AI App Notebook Lm

AI App Notebook Lm — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Luminoso

Luminoso is a Cambridge, MA-based text analytics and artificial intelligence company. It spun out of the MIT Media Lab and its crowd-sourced Open Mind Common Sense (OMCS) project. The company has raised $20.6 million in financing, and its clients include Sony, Autodesk, Scotts Miracle-Gro, and GlaxoSmithKline. == History == Luminoso was co-founded in 2010 by Dennis Clark, Jason Alonso, Robyn Speer, and Catherine Havasi, a research scientist at MIT in artificial intelligence and computational linguistics. The company builds on the knowledge base of MIT’s Open Mind Common Sense (OMCS) project, co-founded in 1999 by Havasi, who continues to serve as its director. The OCMS knowledge base has since been combined with knowledge from other crowdsourced resources to become ConceptNet. ConceptNet consists of approximately 28 million statements in 304 languages, with full support for 10 languages and moderate support for 77 languages. ConceptNet is a resource for making an AI that understands the meanings of the words people use. During the World Cup in June 2014, the company provided a widely reported real-time sentiment analysis of the U.S. vs. Germany match, analyzing 900,000 posts on Twitter, Facebook and Google+. == Applications == The company uses artificial intelligence, natural language processing, and machine learning to derive insights from unstructured data such as contact center interactions, chatbot and live chat transcripts, product reviews, open-ended survey responses, and email. Luminoso's software identifies and quantifies patterns and relationships in text-based data, including domain-specific or creative language. Rather than human-powered keyword searches of data, the software automates taxonomy creation around concepts, allowing related words and phrases to be dynamically generated and tracked. Commercial applications include analyzing, prioritizing, and routing contact center interactions; identifying consumer complaints before they begin to trend; and tracking sentiment during product launches. The software natively analyzes text in fourteen languages, as well as emoji. == Products == Luminoso's technology can be accessed via two products: Luminoso Daylight and Luminoso Compass. Luminoso Daylight enables a deep-dive analysis into batch or real-time data, whereas Luminoso Compass automates the categorization of real-time data. Both products offer a user interface as well as an API. Luminoso's products can be implemented through either a cloud-based or an on-premise solution. == Research == Luminoso continues to actively conduct research in natural language processing and word embeddings and regularly participates in evaluations such as SemEval. At SemEval 2017, Luminoso participated in Task 2, measuring the semantic similarity of word pairs within and across five languages. Its solution outperformed all competing systems in every language pair tested, with the exception of Persian. == Recognition == Luminoso has been listed as a "Cool Vendor in AI for Marketing" by Gartner, and has also been named a "Boston Artificial Intelligence Startup to Watch" by BostInno. In May 2017, Luminoso was recognized as having the Best Application for AI in the Enterprise by AI Business, and was also shortlisted as the Best AI Breakthrough and Best Innovation in NLP. == Competitors == Major competitors include Clarabridge and Lexalytics. == Investors == The company raised $1.5 million from angel investors led by Basis Technology in 2012. Its first institutional funding round of $6.5 was completed in July 2014, led by Acadia Woods with participation from Japan’s Digital Garage. The company followed that with a $10M series B funding round in December 2018, led by DVI Equity Partners, with participation from Liberty Global Ventures, DF Enterprises, Raptor Holdco, Acadia Woods Partners, and Accord Ventures, among others.
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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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Computer aided transceiver

Computer aided transceiver (CAT) is a non-generic serial protocol used by radio amateurs for (remotely) controlling a transceiver radio receiver equipment using a computer. Conventional transmitters are manually controlled and used to transmit voice using buttons, dials, etc. However, advances in electronics have come to market devices that can be controlled by a computer and allow digital modes such as packet radio and also the use of satellite tracking, because it can continuously change the device's frequency according to the Doppler effect. This is done by connecting a Radio receiver and a PC using a CAT interface and a CAT Program Additionally, CAT interfaces can also be used to position tracking antennas, in controllers. As a satellite moves overhead. A CAT interface is a piece of hardware that connects the PC and radio that provides a connection to allows the radio and the PC to communicate with each other. The CAT interface provides the signals to and fro via correct voltage levels and in the case of a Universal Serial Bus (USB) CAT interface it requires a "protocol" for communication but communication itself is down to the radio and the software on the PC. Software that may be called a CAT program allows a radio to be controlled through the PC. Changes made on the radio through user interactions on the CAT Program are (generally) shown on the PC's screen. The functionality of CAT equipment (software & interface) depends on the radio and what features the software writers included in the CAT software. Modern radio systems do have more CAT functionality If you run a logging program that supports CAT, then that software may take advantage of the CAT system by retrieving information from the radio to help fill in log details, such as the frequency that the contact was made. CAT is also useful on many radios where there are many sub-menus in the radios menu system, and many of the sub-menu items can be easily changed via the PC. On many HF radios, the CAT system is also used to program the memories on the radio, but you would need to use appropriate programming software. A CAT interface does not receive or transmit any DATA mode, that is the purpose of a DATA interface. Although, both may be used at the same time with the correct CAT Equipment. DATA modes, and getting audio to and from the PC is the function of a DATA interface. A completely different thing but it is easier and more useful when CAT and DATA are used at the same time. Wouldn't it be nice to have an interface that could operate Frequency-shift keying (FSK), Audio FSK (AFSK), (real) Morse Code (CW), with a CAT interface and its own sound card..... (eg. The DigiMaster Pro3).
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Flapit

Flapit is a split-flap display that reveals real-time social media statistics such as Twitter followers or Yelp ratings. The product is designed to show off a bricks-and-mortar company's online community and increase its online presence by letting offline customers interact with the connected counter. The idea came from a product launched by the retailer C&A called the Fashion Like. The device can be customised via a web app and API to display any promotional messages, internal stats or discounts. It has 7 digits including numbers, letters and currency symbols Special messages such as Thank You or Like Us can be displayed on the first flap and are translated into Italian, German, French, Chinese, Japanese, Russian, Portuguese, Spanish and English. The Flapit counter was officially presented to the press at the CES Las Vegas 2015 and received favorable reviews from major specialised press
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Azure Stream Analytics

Microsoft Azure Stream Analytics is a serverless scalable complex event processing engine by Microsoft that enables users to develop and run real-time analytics on multiple streams of data from sources such as devices, sensors, web sites, social media, and other applications. Users can set up alerts to detect anomalies, predict trends, trigger necessary workflows when certain conditions are observed, and make data available to other downstream applications and services for presentation, archiving, or further analysis. == Query Language == Users can author real-time analytics using a simple declarative SQL-like language with embedded support for temporal logic. Callouts to custom code with JavaScript user defined functions extend the streaming logic written in SQL. Callouts to Azure Machine Learning helps with predictive scoring on streaming data. == Scalability == Azure Stream Analytics is a serverless job service on Azure that eliminates the need for infrastructure, servers, virtual machines, or managed clusters. Users only pay for the processing used for the running jobs. == IoT applications == Azure Stream Analytics integrates with Azure IoT Hub to enable real-time analytics on data from IoT devices and applications. == Real-time Dashboards == Users can build real-time dashboards with Power BI for a live command and control view. Real-time dashboards help transform live data into actionable and insightful visuals. == Data Input Sources == Stream Analytics supports three different types of input sources - Azure Event Hubs, Azure IoT Hubs, and Azure Blob Storage. Additionally, stream analytics supports Azure Blob storage as the input reference data to help augment fast moving event data streams with static data. Stream analytics supports a wide variety of output targets. Support for Power BI allows for real-time dashboarding. Event Hub, Service bus topics and queues help trigger downstream workflows. Support for Azure Table Storage, Azure SQL Databases, Azure SQL Data Warehouse, Azure SQL, Document DB, Azure Data Lake Store enable a variety of downstream analysis and archiving capabilities.
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Problematic social media use

Excessive use of social media can lead to problems including impaired functioning and a reduction in overall wellbeing, for both users and those around them. Such usage is associated with a risk of mental health problems, sleep problems, academic struggles, and daytime fatigue. Psychological or behavioural dependence on social media platforms can result in significant negative functions in peoples daily lives. The risk of problems is also related to the type of platform of social media or online community being used. People of different ages and genders may be affected in different ways by problematic social media use. == Signs and symptoms == Signs of social media addiction or excessive use of social media include many behaviours similar to substance use disorders, including mood modification, salience, tolerance, stress withdrawal symptoms, psychological distress, anxiety and depression, conflict, and relapse, and low self esteem. People with problematic social media habits are at risk of being addicted and may require more time on social media as time passes. Frequent social media use may also be associated with self-reported symptoms of attention deficit hyperactivity disorder. Social anxiety (or fear of missing out) is another potential symptom. Social anxiety is defined as having intense anxiety or fear of being judged, negatively evaluated, or rejected in a social or performance situation. The fear of missing out can contribute to excessive usage due to frequent checking the media constantly throughout the day to check in and see what others are doing instead of doing other activities. Common signs include displacement, or replacing meaningful other activities with social media, and loneliness. == Causes and mechanisms == There are many theories for the mechanism or cause behind a person having problematic social media use. The transition from normal to problematic social media use occurs when a person relies on it to relieve stress, loneliness, depression, or provide continuous rewards. Cognitive-behavioral model – People increase their use of social media when they are in unfamiliar environments or awkward situations; Social skill model – People pull out their phones and use social media when they prefer virtual communication as opposed to face-to-face interactions because they lack self-presentation skills; Socio-cognitive model – This person uses social media because they love the feeling of people liking and commenting on their photos and tagging them in pictures. They are attracted to the positive outcomes they receive on social media. There are parallels to the gambling industry inherent to the design of various social media sites, with "'ludic loops' or repeated cycles of uncertainty, anticipation and feedback" potentially contributing to problematic social media use. Another factor directly facilitating the development of addiction to social media is the implicit attitude toward the IT artifact. Social media use may also stimulate the reward pathway in the brain. There is also a theory that social media addiction fulfills a basic evolutionary drives in the wake of mass urbanization worldwide. The basic psychological needs of "secure, predictable community life that evolved over millions of years" remain unchanged, leading some to find online communities to cope with the new individualized way of life in some modern societies. The "Evolutionary Mismatch" hypothesis holds that modern digital platforms amplify social competition and comparison in ways our ancestors never faced, possibly triggering maladaptive patterns such as anxiety, depression, or compulsive use. Similarly, some scholars compare social media to "junk food": The approach taken to develop social media platforms may contribute to problematic social media use. The ability to scroll and stream content endlessly and how app developers distort time by affecting the 'flow' of content when scrolling, potentially resulting in the Zeigarnik effect (the human brain will continue to pursue an unfinished task until a satisfying closure. Autoplay modes, the personalized nature of the content results in emotional attachment (the user values this above its actual value, which is referred to as the endowment effect), and the exposure effect (repeated exposure to a distinct stimulus by the user can condition the user into an enhanced or improved attitude toward it). The interactive nature of the platforms, including the ability to "like" content has also been linked. Even though social media can satisfy personal communication needs, those who use it at higher rates are shown to have higher levels of psychological distress. == Diagnosis == While there is no official diagnostic term or measurement, problematic social media use is conceptualized as a non-substance-related disorder, resulting in preoccupation and compulsion to engage excessively in social media platforms despite negative consequences. No diagnosis exists for problematic social media use in either the ICD-11 or DSM-5. Excessive use of an activity, like social media, does not directly equate with addiction. There are other factors that could lead to someone's social media addiction including personality traits and pre-existing tendencies. While the extent of social media use and addiction are positively correlated, it is erroneous to employ use (the degree to which one makes use of the site's features, the effort exerted during use sessions, access frequency, etc.) as a proxy for addiction. Indicators of a potential dependence on social media include: Mood swings: a person uses social media to regulate his or her mood, or as a means of escaping real world conflicts. Relevance: social media starts to dominate a person's thoughts at the expense of other activities. Salience: social media becomes the most important part of someone's life. Tolerance: a person increases their time spent on social media to experience previously associated feelings they had while using social media. Withdrawal: when a person can not access social media their sleeping or eating habits change or signs of depression or anxiety can become present. Conflicts in real life: when social media is used excessively, it can affect real-life relationships with family and friends. Relapse: the tendency for previously affected individuals to revert to previous patterns of excessive social media use. There have been several scales developed and validated that help to understand the issues regarding problematic social media use. There is not one single scale that is being used by all researchers. == Treatment == Screen time recommendations for children and families have been developed by the American Academy of Pediatrics. Possible therapeutic interventions published include: Self-help interventions, including application-specific timers; Cognitive behavioural therapy; and Organisational and schooling support. Medications have not been shown to be effective in randomized, controlled trials for the related conditions of Internet addiction disorder or gaming disorder. == Prevention == Prevention approaches include screen time monitoring apps and other tech-based approaches to improve efficiency and decrease screen time and tools to help with addiction to online platform products. Parents' methods for monitoring, regulating, and understanding their children's social media use are referred to as parental mediation. Parental mediation strategies include active, restrictive, and co-using methods. Active mediation involves direct parent-child conversations that are intended to educate children on social media norms and safety, as well as the variety and purposes of online content. Restrictive mediation entails the implementation of rules, expectations, and limitations regarding children's social media use and interactions. Co-use is when parents jointly use social media alongside their children, and is most effective when parents are actively participating (like asking questions, making inquisitive/supportive comments) versus being passive about it. Active mediation is the most common strategy used by parents, though the key to success for any mediation strategy is consistency/reliability. When parents reinforce rules inconsistently, have no mediation strategy, or use highly restrictive strategies for monitoring their children's social media use, there is an observable increase in children's aggressive behaviours. When parents openly express that they are supportive of their child's autonomy and provide clear, consistent rules for media use, problematic usage and aggression decreases. Knowing that consistent, autonomy-supportive mediation has more positive outcomes than inconsistent, controlling mediation, parents can consciously foster more direct, involved, and genuine dialogue with their children. This can help prevent or reduce problematic social media use in children and teenagers. == Outcomes == === Adolescents and teens === Increased social medi
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Digital Cinema Package

A Digital Cinema Package (DCP) is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams. The term was popularized by Digital Cinema Initiatives, LLC in its original recommendation for packaging DC contents. However, the industry tends to apply the term to the structure more formally known as the composition. A DCP is a container format for compositions, a hierarchical file structure that represents a title version. The DCP may carry a partial composition (e.g. not a complete set of files), a single complete composition, or multiple and complete compositions. The composition consists of a Composition Playlist (in XML format) that defines the playback sequence of a set of Track Files. Track Files carry the essence (audio, image, subtitles), which is wrapped using Material eXchange Format (MXF). Track Files must contain only one essence type. Two track files at a minimum must be present in every composition (see SMPTE ST429-2 D-Cinema Packaging – DCP Constraints, or Cinepedia): a track file carrying picture essence, and a track file carrying audio essence. The composition, consisting of a Composition Playlist (CPL) and associated track files, are distributed as a Digital Cinema Package (DCP). A composition is a complete representation of a title version, while the DCP need not carry a full composition. However, as already noted, it is commonplace in the industry to discuss the title in terms of a DCP, as that is the deliverable to the cinema. The Picture Track File essence is compressed using JPEG 2000 and the Audio Track File carries a 24-bit linear PCM uncompressed multichannel WAV file. Encryption may optionally be applied to the essence of a track file to protect it from unauthorized use. The encryption used is AES 128-bit in CBC mode. In practice, there are two versions of composition in use. The original version is called Interop DCP. In 2009, a specification was published by SMPTE (SMPTE ST 429-2 Digital Cinema Packaging – DCP Constraints) for what is commonly referred to as SMPTE DCP. SMPTE DCP is similar but not backwards compatible with Interop DCP, resulting in an uphill effort to transition the industry from Interop DCP to SMPTE DCP. SMPTE DCP requires significant constraints to ensure success in the field, as shown by ISDCF. While legacy support for Interop DCP is necessary for commercial products, new productions are encouraged to be distributed in SMPTE DCP. == Technical specifications == The DCP root folder (in the storage medium) contains a number of files, some used to store the image and audio contents, and some other used to organize and manage the whole playlist. === Picture MXF files === Picture contents may be stored in one or more reels corresponding to one or more MXF files. Each reel contains pictures as MPEG-2 or JPEG 2000 essence, depending on the adopted codec. MPEG-2 is no longer compliant with the DCI specification. JPEG 2000 is the only accepted compression format. Supported frame rates are: SMPTE (JPEG 2000) 24, 25, 30, 48, 50, and 60 fps @ 2K 24, 25, and 30 fps @ 4K 24 and 48 fps @ 2K stereoscopic MXF Interop (JPEG 2000) – Deprecated 24 and 48 fps @ 2K (MXF Interop can be encoded at 25 frame/s but support is not guaranteed) 24 fps @ 4K 24 fps @ 2K stereoscopic MXF Interop (MPEG-2) – Deprecated 23.976 and 24 fps @ 1920 × 1080 Maximum frame sizes are 2048 × 1080 for 2K DC, and 4096 × 2160 for 4K DC. Common formats are: SMPTE (JPEG 2000) Flat (1998 × 1080 or 3996 × 2160), = 1.85:1 aspect ratio Scope (2048 × 858 or 4096 × 1716), ~2.39:1 aspect ratio HDTV (1920 × 1080 or 3840 × 2160), 16:9 aspect ratio (~1.78:1) (although not specifically defined in the DCI specification, this resolution is DCI compliant per section 8.4.3.2). Full (2048 × 1080 or 4096 × 2160) (~1.9:1 aspect ratio, official name by DCI is Full Container. Not widely accepted in cinemas.) MXF Interop (MPEG-2) – Deprecated Full Frame (1920 × 1080) 12 bits per component precision (36 bits total per pixel) XYZ' colorspace; the prime mark indicates gamma encoding (gamma=2.6) Maximum bit rate is 250 Mbit/s (1.3 MBytes per frame at 24 frame per second) === Sound MXF files === Sound contents are also stored in reels corresponding to picture reels in number and duration. In case of multilingual features, separate reels are required to convey different languages. Each file contains linear PCM essence. Sampling rate is 48,000 or 96,000 samples per second Sample precision of 24 bits Linear mapping (no companding) Up to 16 independent channels === Asset map file === List of all files included in the DCP, in XML format. === Composition playlist file === Defines the playback order during presentation. The order is saved in XML format in this file; each picture and sound reel is identified by its UUID. In the following example, a reel is composed by picture and sound: === Packing list file or package key list (PKL) === All files in the composition are hashed and their hash is stored here, in XML format. This file is generally used during ingestion in a digital cinema server to verify if data have been corrupted or tampered with in some way. For example, an MXF picture reel is identified by the following element: The hash value is the Base64 encoding of the SHA-1 checksum. It can be calculated with the command: openssl sha1 -binary "FILE_NAME" | openssl base64 === Volume index file === A single DCP may be stored in more than one medium (e.g., multiple hard disks). The XML file VOLINDEX is used to identify the volume order in the series. == 3D DCP == The DCP format is also used to store stereoscopic (3D) contents for 3D films. In this case, 48 frames exist for every second – 24 frames for the left eye, 24 frames for the right. Depending on the projection system used, the left eye and right eye pictures are either shown alternately (double or triple flash systems) at 48 fps or, on 4k systems, both left and right eye pictures are shown simultaneously, one above the other, at 24 fps. In triple flash systems, active shutter glasses are required whereas optical filtering such as circular polarisation is used in conjunction with passive glasses on polarized systems. Since the maximum bit rate is always 250 Mbit/s, this results in a net 125 Mbit/s for single frame, but the visual quality decrease is generally unnoticeable. == D-Box == D-Box codes for motion controlled seating (labelled as "Motion Data" in the DCP specification), if present, are stored as a monoaural WAV file on Sound Track channel 13. Motion Data tracks are unencrypted and not watermarked. == Creation == Most film producers and distributors rely on digital cinema encoding facilities to produce and quality control check a digital cinema package before release. Facilities follow strict guidelines set out in the DCI recommendations to ensure compatibility with all digital cinema equipment. For bigger studio release films, the facility will usually create a Digital Cinema Distribution Master (DCDM). A DCDM is the post-production step prior to a DCP. The frames are in XYZ TIFF format and both sound and picture are not yet wrapped into MXF files. A DCP can be encoded directly from a DCDM. A DCDM is useful for archiving purposes and also facilities can share them for international re-versioning purposes. They can easily be turned into alternative version DCPs for foreign territories. For smaller release films, the facility will usually skip the creation of a DCDM and instead encode directly from the Digital Source Master (DSM) the original film supplied to the encoding facility. A DSM can be supplied in a multitude of formats and color spaces. For this reason, the encoding facility needs to have extensive knowledge in color space handling including, on occasion, the use of 3D LUTs to carefully match the look of the finished DCP to a celluloid film print. This can be a highly involved process in which the DCP and the film print are "butterflied" (shown side by side) in a highly calibrated cinema. Less demanding DCPs are encoded from tape formats such as HDCAM SR. Quality control checks are always performed in calibrated cinemas and carefully checked for errors. QC checks are often attended by colorists, directors, sound mixers and other personnel to check for correct picture and sound reproduction in the finished DCP. == Accessibility == === Hearing impaired audio === A Hearing Impaired (HI) audio track is designed for people who are hearing-impaired to better hear dialog. Moviegoers can wear headphones which play this audio track synchronized with the film. Hearing Impaired audio is stored in the DCP on Sound Track channel 7. === Audio description === Audio description is narration for people who are blind or visually impaired. Audio description is stored in the DCP as "Visually Impaired-Native" (VI-N) audio on Sound Track channel 8. === Sign Language Video === A Sign Language Video track can be included in a DCP to allow for display of sign la
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Matt Mullenweg

Matthew Charles Mullenweg (born January 11, 1984) is an American web developer and entrepreneur. He is known as a co-founder of the free and open-source web publishing software WordPress, and the founder of Automattic. == Early life and education == Mullenweg was born January 11, 1984, in Houston, Texas, to Chuck and Kathleen Mullenweg and grew up in the Willowbend neighborhood. His older sister was born in 1974. His father, who died in 2016, was a computer programmer who worked for Brown & Root, and encouraged his children to start using home computers at an early age. His mother was a stay-at-home mother. The Mullenwegs were raised Catholic. He attended Kinder High School for the Performing and Visual Arts, studying jazz and playing the saxophone. Mullenweg suffered from migraines as a child that forced him to miss extended periods of school. He attended the University of Houston for two years, studying philosophy and political science. He dropped out after his sophomore year in 2004 to work for CNET, which promised him that he could allocate time to the development of WordPress. == Career == Mullenweg began blogging in 2002 on the open source platform b2. B2 developer Michael Valdrighi abandoned the project and Mullenweg took it over in 2003. He and Mike Little created a b2 fork that year they called WordPress and published it under the GNU General Public License. In March 2003, he co-founded the Global Multimedia Protocols Group (GMPG) with Eric A. Meyer and Tantek Çelik. In April 2004, he helped launch Ping-O-Matic, a mechanism for notifying search engines about blog updates. In October 2004, he was hired by CNET who would allow him to develop WordPress part-time as part of his job. He dropped out of college and moved to San Francisco for the position. === Automattic === After leaving CNET in 2005, Mullenweg founded Automattic as a fully distributed company. Toni Schneider was hired as CEO so Mullenweg could learn how to manage a large organization. During this period, Mullenweg focused on product development while Schneider managed the company. In January 2014, Mullenweg resumed the role of CEO, replacing Schneider. He led Automattic's expansion and a series of acquisitions, including WooCommerce in 2015, The Atavist Magazine in 2018, Tumblr in 2019, Pocket Casts in 2021, and Beeper in 2024. Mullenweg received the Heinz Award for Technology, the Economy and Employment in 2016, for "helping to democratize online publishing". Automattic's valuation reached $7.5 billion in 2021. At the time, WordPress hosted 28 million websites, or 40 percent of all websites on the Internet. == Public disputes == On several occasions, Mullenweg has publicly challenged competitors to WordPress and WordPress.com. He has stated that he prefers to settle disputes in the court of public opinion and described his approach as "brinksmanship", noting that the potential cost of legal action could put Automattic in a "tough spot". In 2008, shortly before WordPress 2.5's release, Six Apart's Movable Type published "A WordPress 2.5 Upgrade Guide"—a comparison of their CMS with their rival, WordPress—as a company blog article that Mullenweg characterized as "desperate and dirty". In 2013, developers on the digital marketplace Envato were banned from speaking at WordPress events after he criticized the platform for selling WordPress themes with the graphics and CSS components under a proprietary license instead of the GPL. In 2016, Mullenweg accused Wix.com, a competitor to WordPress.com, of reusing WordPress's mobile text editor code in Wix's own mobile app without adhering to the terms of the GPL. Despite the license's requirement to publish anything built with GPL code under the GPL, Wix's CEO claimed that the company open-sourced their forked version of the component and satisfied the license's terms before the app switched to its own fork of the MIT-licensed text editor that the WordPress editor was based upon. The new fork added a clause to the MIT license that forbids redistribution under any other license. In 2022, Mullenweg criticized GoDaddy for not reinvesting in the WordPress project sufficiently. On January 9, 2025, the representative of the WordPress Sustainability team, Thijs Buijs, resigned via WordPress.org’s Slack channel, citing dissatisfaction with Matt Mullenweg’s December 24, 2024, Reddit post titled “What drama should I create in 2025?” highlighting concerns about what he described as “unsustainable leadership”. In response, Matt Mullenweg thanked Thijs Buijs for reminding him of the existence of a sustainability team, announced its disbanding, and subsequently closed Wordpress.org's #sustainability Slack channel. === Tumblr === Mullenweg began a three-month sabbatical from his role as CEO at the beginning of February 2024. During that time, Mullenweg engaged in a public feud with a transgender Tumblr user who, frustrated with the failure of Tumblr (owned by Automattic) to address transphobic harassment, posted that she wished Mullenweg would die in a comedic way. The user was subsequently banned. Responding to user uproar, Mullenweg addressed the ban in posts on his personal Tumblr blog, in which he characterized the post as a death threat, and shared private account information about the user. Mullenweg also responded to individual commenters on Tumblr in posts and direct messages, and went to Twitter to respond to the banned user's tweets about the situation. A few days later, transgender employees of Tumblr and Automattic made a post on the official Tumblr staff blog characterizing his response as "unwarranted and harmful" and stating that he did not speak on their behalf. They also said that the user's post was not a realistic threat of violence and not the reason for her ban. === WP Engine dispute === == Audrey Capital == Mullenweg is a principal at angel investment firm Audrey Capital, which he co-founded in 2008 alongside Naveen Selvadurai and Audrey Kim. As of 2024, the company lists investments in companies such as CoinDesk, MakerBot, Sonos, SpaceX, Ring, as well as software companies including Calm, Chartbeat, DailyBurn, Memrise, Genius, Nord Security and Telegram. It has also funded startups that provide services to web developers including Creative Market, GitLab, NPM, SendGrid, Stripe and Typekit. From 2017 to 2019, Mullenweg also served as a board member for GitLab. Mullenweg has employed a team of contributors to WordPress through Audrey Capital since 2010, who work separately from Automattic. On the 20th anniversary of WordPress' initial release, Mullenweg announced a scholarship program aimed at the children of significant contributors to open-source projects.
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Dabbler

Dabbler is natural media drawing software for beginners. It was initially developed by Fractal Design Corporation. It is a simplified version of Fractal Design Painter, and included multimedia tutorials and a fullscreen interface. Dabbler was released as "Art Dabbler" after the MetaCreations merger, and rights were eventually transferred to Corel. Dabbler operating systems are Mac OS and Microsoft Windows.
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Boba liberal

Boba liberal is a term mostly used within the Asian diaspora communities in the West, especially in the United States. It describes someone of East or Southeast Asian descent living in the West who has a shallow, surface-level liberal outlook. It is also occasionally used to describe conservatives who weaponize their East or Southeast Asian identity. The neologism emerged among the Asian American leftist community on Twitter who accused "boba liberals" of only holding their liberal beliefs to appear more white-adjacent by engaging in progressive social movements or viewpoints, while at the same time disregarding and trivializing issues concerning Asians. Mary Chao, writing for The North Jersey Record, said that "Asians call peers boba liberals when they aspire to liberal whiteness." An article in The Yale Herald described it as a term "used to describe the ethnocentric politics of Asian Americans, usually of East Asian descent, who exclusively advocate for issues that benefit themselves, without acknowledging problematic dimensions of their own history and working to support other people of color." The feminist magazine Fem said that "the faces of boba liberalism are Asian Americans that are part of the middle and upper economic class. As a result, boba liberals disregard the negative effects of capitalism because they profit from it. For instance, boba liberals tend to focus on advocating for Asian representation in white spaces, or discussing whether or not wearing chopsticks in one's hair is culture appropriation. These topics are popular within boba liberal circles, all while dialogue regarding inequality, globalization, and racial injustice are purposely neglected." UnHerd notes that conservative Asian Americans have used the term not to critique capitalism, but to "aim at a small but influential group of progressive Asian-American activists who are supposedly selling out other Asians, especially working-class Asians, in order to win brownie points from elite, generally white liberals." MRAsians have similarly used the term to attack Asian American feminists who supported the Black Lives Matter movement. The Asian identity of boba liberals has often been accused of being shallow and superficial. Boba liberals are accused of using surface-level stereotypical Asian traits such as liking boba tea to bolster their Asian credentials. Plan A Magazine, an Asian diaspora magazine, described the film Crazy Rich Asians and the sitcom Fresh Off the Boat as "boba liberal media", calling them the result of "a specific kind of atomized identity politics". Other media outlets have connected the Crazy Rich Asians film to boba liberalism. == Controversy == The term "boba liberal" was coined in 2019 by Vietnamese American Twitter user Redmond (@diaspora_is_red) to analyze a form of Asian American liberalism through a Marxist lens. Redmond has criticized the misappropriation of their neologism by stripping away the Marxist framework by failing to discuss "socialism, communism, the capitalist system, imperialism, and the diaspora bourgeoisie" and conflating "boba liberalism" with the flawed concept of "East Asian privilege". In 2024, Redmond criticized misuse of the term by conservatives and liberals, and said "The term boba liberalism can go away for all I care. It's corny and stale". === United States === One commentator described boba liberals as supporting policies that primarily benefit upper-income Asian-Americans, and not necessarily the Asian-American community as a whole. Therefore, while the word "liberal" is used in the term, it is not mutually exclusive to one specific ideology, as it may also extend to conservative-aligned Asians in some areas, as they would often take advantage of the "model minority" label by defending such measures.
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Commercial skipping

Commercial skipping is a feature of some digital video recorders that makes it possible to automatically skip commercials in recorded programs. This feature created controversy, with major television networks and movie studios claiming it violates copyright and should be banned. == History == After the video cassette recorder (VCR) became popular in the 1980s, the television industry began studying the impact of users fast forwarding through commercials. Advertising agencies fought the trend by making them more entertaining. For many years, video recorders manufactured for the Japanese market have been able to skip advertisements automatically, which is done by detecting when foreign language audio overdub tracks provided for many programmes go silent, as advertisements were broadcast with a single language only. The first digital video recorder (DVR) with a built-in commercial skipping feature was ReplayTV with its "4000 Series" and "5000 Series" units. In 2002, the main television networks and movie studios sued ReplayTV, claiming that skipping advertisements during replay violates copyright. Later, five owners of ReplayTV represented by Electronic Frontier Foundation and attorneys Ira Rothken and Richard Wiebe countersued, asking the federal judge to uphold consumers' rights to record TV shows and skip commercials, claiming that features like commercial skipping help parents protect their kids from excessive consumerism. ReplayTV ended up filing for bankruptcy in 2003 after fighting a copyright infringement suit over the ReplayTV's ability to skip commercials. === Commercial skipping software === In addition to the DVR devices which existed in the private market since the late 1990s, towards the mid-2000s, due to the significant advances in home computers, Home theater PCs started gaining popularity in the private market and many users began using their Home theater PCs in their living room for entertainment purposes. Following this, many DVR programs were developed, including popular programs such as Windows Media Center, which contained all of the features of the DVR devices in addition to advanced features such as HDTV and the use of Multiple TV Tuner Cards. Some independent developers began developing independent software capable of skipping the commercial segments when playing recorded videos, and permanently removing the commercial segments from recorded video files. By 2014, many DVR programs such as Windows Media Center, SageTV and MythTV had the capability to skip commercials segments in recorded TV broadcasts after installing third-party add-ons such as DVRMSToolbox, Comskip and ShowAnalyzer, which use various advanced techniques to locate the commercial segments in the video files and save their locations to text files. The text files can also be fed into programs such as MEncoder or DVRMSToolboxGUI which can delete the commercial segments from the recorded video files. A few third-party tools such as MCEBuddy automate detection and removal/marking of commercials. One of the weaknesses of commercial skippers is that, operating automatically, they may misidentify program material as a commercial. Some programs like MCEBuddy provide the ability to fine-tune commercial detection for groups of files (e.g. by channel or country) and provide tools to manually fine-tune commercial segments for individual files. In May 2012, the US Dish Network began offering a DVR with what it calls AutoHop. The device would automatically skip commercials when displaying programming that the viewer had previously recorded with the PrimeTime Anytime feature. It does not skip ads on any live programs. US broadcasters were angered at the news, and FOX embarked on legal action. Most, but not all, of Fox's claims were dismissed; ultimately an agreement was reached whereby AutoHop would only become available for Fox stations seven days after a program is transmitted; terms of the settlement were not disclosed. == The future of TV advertisements == The introduction of digital video recorders and services with skipping and fast-forward capabilities enables viewers to avoid viewing interruptive advertisements in recorded programs, either manually or automatically. While advertising separate to television shows can be skipped, advertising in TV shows themselves ("product placement") cannot be skipped. Streaming services such as Hulu show shorter advertisements with a countdown timer and tailored to the viewers interests, asking interactive questions like "Is this ad relevant to you?".
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International Teletraffic Congress

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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Second-order co-occurrence pointwise mutual information

In computational linguistics, second-order co-occurrence pointwise mutual information (SOC-PMI) is a method used to measure semantic similarity, or how close in meaning two words are. The method does not require the two words to appear together in a text. Instead, it works by analyzing the "neighbor" words that typically appear alongside each of the two target words in a large body of text (corpus). If the two target words frequently share the same neighbors, they are considered semantically similar. For example, the words "cemetery" and "graveyard" may not appear in the same sentence often, but they both frequently appear near words like "buried," "dead," and "funeral." SOC-PMI uses this shared context to determine that they have a similar meaning. The method is called "second-order" because it doesn't look at the direct co-occurrence of the target words (which would be first-order), but at the co-occurrence of their neighbors (a second level of association). The strength of these associations is quantified using pointwise mutual information (PMI). == History == The method builds on earlier work like the PMI-IR algorithm, which used the AltaVista search engine to calculate word association probabilities. The key advantage of a second-order approach like SOC-PMI is its ability to measure similarity between words that do not co-occur often, or at all. The British National Corpus (BNC) has been used as a source for word frequencies and contexts for this method. == Methodology == The SOC-PMI algorithm measures the similarity between two words, w 1 {\displaystyle w_{1}} and w 2 {\displaystyle w_{2}} , in several steps. === Step 1: Score neighboring words with PMI === First, for each target word ( w 1 {\displaystyle w_{1}} and w 2 {\displaystyle w_{2}} ), the algorithm identifies its "neighbor" words within a certain text window (e.g., within 5 words to the left or right) across a large corpus. The strength of the association between a target word t i {\displaystyle t_{i}} and its neighbor w {\displaystyle w} is calculated using pointwise mutual information (PMI). A higher PMI value means the two words appear together more often than would be expected by chance. The PMI between a target word t i {\displaystyle t_{i}} and a neighbor word w {\displaystyle w} is calculated as: f pmi ( t i , w ) = log 2 ⁡ f b ( t i , w ) × m f t ( t i ) f t ( w ) {\displaystyle f^{\text{pmi}}(t_{i},w)=\log _{2}{\frac {f^{b}(t_{i},w)\times m}{f^{t}(t_{i})f^{t}(w)}}} where: f b ( t i , w ) {\displaystyle f^{b}(t_{i},w)} is the number of times t i {\displaystyle t_{i}} and w {\displaystyle w} appear together in the context window. f t ( t i ) {\displaystyle f^{t}(t_{i})} is the total number of times t i {\displaystyle t_{i}} appears in the corpus. f t ( w ) {\displaystyle f^{t}(w)} is the total number of times w {\displaystyle w} appears in the corpus. m {\displaystyle m} is the total number of tokens (words) in the corpus. === Step 2: Create a semantic 'signature' for each word === For each target word ( w 1 {\displaystyle w_{1}} and w 2 {\displaystyle w_{2}} ), the algorithm creates a list of its most significant neighbors. This is done by taking the top β {\displaystyle \beta } neighbor words, sorted in descending order by their PMI score with the target word. This list of top neighbors, X w {\displaystyle X^{w}} , acts as a semantic "signature" for the word w {\displaystyle w} . X w = { X i w } {\displaystyle X^{w}=\{X_{i}^{w}\}} , for i = 1 , 2 , … , β {\displaystyle i=1,2,\ldots ,\beta } The size of this list, β {\displaystyle \beta } , is a parameter of the method. === Step 3: Compare the signatures === The algorithm then compares the signatures of w 1 {\displaystyle w_{1}} and w 2 {\displaystyle w_{2}} . It looks for words that are present in both signatures. The similarity of w 1 {\displaystyle w_{1}} to w 2 {\displaystyle w_{2}} is calculated by summing the PMI scores of w 2 {\displaystyle w_{2}} with every word in w 1 {\displaystyle w_{1}} 's signature list. The β {\displaystyle \beta } -PMI summation function defines this score. The score for w 1 {\displaystyle w_{1}} with respect to w 2 {\displaystyle w_{2}} is: f ( w 1 , w 2 , β ) = ∑ i = 1 β ( f pmi ( X i w 1 , w 2 ) ) γ {\displaystyle f(w_{1},w_{2},\beta )=\sum _{i=1}^{\beta }(f^{\text{pmi}}(X_{i}^{w_{1}},w_{2}))^{\gamma }} This sum only includes terms where the PMI value is positive. The exponent γ {\displaystyle \gamma } (with a value > 1) is used to give more weight to neighbors that are more strongly associated with w 2 {\displaystyle w_{2}} . This calculation is done in both directions: The similarity of w 1 {\displaystyle w_{1}} with respect to w 2 {\displaystyle w_{2}} : f ( w 1 , w 2 , β 1 ) = ∑ i = 1 β 1 ( f pmi ( X i w 1 , w 2 ) ) γ {\displaystyle f(w_{1},w_{2},\beta _{1})=\sum _{i=1}^{\beta _{1}}(f^{\text{pmi}}(X_{i}^{w_{1}},w_{2}))^{\gamma }} The similarity of w 2 {\displaystyle w_{2}} with respect to w 1 {\displaystyle w_{1}} : f ( w 2 , w 1 , β 2 ) = ∑ i = 1 β 2 ( f pmi ( X i w 2 , w 1 ) ) γ {\displaystyle f(w_{2},w_{1},\beta _{2})=\sum _{i=1}^{\beta _{2}}(f^{\text{pmi}}(X_{i}^{w_{2}},w_{1}))^{\gamma }} === Step 4: Calculate final similarity score === Finally, the total semantic similarity is the average of the two scores from the previous step. S i m ( w 1 , w 2 ) = f ( w 1 , w 2 , β 1 ) β 1 + f ( w 2 , w 1 , β 2 ) β 2 {\displaystyle \mathrm {Sim} (w_{1},w_{2})={\frac {f(w_{1},w_{2},\beta _{1})}{\beta _{1}}}+{\frac {f(w_{2},w_{1},\beta _{2})}{\beta _{2}}}} This score can be normalized to fall between 0 and 1. For example, using this method, the words cemetery and graveyard achieve a high similarity score of 0.986 (with specific parameter settings).
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Boba liberal

Boba liberal is a term mostly used within the Asian diaspora communities in the West, especially in the United States. It describes someone of East or Southeast Asian descent living in the West who has a shallow, surface-level liberal outlook. It is also occasionally used to describe conservatives who weaponize their East or Southeast Asian identity. The neologism emerged among the Asian American leftist community on Twitter who accused "boba liberals" of only holding their liberal beliefs to appear more white-adjacent by engaging in progressive social movements or viewpoints, while at the same time disregarding and trivializing issues concerning Asians. Mary Chao, writing for The North Jersey Record, said that "Asians call peers boba liberals when they aspire to liberal whiteness." An article in The Yale Herald described it as a term "used to describe the ethnocentric politics of Asian Americans, usually of East Asian descent, who exclusively advocate for issues that benefit themselves, without acknowledging problematic dimensions of their own history and working to support other people of color." The feminist magazine Fem said that "the faces of boba liberalism are Asian Americans that are part of the middle and upper economic class. As a result, boba liberals disregard the negative effects of capitalism because they profit from it. For instance, boba liberals tend to focus on advocating for Asian representation in white spaces, or discussing whether or not wearing chopsticks in one's hair is culture appropriation. These topics are popular within boba liberal circles, all while dialogue regarding inequality, globalization, and racial injustice are purposely neglected." UnHerd notes that conservative Asian Americans have used the term not to critique capitalism, but to "aim at a small but influential group of progressive Asian-American activists who are supposedly selling out other Asians, especially working-class Asians, in order to win brownie points from elite, generally white liberals." MRAsians have similarly used the term to attack Asian American feminists who supported the Black Lives Matter movement. The Asian identity of boba liberals has often been accused of being shallow and superficial. Boba liberals are accused of using surface-level stereotypical Asian traits such as liking boba tea to bolster their Asian credentials. Plan A Magazine, an Asian diaspora magazine, described the film Crazy Rich Asians and the sitcom Fresh Off the Boat as "boba liberal media", calling them the result of "a specific kind of atomized identity politics". Other media outlets have connected the Crazy Rich Asians film to boba liberalism. == Controversy == The term "boba liberal" was coined in 2019 by Vietnamese American Twitter user Redmond (@diaspora_is_red) to analyze a form of Asian American liberalism through a Marxist lens. Redmond has criticized the misappropriation of their neologism by stripping away the Marxist framework by failing to discuss "socialism, communism, the capitalist system, imperialism, and the diaspora bourgeoisie" and conflating "boba liberalism" with the flawed concept of "East Asian privilege". In 2024, Redmond criticized misuse of the term by conservatives and liberals, and said "The term boba liberalism can go away for all I care. It's corny and stale". === United States === One commentator described boba liberals as supporting policies that primarily benefit upper-income Asian-Americans, and not necessarily the Asian-American community as a whole. Therefore, while the word "liberal" is used in the term, it is not mutually exclusive to one specific ideology, as it may also extend to conservative-aligned Asians in some areas, as they would often take advantage of the "model minority" label by defending such measures.
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Boba liberal

Boba liberal is a term mostly used within the Asian diaspora communities in the West, especially in the United States. It describes someone of East or Southeast Asian descent living in the West who has a shallow, surface-level liberal outlook. It is also occasionally used to describe conservatives who weaponize their East or Southeast Asian identity. The neologism emerged among the Asian American leftist community on Twitter who accused "boba liberals" of only holding their liberal beliefs to appear more white-adjacent by engaging in progressive social movements or viewpoints, while at the same time disregarding and trivializing issues concerning Asians. Mary Chao, writing for The North Jersey Record, said that "Asians call peers boba liberals when they aspire to liberal whiteness." An article in The Yale Herald described it as a term "used to describe the ethnocentric politics of Asian Americans, usually of East Asian descent, who exclusively advocate for issues that benefit themselves, without acknowledging problematic dimensions of their own history and working to support other people of color." The feminist magazine Fem said that "the faces of boba liberalism are Asian Americans that are part of the middle and upper economic class. As a result, boba liberals disregard the negative effects of capitalism because they profit from it. For instance, boba liberals tend to focus on advocating for Asian representation in white spaces, or discussing whether or not wearing chopsticks in one's hair is culture appropriation. These topics are popular within boba liberal circles, all while dialogue regarding inequality, globalization, and racial injustice are purposely neglected." UnHerd notes that conservative Asian Americans have used the term not to critique capitalism, but to "aim at a small but influential group of progressive Asian-American activists who are supposedly selling out other Asians, especially working-class Asians, in order to win brownie points from elite, generally white liberals." MRAsians have similarly used the term to attack Asian American feminists who supported the Black Lives Matter movement. The Asian identity of boba liberals has often been accused of being shallow and superficial. Boba liberals are accused of using surface-level stereotypical Asian traits such as liking boba tea to bolster their Asian credentials. Plan A Magazine, an Asian diaspora magazine, described the film Crazy Rich Asians and the sitcom Fresh Off the Boat as "boba liberal media", calling them the result of "a specific kind of atomized identity politics". Other media outlets have connected the Crazy Rich Asians film to boba liberalism. == Controversy == The term "boba liberal" was coined in 2019 by Vietnamese American Twitter user Redmond (@diaspora_is_red) to analyze a form of Asian American liberalism through a Marxist lens. Redmond has criticized the misappropriation of their neologism by stripping away the Marxist framework by failing to discuss "socialism, communism, the capitalist system, imperialism, and the diaspora bourgeoisie" and conflating "boba liberalism" with the flawed concept of "East Asian privilege". In 2024, Redmond criticized misuse of the term by conservatives and liberals, and said "The term boba liberalism can go away for all I care. It's corny and stale". === United States === One commentator described boba liberals as supporting policies that primarily benefit upper-income Asian-Americans, and not necessarily the Asian-American community as a whole. Therefore, while the word "liberal" is used in the term, it is not mutually exclusive to one specific ideology, as it may also extend to conservative-aligned Asians in some areas, as they would often take advantage of the "model minority" label by defending such measures.
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