AI Assistant Qt

AI Assistant Qt — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Aphelion (software)

    Aphelion (software)

    The Aphelion Imaging Software Suite is a software suite that includes three base products - Aphelion Lab, Aphelion Dev, and Aphelion SDK for addressing image processing and image analysis applications. The suite also includes a set of extension programs to implement specific vertical applications that benefit from imaging techniques. The Aphelion software products can be used to prototype and deploy applications, or can be integrated, in whole or in part, into a user's system as processing and visualization libraries whose components are available as both DLLs or .Net components. == History and evolution == The development of Aphelion started in 1995 as a joint project of a French company, ADCIS S.A., and an American company, Amerinex Applied Imaging, Inc. (AAI) Aphelion's image processing and analysis functions were made from operators available from the KBVision software developed and sold by Amerinex's predecessor, Amerinex Artificial Intelligence Inc. In the 1990s, the XLim software library was developed at the Center of Mathematical Morphology of Mines ParisTech, and both companies carried out its development tasks. The first version of Aphelion was completed and released in April 1996. Successive versions were released before the first official stable release in December 1996 at the Photonics East conference in Boston and the Solutions Vision show in Paris in January 1997, where at the latter it competed with Stemmer Imaging's CVB imaging toolbox. In 1998, version 2.3 of Aphelion for Windows 98 was released, and its user base was growing in both France and the United States. Version 3.0, totally rewritten to take advantage of Microsoft's then-recent ActiveX technology, was officially released in 2000. It also became available as a « Developer » version, for rapid prototyping of applications using its intuitive GUI and the macro recording capability, and a « Core » version, including the full library as a set of ActiveX components to be used by software developers, integrators and original equipment manufacturers (OEM). As AAI turned its focus to security, in 2001, ADCIS took the lead on developing Aphelion. AAI focused on millimeter wave scanners for concealed weapon detection at airports, and eventually merged with Millimetrics to become Millivision. In 2004, ADCIS specified version 4.0 of Aphelion. The set of image processing/analysis functions was rewritten one more time to be compatible with the .NET technology and the emergence of 64 bit architecture PCs. In addition, the GUI was redesigned to address two usage types: a semi-automatic use where the user is guided through the different steps of functions, and a fully automatic use where the expert user can quickly invoke imaging functions. Its first release was presented at the IPOT exhibition in Birmingham, UK the same year. During the Vision Show in Paris in October 2008, the new Aphelion Lab product was launched for users that are not specialists in image processing. It is easier to use, and only includes fewer image processing functions. It was then included in the Aphelion Image Processing Suite, consisting of Aphelion Dev (replacing Aphelion Developer), Aphelion Lab, Aphelion SDK (replacing Aphelion Core), and a set of extensions. Nowadays, ADCIS is still working on the suite, and updated versions with new extensions and functionalities continually become available from the websites of both companies. In 2015, support was added for very large images and scan microscope images (virtual slides compound into a very large JPEG 2000 image) for high throughput imaging, and new specific extensions were also added. In late 2015, ADCIS announced Aphelion's port for tablets and smartphones, for vertical applications. The name "Aphelion" comes from the astronomical term of the same name, meaning the point on a planet rotating around the Sun where it lies farthest from it, applying the term in a metaphorical sense. Unix was the operating system used on scientific workstations in the 1990s, such as on the workstations manufactured by market leader Sun Microsystems, which Windows suite Aphelion was quite removed from. == Description == Aphelion is a software suite to be used for image processing and image analysis. It supports 2D and 3D, monochrome, color, and multi-band images. It is developed by ADCIS, a French software house located in Saint-Contest, Calvados, Normandy. Aphelion is widely used in the scientific/industry community to solve basic and complex imaging applications. First, the imaging application is quickly developed from the Graphical User Interface, involving a set of functions that can be automatically recorded into a macro command. The macro languages available in Aphelion (i.e. BasicScript, Python, and C#) help to process batch of images, and prompt the user if needed for specific parameters that are applied to the imaging functions. All Aphelion image processing functions are written in C++, and the Aphelion user interface is written in C#. C++ functions can be called from the C# language thanks the use of dedicated wrappers. The main principle of image processing is to automatically process pixels of a digital image, then extract one or more objects of interest (i.e. cells in the field of biology, inclusions in the field of material science) and compute one or more measurements on those objects to quantify the image and generate a verdict (good image, image with defects, cancerous cells). In other words, starting from an image, pixels are processed by a set of successive functions or operators until only measurements are computed and used as the input of a 3rd party system or a classification software that will classify objects of interest that have been extracted during the imaging process. An acquisition system such as a digital camera, a video camera, an optical or electron microscope, a medical scanner, or a smartphone can be used to capture images. The set of values or pixels can be processed as a 1D image (1D signal), a 2D image (array of pixel values corresponding to a monochrome or color image), or a 3D image displayed using volume rendering (array of voxels in the 3D space) or displaying surfaces by using 3D rendering. A 2D color image is made of 3 value pixels (typically Red, Green, and Blue information or another color space), and a 3D image is made of monochrome, color (indexed color are often used), multispectral, or hyperspectral data. When dealing with videos, an additional band is added corresponding to temporal information. The Aphelion Software Suite includes three base products, and a set of optional extensions for specific applications: Aphelion Lab: Entry-level package for non-experts in image processing. It helps to quickly segment an image in a semi-automatic or manual ways, and compute a set of measurements computed on objects of interest that have been extracted during the segmentation process. A set of wizards guides the user from image acquisition to report generation. Aphelion Dev: Full imaging environment including over 450 functions to develop and deploy an application that involves image processing and analysis. It also includes a set of macro-command languages to automate any application to be invoked from the user interface. It also helps to run the imaging algorithm on more than one image that are stored on disk, available on the network, or captured by an acquisition device. Aphelion libraries for image processing and visualization are provided in Aphelion Dev as DLLs and .Net components. Aphelion SDK: A set of libraries to develop a stand-alone application with a custom interface based on the Aphelion libraries. This software development kit including display, processing and analysis functions that can be used by software developers and OEMs. It is provided as DLLs and .Net components. The stand-alone application is typically developed in C# on one computer, and then deployed on multiple PCs and systems. A set of optional extensions can be added to the « Aphelion Dev » product, depending on the application. An evaluation version of Aphelion can be run on a PC for 30 days. A permanent version of Aphelion is available based on a perpetual license. Upgrades are available through a maintenance agreement based on a yearly fee. Technical support is provided by the engineers who are developing the product. The goal of image processing is usually to extract object(s) of interest in an image, and then to classify them based on some characteristics such as shape, density, position, etc. Using Aphelion, this goal is achieved by performing the following tasks: Load an image from disk or acquire an image using an acquisition device. Enhance the image removing noise or modifying its contrast. Segment the image extracting objects of interest to be measured and analyzed. Typically, for simple applications, a threshold is performed to generate a binary image. Then, morphological operators are applied to clean the image and only keep obj

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  • Prix Ars Electronica

    Prix Ars Electronica

    The Prix Ars Electronica is one of the best known and longest running yearly prizes in the field of electronic and interactive art, computer animation, digital culture and music. It has been awarded since 1987 by Ars Electronica (Linz, Austria). In 2005, the Golden Nica, the highest prize, was awarded in six categories: "Computer Animation/Visual Effects," "Digital Musics," "Interactive Art," "Net Vision," "Digital Communities" and the "u19" award for "freestyle computing." Each Golden Nica came with a prize of €10,000, apart from the u19 category, where the prize was €5,000. In each category, there are also Awards of Distinction and Honorary Mentions. The Golden Nica trophy is a replica of the Greek Nike of Samothrace. It is a handmade gold-plated wooden statuette that is approximately 35 cm high with a wingspan of about 20 cm. "Prix Ars Electronica" is a phrase composed of French, Latin and Spanish words, loosely translated as "Electronic Arts Prize." == Golden Nica winners == === Computer animation / film / vfx === The "Computer Graphics" category (1987–1994) was open to different kinds of computer images. The "Computer Animation" (1987–1997) was replaced by the current "Computer Animation/Visual Effects" category in 1998. ==== Computer Graphics ==== 1987 – Figur10 by Brian Reffin Smith, UK 1988 – The Battle by David Sherwin, US 1989 – Gramophone by Tamás Waliczky, HU 1990 – P-411-A by Manfred Mohr, Germany 1991 – Having encountered Eve for the second time, Adam begins to speak by Bill Woodard, US 1992 – RD Texture Buttons by Michael Kass and Andrew Witkin, US 1993 – Founders Series by Michael Tolson, US 1994 – Jellylife / Jellycycle / Jelly Locomotion by Michael Joaquin Grey, US ==== Computer Animation ==== 1987 – Luxo Jr. by John Lasseter, US 1988 – Red's Dream by John Lasseter, US 1989 – Broken Heart by Joan Staveley, US 1990 – Footprint by Mario Sasso and Nicola Sani, IT 1991 – Panspermia by Karl Sims, US 1992 – Liquid Selves / Primordial Dance by Karl Sims, US 1993 – Lakmé by Pascal Roulin, BE 1994 – Jurassic Park by Dennis Muren, Mark Dippé and Steve Williams, US/CA Distinction: Quarxs by Maurice Benayoun, FR Distinction: K.O. Kid by Marc Caro, FR 1995 – God's Little Monkey by David Atherton and Bob Sabiston, US 1996 – Toy Story by John Lasseter, Lee Unkrich and Ralph Eggleston, US 1997 – Dragonheart by Scott Squires, Industrial Light & Magic (ILM), US ==== Computer Animation/Visual Effects ==== 1998 – The Sitter by Liang-Yuan Wang, TW Titanic by Robert Legato and Digital Domain, US 1999 – Bunny by Chris Wedge, US What Dreams May Come by Mass Illusions, POP, Digital Domain, Vincent Ward, Stephen Simon and Barnet Bain, US 2000 – Maly Milos by Jakub Pistecky, CA Maaz by Christian Volckman, FR 2001 – Le Processus by Xavier de l’Hermuzičre and Philippe Grammaticopoulos, FR 2002 – Monsters, Inc. by Andrew Stanton, Lee Unkrich, Pete Docter and David Silverman, US 2003 – Tim Tom by Romain Segaud and Cristel Pougeoise, FR 2004 – Ryan by Chris Landreth, US. Distinction: Parenthèse from Francois Blondeau, Thibault Deloof, Jérémie Droulers, Christophe Stampe, France Distinction: Birthday Boy from Sejong Park, Australia 2005 – Fallen Art by Tomek Baginski, Poland. Distinction: The Incredibles from Pixar Distinction: City Paradise by Gaëlle Denis (UK), Passion Pictures (FR) 2006 – 458nm by Jan Bitzer, Ilija Brunck, Tom Weber, Filmakademie Baden-Württemberg, Germany. Distinction: Kein platz Für Gerold by Daniel Nocke / Studio Film Bilder, Germany Distinction: Negadon, the monster from Mars, by Jun Awazu, Japan 2007 – Codehunters by Ben Hibon, (UK) 2008 – Madame Tutli-Putli by Chris Lavis, Maciek Szczerbowski. (Directors), Jason Walker (Special Visual Effects), National Film Board of Canada 2009 – HA'Aki by Iriz Pääbo, National Film Board of Canada 2010 – Nuit Blanche by Arev Manoukian (Director), Marc-André Gray (Visual Effects Artist), National Film Board of Canada 2011 – Metachaos by Alessandro Bavari (IT) 2012 – Rear Window Loop by Jeff Desom (LU) Distinction: Caldera by Evan Viera/Orchid Animation (US) Distinction: Rise of the Planet of the Apes by Weta Digital (NZ)/Twentieth Century Fox 2013 – Forms by Quayola (IT), Memo Akten (TR) Distinction: Duku Spacemarines by La Mécanique du Plastique (FR) Distinction: Oh Willy… by Emma De Swaef (BE), Marc James Roels (BE) / Beast Animation 2014 – Walking City by Universal Everything (UK) 2015 – Temps Mort by Alex Verhaest (BE)[1] Distinction: Bär by Pascal Floerks (DE) Distinction: The Reflection of Power by Mihai Grecu (RO/HU) === Digital Music === This category is for those making electronic music and sound art through digital means. From 1987 to 1998 the category was known as "Computer music." Two Golden Nicas were awarded in 1987, and none in 1990. There was no Computer Music category in 1991. 1987 – Peter Gabriel and Jean-Claude Risset 1988 – Denis Smalley 1989 – Kaija Saariaho 1990 – None 1991 – Category omitted 1992 – Alejandro Viñao 1993 – Bernard Parmegiani 1994 – Ludger Brümmer Distinction: Jonathan Impett 1995 – Trevor Wishart 1996 – Robert Normandeau 1997 – Matt Heckert 1998 – Peter Bosch and Simone Simons (joint award) 1999 – Come to Daddy by Aphex Twin (Richard D. James) and Chris Cunningham (joint award) Distinction: Birthdays by Ikue Mori (JP) Distinction: Mego (label), Hotel Paral.lel by Christian Fennesz, Seven Tons For Free by Peter Rehberg (a.k.a. Pita) 2000 – 20' to 2000 by Carsten Nicolai Distinction: Minidisc by Gescom Distinction: Outside the Circle of Fire by Chris Watson 2001 – Matrix by Ryoji Ikeda 2002 – Man'yo Wounded 2001 by Yasunao Tone 2003 – Ami Yoshida, Sachiko M and Utah Kawasaki (joint award) 2004 – Banlieue du Vide by Thomas Köner 2005 – TEO! A Sonic Sculpture by Maryanne Amacher 2006 – L'île ré-sonante by Éliane Radigue 2007 – Reverse-Simulation Music by Mashiro Miwa 2008 – Reactable by Sergi Jordà (ES), Martin Kaltenbrunner (AT), Günter Geiger (AT) and Marcos Alonso (ES) 2009 – Speeds of Time versions 1 and 2 by Bill Fontana (US) 2010 – rheo: 5 horizons by Ryoichi Kurokawa (JP) 2011 – Energy Field by Jana Winderen (NO) 2012 – "Crystal Sounds of a Synchrotron" by Jo Thomas (GB) 2013 – frequencies (a) by Nicolas Bernier (CA) Distinction: SjQ++ by SjQ++ (JP) Distinction: Borderlands Granular by Chris Carlson (US) 2015 – Chijikinkutsu by Nelo Akamatsu (JP) Distinction: Drumming is an elastic concept by Josef Klammer (AT) Distinction: Under Way by Douglas Henderson (DE) 2017 – Not Your World Music: Noise In South East Asia by Cedrik Fermont (CD/BE/DE), Dimitri della Faille (BE/CA) Distinction: Gamelan Wizard by Lucas Abela (AU), Wukir Suryadi (ID) und Rully Shabara (ID) Distinction: Corpus Nil by Marco Donnarumma (DE/IT) === Hybrid art === 2007 – Symbiotica 2008 – Pollstream – Nuage Vert by Helen Evans (FR/UK) and Heiko Hansen (FR/DE) HeHe 2009 – Natural History of the Enigma by Eduardo Kac (US) 2010 – Ear on Arm by Stelarc (AU) 2011 – May the Horse Live in me by Art Orienté Objet (FR) 2012 – Bacterial radio by Joe Davis (US) Distinction: Free Universal Construction Kit (F.U.C.K.) by Golan Levin and Shawn Sims 2013 – Cosmopolitan Chicken Project, Koen Vanmechelen (BE) 2015 – Plantas Autofotosintéticas, Gilberto Esparza (MX) 2017 – K-9_topology, Maja Smrekar (SI) === [the next idea] voestalpine Art and Technology Grant === 2009 – Open_Sailing by Open_Sailing Crew led by Cesar Harada. 2010 – Hostage by [Frederik De Wilde]. 2011 – Choke Point Project by P2P Foundation (NL). 2012 – qaul.net – tools for the next revolution by Christoph Wachter & Mathias Jud 2013 – Hyperform by Marcelo Coelho (BR), Skylar Tibbits (US), Natan Linder (IL), Yoav Reaches (IL) Honorary Mentions: GravityLight by Martin Riddiford (GB), Jim Reeves (GB) 2014 – BlindMaps by Markus Schmeiduch, Andrew Spitz and Ruben van der Vleuten 2015 – SOYA C(O)U(L)TURE by XXLab (ID) – Irene Agrivina Widyaningrum, Asa Rahmana, Ratna Djuwita, Eka Jayani Ayuningtias, Atinna Rizqiana === Interactive Art === Prizes in the category of interactive art have been awarded since 1990. This category applies to many categories of works, including installations and performances, characterized by audience participation, virtual reality, multimedia and telecommunication. 1990 – Videoplace installation by Myron Krueger 1991 – Think About the People Now project by Paul Sermon 1992 – Home of the Brain installation by Monika Fleischmann and Wolfgang Strauss 1993 – Simulationsraum-Mosaik mobiler Datenklänge (smdk) installation by Knowbotic Research 1994 – A-Volve environment by Christa Sommerer and Laurent Mignonneau 1995 – the concept of Hypertext, attributed to Tim Berners-Lee 1996 – Global Interior Project installation by Masaki Fujihata 1997 – Music Plays Images X Images Play Music concert by Ryuichi Sakamoto and Toshio Iwai 1998 – World Skin, a Photo Safari in the Land of War installation by Jean-Baptiste Barrière and Maurice Benayoun 1999 – Difference Engine #3 by construct and Lynn Hershman 2000 – Vectorial Elevati

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  • Web API

    Web API

    A web API is an application programming interface (API) for either a web server or a web browser. As a web development concept, it can be related to a web application's client side (including any web frameworks being used). A server-side web API consists of one or more publicly exposed endpoints to a defined request–response message system, typically expressed in JSON or XML by means of an HTTP-based web server. A server API (SAPI) is not considered a server-side web API, unless it is publicly accessible by a remote web application. == Client side == A client-side web API is a programmatic interface to extend functionality within a web browser or other HTTP client. Originally these were most commonly in the form of native plug-in browser extensions however most newer ones target standardized JavaScript bindings. The Mozilla Foundation created their WebAPI specification which is designed to help replace native mobile applications with HTML5 applications. Google created their Native Client architecture which is designed to help replace insecure native plug-ins with secure native sandboxed extensions and applications. They have also made this portable by employing a modified LLVM AOT compiler. == Server side == A server-side web API consists of one or more publicly exposed endpoints to a defined request–response message system, typically expressed in JSON or XML. The web API is exposed most commonly by means of an HTTP-based web server. Mashups are web applications which combine the use of multiple server-side web APIs. Webhooks are server-side web APIs that take input as a Uniform Resource Identifier (URI) that is designed to be used like a remote named pipe or a type of callback such that the server acts as a client to dereference the provided URI and trigger an event on another server which handles this event thus providing a type of peer-to-peer IPC. === Endpoints === Endpoints are important aspects of interacting with server-side web APIs, as they specify where resources can be accessed by third-party software. Usually the access is via a URI to which HTTP requests are posted, and from which the response is thus expected. Web APIs may be public or private, the latter of which requires an access token. Endpoints need to be static, otherwise the correct functioning of software that interacts with them cannot be guaranteed. If the location of a resource changes (and with it the endpoint) then previously written software will break, as the required resource can no longer be found at the same place. As API providers still want to update their web APIs, many have introduced a versioning system in the URI that points to an endpoint. === Resources versus services === Web 2.0 Web APIs often use machine-based interactions such as REST and SOAP. RESTful web APIs use HTTP methods to access resources via URL-encoded parameters, and use JSON or XML to transmit data. By contrast, SOAP protocols are standardized by the W3C and mandate the use of XML as the payload format, typically over HTTP. Furthermore, SOAP-based Web APIs use XML validation to ensure structural message integrity, by leveraging the XML schemas provisioned with WSDL documents. A WSDL document accurately defines the XML messages and transport bindings of a Web service. === Documentation === Server-side web APIs are interfaces for the outside world to interact with the business logic. For many companies this internal business logic and the intellectual property associated with it are what distinguishes them from other companies, and potentially what gives them a competitive edge. They do not want this information to be exposed. However, in order to provide a web API of high quality, there needs to be a sufficient level of documentation. One API provider that not only provides documentation, but also links to it in its error messages is Twilio. However, there are now directories of popular documented server-side web APIs. === Growth and impact === The number of available web APIs has grown consistently over the past years, as businesses realize the growth opportunities associated with running an open platform, that any developer can interact with. ProgrammableWeb tracks over 24000 Web APIs that were available in 2022, up from 105 in 2005. Web APIs have become ubiquitous. There are few major software applications/services that do not offer some form of web API. One of the most common forms of interacting with these web APIs is via embedding external resources, such as tweets, Facebook comments, YouTube videos, etc. In fact there are very successful companies, such as Disqus, whose main service is to provide embeddable tools, such as a feature-rich comment system. Any website of the TOP 100 Alexa Internet ranked websites uses APIs and/or provides its own APIs, which is a very distinct indicator for the prodigious scale and impact of web APIs as a whole. As the number of available web APIs has grown, open source tools have been developed to provide more sophisticated search and discovery. APIs.json provides a machine-readable description of an API and its operations, and the related project APIs.io offers a searchable public listing of APIs based on the APIs.json metadata format. === Business === ==== Commercial ==== Many companies and organizations rely heavily on their Web API infrastructure to serve their core business clients. In 2014 Netflix received around 5 billion API requests, most of them within their private API. ==== Governmental ==== Many governments collect a lot of data, and some governments are now opening up access to this data. The interfaces through which this data is typically made accessible are web APIs. Web APIs allow for data, such as "budget, public works, crime, legal, and other agency data" to be accessed by any developer in a convenient manner. == Example == An example of a popular web API is the Astronomy Picture of the Day API operated by the American space agency NASA. It is a server-side API used to retrieve photographs of space or other images of interest to astronomers, and metadata about the images. According to the API documentation, the API has one endpoint: https://api.nasa.gov/planetary/apod The documentation states that this endpoint accepts GET requests. It requires one piece of information from the user, an API key, and accepts several other optional pieces of information. Such pieces of information are known as parameters. The parameters for this API are written in a format known as a query string, which is separated by a question mark character (?) from the endpoint. An ampersand (&) separates the parameters in the query string from each other. Together, the endpoint and the query string form a URL that determines how the API will respond. This URL is also known as a query or an API call. In the below example, two parameters are transmitted (or passed) to the API via the query string. The first is the required API key and the second is an optional parameter — the date of the photograph requested. https://api.nasa.gov/planetary/apod?api_key=DEMO_KEY&date=1996-12-03 Visiting the above URL in a web browser will initiate a GET request, calling the API and showing the user a result, known as a return value or as a return. This API returns JSON, a type of data format intended to be understood by computers, but which is somewhat easy for a human to read as well. In this case, the JSON contains information about a photograph of a white dwarf star: The above API return has been reformatted so that names of JSON data items, known as keys, appear at the start of each line. The last of these keys, named url, indicates a URL which points to a photograph: https://apod.nasa.gov/apod/image/9612/ngc2440_hst2.jpg Following the above URL, a web browser user would see this photo: Although this API can be called by an end user with a web browser (as in this example) it is intended to be called automatically by software or by computer programmers while writing software. JSON is intended to be parsed by a computer program, which would extract the URL of the photograph and the other metadata. The resulting photo could be embedded in a website, automatically sent via text message, or used for any other purpose envisioned by a software developer.

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  • Electric Literature

    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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  • EasyA

    EasyA

    EasyA is a web3 technology company and education platform based in London (United Kingdom), founded in 2022 by Phil Kwok and Dom Kwok. EasyA was officially launched in 2022, focusing on web3 technologies. This community was influenced by the founders' experiences during the COVID-19 pandemic and early collaborations with universities and other educational institutions. Subsequently, the community was used as a foundation for developing Web3-related initiatives, including the organisation of EasyA's first Web3 hackathon in 2022. The EasyA app has over one million users and provides educational content on various blockchain technologies. EasyA Labs is a separate initiative focused on developing products intended to improve accessibility to cryptocurrency for a broader audience.

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  • VHS

    VHS

    VHS (Video Home System) is a discontinued standard for consumer-level analog video recording on tape cassettes, introduced in 1976 by JVC. It was the dominant home video format throughout the tape media period of the 1980s and 1990s. Magnetic tape video recording was adopted by the television industry in the 1950s in the form of the first commercialized video tape recorders (VTRs), but the devices were expensive and used only in professional environments. In the 1970s, videotape technology became affordable for home use, and widespread adoption of videocassette recorders (VCRs) began; the VHS became the most popular media format for VCRs as it would win the "format war" against Betamax (backed by Sony) and a number of other competing tape standards. The cassettes themselves use a 0.5-inch (12.7 mm) magnetic tape between two spools and typically offer a capacity of at least two hours. The popularity of VHS was intertwined with the rise of the video rental market, when films were released on pre-recorded videotapes for home viewing. Newer improved tape formats such as S-VHS were later developed, as well as the earliest optical disc format, LaserDisc; the lack of global adoption of these formats increased VHS's lifetime, which eventually peaked and started to decline in the late 1990s after the introduction of DVD, a digital optical disc format. VHS rentals were surpassed by DVD in the United States in 2003, which eventually became the preferred low-end method of movie distribution. For home recording purposes, VHS and VCRs were surpassed by (typically hard disk–based) digital video recorders (DVR) in the 2000s. Production of all VHS equipment ceased by 2016, although the format has since gained some popularity amongst collectors. A niche revival of VHS has taken place with This Is How The World Ends becoming the first straight-to-VHS release in 20 years. == History == === Before VHS === In 1956, after several attempts by other companies, the first commercially successful VTR, the Ampex VRX-1000, was introduced by Ampex Corporation. At a price of US$50,000 in 1956 (equivalent to $592,000 in 2025) and US$300 (equivalent to $3,600 in 2025) for a 90-minute reel of tape, it was intended only for the professional market. Kenjiro Takayanagi, a television broadcasting pioneer then working for JVC as its vice president, saw the need for his company to produce VTRs for the Japanese market at a more affordable price. In 1959, JVC developed a two-head video tape recorder and, by 1960, a color version for professional broadcasting. In 1964, JVC released the DV220, which would be the company's standard VTR until the mid-1970s. In 1969, JVC collaborated with Sony and Matsushita Electric (Matsushita was the majority stockholder of JVC until 2011) to build a video recording standard for the Japanese consumer. The effort produced the U-matic format in 1971, which was the first cassette format to become a unified standard for different companies. It was preceded by the reel-to-reel 1⁄2-inch EIAJ format. The U-matic format was successful in businesses and some broadcast television applications, such as electronic news-gathering, and was produced by all three companies until the late 1980s, but because of cost and limited recording time, very few of the machines were sold for home use. Therefore, soon after the U-Matic release, all three companies started working on new consumer-grade video recording formats of their own. Sony started working on Betamax, Matsushita started working on VX, and JVC released the CR-6060 in 1975, based on the U-matic format. === VHS development === In 1971, JVC engineers Yuma Shiraishi and Shizuo Takano put together a team to develop a VTR for consumers. By the end of 1971, they created an internal diagram, "VHS Development Matrix", which established twelve objectives for JVC's new VTR; among them: The system must be compatible with any ordinary television set. Picture quality must be similar to a normal air broadcast. The tape must have at least a two-hour recording capacity. Tapes must be interchangeable between machines. The overall system should be versatile, meaning it can be scaled and expanded, such as connecting a video camera, or dubbing between two recorders. Recorders should be affordable, easy to operate, and have low maintenance costs. Recorders must be capable of being produced in high volume, their parts must be interchangeable, and they must be easy to service. In early 1972, the commercial video recording industry in Japan took a financial hit. JVC cut its budgets and restructured its video division, shelving the VHS project. However, despite the lack of funding, Takano and Shiraishi continued to work on the project in secret. By 1973, the two engineers had produced a functional prototype. === Competition with Betamax === In 1974, the Japanese Ministry of International Trade and Industry (MITI), desiring to avoid consumer confusion, attempted to force the Japanese video industry to standardize on just one home video recording format. Later, Sony had a functional prototype of the Betamax format, and was very close to releasing a finished product. With this prototype, Sony persuaded the MITI to adopt Betamax as the standard, and allow it to license the technology to other companies. JVC believed that an open standard, with the format shared among competitors without licensing the technology, was better for the consumer. To prevent the MITI from adopting Betamax, JVC worked to convince other companies, in particular Matsushita (Japan's largest electronics manufacturer at the time, marketing its products under the National brand in most territories and the Panasonic brand in North America, and JVC's majority stockholder), to accept VHS, and thereby work against Sony and the MITI. Matsushita agreed, fearing Sony would dominate the market with a Betamax monopoly. Matsushita also regarded Betamax's one-hour recording time limit as a disadvantage. Matsushita's backing of JVC persuaded Hitachi, Mitsubishi, and Sharp to back the VHS standard as well. Sony's release of its Betamax unit to the Japanese market in 1975 placed further pressure on the MITI to side with the company. However, the collaboration of JVC and its partners was much stronger, which eventually led the MITI to drop its push for an industry standard. JVC released the first VHS machines in Japan in late 1976, and in the United States in mid-1977. Sony's Betamax competed with VHS throughout the late 1970s and into the 1980s (see Videotape format war). Betamax's major advantages were its smaller cassette size, theoretical higher video quality, and earlier availability, but its shorter recording time proved to be a major shortcoming. Originally, Beta I machines using the NTSC television standard were able to record one hour of programming at their standard tape speed of 1.5 inches per second (ips). The first VHS machines could record for two hours, due to both a slightly slower tape speed (1.31 ips) and significantly longer tape. Betamax's smaller cassette limited the size of the reel of tape, and could not compete with VHS's two-hour capability by extending the tape length. Instead, Sony had to slow the tape down to 0.787 ips (Beta II) in order to achieve two hours of recording in the same cassette size. Sony eventually created a Beta III speed of 0.524 ips, which allowed NTSC Betamax to break the two-hour limit, but by then VHS had already won the format battle. Additionally, VHS had a "far less complex tape transport mechanism" than Betamax, and VHS machines were faster at rewinding and fast-forwarding than their Sony counterparts. VHS eventually won the war, gaining 60% of the North American market by 1980. == Initial releases of VHS-based devices == The first VCR to use VHS was the Victor HR-3300, and was introduced by the president of JVC in Japan on September 9, 1976. JVC started selling the HR-3300 in Akihabara, Tokyo, Japan, on October 31, 1976. Region-specific versions of the JVC HR-3300 were also distributed later on, such as the HR-3300U in the United States, and the HR-3300EK in the United Kingdom. The United States received its first VHS-based VCR, the RCA VBT200, on August 23, 1977. The RCA unit was designed by Matsushita and was the first VHS-based VCR manufactured by a company other than JVC. It was also capable of recording four hours in LP (long play) mode. The UK received its first VHS-based VCR, the Victor HR-3300EK, in 1978. Quasar and General Electric followed-up with VHS-based VCRs – all designed by Matsushita. By 1999, Matsushita alone produced just over half of all Japanese VCRs. TV/VCR combos, combining a TV set with a VHS mechanism, were also once available for purchase. Combo units containing both a VHS mechanism and a DVD player were introduced in the late 1990s, and at least one combo unit, the Panasonic DMP-BD70V, included a Blu-ray player. == Technical details == VHS has been standardized in IEC 60774–1. === Cassette and

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  • Fansly

    Fansly

    Fansly is a subscription-based social media platform that allows content creators to monetize exclusive content, including photos, videos, live streams, and direct messages. Operated by Select Media LLC, the platform is headquartered in Baltimore, Maryland. While the platform hosts a variety of content genres, it is primarily known for adult content and is frequently compared to OnlyFans. == History == Fansly was launched in 2020 by Micheal Etelis under Select Media LLC, which was incorporated in February 2020. The platform also operates through CY Media LTD, registered in Kamares, Cyprus, established in May 2021. The company has remained privately held with no disclosed external funding rounds or official valuation, operating as a bootstrapped entity. Based on Fansly's social media presence, which was created in November 2020, the platform did not begin gaining traction until early 2021 when creators started to become concerned about potential content policy changes at OnlyFans. In August 2021, OnlyFans announced it would ban sexually explicit content effective October 2021, citing pressure from banks involved in its payment processing. Although OnlyFans reversed the decision six days later, the announcement triggered a massive influx of users to Fansly; the platform received nearly 4,000 new creator applications in a single hour, causing its servers to crash from the surge in traffic. By August 21, 2021, Fansly had reached 2.1 million users. == Features and business model == Fansly operates as a B2C marketplace, taking a 20% commission on all transactions conducted on the platform, with creators retaining the remaining 80%. This commission rate is the same as that charged by its main competitor, OnlyFans. A distinguishing feature of Fansly is its tiered subscription model, which allows creators to set multiple subscription levels at different price points, each offering different perks such as exclusive content, chat access, or custom requests. By contrast, OnlyFans historically relied on a single-tier subscription model. Revenue streams on the platform include recurring subscriptions, one-time pay-per-view content purchases, tips, paid messaging, and live-streaming fees. The platform also features an algorithmic "For You" feed that helps users discover new creators, addressing a limitation of competitors that lack internal content promotion mechanisms. Additional features include content watermarking, geolocation blocking to control where content is visible, two-factor authentication, community polls, 24-hour stories, and social media integration with platforms such as Twitter and Twitch. Payouts are processed within one to two business days and support multiple methods, including bank transfers, Skrill, Paxum, and cryptocurrency. In December 2025, Fansly expanded its live-streaming capabilities, introducing ticketed access, private list gating, configurable chat permissions, stream goals, and interactive device integration. == Controversies == === OnlyFans anti-competitive allegations === In August 2022, a series of lawsuits were filed in the United States alleging that OnlyFans had bribed employees of Meta Platforms to place Instagram accounts of creators who also sold content on competitor platforms, including Fansly, onto a terrorist blacklist. The lawsuits alleged that adult performers had traffic driven away from their Instagram accounts after being falsely tagged as terror-related. OnlyFans denied awareness of such activity. The plaintiffs withdrew the bribery claim in July 2023, and the case was dismissed in August 2023. === Privacy class action === In June 2025, Select Media LLC (operating as Fansly) was the subject of a digital privacy class action lawsuit filed in Massachusetts District Court. The lawsuit alleged that the platform secretly collected and shared users' sensitive viewing data with Google and other third parties without consent. The case was brought on behalf of an estimated class of over 10,000 users across multiple states.

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  • The Morning After (web series)

    The Morning After (web series)

    The Morning After is a Hulu original web series that premiered on January 17, 2011, and ended April 24, 2014. It was produced by Hulu and Jace Hall's HDFilms, streaming Monday through Friday. The show originally featured Brian Kimmet and Ginger Gonzaga as hosts. Later shows used a rotation of hosts including Alison Haislip, Dave Holmes, Damien Fahey, Bradley Hasemeyer, Haley Mancini, Paul Nyhart, and Rachel Perry. The series advertises itself as "a smart, daily shot of pop culture to help Hulu users stay up to date" and typically highlights notable moments from television shows and current news in an entertaining fashion. In keeping with its focus on pop culture, The Morning After will sometimes stream an episode featuring past pop culture titled "From the Archives," such as its April Fools' Day episode. == History == While not the first original series to appear exclusively on Hulu, The Morning After is the company's first self-branded production. It was preceded by If I Can Dream, a reality series co-produced with 19 Entertainment and created by Simon Fuller. Hulu originated the idea in house, based on user feedback and observations from discussion boards hosted by the website. The concept was modeled after The Big Show with Olbermann and Patrick. The company sought out a production partner and ultimately chose Jace Hall and his team at HDFilms to executive produce. Initial stream of the series was held on January 17, 2011, and featured coverage of Piers Morgan, the Golden Globes, and The Bachelor. Senior VP of Content and Distribution Andy Forssell made the announcement for the show the same day. The show aired its last episode April 24, 2014. == Format == A typical episode usually begins with a cold open shared by the varying hosts listing the highlights to be covered. The topics focus on TV and Pop Culture Highlights from the previous night, with the intention of helping Hulu users digest hours of content in a matter of moments. The show has the hosts trade humorous remarks regarding the news and each other, taking turns reviewing the night's TV and injecting their own personality. The Morning After was named as an honoree by the Webbys on April 10, 2012, in the variety section of its online video category.

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  • Question answering

    Question answering

    Question answering (QA) is a computer science discipline within the fields of information retrieval and natural language processing (NLP) that is concerned with building systems that automatically answer questions that are posed by humans in a natural language. A question-answering implementation, usually a computer program, may construct its answers by querying a structured database of knowledge or information, usually a knowledge base. More commonly, question-answering systems can pull answers from an unstructured collection of natural language documents. Some examples of natural language document collections used for question answering systems include reference texts, compiled newswire reports, Wikipedia pages and other World Wide Web pages. == History == Two early question answering systems were BASEBALL and LUNAR. BASEBALL answered questions about Major League Baseball over a period of one year. LUNAR answered questions about the geological analysis of rocks returned by the Apollo Moon missions. Both question answering systems were very effective in their chosen domains. LUNAR was demonstrated at a lunar science convention in 1971 and it was able to answer 90% of the questions in its domain that were posed by people untrained on the system. Further restricted-domain question answering systems were developed in the following years. The common feature of all these systems is that they had a core database or knowledge system that was hand-written by experts of the chosen domain. The language abilities of BASEBALL and LUNAR used techniques similar to ELIZA and DOCTOR, the first chatterbot programs. SHRDLU was a successful question-answering program developed by Terry Winograd in the late 1960s and early 1970s. It simulated the operation of a robot in a toy world (the "blocks world"), and it offered the possibility of asking the robot questions about the state of the world. The strength of this system was the choice of a very specific domain and a very simple world with rules of physics that were easy to encode in a computer program. In the 1970s, knowledge bases were developed that targeted narrower domains of knowledge. The question answering systems developed to interface with these expert systems produced more repeatable and valid responses to questions within an area of knowledge. These expert systems closely resembled modern question answering systems except in their internal architecture. Expert systems rely heavily on expert-constructed and organized knowledge bases, whereas many modern question answering systems rely on statistical processing of a large, unstructured, natural language text corpus. The 1970s and 1980s saw the development of comprehensive theories in computational linguistics, which led to the development of ambitious projects in text comprehension and question answering. One example was the Unix Consultant (UC), developed by Robert Wilensky at U.C. Berkeley in the late 1980s. The system answered questions pertaining to the Unix operating system. It had a comprehensive, hand-crafted knowledge base of its domain, and it aimed at phrasing the answer to accommodate various types of users. Another project was LILOG, a text-understanding system that operated on the domain of tourism information in a German city. The systems developed in the UC and LILOG projects never went past the stage of simple demonstrations, but they helped the development of theories on computational linguistics and reasoning. Specialized natural-language question answering systems have been developed, such as EAGLi for health and life scientists. Question answering systems have been extended in recent years to encompass additional domains of knowledge For example, systems have been developed to automatically answer temporal and geospatial questions, questions of definition and terminology, biographical questions, multilingual questions, and questions about the content of audio, images, and video. Current question answering research topics include: interactivity—clarification of questions or answers answer reuse or caching semantic parsing answer presentation knowledge representation and semantic entailment social media analysis with question answering systems sentiment analysis utilization of thematic roles Image captioning for visual question answering Embodied question answering In 2011, Watson, a question answering computer system developed by IBM, competed in two exhibition matches of Jeopardy! against Brad Rutter and Ken Jennings, winning by a significant margin. Facebook Research made their DrQA system available under an open source license. This system uses Wikipedia as knowledge source. The open source framework Haystack by deepset combines open-domain question answering with generative question answering and supports the domain adaptation of the underlying language models for industry use cases. Large Language Models (LLMs)[36] like GPT-4[37], Gemini[38] are examples of successful QA systems that are enabling more sophisticated understanding and generation of text. When coupled with Multimodal[39] QA Systems, which can process and understand information from various modalities like text, images, and audio, LLMs significantly improve the capabilities of QA systems. == Types == Question-answering research attempts to develop ways of answering a wide range of question types, including fact, list, definition, how, why, hypothetical, semantically constrained, and cross-lingual questions. Answering questions related to an article in order to evaluate reading comprehension is one of the simpler form of question answering, since a given article is relatively short compared to the domains of other types of question-answering problems. An example of such a question is "What did Albert Einstein win the Nobel Prize for?" after an article about this subject is given to the system. Closed-book question answering is when a system has memorized some facts during training and can answer questions without explicitly being given a context. This is similar to humans taking closed-book exams. Closed-domain question answering deals with questions under a specific domain (for example, medicine or automotive maintenance) and can exploit domain-specific knowledge frequently formalized in ontologies. Alternatively, "closed-domain" might refer to a situation where only a limited type of questions are accepted, such as questions asking for descriptive rather than procedural information. Question answering systems in the context of machine reading applications have also been constructed in the medical domain, for instance related to Alzheimer's disease. Open-domain question answering deals with questions about nearly anything and can only rely on general ontologies and world knowledge. Systems designed for open-domain question answering usually have much more data available from which to extract the answer. An example of an open-domain question is "What did Albert Einstein win the Nobel Prize for?" while no article about this subject is given to the system. Another way to categorize question-answering systems is by the technical approach used. There are a number of different types of QA systems, including: rule-based systems, statistical systems, and hybrid systems. Rule-based systems use a set of rules to determine the correct answer to a question. Statistical systems use statistical methods to find the most likely answer to a question. Hybrid systems use a combination of rule-based and statistical methods. == Architecture == As of 2001, question-answering systems typically included a question classifier module that determined the type of question and the type of answer. Different types of question-answering systems employ different architectures. For example, modern open-domain question answering systems may use a retriever-reader architecture. The retriever is aimed at retrieving relevant documents related to a given question, while the reader is used to infer the answer from the retrieved documents. Systems such as GPT-3, T5, and BART use an end-to-end architecture in which a transformer-based architecture stores large-scale textual data in the underlying parameters. Such models can answer questions without accessing any external knowledge sources. == Methods == Question answering is dependent on a good search corpus; without documents containing the answer, there is little any question answering system can do. Larger collections generally mean better question answering performance, unless the question domain is orthogonal to the collection. Data redundancy in massive collections, such as the web, means that nuggets of information are likely to be phrased in many different ways in differing contexts and documents, leading to two benefits: If the right information appears in many forms, the question answering system needs to perform fewer complex NLP techniques to understand the text. Correct answers can be filtered from false positives because the syst

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  • International Webmasters Association

    International Webmasters Association

    The International Webmasters Association (IWA) is a non-profit association for education and certification of web professionals founded in 1996. It provides a Certified Web Professional certification. One of its objectives is to build a World Wide Web that is a true global community. According to the IWA, as of 2025 it has more than 100 official chapters with over 300,000 individual members in 106 countries. In 2001, the IWA merged with the HTML Writers Guild (HWG) and joined the World Wide Web Consortium (W3C). IWA's accomplishments include the publishing of the industry's first guidelines for ethical and professional standards, web certification and education programs, specialized employment resources, and technical assistance to individuals and businesses. IWA members participate to the activities of W3C WCAG Working Group, ATAG Working Group, and the XHTML Working Group. They have also participated in other initiatives such as the Multimodal Interaction Working Group which developed EMMA, the Extensible MultiModal Annotation markup language.

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  • New media

    New media

    New media are communication technologies that enable or enhance interaction between users, as well as interaction between users and content. In the middle of the 1990s, the phrase "new media" became widely used as part of a sales pitch for the influx of interactive CD-ROMs for entertainment and education. The new media technologies, sometimes known as Web 2.0, include a wide range of web-related communication tools such as blogs, wikis, online social networking, virtual worlds, and other social media platforms. The phrase "new media" refers to computational media that share material online and through computers. New media inspire new ways of thinking about older media. Media do not replace one another in a clear, linear succession, instead evolving in a more complicated network of interconnected feedback loops . What is different about new media is how they specifically refashion traditional media and how older media refashion themselves to meet the challenges of new media. Unless they contain technologies that enable digital generative or interactive processes, broadcast television programs, non-interactive news websites, feature films, magazines, and books are not considered to be new media. The term "new media" stands in contrast to old media, which dominated the media landscape as a form of mass media for many years. == History == In the 1950s, connections between computing and radical art began to grow stronger. It was not until the 1980s that Alan Kay and his co-workers at Xerox PARC began to give the computability of a personal computer to the individual, rather than have a big organization be in charge of this. In the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually, it makes sense that the Cold War and the design of the Web took place at exactly the same time. Writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period which is now famous declaration in Understanding Media: The Extensions of Man, that "the medium is the message" drew attention to the too often ignored influence media and technology themselves, rather than their "content," have on humans' experience of the world and on society broadly. Until the 1980s, media relied primarily upon print and analog broadcast models such as television and radio. The last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies such as the Internet and video games. However, these examples are only a small representation of new media. The use of digital computers has transformed the remaining 'old' media, as suggested by the advent of digital television and online publications. Even traditional media forms such as the printing press have been transformed through the application of technologies by using of image manipulation software like Adobe Photoshop and desktop publishing tools. Andrew L. Shapiro argues that the "emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources". W. Russell Neuman suggests that whilst the "new media" have technical capabilities to pull in one direction, economic and social forces pull back in the opposite direction. According to Neuman, "We are witnessing the evolution of a universal interconnected network of audio, video, and electronic text communications that will blur the distinction between interpersonal and mass communication; and between public and private communication". Neuman argues that new media will: Alter the meaning of geographic distance. Allow for a huge increase in the volume of communication. Provide the possibility of increasing the speed of communication. Provide opportunities for interactive communication. Allow forms of communication that were previously separate to overlap and interconnect. Consequently, it has been the contention of scholars such as Douglas Kellner and James Bohman that new media and particularly the Internet will provide the potential for a democratic postmodern public sphere, in which citizens can participate in well informed, non-hierarchical debate pertaining to their social structures. Contradicting these positive appraisals of the potential social impacts of new media are scholars such as Edward S. Herman and Robert McChesney who have suggested that the transition to new media has seen a handful of powerful transnational telecommunications corporations who achieve a level of global influence which was hitherto unimaginable. Scholars have highlighted both the positive and negative potential and actual implications of new media technologies, suggesting that some of the early work in new media studies was guilty of technologicaldeterminism – whereby the effects of media were determined by the technologies themselves, rather than by tracing the complex social networks that governed the development, funding, implementation, and future evolution of any technology. Based on the argument that people have a limited amount of time to spend on the consumption of different media, displacement theory argue that the viewership or readership of one particular outlet leads to the reduction in the amount of time spent by the individual on another. The introduction of new media, such as the internet, therefore reduces the amount of time individuals would spend on existing "old" media, which could ultimately lead to the end of such traditional media. == Definition == Although, there are several ways that new media may be described, Lev Manovich, in an introduction to The New Media Reader, defines new media by using eight propositions: New media versus cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas new media is concerned more with cultural objects and paradigms (digital to analog television, smartphones). New media as computer technology used as a distribution platform – New media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers. New media as digital data controlled by software – The language of new media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc. New media as the mix between existing cultural conventions and the conventions of software – New media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation. New media as the aesthetics that accompanies the early stage of every new modern media and communication technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period. New media as faster execution of algorithms previously executed manually or through other technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device. New media as the encoding of modernist avant-garde; new media as metamedia – Manovi

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  • Robert Abel and Associates

    Robert Abel and Associates

    Robert Abel and Associates (RA&A) was an American pioneering animation production company specializing in television commercials made with computer graphics. Founded by Robert Abel and Con Pederson in 1971, RA&A was especially known for their art direction and won many Clio Awards. Abel and his team created some of the most advanced and impressive computer-animated works of their time, including full ray-traced renders and fluid character animation at a time when such things were largely unknown. A variety of high-profile television advertisements, graphics sequences for motion pictures (including The Andromeda Strain and Tron), and work on laserdisc video games such as Cube Quest, put Abel and his team on the map in the early 1980s. The company was also originally commissioned to create the visual effects for Star Trek: The Motion Picture, but were subsequently taken off the project for mishandling funds. The company was also notable on its work for The Jacksons' 1981 music video "Can You Feel It." RA&A was on the southwest corner of Highland Avenue and Romaine in the heart of Hollywood, California. RA&A closed in 1987 following an ill-fated merger with now-defunct Omnibus Computer Graphics, Inc., a company which had been based in Toronto. Many people who worked at RA&A went on to other ground-breaking projects, including the founding of Wavefront Technologies, Rhythm & Hues and other studios. Many RA&A people went on to win Academy Awards.

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  • Turret lathe

    Turret lathe

    A turret lathe is a form of metalworking lathe that is used for repetitive production of duplicate parts, which by the nature of their cutting process are usually interchangeable. It evolved from earlier lathes with the addition of the turret, which is an indexable toolholder that allows multiple cutting operations to be performed, each with a different cutting tool, in easy, rapid succession, with no need for the operator to perform set-up tasks in between (such as installing or uninstalling tools) or to control the toolpath. The latter is due to the toolpath's being controlled by the machine, either in jig-like fashion, via the mechanical limits placed on it by the turret's slide and stops, or via digitally-directed servomechanisms for computer numerical control lathes. The name derives from the way early turrets took the general form of a flattened cylindrical block mounted to the lathe's cross-slide, capable of rotating about the vertical axis and with toolholders projecting out to all sides, and thus vaguely resembled a swiveling gun turret. Capstan lathe is the usual name in the UK and Commonwealth, though the two terms are also used in contrast: see below, Capstan versus turret. == History == Turret lathes became indispensable to the production of interchangeable parts and for mass production. The first turret lathe was built by Stephen Fitch in 1845 to manufacture screws for pistol percussion parts. In the mid-nineteenth century, the need for interchangeable parts for Colt revolvers enhanced the role of turret lathes in achieving this goal as part of the "American system" of manufacturing arms. Clock-making and bicycle manufacturing had similar requirements. Christopher Spencer invented the first fully automated turret lathe in 1873, which led to designs using cam action or hydraulic mechanisms. From the late-19th through mid-20th centuries, turret lathes, both manual and automatic (i.e., screw machines and chuckers), were one of the most important classes of machine tools for mass production. They were used extensively in the mass production for the war effort in World War II. The U.S. company Warner & Swasey was one of the premier brands in heavy turret lathes between the 1910s and 1960s; it became the world's largest manufacturer of such lathes by 1928. During World War II, it employed 7,000 people and produced half of the turret lathes manufactured in the United States. == Types == There are many variants of the turret lathe. They can be most generally classified by size (small, medium, or large); method of control (manual, automated mechanically, or automated via computer (numerical control (NC) or computer numerical control (CNC)); and bed orientation (horizontal or vertical). === Archetypical: horizontal, manual === In the late 1830s a "capstan lathe" with a turret was patented in Britain. The first American turret lathe was invented by Stephen Fitch in 1845. The archetypical turret lathe, and the first in order of historical appearance, is the horizontal-bed, manual turret lathe. The term "turret lathe" without further qualification is still understood to refer to this type. The formative decades for this class of machine were the 1840s through 1860s, when the basic idea of mounting an indexable turret on a bench lathe or engine lathe was born, developed, and disseminated from the originating shops to many other factories. Some important tool-builders in this development were Stephen Fitch; Gay, Silver & Co.; Elisha K. Root of Colt; J.D. Alvord of the Sharps Armory; Frederick W. Howe, Richard S. Lawrence, and Henry D. Stone of Robbins & Lawrence; J.R. Brown of Brown & Sharpe; and Francis A. Pratt of Pratt & Whitney. Various designers at these and other firms later made further refinements. === Semi-automatic === Sometimes machines similar to those above, but with power feeds and automatic turret-indexing at the end of the return stroke, are called "semi-automatic turret lathes". This nomenclature distinction is blurry and not consistently observed. The term "turret lathe" encompasses them all. During the 1860s, when semi-automatic turret lathes were developed, they were sometimes called "automatic". What we today would call "automatics", that is, fully automatic machines, had not been developed yet. During that era both manual and semi-automatic turret lathes were sometimes called "screw machines", although we today reserve that term for fully automatic machines. === Automatic === During the 1870s through 1890s, the mechanically automated "automatic" turret lathe was developed and disseminated. These machines can execute many part-cutting cycles without human intervention. Thus the duties of the operator, which were already greatly reduced by the manual turret lathe, were even further reduced, and productivity increased. These machines use cams to automate the sliding and indexing of the turret and the opening and closing of the chuck. Thus, they execute the part-cutting cycle somewhat analogously to the way in which an elaborate cuckoo clock performs an automated theater show. Small- to medium-sized automatic turret lathes are usually called "screw machines" or "automatic screw machines", while larger ones are usually called "automatic chucking lathes", "automatic chuckers", or "chuckers". Such machine tools of the "automatic" variety, which in the pre-computer era meant mechanically automated, had already reached a highly advanced state by World War I. === Computer numerical control === When World War II ended, the digital computer was poised to develop from a colossal laboratory curiosity into a practical technology that could begin to disseminate into business and industry. The advent of computer-based automation in machine tools via numerical control (NC) and then computer numerical control (CNC) displaced to a large extent, but not at all completely, the previously existing manual and mechanically automated machines. Numerically controlled turrets allow automated selection of tools on a turret. CNC lathes may be horizontal or vertical in orientation and mount six separate tools on one or more turrets. Such machine tools can work in two axes per turret, with up to six axes being feasible for complex work. === Vertical === Vertical turret lathes have the workpiece held vertically, which allows the headstock to sit on the floor and the faceplate to become a horizontal rotating table, analogous to a huge potter's wheel. This is useful for the handling of very large, heavy, short workpieces. Vertical lathes in general are also called "vertical boring mills" or often simply "boring mills"; therefore a vertical turret lathe is a vertical boring mill equipped with a turret. == Other variations == === Capstan versus turret === The term "capstan lathe" overlaps in sense with the term "turret lathe" to a large extent. In many times and places, it has been understood to be synonymous with "turret lathe". In other times and places it has been held in technical contradistinction to "turret lathe", with the difference being in whether the turret's slide is fixed to the bed (ram-type turret) or slides on the bed's ways (saddle-type turret). The difference in terminology is mostly a matter of United Kingdom and Commonwealth usage versus United States usage. === Flat === A subtype of horizontal turret lathe is the flat-turret lathe. Its turret is flat (and analogous to a rotary table), allowing the turret to pass beneath the part. Patented by James Hartness of Jones & Lamson, and first disseminated in the 1890s, it was developed to provide more rigidity via requiring less overhang in the tool setup, especially when the part is relatively long. === Hollow-hexagon === Hollow-hexagon turret lathes competed with flat-turret lathes by taking the conventional hexagon turret and making it hollow, allowing the part to pass into it during the cut, analogously to how the part would pass over the flat turret. In both cases, the main idea is to increase rigidity by allowing a relatively long part to be turned without the tool overhang that would be needed with a conventional turret, which is not flat or hollow. === Monitor lathe === The term "monitor lathe" formerly (1860s–1940s) referred to the class of small- to medium-sized manual turret lathes used on relatively small work. The name was inspired by the monitor-class warships, which the monitor lathe's turret resembled. Today, lathes of such appearance, such as the Hardinge DSM-59 and its many clones, are still common, but the name "monitor lathe" is no longer current in the industry. === Toolpost turrets and tailstock turrets === Turrets can be added to non-turret lathes (bench lathes, engine lathes, toolroom lathes, etc.) by mounting them on the toolpost, tailstock, or both. Often these turrets are not as large as a turret lathe's, and they usually do not offer the sliding and stopping that a turret lathe's turret does; but they do offer the ability to index through successive tool

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  • The Dodo (website)

    The Dodo (website)

    The Dodo is an American online publisher focused on animals. The website was launched in January 2014 by Izzie Lerer, the daughter of media executive Kenneth Lerer, and journalist Kerry Lauerman. The Dodo has become one of the most popular Facebook publishers, garnering 1 billion video views from the social network in November 2015. The Dodo is headquartered in New York, New York. == History == The company—named after the first recorded species that humans drove to extinction—was founded by Lerer out of "a personal passion for the subject manner". Lerer has a PhD in animal studies with a focus on animal ethics and human relationships from Columbia University, launching the website after noticing the viral success of animal videos online but seeing no one "really owned the space." The Dodo's editorial and video production staff unionized with the Writers Guild of America, East in April 2018.

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  • Radio network

    Radio network

    A radio network is a system that distributes radio signals to multiple receivers or enables two-way communication between stations and mobile units. Worldwide, radio networks include broadcast networks, such as BBC Radio in the United Kingdom and NPR in the United States, which transmit one-to-many signals for news, entertainment, and public information; two-way radio networks, used by police, fire services, taxicabs, and delivery fleets for operational communication; and cellular networks, such as Verizon, Vodafone, and China Mobile, which provide mobile telephony and data services using frequency or time division duplexing. While all rely on radio-frequency technology like transmitters, receivers, and antennas, their network architectures, protocols, and regulatory frameworks differ substantially across applications and regions. The two-way type of radio network shares many of the same technologies and components as the broadcast-type radio network but is generally set up with fixed broadcast points (transmitters) with co-located receivers and mobile receivers/transmitters or transceivers. In this way both the fixed and mobile radio units can communicate with each other over broad geographic regions ranging in size from small single cities to entire states/provinces or countries. There are many ways in which multiple fixed transmit/receive sites can be interconnected to achieve the range of coverage required by the jurisdiction or authority implementing the system: conventional wireless links in numerous frequency bands, fibre-optic links, or microwave links. In all of these cases the signals are typically backhauled to a central switch of some type where the radio message is processed and resent (repeated) to all transmitter sites where it is required to be heard. In contemporary two-way radio systems, a concept called trunking is commonly used to achieve better efficiency of radio spectrum use. It provides a very wide range of coverage, with no switching of channels required by the mobile radio user as it roams throughout the system coverage. Trunking of two-way radio is identical to the concept used for cellular phone systems where each fixed and mobile radio is specifically identified to the system controller and its operation is switched by the controller. == Broadcasting networks == The broadcast type of radio network is a network system which distributes radio programming to multiple stations simultaneously, or slightly delayed, for the purpose of extending total coverage beyond the limits of a single broadcast signal. The resulting expanded audience for radio programming or information essentially applies the benefits of mass-production to the broadcasting enterprise. A radio network has two sales departments, one to package and sell programs to radio stations, and one to sell the audience of those programs to advertisers. Most radio networks also produce much of their programming. Originally, radio networks owned some or all of the stations that broadcast the network's radio format programming. Presently however, there are many networks that do not own any stations and only produce and/or distribute programming. Similarly station ownership does not always indicate network affiliation. A company might own stations in several different markets and purchase programming from a variety of networks. Radio networks rose rapidly with the growth of regular broadcasting of radio to home listeners in the 1920s. This growth took various paths in different places. In Britain the BBC was developed with public funding, in the form of a broadcast receiver license, and a broadcasting monopoly in its early decades. In contrast, in the United States various competing commercial broadcasting networks arose funded by advertising revenue. In that instance, the same corporation that owned or operated the network often manufactured and marketed the listener's radio. Major technical challenges to be overcome when distributing programs over long distances are maintaining signal quality and managing the number of switching/relay points in the signal chain. Early on, programs were sent to remote stations (either owned or affiliated) by various methods, including leased telephone lines, pre-recorded gramophone records and audio tape. The world's first all-radio, non-wireline network was claimed to be the Rural Radio Network, a group of six upstate New York FM stations that began operation in June 1948. Terrestrial microwave relay, a technology later introduced to link stations, has been largely supplanted by coaxial cable, fiber, and satellite, which usually offer superior cost-benefit ratios. Many early radio networks evolved into television networks.

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