AI Chatbot Ethics

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

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  CityEngine

  ArcGIS CityEngine is a commercial 3D modeling program. Developed by Esri R&D Center Zurich (formerly Procedural Inc.), it specializes in the generation of 3D urban environments to support the creation of detailed large-scale 3D city models. Unlike traditional 3D modeling methodology, which uses computer-aided design (CAD) tools and techniques, CityEngine takes a procedural modeling approach which shapes generation via a rules-based system. Due to its integration with the wider ArcGIS platform, CityEngine can also be used with geographic information system (GIS) datasets. CityEngine can be used for urban planning and architecture, graphics visualization, game development, entertainment, and archeology. CityEngine can be used to visualize the building information modeling (BIM) data of buildings in a larger urban context, making for more realistic construction projects. == History and releases == === Software history === ArcGIS CityEngine, originally named Esri CityEngine, was developed at Swiss technology university ETH Zurich by Pascal Mueller, the co-founder and CEO of Procedural Inc. While researching for his PhD at the ETH Computer Vision Lab, Mueller invented a number of techniques for procedural modeling of 3D architecture that make up the foundation of CityEngine. CityEngine publically debuted at the 2001 SIGGRAPH conference; since then, additional research papers have been published that have contributed to CityEngine and its features. The first commercial version of CityEngine was released in 2008. In 2007, Procedural Inc. was founded and separated from ETH Zurich, the top-ranking technology university in Switzerland. In the summer of 2011, Procedural Inc. was acquired by Esri Inc., becoming Esri R&D Center Zurich. Esri CityEngine was renamed to ArcGIS CityEngine in June 2020 to offically make it a part of the ArcGIS software suite. === Releases === === Licensing and pricing === ArcGIS CityEngine is included in the Professional and Professional Plus tiers of ArcGIS Online. Pricing may vary by region and distributors. In the US, the professional tier costs US$2,200 per year; in the UK, it is £4,200 per year (excluding VAT). CityEngine can be purchased elsewhere via a local Esri partner. . Once purchased, users can download and obtain license details from the MyEsri portal. == Features == CGA (computer generated architecture) parametric modeling rules to control mass, geometry assets, proportions, or texturing of buildings or streets on a citywide scale Select a target location and import geo-referenced satellite imagery and 3D terrain of the location to more quickly build accurate urban environments through OpenStreetMap integration Interactively control specific street or building parameters, such as height or age Import/export geo-spatial/vector data with industry-standard formats such as Esri Shapefile, File Geodatabase, and OpenStreetMap, as well as file formats for WebGL, KMZ, Collada, Autodesk FBX, Autodesk Maya, 3DS, Wavefront OBJ, RenderMan RIB, Alembic, e-on software's Vue, Universal Scene Description USD, Khronos Group GLTF, Unreal Engine, and Unreal Datasmith Script and generate rules-based reports to show socioeconomic figures (e.g., Gross Floor Area (GFA) and Floor Area Ratio (FAR)) to analyze their urban design proposals. VR viewing of modeled environments with Samsung Gear VR Use a variety of materials through the Esri materials library == Procedural modeling == ArcGIS CityEngine uses a procedural modeling approach to automatically generate models through a predefined rule set. The rules are defined through a CGA shape grammar system, enabling the creation of complex parametric models. Users can change or add the shape grammar as needed. Urban environments can be modeled within CityEngine by starting with creating a street network (either from the street drawing tool or with data imported from map data). Then, lots may be subdivided as many times as specified, resulting in a map of multiple lots and streets. CityEngine can then be instructed to start generating the buildings using defined procedural modeling rules. At this point, the city model can be re-designed and adjusted by changing the parameters or the shape grammar. === Geodesign === Though CityEngine is not an analytical tool like GIS, discussions about geodesign often mention the use of ArcGIS CityEngine. As it can be used to enhance 3D shape generation in ArcGIS, ArcGIS CityEngine is a critical product to improve the applicability of geodesign by using geospatial information to design or analyze a city. == Applications == === Urban design and planning === Garsdale Design used ArcGIS CityEngine in the creation of city master plans in Iraq before 2013, both to model existing historic areas and also model future plans. Larger companies like Foster+Partners and HOK Architects have also used CityEngine in their urban planning projects. === Urban and environmental studies === Because its primary feature is building informative city models, some urban researchers use CityEngine to compare land-use planning schemes, for example in very dense global cities such as Hong Kong and Seoul. Environmental scientists can also utilize the instant 3D model generation in CityEngine, which can make for more convenient informative research than modeling a city by creating each building individually. === Game development === CityEngine can be used as a tool in the creation of video games that require detailed 3D environments to assign interactive scripts. === Movie industry === Zootopia (also known outside of the US as Zootopolis), which won the 2016 Academy Award for Best Animated Feature Film, used CityEngine to model the city in its movie. multi-scaling city, the designers used CityEngine due to its rule-based system. CityEngine was also used to create Big Hero 6's San-Fransokyo. === Military === Due to its integration with the Esri product suite and its ability to process geospatial data to create 3D scenes/maps, CityEngine can be used within military/defense organizations. == List of movies and TV shows using CityEngine == Studios and companies rarely state what software they use in their pipelines. When CityEngine is mentioned as a tool in production, it's often in a small reference in a larger article. Movies only claimed to use CityEngine by a single Esri employee Presented at FMX 2025 workshop == Ports == ArcGIS CityEngine is built on top of Eclipse IDE, and has therefore able to be used on Windows and Linux operating systems. Support for macOS was stopped in March 2021. == Plugins and extensions == ArcGIS CityEngine currently works with a number of third party 3D modeling, rendering, and analytical software products via its SDK and API; these currently are: ArcGIS CityEngine for ArcGIS Urban: ArcGIS Urban Suite Puma: ArcGIS CityEngine for Rhinoceros 3D Palladio: ArcGIS CityEngine for Houdini Serlio: ArcGIS CityEngine for Maya PyPRT: ArcGIS CityEngine for Python ArcGIS CityEngine provides a Python scripting interface built on Jython (current version 2.7.0) which allows users to create their own tools and functionality. == Publications ==

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  Europa-Lehrmittel

  The Verlag Europa-Lehrmittel Nourney, Vollmer GmbH & Co. KG (English: European educational media), based in Haan (district Gruiten) near Düsseldorf, Germany, develops educational media for vocational training and further education as used in vocational schools, universities, companies and further education institutions for industrial-technical, business, social, health as well as gastronomic professions. The contents are delivered in print as well as in digital formats, including offered as apps, simulations, software and through an exam preparation portal. The publisher has its own digital learning platform, the Europathek. General partner is Nourney, Vollmer & Co. GmbH, a school and specialist book publisher. == History == The publishing house was founded in Wuppertal in 1948, when the first books were published. In Eislingen/Fils a construction office was set up to create the technical drawings for the textbooks - today the drawing office of the publisher in Ostfildern. A little over 40 years later, in 1989, a new company building was built in Haan-Gruiten. In 1997, Europa-Lehrmittel acquired the Fachbuchverlag Pfanneberg with its program aimed at gastronomic professions. Further program expansions in vocational training were realized by adding titles of the publishing houses Lau, Gerber, Pluspunkt, parts of the Verlag Handwerk und Technik program and that of the Gildebuchverlag. In 2013, the scientific and technical university titles of Verlag Harri Deutsch were taken over, including the bestselling "Handbook of Mathematics" by Ilya Nikolaevich Bronstein and Konstantin Adolfovic Semendyayev. In addition, Europa-Lehrmittel's first exam apps appeared. In 2017, the publisher introduced its own digital learning platform named Europathek. The Prüfungsdoc (English: Examination Doc) platform, which enables targeted online preparation for exams, went online the same year. In 2018, the titles of the Düsseldorf publishing house SOL for self-organized learning were incorporated into Europa-Lehrmittel's program. == Program == The program meanwhile includes well over 2000 print and digital publications, including specialist titles on metal technology, automotive and electrical engineering (like "Tabellenbuch Metall" (English: Metal Book of Tables)), on business administration, as well as works for the gastronomic profession (e.g. "Der junge Koch" (English: The Young Cook)). Many titles also appear as licensed editions in over 20 different languages on all continents. All contents are presented in an annual catalog, on the website, in schools, in companies, and at trade fairs and congresses. The publisher is a member of the Deutscher Hauswirtschaftsrat. == Digital educational media == Europathek: In addition to digital books, Europathek also provides media packages, additional materials and e-learning contents. The online contents of the 'media shelf' can be used per web browser. There are also software versions and apps for offline use, with the help of which the obtained titles can be viewed after downloading. Prüfungsdoc (English: Examination Doc): Prüfungsdoc offers web-based learning, practice and repetition to prepare for the intermediate and final examinations. This includes simulations of the exams with direct evaluation of the results.

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  Photonically Optimized Embedded Microprocessors

  The Photonically Optimized Embedded Microprocessors (POEM) is DARPA program. It should demonstrate photonic technologies that can be integrated within embedded microprocessors and enable energy-efficient high-capacity communications between the microprocessor and DRAM. For realizing POEM technology CMOS and DRAM-compatible photonic links should operate at high bit-rates with very low power dissipation. == Current research == Currently research in this field is at University of Colorado, Berkley University, and Nanophotonic Systems Laboratory ( Ultra-Efficient CMOS-Compatible Grating Coupler Design).

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  Outline of web design and web development

  The following outline is provided as an overview of and topical guide to web design and web development, two very related fields: Web design – field that encompasses many different skills and disciplines in the production and maintenance of websites. The different areas of web design include web graphic design; interface design; authoring, including standardized code and proprietary software; user experience design; and search engine optimization. Often many individuals will work in teams covering different aspects of the design process, although some designers will cover them all. The term web design is normally used to describe the design process relating to the front-end (client side) design of a website including writing markup. Web design partially overlaps web engineering in the broader scope of web development. Web designers are expected to have an awareness of usability and if their role involves creating markup then they are also expected to be up to date with web accessibility guidelines. Web development – work involved in developing a web site for the Internet (World Wide Web) or an intranet (a private network). Web development can range from developing a simple single static page of plain text to complex web-based internet applications (web apps), electronic businesses, and social network services. A more comprehensive list of tasks to which web development commonly refers, may include web engineering, web design, web content development, client liaison, client-side/server-side scripting, web server and network security configuration, and e-commerce development. Among web professionals, "web development" usually refers to the main non-design aspects of building web sites: writing markup and coding. Web development may use content management systems (CMS) to make content changes easier and available with basic technical skills. For larger organizations and businesses, web development teams can consist of hundreds of people (web developers) and follow standard methods like Agile methodologies while developing websites. Smaller organizations may only require a single permanent or contracting developer, or secondary assignment to related job positions such as a graphic designer or information systems technician. Web development may be a collaborative effort between departments rather than the domain of a designated department. There are three kinds of web developer specialization: front-end developer, back-end developer, and full-stack developer. Front-end developers are responsible for behaviour and visuals that run in the user browser, back-end developers deal with the servers and full-stack developers are responsible for both. Currently, the demand for React and Node.JS developers are very high all over the world. == Web design == Graphic design Typography Page layout User experience design (UX design) User interface design (UI design) Web Design techniques Responsive web design (RWD) Adaptive web design (AWD) Progressive enhancement Tableless web design Software Adobe Photoshop Adobe Illustrator Adobe XD Figma Sketch (software) Affinity Designer Inkscape == Web development == Front-end web development – the practice of converting data to a graphical interface, through the use of HTML, CSS, and JavaScript, so that users can view and interact with that data. HyperText Markup Language (HTML) (.html) Cascading Style Sheets (CSS) (.css) CSS framework JavaScript (.js) Package managers for JavaScript npm (originally short for Node Package Manager) Server-side scripting (also known as "Server-side (web) development" or "Back-end (web) development") ASP (.asp) ASP.NET Web Forms (.aspx) ASP.NET Web Pages (.cshtml, .vbhtml) ColdFusion Markup Language (.cfm) Go (.go) Google Apps Script (.gs) Hack (.php) Haskell (.hs) (example: Yesod) Java (.jsp) via JavaServer Pages JavaScript or TypeScript using Server-side JavaScript (.ssjs, .js, .ts) (example: Node.js) Lasso (.lasso) Lua (.lp .op .lua) Node.js (.node) Parser (.p) Perl via the CGI.pm module (.cgi, .ipl, .pl) PHP (.php, .php3, .php4, .phtml) Progress WebSpeed (.r,.w) Python (.py) (examples: Pyramid, Flask, Django) R (.rhtml) – (example: rApache) React (.jsx, .tsx) Ruby (.rb, .rbw) (example: Ruby on Rails) SMX (.smx) Tcl (.tcl) Full stack web development – involves both front-end and back-end (server-side) development Web framework Types of framework architectures Model–view–controller Three-tier architecture Software Atom IntelliJ IDEA Sublime Text Visual Studio Code

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  PagedAttention

  PagedAttention is an attention algorithm for efficient serving of large language models (LLMs). It was introduced in 2023 by Woosuk Kwon and colleagues in the paper Efficient Memory Management for Large Language Model Serving with PagedAttention, alongside the vLLM serving engine. The method stores the key–value cache used during autoregressive decoding in fixed-size blocks that can be mapped to non-contiguous physical memory, borrowing ideas from virtual memory, paging, and operating system design. == Background == In transformer inference, the key–value cache grows with sequence length and the number of concurrent requests. Kwon et al. argued that earlier serving systems typically reserved contiguous cache regions in advance, which caused reserved space, internal fragmentation, and external fragmentation. In their experiments, the paper reported that the effective memory utilization of previous systems could fall as low as 20.4%. == Description == PagedAttention partitions the cache of each sequence into fixed-size KV blocks. A request's cache is represented as a sequence of logical blocks, while a block table maps those logical blocks to physical GPU-memory blocks. As a result, neighboring logical blocks do not need to be contiguous in physical memory, and new blocks can be allocated on demand as generation proceeds. The design also makes it easier to share cache state across related decoding paths. In vLLM, physical blocks can be reference-counted and shared among requests or branches, with block-granularity copy-on-write used when a shared block must be modified. The original paper applied this design to parallel sampling, beam search, and prompts with shared prefixes. == Mathematical formulation == For a query token i {\displaystyle i} in causal self-attention, the standard attention output can be written as a i j = exp ⁡ ( q i ⊤ k j / d ) ∑ t = 1 i exp ⁡ ( q i ⊤ k t / d ) , o i = ∑ j = 1 i a i j v j {\displaystyle a_{ij}={\frac {\exp(\mathbf {q} _{i}^{\top }\mathbf {k} _{j}/{\sqrt {d}})}{\sum _{t=1}^{i}\exp(\mathbf {q} _{i}^{\top }\mathbf {k} _{t}/{\sqrt {d}})}},\;\mathbf {o} _{i}=\sum _{j=1}^{i}a_{ij}\mathbf {v} _{j}} where q i {\displaystyle \mathbf {q} _{i}} , k j {\displaystyle \mathbf {k} _{j}} , and v j {\displaystyle \mathbf {v} _{j}} are the query, key, and value vectors, and d {\displaystyle d} is the attention dimension. If the cache is partitioned into blocks of size B {\displaystyle B} , the key and value blocks may be written as K j = ( k ( j − 1 ) B + 1 , … , k j B ) , V j = ( v ( j − 1 ) B + 1 , … , v j B ) {\displaystyle \mathbf {K} _{j}=(\mathbf {k} _{(j-1)B+1},\ldots ,\mathbf {k} _{jB}),\;\mathbf {V} _{j}=(\mathbf {v} _{(j-1)B+1},\ldots ,\mathbf {v} _{jB})} PagedAttention then performs the computation blockwise: A i j = exp ⁡ ( q i ⊤ K j / d ) ∑ t = 1 ⌈ i / B ⌉ exp ⁡ ( q i ⊤ K t / d ) , o i = ∑ j = 1 ⌈ i / B ⌉ V j A i j ⊤ {\displaystyle \mathbf {A} _{ij}={\frac {\exp(\mathbf {q} _{i}^{\top }\mathbf {K} _{j}/{\sqrt {d}})}{\sum _{t=1}^{\lceil i/B\rceil }\exp(\mathbf {q} _{i}^{\top }\mathbf {K} _{t}/{\sqrt {d}})}},\;\mathbf {o} _{i}=\sum _{j=1}^{\lceil i/B\rceil }\mathbf {V} _{j}\mathbf {A} _{ij}^{\top }} where A i j {\displaystyle \mathbf {A} _{ij}} is the vector of attention scores for the j {\displaystyle j} -th KV block. In the formulation given by Kwon et al., this preserves the causal attention calculation while allowing the key and value blocks to reside in non-contiguous physical memory. == Performance and use == The vLLM paper reported that, on its evaluated workloads, the use of PagedAttention and the associated memory-management design improved serving throughput by 2–4× over the compared baselines, including FasterTransformer and Orca, while preserving model outputs. In experiments on OPT-13B with the Alpaca trace, the paper also reported memory savings of 6.1–9.8% for parallel sampling and 37.6–55.2% for beam search through KV-block sharing. A 2024 survey of LLM serving systems described PagedAttention as having become an industry norm in LLM serving frameworks, citing support in TGI, vLLM, and TensorRT-LLM. == Limitations and alternatives == Subsequent work has described trade-offs in the approach. The 2025 vAttention paper argued that PagedAttention requires attention kernels to be rewritten to support paging and increases software complexity, portability issues, redundancy, and execution overhead, proposing instead a memory manager that keeps the cache contiguous in virtual memory while relying on demand paging for physical allocation. === vAttention === Unlike PagedAttention, vAttention does not introduce a different attention rule; it retains the standard attention computation Attention ⁡ ( q i , K , V ) = softmax ⁡ ( q i K ⊤ s c a l e ) V . {\displaystyle \operatorname {Attention} (q_{i},K,V)=\operatorname {softmax} \left({\frac {q_{i}K^{\top }}{\mathrm {scale} }}\right)V.} In the notation of Prabhu et al., the key and value tensors for a request seen so far are K , V ∈ R L ′ × ( H × D ) {\displaystyle K,V\in \mathbb {R} ^{L'\times (H\times D)}} , where L ′ {\displaystyle L'} is the context length seen so far, H {\displaystyle H} is the number of KV heads on a worker, and D {\displaystyle D} is the dimension of each KV head. In systems prior to PagedAttention, the K cache (or V cache) at each layer of a worker is typically allocated as a 4D tensor of shape [ B , L , H , D ] , {\displaystyle [B,L,H,D],} where B {\displaystyle B} is batch size and L {\displaystyle L} is the maximum context length supported by the model. vAttention preserves this contiguous virtual-memory view while deferring physical-memory allocation to runtime. A serving framework maintains separate K and V tensors for each layer, so vAttention reserves 2 N {\displaystyle 2N} virtual-memory buffers on a worker, where N {\displaystyle N} is the number of layers managed by that worker. The maximum size of one virtual-memory buffer is B S = B × S , {\displaystyle BS=B\times S,} where S {\displaystyle S} is the maximum size of a single request's per-layer K cache (or V cache) on a worker. The paper defines S = L × H × D × P , {\displaystyle S=L\times H\times D\times P,} where P {\displaystyle P} is the number of bytes needed to store one element. In this formulation, vAttention keeps the KV cache contiguous in virtual memory and relies on demand paging for physical allocation, rather than modifying the attention kernel to operate over non-contiguous KV-cache blocks.

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  Communications system

  A communications system is a collection of individual telecommunications networks systems, relay stations, tributary stations, and terminal equipment usually capable of interconnection and interoperation to form an integrated whole. Communication systems allow the transfer of information from one place to another or from one device to another through a specified channel or medium. The components of a communications system serve a common purpose, are technically compatible, use common procedures, respond to controls, and operate in union. In the structure of a communication system, the transmitter first converts the data received from the source into a light signal and transmits it through the medium to the destination of the receiver. The receiver connected at the receiving end converts it to digital data, maintaining certain protocols e.g. FTP, ISP assigned protocols etc. Telecommunications is a method of communication (e.g., for sports broadcasting, mass media, journalism, etc.). Communication is the act of conveying intended meanings from one entity or group to another through the use of mutually understood signs and semiotic rules. == Types == === By media === An optical communication system is any form of communications system that uses light as the transmission medium. Equipment consists of a transmitter, which encodes a message into an optical signal, a communication channel, which carries the signal to its destination, and a receiver, which reproduces the message from the received optical signal. Fiber-optic communication systems transmit information from one place to another by sending light through an optical fiber. The light forms a carrier signal that is modulated to carry information. A radio communication system is composed of several communications subsystems that give exterior communications capabilities. A radio communication system comprises a transmitting conductor in which electrical oscillations or currents are produced and which is arranged to cause such currents or oscillations to be propagated through the free space medium from one point to another remote therefrom and a receiving conductor at such distant point adapted to be excited by the oscillations or currents propagated from the transmitter. Power-line communication systems operate by impressing a modulated carrier signal on power wires. Different types of power-line communications use different frequency bands, depending on the signal transmission characteristics of the power wiring used. Since the power wiring system was originally intended for transmission of AC power, the power wire circuits have only a limited ability to carry higher frequencies. The propagation problem is a limiting factor for each type of power line communications. === By technology === A duplex communication system is a system composed of two connected parties or devices which can communicate with one another in both directions. The term duplex is used when describing communication between two parties or devices. Duplex systems are employed in nearly all communications networks, either to allow for a communication "two-way street" between two connected parties or to provide a "reverse path" for the monitoring and remote adjustment of equipment in the field. An antenna is basically a small length of a conductor that is used to radiate or receive electromagnetic waves. It acts as a conversion device. At the transmitting end it converts high frequency current into electromagnetic waves. At the receiving end it transforms electromagnetic waves into electrical signals that is fed into the input of the receiver. several types of antenna are used in communication. Examples of communications subsystems include the Defense Communications System (DCS). === Examples: by technology === Telephone Mobile phone Tablet computer Television Telegraph Edison Telegraph TV cable Computer === By application area === The term transmission system is used in the telecommunications industry to emphasize the intermediate media, protocols, and equipment in the circuit, rather than particular end-user applications. A tactical communications system is a communications system that (a) is used within, or in direct support of tactical forces (b) is designed to meet the requirements of changing tactical situations and varying environmental conditions, (c) provides securable communications, such as voice, data, and video, among mobile users to facilitate command and control within, and in support of, tactical forces, and (d) usually requires extremely short installation times, usually on the order of hours, in order to meet the requirements of frequent relocation. An Emergency communication system is any system (typically computer based) that is organized for the primary purpose of supporting the two way communication of emergency messages between both individuals and groups of individuals. These systems are commonly designed to integrate the cross-communication of messages between are variety of communication technologies. An Automatic call distributor (ACD) is a communication system that automatically queues, assigns and connects callers to handlers. This is used often in customer service (such as for product or service complaints), ordering by telephone (such as in a ticket office), or coordination services (such as in air traffic control). A Voice Communication Control System (VCCS) is essentially an ACD with characteristics that make it more adapted to use in critical situations (no waiting for dial tone, or lengthy recorded announcements, radio and telephone lines equally easily connected to, individual lines immediately accessible etc..) == Key components == =

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  List of UPnP AV media servers and clients

  This is a list of UPnP AV media servers and client application or hard appliances. == UPnP AV media servers == === Software === === Cross-platform === Allonis myServer, a multi-faceted media player/organizer with a DLNA/UPnP server, controller, and renderer, including conversion. Runs on Microsoft Windows. Supports most all HTML5 devices as remote controls. Asset UPnP (DLNA compatible) from Illustrate. An audio specific UPnP/DLNA server for Windows, QNAP, macOS and Linux. Features audio WAVE/LPCM transcoding from a range of audio codecs, ReplayGain and playlists. FreeMi UPnP Media Server, very simple server, historically used to stream to the STB Freebox, based on .net/mono. Home Media Server, a free media server/player/controller for Windows, Linux, macOS, individual device settings, transcoding, external and internal subtitles, restricted device access to folders, uploading files, Internet-Radio, Internet-Television, Digital Video Broadcasting (DVB), DMR-control and "Play To", Music (Visualization), Photo (Slideshow), support for 3D-subtitles, support for BitTorrent files, Web-navigation with HTML5 player, Digital Media Renderer (DMR) emulation for AirPlay and Google Cast devices. Jellyfin, a free and open-source suite of multimedia applications designed to organize, manage, and share digital media files to networked devices. JRiver Media Center, a multi-faceted media player/organizer with a DLNA/UPnP server, controller, and renderer, including conversion. Supports Microsoft Windows, macOS and Linux. Kodi (previously XBMC), a cross platform open source software media-player/media center for Android, Apple TV, Linux, macOS and Windows. LimboMedia, a free cross platform home- and UPnP/DLNA mediaserver with android app and WebM transcoding for browser playback (build with java and FFmpeg). MinimServer, a Java-based highly configurable uPnP/DNLA music server with additional consideration given to Classical Music, supports transcoding with MinimStreamer, supports Microsoft Windows, macOS, Linux, and various NAS devices. Neutron Music Player, acts as a cross platform UPnP/DLNA Media Renderer server available for Android, iOS, BlackBerry 10 & PlayBook platforms. Supports gapless playback and has possibility to output rendered audio further to the high-resolution internal DAC or external USB DAC or another UPnP/DLNA Media Renderer with all supported DSP effects applied. Plex, a cross-platform and closed source software media player and entertainment hub for digital media, available for macOS, Microsoft Windows, Linux, as well as mobile clients for iOS (including Apple TV (2nd generation) onwards), Android, Windows Phone, and many devices such as Xbox. Supports on-the-fly transcoding of video and music. PonoMusic World. Based on the JRiver Media Center software, includes similar features along with a store for purchasing HD audio tracks. PS3 Media Server, a free cross platform Java based UPnP DLNA server especially good for AVC and other current HD media codecs with on-the-fly transcoding. Serviio, is available with a free and a pro license. It can stream media files (music, video or images) to renderer devices (e.g. a TV set, Blu-ray player, games console or mobile phone) on a local area network. TVMOBiLi, a cross platform, high performance UPnP/DLNA Media Server for Windows, macOS and Linux. TwonkyMedia server, a cross-platform multimedia server and entertainment hub for digital media, available for Android, Apple TV, iOS, Linux, macOS, Microsoft Windows, Windows Phone, and Xbox 360. Universal Media Server, a free (open source) DLNA-compliant UPnP Media Server for Windows, macOS and Linux (originally based on the PS3 Media Server). It is able to stream videos, audio and images to any DLNA-capable device. It contains more features than most paid UPnP/DLNA Media Servers. It streams to many devices including TVs (Samsung, Sony, Panasonic, LG, Philips and more.), PS3, Xbox(One/360), smartphones, Blu-ray players and more. vGet Cast, a simple, cross platform (Chrome App) DLNA server and controller for single, local video files. Vuze, an open-source Java-based BitTorrent client which contains MediaServer plugin. Wild Media Server, a media server/player/controller for Windows, Linux, macOS, individual device settings, transcoding, external and internal subtitles, restricted device access to folders, uploading files, Internet-Radio, Internet-Television, Digital Video Broadcasting (DVB), DMR-control and "Play To", Music (Visualization), Photo (Slideshow), support for 3D-subtitles, support for BitTorrent files, Web-navigation with HTML5 player, Digital Media Renderer (DMR) emulation for AirPlay and Google Cast devices. === Android === BubbleUPnP Android UPnP/DLNA server, player, controller and renderer CastLab Android UPnP/DLNA server. Pixel Media Server, Android UPnP/DLNA Media Server. Supports all popular Video and Audio files. It also support external subtitle file (SRT) Plato is an Android UPnP client app that can play videos and audio. Toaster Cast Android UPnP/DLNA server, controller and renderer vGet, Android App that can play videos embedded in websites on DLNA renderers. Media Cast UPnP, Android UPnP client app that can play videos/Audio. Media Server Pro is a DLNA server that allows individual file selections for sharing. Slick UPnP A minimal and intuitive open-source Android UPnP client app that can play video/audio. (It is not DMS) YAACC Open source UPnP controller, renderer and server app === Linux === === Microsoft Windows === Sundtek Streamingserver a native Windows TV Server providing DVB, ATSC and ISDB-T via UPnP/DLNA, it also supports streaming media files (it only supports TV devices from Sundtek). Stream What You Hear, a Windows application that streams the sound of your computer (i.e.: “what you hear”) to UPnP/DLNA device such as TVs, amps, network receivers, game consoles, etc... TVersity Media Server, a Windows application that streams multimedia content from a personal computer to UPnP, DLNA and mobile devices (Chromecast is also supported). It was the first media server to offer real-time transcoding (back in 2005). TVersity Screen Server, a Windows application that mirrors the screen of a personal computer to UPnP, DLNA and mobile devices. DVBViewer, a Windows application, mainly for TV/Radio recording/playback, but with the ability to stream live TV/radio as well as multimedia files via UPnP/DLNA. DivX, a Windows application, mainly for video encoding into DivX format, but has the ability to stream multimedia files via DLNA. foobar2000, a freeware audio player for Windows. Highly customizable, audio only. Download of dlna-extension from the developers' webpage necessary. Home Media Center, a free and open source media server compatible with DLNA. Includes web interface for streaming content to web browser (Android, iOS, ...), subtitles integration and Windows desktop streaming. This server is easy to use. KooRaRoo Media, a commercial DLNA media server and organizer for Windows. Includes on-the-fly transcoding, per-file and per-folder parental controls, powerful organizing features with dynamic playlists, Internet radio streaming, "Play To" functionality and remote device control, burned-in and external subtitles, extensive format support including RAW photo formats. Streams all files to all devices. Media Go, media player and tagger MediaMonkey, a free media player/tagger/editor with an UPnP/DLNA client and server for Microsoft Windows MusicBee, an audio player, supports UPnP via a plugin. Mezzmo, a commercial software package. Mezzmo streams music, movies, photos and subtitles to the UPnP and DLNA-enabled devices. It automatically finds and organizes music, movies and photos, imports multimedia files from iPad, iPhone, iPod, Audio CDs, iTunes, Windows Media Player and WinAmp. DLNA server supports all popular media file formats with real time transcoding to meet the device specifications. PlayOn, a commercial UPnP/DLNA media server for Windows, includes a transcoder for streaming web video. TVble, a cloud connected (Rotten tomatoes/TMDB etc.), Torrent streaming, DLNA enabled media server. Allows single file or playlist downloads. Windows Media Connect from Microsoft, a free UPnP AV MediaServer and control point (server and client) for Microsoft Windows WMC version 2.0 can be installed for usage with Windows Media Player 10 for Windows XP WMC version 3.0 can be installed for usage with Windows Media Player 11 for Windows XP WMC version 4.0 comes pre-installed on Windows Vista with its Windows Media Player 11 WMC can also refer to Windows Media Center. From the Windows Media Center entry in Wikipedia: In May 2015, Microsoft announced that Windows Media Center would be discontinued on Windows 10, and that it would be uninstalled when upgrading; but stated that those upgrading from a version of Windows that included the Media Center application would receive the paid Windows DVD Player app to maintain DVD playback functio

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  UCSD Pascal

  UCSD Pascal is a Pascal programming language system that runs on the UCSD p-System, a portable, highly machine-independent operating system. UCSD Pascal was first released in 1977. It was developed at the University of California, San Diego (UCSD). == The p-System == In 1977, the University of California, San Diego (UCSD) Institute for Information Systems developed UCSD Pascal to provide students with a common environment that could run on any of the then available microcomputers as well as campus DEC PDP-11 minicomputers. The operating system became known as UCSD p-System. There were three operating systems that IBM offered for its original IBM PC: the UCSD p-System, CP/M-86, and IBM PC DOS. Vendor SofTech Microsystems emphasized p-System's application portability, with virtual machines for 20 CPUs as of the IBM PC's release. It predicted that users would be able to use applications they purchased on future computers running p-System; advertisements called it "the Universal Operating System". PC Magazine denounced UCSD p-System on the IBM PC, stating in a review of Context MBA, written in the language, that it "simply does not produce good code". The p-System did not sell very well for the IBM PC, because of a lack of applications and because it was more expensive than the other choices. Previously, IBM had offered the UCSD p-System as an option for IBM Displaywriter, an 8086-based dedicated word processing machine. (The Displaywriter's native operating system had been developed completely internally and was not opened for end-user programming.) Notable extensions to standard Pascal include separately compilable Units and a String type. Some intrinsics were provided to accelerate string processing (e.g. scanning in an array for a particular search pattern); other language extensions were provided to allow the UCSD p-System to be self-compiling and self-hosted. UCSD Pascal was based on a p-code machine architecture. Its contribution to these early virtual machines was to extend p-code away from its roots as a compiler intermediate language into a full execution environment. The UCSD Pascal p-Machine was optimized for the new small microcomputers with addressing restricted to 16-bit (only 64 KB of memory). James Gosling cites UCSD Pascal as a key influence (along with the Smalltalk virtual machine) on the design of the Java virtual machine. UCSD p-System achieved machine independence by defining a virtual machine, called the p-Machine (or pseudo-machine, which many users began to call the "Pascal-machine" like the OS—although UCSD documentation always used "pseudo-machine") with its own instruction set called p-code (or pseudo-code). Urs Ammann, a student of Niklaus Wirth, originally presented a p-code in his PhD thesis, from which the UCSD implementation was derived, the Zurich Pascal-P implementation. The UCSD implementation changed the Zurich implementation to be "byte oriented". The UCSD p-code was optimized for execution of the Pascal programming language. Each hardware platform then only needed a p-code interpreter program written for it to port the entire p-System and all the tools to run on it. Later versions also included additional languages that compiled to the p-code base. For example, Apple Computer offered a Fortran Compiler (written by Silicon Valley Software, Sunnyvale California) producing p-code that ran on the Apple version of the p-system. Later, TeleSoft (also located in San Diego) offered an early Ada development environment that used p-code and was therefore able to run on a number of hardware platforms including the Motorola 68000, the System/370, and the Pascal MicroEngine. UCSD p-System shares some concepts with the later Java platform. Both use a virtual machine to hide operating system and hardware differences, and both use programs written to that virtual machine to provide cross-platform support. Likewise both systems allow the virtual machine to be used either as the complete operating system of the target computer or to run in a "box" under another operating system. The UCSD Pascal compiler was distributed as part of a portable operating system, the p-System. == History == UCSD p-System began around 1974 as the idea of UCSD's Kenneth Bowles, who believed that the number of new computing platforms coming out at the time would make it difficult for new programming languages to gain acceptance. He based UCSD Pascal on the Pascal-P2 release of the portable compiler from Zurich. He was particularly interested in Pascal as a language to teach programming. UCSD introduced two features that were important improvements on the original Pascal: variable length strings, and "units" of independently compiled code (an idea included into the then-evolving Ada (programming language)). Niklaus Wirth credits the p-System, and UCSD Pascal in particular, with popularizing Pascal. It was not until the release of Turbo Pascal that UCSD's version started to slip from first place among Pascal users. The Pascal dialect of UCSD Pascal came from the subset of Pascal implemented in Pascal-P2, which was not designed to be a full implementation of the language, but rather "the minimum subset that would self-compile", to fit its function as a bootstrap kit for Pascal compilers. UCSD added strings from BASIC, and several other implementation dependent features. Although UCSD Pascal later obtained many of the other features of the full Pascal language, the Pascal-P2 subset persisted in other dialects, notably Borland Pascal, which copied much of the UCSD dialect. == Versions == There were four versions of UCSD p-code engine, each with several revisions of the p-System and UCSD Pascal. A revision of the p-code engine (i.e., the p-Machine) meant a change to the p-code language, and therefore compiled code is not portable between different p-Machine versions. Each revision was represented with a leading Roman Numeral, while operating system revisions were enumerated as the "dot" number following the p-code Roman Numeral. For example, II.3 represented the third revision of the p-System running on the second revision of the p-Machine. === Version I === Original version, never officially distributed outside of the University of California, San Diego. However, the Pascal sources for both Versions I.3 and I.5 were freely exchanged between interested users. Specifically, the patch revision I.5a was known to be one of the most stable. === Version II === Widely distributed, available on many early microcomputers. Numerous versions included Apple II ultimately Apple Pascal, DEC PDP-11, Intel 8080, Zilog Z80, and MOS 6502 based machines, Motorola 68000 and the IBM PC (Version II on the PC was restricted to one 64K code segment and one 64K stack/heap data segment; Version IV removed the code segment limit but cost a lot more). Project members from this era include Dr Kenneth L Bowles, Mark Allen, Richard Gleaves, Richard Kaufmann, Pete Lawrence, Joel McCormack, Mark Overgaard, Keith Shillington, Roger Sumner, and John Van Zandt. === Version III === Custom version written for Western Digital to run on their Pascal MicroEngine microcomputer. Included support for parallel processes for the first time. === Version IV === Commercial version, developed and sold by SofTech. Based on Version II; did not include changes from Version III. Did not sell well due to combination of their pricing structure, performance problems due to p-code interpreter, and competition with native operating systems (on top of which it often ran). After SofTech dropped the product, it was picked up by Pecan Systems, a relatively small company formed of p-System users and fans. Sales revived somewhat, due mostly to Pecan's reasonable pricing structure, but the p-System and UCSD Pascal gradually lost the market to native operating systems and compilers. Available for the TI-99/4A equipped with p-code card, Commodore CBM 8096, Sage II/IV, HP 9000, and BBC Micro with 6502 second processor. == Further use == The Corvus Systems computer used UCSD Pascal for all its user software. The "innovative concept" of the Constellation OS was to run Pascal (interpretively or compiled) and include all common software in the manual, so users could modify as needed.

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  Multi-armed bandit

  In probability theory and machine learning, the multi-armed bandit problem (sometimes called the K- or N-armed bandit problem) is named from imagining a gambler at a row of slot machines (sometimes known as "one-armed bandits"), who has to decide which machines to play, how many times to play each machine and in which order to play them, and whether to continue with the current machine or try a different machine. More generally, it is a problem in which a decision maker iteratively selects one of multiple fixed choices (i.e., arms or actions) when the properties of each choice are only partially known at the time of allocation, and may become better understood as time passes. A fundamental aspect of bandit problems is that choosing an arm does not affect the properties of the arm or other arms. Instances of the multi-armed bandit problem include the task of iteratively allocating a fixed, limited set of resources between competing (alternative) choices in a way that minimizes the regret. A notable alternative setup for the multi-armed bandit problem includes the "best arm identification (BAI)" problem where the goal is instead to identify the best choice by the end of a finite number of rounds. The multi-armed bandit problem is a classic reinforcement learning problem that exemplifies the exploration–exploitation tradeoff dilemma. In contrast to general reinforcement learning, the selected actions in bandit problems do not affect the reward distribution of the arms. The multi-armed bandit problem also falls into the broad category of stochastic scheduling. In the problem, each machine provides a random reward from a probability distribution specific to that machine, that is not known a priori. The objective of the gambler is to maximize the sum of rewards earned through a sequence of lever pulls. The crucial tradeoff the gambler faces at each trial is between "exploitation" of the machine that has the highest expected payoff and "exploration" to get more information about the expected payoffs of the other machines. The trade-off between exploration and exploitation is also faced in machine learning. In practice, multi-armed bandits have been used to model problems such as managing research projects in a large organization, like a science foundation or a pharmaceutical company. In early versions of the problem, the gambler begins with no initial knowledge about the machines. Herbert Robbins in 1952, realizing the importance of the problem, constructed convergent population selection strategies in "some aspects of the sequential design of experiments". A theorem, the Gittins index, first published by John C. Gittins, gives an optimal policy for maximizing the expected discounted reward. == Empirical motivation == The multi-armed bandit problem models an agent that simultaneously attempts to acquire new knowledge (called "exploration") and optimize their decisions based on existing knowledge (called "exploitation"). The agent attempts to balance these competing tasks in order to maximize their total value over the period of time considered. There are many practical applications of the bandit model, for example: clinical trials investigating the effects of different experimental treatments while minimizing patient losses, adaptive routing efforts for minimizing delays in a network, financial portfolio design In these practical examples, the problem requires balancing reward maximization based on the knowledge already acquired with attempting new actions to further increase knowledge. This is known as the exploitation vs. exploration tradeoff in machine learning. The model has also been used to control dynamic allocation of resources to different projects, answering the question of which project to work on, given uncertainty about the difficulty and payoff of each possibility. Originally considered by Allied scientists in World War II, it proved so intractable that, according to Peter Whittle, the problem was proposed to be dropped over Germany so that German scientists could also waste their time on it. The version of the problem now commonly analyzed was formulated by Herbert Robbins in 1952. == The multi-armed bandit model == The multi-armed bandit (short: bandit or MAB) can be seen as a set of real distributions B = { R 1 , … , R K } {\displaystyle B=\{R_{1},\dots ,R_{K}\}} , each distribution being associated with the rewards delivered by one of the K ∈ N + {\displaystyle K\in \mathbb {N} ^{+}} levers. Let μ 1 , … , μ K {\displaystyle \mu _{1},\dots ,\mu _{K}} be the mean values associated with these reward distributions. The gambler iteratively plays one lever per round and observes the associated reward. The objective is to maximize the sum of the collected rewards. The horizon H {\displaystyle H} is the number of rounds that remain to be played. The bandit problem is formally equivalent to a one-state Markov decision process. The regret ρ {\displaystyle \rho } after T {\displaystyle T} rounds is defined as the expected difference between the reward sum associated with an optimal strategy and the sum of the collected rewards: ρ = T μ ∗ − ∑ t = 1 T r ^ t {\displaystyle \rho =T\mu ^{}-\sum _{t=1}^{T}{\widehat {r}}_{t}} , where μ ∗ {\displaystyle \mu ^{}} is the maximal reward mean, μ ∗ = max k { μ k } {\displaystyle \mu ^{}=\max _{k}\{\mu _{k}\}} , and r ^ t {\displaystyle {\widehat {r}}_{t}} is the reward in round t {\displaystyle t} . A zero-regret strategy is a strategy whose average regret per round ρ / T {\displaystyle \rho /T} tends to zero with probability 1 when the number of played rounds tends to infinity. Intuitively, zero-regret strategies are guaranteed to converge to a (not necessarily unique) optimal strategy if enough rounds are played. == Variations == A common formulation is the Binary multi-armed bandit or Bernoulli multi-armed bandit, which issues a reward of one with probability p {\displaystyle p} , and otherwise a reward of zero. Another formulation of the multi-armed bandit has each arm representing an independent Markov machine. Each time a particular arm is played, the state of that machine advances to a new one, chosen according to the Markov state evolution probabilities. There is a reward depending on the current state of the machine. In a generalization called the "restless bandit problem", the states of non-played arms can also evolve over time. There has also been discussion of systems where the number of choices (about which arm to play) increases over time. Computer science researchers have studied multi-armed bandits under worst-case assumptions, obtaining algorithms to minimize regret in both finite and infinite (asymptotic) time horizons for both stochastic and non-stochastic arm payoffs. === Best arm identification === An important variation of the classical regret minimization problem in multi-armed bandits is best arm identification (BAI), also known as pure exploration. This problem is crucial in various applications, including clinical trials, adaptive routing, recommendation systems, and A/B testing. In BAI, the objective is to identify the arm having the highest expected reward. An algorithm in this setting is characterized by a sampling rule, a decision rule, and a stopping rule, described as follows: Sampling rule: ( a t ) t ≥ 1 {\displaystyle (a_{t})_{t\geq 1}} is a sequence of actions at each time step Stopping rule: τ {\displaystyle \tau } is a (random) stopping time which suggests when to stop collecting samples Decision rule: a ^ τ {\displaystyle {\hat {a}}_{\tau }} is a guess on the best arm based on the data collected up to time τ {\displaystyle \tau } There are two predominant settings in BAI: Fixed budget setting: Given a time horizon T ≥ 1 {\displaystyle T\geq 1} , the objective is to identify the arm with the highest expected reward a ⋆ ∈ arg ⁡ max k μ k {\displaystyle a^{\star }\in \arg \max _{k}\mu _{k}} minimizing probability of error δ {\displaystyle \delta } . Fixed confidence setting: Given a confidence level δ ∈ ( 0 , 1 ) {\displaystyle \delta \in (0,1)} , the objective is to identify the arm with the highest expected reward a ⋆ ∈ arg ⁡ max k μ k {\displaystyle a^{\star }\in \arg \max _{k}\mu _{k}} with the least possible amount of trials and with probability of error P ( a ^ τ ≠ a ⋆ ) ≤ δ {\displaystyle \mathbb {P} ({\hat {a}}_{\tau }\neq a^{\star })\leq \delta } . For example using a decision rule, we could use m 1 {\displaystyle m_{1}} where m {\displaystyle m} is the machine no.1 (you can use a different variable respectively) and 1 {\displaystyle 1} is the amount for each time an attempt is made at pulling the lever, where ∫ ∑ m 1 , m 2 , ( . . . ) = M {\displaystyle \int \sum m_{1},m_{2},(...)=M} , identify M {\displaystyle M} as the sum of each attempts m 1 + m 2 {\displaystyle m_{1}+m_{2}} , (...) as needed, and from there you can get a ratio, sum or mean as quantitative probability and sample your formulation for each slots. You can also do ∫ ∑ k ∝ i N − (

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  Event cinema

  Event cinema sometimes called alternative content cinema or livecasts refers to the use of movie theaters to display a varied range of live and recorded entertainment excluding traditional films, such as sport, opera, musicals, ballet, music, one-off TV specials, current affairs, comedy and religious services. == History and development == Event Cinema was set up at the start of the century with rock concerts by Bon Jovi (2001), David Bowie (2003), and Robbie Williams (2005) bringing non-film audiences into cinemas that had newly installed digital equipment. The Metropolitan Opera in New York through their partnership with Fathom Events is acknowledged as the trailblazer in this area, aggressively seeking out new markets and setting high standards for live broadcasts via satellite. Emulated by other opera houses worldwide such as the Royal Opera House following a close second, Glyndebourne, La Scala and the Sydney Opera House the genre of opera within the 'Event Cinema' industry has been a huge success, and has brought new, younger audiences into cash-strapped opera houses depended on state funding and wealthy benefactors for the first time - an unforeseen and happy consequence of digitisation. Ballet and theater have also been very successful, as have rock concerts, both live and recorded. The UK's National Theatre has been a huge success here with their season of live broadcasts under the banner 'NT Live', featuring big name casts such as Helen Mirren, whose recent turn as Queen Elizabeth II in The Audience was a sell out everywhere. (This was in partnership with another West End theatre and the NT are keen to help other theatres maximise their potential through live broadcasts). The Globe and the Royal Shakespeare Company are also producing work for live broadcast and recorded exhibition. As digitisation of cinemas matures, the Event Cinema industry is growing. The strongest territory is the US, followed by the UK and mainland European territories. Latin America is also a very strong market. Recent additions include Pompeii Live, a unique exhibition by the UK's British Museum, featuring celebrities and curators taking the audience on a live tour around the recreated set of Pompeii within the museum itself, and they are also exploring the schools market for the first time, following the live broadcast on June 18 with a daytime broadcast aimed at UK schools for the first time. If successful this will no doubt prove a model for future museums to emulate. An added incentive for exhibitors is the ability to show alternative content, i.e. alternative to mainstream, studio-driven content, such as live special events, sports, pre-show advertising and other digital or video content. In industry terms this has become known as 'Alternative Content', but has recently become known more widely as 'Event Cinema'. === Expanding markets === Some low-budget films that would normally not have a theatrical release because of distribution costs might be shown in smaller engagements than the typical large release studio pictures. The cost of duplicating a digital "print" is very low, so adding more theaters to a release has a small additional cost to the distributor. Movies that start with a small release could scale to a much larger release quickly if they were sufficiently successful, opening up the possibility that smaller movies could achieve box office success previously out of their reach. ==== Technical specifications ==== Event Cinema is also finding a market in 3rd world countries in which the higher costs and quality of DCI equipment are not yet affordable, as crucially there are no DCI specifications for Alternative Content as there is in mainstream [studio] content. This has led to an explosion in the variety of content on offer, but a lack of standardisation has led to questionable quality at times. As the industry matures, this lack of regulation is expected to change and there are moves afoot to introduce codes of practice and technical specifications. Recorded content complements mainstream studio content by maximising the 'downtime' that plagues the cinema industry, where screens worldwide spend a large proportion of their time in darkness and cinemas empty. Some cinema chains have targeted pensioners in particular, offering free tea and coffee for afternoon matinees of recorded opera, for example. Digital Cinema Packages (DCPs) have been useful to cinemas not yet equipped with satellite broadcasting capability and has enabled exhibitors to build their Event Cinema audience, which is not generally the 18-24 demographic that multiplexes are targeting. ==== New Audiences ==== Event Cinema has seen a return of an older, affluent audience, previously turned off by the multiplex experience, and cinemas are starting to capitalise on this by offering waiter-serviced, high class finger food and alcoholic beverages, complete with bars and restaurants, a world away from the traditional popcorn/soft drink model; art house cinemas are increasingly marketing themselves as 'destination' venues for an evening's entertainment, somewhere to spend an entire evening, rather than just a couple of hours. As exhibition admissions have plateau'd in recent years due to the explosion in VOD, tablet and mobile content technology, this new revenue stream has been a surprise and welcome addition to the cinema industry, though the US studios have been cautious in embracing the change as yet. The thrill of Live broadcasts means they are generally regarded as more popular than recorded events, but there are exceptions; artists with a loyal cult or teenage following tend to do particularly well in this area, as concert films featuring artists such as the Grateful Dead, Pearl Jam, JLS, Led Zeppelin and the Rolling Stones have shown. ==== The Future ==== As more and more distributors are emerging, offering an increasingly broad range of content to cinemas worldwide, the landscape itself is shifting: screen advertising companies, technical providers, and exhibitors themselves are reinventing themselves as Alternative Content or Event Cinema distributors, and the industry is witnessing a re-evaluation of business models and practices worldwide. Predictions are that this industry could be work in excess of US$1bn by 2015. An illustration of the growth of this industry is the news the establishment of a European trade association promoting the industry to the general public and supporting those involved in it and the Event Cinema Association.

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  Creepiness

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

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  GlTF

  glTF (Graphics Library Transmission Format or GL Transmission Format and formerly known as WebGL Transmissions Format or WebGL TF) is a standard file format for three-dimensional scenes and models. A glTF file uses one of two possible file extensions: .gltf (JSON/ASCII) or .glb (binary). Both .gltf and .glb files may reference external binary and texture resources. Alternatively, both formats may be self-contained by directly embedding binary data buffers (as base64-encoded strings in .gltf files or as raw byte arrays in .glb files). An open standard developed and maintained by the Khronos Group, it supports 3D model geometry, appearance, scene graph hierarchy, and animation. It is intended to be a streamlined, interoperable format for the delivery of 3D assets, while minimizing file size and runtime processing by apps. As such, its creators have described it as the "JPEG of 3D". == Overview == The glTF format stores data primarily in JSON. The JSON may also contain blobs of binary data known as buffers, and refer to external files, for storing mesh data, images, etc. The binary .glb format also contains JSON text, but serialized with binary chunk headers to allow blobs to be directly appended to the file. The fundamental building blocks of a glTF scene are nodes. Nodes are organized into a hierarchy, such that a node may have other nodes defined as children. Nodes may have transforms relative to their parent. Nodes may refer to resources, such as meshes, skins, and cameras. Meshes may refer to materials, which refer to textures, which refer to images. Scenes are defined using an array of root nodes. Most of the top-level glTF properties use a flat hierarchy for storage. Nodes are saved in an array and are referred to by index, including by other nodes. A glTF scene refers to its root nodes by index. Furthermore, nodes refer to meshes by index, which refer to materials by index, which refer to textures by index, which refer to images by index. All glTF data structures support being extended using a JSON property, allowing arbitrary JSON data to be added. == Releases == === glTF 1.0 === Members of the COLLADA working group conceived the file format in 2012. At SIGGRAPH 2012, Khronos presented a demo of glTF, which was then called WebGL Transmissions Format (WebGL TF). On October 19, 2015, Khronos released the glTF 1.0 specification. ==== Adoption of glTF 1.0 ==== At SIGGRAPH 2016, Oculus announced their adoption of glTF citing the similarities to their ovrscene format. In October 2016, Microsoft joined the 3D Formats working group at Khronos to collaborate on glTF. === glTF 2.0 === The second version, glTF 2.0, was released in June 2017, and is a complete overhaul of the file format from version 1.0, with most tools adopting the 2.0 version. Based on a proposal by Fraunhofer originally presented at SIGGRAPH 2016, physically based rendering (PBR) was added, replacing WebGL shaders used in glTF 1.0. glTF 2.0 added the GLB binary format into the base specification. Other upgrades include sparse accessors and morph targets for techniques such as facial animation, and schema tweaks and breaking changes for corner cases or performance such as replacing top-level glTF object properties with arrays for faster index-based access. There is ongoing work towards import and export in Unity and an integrated multi-engine viewer and validator. ==== Adoption of glTF 2.0 ==== On March 3, 2017, Microsoft announced that they would be using glTF 2.0 as the 3D asset format across their product line, including Paint 3D, 3D Viewer, Remix 3D, Babylon.js, and Microsoft Office. Sketchfab also announced support for glTF 2.0. The glTF and GLB formats are used on and supported by companies including DGG, UX3D, Sketchfab, Facebook, Microsoft, Meta, Google, Adobe, Box, TurboSquid, Unreal Engine, Unity, and Qt Quick 3D. The format has been noted as an important standard for augmented reality, integrating with modeling software such as Autodesk Maya, Autodesk 3ds Max, and Poly. In February 2020, the Smithsonian Institution launched their Open Access Initiative, releasing approximately 2.8 million 2D images and 3D models into the public domain, using glTF for the 3D models. In July 2022, glTF 2.0 was released as the ISO/IEC 12113:2022 International Standard. Khronos stated they would make regular submissions to bring updates and new widely adopted glTF functionality into refreshed versions of ISO/IEC 12113 to ensure that there is no long-term divergence between the ISO/IEC and Khronos specifications. The open-source game engine Godot supports importing glTF 2.0 files since version 3.0 and export since version 4.0. === Extensions === The glTF format can be extended with arbitrary JSON to add new data and functionality. Extensions can be placed on any part of a glTF, including nodes, animations, materials, textures, and on the entire document. Khronos keeps a non-comprehensive registry of glTF extensions on GitHub, including all official Khronos extensions and a few third-party extensions. PBR extensions model the physical appearance of real-world objects, allowing developers to create realistic 3D assets that have the correct appearance. As new PBR extensions are released, they continue to expand PBR capabilities within the glTF framework, allowing a wider range of scenes and objects to be realistically rendered as 3D assets. The KTX 2.0 extension for universal texture compression enables 3D models in the glTF format to be highly compressed and to use natively supported texture formats, reducing file size and boosting rendering speed. Draco is a glTF extension for mesh compression, to compress and decompress 3D meshes, to help reduce the size of 3D files. It compresses vertex attributes, normals, colors, and texture coordinates. Various glTF extensions for game engine interoperability have been developed by OMI group. This includes extensions for physics shapes, physics bodies, physics joints, audio playback, seats, spawn points, and more. The VRM consortium has developed glTF extensions for advanced humanoid 3D avatars including dynamic spring bones and toon materials. == Derivative formats == 3D Tiles, an OGC Community Standard, builds on glTF to add a spatial data structure, metadata, and declarative styling for streaming massive heterogeneous 3D geospatial datasets. VRM, a model format for VR, is built on the .glb format. It is a 3D humanoid avatar specification and file format. == Software ecosystem == Khronos maintains the glTF Sample Viewer for viewing glTF assets. Khronos also maintains the glTF Validator for validating if 3D models conform to the glTF specification. Khronos maintains a glTF Compressor tool to interactively optimize and fine-tune compression settings for glTF assets using KTX 2.0 textures. glTF loaders are in open-source WebGL engines including PlayCanvas, Three.js, Babylon.js, Cesium, PEX, xeogl, and A-Frame. The Godot game engine supports and recommends the glTF format, with both import and export support. Open-source glTF converters are available from COLLADA, FBX, and OBJ. Assimp can import and export glTF. glTF files can also be directly exported from a variety of 3D editors, such as Blender, Unity (using the glTFast importer/exporter), Freecad, Vectary, Autodesk 3ds Max (natively or using Verge3D exporter), Autodesk Maya (using babylon.js exporter), Autodesk Inventor, Modo, Houdini, Paint 3D, Godot, and Substance Painter. Open-source glTF utility libraries are available for programming languages including JavaScript, Node.js, C++, C#, Python, Haskell, Java, Go, Rust, Haxe, Ada, and TypeScript. Khronos keeps a list of these libraries and other related applications on their ecosystem site. The Khronos 3D Commerce Working Group released Asset Creation Guidelines in 2020 outlining best practices for use of the glTF file format in 3D Commerce. In 2025, the Working Group launched Asset Creation Guidelines 2.0, a continuously updated resource with additional guidance for geometry, mesh optimization, UV maps, textures, materials/PBR performance, and web optimization. The Khronos PBR Neutral Tone Mappers specification is a tone mapper designed to faithfully reproduce an object's base color, hue, and saturation when using PBR rendering under grayscale lighting, supporting brand- and product-accurate color representation. Khronos maintains the glTF Asset Auditor to allow retailers and advertising technology platforms to validate 3D assets against either a default Audit Profile modelled on the 2020 3D Commerce Asset Creation Guidelines or a custom profile defined by the target application.

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  Talking Angela

  Talking Angela is a mobile game (formerly a chatbot), developed by Slovenian studio Outfit7 as part of the Talking Tom & Friends series. It was released on 13 November 2012 and December 2012 for iPhone, iPod and iPad, January 2013 for Android, and January 2014 for Google Play. The game's successor, the My Talking Angela game, was released in December 2014. The game takes place in a café in Paris and allows players to interact with Angela, an anthropomorphic white cat in different ways. Players can use coins to purchase makeup, accessories and items, as well as drinks that will trigger different visual effects. The fortune cookie button causes Angela to read out a fortune cookie, while the bird icon will prompt birds to fly around the screen, or have Angela feed them. Players can also pet or poke Angela, as well the café's sign. Prior to their removal, the game featured a chat system and a camera button. Users can engage in conversations with Angela, ask for quizzes or initiate a short snippet of the song "That's Falling In Love". If the player was to type in "Who is an idiot?", Angela would respond with a random swear word. Additionally, inquiring Angela about sexual topics would cause her to reply with "Do you want to talk about sex?", though she will quickly change the topic regardless of what the player writes next. A hoax claiming that Angela's eyes were hidden cameras that enabled hackers or paedophiles to watch children was spread. Despite the claims, Snopes and The Guardian found no evidence. Due to the hoax, Angela received a blue dress, as well as an altered eye asset with a different reflection, and later the chat and camera functions were removed altogether. == Hoaxes == In February 2014, Talking Angela was the subject of an Internet hoax alleging that the application was a front for child predators to exploit children. The rumor, which was widely circulated on Facebook and various websites claiming to be dedicated to parenting, claims that a sinister sexual predator or hacker, asked children for private personal information using the game's text-chat feature. Other versions of the rumour even attributed the disappearance of a child to the game; one news report claimed that a seven year old boy disappeared after downloading the app. Another variation included that it was run by a paedophile ring, citing a man that could be seen in Angela's eyes. The app's developers, Outfit7, later gave a statement refuting the hoaxes. The hoax was eventually debunked by Snopes, a fact-checking website. The site's owners, Barbara and David Mikkelson, reported that they had tried to "prompt" it to give responses asking for private information, but were unsuccessful, even when asking it explicitly sexual questions. While it is true that, in the game with child mode off, Angela does ask for the user's name, age and personal preferences to determine conversation topics, Outfit7 has said that this information is all "anonymized" and all personal information is removed from it. It is also impossible for a person to take control of what Angela says in the game, since the game is based on chatbot software. When the mode was turned on, the chat feature was disabled, meaning no personal questions could be asked. In 2015, the hoax was revived on Facebook, which prompted online security company Sophos and The Guardian to debunk it again. Sophos employee Paul Ducklin wrote that the message being posted on Facebook promoting the hoax was "close to 600 rambling, repetitious words, despite claiming at the start that it didn't have words to describe the situation. It's ill-written, and borders on being illiterate and incomprehensible." Bruce Wilcox, one of the game's programmers, attributed the hoax's popularity to the fact that the chatbot program in Talking Angela aimed to sound realistic. Concern was raised that the game's child mode may have been too easy for children to turn off. It allowed them to purchase "coins", premium currency in the game, via iTunes, and enabled the chat feature. While not "connecting your children to paedophiles", this still raised concerns according to The Guardian. === Impact === The scare significantly boosted the game's popularity, and was credited with helping the app enter the top 10 free iPhone apps soon after the hoax became widely known in February 2015,In the truth the reason there is a man in Angela’s eyes is because of pareidoila, the ability to see through diamonds and other minerals and water bodies and shiny objects,which is the reason why players notice a man in her eyes,The truth is that being Angela’s eyes simply serve as a reflective surface,Because of the low quality of this reflection the reflection was mistaken for a humanoid figure. oref>Smith, Josh (19 February 2014). "Talking Angela App Scare Skyrockets App to Top of Charts". GottaBeMobile.com. Archived from the original on 2 April 2016. Retrieved 10 May 2014. and third most popular for all iPhone apps at the start of the following month. In 2016, Outfit7 removed the chat feature along with the camera function from the app due to this controversy, though this decision was met with criticism.

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  Institute of Telecommunications Professionals

  The Institute of Telecommunications Professionals (ITP) is a membership organisation for professionals in the telecommunications industry, based in the United Kingdom. The Institute was originally founded in 1906. It is now a registered company with Companies House in the United Kingdom, incorporated in 2002. Brendan O' Mahony has been the chief executive of the ITP. Lucy Woods presided over ITP for fifteen years, until 2018, when the organization named Kevin Paige chairman for five years. In 2022 the ITP appointed its new CEO, Charlotte Goodwill. In 2021, the ITP assisted a UK fibre network Vorboss in establishing its training academy. In 2023, the ITP appointed Tim Creswick, the CEO of Vorboss, as the new chair of its board of directors. The institute has an associated journal, the Journal of the Institute of Telecommunications Professionals, established in 2007 and published quarterly.

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  Single address space operating system

  In computer science, a single address space operating system (or SASOS) is an operating system that provides only one globally shared address space for all processes. In a single address space operating system, numerically identical (virtual memory) logical addresses in different processes all refer to exactly the same byte of data. In a traditional OS with private per-process address space, memory protection is based on address space boundaries ("address space isolation"). Single address-space operating systems make translation and protection orthogonal, which in no way weakens protection. The core advantage is that pointers (i.e. memory references) have global validity, meaning their meaning is independent of the process using it. This allows sharing pointer-connected data structures across processes, and making them persistent, i.e. storing them on backup store. Some processor architectures have direct support for protection independent of translation. On such architectures, a SASOS may be able to perform context switches faster than a traditional OS. Such architectures include Itanium, and Version 5 of the Arm architecture, as well as capability architectures such as CHERI. A SASOS should not be confused with a flat memory model, which provides no address translation and generally no memory protection. In contrast, a SASOS makes protection orthogonal to translation: it may be possible to name a data item (i.e. know its virtual address) while not being able to access it. SASOS projects using hardware-based protection include the following: Angel IBM i (formerly called OS/400) Iguana at NICTA, Australia Mungi at NICTA, Australia Nemesis Opal Scout Sombrero Related are OSes that provide protection through language-level type safety: Br1X Genera JX a research Java OS Phantom OS Singularity Theseus OS Torsion

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