AI Assistant Unblocked

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

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  Spotify Live

  Spotify Live, formerly Spotify Greenroom, was a social audio app by Spotify, that allowed users to host or participate in live-audio virtual environments called "room" for conversations. Each room had a maximum capacity of 1000 people. The app was available on Android and iOS, competing with Twitter Spaces and Clubhouse in the social media segment. It was shut down on April 30, 2023. == History == In October 2020, Betty Labs released Locker Room exclusively on the iOS App Store. The app featured virtual audio chat rooms for sports enthusiasts. In late March 2021, Spotify acquired Betty Labs for $50 million and announced plans to rebrand the app with a broader focus on sports, music, and pop culture. On June 16, 2021, Spotify launched the app as Spotify Greenroom on Android (early access) and iOS, expanding its scope beyond just sports. At launch, Spotify introduced the Greenroom Creator Fund to support creators and shows, serving as a rival to Clubhouse's Creator First Accelerator Program. The fund aimed to provide a monetization path for podcasters integrating Greenroom into their verified Spotify accounts. By July 2021, the app had accumulated over 140,000 iOS installs and 100,000 Android installs. In August 2021, Spotify collaborated with the WWE to produce professional wrestling-related podcasts, many of which would be recorded by The Ringer, Spotify's in-house podcasting team, using Greenroom. In March 2022, Spotify Greenroom announced its rebranding as Spotify Live and its migration to the main Spotify app. After a year, Spotify announced it would shut down the Spotify Live app at the end of April 2023. == Features == Greenroom allowed users to create or join a room, which, in the context of the application, was a virtual space for real-time voice chats. Users could only create a room within a pre-defined group, representing either a brand or a generic category. If a user chose to create a room, they became the host, with the ability to invite people, control who could talk, and enable features like recording and the Discussions tab during room creation. Enabling recording displayed a disclaimer informing users that the conversation was being recorded, and the audio, recorded in mp4 format, would be sent to the host via email after the room concluded. If the Discussions tab was enabled, users could send text messages in the public chat section. The host also had the authority to ban users if necessary. When joining a room, a user could opt to be a listener or request to become a speaker. Users had the freedom to follow or block others and join groups at their discretion. Notifications about new rooms in joined groups would be sent to users. Additionally, users could discover new individuals and groups using the search tab. == Partnered creators == By October 2021, Spotify had a variety of partnered creators aimed at boosting traffic and validating its vertically integrated podcast model. These creators primarily focused on Generation Z. In-house Spotify talent, such as The Ringer, produced sports-related content. Simultaneously, the company recruited creators from various social channels to grow Greenroom's audience while also promoting its integration with Spotify and Anchor. Each verified Spotify partner had their Greenroom shows featured in both the Greenroom app and their profiles on the Spotify app. This was part of the company's strategy leading into the 2022 ramp-up to compete with Clubhouse. == Platforms == The app was accessible on both Android and iOS platforms, and users could download the app from their respective app stores. Android users needed Android 8 or above to launch the app, while iOS consumers required iOS 13 or later to run it.

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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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  Fear of missing out

  Fear of missing out (FOMO) is the feeling of apprehension that one is either not in the know about or missing out on information, events, experiences, or life decisions that could make one's life better. FOMO is also associated with a fear of regret, which may lead to concerns that one might miss an opportunity for social interaction, a novel experience, a memorable event, profitable investment, or the comfort of loved ones. It is characterized by a desire to stay continually connected with what others are doing, and can be described as the fear that deciding not to participate is the wrong choice. FOMO could result from not knowing about a conversation, missing a TV show, not attending a wedding or party, or hearing that others have discovered a new restaurant. In recent years, FOMO has been attributed to a number of negative psychological and behavioral symptoms. FOMO has increased in recent times due to advancements in technology. Social networking sites create many opportunities for FOMO. While it provides opportunities for social engagement, it offers a view into an endless stream of activities in which a person is not involved. Further, a common tendency is to post about positive experiences (such as a great restaurant) rather than negative ones (such as a bad first date). Psychological dependence on social media can lead to FOMO or even pathological Internet use. FOMO is also present in video games, investing, and business marketing. The increasing popularity of the phrase has led to related linguistic and cultural variants. FOMO is associated with worsening depression and anxiety, and a lowered quality of life. FOMO can also affect businesses. Hype and trends can lead business leaders to invest based on perceptions of what others are doing, rather than their own business strategy. This is also the idea of the bandwagon effect, where one individual may see another person or people do something and they begin to think it must be important because everyone is doing it. They might not even understand the meaning behind it, and they may not totally agree with it. Nevertheless, they are still going to participate because they don't want to be left out. == History == Patrick J. McGinnis coined the term FOMO and popularized it in a 2004 op-ed titled "Social Theory at HBS: McGinnis' Two FOs" in The Harbus, the magazine of Harvard Business School, where he was then a student. The article also referred to another related condition, Fear of a Better Option (FOBO), and the role of these two fears in the school's social life. Currently the term has been used as a hashtag on social media and has been mentioned in hundreds of news articles, from online sources like Salon.com to print papers like The New York Times. === Earlier forms === The phrase "fear of missing out" is a common English phrase, especially in the form "fear of missing out on (something)". The term "fear of missing out" (but not the term FOMO) was used earlier in the academic business literature by marketing strategist Dan Herman, who used it in presentations in the late 1990s, and included the phrase in a 2000 paper about "short-term brands", where a motivation for trying these brands is "ambition to exhaust all possibilities and the fear of missing out on something". Herman also believes the concept has evolved to become more wide spread through mobile phone usage, texting, and social media and has helped flesh out the concept of the fear of missing out to the masses. Before the Internet, a related phenomenon, "keeping up with the Joneses", was widely experienced. FOMO generalized and intensified this experience because so much more of people's lives became publicly documented and easily accessed. == Symptoms == === Psychological === Fear of missing out has been associated with a deficit in psychological needs. Self-determination theory contends that an individual's psychological satisfaction in their competence, autonomy, and relatedness consists of three basic psychological needs for human beings. Test subjects with lower levels of basic psychological satisfaction reported a higher level of FOMO. FOMO has also been linked to negative psychological effects in overall mood and general life satisfaction. A study performed on college campuses found that experiencing FOMO on a certain day led to a higher fatigue on that day specifically. Experiencing FOMO continuously throughout the semester also can lead to higher stress levels among students. An individual with an expectation to experience the fear of missing out can also develop a lower level of self-esteem. A study by JWTIntelligence suggests that FOMO can influence the formation of long-term goals and self-perceptions. In this study, around half of the respondents stated that they are overwhelmed by the amount of information needed to stay up-to-date, and that it is impossible to not miss out on something. The process of relative deprivation creates FOMO and dissatisfaction. It reduces psychological well-being. FOMO led to negative social and emotional experiences, such as boredom and loneliness. A 2013 study found that it negatively impacts mood and life satisfaction, reduces self-esteem, and affects mindfulness. Four in ten young people reported FOMO sometimes or often. FOMO was found to be negatively correlated with age, and men were more likely than women to report it. People who experience higher levels of FOMO tend to have a stronger desire for high social status, are more competitive with others of the same gender, and are more interested in short-term relationships. Studies have found that experiencing fear of missing out has been linked to anxiety or depression. === Behavioral === The fear of missing out stems from a feeling of missing social connections or information. This absent feeling is then followed by a need or drive to interact socially to boost connections. The fear of missing out not only leads to negative psychological effects but also has been shown to increase negative behavioral patterns. In aims of maintaining social connections, negative habits are formed or heightened. A 2019 University of Glasgow study surveyed 467 adolescents, and found that the respondents felt societal pressure to always be available. According to John M. Grohol, founder and Editor-in-Chief of Psych Central, FOMO may lead to a constant search for new connections with others, abandoning current connections to do so. The fear of missing out derived from digital connection has been positively correlated with bad technology habits especially in youth. These negative habits included increased screen time, checking social media during school, or texting while driving. Social media use in the presence of others can be referred to as phubbing, the habit of snubbing a physically present person in favour of a mobile phone. Multiple studies have also identified a negative correlation between the hours of sleep and the scale at which individuals experience fear of missing out. A lack of sleep in college students experiencing FOMO can be attributed to the number of social interactions that occur late at night on campuses. == Settings == === Social media === Fear of missing out has a positive correlation with higher levels of social media usage. Social media connects individuals and showcases the lives of others at their peak. This gives people the fear of missing out when they feel like others on social media are taking part in positive life experiences that they personally are not also experiencing. This fear of missing out related to social media has symptoms including anxiety, loneliness, and a feeling of inadequacy compared to others. Self-esteem plays a key role in the levels a person feels when experiencing the fear of missing out, as their self worth is influenced by people they observe on social media. There are two types of anxiety; one related to genetics that is permanent, and one that is temporary. The temporary state of anxiety is the one that is more relevant to the fear of missing out, and is directly related to the individual looking at social media sites for a short period of time. This anxiety is caused by a loss of feeling of belonging through the concept of social exclusion. FOMO-sufferers may increasingly seek access to others' social lives, and consume an escalating amount of real-time information. A survey in 2012 indicated that 83% of respondents said that there is information overload in regards that there is too much to watch and read. Constant information that is available to people through social media causes the fear of missing out as people feel worse about themselves for not staying up to date with relevant information. Social media shows just exactly what people are missing out on in real time including events like parties, opportunities, and other events leading for people to fear missing out on other related future events. Another survey indicates that almost 40% of people from ages 12 through 67 i

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  Account verification

  Account verification is the process of verifying that a new or existing account is owned and operated by a specified real individual or organization. A number of websites, for example social media websites, offer account verification services. Verified accounts are often visually distinguished by check mark icons or badges next to the names of individuals or organizations. Account verification can enhance the quality of online services, mitigating sockpuppetry, bots, trolling, spam, vandalism, fake news, disinformation and election interference. == History == Account verification was introduced by Twitter in June 2009, initially as a feature for public figures and accounts of interest, individuals in "music, acting, fashion, government, politics, religion, journalism, media, sports, business and other key interest areas". A similar verification system was adopted by Google+ in 2011, Facebook page in October 2015 (Available in United States, Canada, United Kingdom, Australia and New Zealand) Facebook profile and Facebook page in 2018 (Available in Worldwide) Instagram in 2014, and Pinterest in 2015. On YouTube, users are able to submit a request for a verification badge once they obtain 100,000 or more subscribers. It also has an "official artist" badge for musicians and bands. In July 2016, Twitter announced that, beyond public figures, any individual would be able to apply for account verification. This was temporarily suspended in February 2018, following a backlash over the verification of one of the organisers of the far-right Unite the Right rally due to a perception that verification conveys "credibility" or "importance". In March 2018, during a live-stream on Periscope, Jack Dorsey, co-founder and CEO of Twitter, discussed the idea of allowing any individual to get a verified account. Twitter reopened account verification applications in May 2021 after revamping their account verification criteria. This time offering notability criteria for the account categories of government, companies, brands, and organizations, news organizations and journalists, entertainment, sports and activists, organizers, and other influential individuals. Instagram began allowing users to request verification in August 2018. In April 2018, Mark Zuckerberg, co-founder and CEO of Facebook, announced that purchasers of political or issue-based advertisements would be required to verify their identities and locations. He also indicated that Facebook would require individuals who manage large pages to be verified. In May 2018, Kent Walker, senior vice president of Google, announced that, in the United States, purchasers of political-leaning advertisements would need to verify their identities. In November 2022, Elon Musk included a blue verification check mark with a paid Twitter Blue monthly membership. Prior to Musk's acquisition of Twitter, Twitter offered this check mark at no charge to confirmed high profile users. On December 19, 2022, Twitter introduced two new check mark colors: gold for accounts from official businesses and organizations, and grey for accounts from governments or multilateral organizations. The type of check mark can be confirmed by visiting the profile page, then clicking or tapping on the check mark. == Techniques == === Identity verification services === Identity verification services are third-party solutions which can be used to ensure that a person provides information which is associated with the identity of a real person. Such services may verify the authenticity of identity documents such as drivers licenses or passports, called documentary verification, or may verify identity information against authoritative sources such as credit bureaus or government data, called nondocumentary verification. === Identity documents verification === The uploading of scanned or photographed identity documents is a practice in use, for example, at Facebook. According to Facebook, there are two reasons that a person would be asked to send a scan of or photograph of an ID to Facebook: to show account ownership and to confirm their name. In January 2018, Facebook purchased Confirm.io, a startup that was advancing technologies to verify the authenticity of identification documentation. === Biometric verification === === Behavioral verification === Behavioral verification is the computer-aided and automated detection and analysis of behaviors and patterns of behavior to verify accounts. Behaviors to detect include those of sockpuppets, bots, cyborgs, trolls, spammers, vandals, and sources and spreaders of fake news, disinformation and election interference. Behavioral verification processes can flag accounts as suspicious, exclude accounts from suspicion, or offer corroborating evidence for processes of account verification. === Bank account verification === Identity verification is required to establish bank accounts and other financial accounts in many jurisdictions. Verifying identity in the financial sector is often required by regulation such as Know Your Customer or Customer Identification Program. Accordingly, bank accounts can be of use as corroborating evidence when performing account verification. Bank account information can be provided when creating or verifying an account or when making a purchase. === Postal address verification === Postal address information can be provided when creating or verifying an account or when making and subsequently shipping a purchase. A hyperlink or code can be sent to a user by mail, recipients entering it on a website verifying their postal address. === Telephone number verification === A telephone number can be provided when creating or verifying an account or added to an account to obtain a set of features. During the process of verifying a telephone number, a confirmation code is sent to a phone number specified by a user, for example in an SMS message sent to a mobile phone. As the user receives the code sent, they can enter it on the website to confirm their receipt. === Email verification === An email account is often required to create an account. During this process, a confirmation hyperlink is sent in an email message to an email address specified by a person. The email recipient is instructed in the email message to navigate to the provided confirmation hyperlink if and only if they are the person creating an account. The act of navigating to the hyperlink confirms receipt of the email by the person. The added value of an email account for purposes of account verification depends upon the process of account verification performed by the specific email service provider. === Multi-factor verification === Multi-factor account verification is account verification which simultaneously utilizes a number of techniques. === Multi-party verification === The processes of account verification utilized by multiple service providers can corroborate one another. OpenID Connect includes a user information protocol which can be used to link multiple accounts, corroborating user information. == Account verification and good standing == On some services, account verification is synonymous with good standing. Twitter reserves the right to remove account verification from users' accounts at any time without notice. Reasons for removal may reflect behaviors on and off Twitter and include: promoting hate and/or violence against, or directly attacking or threatening other people on the basis of race, ethnicity, national origin, sexual orientation, gender, gender identity, religious affiliation, age, disability, or disease; supporting organizations or individuals that promote the above; inciting or engaging in the harassment of others; violence and dangerous behavior; directly or indirectly threatening or encouraging any form of physical violence against an individual or any group of people, including threatening or promoting terrorism; violent, gruesome, shocking, or disturbing imagery; self-harm, suicide; and engaging in other activity on Twitter that violates the Twitter Rules. In April 2023, Blue ticks were removed from all Twitter accounts that had not subscribed to Twitter Blue.

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  List of Ada software and tools

  This is a list of software and programming tools for the Ada programming language, including IDEs, compilers, libraries, verification and debugging tools, numerical and scientific computing libraries, and related projects. == Compilers == GNAT — GCC Ada compiler and toolchain, maintained by AdaCore AdaCore GNAT Pro — commercial Ada compiler with advanced tooling for high-integrity and real-time systems Green Hills compiler for Ada — Ada compiler for embedded and safety-critical systems ObjectAda — Ada development environment for safety-critical and embedded systems == Integrated development environments (IDEs) and editors == GNAT Studio — IDE developed by AdaCore Emacs — supports Ada editing with Ada mode and syntax checking Eclipse — supports Ada through GNATbench plugin Visual Studio Code — Ada support via Ada Language Server extensions == Libraries and frameworks == See also: Ada Libraries on Wikibooks Ada.Calendar — date and time library Ada Web Services (AWS) — support for RESTful and SOAP web services Ada.Text_IO — standard library for text input/output Florist (POSIX Ada binding) – open-source implementation of the POSIX Ada bindings GNAT – Ada compiler part of GCC, which also provides an extensive runtime and library package hierarchy. GtkAda – Ada bindings for the GTK+ graphical user interface toolkit Matreshka – multipurpose Ada framework supporting Unicode, XML, JSON, and more. XML/Ada – XML and Unicode processing library == Real-time and embedded systems == Ada tasking — built-in concurrency support with tasks, protected objects, and rendezvous. Ada.Real_Time — real-time clocks, delays, and scheduling. ARINC 653 Ada profiles — for avionics real-time applications OpenMP Ada bindings — parallel programming for multi-core embedded systems Ravenscar profile — subset of Ada tasking for real-time and deterministic execution == Numerical and scientific computing == Ada.Numerics — libraries for numerical methods, linear algebra, and mathematical functions. SPARK math libraries — formal-methods-compliant numerical routines == Verification, debugging, and analysis == GNATprove — formal verification and static analysis tool for Ada and SPARK GNATstack — runtime stack analysis and checking GNATcoverage — code coverage measurement for Ada projects AdaControl — style checking and metrics for Ada == Testing frameworks == AUnit — unit testing framework for Ada GNATtest — automated testing framework for Ada == Documentation and code generation == GNATdoc — generates HTML documentation from Ada source code

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  Virtual advertising

  Virtual advertising is the use of digital technology to insert virtual advertisements into a live or pre-recorded television show, often in sports events. This technique is often used to allow broadcasters to overlay existing physical advertising panels inside the sports venue with virtual content on the screen when broadcasting the same event in multiple regions; a Spanish football game can be broadcast in Mexico with Mexican advertisements. Similarly, virtual content can be inserted onto empty space within the sports venue such as the pitch, where physical advertising cannot be placed due to regulatory or safety reasons. Virtual advertising content is intended to be photorealistic, so that the viewer has the impression they are seeing the real in-stadium advertising. == History == Throughout the 1980s, 1990s, and 2000s, advertising on television and in newspapers was a popular method of spreading information. The marketer Jeremiah Lynwood stated that "Thirty years ago, [U.S.] consumers viewed an average of 560 ads per day", mostly from newspapers, television shows, gasoline pumps, and so on. Lynwood also stated that, at the time, "American consumers may be exposed to 3,000 commercial messages every day". Within that time frame, the exposure of daily ads have supported many local and big businesses. With the arrival of the 2000s and 2010s, technological advances have created new opportunities for many businesses to grow. In the 21st century, virtual advertising has been used to create virtual product placements in television shows hours, days, or years after they have been produced. Advertisements can be targeted to regional markets and updated over time to ensure maximum efficiency of advertising money. A good example of how virtual advertising is used in everyday life is in sports. Virtual advertising uses the latest technology to place an ad in position to the field of play, regardless of camera motion, and the players' movement over the logos. Recently, the NHL have virtually inserted sponsors on the glass above the physical boards in NHL stadiums. Big brands will not spend their time or money on hitting a certain region when their main goal is to build global brand awareness. Digital signage opportunities allow these larger brands to purchase signage in a stadium during games that are instead nationally televised. This gets even more expansive thanks to social media outlets like Twitter, Facebook, and Amazon. On the other hand, local businesses sign when there are smaller games going on. The signage is much more affordable and still reaches a vast number of people. Virtual advertising may even make live attendance more attractive to sport fans because the technology allows the playing field and surrounding areas to be cleared of advertisements while television viewers at home are exposed to commercials. For the most part, virtual advertising makes a live attendance more attractive to sports fans, because instead of being at home watching commercials, live fans are able to be clear of advertisements and enjoy the game without pop-up ads. == Technology == The technology used in virtual insertions often uses automated processes such as: automatic detection of playfield limits, automatic detection of cuts, recognition of playfield surface, recognition of existing logos for logo replacements, etc. An operator is usually dedicated to the visual control of the effect but new systems allow to use the instant replay operator. == Examples == === Live events === Virtual advertisements can be effectively integrated into live television in real-time. For example, Fox Sports Net places a virtual advertisement on the glass behind the goaltender that can only be seen on television. The advertising in the playfields is property of the club, except in some professional sports where the league or federation owns the advertising rights. However, the advertising rights broadcast on the screen are property of the broadcasters or the TV channel. This means that second right holders can benefit from selling this virtual advertising. The number of TV viewers is also higher than the people in the stadium, generating more visibility to the advertised marks and more income to the broadcasters. Virtual advertising was first introduced in football during the 2015 Audi Cup at the Allianz Arena in Munich. AIM Sport implemented the technology to digitally overlay advertisements on the stadium's perimeter boards, allowing different sponsors to be displayed to viewers in different broadcast regions. In Formula One, virtual ads are placed on the grass or as virtual billboards. In baseball, Major League Baseball places virtual advertisements on a back-board behind the batter which can be targeted differently in local markets or countries. During the World Series, MLB international broadcasts of the World Series feature different advertisements on a per market basis, showing a different ad in the US, Canadian, Latin American and Japanese markets. In tennis, e.g. during the 2019 ATP Finals in London's O2 Arena certain logos in the background were replaced for various country feeds. In table tennis e.g. during the ITTF World Tour Australian Open 2019 virtual advertising overlays were used by uniqFEED AG in Switzerland. Since the 2022–23 season, the National Hockey League (NHL) has used digitally enhanced dasherboards (DED) to erase and replace ads on each arena's boards with up to 120 thirty-second segments on all or part of the rink. Each broadcaster can use a different set of ads. DED were first used at the 2016 World Cup of Hockey, which was organized by the NHL. At UEFA Euro 2024, AIM Sport provided virtual advertising for all matches, marking one of the largest implementations of the technology in an international tournament. In addition to the tournament itself, virtual advertising was also used in the participating teams' domestic matches, extending region-specific advertising beyond the competition itself.

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  Blue check

  A blue check is used on social media platforms, notably X (formerly known as Twitter), to indicate the authenticity of an account. Since November 2022, Twitter users whose accounts are at least 90 days old and have a verified phone number receive verification upon subscribing to X Premium or Verified Organizations; this status persists as long as the subscription remains active. When introduced in June 2009, the system provided the site's readers with a means to distinguish genuine notable account holders, such as celebrities and organizations, from impostors or parodies. Until November 2022, a blue checkmark displayed against an account name indicated that Twitter had taken steps to ensure that the account was actually owned by the person or organization whom it claimed to represent. The checkmark does not imply endorsement from Twitter, and does not mean that tweets from a verified account are necessarily accurate or truthful in any way. People with verified accounts on Twitter are often colloquially referred to as "blue checks" on social media and by reporters. In November 2022, the verification program was modified heavily by new owner Elon Musk, extending verification to any account with a verified phone number and an active subscription to an eligible X Premium (formerly Twitter Blue) plan. These changes faced criticism from users and the media, who believed that the changes would ease impersonation, and allow accounts spreading misleading information to feign credibility. In a related change, Twitter introduced additional gold and gray checkmarks, used by Verified Organizations and government-affiliated accounts, respectively. Twitter claims that the changes to verification are required to "reduce fraudulent accounts and bots". Twitter users who had been verified through the previous system were known as "legacy verified" accounts; legacy verification was deprecated in April 2023, and stripped from accounts who do not meet the new payment requirements. Musk later implied that he had been personally paying for the X Premium subscriptions of several notable celebrities. == Until November 2022 == In June 2009, after being criticized by Kanye West and sued by Tony La Russa over unauthorized accounts run by impersonators, the company launched their "Verified Accounts" program. Twitter stated that an account with a "blue tick" verification badge indicates "we've been in contact with the person or entity the account is representing and verified that it is approved". After the beta period, the company stated in their FAQ that it "proactively verifies accounts on an ongoing basis to make it easier for users to find who they're looking for" and that they "do not accept requests for verification from the general public". Originally, Twitter took on the responsibility of reaching out to celebrities and other notable people to confirm their identities in order to establish a verified account. In July 2016, Twitter announced a public application process to grant verified status to an account "if it is determined to be of public interest" and that verification "does not imply an endorsement". In 2016, the company began accepting requests for verification, but it was discontinued the same year. Twitter explained that the volume of requests for verified accounts had exceeded its ability to cope; rather, Twitter determines on its own whom to approach about verified accounts, limiting verification to accounts which are "authentic, notable, and active". In November 2020, Twitter announced a relaunch of its verification system in 2021. According to the new policy, Twitter verifies six different types of accounts; for three of them (companies, brands, and influential individuals like activists), the existence of a Wikipedia page will be one criterion for showing that the account has "Off Twitter Notability". === Controversy === On June 21, 2014, actor William Shatner raised an issue with several Engadget editorial staff and their verification status on Twitter. Besides the site's social media editor, John Colucci, Shatner also targeted several junior members of the staff for being "nobodies", unlike some of his actor colleagues who did not bear such distinction. Shatner claimed Colucci and the team were bullying him when giving a text interview to Mashable. Over a month later, Shatner continued to discuss the issue on his Tumblr page, to which Engadget replied by defending its team and discussing the controversy surrounding the social media verification. Twitter's practice and process for verifying accounts came under scrutiny again in 2017 after the company verified the account of white supremacist and far-right political activist, Jason Kessler. Many who criticized Twitter's decision to verify Kessler's account saw this as a political act on the company's behalf. In response, Twitter put its verification process on hold. The company tweeted, "Verification was meant to authenticate identity & voice but it is interpreted as an endorsement or an indicator of importance. We recognize that we have created this confusion and need to resolve it. We have paused all general verifications while we work and will report back soon." As of November 2017, Twitter continued to deny verification of Julian Assange's account following his requests. In November 2019, Dalit activists of India alleged that higher-caste people get Twitter verification easily and trended hashtags #CancelAllBlueTicksInIndia and #CasteistTwitter. Critics have said that the company's verification process is not transparent and causes digital marginalisation of already marginalised communities. Twitter India rejected the allegations, calling them "impartial" and working on a "case-by-case" policy. == Since November 2022 == On April 20, 2023, Twitter (known as X since July 2023) began removing verification status for users of public interest, causing a controversy among Twitter users. The website's system was altered, allowing any individual to receive verification for a monthly fee, an act which saw significant criticism. Following the acquisition of Twitter by Elon Musk on October 28, 2022, Musk told Twitter employees to introduce paid verification by November 7 through Twitter Blue. The Verge reported that the updated Blue subscription would cost $19.99 per month, and users would lose their verification status if they did not join within 90 days. Following backlash, Musk tweeted, in response to author Stephen King, a lowered $8 price on November 1, 2022. Twitter confirmed the new price of $7.99 per month on November 5, 2022. The new verification system began rollout on November 9, 2022, a day after the 2022 United States elections. The decision to delay its rollout was to address concerns about users potentially spreading misinformation about voting results by posing as news outlets and lawmakers. At the same time, Twitter introduced a secondary gray "Official" label on some high-profile accounts, but removed them hours after launch. Less than 48 hours later, Twitter reinstated the gray "Official" label, after multiple users were suspended for deliberately impersonating reporters and high-profile athletes like LeBron James. A viral tweet from an account purporting to be the pharmaceutical company Eli Lilly and Company caused the company's stock to fall after announcing "insulin is free now". As a result, Twitter disabled new Blue subscriptions on November 11, 2022. === Announcement === In October 2022, Casey Newton of Platformer reported that executives at Twitter began discussing the possibility of users being forced to pay for Twitter Blue in order to keep their verification status. Musk publicly announced that verification was "being revamped right now" after Newton's article; according to The Verge, Twitter planned to increase the price of Twitter Blue from US$4.99 per month to US$19.99 per month. Users would have had 90 days to subscribe or face losing their verification status, and employees were told to implement paid verification by November 9 or risk getting fired. Upon the news that Twitter Blue would cost US$19.99 per month, author Stephen King expressed displeasure towards Twitter and stated that he would leave. Musk, replying to King's tweet, proposed that the service should cost US$7.99 instead. In a separate tweet, Musk wrote that Twitter Blue subscribers would receive priority in replies, mentions, and search, fewer advertisements, and longer audio and video. Although paid verification was expected to be launched by November 7, the reintroduction of Twitter Blue was delayed until after the 2022 United States elections on November 9, according to a memo obtained by The New York Times. The announcement of paid verification resulted in several accounts facetiously impersonating Musk, such as those of comedians Kathy Griffin and Sarah Silverman, being suspended. In response, Musk announced that impersonators using Twitter Blue "will be permanently suspended". An "official

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  Webby Awards

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

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  Public computer

  A public computer (or public access computer) is any of various computers available in public areas. Some places where public computers may be available are libraries, schools, or dedicated facilities run by government. Public computers share similar hardware and software components to personal computers, however, the role and function of a public access computer is entirely different. A public access computer is used by many different untrusted individuals throughout the course of the day. The computer must be locked down and secure against both intentional and unintentional abuse. Users typically do not have authority to install software or change settings. A personal computer, in contrast, is typically used by a single responsible user, who can customize the machine's behavior to their preferences. Public access computers are often provided with tools such as a PC reservation system to regulate access. The world's first public access computer center was the Marin Computer Center in California, co-founded by David and Annie Fox in 1977. == Kiosks == A kiosk is a special type of public computer using software and hardware modifications to provide services only about the place the kiosk is in. For example, a movie ticket kiosk can be found at a movie theater. These kiosks are usually in a secure browser with zero access to the desktop. Many of these kiosks may run Linux, however, ATMs, a kiosk designed for depositing money, often run Windows XP. == Public computers in the United States == === Library computers === In the United States and Canada, almost all public libraries have computers available for the use of patrons, though some libraries will impose a time limit on users to ensure others will get a turn and keep the library less busy. Users are often allowed to print documents that they have created using these computers, though sometimes for a small fee. ==== Privacy ==== Privacy is an important part of the public library institution, since the libraries entitle the public to intellectual freedom. Use of any computer or network may create records of users' activities that can jeopardize their privacy. It is possible for a patron to jeopardize their privacy if they do not delete cache, clear cookies, or documents from the public computer. In order for a member of the public to remain private on a computer, the American Library Association (ALA) has guidelines. These give patrons an idea of the right way to keep using public library computers. In their provision of services to library users, librarians have an ethical responsibility, expressed in the ALA Code of Ethics, to preserve users' right to privacy. A librarian is also responsible for giving users an understanding of private patron use and access. Libraries must ensure that users have the following rights when browsing on public computers: the computer automatically will clear a users history; libraries should display privacy screens so users do not see another patron's screen; updating software for effective safety measures; restoration data software to clear documents that users may have left on their computers and to combat possible malware; security practices; and making users aware of any possible monitoring of their browsing activities. Users can also view the Library Privacy Checklist for Public Access Computers and Networks to better understand what libraries strive for when protecting privacy. === School computers === The U.S. government has given money to many school boards to purchase computers for educational applications. Schools may have multiple computer labs, which contain these computers for students to use. There is usually Internet access on these machines, but some schools will put up a blocking service to limit the websites that students are able to access to only include educational resources, such as Google. In addition to controlling the content students are viewing, putting up these blocks can also help to keep the computers safe by preventing students from downloading malware and other threats. However, the effectiveness of such content filtering systems is questionable since it can easily be circumvented by using proxy websites, Virtual Private Networks, and for some weak security systems, merely knowing the IP address of the intended website is enough to bypass the filter. School computers often have advanced operating system security to prevent tech-savvy students from inflicting damage (i.e. the Windows Registry Editor and Task Manager, etc.) are disabled on Microsoft Windows machines. Schools with very advanced tech services may also install a locked down BIOS/firmware or make kernel-level changes to the operating system, precluding the possibility of unauthorized activity.

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  Glossary of operating systems terms

  This page is a glossary of Operating systems terminology. == A == access token: In Microsoft Windows operating systems, an access token contains the security credentials for a login session and identifies the user, the user's groups, the user's privileges, and, in some cases, a particular application. == B == binary semaphore: See semaphore. booting: In computing, booting (also known as booting up) is the initial set of operations that a computer performs after electrical power is switched on or when the computer is reset. This can take tens of seconds and typically involves performing a power-on self-test, locating and initializing peripheral devices, and then finding, loading and starting the operating system. == C == cache: In computer science, a cache is a component that transparently stores data so that future requests for that data can be served faster. The data that is stored within a cache might be values that have been computed earlier or duplicates of original values that are stored elsewhere. cloud: Cloud computing operating systems are recent, and were not mentioned in Gagne's 8th Edition (2009). In contrast, by Gagne's 9th (2012), cloud o/s received 3 pages of coverage (41, 42, 716). Doeppner (2011) mentions them (p. 3), but only to prove that operating systems "are not a solved problem" and that even if the day of the dedicated PC is waning, cloud computing has created an entirely new opportunity for o/s development ala sharing, networks, memory, parallelism, etc. Gagne (2012) adds that in addition to numerous traditional o/s's at cloud warehouses, Virtual machine o/s (VMMs), Eucalyptus, Vware, vCloud Director and others are being developed specifically for cloud management with numerous traditional o/s features (security, threads, file and memory management, guis, etc.) (p. 42). Microsoft's investment in cloud aspects of o/s tend to support that argument. concurrency == D == daemon: Operating systems often start daemons at boot time and serve the function of responding to network requests, hardware activity, or other programs by performing some task. Daemons can also configure hardware (like udevd on some Linux systems), run scheduled tasks (like cron), and perform a variety of other tasks. == E == == F == == G == == H == == I == == J == == K == kernel: In computing, the kernel is a computer program that manages input/output requests from software and translates them into data processing instructions for the central processing unit and other electronic components of a computer. The kernel is a fundamental part of a modern computer's operating system. == L == lock: In computer science, a lock or mutex (from mutual exclusion) is a synchronization mechanism for enforcing limits on access to a resource in an environment where there are many threads of execution. A lock is designed to enforce a mutual exclusion concurrency control policy. == M == mutual exclusion: Mutual exclusion is to allow only one process at a time to access the same critical section (a part of code which accesses the critical resource). This helps prevent race conditions. mutex: See lock. == N == == O == == P == paging daemon: See daemon. process == Q == == R == == S == semaphore: In computer science, particularly in operating systems, a semaphore is a variable or abstract data type that is used for controlling access, by multiple processes, to a common resource in a parallel programming or a multi user environment. == T == thread: In computer science, a thread of execution is the smallest sequence of programmed instructions that can be managed independently by an operating system scheduler. The scheduler itself is a light-weight process. The implementation of threads and processes differs from one operating system to another, but in most cases, a thread is contained inside a process. templating: In an o/s context, templating refers to creating a single virtual machine image as a guest operating system, then saving it as a tool for multiple running virtual machines (Gagne, 2012, p. 716). The technique is used both in virtualization and cloud computing management, and is common in large server warehouses. == U == == V == == W == == Z ==

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  Digital Cinema Package

  A Digital Cinema Package (DCP) is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams. The term was popularized by Digital Cinema Initiatives, LLC in its original recommendation for packaging DC contents. However, the industry tends to apply the term to the structure more formally known as the composition. A DCP is a container format for compositions, a hierarchical file structure that represents a title version. The DCP may carry a partial composition (e.g. not a complete set of files), a single complete composition, or multiple and complete compositions. The composition consists of a Composition Playlist (in XML format) that defines the playback sequence of a set of Track Files. Track Files carry the essence (audio, image, subtitles), which is wrapped using Material eXchange Format (MXF). Track Files must contain only one essence type. Two track files at a minimum must be present in every composition (see SMPTE ST429-2 D-Cinema Packaging – DCP Constraints, or Cinepedia): a track file carrying picture essence, and a track file carrying audio essence. The composition, consisting of a Composition Playlist (CPL) and associated track files, are distributed as a Digital Cinema Package (DCP). A composition is a complete representation of a title version, while the DCP need not carry a full composition. However, as already noted, it is commonplace in the industry to discuss the title in terms of a DCP, as that is the deliverable to the cinema. The Picture Track File essence is compressed using JPEG 2000 and the Audio Track File carries a 24-bit linear PCM uncompressed multichannel WAV file. Encryption may optionally be applied to the essence of a track file to protect it from unauthorized use. The encryption used is AES 128-bit in CBC mode. In practice, there are two versions of composition in use. The original version is called Interop DCP. In 2009, a specification was published by SMPTE (SMPTE ST 429-2 Digital Cinema Packaging – DCP Constraints) for what is commonly referred to as SMPTE DCP. SMPTE DCP is similar but not backwards compatible with Interop DCP, resulting in an uphill effort to transition the industry from Interop DCP to SMPTE DCP. SMPTE DCP requires significant constraints to ensure success in the field, as shown by ISDCF. While legacy support for Interop DCP is necessary for commercial products, new productions are encouraged to be distributed in SMPTE DCP. == Technical specifications == The DCP root folder (in the storage medium) contains a number of files, some used to store the image and audio contents, and some other used to organize and manage the whole playlist. === Picture MXF files === Picture contents may be stored in one or more reels corresponding to one or more MXF files. Each reel contains pictures as MPEG-2 or JPEG 2000 essence, depending on the adopted codec. MPEG-2 is no longer compliant with the DCI specification. JPEG 2000 is the only accepted compression format. Supported frame rates are: SMPTE (JPEG 2000) 24, 25, 30, 48, 50, and 60 fps @ 2K 24, 25, and 30 fps @ 4K 24 and 48 fps @ 2K stereoscopic MXF Interop (JPEG 2000) – Deprecated 24 and 48 fps @ 2K (MXF Interop can be encoded at 25 frame/s but support is not guaranteed) 24 fps @ 4K 24 fps @ 2K stereoscopic MXF Interop (MPEG-2) – Deprecated 23.976 and 24 fps @ 1920 × 1080 Maximum frame sizes are 2048 × 1080 for 2K DC, and 4096 × 2160 for 4K DC. Common formats are: SMPTE (JPEG 2000) Flat (1998 × 1080 or 3996 × 2160), = 1.85:1 aspect ratio Scope (2048 × 858 or 4096 × 1716), ~2.39:1 aspect ratio HDTV (1920 × 1080 or 3840 × 2160), 16:9 aspect ratio (~1.78:1) (although not specifically defined in the DCI specification, this resolution is DCI compliant per section 8.4.3.2). Full (2048 × 1080 or 4096 × 2160) (~1.9:1 aspect ratio, official name by DCI is Full Container. Not widely accepted in cinemas.) MXF Interop (MPEG-2) – Deprecated Full Frame (1920 × 1080) 12 bits per component precision (36 bits total per pixel) XYZ' colorspace; the prime mark indicates gamma encoding (gamma=2.6) Maximum bit rate is 250 Mbit/s (1.3 MBytes per frame at 24 frame per second) === Sound MXF files === Sound contents are also stored in reels corresponding to picture reels in number and duration. In case of multilingual features, separate reels are required to convey different languages. Each file contains linear PCM essence. Sampling rate is 48,000 or 96,000 samples per second Sample precision of 24 bits Linear mapping (no companding) Up to 16 independent channels === Asset map file === List of all files included in the DCP, in XML format. === Composition playlist file === Defines the playback order during presentation. The order is saved in XML format in this file; each picture and sound reel is identified by its UUID. In the following example, a reel is composed by picture and sound: === Packing list file or package key list (PKL) === All files in the composition are hashed and their hash is stored here, in XML format. This file is generally used during ingestion in a digital cinema server to verify if data have been corrupted or tampered with in some way. For example, an MXF picture reel is identified by the following element: The hash value is the Base64 encoding of the SHA-1 checksum. It can be calculated with the command: openssl sha1 -binary "FILE_NAME" | openssl base64 === Volume index file === A single DCP may be stored in more than one medium (e.g., multiple hard disks). The XML file VOLINDEX is used to identify the volume order in the series. == 3D DCP == The DCP format is also used to store stereoscopic (3D) contents for 3D films. In this case, 48 frames exist for every second – 24 frames for the left eye, 24 frames for the right. Depending on the projection system used, the left eye and right eye pictures are either shown alternately (double or triple flash systems) at 48 fps or, on 4k systems, both left and right eye pictures are shown simultaneously, one above the other, at 24 fps. In triple flash systems, active shutter glasses are required whereas optical filtering such as circular polarisation is used in conjunction with passive glasses on polarized systems. Since the maximum bit rate is always 250 Mbit/s, this results in a net 125 Mbit/s for single frame, but the visual quality decrease is generally unnoticeable. == D-Box == D-Box codes for motion controlled seating (labelled as "Motion Data" in the DCP specification), if present, are stored as a monoaural WAV file on Sound Track channel 13. Motion Data tracks are unencrypted and not watermarked. == Creation == Most film producers and distributors rely on digital cinema encoding facilities to produce and quality control check a digital cinema package before release. Facilities follow strict guidelines set out in the DCI recommendations to ensure compatibility with all digital cinema equipment. For bigger studio release films, the facility will usually create a Digital Cinema Distribution Master (DCDM). A DCDM is the post-production step prior to a DCP. The frames are in XYZ TIFF format and both sound and picture are not yet wrapped into MXF files. A DCP can be encoded directly from a DCDM. A DCDM is useful for archiving purposes and also facilities can share them for international re-versioning purposes. They can easily be turned into alternative version DCPs for foreign territories. For smaller release films, the facility will usually skip the creation of a DCDM and instead encode directly from the Digital Source Master (DSM) the original film supplied to the encoding facility. A DSM can be supplied in a multitude of formats and color spaces. For this reason, the encoding facility needs to have extensive knowledge in color space handling including, on occasion, the use of 3D LUTs to carefully match the look of the finished DCP to a celluloid film print. This can be a highly involved process in which the DCP and the film print are "butterflied" (shown side by side) in a highly calibrated cinema. Less demanding DCPs are encoded from tape formats such as HDCAM SR. Quality control checks are always performed in calibrated cinemas and carefully checked for errors. QC checks are often attended by colorists, directors, sound mixers and other personnel to check for correct picture and sound reproduction in the finished DCP. == Accessibility == === Hearing impaired audio === A Hearing Impaired (HI) audio track is designed for people who are hearing-impaired to better hear dialog. Moviegoers can wear headphones which play this audio track synchronized with the film. Hearing Impaired audio is stored in the DCP on Sound Track channel 7. === Audio description === Audio description is narration for people who are blind or visually impaired. Audio description is stored in the DCP as "Visually Impaired-Native" (VI-N) audio on Sound Track channel 8. === Sign Language Video === A Sign Language Video track can be included in a DCP to allow for display of sign la

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  MADI

  Multichannel Audio Digital Interface (MADI) standardized as AES10 by the Audio Engineering Society (AES) defines the data format and electrical characteristics of an interface that carries multiple channels of digital audio. The AES first documented the MADI standard in AES10-1991 and updated it in AES10-2003 and AES10-2008. The MADI standard includes a bit-level description and has features in common with the two-channel AES3 interface. MADI supports serial digital transmission over coaxial cable or fibre-optic lines of 28, 56, 32, or 64 channels; and sampling rates to 96 kHz and beyond with an audio bit depth of up to 24 bits per channel. Like AES3 and ADAT Lightpipe, it is a unidirectional interface from one sender to one receiver. == Development and applications == MADI was developed by AMS Neve, Solid State Logic, Sony and Mitsubishi and is widely used in the audio industry, especially in the professional audio sector. It provides advantages over other audio digital interface protocols and standards such as AES3, ADAT Lightpipe, TDIF (Tascam Digital Interface), and S/PDIF (Sony/Philips Digital Interface). These advantages include: Support for a greater number of channels per line Use of coaxial and optical fiber media that support transmission of audio signals over 100 meters, up to 3000 meters over multi-mode and 40,000 meters over single-mode optical fiber The original specification (AES10-1991) defined the MADI link as a 56-channel transport for linking large-format mixing consoles to digital multitrack recording devices. Large broadcast studios also adopted it for routing multi-channel audio throughout their facilities. The 2003 revision (AES10-2003) adds a 64-channel capability by removing varispeed operation and supports 96 kHz sampling frequency with reduced channel capacity. The latest AES10-2008 standard includes minor clarifications and updates to correspond to the current AES3 standard. Audio over Ethernet of various types is the primary alternative to MADI for transport of many channels of professional digital audio. == Transmission format == MADI links use a transmission format similar to Fiber Distributed Data Interface (FDDI) networking. Since MADI is most often transmitted on copper links via 75-ohm coaxial cables, it more closely compares to the FDDI specification for copper-based links, called CDDI. AES10-2003 recommends using BNC connectors with coaxial cables and SC connectors with optic fibers. MADI over fibre can support a range of up to 2 km. The basic data rate is 100 Mbit/s of data using 4B5B encoding to produce a 125 MHz physical baud rate. Unlike AES3, this clock is not synchronized to the audio sample rate, and the audio data payload is padded using JK sync symbols. Sync symbols may be inserted at any subframe boundary, and must occur at least once per frame. Though the standard disassociates the transmission clock from the audio sample rate, and thus requires a separate word clock connection to maintain synchronization, some vendors do give the option of locking to parts of the transmission timing information for purposes of deriving a word clock. The audio data is almost identical to the AES3 payload, though with more channels. Rather than letters, MADI assigns channel numbers from 0–63. Frame synchronization is provided by sync symbols outside the data itself, rather than an embedded preamble sequence, and the first four time slots of each sub-channel are encoded as normal data, used for sub-channel identification: Bit 0: Set to 1 to mark channel 0, the first channel in each frame Bit 1: Set to 1 to indicate that this channel is active (contains interesting data) Bit 2: notA/B channel marker, used to mark left (0) and right (1) channels. Generally, even channels are A and odd channels are B. Bit 3: Set to 1 to mark the beginning of a 192-sample data block == Sampling frequency == The original AES10-1991 specification allowed 56 channels at sample rates from 32 to 48 kHz with an additional vari-speed range of ± 12.5%. This leads to a total range of 28 to 54 kHz. At the highest frequency, this produces a total of 56 × 32 × 54 = 96768 kbit/s, leaving 3.232% of the channel for synchronization marks and transmit clock error. The 2003 revision specifies different relations between sampling frequency and number of channels. 32 kHz to 48 kHz ± 12.5%, 56 channels; 32 kHz to 48 kHz nominal, 64 channels; 64 kHz to 96 kHz ± 12.5%, 28 channels. With a 48 kHz sampling frequency, 64 channels take 64 × 32 × 48000 = 98.304 Mbit/s. Adding the minimum 8 × 58 kbit/s of framing produces 98688 bit/s, leaving 1.312% free for timing variation and other overhead. Both versions of the standard accommodate higher sampling frequencies (for example, 96 kHz or 192 kHz) by using two or more channels per audio sample on the link.

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  Avid Free DV

  Avid Free DV is a non-linear editing video editing software application developed by Avid Technology. Avid introduced Free DV in January 2003 at the 2003 MacWorld Expo; the company discontinued it in September 2007. Free DV was intended to give editors a sample of the Avid interface to use in deciding whether or not to purchase Avid software, so when compared with other Avid products its features were relatively minimal. When it was available it was not limited by time or watermarking, so it could be used as a non-linear editor for as long as desired. == Comparisons == When compared with other consumer-end non-linear editors such as iMovie and Windows Movie Maker, it sported more powerful video processing tools, but lacked the ease-of-use and shallow learning curve emphasized in similar programs because it had the full interface of the professional Avid system. However, Avid did offer a number of flash-based tutorials to help new users learn how to use the program for capturing, editing, clipping, processing, and outputting audio/video, among other things. == Limitations == The limitations of Avid Free DV included that it allowed only two video and audio tracks, had fewer editing tools than other Avid products, had few import and export formats, and allowed capture and output of standard-definition DV only, via FireWire. Avid Free DV projects and media were not compatible with other Avid systems. As the name implied, Avid Free DV was available as a free download, although users were required to complete a short survey on the Avid website before they were given a download link and key. In addition to using Free DV to evaluate Avid prior to purchase, it could also act as a stepping stone for people wishing to learn to use Avid's other editing products, such as Xpress Pro, Media Composer and Symphony. While additional skills and techniques are necessary to use these professionally geared systems, the basic operation remains the same. == Operating systems == Avid Free DV was available for Windows XP and Mac OS X. The officially supported Mac OS X versions were Panther versions up to 10.3.5, and Tiger versions up to 10.4.3 only. == Supported formats == Avid Free DV supported QuickTime (MOV) and DV AVIs. == Reception == John P. Mello Jr. of The Boston Globe gave Free DV a negative review, finding the user interface obfuscatory and the process of ingesting video error-prone. He summarized: "Professional video editors who use an Avid competitor may jump at the chance to take a free look at how Avid does things. But for the merely curious, this software is a nightmare". Video Systems's Steve Mullen opined that its lack of interoperability with Avid's professional editing software contracted Avid's stated goal to entice budding video editors into buying into the company's software ecosystem.

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  Bootstrap (front-end framework)

  Bootstrap (formerly Twitter Bootstrap) is a free and open-source CSS framework directed at responsive, mobile-first front-end web development. It contains HTML, CSS and (optionally) JavaScript-based design templates for typography, forms, buttons, navigation, and other interface components. As of May 2023, Bootstrap is the 17th most starred project (4th most starred library) on GitHub, with over 164,000 stars. According to W3Techs, Bootstrap is used by 19.2% of all websites. == Features == Bootstrap is an HTML, CSS and JS library that focuses on simplifying the development of informative web pages (as opposed to web applications). The primary purpose of adding it to a web project is to apply Bootstrap's choices of color, size, font and layout to that project. As such, the primary factor is whether the developers in charge find those choices to their liking. Once added to a project, Bootstrap provides basic style definitions for all HTML elements. The result is a uniform appearance for prose, tables and form elements across web browsers. In addition, developers can take advantage of CSS classes defined in Bootstrap to further customize the appearance of their contents. For example, Bootstrap has provisioned for light- and dark-colored tables, page headings, more prominent pull quotes, and text with a highlight. Bootstrap also comes with several JavaScript components which do not require other libraries like jQuery. They provide additional user interface elements such as dialog boxes, tooltips, progress bars, navigation drop-downs, and carousels. Each Bootstrap component consists of an HTML structure, CSS declarations, and in some cases accompanying JavaScript code. They also extend the functionality of some existing interface elements, including for example an auto-complete function for input fields. The most prominent components of Bootstrap are its layout components, as they affect an entire web page. The basic layout component is called "Container", as every other element in the page is placed in it. Developers can choose between a fixed-width container and a fluid-width container. While the latter always fills the width with the web page, the former uses one of the five predefined fixed widths, depending on the size of the screen showing the page: Smaller than 576 pixels 576–768 pixels 768–992 pixels 992–1200 pixels 1200–1400 pixels Larger than 1400 pixels Once a container is in place, other Bootstrap layout components implement a CSS Flexbox layout through defining rows and columns. A precompiled version of Bootstrap is available in the form of one CSS file and three JavaScript files that can be readily added to any project. The raw form of Bootstrap, however, enables developers to implement further customization and size optimizations. This raw form is modular, meaning that the developer can remove unneeded components, apply a theme and modify the uncompiled Sass files. == History == === Early beginnings === Bootstrap, originally named Twitter Blueprint, was developed by Mark Otto and Jacob Thornton at Twitter in 2010 as a framework to encourage consistency across internal tools. Before Bootstrap, various libraries were used for interface development, which led to inconsistencies and a high maintenance burden. According to Otto: A super small group of developers and I got together to design and build a new internal tool and saw an opportunity to do something more. Through that process, we saw ourselves build something much more substantial than another internal tool. Months later, we ended up with an early version of Bootstrap as a way to document and share common design patterns and assets within the company. After a few months of development by a small group, many developers at Twitter began to contribute to the project as a part of Hack Week, a hackathon-style week for the Twitter development team. It was renamed from Twitter Blueprint to Twitter Bootstrap and released as an open-source project on August 19, 2011. It has continued to be maintained by Otto, Thornton, a small group of core developers, and a large community of contributors. === Bootstrap 2 === On January 31, 2012, Bootstrap 2 was released, which added built-in support for Glyphicons, several new components, as well as changes to many of the existing components. This version supports responsive web design, meaning the layout of web pages adjusts dynamically, taking into account the characteristics of the device used (whether desktop, tablet, mobile phone). Shortly before the release of Bootstrap 2.1.2, Otto and Thornton left Twitter, but committed to continue to work on Bootstrap as an independent project. === Bootstrap 3 === On August 19, 2013, Bootstrap 3 was released. It redesigned components to use flat design and a mobile first approach. Bootstrap 3 features new plugin system with namespaced events. Bootstrap 3 dropped Internet Explorer 7 and Firefox 3.6 support, but there is an optional polyfill for these browsers. Bootstrap 3 was also the first version released under the twbs organization on GitHub instead of the Twitter one. === Bootstrap 4 === Otto announced Bootstrap 4 on October 29, 2014. The first alpha version of Bootstrap 4 was released on August 19, 2015. The first beta version was released on August 10, 2017. Otto suspended work on Bootstrap 3 on September 6, 2016, to free up time to work on Bootstrap 4. Bootstrap 4 was finalized on January 18, 2018. Significant changes include: Major rewrite of the code Replacing Less with Sass Addition of Reboot, a collection of element-specific CSS changes in a single file, based on Normalize Dropping support for IE8, IE9, and iOS 6 CSS Flexible Box support Adding navigation customization options Adding responsive spacing and sizing utilities Switching from the pixels unit in CSS to root ems Increasing global font size from 14px to 16px for enhanced readability Dropping the panel, thumbnail, pager, and well components Dropping the Glyphicons icon font Huge number of utility classes Improved form styling, buttons, drop-down menus, media objects and image classes Bootstrap 4 supports the latest versions of Google Chrome, Firefox, Internet Explorer, Opera, and Safari (except on Windows). It additionally supports back to IE10 and the latest Firefox Extended Support Release (ESR). === Bootstrap 5 === Bootstrap 5 was officially released on May 5, 2021. Major changes include: New offcanvas menu component Removing dependence on jQuery in favor of vanilla JavaScript Rewriting the grid to support responsive gutters and columns placed outside of rows Migrating the documentation from Jekyll to Hugo Dropping support for Internet Explorer Moving testing infrastructure from QUnit to Jasmine Adding custom set of SVG icons Adding CSS custom properties Improved API Enhanced grid system Improved customizing docs Updated forms RTL support Built in darkmode support

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  HTTP cookie

  An HTTP cookie (also called web cookie, Internet cookie, browser cookie, or simply cookie) is a small block of data created by a web server while a user is browsing a website and placed on the user's computer or other device by the user's web browser. Cookies are placed on the device used to access a website, and more than one cookie may be placed on a user's device during a session. Cookies serve useful and sometimes essential functions on the web. They enable web servers to store stateful information (such as items added in the shopping cart in an online store) on the user's device or to track the user's browsing activity (including clicking particular buttons, logging in, or recording which pages were visited in the past). They can also be used to save information that the user previously entered into form fields, such as names, addresses, passwords, and payment card numbers for subsequent use. Authentication cookies are commonly used by web servers to authenticate that a user is logged in, and with which account they are logged in. Without the cookie, users would need to authenticate themselves by logging in on each page containing sensitive information that they wish to access. The security of an authentication cookie generally depends on the security of the issuing website and the user's web browser, and on whether the cookie data is encrypted. Security vulnerabilities may allow a cookie's data to be read by an attacker, used to gain access to user data, or used to gain access (with the user's credentials) to the website to which the cookie belongs (see cross-site scripting and cross-site request forgery for examples). Tracking cookies, and especially third-party tracking cookies, are commonly used as ways to compile long-term records of individuals' browsing histories — a potential privacy concern that prompted European and U.S. lawmakers to take action in 2011. European law requires that all websites targeting European Union member states gain "informed consent" from users before storing non-essential cookies on their device. == Background == === Origin of the name === The term cookie was coined by web-browser programmer Lou Montulli. It was derived from the term magic cookie, which is a packet of data a program receives and sends back unchanged, used by Unix programmers. === History === Magic cookies were already used in computing when computer programmer Lou Montulli had the idea of using them in web communications in June 1994. At the time, he was an employee of Netscape Communications, which was developing an e-commerce application for MCI. Vint Cerf and John Klensin represented MCI in technical discussions with Netscape Communications. MCI did not want its servers to have to retain partial transaction states, which led them to ask Netscape to find a way to store that state in each user's computer instead. Cookies provided a solution to the problem of reliably implementing a virtual shopping cart. Together with John Giannandrea, Montulli wrote the initial Netscape cookie specification the same year. Version 0.9beta of Mosaic Netscape, released on 13 October 1994, supported cookies. The first use of cookies (out of the labs) was checking whether visitors to the Netscape website had already visited the site. Montulli applied for a patent for the cookie technology in 1995, which was granted in 1998. Support for cookies was integrated with Internet Explorer in version 2, released in October 1995. The introduction of cookies was not widely known to the public at the time. In particular, cookies were accepted by default, and users were not notified of their presence. The public learned about cookies after the Financial Times published an article about them on 12 February 1996. In the same year, cookies received a lot of media attention, especially because of potential privacy implications. Cookies were discussed in two U.S. Federal Trade Commission hearings in 1996 and 1997. The development of the formal cookie specifications was already ongoing. In particular, the first discussions about a formal specification started in April 1995 on the www-talk mailing list. A special working group within the Internet Engineering Task Force (IETF) was formed. Two alternative proposals for introducing state in HTTP transactions had been proposed by Brian Behlendorf and David Kristol respectively. But the group, headed by Kristol himself and Lou Montulli, soon decided to use the Netscape specification as a starting point. In February 1996, the working group identified third-party cookies as a considerable privacy threat. The specification produced by the group was eventually published as RFC 2109 in February 1997. It specifies that third-party cookies were either not allowed at all, or at least not enabled by default. At this time, advertising companies were already using third-party cookies. The recommendation about third-party cookies of RFC 2109 was not followed by Netscape and Internet Explorer. RFC 2109 was superseded by RFC 2965 in October 2000. RFC 2965 added a Set-Cookie2 header field, which informally came to be called "RFC 2965-style cookies" as opposed to the original Set-Cookie header field which was called "Netscape-style cookies". Set-Cookie2 was seldom used, however, and was deprecated in RFC 6265 in April 2011 which was written as a definitive specification for cookies as used in the real world. No modern browser recognizes the Set-Cookie2 header field. == Terminology == === Session cookie === A session cookie (also known as an in-memory cookie, transient cookie or non-persistent cookie) exists only in temporary memory while the user navigates a website. Session cookies expire or are deleted when the user closes the web browser. Session cookies are identified by the browser by the absence of an expiration date assigned to them. === Persistent cookie === A persistent cookie expires at a specific date or after a specific length of time. For the persistent cookie's lifespan set by its creator, its information will be transmitted to the server every time the user visits the website that it belongs to, or every time the user views a resource belonging to that website from another website (such as an advertisement). For this reason, persistent cookies are sometimes referred to as tracking cookies because they can be used by advertisers to record information about a user's web browsing habits over an extended period of time. Persistent cookies are also used for reasons such as keeping users logged into their accounts on websites, to avoid re-entering login credentials at every visit. (See § Uses, below.) === Secure cookie === A secure cookie can only be transmitted over an encrypted connection (i.e. HTTPS). They cannot be transmitted over unencrypted connections (i.e. HTTP). This makes the cookie less likely to be exposed to cookie theft via eavesdropping. A cookie is made secure by adding the Secure flag to the cookie. === Http-only cookie === An http-only cookie cannot be accessed by client-side APIs, such as JavaScript. This restriction eliminates the threat of cookie theft via cross-site scripting (XSS). However, the cookie remains vulnerable to cross-site tracing (XST) and cross-site request forgery (CSRF) attacks. A cookie is given this characteristic by adding the HttpOnly flag to the cookie. === Same-site cookie === In 2016 Google Chrome version 51 introduced a new kind of cookie with attribute SameSite with possible values of Strict, Lax or None. With attribute SameSite=Strict, the browsers would only send cookies to a target domain that is the same as the origin domain. This would effectively mitigate cross-site request forgery (CSRF) attacks. With SameSite=Lax, browsers would send cookies with requests to a target domain even it is different from the origin domain, but only for safe requests such as GET (POST is unsafe) and not third-party cookies (inside iframe). Attribute SameSite=None would allow third-party (cross-site) cookies, however, most browsers require secure attribute on SameSite=None cookies. The Same-site cookie is incorporated into a new RFC draft for "Cookies: HTTP State Management Mechanism" to update RFC 6265 (if approved). Chrome, Firefox, and Edge started to support Same-site cookies. The key of rollout is the treatment of existing cookies without the SameSite attribute defined, Chrome has been treating those existing cookies as if SameSite=None, this would let all website/applications run as before. Google intended to change that default to SameSite=Lax in Chrome 80 planned to be released in February 2020, but due to potential for breakage of those applications/websites that rely on third-party/cross-site cookies and COVID-19 circumstances, Google postponed this change to Chrome 84. === Supercookie === A supercookie is a cookie with an origin of a top-level domain (such as .com) or a public suffix (such as .co.uk). Ordinary cookies, by contrast, have an origin of a specific domain name, such as ex

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