AI App How To Use

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  • AI content watermarking

    AI content watermarking

    AI content watermarking is the process of embedding imperceptible yet detectable signals into content generated by artificial intelligence systems, such as text, images, audio, or video. The technique allows the content to be traced and identified as machine-generated without compromising its quality for the end user. AI watermarking has emerged as a key approach to address growing concerns about misinformation, deepfakes, copyright infringement, and the traceability of synthetic content in the context of the rapid development of generative artificial intelligence. Unlike traditional visible watermarks used in photography, AI content watermarks are typically invisible to humans and can only be detected and deciphered algorithmically. The concept is distinct from the watermarking of AI models themselves (to prevent model theft) and from the watermarking of training data (to combat unauthorized data use). Modern AI watermarking schemes are typically formalized as a pair of algorithms, an embedding (or generation) algorithm and a detection algorithm, sharing a secret key, whose performance is evaluated along three competing axes: quality (the watermark must not noticeably degrade outputs), detectability (the watermark must be statistically distinguishable from unwatermarked content), and robustness (the watermark must persist under adversarial or incidental modifications). == Background == Digital watermarking has been used for decades to protect physical and digital media, from paper currency to photographs. Classical schemes typically embedded a fixed bit-string into a fixed cover signal, with robustness criteria defined against a small fixed set of distortions such as JPEG compression or additive Gaussian noise. The rapid advancement of generative AI in the early 2020s, however, created a new and qualitatively different demand: rather than protecting a single artifact, watermarks for AI content must be embedded automatically across an open-ended distribution of generated outputs while remaining robust to a much wider class of adversarial transformations, including paraphrasing, image regeneration via diffusion models, and re-recording. Large image generation models such as DALL-E, Stable Diffusion, and Midjourney, along with large language models like ChatGPT, made it possible to produce highly realistic synthetic text, images, audio, and video at scale, raising significant ethical and security concerns. In July 2023, the Biden administration secured voluntary commitments from leading AI companies, including OpenAI, Alphabet, Meta, and Amazon, to develop watermarking and other provenance technologies to help users identify AI-generated content. == Formal definitions and design goals == Most modern AI watermarking schemes can be formalized as a pair of algorithms ( W m , D e t e c t ) {\displaystyle ({\mathsf {Wm}},{\mathsf {Detect}})} parameterized by a secret key k {\displaystyle k} . The embedding algorithm W m {\displaystyle {\mathsf {Wm}}} takes a generative model M {\displaystyle M} (and optionally a prompt) and returns a watermarked output x {\displaystyle x} ; the detection algorithm D e t e c t ( x , k ) {\displaystyle {\mathsf {Detect}}(x,k)} outputs a real-valued score (typically a p-value or log-likelihood ratio) used to decide whether x {\displaystyle x} was produced by the watermarked generator. The literature evaluates such schemes along several largely conflicting criteria: Criteria for evaluation include imperceptibility or quality preservation, measured for text via perplexity and human preference judgments, and for images and audio via metrics such as PSNR, SSIM, LPIPS, or PESQ. Detectability is typically expressed as the true positive rate at a fixed false positive rate (e.g. 1% or 10^-6), or as the number of tokens or pixels needed to reach a given confidence level. Robustness refers to the requirement that the watermark should survive expected modifications like JPEG or MP3 compression, cropping, noise, paraphrasing, or machine translation. Distortion-freeness is a stronger property requiring that the marginal distribution of any single watermarked output be statistically identical to the unwatermarked model's distribution. Schemes due to Aaronson, Christ et al., and Kuditipudi et al. are distortion-free in this sense, while the original Kirchenbauer et al. scheme is not. Forgery resistance or unforgeability means an adversary without the secret key should be unable to produce content that passes detection. == Techniques == AI watermarking techniques vary significantly depending on the type of content being watermarked. At its core, the process involves two main stages: embedding (or encoding) the watermark, and detection. There are two primary methods for embedding: watermarking during content generation, which requires access to the AI model itself but is generally more robust, and post-generation watermarking, which can be applied to content from any source, including closed-source models. Watermarks can be broadly classified as visible, including overt marks such as logos or text overlays, or imperceptible, which are detectable only by algorithms. They can also be classified by durability: robust watermarks are designed to withstand common transformations such as compression, cropping, and re-encoding, while fragile watermarks are easily destroyed by any alteration, making them useful for tamper detection. A further axis distinguishes zero-bit watermarks, which only signal "this content was generated by model M," from multi-bit watermarks, which embed an arbitrary payload (such as a user identifier) that can be recovered at detection time. === Text === Text watermarking is considered one of the most challenging modalities because natural language offers relatively limited redundancy compared to images or audio. Modern approaches for large language models alter the autoregressive sampling process so that some statistical signature is left in the choice of tokens, while leaving the surface form of the text unchanged. The literature distinguishes three main families of generation-time text watermarks. Logit-biasing schemes (e.g. KGW) add a fixed bias δ {\displaystyle \delta } to a pseudorandomly selected subset of vocabulary logits before softmax sampling. Reweighting or sampling-based schemes (e.g. SynthID-Text) compose multiple pseudorandom tournaments over the model's full distribution. Distortion-free schemes based on the Gumbel-max trick or inverse transform sampling (Aaronson 2022; Kuditipudi et al. 2023; Christ et al. 2024) preserve the marginal output distribution of the model. ==== KGW: token-probability shifting ==== The pioneering "green list / red list" scheme of Kirchenbauer et al. (KGW), introduced at ICML 2023, is the foundation for most subsequent text watermarks. At each decoding step t {\displaystyle t} , a pseudorandom function (PRF) keyed by a secret k {\displaystyle k} is applied to a context window of h {\displaystyle h} previous tokens to deterministically partition the vocabulary V {\displaystyle V} of size N {\displaystyle N} into a "green list" G ⊂ V {\displaystyle G\subset V} of size γ N {\displaystyle \gamma N} and its complement, the "red list" R = V ∖ G {\displaystyle R=V\setminus G} , where γ ∈ ( 0 , 1 ) {\displaystyle \gamma \in (0,1)} (typically γ = 1 / 2 {\displaystyle \gamma =1/2} ) is the green fraction. A logits processor then increments every green-list logit by a fixed bias δ > 0 {\displaystyle \delta >0} before softmax: ℓ v ′ = ℓ v + δ ⋅ 1 [ v ∈ G ] {\displaystyle \ell '_{v}=\ell _{v}+\delta \cdot \mathbf {1} [v\in G]} so that, after sampling, green tokens are over-represented but generation is not constrained to green tokens alone; high-entropy positions tolerate the bias gracefully, while low-entropy positions (where one token dominates the logits) override the watermark and preserve correctness on factual content. Detection requires only the secret key and the candidate text, not the language model itself. The detector recomputes the partition g ( ⋅ ) {\displaystyle g(\cdot )} for each token, counts the number of green hits | G | hits {\displaystyle |G|_{\text{hits}}} in a sequence of length T {\displaystyle T} , and computes a one-proportion z-test statistic: z = | G | hits − γ T T γ ( 1 − γ ) {\displaystyle z={\frac {|G|_{\text{hits}}-\gamma T}{\sqrt {T\gamma (1-\gamma )}}}} Under the null hypothesis that the text was written by an unwatermarked source (human or another model), the green-hit count is approximately binomially distributed with mean γ T {\displaystyle \gamma T} ; a large positive z {\displaystyle z} rejects the null hypothesis. The original paper reports that fewer than 25 watermarked tokens are sufficient to detect a watermark with a false positive rate below 10^-5 on the OPT-1.3B model. A follow-up study by the same group documented robustness under temperature sampling, top-p (nucleus) sampling, and human paraphrasing, and proposed sliding-window

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  • Brand networking

    Brand networking

    Brand networking is the engagement of a social networking service around a brand by providing consumers with a platform of relevant content, elements of participation, and a currency, score, or ranking. Brand networking creates communities that serve as interactive destinations to encourage brand participation online and off. This evolved level of user participation with the brand facilitates strong relationships with consumers, leverages sales, and generates fan equity. The concept builds on the marketing literature on brand communities, which describes specialized, non-geographically bound groups of consumers organized around shared interest in a brand, and on subsequent research on social-media-based brand communities that examines how such groups operate when embedded in general-purpose networking platforms. == History == The development and growth of social networking in the early 2000s gave birth to brand networking. Brands saw the immediate potential to reach and interact with consumers through online platforms like Facebook and MySpace. At first, the ability to reach consumers through these platforms was inadequate; brands had the option to join as members or simply advertise on these sites. The potential existed to not only display advertisements to consumers, but to encourage them to interact with the brand. This is when brands made the shift to create their own networking platforms. Less evolved attempts to connect brands with consumers via networking are typically built as online platforms meant only to complement a product/service and are limited in functionality. Typically these sites offer consumers the opportunity to interact through discussion boards and group pages. The Guiding Light Community was built to complement the popular CBS television soap opera. The site offers members reward points for contributing content to discussion boards and blogs (which is all geared toward the show). == Structure == Brand networking is more than the utilization of a social networking platform; it is connecting consumers together and constructing relationships directly with the brand. Three key elements, in unity, create effective brand networking: relevant content, elements of participation, and a competitive currency. Websites in conjunction with other media types (television, radio, print) present content around a vertical industry, sector of interest, or cultural and social issues for a brand. This can be in areas such as health, marketing, or business, or any content relevant to the brand message. Such content is not only provided by the brand but also in the form of consumer-generated media. Research on brand-related user-generated content across major platforms suggests that the form and tone of consumer contributions vary by platform, with promotional content more common on some networks and response-oriented content on others. A brand provides participation with consumers online and offline. This is accomplished through the combination of typical social networking features online, such as personalised pages, friend lists, groups, and messaging, alongside elements of involvement offline. This is not simply connecting an online platform with mobile devices, but providing separate mobile features jointly with a secondary media type to drive online usage and build relationships with the brand on the go. By participating in mobile campaigns, users are interacting with the brand outside of traditional brick and mortar or e-commerce destinations. Empirical work on consumer brand engagement in social media frames such participation along cognitive, affective, and behavioural dimensions. The final element of brand networking involves incentivising participation with the other two elements. The addition of a currency or point system acts as an anchor to the brand and network and creates a competitive dynamic between consumers. These points are distributed for activity carried out outside of the networking site. By incentivising usage offline, the brand image is reinforced for the consumer and strengthens the relationship. Consumers are turned into promoters for both the brand and the users' benefit. The use of points, badges, leaderboards, and similar mechanics is described in the marketing literature as gamification, and has been linked to higher participation rates in mobile and loyalty programmes. == Fan equity == Fan equity is the idea that by locking in consumers to a brand, they are turned into fans of the brand. As fans, they promote, interact, and consume on a daily basis and become assets. Apple Inc. is one example of a company often cited as possessing fan equity. Customers of Apple are extremely brand loyal and are assets to the company. Creating a fan-generated brand is a difficult but effective method of business. Through the use of brand networking, a company is able to build a consumer or fan base that provides a strong relationship between business and consumers. The trust is formed and fans do a lot of work for the brand by word of mouth. Peer-to-peer channels are the strongest means of communication for a brand, but also one in which the brand can only influence and not control. Subsequent research links community engagement with brand trust, identifying community engagement as a mediator between social-media brand community participation and trust. This method of business is argued to be a relationship handled by the brand generally for its own gain. Many fans do not realise the work they are doing for companies by using their product or service. Facebook is a fan-based brand that has become a global phenomenon through customer use, with social media features such as sharing and commenting. With the growth of social media, marketing and advertising through social media has continued to expand. Brands can display and promote their products or services at a fast rate, with consumers sharing and contributing to the brand on a global scale. This can also be seen as online word of mouth exposure that can produce positive or negative feedback for brands. Once consumers become fans they are typically loyal, which can create positive word of mouth for a brand. Fans become a valuable asset, boosting the status and reputation of a brand. Different perceptions of brands can be linked to a person's origin or religion, which creates a difficulty when trying to enter a market or gain market share. Businesses need to be aware of the types of products or services they introduce to a specific market, ensuring they are culturally sensitive. Fan pages are created on social media to maintain the relationship between brands and consumers. By engaging and interacting with consumers, brands obtain fans and produce positive imaging. Some fans become attached to brands and are often encouraged to remain as fans through the use of celebrities endorsing the brand. Research on parasocial interaction in social-media environments suggests that one-sided emotional bonds that consumers form with endorsers and brand personae help convert ordinary followers into engaged fans.

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  • Digital heritage

    Digital heritage

    The Charter on the Preservation of Digital Heritage of UNESCO defines digital heritage as embracing "cultural, educational, scientific and administrative resources, as well as technical, legal, medical and other kinds of information created digitally, or converted into digital form from existing analogue resources". Digital heritage also includes the use of digital media in the service of understanding and preserving cultural or natural heritage. The digitization of both cultural heritage and Natural heritage serves to enable the permanent access of current and future generations to culturally important objects ranging from literature and paintings to flora, fauna, or habitats. It is also used in the preservation and access of objects with enduring or significant historical, scientific, or cultural value including buildings, archeological sites, and natural phenomena. The main idea is the transformation of a material object into a virtual copy. It should not be confused with digital humanities, which uses digitizing technology to specifically help with research. There have been several debates concerning the efficiency of the process of digitizing heritage. Some of the drawbacks refer to the deterioration and technological obsolescence due to the lack of funding for archival materials and underdeveloped policies that would regulate such a process. Another main social debate has taken place around the restricted accessibility due to the digital divide that exists around the world. Nevertheless, new technologies enable easy, instant and cross boarder access to the digitized work. Many of these technologies include spatial and surveying technology to gain aerial or 3D images. Digital heritage is also used to monitor cultural heritage sites over years to help with preservation, maintenance, and sustainable tourism. It aims to observe any changes, diseases, or deterioration that may occur on objects. == Cultural and natural heritage == Digital Heritage that is not born-digital can be divided into two separate groups—digital cultural heritage and digital natural heritage. Digital cultural heritage is the maintenance or preservation of cultural objects through digitization. These are objects, in some cases entire cities, that are considered of cultural importance. These objects are sometimes able to be digitized or physically represented in minute detail. Digital cultural heritage also includes intangible heritage. These are things such as "oral traditions, customs, value systems, skills, traditional dances, diets, performances" and other unique features of a culture. Intangible heritage is particularly vulnerable to destruction due to urbanization. There are several projects and programs which concentrate on digital cultural heritage. One such project is Mapping Gothic France, which aims to document and preserve cathedrals across France using images, VR tours, laser scans, and panoramas. This allows for scientific and historical study and preservation of the cathedrals and also provides detailed access to the sites for anyone in the world. The aim of projects like these is to help with the preservation and restoration of cultural objects. After the fire at Notre-Dame de Paris in 2019, digital scans are a major component in the ongoing restoration. Digital natural heritage pertains to objects of natural heritage that are considered of cultural, scientific, or aesthetic importance. Digital heritage in this instance is used not only to grant access to these objects, but to monitor any changes over time, such as with plant or animal habitats. Geographic information systems are a form of technology that is used primarily in the study of natural heritage. Western Australia has one such digital heritage project where they have created a digital repository of native plants important to both the region and the Aboriginal people. This is in order to protect and preserve the important biological heritage of Western Australia. == Educational impact == The digitization of these heritage objects has impacts around the world and across many disciplines. The increase of digital items means that people, especially the youth, are able to learn about new objects and cultures online through various media. They provide viewers with a more in-depth experience with an item or place, instead of just an image. The media is also able to be curated to age- or educational-level appropriateness, making learning easier. Some of the technology used in education, especially in museums, includes mobile apps, virtual reality, social media, and video games. Cultural heritage institutions are using this technology to try to expand access, increase appreciation for these items, and to gain new viewpoints on their collections. Digital heritage also helps scientists, archeologists, or other historians and specialists collect data on these objects, providing more information on the objects and the past. Digital Heritage is still currently being studied and improved by several sectors invested in cultural and intellectual preservation. It is particularly of interest to museums, governments, and academic institutions. Research by these groups are creating new concepts, methodologies, and techniques for the implementation of digital heritage to protect this type of cultural and natural heritage. As new technologies are created, museums and other heritage institutions are provided with more ways of disseminating their information and engaging with the public. A lack of resources within certain groups may still hinder everyone from accessing digital heritage. == Technologies used == The digitization of cultural heritage is attained through several means. Some of the main technology used is spatial and surveying technology. Space archaeological technology - Observations from space satellites are non-intrusive and can be integrated with other technologies on the ground. It is used to photograph vast areas of earth and help with research. Remnants of ancient civilizations or other human objects are also able to be spotted via satellite imaging. Unmanned aerial vehicles - UAV, such as drones, are commonly used in digitization of cultural heritage objects. The Great Wall of China is one such site that has been digitized and analyzed through unmanned aerial vehicle investigation. The resulting images, 3-D scans, maps, and other data are used to evaluate and maintain the Great Wall. Laser Scanning - Laser scanning is used to scan an area and recreate spatially accurate depictions, such as a 3D model. Virtual and Augmented Reality - VR is used primarily for education but does have uses for reconstruction and research. It is used to provide users with an immersive experience, as though they are actually at the site. Geographic Information systems - GIS are used primarily to study objects and sites over time. It is also important in studying the socioeconomic status of the past. 3D Modeling - 3D modeling has become more widely used due to an increase in technology that works specifically with heritage sites. It is often used in tandem with GIS to reconstruct objects for restoration, documentation, preservation, and educational purposes. Data is collected using satellite or other aerial imaging and ground-based imaging. There is some concern about the accuracy and authenticity of these types of digital reconstructions and their effects on the sites themselves. A major barrier to digital heritage is the amount of resources it takes to undertake such projects, such as money, time, and technology. Money and the lack of qualified personnel are two that are considered the most obstructive. This is especially an issue in less developed areas or within underfunded groups such as minorities. == Virtual heritage == A particular branch of digital heritage, known as "virtual heritage", is formed by the use of information technology with the aim of recreating the experience of existing cultural heritage, as in (approximations of) virtual reality. It is hard to differentiate this branch from the core contribution of digital heritage which is storing the heritage data digitally. Parsinejad et al. developed two techniques for Digital Twinning of the architectural assets and representation of the physical assets virtually in the museum context. Two techniques are hand recording and digital recording and both have challenges in adoption and implementation of Digital Twin as a revolutionary concept. == Digital heritage stewardship == Digital heritage stewardship is a form of digital curation which is modeled after collaborative curation. Digital heritage stewardship means stepping away from typical curatorial practices (e.g. discovering, arranging, and sharing information, material, and/or content) in favor of practices which allow its stakeholders the opportunity to contribute historical, political, and social context and culture. The collaborative practice encourages the creation, engagement, and maintena

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  • FactorDaily

    FactorDaily

    FactorDaily is an Indian digital media publication founded in 2016 by Pankaj Mishra and Jayadevan PK. Mishra was formerly an Editor at TechCrunch and the Economic Times. The digital publication was launched with an intent to produce stories on the impact of technology on life in India. == History == FactorDaily began publishing in May 2016, with daily reported stories on technology, culture and life in India. Prior to its launch, the company had raised $1 million in seed funding from Accel India, Blume Ventures, Girish Mathrubootham of Freshdesk, Vijay Shekhar Sharma of PayTm, and Jay Vijayan of Tekion. Josey Puliyenthuruthel John, formerly Managing Editor at Business Today and National Corporate Editor at Mint, later joined the company as a Consulting Editor. In January 2017, FactorDaily launched its first Podcast called The Outliers. The inaugural episode featured a conversation with Manish Sharma of Printo on his journey starting up. == Awards == The FactorDaily team won the Bengaluru Editors Lab 2017, a journalism hackathon organised by the Global Editors Network (GEN). The story titled "India has 3,800 psychiatrists for 1.2bn people. Can tech step in to manage mental health?" won the first prize in the online category of the fifth Schizophrenia Research Foundation’s (SCARF) ‘Media for Mental Health’ awards. The story titled 'The dark hand of tech that stokes sex trafficking in India', won the Stop Slavery media Awards by the Thomson Reuters Foundation for the year 2020.

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  • Linguatec

    Linguatec

    The Linguatec Sprachtechnologien GmbH is a language technology provider, specialized in the field of machine translation, speech synthesis and speech recognition. Linguatec was founded in Munich in 1996 and its headquarters are in Pasing. Linguatec has won the European Information Society Technologies Prize three times. On their website, they are now using the online service Voice Reader Web, so that the information can be read out in every language by means of a text-to-speech function. == Core areas == Machine translation The different versions of Personal Translator (seven language pairs) can be used "for home use" or for professional business use in the company network. In addition to this, specialist dictionaries are offered to broaden standard vocabulary. Speech synthesis The Voice Reader text-to-speech program reads in twelve languages: German, British English, American English, French, Quebec French, Spanish, Mexican Spanish, Italian, Dutch, Portuguese, Czech, Chinese. Speech recognition Voice Pro is based on ViaVoice technology from IBM. There are special software programs for doctors and lawyers. == Patents == 2005 pending patent application for a newly developed hybrid technology that uses the intelligence of neural networks for machine translation. == Awards == 2004 European IT Prize for Beyond Babel 2004 test winner Stiftung Warentest – best voice recognition 1998 European IT Prize – applied voice recognition 1996 European IT Prize – automated translation == Studies == 2005 University of Regensburg: Voice Reader user test 2002 Fraunhofer Institute for Industrial Engineering and Organization IAO: user study on the efficiency of machine translation

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  • Bootstrap (front-end framework)

    Bootstrap (front-end framework)

    Bootstrap (formerly Twitter Bootstrap) is a free and open-source CSS framework directed at responsive, mobile-first front-end web development. It contains HTML, CSS and (optionally) JavaScript-based design templates for typography, forms, buttons, navigation, and other interface components. As of May 2023, Bootstrap is the 17th most starred project (4th most starred library) on GitHub, with over 164,000 stars. According to W3Techs, Bootstrap is used by 19.2% of all websites. == Features == Bootstrap is an HTML, CSS and JS library that focuses on simplifying the development of informative web pages (as opposed to web applications). The primary purpose of adding it to a web project is to apply Bootstrap's choices of color, size, font and layout to that project. As such, the primary factor is whether the developers in charge find those choices to their liking. Once added to a project, Bootstrap provides basic style definitions for all HTML elements. The result is a uniform appearance for prose, tables and form elements across web browsers. In addition, developers can take advantage of CSS classes defined in Bootstrap to further customize the appearance of their contents. For example, Bootstrap has provisioned for light- and dark-colored tables, page headings, more prominent pull quotes, and text with a highlight. Bootstrap also comes with several JavaScript components which do not require other libraries like jQuery. They provide additional user interface elements such as dialog boxes, tooltips, progress bars, navigation drop-downs, and carousels. Each Bootstrap component consists of an HTML structure, CSS declarations, and in some cases accompanying JavaScript code. They also extend the functionality of some existing interface elements, including for example an auto-complete function for input fields. The most prominent components of Bootstrap are its layout components, as they affect an entire web page. The basic layout component is called "Container", as every other element in the page is placed in it. Developers can choose between a fixed-width container and a fluid-width container. While the latter always fills the width with the web page, the former uses one of the five predefined fixed widths, depending on the size of the screen showing the page: Smaller than 576 pixels 576–768 pixels 768–992 pixels 992–1200 pixels 1200–1400 pixels Larger than 1400 pixels Once a container is in place, other Bootstrap layout components implement a CSS Flexbox layout through defining rows and columns. A precompiled version of Bootstrap is available in the form of one CSS file and three JavaScript files that can be readily added to any project. The raw form of Bootstrap, however, enables developers to implement further customization and size optimizations. This raw form is modular, meaning that the developer can remove unneeded components, apply a theme and modify the uncompiled Sass files. == History == === Early beginnings === Bootstrap, originally named Twitter Blueprint, was developed by Mark Otto and Jacob Thornton at Twitter in 2010 as a framework to encourage consistency across internal tools. Before Bootstrap, various libraries were used for interface development, which led to inconsistencies and a high maintenance burden. According to Otto: A super small group of developers and I got together to design and build a new internal tool and saw an opportunity to do something more. Through that process, we saw ourselves build something much more substantial than another internal tool. Months later, we ended up with an early version of Bootstrap as a way to document and share common design patterns and assets within the company. After a few months of development by a small group, many developers at Twitter began to contribute to the project as a part of Hack Week, a hackathon-style week for the Twitter development team. It was renamed from Twitter Blueprint to Twitter Bootstrap and released as an open-source project on August 19, 2011. It has continued to be maintained by Otto, Thornton, a small group of core developers, and a large community of contributors. === Bootstrap 2 === On January 31, 2012, Bootstrap 2 was released, which added built-in support for Glyphicons, several new components, as well as changes to many of the existing components. This version supports responsive web design, meaning the layout of web pages adjusts dynamically, taking into account the characteristics of the device used (whether desktop, tablet, mobile phone). Shortly before the release of Bootstrap 2.1.2, Otto and Thornton left Twitter, but committed to continue to work on Bootstrap as an independent project. === Bootstrap 3 === On August 19, 2013, Bootstrap 3 was released. It redesigned components to use flat design and a mobile first approach. Bootstrap 3 features new plugin system with namespaced events. Bootstrap 3 dropped Internet Explorer 7 and Firefox 3.6 support, but there is an optional polyfill for these browsers. Bootstrap 3 was also the first version released under the twbs organization on GitHub instead of the Twitter one. === Bootstrap 4 === Otto announced Bootstrap 4 on October 29, 2014. The first alpha version of Bootstrap 4 was released on August 19, 2015. The first beta version was released on August 10, 2017. Otto suspended work on Bootstrap 3 on September 6, 2016, to free up time to work on Bootstrap 4. Bootstrap 4 was finalized on January 18, 2018. Significant changes include: Major rewrite of the code Replacing Less with Sass Addition of Reboot, a collection of element-specific CSS changes in a single file, based on Normalize Dropping support for IE8, IE9, and iOS 6 CSS Flexible Box support Adding navigation customization options Adding responsive spacing and sizing utilities Switching from the pixels unit in CSS to root ems Increasing global font size from 14px to 16px for enhanced readability Dropping the panel, thumbnail, pager, and well components Dropping the Glyphicons icon font Huge number of utility classes Improved form styling, buttons, drop-down menus, media objects and image classes Bootstrap 4 supports the latest versions of Google Chrome, Firefox, Internet Explorer, Opera, and Safari (except on Windows). It additionally supports back to IE10 and the latest Firefox Extended Support Release (ESR). === Bootstrap 5 === Bootstrap 5 was officially released on May 5, 2021. Major changes include: New offcanvas menu component Removing dependence on jQuery in favor of vanilla JavaScript Rewriting the grid to support responsive gutters and columns placed outside of rows Migrating the documentation from Jekyll to Hugo Dropping support for Internet Explorer Moving testing infrastructure from QUnit to Jasmine Adding custom set of SVG icons Adding CSS custom properties Improved API Enhanced grid system Improved customizing docs Updated forms RTL support Built in darkmode support

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  • Fan loyalty

    Fan loyalty

    Fan loyalty is the loyalty felt and expressed by a fan towards the object of their fanaticism. Fan loyalty is often used in the context of sports and the support of a specific team or institution. Fan loyalties can range from a passive support to radical allegiance and expressions of loyalty can take shape in many forms and be displayed across varying platforms. Fan loyalty can be threatened by team actions. The loyalties of sports fans in particular have been studied by psychologists, who have determined several factors that help to create such loyalties. == Underpinning psychology == Given the extensive costs involved in managing and operating a professional team sport, it is beneficial for sports marketers to be conscious of the elements that establish a strong brand and the effect they have on fan loyalty, so they can best cater to their current fans while acquiring new ones. This is because fans and spectators are considered key stakeholders of professional sports organisations. Fans directly and indirectly influence the production of operating revenue through purchasing merchandise, buying game tickets and improving the value that can be obtained from television broadcasting deals and sponsorship. Therefore, fans are a key factor to consider in determining the economic success of a sports club. Deep psychological connections with new teams can be built with individuals before a team has even played a match revealing insights can develop quickly in the mind of consumers without direct encounters or experiences e.g. watching a team compete. Brand management approaches are helping sport organisations to expand the sport experience, appeal to new fans and enable long term business to consumer relationships through multi faceted connection such as social media. To affect consumers’ loyalty with a team, they must develop a compelling, positive and distinctive brand in order to stand out amongst competitor and vie for fan support. Loyalty programmes positively shape fan attachment and behaviour as it connects teams and their fans, aside from a club's season ticketholder database. It not only provides marketers with essential information about consumers and their thinking, but also acts as a channel to promote attendance and an opportunity to add value to their game day experience. Bauer et al. concludes that non product related attributes such as contextual factors (other fans, the club history and tradition, logo, club colours and the stadium atmosphere) hold a higher place in fan experience than product related attributes such as the team's winning record. Therefore, to increase fan loyalty (customer retention) Bauer et al. suggests sports marketers focus on targeting non product related benefits and brand attributes. As a result of fostering this loyalty, sports organisations can afford to charge prices at premium. Fan loyalty also leads to dependable ratings in broadcast media which means broadcasters can also charge premiums for advertising time in team broadcasts with loyal followings. A flow on effect from fan loyalty is the ability to create additional revenue streams outside of the core product such as merchandise shops and food venues that are close to the location of the game if the team chooses to own and operate ventures or share licensing agreements. Fan loyalty, particularly with respect to team sports, is different from brand loyalty, in as much as if a consumer bought a product that was of lower quality than expected, he or she will usually abandon allegiance to the brand. However, fan loyalty continues even if the team that the fan supports continues to perform poorly year after year. Author Mark Conrad uses the Chicago Cubs as an example of a team with a loyal fan following, where fans spend their money in support of a poorly performing team that (until 2016) had not won a pennant since 1945 or a World Series since 1908. They attribute it to the following factors: Entertainment Value The entertainment value that a fan derives from spectating motivates him/her to remain a loyal fan. Entertainment value of team sports is also valuable to communities in general. Authenticity This is described by Passikoff as "the acceptance of the game as real and meaningful". Fan Bonding Fan bonding is where a fan bonds with the players, identifying with them as individuals, and bonds with the team. Team History and Tradition Shank gives the Cincinnati Reds, all-professional baseball's oldest team, as an example of a team where a long team history and tradition is a motivator for fans in the Cincinnati area. Group Affiliation Fans receive personal validation of their support for a team from being surrounded by a group of fans who also support the same team. Fair Weather Fans Fans that engage when a team is good, and lose interest when a team is bad. Bandwagon Fans Fans who support the winning team, instead of supporting the same team year after year. Diehard Fans Fans who follow their team no matter if they are winning or losing. == Factors influencing fan loyalty == === Community === Fan loyalty attachment is strengthened through communal ties that connect fans around a team, forming a community that results in regular fan interaction. This interaction is particularly important as fans may not develop solely an intra-psychic team identity but predominantly display behavioural loyalty through the group consumption of indirect sport experiences instead, such as wearing the team colours, singing, cheering, flags and interaction between the sport's team's fans (e.g. laughing, talking) Through indirect sport experiences, the stadium atmosphere can be heightened and as a result, the frequency of fan attendance can increase. Furthermore, by wearing team apparel, fans can visually identify with one another resulting an increased likelihood of opportunities to engage with others socially through this point of connection. For example, a study on NASCAR fans found that their personal identity was connected to the brand itself as they felt connected to the larger community of NASCAR revealing an emotional connection to the brand. This indicates that their fan loyalty will result in the notion that fans are naturally more resistant to the promotional efforts of competing brands (e.g. lower-price offers) as their emotional commitment to NASCAR is greatly embedded in their sense of identity. When they associate themselves with the sponsors because of the sponsor's relation to the brand, they are solidifying their relationship with NASCAR and are therefore reinforcing their identity. Consequently, their fan loyalty translates into brand loyalty so long as the sponsor remains attached to the subject of their fanaticism, NASCAR, meaning they are less price sensitive and more willing to pay premium prices for sponsor's products or services. Another aspect of consumer behaviour regarding fan loyalty is the existence of consumption communities where members feel a sense of unity when they participate in the group consumption of brand sponsors’ goods and services further strengthening their ties to a brand and its sponsors. However, a strategy sports marketers use to appeal to a wider range of fan identities is to sponsor more than one club in sports such as soccer. This is so they are careful not to come across as a singularly affiliated club brand, where the opinion or perceptions of opposing teams’ fans would be one of disfavour towards them. === Brand association === Any benefit or characteristic connected to a brand as perceived by a consumer is called a brand association. These hold significance over the thoughts and opinions a consumer holds about a brand and can therefore influence one's loyalty. These associations provide a reference point to gauge the salience of a brand which is the perceived favourability associated with it. Brand salience is vital because it ultimately effects the likelihood of brand selection and loyalty leading to steadier spectator numbers, and an increase in attention from the media such as advertisers and sponsors. However, loyalty is a developmental process. According to Bee & Havitz (2010), spectators who are highly involved in the participation of a sport and exhibit psychological commitment, possess the capability to display high levels of behavioural loyalty as they develop into committed fans. On the other hand, neutral or negative feelings towards a team are found to foster indifference or cause an individual to disidentify with a team altogether. A model of ‘escalating commitment’, put forward by Funk and James (2001), demonstrates an individual's movement from ‘awareness’ of team to a subsequent ‘allegiance’ but came to the conclusion that more research was required to find out the key influences that lead one to the highest state of commitment. However, brand association development is fostered under brand management within a sports organisation. It is important for sports management research to identify t

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  • Enterprise bookmarking

    Enterprise bookmarking

    Enterprise bookmarking is a method for Web 2.0 users to tag, organize, store, and search bookmarks of both web pages on the Internet and data resources stored in a distributed database or fileserver. This is done collectively and collaboratively in a process by which users add tag (metadata) and knowledge tags. In early versions of the software, these tags are applied as non-hierarchical keywords, or terms assigned by a user to a web page, and are collected in tag clouds. Examples of this software are Connectbeam and Dogear. New versions of the software such as Jumper 2.0 and Knowledge Plaza expand tag metadata in the form of knowledge tags that provide additional information about the data and are applied to structured and semi-structured data and are collected in tag profiles. == History == Enterprise bookmarking is derived from Social bookmarking that got its modern start with the launch of the website del.icio.us in 2003. The first major announcement of an enterprise bookmarking platform was the IBM Dogear project, developed in Summer 2006. Version 1.0 of the Dogear software was announced at Lotusphere 2007, and shipped later that year on June 27 as part of IBM Lotus Connections. The second significant commercial release was Cogenz in September 2007. Since these early releases, Enterprise bookmarking platforms have diverged considerably. The most significant new release was the Jumper 2.0 platform, with expanded and customizable knowledge tagging fields. == Differences == === Versus social bookmarking === In a social bookmarking system, individuals create personal collections of bookmarks and share their bookmarks with others. These centrally stored collections of Internet resources can be accessed by other users to find useful resources. Often these lists are publicly accessible, so that other people with similar interests can view the links by category or by the tags themselves. Most social bookmarking sites allow users to search for bookmarks which are associated with given "tags", and rank the resources by the number of users which have bookmarked them. Enterprise bookmarking is a method of tagging and linking any information using an expanded set of tags to capture knowledge about data. It collects and indexes these tags in a web-infrastructure knowledge base server residing behind the firewall. Users can share knowledge tags with specified people or groups, shared only inside specific networks, typically within an organization. Enterprise bookmarking is a knowledge management discipline that embraces Enterprise 2.0 methodologies to capture specific knowledge and information that organizations consider proprietary and are not shared on the public Internet. === Tag management === Enterprise bookmarking tools also differ from social bookmarking tools in the way that they often face an existing taxonomy. Some of these tools have evolved to provide Tag management which is the combination of uphill abilities (e.g. faceted classification, predefined tags, etc.) and downhill gardening abilities (e.g. tag renaming, moving, merging) to better manage the bottom-up folksonomy generated from user tagging.

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  • Minimum resolvable contrast

    Minimum resolvable contrast

    Minimum resolvable contrast (MRC) is a subjective measure of a visible spectrum sensor’s or camera's sensitivity and ability to resolve data. A snapshot image of a series of three bar targets of selected spatial frequencies and various contrast coatings captured by the unit under test (UUT) is used to determine the MRC of the UUT, i.e., the visible spectrum camera or sensor. A trained observer selects the smallest target resolvable at each contrast level. Typically, specialized computer software collects the inputted data of the observer and provides a graph of contrast vs. spatial frequency at a given luminance level. A first order polynomial is fitted to the data and an MRC curve of spatial frequency versus contrast is generated.

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  • General-Purpose Serial Interface

    General-Purpose Serial Interface

    General-Purpose Serial Interface, also known as GPSI, 7-wire interface, or 7WS, is a 7 wire communications interface. It is used as an interface between Ethernet MAC and PHY blocks. Data is received and transmitted using separate data paths (TXD, RXD) and separate data clocks (TXCLK, RXCLK). Other signals consist of transmit enable (TXEN), receive carrier sense (CRS), and collision (COL).

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  • Blocking of Twitter in Nigeria

    Blocking of Twitter in Nigeria

    Twitter was blocked in Nigeria from 5 June 2021 to 13 January 2022. The government imposed a ban on the social network after it deleted tweets made by, and temporarily suspended, the Nigerian president Muhammadu Buhari, warning the southeastern people of Nigeria, predominantly Igbo people, of a potential repeat of the 1967 Nigerian Civil War due to the ongoing insurgency in Southeastern Nigeria. The Nigerian government claimed that the deletion of the president's tweets factored into their decision, but it was ultimately based on "a litany of problems with the social media platform in Nigeria, where misinformation and fake news spread through it have had real world violent consequences", citing the persistent use of the platform for activities that are capable of undermining Nigeria's corporate existence. In January 2022, Nigeria lifted its blocking of Twitter after the platform agreed to establish a legal entity within the country sometime in the first quarter of 2022. == Background == On 1 June 2021, Nigerian President Muhammadu Buhari posted a tweet threatening a crackdown on regional separatists "in the language they understand". The next day, Twitter deleted the tweet, claiming it was in violation of Twitter rules, but gave no further details. Nigeria's Information Minister Lai Mohammed said that Twitter's actions were part of an unfair double standard, as Twitter had not banned incitement tweets from other groups. During the Nigerian Civil War a majority of deaths resulted from the blockade of Biafra which caused the deaths of millions of civilians from starvation, a fact that was not alluded to in the tweet. The Nigerian government has long held concerns over the use of Twitter in the country. The ongoing local End SARS protest began on Twitter and got amplified in 2020 when it had 48 million tweets in ten days. Buhari's government floated the idea of social media regulation on different occasions prior to banning Twitter. Attempts to pass an anti-social media bill in the past have failed majorly due to massive outcry on Twitter. Days before the ban, the country's minister of information called Twitter's activities in Nigeria suspicious, citing its influence on the End SARS protests. == Aftermath == Three days after Twitter was suspended, it was reported that the move had cost the country over 6 billion naira and would also contribute to the worsening unemployment in the country. ExpressVPN reported an over 200 percent increase in web traffic and searches for VPN spiked across the country. In response, Nigeria's Minister of Justice and Attorney General of the Federation Abubakar Malami at first openly threatened to prosecute citizens who bypass the ban using a VPN but then denied saying so after a screenshot of a Twitter deactivation notification he shared on Facebook showed a VPN logo. Nigeria's cultural minister Lai Mohammed stated the ban would be lifted once Twitter submitted to locally licensing, registration and conditions. "It will be licensed by the broadcasting commission, and must agree not to allow its platform to be used by those who are promoting activities that are inimical to the corporate existence of Nigeria." In late June 2021, Twitter announced it would enter talks with the Nigerian government over the platform's suspension. The talks began in July 2021. On 15 September 2021, Mohammed said the Nigerian government will lift the ban on Twitter in a "few days." The Minister said Twitter gave a progress report of their talks with them, adding that it has been productive and quite respectful. On 1 October 2021, President Muhammadu Buhari in his Independence Day broadcast said Twitter must meet the Nigerian government's five conditions before the suspension of the social media platform will be lifted. The conditions are: Respect for national security and cohesion; registration, physical presence and representation in Nigeria; fair taxation; dispute resolution; local content. == Reactions == The ban was condemned by Amnesty International, the British, Canadian and Swedish diplomatic missions to Nigeria, as well as the United States and the European Union in a joint statement. Two domestic organizations, the Socio-Economic Rights and Accountability Project (SERAP) and the Nigerian Bar Association, indicated intent to challenge the ban in court. Twitter itself called the ban "deeply concerning". Former U.S. President Donald Trump, who was permanently suspended from Twitter following the United States Capitol attack in January, praised the ban, stating "Congratulations to the country of Nigeria, who just banned Twitter because they banned their President", and also called on other countries to ban Twitter and Facebook due to "not allowing free and open speech." == Lifting of the ban == On 12 January 2022, the Nigerian Government lifted the ban after Twitter agreed to pay an "applicable tax" and establish "a legal entity in Nigeria during the first quarter of 2022".

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  • Influencer speak

    Influencer speak

    Influencer speak is a speech pattern commonly associated with English-speaking digital content creators, particularly on platforms such as TikTok. This style is characterized by linguistic features such as uptalk, where intonation rises at the end of declarative sentences, and vocal fry, a low, creaky vibration in speech. These features are often used to engage audiences. == Characteristics == Influencer speak is commonly associated with: Uptalk – a rising intonation at the end of statements Vocal fry – a creaky sound often occurring at the end of sentences Use of filler words and slang – contributes to a conversational tone that resonates with audiences == Origins == The origins of "influencer speak" are linked to the "Valley Girl" accent, which became prominent in the 1980s. This earlier style included features such as uptalk and vocal fry, which have been adapted for digital platforms. Linguists have noted that these patterns are often led by young women, who are recognized as linguistic innovators in sociolinguistic research. == Sociolinguistic significance == "Influencer speak" is used to maintain audience engagement. Features such as uptalk help speakers retain the "conversational floor," ensuring continuous attention from listeners. A study conducted by UCLA researchers has shown that creators adjust their speech styles based on the platform and audience. For example, a comedic tone may be emphasized on TikTok, while a more professional tone may be used on platforms such as LinkedIn or YouTube.

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  • Viewport

    Viewport

    A viewport is a polygon viewing region in computer graphics. In computer graphics theory, there are two region-like notions of relevance when rendering some objects to an image. In textbook terminology, the world coordinate window is the area of interest (meaning what the user wants to visualize) in some application-specific coordinates, e.g. miles, centimeters etc. The word window as used here should not be confused with the GUI window, i.e. the notion used in window managers. Rather it is an analogy with how a window limits what one can see outside a room. In contrast, the viewport is an area (typically rectangular) expressed in rendering-device-specific coordinates, e.g. pixels for screen coordinates, in which the objects of interest are going to be rendered. Clipping to the world-coordinates window is usually applied to the objects before they are passed through the window-to-viewport transformation. For a 2D object, the latter transformation is simply a combination of translation and scaling, the latter not necessarily uniform. An analogy of this transformation process based on traditional photography notions is to equate the world-clipping window with the camera settings and the variously sized prints that can be obtained from the resulting film image as possible viewports. Because the physical-device-based coordinates may not be portable from one device to another, a software abstraction layer known as normalized device coordinates is typically introduced for expressing viewports; it appears for example in the Graphical Kernel System (GKS) and later systems inspired from it. In 3D computer graphics, the viewport refers to the 2D rectangle used to project the 3D scene to the position of a virtual camera. A viewport is a region of the screen used to display a portion of the total image to be shown. In virtual desktops, the viewport is the visible portion of a 2D area which is larger than the visualization device. When viewing a document in a web browser, the viewport is the region of the browser window which contains the visible portion of the document. If the size of the viewport changes, for example as a result of the user resizing the browser window, then the browser may reflow the document (recalculate the locations and sizes of elements of the document). If the document is larger than the viewport, the user can control the portion of the document which is visible by scrolling in the viewport.

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  • LTE (telecommunication)

    LTE (telecommunication)

    In telecommunications, Long Term Evolution (LTE) is a standard for wireless broadband communication for cellular mobile devices and data terminals. It is considered to be a "transitional" 4G technology, and is therefore also referred to as 3.95G as a step above 3G. LTE is based on the 2G GSM/EDGE and 3G UMTS/HSPA standards. It improves on those standards' capacity and speed by using a different radio interface and core network improvements. LTE is the upgrade path for carriers with both GSM/UMTS networks and CDMA2000 networks. LTE has been succeeded by LTE Advanced, which is officially defined as a "true" 4G technology and also named "LTE+". == Terminology == The standard is developed by the 3GPP (3rd Generation Partnership Project) and is specified in its Release 8 document series, with minor enhancements described in Release 9. LTE is also called 3.95G and has been marketed as 4G LTE and Advanced 4G; but the original version did not meet the technical criteria of a 4G wireless service, as specified in the 3GPP Release 8 and 9 document series for LTE Advanced. The requirements were set forth by the ITU-R organisation in the IMT Advanced specification; but, because of market pressure and the significant advances that WiMAX, Evolved High Speed Packet Access, and LTE bring to the original 3G technologies, ITU-R later decided that LTE and the aforementioned technologies can be called 4G technologies. The LTE Advanced standard formally satisfies the ITU-R requirements for being considered IMT-Advanced. To differentiate LTE Advanced and WiMAX-Advanced from current 4G technologies, ITU has defined the latter as "True 4G". == Overview == LTE stands for Long Term Evolution and is a registered trademark owned by ETSI (European Telecommunications Standards Institute) for the wireless data communications technology and development of the GSM/UMTS standards. However, other nations and companies do play an active role in the LTE project. The goal of LTE was to increase the capacity and speed of wireless data networks using new DSP (digital signal processing) techniques and modulations that were developed around the turn of the millennium. A further goal was the redesign and simplification of the network architecture to an IP-based system with significantly reduced transfer latency compared with the 3G architecture. The LTE wireless interface is incompatible with 2G and 3G networks, so it must be operated on a separate radio spectrum. The idea of LTE was first proposed in 1998, with the use of the COFDM radio access technique to replace the CDMA and studying its Terrestrial use in the L band at 1428 MHz (TE) In 2004 by Japan's NTT Docomo, with studies on the standard officially commenced in 2005. In May 2007, the LTE/SAE Trial Initiative (LSTI) alliance was founded as a global collaboration between vendors and operators with the goal of verifying and promoting the new standard to ensure the global introduction of the technology as quickly as possible. The LTE standard was finalized in December 2008, and the first publicly available LTE service was launched by TeliaSonera in Oslo and Stockholm on December 14, 2009, as a data connection with a USB modem. The LTE services were launched by major North American carriers as well, with the Samsung SCH-r900 being the world's first LTE Mobile phone starting on September 21, 2010, and Samsung Galaxy Indulge being the world's first LTE smartphone starting on February 10, 2011, both offered by MetroPCS, and the HTC ThunderBolt offered by Verizon starting on March 17 being the second LTE smartphone to be sold commercially. In Canada, Rogers Wireless was the first to launch LTE network on July 7, 2011, offering the Sierra Wireless AirCard 313U USB mobile broadband modem, known as the "LTE Rocket stick" then followed closely by mobile devices from both HTC and Samsung. Initially, CDMA operators planned to upgrade to rival standards called UMB and WiMAX, but major CDMA operators (such as Verizon, Sprint and MetroPCS in the United States, Bell and Telus in Canada, au by KDDI in Japan, SK Telecom in South Korea and China Telecom/China Unicom in China) have announced instead they intend to migrate to LTE. The next version of LTE is LTE Advanced, which was standardized in March 2011. Services commenced in 2013. Additional evolution known as LTE Advanced Pro was approved in 2015. The LTE specification provides downlink peak rates of 300 Mbit/s, uplink peak rates of 75 Mbit/s, and QoS provisions permitting a transfer latency of less than 5 ms in the radio access network. LTE has the ability to manage fast-moving mobiles and supports multicast and broadcast streams. LTE supports scalable carrier bandwidths, from 1.4 MHz to 20 MHz and supports both frequency division duplexing (FDD) and time-division duplexing (TDD). The IP-based network architecture, called the Evolved Packet Core (EPC) designed to replace the GPRS Core Network, supports seamless handovers for both voice and data to cell towers with older network technology such as GSM, UMTS and CDMA2000. The simpler architecture results in lower operating costs (for example, each E-UTRA cell will support up to four times the data and voice capacity supported by HSPA). Because LTE frequencies and bands differ from country to country, only multi-band phones can use LTE in all countries where it is supported. == History == === 3GPP standard development timeline === In 2004, NTT Docomo of Japan proposes LTE as the international standard. In September 2006, Siemens Networks (today Nokia Networks) showed in collaboration with Nomor Research the first live emulation of an LTE network to the media and investors. As live applications, two users streaming an HDTV video in the downlink and playing an interactive game in the uplink have been demonstrated. In February 2007, Ericsson demonstrated for the first time in the world, LTE with bit rates up to 144 Mbit/s In September 2007, NTT Docomo demonstrated LTE data rates of 200 Mbit/s with power level below 100 mW during the test. In November 2007, Infineon presented the world's first RF transceiver named SMARTi LTE, supporting LTE functionality in a single-chip RF silicon processed in CMOS In early 2008, LTE test equipment began shipping from several vendors and at the Mobile World Congress 2008 in Barcelona, Ericsson demonstrated the world's first end-to-end mobile call enabled by LTE on a small handheld device. Motorola demonstrated an LTE RAN (Radio Access Network) standard compliant eNodeB and LTE chipset at the same event. At the February 2008 Mobile World Congress: Motorola demonstrated how LTE can accelerate the delivery of personal media experience with HD video demo streaming, HD video blogging, online gaming, and VoIP over LTE running a RAN standard-compliant LTE network & LTE chipset. Ericsson EMP (later ST-Ericsson) demonstrated the world's first end-to-end LTE call on handheld Ericsson demonstrated LTE FDD and TDD mode on the same base station platform. Freescale Semiconductor demonstrated streaming HD video with peak data rates of 96 Mbit/s downlink and 86 Mbit/s uplink. NXP Semiconductors (later part of ST-Ericsson) demonstrated a multi-mode LTE modem as the basis for a software-defined radio system for use in cellphones. picoChip and Mimoon demonstrated a base station reference design. This runs on a common hardware platform (multi-mode / software-defined radio) with their WiMAX architecture. In April 2008, Motorola demonstrated the first EV-DO to LTE hand-off handling over streaming a video from LTE to a commercial EV-DO network and back to LTE. In April 2008, LG Electronics and Nortel demonstrated LTE data rates of 50 Mbit/s while travelling at 110 km/h (68 mph). In November 2008, Motorola demonstrated industry first over-the-air LTE session in 700 MHz spectrum. Researchers at Nokia Siemens Networks and Heinrich Hertz Institut have demonstrated LTE with 100 Mbit/s Uplink transfer speeds. At the February 2009 Mobile World Congress: Infineon demonstrated a single-chip 65 nm CMOS RF transceiver providing 2G/3G/LTE functionality Launch of ng Connect program, a multi-industry consortium founded by Alcatel-Lucent to identify and develop wireless broadband applications. Motorola provided LTE drive tour on the streets of Barcelona to demonstrate LTE system performance in a real-life metropolitan RF environment In July 2009, Nujira demonstrated efficiencies of more than 60% for an 880 MHz LTE Power Amplifier In August 2009, Nortel and LG Electronics demonstrated the first successful handoff between CDMA and LTE networks in a standards-compliant manner In August 2009, Alcatel-Lucent receives FCC certification for LTE base stations for the 700 MHz spectrum band. In September 2009, Nokia Siemens Networks demonstrated the world's first LTE call on standards-compliant commercial software. In October 2009, Ericsson and Samsung demonstrated interoperability between the first ever commercial LTE device and the live network in

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  • The Culture of Connectivity

    The Culture of Connectivity

    The Culture of Connectivity: A Critical History of Social Media is a book by José van Dijck published by Oxford University Press in 2013 on social media platforms and their history. The author considers the histories of five social media platforms: Facebook, Twitter, Flickr, YouTube, and Wikipedia. She focuses on how their technological, social and cultural dimensions contribute to their current status.

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