AI Art That Looks Real

AI Art That Looks Real — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  List of Ruby software and tools

  This is a list of software and programming tools for the Ruby programming language, which includes libraries, web frameworks, implementations, tools, and related projects. == Web tools == Capistrano (software) – remote server automation tool Mongrel – Ruby web server Rack – interface between web servers and web applications Ruby on Rails – full-stack web application framework Sinatra – lightweight Ruby web application framework Spree Commerce – e-commerce platform WEBrick – Ruby HTTP server toolkit == Libraries == BioRuby – bioinformatics and computational biology library for Ruby Bogus – Ruby library for creating reliable test doubles with contract verification ERuby – embedded Ruby templating EventMachine – event-driven I/O library Factory Bot – test fixtures library Fat comma – Ruby library for JSON-like hash syntax Geocoder – Ruby library for geocoding and reverse geocoding addresses Haml – HTML templating engine Markaby – HTML generation via Ruby Nokogiri – XML/HTML parsing library RSpec – behavior-driven testing framework for Ruby RubyGems – package manager for Ruby libraries and applications Sass – CSS preprocessor Sidekiq – background job framework for Ruby, used to handle asynchronous tasks. Uconv – Unicode text conversion library Watir – web application testing framework == Ruby implementations == HotRuby – Ruby interpreter implemented in JavaScript, enabling Ruby code to run in web browsers. IronRuby – Ruby for .NET platform JRuby – Ruby on the Java Virtual Machine MacRuby – Ruby implementation for macOS Mod ruby – Apache module that embeds the Ruby interpreter to improve performance of Ruby web applications Mruby – lightweight Ruby interpreter Rubinius – alternative Ruby implementation, based loosely on the Smalltalk-80 Blue Book design. Ruby MRI – the standard Ruby interpreter YARV – "Yet Another Ruby VM," the bytecode interpreter used in modern Ruby implementations == Tools == Homebrew – package manager for macOS and Linux written in Ruby Pry – interactive Ruby shell Rake – build and task management Ruby Version Manager – environment manager RubyCocoa – bridge between Ruby and Cocoa RubyForge – project hosting site RubyMotion – for iOS/macOS development RubySpec – language specification tests == Integrated Development Environments == Aptana Studio — integrated RadRails plugin for Ruby on Rails development Eclipse DLTK Ruby Plugin — Ruby development plugin for Eclipse Eric — open-source Python-based IDE with Ruby support Komodo IDE — commercial cross-platform IDE with Ruby support RubyMine — commercial IDE for Ruby and Rails by JetBrains SlickEdit — commercial cross-platform IDE with Ruby support == List of websites using Ruby on Rails == Airbnb Basecamp Diaspora – decentralized social network application built with Ruby on Rails Discourse – open-source discussion platform built with Ruby on Rails Fiverr GitHub Hulu Shopify SoundCloud Twitch Zendesk

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  Photonically Optimized Embedded Microprocessors

  The Photonically Optimized Embedded Microprocessors (POEM) is DARPA program. It should demonstrate photonic technologies that can be integrated within embedded microprocessors and enable energy-efficient high-capacity communications between the microprocessor and DRAM. For realizing POEM technology CMOS and DRAM-compatible photonic links should operate at high bit-rates with very low power dissipation. == Current research == Currently research in this field is at University of Colorado, Berkley University, and Nanophotonic Systems Laboratory ( Ultra-Efficient CMOS-Compatible Grating Coupler Design).

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  Motion picture film scanner

  A motion picture film scanner is a device used in digital filmmaking to scan original film for storage as high-resolution digital intermediate files. A film scanner scans original film stock: negative or positive print or reversal/IP. Units may scan gauges from 8 mm to 70 mm (8 mm, Super 8, 9.5 mm, 16 mm, Super 16, 35 mm, Super 35, 65 mm and 70 mm) with very high resolution scanning at 2K, 4K, 8K, or 16K resolutions. (2K is approximately 2048×1080 pixels and 4K is approximately 4096×2160 pixels). Some models of film scanner are intermittent pull-down film scanners which scan each frame individually, locked down in a pin-registered film gate, taking roughly a second per frame. Continuous-scan film scanners, where the film frames are scanned as the film is continuously moved past the imaging pick up device, are typically evolved from earlier telecine mechanisms, and can act as such at lower resolutions. The scanner scans the film frames into a file sequence (using high-end computer data storage devices), whose single file contains a digital scan of each still frame; the preferred image file format used as output are usually Cineon, DPX or TIFF, because they can store color information as raw data, preserving the optical characteristics of the film stock. These systems take a lot of storage area network (SAN) disk space. The files can be played back one after each other on high-end workstation non-linear editing system (NLE) or a virtual telecine systems. The playback is at the normal rate of 24 frames per second (or original projection frame rate of: 25, 30 or other speeds). Each year hard disks get larger and are able to hold more hours of movies on SAN systems. The challenge is to archive this massive amount of data on to data storage devices. The scanned footage is edited and composited on work stations then mastered back on film, see film-out and digital intermediate. Scanned film frames may also be used in digital film restoration. The film may also be projected directly on a digital projector in the theater. The data film files may be converted to SDTV (NTSC or PAL) video TV systems. Film recorders are the opposite of film scanners, copying content from a computer system onto film stock, for preservation or for display using film projectors. Telecines are similar to film scanners. == Imaging device == The front end of a motion picture film scanner is similar to a telecine. The imaging system may be either a charge-coupled device (CCD), a complementary metal–oxide–semiconductor (CMOS) or photomultipliers imaging pick up. A lamp is used as the light source in a CCD imaging front end. The CCDs convert the light to the video signals. In a cathode-ray tube (CRT) imaging system the CRT (also called a Flying spot tube) is used as the light source and part of the scanning system. Photomultipliers or avalanche photodiodes are used to convert the light to electrical video signals. A prism and/or dichroic mirrors or color filters are used to separate the light into the three: red, green and blue, imaging pick up devices. == Image processing == The three color signals (RGB) are electronically processed and color graded. A 3D look up table (3D LUT) is usually applied to the RGB values before it is coded into the DPX output files. The DPX files are usually made output through a network port cable or an optical fiber port: HIPPI, Fibre Channel or newer systems like gigabit Ethernet. A computer then stores the files on to hard drives of a storage area network for later processing and use. Modern motion picture film scanners many have an option for an infrared CCD channel for dirt mapping, that can be used to automatically or in post manually remove dirt-dust spots on the film. The IR camera channel can be used with IR dirt and scratch removal system or made output on a four IR channel for downstream dirt and dirt and scratch removal systems. Popular downstream dirt and dirt and scratch removal systems are PF Clean and Digital ICE. HDR or high dynamic range is a new system, using a compositing and tone-mapping of images to extend the dynamic range beyond the native capability of the capturing device. This may be done by using a triple exposure for the film and then compositing the three back together. Compositing can be done in a workstation in none real time or in the scanner in real time. == Models == Bold indicates a currently produced model Single frame intermittent pull-down: ARRI - Arriscan Cintel - diTTo Filmlight - Northlight 1 (up to 6K, 16mm to VistaVision), Northlight 2 (up to 8K, 16mm to VistaVision) Imagica scanner, single frame intermittent scanner. Kodak - Cineon, the first system designed for DI work, included a scanner, tapes drives, workstations and a film recorder. Lasergraphics Director 13.5K, 8mm to 70mm, IMAX & VistaVision) Continuous motion scanning: Arri - ARRISCAN XT (up to 6K, S35 down to 16mm) Cintel's C-Reality/DSX and ITK - Millennium/dataMill. Under ownership of Blackmagic Design, the Cintel Scanner was released, with the current 3rd generation capable of up to 4K scans at 30 fps. DFT - Spirit Classic (up to 2K), Spirit 4k/2k/HD (up to 4K), POLAR HQ (up to 8K, 8mm to S35), OXScan 14K (up to 14K, 16mm to 70mm), Scanity HDR (up to 4K, 16mm to S35) Filmfabriek - HDS+ (up to 4k), Pictor Pro (up to 2.7K), Pictor (up to 1080p). Filmfabriek scanners can only scan 17.5mm or smaller film formats. GE4 - Golden Eye Four - Filmscanner, 38 Mega Pixel camera. LED light source and continuous film transport using Capstan. From Digital Vision. Lasergraphics ScanStation (6.5K, 8mm to 70mm, IMAX & VistaVision) Lasergraphics Archivist (up to 5K) MWA Nova Vario series with patented laser-based, sprocket and claw free transport for 16/35mm for realtime (24/25fps) scanning with sensors for either 2K+ 2236 x 1752, or 2.5K+ HDR High Dynamic Range at 2560 x 2160, direct optical and magnetic sound on and 16 and 35mm. MWA Nova Choice 2K+ patented laser-based, sprocket and claw free transport for 8/Super8, 9.5mm, 16mm realtime (24/25fps) scanning w at 2K+, 2236 x 1752 with direct optical and magnetic sound on 16mm, magnetic from main and balance stripes on 8, Super8. Faster than real time scanning at lower resolution. P+S Technik - SteadyFrame Universal Format Film Scanner Walde - FilmStar 4K UHD 2K @ 25fps, 4K UHD @ 6fps. 35mm/16mm/8mm archive quality, continuous motion capstan driven.

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  Webby Awards

  The Webby Awards (colloquially referred to as the Webbys) are awards for excellence on the Internet presented annually by the International Academy of Digital Arts and Sciences, a judging body composed of over three thousand industry experts and technology innovators. Categories include websites, advertising and media, online film and video, mobile sites and apps, and social. Two winners are selected in each category, one by members of The International Academy of Digital Arts and Sciences, and one by the public who cast their votes during Webby People's Voice voting. Each winner presents a five-word acceptance speech, a trademark of the annual awards show. In its early years, the award was hailed as the "Internet's highest honor" and was associated with the phrase "The Oscars of the Internet." == History == In its early years, the organization was one of several vying to be the premiere internet awards show. Both shows would compare themselves to the Oscars, as did media outlets such as The New York Times to Canada's Globe & Mail. The winners of the First Annual Webby Awards in 1995 were presented by John Brancato and Michael Ferris, writers for Columbia Pictures. It was held at the Hollywood Roosevelt Hotel. The televised Webby Awards were sponsored by the Academy of Web Design and Cool Site of the Day. The first Webby Awards were produced by Kay Dangaard at the Hollywood Roosevelt Hotel as a nod to the first site of the Academy of Motion Picture Arts and Sciences (Oscars). That first year, they were called "Webbie" Awards. The first "Site of the Year" winner was the pioneer webisodic serial The Spot. The modern Webby Awards were co-founded by Tiffany Shlain, a filmmaker, when she was hired by The Web Magazine to re-establish them, and were first held in San Francisco in 1997. They quickly became known for its requirement that winners give their acceptance speeches in five words. After this, the awards became more successful than the magazine and IDG closed the publication. Shlain and co-founder Maya Draisin Farrah continued to run The Webby Awards until 2004. The International Academy of Digital Arts and Sciences, which selects the winners of The Webby Awards, was established in 1998 by co-founders Tiffany Shlain, Spencer Ante and Maya Draisin. Members of the Academy include Kevin Spacey, Grimes, Questlove, Internet inventor Vint Cerf, Instagram's Head of Fashion Partnerships Eva Chen, comedian Jimmy Kimmel, Twitter founder Biz Stone, Vice Media co-founder and CEO Shane Smith, Tumblr's David Karp, Director of Harvard's Berkman Klein Center for Internet & Society Susan P. Crawford, Refinery29's Executive Creative Director Piera Gelardi, and CEO and co-founder of Gimlet Media Alex Blumberg. The Webby Awards is owned and operated by the Webby Media Group, a division of Recognition Media, which also owns and produces the Lovie Awards in Europe and Netted by the Webbys, a daily email publication launched in 2009. David-Michel Davies, CEO of Webby Media Group, current Executive Director of the Webby Awards and co-founder of Internet Week New York, was named Executive Director of the Webby Awards in 2005. In 2009, the 13th Annual Webby Awards received nearly 10,000 entries from all 50 US states and over 60 countries. That same year, more than 500,000 votes were cast in The Webby People's Voice Awards. In 2012, the 16th Annual Webby awards received 1.5 million votes from more than 200 countries for the People's Voice awards. In 2015, the 19th Annual Webby Awards received nearly 13,000 entries from all 50 U.S. states and over 60 countries worldwide. == Nomination process == The 2000 awards began the transition to nominee submissions. Previously, nominees had been selected by an internal committee. As early as 2017, organizations wanting to nominate themselves were charged $395 for a single entry. An "ad campaign entry" would cost $595. By 2024, those fees had risen to $495 and $675, respectively. Executive Academy Members with category-specific expertise evaluate the shortlisted entries based on the appropriate Website, Advertising & Media, Online Film & Video, Mobile Sites & Apps, and Social category criteria, and cast ballots to determine Webby Honorees, Nominees and Webby Winners. Deloitte provides vote tabulation consulting for the Webby Awards. In addition to the award given in each category by the International Academy of Digital Arts and Sciences, another winner is selected in each category as determined by the general public during People's Voice voting. Winners of both the Academy-selected and People's Voice-selected awards are invited to the Webbys. == Awards granted == The Webby Awards are presented in over a hundred categories among all four types of entries. A website can be entered in multiple categories and receive multiple awards. In each category, two awards are handed out: a Webby Award selected by The International Academy of Digital Arts and Sciences, and a People's Voice Award selected by the general public. == Ceremony == Between 2005 and 2019, the Webby Awards were presented in New York City. Many of the ceremony hosts are comedians and comedic actors. Comedian Rob Corddry hosted the ceremony from 2005 to 2007. Seth Meyers of Saturday Night Live hosted in 2008 and 2009, B.J. Novak of the sitcom The Office in 2010, and Lisa Kudrow in 2011. Comedian, actor, and writer Patton Oswalt hosted from 2012 to 2014. Comedian Hannibal Buress hosted in 2015. The Webbys are famous for limiting recipients to five-word speeches, which are often humorous, although some exceed the limit. In 2005 when accepting his Lifetime Achievement Award, former Vice President Al Gore's speech was "Please don't recount this vote." He was introduced by Vint Cerf who used the same format to state, "We all invented the Internet." In 2013, the creator of the Graphics Interchange Format (GIF), Steve Wilhite, accepted his Webby and delivered his now famous five-word speech, "It's pronounced 'Jif' not 'Gif'." == Criticism == The Webbys have been criticized for their pay-to-enter and pay-to-attend policy (winners and nominees also have to pay to attend the award ceremony), and thus for not taking most websites into consideration before distributing their awards. Gawker, its Valleywag column, and others, have called the awards a scam, with Valleywag saying, "...somewhere along the way, the organizers figured out that this goofy charade could be milked for profit." In response, Webby Awards executive director David-Michel Davies told the Wall Street Journal that entry fees "provide the best and most sustainable model for ensuring that our judging process remains consistent and rigorous and is not dependent on things like sponsorships that can fluctuate from year to year." == Anthem Awards == In 2021, the Webby organization started a new line of awards, the Anthem Awards, to honor the purpose and mission-driven work of people, companies and organizations worldwide. The finalists and winners are selected by the International Academy of Digital Arts and Sciences.

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  PANGU (software)

  The PANGU (Planet and Asteroid Natural scene Generation Utility) is a computer graphics utility of which the development was funded by ESA and performed by University of Dundee. It generates scenes of planets, moons, asteroids, spacecraft and rovers. The main purpose of the tool is to test and validate navigation techniques based on the processing of images coming from on-board sensors, such as a camera or imaging LIDAR on a planetary lander.

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  DiscoVision

  DiscoVision is the name of several things related to the video LaserDisc format. It was the original name of the "Reflective Optical Videodisc System" format later known as "LaserVision" or LaserDisc. == Description == MCA DiscoVision, Inc. was a division of entertainment giant MCA (Music Corporation of America), established in 1969 to develop and sell an optical videodisc system. MCA released discs pressed in Carson and Costa Mesa, California on the DiscoVision label from the format's Atlanta, Georgia launch in 1978 to 1982 and the release of the film The Four Seasons. DiscoVision titles included films from Universal Pictures, Paramount Pictures, Warner Bros. Pictures, and Disney content. Agreements were made with Columbia Pictures and United Artists, though no discs were released on the DiscoVision label from either studio. Most of these companies later established their own labels for the format, the first being Paramount with a dozen movies released on the Paramount Home Video label in the summer of 1981. The successor to MCA DiscoVision, DiscoVision Associates (DVA), was the result of a partnership between IBM and MCA. It was hoped that the merger would provide the basis for improvement of the quality of DiscoVision pressings, but no appreciable improvement ever took hold. In 1981, responsibility for the laser videodisc was sold to Pioneer Electronic Corporation, after MCA Discovision had previously started a partnership in 1977 with Pioneer, Universal Pioneer, to produce the Pioneer PR-7820 player (the first industrial model of DiscoVision player from 1978), as well as establishing disc pressing plants in Japan. As part of the partnership, Pioneer, in association with MCA, had a disc replication facility in Kofu, Japan that produced discs. Some of the last DiscoVision label discs were manufactured by Pioneer in Japan. In the same year, MCA discontinued their DiscoVision branding, due to the sale of the technology to Pioneer (who then rebranded the format as LaserDisc) and in turn rebranded their laserdisc releases, now fabricated by Pioneer, under the MCA Videodisc banner; this was changed to the "MCA Home Video" name for both its VHS and videodisc releases. Some of DiscoVision's technical staff went on to form MCA Video Games, in an effort to produce video game cartridges. DiscoVision Associates later evolved into a patent holding company which manages and licenses intellectual property related to LaserDisc, Compact Disc, and optical disc technologies, as well as other non-disc related fields. In 1989, Pioneer acquired DiscoVision Associates where it continues to license its technologies independently. As the portfolio of patent expired, the presence of DiscoVision became less visible. However, it established the success of a patent holding company, which other companies are stimulated to generate royalty income from their own patent portfolio.

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  Digital data

  Digital data or digital information, in information theory and information systems, is data or information represented as a string of discrete symbols, each of which can take on one of only a finite number of values from some alphabet, such as letters or digits. An example is a text document, which consists of a string of alphanumeric characters. The most common form of digital data in modern information systems is binary data, which is represented by a string of binary digits (bits) each of which can have one of two values, either 0 or 1. Digital data can be contrasted with analog data, which is represented by a value from a continuous range of real numbers. Analog data is transmitted by an analog signal, which not only takes on continuous values but can vary continuously with time, a continuous real-valued function of time. An example is the air pressure variation in a sound wave. Data requires interpretation to become information. In modern (post-1960) computer systems, all data is digital. The word digital comes from the same source as the words digit and digitus (the Latin word for finger), as fingers are often used for counting. Mathematician George Stibitz of Bell Telephone Laboratories used the word digital in reference to the fast electric pulses emitted by a device designed to aim and fire anti-aircraft guns in 1942. The term is most commonly used in computing and electronics, especially where real-world information is converted to binary numeric form as in digital audio and digital photography. == Symbol to digital conversion == Since symbols (for example, alphanumeric characters) are not continuous, representing symbols digitally is rather simpler than conversion of continuous or analog information to digital. Instead of sampling and quantization as in analog-to-digital conversion, such techniques as polling and encoding are used. A symbol input device usually consists of a group of switches that are polled at regular intervals to see which switches are switched. Data will be lost if, within a single polling interval, two switches are pressed, or a switch is pressed, released, and pressed again. This polling can be done by a specialized processor in the device to prevent burdening the main CPU. When a new symbol has been entered, the device typically sends an interrupt, in a specialized format, so that the CPU can read it. For devices with only a few switches (such as the buttons on a joystick), the status of each can be encoded as bits (usually 0 for released and 1 for pressed) in a single word. This is useful when combinations of key presses are meaningful, and is sometimes used for passing the status of modifier keys on a keyboard (such as shift and control). But it does not scale to support more keys than the number of bits in a single byte or word. Devices with many switches (such as a computer keyboard) usually arrange these switches in a scan matrix, with the individual switches on the intersections of x and y lines. When a switch is pressed, it connects the corresponding x and y lines together. Polling (often called scanning in this case) is done by activating each x line in sequence and detecting which y lines then have a signal, thus which keys are pressed. When the keyboard processor detects that a key has changed state, it sends a signal to the CPU indicating the scan code of the key and its new state. The symbol is then encoded or converted into a number based on the status of modifier keys and the desired character encoding. A custom encoding can be used for a specific application with no loss of data. However, using a standard encoding such as ASCII is problematic if a symbol such as 'ß' needs to be converted but is not in the standard. It is estimated that in the year 1986, less than 1% of the world's technological capacity to store information was digital and in 2007 it was already 94%. The year 2002 is assumed to be the year when humankind was able to store more information in digital than in analog format (the "beginning of the digital age"). == States == Digital data come in these three states: data at rest, data in transit, and data in use. The confidentiality, integrity, and availability have to be managed during the entire lifecycle from 'birth' to the destruction of the data. === Data at rest === Data at rest in information technology means data that is housed physically on computer data storage in any digital form (e.g. cloud storage, file hosting services, databases, data warehouses, spreadsheets, archives, tapes, off-site or cloud backups, mobile devices etc.). Data at rest includes both structured and unstructured data. This type of data is subject to threats from hackers and other malicious threats to gain access to the data digitally or physical theft of the data storage media. To prevent this data from being accessed, modified or stolen, organizations will often employ security protection measures such as password protection, data encryption, or a combination of both. The security options used for this type of data are broadly referred to as data-at-rest protection (DARP). Definitions include: "...all data in computer storage while excluding data that is traversing a network or temporarily residing in computer memory to be read or updated." "...all data in storage but excludes any data that frequently traverses the network or that which resides in temporary memory. Data at rest includes but is not limited to archived data, data which is not accessed or changed frequently, files stored on hard drives, USB thumb drives, files stored on backup tape and disks, and also files stored off-site or on a storage area network (SAN)." While it is generally accepted that archive data (i.e. which never changes), regardless of its storage medium, is data at rest and active data subject to constant or frequent change is data in use. “Inactive data” could be taken to mean data which may change, but infrequently. The imprecise nature of terms such as “constant” and “frequent” means that some stored data cannot be comprehensively defined as either data at rest or in use. These definitions could be taken to assume that Data at Rest is a superset of data in use; however, data in use, subject to frequent change, has distinct processing requirements from data at rest, whether completely static or subject to occasional change. ==== Security ==== Because of its nature data at rest is of increasing concern to businesses, government agencies and other institutions. Mobile devices are often subject to specific security protocols to protect data at rest from unauthorized access when lost or stolen and there is an increasing recognition that database management systems and file servers should also be considered as at risk; the longer data is left unused in storage, the more likely it might be retrieved by unauthorized individuals outside the network. Data encryption, which prevents data visibility in the event of its unauthorized access or theft, is commonly used to protect data in motion and increasingly promoted for protecting data at rest. The encryption of data at rest should only include strong encryption methods such as AES or RSA. Encrypted data should remain encrypted when access controls such as usernames and password fail. Increasing encryption on multiple levels is recommended. Cryptography can be implemented on the database housing the data and on the physical storage where the databases are stored. Data encryption keys should be updated on a regular basis. Encryption keys should be stored separately from the data. Encryption also enables crypto-shredding at the end of the data or hardware lifecycle. Periodic auditing of sensitive data should be part of policy and should occur on scheduled occurrences. Finally, only store the minimum possible amount of sensitive data. Tokenization is a non-mathematical approach to protecting data at rest that replaces sensitive data with non-sensitive substitutes, referred to as tokens, which have no extrinsic or exploitable meaning or value. This process does not alter the type or length of data, which means it can be processed by legacy systems such as databases that may be sensitive to data length and type. Tokens require significantly less computational resources to process and less storage space in databases than traditionally encrypted data. This is achieved by keeping specific data fully or partially visible for processing and analytics while sensitive information is kept hidden. Lower processing and storage requirements makes tokenization an ideal method of securing data at rest in systems that manage large volumes of data. A further method of preventing unwanted access to data at rest is the use of data federation especially when data is distributed globally (e.g. in off-shore archives). An example of this would be a European organisation which stores its archived data off-site in the US. Under the terms of the USA PATRIOT Act the American authorities can demand

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  Web syndication

  Web syndication is making content available from one website to other sites. Most commonly, websites are made available to provide either summaries or full renditions of a website's recently added content. The term may also describe other kinds of content licensing for reuse. Contemporary web syndicates include: MSN, Excite, and Yahoo! News. == Motivation == For the subscribing sites, syndication is an effective way of adding greater depth and immediacy of information to their pages, making them more attractive to users. For the provider site, syndication increases exposure. This generates new traffic for the provider site—making syndication an easy and relatively cheap, or even free, form of advertisement. Content syndication has become an effective strategy for link building, as search engine optimization has become an increasingly important topic among website owners and online marketers. Links embedded within the syndicated content are typically optimized around anchor terms that will point an optimized link back to the website that the content author is trying to promote. These links tell the algorithms of the search engines that the website being linked to is an authority for the keyword that is being used as the anchor text. However the rollout of Google Panda's algorithm may not reflect this authority in its SERP rankings based on quality scores generated by the sites linking to the authority. The prevalence of web syndication is also of note to online marketers, since web surfers are becoming increasingly wary of providing personal information for marketing materials (such as signing up for a newsletter) and expect the ability to subscribe to a feed instead. Although the format could be anything transported over HTTP, such as HTML or JavaScript, it is more commonly XML. Web syndication formats include RSS, Atom, and JSON Feed. == History == Syndication first arose in earlier media such as print, radio, and television, allowing content creators to reach a wider audience. In the case of radio, the United States Federal government proposed a syndicate in 1924 so that the country's executives could quickly and efficiently reach the entire population. In the case of television, it is often said that "Syndication is where the real money is." Additionally, syndication accounts for the bulk of TV programming. One predecessor of web syndication is the Meta Content Framework (MCF), developed in 1996 by Ramanathan V. Guha and others in Apple Computer's Advanced Technology Group. Today, millions of online publishers, including newspapers, commercial websites, and blogs, distribute their news headlines, product offers, and blog postings in the news feed. == As a commercial model == Conventional syndication businesses such as Reuters and Associated Press thrive on the internet by offering their content to media partners on a subscription basis, using business models established in earlier media forms. Commercial web syndication can be categorized in three ways: by business models by types of content by methods for selecting distribution partners Commercial web syndication involves partnerships between content producers and distribution outlets. There are different structures of partnership agreements. One such structure is licensing content, in which distribution partners pay a fee to the content creators for the right to publish the content. Another structure is ad-supported content, in which publishers share revenues derived from advertising on syndicated content with that content's producer. A third structure is free, or barter syndication, in which no currency changes hands between publishers and content producers. This requires the content producers to generate revenue from another source, such as embedded advertising or subscriptions. Alternatively, they could distribute content without remuneration. Typically, those who create and distribute content free are promotional entities, vanity publishers, or government entities. Types of content syndicated include RSS or Atom Feeds and full content. With RSS feeds, headlines, summaries, and sometimes a modified version of the original full content is displayed on users' feed readers. With full content, the entire content—which might be text, audio, video, applications/widgets, or user-generated content—appears unaltered on the publisher's site. There are two methods for selecting distribution partners. The content creator can hand-pick syndication partners based on specific criteria, such as the size or quality of their audiences. Alternatively, the content creator can allow publisher sites or users to opt into carrying the content through an automated system. Some of these automated "content marketplace" systems involve careful screening of potential publishers by the content creator to ensure that the material does not end up in an inappropriate environment. Just as syndication is a source of profit for TV producers and radio producers, it also functions to maximize profit for Internet content producers. As the Internet has increased in size it has become increasingly difficult for content producers to aggregate a sufficiently large audience to support the creation of high-quality content. Syndication enables content creators to amortize the cost of producing content by licensing it across multiple publishers or by maximizing the distribution of advertising-supported content. A potential drawback for content creators, however, is that they can lose control over the presentation of their content when they syndicate it to other parties. Distribution partners benefit by receiving content either at a discounted price, or free. One potential drawback for publishers, however, is that because the content is duplicated at other publisher sites, they cannot have an "exclusive" on the content. For users, the fact that syndication enables the production and maintenance of content allows them to find and consume content on the Internet. One potential drawback for them is that they may run into duplicate content, which could be an annoyance. == E-commerce == Web syndication has been used to distribute product content such as feature descriptions, images, and specifications. As manufacturers are regarded as authorities and most sales are not achieved on manufacturer websites, manufacturers allow retailers or dealers to publish the information on their sites. Through syndication, manufacturers may pass relevant information to channel partners. Such web syndication has been shown to increase sales. Web syndication has also been found effective as a search engine optimization technique.

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  Summify

  Summify was a social news aggregator founded by Mircea Paşoi and Cristian Strat, two former Google and Microsoft interns from Romania. The service emailed its users a periodic summary of news articles shared from their social networks based on their relevance and importance. The platform supported Twitter, Facebook, and Google Reader accounts. == History == In 2009, Paşoi and Strat created ReadFu, a plugin that provided a contextual summary and statistics of the target page of a hyperlink. In January 2010, ReadFu was accepted into the Vancouver-based start-up incubator Bootup Labs. On March 20, 2010 the service was renamed to Summify and a private beta began. On August 11, 2010 Paşoi and Strat announced a new direction for the service. It would become a real-time social news reader that aggregates incoming news from social networks and displays articles by importance using social reactions. After some feedback that the users preferred article digests by email more than the real-time news reader version, Summify discontinued the news reader version. In March 2011, Summify completed a Seed round, with investors including Rob Glaser, Accel Partners, and Stewart Butterfield. Summify received coverage from various news and media outlets such as TechCrunch. It was also featured in various news platforms, such as Time, The Globe and Mail, Mashable, VentureBeat, Gizmodo, Lifehacker, and The Next Web. Summify released a free app on the Apple App Store on July 8, 2011. The app allowed users to read their web summaries from iOS mobile devices. Summify was acquired by Twitter on January 19, 2012. The service shut down soon after, on June 22, 2012.

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  Bare machine

  In information technology, a bare machine (or bare-metal computer) is a computer which has no operating system. The software executed by a bare machine, commonly called a bare metal program or bare metal application, is designed to interact directly with hardware. Bare machines are widely used in embedded systems, particularly in cases where resources are limited or high performance is required. == Bare machine computing == Bare Machine Computing is a computing paradigm in which application software runs directly on a bare machine as a single, stand-alone executable, without an operating system or device drivers. The application software has direct access to hardware resources, and there is typically no distinction between user and kernel mode. It is self-managed software that boots, loads and runs without using any other software components. Bare metal programs are typically written in a close-to-hardware language such as C or assembly language. == Advantages == Typically, a bare-metal application will run faster, use less memory and be more power efficient than an equivalent program that relies on an operating system, due to the inherent overhead imposed by system calls. For example, hardware inputs and outputs are directly accessible to bare metal software, whereas they must usually be accessed through system calls when using an OS. It has no OS and therefore has no OS-related vulnerabilities. == Disadvantages == Bare metal applications typically require more effort to develop because operating system services such as memory management and task scheduling are not available. Debugging a bare-metal program may be complicated by factors such as: Lack of a standard output. The target machine may differ from the hardware used for program development (e.g., emulator, simulator). This forces setting up a way to load the bare-metal program onto the target (flashing), start the program execution and access the target resources. == Examples == === Early computers === Early computers, such as the PDP-11, allowed programmers to load a program, supplied in machine code, to RAM. The resulting operation of the program could be monitored by lights, and output derived from magnetic tape, print devices, or storage. Amdahl UTS's performance improves by 25% when run on bare metal without VM, the company said in 1986. === Embedded systems === Bare machine programming is a common practice in embedded systems, in which microcontrollers or microprocessors boot directly into monolithic, single-purpose software without loading an operating system. Such embedded software can vary in structure. For example, one such program paradigm, known as foreground-background or superloop architecture, consists of an infinite main loop in which each task is executed sequentially and must voluntarily return control back to the loop. The loop runs these cooperative background processes that are not time-critical, while interrupt service routines momentarily interrupt the loop to handle time-critical foreground tasks.

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  Honeywell JetWave

  Honeywell's JetWave is a piece of satellite communications hardware produced by Honeywell that enables global in-flight internet connectivity. Its connectivity is provided using Inmarsat’s GX Aviation network. The JetWave platform is used in business and general aviation, as well as defense and commercial airline users. == History == In 2012, Honeywell announced it would provide Inmarsat with the hardware for its GX Ka-band in-flight connectivity network. The Ka-band (pronounced either "kay-ay band" or "ka band") is a portion of the microwave part of the electromagnetic spectrum defined as frequencies in the range 27.5 to 31 gigahertz (GHz). In satellite communications, the Ka-band allows higher bandwidth communication. In 2017, after five years and more than 180 flight hours and testing, JetWave was launched as part of GX Aviation with Lufthansa Group. Honeywell’s JetWave was the exclusive terminal hardware option for the Inmarsat GX Aviation network; however, the exclusivity clause in that contract has expired. In July 2019, the United States Air Force selected Honeywell’s JetWave satcom system for 70 of its C-17 Globemaster III cargo planes. In December 2019, it was reported that six AirAsia aircraft had been fitted with Inmarsat’s GX Aviation Ka-band connectivity system and is slated to be implemented fleetwide across AirAsia’s Airbus A320 and A330 models in 2020, requiring installation of JetWave atop AirAsia’s fuselages. Today, Honeywell’s JetWave hardware is installed on over 1,000 aircraft worldwide. In August 2021, the Civil Aviation Administration of China approved a validation of Honeywell’s MCS-8420 JetWave satellite connectivity system for Airbus 320 aircraft. In December 2021, Honeywell, SES, and Hughes Network Systems demonstrated multi-orbit high-speed airborne connectivity for military customers using Honeywell’s JetWave MCX terminal with a Hughes HM-series modem, and SES satellites in both medium Earth orbit (MEO) and geostationary orbit (GEO). The tests achieved full duplex data rates of more than 40 megabits per second via a number of SES' (GEO) satellites including GovSat-1, and the high-throughput, low-latency O3b MEO satellite constellation, with connections moving between GEO/MEO links in under 30 sec. == Uses == === Commercial aviation === Honeywell’s JetWave enables air transport and regional aircraft to connect to Inmarsat’s GX Aviation network. The multichannel satellite (MSC) JetWave terminals share the same antenna controller, modem and router hardware with the business market, but have an MCS-8200 fuselage-mounted antenna. === Business aviation === Honeywell’s JetWave hardware allows users to connect to Inmarsat’s Jet ConneX, a business aviation broadband connectivity offering to provide Wi-Fi for connected devices. JetWave offers a tail-mount antenna for business jets. === Defense === Honeywell’s JetWave satellite communications system for defense allows users to connect to the Inmarsat GX network, offering global coverage for military airborne operators, including over water, over nontraditional flight paths and in remote areas. JetWave and the Inmarsat GX network enable mission-critical applications like real-time weather; videoconferencing; large file transfers; encryption capabilities; in-flight briefings; intelligence, surveillance, and reconnaissance video; and secure communications. JetWave is configurable for a variety of military platforms and offers antennas for large and small airframes.

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  Vinyl cutter

  A vinyl cutter is an entry-level machine for making signs. Computer-designed vector files with patterns and letters are directly cut on the roll of vinyl which is mounted and fed into the vinyl cutter through USB or serial cable. Vinyl cutters are mainly used to make signs, banners and advertisements. Advertisements seen on automobiles and vans are often made with vinyl cut letters. While these machines were designed for cutting vinyl, they can also cut through computer and specialty papers, as well as thicker items like thin sheets of magnet. In addition to sign business, vinyl cutters are commonly used for apparel decoration. To decorate apparel, a vector design needs to be cut in mirror image, weeded, and then heat applied using a commercial heat press or a hand iron for home use. Some businesses use their vinyl cutter to produce both signs and custom apparel. Many crafters also have vinyl cutters for home use. These require little maintenance, and the vinyl can be bought in bulk relatively cheaply. Vinyl cutters are also often used by stencil artists to create single use or reusable stencil art and lettering == How it works == A vinyl cutter is a type of computer-controlled machine tool. The computer controls the movement of a sharp blade over the surface of the material as it would the nozzles of an ink-jet printer. This blade is used to cut out shapes and letters from sheets of thin self-adhesive plastic (vinyl). The vinyl can then be stuck to a variety of surfaces depending on the adhesive and type of material. To cut out a design, a vector-based image must be created using vector drawing software. Some vinyl cutters are marketed to small in-home businesses and require download and use of a proprietary editing software. The design is then sent to the cutter where it cuts along the vector paths laid out in the design. The cutter is capable of moving the blade on an X and Y axis over the material, cutting it into the required shapes. The vinyl material comes in long rolls allowing projects with significant length like banners or billboards to be easily cut. A major limitation with vinyl cutters is that they can only cut shapes from solid colours of vinyl, paper, card or thin plastic sheets such as Mylar. The type and thickness of material will vary for each cutter and how much downforce the cutter is capable of. If the material has no backing, a backing sheet, material or cutting mat and a temporary adhesive are needed to allow the cutter to cut through the material. A design with multiple colours must have each colour cut separately and then layered on top of each other as it is applied to the substrate. This is a process that is often applied in stencil art. Also, since the shapes are cut out of solid colours, photographs and gradients cannot be reproduced with a stand-alone cutter. === Design creation === Designs are created using vector-based software like Adobe Illustrator, FlexiSign, EasyCutPro, or other software. Vector artwork is either drawn with lines, shapes and text or images are vectorized thus create vector shapes. Most cutters (also called plotters) require special software to load/edit the artwork and communicate with the cutter. Computer designed images are loaded onto the vinyl cutter via a wired connection or over a wireless protocol. Then the vinyl is loaded into the machine where it is automatically fed through and cut to follow the set design. The vinyl can be placed on an adhesive mat to stabilize the vinyl when cutting smaller designs. === Types of vinyl === Adhesive vinyl is the type of vinyl used for store windows, car decals, signage, and more. Adhesive vinyl is applied with a transfer medium often called "transfer tape" or "carrier sheet". Heat transfer vinyl is the type of vinyl used to apply a design to fabric including t-shirts, tea towels, canvas bags, and more. Heat Transfer vinyl can be applied using a heat press or an iron, though the constant pressure and heat from a heat press is recommended by experts. === Using other materials === In addition to vinyl some cutters are capable of cutting other materials such as paper, card, plastic sheets and even thin wood. The thickness and type of material that can be cut will depend on the model of the cutter and heavily depends on the downforce. Cricut is a popular home cutter used by arts and craft enthusiasts since it allows for a wide use of different materials and is similar in size to a household printer and has strong downforce for its size. === Backing and cutting mat === If you cut material that doesn't have an adhesive backing you will require a cutting mat that you need to attach your material to. Some cutting mats are sticky, others will require you to use a temporary adhesive and/or masking tape to keep the material in place when cutting. === Cutting === The vinyl cutter uses a small knife or blade to precisely cut the outline of figures into a sheet or piece of vinyl, but not the release liner. The process of cutting vinyl material without penetrating it completely is referred to as "kiss cutting". The knife moves side to side and turns, while the vinyl is moved beneath the knife. The results from the cut process is an image cut into the material. === Weeding === The material is then 'weeded' where the excess parts of the figures are removed from the release liner. It is possible to remove the positive parts, which would give a negative decal, or remove the negative parts, giving a positive decal. Removing the figure would be like removing the positive, giving a negative image of the figures. === Transfer tape === A sheet of transfer tape with an adhesive backing is laid on the weeded vinyl when necessary. Heat Transfer vinyl often does not require use of a separate transfer tape. A roller is applied to the tape, causing it to adhere to the vinyl. The transfer tape and the weeded vinyl is pulled off the release liner, and applied to a substrate, such as a sheet of aluminium. This results in an aluminium sign with vinyl figures. == Uses == In addition to the capabilities of the cutter itself, adhesive vinyl comes in a wide variety of colors and materials including gold and silver foil, vinyl that simulates frosted glass, holographic vinyl, reflective vinyl, thermal transfer material, and even clear vinyl embedded with gold leaf. (Often used in the lettering on fire trucks and rescue vehicles.) As the vinyl film is supplied by the manufacturer, it comes attached to a release liner. == Challenges when cutting on a vinyl cutter == Cutting on a vinyl cutter requires careful calibration to achieve clean and accurate results, especially when the goal is to cut through only the top layer of material while leaving the backing intact. One of the most common challenges is setting the correct cutting depth. If the blade is not lowered enough, the vinyl material may not separate properly; if it goes too deep, it can cut through the backing layer and potentially damage the cutting mat. The cutting depth on the vinyl cutter machines typically does not exceed 1 mm. Another frequent issue is the mismatch between the blade and the type of material being processed. Using an inappropriate blade can lead to uneven cuts, premature dulling of the edge, and torn or frayed material. The overall quality of the output also depends on factors such as the cutting speed, blade sharpening and cutting angle, and the material the knife is made of.

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  BeHafizh

  BeHafizh is a mobile application to assist in the effort to memorize Qur'anic verses. The software runs on the Android operating system. This application was made by a team from Gadjah Mada University (UGM) consisting of Farid Amin Ridwanto, Rian Adam Rajagede and Alfian Try Putranto in order to participate in the National Student Musabaqoh Tilawatil Quran (MTQ) held at University of Indonesia (UI) on 1- August 8, 2015. This application then won a gold medal in the branch of Computer Application Design in the competition. == Features == === Audio Player === Audio player, paragraph can be played repeatedly, with pause, and can be done on a certain range of Quranic verses. === Memorization Test === Memorization testing continues users to improve their memorization. Memorization Recorders improves user's ability to recite Quran. === Colour indicators === === Achievements === === Reminders ===

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  Electric Literature

  Electric Literature is an American literary magazine. == History == Founded by Andy Hunter and Scott Lindenbaum in 2009 as a print quarterly journal, Electric Literature transitioned to a daily website in 2012 under the helm of Halimah Marcus and Benjamin Samuel. Electric Literature publishes essays, reading lists, interviews, fiction, poetry, graphic narratives, humor, and book news, all available to read online for free without a paywall. It launched the first fiction magazine on the iPhone and iPad. Work published has been recognized by Best American Short Stories, Essays, Poetry, and Comics, the Pushcart Prize, Best Canadian Short Stories, The Best of the Small Presses, and the O. Henry Prize. in 2014, Electric Literature became a registered non-profit. In 2016, Halimah Marcus was appointed the first executive director of Electric Literature. She has been with the magazine since 2010. In 2021, Denne Michele Norris became editor-in-chief of Electric Literature, the first Black and openly trans editor-in-chief of a major U.S. literary publication. In 2022, Electric Literature was the Digital Prize Winner of the Whiting Literary Magazine Prizes. In 2023, Electric Literature partnered with Banned Books USA to offer free banned and challenged books to residents of Florida. In 2025, Electric Literature published their first book, edited by Norris and published by HarperOne: Both/And: Essays by Trans and Gender-Nonconforming Writers of Color. It builds on a prior essay series that Electric Literature sponsored for trans writers of color. Both/And became a finalist for the 2026 Lambda Literary Award for Transgender Nonfiction. == Recommended reading == In May 2012, Electric Literature launched Recommended Reading, a weekly fiction magazine. Each issue is curated by a well known editor or writer. == The Commuter == The Commuter, a weekly magazine for poetry, flash, graphic, or experimental narrative, debuted in January 2018, helmed by writer Kelly Luce.

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  Algorithmic radicalization

  Algorithmic radicalization is the concept that recommender algorithms on popular social media sites, such as YouTube and Facebook, drive users toward progressively more extreme content over time, leading to the development of radicalized extremist political views. Algorithms meticulously record user interactions, encompassing likes, dislikes and the duration of time watching content, with the objective of generating an endless stream of media designed to sustain user engagement. The phenomenon of echo chamber channels has been demonstrated to exacerbate the polarization of consumers, primarily through the reinforcement of media preferences and the validation of one's existing beliefs. Algorithmic radicalization remains a controversial phenomenon as it is often not in the best interest of social media companies to remove echo chamber channels. To what extent recommender algorithms are actually responsible for radicalization remains disputed. Studies have found contradictory results regarding the promotion of extremist content by algorithms. == Social media echo chambers and filter bubbles == Social media platforms learn the interests and likes of the user to modify their experiences in their feed to keep them engaged and scrolling, known as a filter bubble. An echo chamber is formed when users come across beliefs that magnify or reinforce their thoughts and form a group of like-minded users in a closed system. Echo chambers spread information without any opposing beliefs and can possibly lead to confirmation bias. According to group polarization theory, an echo chamber can potentially lead users and groups towards more extreme radicalized positions. According to the National Library of Medicine, "Users online tend to prefer information adhering to their worldviews, ignore dissenting information, and form polarized groups around shared narratives. Furthermore, when polarization is high, misinformation quickly proliferates." == By site == === Facebook === Facebook's algorithm focuses on recommending content that makes the user want to interact. They rank content by prioritizing popular posts by friends, viral content, and sometimes divisive content. Each feed is personalized to the user's specific interests which can sometimes lead users towards an echo chamber of troublesome content. Users can find their list of interests the algorithm uses by going to the "Your ad Preferences" page. According to a Pew Research study, 74% of Facebook users did not know that list existed until they were directed towards that page in the study. It is also relatively common for Facebook to assign political labels to their users. In recent years, Facebook has started using artificial intelligence to change the content users see in their feed and what is recommended to them. A document known as The Facebook Files has revealed that their AI system prioritizes user engagement over everything else. The Facebook Files has also demonstrated that controlling the AI systems has proven difficult to handle. In an August 2019 internal memo leaked in 2021, Facebook has admitted that "the mechanics of our platforms are not neutral", concluding that in order to reach maximum profits, optimization for engagement is necessary. In order to increase engagement, algorithms have found that hate, misinformation, and politics are instrumental for app activity. As referenced in the memo, "The more incendiary the material, the more it keeps users engaged, the more it is boosted by the algorithm." According to a 2018 study, "false rumors spread faster and wider than true information... They found falsehoods are 70% more likely to be retweeted on Twitter than the truth, and reach their first 1,500 people six times faster. This effect is more pronounced with political news than other categories." === YouTube === YouTube has been around since 2005 and has more than 2.5 billion monthly users. YouTube discovery content systems focus on the user's personal activity (watched, favorites, likes) to direct them to recommended content. YouTube's algorithm is accountable for roughly 70% of users' recommended videos and what drives people to watch certain content. According to a 2022 study by the Mozilla Foundation, users have little power to keep unsolicited videos out of their suggested recommended content. This includes videos about hate speech, livestreams, etc. YouTube has been identified as an influential platform for spreading radicalized content. Al-Qaeda and similar extremist groups have been linked to using YouTube for recruitment videos and engaging with international media outlets. In a research study published by the American Behavioral Scientist Journal, they researched "whether it is possible to identify a set of attributes that may help explain part of the YouTube algorithm's decision-making process". The results of the study showed that YouTube's algorithm recommendations for extremism content factor into the presence of radical keywords in a video's title. In February 2023, in the case of Gonzalez v. Google, the question at hand is whether or not Google, the parent company of YouTube, is protected from lawsuits claiming that the site's algorithms aided terrorists in recommending ISIS videos to users. Section 230 is known to generally protect online platforms from civil liability for the content posted by its users. Multiple studies have found little to no evidence to suggest that YouTube's algorithms direct attention towards far-right content to those not already engaged with it. === TikTok === TikTok is a platform that recommends videos to a user's 'For You Page' (FYP), making every users' page different. With the nature of the algorithm behind the app, TikTok's FYP has been linked to showing more explicit and radical videos over time based on users' previous interactions on the app. Since TikTok's inception, the app has been scrutinized for misinformation and hate speech as those forms of media usually generate more interactions to the algorithm. Various extremist groups, including jihadist organizations, have utilized TikTok to disseminate propaganda, recruit followers, and incite violence. The platform's algorithm, which recommends content based on user engagement, can expose users to extremist content that aligns with their interests or interactions. As of 2022, TikTok's head of US Security has put out a statement that "81,518,334 videos were removed globally between April – June for violating our Community Guidelines or Terms of Service" to cut back on hate speech, harassment, and misinformation. Studies have noted instances where individuals were radicalized through content encountered on TikTok. For example, in early 2023, Austrian authorities thwarted a plot against an LGBTQ+ pride parade that involved two teenagers and a 20-year-old who were inspired by jihadist content on TikTok. The youngest suspect, 14 years old, had been exposed to videos created by Islamist influencers glorifying jihad. These videos led him to further engagement with similar content, eventually resulting in his involvement in planning an attack. Another case involved the arrest of several teenagers in Vienna, Austria, in 2024, who were planning to carry out a terrorist attack at a Taylor Swift concert. The investigation revealed that some of the suspects had been radicalized online, with TikTok being one of the platforms used to disseminate extremist content that influenced their beliefs and actions. == Self-radicalization == The U.S. Department of Justice defines 'Lone-wolf' (self) terrorism as "someone who acts alone in a terrorist attack without the help or encouragement of a government or a terrorist organization". Through social media outlets on the internet, 'Lone-wolf' terrorism has been on the rise, being linked to algorithmic radicalization. Through echo-chambers on the internet, viewpoints typically seen as radical were accepted and quickly adopted by other extremists. These viewpoints are encouraged by forums, group chats, and social media to reinforce their beliefs. == References in media == === The Social Dilemma === The Social Dilemma is a 2020 docudrama about how algorithms behind social media enables addiction, while possessing abilities to manipulate people's views, emotions, and behavior to spread conspiracy theories and disinformation. The film repeatedly uses buzz words such as 'echo chambers' and 'fake news' to prove psychological manipulation on social media, therefore leading to political manipulation. In the film, Ben falls deeper into a social media addiction as the algorithm found that his social media page has a 62.3% chance of long-term engagement. This leads into more videos on the recommended feed for Ben and he eventually becomes more immersed into propaganda and conspiracy theories, becoming more polarized with each video. == Proposed solutions == === United States: Weakening Section 230 protections === In the Communications Decency Act, Section 230 states t

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