AI Art Or Not

AI Art Or Not — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Argumentation framework

    Argumentation framework

    In artificial intelligence and related fields, an argumentation framework is a way to deal with contentious information and draw conclusions from it using formalized arguments. In an abstract argumentation framework, entry-level information is a set of abstract arguments that, for instance, represent data or a proposition. Conflicts between arguments are represented by a binary relation on the set of arguments. In concrete terms, an argumentation framework is represented with a directed graph such that the nodes are the arguments, and the arrows represent the attack relation. There exist some extensions of the Dung's framework, like the logic-based argumentation frameworks or the value-based argumentation frameworks. == Abstract argumentation frameworks == === Formal framework === Abstract argumentation frameworks, also called argumentation frameworks à la Dung, are defined formally as a pair: A set of abstract elements called arguments, denoted A {\displaystyle A} A binary relation on A {\displaystyle A} , called attack relation, denoted R {\displaystyle R} For instance, the argumentation system S = ⟨ A , R ⟩ {\displaystyle S=\langle A,R\rangle } with A = { a , b , c , d } {\displaystyle A=\{a,b,c,d\}} and R = { ( a , b ) , ( b , c ) , ( d , c ) } {\displaystyle R=\{(a,b),(b,c),(d,c)\}} contains four arguments ( a , b , c {\displaystyle a,b,c} and d {\displaystyle d} ) and three attacks ( a {\displaystyle a} attacks b {\displaystyle b} , b {\displaystyle b} attacks c {\displaystyle c} and d {\displaystyle d} attacks c {\displaystyle c} ). Dung defines some notions : an argument a ∈ A {\displaystyle a\in A} is acceptable with respect to E ⊆ A {\displaystyle E\subseteq A} if and only if E {\displaystyle E} defends a {\displaystyle a} , that is ∀ b ∈ A {\displaystyle \forall b\in A} such that ( b , a ) ∈ R , ∃ c ∈ E {\displaystyle (b,a)\in R,\exists c\in E} such that ( c , b ) ∈ R {\displaystyle (c,b)\in R} , a set of arguments E {\displaystyle E} is conflict-free if there is no attack between its arguments, formally : ∀ a , b ∈ E , ( a , b ) ∉ R {\displaystyle \forall a,b\in E,(a,b)\not \in R} , a set of arguments E {\displaystyle E} is admissible if and only if it is conflict-free and all its arguments are acceptable with respect to E {\displaystyle E} . === Different semantics of acceptance === ==== Extensions ==== To decide if an argument can be accepted or not, or if several arguments can be accepted together, Dung defines several semantics of acceptance that allows, given an argumentation system, sets of arguments (called extensions) to be computed. For instance, given S = ⟨ A , R ⟩ {\displaystyle S=\langle A,R\rangle } , E {\displaystyle E} is a complete extension of S {\displaystyle S} only if it is an admissible set and every acceptable argument with respect to E {\displaystyle E} belongs to E {\displaystyle E} , E {\displaystyle E} is a preferred extension of S {\displaystyle S} only if it is a maximal element (with respect to the set-theoretical inclusion) among the admissible sets with respect to S {\displaystyle S} , E {\displaystyle E} is a stable extension of S {\displaystyle S} only if it is a conflict-free set that attacks every argument that does not belong in E {\displaystyle E} (formally, ∀ a ∈ A ∖ E , ∃ b ∈ E {\displaystyle \forall a\in A\backslash E,\exists b\in E} such that ( b , a ) ∈ R {\displaystyle (b,a)\in R} , E {\displaystyle E} is the (unique) grounded extension of S {\displaystyle S} only if it is the smallest element (with respect to set inclusion) among the complete extensions of S {\displaystyle S} . There exists some inclusions between the sets of extensions built with these semantics : Every stable extension is preferred, Every preferred extension is complete, The grounded extension is complete, If the system is well-founded (there exists no infinite sequence a 0 , a 1 , … , a n , … {\displaystyle a_{0},a_{1},\dots ,a_{n},\dots } such that ∀ i > 0 , ( a i + 1 , a i ) ∈ R {\displaystyle \forall i>0,(a_{i+1},a_{i})\in R} ), all these semantics coincide—only one extension is grounded, stable, preferred, and complete. Some other semantics have been defined. One introduce the notation E x t σ ( S ) {\displaystyle Ext_{\sigma }(S)} to note the set of σ {\displaystyle \sigma } -extensions of the system S {\displaystyle S} . In the case of the system S {\displaystyle S} in the figure above, E x t σ ( S ) = { { a , d } } {\displaystyle Ext_{\sigma }(S)=\{\{a,d\}\}} for every Dung's semantic—the system is well-founded. That explains why the semantics coincide, and the accepted arguments are: a {\displaystyle a} and d {\displaystyle d} . ==== Labellings ==== Labellings are a more expressive way than extensions to express the acceptance of the arguments. Concretely, a labelling is a mapping that associates every argument with a label in (the argument is accepted), out (the argument is rejected), or undec (the argument is undefined—not accepted or refused). One can also note a labelling as a set of pairs ( a r g u m e n t , l a b e l ) {\displaystyle ({\mathit {argument}},{\mathit {label}})} . Such a mapping does not make sense without additional constraint. The notion of reinstatement labelling guarantees the sense of the mapping. L {\displaystyle L} is a reinstatement labelling on the system S = ⟨ A , R ⟩ {\displaystyle S=\langle A,R\rangle } if and only if : ∀ a ∈ A , L ( a ) = i n {\displaystyle \forall a\in A,L(a)={\mathit {in}}} if and only if ∀ b ∈ A {\displaystyle \forall b\in A} such that ( b , a ) ∈ R , L ( b ) = o u t {\displaystyle (b,a)\in R,L(b)={\mathit {out}}} ∀ a ∈ A , L ( a ) = o u t {\displaystyle \forall a\in A,L(a)={\mathit {out}}} if and only if ∃ b ∈ A {\displaystyle \exists b\in A} such that ( b , a ) ∈ R {\displaystyle (b,a)\in R} and L ( b ) = i n {\displaystyle L(b)={\mathit {in}}} ∀ a ∈ A , L ( a ) = u n d e c {\displaystyle \forall a\in A,L(a)={\mathit {undec}}} if and only if L ( a ) ≠ i n {\displaystyle L(a)\neq {\mathit {in}}} and L ( a ) ≠ o u t {\displaystyle L(a)\neq {\mathit {out}}} One can convert every extension into a reinstatement labelling: the arguments of the extension are in, those attacked by an argument of the extension are out, and the others are undec. Conversely, one can build an extension from a reinstatement labelling just by keeping the arguments in. Indeed, Caminada proved that the reinstatement labellings and the complete extensions can be mapped in a bijective way. Moreover, the other Datung's semantics can be associated to some particular sets of reinstatement labellings. Reinstatement labellings distinguish arguments not accepted because they are attacked by accepted arguments from undefined arguments—that is, those that are not defended cannot defend themselves. An argument is undec if it is attacked by at least another undec. If it is attacked only by arguments out, it must be in, and if it is attacked some argument in, then it is out. The unique reinstatement labelling that corresponds to the system S {\displaystyle S} above is L = { ( a , i n ) , ( b , o u t ) , ( c , o u t ) , ( d , i n ) } {\displaystyle L=\{(a,{\mathit {in}}),(b,{\mathit {out}}),(c,{\mathit {out}}),(d,{\mathit {in}})\}} . === Inference from an argumentation system === In the general case when several extensions are computed for a given semantic σ {\displaystyle \sigma } , the agent that reasons from the system can use several mechanisms to infer information: Credulous inference: the agent accepts an argument if it belongs to at least one of the σ {\displaystyle \sigma } -extensions—in which case, the agent risks accepting some arguments that are not acceptable together ( a {\displaystyle a} attacks b {\displaystyle b} , and a {\displaystyle a} and b {\displaystyle b} each belongs to an extension) Skeptical inference: the agent accepts an argument only if it belongs to every σ {\displaystyle \sigma } -extension. In this case, the agent risks deducing too little information (if the intersection of the extensions is empty or has a very small cardinal). For these two methods to infer information, one can identify the set of accepted arguments, respectively C r σ ( S ) {\displaystyle Cr_{\sigma }(S)} the set of the arguments credulously accepted under the semantic σ {\displaystyle \sigma } , and S c σ ( S ) {\displaystyle Sc_{\sigma }(S)} the set of arguments accepted skeptically under the semantic σ {\displaystyle \sigma } (the σ {\displaystyle \sigma } can be missed if there is no possible ambiguity about the semantic). Of course, when there is only one extension (for instance, when the system is well-founded), this problem is very simple: the agent accepts arguments of the unique extension and rejects others. The same reasoning can be done with labellings that correspond to the chosen semantic : an argument can be accepted if it is in for each labelling and refused if it is out for each labelling, the others being in an undecided state (the status of the arguments can remind the

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  • Web series

    Web series

    A web series, also known as a short-form series or web show, is a collection of short scripted or unscripted online videos released on the Internet (i.e., World Wide Web), generally in episodic form. A single installment of a web series can be called a webisode or an episode. The scale of a web series is small, and a typical episode can be anywhere from 3 to 15 minutes long (though some may run up to 20 minutes). Web series first emerged in the mid-1990s and became more prominent in the early 2000s. Web series are distributed online on video-sharing websites and apps, such as YouTube, Vimeo, and TikTok, and can be watched on devices such as smartphones, tablets, desktops, laptops, and Smart TVs (or television sets connected to the Internet with a media streaming device). They can also be released on social media platforms. Because of the nature of the Internet, a web series may be interactive and immersive. Web series are classified as new media. Web series are different from streaming television series, as the latter are designed to be watched on streaming platforms such as Netflix, Amazon Prime Video, or Hotstar, with the streaming services offering original productions made for and by them, as well as acquiring the rights to distribute licensed content. The length of a streaming television series episode is 30 to 60 minutes (runtimes can also be longer). Although the design of a web series can be similar to that of a television series, its development and production do not entail the same financial investment required for a television series. The popularity of some web series, however, has led to them being optioned for television. Web series differ from short-form content in that the latter are vertical videos specifically designed for smartphone viewing and intended for fast-paced consumption, with runtimes typically ranging from less than one minute to three minutes. There are film festivals for web series, like Webfest Berlin, NYC Web Fest, LA Web Fest, and Vancouver Web Fest. Awards organizations have also been established to celebrate excellence in web series, such as the Streamys, Webbys, IAWTV Awards, and Indie Series Awards. Most major award ceremonies have also created web series and digital media award categories, including the Emmy Awards and the Canadian Screen Awards. == History == === 1990s === In April 1995, "Global Village Idiots", an episode of the reality-based program Rox on public access cable television in Bloomington, Indiana, was uploaded to the Internet, making Rox the first show distributed via the web. The same year, Scott Zakarin created The Spot, an episodic online story that integrated photos, videos, and blogs into the storyline. Likened to Melrose Place-on-the-Web, The Spot featured a rotating cast of characters playing trendy twenty-somethings who rented rooms in a fabled Santa Monica, California beach house called "The Spot". The Spot earned Infoseek's "Cool Site of the Year," an award which later became the Webby. In January 1999, Showtime licensed the animated sci-fi web series WhirlGirl, making it the first independently produced web series licensed by a national television network. In February 1999, the show premiered simultaneously on Showtime and online. The character occasionally appeared on Showtime, for example, hosting a "Lethal Ladies" programming block, but spent most of her time online, appearing in 100 webisodes. === 2000s === As broadband bandwidth increased in speed and availability, delivering high-quality video over the Internet became a reality. In the early 2000s, the Japanese anime industry began broadcasting original net animation (ONA), a type of original video animation (OVA) series, on the Internet. Early examples of the ONA series include Infinite Ryvius: Illusion (2000), Ajimu (2001), and Mahou Yuugi (2001). In 2000, The Brothers Chaps launched the Adobe Flash-created web series Homestar Runner. After being put on hiatus in 2010, it returned in 2014. In 2002, Matt Jolly (better known as "Krinkels") released the first episode of Madness Combat to Newgrounds. The show is still ongoing, with the latest episode "Madness Combat 12: Contravention" released on Twitch in September 2024. In 2003, Microsoft launched MSN Video, offering NBC-related content. Its web series, Weird TV 2000, a spin-off of the syndicated television series Weird TV, featured dozens of shorts, comedy sketches, and mini-documentaries produced exclusively for MSN Video. The video-sharing site YouTube was launched in early 2005, allowing users to share television programs. YouTube co-founder Jawed Karim said the inspiration for YouTube first came from Janet Jackson's role in the 2004 Super Bowl incident, when her breast was exposed during her performance, and later from the 2004 Indian Ocean tsunami. Karim could not easily find video clips of either event online, which led to the idea of a video-sharing site. From 2003 to 2006, many independent web series gained significant popularity, most notably the science fiction series Red vs. Blue by Rooster Teeth. The series was distributed independently via online portals YouTube and Revver, as well as the Rooster Teeth website, acquiring over 100 million social media views during its run. (Rooster Teeth would eventually create the computer-animated web series RWBY in 2013.) In 2004, the adult-animated series Salad Fingers was created, which amassed a cult following. The comedy show The Burg, hailed as the internet's first sitcom and starring Kelli Giddish and Lindsey Broad, rapidly gained an audience and press attention before its creators signed a creation deal with Michael Eisner. The drama Sam Has 7 Friends, which ran in the summer and fall of 2006, was nominated for a Daytime Emmy Award and was temporarily removed from the Internet when it was also acquired by Eisner. In 2004–2005, Spanish producer Pedro Alonso Pablos recorded a series of video interviews featuring actors and directors such as Guillermo del Toro, Santiago Segura, Álex de la Iglesia, and Keanu Reeves, which were distributed through his own website. lonelygirl15, California Heaven, "The Burg", and SamHas7Friends also gained popularity during this time, acquiring audiences in the millions. (Science fiction thriller lonelygirl15 was so successful that it secured a sponsorship deal with Neutrogena in 2007.) In 2004, Stewart St. John, executive producer and head writer of 1990s webisodies The Spot, revived the brand for online audiences as The Spot (2.0), with a new cast, and as a separate soap opera on Sprint PCS Vision-enabled cell phones, creating the first American mobile phone series. St. John and partner Todd Fisher produced over 2,500 daily videos of the mobile soap, driving story lines across platforms to its web counterpart. In 2007, the creators of lonelygirl15 followed up on the show's success with KateModern, a comedy-drama series that debuted on social network Bebo, and took place in the same fictional universe as their previous show. Big Fantastic created and produced the soap opera Prom Queen, financed and distributed by Michael Eisner's production firm Vuguru, and debuted the series on MySpace. Vuguru partnered with Mark Cuban's channel HDNet to release All-for-nots, a mockumentary series by The Burg creators Kathleen Grace and Thom Woodley, which debuted at the SXSW Festival in 2008. These web series highlighted interactivity with the audience in addition to the narrative on relatively low budgets. In contrast, the eight-episode show Sanctuary, starring actor/producer Amanda Tapping, cost $4.3 million to produce. Both Sanctuary and Prom Queen were nominated for a Daytime Emmy Award. Award-winning producer/director Marshall Herskovitz created the drama Quarterlife, which debuted on MySpace and was later distributed on NBC. In 2008, major television studios began releasing web series, such as the ABC comedy show Squeegies, the NBC sci-fi show Gemini Division, and the Bravo reality series The Malan Show. Warner Bros. relaunched The WB as an online network beginning with original mystery web series, Sorority Forever, created and produced by Big Fantastic and executive produced by McG. Meanwhile, MTV announced a new original web series created by Craig Brewer, $5 Cover, that brought together the indie music world and new media expansion. Joss Whedon created, produced, and self-financed musical comedy-drama Dr. Horrible's Sing-Along Blog starring Neil Patrick Harris and Felicia Day. Big Fantastic wrote and produced Foreign Body, a mystery web series that served as a prequel to Robin Cook's novel of the same name. Beckett and Goodfried founded a new Internet studio, EQAL, and produced a spin-off of lonelygirl15 titled LG15: The Resistance. The mainstream press began to provide coverage. In the United Kingdom, KateModern ended its run on Bebo. Bebo also hosted a six-month-long reality travel show, The Gap Year, produced by Endemol UK, and produced an interactive sci-fi drama Kirill for

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  • Media Block

    Media Block

    A Media Block or Integrated Media Block (IMB) is a component in a digital cinema projection system. Its purpose is to convert the Digital Cinema Package (DCP) content into data that ultimately produces picture and sound in a theater in compliance with DCI anti-piracy encryption requirements. == Terminology == DCI specification allows for two different security system architectures. In the first the Media Block is outside of the projector. This design is simply referred to as a "Media Block" and is typically a device attached directly to the motherboard of a Digital Cinema server. The media block is usually connected to the projector by dual-link SDI cables. Such media block is limited to processing 2K output, downscaling 4K DCPs if necessary. The second architecture describes an "Integrated Media Block". This refers to a device attached and integrated directly into the projector, which receives image data from the server, usually via a cat6 Ethernet connection. They can process 2K and 4K output. Some hardware implementations integrate the entire server on a single board and are able to work both as a MB as well as an IMB. == Security features == All security functions are contained within a Secure Processing Block (SPB), a tamper-proof physical device. Upon ingestion into a DCP server, Key Delivery Messages (KDM) are stored on flash memory in the media block or IMB. A KDM is written to enable the playback of a specific DCP during a specific time window and on a specific media block or IMB, identified by its serial number during the authoring process. Media blocks and IMBs also contain a secure clock that is set in the factory cannot be altered by the end user, which the DCP servers to which they are attached use to determine showtimes. The secure clock prevents theaters from showing encrypted movies outside the times authorized by the KDM (e.g. after it has expired) by simply changing the date and time in the server's BIOS. Media blocks and IMBs also typically include anti-tamper devices, designed to self-destruct the unit if unauthorized modification of its hardware, software or secure clock is attempted.

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  • Fifth Estate

    Fifth Estate

    The Fifth Estate is a socio-cultural reference to groupings of outlier viewpoints in contemporary society, and is most associated with bloggers, journalists publishing in non-mainstream media outlets, and online social networks. The "Fifth" Estate extends the sequence of the three classical estates (clergy (first), nobility (second), commoners (third)) and the preceding Fourth Estate, essentially the common press. The use of "fifth estate" dates to the 1960s counterculture, and in particular the influential Fifth Estate, an underground newspaper first published in Detroit in 1965. Web-based technologies have enhanced the scope and power of the Fifth Estate far beyond the modest and boutique conditions of its beginnings. Nimmo and Combs asserted in 1992 that political pundits constitute a Fifth Estate. Media researcher Stephen D. Cooper argued in 2006 that bloggers are the Fifth Estate. In 2009, William Dutton argued that the Fifth Estate is not just the blogging community, nor an extension of the media, but "networked individuals" enabled by the Internet, e.g. social media, in ways that can hold the other estates accountable.

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  • Coghead

    Coghead

    Coghead was a web application company based out of Redwood City, California. The company offered a web-based service for building and hosting custom online database applications. Applications were built around custom data collections and were typically designed to facilitate management of, and collaboration on, business data. Examples of Coghead's "gallery" applications include project management, simple Customer relationship management, bug tracking and extreme programming. Coghead's service was available through a limited-access beta program before "going live" for free trial accounts in April, 2007. Coghead launched a paid subscription plans in June, 2007. On February 19, 2009, Coghead announced that its intellectual property assets (its 'service') had been acquired by SAP AG (NYSE:SAP). == Product == Coghead's product was a fully hosted environment for building, accessing, and maintaining applications and the associated business data. Like other so-called "Web 2.0" companies, Coghead built its product around the idea of "software as a service". The product was intended to allow users to design a range of applications from scratch using only a drag and drop, WYSIWYG user interface, with very limited scripting or coding (if any) required. Coghead also offered its paid subscribers the ability to develop and publish "Coglets," web forms that allowed site visitors to view data in, or submit data into, the host's Coghead database. On February 19, 2009, Coghead announced that SAP AG had acquired the Coghead service through an asset purchase. The SAP asset purchase closed in the 1st Quarter 2009. Immediately upon closing the asset purchase, the public-facing service was taken off-line by SAP as they prepared to integrate the Coghead code with other SAP assets. This forced many of Coghead's customers to find alternative solutions.

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  • Duck face

    Duck face

    Duck face or duck lips is a photographic pose that is common on profile pictures in social networks. The lips are pressed together as in a pout and the cheeks are typically also sucked in. The pose is usually seen as an attempt to appear alluring, but it can be ironic or an attempt to hide self-conscious embarrassment. == History == Fashion models frequently use exaggerated pouts, and self-portraits with a pouty face go back to Rembrandt. In the 1994 film Four Weddings and a Funeral, one of the lead characters, Henrietta, played by Anna Chancellor, is nicknamed Duckface for her pouty expressions. Ben Stiller mocked models' pouty expressions in 1996 comedy sketches and the 2001 feature film Zoolander. The silly expressions made by his narcissistic character have retroactively been identified as an example of duck face. As social networks became popular, young women frequently made exaggeratedly pouty expressions. This became a major fad by the 2010s, provoking a strong negative reaction among some viewers. OxfordDictionaries.com added "duck face" as a new word in 2014 to their list of current and modern words, but it has not been added to the Oxford English Dictionary. In an animal communication studies of capuchin monkeys, the "duck face" term has been used synonymously with "protruded lip face", which females exhibit in the proceptive phase before mating.

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  • Browser sniffing

    Browser sniffing

    Browser sniffing (also known as User agent sniffing and browser detection) is a set of techniques used in websites and web applications in order to determine the web browser a visitor is using, and to serve browser-appropriate content to the visitor. It is also used to detect mobile browsers and send them mobile-optimized websites. This practice is sometimes used to circumvent incompatibilities between browsers due to misinterpretation of HTML, Cascading Style Sheets (CSS), or the Document Object Model (DOM). While the World Wide Web Consortium maintains up-to-date central versions of some of the most important Web standards in the form of recommendations, in practice no software developer has designed a browser which adheres exactly to these standards; implementation of other standards and protocols, such as SVG and XMLHttpRequest, varies as well. As a result, different browsers display the same page differently, and so browser sniffing was developed to detect the web browser in order to help ensure consistent display of content. == Sniffer methods == === Client-side sniffing === Web pages can use programming languages such as JavaScript which are interpreted by the user agent, with results sent to the web server. For example: This code is run by the client computer, and the results are used by other code to make necessary adjustments on client-side. In this example, the client computer is asked to determine whether the browser can use a feature called ActiveX. Since this feature was proprietary to Microsoft, a positive result will indicate that the client may be running Microsoft's Internet Explorer. This is no longer a reliable indicator since Microsoft's open-source release of the ActiveX code, however, meaning that it can be used by any browser. === Standard Browser detection method === The web server communicates with the client using a communication protocol known as HTTP, or Hypertext Transfer Protocol, which specifies that the client send the server information about the browser being used to view the website in a User-Agent header. === Server-side sniffing === Extensive browser techniques enable persistent user tracking even if users try to stay anonymous. See device fingerprint for more details on browser fingerprinting. == Issues and standards == Many websites use browser sniffing to determine whether a visitor's browser is unable to use certain features (such as JavaScript, DHTML, ActiveX, or cascading style sheets), and display an error page if a certain browser is not used. However, it is virtually impossible to account for the tremendous variety of browsers available to users. Generally, a web designer using browser sniffing to determine what kind of page to present will test for the three or four most popular browsers, and provide content tailored to each of these. If a user is employing a user agent not tested for, there is no guarantee that a usable page will be served; thus, the user may be forced either to change browsers or to avoid the page. The World Wide Web Consortium, which sets standards for the construction of web pages, recommends that web sites be designed in accordance with its standards, and be arranged to "fail gracefully" when presented to a browser which cannot deal with a particular standard. Browser sniffing increases maintenance needed. Websites treating some browsers differently should provide an alternative version for other browsers. Use of user agent strings are error-prone because the developer must check for the appropriate part, such as "Gecko" instead of "Firefox". They must also ensure that future versions are supported. Furthermore, some browsers allow changing the user agent string, making the technique useless.

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  • Awwwards

    Awwwards

    Awwwards (Awwwards Online SL) is an organization that hosts web design competitions and conferences across Europe and the United States. Website owners and developers can participate by submitting their websites for review. Submissions are assessed by a jury, and top entries are presented and awarded prizes on a rotational basis. == Nomination process == Web designers submit their websites through Awwwards' platform for consideration for the Site of the Day. A jury, composed of industry professionals, and the Awwwards community evaluate the entries. The best daily sites are published annually in "The 365 Best Websites Around the World" book. == Jury == The jury consists of international designers, developers, and agencies who assess the creativity, technical skills, and insight of the submitted web projects. The panel's expertise ensures a comprehensive review process. === Developer Award === Awwwards, in partnership with Microsoft, created the Developer Award to recognize web developers who demonstrate excellence in creating websites that meet modern standards. The award highlights websites that work seamlessly across various platforms and devices, using best practices in HTML5, JavaScript, and CSS. == Annual winners == Some prominent Site of the Year winners include Mercedes-Benz, Bloomberg L.P., Bose Corporation, Warner Brothers, Volkswagen, Uber, and Google. == Awwwards conference == Awwwards also organizes two-day conferences featuring speakers from major tech companies and industry leaders such as Microsoft, Google, Spotify, Adobe, Opera, and Smashing Magazine. These events focus on the latest trends in web design and development. Speakers at Awwwards conferences have included notable figures in the design and technology industry such as Stefan Sagmeister, Paula Scher, and design leaders from companies including Wix. == Corporate affairs == === Platform === Awwwards operates an online platform where web designers and developers submit websites for evaluation and awards. Submitted projects are reviewed by a jury based on design, usability, creativity, and content. The platform also serves as a community hub for discovering digital trends, showcasing work, and accessing educational resources including talks and interviews. Design professionals from international companies have participated in Awwwards events and platform content. For example, Wix, a cloud-based web development company known for its website builder tools, has featured prominently in Awwwards conferences, with its design leadership contributing to discussions on design trends and creative thinking.

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  • Smart object

    Smart object

    A smart object is an object that enhances the interaction with not only people but also with other smart objects. Also known as smart connected products or smart connected things (SCoT), they are products, assets and other things embedded with processors, sensors, software and connectivity that allow data to be exchanged between the product and its environment, manufacturer, operator/user, and other products and systems. Connectivity also enables some capabilities of the product to exist outside the physical device, in what is known as the product cloud. The data collected from these products can be then analysed to inform decision-making, enable operational efficiencies and continuously improve the performance of the product. It can not only refer to interaction with physical world objects but also to interaction with virtual (computing environment) objects. A smart physical object may be created either as an artifact or manufactured product or by embedding electronic tags such as RFID tags or sensors into non-smart physical objects. Smart virtual objects are created as software objects that are intrinsic when creating and operating a virtual or cyber world simulation or game. The concept of a smart object has several origins and uses, see History. There are also several overlapping terms, see also smart device, tangible object or tangible user interface and Thing as in the Internet of things. == History == In the early 1990s, Mark Weiser, from whom the term ubiquitous computing originated, referred to a vision "When almost every object either contains a computer or can have a tab attached to it, obtaining information will be trivial", Although Weiser did not specifically refer to an object as being smart, his early work did imply that smart physical objects are smart in the sense that they act as digital information sources. Hiroshi Ishii and Brygg Ullmer refer to tangible objects in terms of tangibles bits or tangible user interfaces that enable users to "grasp & manipulate" bits in the center of users' attention by coupling the bits with everyday physical objects and architectural surfaces. The smart object concept was introduced by Marcelo Kallman and Daniel Thalmann as an object that can describe its own possible interactions. The main focus here is to model interactions of smart virtual objects with virtual humans, agents, in virtual worlds. The opposite approach to smart objects is 'plain' objects that do not provide this information. The additional information provided by this concept enables far more general interaction schemes, and can greatly simplify the planner of an artificial intelligence agent. In contrast to smart virtual objects used in virtual worlds, Lev Manovich focuses on physical space filled with electronic and visual information. Here, "smart objects" are described as "objects connected to the Net; objects that can sense their users and display smart behaviour". More recently in the early 2010s, smart objects are being proposed as a key enabler for the vision of the Internet of things. The combination of the Internet and emerging technologies such as near field communications, real-time localization, and embedded sensors enables everyday objects to be transformed into smart objects that can understand and react to their environment. Such objects are building blocks for the Internet of things and enable novel computing applications. In 2018, one of the world's first smart houses was built in Klaukkala, Finland in the form of a five-floor apartment block, using the Kone Residential Flow solution created by KONE, allowing even a smartphone to act as a home key. == Characteristics == Although we can view interaction with physical smart object in the physical world as distinct from interaction with virtual smart objects in a virtual simulated world, these can be related. Poslad considers the progression of: how humans use models of smart objects situated in the physical world to enhance human to physical world interaction; versus how smart physical objects situated in the physical world can model human interaction in order to lessen the need for human to physical world interaction; versus how virtual smart objects by modelling both physical world objects and modelling humans as objects and their subsequent interactions can form a predominantly smart virtual object environment. === Smart physical objects === The concept smart for a smart physical object simply means that it is active, digital, networked, can operate to some extent autonomously, is reconfigurable and has local control of the resources it needs such as energy, data storage, etc. Note, a smart object does not necessarily need to be intelligent as in exhibiting a strong essence of artificial intelligence—although it can be designed to also be intelligent. Physical world smart objects can be described in terms of three properties: Awareness: is a smart object's ability to understand (that is, sense, interpret, and react to) events and human activities occurring in the physical world. Representation: refers to a smart object's application and programming model—in particular, programming abstractions. Interaction: denotes the object's ability to converse with the user in terms of input, output, control, and feedback. Based upon these properties, these have been classified into three types: Activity-Aware Smart Objects: Are objects that can record information about work activities and its own use. Policy-Aware Smart Objects: Are objects that are activity-aware Objects can interpret events and activities with respect to predefined organizational policies. Process-Aware Smart Objects: Processes play a fundamental role in industrial work management and operation. A process is a collection of related activities or tasks that are ordered according to their position in time and space. === Smart virtual objects === For the virtual object in a virtual world case, an object is called smart when it has the ability to describe its possible interactions. This focuses on constructing a virtual world using only virtual objects that contain their own interaction information. There are four basic elements to constructing such a smart virtual object framework. Object properties: physical properties and a text description Interaction information: position of handles, buttons, grips, and the like Object behavior: different behaviors based on state variables Agent behaviors: description of the behavior an agent should follow when using the object Some versions of smart objects also include animation information in the object information, but this is not considered to be an efficient approach, since this can make objects inappropriately oversized. === Categorization === The terms smart, connected product or smart product can be confusing as it is used to cover a broad range of different products, ranging from smart home appliances (e.g., smart bathroom scales or smart light bulbs) to smart cars (e.g., Tesla). While these products share certain similarities, they often differ substantially in their capabilities. Raff et al. developed a conceptual framework that distinguishes different smart products based on their capabilities, which features 4 types of smart product archetypes (in ascending order of "smartness"). Digital Connected Responsive Intelligent == Advantages == Smart, connected products have three primary components: Physical – made up of the product's mechanical and electrical parts. Smart – made up of sensors, microprocessors, data storage, controls, software, and an embedded operating system with enhanced user interface. Connectivity – made up of ports, antennae, and protocols enabling wired/wireless connections that serve two purposes, it allows data to be exchanged with the product and enables some functions of the product to exist outside the physical device. Each component expands the capabilities of one another resulting in "a virtuous cycle of value improvement". First, the smart components of a product amplify the value and capabilities of the physical components. Then, connectivity amplifies the value and capabilities of the smart components. These improvements include: Monitoring of the product's conditions, its external environment, and its operations and usage. Control of various product functions to better respond to changes in its environment, as well as to personalize the user experience. Optimization of the product's overall operations based on actual performance data, and reduction of downtimes through predictive maintenance and remote service. Autonomous product operation, including learning from their environment, adapting to users' preferences and self-diagnosing and service. === The Internet of things (IoT) === The Internet of things is the network of physical objects that contain embedded technology to communicate and sense or interact with their internal states or the external environment. The phrase "Internet of things" reflects the gro

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  • Digital cinema

    Digital cinema

    Digital cinema is the digital technology used within the film industry to distribute or project motion pictures as opposed to the historical use of reels of motion picture film, such as 35 mm film. Whereas film reels have to be shipped to movie theaters, a digital movie can be distributed to cinemas in a number of ways: over the Internet or dedicated satellite links, or by sending hard drives or optical discs such as Blu-ray discs, then projected using a digital video projector instead of a film projector. Typically, digital movies are shot using digital movie cameras or in animation transferred from a file and are edited using a non-linear editing system (NLE). The NLE is often a video editing application installed in one or more computers that may be networked to access the original footage from a remote server, share or gain access to computing resources for rendering the final video, and allow several editors to work on the same timeline or project. Alternatively a digital movie could be a film reel that has been digitized using a motion picture film scanner and then restored, or, a digital movie could be recorded using a film recorder onto film stock for projection using a traditional film projector. Digital cinema is distinct from high-definition television and does not necessarily use traditional television or other traditional high-definition video standards, aspect ratios, or frame rates. In digital cinema, resolutions are represented by the horizontal pixel count, usually 2K (2048×1080 or 2.2 megapixels) or 4K (4096×2160 or 8.8 megapixels). The 2K and 4K resolutions used in digital cinema projection are often referred to as DCI 2K and DCI 4K. DCI stands for Digital Cinema Initiatives. As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. Digital cinema technology has continued to develop over the years with RealD 3D, IMAX, RPX, 4DX, Dolby Cinema, and ScreenX, allowing moviegoers more immersive experiences. == History == The transition from film to digital video was preceded by cinema's transition from analog to digital audio, with the release of the Dolby Digital (AC-3) audio coding standard in 1991. Its main basis is the modified discrete cosine transform (MDCT), a lossy audio compression algorithm. It is a modification of the discrete cosine transform (DCT) algorithm, which was first proposed by Nasir Ahmed in 1972 and was originally intended for image compression. The DCT was adapted into the MDCT by J.P. Princen, A.W. Johnson and Alan B. Bradley at the University of Surrey in 1987, and then Dolby Laboratories adapted the MDCT algorithm along with perceptual coding principles to develop the AC-3 audio format for cinema needs. Cinema in the 1990s typically combined analog photochemical images with digital audio. Digital media playback of high-resolution 2K files has at least a 20-year history. Early video data storage units (RAIDs) fed custom frame buffer systems with large memories. In early digital video units, the content was usually restricted to several minutes of material. Transfer of content between remote locations was slow and had limited capacity. It was not until the late 1990s that feature-length films could be sent over the "wire" (Internet or dedicated fiber links). On October 23, 1998, Digital light processing (DLP) projector technology was publicly demonstrated with the release of The Last Broadcast, the first feature-length movie, shot, edited and distributed digitally. In conjunction with Texas Instruments, the movie was publicly demonstrated in five theaters across the United States (Philadelphia, Portland (Oregon), Minneapolis, Providence, and Orlando). === Foundations === In the United States, on June 18, 1999, Texas Instruments' DLP Cinema projector technology was publicly demonstrated on two screens in Los Angeles and New York for the release of Lucasfilm's Star Wars Episode I: The Phantom Menace. In Europe, on February 2, 2000, Texas Instruments' DLP Cinema projector technology was publicly demonstrated, by Philippe Binant, on one screen in Paris for the release of Toy Story 2. From 1997 to 2000, the JPEG 2000 image compression standard was developed by a Joint Photographic Experts Group (JPEG) committee chaired by Touradj Ebrahimi (later the JPEG president). In contrast to the original 1992 JPEG standard, which is a DCT-based lossy compression format for static digital images, JPEG 2000 is a discrete wavelet transform (DWT) based compression standard that could be adapted for motion imaging video compression with the Motion JPEG 2000 extension. JPEG 2000 technology was later selected as the video coding standard for digital cinema in 2004. In 1992, Hughes-JVC was founded by JVC and Hughes Electronics to develop ILA (Image Light Amplifer) digital video projectors for commercial movie theaters using liquid crystal on silicon (LCOS) technology. In 1997, JVC introduced D-ILA (Direct-Drive ILA) technology with a 2K resolution digital video projector. In 2000, JVC introduced a 4K resolution video projector using D-ILA technology. === Initiatives === On January 19, 2000, the Society of Motion Picture and Television Engineers, in the United States, initiated the first standards group dedicated to developing digital cinema. By December 2000, there were 15 digital cinema screens in the United States and Canada, 11 in Western Europe, 4 in Asia, and 1 in South America. Digital Cinema Initiatives (DCI) was formed in March 2002 as a joint project of many motion picture studios (Disney, Fox, MGM, Paramount, Sony Pictures, Universal and Warner Bros.) to develop a system specification for digital cinema. The same month it was reported that the number of cinemas equipped with digital projectors had increased to about 50 in the US and 30 more in the rest of the world. In April 2004, in collaboration with the American Society of Cinematographers, DCI created standard evaluation material (the ASC/DCI StEM material) for testing of 2K and 4K playback and compression technologies. DCI selected JPEG 2000 as the basis for the compression in the system the same year. Initial tests with JPEG 2000 produced bit rates of around 75–125 Mbit/s for 2K resolution and 100–200 Mbit/s for 4K resolution. === Worldwide deployment === In China, in June 2005, an e-cinema system called "dMs" was established and was used in over 15,000 screens spread across China's 30 provinces. DMs estimated that the system would expand to 40,000 screens in 2009. In 2005, the UK Film Council Digital Screen Network launched in the UK by Arts Alliance Media creating a chain of 250 2K digital cinema systems. The roll-out was completed in 2006. This was the first mass roll-out in Europe. AccessIT/Christie Digital also started a roll-out in the United States and Canada. By mid-2006, about 400 theaters were equipped with 2K digital projectors with the number increasing every month. In August 2006, the Malayalam digital movie Moonnamathoral, produced by Benzy Martin, was distributed via satellite to cinemas, thus becoming the first Indian digital cinema. This was done by Emil and Eric Digital Films, a company based at Thrissur using the end-to-end digital cinema system developed by Singapore-based DG2L Technologies. In January 2007, Guru became the first Indian film mastered in the DCI-compliant JPEG 2000 Interop format and also the first Indian film to be previewed digitally, internationally, at the Elgin Winter Garden in Toronto. This film was digitally mastered at Real Image Media Technologies in India. In 2007, the UK became home to Europe's first DCI-compliant fully digital multiplex cinemas; Odeon Hatfield and Odeon Surrey Quays (in London), with a total of 18 digital screens, were launched on 9 February 2007. By March 2007, with the release of Disney's Meet the Robinsons, about 600 screens had been equipped with digital projectors. In June 2007, Arts Alliance Media announced the first European commercial digital cinema Virtual Print Fee (VPF) agreements (with 20th Century Fox and Universal Pictures). In March 2009, AMC Theatres announced that it closed a $315 million deal with Sony to replace all of its movie projectors with 4K HDR digital projectors starting in the second quarter of 2009; it was anticipated that this replacement would be finished by 2012. As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. In January 2011, the total number of digital screens worldwide was 36,242, up from 16,339 at end 2009 or a growth rate of 121.8 percent during the year. There were 10,083 d-screens in Europe as a whole (28.2 percent of global figure), 16,522 in the United States and Canada (46.2 percent of global figure) and 7,703 in Asia (21.6 percent of global figure). Worldwide progress was slower as in some territories, particularly Latin America and Africa. As of 31 March 2015, 38,719 screens (out of a total of 3

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  • Duck face

    Duck face

    Duck face or duck lips is a photographic pose that is common on profile pictures in social networks. The lips are pressed together as in a pout and the cheeks are typically also sucked in. The pose is usually seen as an attempt to appear alluring, but it can be ironic or an attempt to hide self-conscious embarrassment. == History == Fashion models frequently use exaggerated pouts, and self-portraits with a pouty face go back to Rembrandt. In the 1994 film Four Weddings and a Funeral, one of the lead characters, Henrietta, played by Anna Chancellor, is nicknamed Duckface for her pouty expressions. Ben Stiller mocked models' pouty expressions in 1996 comedy sketches and the 2001 feature film Zoolander. The silly expressions made by his narcissistic character have retroactively been identified as an example of duck face. As social networks became popular, young women frequently made exaggeratedly pouty expressions. This became a major fad by the 2010s, provoking a strong negative reaction among some viewers. OxfordDictionaries.com added "duck face" as a new word in 2014 to their list of current and modern words, but it has not been added to the Oxford English Dictionary. In an animal communication studies of capuchin monkeys, the "duck face" term has been used synonymously with "protruded lip face", which females exhibit in the proceptive phase before mating.

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  • T.38

    T.38

    T.38 is an ITU recommendation for allowing transmission of fax over IP networks (FoIP) in real time. == History == The T.38 fax relay standard was devised in 1998 as a way to transport faxes across IP networks between existing Group 3 (G3) fax terminals. T.4 and related fax standards were published by the ITU in 1980, before the rise of the Internet. In the late 1990s, VoIP, or voice over IP, began to gain ground as an alternative to the conventional public switched telephone network (PSTN). However, because most VoIP systems are optimized (through their use of aggressive lossy bandwidth-saving compression) for voice rather than data calls, conventional fax machines worked poorly or not at all on them due to the network impairments such as delay, jitter, packet loss, and so on. Thus, some way of transmitting fax over IP was needed. == Overview == In practical scenarios, a T.38 fax call has at least part of the call being carried over PSTN, although this is not required by the T.38 definition, and two T.38 devices can send faxes to each other. This particular type of device is called Internet-Aware Fax device, or IAF, and it is capable of initiating or completing a fax call towards the IP network. The typical scenario where T.38 is used is – T.38 fax relay – where a T.30 fax device sends a fax over PSTN to a T.38 fax gateway which converts or encapsulates the T.30 protocol into a T.38 data stream. This is then sent either to a T.38-enabled end point such as fax machine or fax server or another T.38 gateway that converts it back to a PSTN PCM or analog signal and terminates the fax on a T.30 device. The T.38 recommendation defines the use of both TCP and UDP to transport T.38 packets. Implementations tend to use UDP, due to TCP's requirement for acknowledgement packets and resulting retransmission during packet loss, which introduces delays. When using UDP, T.38 copes with packet loss by using redundant data packets. T.38 is not a call setup protocol, thus the T.38 devices need to use standard call setup protocols to negotiate the T.38 call, e.g. H.323, SIP & MGCP. == Operation == There are two primary ways that fax transactions are conveyed across packet networks. The T.37 standard specifies how a fax image is encapsulated in e-mail and transported, ultimately, to the recipient using a store-and-forward process through intermediary entities. T.38, however, defines a protocol that supports the use of the T.30 protocol in both the sender and recipient terminals. (See diagram above.) T.38 lets one transmit a fax across an IP network in real time, just as the original G3 fax standards did for the traditional (time-division multiplexed (TDM)) network, also called the public switched telephone network or PSTN. A special protocol is needed for real-time fax over IP (Internet Protocol) since existing fax terminals only supported PSTN connections, where the information flow was generally smooth and uninterrupted, as opposed to the jittery arrival of IP packets. The trick was to come up with a protocol that makes the IP network “invisible” to the endpoint fax terminals, which would mean the user of a legacy fax terminal need not know that the fax call was traversing an IP network. The network interconnections supported by T.38 are shown above. The two fax terminals on either side of the figure communicate using the T.30 fax protocol published by the ITU in 1980. Interconnection of the PSTN with the IP packet network requires a “gateway” between the PSTN and IP networks. PSTN-IP Gateways support TDM voice on the PSTN side and VoIP and FoIP on the packet side. For voice sessions, the gateway will take in voice packets on the IP side, accumulate a few packets to ensure a smooth flow of TDM data upon their release, and then meter them out over TDM where they eventually are heard by a human or stored on a computer for later playback. The gateway employs packet-management techniques to enhance the quality of the speech in the presence of network errors by taking advantage of the natural ability of a listener to not really hear the occasional missing or repeated packet. But facsimile data are transmitted by modems, which aren't as forgiving as the human ear is for speech. Missing packets will often cause a fax session to fail at worst or create one or more image lines in error at best. So the job of T.38 is to “fool” the terminal into “thinking” that it's communicating directly with another T.30 terminal. It will also correct for network delays with so-called spoofing techniques, and missing or delayed packets with fax-aware buffer-management techniques. Spoofing refers to the logic implemented in the protocol engine of a T.38 relay that modifies the protocol commands and responses on the TDM side to keep network delays on the IP side from causing the transaction to fail. This is done, for example, by padding image lines or deliberately causing a message to be re-transmitted to render network delays transparent to the sending/receiving fax terminals. Networks that do not have packet loss or excessive delay can exhibit acceptable fax performance without T.38, provided the PCM clocks in all gateways are of very high accuracy (explained below). T.38 not only removes the effect of PCM clocks not being synchronized, but also reduces the required network bandwidth by a factor of 10, while it corrects for packet loss and delay. === Bandwidth reduction === As shown in the diagram below, a T.38 gateway is composed of two primary elements: the fax modems and the T.38 subsystem. The fax modems modulate and demodulate the PCM samples of the analog data, turning the sampled-data representation of the fax terminal's analog signal to its binary translation, and vice versa. The PSTN network samples the analog signal of a voice or modem signal (it doesn't know the difference) 8,000 times per second (SPS), and encodes them as 8-bit data bytes. This means 8000 samples-per-second times 8-bits per sample, or 64,000 bits per second (bit/s) to represent the modem (or voice) data in one direction. For both directions the modem transaction consumes 128,000 bits of network bandwidth. However, the typical modem in a fax terminal transmits the image data at 33,600 bit/s, so if the analog data are first converted to the digital content they represent, only 33,600 bits (plus network overhead of a few bytes) are needed. And since T.30 fax is a half-duplex protocol, the network is only needed for one direction at a time. Refer to RFC 3261 === PCM clock synchronization === In the diagram above, there is a sample-rate clock in the fax terminal and one in the gateway's modems that is used to trigger the sampling of the analog line 8,000 times per second. These clocks are usually quite accurate, but in some low-cost terminal adapters (a one or two-line gateway) the PCM clock can be surprisingly inaccurate. If the terminal is sending data to the gateway, and the gateway's clock is too slow, the buffers (jitter buffers) in the gateway will eventually overflow, causing the transaction to fail. Since the difference is often quite small, this problem occurs on long, detailed fax images giving the clocks more time to cause the jitter buffer in gateway to either underflow or overflow, which is just the same as missing or duplicated packets. === Packet loss === T.38 provides facilities to eliminate the effects of packet loss through data redundancy. When a packet is sent, either zero, one, two, three, or even more of the previously sent packets are repeated. (The specification does not impose a limit.) This increases the network bandwidth required (it's still much less than not using T.38) but it allows the receiving gateway to reconstruct the complete packet sequence, even with a fairly high level of packet loss. == Related standards == T.4 is the umbrella specification for fax. It specifies the standard image sizes, two forms of image-data compression (encoding), the image-data format, and references, T.30 and the various modem standards. T.6 specifies a compression scheme that reduces the time required to transmit an image by roughly 50-percent. T.30 specifies the procedures that a sending and receiving terminal use to set up a fax call, determine the image size, encoding, and transfer speed, the demarcation between pages, and the termination of the call. T.30 also references the various modem standards. V.21, V.27ter, V.29, V.17, V.34: ITU modem standards used in facsimile. The first three were ratified prior to 1980, and were specified in the original T.4 and T.30 standards. V.34 was published for fax in 1994. T.37 The ITU standard for sending a fax-image file via e-mail to the intended recipient of a fax. G.711 pass through - this is where the T.30 fax call is carried in a VoIP call encoded as audio. This is sensitive to network packet loss, jitter and clock synchronization. When using voice high-compression encoding techniques such as, but not limited to, G.729, some fax tonal signa

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  • LemonStand

    LemonStand

    LemonStand was a Canadian e-commerce company headquartered in Vancouver, British Columbia, that developed cloud-based computer software for online retailers. LemonStand was shut down on June 5, 2019. == History == LemonStand Version 1 was launched on July 28, 2001. It is written in the PHP programming language. Version 1 was released as an on-premises proprietary licensed software, and the commercial license was not free. However, there was a free trial license available. June 2012, LemonStand raised seed funding from the BDC Venture Capital, and a group of angel investors. December 20, 2013, a cloud-based SaaS version of the LemonStand eCommerce platform was released publicly. May 9, 2014, LemonStand and Payfirma, a payments processing company, partnered to provide integrated services for online retailers. May 3, 2016, LemonStand raised funding from BDC Venture Capital and Silicon Valley–based angel investors. March 5, 2019, LemonStand announced their intention to shut down on June 5, 2019. LemonStand was quietly acquired by Mailchimp at the end of February. == Pricing == LemonStand offered three levels of service plans. LemonStand did not charge any transaction fees.

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  • WEA Manufacturing

    WEA Manufacturing

    WEA Manufacturing was the record, tape, and compact disc manufacturing arm of WEA International Inc. from 1978 to 2003, when it was sold and merged into Cinram International, a previous competitor. The last owner when the plant closed was Technicolor. == History == WEA Manufacturing Inc. was created in 1978–1979 when Warner Communications Inc. purchased two of its longtime suppliers: the record pressing plants Specialty Records Corporation (Olyphant, Pennsylvania) and Allied Record Company (Los Angeles). The company was headquartered in Olyphant, where the original plant was replaced in late 1981 by a new facility which retained the name Specialty Records Corporation. The Specialty Records Corporation name was dropped in 1996 in favor of WEA Manufacturing. The company invested in CD manufacturing in 1986, matching a $247,000 contribution by economic development corporation Ben Franklin Technology Partners to develop and implement new processes of manufacturing audio CDs and CD-ROMs. BFTP assembled a team of experts in physics, electrical engineering, and thin film technology from the University of Scranton and Lehigh University to carry out the research and development. The Olyphant plant and another plant in Alsdorf, Germany, were expanded to support CD pressing that year, with the Olyphant facility's production commencing first in September 1986. WEA Manufacturing grew to become one of the largest manufacturers of recorded media in the world. The company began manufacturing Laserdiscs in July 1991. The company's DVD division, Warner Advanced Media Operations (WAMO), helped design the high-density format used in DVDs, and manufactured some of the first DVDs in the late 1990s. The company was sold to Cinram International in October 2003 and no longer exists under the name WEA Manufacturing, but the Olyphant plant continued to operate under its new ownership. In 2005, the company was Lackawanna County's largest employer, with over 2,300 people working at the Olyphant plant. Cinram closed the former Allied plant in 2006, while Technicolor (which purchased Cinram's assets in 2015) closed the Olyphant plant in 2018. == Patents == WEA Manufacturing held U.S. patents related to compact disc manufacture: Print scanner, (1993). Interference of converging spherical waves with application to the design of light-readable information-recording media and systems for reading such media, (2004). Method of manufacturing a composite disc structure and apparatus for performing the method, (2005). Methods and apparatus for reducing the shrinkage of an optical disc's clamp area and the resulting optical disc, (2005). == Litigation == In 1990, WEA Manufacturing was sued by a Canadian firm, Optical Recording Co. (ORC), for alleged infringement of two 1971 patents related to glass mastering equipment which was used by Time Warner and WEA Manufacturing in the manufacture of approximately 450 million CDs. ORC contended that unlike five other major CD manufacturers in the U.S., Time Warner had refused to license the technology from ORC. In 1992, a jury assessed damages of 6 cents per disc, plus $4–5 million in interest.

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  • Mortimer Rogoff

    Mortimer Rogoff

    Mortimer Alan Rogoff (May 2, 1921 – August 1, 2008) was an American inventor, businessman, and author as well as an amateur photographer and radio operator. He is recognized for his work in spread spectrum technology which is the technology that modern cell phones and GPS systems are based on. He is also considered the grandfather of the electronic navigation chart. == Early life == Rogoff was born in Brooklyn, New York. He earned his B.S.E.E. from Rensselaer Polytechnic Institute in 1943 and his M.S.E.E. from Columbia University in 1948. While at Rensselaer he was a member of Kappa Nu fraternity and the Features Editor for the student newspaper. During World War II, he enlisted in the United States Navy and worked on developing radio communication and aerial navigation systems. One of the techniques he developed was undetectable by Axis forces because its power was below that of the background noise and its frequency varied in random ways. This secure transmission was the beginning of spread spectrum technology which would become the basis for GPS and CDMA cellular telephone systems. Although he was never able to patent the technology because it was a military secret he did get some recognition for it almost forty years later when he received the Institute of Electrical and Electronics Engineers’ Pioneer Award in 1981. == Career == Rogoff worked for twenty-two years (1946 to 1968) for ITT Laboratories in New Jersey. In 1958, he became their deputy director of Engineering. He was Vice President of ITT Laboratories from 1962 to 1963. From 1963 to 1968, he was promoted to the corporate staff where he became head of European operations. In 1968 he left ITT to work for the Diebold Group where he became an Executive Vice President. After leaving the Diebold Group he founded several technology and automation businesses, including his own consulting firm, and Teletext Communications Corporation. Later in the 1970s, he was a Principal with Booz Allen Hamilton. In 1979, his book ‘’Calculator Navigation’’ was published. This book demonstrated practical methods for calculating precise ship locations using radio navigation with a consumer calculator. In 1981, he founded a new company, Navigation Sciences Inc., in Bethesda, Maryland. With this company he patented a method for marine navigation that combined radar maps with electronic charts in 1986. This was a major advancement in field. Today, this system is known as the Electronic Chart Display and Information System (ECDIS). Rogoff had seen the need for a new charting system in 1968 from his apartment at 180 East End Avenue in New York City. From there, he saw a boating accident where a life was lost and decided there had to be a way to automate navigation. Rogoff then became of member of the International Maritime Organization’s (IMO) sub-committee on Safety of Navigation, a representative to the International Electrotechnical Commission, and became the chairman of the Radio Technical Commission for Maritime Services Special Committee 109 on Electronic Charts. He was able to use his influence on these boards to push through a proposal of ECDIS standards in 1989 where none has been before. As his friend Giuseppe Carnevali said, “Although nobody could argue against the need for a standard, no one was ready to endorse one; however, nobody was brave enough to oppose it.” A Test Bed project on these proposals was conducted by the United States Coast Guard. The amended standards were accepted by the IMO in November, 1995. In 2000, he was named as a Fellow of the Institute of Navigation. He was also a Fellow of the Institute of Electrical and Electronics Engineers. During this time, he was also president of the Navigational Electronic Charts System Association. == Personal == In 1979, he moved to Washington, D.C. and bought a home in Nantucket, Massachusetts. He married Sheila Zunser in 1943 and they were together for sixty-five years. They had three daughters: Louisa Thompson, Alice Rogoff, and Julia Peach. His sister was sociologist Natalie Rogoff Ramsøy of the University of Oslo. He was a member of the Cosmos Club and President of The Navigational Electronic Chart System Association (NECSA). He was a very good amateur photographer and liked amateur radio (call sign W2EE). He died in Nantucket from bladder cancer. == Patents == Patent number: 4176316 – Secure Communication System – November 27, 1979 With Louis A. DeRosa Patent number: 4590569 – Electronic Navigation System – May 20, 1986 With Peter M. Winkler and John N. Ackley Patent number: RE34004 – Secure Communication System – July 21, 1992 With Louis A. DeRosa == Publications == Rogoff, Mortimer September 1957. Automatic Analysis of Infrared Spectra. Annals of the New York Academy of Sciences; vol. 69: no. 1: 27–37. Gen. P.C. Sandretto and Mortimer Rogoff. 1958 “A Novel Concept for Application to the Control of Airways Traffic.” NAVIGATION: Journal of The Institute of Navigation; vol. 6: no. 2: 102–107 Rogoff, Mortimer 1979. Calculator Navigation; ISBN 0-393-03192-6. Published by W.W. Norton & Company (New York and London). Rogoff, Mortimer December 1985. Electronic Charting. Yachting; vol. 158: no. 6: 54–57. Rogoff, Mortimer Winter 1990. Electronic Charts in the Nineties. NAVIGATION: Journal of The Institute of Navigation; vol. 37: no. 4: 305–318.

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