AI App Quora

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

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  Web application

  A web application (or web app) is application software that is created with web technologies and runs via a web browser. Web applications emerged during the late 1990s and allowed for the server to dynamically build a response to the request, in contrast to static web pages. Web applications are commonly distributed via a web server. There are several different tier systems that web applications use to communicate between the web browsers, the client interface, and server data. Each system has its own uses as they function in different ways. However, there are many security risks that developers must be aware of during development; proper measures to protect user data are vital. Web applications are often constructed with the use of a web application framework. Single-page applications (SPAs) and progressive web apps (PWAs) are two architectural approaches to creating web applications that provide a user experience similar to native apps, including features such as smooth navigation, offline support, and faster interactions. Web applications are often fully hosted on remote cloud services, can require a constant connection to them, and can replace conventional desktop applications for operating systems such as Microsoft Windows, thus facilitating the operation of software as a service as it grants the developer the power to tightly control billing based on use of the remote services as well as vendor lock-in by hosting data remotely. Modern browsers such as Chrome offer sandboxing for every browser tab which improves security and restricts access to local resources. No software installation is required as the app runs within the browser which reduces the need for managing software installations. With the use of remote cloud services, customers do not need to manage servers as that can be left to the developer and the cloud service and can use the software with a relatively low power, low-resource PC such as a thin client. The source code of the application can stay the same across operating systems and devices of users with the use of responsive web design, since it only needs to be compatible with web browsers which adhere to web standards, making the code highly portable and saving on development time. Numerous JavaScript frameworks and CSS frameworks facilitate development. == History == The concept of a "web application" was first introduced in the Java language in the Servlet Specification version 2.2, which was released in 1999. At that time, both JavaScript and XML had already been developed, but the XMLHttpRequest object had only been recently introduced on Internet Explorer 5 as an ActiveX object. Beginning around the early 2000s, applications such as "Myspace (2003), Gmail (2004), Digg (2004), [and] Google Maps (2005)," started to make their client sides more and more interactive. A web page script is able to contact the server for storing/retrieving data without downloading an entire web page. The practice became known as Ajax in 2005. Eventually this was replaced by web APIs using JSON, accessed via JavaScript asynchronously on the client side. In earlier computing models like client-server, the processing load for the application was shared between code on the server and code installed on each client locally. In other words, an application had its own pre-compiled client program which served as its user interface and had to be separately installed on each user's personal computer. An upgrade to the server-side code of the application would typically also require an upgrade to the client-side code installed on each user workstation, adding to the support cost and decreasing productivity. Additionally, both the client and server components of the application were bound tightly to a particular computer architecture and operating system, which made porting them to other systems prohibitively expensive for all but the largest applications. Later, in 1995, Netscape introduced the client-side scripting language called JavaScript, which allowed programmers to add dynamic elements to the user interface that ran on the client side. Essentially, instead of sending data to the server in order to generate an entire web page, the embedded scripts of the downloaded page can perform various tasks such as input validation or showing/hiding parts of the page. "Progressive web apps", the term coined by designer Frances Berriman and Google Chrome engineer Alex Russell in 2015, refers to apps taking advantage of new features supported by modern browsers, which initially run inside a web browser tab but later can run completely offline and can be launched without entering the app URL in the browser. == Structure == Traditional PC applications are typically single-tiered, residing solely on the client machine. In contrast, web applications inherently facilitate a multi-tiered architecture. Though many variations are possible, the most common structure is the three-tiered application. In its most common form, the three tiers are called presentation, application and storage. The first tier, presentation, refers to a web browser itself. The second tier refers to any engine using dynamic web content technology (such as ASP, CGI, ColdFusion, Dart, JSP/Java, Node.js, PHP, Python or Ruby on Rails). The third tier refers to a database that stores data and determines the structure of a user interface. Essentially, when using the three-tiered system, the web browser sends requests to the engine, which then services them by making queries and updates against the database and generates a user interface. The 3-tier solution may fall short when dealing with more complex applications, and may need to be replaced with the n-tiered approach; the greatest benefit of which is how business logic (which resides on the application tier) is broken down into a more fine-grained model. Another benefit would be to add an integration tier, which separates the data tier and provides an easy-to-use interface to access the data. For example, the client data would be accessed by calling a "list_clients()" function instead of making an SQL query directly against the client table on the database. This allows the underlying database to be replaced without making any change to the other tiers. There are some who view a web application as a two-tier architecture. This can be a "smart" client that performs all the work and queries a "dumb" server, or a "dumb" client that relies on a "smart" server. The client would handle the presentation tier, the server would have the database (storage tier), and the business logic (application tier) would be on one of them or on both. While this increases the scalability of the applications and separates the display and the database, it still does not allow for true specialization of layers, so most applications will outgrow this model. == Security == Security breaches on these kinds of applications are a major concern because it can involve both enterprise information and private customer data. Protecting these assets is an important part of any web application, and there are some key operational areas that must be included in the development process. This includes processes for authentication, authorization, asset handling, input, and logging and auditing. Building security into the applications from the beginning is sometimes more effective and less disruptive in the long run. == Development == Writing web applications is simplified with the use of web application frameworks. These frameworks facilitate rapid application development by allowing a development team to focus on the parts of their application which are unique to their goals without having to resolve common development issues such as user management. In addition, there is potential for the development of applications on Internet operating systems, although currently there are not many viable platforms that fit this model.

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  Harmonic

  In physics, acoustics, and telecommunications, a harmonic is a sinusoidal wave with a frequency that is a positive integer multiple of the fundamental frequency of a periodic signal. The fundamental frequency is also called the 1st harmonic; the other harmonics are known as higher harmonics. As all harmonics are periodic at the fundamental frequency, the sum of harmonics is also periodic at that frequency. The set of harmonics forms a harmonic series. The term is employed in various disciplines, including music, physics, acoustics, electronic power transmission, radio technology, and other fields. For example, if the fundamental frequency is 50 Hz, a common AC power supply frequency, the frequencies of the first three higher harmonics are 100 Hz (2nd harmonic), 150 Hz (3rd harmonic), 200 Hz (4th harmonic) and any addition of waves with these frequencies is periodic at 50 Hz. An n {\displaystyle \ n} th characteristic mode, for n > 1 , {\displaystyle \ n>1\ ,} will have nodes that are not vibrating. For example, the 3rd characteristic mode will have nodes at 1 3 L {\displaystyle \ {\tfrac {1}{3}}\ L\ } and 2 3 L , {\displaystyle \ {\tfrac {2}{3}}\ L\ ,} where L {\displaystyle \ L\ } is the length of the string. In fact, each n {\displaystyle \ n} th characteristic mode, for n {\displaystyle \ n\ } not a multiple of 3, will not have nodes at these points. These other characteristic modes will be vibrating at the positions 1 3 L {\displaystyle \ {\tfrac {1}{3}}\ L\ } and 2 3 L . {\displaystyle \ {\tfrac {2}{3}}\ L~.} If the player gently touches one of these positions, then these other characteristic modes will be suppressed. The tonal harmonics from these other characteristic modes will then also be suppressed. Consequently, the tonal harmonics from the n {\displaystyle \ n} th characteristic characteristic modes, where n {\displaystyle \ n\ } is a multiple of 3, will be made relatively more prominent. In music, harmonics are used on string instruments and wind instruments as a way of producing sound on the instrument, particularly to play higher notes and, with strings, obtain notes that have a unique sound quality or "tone colour". On strings, bowed harmonics have a "glassy", pure tone. On stringed instruments, harmonics are played by touching (but not fully pressing down the string) at an exact point on the string while sounding the string (plucking, bowing, etc.); this allows the harmonic to sound, a pitch which is always higher than the fundamental frequency of the string. == Terminology == Harmonics may be called "overtones", "partials", or "upper partials", and in some music contexts, the terms "harmonic", "overtone" and "partial" are used fairly interchangeably. But more precisely, the term "harmonic" includes all pitches in a harmonic series (including the fundamental frequency) while the term "overtone" only includes pitches above the fundamental. == Characteristics == A whizzing, whistling tonal character, distinguishes all the harmonics both natural and artificial from the firmly stopped intervals; therefore their application in connection with the latter must always be carefully considered. Most acoustic instruments emit complex tones containing many individual partials (component simple tones or sinusoidal waves), but the untrained human ear typically does not perceive those partials as separate phenomena. Rather, a musical note is perceived as one sound, the quality or timbre of that sound being a result of the relative strengths of the individual partials. Many acoustic oscillators, such as the human voice or a bowed violin string, produce complex tones that are more or less periodic, and thus are composed of partials that are nearly matched to the integer multiples of fundamental frequency and therefore resemble the ideal harmonics and are called "harmonic partials" or simply "harmonics" for convenience (although it's not strictly accurate to call a partial a harmonic, the first being actual and the second being theoretical). Oscillators that produce harmonic partials behave somewhat like one-dimensional resonators, and are often long and thin, such as a guitar string or a column of air open at both ends (as with the metallic modern orchestral transverse flute). Wind instruments whose air column is open at only one end, such as trumpets and clarinets, also produce partials resembling harmonics. However they only produce partials matching the odd harmonics—at least in theory. In practical use, no real acoustic instrument behaves as perfectly as the simplified physical models predict; for example, instruments made of non-linearly elastic wood, instead of metal, or strung with gut instead of brass or steel strings, tend to have not-quite-integer partials. Partials whose frequencies are not integer multiples of the fundamental are referred to as inharmonic partials. Some acoustic instruments emit a mix of harmonic and inharmonic partials but still produce an effect on the ear of having a definite fundamental pitch, such as pianos, strings plucked pizzicato, vibraphones, marimbas, and certain pure-sounding bells or chimes. Antique singing bowls are known for producing multiple harmonic partials or multiphonics. Other oscillators, such as cymbals, drum heads, and most percussion instruments, naturally produce an abundance of inharmonic partials and do not imply any particular pitch, and therefore cannot be used melodically or harmonically in the same way other instruments can. Building on of Sethares (2004), dynamic tonality introduces the notion of pseudo-harmonic partials, in which the frequency of each partial is aligned to match the pitch of a corresponding note in a pseudo-just tuning, thereby maximizing the consonance of that pseudo-harmonic timbre with notes of that pseudo-just tuning. == Partials, overtones, and harmonics == An overtone is any partial higher than the lowest partial in a compound tone. The relative strengths and frequency relationships of the component partials determine the timbre of an instrument. The similarity between the terms overtone and partial sometimes leads to their being loosely used interchangeably in a musical context, but they are counted differently, leading to some possible confusion. In the special case of instrumental timbres whose component partials closely match a harmonic series (such as with most strings and winds) rather than being inharmonic partials (such as with most pitched percussion instruments), it is also convenient to call the component partials "harmonics", but not strictly correct, because harmonics are numbered the same even when missing, while partials and overtones are only counted when present. This chart demonstrates how the three types of names (partial, overtone, and harmonic) are counted (assuming that the harmonics are present): In many musical instruments, it is possible to play the upper harmonics without the fundamental note being present. In a simple case (e.g., recorder) this has the effect of making the note go up in pitch by an octave, but in more complex cases many other pitch variations are obtained. In some cases it also changes the timbre of the note. This is part of the normal method of obtaining higher notes in wind instruments, where it is called overblowing. The extended technique of playing multiphonics also produces harmonics. On string instruments it is possible to produce very pure sounding notes, called harmonics or flageolets by string players, which have an eerie quality, as well as being high in pitch. Harmonics may be used to check at a unison the tuning of strings that are not tuned to the unison. For example, lightly fingering the node found halfway down the highest string of a cello produces the same pitch as lightly fingering the node ⁠ 1 / 3 ⁠ of the way down the second highest string. For the human voice see Overtone singing, which uses harmonics. While it is true that electronically produced periodic tones (e.g. square waves or other non-sinusoidal waves) have "harmonics" that are whole number multiples of the fundamental frequency, practical instruments do not all have this characteristic. For example, higher "harmonics" of piano notes are not true harmonics but are "overtones" and can be very sharp, i.e. a higher frequency than given by a pure harmonic series. This is especially true of instruments other than strings, brass, or woodwinds. Examples of these "other" instruments are xylophones, drums, bells, chimes, etc.; not all of their overtone frequencies make a simple whole number ratio with the fundamental frequency. (The fundamental frequency is the reciprocal of the longest time period of the collection of vibrations in some single periodic phenomenon.) == On stringed instruments == Harmonics may be singly produced [on stringed instruments] (1) by varying the point of contact with the bow, or (2) by slightly pressing the string at the nodes, or divisions of its aliquot parts ( 1 2 {\displaystyle {\tfrac {1}{2}}} , 1

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  Conversion path

  A conversion path is a description of the steps taken by a user of a website towards a desired end from the standpoint of the website operator or marketer. The typical conversion path begins with a user arriving at a landing page or a product page and proceeding through a series of page transitions until reaching a final state, either positive (e.g. purchase) or negative (e.g. abandoned session). In practice, the study of the dynamics of this process by the interested party has evolved into a sophisticated field, where various statistical methods are being applied to the optimization of outcomes. This includes real-time adjustment of presented content, in which a website operator tries to provide deliberate incentives to increase the odds of conversion based on various sources of information, including demographic traits, search history, and browsing events. In practice, this reflects in different content presented to users arriving from online advertising versus search engines, and similarly, different content is presented depending on their demographic segments. The fundamental metric describing this process in the aggregate is known as conversion rate.

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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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  Face Swap Live

  Face Swap Live is a mobile app created by Laan Labs that enables users to swap faces with another person in real-time using the device's camera. It was released on December 14, 2015. In addition to swapping faces with another person, the app enables users to create videos using a set of bundled live filters. The app is available on iOS and Android devices. Face Swap Live was named Apple's #2 best-selling paid app in 2016.

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  Digital backlot

  A digital backlot or virtual backlot is a motion-picture set that is neither a genuine location nor a constructed studio; the shooting takes place entirely on a stage with a blank background (often a greenscreen) that will later on project an artificial environment put in during post-production. Digital backlots are mainly used for genres such as science fiction, where building a real set would be too expensive or outright impossible. == Notable films == Among the first films to introduce the technique was Mini Moni the Movie by Shinji Higuchi in 2002, predated by Rest In Peace by Stolpskott Film (2000). Others include: === Released === Rest in Peace (Sweden, 2000) – Shot entirely with green-screen. Some sections fully CGI. Casshern (Japan, 2004) – Shot on celluloid. A few practical set pieces used. Able Edwards (United States, 2004) – Shot digitally on Canon XL1 cameras. Immortal (France, 2004) – Shot on celluloid. Also showed CGI characters interacting with live actors. Sky Captain and the World of Tomorrow (United States, 2004) – Shot digitally on Sony CineAlta cameras. Sin City (United States, 2005) – Shot digitally on CineAlta cameras. Three practical sets used. MirrorMask (United States/United Kingdom, 2005) – Shot on celluloid. 80% of film uses digital backlot. Some practical set pieces used. The Cabinet of Dr. Caligari (United States, 2005) – Shot digitally. 300 (United States, 2007) – Shot on celluloid. Two practical sets used. Speed Racer (United States, 2008) – Directed by the Wachowskis. Three practical sets used. The Spirit (United States, 2008) – Director Frank Miller shot the film with the same techniques he and Robert Rodriguez used on Sin City. Avatar (United States, 2009) – Directed by James Cameron. Two practical sets used. Goemon (Japan, 2009) – The second film from Casshern helmer Kazuaki Kiriya. Alice in Wonderland (United States, 2010) – Directed by Tim Burton. Practical sets used. Sin City: A Dame to Kill For (United States 2014) – Co-directed by Robert Rodriguez and Frank Miller. Sequel to Sin City. === Upcoming === Tribes of October

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  Rider Spoke

  Rider Spoke developed by Blast Theory in collaboration with the Mixed Reality Lab was first staged at the Barbican, London in October 2007. Created for cyclists, it combines elements of theatre, performance, game play and state of the art technology. Rider Spoke was built in the IPerG project on the EQUIP architecture. Rider Spoke has since been presented in Athens (2008), Brighton (2008), Budapest (2008), Sydney (2009, Adelaide (2009) and Liverpool (2010).

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  Creepy treehouse

  Creepy treehouse is a social media term, or internet slang, referring to websites or technologies that are used for educational purposes but regarded by students as an invasion of privacy. == History == The term was first described in 2008 by Utah Valley University instructional-design services director Jared Stein as "institutionally controlled technology/tool that emulates or mimics pre-existing [sic] technologies or tools that may already be in use by the learners, or by learners' peer groups." This was when social media such as Facebook was starting to become mainstream and professors would try and get students to interact with them on the site for educational purposes. Some professors would require their students to use Facebook or Twitter as part of class assignments. == Usage == The term was first described as "technological innovations by faculty members that make students’ skin crawl." The term also refers to online accounts and websites that users tend to avoid, especially young people who avoid visiting the pages of educators and other adults. Author Martin Weller defines creepy treehouse as a digital space where authority figures are viewed as invading younger people's privacy. One such example is a professor giving his students an option to use a popular video game to learn about history instead of writing an essay. Students in that class chose to write the essay instead as the method was previously unmentioned and it was not an unnatural method of interaction. Another example given was Blackboard Sync, a feature that was used to connect the school website Blackboard with students' Facebook accounts. == Solutions == University of Regina professor Alec Couros suggests that instead of "forcing" student participation with their own digital platforms, professors should use methods like online forums. Jason Jones of chronicle.com suggested letting students create social media groups for the class themselves and explaining why using technologies is required and important.

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  Showbox.com

  Showbox is an online video streaming platform that enables users to stream and download many videos, commonly movies and TV shows, for free. == History == The company opened the platforms to users who registered from its beta in late 2015. The platform was officially launched in February 2016, enabling any visitor to sign up and create videos online. In April 2016, Showbox was featured on the Product Hunt website, coming to the top of the website's lists for that day and week with over 1400 upvotes from the Product Hunt community. Also in April 2016, Showbox partnered with YouTube's leading multi-channel networks, including Fullscreen, BroadbandTV, StyleHaul, AwesomenessTV, and BuzzMyVideos, to enable their communities of creators to access the platform. In June 2016, the company launched Showbox For Brands, a business-oriented video creation platform, enabling companies to create video content in-house and with their communities and influencers. In March 2017, the company launched Showbox Engage, a use case of its B2B product launched in 2016, enabling companies to launch user-generated content campaigns with their communities. In April 2017, Showbox and the United Nations announced a partnership around the 70th anniversary of the declaration of human rights, with an annual, ongoing global campaign in 135 languages, inviting people worldwide to create their part of the declaration in a video from anywhere around the world. In November 2017, Showbox partnered with the Ad:tech and Digital Marketing World Forum conferences (DMWF) in New York to provide their users and communities with a User Generated Content video solution. == Technology == Showbox's video creation technology includes an online green screen feature, proprietary computer vision algorithms, deep learning technology to support the automatic creation of videos in the cloud, and advanced video composition, including special effects. == Coverage and awards == In March 2015, Showbox was nominated as one of the 10 Israeli startups to take over our TV screens this year. In July 2016, Showbox won the Publicis90 award as part of Publicis' "global initiative to foster digital entrepreneurship". In March 2017, Showbox was chosen as one of The Culture Trip's 10 startups to watch for in 2017.

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  International World Wide Web Conference Committee

  The International World Wide Web Conference Committee (abbreviated as IW3C2 also written as IW3C2) is a professional non-profit organization registered in Switzerland (Article 60ff of the Swiss Civil Code) that promotes World Wide Web research and development. The IW3C2 organizes and hosts the annual World Wide Web Conference in conjunction with the W3C. The IW3C2 was founded by Joseph Hardin and Robert Cailliau at a meeting held in Boston, United States, on 14 August 1994 to prepare for the upcoming Second International World Wide Web Conference in Chicago. The IW3C2 formally became an incorporated entity in May 1996 at the fifth conference in Paris, France. The organization is governed by laws of the Swiss Confederation and the By-laws. == Abbreviation == The abbreviation for the International World Wide Web Conference Committee as IW3C2 is as follow: I- The I is represents the leading I in International. W3- The W3 represents the three 3 leading W's in World Wide Web. C2- The C2 represents the three 2 leading C's in Conference Committee. == Mission == The mission of the IW3C2 is: To coordinate the organization and planning of the international WWW conference series and ensure that it remains the foremost conference addressing World Wide Web research and development; To promote a collaborative spirit among conference attendees that is essential to the success of the series; To ensure the global geographical diversity of conference sites and provide support to local organizers at those sites; To make sure that all content arising from these conferences and forums is permanently and openly available on the widest possible scale; To preserve the history of the conference series; To encourage the global development of the World Wide Web through collaboration with WWW standards organizations; To provide a permanent, broad-based international body to achieve these purposes. == Conferences == The conferences are organized by the IW3C2 in collaboration with local organizing committees and technical program committees. The series provides an open forum in which all opinions can be presented, subject to a strict process of peer review. The proceedings of the conference are published in the ACM Digital Library. === Endorsed conferences === The IW3C2 has endorsed regional conferences devoted to a special topic of the Web by working with endorsed conferences on cross-promotion, publicity and programs. == Membership == Members of the IW3C2 are ordinary members, ex officio members, non-voting members, and officers. === Ordinary members === Ordinary members are elected for a period of 3 years during a general meeting. Members are nominated due to their recognition in the WWW community and represent themselves. Members can be re-elected only after at least one year of absence. The following are the founding members at the time when IW3C2 was officially incorporated in May 1996: Jean-François Abramatic Tim Berners-Lee Robert Cailliau Dale Dougherty Ira Goldstein Joseph Hardin Tim Krauskopf Detlef Krömker Corinne Moore R. P. Channing Rodgers Albert Vezza Stuart Weibel Yuri Rubinsky (died prior to incorporation) The following are the current (April 2016) ordinary members: Robin Chen Chin-Wan Chung Allan Ellis Wendy Hall - IW3C2 Chair Ivan Herman Arun Iyengar - IW3C2 Vice Chair Irwin King Yoelle Maarek Luc Mariaux - IW3C2 Treasurer Daniel Schwabe - IW3C2 Vice-Chair === Ex officio members === Ex officio members are selected from the immediate past conference general co-chairs and from future conference co-chairs. Their term expires one year after the conference they organized. Ex officio members can be elected as ordinary members. The following are current (April 2016) ex officio members and the conference with which they are affiliated: Jacqueline Bourdeau - WWW2016 James Hendler - WWW2016 Rick Barrett - WWW2017 Rick Cummings - WWW2017 Laurent Flory - WWW2018 Fabien Gandon - WWW2018 === Officers === The IW3C2 officers consist of a chairperson, a vice-chair (chairperson-elect), a secretary, a treasurer, and other appointees. Officers are elected during a general meeting (usually at the annual WWW conference) and serve for one year. They can be re-elected an indefinite number of times. == The Seoul Test of Time Award == This annual award, presented at the WWW conference, is made possible by a generous contribution from the organizers of WWW2014 (Seoul Korea). Recipients are determined by the IW3C2 and honor the author, or authors, of a paper presented at a previous WWW conference that has "stood the test of time." The first award, announced at WWW2015 (Florence Italy), recognized Sergey Brin and Larry Page, the founders of Google. The recipients of the WWW2016 award are LinkIn scientist Dr. Badrul Sarwar and University of Minnesota professors George Karypis, Joseph Konstan, and John Riedl (posthumous) for their work in item-item collaborative filtering.

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  Content Credentials

  Content Credentials (also known as C2PA signatures) are a digital media metadata specification. They aim to provide provenance information about a piece of media (such as an image or a video) and help prove its authenticity. They are described as the equivalent of nutrition labels for digital media. One of the stated goal of this specification is to fight online disinformation. The specification is written and maintained by the Coalition for Content Provenance and Authenticity (C2PA), a group of many media and tech organizations including Adobe, Amazon, the BBC, Google, Meta, Microsoft, OpenAI and Sony. Another organization, the Content Authenticity Initiative (CAI), is responsible for promoting the standard and accelerate its adoption. The standard relies on cryptographic digital signatures. == Adoption == There are two main stakeholders who can implement Content Credentials: Producers (softwares and hardwares that produce or modify digital media) and publishers (softwares that show digital media to users). === Producers === ==== Adobe ==== Adobe is one of the first companies to implement the specification, announcing support in Photoshop in 2021. Content Credentials can be enabled and the complete history of edits is kept. ==== Google ==== Google announced support for Content Credentials on its Pixel 10 phones in August 2025. The Content Credentials are embedded on each picture taken from the Pixel Camera, and modifications done using Google Photos. Information include picture timestamp and a non-identifiable signature that proves it was taken from a Pixel 10. As for Google Photos, a list of AI and non-AI edits are kept. Google is the first company to introduce support for Content Credentials on either phones or consumer-grade devices, and also the first company to make it available for free to all users. ==== Nikon ==== Nikon announced in 2024 that their Z6 III camera would support embedding Content Credentials in its photos. However, in 2025, a vulnerability was discovered in the software of the camera that allowed to combine unauthentic images with authentic photos and still have the resulting image with a valid digital signature. Nikon revoked the certificates. ==== Media organizations ==== CBC/Radio-Canada and the BBC both have started attaching Content Credentials to media they produce or verify. ==== OpenAI ==== OpenAI embeds Content Credentials on the images and videos it generates that includes that the media was created by AI using their platforms. ==== Sony ==== In June 2025, Sony announced the release of its Camera Verify system for press photographers and news editors using C2PA digital signatures. Initially, the system will be limited to still images, high‑end cameras, and selected news agencies. Registration with Sony Creators' Cloud is also required. === Publishers === ==== LinkedIn ==== In 2024, LinkedIn started showing a "CR" icon on images that contain Content Credentials of AI-generated images. In 2025, they announced a partnership with Adobe to allow photographers to prove ownership of images using Content Credentials. ==== TikTok ==== TikTok announced in 2024 that an "AI-generated" label would be applied to videos containing Content Credentials if they were AI-generated. In 2025, they announced that users could control the amount of AI-generated content they see, using self-reported labels, Content Credentials and an invisible, proprietary AI watermark embedded in videos by their AI editor tool. ==== YouTube ==== In 2024, YouTube started showing to users a label that reads "captured with a camera" on videos that show authentic, unedited videos taken by Content Credentials-compatible cameras.

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  Greedy embedding

  In distributed computing and geometric graph theory, greedy embedding is a process of assigning coordinates to the nodes of a telecommunications network in order to allow greedy geographic routing to be used to route messages within the network. Although greedy embedding has been proposed for use in wireless sensor networks, in which the nodes already have positions in physical space, these existing positions may differ from the positions given to them by greedy embedding, which may in some cases be points in a virtual space of a higher dimension, or in a non-Euclidean geometry. In this sense, greedy embedding may be viewed as a form of graph drawing, in which an abstract graph (the communications network) is embedded into a geometric space. The idea of performing geographic routing using coordinates in a virtual space, instead of using physical coordinates, is due to Rao et al. Subsequent developments have shown that every network has a greedy embedding with succinct vertex coordinates in the hyperbolic plane, that certain graphs including the polyhedral graphs have greedy embeddings in the Euclidean plane, and that unit disk graphs have greedy embeddings in Euclidean spaces of moderate dimensions with low stretch factors. == Definitions == In greedy routing, a message from a source node s to a destination node t travels to its destination by a sequence of steps through intermediate nodes, each of which passes the message on to a neighboring node that is closer to t. If the message reaches an intermediate node x that does not have a neighbor closer to t, then it cannot make progress and the greedy routing process fails. A greedy embedding is an embedding of the given graph with the property that a failure of this type is impossible. Thus, it can be characterized as an embedding of the graph with the property that for every two nodes x and t, there exists a neighbor y of x such that d(x,t) > d(y,t), where d denotes the distance in the embedded space. == Graphs with no greedy embedding == Not every graph has a greedy embedding into the Euclidean plane; a simple counterexample is given by the star K1,6, a tree with one internal node and six leaves. Whenever this graph is embedded into the plane, some two of its leaves must form an angle of 60 degrees or less, from which it follows that at least one of these two leaves does not have a neighbor that is closer to the other leaf. In Euclidean spaces of higher dimensions, more graphs may have greedy embeddings; for instance, K1,6 has a greedy embedding into three-dimensional Euclidean space, in which the internal node of the star is at the origin and the leaves are a unit distance away along each coordinate axis. However, for every Euclidean space of fixed dimension, there are graphs that cannot be embedded greedily: whenever the number n is greater than the kissing number of the space, the graph K1,n has no greedy embedding. == Hyperbolic and succinct embeddings == Unlike the case for the Euclidean plane, every network has a greedy embedding into the hyperbolic plane. The original proof of this result, by Robert Kleinberg, required the node positions to be specified with high precision, but subsequently it was shown that, by using a heavy path decomposition of a spanning tree of the network, it is possible to represent each node succinctly, using only a logarithmic number of bits per point. In contrast, there exist graphs that have greedy embeddings in the Euclidean plane, but for which any such embedding requires a polynomial number of bits for the Cartesian coordinates of each point. == Special classes of graphs == === Trees === The class of trees that admit greedy embeddings into the Euclidean plane has been completely characterized, and a greedy embedding of a tree can be found in linear time when it exists. For more general graphs, some greedy embedding algorithms such as the one by Kleinberg start by finding a spanning tree of the given graph, and then construct a greedy embedding of the spanning tree. The result is necessarily also a greedy embedding of the whole graph. However, there exist graphs that have a greedy embedding in the Euclidean plane but for which no spanning tree has a greedy embedding. === Planar graphs === Papadimitriou & Ratajczak (2005) conjectured that every polyhedral graph (a 3-vertex-connected planar graph, or equivalently by Steinitz's theorem the graph of a convex polyhedron) has a greedy embedding into the Euclidean plane. By exploiting the properties of cactus graphs, Leighton & Moitra (2010) proved the conjecture; the greedy embeddings of these graphs can be defined succinctly, with logarithmically many bits per coordinate. However, the greedy embeddings constructed according to this proof are not necessarily planar embeddings, as they may include crossings between pairs of edges. For maximal planar graphs, in which every face is a triangle, a greedy planar embedding can be found by applying the Knaster–Kuratowski–Mazurkiewicz lemma to a weighted version of a straight-line embedding algorithm of Schnyder. The strong Papadimitriou–Ratajczak conjecture, that every polyhedral graph has a planar greedy embedding in which all faces are convex, remains unproven. === Unit disk graphs === The wireless sensor networks that are the target of greedy embedding algorithms are frequently modeled as unit disk graphs, graphs in which each node is represented as a unit disk and each edge corresponds to a pair of disks with nonempty intersection. For this special class of graphs, it is possible to find succinct greedy embeddings into a Euclidean space of polylogarithmic dimension, with the additional property that distances in the graph are accurately approximated by distances in the embedding, so that the paths followed by greedy routing are short.

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  NHS COVID-19

  NHS COVID-19 was a voluntary contact tracing app for monitoring the spread of the COVID-19 pandemic in England and Wales, in use from 24 September 2020 until 27 April 2023. It was available for Android and iOS smartphones, and could be used by anyone aged 16 or over. Two versions of the app were created. The first was commissioned by NHSX and developed by the Pivotal division of American software company VMware. A pilot deployment began in May 2020, but on 18 June development of the app was abandoned in favour of a second design using the Apple/Google Exposure Notification system. Scotland and Northern Ireland had separate contact tracing apps. A 2023 study estimated that in its first year of use, the app's contact tracing function prevented an estimated 1 million cases, and 9,600 deaths. == Description == The app allowed users to: See the alert level of their local authority area (in Wales) or information about restrictions (in England); to enable this, the user must enter the first half of their postcode "Check in" at places displaying an NHS QR code poster (no longer required by legislation after 26 January 2022, removed from the app the next month) Be notified when they have been in close contact with someone who has tested positive for the virus Be notified when local health protection teams determine that people with the virus had attended a business or other venue around the same time as the user Check their symptoms, and book a coronavirus test if necessary If asked to self-isolate, receive information and a daily "countdown". At first, "close contact" was defined as being within 2 metres for 15 minutes, or within 4 metres for a longer time. These time durations were reduced from 29 October 2020, to as little as three minutes when the other person is at their most infectious, i.e. soon after they begin showing symptoms. === Implementation === The Android app was coded in Kotlin, and the iOS app in Swift. The backend used Java and is deployed to Amazon Web Services using Terraform. The code of the app and back-end is open-source and available on GitHub. == Context == The app was part of the UK's test and trace programme which was chaired by Dido Harding; from 12 May 2020 Tom Riordan, chief executive of Leeds City Council, led the tracing effort. == First phase and cancellation == === Description === In March 2020, NHSX commissioned a contact tracing app to monitor the spread in the United Kingdom of the coronavirus disease 2019 (COVID-19) in the 2020 pandemic, developed by the Pivotal division of American software company VMware. The app used a centralised approach, in contrast to the Google / Apple contact tracing project. NHSX consulted ethicists and GCHQ's National Cyber Security Centre (NCSC) about the privacy aspects. The app recorded the make and model of the phone and asked the user for their postcode area. It generated a unique installation identification number and also a daily identification number. It then used Bluetooth Low Energy (BLE) to record the daily identification number of other users nearby. If a user was unwell, they could tell the app about symptoms which are characteristic of COVID-19, such as a fever and cough. These details were then passed to a central NHS server. This would assess the information and notify other users that have been in contact, giving them appropriate advice such as physical distancing. The NHS would also arrange for a swab test of the unwell user and the outcome would determine further notifications to contacts: if the test confirmed infection with COVID-19, the contacts would be asked to isolate. By June 2020, £11.8 million had been spent on the app; in 2020–21, £35 million was spent on the app. === Deployment === The first public trial of the app began on the Isle of Wight on 5 May 2020 and by 11 May it had been downloaded 55,000 times. When the first national contact tracing schemes were launched – Test, Trace, Protect in Wales on 13 May, then on 28 May NHS Test and Trace in England, and Test and Protect in Scotland – the app was not ready to be included. Replying to a question at the government's daily briefing on 8 June, Hancock was unable to give a date for rollout of the app in England, saying it would be brought in "when it's right to do so". On 17 June, Lord Bethell, junior minister for Innovation at the Department of Health and Social Care, said "we're seeking to get something going before the winter ... it isn't a priority for us at the moment". On 18 June, Health Secretary Matt Hancock announced development would switch to the Apple/Google system after admitting that Apple's restrictions on usage of Bluetooth prevented the app from working effectively. At the same press briefing Dido Harding, leader of the UK's test and trace programme, said "What we've done in really rigorously testing both our own Covid-19 app and the Google-Apple version is demonstrate that none of them are working sufficiently well enough to be actually reliable to determine whether any of us should self-isolate for two weeks [and] that's true across the world". === Concerns === The first, ultimately rejected, version of the app was subject to privacy concerns, the government backtracking on initial statements that the data collected from the app would not be shared outside the NHS. Matthew Gould, CEO of NHSX, the government department responsible for the app, said the data would be accessible to other organisations, but did not disclose which. Data collected would not necessarily be anonymised and would be held in a centralised repository. Over 150 of the UK's security and privacy experts warned the app's data could be used by 'a bad actor (state, private sector, or hacker)' to spy on citizens. Fears were discussed by the House of Commons' Human Rights Select Committee about plans for the app to record user location data. Parliament's Joint Committee on Human Rights said this version of the app should not be released without proper privacy protections. The second version of the app, released nationwide, addressed these concerns by employing a decentralised framework, the Apple/Google Exposure Notification system. Under this system, users remain pseudonymous: a person diagnosed with COVID-19 does not know which people are informed about an encounter, and contacted persons do not receive any information about the person diagnosed with COVID-19. The functionality of the app was also questioned in late April and early May 2020, as the software's use of Bluetooth required the app to be constantly running, meaning users could not use other apps or lock their device if the app was to function properly. The developers of the app were said to have found a way of working around this restriction. === Related contracts === Faculty – a company linked to Cambridge Analytica – provided research and modelling to NHSX in support of the response to the pandemic. Palantir, also linked to Cambridge Analytica, provided their data management platform. These contracts began in February and March respectively. == Second phase == As outlined on cancellation of the first app on 18 June 2020, the Department of Health and Social Care published on 30 July a brief description of the "next phase" app. Users would be able to scan a QR code at venues they visit, and later be notified if they had visited a place which was the source of a number of infections; the app would also assist with identifying symptoms and ordering a test. By using the Exposure Notification system from Apple and Google, personal data would be decentralised. Zuhlke Engineering Ltd, the UK branch of Swiss-based Zühlke Group, used 70 staff to complete the development of the app in 12 weeks. Zuhlke Engineering was awarded "Development Team of the Year" title at UK IT Industry awards in November 2021 for development of NHS COVID-19 application. === Timeline === Testing of the app by NHS volunteer responders, and selected residents of the Isle of Wight and the London Borough of Newham, began around 13 August. The app was made available to the public (aged 16 or over) in England and Wales on 24 September. An updated app released on 29 October, in part from collaboration with the Alan Turing Institute, improved the accuracy of measurements of the distance between the user's phone and other phones. At the same time, the duration threshold for determining exposure was reduced; this was expected to lead to an increase in the number of users told to self-isolate. An update to the app in April 2021, timed to coincide with easing of restrictions on hospitality businesses, was blocked by Apple and Google. It was intended that users who tested positive would be asked to share their history of visited venues, to assist in warning others, but this would have contravened assurances by Apple and Google that location data from devices would not be shared. === Statistics and effectiveness === The app was downloaded six million times on the first day it was generally availa

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  Elonis v. United States

  Elonis v. United States, 575 U.S. 723 (2015), was a United States Supreme Court case concerning whether conviction of threatening another person over interstate lines (under 18 U.S.C. § 875(c)) requires proof of subjective intent to threaten or whether it is enough to show that a "reasonable person" would regard the statement as threatening. In controversy were the purported threats of violent rap lyrics written by Anthony Douglas Elonis and posted to Facebook under a pseudonym. The ACLU filed an amicus brief in support of the petitioner. It was the first time the Court has heard a case considering true threats and the limits of speech on social media. == Background == In May 2010, Elonis was in the process of divorce and made a number of public Facebook posts. Prior to his postings, he had lost his job at an amusement park. He "posted the script of a sketch" by The Whitest Kids U' Know, which originally referenced saying "I want to kill the President of the United States" and replaced the president with his wife: Elonis ended the post with this statement: "Art is about pushing limits. I'm willing to go to jail for my constitutional rights. Are you?" A week later, Elonis posted about local law enforcement and a kindergarten class, which caught the attention of the Federal Bureau of Investigation. Then, he wrote a post on Facebook about one of the agents who visited him: He concluded: == Arrest and Conviction == These actions led to Elonis's arrest on December 8, 2010. He was indicted by a grand jury on five counts of threats to his estranged ex-wife, park employees and visitors, local law enforcement, an FBI agent, and a kindergarten class that had been relayed through interstate communication. At the district court, Elonis moved to dismiss the indictment for failing to allege that he had intended to threaten anyone, claiming his Facebook post was not were not intended as a threat. He argued that, as an aspiring rap artist, his posts were intended to be a form of artistic expression to help him cope with his recent loses. According to him, he did not mean anything said in his posts in a literal sense. His motion was denied. He requested a jury instruction that "the government must prove that he intended to communicate a true threat", which was also denied. He was convicted on the last four of the five counts, and was sentenced to 44 months in prison and three years on supervised release. He appealed unsuccessfully to the Third Circuit, renewing his challenge to the jury instructions. He then appealed to the U.S. Supreme Court based on lack of any attempt to show intent to threaten and on First Amendment rights. == Decision == On June 1, 2015, the U.S. Supreme Court reversed Elonis's conviction in an 8–1 decision. Chief Justice John Roberts wrote for a seven-justice majority, Samuel Alito authored an opinion concurring in part and dissenting in part, and Clarence Thomas authored a dissenting opinion. The finding of the circuit court was reversed and the matter remanded. === Majority opinion === The majority opinion, written by Roberts, did not rule on First Amendment matters or on the question of whether recklessness was sufficient mens rea to show intent. It ruled that mens rea was required to prove the commission of a crime under §875(c). Importantly, the mens rea issue had been preserved for review, since Elonis had raised that objection at every stage of the previous proceedings. The government contended that the presence of the words "intent to extort" in §875(b) and §875(d) implied that the absence in §875(c) was constructive. The court disagreed, holding that the absence of the language in §875(c) was because the section was intended to have a broader scope than threats relating to extortion. The opinion drew on many Supreme Court cases holding that in criminal law, mens rea was required though it had not been mentioned explicitly in statute. Consequently, the Supreme Court ruled in favor of Elonis. === Alito's concurrence === Justice Samuel Alito, concurring in part and dissenting in part, opined that while agreeing that mens rea was required and specifically that showing negligence was not sufficient, the court should have ruled on the question of recklessness. He further opined that recklessness was sufficient to show a crime under that provision on the basis that going further would amount to amending the statute, rather than interpreting it. Since Elonis explicitly argued that recklessness was not sufficient, Alito said: I would therefore remand for the Third Circuit to determine if Elonis’s failure (indeed, refusal) to argue for recklessness prevents reversal of his conviction. The Third Circuit should also have the opportunity to consider whether the conviction could be upheld on harmless error grounds. Alito also addressed the First Amendment question, elided by the majority opinion. He held that "lyrics in songs that are performed for an audience or sold in recorded form are unlikely to be interpreted as a real threat to a real person. ... Statements on social media that are pointedly directed at their victims, by contrast, are much more likely to be taken seriously." === Thomas's dissent === Justice Clarence Thomas, dissenting, wrote against discarding the "general intent" standard without replacing it with a clearer standard. Thomas argued that "there is no historical practice requiring more than general intent when a statute regulates speech." Thomas cited Rosen v. United States, arguing that general intent was sufficient in this case. However, the majority opinion offers refutation in that Rosen turned on ignorance of the law: knowledge as to whether material was legally obscene, not on whether it was intended to be obscene. Thomas also supported the government's claim that the presence of "intent to extort" language in the adjacent §875(b) and did not address the majority's reasoning on that language. Thomas used precedent, notably from the states and 18th-century England based on other but similar and, arguably, influencing legislation to support his "general intent" claim. Thomas also drew a parallel with general intent in tort. While he sought to address the First Amendment issues, he never strayed far from "general intent". == Aftermath == On remand, the Third Circuit reaffirmed the conviction "concluding beyond a reasonable doubt that Elonis would have been convicted if the jury had been properly instructed" and therefore was harmless error. In 2022, Elonis was once again arrested and indicted on three counts of cyberstalking involving three people. It was discovered that between 2018 and 2021, Elonis had sent numerous threatening messages over email, text, voice mail, and social media platforms like Twitter to a former prosecutor of the Eastern District of Pennsylvania, his ex-girlfriend, and ex-wife. On August 5, after a five-day trial, Elonis was found guilty on all three counts, and on March 23, 2023, he was sentenced by U.S. District Court Judge Edward G. Smith of Easton, Pennsylvania to twelve years and seven months in prison.

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  WebGL

  WebGL (short for Web Graphics Library) is a JavaScript API for rendering interactive 2D and 3D graphics within any compatible web browser without the use of plug-ins. WebGL is fully integrated with other web standards, allowing GPU-accelerated usage of physics, image processing, and effects in the HTML canvas. WebGL elements can be mixed with other HTML elements and composited with other parts of the page or page background. WebGL programs consist of control code written in JavaScript, and shader code written in OpenGL ES Shading Language (GLSL ES, sometimes referred to as ESSL), a language similar to C or C++. WebGL code is executed on a computer's GPU. WebGL is designed and maintained by the non-profit Khronos Group. On February 9, 2022, Khronos Group announced WebGL 2.0 support from all major browsers. From 2024, a new graphics API, WebGPU, is being developed to supersede WebGL. WebGPU provides extended capabilities, a more modern interface, and direct GPU access, which is useful for demanding graphics as well as AI applications. == Design == WebGL 1.0 is based on OpenGL ES 2.0 and provides an API for 3D graphics. It uses the HTML5 canvas element and is accessed using Document Object Model (DOM) interfaces. WebGL 2.0 is based on OpenGL ES 3.0. It guarantees the availability of many optional extensions of WebGL 1.0, and exposes new APIs. Automatic memory management is provided implicitly by JavaScript. Like OpenGL ES 2.0, WebGL lacks the fixed-function APIs introduced in OpenGL 1.0 and deprecated in OpenGL 3.0. This functionality, if required, has to be implemented by the developer using shader code and JavaScript. Shaders in WebGL are written in GLSL and passed to the WebGL API as text strings. The WebGL implementation compiles these strings to GPU code. This code is executed for each vertex sent through the API and for each pixel rasterized to the screen. == History == WebGL evolved out of the Canvas 3D experiments started by Vladimir Vukićević at Mozilla. Vukićević first demonstrated a Canvas 3D prototype in 2006. By the end of 2007, both Mozilla and Opera had made their own separate implementations. In early 2009, the non-profit technology consortium Khronos Group started the WebGL Working Group, with initial participation from Apple, Google, Mozilla, Opera, and others. Version 1.0 of the WebGL specification was released March 2011. An early application of WebGL was Zygote Body. In November 2012 Autodesk announced that they ported most of their applications to the cloud running on local WebGL clients. These applications included Autodesk Fusion and AutoCAD. Development of the WebGL 2 specification started in 2013 and finished in January 2017. The specification is based on OpenGL ES 3.0. First implementations are in Firefox 51, Chrome 56 and Opera 43. == Implementations == === Almost Native Graphics Layer Engine === Almost Native Graphics Layer Engine (ANGLE) is an open source graphic engine which implements WebGL 1.0 (2.0 which closely conforms to ES 3.0) and OpenGL ES 2.0 and 3.0 standards. It is a default backend for both Google Chrome and Mozilla Firefox on Windows platforms and works by translating WebGL and OpenGL calls to available platform-specific APIs. ANGLE currently provides access to OpenGL ES 2.0 and 3.0 to desktop OpenGL, OpenGL ES, Direct3D 9, and Direct3D 11 APIs. ″[Google] Chrome uses ANGLE for all graphics rendering on Windows, including the accelerated Canvas2D implementation and the Native Client sandbox environment.″ == Software == WebGL is widely supported by modern browsers. However, its availability depends on other factors, too, like whether the GPU supports it. The official WebGL website offers a simple test page. More detailed information (like what renderer the browser uses, and what extensions are available) can be found at third-party websites. === Desktop browsers === Source: Google Chrome – WebGL 1.0 has been enabled on all platforms that have a capable graphics card with updated drivers since version 9, released in February 2011. By default on Windows, Chrome uses the ANGLE (Almost Native Graphics Layer Engine) renderer to translate OpenGL ES to Direct X 9.0c or 11.0, which have better driver support. However, on Linux and Mac OS X, the default renderer is OpenGL. It is also possible to force OpenGL as the renderer on Windows. Since September 2013, Chrome also has a newer Direct3D 11 renderer, which requires a newer graphics card. Chrome 56+ supports WebGL 2.0. Firefox – WebGL 1.0 has been enabled on all platforms that have a capable graphics card with updated drivers since version 4.0. Since 2013 Firefox also uses DirectX on the Windows platform via ANGLE. Firefox 51+ supports WebGL 2.0. Safari – Safari 6.0 and newer versions installed on OS X Mountain Lion, Mac OS X Lion and Safari 5.1 on Mac OS X Snow Leopard implemented support for WebGL 1.0, which was disabled by default before Safari 8.0. Safari version 12 (available in MacOS Mojave) has available support for WebGL 2.0 as an "Experimental" feature. Safari 15 enables WebGL 2.0 for all users. Opera – WebGL 1.0 has been implemented in Opera 11 and 12, but was disabled by default in 2014. Opera 43+ supports WebGL 2.0. Internet Explorer – WebGL 1.0 is partially supported in Internet Explorer 11. Internet Explorer initially failed most of the official WebGL conformance tests, but Microsoft later released several updates. The latest 0.94 WebGL engine currently passes ≈97% of Khronos tests. WebGL support can also be manually added to earlier versions of Internet Explorer using third-party plugins such as IEWebGL. Microsoft Edge – For Microsoft Edge Legacy, the initial stable release supports WebGL version 0.95 (context name: "experimental-webgl") with an open source GLSL to HLSL transpiler. Version 10240+ supports WebGL 1.0 as prefixed. Latest Chromium-based Edge supports WebGL 2.0. === Mobile browsers === Google Chrome – WebGL 1.0 is supported on Android as of Chrome 25. WebGL 2.0 is supported on Android as of Chrome 58. Chrome is used for the Android system webview as of Android 5. Firefox for mobile – WebGL 1.0 is available for Android devices since Firefox 4. Safari on iOS – WebGL 1.0 is available for mobile Safari in iOS 8. WebGL 2.0 is available for mobile Safari in iOS 15. Microsoft Edge – Prefixed WebGL 1.0 was available on Windows 10 Mobile.. Latest Chromium-based Edge supports WebGL 2.0. Opera Mobile – Opera Mobile 12 supports WebGL 1.0 (on Android only). Sailfish OS – WebGL 1.0 is supported in the default Sailfish browser. Tizen – WebGL 1.0 is supported == Tools and ecosystem == === Utilities === The low-level nature of the WebGL API, which provides little on its own to quickly create desirable 3D graphics, motivated the creation of higher-level libraries that abstract common operations (e.g. loading scene graphs and 3D objects in certain formats; applying linear transformations to shaders or view frustums). Some such libraries were ported to JavaScript from other languages. Examples of libraries that provide high-level features include A-Frame (VR), BabylonJS, PlayCanvas, three.js, OSG.JS, Google’s model-viewer and CopperLicht. Web3D also made a project called X3DOM to make X3D and VRML content run on WebGL. === Games === There has been an emergence of 2D and 3D game engines for WebGL, such as Unreal Engine 4 and Unity. The Stage3D/Flash-based Away3D high-level library also has a port to WebGL via TypeScript. A more light-weight utility library that provides just the vector and matrix math utilities for shaders is sylvester.js. It is sometimes used in conjunction with a WebGL specific extension called glUtils.js. There are also some 2D libraries built atop WebGL, like Cocos2d-x or Pixi.js, which were implemented this way for performance reasons in a move that parallels what happened with the Starling Framework over Stage3D in the Flash world. The WebGL-based 2D libraries fall back to HTML5 canvas when WebGL is not available. Removing the rendering bottleneck by giving almost direct access to the GPU has exposed performance limitations in the JavaScript implementations. Some were addressed by asm.js and WebAssembly (similarly, the introduction of Stage3D exposed performance problems within ActionScript, which were addressed by projects like CrossBridge). === Content creation === As with any other graphics API, creating content for WebGL scenes requires using a 3D content creation tool and exporting the scene to a format that is readable by the viewer or helper library. Desktop 3D authoring software such as Blender, Autodesk Maya or SimLab Composer can be used for this purpose. In particular, Blend4Web allows a WebGL scene to be authored entirely in Blender and exported to a browser with a single click, even as a standalone web page. There are also some WebGL-specific software such as CopperCube and the online WebGL-based editor Clara.io. Online platforms such as Sketchfab and Clara.io allow users to directly upload their 3D models

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