AI Chatbot Creator

AI Chatbot Creator — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • ShowDocument

    ShowDocument

    ShowDocument is an online web application that allows multiple users to conduct web meetings, upload, share and review documents from remote locations. The service was developed by the HBR Labs company, established in 2007. == Features == Users can collaborate on and review documents in real time, with annotations and text being visible to all users and accessible for co-editing. The idea of every user being able to annotate can cause conflicts within the sessions, and so main navigation options are under the "presenter"'s control - which can be given to a different user as well. An earlier version of the application, by contrast, had allowed all users to navigate and edit at once, causing the system to drop all incomplete edits. It is possible to draw and write on a virtual whiteboard, and to stream a YouTube video to a group in full synchronization. A feature also exists for co-browsing of Google Maps. Entering an open session in the application can be done with a given code number, or by receiving a link through an Email message. Different file formats can be uploaded and saved either online or offline, such as PDF. A PDF file's text cannot be edited - text is edited through the separate text editor. Although the platform contains a text chat, it is not intended to replace instant messaging software, as there are no extensive messaging features. The application has a paid and free version, with the free version having a few limitations: audio and video options are disabled, number of participants is limited and sessions are time-limited. == Development == ShowDocument was first developed in 2007. On September 8, 2009, HBR labs released a new update which included features such as secure online document storage and mobile device support.

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  • Hardware backdoor

    Hardware backdoor

    A hardware backdoor is a backdoor implemented within the physical components of a computer system, also known as its hardware. They can be created by introducing malicious code to a component's firmware, or even during the manufacturing process of an integrated circuit. Often, they are used to undermine security in smartcards and cryptoprocessors, unless investment is made in anti-backdoor design methods. They have also been considered for car hacking. Backdoors differ from hardware Trojans as backdoors are introduced intentionally by the original designer or during the design process, whereas hardware Trojans are inserted later by an external party. == Background == The existence of hardware backdoors poses significant security risks for several reasons. They are difficult to detect and are impossible to remove using conventional methods like antivirus software. They can also bypass other security measures, such as disk encryption. Hardware trojans can be introduced during manufacturing where the end-user lacks control over the production chain. == History == In 2008, the FBI reported the discovery of approximately 3,500 counterfeit Cisco network components in the United States, some of which were introduced in military and government infrastructure. In the same year, the possibility of a backdoor SPARC CPU was demonstrated with an FPGA running Linux that supported various hidden malicious services. A few years later, in 2011, Jonathan Brossard presented "Rakshasa", a proof-of-concept hardware backdoor. This backdoor could be installed by an individual with physical access to the hardware. It utilized coreboot to re-flash the BIOS with a SeaBIOS and iPXE-based bootkit composed of legitimate, open-source tools, allowing malware to be fetched from the internet during the boot process. The following year, in 2012, Sergei Skorobogatov and Christopher Woods from the University of Cambridge Computer Laboratory reported the discovery of a backdoor in a military-grade FPGA device, which could be exploited to access and modify sensitive information. It has been said that this was proven to be a software problem and not a deliberate attempt at sabotage. This still brought to attention that equipment manufacturers should ensure that microchips operate as intended. Later that year, two mobile phones developed by the Chinese company ZTE were found to carry a root access backdoor. According to security researcher Dmitri Alperovitch, the exploit used a hard-coded password in its software. Starting in 2012, the United States stated that Huawei might have backdoors present in their products. In 2013, researchers at the University of Massachusetts devised a method of breaking a CPU's internal cryptographic mechanisms by introducing specific impurities into the crystalline structure of transistors to change Intel's random-number generator. Documents revealed from 2013 onwards during the surveillance disclosures initiated by Edward Snowden showed that the Tailored Access Operations (TAO) unit and other NSA employees intercepted servers, routers, and other network gear being shipped to organizations targeted for surveillance to install covert implant firmware onto them before delivery. These tools include custom BIOS exploits that survive the reinstallation of operating systems and USB cables with spy hardware and radio transceiver packed inside. In June 2016 it was reported that University of Michigan Department of Electrical Engineering and Computer Science had built a hardware backdoor that leveraged "analog circuits to create a hardware attack" so that after the capacitors store up enough electricity to be fully charged, it would be switched on, to give an attacker complete access to whatever system or device − such as a PC − that contains the backdoored chip. In the study that won the "best paper" award at the IEEE Symposium on Privacy and Security they also note that microscopic hardware backdoor wouldn't be caught by practically any modern method of hardware security analysis, and could be planted by a single employee of a chip factory. In October 2018 Bloomberg reported that an attack by Chinese spies reached almost 30 U.S. companies, including Amazon and Apple, by compromising America's technology supply chain. == Countermeasures == Skorobogatov has developed a technique capable of detecting malicious insertions into chips. New York University Tandon School of Engineering researchers have developed a way to corroborate a chip's operation using verifiable computing whereby "manufactured for sale" chips contain an embedded verification module that proves the chip's calculations are correct and an associated external module validates the embedded verification module. Another technique developed by researchers at University College London (UCL) relies on distributing trust between multiple identical chips from disjoint supply chains. Assuming that at least one of those chips remains honest the security of the device is preserved. Researchers at the University of Southern California Ming Hsieh Department of Electrical and Computer Engineering and the Photonic Science Division at the Paul Scherrer Institute have developed a new technique called Ptychographic X-ray laminography. This technique is the only current method that allows for verification of the chips blueprint and design without destroying or cutting the chip. It also does so in significantly less time than other current methods. Anthony F. J. Levi Professor of electrical and computer engineering at University of Southern California explains “It’s the only approach to non-destructive reverse engineering of electronic chips—[and] not just reverse engineering but assurance that chips are manufactured according to design. You can identify the foundry, aspects of the design, who did the design. It’s like a fingerprint.” This method currently is able to scan chips in 3D and zoom in on sections and can accommodate chips up to 12 millimeters by 12 millimeters easily accommodating an Apple A12 chip but not yet able to scan a full Nvidia Volta GPU. "Future versions of the laminography technique could reach a resolution of just 2 nanometers or reduce the time for a low-resolution inspection of that 300-by-300-micrometer segment to less than an hour, the researchers say."

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  • Cultural technology

    Cultural technology

    Cultural technology (Korean: 문화기술; Hanja: 文化技術; RR: munhwagisul) is a system used by South Korean talent agencies to promote K-pop culture throughout the world as part of the Korean Wave. The system was developed by Lee Soo-man, founder of talent agency and record company SM Entertainment. == History == === Coinage === During a speech at the Stanford Graduate School of Business in 2011, Lee said he coined the term "cultural technology" as a system about fourteen years prior, when S.M. Entertainment decided to promote its K-pop artists to all of Asia. In the late 1990s, Lee and his colleagues created a manual on cultural technology, which specified the steps needed to popularize K-pop artists outside South Korea. "The manual, which all S.M. employees are instructed to learn, explains when to bring in foreign composers, producers, and choreographers; what chord progressions to use in what country; the precise color of eyeshadow a performer should wear in a particular country; the exact hand gestures he or she should make; and the camera angles to be used in the videos (a three-hundred-and-sixty-degree group shot to open the video, followed by a montage of individual closeups)," according to The New Yorker. The term "cultural technology," apart from Lee's systemized definition, can be traced back to the lectures of Michael White, an Australian social worker, educator, and therapeutic theorist and his works Narrative Means to Therapeutic Ends (1990) and Maps of Narrative Practice (2007). Its usage may also date further back to French philosopher Michel Foucault (1977). South Korean computer scientist Kwangyun Wohn said he coined the term "culture technology" in 1994. Cultural technology has also been one of six technology initiatives of the South Korean government since 2001. In regards to cultural technology, the Korean Wave is considered one of the most successful outcomes of government support of exporting Korean entertainment products. === The Four Core Stages === The cultural technology system originally employed by SM Entertainment since the 1990s existed in four stages: Casting, Training, Producing, and Marketing/Managing. Each of these four stages were curated to help spread the Hallyu wave through the development of its artists, and are present in the strategies of many other South Korean talent agencies when creating, debuting, and marketing groups. ==== Casting ==== While the majority of K-pop idols are from South Korea, some are from Japan, China, or Thailand. Many of Korea's entertainment companies, such as SM's Global Auditions, Bighit's Hit It auditions, and YG's Next Generation, host worldwide auditions. Scouting and streetcasting are also common, with members like BTS's Jin recruited for their looks or other surface reasons. Sometimes, casting agents go to dance schools to recruit the top dancers to be trained further at the entertainment company. ==== Training ==== Idols train extensively before debut. They receive training in dance, vocal activities, presentation, and other areas that will benefit them in the industry. Oftentimes, this training will last for years at a time, and trainees are in the proverbial dungeon. Before debut, idols and groups attempt to gain fans through pre-debut activities. SM Entertainment has a system in place called SM Rookies, which is a pre-debut team that hosts concerts and releases videos that strengthen the fanbase of the group even before their first single is released. Other forms of pre-debut activities include featuring in other, more seasoned idols' videos—like Nu'est in Orange Caramel or Exo in Girls' Generation-TTS Twinkle or BTS in Jo Kwon. One particular method of pre-debut training is coupled with casting in production shows, like Sixteen and Produce 101, in which members for a final group are selected and trained. ==== Producing ==== The production of music is integral in culture technology. For cultural technology, production of music helps create differentiated content to set trends in the K-pop world—trends that vary from music to also costume, choreography, and music videos. SM in particular focuses heavily on the expansion globally. Some companies also outsource production to more internationally famed parties, like Cube Entertainment's partnership with Skrillex for 4minute's Act. 7. ==== Marketing/Managing ==== In the marketing and management stage, talent agencies seek to broaden their reach. Often, idols have potential for being actors and actresses in dramas, or perhaps hosts/permanent members of variety shows like Kim Hee-chul in Knowing Bros. This so-called omnidirectional marketing lineup ranges over lifestyle and seeks to reach many aspects of living, like music, TV, drama, entertainment, sports, and fashion. This is also where older groups find new life, like Super Junior. Companies are not complacent but experiment constantly to develop the best marketing for the best management system. Marketing also aspires to branch out to international audiences, sometimes via the implementation of variety shows. Despite being primarily in Korean, these variety shows are accessible to all due to the simplistic, easily understood nature of shows—game-oriented shows like Run BTS! or consistently subbed shows like Weekly Idol are popular in showing the fun-loving side of idols. == Evolution into New Culture Technology == In February 2016, SM hosted a press conference discussing the future of SM and its cultural technology. Lee Soo-man announced the implementation of New Culture Technology, an SM-specific system. While SM's cultural technology in the past relied on local, Korean artists like Rain and BoA, the updated model tries to embed more and more foreign singers from strategic markets into larger girl or boy bands. These imported singers are then used to promote their acts back in their respective home countries. New Culture Technology is five projects—SM Station, EDM, Digital Platforms, Rookies Entertainment, and MCN—and one experimental group, NCT. It is a convergence and expansion of SM's four core culture technologies developed and deals heavily with interaction and the desire to innovate through communication. === SM Station === SM announced their intention of creating a new song every week for 52 weeks. Through this constant output of music, they intend to stray away from conventional forms of music and show active movement in digital music market and physical album market through freely and continuously releasing music. Additionally, this SM Station will feature collaborations between artists, producers, composers, and company brands outside the SM label. The name of SM Station is both derived from the radio station and the metaphorical train station. === NCT === Neo Culture Technology (NCT) introduced the idea of "Interactive". SM company tried to connect the targeting market, customers and artist, in order to lead the K-pop culture. NCT (Neo Culture Technology) is the new artist group formed by SM that embodies the concepts of cultural technology. With the seemingly limitless combinations and groups, SM aspires to make the whole world a stage for NCT. Since 2023, there are six NCT groups, who debuted on the digital song sales: NCT U, NCT 127, NCT Dream, WayV, NCT DoJaeJung, and NCT Wish. As of October 2023, the group consists of 25 members: Johnny, Taeyong, Yuta, Kun, Doyoung, Ten, Jaehyun, Winwin, Jungwoo, Mark, Xiaojun, Hendery, Renjun, Jeno, Haechan, Jaemin, Yangyang, Chenle, Jisung, Sion, Riku, Yushi, Daeyoung, Ryo, and Sakuya. ScreaM Records ScreaM Records has been released by SM Entertainment as an EDM label since 2016 for "SM TOWN: New Culture Technology". ScreaM Records is made for "performances made to be enjoyed". It collaborates with inside and outside Korean well-known EDM DJs. ScreaM Records has first launched collaborated song "Wave" E-Mart's home electronics store, Electro Mart. "Our goal is to provide opportunities to producers who have yet to be discovered and produce world famous DJs from the Asian scene." a ScreaM Records representative said. == Three stages of globalization == According to Lee, there are three stages necessary to popularize Korean culture outside South Korea: exporting the product, collaborating with international companies to expand the product's presence abroad, and finally creating a joint venture with international companies. As part of their joint ventures with international companies, South Korean talent agencies may hire foreign composers, producers, and choreographers to ensure K-pop songs feel "local" to foreign countries.

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  • Blend4Web

    Blend4Web

    Blend4Web is a free and open source framework for creating and displaying interactive 3D computer graphics in web browsers. == Overview == The Blend4Web framework leverages Blender to edit 3D scenes. Content rendering relies on WebGL, Web Audio, WebVR, and other web standards, without the use of plug-ins. It is dual-licensed. The framework is distributed under the free and open source GPLv3 and, a non-free license - with the source code being hosted on GitHub. A 3D scene can be prepared in Blender and then exported as a pair of JSON and binary files to load in a web application. It can also be exported as a single, self-contained HTML file, in which exported data, the web player GUI, and the engine itself are packed. The HTML option is considered to be the simplest way. The resulting file, which has a minimum size of 1 MB, can be embedded in a web page using a standard iframe HTML element. Blend4Web-powered web applications can be deployed on social networking websites such as Facebook. The Blend4Web toolchain consists of JavaScript libraries, the Blender add-on, and a set of tools for tweaking 3D scene parameters, debugging, and optimization. Developed by Moscow-based company Triumph in 2010, Blend4Web was publicly released on March 28, 2014. At the end of 2017, the project founders Yuri and Alex Kovelenov quit Triumph to start the development of a new WebGL framework Verge3D. In October 2019, an "Absolutely new Blend4Web" was announced, planned to make developing 3D apps easier and to add a new marketplace where people can offer their 3D models. == Features == The framework has a number of components typically found in game engines, including a positional audio system, physics engine (a fork of Bullet ported to JavaScript), animation system, and an abstraction layer for game logic programming. Up to 8 different types of animations can be assigned to a single object, including skeletal and per-vertex animation. The speed and the direction of animation (forward/backward play), as well as particle system parameters (size, initial velocity, and count), can be changed through the API. Among other supported features are: scene data dynamic loading and unloading, subsurface scattering simulation, and image-based lighting. Some out-of-box options exist for rendering extended outdoor environments, including foliage-wind interaction, water, atmosphere, and sunlight simulation. One example demonstrating these effects is "The Farm" tech demo, which also features multiple animated NPCs and the ability to walk, interact with objects and drive a vehicle in first-person mode. Being based on the cross-browser WebGL API, Blend4Web runs in the majority of web browsers, including mobile ones. There are some caveats for browsers with experimental WebGL support, such as Internet Explorer. There are also applications developed to run on Tizen-powered devices such as the Samsung Gear S2 smartwatch. Other features include: draw call batching, hidden surface determination, threaded physics simulation and ocean simulation. In version 14.09, Blend4Web introduced the possibility of adding interactivity to 3D scenes using a visual programming tool. The tool is reminiscent of the BGE's logic editor as it uses logic blocks that are placed inside Blender. It plays back animation tracks authored by an artist when the user interacts with predefined 3D objects. Since version 15.03, Blend4Web has supported attaching HTML elements (such as information windows) to 3D objects ("annotations") and copying objects in run time ("instancing"). The following post-processing effects are supported: glow, bloom, depth of field, crepuscular rays, motion blur, and screen space ambient occlusion. == Virtual reality and augmented reality == Virtual reality devices have been supported since the end of 2015. Specifically, Oculus Rift head-mounted display works over experimental WebVR API. The software also now includes preliminary support for gamepads, based on the Gamepad API. In 2017, the option to author augmented reality content was added. The system is based on the open-source tracking library ARToolKit and uses the WebRTC protocols. Starting from version 17.08, finger tracking is supported through the Leap Motion device. == Blender integration == The Blender add-on is written in Python and C and can be compiled for the Linux x86/x64, OS X x64, and MS Windows x86/x64 platforms. A Blend4Web-specific profile can be activated in the add-on settings. When switching to this profile, the Blender interface changes so that it only reveals settings relevant to Blend4Web. Blend4Web supports a set of Blender-specific features such as the node material editor (a tool for visual shader programming) and the particle system. There is basic support for Blender's non-linear animation (NLA) editor for creating simple scenarios. Blend4Web is based on Blender's real-time GLSL rendering engine, which users are recommended to use in order to enable WYSIWYG editing. == Notable uses == NASA developed an interactive web application called Experience Curiosity to celebrate the 3rd anniversary of the Curiosity rover landing on Mars. This Blend4Web-based app makes it possible to operate the rover, control its cameras and the robotic arm, and reproduce some of the prominent events of the Mars Science Laboratory mission. The application got presented at the beginning of the WebGL section at SIGGRAPH 2015. Experience Curiosity was ported to Verge3D for Blender in 2018 with several performance improvements and bug fixes. A General Motors authorized dealer in the United Arab Emirates has placed a functional Chevrolet Camaro 3D configurator on its website. Greenpeace created interactive 3D infographics to back Greenpeace's Detox campaign in Russia. Tallink featured an interactive 3D presentation of its MS Megastar vessel to allow visitors to browse details of the ship.

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  • Visual hull

    Visual hull

    A visual hull is a geometric entity created by shape-from-silhouette 3D reconstruction technique introduced by A. Laurentini. This technique assumes the foreground object in an image can be separated from the background. Under this assumption, the original image can be thresholded into a foreground/background binary image, which we call a silhouette image. The foreground mask, known as a silhouette, is the 2D projection of the corresponding 3D foreground object. Along with the camera viewing parameters, the silhouette defines a back-projected generalized cone that contains the actual object; this cone is called a silhouette cone. The intersection of the two silhouette cones defines a visual hull. which is a bounding geometry of the actual 3D object. When the reconstructed geometry is only used for rendering from a different viewpoint, the implicit reconstruction together with rendering can be done using graphics hardware. == In two dimensions == A technique used in some modern touchscreen devices employs cameras placed in the corners situated opposite infrared LEDs. The one-dimensional projection (shadow) of objects on the surface may be used to reconstruct the convex hull of the object. Visual hull generation method has also been used within experimental tele-meeting systems that aim to allow a user in a remote location to interact with virtual objects. The method uses multiple cameras to capture the real-world movements and interactions of the "sender", employing hardware-accelerated volumetric visual hull representation to create 3D volume from 2D multi-view images. Its ultimate aim is to allow 3D collaboration between the two users in the virtual realm, with the visual hull technique reducing the computational power required to allow this type of interaction and enabling the use of consumer goods such as the Wii Remote as a tool for interaction.

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  • Digital cinema

    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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  • Spintronics

    Spintronics

    Spintronics (a portmanteau of spin transport electronics), also known as spin electronics, is the study of the intrinsic spin of the electron and its associated magnetic moment, in addition to its fundamental electronic charge, in solid-state devices. The field of spintronics concerns spin-charge coupling in metallic systems. The analogous effects in insulators fall into the field of multiferroics. Spintronics fundamentally differs from traditional electronics in that, in addition to charge state, electron spins are used as a further degree of freedom, with implications in the efficiency of data storage and transfer. Spintronic systems are most often realised in dilute magnetic semiconductors (DMS) and Heusler alloys and are of particular interest in the field of quantum computing, such as atomtronics computation. == History == Spintronics emerged from discoveries in the 1980s concerning spin-dependent electron transport phenomena in solid-state devices. This includes the observation of spin-polarized electron injection from a ferromagnetic metal to a normal metal by Johnson and Silsbee (1985) and the discovery of giant magnetoresistance independently by Albert Fert et al. and Peter Grünberg et al. (1988). The origin of spintronics can be traced to the ferromagnet/superconductor tunneling experiments pioneered by Meservey and Tedrow and initial experiments on magnetic tunnel junctions by Julliere in the 1970s. The use of semiconductors for spintronics began with the theoretical proposal of a spin field-effect-transistor by Datta and Das in 1990 and of the electric dipole spin resonance by Rashba in 1960. In 2012, persistent spin helices of synchronized electrons were made to persist for more than a nanosecond, a 30-fold increase over earlier efforts, and longer than the duration of a modern processor clock cycle. In 2025, at 60 K (−213.2 °C; −351.7 °F) crystalline nickel(II) iodide (NiI2) was reported to exhibit p-wave magnetism, in which the spins of nickel atoms became arranged in a spiral pattern in two orientations. The orientations can be switched via a small electrical current. Applied in digital devices, this spintronics behavior requires far less current than the conventional charge-based electronics that powers devices such as computers and phones. == Theory == The spin of the electron is an intrinsic angular momentum that is separate from the angular momentum due to its orbital motion. The magnitude of the projection of the electron's spin along an arbitrary axis is 1 2 ℏ {\displaystyle {\tfrac {1}{2}}\hbar } , implying that the electron acts as a fermion by the spin-statistics theorem. Like orbital angular momentum, the spin has an associated magnetic moment, the magnitude of which is expressed as μ = 3 2 q m e ℏ {\displaystyle \mu ={\tfrac {\sqrt {3}}{2}}{\frac {q}{m_{e}}}\hbar } . In a solid, the spins of many electrons can act together to affect the magnetic and electronic properties of a material, for example endowing it with a permanent magnetic moment as in a ferromagnet. In many materials, electron spins are equally present in both the up and the down state, and no transport properties are dependent on spin. A spintronic device requires generation or manipulation of a spin-polarized population of electrons, resulting in an excess of spin up or spin down electrons. The polarization of any spin dependent property X can be written as P X = X ↑ − X ↓ X ↑ + X ↓ {\displaystyle P_{X}={\frac {X_{\uparrow }-X_{\downarrow }}{X_{\uparrow }+X_{\downarrow }}}} . A net spin polarization can be achieved either through creating an equilibrium energy split between spin up and spin down. Methods include putting a material in a large magnetic field (Zeeman effect), the exchange energy present in a ferromagnet or forcing the system out of equilibrium. The period of time that such a non-equilibrium population can be maintained is known as the spin lifetime, τ {\displaystyle \tau } . In a diffusive conductor, a spin diffusion length λ {\displaystyle \lambda } can be defined as the distance over which a non-equilibrium spin population can propagate. Spin lifetimes of conduction electrons in metals are relatively short (typically less than 1 nanosecond). An important research area is devoted to extending this lifetime to technologically relevant timescales. The mechanisms of decay for a spin polarized population can be broadly classified as spin-flip scattering and spin dephasing. Spin-flip scattering is a process inside a solid that does not conserve spin, and can therefore switch an incoming spin up state into an outgoing spin down state. Spin dephasing is the process wherein a population of electrons with a common spin state becomes less polarized over time due to different rates of electron spin precession. In confined structures, spin dephasing can be suppressed, leading to spin lifetimes of milliseconds in semiconductor quantum dots at low temperatures. Superconductors can enhance central effects in spintronics such as magnetoresistance effects, spin lifetimes and dissipationless spin-currents. The simplest method of generating a spin-polarised current in a metal is to pass the current through a ferromagnetic material. The most common applications of this effect involve giant magnetoresistance (GMR) devices. A typical GMR device consists of at least two layers of ferromagnetic materials separated by a spacer layer. When the two magnetization vectors of the ferromagnetic layers are aligned, the electrical resistance will be lower (so a higher current flows at constant voltage) than if the ferromagnetic layers are anti-aligned. This constitutes a magnetic field sensor. Two variants of GMR have been applied in devices: Current-in-plane (CIP), where the electric current flows parallel to the layers and, Current-perpendicular-to-plane (CPP), where the electric current flows in a direction perpendicular to the layers. Other metal-based spintronics devices: Tunnel magnetoresistance (TMR), where CPP transport is achieved by using quantum-mechanical tunneling of electrons through a thin insulator separating ferromagnetic layers. Spin-transfer torque, where a current of spin-polarized electrons is used to control the magnetization direction of ferromagnetic electrodes in the device. Spin-wave logic devices carry information in the phase. Interference and spin-wave scattering can perform logic operations. == Device types == === Spintronic-logic === Non-volatile spin-logic devices to enable scaling are being extensively studied. Spin-transfer, torque-based logic devices that use spins and magnets for information processing have been proposed. These devices are part of the ITRS exploratory road map. Logic-in memory applications are already in the development stage. A 2017 review article can be found in Materials Today. A generalized circuit theory for spintronic integrated circuits has been proposed so that the physics of spin transport can be utilized by SPICE developers and subsequently by circuit and system designers for the exploration of spintronics for "beyond CMOS computing". === Semiconductor === Doped semiconductor materials display dilute ferromagnetism. In recent years, dilute magnetic oxides (DMOs) including ZnO based DMOs and TiO2-based DMOs have been the subject of numerous experimental and computational investigations. N`0 sources (like manganese-doped gallium arsenide (Ga,Mn)As), increase the interface resistance with a tunnel barrier, or using hot-electron injection. Spin detection in semiconductors has been addressed with multiple techniques: Faraday/Kerr rotation of transmitted/reflected photons Circular polarization analysis of electroluminescence Nonlocal spin valve (adapted from Johnson and Silsbee's work with metals) Ballistic spin filtering The latter technique was used to overcome the lack of spin-orbit interaction and materials issues to achieve spin transport in silicon. Because external magnetic fields (and stray fields from magnetic contacts) can cause large Hall effects and magnetoresistance in semiconductors (which mimic spin-valve effects), the only conclusive evidence of spin transport in semiconductors is demonstration of spin precession and dephasing in a magnetic field non-collinear to the injected spin orientation, called the Hanle effect. === Storage media === Antiferromagnetic storage media have been studied as an alternative to ferromagnetism, especially since with antiferromagnetic material the bits can be stored as well as with ferromagnetic material. Instead of the usual definition 0 ↔ 'magnetisation upwards', 1 ↔ 'magnetisation downwards', the states can be, e.g., 0 ↔ 'vertically alternating spin configuration' and 1 ↔ 'horizontally-alternating spin configuration'.). The main advantages of antiferromagnetic material are: insensitivity to data-damaging perturbations by stray fields due to zero net external magnetization; no effect on near particles, implying that antiferromagnetic device elements wo

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  • Fediverse

    Fediverse

    The Fediverse (commonly shortened to fedi) is a collection of social networking services that can communicate with each other (formally known as federation) using a common protocol. Users of different websites can send and receive status updates, multimedia files and other data across the network. The term Fediverse is a portmanteau of federation and universe. The majority of Fediverse platforms are based on free and open-source software, and create connections between servers using the ActivityPub protocol. Some software still supports older federation protocols as well, such as OStatus, the Diaspora protocol and Zot, while newer protocols such as AT Protocol connect via network bridges. Diaspora is the only actively developed software project classified under the original definition of Fediverse that does not support ActivityPub. == Design == While a traditional social networking service will host all its content on servers managed by the owner of the website, the decentralized structure of the Fediverse allows any individual or organization to host a social platform using their own servers (referred to as an "instance"). Every instance is independent, and can set its own rules and expectations. Even so, much like how users of one email service such as Gmail can still send emails to users of another service such as Outlook, users may still view content and interact with users on any other instance in the Fediverse. A user on one Mastodon instance, for example, may view and interact with posts made by a user on a different instance even if it is not running Mastodon. Instances hosted by different social networking services may also communicate with one another. A user on the microblogging platform Misskey, for example, may view and interact with posts made by users on Mastodon. Some Fediverse networks even allow users to interact with different social networking formats from the same platform. For example, a user on a social news instance running Lemmy can interact with another post from an mbin instance, a similar service, as well as microblog statuses from Mastodon. === Content moderation and user safety === Decentralized social networking platforms introduce new challenges and difficulties for user trust and safety. By nature of the Fediverse, operators of an instance are solely responsible for moderation of its content. As there is no form of centralized governance or moderation across the Fediverse, it is impossible for an instance to be "removed" from the Fediverse; it can only be defederated per an instance operator's choice, which makes that instance's content inaccessible from the operator's instance. Individual instances are responsible for defining their own content policies, which may then be enforced by its staff. Moderation of a Fediverse instance differs significantly from that of traditional social media platforms, as moderators are responsible not only for content posted by users of that instance ("local users"), but also for content posted by users of other instances ("remote users"). == History == === Historical protocols === The concept and the functionality of the Fediverse existed before the ActivityPub protocol and the term itself. One of the first projects that included support for a decentralized social networking service was Laconica, a microblogging platform which implemented the OpenMicroBlogging protocol for communicating between different installations of the software. The software was later renamed to StatusNet in 2009, before being merged into the GNU social project in 2013 along with Free Social, with the two latter servers being a fork of StatusNet. Over time, the limitations of the OpenMicroBlogging protocol became more apparent, being designed as a one-way text messaging system. To replace the ageing protocol, OStatus was devised as an open standard for microblogging, combining various other technologies like Salmon, Atom, WebSub and ActivityStreams into a single protocol used for communicating between instances. StatusNet first implemented the OStatus protocol on March 3, 2010, with version 0.9.0, and OStatus quickly became the most popular federated protocol in usage. Around the same time as OStatus was gaining popularity, the Diaspora social network was formed, using its own federated protocol. To illustrate the differences between the two protocols, the terms of the Fediverse and the federation began to enter common usage, mainly after 2017. The term "the Fediverse" was used to describe the network formed by software using the OStatus protocol, such as GNU Social, Mastodon, and Friendica, in contrast to the competing diaspora protocol under "the federation". === ActivityPub === In December 2012, the flagship StatusNet instance at the time, identi.ca, transitioned away to a new software named pump.io, with a new federation protocol to replace OStatus. The new protocol was designed to be useful for general activity streams and not just status updates, and replaced many of OStatus' external dependencies with JSON-LD and a REST API for its messaging and inbox systems, as well as making more use of ActivityStreams. While not as utilized as its OStatus predecessor, it would later become influential in the development of the ActivityPub standard. In January 2018, the W3C presented the ActivityPub protocol as a recommended standard. The standard aimed to improve the interoperability between different software packages running on a wide network of servers and to supersede both the OStatus protocol and Pump.io. By 2019, almost all software that was using OStatus had added support for ActivityPub. While Mastodon began to remove OStatus support, other projects maintained it in their code, such as Friendica (which also maintained diaspora support along with ActivityPub). === AT Protocol === A major protocol often contrasted with ActivityPub is the AT Protocol, which powers the Bluesky social network. While both protocols aim to create decentralized social networks, they employ different technical philosophies regarding user identity. Developers of the AT Protocol, including Bluesky CEO Jay Graber, have stated they chose not to use ActivityPub because it did not natively support easy "account portability", the ability for a user to move their account, data, and social graph to a new provider without relying on the original server to authorize the move. In the ActivityPub model (used by Mastodon), a user's identity is typically tied to a specific server, similar to an email address; if that server goes offline, the identity can be lost. The AT Protocol aims to solve this by separating identity from hosting, allowing users to switch providers without losing their identity. Although the two protocols are technically incompatible by default, third-party "bridges" such as Bridgy Fed have been developed to allow users on ActivityPub networks to follow and interact with users on the AT Protocol network, and vice versa. === Other Fediverse protocols === While the Fediverse has traditionally been the network most commonly referred to and used as an example regarding the subject of decentralized social networks, alternatives to it and the accompanying ActivityPub have been developed and deployed. Smaller competitors such as Nostr and Farcaster have become popular within the cryptocurrency community. These protocols have used ActivityPub as a frame of reference for which to design their own architecture, as these newer protocols use a different federation model based on publishing content to relays for distribution rather than ActivityPub's server-centric model. Despite their differences, software exists that permit the bridging of user content between these protocols, including "double-bridges" that span multiple protocols for the purpose of distributing the same content. == Adoption == Users have been slow to embrace the Fediverse due to poor user experience and excessive complexity. Following the acquisition of Twitter by Elon Musk in November 2022, certain major social networks, including Threads, Tumblr and Flipboard, expressed interest in supporting the ActivityPub protocol, as a large number of users began to migrate to Mastodon, a server that supports the Fediverse and was also the most popular alternative to Twitter at the time. Flickr also expressed support in supporting ActivityPub. As of November 2022, no information had been released by Flickr after the initial tweets by the CEO, with support for ActivityPub suspected to be on hold or cancelled. In 2024, the local government of the Stary Sącz municipality in Poland launched their own PeerTube instance in order to de facto abolish its presence on YouTube. According to the government, they stopped using YouTube for official communications "in order to adhere to the appropriate regulations". In the same year, VIVERSE, HTC Vive's metaverse platform, implemented support for ActivityPub in their chat feature, allowing users to send direct messages to other

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  • Moral outsourcing

    Moral outsourcing

    Moral outsourcing is the placing of responsibility for ethical decision-making onto external entities, often algorithms. The term is often used in discussions of computer science and algorithmic fairness, but it can apply to any situation in which one appeals to outside agents in order to absolve themselves of responsibility for their actions. In this context, moral outsourcing specifically refers to the tendency of society to blame technology, rather than its creators or users, for any harm it may cause. == Definition == The term "moral outsourcing" was first coined by Dr. Rumman Chowdhury, a data scientist concerned with the overlap between artificial intelligence and social issues. Chowdhury used the term to describe looming fears of a so-called “Fourth Industrial Revolution” following the rise of artificial intelligence. Moral outsourcing is often applied by technologists to shrink away from their part in building offensive products. In her TED Talk, Chowdhury gives the example of a creator excusing their work by saying they were simply doing their job. This is a case of moral outsourcing and not taking ownership for the consequences of creation. When it comes to AI, moral outsourcing allows for creators to decide when the machine is human and when it is a computer - shifting the blame and responsibility of moral plights off of the technologists and onto the technology. Conversations around AI and bias and its impacts require accountability to bring change. It is difficult to address these biased systems if their creators use moral outsourcing to avoid taking any responsibility for the issue. One example of moral outsourcing is the anger that is directed at machines for “taking jobs away from humans” rather than companies for employing that technology and jeopardizing jobs in the first place. The term "moral outsourcing" refers to the concept of outsourcing, or enlisting an external operation to complete specific work for another organization. In the case of moral outsourcing, the work of resolving moral dilemmas or making choices according to an ethical code is supposed to be conducted by another entity. == Real-world applications == In the medical field, AI is increasingly involved in decision-making processes about which patients to treat, and how to treat them. The responsibility of the doctor to make informed decisions about what is best for their patients is outsourced to an algorithm. Sympathy is also noted to be an important part of medical practice; an aspect that artificial intelligence, glaringly, is missing. This form of moral outsourcing is a major concern in the medical community. Another field of technology in which moral outsourcing is frequently brought up is autonomous vehicles. California Polytechnic State University professor Keith Abney proposed an example scenario: "Suppose we have some [troublemaking] teenagers, and they see an autonomous vehicle, they drive right at it. They know the autonomous vehicle will swerve off the road and go off a cliff, but should it?" The decision of whether to sacrifice the autonomous vehicle (and any passengers inside) or the vehicle coming at it will be written into the algorithms defining the car's behavior. In the case of moral outsourcing, the responsibility of any damage caused by an accident may be attributed to the autonomous vehicle itself, rather than the creators who wrote the protocol the vehicle will use to "decide" what to do. Moral outsourcing is also used to delegate the consequences of predictive policing algorithms to technology, rather than the creators or the police. There are many ethical concerns with predictive policing due to the fact that it results in the over-policing of low income and minority communities. In the context of moral outsourcing, the positive feedback loop of sending disproportionate police forces into minority communities is attributed to the algorithm and the data being fed into this system--rather than the users and creators of the predictive policing technology. == Outside of technology == === Religion === Moral outsourcing is also commonly seen in appeals to religion to justify discrimination or harm. In his book What It Means to be Moral, sociologist Phil Zuckerman contradicts the popular religious notion that morality comes from God. Religion is oftentimes cited as a foundation for a moral stance without any tangible relation between the religious beliefs and personal stance. In these cases, religious individuals will "outsource" their personal beliefs and opinions by claiming that they are a result of their religious identification. This is seen where religion is cited as a factor for political beliefs, medical beliefs, and in extreme cases an excuse for violence. === Manufacturing === Moral outsourcing can also be seen in the business world in terms of manufacturing goods and avoiding environmental responsibility. Some companies in the United States will move their production process to foreign countries with more relaxed environmental policies to avoid the pollution laws that exist in the US. A study by the Harvard Business Review found that "in countries with tight environmental regulation, companies have 29% lower domestic emissions on average. On the other hand, such a tightening in regulation results in 43% higher emissions abroad." The consequences of higher pollution rates are then attributed to the loose regulations in these countries, rather than on the companies themselves who purposefully moved into these areas to avoid strict pollution policy.

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  • Electronics (journal)

    Electronics (journal)

    Electronics is a peer-reviewed, scientific journal that covers the study of electronics, including the design, development, and application of electronic devices, systems, and circuits. The journal is published by MDPI and was established in 2012. The editor-in-chief is Flavio Canavero 'Politecnico di Torino). The journal covers a wide range of topics related to electronics, including: electronic devices, electronic materials, electronic circuits, electronic systems, communication electronics, power electronics, and biomedical electronics. The journal also includes articles on the application of electronics in various fields, such as consumer electronics, industrial electronics, automotive electronics, and military electronics. The journal publishes original research articles, review articles, and short communications. == Abstracting and indexing == EBSCO databases ProQuest databases Scopus According to the Journal Citation Reports, the journal has a 2021 impact factor of 2.690.

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  • Creepiness

    Creepiness

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

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  • Digital classics

    Digital classics

    Digital classics is the application of the tools of digital humanities to the field of classics, or more broadly to the study of the ancient world. == History == Classics was one of the first of the humanities disciplines to adopt computing approaches; the first references to the use of computing in the classical humanities date to the early 1960s, which might be surprising considering the reputation of the discipline as old-fashioned and stuffily traditionalist. Major projects such as the Thesaurus Linguae Graecae, founded in 1972, and the text collections of the Packard Humanities Institute set the trend, and there are still a significantly large number of ancient world projects among Humanities Computing projects today. Also, the success of traditional scholarly publications in digital guises, such as seen in the Bryn Mawr Classical Review, and the early adoption of hypertext in high profile projects like the Perseus Digital Library helped to legitimize computing in the study of classics in ways that has not always been the case in other areas of the humanities. This apparent paradox may be as a result of the many methodologies and different sources of evidence that classicists have always had to embrace, from literary sources and linguistics, to art history and archaeology, history, philosophy, religious theory, ancient documents such as inscriptions and papyri, and so forth. The fragmentary nature of many of the texts and languages of the ancient world, the scattered evidence from the material culture of ancient Greece and Rome, and the necessity to evaluate all these varieties of evidence in context are particularly likely to benefit from digital approaches such as databases, text markup, image manipulation and machine learning. == Digital classics projects == There are currently several major projects that aim to encourage and develop digital approaches to classical scholarship. The Stoa Consortium at the University of Kentucky distributes news of the discipline, and serves as a peer-reviewed electronic publication venue, and encourages open source approaches to digital classics. The Perseus Project is a digital library that also provides a collection of digital texts and analysis tools to the public; principally (but not exclusively) classical. Digital Classicist is another project and community which shares information and advice about the digital humanities applied to the field of classics. Epigraphy.info is an international open community pursuing a collaborative environment for digital epigraphy. The Liverpool Classics Mailing List is a project which can be subscribed to in which one receives email regarding Classics events around the world, as well as call for papers, studentships and public lectures.

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  • Template matching

    Template matching

    Template matching is a technique in digital image processing for finding small parts of an image which match a template image. It can be used for quality control in manufacturing, navigation of mobile robots, or edge detection in images. The main challenges in a template matching task are detection of occlusion, when a sought-after object is partly hidden in an image; detection of non-rigid transformations, when an object is distorted or imaged from different angles; sensitivity to illumination and background changes; background clutter; and scale changes. == Feature-based approach == The feature-based approach to template matching relies on the extraction of image features, such as shapes, textures, and colors, that match the target image or frame. This approach is usually achieved using neural networks and deep-learning classifiers such as VGG, AlexNet, and ResNet.Convolutional neural networks (CNNs), which many modern classifiers are based on, process an image by passing it through different hidden layers, producing a vector at each layer with classification information about the image. These vectors are extracted from the network and used as the features of the image. Feature extraction using deep neural networks, like CNNs, has proven extremely effective has become the standard in state-of-the-art template matching algorithms. This feature-based approach is often more robust than the template-based approach described below. As such, it has become the state-of-the-art method for template matching, as it can match templates with non-rigid and out-of-plane transformations, as well as high background clutter and illumination changes. == Template-based approach == For templates without strong features, or for when the bulk of a template image constitutes the matching image as a whole, a template-based approach may be effective. Since template-based matching may require sampling of a large number of data points, it is often desirable to reduce the number of sampling points by reducing the resolution of search and template images by the same factor before performing the operation on the resultant downsized images. This pre-processing method creates a multi-scale, or pyramid, representation of images, providing a reduced search window of data points within a search image so that the template does not have to be compared with every viable data point. Pyramid representations are a method of dimensionality reduction, a common aim of machine learning on data sets that suffer the curse of dimensionality. == Common challenges == In instances where the template may not provide a direct match, it may be useful to implement eigenspaces to create templates that detail the matching object under a number of different conditions, such as varying perspectives, illuminations, color contrasts, or object poses. For example, if an algorithm is looking for a face, its template eigenspaces may consist of images (i.e., templates) of faces in different positions to the camera, in different lighting conditions, or with different expressions (i.e., poses). It is also possible for a matching image to be obscured or occluded by an object. In these cases, it is unreasonable to provide a multitude of templates to cover each possible occlusion. For example, the search object may be a playing card, and in some of the search images, the card is obscured by the fingers of someone holding the card, or by another card on top of it, or by some other object in front of the camera. In cases where the object is malleable or poseable, motion becomes an additional problem, and problems involving both motion and occlusion become ambiguous. In these cases, one possible solution is to divide the template image into multiple sub-images and perform matching on each subdivision. == Deformable templates in computational anatomy == Template matching is a central tool in computational anatomy (CA). In this field, a deformable template model is used to model the space of human anatomies and their orbits under the group of diffeomorphisms, functions which smoothly deform an object. Template matching arises as an approach to finding the unknown diffeomorphism that acts on a template image to match the target image. Template matching algorithms in CA have come to be called large deformation diffeomorphic metric mappings (LDDMMs). Currently, there are LDDMM template matching algorithms for matching anatomical landmark points, curves, surfaces, volumes. == Template-based matching explained using cross correlation or sum of absolute differences == A basic method of template matching sometimes called "Linear Spatial Filtering" uses an image patch (i.e., the "template image" or "filter mask") tailored to a specific feature of search images to detect. This technique can be easily performed on grey images or edge images, where the additional variable of color is either not present or not relevant. Cross correlation techniques compare the similarities of the search and template images. Their outputs should be highest at places where the image structure matches the template structure, i.e., where large search image values get multiplied by large template image values. This method is normally implemented by first picking out a part of a search image to use as a template. Let S ( x , y ) {\displaystyle S(x,y)} represent the value of a search image pixel, where ( x , y ) {\displaystyle (x,y)} represents the coordinates of the pixel in the search image. For simplicity, assume pixel values are scalar, as in a greyscale image. Similarly, let T ( x t , y t ) {\textstyle T(x_{t},y_{t})} represent the value of a template pixel, where ( x t , y t ) {\textstyle (x_{t},y_{t})} represents the coordinates of the pixel in the template image. To apply the filter, simply move the center (or origin) of the template image over each point in the search image and calculate the sum of products, similar to a dot product, between the pixel values in the search and template images over the whole area spanned by the template. More formally, if ( 0 , 0 ) {\displaystyle (0,0)} is the center (or origin) of the template image, then the cross correlation T ⋆ S {\displaystyle T\star S} at each point ( x , y ) {\displaystyle (x,y)} in the search image can be computed as: ( T ⋆ S ) ( x , y ) = ∑ ( x t , y t ) ∈ T T ( x t , y t ) ⋅ S ( x t + x , y t + y ) {\displaystyle (T\star S)(x,y)=\sum _{(x_{t},y_{t})\in T}T(x_{t},y_{t})\cdot S(x_{t}+x,y_{t}+y)} For convenience, T {\displaystyle T} denotes both the pixel values of the template image as well as its domain, the bounds of the template. Note that all possible positions of the template with respect to the search image are considered. Since cross correlation values are greatest when the values of the search and template pixels align, the best matching position ( x m , y m ) {\displaystyle (x_{m},y_{m})} corresponds to the maximum value of T ⋆ S {\displaystyle T\star S} over S {\displaystyle S} . Another way to handle translation problems on images using template matching is to compare the intensities of the pixels, using the sum of absolute differences (SAD) measure. To formulate this, let I S ( x s , y s ) {\displaystyle I_{S}(x_{s},y_{s})} and I T ( x t , y t ) {\displaystyle I_{T}(x_{t},y_{t})} denote the light intensity of pixels in the search and template images with coordinates ( x s , y s ) {\displaystyle (x_{s},y_{s})} and ( x t , y t ) {\displaystyle (x_{t},y_{t})} , respectively. Then by moving the center (or origin) of the template to a point ( x , y ) {\displaystyle (x,y)} in the search image, as before, the sum of absolute differences between the template and search pixel intensities at that point is: S A D ( x , y ) = ∑ ( x t , y t ) ∈ T | I T ( x t , y t ) − I S ( x t + x , y t + y ) | {\displaystyle SAD(x,y)=\sum _{(x_{t},y_{t})\in T}\left\vert I_{T}(x_{t},y_{t})-I_{S}(x_{t}+x,y_{t}+y)\right\vert } With this measure, the lowest SAD gives the best position for the template, rather than the greatest as with cross correlation. SAD tends to be relatively simple to implement and understand, but it also tends to be relatively slow to execute. A simple C++ implementation of SAD template matching is given below. == Implementation == In this simple implementation, it is assumed that the above described method is applied on grey images: This is why Grey is used as pixel intensity. The final position in this implementation gives the top left location for where the template image best matches the search image. One way to perform template matching on color images is to decompose the pixels into their color components and measure the quality of match between the color template and search image using the sum of the SAD computed for each color separately. == Speeding up the process == In the past, this type of spatial filtering was normally only used in dedicated hardware solutions because of the computational complexity of the operation, however we can lessen this complexity b

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  • Style sheet (web development)

    Style sheet (web development)

    A web style sheet is a form of separation of content and presentation for web design in which the markup (i.e., HTML or XHTML) of a webpage contains the page's semantic content and structure, but does not define its visual layout (style). Instead, the style is defined in an external style sheet file using a style sheet language such as CSS or XSLT. This design approach is identified as a "separation" because it largely supersedes the antecedent methodology in which a page's markup defined both style and structure. The philosophy underlying this methodology is a specific case of separation of concerns. == Benefits == Separation of style and content has advantages, but has only become practical after improvements in popular web browsers' CSS implementations. === Speed === Overall, users experience of a site utilising style sheets will generally be quicker than sites that do not use the technology. ‘Overall’ as the first page will probably load more slowly – because the style sheet AND the content will need to be transferred. Subsequent pages will load faster because no style information will need to be downloaded – the CSS file will already be in the browser’s cache. === Maintainability === Holding all the presentation styles in one file can reduce the maintenance time and reduces the chance of error, thereby improving presentation consistency. For example, the font color associated with a type of text element may be specified — and therefore easily modified — throughout an entire website simply by changing one short string of characters in a single file. The alternative approach, using styles embedded in each individual page, would require a cumbersome, time consuming, and error-prone edit of every file. === Accessibility === Sites that use CSS with either XHTML or HTML are easier to tweak so that they appear similar in different browsers (Chrome, Internet Explorer, Mozilla Firefox, Opera, Safari, etc.). Sites using CSS "degrade gracefully" in browsers unable to display graphical content, such as Lynx, or those so very old that they cannot use CSS. Browsers ignore CSS that they do not understand, such as CSS 3 statements. This enables a wide variety of user agents to be able to access the content of a site even if they cannot render the style sheet or are not designed with graphical capability in mind. For example, a browser using a refreshable braille display for output could disregard layout information entirely, and the user would still have access to all page content. === Customization === If a page's layout information is stored externally, a user can decide to disable the layout information entirely, leaving the site's bare content still in a readable form. Site authors may also offer multiple style sheets, which can be used to completely change the appearance of the site without altering any of its content. Most modern web browsers also allow the user to define their own style sheet, which can include rules that override the author's layout rules. This allows users, for example, to bold every hyperlink on every page they visit. Browser extensions like Stylish and Stylus have been created to facilitate management of such user style sheets. === Consistency === Because the semantic file contains only the meanings an author intends to convey, the styling of the various elements of the document's content is very consistent. For example, headings, emphasized text, lists and mathematical expressions all receive consistently applied style properties from the external style sheet. Authors need not concern themselves with the style properties at the time of composition. These presentational details can be deferred until the moment of presentation. === Portability === The deferment of presentational details until the time of presentation means that a document can be easily re-purposed for an entirely different presentation medium with merely the application of a new style sheet already prepared for the new medium and consistent with elemental or structural vocabulary of the semantic document. A carefully authored document for a web page can easily be printed to a hard-bound volume complete with headers and footers, page numbers and a generated table of contents simply by applying a new style sheet.

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  • Digital citizen

    Digital citizen

    The term digital citizen is used with different meanings. According to the definition provided by Karen Mossberger, one of the authors of Digital Citizenship: The Internet, Society, and Participation, digital citizens are "those who use the internet regularly and effectively". In this sense, a digital citizen is a person who uses information technology (IT) to engage in society, politics, and government. More recent elaborations of the concept define digital citizenship as the self-enactment of people’s role in society through the use of digital technologies, stressing the empowering and democratizing characteristics of the citizenship idea. These theories aim at taking into account the ever-increasing datafication of contemporary societies (symbolically linked to the Snowden leaks), which has called into question the meaning of “being (digital) citizens in a datafied society”. This condition is also referred to as the “algorithmic society”, characterised by the increasing datafication of social life and the pervasive presence of surveillance practices – see surveillance and surveillance capitalism, the use of artificial intelligence, and Big Data. Datafication presents crucial challenges for the very notion of citizenship, so that data collection can no longer be seen as an issue of privacy alone so that:We cannot simply assume that being a citizen online already means something (whether it is the ability to participate or the ability to stay safe) and then look for those whose conduct conforms to this meaning Instead, the idea of digital citizenship shall reflect the idea that we are no longer mere “users” of technologies since they shape our agency both as individuals and as citizens. Digital citizenship refers to the responsible and respectful use of technology to engage online, evaluate information, and protect human rights. It encompasses skills for communication, collaboration, empathy, privacy protection, and security to prevent data breaches and identity theft. == Digital citizenship in the "algorithmic society" == In the context of the algorithmic society, the question of digital citizenship "becomes one of the extents to which subjects are able to challenge, avoid or mediate their data double in this datafied society”. These reflections put the emphasis on the idea of the digital space (or cyberspace) as a political space where the respect of fundamental rights of the individual shall be granted (with reference both to the traditional ones as well as to new specific rights of the internet [see “digital constitutionalism”]) and where the agency and the identity of the individuals as citizens is at stake. This idea of digital citizenship is thought to be not only active but also performative, in the sense that “in societies that are increasingly mediated through digital technologies, digital acts become important means through which citizens create, enact and perform their role in society.” In particular, for Isin and Ruppert this points towards an active meaning of (digital) citizenship based on the idea that we constitute ourselves as digital citizen by claiming rights on the internet, either by saying or by doing something. == Types of digital participation == People who characterize themselves as digital citizens often use IT extensively—creating blogs, using social networks, and participating in online journalism. Although digital citizenship begins when any child, teen, or adult signs up for an email address, posts pictures online, uses e-commerce to buy merchandise online, and/or participates in any electronic function that is B2B or B2C, the process of becoming a digital citizen goes beyond simple internet activity. According to Thomas Humphrey Marshall, a British sociologist known for his work on social citizenship, a primary framework of citizenship comprises three different traditions: liberalism, republicanism, and ascriptive hierarchy. Within this framework, the digital citizen needs to exist in order to promote equal economic opportunities and increase political participation. In this way, digital technology helps to lower the barriers to entry for participation as a citizen within a society. They also have a comprehensive understanding of digital citizenship, which is the appropriate and responsible behavior when using technology. Since digital citizenship evaluates the quality of an individual's response to membership in a digital community, it often requires the participation of all community members, both visible and those who are less visible. A large part in being a responsible digital citizen encompasses digital literacy, etiquette, online safety, and an acknowledgement of private versus public information. The development of digital citizen participation can be divided into two main stages. The first stage is through information dissemination, which includes subcategories of its own: static information dissemination, characterized largely by citizens who use read-only websites where they take control of data from credible sources in order to formulate judgments or facts. Many of these websites where credible information may be found are provided by the government. dynamic information dissemination, which is more interactive and involves citizens as well as public servants. Both questions and answers can be communicated, and citizens have the opportunity to engage in question-and-answer dialogues through two-way communication platforms The second stage of digital citizen participation is citizen deliberation, which evaluates what type of participation and role that they play when attempting to ignite some sort of policy change. static citizen participants can play a role by engaging in online polls as well as through complaints and recommendations sent up, mainly toward the government who can create changes in policy decisions. dynamic citizen participants can deliberate amongst others on their thoughts and recommendations in town hall meetings or various media sites. One potential advantage of online participation through digital citizenship is increased social inclusion. In a report on civic engagement, citizen-powered democracy can be initiated either through information shared through the web, direct communication signals made by the state toward the public, and social media tactics from both private and public companies. In fact, it was found that the community-based nature of social media platforms allow individuals to feel more socially included and informed about political issues that peers have also been found to engage with, otherwise known as a "second-order effect." Understanding strategic marketing on social media would further explain social media customers’ participation. Two types of opportunities rise as a result, the first being the ability to lower barriers that can make exchanges much easier. In addition, they have the chance to participate in transformative disruption, giving people who have a historically lower political engagement to mobilize in a much easier and convenient fashion. Nonetheless, there are several challenges that face the presence of digital technologies in political participation. Both current as well as potential challenges can create significant risks for democratic processes. Not only is digital technology still seen as relatively ambiguous, it was also seen to have "less inclusivity in democratic life." Demographic groups differ considerably in the use of technology, and thus, one group could potentially be more represented than another as a result of digital participation. Another primary challenge consists in the ideology of a "filter bubble" effect. Alongside a tremendous spread of false information, internet users could reinforce existing prejudices and assist in polarizing disagreements in the public sphere. This can lead to misinformed voting and decisions based on exposure rather than on pure knowledge. A communication technology director, Van Dijk, stated, "Computerized information campaigns and mass public information systems have to be designed and supported in such a way that they help to narrow the gap between the 'information rich' and 'information poor' otherwise the spontaneous development of ICT will widen it." Access and equivalent amounts of knowledge behind digital technology must be equivalent in order for a fair system to put into place. Alongside a lack of evidenced support for technology that can be proven to be safe for citizens, the OECD has identified five struggles for the online engagement of citizens: Scale: To what extent can a society allow every individual's voice to be heard, but also not be lost in the mass debate? This can be extremely challenging for the government, which may not effectively know how to listen and respond to each individual contribution. Capacity: How can digital technology offer citizens more information on public policy-making? The opportunity for citizens to debate with one another is lacking for acti

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