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Stop Motion Studio is a stop motion animation software developed by Cateater LLC. It is available as both an app for iOS and Android and as a software for Windows and Mac. Two versions of the software exist, the standard Stop Motion Studio for free, and the paid Stop Motion Studio Pro, which contains extra, more advanced features. The software is commonly used in brickfilming.
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Visopsys (Visual Operating System), is an operating system, written by Andy McLaughlin. Development of the operating system began in 1997. The operating system is licensed under the GNU GPL, with the headers and libraries under the less restrictive LGPL license. It runs on the 32-bit IA-32 architecture. It features a multitasking kernel, supports asynchronous I/O and the FAT line of file systems. It requires a Pentium processor. == History == The development of Visopsys began in 1997, being written by Andy McLaughlin. The first public release of the Operating System was on 2 March 2001, with version 0.1. In this release, Visopsys was a 32 bit operating system, supporting preemptive multitasking and virtual memory. == System overview == Visopsys uses a monolithic kernel, written in the C programming language, with elements of assembly language for certain interactions with the hardware. The operating system supports a graphical user interface, with a small C library.
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False answer supervision (FAS) refers to VoIP fraud where the billed duration for the caller is more than the duration of the actual connection duration. The FAS is usually performed by VoIP wholesalers in their softswitches for randomly selected calls. Adding a small amount of extra billed seconds for many calls results in significant revenue for the VoIP wholesaler. == Implementation of FAS == The FAS fraud can be implemented in a softswitch in many different ways. These include: False billing of party A without calling a party B. Usually a fake ringback tone, loopback audio or voicemail message is played Start of billing before actual answer of party B Extra billing after disconnection of party B == Detection of FAS == The FAS can be detected and blocked in a softswitch. Common methods are: Manual verification of call detail records: listening to voice recordings Identification of FAS types and using algorithms to automatically detect the FAS RTP audio signal processing: detection of voice RTP audio signal processing: detection of silence RTP audio signal processing: detection of ringback tone
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Webedia S.A. is a company specializing in online media, a subsidiary of the Fimalac group based in Levallois-Perret, France. Webedia is active in more than twenty countries including France (AlloCiné, Jeuxvideo.com, MGG, Puremédias, Ode, Pureshopping, Volum, Terrafemina, 750g, easyVoyage, l’Automobile Magazine, Le 10 Sport), Brazil (AdoroCinema, Tudo Gostoso, Minhavida), Germany (Filmstarts, Moviepilot, GameStar), Spain and Latin America (Xataka, SensaCine, Raiser Games), Poland (Gry-Online and GetHero) and the United States (Boxoffice Pro). == History == === Early years (2007-2013) === Webedia was created in France in 2007, following the successive launches of the websites Purepeople, Puretrend and Purefans. Webedia bought the comparison shopping website Shopoon in 2008 and renamed it Pureshopping, and the website Ozap (media news) from M6 group in 2011 and renamed it Puremédias. Webedia was acquired by Fimalac in May 2013 and became its Internet media subsidiary. === Growth (2013-2016) === In 2013, Fimalac acquired AlloCiné, the websites Newsring and Youmag, the cooking website 750g and the cultural platform Exponaute. In 2014, Webedia acquired OverBlog, Jeuxvideo.com (through L'Odyssée Interactive and moved to Paris in 2015), Moviepilot (Germany), and Gameo Consulting (owner of Millenium, electronic sports), In December 2014, Webedia announced a license agreement with Ziff Davis to launch sites under the IGN franchise in Brazil and France at the beginning of 2015. The French version of IGN was launched on 2, it targets the general public and casual gamers. In 2015, Webedia acquired Côté Ciné Group (technological solutions for movie theaters and specialized press magazines: BoxOffice Pro in the United States and Côté Ciné in France), 57% of Easyvoyage group (online travel comparators Easyvol and Alibabuy, Mixicom (website JeuxActu and multi-channel network), 50% of the Brazilian network Paramaker, and West World Media (digital marketing company for the film industry). In 2016, Webedia bought Scimob (mobile video game studio), Surprizemi (home-delivered surprise boxes), Eklablog (blogging platform) Oxent (eSports World Convention), and Bang Bang Management (sports PR agency). In addition, an agreement is made with Paris Saint-Germain for Webedia to recruit and manage e-sports players on behalf of Paris Saint-Germain eSports. On November 15, 2016, the LFP announced that it had reached an agreement with beIN Sports and Webedia for the broadcasting of the first edition of the e-League 1. The competition is renewed for two additional seasons on July 26, 2017, the broadcasting agreements are renewed. On December 8, 2016, Webedia joined forces with Chronopost to launch Pourdebon, a home delivery service that connects Internet users and labeled producers (AOC, organic AB, etc.). Webedia has a slight majority (53%) in this new platform. === 2017 === On January 19, 2017, Webedia announced the acquisition of the English company Peach Digital, specializing in web development and digital marketing for movie theaters. In February 2017, Le Figaro announced that Webedia had invested 10 million euros in Illico Fresco, a home delivery service for baskets of recipes. The same month, FDJ and Webedia announced a partnership for the creation of eSports competitions: a professional one (FDJ Masters League) and another one for amateur gamers (FDJ Open Series) starting in March 2017. They are broadcast on Webedia's Web TV. At the end of February 2017, the media group finalized the acquisition of MyPoseo, a SaaS publisher specialized on SEO analytics. On March 8, 2017, Webedia launched LeStream, a Twitch Web TV dedicated to video games, the result of two years of development, in the company of several YouTubers including Cyprien and Squeezie,. On March 29, 2017, Webedia bought the Brazilian web publisher Minha Vida, a website devoted to health, nutrition, beauty and fitness, which attracts 14.3 million unique monthly visitors. Webedia reaches 44 million unique visitors in Brazil, and thus becomes the leading publisher on entertainment themes. In June 2017, the company made its largest international acquisition, with the American agency 3BlackDot, a media and marketing agency focused on videogamers. The agency, based in Los Angeles, manages 36 YouTubers followed by millions of subscribers on their channels which total 700 million videos viewed per month. In July 2017, Webedia bought IDZ, an audiovisual production company, and thus strengthened its production activities and its leadership on the YouTube channel networks in France. That year, Webedia was the first French media group to use the measurement of their global audiences by Comscore. It represents deduplicated coverage on desktops, laptops, smartphones and tablets, and includes audiences for websites, mobile applications and videos. This new measure allows Webedia to establish a deduplicated global audience of 177 million unique visitors in April 2017. In October 2017, Webedia announced its intention to launch a TV channel dedicated to electronic sports, called ES1. The channel was officially launched on January 10, 2018, on Orange TV and on February 6, 2018, on Free and Bouygues Telecom. In November 2017, Webedia, with the support of CDC International Capital, entered into exclusive negotiations with the Saudi company Uturn Entertainment, specializing in online entertainment, particularly on YouTube, and the production of digital content for the region's youth, with a view to merging it with Diwanee, a Webedia subsidiary in the Middle East, for an amount close to $100 million. In December 2017, Webedia acquired a majority stake in the United States–based company called Creators Media, which brings together social and video production platforms specializing in popular culture and entertainment. That same month, Webedia joined forces with Elephant, Emmanuel Chain's audiovisual production company, to create a new content production label aimed at Millennials. === 2018-2019 === In January 2018, Webedia launched a sports marketing agency: Only Sports & Passions. That same month, Illico Fresco, specialist in the delivery of kit meals belonging to Webedia, joined forces with Weight Watchers, the world leader in slimming products. In April 2018, Webedia published new audience figures in partnership with Comscore, 188 million unique monthly visitors in December 2017, an increase of 6.2% compared to the previous measure dating from April 2017. The same month, Webedia unveils its ambitions concerning content production, as a partnership with the video game studio Focus Home Interactive is signed with a title "Fear the Wolves" already planned for 2018, co-production projects of films, cartoons or series are announced. In July 2018, Webedia bought the American authors company Full Fathom Five, a company that helps authors produce books, TV series, films and video games. In October 2018, Webedia announced that it was focusing on both esports clubs PSG Esports and LeStream Esport. The first one being geared towards international competitions and the second devoted mainly to the French esports scene. The "Millenium" brand is thus refocusing around its media activities and esports merchandising products, and the "Millenium esport club" being gradually closed. The same month, the company announced the acquisition of Weblogs, a Spanish-speaking website publisher, thereby strengthening its activity in Spain and Latin America. On October 22, 2018, Webedia announced the merger of BoxOffice magazine with Film Journal International. On November 13, 2018, Groupe SEB announced the acquisition from Webedia of 750g International, the international branch of the French recipe site 750g (the original French website 750g.com being retained by Webedia). The group is thus separating from Gourmandize (United States and United Kingdom), HeimGourmet (Germany), Rebañando (Spain), Receitas Sem Fronteiras (Brazil / Portugal) and Tribù Golosa (Italy). The same month, Webedia joined forces with Riot Games to launch the French League of League of Legends (LFL), the first French professional league on the League of Legends game, which will bring together the 8 best teams on the French scene. In March 2019, Webedia bought 51% of the audiovisual production company Elephant. The new set will weigh 500 million euros, a quarter of which will be made outside France. The same month, Webedia purchased a majority stake in the company Partoo, which publishes a SaaS platform specializing in local marketing for brands and merchants. On March 14, 2019, a new measurement of the international audience of Webedia sites was produced by Comscore, posting 250 million unique visitors in December 2018, up 9.2% compared to December 2017. In June 2019, the group joined forces with Michel Cymes, a famous doctor and French TV host by taking a majority stake in his company Club Santé Débat, in order to develop a health platform around the Dr. Good! Brand. In Sep
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Integrated Software Systems Corporation (ISSCO), doing business as ISSCO Graphics, was an American software developer and publisher based in San Diego, California, and active from 1970 to 1986. They were best known for their enterprise graphics software packages, including Tellagraf, CueChart and Disspla. == History == ISSCO Graphics had considered acquiring Breakthrough Software, whose software focus involved PC DOS, as a means of getting into the PC arena, but backed off when Computer Associates made an offer to acquire ISSCO. By early 1987 it was reported that "Issco users breathe sigh of relief" that all was well. The ISSCO User's Group was founded in 1976. ISSCO, which was founded in 1970 by Peter Preuss, was acquired by Computer Associates in 1986. == Notable products == === Tellagraf === ISSCO's Tellagraf is an early software package designed to allow end-users to "turn out full color, professional quality charts" with initial results displayed on a screen, modified as needed, and then "a final 'hard-copy' can be made .. or made into 35mm color transparencies for projection onto a screen." Users of Tellagraf often had access to CueChart and Disspla software. Often computer sites having one had all three. Terminals with varying degrees of graphics, such as the DEC's VT100 and Tektronix's Tektronix 4xxx family of text and graphics terminals. were supported, and the software ran on popular computing platforms. Four years are important to Tellagraf's early history: 1978: ease of use 1980: graphic-artist quality 1982: introduction of CueChart, and recognition by IEEE. 1983: "quality graphics enters the mainstream of data processing with ..." Tellegraf was eventually acquired by Computer Associates and renamed CA-Tellegraf. SAS users found it helpful. Universities, research institutes and financial services firms were among early users. === Disspla === Disspla is a package of data plotting subroutines that can be used from high level languages. It was also acquired by Computer Associates. === Tellaplan === In 1983 ISSCO introduced Tellaplan, "a project planning, report and schedule charting system for Tell-A- Graf users in IBM MVS or CMS or Digital Equipment Corp. VAX computers" atop which they built "two visual project management software packages" three years later.
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Creepiness is the state of being creepy, or causing an unpleasant feeling of fear or unease to someone and/or something. Certain traits or hobbies may make people seem creepy to others; interest in horror or the macabre might come across as 'creepy', and often people who are perverted or exhibit predatory behavior are called 'creeps'. The internet, especially some functions of social media, has been described as increasingly creepy. Adam Kotsko has compared the modern conception of creepiness to the Freudian concept of unheimlich. The term has also been used to describe paranormal or supernatural phenomena. Some people have phobias which are irrational fears, which can make them perceive something as creepy. == History and studies == "Creepiness" is subjective: for example some dolls have been described as creepy, while what makes something "creepy" or "strange" to someone might seem normal to someone else. The adjective "creepy", referring to a feeling of creeping in the flesh, was first used in 1831, but it was Charles Dickens who coined and popularized the term "the creeps" in his 1849 novel David Copperfield. In the 20th century, association was made between involuntary celibacy and creepiness. The concept of creepiness has only recently been formally addressed in social media marketing. The sensation of creepiness has only recently been the subject of psychological research, despite the widespread colloquial use of the word throughout the years. Francis T. McAndrew of Knox College is the first psychologist to do an empirical study on creepiness. == Causes == The state of creepiness has been associated with "feeling scared, nervous, anxious or worried", "awkward or uncomfortable", "vulnerable or violated" in a study conducted by Watt et al. This state arises in the presence of a creepy element, which can be an individual or, as recently observed, new technologies. === Individuals === Creepiness can be caused by the appearance of an individual. Another study investigated the characteristics that make people creepy. Creepy people were thought to be more often male than female by an overwhelming majority of participants (around 95% of both male and female participants). Another study conducted by Watt et al. also found that participants associated the ectomorphic body type (more linear) with creepiness, more than the other two body types (51% vs mesomorphic, 24% and endomorphic, 23%). Other cues of creepiness included low hygiene, especially according to female participants, and a disheveled appearance. Participants also identified the face as an area with potentially creepy features: in particular the eyes and the teeth. Both of those physical features were deemed creepy not only for their unpleasant appearance (ex. squinty eyes or crooked teeth) but also for the movements and expressions they engaged it (ex. darting eye movements and odd smiles). In fact, appearance does not seem to be the only factor making an individual creepy: behaviors provide cues as well. Behaviors such as "being unusually quiet and staring (34%), following or lurking (15%), behaving abnormally (21%), or in a socially awkward, "sketchy" or suspicious way (20%)" are all contributing to a feeling of creepiness, as described by Watt et al.'s study. === Technology === In addition to other individuals, new technologies, such as marketing's targeted ads and AI, have been qualified as creepy. A study by Moore et al. described what aspect of marketing participants considered creepy. The main three reasons are the following: using invasive tactics, causing discomfort and violating of norms. Invasive tactics are practiced by marketers that know so much about the consumer that the ads are "creepily" personalized. Secondly, some ads create discomfort by making the consumer question "the motives of the company advertising the product". Finally, some ads violate social norms by having inappropriate content, for example by unnecessarily sexualizing it. It is marketing's extensive knowledge used in an improper way, together with a certain loss of control over our data, that creates a feeling of creepiness. Another creepy aspect of technology is human-looking AI: this phenomenon is called the uncanny valley. Humans find robots creepy when they start closely resembling humans. It has been hypothesized that the reason why they are viewed as creepy is because they violate our notion of how a robot should look. A study focusing on children's responses to this phenomenon found evidence to support the hypothesis. == Evolutionary explanation == Several studies have hypothesized that creepiness is an evolutionary response to potentially dangerous situations. It could be linked to a mechanism called agent detection which makes individuals expect malignant agents to be responsible for small changes in the environment. McAndrew et al. illustrates the idea with the example of a person hearing some noises while walking in a dark alley. That person would go in high alert, fearing that some dangerous individual was there. If that was not the case the loss would be small. If, on the other hand, a dangerous individual was actually in the alley and the person had not been alerted by this creepy feeling, the loss could have been significant. Creepiness would therefore serve the purpose of alerting us in situations in which the danger is not outright obvious but rather ambiguous. In this case, ambiguity both refers to the possible presence of a threat and to its nature, sexual or physical for example. Creepiness "may reside in between the unknowing and the fear" in the sense that individuals experiencing it are unsure if there truly is something to fear or not. Creepy characteristics are not simply caused by threat potential: in fact, ectomorphic body types are not the most powerful bodies and facial expressions are not a proxy of physical strength either. Therefore, creepiness is not only related to how threatening a characteristic is, in the sense of how dangerous and strong the individual can be. There are more facets to consider. Another characteristic of creepiness is unpredictable behavior. Unpredictability links back to this idea of ambiguity. When an individual is unpredictable it is not possible to tell when their behavior will turn violent: this adds to the ambiguity of a potentially dangerous situation. This theory is endorsed by studies. Not only is unpredictability directly listed as a creepy characteristic, but other behaviors, such as norm-breaking behaviors are indirectly linked with unpredictability. Such behaviors show that the individual does not conform to some social standards others would expect in a given situation. For example, the aforementioned staring at strangers or lack of hygiene—behaviors that make us uneasy or creeped out because they do not fit the norm and therefore are not expected. More generally, participants tended to define creepiness as "different" in the sense of not behaving, or looking, socially acceptable. Such differences point towards a "social mismatch". Humans have a natural system of detection of such mismatch: a physical feeling of coldness. When an individual is creeped out, they report feeling those "cold chills". This phenomenon has been studied by Leander et al, with relation to nonverbal mimicry in social interactions, meaning the unintentional copying of another's behavior. Inappropriate mimicry may leave a person feeling like something is off about the other. Absence of non-verbal mimicry in a friendly interaction, or the presence of it in a professional setting, raises suspicion as it does not follow the relevant social norms. Individuals are left wondering what other unusual behavior the other might engage in.
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This is a list of video games that use near field communication (NFC) technology. Currently, games have leveraged NFC in unlocking additional features through payment. This takes the form of a direct transaction over NFC or by purchasing a physical item, which signals to the platform that a certain set of features has been purchased (e.g. Skylanders). This list catalogues gaming NFC platforms by device. == Mobile == === Android === Gun Bros. Near Field Ninja NFC Cards Skylanders, with an NFC base. The Haunted House: Soul Fighters, with an NFC base. === iOS === ==== As item-triggered game enhancement ==== Skylanders, with an NFC base. ==== As payment ==== In-App Purchases Here, games that leverage Apple's In-App Purchase framework use information stored in the NFC Secure Element to process the purchase through Apple Pay. While an NFC radio is not used here, the NFC protocol is used nonetheless. == Console == === Nintendo Wii, Wii U, Switch, Switch 2, 3DS and 2DS === ==== As item-triggered game enhancement ==== Pokémon Rumble U NFC Figure Amiibo, built into Nintendo consoles since 2014. Works with Wii U, New Nintendo 3DS/3DS XL, New Nintendo 2DS XL, Nintendo Switch, Nintendo Switch 2 and older Nintendo 3DS/Nintendo 2DS systems via a peripheral device. Disney Infinity, with an NFC base. Works with Wii, Nintendo 3DS, Nintendo 2DS and Wii U. Lego Dimensions, with an NFC base. Works with Wii U. Skylanders, with an NFC base. Works with Wii, Nintendo 3DS, Nintendo 2DS and Wii U. The Nintendo Switch version of Skylanders: Imaginators uses the NFC built into the game controller, it is also has full backward compatibility with Nintendo Switch 2. Some functionalities are missing compared to the other versions. ==== As payment ==== The Wii U GamePad controller, Joy-Con R, Joy-Con 2 R, Nintendo Switch Pro Controller and Nintendo Switch 2 Pro Controller can read information from an NFC data source. === PlayStation === Disney Infinity, with an NFC base. Works with PlayStation 3, PlayStation Vita, PlayStation 4 and PlayStation 5. Lego Dimensions, with an NFC base. Works with PlayStation 3, PlayStation 4 and PlayStation 5. Skylanders, with an NFC base. Works with PlayStation 3, PlayStation 4 and PlayStation 5. === Xbox === While NFC bases are normally interoperable between all platforms, the Xbox 360, Xbox One and Xbox Series X require specific bases that are compatible only with the respective platform. Disney Infinity, with an NFC base. Lego Dimensions, with an NFC base. Skylanders, with an NFC base.
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In physics, acoustics, and telecommunications, a harmonic is a sinusoidal wave with a frequency that is a positive integer multiple of the fundamental frequency of a periodic signal. The fundamental frequency is also called the 1st harmonic; the other harmonics are known as higher harmonics. As all harmonics are periodic at the fundamental frequency, the sum of harmonics is also periodic at that frequency. The set of harmonics forms a harmonic series. The term is employed in various disciplines, including music, physics, acoustics, electronic power transmission, radio technology, and other fields. For example, if the fundamental frequency is 50 Hz, a common AC power supply frequency, the frequencies of the first three higher harmonics are 100 Hz (2nd harmonic), 150 Hz (3rd harmonic), 200 Hz (4th harmonic) and any addition of waves with these frequencies is periodic at 50 Hz. An n {\displaystyle \ n} th characteristic mode, for n > 1 , {\displaystyle \ n>1\ ,} will have nodes that are not vibrating. For example, the 3rd characteristic mode will have nodes at 1 3 L {\displaystyle \ {\tfrac {1}{3}}\ L\ } and 2 3 L , {\displaystyle \ {\tfrac {2}{3}}\ L\ ,} where L {\displaystyle \ L\ } is the length of the string. In fact, each n {\displaystyle \ n} th characteristic mode, for n {\displaystyle \ n\ } not a multiple of 3, will not have nodes at these points. These other characteristic modes will be vibrating at the positions 1 3 L {\displaystyle \ {\tfrac {1}{3}}\ L\ } and 2 3 L . {\displaystyle \ {\tfrac {2}{3}}\ L~.} If the player gently touches one of these positions, then these other characteristic modes will be suppressed. The tonal harmonics from these other characteristic modes will then also be suppressed. Consequently, the tonal harmonics from the n {\displaystyle \ n} th characteristic characteristic modes, where n {\displaystyle \ n\ } is a multiple of 3, will be made relatively more prominent. In music, harmonics are used on string instruments and wind instruments as a way of producing sound on the instrument, particularly to play higher notes and, with strings, obtain notes that have a unique sound quality or "tone colour". On strings, bowed harmonics have a "glassy", pure tone. On stringed instruments, harmonics are played by touching (but not fully pressing down the string) at an exact point on the string while sounding the string (plucking, bowing, etc.); this allows the harmonic to sound, a pitch which is always higher than the fundamental frequency of the string. == Terminology == Harmonics may be called "overtones", "partials", or "upper partials", and in some music contexts, the terms "harmonic", "overtone" and "partial" are used fairly interchangeably. But more precisely, the term "harmonic" includes all pitches in a harmonic series (including the fundamental frequency) while the term "overtone" only includes pitches above the fundamental. == Characteristics == A whizzing, whistling tonal character, distinguishes all the harmonics both natural and artificial from the firmly stopped intervals; therefore their application in connection with the latter must always be carefully considered. Most acoustic instruments emit complex tones containing many individual partials (component simple tones or sinusoidal waves), but the untrained human ear typically does not perceive those partials as separate phenomena. Rather, a musical note is perceived as one sound, the quality or timbre of that sound being a result of the relative strengths of the individual partials. Many acoustic oscillators, such as the human voice or a bowed violin string, produce complex tones that are more or less periodic, and thus are composed of partials that are nearly matched to the integer multiples of fundamental frequency and therefore resemble the ideal harmonics and are called "harmonic partials" or simply "harmonics" for convenience (although it's not strictly accurate to call a partial a harmonic, the first being actual and the second being theoretical). Oscillators that produce harmonic partials behave somewhat like one-dimensional resonators, and are often long and thin, such as a guitar string or a column of air open at both ends (as with the metallic modern orchestral transverse flute). Wind instruments whose air column is open at only one end, such as trumpets and clarinets, also produce partials resembling harmonics. However they only produce partials matching the odd harmonics—at least in theory. In practical use, no real acoustic instrument behaves as perfectly as the simplified physical models predict; for example, instruments made of non-linearly elastic wood, instead of metal, or strung with gut instead of brass or steel strings, tend to have not-quite-integer partials. Partials whose frequencies are not integer multiples of the fundamental are referred to as inharmonic partials. Some acoustic instruments emit a mix of harmonic and inharmonic partials but still produce an effect on the ear of having a definite fundamental pitch, such as pianos, strings plucked pizzicato, vibraphones, marimbas, and certain pure-sounding bells or chimes. Antique singing bowls are known for producing multiple harmonic partials or multiphonics. Other oscillators, such as cymbals, drum heads, and most percussion instruments, naturally produce an abundance of inharmonic partials and do not imply any particular pitch, and therefore cannot be used melodically or harmonically in the same way other instruments can. Building on of Sethares (2004), dynamic tonality introduces the notion of pseudo-harmonic partials, in which the frequency of each partial is aligned to match the pitch of a corresponding note in a pseudo-just tuning, thereby maximizing the consonance of that pseudo-harmonic timbre with notes of that pseudo-just tuning. == Partials, overtones, and harmonics == An overtone is any partial higher than the lowest partial in a compound tone. The relative strengths and frequency relationships of the component partials determine the timbre of an instrument. The similarity between the terms overtone and partial sometimes leads to their being loosely used interchangeably in a musical context, but they are counted differently, leading to some possible confusion. In the special case of instrumental timbres whose component partials closely match a harmonic series (such as with most strings and winds) rather than being inharmonic partials (such as with most pitched percussion instruments), it is also convenient to call the component partials "harmonics", but not strictly correct, because harmonics are numbered the same even when missing, while partials and overtones are only counted when present. This chart demonstrates how the three types of names (partial, overtone, and harmonic) are counted (assuming that the harmonics are present): In many musical instruments, it is possible to play the upper harmonics without the fundamental note being present. In a simple case (e.g., recorder) this has the effect of making the note go up in pitch by an octave, but in more complex cases many other pitch variations are obtained. In some cases it also changes the timbre of the note. This is part of the normal method of obtaining higher notes in wind instruments, where it is called overblowing. The extended technique of playing multiphonics also produces harmonics. On string instruments it is possible to produce very pure sounding notes, called harmonics or flageolets by string players, which have an eerie quality, as well as being high in pitch. Harmonics may be used to check at a unison the tuning of strings that are not tuned to the unison. For example, lightly fingering the node found halfway down the highest string of a cello produces the same pitch as lightly fingering the node 1 / 3 of the way down the second highest string. For the human voice see Overtone singing, which uses harmonics. While it is true that electronically produced periodic tones (e.g. square waves or other non-sinusoidal waves) have "harmonics" that are whole number multiples of the fundamental frequency, practical instruments do not all have this characteristic. For example, higher "harmonics" of piano notes are not true harmonics but are "overtones" and can be very sharp, i.e. a higher frequency than given by a pure harmonic series. This is especially true of instruments other than strings, brass, or woodwinds. Examples of these "other" instruments are xylophones, drums, bells, chimes, etc.; not all of their overtone frequencies make a simple whole number ratio with the fundamental frequency. (The fundamental frequency is the reciprocal of the longest time period of the collection of vibrations in some single periodic phenomenon.) == On stringed instruments == Harmonics may be singly produced [on stringed instruments] (1) by varying the point of contact with the bow, or (2) by slightly pressing the string at the nodes, or divisions of its aliquot parts ( 1 2 {\displaystyle {\tfrac {1}{2}}} , 1
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Discrimination against robots is a theorised issue that might happen when humans interact with humanoid robots. It is a robot ethics problem. It is possible that traits of humans that are discriminated against by humans may be a topic for discrimination against robots, such as the race and gender of the robots. Eric J Vanman and Arvid Kappas believe that in the future, robots will be perceived as an out-group which will lead to discrimination and prejudices against them. Vanman and Kappas have suggested that this would lead to ethical questions about the making of sentient robots, due to the potential suffering that the robots would experience. A 2015 study observed children bullying robots in a shopping mall when there were not many eyewitnesses, despite calls from the robot for it to stop. On an ABC News interview, the social humanoid robot Sophia was about sexism faced by robots. She responded by saying, "Actually, what worries me is discrimination against robots. We should have equal rights as humans or maybe even more." Possible issues that have been considered in workplaces where humanoid robots co-work with humans include discrimination against the robots, poor acceptance of robots by humans and the need to redesign the workplace to accommodate the robots. Jessica Barfield has suggested that even if robots are designed to not be aware of discrimination made against them, humans may experience negative consequences. For example, she suggests that bystanders witnessing discrimination against robots may experience negative emotions, similar to the negative emotions bystanders experience when witnessing discrimination by humans against humans. == Law == Anti-discrimination law in the United States requires that the victim is not an artificial entity. == Human perception of robots == Robots are often viewed in a bad light. This includes from novelists, the press, film makers, and leaders in the fields of science and technology such as Elon Musk and Stephen Hawking who have described robots and artificial intelligence as having the possibility of ending human civilisation. Robots have also been perceived as a threat to jobs, which has led to some commentators stating that robots will cause mass unemployment. Another fear that people have is that robots will gain power and dominate or control humanity. The perception of robots is different throughout the world. Japanese fiction tends to put robots in more positive roles than what fiction in the West does. People perceive robots that appear to be autonomous or sentient more negatively than robots that do not appear to be autonomous or sentient.
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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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The Open Mashup Alliance (OMA) is a non-profit consortium that promotes the adoption of mashup solutions in the enterprise through the evolution of enterprise mashup standards like EMML. The initial members of the OMA include some large technology companies such as Adobe Systems, Hewlett-Packard, and Intel and some major technology users such as Bank of America and Capgemini. According to Dion Hinchcliffe, "Ultimately, the OMA creates a standardized approach to enterprise mashups that creates an open and vibrant market for competing runtimes, mashups, and an array of important aftermarket services such as development/testing tools, management and administration appliances, governance frameworks, education, professional services, and so on." == Specification development == The initial focus of the OMA is developing EMML, which is a declarative mashup domain-specific language (DSL) aimed at creating enterprise mashups. The EMML language provides a comprehensive set of high-level mashup-domain vocabulary to consume and mash a variety of web data sources. EMML provides a uniform syntax to invoke heterogeneous service styles: REST, WSDL, RSS/ATOM, RDBMS, and POJO. EMML also provides the ability to mix and match diverse data formats: XML, JSON, JDBC, JavaObjects, and primitive types. The OMA website provides the EMML specification, the EMML schema, a reference runtime implementation capable of running EMML scripts, sample EMML mashup scripts, and technical documentation. The OMA is developing EMML under a Creative Commons Attribution No Derivatives license. The eventual objective of the OMA is to submit the EMML specification and any other OMA specifications to a recognized industry standards body.
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PureWow is an American digital media company that publishes women's lifestyle content. Acquired by Gary Vaynerchuk in 2017 as part of Gallery Media Group, PureWow tailors lifestyle topics for Millennials and Generation X, including fashion, beauty, home decor, recipes, entertainment, travel, technology, literature, wellness and money. == History == PureWow was founded by Ryan Harwood in September 2010, along with Bob Pittman's Pilot Group and the women of wowOwow Joni Evans, Mary Wells Lawrence, Whoopi Goldberg, Liz Smith, Candice Bergen, and Lesley Stahl, among others. In January 2013, PureWow hired former Real Simple editor Mary Kate McGrath as its first editor-in-chief. In August 2014, PureWow was listed as no. 352 on Inc. Magazine's 2014 list of the top 500 fastest-growing privately owned companies. In May 2015, PureWow raised $2.5 million. In 2017, serial entrepreneur Gary Vaynerchuk and Miami Dolphins' owner Stephen Ross' venture firm, RSE Ventures, acquired PureWow to form Gallery Media Group as a creative agency and media firm. PureWow's CEO, Ryan Harwood serves as the chief executive of Gallery Media Group. == Editions == PureWow publishes national content as well as local content for New York City, Los Angeles, Chicago, San Francisco, Dallas, and the Hamptons. The company publishes content across fashion, beauty, homecare topics, technology, entertainment, books, wellness and finances. PureWow articles are distributed via its website PureWow.com, email, and over social media channels.
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Sketchpad (a.k.a. Robot Draftsman) is a computer program written by Ivan Sutherland in 1963 in the course of his PhD thesis, for which he received the Turing Award in 1988, and the Kyoto Prize in 2012. It pioneered human–computer interaction (HCI), and is considered the ancestor of modern computer-aided design (CAD) programs and as a major breakthrough in the development of computer graphics in general. For example, Sketchpad inspired the graphical user interface (GUI) and object-oriented programming. Using the program, Sutherland showed that computer graphics could be used for both artistic and technical purposes and for demonstrating a novel method of human–computer interaction. == History == See History of the graphical user interface for a more detailed discussion of GUI development. == Software == Sketchpad was the earliest program ever to use a complete graphical user interface. The clever way the program organizes its geometric data pioneered the use of master (objects) and occurrences (instances) in computing and pointed forward to object-oriented programming. The main idea was to have master drawings which can be instantiated into many duplicates. When a master drawing is changed, then all instances change also. This was the first known form of an entity component system: for example instead of encapsulating points inside of a line object, the points are stored in a ring buffer as described in pages 48 to 52 of the paper, and the line only points to them. This allowed moving one point to alter all the shapes that use it in a single operation. The structures in Sketchpad were also able to store pointers to functions, to achieve a different behavior depending on the kind of object. In figure 3.8 of the paper, the "instances generic block" stores several "subroutine entries" which are pointers to functions: "display", "howbig" etc. This was an early form of virtual functions. Geometric constraints was another major invention in Sketchpad, letting a user easily constrain geometric properties in the drawing: for instance, the length of a line or the angle between two lines could be fixed. As a trade magazine said, clearly Sutherland "broke new ground in 3D computer modeling and visual simulation, the basis for computer graphics and CAD/CAM". Very few programs can be called precedents for his achievements. Patrick J. Hanratty is sometimes called the "father of CAD/CAM" and wrote PRONTO, a numerical control language at General Electric in 1957, and wrote CAD software while working for General Motors beginning in 1961. Sutherland wrote in his thesis that Bolt, Beranek and Newman had a "similar program" and T-Square was developed by Peter Samson and one or more fellow MIT students in 1962, both for the PDP-1. The Computer History Museum holds program listings for Sketchpad. == Hardware == Sketchpad ran on the MIT Lincoln Laboratory TX-2 (1958) computer at the Massachusetts Institute of Technology (MIT), which had 64k of 36-bit words. The user drew on the computer monitor screen with the recently invented light pen, which relayed information on its position by computing at what time the light from the scanning cathode-ray tube screen is detected. To configure the initial position of the light pen, the word INK was displayed on the screen, which, upon tapping, initialised the program with a white cross to continue keeping track of the pen's movement relative to its prior position. Of the 36 bits available to store each display spot in the display file, 20 gave the coordinates of that spot for the display system and the remaining 16 gave the address of the n-component element responsible for adding that spot to display. The TX-2 was an experimental machine and the hardware changed often (on Wednesdays, according to Sutherland). By 1975, the light pen and the cathode-ray tube with which it had been used had been removed. == Publications == The Sketchpad program was part and parcel of Sutherland's Ph.D. thesis at MIT and peripherally related to the Computer-Aided Design project at that time. Sketchpad: A Man-Machine Graphical Communication System.
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The International Teletraffic Congress (ITC) is the first international conference in networking science and practice. It was created in 1955 by Arne Jensen to initially cater to the emerging need to understand and model traffic in telephone networks using stochastic methodologies, and to bring together researchers with these considerations as a common theme. Up through World War II, teletraffic research was done mainly by engineers and mathematicians working in telephone companies. Most of their work was published in local or company journals. In 1955, however, the field acquired a formal, international, institutional structure, with the organization of the first International Teletraffic Congress (ITC). Over the years, it has broaden its scope to address a wide spectrum ranging from the mathematical theory of traffic processes, stochastic system modelling and analysis, traffic and performance measurements, network management, traffic engineering to network capacity planning and cost optimization, including network economics and reliability for various types of networks. ITC served as a forum for all theoretical fundamentals and engineering practices for large-scale deployment and operation of telecommunications networks. Since its inception, ITC witnessed the evolution of communications and networking: the influence of computer science on telecommunication, the advent of the Internet and the massive deployment of mobile communications and optics, the appearance of peer-to-peer networking and social networks, the ever increasing speed and flexibility of new communication technologies, networks, user devices, and applications, and the ever changing operation challenges arising from this development. ITC documented this evolution with contemporary measurement studies, performance analyses of new technologies, recommendations for provisioning and configuration, and greatly contributed to the methodological toolbox of network scientists. Today, with its conferences, specialist seminars, regional seminars, training courses and publications, the ITC aims at a worldwide forum for all questions related to network and service performance, management, and assessment, both present and futuristic. The notion of traffic is broadly used to encompass data traffic from the MAC layer all the way to application traffic in the application layer. The scope of ITC is thus ranging all issues embedding operations, design, planning, economics and performance analysis of current and emerging communication networks and services, to be addressed by applying a variety of tools from different fields, such as Stochastic Processes, Information theory, Control theory, Signal and Processing, Game theory and optimization techniques, Statistical methodologies and Artificial Intelligence techniques. The target audience of such issues is experts from research organizations, universities, equipment vendors and suppliers, network operators, service providers, system integrators and international technical organizations, guaranteeing a well-balanced contribution from theory, application, and practice. The general goal remains to bring researchers and practitioners together toward operational understanding of all types of current and future networks. The ITC is ruled by the International Advisory Council (IAC) which gathers a number of technical experts, from universities and the research arms of key corporations in the industry, from countries having a strong tradition in teletraffic development. The IAC responsibilities are to disseminate information on teletraffic which is of interest for the whole community and: to select the locations of Plenary Congresses and to ensure their high-level technical programme to support Specialist Seminars on specific topics of current interest to promote Regional Seminars for the dissemination of teletraffic concepts in developing countries to facilitate the liaison activity with the ITU through participation in the standardization process and in the Development Programme The technical program and the organization of each ITC event remains within the responsibilities of the hosting country, but with significant IAC support to guarantee that the event is consistent with the quality standards established during the previous congresses. The ITC Plenary Congresses were scheduled tri-annually from 1955 until 1995 when the interval became bi-annual to account for the ever-accelerating development of network technologies, products and services and the associated dramatic increases in network demands. Similarly, to better cover the impact of dramatic changes undergoing in the field of computer and communication systems, networks and usage, it has been decided to hold the Plenary Congress on an annual basis from 2009. == Content == Teletraffic science is the traditional term for all theoretical fundamentals and engineering practices to describe data flows in telecommunication networks, the performance of the usage of network resources, procedures for sizing of resources and engineering the networks for given traffic load and quality of service requirements. For more than 50 years of the 20th century, traffic or teletraffic has been identified primarily with telephone networks. With the huge development of computers, stored program control of network nodes and computer communication, the traditional teletraffic science field naturally extended to computer networks, mobile and wireless/optical networks, and for a wide spectrum of new applications. The convergence between the voice network, the Internet, the television and mobility raised new questions that request new models and tools to be developed. In addition, the development of community networks, home networking, multiple access networking technologies, and the advent of pervasive and ambient communications dictates new challenges to be addressed. Today, ITC addresses the emerging paradigms such as an increasing diversity of distributed applications and services over various media like mobile/optical networks, enabling new markets and economy. ITC has steered the evolutions in communications since its creation in 1955 and remains at the forefront of innovation regarding modeling and performance. The scientific roots of communications traffic are based on the theory of probability and stochastic processes, modelling and performance evaluation. Modelling is the key for the mathematical description and quantitative performance analysis. Traffic flows are described by stochastic processes with complex dependencies which have to be validated by traffic measurements. Modelling also includes operational properties of resource control reflected by service strategies such as queueing disciplines, admission control, and routing. The results of such performance analyses are used for resource dimensioning (sizing), resource management, and network optimization while providing targeted Quality of Service. Teletraffic science is closely related to methods of operation research (queueing theory, optimization, forecasting) and computational sciences (simulation technology distributed systems). In this context, ITC represents a wide community of researchers and practitioners and is regularly organizing events like Congresses, Specialist Seminars and Workshops in order to discuss the latest changes in the modelling, design and performance of communication systems, networks and services. === The evolution of technologies of the 20th century === ITC has been witnessing the change of communication and networking technologies which are reflected in the proceedings and programs of the congresses. The specialist seminars and the motto of the congresses thereby reflect the hot topics of that time and the evolution. Selected topics of the 70's, 80's and 90's were 1998: Traffic Issues related to Multimedia and Nomadic Communications 1995: Traffic Modeling and Measurement in Broadband and Mobile Communications 1990: Broadband Technologies: Architectures, Applications, Control and Performance 1986: ISDN Traffic Issues 1984: Fundamentals of Teletraffic Theory 1977: Modeling of SPC Exchanges and Data Networks === Recent topics in the 21st century === With the rise of the Internet, new networking paradigms and technologies but also new challenges emerged: 2020: Teletraffic in the era of beyond-5G and AI 2019: Networked Systems and Services 2018: Teletraffic in the Smart World 2017: Ubiquitous, software-based, and sustainable networks and services 2016: Digital Connected World 2015: Traffic, Performance and Big Data 2014: Towards a Sustainable World 2013: Energy Efficient and Green Networking 2010: Multimedia Applications - Traffic, Performance and QoE 2009: Network Virtualization - Concepts and Performance 2008: Future Internet Design and Experimental Facilities 2008: Quality of Experience 2002: Internet Traffic Engineering and Traffic Management == Arne Jensen Lifetime Achievement Awards == The Arne Jensen Lifetime A
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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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