AI Assistant Picture

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Data cube

In computer programming, a data cube (or datacube) is a multi-dimensional array of values. Typically, the term "data cube" is applied in contexts where these arrays are massively larger than the hosting computer's main memory; examples include multi-terabyte/petabyte data warehouses and time series of image data. Even though it is called a cube, a data cube generally is a multi-dimensional concept which can be 1-dimensional, 2-dimensional, 3-dimensional, or higher-dimensional. The data cube is used to represent data (sometimes called facts) along some dimensions of interest. In satellite image timeseries, dimensions would be latitude and longitude coordinates and time; a fact (sometimes called measure) would be a pixel at a given space and time as taken by the satellite. For example, in online analytical processing, an OLAP cube about a company would have dimensions that could be the company subsidiaries, the company products, and time; in this setup, a fact would be a sales event where a particular product has been sold in a particular subsidiary at a particular time. In any case, every dimension divides data into groups of cells whereas each cell in the cube represents a single measure of interest. Sometimes cubes hold only a few values with the rest being empty, i.e. undefined, while sometimes most or all cube coordinates hold a cell value. In the first case such data are called sparse, and in the second case they are called dense, although there is no hard delineation between the two. Data cubes may be stored in database management systems (DBMS) as part of array DBMS. Spatio-temporal databases and geospatial databases may also be represented as coverage data. == History == Multi-dimensional arrays have long been familiar in programming languages. Fortran offers arbitrarily-indexed 1-D arrays and arrays of arrays, which allows the construction of higher-dimensional arrays, up to 15 dimensions. APL supports n-D arrays with a rich set of operations. All these have in common that arrays must fit into the main memory and are available only while the particular program maintaining them (such as image processing software) is running. A series of data exchange formats support storage and transmission of data cube-like data, often tailored towards particular application domains. Examples include MDX for statistical (in particular, business) data, Zarr and Hierarchical Data Format for general scientific data, and TIFF for imagery. In 1992, Peter Baumann introduced management of massive data cubes with high-level user functionality combined with an efficient software architecture. Datacube operations include subset extraction, processing, fusion, and in general queries in the spirit of data manipulation languages like SQL. Some years after, the data cube concept was applied to describe time-varying business data as data cubes by Jim Gray, et al., and by Venky Harinarayan, Anand Rajaraman and Jeff Ullman. Around that time, a working group on Multi-Dimensional Databases ("Arbeitskreis Multi-Dimensionale Datenbanken") was established at German Gesellschaft für Informatik. Datacube Inc. was an image processing company selling hardware and software applications for the PC market in 1996, however without addressing data cubes as such. The EarthServer initiative has established geo data cube service requirements. == Standardization == In 2018, the ISO SQL database language was extended with data cube functionality as "SQL – Part 15: Multi-dimensional arrays (SQL/MDA)". Web Coverage Processing Service is a geo data cube analytics language issued by the Open Geospatial Consortium in 2008. In addition to the common data cube operations, the language knows about the semantics of space and time and supports both regular and irregular grid data cubes, based on the concept of coverage data. An industry standard for querying business data cubes, originally developed by Microsoft, is MultiDimensional eXpressions. == Implementation == Many high-level computer languages treat data cubes and other large arrays as single entities distinct from their contents. These languages, of which Fortran, APL, IDL, NumPy, PDL, and S-Lang are examples, allow the programmer to manipulate complete film clips and other data en masse with simple expressions derived from linear algebra and vector mathematics. Some languages (such as PDL) distinguish between a list of images and a data cube, while many (such as IDL) do not. Array DBMSs (Database Management Systems) offer a data model which generically supports definition, management, retrieval, and manipulation of n-dimensional data cubes. This database category has been pioneered by the rasdaman system since 1994. == Applications == Multi-dimensional arrays can meaningfully represent spatio-temporal sensor, image, and simulation data, but also statistics data where the semantics of dimensions is not necessarily of spatial or temporal nature. Generally, any kind of axis can be combined with any other into a data cube. === Mathematics === In mathematics, a one-dimensional array corresponds to a vector, a two-dimensional array resembles a matrix; more generally, a tensor may be represented as an n-dimensional data cube. === Science and engineering === For a time sequence of color images, the array is generally four-dimensional, with the dimensions representing image X and Y coordinates, time, and RGB (or other color space) color plane. For example, the EarthServer initiative unites data centers from different continents offering 3-D x/y/t satellite image timeseries and 4-D x/y/z/t weather data for retrieval and server-side processing through the Open Geospatial Consortium WCPS geo data cube query language standard. A data cube is also used in the field of imaging spectroscopy, since a spectrally-resolved image is represented as a three-dimensional volume. Earth observation data cubes combine satellite imagery such as Landsat 8 and Sentinel-2 with Geographic information system analytics. === Business intelligence === In online analytical processing (OLAP), data cubes are a common arrangement of business data suitable for analysis from different perspectives through operations like slicing, dicing, pivoting, and aggregation.
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Open Sound Control

Open Sound Control (OSC) is a protocol for networking sound synthesizers, computers, and other multimedia devices for purposes such as musical performance or show control. OSC's advantages include interoperability, accuracy, flexibility and enhanced organization and documentation. Its disadvantages include higher bandwidth requirements, increased load on embedded processors, and lack of standardized messages/interoperability. The first specification was released in March 2002. == Motivation == OSC is a content format developed at CNMAT by Adrian Freed and Matt Wright comparable to XML, WDDX, or JSON. It was originally intended for sharing music performance data (gestures, parameters and note sequences) between musical instruments (especially electronic musical instruments such as synthesizers), computers, and other multimedia devices. OSC is sometimes used as an alternative to the 1983 MIDI standard, when higher resolution and a richer parameter space is desired. OSC messages are transported across the internet and within local subnets using UDP/IP and Ethernet. OSC messages between gestural controllers are usually transmitted over serial endpoints of USB wrapped in the SLIP protocol. == Features == OSC's main features, compared to MIDI, include: Open-ended, dynamic, URI-style symbolic naming scheme Symbolic and high-resolution numeric data Pattern matching language to specify multiple recipients of a single message High resolution time tags "Bundles" of messages whose effects must occur simultaneously == Applications == There are dozens of OSC applications, including real-time sound and media processing environments, web interactivity tools, software synthesizers, programming languages and hardware devices. OSC has achieved wide use in fields including musical expression, robotics, video performance interfaces, distributed music systems and inter-process communication. The TUIO community standard for tangible interfaces such as multitouch is built on top of OSC. Similarly the GDIF system for representing gestures integrates OSC. OSC is used extensively in experimental musical controllers, and has been built into several open source and commercial products. The Open Sound World (OSW) music programming language is designed around OSC messaging. OSC is the heart of the DSSI plugin API, an evolution of the LADSPA API, in order to make the eventual GUI interact with the core of the plugin via messaging the plugin host. LADSPA and DSSI are APIs dedicated to audio effects and synthesizers. In 2007, a standardized namespace within OSC called SYN, for communication between controllers, synthesizers and hosts, was proposed. == Design == OSC messages consist of an address pattern (such as /oscillator/4/frequency), a type tag string (such as ,fi for a float32 argument followed by an int32 argument), and the arguments themselves (which may include a time tag). Address patterns form a hierarchical name space, reminiscent of a Unix filesystem path, or a URL, and refer to "Methods" inside the server, which are invoked with the attached arguments. Type tag strings are a compact string representation of the argument types. Arguments are represented in binary form with four-byte alignment. The core types supported are 32-bit two's complement signed integers 32-bit IEEE floating point numbers Null-terminated arrays of eight-bit encoded data (C-style strings) arbitrary sized blob (e.g. audio data, or a video frame) An example message is included in the spec (with null padding bytes represented by ␀): /oscillator/4/frequency␀,f␀␀, Followed by the 4-byte float32 representation of 440.0: 0x43dc0000. Messages may be combined into bundles, which themselves may be combined into bundles, etc. Each bundle contains a timestamp, which determines whether the server should respond immediately or at some point in the future. Applications commonly employ extensions to this core set. More recently some of these extensions such as a compact Boolean type were integrated into the required core types of OSC 1.1. The advantages of OSC over MIDI are primarily internet connectivity; data type resolution; and the comparative ease of specifying a symbolic path, as opposed to specifying all connections as seven-bit numbers with seven-bit or fourteen-bit data types. This human-readability has the disadvantage of being inefficient to transmit and more difficult to parse by embedded firmware, however. The spec does not define any particular OSC Methods or OSC Containers. All messages are implementation-defined and vary from server to server.
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ISO/IEC 11801

International standard ISO/IEC 11801 Information technology — Generic cabling for customer premises specifies general-purpose telecommunication cabling systems (structured cabling) that are suitable for a wide range of applications (analog and ISDN telephony, various data communication standards, building control systems, factory automation). It is published by ISO/IEC JTC 1/SC 25/WG 3 of the International Organization for Standardization (ISO) and the International Electrotechnical Commission (IEC). It covers both balanced copper cabling and optical fibre cabling. The standard was designed for use within commercial premises that may consist of either a single building or of multiple buildings on a campus. It was optimized for premises that span up to 3 km, up to 1 km2 office space, with between 50 and 50,000 persons, but can also be applied for installations outside this range. A major revision was released in November 2017, unifying requirements for commercial, home and industrial networks. == Classes and categories == The standard defines several link/channel classes and cabling categories of twisted-pair copper interconnects, which differ in the maximum frequency for which a certain channel performance is required: Class A: Up to 100 kHz using Category 1 cable and connectors Class B: Up to 1 MHz using Category 2 cable and connectors Class C: Up to 16 MHz using Category 3 cable and connectors Class D: Up to 100 MHz using Category 5e cable and connectors Class E: Up to 250 MHz using Category 6 cable and connectors Class EA: Up to 500 MHz using category 6A cable and connectors (Amendments 1 and 2 to ISO/IEC 11801, 2nd Ed.) Class F: Up to 600 MHz using Category 7 cable and connectors Class FA: Up to 1 GHz (1000 MHz) using Category 7A cable and connectors (Amendments 1 and 2 to ISO/IEC 11801, 2nd Ed.) Class BCT-B: Up to 1 GHz (1000 MHz) using with coaxial cabling for BCT applications. (ISO/IEC 11801-1, Edition 1.0 2017-11) Class I: Up to 2 GHz (2000 MHz) using Category 8.1 cable and connectors (ISO/IEC 11801-1, Edition 1.0 2017-11) Class II: Up to 2 GHz (2000 MHz) using Category 8.2 cable and connectors (ISO/IEC 11801-1, Edition 1.0 2017-11) The standard link impedance is 100 Ω. (The older 1995 version of the standard also permitted 120 Ω and 150 Ω in Classes A−C, but this was removed from the 2002 edition.) The standard defines several classes of optical fiber interconnect: OM1: Multimode, 62.5 μm core; minimum modal bandwidth of 200 MHz·km at 850 nm OM2: Multimode, 50 μm core; minimum modal bandwidth of 500 MHz·km at 850 nm OM3: Multimode, 50 μm core; minimum modal bandwidth of 2000 MHz·km at 850 nm OM4: Multimode, 50 μm core; minimum modal bandwidth of 4700 MHz·km at 850 nm OM5: Multimode, 50 μm core; minimum modal bandwidth of 4700 MHz·km at 850 nm and 2470 MHz·km at 953 nm OS1: Single-mode, maximum attenuation 1 dB/km at 1310 and 1550 nm OS1a: Single-mode, maximum attenuation 1 dB/km at 1310, 1383, and 1550 nm OS2: Single-mode, maximum attenuation 0.4 dB/km at 1310, 1383, and 1550 nm Grandfathered === OM5 === OM5 fiber is designed for wideband applications using SWDM multiplexing of 4–16 carriers (40G=4λ×10G, 100G=4λ×25G, 400G=4×4λ×25G) in the 850–953 nm range. === Category 7 === Class F channel and Category 7 cable are backward compatible with Class D/Category 5e and Class E/Category 6. Class F features even stricter specifications for crosstalk and system noise than Class E. To achieve this, shielding was added for individual wire pairs and the cable as a whole. Unshielded cables rely on the quality of the twists to protect from EMI. This involves a tight twist and carefully controlled design. Cables with individual shielding per pair such as Category 7 rely mostly on the shield and therefore have pairs with longer twists. The Category 7 cable standard was ratified in 2002, and primarily introduced to support 10 gigabit Ethernet over 100 m of copper cabling. Like the earlier standards, it contains four twisted copper wire pairs rated for transmission frequencies of up to 600 MHz. However, in 2006, Category 6A was ratified for Ethernet to allow 10 Gbit/s while still using the conventional 8P8C connector. Care is required to avoid signal degradation by mixing cable and connectors not designed for that use, however similar. Most manufacturers of active equipment and network cards have chosen to support the 8P8C for their 10 gigabit Ethernet products on copper and not GG45, ARJ45, or TERA connectors as Class F would have originally called for. Therefore, the Category 6 specification was revised to Category 6A to permit this use; products therefore require a Class EA channel (ie, Cat 6A). As of 2019, some equipment has been introduced which has connectors supporting the Class F (Category 7) channel. Note, however, that Category 7 is not recognized by the TIA/EIA. === Category 7A === Class FA (Class F Augmented) channels and Category 7A cables, introduced by ISO 11801 Edition 2 Amendment 2 (2010), are defined at frequencies up to 1000 MHz. The intent of the Class FA was to possibly support the future 40 gigabit Ethernet: 40GBASE-T. Simulation results have shown that 40 gigabit Ethernet may be possible at 50 meters and 100 gigabit Ethernet at 15 meters. In 2007, researchers at Pennsylvania State University predicted that either 32 nm or 22 nm circuits would allow for 100 gigabit Ethernet at 100 meters. However, in 2016, the IEEE 802.3bq working group ratified the amendment 3 which defines 25GBASE-T and 40GBASE-T on Category 8 cabling specified to 2000 MHz. The Class FA therefore does not support 40G Ethernet. As of 2025, there is no equipment that has connectors supporting the Class FA (Category 7A) channel. Category 7A is not recognized in TIA/EIA. === Category 8 === Category 8 was ratified by the TR43 working group under ANSI/TIA 568-C.2-1. It is defined up to 2000 MHz and only for distances up to 30 m or 36 m, depending on the patch cords used. ISO/IEC JTC 1/SC 25/WG 3 developed the equivalent standard ISO/IEC 11801-1:2017/COR 1:2018, with two options: Class I channel (Category 8.1 cable): minimum cable design U/FTP or F/UTP, fully backward compatible and interoperable with Class EA (Category 6A) using 8P8C connectors; Class II channel (Category 8.2 cable): F/FTP or S/FTP minimum, interoperable with Class FA (Category 7A) using TERA or GG45. == Abbreviations for twisted pairs == Annex E, Acronyms for balanced cables, provides a system to specify the exact construction for both unshielded and shielded balanced twisted pair cables. It uses three letters—U for unshielded, S for braided shielding, and F for foil shielding—to form a two-part abbreviation in the form of xx/xTP, where the first part specifies the type of overall cable shielding, and the second part specifies shielding for individual cable elements. Common cable types include U/UTP (unshielded cable); U/FTP (individual pair shielding without the overall screen); F/UTP, S/UTP, or SF/UTP (overall screen without individual shielding); and F/FTP, S/FTP, or SF/FTP (overall screen with individual foil shielding). == 2017 edition == In November 2017, a new edition was released by ISO/IEC JTC 1/SC 25 "Interconnection of information technology equipment" subcommittee. It is a major revision of the standard which has unified several prior standards for commercial, home, and industrial networks, as well as data centers, and defines requirements for generic cabling and distributed building networks. The new series of standards replaces the former 11801 standard and includes six parts: == Versions == ISO/IEC 11801:1995 (Ed. 1) ISO/IEC 11801:2000 (Ed. 1.1) – Edition 1, Amendment 1 ISO/IEC 11801:2002 (Ed. 2) ISO/IEC 11801:2008 (Ed. 2.1) – Edition 2, Amendment 1 ISO/IEC 11801:2010 (Ed. 2.2) – Edition 2, Amendment 2 ISO/IEC 11801-1:2017, -1:2017/Cor 1:2018, -2:2017, -3:2017, -3:2017/Amd 1:2021, -3:2017/Cor 1:2018, -4:2017, -4:2017/Cor 1:2018, -5:2017, -5:2017/Cor 1:2018, -6:2017, -6:2017/Cor 1:2018 (As of September 2023, this set is current.)
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Höhere Graphische Bundes-Lehr- und Versuchsanstalt

The Höhere Graphische Bundes-Lehr- und Versuchsanstalt (HGBLuVA) ("Higher Federal Institution for Graphic Education and Research"), now commonly known as "die Graphische", founded in 1888 in Vienna, is a vocational college for professions in visual communication and media technology in Austria. == History == === Opening === Originally set up as a photographic research institute by the President of the Photographic Society, the graphic teaching and research institute (GLV) was created through the incorporation of the photographic school (a department for photographic reproduction processes connected to the Salzburg State Building School) and the Hörwarter general drawing school in Vienna. Since its foundation, it has made an important contribution to the establishment and development of the graphic professions. According to a resolution of March 14, 1887, the City Council of Vienna made three floors of the municipal building in Vienna VII, Westbahnstraße 25, available to the former Schottenfelder Realschule for the establishment of a teaching and research institute for photography and reproduction processes. The k. k. Lehr- und Versuchsanstalt für Photographie und Reproductionsverfahren, founded and directed (1888–1923) by Josef Maria Eder, previously of the Technologische Gewerbemuseum (Museum of Applied Technology), for which he established a Section for Photography and Reproduction Techniques, and the Vienna State Trade School where, recently qualified as a university lecturer, he began teaching chemistry and physics in 1881. It opened on March 1, 1888 with 108 students. In the next school year the number of students rose to 174. In 1890, Eder placed a Wothly solar camera (an early means of enlarging negatives) on the roof. In the context of the history of vocational schools and the applied arts, pioneering educational reforms in Austria from the 1870s created institutions like it outside the format of the classical university, it being a special variation on the “state trade school” (“Staats-Gewerbeschule”). Eder based his institution on earlier foreign models such as the Conservatoire des arts et métiers in Paris (founded 1794), that housed a museum of history and technology and hosted with evening lectures and demonstrations, with lectures in photography commencing in 1891. From 1897 onwards the name Graphische Lehr- und Versuchsanstalt came into being . In 1906, Emperor Franz Joseph granted the school the designation “Imperial and Royal” in the title, and the Republic of Austria confirmed this distinction when the school's Federal Chancellery approved the use of the national coat of arms. === The beginnings === The GLV was instituted on August 27, 1887 "by the highest resolution to approve the activation of this teaching and research institute in Vienna on March 1, 1888". The aim of the institute was the “training of specialist photographers, retouchers, collotype printers, photolithographers, etc., the instruction of artists, scholars and technicians who want to learn photography as an auxiliary science, furthermore the testing of equipment, chemicals and the implementation of independent scientific investigations in the areas of Photochemistry and Related Subjects”. The school consisted of two departments; the Institute for Photography and Reproduction Processes and the Research Institute, and in 1891 the Board of Book Printers and Type Founders pointed out the urgent need to add a department for book printers to the school. In 1897 an additional section for the book and illustration trade was opened, the school called "KK Graphische Lehr- und Versuchsanstalt" was then divided into four sections: Section I: Institute for Photography and Reproduction (corresponds to the former Institute for Photography and Reproduction Processes) Section II: College for the book and illustration trade Section III: Research institute for photochemistry and graphic printing processes (corresponds to the original research institute) Section IV: Collections: graphic collection, library and equipment collection The first original lithographs by famous artists such as Luigi Kasimir and Tina Blau are thanks to the special course for lithography and lithography introduced in 1905 and 'algraphy' - a planographic printing process from an aluminum plate instead of the stone used in lithography - was first taught in Austria in 1896 at the GLV. The specialty course for lithography and lithography existed until 1913/14, after which a specialist course for xylography (wood engraving and woodcuts) was offered. In 1908 the graphic arts department was set up on the top floor of the neighbouring house at Westbahnstraße 27 connected by a spiral staircase still in existence in the courtyard at the current location on Leyserstraße. === Women in the graphic teaching and research institute === From 1908 women were also officially admitted. For the period from 1888 to 1918/19, a total of 718 female students at the Graphische are recorded in the largely preserved class lists. Due to changes and new requirements in the job description, the proportion of women continued to grow, so that in some classes it exceeded two thirds. === The Graphics Department === In 1916, the school statute was changed: all-day lessons with photography internship in the 1st and 2nd years as well as training for disabled people were introduced and a drawing school was added. After the First World War, the school was renamed several times: In 1919 the name was "Deutsch-Österreichische Graphische Lehr- und Versuchsanstalt"; changed in 1920 to "Staatliche Graphische Lehr- und Versuchsanstalt" and in 1923 to "Graphic Education and Research Institute". === The school in the time of National Socialism === The "annexation of Austria by Germany" resulted in organisational restructuring: semesters were introduced and the GLV was made a subordinate level of a university of the graphic arts administered in Leipzig. In 1939 the school became a state graphic teaching and research institute . Up to this point, two thirds of all Austrian postage stamps had been designed and engraved in the Graphische. === Post-war period === In 1945 the period of study at the technical school was extended to four years. In 1948, “manual graphics” became “commercial graphics” followed by an honours year. In 1959, a department A was developed: a three-class specialist department for photography with a master class, and a department B: a specialist department for commercial graphics with four classes and an honours year. Through further school reforms, the university entrance qualification was acquired with the completion of the now five-year course and honours qualification. In 1967, due to a lack of space, the Westbahnstrasse was moved to the new Carl Appel building in Leyserstrasse. === The new building, 1963 === On May 22, 1963, the foundation stone of the new campus was laid in the 14th district in the Breitenseer Strasse, Leyserstrasse and Spallartgasse area (Kommandogebäude Theodor Körner). In 1967 the move to the new building began and in 1968 the official opening coincided with the 80th anniversary of the school. In 1963/64 the first year of the five-year high school for reprography and printing technology began. There was also a four-year technical school. With the advent of personal computers and their use in the graphics industry, change comes first in typesetting and later in image processing, and in 1984 the advent of desktop publishing brought a revolution that permanently challenged the distinction between photographer, typesetter, layout artist and printer. In 1988, the Graphische celebrated its 100th anniversary. The rapid development of technology shaped school events in the 1980s, as did the rapid advance of offset printing - albeit at the expense of Letterpress printing. In reproduction technology, scanner technology for the production of colour separations displaced reprography. === Renovation, 2006 === Due to renovation work on the building in Leyserstraße, the management and the photography, multimedia and graphics departments moved to an alternative location in Vienna's first district at Schellinggasse 13. After the work was completed, the school was relocated in February 2008. == Notable teachers and students ==
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Desktop Window Manager

Desktop Window Manager (DWM, previously Desktop Compositing Engine or DCE in builds of pre-reset Windows Longhorn) is the compositing window manager in Microsoft Windows since Windows Vista that enables the use of hardware acceleration to render the graphical user interface of Windows. It was originally created to enable portions of the new "Windows Aero" user experience, which allowed for effects such as transparency, 3D window switching and more. It is also included with Windows Server 2008, but requires the "Desktop Experience" feature and compatible graphics drivers to be installed. == Architecture == The Desktop Window Manager is a compositing window manager, meaning that each program has a buffer that it writes data to; DWM then composites each program's buffer into a final image. By comparison, the stacking window manager in Windows XP and earlier (and also Windows Vista and Windows 7 with Windows Aero disabled) comprises a single display buffer to which all programs write. DWM works in different ways depending on the operating system (Windows 7 or Windows Vista) and on the version of the graphics drivers it uses (WDDM 1.0 or 1.1). Under Windows 7 and with WDDM 1.1 drivers, DWM only writes the program's buffer to the video RAM, even if it is a graphics device interface (GDI) program. This is because Windows 7 supports (limited) hardware acceleration for GDI and in doing so does not need to keep a copy of the buffer in system RAM so that the CPU can write to it. Because the compositor has access to the graphics of all applications, it easily allows visual effects that string together visuals from multiple applications, such as transparency. DWM uses DirectX to perform the function of compositing and rendering in the GPU, freeing the CPU of the task of managing the rendering from the off-screen buffers to the display. However, it does not affect applications painting to the off-screen buffers – depending on the technologies used for that, this might still be CPU-bound. DWM-agnostic rendering techniques like GDI are redirected to the buffers by rendering the user interface (UI) as bitmaps. DWM-aware rendering technologies like WPF directly make the internal data structures available in a DWM-compatible format. The window contents in the buffers are then converted to DirectX textures. The desktop itself is a full-screen Direct3D surface, with windows being represented as a mesh consisting of two adjacent (and mutually inverted) triangles, which are transformed to represent a 2D rectangle. The texture, representing the UI chrome, is then mapped onto these rectangles. Window transitions are implemented as transformations of the meshes, using shader programs. With Windows Vista, the transitions are limited to the set of built-in shaders that implement the transformations. Greg Schechter, a developer at Microsoft has suggested that this might be opened up for developers and users to plug in their own effects in a future release. DWM only maps the primary desktop object as a 3D surface; other desktop objects, including virtual desktops as well as the secure desktop used by User Account Control are not. Because all applications render to an off-screen buffer, they can be read off the buffer embedded in other applications as well. Since the off-screen buffer is constantly updated by the application, the embedded rendering will be a dynamic representation of the application window and not a static rendering. This is how the live thumbnail previews and Windows Flip work in Windows Vista and Windows 7. DWM exposes a public API that allows applications to access these thumbnail representations. The size of the thumbnail is not fixed; applications can request the thumbnails at any size - smaller than the original window, at the same size or even larger - and DWM will scale them properly before returning. Aero Flip does not use the public thumbnail APIs as they do not allow for directly accessing the Direct3D textures. Instead, Aero Flip is implemented directly in the DWM engine. The Desktop Window Manager uses Media Integration Layer (MIL), the unmanaged compositor which it shares with Windows Presentation Foundation, to represent the windows as composition nodes in a composition tree. The composition tree represents the desktop and all the windows hosted in it, which are then rendered by MIL from the back of the scene to the front. Since all the windows contribute to the final image, the color of a resultant pixel can be decided by more than one window. This is used to implement effects such as per-pixel transparency. DWM allows custom shaders to be invoked to control how pixels from multiple applications are used to create the displayed pixel. The DWM includes built-in Pixel Shader 2.0 programs which compute the color of a pixel in a window by averaging the color of the pixel as determined by the window behind it and its neighboring pixels. These shaders are used by DWM to achieve the blur effect in the window borders of windows managed by DWM, and optionally for the areas where it is requested by the application. Since MIL provides a retained mode graphics system by caching the composition trees, the job of repainting and refreshing the screen when windows are moved is handled by DWM and MIL, freeing the application of the responsibility. The background data is already in the composition tree and the off-screen buffers and is directly used to render the background. In pre-Vista Windows OSs, background applications had to be requested to re-render themselves by sending them the WM_PAINT message. DWM uses double-buffered graphics to prevent flickering and tearing when moving windows. The compositing engine uses optimizations such as culling to improve performance, as well as not redrawing areas that have not changed. Because the compositor is multi-monitor aware, DWM natively supports this too. During full-screen applications, such as games, DWM does not perform window compositing and therefore performance will not appreciably decrease. On Windows 8 and Windows Server 2012, DWM is used at all times and cannot be disabled, due to the new "start screen experience" implemented. Since the DWM process is usually required to run at all times on Windows 8, users experiencing an issue with the process are seeing memory usage decrease after a system reboot. This is often the first step in a long list of troubleshooting tasks that can help. It is possible to prevent DWM from restarting temporarily in Windows 8, which causes the desktop to turn black, the taskbar grey, and break the start screen/modern apps, but desktop apps will continue to function and appear just like Windows 7 and Vista's Basic theme, based on the single-buffer renderer used by XP. They also use Windows 8's centered title bar, visible within Windows PreInstallation Environment. Starting up Windows without DWM will not work because the default lock screen requires DWM unlike the fallback lockscreen that appears as a command line interface program when Windows.UI.Logon.dll isn't present on Windows versions such as 1507 and later, so it can only be done on the fly, and does not have any practical purposes. Starting with Windows 10, disabling DWM in such a way will cause the entire compositing engine to break, even traditional desktop apps, due to Universal App implementations in the taskbar and new start menu. Windows can still be partially usable without the presence of DWM but requires Sihost.exe to not be present due to it relying on DWM. Most of the applications in Windows 11 require DWM to render UI elements and transparency, Windows 11's new task manager requires dwm to render menus unlike the fallback -d version. Unlike its predecessors, Windows 8 supports basic display adapters through Windows Advanced Rasterization Platform (WARP), which uses software rendering and the CPU to render the interface rather than the graphics card. This allows DWM to function without compatible drivers, but not at the same level of performance as with a normal graphics card. DWM on Windows 8 also adds support for stereoscopic 3D. == Redirection == For rendering techniques that are not DWM-aware, output must be redirected to the DWM buffers. With Windows, either GDI or DirectX can be used for rendering. To make these two work with DWM, redirection techniques for both are provided. With GDI, which is the most used UI rendering technique in Microsoft Windows, each application window is notified when it or a part of it comes in view and it is the job of the application to render itself. Without DWM, the rendering rasterizes the UI in a buffer in video memory, from where it is rendered to the screen. Under DWM, GDI calls are redirected to use the Canonical Display Driver (cdd.dll), a software renderer. A buffer equal to the size of the window is allocated in system memory and CDD.DLL outputs to this buffer rather than the video memory. Another buffer is allocated in the video memory to represent t
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Creepiness

Creepiness is the state of being creepy, or causing an unpleasant feeling of fear or unease to someone and/or something. Certain traits or hobbies may make people seem creepy to others; interest in horror or the macabre might come across as 'creepy', and often people who are perverted or exhibit predatory behavior are called 'creeps'. The internet, especially some functions of social media, has been described as increasingly creepy. Adam Kotsko has compared the modern conception of creepiness to the Freudian concept of unheimlich. The term has also been used to describe paranormal or supernatural phenomena. Some people have phobias which are irrational fears, which can make them perceive something as creepy. == History and studies == "Creepiness" is subjective: for example some dolls have been described as creepy, while what makes something "creepy" or "strange" to someone might seem normal to someone else. The adjective "creepy", referring to a feeling of creeping in the flesh, was first used in 1831, but it was Charles Dickens who coined and popularized the term "the creeps" in his 1849 novel David Copperfield. In the 20th century, association was made between involuntary celibacy and creepiness. The concept of creepiness has only recently been formally addressed in social media marketing. The sensation of creepiness has only recently been the subject of psychological research, despite the widespread colloquial use of the word throughout the years. Francis T. McAndrew of Knox College is the first psychologist to do an empirical study on creepiness. == Causes == The state of creepiness has been associated with "feeling scared, nervous, anxious or worried", "awkward or uncomfortable", "vulnerable or violated" in a study conducted by Watt et al. This state arises in the presence of a creepy element, which can be an individual or, as recently observed, new technologies. === Individuals === Creepiness can be caused by the appearance of an individual. Another study investigated the characteristics that make people creepy. Creepy people were thought to be more often male than female by an overwhelming majority of participants (around 95% of both male and female participants). Another study conducted by Watt et al. also found that participants associated the ectomorphic body type (more linear) with creepiness, more than the other two body types (51% vs mesomorphic, 24% and endomorphic, 23%). Other cues of creepiness included low hygiene, especially according to female participants, and a disheveled appearance. Participants also identified the face as an area with potentially creepy features: in particular the eyes and the teeth. Both of those physical features were deemed creepy not only for their unpleasant appearance (ex. squinty eyes or crooked teeth) but also for the movements and expressions they engaged it (ex. darting eye movements and odd smiles). In fact, appearance does not seem to be the only factor making an individual creepy: behaviors provide cues as well. Behaviors such as "being unusually quiet and staring (34%), following or lurking (15%), behaving abnormally (21%), or in a socially awkward, "sketchy" or suspicious way (20%)" are all contributing to a feeling of creepiness, as described by Watt et al.'s study. === Technology === In addition to other individuals, new technologies, such as marketing's targeted ads and AI, have been qualified as creepy. A study by Moore et al. described what aspect of marketing participants considered creepy. The main three reasons are the following: using invasive tactics, causing discomfort and violating of norms. Invasive tactics are practiced by marketers that know so much about the consumer that the ads are "creepily" personalized. Secondly, some ads create discomfort by making the consumer question "the motives of the company advertising the product". Finally, some ads violate social norms by having inappropriate content, for example by unnecessarily sexualizing it. It is marketing's extensive knowledge used in an improper way, together with a certain loss of control over our data, that creates a feeling of creepiness. Another creepy aspect of technology is human-looking AI: this phenomenon is called the uncanny valley. Humans find robots creepy when they start closely resembling humans. It has been hypothesized that the reason why they are viewed as creepy is because they violate our notion of how a robot should look. A study focusing on children's responses to this phenomenon found evidence to support the hypothesis. == Evolutionary explanation == Several studies have hypothesized that creepiness is an evolutionary response to potentially dangerous situations. It could be linked to a mechanism called agent detection which makes individuals expect malignant agents to be responsible for small changes in the environment. McAndrew et al. illustrates the idea with the example of a person hearing some noises while walking in a dark alley. That person would go in high alert, fearing that some dangerous individual was there. If that was not the case the loss would be small. If, on the other hand, a dangerous individual was actually in the alley and the person had not been alerted by this creepy feeling, the loss could have been significant. Creepiness would therefore serve the purpose of alerting us in situations in which the danger is not outright obvious but rather ambiguous. In this case, ambiguity both refers to the possible presence of a threat and to its nature, sexual or physical for example. Creepiness "may reside in between the unknowing and the fear" in the sense that individuals experiencing it are unsure if there truly is something to fear or not. Creepy characteristics are not simply caused by threat potential: in fact, ectomorphic body types are not the most powerful bodies and facial expressions are not a proxy of physical strength either. Therefore, creepiness is not only related to how threatening a characteristic is, in the sense of how dangerous and strong the individual can be. There are more facets to consider. Another characteristic of creepiness is unpredictable behavior. Unpredictability links back to this idea of ambiguity. When an individual is unpredictable it is not possible to tell when their behavior will turn violent: this adds to the ambiguity of a potentially dangerous situation. This theory is endorsed by studies. Not only is unpredictability directly listed as a creepy characteristic, but other behaviors, such as norm-breaking behaviors are indirectly linked with unpredictability. Such behaviors show that the individual does not conform to some social standards others would expect in a given situation. For example, the aforementioned staring at strangers or lack of hygiene—behaviors that make us uneasy or creeped out because they do not fit the norm and therefore are not expected. More generally, participants tended to define creepiness as "different" in the sense of not behaving, or looking, socially acceptable. Such differences point towards a "social mismatch". Humans have a natural system of detection of such mismatch: a physical feeling of coldness. When an individual is creeped out, they report feeling those "cold chills". This phenomenon has been studied by Leander et al, with relation to nonverbal mimicry in social interactions, meaning the unintentional copying of another's behavior. Inappropriate mimicry may leave a person feeling like something is off about the other. Absence of non-verbal mimicry in a friendly interaction, or the presence of it in a professional setting, raises suspicion as it does not follow the relevant social norms. Individuals are left wondering what other unusual behavior the other might engage in.
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WebAR

WebAR, previously known as the Augmented Web, is a web technology that allows for augmented reality functionality within a web browser. It is a combination of HTML, Web Audio, WebGL, and WebRTC. From 2020s more known as web-based Augmented Reality or WebAR, which is about the use of augmented reality elements in browsers. It was the focus of a Birds of a Feather meeting at ISMAR2012 and is now the focus of the W3C Augmented Web Community Group. == Features == Browser augmented reality for smartphones has a number of features that distinguish it from similar content in special apps. No special applications are needed for Web AR. A regular browser is enough. And it can run to a certain extent on most browsers. It is easy to set up marketing analytics. By connecting the website to services that collect statistics, it is convenient to receive geographic coordinates, demographic characteristics and other information about users. Ability to add a CTA button. It is extremely important for marketing websites to place it so that the user can add contact information or place an order after considering the offer. Rich content. Browser augmented reality for tablets and smartphones supports 2D and 3D graphics, animation and other formats. Image marker tracking. If a QR code is selected as an activator for an AR element or just a picture on a flat surface, the device can easily read it. Various activation ways. Web AR can be marker and markerless, attached to geolocation, it can also be hidden in a direct link. Game content. Even simple games with simple mechanics, transferred into augmented reality, can delight the website visitor. Cross-platform. You can view content that complements our usual reality using any modern smartphone model. == Limitations == Performance is simply better on an app, where there's capacity for more memory and programs are executed in native code therefore it provides better visuals, better animations and better interactivity than in WebAR experience. A web page can only have access to certain parts of the device you're using, whereas a native app can access all of a device's capabilities. Meaning if you want the convenience of WebAR, you need to be thinking of simple but effective experiences instead. Compatibility. Not every mobile device has the required HW for AR performance. == Implementation == Browser support is evolving quickly and can best be monitored using services like Can I Use. Since this is a web application, there are platforms that support the creation of WebAR that are similar to normal web development platforms. Something which enables the creation of 3D assets and environments using a web framework that looks similar to HTML. Applications (like for example – A-Frame) are supported by 8th Wall, which is by the end of 2021 the leading SLAM tracking SDK for WebAR on the market. WebAR is currently limited mostly by the browser – so how much the technology will develop rather depends on what the big players like Google and Apple develop. For iOS device users, Apple developed AR Quick Look, an extension that enables users to use ARKit on the web. For Android devices your browser should support WebXR, an API that allows users to view AR/VR content without installing extra plugins or software, and have ARCore installed. There are many tools and frameworks that help developers in expanding the immersive web with WebAR. For example, AR.js is an open-source library for Augmented Reality on the Web for improved WebAR performance on smartphones that includes marker-based technology (simplified QR-codes) and location-based AR. Apple at the WWDC Conference 2018, announced that it has developed a new file format, working together with Pixar, called USDZ Universal. This file will allow developers to create 3d models for augmented reality. USDZ format was created by Apple together with Pixar Animation Studio and allowed developers to create 3D models for AR. == Industries == Where WebAR can be used from virtual guides, which can help students navigate through campus to virtual film posters: E-commerce and Advertising. Education. Entertainment. Business. Fashion. == Examples == Promotion of Spider-Man: Into the Spider-Verse for which 8th Wall developed the AR platform that made this interactive WebAR promoting the Sony animated smash hit. Everyone can invite teenage Spiderman/Miles Morales into their homes for some one-on-one interaction, take pictures and share the experience with friends. Sony Pictures included the QR code to launch this WebAR site in print promotions for the movie. Also in 2017 the advertising of Jumanji: The Next Level gave us the world's first WebAR activation with usage of Amazon Lex to power voice interaction (the same tool that powers Amazon Alexa), the experience sends users on a wild 3D adventure into the world of Jumanji! This was a collaboration between Sony Pictures and Trigger - The Mixed Reality Agency. The WebAR technology is powered by 8th Wall. And you can check it via the link to the official YouTube recording of the experience. RPR & Microsoft's Holographic Retail Platform, where Web AR brings a new twist to online shopping by allowing users to interact with 3D holographic images of models right from their smartphones' browsers. This experience is designed to increase buyer confidence and reduce clothing returns, which are two of the greatest challenges to purchasing clothing online. Digital Porsche Brand Academy was developed by the Team of svarmony Technologies GmbH and it is the first-to-market training tool that uses augmented reality to provide Porsche employees an immersive experience learning about the company's history and values. The star of this WebAR experience is an animated avatar that serves as a tour guide for Porsche's past, present, and future. Employees can explore realistically animated Porsche-locations, take a ride in a virtual Porsche, help assemble a car, and test Porsche knowledge via a quiz. The Digital Porsche Brand Academy is a great starter kit for employees to establish a relationship with the brand and align with the company's plans. == Future == By freeing smartphone users from having to install numerous apps, WebAR can make Augmented Reality far more accessible for them and more beneficial for business. The further development of the WebAR can be accelerated by the widespread social acceptance of the headsets that can give the whole other level of AR experience. This means instant access to the information when the contextually relevant content is appearing as the person's real background is changing.
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Futel

Futel is a public arts organization in Portland, Oregon dedicated to preserving and maintaining public telephone hardware and offering free phone and basic information services. Futel was founded by Karl Anderson, a former software engineer, and Elijah St. Clair. == Technology == Karl Anderson stated that one motivation for the project was to explore the idea of urban furniture. Other reasons were to preserve an important part of hacker history, and to salvage and re-use manufactured items at the end of their lifecycle. The original Futel phones were set up in Portland, Oregon. The organization cleans and repurposes old public payphones which are often salvaged from Craigslist or scrappers. Using interface boxes, they are converted into VoIP phones which are made available publicly, with no cost for phone calls. Anderson has said the service runs on "Asterisk and OpenVPN and a lot of scripts." The payphones operate using publicly-available internet connections. The phones have automated phone trees and users can make a call to local social services, to a weather forecast line, or access local transit information. Volunteers act as telephone operators, offering information about the Futel service, or are available for conversation. Users using Futel's phones may also access voicemail boxes. The system has a "wildcard line" where people can listen to samples of audio left on the main voicemail line along with commentary from Anderson and others. == Network == In February 2021, there were 10 Futel phones in Portland and 3 in other cities. Phones were set up in Detroit and Ypsilanti, Michigan, and Long Beach, Washington. The organization has provided free phone service for a Portland-area homeless encampment after receiving funding from the Awesome Foundation. In 2019 the organization reported their phones being used to make 12,000 phone calls. Futel also said their usage went up and not down during the first year of the COVID-19 pandemic when they outfitted their phone kiosks with handwashing stations and used volunteers to keep the phones clean. The project is funded is primarily through grants and is staffed with volunteers. The project has inspired others such as the PhilTel project in Philadelphia and the RandTel project in Randolph, Vermont. Futel publishes a zine called Party Line.
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Tweak programming environment

Tweak is a graphical user interface (GUI) layer written by Andreas Raab for the Squeak development environment, which in turn is an integrated development environment based on the Smalltalk-80 computer programming language. Tweak is an alternative to an earlier graphic user interface layer called Morphic. Development began in 2001. Applications that use the Tweak software include Sophie (version 1), a multimedia and e-book authoring system, and a family of virtual world systems: Open Cobalt, Teleplace, OpenQwaq, 3d ICC's Immersive Terf and the Croquet Project. == Influences == An experimental version of Etoys, a programming environment for children, used Tweak instead of Morphic. Etoys was a major influence on a similar Squeak-based programming environment known as Scratch.
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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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Hydration (web development)

In web development, hydration or rehydration is a technique in which client-side JavaScript converts a web page that is static from the perspective of the web browser, delivered either through static rendering or server-side rendering, into a dynamic web page by attaching event handlers to the HTML elements in the DOM. Because the HTML is pre-rendered on a server, this allows for a fast "first contentful paint" (when useful data is first displayed to the user), but there is a period of time afterward where the page appears to be fully loaded and interactive, but is not until the client-side JavaScript is executed and event handlers have been attached. Frameworks that use hydration include Next.js and Nuxt. React v16.0 introduced a "hydrate" function, which hydrates an element, in its API. == Variations == === Streaming server-side rendering === Streaming server-side rendering allows one to send HTML in chunks that the browser can progressively render as it is received. This can provide a fast first paint and first contentful paint as HTML markup arrives to users faster. === Progressive rehydration === In progressive rehydration, individual pieces of a server-rendered application are “booted up” over time, rather than the current common approach of initializing the entire application at once. This can help reduce the amount of JavaScript required to make pages interactive, since client-side upgrading of low priority parts of the page can be deferred to prevent blocking the main thread. It can also help avoid one of the most common server-side rendering rehydration pitfalls, where a server-rendered DOM tree gets destroyed and then immediately rebuilt – most often because the initial synchronous client-side render required data that wasn't quite ready, perhaps awaiting Promise resolution. === Partial rehydration === Partial rehydration has proven difficult to implement. This approach is an extension of the idea of progressive rehydration, where the individual pieces (components/views/trees) to be progressively rehydrated are analyzed and those with little interactivity or no reactivity are identified. For each of these mostly-static parts, the corresponding JavaScript code is then transformed into inert references and decorative functionality, reducing their client-side footprint to near-zero. The partial hydration approach comes with its own issues and compromises. It poses some interesting challenges for caching, and client-side navigation means it cannot be assumed that server-rendered HTML for inert parts of the application will be available without a full page load. One framework that supports partial rehydration is Elder.js, which is based on Svelte. === Trisomorphic rendering === Trisomorphic rendering is a technique which uses streaming server-side rendering for initial/non-JavaScript navigations, and then uses service workers to take on rendering of HTML for navigations after it has been installed. This can keep cached components and templates up to date and enables SPA-style navigations for rendering new views in the same session. This approach works best when one can share the same templating and routing code between the server, client page, and service worker.
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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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Drops (app)

Drops is a language learning app that was created in Estonia by Daniel Farkas and Mark Szulyovszky in 2015. It is the second product from the company, after their first app, LearnInvisible, had issues in retaining a user's engagement over the required time period. The languages available include Native Hawaiian and Māori, and was classified as one of the fifty "Most Innovative Companies" for 2019 by Fast Company. The company partnered with Global Eagle Entertainment to include Travel Talk, a feature intended to focus on words and phrases frequently used by travelers. At the beginning of the COVID-19 pandemic in March 2020, the number of users increased by 55 percent in the United States and 92 percent in the United Kingdom. Droplets, a language app for children, includes profiles for multiple teachers working with remote students. The company also produces an app called Scripts, intended to help users learn to write alphabets. The app was purchased by the Norwegian company Kahoot! on 24 November 2020.
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Nitro Zeus

Nitro Zeus is the project name for a well funded comprehensive cyber attack plan created as a mitigation strategy after the Stuxnet malware campaign and its aftermath. Unlike Stuxnet, that was loaded onto a system after the design phase to affect its proper operation, Nitro Zeus's objectives are built into a system during the design phase unbeknownst to the system users. This built-in feature allows a more assured and effective cyber attack against the system's users. The information about its existence was raised during research and interviews carried out by Alex Gibney for his Zero Days documentary film. The proposed long term widespread infiltration of major Iranian systems would disrupt and degrade communications, power grid, and other vital systems as desired by the cyber attackers. This was to be achieved by electronic implants in Iranian computer networks. The project was seen as one pathway in alternatives to full-scale war.
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Over-the-top media services in India

As per Govt of India, there are currently about 57 providers of over-the-top media services (OTT) in India, which distribute streaming media or video on demand over the Internet. == History and growth == The first dependent Indian OTT platform was BIGFlix, launched by Reliance Entertainment in 2008. In 2010 Digivive launched India's first OTT mobile app called nexGTv, which provides access to both live TV and on–demand content. nexGTV was the first app to live–stream Indian Premier League matches on smart phones and did so during 2013 and 2014. The livestream of the IPL since 2015, when rights were won, played an important role in the growth of another OTT platform, Hotstar (now JioHotstar) in India. OTT Platforms gained significant momentum in India when both DittoTV (Zee) and Sony Liv were launched in the Indian market around 2013. Following the initial push of Regional OTT platforms like Aha, Hoichoi, Sun NXT, Planet Marathi, Chaupal & MX Player. The Indian OTT industry saw rapid transformation with the entry of global OTT companies such as Netflix and Amazon Prime Video into the Indian market in 2016. Replacement of this competition with global enterprises caused local rivals to innovate in both region and hyper-regional content. === Hotstar === Hotstar (now JioHotstar) is the most subscribed–to OTT platform in India, owned by JioStar as of February 2025, with around 500 million active users and over 650 million downloads. According to Hotstar's India Watch Report 2018, 96% of watch time on Hotstar comes from videos longer than 20 minutes, while one–third of Hotstar subscribers watch television shows. In 2019, Hotstar began investing ₹120 crore in generating original content such as "Hotstar Specials." 80% of the viewership on Hotstar comes from drama, movies and sports programs. Hotstar has the exclusive streaming rights of IPL in India. === Netflix === American streaming service Netflix entered India in January 2016. In April 2017, it was registered as a limited liability partnership (LLP) and started commissioning content. It earned a net profit of ₹2020,000 (₹2.02 million) for fiscal year 2017. In fiscal year 2018, Netflix earned revenues of ₹580 million. According to Morgan Stanley Research, Netflix had the highest average watch time of more than 120 minutes but viewer counts of around 20 million in July 2018. As of 2018, Netflix has six million subscribers, of which 5–6% are paid members. India was not affected by Netflix's July 2018 increase in subscription rates for the US and Latin America. Netflix has stated its intent to invest ₹600 crore in the production of Indian original programming. In late 2018, Netflix bought 150,000 square feet (14,000 m2) of office space in Bandra–Kurla Complex (BKC) in Mumbai as their head office. As of December 2018, Netflix has more than 40 employees in India. === Other OTT providers === Sun NXT is an Indian video on demand service run by Sun TV Network. It was launched in June 2017, streaming in the Tamil language and six other languages. The platform has more than 4,000 Tamil movies and 200 Tamil shows, as well as regional movies and shows. Sun NXT also streams a large library of its own Sun TV shows and movies. Amazon Prime Video was launched in 2016. The platform has 2,300 titles available including 2,000 movies and about 400 shows. It has announced that it will invest ₹20 billion in creating original content in India. Besides English, Prime Video is available in six Indian languages as of December 2018. Amazon India launched Amazon Prime Music in February 2018. Eros Now, an OTT platform launched by Eros International, has the most content among the OTT providers in India, including over 12,000 films, 100,000 music tracks and albums, and 100 TV shows. Eros Now was named the Best OTT Platform of the Year 2019 at the British Asian Media Awards. It has 211.5 million registered users and 36.2 million paying subscribers as of September 2020. In February 2020, Aha OTT platform was launched, broadcasting exclusively Telugu content. In 2021, Planet Marathi became the first OTT platform dedicated to Marathi content in India, including web-series, films, music, theater, fiction and non-fiction reality shows. It is available for both Android and iOS mobile devices along with Android TV and Amazon Fire TV devices. Bollywood actress Madhuri Dixit helped launch the platform. With rising interest for Korean dramas, Rakuten Viki saw its biggest jump of web traffic from India in 2020 due to the COVID-19 lockdown, which led to ad localization on the platform. The OTT market in fiscal year 2020 was estimated to be worth $1.7 billion. === SonyLIV and ZEE5 === In December 2021, Sony and Zee announced their merger, and announced plans to merge their OTT platforms. The merger was called off. === OTT services launched as Amazon Prime video channels === The list is by alphabetical order, not by rank or popularity. == Content regulation == Due to the absence of any rules and regulation regarding OTT content, many OTT providers were accused of showing nudity, vulgarity and obscenity and hurting Hindu religious sentiments in their shows. Series which were the focus of controversy include Four More Shots Please!, Tandav, Paatal Lok, Sacred Games, Mirzapur Lust stories franchise, Rana Naidu. Thank You for Coming, and Annapoorani (2023). According to media reports, between 2018 and 2024, some OTT platforms emerged which started showing porn in the form of web series. Both the Supreme Court and Delhi High Court say that OTT regulation is necessary. === OTT regulation === On 25 Feb 2021, Indian govt introduced self-regulation rules for OTT platforms to stop obscene content and abusive language. On 19 March 2023, I&B minister Anurag Thakur said that self regulation does not mean that OTT should show obscenity and nudity. On 15 April 2023, I&B Secretary Apurva Chandra has said because of the government's soft-touch regulations on OTT industry have led to the creation of content that is undesirable and vulgar. On 26 April 2023, MIB India said that if nudity and obscenity is seen on any OTT platform, strict action will be taken against it. On 16 May 2023, Don't show obscene content, parliamentary panel told to Netflix and Amazon Prime Video. On 20 June 2023, the government told Netflix, Disney+ Hotstar and all other streaming services that their content should be independently reviewed for obscenity and violence before being shown online. On 27 June 2023, DPCGC took punitive action against Ullu for streaming obscene content and asked them to remove all their explicit shows or remove all adult scenes within 15 days. On 18 July 2023, Anarug Thakur said in a meeting with all OTT stakeholders that demeaning Indian culture will not be tolerated. OTT can't show vulgarity and nudity in the garb of 'creative expression'.The cited sources do not mention vulgarity - they say this was about demeaning Indian culture/society. On 22 August 2023, Indian government assured that it will bring rules and regulation to regulate vulgar and obscene content on social media and OTT platforms. On 10 November 2023, MIB India introduces the 'Broadcasting Service Regulation Bill', which included Programme code with Content Evaluation Committee(CEC) for every OTT platforms. Currently public consultation is ongoing till 15 January 2024. The draft bill mandates that all OTT streaming platforms can only broadcast those web series or content, which will be duly certified by Content Evaluation Committee(CEC). On 14 March 2024, the Ministry of Information and Broadcasting banned over 18 OTT apps from Google play store and suspended all of their 57 social media accounts, as well as closed nineteen streaming websites. The banned platforms were MoodX, Prime Play, Hunters, Besharams, Rabbit movies, Voovi, Fugi, Mojflix, Chikooflix, Nuefliks, Xtramood, NeonX VIP, X Prime, Tri Flicks, Uncut Adda, Dreams Films, Hot Shots VIP, and Yessma. On 25 July 2025, the Ministry of Information and Broadcasting banned from 25 OTT apps from Google play store and suspended all of their 40 social media accounts, as well as 26 closed streaming websites. The banned platforms were include ALTT, Ullu, Big Shots App, Desiflix, Boomex, NeonX VIP, Navarasa Lite, Gulab App, Kangan App, Bull App, ShowHit, Jalva App, Wow Entertainment, Look Entertainment, Hitprime, Fugi, Feneo, ShowX, Sol Talkies, Adda TV, HotX VIP, Hulchul App, MoodX, Triflicks, and Mojflix. On 24 February 2026, the Ministry of Information and Broadcasting banned from 5 OTT apps from Google play store and suspended all of their 5 social media accounts, as well as 5 closed streaming websites. The banned platforms were include Feel App, Digi Movieplex, Jugnu App, MoodX VIP, and Koyal Playpro. === Legal action === Currently OTT is regulated under the IT Rules 2021, which clearly stated that 'No content that is prohibited by law at the time being force can be Publishing or transmitted'. MIB has continuously taking action
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