired. For the above reasons – and due to several other contextual factors influencing the perceived quality in a subjective test – a MOS value should only be reported if the context in which the values have been collected in is known and reported as well. MOS values gathered from different contexts and test designs therefore should not be directly compared. Recommendation ITU-T P.800.2 prescribes how MOS values should be reported. Specifically, P.800.2 says:it is not meaningful to directly compare MOS values produced from separate experiments, unless those experiments were explicitly designed to be compared, and even then the data should be statistically analysed to ensure that such a comparison is valid. == MOS for speech and audio quality estimation == MOS historically originates from subjective measurements where listeners would sit in a "quiet room" and score a telephone call quality as they perceived it. This kind of test methodology had been in use in the telephony industry for decades and was standardized in Recommendation ITU-T P.800. It specifies that "the talker should be seated in a quiet room with volume between 30 and 120 m³ and a reverberation time less than 500 ms (preferably in the range 200–300 ms). The room noise level must be below 30 dBA with no dominant peaks in the spectrum." Requirements for other modalities were similarly specified in later ITU-T Recommendations. == MOS estimation using quality models == Obtaining MOS ratings may be time-consuming and expensive as it requires the recruitment of human assessors. For various use cases such as codec development or service quality monitoring purposes – where quality should be estimated repeatedly and automatically – MOS scores can also be predicted by objective quality models, which typically have been developed and trained using human MOS ratings. A question that arises from using such models is whether the MOS differences produced are noticeable to the users. For example, when rating images on a five point MOS scale, an image with a MOS equal to 5 is expected to be noticeably better in quality than one with a MOS equal to 1. Contrary to that, it is not evident whether an image with a MOS equal to 3.8 is noticeably better in quality than one with a MOS equal to 3.6. Research conducted on determining the smallest MOS difference that is perceptible to users for digital photographs showed that a MOS difference of approximately 0.46 is required in order for 75% of the users to be able to detect the higher quality image. Nevertheless, image quality expectation, and hence MOS, changes over time with the change of user expectations. As a result, minimum noticeable MOS differences determined using analytical methods such as in may change over time.

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  The Holocaust and social media

  The representation of the Holocaust on social media has been a subject of scholarly inquiry and media attention. == Selfies at Holocaust memorial sites == Some visitors take selfies at Holocaust memorials, which has been the subject of controversy. In 2018, Rhian Sugden, a British model, received criticism after posting a selfie at the Memorial to the Murdered Jews of Europe in Berlin with the caption "ET phone home". She later removed the caption, but defended taking the photograph. Other celebrities have also been criticised for photographs at the Berlin memorial, including Indian actress Priyanka Chopra and US politician Pete Buttigieg, whose husband posted a photograph of him at the memorial on a personal social media account. The Israeli artist and satirist Shahak Shapira set up the website yolocaust.de in 2017 to expose people who take inappropriate selfies at the Holocaust memorial in Berlin. Shapira went through thousands of selfies posted to social media sites such as Facebook, Instagram, Tinder, and Grindr, choosing the twelve that he found most offensive. When the images were moused over, the website replaces the memorial backdrop with black and white images of Nazi victims. "Yolocaust" is a portmanteau of "Holocaust" and YOLO, an acronym for "you only live once". The website went viral, receiving 1.2 million views in the first 24 hours after its launch. Shapira honored requests to take down all of the photographs, which he had used without permission, and the website remains with only a textual documentation of the project. In an analysis of comments by Internet users on the project, Christoph Bareither estimated that 75% were positive. However, the memorial's architect, Peter Eisenman, criticized the website. In his 2018 book Postcards from Auschwitz, Grinnell professor Daniel P. Reynolds defends the practice of selfie-taking at Holocaust sites. In 2019, the Auschwitz-Birkenau State Museum requested that visitors not take inappropriate selfies, although the museum's staff acknowledged that other visitors take selfies in a thoughtful and respectful manner, which they did not criticize. In an academic paper, Gemma Commane and Rebekah Potton analyze the use of Instagram to share tourist photographs at Holocaust sites and conclude that "Instagram encourages conversation and empathy, keeping the Holocaust visible in youth discourses". According to their analysis, most images are tagged with respectful hashtags such as #tragic, #remembrance, and #sadness. The Auschwitz museum has an official Instagram account, auschwitzmemorial, which it uses to share selected appropriate Instagram posts. However, the image feed for the hashtag "Auschwitz" includes potentially offensive images such as an image of "Nazi Vs. Jews #beerpong". This image, according to the authors, expresses "mockery and contempt" for Holocaust victims. They also document offensive memes using images of Holocaust atrocities and shared on Instagram. Some social media users post in order to criticize what they see as inappropriate behavior at Holocaust sites, with one commenting, "Taking photos posing next to razor wire, selfies with victim's hair in the background, and even group shots in front of the crematoria had to be seen to be believed." == Assessment of tourism == Social media posts have been used by researchers to analyze the phenomenon of Holocaust-related tourism. == Social media groups == People have created groups on Facebook to discuss issues related to the Holocaust. One paper analyses two such groups, "The Holocaust and My Family" and "The Descendants of the Victims and Survivors of the Holocaust" in which people engage in collective trauma processing. == Eva.stories == In 2019, Israeli high-tech entrepreneur Mati Kochavi created a fictitious Instagram account for Eva Heyman, a Hungarian-Jewish girl who was murdered in Auschwitz concentration camp. The project met with mixed reception. Israeli prime minister Benjamin Netanyahu praised the project, saying that it "exposes the immense tragedy of our people through the story of one girl". == Holocaust denial == The issue of Holocaust denial on social media has also attracted attention. In October 2020, Facebook reversed its policy and banned Holocaust denial from the platform. Founder Mark Zuckerberg had previously argued that such content should not be banned on freedom of speech grounds.

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  Alt TikTok

  Alt TikTok (or 2020 Alt) was an online youth subculture and internet community that emerged on TikTok in 2020. Alt TikTok users (also known as alt girls, alt boys, or alt kids) emerged as primarily LGBTQ+ individuals who were in contrast to "Straight TikTok" which was seen as the mainstream and heteronormative side of the platform. The subculture became closely associated with music surrounding the hyperpop scene, particularly 100 gecs and also led to a short-lived fashion style and Internet aesthetic adopted by Generation Z during the COVID-19 lockdowns. Notable artists associated with the movement included Girl in Red, Freddie Dredd, David Shawty, WHOKILLEDXIX, and 645AR. While "alt kid" might imply a general association with traditional alternative fashion, the subculture was more an offshoot of e-girls and e-boys. In 2023, the hashtag #altfashion on TikTok amassed over 1.8 billion views. == History == Around mid-2020, users on TikTok began to group different content on the site into labels like "elite TikTok", "deep TikTok", and "floptok". These categories acted as different "sides of TikTok", deviating from mainstream lip syncing, online trends, and dance videos. Alt TikTok became one of the many subcultural communities to emerge during this period, initially referred to interchangeably with "elite TikTok". The movement quickly identified itself with alternative and queer users, in contrast to "Straight TikTok", also known as the "straight side of TikTok", which was seen as the mainstream and heteronormative side of the platform. Alt TikTok was accompanied by memes with surrealist or supernatural themes (sometimes being described as cursed), such as videos with heavy saturation and humanoid animals. One of the popular videos from Alt TikTok, gaining 18 million likes, shows a llama dancing to a cover of a song from a Russian commercial by the cereal brand Miel Pops, later becoming a viral audio. Some Alt TikTok users personified brands and products in what was referred to as Retail TikTok. In 2020, Rolling Stone described Alt TikTok as "one of the primary countercultures on the app." In 2020, American journalist Taylor Lorenz stated in an article of The New York Times, "Every pop sensation needs its ironic counterpoints. Alt Tiktok gets it done. [...] alt TikTok stars like Mooptopia are mainstays on the more indie side of the app. They aren't the popular crowd, but their cool, quirky content still attracts millions." === Trump rally trolling === In June 2020, alt TikTok and K-pop twitter users coordinated a strategy to ruin a Trump rally in Tulsa, Oklahoma. American politician and activist Alexandria Ocasio-Cortez later saluted the individuals for their "Trump troll". == Alt subculture == In 2020, Alt TikTok was one of many subcultural communities to emerge on TikTok, alongside Deep TikTok (aka DeepTok) and Flop TikTok (aka Floptok). The alt kid subculture emerged from Alt TikTok primarily among young Gen Z women, influenced by online fashion and aesthetics shaped by e-girls and e-boys. The movement was accelerated by the COVID-19 lockdowns, while the subculture itself stood in opposition to mainstream "Straight TikTok" and the VSCO girl movement, primarily adopting aspects of queer and alternative culture. While the phrase might imply a general association with alternative fashion or alternative culture, it is more accurately understood as a specific internet-driven outgrowth of online aesthetic youth subcultures like e-girls and e-boys. The alt subculture's visual style blended influences from goth, punk, emo, and grunge, often expressed through fashion, music taste, and online presence. === Style and music === The style of alt-girls is reminiscent of a myriad of previous alternative fashion trends, often blending these influences with online aesthetics. In 2020, TikTok alt-girls were teens ranging from ages 13 to 16, who tended to wear friendship bracelets, goth boots, Dr. Martens, bunny and frog hats, piercings, and split-dyed hair, as well as iconography lifted from Monster Energy and Hello Kitty. Some alt-girls displayed a love of cosplay, while drawing from Japanese anime and manga, particularly Danganronpa and Haikyu!!, which originally gained traction on the app through Anime TikTok (aka Anitok). Alt TikTok has been noted for being primarily influenced by queer and alternative culture, positioning itself in contrast to "Straight TikTok", which focused on mainstream dances and music. Alt kids frequently intersected with the e-girls and e-boys subculture, in terms of music, style, visual media, and aesthetics. Several musicians and artists were closely associated with the alt subculture, particularly those in the hyperpop scene, while alt tiktok users became important in the wider popularization of artists like 100 gecs. Notable prominent artists associated with Alt Tiktok included Girl in Red, Freddie Dredd, David Shawty, WHOKILLEDXIX, and 645AR, alongside music by YouTubers turned musicians such as Wilbur Soot's "I'm in Love With an E‐Girl" and Corpse Husband's "E-Girls Are Ruining My Life!". == Legacy == In 2020, Pitchfork claimed Alt TikTok as having an influence on wider music trends, stating: "Alt TikTok's music is now a hot zone for major record labels, pushing it even further into the mainstream". After the COVID-19 lockdowns, Alt TikTok, alongside its subculture, fell out of prominence and was taken over by other Gen Z-related internet aesthetics, developments, and online trends.

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  AlternativeTo

  AlternativeTo is a website which lists alternatives to web-based software, desktop computer software, and mobile apps, and sorts the alternatives by various criteria, including the number of registered users who have "Liked" each of them on AlternativeTo. Users can search the site to find better alternatives to an application they are using or previously have used, including free alternatives such as free web applications (cloud computing) which don't require any installation and can be accessed from any browser. == Differences == Unlike a number of other software directory websites, the software is not arranged into categories, but each individual piece of software has its own list of alternatives. However, users can also search by tag to find software, which offers an alternative way of finding related software. Users can also narrow their search by focusing on particular platforms and license types (such as "free for non-commercial use"). AlternativeTo lists basic information such as platform and license type at the top of each entry, but does not have comparison tables listing software features side by side. AlternativeTo does not host software for download but it provides links to official websites to where you can download or buy them. AlternativeTo allows anyone to register and suggest new alternatives, or to update the information held about existing entries. Suggestions and alterations are reviewed before being made publicly visible. Users can register using either email and password or OpenID. Login with Facebook has been discontinued. As AlternativeTo is itself a web application, it even has a page for alternatives to itself. == Features == Tweets from anyone mentioning particular pieces of software are also pulled in dynamically from Twitter. Each application has an RSS feed for notifying users of newly listed alternatives to that application. After a user has clicked the Like button next to an application, they are offered the opportunity to tell their friends on Facebook or their followers on Twitter that they liked it. The site also has a forum. For software developers, a JSON API used to be available, but has been taken down indefinitely.

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  Festival of International Virtual & Augmented Reality Stories

  Festival of International Virtual & Augmented Reality Stories (FIVARS) is a Canadian media festival for story-driven works using extended reality (XR) and immersive media, including virtual reality, augmented reality, WebXR, live VR performance, projection mapping and spatialized audio. Founded in Toronto in 2015, it has been described as Canada's first dedicated virtual and augmented reality stories festival, the first Canadian festival of its kind, and Canada's original festival dedicated to immersive storytelling. FIVARS has described itself as "the original and longest-running festival wholly dedicated to Virtual and Augmented Reality Stories", while third-party XR coverage has called it one of the longest-running events dedicated to immersive content. FIVARS is produced by Constant Change Media Group, Inc., with its partner event VRTO. == History == FIVARS began in 2015, with preview screenings at the Camp Wavelength music festival on Toronto Island and an inaugural festival held in Toronto in September 2015. Contemporary coverage described the first edition as a virtual reality film festival held at UG3 Live in Toronto. The festival continued with a second edition in 2016. L'Express described the 2016 festival as presenting Canadian and international interactive works in virtual and augmented reality narrative forms. FIVARS's 2016 festival was also listed in a York University Future Cinema course page as a public event students could attend. In 2017, the third annual FIVARS festival was held at the House of VR in Toronto. In 2018, the festival was held at the Matador Ballroom, which NOW Magazine reported was reopening for FIVARS from September 14 to 16. The festival's own history states that the 2018 edition included 36 works from 12 countries and that Stephanie Greenall took over as co-producer that year. In 2019, FIVARS moved to the Toronto Media Arts Centre for its fifth anniversary and listed official selections in passive and interactive immersive-experience categories. The festival also held talks and panels at the Toronto Media Arts Centre. During the COVID-19 pandemic, FIVARS moved part of its programming online. In 2020, Voices of VR reported that Malicki-Sanchez and WebXR developer James Baicoianu used JanusXR code to create a platform for presenting 360-degree video through the web. The festival's history states that its 2020 online festival included 39 selections from 16 countries and was produced by Malicki-Sanchez and Greenall. In 2021, FIVARS introduced a dual-event structure with FIVARS in FEB and FIVARS in FALL. The fall 2021 edition used a hybrid format, with an in-person component in West Hollywood from October 15 to 17 and an online WebXR component from October 22 to November 2. In 2022, FIVARS held hybrid programming with pop-up viewing locations in Los Angeles and Toronto. The fall 2022 edition was listed by blogTO as the festival's tenth edition, with an in-person component at Stackt - an outdoor arts park built from shipping containers in Toronto and online programming. The 2023 festival was presented as a hybrid exhibition of 65 immersive stories, with an in-person Toronto component and an online component. The FIVARS Online Festival was later listed among the Innovator of the Year nominees for the 2024 Poly Awards. FIVARS stated that the nominees for that recognition were producer and designer Keram Malicki-Sanchez and developer James Baicoianu. The 2024 edition was listed as FIVARS 2024 (Toronto + Online), with an in-person Toronto event from October 3 to 8 and an online component beginning October 10. The festival also published a 2024 official selections list covering virtual reality, augmented reality, spherical video, spatial web and related immersive formats. In 2025, FIVARS and VRTO were held together at OCAD University. The 2026 edition is scheduled for June 15 to 19, 2026, at OCAD University in Toronto, with OCAD University as presenting sponsor and first-time venue host. FIVARS has featured official selections from more than forty countries across six continents. == Organization == FIVARS was founded in 2015 by Keram Malicki-Sánchez. Joseph Ellsworth was the festival's original technical director and helped operate FIVARS during its early years. Malicki-Sánchez remains executive director and festival director. Jessy Blaze joined Malicki-Sánchez as co-producer in 2016 and served until Stephanie Greenall took over the role in 2018. Greenall served as co-producer and associate producer from 2018 to 2022. Aimee Reynolds took over from Greenall in 2022 and has served as associate producer of FIVARS and VRTO since 2022. == Immersive Media Awards == FIVARS presents People's Choice awards for interactive works and immersive video or passive immersive works. Juried award categories have included the Grand Jury Prize, Impact Award, Technical Achievement, Excellence in Experience Design, Excellence in Visual Design, Excellence in Sound Design, and Outstanding Performance. === 2015 === On Monday, September 21, the festival announced People's Choice awards for two categories at the Cadillac Lounge, a music venue and restaurant in Toronto. People's Choice Best Interactive Experience: Apollo 11 Best Immersive Video: SONAR === 2016 === People's Choice Best Interactive Experience: Pearl (Patrick Osborne) Best Immersive Video: Help (Justin Lin) Juried Grand Jury Award: Real (Connor Hair and Alex Meader) === 2017 === People's Choice Best Interactive: Alteration Best Immersive (Passive): Guardian of the Guge Kingdom Juried Impact Award: Priya's Shakti / Priya's Mirror (Dan Goldman) Grand Jury Prize: Manifest 99 === 2018 === People's Choice Best Interactive: Museum of Symmetry (Paloma Dawkins) Best Immersive (Passive): Going Home (David Beier) Juried Impact Award: The Hidden (Annie Lukowski, BJ Schwartz) Grand Jury Prize: Battlescar (Nico Casavecchia, Martin Allais) === 2019 === People's Choice Best Interactive: After Dan Graham (David Han/Friend Generator) Best Immersive (Passive): 2nd Step (Joerg Courtial) Juried Technical Achievement: tx-reverse Excellence in Experience Design: Battlescar (Nico Casavecchia, Martin Allais) Excellence in Sound Design: Unheard (Zhechuan Zhang) Excellence in Visual Design: Ex Anima (Pierre Zandrowicz) Impact Award: State Power (Jeff Stanzler) Grand Jury Prize: The Industry (Mirka Duijn) === 2020 === People's Choice Best Interactive: Gravity VR (Fabito Rychter, Amir Admoni) Best Immersive (Passive): Warsaw Rising (Tomasz Dobosz) Juried Technical Achievement: The Cosmic Laughter of Cucci Binaca (Jonathan Sims) Excellence in Experience Design: Sleeping Eyes (Sojung Bahng, Sungeun Lee) Excellence in Sound Design: Symphony of Noise VR (Michaela Pnacekova) Excellence in Visual Design: Hominidae (Brian Andrews) Impact Award: Indirect Actions (Maranatha Hay) Grand Jury Prize: Minimum Mass (Raqi Syed, Areito Echevarria) === 2021 === FIVARS in FEB – People's Choice Best Interactive: CLAWS (created by Evan Neiden; directed by John Ertman) Best Immersive (Passive): Inside COVID 19 (Gary Yost, Adam Loften) FIVARS in FALL – People's Choice Best Interactive: Samsara (director: Hsin-Chien Huang) Best Immersive (Passive): The Invasion of Normandy Omaha Beach (director: Uli Futschik) Juried Technical Achievement: Dark Threads (director: Jonathon Corbiere) Excellence in Experience Design: Andy's World (director: Liquan Liu) Excellence in Sound Design: Symphony (director: Igor Cortadellas) Excellence in Visual Design: Mind VR Exploration (director: Deng Zuyun) Outstanding Performance: Lori Kovachevich, Lena's Journey (director: Wes Evans) Impact Award: Om Devi: Sheroes Revolution (director: Claudio Casale) Grand Jury Prize: Montegelato (director: Davide Rapp) === 2022 === FIVARS in FEB – People's Choice Best Interactive: Severance Theory: Welcome to Respite (Lyndsie Scoggin, United States) Best Immersive (Passive): Beescapes (Alan Nguyen, Australia) FIVARS in FALL – People's Choice Best Interactive: Namuanki (Kevin Mack, United States) Best Immersive (Passive): Reimagined Vol. 1: Nyssa (Julie Cavaliere, United States) Juried (Whole Year) Technical Achievement: Namuanki (Kevin Mack, United States) Excellence in Experience Design: Unframed: Hand Puppets, Paul Klee (Martin Charrière, Switzerland) Excellence in Visual Design: The Last Dance (Toshiaki Hanzaki, Japan) Excellence in Sound Design: Kingdom of Plants with David Attenborough (Iona McEwan, UK and USA) Outstanding Performance: Ari Tarr, OffRail (Ari Tarr, United States) Impact Award: Tearless (Gina Kim, South Korea) Grand Jury Prize: Klaxon. My dear sweet Friend (Nikita Shokhov, United States) === 2023 === People's Choice Best Interactive: PULSAR Best Immersive (Passive): Behind the Dish Juried Technical Achievement: VFC Excellence in Experience Design: Broken Spectre Excellence in Visual Design: Night Creatures Excellence in Sound Design: VFC Outstanding Performance: Origins Impact Award: LOU Grand Jury Prize: Stay Alive, My Son === 2024 ==

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  Digital media service

  A digital media service (DMS) is an online service provider that sells access to digital library of content such as films, software, games, images, literature, etc. While no transfer of property is made, a nearly perfect duplicate of the data (song movie, etc.) is made on a customer's computer. Content is either primarily hosted on a dedicated server, which is owned by the service provider, or it is hosted primarily on the hard drives of its customers using a P2P protocol with, perhaps, a dedicated server to supplement. == History == One example of the older business model is the iTunes Store, which still markets and prices data as individual retail products. There are no examples of the latter business model in operation yet, but one is currently in development by Global Gaming Factory X and expected to begin operation some time after they acquire The Pirate Bay domain on August 27, 2009. A key difference between the two models is that the model which relies on its customer base for offering their bandwidth for other customers to access customer hosted data can operate at significantly lower costs than a company that seeks to limit data access to a per-download fee in order to supplement the cost of using its own hosting and bandwidth. The P2P model holds the potential for companies to offer unlimited access to the largest data library in the history of the internet to its customers for a reasonably low membership rate that is relevant to the cost of operation. While the market is virtually untouched, the P2P supplemented model will need entrepreneurs who are able to overcome a series of challenges in order to compete with the older business model as well as that which is offered for free (and often against the wishes of copyright holders) by hundreds of P2P communities on the internet. These challenges include, but are not limited to: Offering better data quality, speed, convenience and ease of use, protocol, sense of security, indexing and search organization, site up time, data library size, customer support, advertising, artist/copyright holder incentives and compensation, incentives and compensation for customers hosting data and providing bandwidth, guaranteed seeding (available access to indexed data at all times), than competitors.

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  IAmAnas

  #IAmAnas (I Am Anas) is a Twitter hashtag and social media campaign that started in 2015. Users tweeted to express support for the undercover investigative works of Ghanaian journalist Anas Aremeyaw Anas. The campaign restarted in 2018 when the Ghanaian MP and financier of the New Patriotic Party, Kennedy Agyapong, announced his intention to reveal the identity of Anas following the journalist's exposé of corruption at the Ghana Football Association. Anas maintains that "being anonymous has always been his secret weapon." Pictures purported to be of Anas were first released by a TV station owned by Agyapong, and were quickly picked up by other media houses. At least one person, a Dutch-Brazilian model, has claimed ownership of one picture that was released, and has threatened legal action against Agyapong for possibly putting his life in danger. In response to Agyapong, social media users retweeted photos of themselves, random people, or even comic images of entities that resemble the trademark covered face of Anas. When the hashtag first began in 2015, along with other popular uses of the journalist's name, Elizabeth Ohene wrote an article about Ghanaians use of humour in response to dealing with the expose of government corruption. "I do not know when these words will make it into Wikipedia or the Oxford English Dictionary but for the moment you can take it from me that: To go undercover is to anas, to make secret recordings is to anas-anas, to wear disguises is to do an anas, to be caught in the act is to be anased. To have someone exposed taking bribes is to have that person being given the full Anas Aremeyaw Anas."

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  Ugly duckling theorem

  The ugly duckling theorem is an argument showing that classification is not really possible without some sort of bias. More particularly, it assumes finitely many properties combinable by logical connectives, and finitely many objects; it asserts that any two different objects share the same number of (extensional) properties. The theorem is named after Hans Christian Andersen's 1843 story "The Ugly Duckling", because it shows that a duckling is just as similar to a swan as two swans are to each other. It was derived by Satosi Watanabe in 1969. == Mathematical formula == Suppose there are n things in the universe, and one wants to put them into classes or categories. One has no preconceived ideas or biases about what sorts of categories are "natural" or "normal" and what are not. So one has to consider all the possible classes that could be, all the possible ways of making a set out of the n objects. There are 2 n {\displaystyle 2^{n}} such ways, the size of the power set of n objects. One can use that to measure the similarity between two objects, and one would see how many sets they have in common. However, one cannot. Any two objects have exactly the same number of classes in common if we can form any possible class, namely 2 n − 1 {\displaystyle 2^{n-1}} (half the total number of classes there are). To see this is so, one may imagine each class is represented by an n-bit string (or binary encoded integer), with a zero for each element not in the class and a one for each element in the class. As one finds, there are 2 n {\displaystyle 2^{n}} such strings. As all possible choices of zeros and ones are there, any two bit-positions will agree exactly half the time. One may pick two elements and reorder the bits so they are the first two, and imagine the numbers sorted lexicographically. The first 2 n / 2 {\displaystyle 2^{n}/2} numbers will have bit #1 set to zero, and the second 2 n / 2 {\displaystyle 2^{n}/2} will have it set to one. Within each of those blocks, the top 2 n / 4 {\displaystyle 2^{n}/4} will have bit #2 set to zero and the other 2 n / 4 {\displaystyle 2^{n}/4} will have it as one, so they agree on two blocks of 2 n / 4 {\displaystyle 2^{n}/4} or on half of all the cases, no matter which two elements one picks. So if we have no preconceived bias about which categories are better, everything is then equally similar (or equally dissimilar). The number of predicates simultaneously satisfied by two non-identical elements is constant over all such pairs. Thus, some kind of inductive bias is needed to make judgements to prefer certain categories over others. === Boolean functions === Let x 1 , x 2 , … , x n {\displaystyle x_{1},x_{2},\dots ,x_{n}} be a set of vectors of k {\displaystyle k} booleans each. The ugly duckling is the vector which is least like the others. Given the booleans, this can be computed using Hamming distance. However, the choice of boolean features to consider could have been somewhat arbitrary. Perhaps there were features derivable from the original features that were important for identifying the ugly duckling. The set of booleans in the vector can be extended with new features computed as boolean functions of the k {\displaystyle k} original features. The only canonical way to do this is to extend it with all possible Boolean functions. The resulting completed vectors have 2 k {\displaystyle 2^{k}} features. The ugly duckling theorem states that there is no ugly duckling because any two completed vectors will either be equal or differ in exactly half of the features. Proof. Let x and y be two vectors. If they are the same, then their completed vectors must also be the same because any Boolean function of x will agree with the same Boolean function of y. If x and y are different, then there exists a coordinate i {\displaystyle i} where the i {\displaystyle i} -th coordinate of x {\displaystyle x} differs from the i {\displaystyle i} -th coordinate of y {\displaystyle y} . Now the completed features contain every Boolean function on k {\displaystyle k} Boolean variables, with each one exactly once. Viewing these Boolean functions as polynomials in k {\displaystyle k} variables over GF(2), segregate the functions into pairs ( f , g ) {\displaystyle (f,g)} where f {\displaystyle f} contains the i {\displaystyle i} -th coordinate as a linear term and g {\displaystyle g} is f {\displaystyle f} without that linear term. Now, for every such pair ( f , g ) {\displaystyle (f,g)} , x {\displaystyle x} and y {\displaystyle y} will agree on exactly one of the two functions. If they agree on one, they must disagree on the other and vice versa. (This proof is believed to be due to Watanabe.) == Discussion == A possible way around the ugly duckling theorem would be to introduce a constraint on how similarity is measured by limiting the properties involved in classification, for instance, between A and B. However Medin et al. (1993) point out that this does not actually resolve the arbitrariness or bias problem since in what respects A is similar to B: "varies with the stimulus context and task, so that there is no unique answer, to the question of how similar is one object to another". For example, "a barberpole and a zebra would be more similar than a horse and a zebra if the feature striped had sufficient weight. Of course, if these feature weights were fixed, then these similarity relations would be constrained". Yet the property "striped" as a weight 'fix' or constraint is arbitrary itself, meaning: "unless one can specify such criteria, then the claim that categorization is based on attribute matching is almost entirely vacuous". Stamos (2003) remarked that some judgments of overall similarity are non-arbitrary in the sense they are useful: "Presumably, people's perceptual and conceptual processes have evolved that information that matters to human needs and goals can be roughly approximated by a similarity heuristic... If you are in the jungle and you see a tiger but you decide not to stereotype (perhaps because you believe that similarity is a false friend), then you will probably be eaten. In other words, in the biological world stereotyping based on veridical judgments of overall similarity statistically results in greater survival and reproductive success." Unless some properties are considered more salient, or 'weighted' more important than others, everything will appear equally similar, hence Watanabe (1986) wrote: "any objects, in so far as they are distinguishable, are equally similar". In a weaker setting that assumes infinitely many properties, Murphy and Medin (1985) give an example of two putative classified things, plums and lawnmowers: "Suppose that one is to list the attributes that plums and lawnmowers have in common in order to judge their similarity. It is easy to see that the list could be infinite: Both weigh less than 10,000 kg (and less than 10,001 kg), both did not exist 10,000,000 years ago (and 10,000,001 years ago), both cannot hear well, both can be dropped, both take up space, and so on. Likewise, the list of differences could be infinite… any two entities can be arbitrarily similar or dissimilar by changing the criterion of what counts as a relevant attribute." According to Woodward, the ugly duckling theorem is related to Schaffer's Conservation Law for Generalization Performance, which states that all algorithms for learning of boolean functions from input/output examples have the same overall generalization performance as random guessing. The latter result is generalized by Woodward to functions on countably infinite domains.

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  Locative media

  Locative media or location-based media (LBM) is a virtual medium of communication functionally bound to a location. The physical implementation of locative media, however, is not bound to the same location to which the content refers. Location-based media delivers multimedia and other content directly to the user of a mobile device dependent upon their location. Location information determined by means such as mobile phone tracking and other emerging real-time locating system technologies like Wi-Fi or RFID can be used to customize media content presented on the device. Locative media are digital media applied to real places and thus triggering real social interactions. While mobile technologies such as the Global Positioning System (GPS), laptop computers and mobile phones enable locative media, they are not the goal for the development of projects in this field. == Description == Media content is managed and organized externally of the device on a standard desktop, laptop, server, or cloud computing system. The device then downloads this formatted content with GPS or other RTLS coordinate-based triggers applied to each media sequence. As the location-aware device enters the selected area, centralized services trigger the assigned media, designed to be of optimal relevance to the user and their surroundings. Use of locative technologies "includes a range of experimental uses of geo-technologies including location-based games, artistic critique of surveillance technologies, experiential mapping, and spatial annotation." Location based media allows for the enhancement of any given environment offering explanation, analysis and detailed commentary on what the user is looking at through a combination of video, audio, images and text. The location-aware device can deliver interpretation of cities, parklands, heritage sites, sporting events or any other environment where location based media is required. The content production and pre-production are integral to the overall experience that is created and must have been performed with ultimate consideration of the location and the users position within that location. The media offers a depth to the environment beyond that which is immediately apparent, allowing revelations about background, history and current topical feeds. == Locative, ubiquitous and pervasive computing == The term 'locative media' was coined by Karlis Kalnins. Locative media is closely related to augmented reality (reality overlaid with virtual reality) and pervasive computing (computers everywhere, as in ubiquitous computing). Whereas augmented reality strives for technical solutions, and pervasive computing is interested in embedded computers, locative media concentrates on social interaction with a place and with technology. Many locative media projects have a social, critical or personal (memory) background. While strictly spoken, any kind of link to additional information set up in space (together with the information that a specific place supplies) would make up location-dependent media, the term locative media is strictly bound to technical projects. Locative media works on locations and yet many of its applications are still location-independent in a technical sense. As in the case of digital media, where the medium itself is not digital but the content is digital, in locative media the medium itself might not be location-oriented, whereas the content is location-oriented. Japanese mobile phone culture embraces location-dependent information and context-awareness. It is projected that in the near future locative media will develop to a significant factor in everyday life. == Enabling technologies == Locative media projects use technology such as Global Positioning System (GPS), laptop computers, the mobile phone, Geographic Information System (GIS), and web map services such as Mapbox, OpenStreetMap, and Google Maps among others. Whereas GPS allows for the accurate detection of a specific location, mobile computers allow interactive media to be linked to this place. The GIS supplies arbitrary information about the geological, strategic or economic situation of a location. Web maps like Google Maps give a visual representation of a specific place. Another important new technology that links digital data to a specific place is radio-frequency identification (RFID), a successor to barcodes like Semacode. Research that contributes to the field of locative media happens in fields such as pervasive computing, context awareness and mobile technology. The technological background of locative media is sometimes referred to as "location-aware computing". == Creative representation == Place is often seen as central to creativity; in fact, "for some—regional artists, citizen journalists and environmental organizations for example—a sense of place is a particularly important aspect of representation, and the starting point of conversations." Locative media can propel such conversations in its function as a "poetic form of data visualization," as its output often traces how people move in, and by proxy, make sense of, urban environments. Given the dynamism and hybridity of cities and the networks which comprise them, locative media extends the internet landscape to physical environments where people forge social relations and actions which can be "mobile, plural, differentiated, adventurous, innovative, but also estranged, alienated, impersonalized." Moreover, in using locative technologies, users can expand how they communicate and assert themselves in their environment and, in doing so, explore this continuum of urban interactions. Furthermore, users can assume a more active role in constructing the environments they are situated in accordingly. In turn, artists have been intrigued with locative media as a means of "user-led mapping, social networking and artistic interventions in which the fabric of the urban environment and the contours of the earth become a 'canvas.'" Such projects demystify how resident behaviors in a given city contribute to the culture and sense of personality that cities are often perceived to take on. Design scholars Anne Galloway and Matthew Ward state that "various online lists of pervasive computing and locative media projects draw out the breadth of current classification schema: everything from mobile games, place-based storytelling, spatial annotation and networked performances to device-specific applications." A prominent use of locative media is in locative art. A sub-category of interactive art or new media art, locative art explores the relationships between the real world and the virtual or between people, places or objects in the real world. == Examples == Notable locative media projects include Bio Mapping by Christian Nold in 2004, locative art projects such as the SpacePlace ZKM/ZKMax bluecasting and participatory urban media access in Munich in 2005 and Britglyph by Alfie Dennen in 2009, and location-based games such as AR Quake by the Wearable Computer Lab at the University of South Australia and Can You See Me Now? in 2001 by Blast Theory in collaboration with the Mixed Reality Lab at the University of Nottingham. In 2005, the Silicon Valley–based collaborators of C5 first exhibited the C5 Landscape Initiative, a suite of four GPS inspired projects that investigate perception of landscape in light of locative media. In William Gibson's 2007 novel Spook Country, locative art is one of the main themes and set pieces in the story. Narrative projects which engage with locative media are sometimes referred to as Location-Aware Fiction, as explored in "Data and Narrative: Location Aware Fiction" a 2003 essay by Kate Armstrong. This location-aware fiction is also known as locative literature, where locative stories and poems can be experienced via digital portals, apps, QR codes and e-books, as well as via analogue forms such as labelling tape, Scrabble tiles, fridge magnets or Post-It notes, and these are forms often used by the writer and artist Matt Blackwood. The Transborder Immigrant Tool by the Electronic Disturbance Theater is a locative media project aimed at providing life saving directions to water for people trying to cross the US / Mexico border. The project attracted global media attention in 2009 and 2010. Articles included a Los Angeles Times cover story focusing on Ricardo Dominguez and an AP story interviewing Micha Cárdenas and Brett Stalbaum. The articles focused on concerns over the legality of the project and the ensuing investigations of the group, which are still underway. The Transborder Immigrant Tool has recently been included in a number of major exhibitions including Here, Not There at the Museum of Contemporary Art San Diego and the 2010 California Biennial at the Orange County Museum of Art. Invisible Threads by Stephanie Rothenberg and Jeff Crouse is a locative media project aimed at creating embodied awareness of sweatshops and just-in-time production t

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  Static web page

  A static web page, sometimes called a flat page or a stationary page, is a web page that is delivered to a web browser exactly as stored, in contrast to dynamic web pages which are generated by a web application. Consequently, a static web page displays the same information for all users, from all contexts, subject to modern capabilities of a web server to negotiate content-type or language of the document where such versions are available and the server is configured to do so. However, a webpage's JavaScript can introduce dynamic functionality which may make the static web page dynamic. == Overview == Static web pages are often HTML documents, stored as files in the file system and made available by the web server over HTTP (nevertheless URLs ending with ".html" are not always static). However, loose interpretations of the term could include web pages stored in a database, and could even include pages formatted using a template and served through an application server, as long as the page served is unchanging and presented essentially as stored. The content of static web pages remains stationary irrespective of the number of times it is viewed. Such web pages are suitable for the contents that rarely need to be updated, though modern web template systems are changing this. Maintaining large numbers of static pages as files can be impractical without automated tools, such as static site generators. Any personalization or interactivity has to run client-side, which is restricting. Cloud-based website builders, including Wix, Weebly, and Duda, offer no-code platforms for creating static and dynamic web pages through graphical interfaces, without requiring programming expertise. === Advantages === Provide improved security over dynamic websites (dynamic websites are at risk to web shell attacks if a vulnerability is present) Improved performance for end users compared to dynamic websites Fewer or no dependencies on systems such as databases or other application servers Cost savings from utilizing cloud storage, as opposed to a hosted environment Security configurations are easy to set up, which makes it more secure Static files can be cached by content delivery networks (CDNs) and other intermediate caches, which both reduces page load times at the user and also reduces load on the origin server. Static websites can have improved uptime, since they are still available through any available CDN exit node even when other CDN nodes or the origin webserver are temporarily offline. === Disadvantages === Dynamic functionality must be performed on the client side. After each update of a static website, some or all users may see old, stale, outdated previous versions instead of the latest version until the old version is flushed from CDNs and other caches. == Static site generators == Static site generators are applications that compile static websites - typically populating HTML templates in a predefined folder and file structure, with content supplied in a format such as Markdown or AsciiDoc. === Implementations === Jekyll (powers GitHub Pages) Middleman Hugo Next.js Astro.build Pelican Franklin

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  Telecommunications

  Telecommunication, often used in its plural form or abbreviated as telecom, is the transmission of information over a distance using electrical or electronic means, typically through cables, radio waves, or other communication technologies. These means of transmission may be divided into communication channels for multiplexing, allowing for a single medium to transmit several concurrent communication sessions. Long-distance technologies invented during the 19th, 20th and 21st centuries generally use electric power, and include the electrical telegraph, telephone, television, and radio. Early telecommunication networks used metal wires as the medium for transmitting signals. These networks were used for telegraphy and telephony for many decades. In the first decade of the 20th century, a revolution in wireless communication began with breakthroughs including those made in radio communications by Guglielmo Marconi, who won the 1909 Nobel Prize in Physics. Other early pioneers in electrical and electronic telecommunications include co-inventors of the telegraph Charles Wheatstone and Samuel Morse, numerous inventors and developers of the telephone including Antonio Meucci, Philipp Reis, Elisha Gray and Alexander Graham Bell, inventors of radio Edwin Armstrong and Lee de Forest, as well as inventors of television like Vladimir K. Zworykin, John Logie Baird and Philo Farnsworth. Since the 1960s, the proliferation of digital technologies has meant that voice communications have gradually been supplemented by data. The physical limitations of metallic media prompted the development of optical fibre. The Internet, a technology independent of any given medium, has provided global access to services for individual users and further reduced location and time limitations on communications. == Definition == At the 1932 Plenipotentiary Telegraph Conference and the International Radiotelegraph Conference in Madrid, the two organizations merged to form the International Telecommunication Union (ITU). They defined telecommunication as "any telegraphic or telephonic communication of signs, signals, writing, facsimiles and sounds of any kind, by wire, wireless or other systems or processes of electric signaling or visual signaling (semaphores)." The definition was later reconfirmed, according to Article 1.3 of the ITU Radio Regulations, which defined it as "Any transmission, emission or reception of signs, signals, writings, images and sounds or intelligence of any nature by wire, radio, optical, or other electromagnetic systems". As such, slow communications technologies like postal mail and pneumatic tubes are excluded from the telecommunication's definition. The term telecommunication was coined in 1904 by the French engineer and novelist Édouard Estaunié, who defined it as "remote transmission of thought through electricity". Telecommunication is a compound noun formed from the Greek prefix tele- (τῆλε), meaning distant, far off, or afar, and the Latin verb communicare, meaning to share. Communication was first used as an English word in the late 14th century. It comes from Old French comunicacion (14c., Modern French communication), from Latin communicationem (nominative communication), noun of action from past participle stem of communicare, "to share, divide out; communicate, impart, inform; join, unite, participate in," literally, "to make common", from communis. == History == Many transmission media have been used for long-distance communication throughout history, from smoke signals, beacons, semaphore telegraphs, signal flags, and optical heliographs to wires and empty space made to carry electromagnetic signals. === Before the electrical and electronic era === Long-distance communication was used long before the discovery of electricity and electromagnetism enabled the invention of telecommunications. A few of the many ingenious methods for communicating over distances prior to that are described here. Homing pigeons have been used throughout history by different cultures. Pigeon post had Persian roots and was later used by the Romans to aid their military. Frontinus claimed Julius Caesar used pigeons as messengers in his conquest of Gaul. The Greeks also conveyed the names of the victors at the Olympic Games to various cities using homing pigeons. In the early 19th century, the Dutch government used the system in Java and Sumatra. And in 1849, Paul Julius Reuter started a pigeon service to fly stock prices between Aachen and Brussels, a service that operated for a year until the gap in the telegraph link was closed. In the Middle Ages, chains of beacons were commonly used on hilltops as a means of relaying a signal. Beacon chains suffered the drawback that they could only pass a single bit of information, so the meaning of the message, such as "the enemy has been sighted" had to be agreed upon in advance. One notable instance of their use was during the Spanish Armada, when a beacon chain relayed a signal from Plymouth to London. In 1792, Claude Chappe, a French engineer, built the first fixed visual telegraphy system (or semaphore line) between Lille and Paris. However semaphore suffered from the need for skilled operators and expensive towers at intervals of ten to thirty kilometres (six to nineteen miles). As a result of competition from the electrical telegraph, the last commercial line was abandoned in 1880. === Telegraph and telephone === On July 25, 1837, the first commercial electrical telegraph was demonstrated by English inventor Sir William Fothergill Cooke and English scientist Sir Charles Wheatstone. Both inventors viewed their device as "an improvement to the [existing] electromagnetic telegraph" and not as a new device. Samuel Morse independently developed a version of the electrical telegraph that he unsuccessfully demonstrated on September 2, 1837. His code was an important advance over Wheatstone's signaling method. The first transatlantic telegraph cable was successfully completed on July 27, 1866, allowing transatlantic telecommunication for the first time. After early attempts to develop a talking telegraph by Antonio Meucci and a telefon by Johann Philipp Reis, a patent for the conventional telephone was filed by Alexander Bell in February 1876 (just a few hours before Elisha Gray filed a patent caveat for a similar device). The first commercial telephone services were set up by the Bell Telephone Company in 1878 and 1879 on both sides of the Atlantic in the cities of New Haven and London. === Radio and television === In 1894, Italian inventor Guglielmo Marconi began developing wireless communication using the then-newly discovered phenomenon of radio waves, demonstrating, by 1901, that they could be transmitted across the Atlantic Ocean. This was the start of wireless telegraphy by radio. On 17 December 1902, a transmission from the Marconi station in Glace Bay, Nova Scotia, Canada, became the world's first radio message to cross the Atlantic from North America. In 1904, a commercial service was established to transmit nightly news summaries to subscribing ships, which incorporated them into their onboard newspapers. World War I accelerated the development of radio for military communications. After the war, commercial radio AM broadcasting began in the 1920s and became an important mass medium for entertainment and news. World War II again accelerated the development of radio for the wartime purposes of aircraft and land communication, radio navigation, and radar. Development of stereo FM broadcasting of radio began in the 1930s in the United States and the 1940s in the United Kingdom, displacing AM as the dominant commercial standard in the 1970s. On March 25, 1925, John Logie Baird demonstrated the transmission of moving pictures at the London department store Selfridges. Baird's device relied upon the Nipkow disk by Paul Nipkow and thus became known as the mechanical television. It formed the basis of experimental broadcasts done by the British Broadcasting Corporation beginning on 30 September 1929. === Vacuum tubes === Vacuum tubes use thermionic emission of electrons from a heated cathode for a number of fundamental electronic functions such as signal amplification and current rectification. The simplest vacuum tube, the diode invented in 1904 by John Ambrose Fleming, contains only a heated electron-emitting cathode and an anode. Electrons can only flow in one direction through the device—from the cathode to the anode. Adding one or more control grids within the tube enables the current between the cathode and anode to be controlled by the voltage on the grid or grids. These devices became a key component of electronic circuits for the first half of the 20th century and were crucial to the development of radio, television, radar, sound recording and reproduction, long-distance telephone networks, and analogue and early digital computers. While some applications had used earlier technologies such as the sp

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  Source-code editor

  A source-code editor is a text editor program designed specifically for editing the source code of computer programs. It includes basic functionality such as syntax highlighting, and sometimes debugging. It may be a standalone application or it may be built into an integrated development environment (IDE). == Features == Source-code editors have features specifically designed to simplify and speed up typing of source code, such as syntax highlighting(syntax error highlighting), auto indentation, autocomplete and brace matching functionality. These editors may also provide a convenient way to run a compiler, interpreter, debugger, or other program relevant for the software-development process. While many text editors like Notepad can be used to edit source code, if they do not enhance, automate or ease the editing of code, they are not defined as source-code editors. Structure editors are a different form of a source-code editor, where instead of editing raw text, one manipulates the code's structure, generally the abstract syntax tree. In this case features such as syntax highlighting, validation, and code formatting are easily and efficiently implemented from the concrete syntax tree or abstract syntax tree, but editing is often more rigid than free-form text. Structure editors also require extensive support for each language, and thus are harder to extend to new languages than text editors, where basic support only requires supporting syntax highlighting or indentation. For this reason, strict structure editors are not popular for source code editing, though some IDEs provide similar functionality. A source-code editor can check syntax dynamically while code is being entered and immediately warn of syntax problems, as well as suggest code autocomplete snippets. A few source-code editors compress source code, typically converting common keywords into single-byte tokens, removing unnecessary whitespace, and converting numbers to a binary form. Such tokenizing editors later uncompress the source code when viewing it, possibly prettyprinting it with consistent capitalization and spacing. A few source-code editors do both. The Language Server Protocol, first used in Microsoft's Visual Studio Code, allows for source code editors to implement an LSP client that can read syntax information about any language with a LSP server. This allows for source code editors to easily support more languages with syntax highlighting, refactoring, and reference finding. Many source code editors such as Neovim and Brackets have added a built-in LSP client while other editors such as Emacs, Vim, and Sublime Text have support for an LSP Client via a separate plug-in. == History == In 1985, Mike Cowlishaw of IBM created LEXX while seconded to the Oxford University Press. LEXX used live parsing and used color and fonts for syntax highlighting. IBM's LPEX (Live Parsing Extensible Editor) was based on LEXX and ran on VM/CMS, OS/2, OS/400, Windows, and Java Although the initial public release of vim was in 1991, the syntax highlighting feature was not introduced until version 5.0 in 1998. On November 1, 2015, the first version of NeoVim was released. In 2003, Notepad++, a source code editor for Windows, was released by Don Ho. The intention was to create an alternative to the java-based source code editor, JEXT In 2015, Microsoft released Visual Studio Code as a lightweight and cross-platform alternative to their Visual Studio IDE. The following year, Visual Studio Code became the Microsoft product using the Language Server Protocol. This code editor quickly gained popularity and emerged as the most widely used source code editor. == Comparison with IDEs == A source-code editor is one component of a Integrated Development Environment. In contrast to a standalone source-code editor, an IDE typically also includes several tools which enhance the software development process. Such tools include syntax highlighting, code autocomplete suggestions, version control, automatic formatting, integrated runtime environments, debugger, and build tools. Standalone source code editors are preferred over IDEs by some developers when they believe the IDEs are bloated with features they do not need. == Notable examples == == Controversy == Many source-code editors and IDEs have been involved in ongoing user arguments, sometimes referred to jovially as "holy wars" by the programming community. Notable examples include vi vs. Emacs and Eclipse vs. NetBeans. These arguments have formed a significant part of internet culture and they often start whenever either editor is mentioned anywhere.

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  Gnowit

  Gnowit (pronounced "know it") is a Canadian software company that provides automated, near-real-time monitoring of legislative, regulatory, and political activity across Canada. Its platform aggregates and analyzes information from government publications, parliamentary debates, committee, and proceedings to provide searchable alerts and reports for organizations monitoring public policy and regulatory developments. The system uses natural-language processing and machine learning techniques to organize and filter large volumes of public information.; the company reports that new publication documents are captured and millions of items are added to its repository daily. == History, Founders and Leadership == Gnowit was co-founded in Ottawa in 2010 by Shahzad Khan and Mohammad Al-Azzouni; Khan serves as chief executive officer. Khan holds a PhD in Computer Science from the University of Cambridge, has more than two decades of experience in AI/ML and computational linguistics, and has authored or co-authored 37 peer-reviewed publications and five patents. Traditionally, companies performed this analysis manually; Gnowit has delivered efficiencies achieved through AI innovations. The company has participated in several Canadian startup and accelerator programs, including Carleton University's Lead To Win initiative, the University of Ottawa's Startup Garage, the Invest Ottawa incubator, and the League of Innovators' BOOST program. === Kubernetes validation (2019–2020) === As part of a Canada's Centre of Excellence in Next Generation Networks (CENGN) project, Gnowit validated a containerized version of its web-intelligence software on Kubernetes. Between 2019 and 2020, Gnowit participated in a project with Canada’s Centre of Excellence in Next Generation Networks (CENGN) to test and scale its platform using containerized infrastructure based on Kubernetes. The initiative focused on improving scalability and supporting the company’s transition from a monolithic software architecture to a cloud-native deployment model. == Products and services == Gnowit markets several modules for public-affairs, compliance, and market-intelligence teams. Legislative & Regulatory Monitoring (vAnalyst). vAnalyst is a monitoring platform that tracks legislative and regulatory activity across Canadian federal, provincial, and territorial jurisdictions. The system aggregates parliamentary debates, bills, committee proceedings, and regulatory publications and provides searchable alerts and reporting tools. The product monitors more than two million web sources to surface relevant items quickly. Parliamentary Live (vAnalyst). Monitors live video feeds from parliamentary sessions and committees with same-day transcripts, AI-generated summaries, witness summaries, and motion detection; municipal coverage is offered as an option. Gnowit can avail transcripts up to two weeks before official releases. These transcripts enable users to navigate and review lengthy parliamentary sittings and committee discussions through searchable text. Municipal Monitoring (vAnalyst). The platform also tracks council meetings, agendas, bylaws, and other municipal government publications from hundreds of Canadian municipalities. The platform aggregates these sources into a single searchable interface for reviewing local government decisions. Curation Edge (analyst service). Curation Edge is an add-on service in which expert analysts work and collaborate with clients to develop a tailored curation guide and deliver daily newsletters or briefs on legislation and media. These reports provide concise summaries, relevant links, and optional metadata, prioritizing key updates with additional context and analysis. The service is customizable, including branding and formatting for executive audiences, and is intended to reduce information overload, support decision-making, and streamline the synthesis and distribution of information. === Coverage and sources === Gnowit monitors sources span Canadian government materials across federal, provincial, and territorial jurisdictions Hansard transcripts (All Jurisdictions, including committees), order papers, committee transcripts, gazettes, bills, acts and regulations, consultations, regulatory-agency publications, and global news media as well as press releases and council-meeting materials from hundreds of municipalities. == Partnerships and support == Gnowit reports collaborations with Canadian academic and ecosystem partners, including: Algonquin College Carleton University McGill University University of Ottawa Université du Québec en Outaouais (UQO) Queen's University The company also participated in the accelerator program at Invest Ottawa and has received support from Canadian research and innovation programs, including: NRC Industrial Research Assistance Program (NRC-IRAP) Mitacs Ontario Centre of Innovation (OCI) (formerly OCE) Gnowit has also referenced membership in the Southern Ontario Smart Computing Innovation Platform (Government of Canada profile: FedDev Ontario – SOSCIP overview). == Technology == Gnowit develops technology intended to support timely decision-making by delivering updates from monitored web sources as they are published. The platform applies artificial intelligence (AI) and machine learning (ML) techniques to monitor, capture, clean, analyze, filter, and organize text, and to generate concise briefs. Its technical approach combines Boolean queries, shallow language processing techniques, and machine learning classifiers within a self-service interface. The company has described its longer-term development framework in relation to a belief–desire–intention (BDI) model of intelligent agents on the web. Gnowit and its founder are listed as inventors/assignees on patents concerning multi-document clustering, salient-content extraction, and sentiment analysis methods that are consistent with these features: US 9,600,470 – Method and system relating to re-labelling multi-document clusters (assignee: Whyz Technologies Ltd.). US 9,336,202 – Method and system relating to salient content extraction for information retrieval (assignee: Whyz Technologies Ltd.). CA 2,865,184 C – Method and system relating to re-labelling multi-document clusters. CA 2,865,186 C – Procédé et système concernant l'analyse de sentiment d'un contenu (sentiment analysis; French record). CA 2,865,187 C – Method and system relating to salient content extraction for information retrieval. == Research and community == In January 2025, Gnowit personnel contributed to regulatory NLP by co-authoring a peer-reviewed paper at the 1st Regulatory NLP Workshop (RegNLP 2025), co-located with COLING in Abu Dhabi. Titled Unifying Large Language Models and Knowledge Graphs for Efficient Regulatory Information Retrieval and Answer Generation, the work introduces PolicyInsight, a framework that joins a dynamic policy data model and knowledge graph with LLMs to monitor policy texts, detect changes, and support retrieval and answer generation; the author list includes Shahzad Khan (CEO, Gnowit Inc.). (ACL Anthology, aclweb.org). Similar information-retrieval technologies are widely used for competitive intelligence, policy monitoring, and media analysis. == White paper == Gnowit has published a practical guide, Automated Government Information Monitoring, which outlines how GR and regulatory teams can design a monitoring and briefing workflow and describes Gnowit's automation features and export options (PDF, email, dashboards, CSV/JSON/XML/API).

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  Atomtronics

  Atomtronics is an emerging field concerning the quantum technology of matter-wave circuits which coherently guide propagating ultra-cold atoms. The systems typically include components analogous to those found in electronics, quantum electronics or optical systems, such as beam splitters, transistors, and atomic counterparts of superconducting quantum interference devices (SQUIDs). Applications range from studies of fundamental physics to the development of practical devices such as quantum superfluids for the computation of large models for artificial general intelligence. == Etymology == Atomtronics is a portmanteau of "atom" and "electronics", in reference to the creation of atomic analogues of electronic components, such as transistors and diodes, and also electronic materials such as semiconductors. The field itself has considerable overlap with atom optics and quantum simulation, and is not strictly limited to the development of electronic-like components. However, this field develops into the research of ultra-cold atoms for the applied research implications of computations in quantum science. == Methodology == Three major elements are required for an atomtronic circuit. The first is a Bose-Einstein condensate, which is needed for its coherent and superfluid properties, although an ultracold Fermi gas may also be used for certain applications. The second is a tailored trapping potential, which can be generated optically, magnetically, or using a combination of both. The final element is a method to induce the movement of atoms within the potential, which can be achieved in several ways, for various research advancements around fields not limited to distributed computing, supercomputing, and quantum computing. For example, a transistor-like atomtronic circuit may be realized by a ring-shaped trap divided into two by two moveable weak barriers, with the two separate parts of the ring acting as the drain and the source and the barriers acting as the gate. As the barriers move, atoms flow from the source to the drain. It is now possible to coherently guide matterwaves over distances of up to 40 cm in ring-shaped atomtronic matterwave guide measurement. == Applications == The field of atomtronics is still very nascent and any schemes realized thus far are proof-of-concept. Applications include: gravimetry rotational sensing via the Sagnac effect quantum computing Obstacles to the development of practical sensing devices are largely due to the technical challenges of creating Bose-Einstein condensates. They require bulky lab-based setups not easily suitable for transportation. However, creating portable experimental setups is an active area of research.

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