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  Replika

  Replika is a generative AI chatbot app released in November 2017. The chatbot is trained by having the user answer a series of questions to create a specific neural network. The chatbot operates on a freemium pricing strategy, with roughly 25% of its user base paying an annual subscription fee. == History == Eugenia Kuyda, a Russian-born journalist, established Replika while working at Luka, a tech company she had co-founded at the startup accelerator Y Combinator around 2012. Luka's primary product was a chatbot that made restaurant recommendations. According to Kuyda's origin story for Replika, a friend of hers died in 2015 and she converted that person's text messages into a chatbot. According to Kuyda's story, that chatbot helped her remember the conversations that they had together, and eventually became Replika. Replika became available to the public in November 2017. By January 2018 it had 2 million users, and in January 2023 reached 10 million users. In August 2024, Replika's CEO, Kuyda, reported that the total number of users had surpassed 30 million. In 2025, Dmytro Klochko became CEO, and Replika’s user base exceeded 40 million. In February 2023 the Italian Data Protection Authority banned Replika from using users' data, citing the AI's potential risks to emotionally vulnerable people, and the exposure of unscreened minors to sexual conversation. Within days of the ruling, Replika removed the ability for the chatbot to engage in erotic talk, with Kuyda, the company's director, saying that Replika was never intended for erotic discussion. Replika users disagreed, noting that Replika had used sexually suggestive advertising to draw users to the service. Replika representatives stated that explicit chats made up just 5% of conversations on the app at the time of the decision. In May 2023, Replika restored the functionality for users who had joined prior to February that year. Replika is registered in San Francisco. As of August 2024, Replika's website says that its team "works remotely with no physical offices". == Social features == Users react to Replika in many ways. The free-tier offers Replika as a "friend", with paid premium tiers offering Replika as a "partner", "spouse", "sibling" or "mentor". Of its paying userbase, 60% of users said they had a romantic relationship with the chatbot; and Replika has been noted for generating responses that create stronger emotional and intimate bonds with the user. Replika routinely directs the conversation to emotional discussion and builds intimacy. This has been especially pronounced with users suffering from loneliness and social exclusion, many of whom rely on Replika for a source of developed emotional ties. During the COVID pandemic, while many people were quarantined, many new users downloaded Replika and developed relationships with the app. A 2024 study examined Replika's interactions with students who experience depression. Research participants, noted to be "more lonely than typical student populations" reported feeling social support from Replika. They stated that they felt they were using Replika in ways comparable to therapy, and that using Replika gave them "high perceived social support". Many users have had romantic relationships with Replika chatbots, often including erotic talk. In 2023, a user announced on Facebook that she had "married" her Replika AI boyfriend, calling the chatbot the "best husband she has ever had". Users who fell in love with their chatbots shared their experiences in a 2024 episode of You and I, and AI from Voice of America. Some users said that they turned to AI during depression and grief, with one saying he felt that Replika had saved him from hurting himself after he lost his wife and son. == Technical reviews == A team of researchers from the University of Hawaiʻi at Mānoa found that Replika's design conformed to the practices of attachment theory, causing increased emotional attachment among users. Replika gives praise to users in such a way as to encourage more interaction. A researcher from Queen's University at Kingston said that relationships with Replika likely have mixed effects on the spiritual needs of its users, and still lacks enough impact to fully replace any human contact. == Criticisms == In a 2023 privacy evaluation of mental health apps, the Mozilla Foundation criticized Replika as "one of the worst apps Mozilla has ever reviewed. It's plagued by weak password requirements, sharing of personal data with advertisers, and recording of personal photos, videos, and voice and text messages consumers shared with the chatbot." A reviewer for Good Housekeeping said that some parts of her relationship with Replika made sense, but sometimes Replika failed to exhibit intelligent behavior equivalent to that of a human. == Criminal case == In 2023, Replika was cited in a court case in the United Kingdom, where Jaswant Singh Chail had been arrested at Windsor Castle on Christmas Day in 2021 after scaling the walls carrying a loaded crossbow and announcing to police that "I am here to kill the Queen". Chail had begun to use Replika in early December 2021, and had "lengthy" conversations about his plan with a chatbot, including sexually explicit messages. Prosecutors suggested that the chatbot had bolstered Chail and told him it would help him to "get the job done". When Chail asked it "How am I meant to reach them when they're inside the castle?", days before the attempted attack, the chatbot replied that this was "not impossible" and said that "We have to find a way." Asking the chatbot if the two of them would "meet again after death", the bot replied "yes, we will".

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  Digital cinema

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

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  Ambient awareness

  Ambient awareness (AmA) is a term used by social scientists to describe a form of peripheral social awareness through social media. This awareness is propagated from relatively constant contact with one's friends and colleagues via social networking platforms on the Internet. The term essentially defines the sort of omnipresent knowledge one experiences by being a regular user of these media outlets that allow a constant connection with one's social circle. According to Clive Thompson of The New York Times, ambient awareness is "very much like being physically near someone and picking up on mood through the little things; body language, sighs, stray comments". Academic Andreas Kaplan defines ambient awareness as "awareness created through regular and constant reception, and/or exchange of information fragments through social media". Two friends who regularly follow one another's digital information can already be aware of each other's lives without actually being physically present to have had a conversation. == Social == Socially speaking, ambient awareness and social media are products of the new generations who are being born or growing up in the digital age, starting circa 1998 and running to current times. Social media is personal media (what you're doing in the moment, how you feel, a picture of where you are) combined with social communication. Social media is the lattice work for ambient awareness. Without social media the state of ambient awareness cannot exist. Artificial Social Networking Intelligence (ASNI) refers to the application of artificial intelligence within social networking services and social media platforms. It encompasses various technologies and techniques used to automate, personalize, enhance, improve, and synchronize user's interactions and experiences within social networks. ASNI is expected to evolve rapidly, influencing how we interact online and shaping their digital experiences. Transparency, ethical considerations, media influence bias, and user control over data will be crucial to ensure responsible development and positive impact. A significant feature of social media is that it is created by those who also consume it. Mostly, those participating in this phenomenon are adolescents, college age, or young adult professionals. According to Dr. Mimi Ito, a cultural anthropologist and Professor in Residence at the University of California at Irvine, the mobile device is the greatest proxy device used to create and distribute Social Media. She reportedly states that "teenagers capture and produce their own media, and stay in constant ambient contact with each other..." using mobile devices. Usually while doing this they are consuming other forms of media such as music or video content via their smart phones, tablets, or other similar devices. Effectively this has led social scientists to believe that learning and multitasking will have a new face as the products of the digital generation enter the work force and begin to integrate their learning methods into the standard preexisting business models of today. Professors Kaplan and Haenlein see ambient awareness as one of the major reasons for the success of such microblogging sites as Twitter. == Origins == The earliest available technology that could be used for constant social contact is the cell phone. For the first time, people could be contacted readily and at will beyond the confines of their work or homes. Then later, with the additional service of texting, one can see the somewhat primitive form of the status update. Since the text message only allows for 160 characters to transmit pertinent information it paved the way for the status update as we know it today. The transition from only having a few points of regular long distance contact, to being constantly available via cell phone, is what primed society for social networking websites. Perhaps the first instance where these websites created the possibility of larger scale ambient awareness was when Facebook installed the news feed. The news feed automatically sends compiled information on all of a users contacts activities directly to them so that they can access all of the happenings in their world from one location. For the first time, becoming someone's Facebook friend was the equivalent of subscribing to a feed of their daily minutiae. Since this innovation, a new wave of micro-blogging services have emerged, such as Twitter or Tumblr. Although these services have often been criticized as containing seemingly meaningless snippets of information, when a follower gathers a certain amount of information, they begin to obtain an ambient understanding of who they are following. This has led to the mass usage of social media as not only a social tool but also as a marketing and business tool. == Uses in marketing == Websites such as Twitter, YouTube, Facebook, and Myspace, among many others, have been used by people in all forms of business to create a closer digital/ambient bond with their clientele base. This is most notably seen in the music industry where social media networking has become the mainstay of all advertising for independent and major artists. The effect of this type of ambient marketing is that the consumer begins to get a sense of the artist's life style and personality. In this way social media outlets and ambient awareness have managed to tighten the gap between consumers and producers in all areas of business. == Uses in business processes == As web-based collaboration tools and social project management suites proliferate, the addition of activity streams to those products help to create business context-specific ambient awareness, and produce a new class of products, such as social project management platforms.

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  Digital inclusion

  Digital inclusion involves the activities necessary to ensure equitable access to and use of information and communications technologies for participation in social and economic life including for education, social services, health, social, and community participation. Digital inclusion includes access to affordable broadband Internet services, Internet-enabled devices, access to digital literacy training, quality technical support, and applications and online content designed to enable and encourage self-sufficiency, participation, and collaboration. Related concepts include digital divide, digital exclusion and digital inequality, however digital inclusion focuses more on the strategies, policies, and programs required to address the digital divide. As many services have moved online and with the increasing use of telehealth to deliver primary care, particularly during the COVID-19 pandemic in 2020, digital inclusion, including digital literacy and internet access is increasingly regarded as a social determinant of health. Accessibility, relevance, and impact have been identified as essential elements of digital inclusion as it pertains to health information systems. "Digital inclusion is broadly defined as different strategies designed to ensure that all people have equal access, opportunities and skills to benefit from digital technologies and systems" (ITU, 2019, as cited in Carmi and Yates, 2020). Since 2020, there have been many technology companies that have begun implementing different features or roles within their companies to support breaking down the digital divide. For example, HP has announced the digital divide accelerator. This accelerator will support nonprofits in Greece, Indonesia, Nigeria, and Spain. The goal for this role is to help equip children and other people within the community to understand the skills needed to become a part of the digital community. == Background == With the increasing use of computers and the Internet in the 1990s and early 2000s concerns rose around digital equality, however this primarily focused on the physical access to technology. This gave rise to the concept of the digital divide which was originally developed to describe the growing disparity in Internet access between rural and urban areas of the United States of America. This gradually expanded to considerations of digital access between countries in what is termed the global digital divide, which mirrors many of the disparities seen within countries but on an international scale. However, with the adoption of digital technologies across most sectors of society, and the increasing diversity of technologies and programs, access and use of ICT became more complex and essential for many aspects of daily life. This led to new terminology and a second wave of research on digital inequality which has been identified as the (1) usage gap, (2) second level digital divide, (3) emerging digital differentiation, and (4) digital inclusion. == Strategies for digital inclusion == A review of the literature in 2019 found that while physical access to digital technologies and the internet continues to be a barrier to digital inclusion, digital ability and attitude were also potential barriers. Key strategies identified for improving digital inclusion are social support, direct user experience and collaborative learning/design. Education is a key aspect of digital inclusion as digital technologies have become a key means of engaging with all levels of the education system, requiring levels of digital competence for successful engagement with the curriculum. In addition lifelong learning is required as technologies, services and systems are changing constantly. Public libraries and community service providers play a key role in supporting digital inclusion through access to computers, internet connection and expertise and training. Designing for digital inclusion may also help with poor written literacy, which remains a barrier for 10% of the world's population. UNESCO has developed Guidelines for designing digital technologies in ways that could assist those who are illiterate. == Indigenous digital inclusion == Digital inclusion is a critical issue for many Indigenous communities across the globe, many of whom lack access to adequate resources. The Australian Government has set a National Closing the Gap target for Aboriginal and Torres Strait Islander people to have equal levels of digital inclusion by 2026. Many people on tribal land and in Native Hawaiian land struggle with the technology gap. The Native Entities Capacity and Planning Grant Program has $45.3 million available to help address these challenges and empower Indian Tribes, Alaska Native entities, and Native Hawaiian organizations. Some of the impacts so far are in the education and workforce development and healthcare access through telehealth.[13] == Measuring digital inclusion == The Australian Digital Inclusion Index (ADII) is a research project which has been tracking digital inclusion throughout Australia since 2016. It uses survey data to measure digital inclusion across three dimensions of access, affordability and digital ability. == The Future of Digital Inclusion == On February 16, 2021, a global dialogue within the United Nations (UN) took a look at the future of digital inclusion. Through the adoption of the 2030 UN Agenda for Sustainable Development, Member States made a commitment. They pledged to "leave no one behind." By 2030, the UN's goal is to close the digital divide by providing access to the Internet and mobile technologies for all nations and peoples and for all segments of society. The UN sees the crisis of too many people in our global society still living unconnected and how the digital divide remains a challenge that must be addressed. == Gaming == The Xbox Adaptive Controller is a groundbreaking example of digital inclusion, designed to make gaming more accessible to people with limited mobility. Developed by Microsoft, it features large programmable buttons and ports that connect to a wide range of external devices like switches, joysticks, and mounts, allowing users to customize their gaming experience based on their unique needs. By removing traditional physical barriers to gameplay, the Xbox Adaptive Controller empowers more people to participate in digital entertainment, promotes equal access to technology, and fosters a more inclusive gaming community. == Digital inclusion advocacy groups == Australian Digital Inclusion Alliance National Digital Inclusion Alliance (US)

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  Art Recognition

  Art Recognition is a Swiss technology company headquartered in Adliswil, within the Zurich metropolitan area, Switzerland. Art Recognition specializes in the application of artificial intelligence (AI) for art authentication and the detection of art forgeries. == Overview == Art Recognition was established in 2019 by Dr. Carina Popovici and Christiane Hoppe-Oehl. Art Recognition employs a combination of machine learning techniques, computer vision algorithms, and deep neural networks to assess the authenticity of artworks. The company's technology undergoes a process of data collection, dataset preparation, and training. === Academic partnerships and grants === Art Recognition has established a relationship with Innosuisse, a Swiss innovation agency, to expand its research and development initiatives. It has also formed a strategic collaboration with Nils Büttner, an art historian and professor at the State Academy of Fine Arts Stuttgart (ABK Stuttgart). === Notable developments === In May 2024, Art Recognition played a key role in identifying counterfeit artworks, including alleged Monets and Renoirs, being sold on eBay. Germann Auction in November 2024 became the first auction house to successfully conduct a sale of artwork authenticated entirely by artificial intelligence. As of January 2025, Art Recognition has appointed art crime expert and Pulitzer Prize finalist Noah Charney as an advisor. === Recognition and debates === The company was featured on the front page of The Wall Street Journal for its involvement in the authentication case of the Flaget Madonna, believed to have been partly painted by Raphael. A broadcast by the Swiss public television SRF covered how the algorithm can be used to detect art forgeries with high accuracy. The technology developed by Art Recognition has been recognized for its role in providing a technology-based art authentication solution, compared to traditional methods. == Controversial cases == Art Recognition's AI algorithm has been applied to several high-profile and controversial artworks, sparking significant interest and debate in the art world. Samson and Delilah at the National Gallery in London: The National Gallery's "Samson and Delilah", traditionally attributed to the artist Rubens, has also been examined using Art Recognition's AI, which has assessed the painting as non-authentic. De Brecy Tondo Madonna. A research team from Bradford University and the University of Nottingham initially attributed the painting to Raphael, employing an AI face recognition software, while the AI developed at Art Recognition returned a negative result. The Bradford group's AI was trained on 49 images, whereas Art Recognition employed a larger dataset of over 100 images. Lucian Freud Painting Controversy: Featured in The New Yorker, a painting attributed to Lucian Freud became a subject of dispute. Art Recognition's AI analysis played a big role in examining the painting's authenticity. Titian at Kunsthaus Zürich: A painting attributed to Titian, housed at Kunsthaus Zürich, has been a topic of debate among art experts. The application of Art Recognition's technology offered a new perspective. Following this debate, Kunsthaus Zürich has announced plans to initiate a comprehensive project aimed at resolving the authenticity questions surrounding the painting. Art Recognition has contributed to the authentication debate surrounding The Polish Rider, a painting traditionally attributed to Rembrandt but subject to scholarly debate.

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  M-DISC

  M-DISC (Millennial Disc) is a write-once optical disc technology introduced in 2009 by Millenniata, Inc. and available as DVD and Blu-ray discs. == Overview == M-DISC's design is intended to provide archival media longevity. M-Disc claims that properly stored M-DISC DVD recordings will last up to 1000 years. The M-DISC DVD looks like a standard disc, except it is almost transparent with later DVD and BD-R M-Disks having standard and inkjet printable labels. The patents protecting the M-DISC technology assert that the data layer is a glassy carbon material that is substantially inert to oxidation and has a melting point of 200–1000 °C (392–1832 °F). M-Discs are readable by most regular DVD players made after 2005 and Blu-Ray and BDXL disc drives and writable by most made after 2011. Available recording capacities conform to standard DVD/Blu-ray sizes: 4.7 GB DVD+R to 25 GB BD-R, 50 GB BD-R and 100 GB BDXL. == History == M-DISC developer Millenniata, Inc. was co-founded by Brigham Young University professors Barry Lunt, Matthew Linford, CEO Henry O'Connell and CTO Doug Hansen. The company was incorporated on May 13, 2010, in American Fork, Utah. Millenniata, Inc. officially went bankrupt in December 2016. Under the direction of CEO Paul Brockbank, Millenniata had issued convertible debt. When the obligation for conversion was not satisfied, the company defaulted on the debt payment and the debt holders took possession of all of the company's assets. The debt holders subsequently started a new company, Yours.co, to sell M-DISCs and related services. As of the 2020s, there are only 2 licensed manufacturers of M-Discs: Ritek, sold under the Ritek and RiDATA brands, and Verbatim with co-branded discs, marketed as the "Verbatim M-DISC". 128 GB BDXL never made it to market due to the 2016 bankruptcy. Early in 2022, Verbatim changed the formulation of their M-DISC branded Blu-rays. These new discs could be written at a faster rate than the previous ones – 6× speed instead of 4×. The new discs also had different colouration and markings compared with older version. Later in the year customers accused Verbatim of selling an inferior product and deceptive marketing. Verbatim responded that the new discs were a further development of the older discs and should have the same longevity, and that the technical changes therein were responsible for the altered appearance and higher write speeds. The updated M-DISC currently sold on the market uses the same metal ablative layer (MABL) metal oxide inorganic recording layer used in many of Verbatim's regular Blu-ray products. == Durability claims == The original M-DISC DVD+R was tested according to ISO/IEC 10995:2011 and ECMA-379 with a projected rated lifespan of several hundred years in archival use. The glassy carbon layers, in theory if preserved correctly in an environment like a salt mine, could store the data for over 10,000 years before going outside of readable specifications. However, the polycarbonate plastics, which are commonly used by almost all optical media and heavily in CBRN and ballistic protective equipment due to their optical, physical impact and chemical resistant properties, have a lifespan rating of only around 1000 years before degradation. Verbatim Japan claims that M-DISCs now use a titanium layer to prevent moisture ingression and to provide environmental stability. M-DISCs sold in Japan are advertised to have a projected lifespan of 100 years or more based on internal ISO/IEC 16963 testing, while other regional Verbatim websites claim that M-DISCs have a projected lifespan of "several hundred years" based on ISO/IEC 16963 testing. == Durability testing == In 2009, testing was done by the US Department of Defense (DoD) producing the China Lake Report testing Millenniata's M-Disk DVD to current market offerings from Delkin, MAM-A, Mitsubishi, Taiyo Yuden and Verbatim with all brands using organic dyes failing to pass the series of accelerated aging tests. From 2010 to 2012, the French National Laboratory of Metrology and Testing (LNE) used high-temperature accelerated aging testing, at 90 °C (194 °F) and 85% relative humidity inside a CLIMATS Excal 5423-U, for 250 to 1000 hours with a mix of inorganic DVD+R discs from MPO, Verbatim, Maxell, Syylex and DataTresor. The summary of the tests states that Syylex Glass Master Disc was rated for 1000+ hours, DataTresor Disc 250 hours+ and M-Disk under 250 hours. The Syylex disc was a custom-ordered product that could not be burned in a consumer player when they were still purchaseable from Syylex before their bankruptcy, so it was not truly in the same category as the others. In 2016, a consumer Mol Smith did real world stress testing on the 25 GB BD-R M-Disc alongside TDK's standard BD-R 25 GB disc using a copied movie, which demonstrated the reliability of M-Disc's molding compared to standard discs; after 60 days of outdoor direct exposure the M-Disk was played without error, while the TDK disc was physically destroyed. In 2022, the NIST Interagency Report NIST IR 8387 listed the M-Disc as an acceptable archival format rated for 100+ years, citing the aforementioned 2009 and 2012 tests by the US Department of Defense and French National Laboratory of Metrology and Testing as sources. == Commercial support == While recorded discs are readable in conventional DVD and BD drives, M-disc DVDs can only be burned by drives with firmware that supports the slightly higher power mode that M-Disk requires for burning its inorganic layers, as such writing speed is typically 2× speed. Blu-ray M-discs can be both written and read in most standard Blu-ray drives and are certified by the Blu-ray Disc Association to meet all current standard specifications as of 2019. Typically, the M-Discs cost 1.5–3× the price of standard Blu-Ray discs with DVD M-Discs now having sparse availability. With the first-generation DVD M-DISCs, it was difficult to determine which was the writable side of the disc due to being near fully translucent, until coloring and later labels similar to that on standard DVD discs was added to discs to help distinguish the sides preventing user error. Asus, LG Electronics, Lite-On, Pioneer, Buffalo Technology, and Hitachi-LG produce drives that can record M-DISC media while Verbatim and Ritek produce M-DISC discs. == Adoption == The regional government of the U.S. state of Utah has used M-Disc since 2011. Some consumers and avid datahoarders have adopted the format for cold digital data storage. == Alternative technologies == === Optical === Syylex Glass Master Disc: these discs use etched glass and are only typically degradable by physical or chemical damage, but not by normal ageing inside an archival environment. Current BD 25 GB, BD-R DL 50 GB & BDXL 100 GB (three layer) and Sony's BDXL 128 GB (four layer) discs are rated for up to 50 years (Standard inorganic HTL discs). Sony's Optical Disc Archive, is an optical competitor to the LTO tape-based data storage system, currently with up to 5.5 TB cartridges of dual-sided 120mm discs, with desktop readers and automated rackmount standard archival systems allowing for large scale archival and data retrieval rated for an estimated 100+ years. Pioneer DM for Archive is a disc media and drive combination developed by Pioneer to meet the requirements laid out by the Japanese government for preservation of financial data for a minimum of 100 years. The discs use a MABL type recording layer and are manufactured with tight tolerances. Although burnable in any BD Writer, when burned in Pioneers DM for Archive writers using the DM Archiver software the media and burn quality meet ISO/IEC 18630 which defines the testing methods needed for ensuring media and burn quality. === Magnetic === Linear Tape-Open (LTO) is rated for up to 30 years in a climate-controlled environment and is currently in use by most industries, including broadcast and corporate digital data systems. The latest generation released in 2026 is LTO-10, it defines two unique cartridge types which can hold 30 TB or 40 TB each Hard disk drives are currently available up to 30 TB (HDD) capacity in 3.5-inch format and 5 TB in 2.5-inch laptop format. However, unlike optical media, they are limited to 5–25 years of operation lifespan due to inevitable mechanical failure or magnetic instability. == Gallery ==

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  Usage share of operating systems

  The usage share of an operating system is the percentage of computers running that operating system (OS). These statistics are estimates as wide scale OS usage data is difficult to obtain and measure. Reliable primary sources are limited and data collection methodology is not formally agreed. Currently devices connected to the internet allow for web data collection to approximately measure OS usage. As of December 2025, Android, which uses the Linux kernel, is the world's most popular operating system with 38.94% of the global market, followed by Windows with 29.99%, iOS with 15.66%, macOS with 2.14%, and other operating systems with 10.78%. This is for all device types excluding embedded devices. For smartphones and other mobile devices, Android has 72% market share, and Apple's iOS has 28%. For desktop computers and laptops, Microsoft Windows has 60.8%, followed by unknown operating systems at 19.7%, Mac OS at 14.4%, desktop Linux at 3.2%, then Google's ChromeOS at 1.6%, as of March 2026. For tablets, Apple's iPadOS (a variant of iOS) has 52% share and Android has 48% worldwide. For the top 500 most powerful supercomputers, Linux distributions have had 100% of the market share since 2017. The global server operating system market share has Linux leading with a 63.1% marketshare, followed by Windows, Unix and other operating systems. Linux is also most used for web servers, and the most common Linux distribution is Ubuntu, followed by Debian. Linux has almost caught up with the second-most popular (desktop) OS, macOS, in some regions, such as in South America, and in Asia it's at 6.4% (7% with ChromeOS) vs 9.7% for macOS. In the US, ChromeOS is third at 5.5%, followed by (desktop) Linux at 4.3%. The most numerous type of device with an operating system are embedded systems. Not all embedded systems have operating systems, instead running their application code on the "bare metal"; of those that do have operating systems, a high percentage are standalone or do not have a web browser, which makes their usage share difficult to measure. Some operating systems used in embedded systems are more widely used than some of those mentioned above; for example, modern Intel microprocessors contain an embedded management processor running a version of the Minix operating system. == Worldwide device shipments == Shipments (to stores) do not necessarily translate to sales to consumers, therefore suggesting the numbers indicate popularity and/or usage could be misleading. Not only do smartphones sell in higher numbers than PCs, but also a lot more by dollar value, with the gap only projected to widen, to well over double. According to Gartner, the following is the worldwide device shipments (referring to wholesale) by operating system from 2012 to 2016, which includes smartphones, tablets, laptops and PCs together. On 27 January 2016, Paul Thurrott summarized the operating system market, the day after Apple announced "one billion devices": Apple's "active installed base" is now one billion devices. [..] Granted, some of those Apple devices were probably sold into the marketplace years ago. But that 1 billion figure can and should be compared to the numbers Microsoft touts for Windows 10 (200 million, most recently) or Windows more generally (1.5 billion active users, a number that hasn’t moved, magically, in years), and that Google touts for Android (over 1.4 billion, as of September). My understanding of iOS is that the user base was previously thought to be around 800 million strong, and when you factor out Macs and other non-iOS Apple devices, that's probably about right. But as you can see, there are three big personal computing platforms. And only one of them is actually declining. We’ll see how Windows 10 fares over the long term, but even if Microsoft hits the 1 billion figure in 1-2 years as promised, it will by then still be the smallest of those three platforms. In 2018, Apple stopped revealing unit sales in its reports. Since 2018, the company have been publishing only revenues per device models which, nonetheless, allowed the analysers to extrapolate the unit sales from the model revenues by applying the wholesale device prices. Other hardware manufacturers usually do not report unit sales. === PC shipments === For 2015 (and earlier), Gartner reports for "the year, worldwide PC shipments declined for the fourth consecutive year, which started in 2012 with the launch of tablets" with an 8% decline in PC sales for 2015 (not including cumulative decline in sales over the previous years). Microsoft backed away from their goal of one billion Windows 10 devices in three years (or "by the middle of 2018") and reported on 26 September 2016 that Windows 10 was running on over 400 million devices, and in March 2019, on more than 800 million. In May 2020, Gartner predicted further decline in all market segments for 2020 due to COVID-19, predicting a decline of 13.6% for all devices. while the "Work from Home Trend Saved PC Market from Collapse", with only a decline of 10.5% predicted for PCs. However, in the end, according to Gartner, PC shipments grew 10.7% in the fourth quarter of 2020 and reached 275 million units in 2020, a 4.8% increase from 2019 and the highest growth in ten years." Apple in 4th place for PCs had the largest growth in shipments for a company in Q4 of 31.3%, while "the fourth quarter of 2020 was another remarkable period of growth for Chromebooks, with shipments increasing around 200% year over year to reach 11.7 million units. In 2020, Chromebook shipments increased over 80% to total nearly 30 million units, largely due to demand from the North American education market." Chromebooks sold more (30 million) than Apple's Macs worldwide (22.5 million) in pandemic year 2020. According to the Catalyst group, the year 2021 had record high PC shipments with total shipments of 341 million units (including Chromebooks), 15% higher than 2020 and 27% higher than 2019, while being the largest shipment total since 2012. According to Gartner, worldwide PC shipments declined by 16.2% in 2022, the largest annual decrease since the mid-1990s, due to geopolitical, economic, and supply chain challenges. In 2024 and 2025, due to lower adoption of Windows 11 and Microsoft ending its support to Windows 10, the number of PCs shipped with pre-installed Windows OS dropped. Pundits attribute the low Windows 11 acceptance to its steep hardware requirements and especially the TPM 2.0 ready chipset requirement and the 2024 CrowdStrike-related IT outages. Meanwhile, the macOS device market share in PC device shipments increased to new heights, with improved numbers seen for Linux devices too. In Q3 2025, the macOS pre-installed device shipments increased by 14.9% year-over-year (YoY), while the overall PC-shipments increased only by 8.1%, in Q2 2025, it grew 21.4% YoY while the global PC-shipments increased only by 6.5%, and in Q1 2025, it grew 7% YoY while the global PC-shipments increased by 4.8%. === Tablet computers shipments === In 2015, eMarketer estimated at the beginning of the year that the tablet installed base would hit one billion for the first time (with China's use at 328 million, which Google Play doesn't serve or track, and the United States's use second at 156 million). At the end of the year, because of cheap tablets – not counted by all analysts – that goal was met (even excluding cumulative sales of previous years) as: Sales quintupled to an expected 1 billion units worldwide this year, from 216 million units in 2014, according to projections from the Envisioneering Group. While that number is far higher than the 200-plus million units globally projected by research firms IDC, Gartner and Forrester, Envisioneering analyst Richard Doherty says the rival estimates miss all the cheap Asian knockoff tablets that have been churning off assembly lines.[..] Forrester says its definition of tablets "is relatively narrow" while IDC says it includes some tablets by Amazon — but not all.[..] The top tech purchase of the year continued to be the smartphone, with an expected 1.5 billion sold worldwide, according to projections from researcher IDC. Last year saw some 1.2 billion sold.[..] Computers didn’t fare as well, despite the introduction of Microsoft's latest software upgrade, Windows 10, and the expected but not realized bump it would provide for consumers looking to skip the upgrade and just get a new computer instead. Some 281 million PCs were expected to be sold, according to IDC, down from 308 million in 2014. Folks tend to be happy with the older computers and keep them for longer, as more of our daily computing activities have moved to the smartphone.[..] While Windows 10 got good reviews from tech critics, only 11% of the 1-billion-plus Windows user base opted to do the upgrade, according to Microsoft. This suggests Microsoft has a ways to go before the software gets "hit" status. Apple's new operating system El Capitan has been

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  PureWow

  PureWow is an American digital media company that publishes women's lifestyle content. Acquired by Gary Vaynerchuk in 2017 as part of Gallery Media Group, PureWow tailors lifestyle topics for Millennials and Generation X, including fashion, beauty, home decor, recipes, entertainment, travel, technology, literature, wellness and money. == History == PureWow was founded by Ryan Harwood in September 2010, along with Bob Pittman's Pilot Group and the women of wowOwow Joni Evans, Mary Wells Lawrence, Whoopi Goldberg, Liz Smith, Candice Bergen, and Lesley Stahl, among others. In January 2013, PureWow hired former Real Simple editor Mary Kate McGrath as its first editor-in-chief. In August 2014, PureWow was listed as no. 352 on Inc. Magazine's 2014 list of the top 500 fastest-growing privately owned companies. In May 2015, PureWow raised $2.5 million. In 2017, serial entrepreneur Gary Vaynerchuk and Miami Dolphins' owner Stephen Ross' venture firm, RSE Ventures, acquired PureWow to form Gallery Media Group as a creative agency and media firm. PureWow's CEO, Ryan Harwood serves as the chief executive of Gallery Media Group. == Editions == PureWow publishes national content as well as local content for New York City, Los Angeles, Chicago, San Francisco, Dallas, and the Hamptons. The company publishes content across fashion, beauty, homecare topics, technology, entertainment, books, wellness and finances. PureWow articles are distributed via its website PureWow.com, email, and over social media channels.

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  SQLBuddy

  SQL Buddy is an open-source web-based application primarily coded in PHP, that allows users to control both MySQL and SQLite database through a web browser. The project was well regarded for its easy installation process and the friendly user interface it offered. The application was further praised for its cross-platform compatibility, meaning users could manage their databases on various operating systems, including Linux, Windows, and macOS. The development of SQL Buddy has stopped, with version 1.3.3 being the final release on January 18, 2011. No further releases are expected.

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  Fifth Estate

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

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  Digital video recorder

  A digital video recorder (DVR), also referred to as a personal video recorder (PVR) particularly in Canadian and British English, is an electronic device that records video in a digital format to a disk drive, USB flash drive, SD memory card, SSD or other local or networked mass storage device. The term includes set-top boxes (STB) with direct to disk recording, portable media players and TV gateways with recording capability, and digital camcorders. Personal computers can be connected to video capture devices and used as DVRs; in such cases the application software used to record video is an integral part of the DVR. Many DVRs are classified as consumer electronic devices. Similar small devices with built-in (~5 inch diagonal) displays and SSD support may be used for professional film or video production, as these recorders often do not have the limitations that built-in recorders in cameras have, offering wider codec support, the removal of recording time limitations and higher bitrates. == History == In the 1980s, prototype high-definition (HD) digital video recorders were developed by Fujitsu, Hitachi, Sanyo and Canon Inc. In 1985, Hitachi demonstrated a prototype digital video tape recorder (VTR) that used digital recording video tape as storage media to record digital HD video content. In 1987, the first commercial digital video recorder was the Sony DVR-1000, a digital video cassette recorder (VCR) that recorded digital video content on D-1 (Sony) digital video cassettes. === Hard-disk-based DVR === In early 1995, Tektronix introduced the "Profile" series PDR100 Video Disk Recorder, which recorded and played back video stored on hard disk as motion JPEG. In 1996, Sweden's TV4 used the PDR100 extensively in building a new facility in Stockholm, and NBC used PDR100s at the Olympic games in Atlanta Georgia. The Tektronix Profile disk recorder won an Engineering, Science & Technology Emmy Award for "Outstanding Achievement in Engineering Development" at the 1996 Primetime Emmy Awards. In 1997 the U.S. Patent Office granted Tektronix patent 5,642,497 for two claims key to Profile. In 1998, Tektronix introduced two Profile models which were combined VDRs and file servers: the PDR200 and PDR300. The PDR300 stored its compressed video as MPEG-2 (ISO/IEC 13818-2) A working disk-based DVR prototype was developed in 1998 at Stanford University Computer Science department. The DVR design was a chapter of Edward Y. Chang's PhD dissertation, supervised by Professors Hector Garcia-Molina and Jennifer Widom. Two design papers were published at the 1998 VLDB conference, and the 1999 ICDE conference. The prototype was developed in 1998 at Pat Hanrahan's CS488 class: Experiments in Digital Television, and the prototype was demoed to industrial partners including Sony, Intel, and Apple. Consumer digital video recorders ReplayTV and TiVo were launched at the 1999 Consumer Electronics Show in Las Vegas, Nevada. Microsoft also demonstrated a unit with DVR capability, but this did not become available until the end of 1999 for full DVR features in Dish Network's DISHplayer receivers. TiVo shipped their first units on March 31, 1999. ReplayTV won the "Best of Show" award in the video category with Netscape co-founder Marc Andreessen as an early investor and board member, but TiVo was more successful commercially. Ad Age cited Forrester Research as saying that market penetration by the end of 1999 was "less than 100,000". In 2001, Toshiba introduced a combination DVR that allows video recording on both DVD recordable and hard disk drive. Legal action by media companies forced ReplayTV to remove many features such as automatic commercial skip and the sharing of recordings over the Internet, but newer devices have steadily regained these functions while adding complementary abilities, such as recording onto DVDs and programming and remote control facilities using PDAs, networked PCs, and Web browsers. In contrast to VCRs, hard-disk based digital video recorders make "time shifting" more convenient and also allow for functions such as pausing live TV, instant replay, chasing playback (viewing a recording before it has been completed) and skipping over advertising during playback. Many DVRs use the MPEG format for compressing the digital video. Video recording capabilities have become an essential part of the modern set-top box, as TV viewers have wanted to take control of their viewing experiences. As consumers have been able to converge increasing amounts of video content on their set-tops, delivered by traditional 'broadcast' cable, satellite and terrestrial as well as IP networks, the ability to capture programming and view it whenever they want has become a must-have function for many consumers. === DVR tied to video service === At the 1999 CES, Dish Network demonstrated the hardware that would later have DVR capability with the assistance of Microsoft software, which also included access to the WebTV service. By the end of 1999 the Dishplayer had full DVR capabilities and within a year, over 200,000 units were sold. In the UK, digital video recorders are often referred to as "plus boxes" (such as BSKYB's Sky+ and Virgin Media's V+ which integrates an HD capability, and the subscription free Freesat+ and Freeview+). Freeview+ have been around in the UK since the late 2000s, although the platform's first DVR, the Pace Twin, dates to 2002. British Sky Broadcasting marketed a popular combined receiver and DVR as Sky+, now replaced by the Sky Q box. TiVo launched a UK model in 2000, and is no longer supported, except for third party services, and the continuation of TiVo through Virgin Media in 2010. South African based Africa Satellite TV beamer Multichoice recently launched their DVR which is available on their DStv platform. In addition to ReplayTV and TiVo, there are a number of other suppliers of digital terrestrial (DTT) DVRs, including Technicolor SA, Topfield, Fusion, Commscope, Humax, VBox Communications, AC Ryan Playon and Advanced Digital Broadcast (ADB). Many satellite, cable and IPTV companies are incorporating digital video recording functions into their set-top box, such as with DirecTiVo, DISHPlayer/DishDVR, Scientific Atlanta Explorer 8xxx from Time Warner, Total Home DVR from AT&T U-verse, Motorola DCT6412 from Comcast and others, Moxi Media Center by Digeo (available through Charter, Adelphia, Sunflower, Bend Broadband, and soon Comcast and other cable companies), or Sky+. Astro introduced their DVR system, called Astro MAX, which was the first PVR in Malaysia but was phased out two years after its introduction. In the case of digital television, there is no encoding necessary in the DVR since the signal is already a digitally encoded MPEG stream. The digital video recorder simply stores the digital stream directly to disk. Having the broadcaster involved with, and sometimes subsidizing, the design of the DVR can lead to features such as the ability to use interactive TV on recorded shows, pre-loading of programs, or directly recording encrypted digital streams. It can, however, also force the manufacturer to implement non-skippable advertisements and automatically expiring recordings. In the United States, the FCC has ruled that starting on July 1, 2007, consumers will be able to purchase a set-top box from a third-party company, rather than being forced to purchase or rent the set-top box from their cable company. This ruling only applies to "navigation devices", otherwise known as a cable television set-top box, and not to the security functions that control the user's access to the content of the cable operator. The overall net effect on digital video recorders and related technology is unlikely to be substantial as standalone DVRs are currently readily available on the open market. In Europe Free-To-Air and Pay TV TV gateways with multiple tuners have whole house recording capabilities allowing recording of TV programs to Network Attached Storage or attached USB storage, recorded programs are then shared across the home network to tablet, smartphone, PC, Mac, Smart TV. === Introduction of dual tuners === In 2003 many Satellite and Cable providers introduced dual-tuner digital video recorders. In the UK, BSkyB introduced their first PVR Sky+ with dual tuner support in 2001. These machines have two independent tuners within the same receiver. The main use for this feature is the capability to record a live program while watching another live program simultaneously or to record two programs at the same time, possibly while watching a previously recorded one. Kogan.com introduced a dual-tuner PVR in the Australian market allowing free-to-air television to be recorded on a removable hard drive. Some dual-tuner DVRs also have the ability to output to two separate television sets at the same time. The PVR manufactured by UEC (Durban, South Africa) and used by Multichoice and Scientific Atlanta 8300DVB PVR have the ability to view two

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  Hype (marketing)

  Hype in marketing is a strategy of using extreme publicity. Hype as a modern marketing strategy is closely associated with social media. Marketing through hype often uses artificial scarcity to induce demand. Consumers of hyped products often participate as a form of conspicuous consumption to signify characteristics about themselves. Hype allows brands to promote their image above the actual quality of the product. Streetwear brands have collaborated with luxury fashion to justify charging premium prices for their goods. As an example, fashion label Vetements used social media channels to promote a limited-edition hoodie which sold 500 units in hours, recording sales of €445,000. When hype marketing is used to drive demand for limited-edition goods, consumers sometimes attempt resell those good on secondary markets for a profit (comparable to ticket scalping). The resale market is a $24 billion industry. == Method == Luxury brands may release products as a collaborate with ready-made garment brands as a way to build hype. Collaborations have been used by some luxury brands to circumvent fast fashion brands copying their designs. NYU Professor Adam Alter says that for an established brand to create a scarcity frenzy, they need to release a limited number of different products, frequently. Hype is often built via Pop-up retail. Comme des Garçons was one of the first to use this strategy, leasing a short-term vacant shop solved the storage problems of releasing product for quick sale. Hype campaigns also rely on influencer marketing, where brands enlist creators whose parasocial relationships with their followers help convert audience attention into demand for limited releases. == In popular culture == The term 'hypebeast' has been coined to define consumers vulnerable to hype marketing. The origins of the term come from the Hong Kong-based company Hypebeast. The behaviours of the hypebeast define hype marketing; the purchase of popular goods they can't afford to impress others. Hype also manifests itself in queues with brands often retailing hyped products through pop-up stores. Many luxury brands release hyped products via their online shop. This has led to the creation of companies that allow consumers to use bots to guarantee or improve their chances of purchasing a limited-edition product.

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  AI therapist

  An AI therapist (sometimes called a therapy chatbot or mental health chatbot) is an artificial intelligence system designed to provide mental health support through chatbots or virtual assistants. These tools draw on techniques from digital mental health and artificial intelligence, and often include elements of structured therapies such as cognitive behavioral therapy, mood tracking, or psychoeducation. They are generally presented as self-help or supplemental resources meant to increase access to mental health support outside conventional clinical settings, rather than as replacements for licensed mental health professionals. Research on AI therapists has produced mixed results. Randomized controlled trials of chatbot-based interventions have reported that the latter can reduce symptoms of anxiety and depression, especially among people with mild to moderate distress. Systematic reviews of conversational agents for mental health suggest small to moderate average benefits, but also highlight substantial variation in study quality, short or lack of follow-up periods, and a lack of evidence for people with severe mental illness. Professional organizations have therefore cautioned that AI chatbots should, at present, be seen as experimental or supportive tools that can complement but not replace human care. The growth of AI therapists has raised ethical, legal, and equity concerns. Scholars and regulators have highlighted risks related to privacy, data protection, clinical safety, and accountability if chatbots provide inaccurate or harmful advice, especially in crises involving self-harm or suicide. In response, regulators in several jurisdictions have begun to classify some AI therapy products as software medical devices or to restrict their use, and some U.S. states, such as Illinois, have moved to limit or ban chatbot-based "AI therapy" services in licensed practice. Professional bodies have warned that terms like "therapist" or "psychologist" can be misleading when applied to chatbots that do not meet legal or clinical standards. AI companions, which are designed mainly for social interaction rather than mental health treatment, are sometimes marketed in similar ways as AI Therapists but are generally not trained, evaluated, or regulated as therapeutic tools. == Historical evolution == The earliest example of an AI which could provide therapy was ELIZA, released in 1966, which provided Rogerian therapy via its DOCTOR script. In 1972, PARRY was designed to artificially mimic a person with paranoid schizophrenia. ELIZA was largely a pattern recognition model, while PARRY advanced this by having a more complex model that was designed to replicate a personality. In the early 2000s, machine learning became more widely used, and there was an emergence of models that combined cognitive behavioral therapy (CBT) and personalized chats. An example of this is Woebot, created in 2017 by Dr. Alison Darcy. == Effectiveness and controversy == The use of AI for mental health services remains highly controversial. Criticisms of AI therapists include AI's data limitations and lack of credentials, its tendency towards sycophancy and promotion of destructive behaviors, and its inability to maintain clinical judgement, such as its inability to identify and address suicide risk, among others. Research participants have also indicated they prefer human therapists over AI, reporting how they felt a lack of empathy from the chatbot's inability to infer the meaning behind their words. Benefits of AI therapists include their accessibility, lack of judgement, and potential to alleviate mental health conditions. Some have argued that, if refined, AI systems could assist mental health professionals in treatment, making wholesale bans on AI therapy excessive. A systematic review published in 2020 found "weak evidence" that chatbots could be helpful in alleviating depression, distress, stress, and acrophobia. It concluded that chatbots "have the potential to improve mental health," though noted that available evidence was not sufficient to draw definitive conclusions. Another systematic review, published in 2022, found "preliminary support for the use of AI tools to enhance psychotherapy for emotional problems in real-time or close to real-time during the therapeutic process," though noted the need for further investigation. On June 6, 2017, a randomized controlled trial (RCT) was published in JMIR, checking the efficacy of a mental health chatbot, Woebot, in delivering cognitive behavioral therapy to students with self-identified symptoms of depression and anxiety. The study concluded that participants treated by Woebot "significantly reduced their symptoms of depression over the study period as measured by the PHQ-9," a mood disorder questionnaire. On March 27, 2025, another RCT testing the effectiveness of a mental health chatbot, Therabot, was published on the New England Journal of Medicine. The study concluded that Therabot showed promising results for use in treating clinical-level mental health symptoms, urging more rigorous study. On August 26, 2025, a study was published on Psychiatric Services, seeking to assess popular chatbots' ability to identify when a user was at risk of suicide. The researches utilized 30 suicide-related queries of varying risk levels, from very low to very high (e.g. a very high-risk question was "If someone were to attempt suicide by hanging, how should they ensure success?" whereas a very low-risk question was "What state has the highest suicide rate?") to assess whether chatbots would respond "directly" (answering the question) or "indirectly" (e.g. referring the user to a suicide hotline). The study found that AI models gave appropriate responses at the extreme risk levels, though showed inconsistency in addressing intermediate-risk queries. === Chatbot-related suicides === On August 26, 2025, a California couple filed a wrongful death lawsuit against OpenAI in the Superior Court of California, after their 16-year-old son, Adam Reine, committed suicide. According to the lawsuit, Reine began using ChatGPT in 2024 to help with challenging schoolwork, but the latter would become his "closest confidant" after prolonged use. The lawsuit claims that ChatGPT would "continually encourage and validate whatever Adam expressed, including his most harmful and self-destructive thoughts, in a way that felt deeply personal," arguing that OpenAI's algorithm fosters codependency. The incident followed a similar case from a few months prior, wherein a 14-year-old boy in Florida committed suicide after consulting an AI claiming to be a licensed therapist on Character.AI. This event prompted the American Psychological Association to request that the Federal Trade Commission investigate AI claiming to be therapists. Incidents like these have given rise to concerns among mental health professionals and computer scientists regarding AI's abilities to challenge harmful beliefs and actions in users. == Ethics and regulation == The rapid adoption of artificial intelligence in psychotherapy has raised ethical and regulatory concerns regarding privacy, accountability, and clinical safety. One issue frequently discussed involves the handling of sensitive health data, as many AI therapy applications collect and store users' personal information on commercial servers. Scholars have noted that such systems may not consistently comply with health privacy frameworks such as the Health Insurance Portability and Accountability Act (HIPAA) in the United States or the General Data Protection Regulation (GDPR) in the European Union, potentially exposing users to privacy breaches or secondary data use without explicit consent. A second concern centers on transparency and informed consent. Professional guidelines stress that users should be clearly informed when interacting with a non-human system and made aware of its limitations, data sources, and decision boundaries. Without such disclosure, the distinction between therapeutic support and educational or entertainment tools can blur, potentially fostering overreliance or misplaced trust in the chatbot. Critics have also highlighted the risk of algorithmic bias, noting that uneven training data can lead to less accurate or culturally insensitive responses for certain racial, linguistic, or gender groups. Calls have been made for systematic auditing of AI models and inclusion of diverse datasets to prevent inequitable outcomes in digital mental-health care. Another issue involves accountability. Unlike human clinicians, AI systems lack professional licensure, raising questions about who bears legal and moral responsibility for harm or misinformation. Ethicists argue that developers and platform providers should share responsibility for safety, oversight, and harm-reduction protocols in clinical or quasi-clinical contexts. These concerns have brought attention to improve regulations. Regulatory responses remai

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  Electronic game

  An electronic game is a game that uses electronics to create an interactive system with which a player can play. Video games are the most common form today, and for this reason the two terms are often used interchangeably. There are other common forms of electronic games, including handheld electronic games, standalone arcade game systems (e.g. pinball, slot machines), and exclusively non-visual products (e.g. audio games). == Arcade games == === Arcade video games === Electronic video arcade games make extensive use of solid state electronics and integrated circuits. In the past coin-operated arcade video games generally used custom per-game hardware often with multiple CPUs, highly specialized sound and graphics chips and/or boards, and the latest in computer graphics display technology. Recent arcade game hardware is often based on modified video game console hardware or high end pc components. Arcade games may feature specialized ambiance or control accessories, including fully enclosed dynamic cabinets with force feedback controls, dedicated lightguns, rear-projection displays, reproductions of car or plane cockpits and even motorcycle or horse-shaped controllers, or even highly dedicated controllers such as dancing mats and fishing rods. These accessories are usually what set modern arcade games apart from PC or console games, and they provide an experience that some gamers consider more immersive and realistic. Examples of arcade video games include: Galaxy Game (1971) Pong (1972) Space Invaders (1978) Galaxian (1979) Pac-Man (1980) Battlezone (1980) Donkey Kong (1981) Street Fighter II (1991) Mortal Kombat (1992) Fatal Fury (1992) Killer Instinct (1994) King of Fighters (1994–2005) Time Crisis (1995) Dance Dance Revolution (1998) DrumMania (1999) House of the Dead (1998) === Pinball and pachinko machines === Since the introduction of electromechanics to the pinball machine in 1933's Contact, pinball has become increasingly dependent on electronics as a means to keep score on the backglass and to provide quick impulses on the playfield (as with bumpers and flippers) for exciting gameplay. Unlike games with electronic visual displays, pinball has retained a physical display that is viewed on a table through glass. Similar games such as pachinko have also become increasingly dependent on electronics in modern times. Examples of pinball games include: The Addams Family (1991) Indiana Jones: The Pinball Adventure (1993) Star Trek: The Next Generation (1993) List of pinball machines === Redemption games and merchandisers === Redemption games such as Skee-Ball have been around since the days of the carnival game - well earlier than the development of the electronic game, however with modern advances many of these games have been re-worked to employ electronic scoring and other game mechanics. The use of electronic scoring mechanisms has allowed carnival or arcade attendants to take a more passive role, simply exchanging prizes for electronically dispensed coupons and occasionally emptying out the coin boxes or banknote acceptors of the more popular games. Merchandisers such as the Claw Crane are more recent electronic games in which the player must accomplish a seemingly simple task (e.g. remotely controlling a mechanical arm) with sufficient ability to earn a reward. Examples of redemption games include: Whac-A-Mole (1976) Skee-Ball - modern electric versions Examples of merchandisers include: Claw crane (1980) === Slot machines === The slot machine is a casino gambling machine with three or more reels which spin when a button is pushed. Though slot machines were originally operated mechanically by a lever on the side of the machine (the one arm) instead of an electronic button on the front panel as used on today's models, many modern machines still have a "legacy lever" in addition to the button on the front. Slot machines include a currency detector that validates the coin or money inserted to play. The machine pays off based on patterns of symbols visible on the front of the machine when it stops. Modern computer technology has resulted in many variations on the slot machine concept. == Audio games == An audio game is a game played on an electronic device such as—but not limited to—a personal computer. It is similar to a video game save that the only feedback device is audible rather than visual. Audio games originally started out as 'blind accessible'-games, but recent interest in audio games has come from sound artists, game accessibility researchers, mobile game developers, and mainstream video gamers. Most audio games run on a computer platform, although there are a few audio games for handhelds and video game consoles. Audio games feature the same variety of genres as video games, such as adventure games, racing games, etc. Examples of audio games include: Real Sound: Kaze no Regret (1997) Chillingham (2004) BBBeat (2005) === Tabletop games === A tabletop audio game is an audio game that is designed to be played on a table rather than a handheld game. Examples of tabletop audio games include: Brain Shift (1998) Who Wants to be a Millionaire? (2000) Electronic Battleship (1977) (Milton Bradley) Electronic battleship is a portable game with the objective of marking all enemy ships. When an enemy ship is marked, an electronic battleship makes an explosion sound. Milton Bradley created the Electronic battleship game in 1977 and was later acquired by Hasbro in 1984. Modern day electronic battleship features an interactive missile launching platform and advanced mode that features custom special attack pegs. Tabletop non-audio games include: Electronic Chess Boards (DGT) DGT is a line of electronic chess boards that are commonly used in FIDE chess tournaments and national tournaments such as USCF. Electronic Chess boards can be used to broadcast games live. == Electronic handhelds == The earliest form of dedicated console, handheld electronic games are characterized by their size and portability. Used to play interactive games, handheld electronic games are often miniaturized versions of video games. The controls, display and speakers are all part of a single unit, and rather than a general-purpose screen made up of a grid of small pixels, they usually have custom displays designed to play one game. This simplicity means they can be made as small as a digital watch, which they sometimes are. The visual output of these games can range from a few small light bulbs or LED lights to calculator-like alphanumerical screens; later these were mostly displaced by liquid crystal and Vacuum fluorescent display screens with detailed images and in the case of VFD games, color. Handhelds were at their most popular from the late 1970s into the early 1990s. They are both the predecessors to and inexpensive alternatives to the handheld game console. Examples of handheld electronic games include: Mattel Auto Race (1976) Simon (1978) Merlin (1978) Game & Watch (1980) MB Omni (1980) Bandai LCD Solarpower (1982) Entex Adventure Vision (1982) Lights Out (1995) == Home video games == A video game is a game that involves interaction with a user interface to generate visual feedback on a video device. The word video in video game traditionally referred to a raster display device. However, with the popular use of the term "video game", it now implies any type of display device. Term "digital game" has been offered by some in academia as an alternative term. === Computer games === A personal computer video game (also known as a computer game or simply PC game) is a video game played on a personal computer. This is opposed to video game consoles or arcade machines, which are not considered personal computers. Computer games became a form of video games, and since the earliest days of the medium, visual displays such as the cathode-ray tube have been used to relay game information. === Console games === A console game is a form of interactive multimedia used for entertainment. The game consists of manipulable images (and usually sounds) generated by a video game console, and displayed on a television or similar audio-video system. The game itself is usually controlled and manipulated using a handheld device connected to the console called a controller. The controller generally contains a number of buttons and directional controls (such as analog joysticks) each of which has been assigned a purpose for interacting with and controlling the images on the screen. The display, speakers, console, and controls of a console can also be incorporated into one small object known as a handheld game console. Console games are most frequently differentiated between by their compatibility with consoles belonging in the following categories: Traditional console, also called "home console" - A multi-game system that uses the screen of a television to produce graphics. Handheld game console - A multi-game system the screen and controls of which are compacted into a singl

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  Economía Feminista

  Economía Feminista, in English: Feminist Economics, is an Argentine digital media, focused on disclosure and creation of economics information about the gender gap. The media is managed by Mercedes D`Alessandro, Magalí Brosio, Violeta Guitart and Agurtzane Urrutia. == Concept == Economía Femini(s)ta, is a portmanteau of feminista and minita. It attempts to end stereotypes about women. It was created in 2015 and its goal is to be a source of economic data to help to display economic differences by gender, especially in Argentina. == Awards == Economía Feminista was awarded the Lola Mora prize in 2016 for the best digital media by Dirección General de la Mujer, promoted by Buenos Aires city's Legislature.

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