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  • Identi.ca

    Identi.ca

    identi.ca is a free and open-source social networking and blogging service based on the pump.io software, using the Activity Streams protocol. Identi.ca stopped accepting new registrations in 2013, but continues to operate alongside several other pump.io-based hosts provided by E14N which continue to accept new registrations. == Features == Identi.ca is similar to social networking sites like Facebook and Google+, allowing unlimited length status updates, rich text, and images. The Activity Streams protocol supports many kinds of activities such as games. OpenFarmGame is a prototype application for an Activity Streams-based game. Previous features from its StatusNet version such as hashtags, groups, and global search are not supported. == History == === StatusNet === The service received more than 8,000 registrations and 19,000 updates within the first 24 hours of publicly launching on July 2, 2008, and reached its 1,000,000th notice on November 4, 2008. In January 2009, identi.ca received investment funds from venture capital group Montreal Start Up. On March 30, 2009, Control Yourself (since renamed StatusNet Inc) announced that Identi.ca was to become part of a hosted microblogging service called status.net to be launched in May 2009. Status.net offers individual microblogs under a subdomain to be chosen by the customer. Identi.ca will remain a free service. All notices will be published under the Creative Commons Attribution 3.0 license by default, but paying customers will be free to choose a different license. Formerly based on StatusNet, a micro-blogging software package built on the OStatus specification (and earlier based on the OpenMicroBlogging specification), Identi.ca allowed users to send text updates (known as "notices") up to 140 characters long. While similar to Twitter in both concept and operation, Identi.ca/StatusNet provided many features not currently implemented by Twitter, including XMPP support and personal tag clouds. In addition, Identi.ca/StatusNet allowed free export and exchange of personal and "friend" data based on the FOAF standard; therefore, notices could be fed into a Twitter account or other service, and also ported in to a private system similar to Yammer. === pump.io === Developer Evan Prodromou chose to change the site to the pump.io software platform in development, because pump.io offers more features making it technically more advanced. Registration on Identi.ca was closed in December 2012 in preparation for the switch to pump.io software (the popularity of Identi.ca and "official" Status.net hosting were considered a hindrance to the creation of a federated social network). The conversion was completed on 12 July 2013. The 140 character per post limit was removed (in StatusNet, it was a setting, not an inherent limitation); now the blog posts can contain formatting and images. Groups, hashtags, and a page listing popular posts are not yet implemented in pump.io.

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  • ISO/IEC JTC 1/SC 6

    ISO/IEC JTC 1/SC 6

    ISO/IEC JTC 1/SC 6 Telecommunications and information exchange between systems is a standardization subcommittee of the Joint Technical Committee ISO/IEC JTC 1. It is part of the International Organization for Standardization (ISO) and the International Electrotechnical Commission (IEC), which develops and facilitates standards within the field of telecommunications and information exchange between systems. ISO/IEC JTC 1/SC 6 was established in 1964, following the creation of a Special Working Group under ISO/TC 97 on Data Link Control Procedures and Modem Interfaces. The international secretariat of ISO/IEC JTC 1/SC 6 is the Korean Agency for Technology and Standards (KATS), located in South Korea. == Scope == The scope of ISO/IEC JTC 1/SC 6 is “Standardization in the field of telecommunications dealing with the exchange of information between open systems including system functions, procedures, parameters as well as the conditions for their use. The standardization encompasses protocols and services of lower layers, including physical, data link, network, and transport as well as those of upper layers including but not limited to Directory and ASN.1.” Future Network has recently been added as an important work scope. A considerable part of the work is done in effective cooperation with ITU-T and other standardization bodies including IEEE 802 and Ecma International. == Structure == ISO/IEC JTC 1/SC 6 has three active working groups (WGs), each of which carries out specific tasks in standards development within the field of telecommunications and information exchange between systems. The focus of each working group is described in the group’s terms of reference. Working groups can be established if new working areas arise, or disbanded if the group’s working area is no longer relevant to standardization needs. Active working groups of ISO/IEC JTC 1/SC 6 are: == Collaborations == ISO/IEC JTC 1/SC 6 works in close collaboration with a number of other organizations or subcommittees, both internal and external to ISO or IEC. Organizations internal to ISO or IEC that collaborate with or are in liaison with ISO/IEC JTC 1/SC 6 include: ISO/IEC JTC 1/WG 7, Sensor networks ISO/IEC JTC 1/SC 17, Cards and personal identification ISO/IEC JTC 1/SC 25, Interconnection of information technology equipment ISO/IEC JTC 1/SC 27, IT security techniques ISO/IEC JTC 1/SC 29, Coding of audio, picture, multimedia and hypermedia information ISO/IEC JTC 1/SC 31, Automatic identification and data capture techniques ISO/IEC JTC 1/SC 38, Distributed application platforms & services (DAPS) ISO/TC 68, Financial services ISO/TC 122, Packaging ISO/TC 184/SC 5, Interoperability, integration, and architectures for enterprise systems and automation applications ISO/TC 215, Health Informatics IEC/SC 46A, Coaxial cables IEC/SC 46C, Wires and symmetric cables IEC/TC 48, Electrical connectors and mechanical structures for electrical and electronic equipment IEC/SC 48B, Electrical connectors IEC/TC 65, Industrial-process measurement, control and automation IEC/SC 65C, Industrial networks IEC/TC 86, Fibre optics IEC/SC 86C, Fibre optic systems and active devices IEC/TC 93, Design automation Some organizations external to ISO or IEC that collaborate with or are in liaison to ISO/IEC JTC 1/SC 6 include: European Conference of Postal and Telecommunications Administrations (CEPT) European Organization for Nuclear Research (CERN) European Commission (EC) European Telecommunications Standards Institute (ETSI) Ecma International International Civil Aviation Organization (ICAO) IEEE 802 LMSC (LAN/MAN Standards Committee) Internet Society (ISOC) International Telecommunications Satellite Organization (ITSO) ITU-T Organization for the Advancement of Structured Information Standards (OASIS) NFC Forum MFA Forum United Nations Conference on Trade and Development (UNCTAD) United Nations Economic Commission for Europe (UNECE) Universal Postal Union (UPU) World Meteorological Organization (WMO) CEN/TC 247/WG 4 == Member countries == Countries pay a fee to ISO to be members of subcommittees. The 19 "P" (participating) members of ISO/IEC JTC 1/SC 6 are: Austria, Belgium, Canada, China, Czech Republic, Finland, Germany, Greece, Jamaica, Japan, Kazakhstan, Republic of Korea, Netherlands, Russian Federation, Spain, Switzerland, Tunisia, United Kingdom, and United States. The 31 "O" (observing) members of ISO/IEC JTC 1/SC 6 are: Argentina, Bosnia and Herzegovina, Colombia, Cuba, Cyprus, France, Ghana, Hong Kong, Hungary, Iceland, India, Indonesia, Islamic Republic of Iran, Ireland, Italy, Kenya, Luxembourg, Malaysia, Malta, New Zealand, Norway, Philippines, Poland, Romania, Saudi Arabia, Serbia, Singapore, Slovenia, Thailand, Turkey, and Ukraine. == Published standards == There are 365 published standards under the direct responsibility of ISO/IEC JTC 1/SC 6. Published standards by ISO/IEC JTC 1/SC 6 include:

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  • WEA Manufacturing

    WEA Manufacturing

    WEA Manufacturing was the record, tape, and compact disc manufacturing arm of WEA International Inc. from 1978 to 2003, when it was sold and merged into Cinram International, a previous competitor. The last owner when the plant closed was Technicolor. == History == WEA Manufacturing Inc. was created in 1978–1979 when Warner Communications Inc. purchased two of its longtime suppliers: the record pressing plants Specialty Records Corporation (Olyphant, Pennsylvania) and Allied Record Company (Los Angeles). The company was headquartered in Olyphant, where the original plant was replaced in late 1981 by a new facility which retained the name Specialty Records Corporation. The Specialty Records Corporation name was dropped in 1996 in favor of WEA Manufacturing. The company invested in CD manufacturing in 1986, matching a $247,000 contribution by economic development corporation Ben Franklin Technology Partners to develop and implement new processes of manufacturing audio CDs and CD-ROMs. BFTP assembled a team of experts in physics, electrical engineering, and thin film technology from the University of Scranton and Lehigh University to carry out the research and development. The Olyphant plant and another plant in Alsdorf, Germany, were expanded to support CD pressing that year, with the Olyphant facility's production commencing first in September 1986. WEA Manufacturing grew to become one of the largest manufacturers of recorded media in the world. The company began manufacturing Laserdiscs in July 1991. The company's DVD division, Warner Advanced Media Operations (WAMO), helped design the high-density format used in DVDs, and manufactured some of the first DVDs in the late 1990s. The company was sold to Cinram International in October 2003 and no longer exists under the name WEA Manufacturing, but the Olyphant plant continued to operate under its new ownership. In 2005, the company was Lackawanna County's largest employer, with over 2,300 people working at the Olyphant plant. Cinram closed the former Allied plant in 2006, while Technicolor (which purchased Cinram's assets in 2015) closed the Olyphant plant in 2018. == Patents == WEA Manufacturing held U.S. patents related to compact disc manufacture: Print scanner, (1993). Interference of converging spherical waves with application to the design of light-readable information-recording media and systems for reading such media, (2004). Method of manufacturing a composite disc structure and apparatus for performing the method, (2005). Methods and apparatus for reducing the shrinkage of an optical disc's clamp area and the resulting optical disc, (2005). == Litigation == In 1990, WEA Manufacturing was sued by a Canadian firm, Optical Recording Co. (ORC), for alleged infringement of two 1971 patents related to glass mastering equipment which was used by Time Warner and WEA Manufacturing in the manufacture of approximately 450 million CDs. ORC contended that unlike five other major CD manufacturers in the U.S., Time Warner had refused to license the technology from ORC. In 1992, a jury assessed damages of 6 cents per disc, plus $4–5 million in interest.

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  • PureWow

    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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  • Semantic decomposition (natural language processing)

    Semantic decomposition (natural language processing)

    A semantic decomposition is an algorithm that breaks down the meanings of phrases or concepts into less complex concepts. The result of a semantic decomposition is a representation of meaning. This representation can be used for tasks, such as those related to artificial intelligence or machine learning. Semantic decomposition is common in natural language processing applications. The basic idea of a semantic decomposition is taken from the learning skills of adult humans, where words are explained using other words. It is based on Meaning-text theory. Meaning-text theory is used as a theoretical linguistic framework to describe the meaning of concepts with other concepts. == Background == Given that an AI does not inherently have language, it is unable to think about the meanings behind the words of a language. An artificial notion of meaning needs to be created for a strong AI to emerge. Creating an artificial representation of meaning requires the analysis of what meaning is. Many terms are associated with meaning, including semantics, pragmatics, knowledge and understanding or word sense. Each term describes a particular aspect of meaning, and contributes to a multitude of theories explaining what meaning is. These theories need to be analyzed further to develop an artificial notion of meaning best fit for our current state of knowledge. == Graph representations == Representing meaning as a graph is one of the two ways that both an AI cognition and a linguistic researcher think about meaning (connectionist view). Logicians utilize a formal representation of meaning to build upon the idea of symbolic representation, whereas description logics describe languages and the meaning of symbols. This contention between 'neat' and 'scruffy' techniques has been discussed since the 1970s. Research has so far identified semantic measures and with that word-sense disambiguation (WSD) - the differentiation of meaning of words - as the main problem of language understanding. As an AI-complete environment, WSD is a core problem of natural language understanding. AI approaches that use knowledge-given reasoning creates a notion of meaning combining the state of the art knowledge of natural meaning with the symbolic and connectionist formalization of meaning for AI. The abstract approach is shown in Figure. First, a connectionist knowledge representation is created as a semantic network consisting of concepts and their relations to serve as the basis for the representation of meaning. This graph is built out of different knowledge sources like WordNet, Wiktionary, and BabelNET. The graph is created by lexical decomposition that recursively breaks each concept semantically down into a set of semantic primes. The primes are taken from the theory of Natural Semantic Metalanguage, which has been analyzed for usefulness in formal languages. Upon this graph marker passing is used to create the dynamic part of meaning representing thoughts. The marker passing algorithm, where symbolic information is passed along relations form one concept to another, uses node and edge interpretation to guide its markers. The node and edge interpretation model is the symbolic influence of certain concepts. Future work uses the created representation of meaning to build heuristics and evaluate them through capability matching and agent planning, chatbots or other applications of natural language understanding.

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  • Fansly

    Fansly

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

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  • Electronic game

    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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  • Scandiweb

    Scandiweb

    scandiweb is a web development, digital strategy, AI consultation & implementation agency specializing in the Magento (Adobe Commerce) platform. The company was established in 2003 in Latvia by Antons Sapriko. It has offices in the United States, Sweden, Latvia, and Georgia. scandiweb provides solutions for primarily eCommerce businesses and acts as a strategic partner for IT development focusing on web, mobile, and big data analysis. T == Partnerships == scandiweb is an official Adobe Gold Partner, with the largest team of Adobe Commerce-certified employees. The company holds the Google Premier Partner status for 2025, placing it among top 3% agencies globally. scandiweb is a BigCommerce Certified Partner and a Pimcore Platinum Partner. Since 2016, scandiweb has been collaborating with Oro, Inc., an open-source business application development firm. scandiweb is a Platinum Partner of Hyvä, working with the Magento 2 frontend theme to optimize performance metrics. The company is also a Sanity Agency Partner, assisting with content management through Sanity’s headless CMS.

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  • Articulatory speech recognition

    Articulatory speech recognition

    Articulatory speech recognition means the recovery of speech (in forms of phonemes, syllables or words) from acoustic signals with the help of articulatory modeling or an extra input of articulatory movement data. Speech recognition (or automatic speech recognition, acoustic speech recognition) means the recovery of speech from acoustics (sound wave) only. Articulatory information is extremely helpful when the acoustic input is in low quality, perhaps because of noise or missing data. Measurable information from the articulatory system (e.g. tongue, jaw movements) can supplement acoustic signals to improve phone recognition accuracy by 2%. However, attempts to estimate articulatory data from acoustic signals alone have not significantly enhanced recognition performance.

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  • Digital artifactual value

    Digital artifactual value

    Digital artifactual value, a preservation term, is the intrinsic value of a digital object, rather than the informational content of the object. Though standards are lacking, born-digital objects and digital representations of physical objects may have a value attributed to them as artifacts. == Intrinsic value in analog materials == With respect to analog or non-digital materials, artifacts are determined to have singular research or archival value if they possess qualities and characteristics that make them the only acceptable form for long-term preservation. These qualities and characteristics are commonly referred to as the item's intrinsic value and form the basis upon which digital artifactual value is currently evaluated. Artifactual value based on this idea is predicated upon the artifact's originality, faithfulness, fixity, and stability. The intrinsic value of a particular object, as interpreted by archival professionals, largely determines the selection process for archives. The National Archives and Records Administration Committee on Intrinsic Value in "Intrinsic Value in Archival Material" classified an analog object as having intrinsic value if it possessed one or more of the follow qualities: Physical form that may be the subject for study if the records provide meaningful documentation or significant examples of the form. Aesthetic or artistic quality. Unique or curious physical features. Age that provides a quality of uniqueness. Value for use in exhibits. Questionable authenticity, date, author, or other characteristic that is significant and ascertainable by physical examination. General and substantial public interest because of direct association with famous or historically significant people, places, things, issues or events. Significance as documentation of the establishment or continuing legal basis of an agency or institution. Significance as documentation of the formulation of policy at the highest executive levels when the policy has significance and broad effect throughout or beyond the agency or institution. Other archival professionals such as Lynn Westney have written that the characteristics of materials exhibiting intrinsic value include age, content, usage, particularities of creation, signatures, and attached seals. Westney and others have stated that paper-based artifacts can be thought to have evidentiary value, or significant contextual markings, insofar that the original manifestation of the artifact can attest to the originality, faithfulness or authenticity, fixity, and stability of the content. For other analog materials, properly articulating intrinsic value remains essential for determining artifactual value. Similar to paper-based objects in many respects, artifactual value for images typically takes into account artistic value, age, authorial prestige, significant provenance, and institutional priorities. Analog audio preservation is based upon similar factors, including the cultural value of the item, its historical uniqueness, the estimated longevity of the medium, the current condition of the item, and the state of playback equipment, among other things. == Analog conventions in a digital realm == The standard definition of artifactual value, as it has applied to analog or non-digital materials in the twentieth century, is based upon a set of conventions which do not ordinarily apply to digital objects in toto. The Council on Library and Information Resources (CLIR) has stated that printed texts and other paper-based manuscripts, when considered as objects, are imbued with meaning distilled from a general set of understandings inherent to these conventions: The object is of a fixed and stable composition/form. Authorship and intellectual property are a recognizable concept. Duplication is possible. Fungibility of informational content (or, in other words, the ability to be replaced by another identical object). These conventions are important to consider because they help to describe the physical and even metaphysical relationship between a document's content and its physical manifestation. The underpinnings of this relationship are not identical and do not apply with the same degree of clarity to an immaterial digital realm. The idea of fixity with regard to printed materials, for example, is largely predicated on the notion that an object has been recorded on a relatively stable medium. The physical presence of a print text serves as proof of its authenticity as an object or artifact, as well as its scarcity and uniqueness in relation to other print materials. Variations in the chemical properties and storage conditions of print-based materials, as well as other cultural variables, certainly impact the fixity or stability of print materials, but there is little controversy about determining its fundamental existence or originality. However, uniqueness in the physical, paper-based sense does not translate to a digital realm in which immaterial objects are subject to theoretically infinite levels of reproduction and dissemination. Born-digital and digital surrogates may or may not look any different from each other on a server, and alterations can be made without explicit notice to the user. These alterations are normally called migration events, or actions taken on the digital object that change the original object's composition. They can enact subtle but fundamental alterations to the original document, thereby compromising its existence as an original object. Furthermore, because the tools used to generate and access digital objects have historically evolved quite rapidly, issues of playback obsolescence, incapability, data loss, and broken pathways to information have changed traditional ideas of fixity and stability. Therefore, artifactual value in a digital realm requires a modified set of generalized standards for determining artifactual originality. Michael J. Giarlo and Ronald Jantz, only two of many, have posited a list of methods for establishing digital intrinsic value by way of careful metadata generation and records maintenance. In their report, a digital original possesses three key characteristics that distinguishes it from identical copies. These include continuous verification and re-verification of the document's digital signature starting from the date of creation; retaining versions and recordings of all changes to the object in an audit trail; and having the archival master contain the creation date of the digital object. They also reported that originality in digital sources could be verified or produced by the following techniques: Digital object is given a date-time stamp that's automatically inserted into the METS-XML header upon creation. Date-time is inserted into archival metadata. Encapsulation. Digital signatures. == The role of digital surrogates == Digital surrogates are considered a utility for aiding in the preservation and increased access of certain artifacts. However, digital surrogates can have different utilities for objects depending on the nature of the original artifact and the condition the artifact is in. In 2001 the Council on Library and Information Resources (CLIR) published a report on the artifact in library collections. The CLIR states that the utility of the digital surrogate can be determined by dividing the original material (artifact) into two different categories, artifacts that are rare and those that are not. These two categories can be further divided by two categories, artifacts that are frequently used and those that are not. === Materials that are frequently used and not rare === According to the CLIR "it is not obvious that digital surrogates provide all the functionality, all the information, or all the aesthetic value of originals. Therefore, while it may be sensible to recommend that digital surrogates be used to reduce the cost and increase the availability of library holdings that circulate frequently, the decision to deaccession a physical object in library collections and replace it with a digital surrogate should be based on a careful assessment of the way in which library patrons use the original object or objects of its kind." === Materials that are infrequently used and not rare === Keeping the original is always the best solution for libraries and especially archives but in the case of libraries where an artifact is not rare or used infrequently there must be a barometer that is developed to help "balance functionality with actual use in order to help decide when digital surrogates that provide most of the functionality of originals are acceptable." === Materials that are rare and frequently used === A professional in the field of Library and Information Science (LIS) would almost certainly not argue that a digital surrogate could replace a rare object. However, in the case of a rare object that is falling into poor shape due to heavy use a digital surrogate could be extremely useful in reducing the wear a

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  • Open Rights Group

    Open Rights Group

    The Open Rights Group (ORG) is a UK-based organisation that works to preserve digital rights and freedoms by campaigning on digital rights issues and by fostering a community of grassroots activists. It campaigns on numerous issues including mass surveillance, internet filtering and censorship, and intellectual property rights. == History == The organisation was started by Danny O'Brien, Cory Doctorow, Ian Brown, Rufus Pollock, James Cronin, Stefan Magdalinski, Louise Ferguson and Suw Charman after a panel discussion at Open Tech 2005. O'Brien created a pledge on PledgeBank, placed on 23 July 2005, with a deadline of 25 December 2005: "I will create a standing order of 5 pounds per month to support an organisation that will campaign for digital rights in the UK but only if 1,000 other people will too." The pledge reached 1000 people on 29 November 2005. The Open Rights Group was launched at a "sell-out" meeting in Soho, London. == Work == The group has made submissions to the All Party Internet Group (APIG) inquiry into digital rights management and the Gowers Review of Intellectual Property. The group was honoured in the 2008 Privacy International Big Brother Awards alongside No2ID, Liberty, Genewatch UK and others, as a recognition of their efforts to keep state and corporate mass surveillance at bay. In 2010 the group worked with 38 Degrees to oppose the introduction of the Digital Economy Act, which was passed in April 2010. The group opposes measures in the draft Online Safety Bill introduced in 2021, that it sees as infringing free speech rights and online anonymity. The group campaigns against the Department for Digital, Culture, Media and Sport's plan to switch to an opt-out model for cookies. The group spokesperson stated that "[t]he UK government propose to make online spying the default option" in response to the proposed switch. == Areas of interest == The organisation, though focused on the impact of digital technology on the liberty of UK citizens, operates with an apparently wide range of interests within that category. Its interests include: === Access to knowledge === Copyright Creative Commons Free and open source software The public domain Crown copyright Digital Restrictions Management Software patents === Free speech and censorship === Internet filtering Right to parody s. 127 Communications Act 2003 === Government and democracy === Electronic voting Freedom of information legislation === Privacy, surveillance and censorship === Automatic Vehicle Tracking Communications data retention Identity management Net Neutrality NHS patients' medical database Police DNA Records RFID == Structure == ORG has a paid staff, whose members include: Jim Killock (executive director) Former staff include Suw Charman-Anderson and Becky Hogge, both executive directors, e-voting coordinator Jason Kitcat, campaigner Peter Bradwell, grassroots campaigner Katie Sutton and administrator Katerina Maniadaki. Neil Gaiman was previously the group's patron. As of October 2022, the group had over 43,000 supporters. == ORGCON == ORGCON was the first ever conference dedicated to digital rights in the UK, marketed as "a crash course in digital rights". It was held for the first time in 2010 at City University in London and included keynote talks from Cory Doctorow, politicians and similar pressure groups including Liberty, NO2ID and Big Brother Watch. ORGCON has since been held in 2012, 2013, 2014, 2017, and 2019 where the keynote was given by Edward Snowden.

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  • DVD

    DVD

    DVD (digital video disc or digital versatile disc) is a digital optical disc data storage format. It was invented and developed in 1995 and first released on November 1, 1996, in Japan. The medium can store any kind of digital data and has been widely used to store video programs (watched using DVD players), software and other computer files. DVDs offer significantly higher storage capacity than compact discs (CD) while having the same dimensions. A standard single-layer DVD can store up to 4.7 GB of data, a dual-layer DVD up to 8.5 GB. Dual-layer, double-sided DVDs can store up to a maximum of 17.08 GB. Prerecorded DVDs are mass-produced using molding machines that physically stamp data onto the DVD. Such discs are a form of DVD-ROM because data can only be read and not written or erased. Blank recordable DVD discs (DVD-R and DVD+R) can be recorded once using a DVD recorder and then function as a DVD-ROM. Rewritable DVDs (DVD-RW, DVD+RW, and DVD-RAM) can be recorded and erased many times. DVDs are used in DVD-Video consumer digital video format and less commonly in DVD-Audio consumer digital audio format, as well as for authoring DVD discs written in a special AVCHD format to hold high definition material (often in conjunction with AVCHD format camcorders). DVDs containing other types of information may be referred to as DVD data discs. == Etymology == The Oxford English Dictionary comments that, "In 1995, rival manufacturers of the product initially named digital video disc agreed that, in order to emphasize the flexibility of the format for multimedia applications, the preferred abbreviation DVD would be understood to denote digital versatile disc." The OED also states that in 1995, "The companies said the official name of the format will simply be DVD. Toshiba had been using the name 'digital video disc', but that was switched to 'digital versatile disc' after computer companies complained that it left out their applications." "Digital versatile disc" is the explanation provided in a DVD Forum Primer from 2000 and in the DVD Forum's mission statement, which the purpose is to promote broad acceptance of DVD products on technology, across entertainment, and other industries. Because DVDs became highly popular for the distribution of movies in the 2000s, the term DVD became popularly used in English as a noun to describe specifically a full-length movie released on the format; for example the phrase "to watch a DVD" describes watching a movie on DVD. == History == === Development and launch === Released in 1987, CD Video used analog video encoding on optical discs matching the established standard 120 mm (4.7 in) size of audio CDs. Video CD (VCD) became one of the first formats for distributing digitally encoded films in this format, in 1993. In the same year, two new optical disc storage formats were being developed. One was the Multimedia Compact Disc (MMCD), backed by Philips and Sony (developers of the CD and CD-i), and the other was the Super Density (SD) disc, supported by Toshiba, Time Warner, Matsushita Electric, Hitachi, Mitsubishi Electric, Pioneer, Thomson, and JVC. By the time of the press launches for both formats in January 1995, the MMCD nomenclature had been dropped, and Philips and Sony were referring to their format as Digital Video Disc (DVD). On May 3, 1995, an ad hoc industry technical group formed from five computer companies (IBM, Apple, Compaq, Hewlett-Packard, and Microsoft) issued a press release stating that they would only accept a single format. The group voted to boycott both formats unless the two camps agreed on a single, converged standard. They recruited Lou Gerstner, president of IBM, to pressure the executives of the warring factions. In one significant compromise, the MMCD and SD groups agreed to adopt proposal SD 9, which specified that both layers of the dual-layered disc be read from the same side—instead of proposal SD 10, which would have created a two-sided disc that users would have to turn over. Philips/Sony strongly insisted on the source code, EFMPlus, that Kees Schouhamer Immink had designed for the MMCD, because it makes it possible to apply the existing CD servo technology. Its drawback was a loss from 5 to 4.7 Gigabytes of capacity. As a result, the DVD specification provided a storage capacity of 4.7 GB (4.38 GiB) for a single-layered, single-sided disc and 8.5 GB (7.92 GiB) for a dual-layered, single-sided disc. The DVD specification ended up similar to Toshiba and Matsushita's Super Density Disc, except for the dual-layer option. MMCD was single-sided and optionally dual-layer, whereas SD was two half-thickness, single-layer discs which were pressed separately and then glued together to form a double-sided disc. Philips and Sony decided that it was in their best interests to end the format war, and on September 15, 1995 agreed to unify with companies backing the Super Density Disc to release a single format, with technologies from both. After other compromises between MMCD and SD, the group of computer companies won the day, and a single format was agreed upon. The computer companies also collaborated with the Optical Storage Technology Association (OSTA) on the use of their implementation of the ISO-13346 file system (known as Universal Disk Format) for use on the new DVDs. The format's details were finalized on December 8, 1995. In November 1995, Samsung announced it would start mass-producing DVDs by September 1996. The format launched on November 1, 1996, in Japan, mostly with music video releases. The first major releases from Warner Home Video arrived on December 20, 1996, with four titles being available. The format's release in the U.S. was delayed multiple times, from August 1996, to October 1996, November 1996, before finally settling on early 1997. Players began to be produced domestically that winter, with March 24, 1997, as the U.S. launch date of the format proper in seven test markets. Approximately 32 titles were available on launch day, mainly from the Warner Bros., MGM, and New Line libraries, with the notable inclusion of the 1996 film Twister. However, the launch was planned for the following day (March 25), leading to a distribution change with retailers and studios to prevent similar violations of breaking the street date. The nationwide rollout for the format happened on August 22, 1997. DTS announced in late 1997 that they would be coming onto the format. The sound system company revealed details in a November 1997 online interview, and clarified it would release discs in early 1998. However, this date would be pushed back several times before finally releasing their first titles at the 1999 Consumer Electronics Show. In 2001, blank DVD recordable discs cost the equivalent of $27.34 US dollars in 2022. === Adoption === Movie and home entertainment distributors adopted the DVD format to replace the ubiquitous VHS tape as the primary consumer video distribution format. Immediately following the formal adoption of a unified standard for DVD, two of the four leading video game console companies (Sega and The 3DO Company) said they already had plans to design a gaming console with DVDs as the source medium. Sony stated at the time that they had no plans to use DVD in their gaming systems, despite being one of the developers of the DVD format and eventually the first company to actually release a DVD-based console. Game consoles such as the PlayStation 2, Xbox, and Xbox 360 use DVDs as their source medium for games and other software. Contemporary games for Windows were also distributed on DVD. Early DVDs were mastered using DLT tape, but using DVD-R DL or +R DL eventually became common. TV DVD combos, combining a standard definition CRT TV or an HD flat panel TV with a DVD mechanism under the CRT or on the back of the flat panel, and VCR/DVD combos were also available for purchase. For consumers, DVD soon overtook VHS as the favored choice for home movie releases. In 2001, DVD players outsold VCRs for the first time in the United States. At that time, one in four American households owned a DVD player. By 2007, about 80% of Americans owned a DVD player, a figure that had surpassed VCRs; it was also higher than personal computers or cable television. == Specifications == The DVD specifications created and updated by the DVD Forum are published as so-called DVD Books (e.g. DVD-ROM Book, DVD-Audio Book, DVD-Video Book, DVD-R Book, DVD-RW Book, DVD-RAM Book, DVD-AR (Audio Recording) Book, DVD-VR (Video Recording) Book, etc.). DVD discs are made up of two discs; normally one is blank, and the other contains data. Each disc is 0.6 mm thick, and they are glued together to form a DVD disc. The gluing process must be done carefully to make the disc as flat as possible to avoid both birefringence and "disc tilt", which is when the disc is not perfectly flat, preventing it from being read. Some specifications for mechanical, physical and optical characteristics of DV

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  • Google Research

    Google Research

    Google Research (also known as Research at Google) is the research division of Google, a subsidiary of Alphabet Inc.. According to its official website, Google Research publishes findings, releases open-source software, and applies research results within Google products and services as well as within the wider scientific community. == Notable contributions == The 2017 landmark paper Attention Is All You Need, which introduced the Transformer architecture, which has subsequently been used to build modern large language models. Advances in neural machine translation powering Google Translate. Time series forecasting. Development of scalable learning systems and infrastructure for large-model training. Flood forecasting. Research into computational discovery via Google Accelerated Science including demonstrating the first below-threshold quantum calculations.

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  • Festival of International Virtual & Augmented Reality Stories

    Festival of International Virtual & Augmented Reality Stories

    Festival of International Virtual & Augmented Reality Stories (FIVARS) is a Canadian media festival for story-driven works using extended reality (XR) and immersive media, including virtual reality, augmented reality, WebXR, live VR performance, projection mapping and spatialized audio. Founded in Toronto in 2015, it has been described as Canada's first dedicated virtual and augmented reality stories festival, the first Canadian festival of its kind, and Canada's original festival dedicated to immersive storytelling. FIVARS has described itself as "the original and longest-running festival wholly dedicated to Virtual and Augmented Reality Stories", while third-party XR coverage has called it one of the longest-running events dedicated to immersive content. FIVARS is produced by Constant Change Media Group, Inc., with its partner event VRTO. == History == FIVARS began in 2015, with preview screenings at the Camp Wavelength music festival on Toronto Island and an inaugural festival held in Toronto in September 2015. Contemporary coverage described the first edition as a virtual reality film festival held at UG3 Live in Toronto. The festival continued with a second edition in 2016. L'Express described the 2016 festival as presenting Canadian and international interactive works in virtual and augmented reality narrative forms. FIVARS's 2016 festival was also listed in a York University Future Cinema course page as a public event students could attend. In 2017, the third annual FIVARS festival was held at the House of VR in Toronto. In 2018, the festival was held at the Matador Ballroom, which NOW Magazine reported was reopening for FIVARS from September 14 to 16. The festival's own history states that the 2018 edition included 36 works from 12 countries and that Stephanie Greenall took over as co-producer that year. In 2019, FIVARS moved to the Toronto Media Arts Centre for its fifth anniversary and listed official selections in passive and interactive immersive-experience categories. The festival also held talks and panels at the Toronto Media Arts Centre. During the COVID-19 pandemic, FIVARS moved part of its programming online. In 2020, Voices of VR reported that Malicki-Sanchez and WebXR developer James Baicoianu used JanusXR code to create a platform for presenting 360-degree video through the web. The festival's history states that its 2020 online festival included 39 selections from 16 countries and was produced by Malicki-Sanchez and Greenall. In 2021, FIVARS introduced a dual-event structure with FIVARS in FEB and FIVARS in FALL. The fall 2021 edition used a hybrid format, with an in-person component in West Hollywood from October 15 to 17 and an online WebXR component from October 22 to November 2. In 2022, FIVARS held hybrid programming with pop-up viewing locations in Los Angeles and Toronto. The fall 2022 edition was listed by blogTO as the festival's tenth edition, with an in-person component at Stackt - an outdoor arts park built from shipping containers in Toronto and online programming. The 2023 festival was presented as a hybrid exhibition of 65 immersive stories, with an in-person Toronto component and an online component. The FIVARS Online Festival was later listed among the Innovator of the Year nominees for the 2024 Poly Awards. FIVARS stated that the nominees for that recognition were producer and designer Keram Malicki-Sanchez and developer James Baicoianu. The 2024 edition was listed as FIVARS 2024 (Toronto + Online), with an in-person Toronto event from October 3 to 8 and an online component beginning October 10. The festival also published a 2024 official selections list covering virtual reality, augmented reality, spherical video, spatial web and related immersive formats. In 2025, FIVARS and VRTO were held together at OCAD University. The 2026 edition is scheduled for June 15 to 19, 2026, at OCAD University in Toronto, with OCAD University as presenting sponsor and first-time venue host. FIVARS has featured official selections from more than forty countries across six continents. == Organization == FIVARS was founded in 2015 by Keram Malicki-Sánchez. Joseph Ellsworth was the festival's original technical director and helped operate FIVARS during its early years. Malicki-Sánchez remains executive director and festival director. Jessy Blaze joined Malicki-Sánchez as co-producer in 2016 and served until Stephanie Greenall took over the role in 2018. Greenall served as co-producer and associate producer from 2018 to 2022. Aimee Reynolds took over from Greenall in 2022 and has served as associate producer of FIVARS and VRTO since 2022. == Immersive Media Awards == FIVARS presents People's Choice awards for interactive works and immersive video or passive immersive works. Juried award categories have included the Grand Jury Prize, Impact Award, Technical Achievement, Excellence in Experience Design, Excellence in Visual Design, Excellence in Sound Design, and Outstanding Performance. === 2015 === On Monday, September 21, the festival announced People's Choice awards for two categories at the Cadillac Lounge, a music venue and restaurant in Toronto. People's Choice Best Interactive Experience: Apollo 11 Best Immersive Video: SONAR === 2016 === People's Choice Best Interactive Experience: Pearl (Patrick Osborne) Best Immersive Video: Help (Justin Lin) Juried Grand Jury Award: Real (Connor Hair and Alex Meader) === 2017 === People's Choice Best Interactive: Alteration Best Immersive (Passive): Guardian of the Guge Kingdom Juried Impact Award: Priya's Shakti / Priya's Mirror (Dan Goldman) Grand Jury Prize: Manifest 99 === 2018 === People's Choice Best Interactive: Museum of Symmetry (Paloma Dawkins) Best Immersive (Passive): Going Home (David Beier) Juried Impact Award: The Hidden (Annie Lukowski, BJ Schwartz) Grand Jury Prize: Battlescar (Nico Casavecchia, Martin Allais) === 2019 === People's Choice Best Interactive: After Dan Graham (David Han/Friend Generator) Best Immersive (Passive): 2nd Step (Joerg Courtial) Juried Technical Achievement: tx-reverse Excellence in Experience Design: Battlescar (Nico Casavecchia, Martin Allais) Excellence in Sound Design: Unheard (Zhechuan Zhang) Excellence in Visual Design: Ex Anima (Pierre Zandrowicz) Impact Award: State Power (Jeff Stanzler) Grand Jury Prize: The Industry (Mirka Duijn) === 2020 === People's Choice Best Interactive: Gravity VR (Fabito Rychter, Amir Admoni) Best Immersive (Passive): Warsaw Rising (Tomasz Dobosz) Juried Technical Achievement: The Cosmic Laughter of Cucci Binaca (Jonathan Sims) Excellence in Experience Design: Sleeping Eyes (Sojung Bahng, Sungeun Lee) Excellence in Sound Design: Symphony of Noise VR (Michaela Pnacekova) Excellence in Visual Design: Hominidae (Brian Andrews) Impact Award: Indirect Actions (Maranatha Hay) Grand Jury Prize: Minimum Mass (Raqi Syed, Areito Echevarria) === 2021 === FIVARS in FEB – People's Choice Best Interactive: CLAWS (created by Evan Neiden; directed by John Ertman) Best Immersive (Passive): Inside COVID 19 (Gary Yost, Adam Loften) FIVARS in FALL – People's Choice Best Interactive: Samsara (director: Hsin-Chien Huang) Best Immersive (Passive): The Invasion of Normandy Omaha Beach (director: Uli Futschik) Juried Technical Achievement: Dark Threads (director: Jonathon Corbiere) Excellence in Experience Design: Andy's World (director: Liquan Liu) Excellence in Sound Design: Symphony (director: Igor Cortadellas) Excellence in Visual Design: Mind VR Exploration (director: Deng Zuyun) Outstanding Performance: Lori Kovachevich, Lena's Journey (director: Wes Evans) Impact Award: Om Devi: Sheroes Revolution (director: Claudio Casale) Grand Jury Prize: Montegelato (director: Davide Rapp) === 2022 === FIVARS in FEB – People's Choice Best Interactive: Severance Theory: Welcome to Respite (Lyndsie Scoggin, United States) Best Immersive (Passive): Beescapes (Alan Nguyen, Australia) FIVARS in FALL – People's Choice Best Interactive: Namuanki (Kevin Mack, United States) Best Immersive (Passive): Reimagined Vol. 1: Nyssa (Julie Cavaliere, United States) Juried (Whole Year) Technical Achievement: Namuanki (Kevin Mack, United States) Excellence in Experience Design: Unframed: Hand Puppets, Paul Klee (Martin Charrière, Switzerland) Excellence in Visual Design: The Last Dance (Toshiaki Hanzaki, Japan) Excellence in Sound Design: Kingdom of Plants with David Attenborough (Iona McEwan, UK and USA) Outstanding Performance: Ari Tarr, OffRail (Ari Tarr, United States) Impact Award: Tearless (Gina Kim, South Korea) Grand Jury Prize: Klaxon. My dear sweet Friend (Nikita Shokhov, United States) === 2023 === People's Choice Best Interactive: PULSAR Best Immersive (Passive): Behind the Dish Juried Technical Achievement: VFC Excellence in Experience Design: Broken Spectre Excellence in Visual Design: Night Creatures Excellence in Sound Design: VFC Outstanding Performance: Origins Impact Award: LOU Grand Jury Prize: Stay Alive, My Son === 2024 ==

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  • Nuclear electronics

    Nuclear electronics

    Nuclear electronics is a subfield of electronics concerned with the design and use of high-speed electronic systems for nuclear physics and elementary particle physics research, and for industrial and medical use. Essential elements of such systems include fast detectors for charged particles, discriminators for separating them by energy, counters for counting the pulses produced by individual particles, fast logic circuits (including coincidence and veto gates), for identification of particular types of complex particle events, and pulse height analyzers (PHAs) for sorting and counting gamma rays or particle interactions by energy, for spectral analysis. == Elementary components == Some of the essential components that make up the elements of a nuclear electronic analysis system include: Detectors Bias voltage supplies Preamplifiers Discriminators Coincidence and veto logic gates Counters Pulse height analyzers These elements were originally developed and built in the laboratories of the scientists doing the pioneering work in the field, but are nowadays designed, developed, and manufactured by a variety of specialized vendors: EG&G Ortec Oxford Instruments Stanford Research Systems Tennelec CAEN

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