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  • Pharmacy automation

    Pharmacy automation

    Pharmacy automation involves the mechanical processes of handling and distributing medications. Any pharmacy task may be involved, including counting small objects (e.g., tablets, capsules); measuring and mixing powders and liquids for compounding; tracking and updating customer information in databases (e.g., personally identifiable information (PII), medical history, drug interaction risk detection); and inventory management. This article focuses on the changes that have taken place in the local, or community pharmacy since the 1960s. == History == Dispensing medications in a community pharmacy before the 1970s was a time-consuming operation. The pharmacist dispensed prescriptions in tablet or capsule form with a simple tray and spatula. Many new medications were developed by pharmaceutical manufacturers at an ever-increasing pace, and medications prices were rising steeply. A typical community pharmacist was working longer hours and often forced to hire staff to handle increased workloads which resulted in less time to focus on safety issues. These additional factors led to use of a machine to count medications. The original electronic portable digital tablet counting technology was invented in Manchester, England between 1967 and 1970 by the brothers John and Frank Kirby. I had the original idea of how the machine would work and it was my patent, but it was a joint effort getting it to work in a saleable form. It was 3 years of very hard work. I had originally studied heavy electrical engineering before changing over to Medical School and qualifying as a Medical Doctor in 1968. In fact I was Senior House (Casualty) Officer (A&E or ER) in 1970 at North Manchester General Hospital when I filed the patent. I must have been the only hospital doctor in Britain with an oscilloscope, a soldering iron and a drawing board in his room in the Doctors' Residence. The housekeepers were bemused by all the wires. Frank originally trained as a Banker but quit to take a job with a local electronics firm during the development. He died in 1987, a terrible loss. [Extract from personal communication received in March 2010 from John Kirby.] Frank and John Kirby and their associate Rodney Lester were pioneers in pharmacy automation and small-object counting technology. In 1967, the Kirbys invented a portable digital tablet counter to count tablets and capsules. With Lester they formed a limited company. In 1970, their invention was patented and put into production in Oldham, England. The tablet counter aided the pharmacy industry with time-consuming manual counting of drug prescriptions. A counting machine consistently counted medications accurately and quickly. This aspect of pharmacy automation was quickly adopted, and innovations emerged every decade to aid the pharmacy industry to deliver medications quickly, safely, and economically. Modern pharmacies have many new options to improve their workflow by using the new technology, and can choose intelligently from the many options available. === Chronology === On 1 January 1971 commercial production of the first portable digital tablet counters in the World began. John Kirby had filed U.K. Patent number GB1358378(A) on 8 September 1970 and U.S. patent number 3789194 on 9 August 1971. These early electronic counters were designed to help pharmacies replace the common (but often inaccurate) practice of counting medications by hand. In 1975, the digital technology was exported to America. In early 1980 a dedicated research, development and production facility was built in Oldham, England at a cost of £500,000. Between 1982 and 1983, two separate development facilities had been created. In America, overseen by Rodney Lester; and in England, overseen by the Kirby brothers. In 1987, Frank Kirby died. In 1989, John Kirby moved his UK facility to Devon, England. A simple to operate machine had been developed to accurately and quickly count prescription medications. Technology improvements soon resulted in a more compact model. The price of such equipment in 1980 was around £1,300. This substantial investment in new technology was a major financial consideration, but the pharmacy community considered the use of a counting machine as a superior method compared to hand-counting medications. These early devices became known as tablet counter, capsule counter, pill counter, or drug counter. The new counting technology replaced manual methods in many industries such as, vitamin and diet supplement manufacturing. Technicians needed a small, affordable device to count and bottle medications. In England and America, the 1980s and 1990s saw new the development of high-speed machines for counting and bottle filling, Like their pharmacy-based counterparts, these industrial units were designed to be fast and simple to operate, yet remain small and cost effective. In America, in the late 1990s/early 2000s a new type of tablet counter appeared. It was simple to use, compact, inexpensive, and had good counting accuracy. At the turn of the millennium technical advances allowed the design of counters with a software verification system. With an onboard computer, displaying photo images of medications to assist the pharmacist or pharmacy technician to verify that the correct medication was being dispensed. In addition, a database for storing all prescriptions that were counted on the device. Between September 2005 and May 2007, American Capital made a major financial investment in Kirby Lester, which then relocated to a larger facility to expand its research and development capabilities. This move added extra space for product research and development facility (R&D). It allowed the opportunity to develop new advanced technology products that met the pharmacy's needs for simple, accurate, and cost-effective ways to dispense prescriptions safely. Pictured here is an early American type of integrated counter and packaging device. This machine was a third generation step in the evolution of pharmacy automated devices. Later models held pre-counted containers of commonly-prescribed medications. == Global variations == In the EU member states legislation was introduced in 1998 which had a major effect on UK Pharmacy operations. It effectively prohibited the use of tablet counters for counting and dispensing bulk packaged tablets. Both usage and sales of the machines in the UK declined rapidly as a result of the introduction of blister packaging for medicines. == Current state of the industry == A tablet counter has become a standard in more than 30,000 sites in 35 countries (as of 2010) (including many non-pharmacy sites, such as manufacturing facilities that use a counting machine as a check for small items). During the 1990s through 2012, numerous new pharmacy automation products came to market. During this timeframe, counting technologies, robotics, workflow management software, and interactive voice recognition (IVR) systems for retail (both chain and independent), outpatient, government, and closed-door pharmacies (mail order and central fill) were all introduced. Additionally, the concept of scalability - of migrating from an entry-level product to the next level of automation (e.g., counting technology to robotics) - was introduced and subsequently launched a new product line in 1997. Pharmacists everywhere are making the switch to automation for its increased speed, greater accuracy, and better security. As the industry evolves and customer expectations grow, automation is becoming less of a luxury and more of a necessity. Especially for independent pharmacies, automation is now a means of keeping up with the competition of large chain pharmacies. == Technological changes and design improvements == Constant developments in technology make the dispensing of prescription medications safer, more accurate and more efficient. In America, in 2008, "next-generation" counting and verification systems were introduced. Based on the counting technology employed in preceding models, later machines included the ability to help the pharmacy operate more effectively. Equipped with a new computer interface to a pharmacy management system, with workflow and inventory software. It also included "checks and balances" to ensure the technician and pharmacist were dispensing the correct medication for each patient. This is something that is important to keep reported correctly when dealing with controlled substances like narcotics. This was a step forward to verify all 100% of prescriptions that were dispensed by pharmacy staff. In America, in 2009, further advanced counters were designed that included the ability to dispense hands-free – a feature that many operators had desired. This allowed pharmacies to automate their most commonly dispensed medications via calibrated cassettes. Thirty of a pharmacy's common medications would now be dispensed automatically. Another new model doubled that throughput via an enclosed robotic mechanism. Robo

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  • Digital Cinema Package

    Digital Cinema Package

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

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  • Digital media in education

    Digital media in education

    Digital media in education refers to the use of digital technologies to support and enhance teaching and learning processes. This includes the application of multiple digital software applications, devices, and online platforms as tools for learning. Learners interact with these technologies to access, analyze, evaluate, and create media content and communication in various forms. The integration of digital media in education has dramatically increased over time, significantly transforming traditional educational practices. When viewed through a global and inclusive lens, digital education should be guided by principles of equity, inclusion, and public infrastructure to ensure meaningful participation of all learners. == History == === 20th century === Technological advances in the 20th century, particularly the invention of the Internet, laid the foundation for incorporating technology into education. In the early 1900s, the overhead projector and instructional radio broadcasts were among the first technologies used for educational purposes. The introduction of computers in classrooms occurred in 1950, when a flight simulation program was developed to train pilots at the Massachusetts Institute of Technology. However, access to computers remained extremely limited for several decades. In 1964, John Kemeny and Thomas Kurtz developed the BASIC programming language, which simplified computer interaction and introduced time-sharing, enabling multiple users to work on the same system simultaneously. This innovation made computing increasingly accessible for educational settings. By the 1980s, schools began to show more interest in computers as companies released mass-market devices to the public. Networking further enabled the interconnection of computers into unified communication systems, which proved more efficient and cost-effective than previous stand-alone machines. This development prompted wider adoption of computing in educational institutions. The invention of the World Wide Web in 1992 further simplified internet navigation and sparked further interest in educational settings. Initially, computers were integrated into school curricula for tasks such as word processing, spreadsheet creation, and data organization. By the late 1990s, the Internet became a research tool, functioning as a vast library. By 1999, 99% of public school teachers in the United States reported having access to at least one computer in their schools, and 84% had a computer available in their classrooms. The emergence of World Wide Web also contributed to the development of learning management systems (LMS), which allowed educators to create online teaching environments for content storage, student activities, discussions, and assignments. Advances in digital compression and high-speed Internet made video creation and distribution more affordable, fostering the use of the systems designed for recording lectures. These tools were often incorporated into learning management platforms, supporting the expansion of fully online courses. === 21st century === By 2002, the Massachusetts Institute of Technology began offering recorded lectures to the public, marking a significant milestone in the movement toward accessible online education. The launch of YouTube in 2005 further transformed educational content distribution. Educators increasingly uploaded lectures and instructional videos on platforms with initiatives like Khan Academy, which was active in 2006, contributing to You Tube's role as a prominent educational resource. In 2007, Apple launched iTunesU, another platform for sharing educational resources and videos. Meanwhile, learning management systems gained popularity, with Blackboard and Canvas becoming two of the most widely used platforms with Canvas's release in 2008. That same year also marked the introduction of the first Massive Open Online Course (MOOC), which provided open access to webinars and expert-led instructions for global learners. As technology evolved, traditional projectors were gradually replaced by interactive whiteboards, which enabled educators to integrate digital tools more effectively in their classrooms. By 2009, 97% of classrooms in the United States had at least one computer, and 93% had Internet access. The COVID-19 pandemic, which forced schools across the world to close, significantly impacted education with schools shifting to distance education. Students attended classes remotely using devices such as laptops, phones, and tablets, supported by digital platforms that facilitated at-home learning environments. However, adapting assessment methods to the new learning environment posed certain challenges. A study conducted by Eddie M. Mulenga and José M. Marbán on Zambian students during the pandemic revealed difficulties in adapting to digital learning, particularly in subjects like mathematics. Similar issues were reported among students in Romania, where the transition to virtual learning presented significant obstacles in engagement and adaptability. === Post-pandemic developments === In the period following the onset of COVID-19, education systems worldwide rapidly adopted digital solutions to maintain continuity of learning and teaching. By the end of March 2020, all 46 OECD and partners countries closed some or all of their schools nationwide. By June 2020, the length of school closures in these countries ranged from 7 to over 18 weeks. These disruptions in formal education prompted governments and educators to quickly adopt digital learning. This global shift to online education highlighted considerable inequalities in digital access, although many systems struggled with inequitable access, especially in regions lacking devices, stable internet connections, or conducive home learning environments. Stimultaneously, commercial educational technology (ed-tech) companies introduced rapid digital solutions to the disruption caused by the pandemic. This led to what has been described as a "seller's market," where the urgency of implementation may cause the prioritization of availability and scale over pedagogical and equity considerations. In the post-pandemic era, digital media in education continues to evolve. It increasingly intersects with artificial intelligence (AI) technologies such as adaptive learning platforms, AI-enabled content generation, and personalized learning environments. These tools enhance global engagement and access but also raise concerns about infrastructure, inclusivity, ethical implementation as well as critical pedagogies. Scholars recommend that educators and policymakers adopt inclusive practices, prioritize equitable infrastructure, and develop critical digital literacy. Facer and Selwyn also emphasize the need for public digital infrastructure and sustainable and justice-oriented policies that empower all learners. Overall, these perspectives reflect a growing consensus that digital media in education should be implemented critically to promote inclusive, multimodal, and future-oriented learning environments.

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  • HTTP compression

    HTTP compression

    HTTP compression is a capability that can be built into web servers and web clients to improve transfer speed and bandwidth utilization. HTTP data is compressed before it is sent from the server: compliant browsers will announce what methods are supported to the server before downloading the correct format; browsers that do not support compliant compression method will download uncompressed data. The most common compression schemes include gzip and Brotli; a full list of available schemes is maintained by the IANA. There are two different ways compression can be done in HTTP. At a lower level, a Transfer-Encoding header field may indicate the payload of an HTTP message is compressed. At a higher level, a Content-Encoding header field may indicate that a resource being transferred, cached, or otherwise referenced is compressed. Compression using Content-Encoding is more widely supported than Transfer-Encoding, and some browsers do not advertise support for Transfer-Encoding compression to avoid triggering bugs in servers. == Compression scheme negotiation == The negotiation is done in two steps, described in RFC 2616 and RFC 9110: 1. The web client advertises which compression schemes it supports by including a list of tokens in the HTTP request. For Content-Encoding, the list is in a field called Accept-Encoding; for Transfer-Encoding, the field is called TE. 2. If the server supports one or more compression schemes, the outgoing data may be compressed by one or more methods supported by both parties. If this is the case, the server will add a Content-Encoding or Transfer-Encoding field in the HTTP response with the used schemes, separated by commas. The web server is by no means obligated to use any compression method – this depends on the internal settings of the web server and also may depend on the internal architecture of the website in question. == Content-Encoding tokens == The official list of tokens available to servers and client is maintained by IANA, and it includes: br – Brotli, a compression algorithm specifically designed for HTTP content encoding, defined in RFC 7932 and implemented in all modern major browsers. compress – UNIX "compress" program method (historic; deprecated in most applications and replaced by gzip or deflate) deflate – compression based on the deflate algorithm (described in RFC 1951), a combination of the LZ77 algorithm and Huffman coding, wrapped inside the zlib data format (RFC 1950); exi – W3C Efficient XML Interchange gzip – GNU zip format (described in RFC 1952). Uses the deflate algorithm for compression, but the data format and the checksum algorithm differ from the "deflate" content-encoding. This method is the most broadly supported as of March 2011. identity – No transformation is used. This is the default value for content coding. pack200-gzip – Network Transfer Format for Java Archives zstd – Zstandard compression, defined in RFC 8478 In addition to these, a number of unofficial or non-standardized tokens are used in the wild by either servers or clients: bzip2 – compression based on the free bzip2 format, supported by lighttpd lzip – compression based on the free lzip format, supported by wget and Links lzma – compression based on (raw) LZMA is available in Opera 20, and in elinks via a compile-time option peerdist – Microsoft Peer Content Caching and Retrieval rsync – delta encoding in HTTP, implemented by a pair of rproxy proxies. xpress – Microsoft compression protocol used by Windows 8 and later for Windows Store application updates. LZ77-based compression optionally using a Huffman encoding. xz – LZMA2-based content compression, supported by a non-official Firefox patch; and fully implemented in mget since 2013-12-31. == Servers that support HTTP compression == SAP NetWeaver Microsoft IIS: built-in or using third-party module Apache HTTP Server, via mod_deflate (despite its name, only supporting gzip), and mod_brotli Hiawatha HTTP server: serves pre-compressed files Cherokee HTTP server, On the fly gzip and deflate compressions Oracle iPlanet Web Server Zeus Web Server lighttpd nginx – built-in Applications based on Tornado, if "compress_response" is set to True in the application settings (for versions prior to 4.0, set "gzip" to True) Jetty Server – built-into default static content serving and available via servlet filter configurations GeoServer Apache Tomcat IBM Websphere AOLserver Ruby Rack, via the Rack::Deflater middleware HAProxy Varnish – built-in. Works also with ESI Armeria – Serving pre-compressed files NaviServer – built-in, dynamic and static compression Caddy – built-in via encode Many content delivery networks also implement HTTP compression to improve speedy delivery of resources to end users. The compression in HTTP can also be achieved by using the functionality of server-side scripting languages like PHP, or programming languages like Java. Various online tools exist to verify a working implementation of HTTP compression. These online tools usually request multiple variants of a URL, each with different request headers (with varying Accept-Encoding content). HTTP compression is considered to be implemented correctly when the server returns a document in a compressed format. By comparing the sizes of the returned documents, the effective compression ratio can be calculated (even between different compression algorithms). == Problems preventing the use of HTTP compression == A 2009 article by Google engineers Arvind Jain and Jason Glasgow states that more than 99 person-years are wasted daily due to increase in page load time when users do not receive compressed content. This occurs when anti-virus software interferes with connections to force them to be uncompressed, where proxies are used (with overcautious web browsers), where servers are misconfigured, and where browser bugs stop compression being used. Internet Explorer 6, which drops to HTTP 1.0 (without features like compression or pipelining) when behind a proxy – a common configuration in corporate environments – was the mainstream browser most prone to failing back to uncompressed HTTP. Another problem found while deploying HTTP compression on large scale is due to the deflate encoding definition: while HTTP 1.1 defines the deflate encoding as data compressed with deflate (RFC 1951) inside a zlib formatted stream (RFC 1950), Microsoft server and client products historically implemented it as a "raw" deflated stream, making its deployment unreliable. For this reason, some software, including the Apache HTTP Server, only implements gzip encoding. == Security implications == Compression allows a form of chosen plaintext attack to be performed: if an attacker can inject any chosen content into the page, they can know whether the page contains their given content by observing the size increase of the encrypted stream. If the increase is smaller than expected for random injections, it means that the compressor has found a repeat in the text, i.e. the injected content overlaps the secret information. This is the idea behind CRIME. In 2012, a general attack against the use of data compression, called CRIME, was announced. While the CRIME attack could work effectively against a large number of protocols, including but not limited to TLS, and application-layer protocols such as SPDY or HTTP, only exploits against TLS and SPDY were demonstrated and largely mitigated in browsers and servers. The CRIME exploit against HTTP compression has not been mitigated at all, even though the authors of CRIME have warned that this vulnerability might be even more widespread than SPDY and TLS compression combined. In 2013, a new instance of the CRIME attack against HTTP compression, dubbed BREACH, was published. A BREACH attack can extract login tokens, email addresses or other sensitive information from TLS encrypted web traffic in as little as 30 seconds (depending on the number of bytes to be extracted), provided the attacker tricks the victim into visiting a malicious web link. All versions of TLS and SSL are at risk from BREACH regardless of the encryption algorithm or cipher used. Unlike previous instances of CRIME, which can be successfully defended against by turning off TLS compression or SPDY header compression, BREACH exploits HTTP compression which cannot realistically be turned off, as virtually all web servers rely upon it to improve data transmission speeds for users. As of 2016, the TIME attack and the HEIST attack are now public knowledge.

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  • TIMIT

    TIMIT

    TIMIT is a corpus of phonemically and lexically transcribed speech of American English speakers of different sexes and dialects. Each transcribed element has been delineated in time. TIMIT was designed to further acoustic-phonetic knowledge and automatic speech recognition systems. It was commissioned by DARPA and corpus design was a joint effort between the Massachusetts Institute of Technology, SRI International, and Texas Instruments (TI). The speech was recorded at TI, transcribed at MIT, and verified and prepared for publishing by the National Institute of Standards and Technology (NIST). There is also a telephone bandwidth version called NTIMIT (Network TIMIT). TIMIT and NTIMIT are not freely available — either membership of the Linguistic Data Consortium, or a monetary payment, is required for access to the dataset. == Data == TIMIT contains ~5 hours of speech, of 10 sentences spoken by each of 630 speakers. The sentences were randomly sampled from a corpus of 2342 sentences. The speakers were native speakers of American English, classified under 8 major dialect regions: New England, Northern, North Midland, South Midland, Southern, New York City, Western, Army Brat (moved around). The speakers were 70% male and 30% female. Recordings were made in a noise-isolated recording booth at Texas Instrument, using a semi-automatic computer system (STEROIDS) to control the presentation of prompts to the speaker and the recording. Two-channel recordings were made using a Sennheiser HMD 414 headset-mounted microphone and a Brüel & Kjær 1/2" far-field pressure microphone (#4165). The speech was digitized at a sample rate of 20 kHz then and downsampled to 16 kHz. == History == The TIMIT telephone corpus was an early attempt to create a database with speech samples. It was published in the year 1988 on CD-ROM and consists of only 10 sentences per speaker. Two 'dialect' sentences were read by each speaker, as well as another 8 sentences selected from a larger set Each sentence averages 3 seconds long and is spoken by 630 different speakers. It was the first notable attempt in creating and distributing a speech corpus and the overall project has produced costs of 1.5 million US$. An update was released in October 1990. It included full 630-speaker corpus; checked and corrected transcriptions; word-alignment transcriptions; NIST SPHERE-headered waveform files and header manipulation software; phonemic dictionary; new test and training subsets balanced for dialectal and phonetic coverage; more extensive documentation. The full name of the project is DARPA-TIMIT Acoustic-Phonetic Continuous Speech Corpus and the acronym TIMIT stands for Texas Instruments/Massachusetts Institute of Technology. The main reason why a corpus of telephone speech was created was to train speech recognition software. In the Blizzard challenge, different software has the obligation to convert audio recordings into textual data and the TIMIT corpus was used as a standardized baseline.

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  • Hyperscale computing

    Hyperscale computing

    In computing, hyperscale is the ability of an architecture to scale appropriately as increased demand is added to the system. This typically involves the ability to seamlessly provide and add computing, memory, networking, and storage resources to a given node or set of nodes that make up a larger computing, distributed computing, or grid computing environment. Hyperscale computing is necessary in order to build a robust and scalable cloud, big data, map reduce, or distributed storage system and is often associated with the infrastructure required to run large distributed sites such as Google, Facebook, Twitter, Amazon, Microsoft, IBM Cloud, Oracle Cloud, or Cloudflare. Companies like Ericsson, AMD, and Intel provide hyperscale infrastructure kits for IT service providers. Companies like Scaleway, Switch, Alibaba, IBM, QTS, Neysa, Digital Realty Trust, Equinix, Oracle, Meta, Amazon Web Services, SAP, Microsoft, Google, and Cloudflare build data centers for hyperscale computing. Such companies are sometimes called "hyperscalers". They are recognized for their massive scale in cloud computing and data management, operating in environments that require extensive infrastructure to accommodate large-scale data processing and storage.

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  • RR Media

    RR Media

    RR Media was a NASDAQ listed provider of global digital media services to the broadcast industry and content owners. Its services can be divided into four main groups: global content distribution network (satellite, fiber and the internet); content management & playout; sports, news & live events; and online video services. The company was rebranded to RR Media from RRsat in September 2014. In February 2016, it was announced that, subject to regulatory approvals, RR Media was to be acquired by SES, based in Betzdorf, Luxembourg, and merged with SES subsidiary company, SES Platform Services a media services provider for television broadcasters, production companies and platform operators, based in Unterföhring near Munich, Germany. In July 2016, the merged company was named MX1. == Digital media services == Global content distribution services RR Media's global distribution network uses a combination of satellite, fiber and the internet. The network includes satellite downlink and uplink; fiber connectivity to digital media hubs; connectivity to TV service providers; and internet-based content delivery. RR Media's network delivers live television channels, streaming media and Video on demand (VOD) content in all formats including Standard-definition television (SD), High-definition television (HD), 4K resolution (4K) & 3D television (3D). End-to-end content management & playout services RR Media manages, prepares and plays out content from its media centers. Services include: content preparation (digitization, localization, conversion, ingest, multiple formatting, editing, restoration); content management (digital asset management, media ingest and library, streamlined workflows, metadata curation, Video on demand (VOD) delivery) and playout, channel creation, playlist management, advertising insertion/management, graphics, titles & overlay, live events operations). RR Media also creates branded or white label product television channels using live and archived materials. Sports, news & live events RR Media delivers live sports and event content for sports rights holders, broadcasters and news channels. Services include: live production (Outside broadcasting vans, Satellite news gathering (SNG), studios), global live distribution, sports content preparation and content management, playout and origination.RR Media provides downlink, uplink, simultaneous translation, turnaround and live production services for sports events like football, basketball, tennis and golf, news and entertainment channels. Online video services RR Media converts existing and archive content into programs, channels and other digital assets, and converges broadcast and internet delivery. Services include converged media (preparing content for broadcast or online use) Content Management Systems (CMS), VOD services, branded platforms, multi-screen delivery, web video portals and viewer measurement tools (using digital analytics). == Media centers == RR Media's media centers are based in Hawley, PA (USA), Emeq Ha’Ela (Israel) Bucharest (Romania), with another facility opened in London, (UK) in June 2015. An additional facility in Miami, FL United States was announced in April 2016. The centers provide RR Media's services, including content preparation, management, online video, live content and distribution, and 24/7 service and support. == Awards == In November 2014, RR Media won the award for Achievement in Legacy Content at the 2014 TVB Europe awards in London, in recognition for its work with British Pathe and the restoration for YouTube. In February 2014, the World Teleport Association named Avi Cohen, CEO of RR Media (formerly RRsat), as its 2014 Teleport Executive of the Year. In 2009, the World Teleport Association awarded RR Media (then RRsat) the Independent Teleport Operator of the Year award for excellence. == History == RR Media (as RRsat) was established in 1981 as a communications provider. The company was founded by David Rivel, an electronics, computers and communications engineer. Rivel is CEO of the company for 31 years and from 2012 a Member of RR Media's board of directors. Under management of Rivel RRsat Communications Network Ltd. went public on 2006-11-01 - NASDAQ:RRST In 2014, the Company rebranded from RRsat Global Communications Network to RR Media. The rebrand was launched at the International Broadcasting Convention (IBC) Show in Amsterdam. In 2015, RR Media announced its NASDAQ stock ticker symbol change to RRM. == Acquisitions == In April 2015, RR Media acquired Eastern Space Systems (ESS) in Romania, a privately held provider of content management and content distribution services and related consulting services. In June 2015, RR Media acquired Satlink Communications as part of strategy to increase scale and expand its global content distribution network and content management footprint, strengthening its customer mix and leverage media industry expertise.

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  • Filter (social media)

    Filter (social media)

    Filters are digital image effects often used on social media. They initially simulated the effects of camera filters, and they have since developed with facial recognition technology and computer-generated augmented reality. Social media filters—especially beauty filters—are often used to alter the appearance of selfies taken on smartphones or other similar devices. While filters are commonly associated with beauty enhancement and feature alterations, there is a wide range of filters that have different functions. From adjusting photo tones to using face animations and interactive elements, users have access to a range of tools. These filters allow users to enhance photos and allow room for creative expression and fun interactions with digital content. == History == Beauty filters originate from Purikura ("print club"), a type of Japanese photographic arcade game machine conceived in 1994 by Sasaki Miho, a female employee at Atlus, and released in 1995 by Atlus and Sega primarily for female visitors at Japanese arcades. They allowed the manipulation of digital selfie photos with kawaii beauty filters similar to later Snapchat filters. Purikura filters included beautifying the image, cat whiskers, bunny ears, writing text, scribbling graffiti, selecting backdrops, borders, insertable decorations, icons, hair extensions, twinkling diamond tiaras, tenderized light effects, and predesigned decorative margins. To capitalize on the Purikura phenomenon in Japan during the late 1990s, Japanese mobile phones began including a front-facing camera, starting with the Kyocera Visual Phone VP‑210 in 1999. The Sanyo SCP-5300 released in 2002 was the first camera phone with filter effects, such as illumination, white‑balance control, sepia, black and white, and negative colors. Purikura-like beauty filters later appeared in smartphone apps such as Instagram and Snapchat in the 2010s. In 2010, Apple introduced the iPhone 4—the first iPhone model with a front-facing camera. It gave rise to a dramatic increase in selfies, which could be touched up with more flattering lighting effects with applications such as Instagram. The American photographer Cole Rise was involved in the creation of the original filters for Instagram around 2010, designing several of them himself, including Sierra, Mayfair, Sutro, Amaro, and Willow. However, the technology for virtual lens filters was invented and patented by Patrick Levy-Rosenthal in 2007. The patent received 100 citations, including Facebook, Nvidia, Microsoft, Samsung, and Snap. In September, 2011, the Instagram 2.0 update for the application introduced "live filters," which allowed the user to preview the effect of the filter while shooting with the application's camera. #NoFilter, a hashtag label to describe an image that had not been filtered, became popular around 2013. An update in 2014 allowed users to adjust the intensity of the filters as well as fine-tune other aspects of the image, features that had been available for years on applications such as VSCO and Litely. In 2014, Snapchat started releasing sponsored filters to monetize the participatory use of the application. In September 2015, Snapchat acquired Looksery and released a feature called "lenses," animated filters using facial recognition technology. Some of the early lenses available on Snapchat at the time were Heart Eyes, Terminator, Puke Rainbows, Old, Scary, Rage Face, Heart Avalanche. The Coachella filter released April 2016 was a popular early augmented reality filter. In April 2017, Facebook released the Camera Effects Platform, which is the first augmented reality platform that allows developers to create their own filters and effects on Facebook's Camera. In December 2017, Snapchat also launched their Lens Studio augmented reality developer tool that allows users and advertisers to do the same on the Snapchat application. In April 2022,TikTok joined the two, and launched their own augmented reality developer platform called Effect house. In February 2023, Effect House gave opened up the access to generative AI tools that allowed creators to change facial features in real time. In November 2023, TikTok released a feature where users no longer needed Effect House to create their own filters, as they are now able to create their own effects on the TikTok application. In August 2024, Meta announced that it would be removing third-party filter effects from its family of apps by January 14, 2025. The AR development software Meta Spark AR will also be retired at the same time; it was at one point the "world's largest mobile AR platform". Brand and creator effects represent the vast majority of filters available on Meta platforms, with over 2 million third-party filters available as of 2021. == Beauty filter == A beauty filter is a filter applied to still photographs, or to video in real time, to enhance the physical attractiveness of the subject. Typical effects of such filters include smoothing skin texture and modifying the proportions of facial features, for example enlarging the eyes or narrowing the nose. Filters may be included as a built-in feature of social media apps such as Instagram or Snapchat, or implemented through standalone applications such as Facetune. In 2020, the "Perfect Skin" filter for Snapchat and Instagram which was created by Brazilian augmented reality developer Brenno Faustino gained more than 36 million impressions in the first 24 hours of its release. In 2021, TikTok users pointed out how the default front-facing camera on the platform automatically applied the retouch and other feature-altering filters. Users noted that these filters slimmed down faces, smoothed skin, whitened teeth, and altered facial features such as nose and eye size, without the option to disable this feature through settings. In March 2023, the "Bold Glamour" filter was released on TikTok and instantly went viral with over 18 million videos created within its first week. This filter subtly enhances the user's facial features seamlessly, giving the illusion of fuller eyebrows, taller cheekbones, enhanced eye make up, a smaller nose, plumper lips, and clearer skin, giving off a natural yet distinct effect. As of May 2024, the filter has been used in over 220 million videos and has become a pivotal moment for beauty filters on digital platforms. Critics have raised concerns that the widespread use of such filters on social media may lead to negative body image, particularly among girls. Though Meta's intention of removing third-party filters will likely see all beauty filters removed, academics feel that the damage of beautifying filters is already done. === Background === The manipulation of photos to enhance attractiveness has long been possible using software such as Adobe Photoshop and, before that, analogue techniques such as airbrushing. However, such tools required considerable technical and artistic skill, and so their use was mostly limited to professional contexts, such as magazines or advertisements. By contrast, filters work in an automated fashion through the use of complex algorithms, requiring little or no input from the user. This ease of use, in combination with the increase in processing power of smartphones, and the rise of social media and selfie culture, have led to photographic manipulation occurring on a much wider scale than ever before. One of the earliest examples of a content-aware digital photographic filter is red-eye reduction. === Effects === Typical changes applied by beauty filters include: Smoothing skin texture; minimizing fine lines and blemishes Erasing under-eye bags Erasing naso-labial lines ("laugh lines") Application of virtual makeup, such as lipstick or eyeshadow Slimming the face; erasing double chins Enlarging the eyes Whitening teeth Narrowing the nose Increasing fullness of the lips Beauty filters most frequently target the face, though in some cases they may affect other body parts. For example, the app "Retouch Me" was reported to have a feature which allows users to superimpose visible abdominal muscles (a "six pack") onto photos featuring the subject's bare stomach. === Reception and psychological effects === Some commentators have expressed concern that beauty filters may create unrealistic beauty standards, particularly among girls, and contribute to rates of body dysmorphic disorder. A correlation has been established between negative body image and the use of beautifying filters, though the direction of causation is unknown. The inability to discern whether a particular image has been filtered is thought to exacerbate their negative psychological effects. Policymakers have advocated for social networks to disclose the use of filters; TikTok, Instagram, and Snapchat all label filtered photos and videos with the name of the filter applied. It has also been noted that beauty filters on social media tend to highlight Eurocentric features, like lighter eyes, a smaller nose, and flushed ch

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  • Audio inpainting

    Audio inpainting

    Audio inpainting (also known as audio interpolation) is an audio restoration task which deals with the reconstruction of missing or corrupted portions of a digital audio signal. Inpainting techniques are employed when parts of the audio have been lost due to various factors such as transmission errors, data corruption or errors during recording. The goal of audio inpainting is to fill in the gaps (i.e., the missing portions) in the audio signal seamlessly, making the reconstructed portions indistinguishable from the original content and avoiding the introduction of audible distortions or alterations. Many techniques have been proposed to solve the audio inpainting problem and this is usually achieved by analyzing the temporal and spectral information surrounding each missing portion of the considered audio signal. Classic methods employ statistical models or digital signal processing algorithms to predict and synthesize the missing or damaged sections. Recent solutions, instead, take advantage of deep learning models, thanks to the growing trend of exploiting data-driven methods in the context of audio restoration. Depending on the extent of the lost information, the inpainting task can be divided in three categories. Short inpainting refers to the reconstruction of few milliseconds (approximately less than 10) of missing signal, that occurs in the case of short distortions such as clicks or clipping. In this case, the goal of the reconstruction is to recover the lost information exactly. In long inpainting instead, with gaps in the order of hundreds of milliseconds or even seconds, this goal becomes unrealistic, since restoration techniques cannot rely on local information. Therefore, besides providing a coherent reconstruction, the algorithms need to generate new information that has to be semantically compatible with the surrounding context (i.e., the audio signal surrounding the gaps). The case of medium duration gaps lays between short and long inpainting. It refers to the reconstruction of tens of millisecond of missing data, a scale where the non-stationary characteristic of audio already becomes important. == Definition == Consider a digital audio signal x {\displaystyle \mathbf {x} } . A corrupted version of x {\displaystyle \mathbf {x} } , which is the audio signal presenting missing gaps to be reconstructed, can be defined as x ~ = m ∘ x {\displaystyle \mathbf {\tilde {x}} =\mathbf {m} \circ \mathbf {x} } , where m {\displaystyle \mathbf {m} } is a binary mask encoding the reliable or missing samples of x {\displaystyle \mathbf {x} } , and ∘ {\displaystyle \circ } represents the element-wise product. Audio inpainting aims at finding x ^ {\displaystyle \mathbf {\hat {x}} } (i.e., the reconstruction), which is an estimation of x {\displaystyle \mathbf {x} } . This is an ill-posed inverse problem, which is characterized by a non-unique set of solutions. For this reason, similarly to the formulation used for the inpainting problem in other domains, the reconstructed audio signal can be found through an optimization problem that is formally expressed as x ^ ∗ = argmin X ^ L ( m ∘ x ^ , x ~ ) + R ( x ^ ) {\displaystyle \mathbf {\hat {x}} ^{}={\underset {\hat {\mathbf {X} }}{\text{argmin}}}~L(\mathbf {m} \circ \mathbf {\hat {x}} ,\mathbf {\tilde {x}} )+R(\mathbf {\hat {x}} )} . In particular, x ^ ∗ {\displaystyle \mathbf {\hat {x}} ^{}} is the optimal reconstructed audio signal and L {\displaystyle L} is a distance measure term that computes the reconstruction accuracy between the corrupted audio signal and the estimated one. For example, this term can be expressed with a mean squared error or similar metrics. Since L {\displaystyle L} is computed only on the reliable frames, there are many solutions that can minimize L ( m ∘ x ^ , x ~ ) {\displaystyle L(\mathbf {m} \circ \mathbf {\hat {x}} ,\mathbf {\tilde {x}} )} . It is thus necessary to add a constraint to the minimization, in order to restrict the results only to the valid solutions. This is expressed through the regularization term R {\displaystyle R} that is computed on the reconstructed audio signal x ^ {\displaystyle \mathbf {\hat {x}} } . This term encodes some kind of a-priori information on the audio data. For example, R {\displaystyle R} can express assumptions on the stationarity of the signal, on the sparsity of its representation or can be learned from data. == Techniques == There exist various techniques to perform audio inpainting. These can vary significantly, influenced by factors such as the specific application requirements, the length of the gaps and the available data. In the literature, these techniques are broadly divided in model-based techniques (sometimes also referred as signal processing techniques) and data-driven techniques. === Model-based techniques === Model-based techniques involve the exploitation of mathematical models or assumptions about the underlying structure of the audio signal. These models can be based on prior knowledge of the audio content or statistical properties observed in the data. By leveraging these models, missing or corrupted portions of the audio signal can be inferred or estimated. An example of a model-based techniques are autoregressive models. These methods interpolate or extrapolate the missing samples based on the neighboring values, by using mathematical functions to approximate the missing data. In particular, in autoregressive models the missing samples are completed through linear prediction. The autoregressive coefficients necessary for this prediction are learned from the surrounding audio data, specifically from the data adjacent to each gap. Some more recent techniques approach audio inpainting by representing audio signals as sparse linear combinations of a limited number of basis functions (as for example in the Short Time Fourier Transform). In this context, the aim is to find the sparse representation of the missing section of the signal that most accurately matches the surrounding, unaffected signal. The aforementioned methods exhibit optimal performance when applied to filling in relatively short gaps, lasting only a few tens of milliseconds, and thus they can be included in the context of short inpainting. However, these signal-processing techniques tend to struggle when dealing with longer gaps. The reason behind this limitation lies in the violation of the stationarity condition, as the signal often undergoes significant changes after the gap, making it substantially different from the signal preceding the gap. As a way to overcome these limitations, some approaches add strong assumptions also about the fundamental structure of the gap itself, exploiting sinusoidal modeling or similarity graphs to perform inpainting of longer missing portions of audio signals. === Data-driven techniques === Data-driven techniques rely on the analysis and exploitation of the available audio data. These techniques often employ deep learning algorithms that learn patterns and relationships directly from the provided data. They involve training models on large datasets of audio examples, allowing them to capture the statistical regularities present in the audio signals. Once trained, these models can be used to generate missing portions of the audio signal based on the learned representations, without being restricted by stationarity assumptions. Data-driven techniques also offer the advantage of adaptability and flexibility, as they can learn from diverse audio datasets and potentially handle complex inpainting scenarios. As of today, such techniques constitute the state-of-the-art of audio inpainting, being able to reconstruct gaps of hundreds of milliseconds or even seconds. These performances are made possible by the use of generative models that have the capability to generate novel content to fill in the missing portions. For example, generative adversarial networks, which are the state-of-the-art of generative models in many areas, rely on two competing neural networks trained simultaneously in a two-player minmax game: the generator produces new data from samples of a random variable, the discriminator attempts to distinguish between generated and real data. During the training, the generator's objective is to fool the discriminator, while the discriminator attempts to learn to better classify real and fake data. In GAN-based inpainting methods the generator acts as a context encoder and produces a plausible completion for the gap only given the available information surrounding it. The discriminator is used to train the generator and tests the consistency of the produced inpainted audio. Recently, also diffusion models have established themselves as the state-of-the-art of generative models in many fields, often beating even GAN-based solutions. For this reason they have also been used to solve the audio inpainting problem, obtaining valid results. These models generate new data instances by inverting the

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  • Web content development

    Web content development

    Web content development is the process of researching, writing, gathering, organizing, and editing information for publication on websites. Website content may consist of prose, graphics, pictures, recordings, movies, or other digital assets that could be distributed by a hypertext transfer protocol server, and viewed by a web browser. == Web developers and content developers == When the World Wide Web began, web developers either developed online content themselves, or modified existing documents and coded them into hypertext markup language (HTML). In time, the field of website development came to encompass many technologies, so it became difficult for website developers to maintain so many different skills. Content developers are specialized website developers who have content generation skills such as graphic design, multimedia development, professional writing, and documentation. They can integrate content into new or existing websites without using information technology skills such as script language programming and database programming. Content developers or technical content developers can also be technical writers who produce technical documentation that helps people understand and use a product or service. This documentation includes online help, manuals, white papers, design specifications, developer guides, deployment guides, release notes, etc. == Search engine optimization == Content developers may also be search engine optimization specialists, or internet marketing professionals. High quality, unique content is what search engines are looking for. Content development specialists, therefore, have a very important role to play in the search engine optimization process. One issue currently plaguing the world of web content development is keyword-stuffed content which are prepared solely for the purpose of manipulating search engine rankings. The effect is that content is written to appeal to search engine (algorithms) rather than human readers. Search engine optimization specialists commonly submit content to article directories to build their website's authority on any given topic. Most article directories allow visitors to republish submitted content with the agreement that all links are maintained. This has become a method of search engine optimization for many websites today. If written according to SEO copywriting rules, the submitted content will bring benefits to the publisher (free SEO-friendly content for a webpage) as well as to the author (a hyperlink pointing to his/her website, placed on an SEO-friendly webpage). == New content types == Web content is no longer restricted to text. Search engines now index audio/visual media, including video, images, PDFs, and other elements of a web page. Website owners sometimes use content protection networks to scan for plagiarized content.

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  • Outline of telecommunication

    Outline of telecommunication

    The following outline is provided as an overview of and topical guide to telecommunication: Telecommunication – the transmission of signals over a distance for the purpose of communication. In modern times, this process almost always involves the use of electromagnetic waves by transmitters and receivers, but in earlier years it also involved the use of drums and visual signals such as smoke, fire, beacons, semaphore lines and other optical communications. == Modes of telecommunication == E-mail Fax Instant messaging Radio Satellite SMS Telegraphy Telephony Television Television broadcasting mobile telephony Videoconferencing VoIP Voicemail == Types of telecommunication networks == Telecommunications network Computer networks ARPANET Ethernet Internet Wireless networks Public switched telephone networks (PSTN) Packet switched networks Radio network Broadband Wireless Broadband == Aspects of telecommunication transmission == Telecommunication Analog Digital Functional profile Optics === Telecommunication technology === Modulation Amplitude modulation Frequency modulation Quadrature amplitude modulation Nyquist rate Nyquist ISI criterion Pulse shaping Intersymbol interference === Communications media types === Physical media for Telecommunication Twisted pair Coaxial cable Optical fiber Telecommunication through Free Space Broadcast radio frequency including television and radio Line-of-sight Communications satellite Terrestrial Microwave Wireless LAN === Relationship between media and transmitters === Physical access to media Simplex Duplex (telecommunications) Logical relationships Return channel Two-way alternating Two-way simultaneous === Multiple access to media === Multiplexing Analog Frequency division multiplexing Space division multiplexing Digital Time-division multiplexing Statistical multiplexing and Packet switching Media Access Control Contention Token-based Centralized token control Distributed token control == History of telecommunication == History of telecommunication History of telegraphy History of the telephone Invention of the telephone Timeline of the telephone History of radio History of television History of videophones History of mobile phones History of computing hardware History of the Internet == Major telecommunications equipment manufacturers == Alcatel-Lucent – French global telecommunications equipment company Aricent – Former company AT&T – American telecommunications company Avaya – American technology company Ciena – American telecommunications company Cisco Systems – American multinational technology companyPages displaying short descriptions of redirect targets Ericsson – Swedish multinational networking and telecommunications company Fujitsu – Japanese multinational technology company HCL Technologies – Indian multinational technology companyPages displaying short descriptions of redirect targets Huawei – Chinese multinational technology company NEC – Japanese technology corporation Nokia – Multinational data networking and telecommunications equipment company ShoreTel – US telecommunications company Verizon – American telecommunications company ZTE – Chinese telecommunications company == Major telecommunications service providers == List of mobile network operators List of telephone operating companies == Telecommunication organizations == Alliance for Telecommunications Industry Solutions Telecommunications Industry Association == Telecommunication publications == Magazines Billing and OSS World Cabling Installation & Maintenance Call Center Communications News Communications System Design Lightwave Mobile Radio Technology (MRT) New Telephony Phone+ RCR Wireless News Telecom Asia Telecommunications Magazine Telephony WhatSatphone Magazine Wireless Systems Design Wireless Week Xchange == Persons influential in telecommunication == Edwin Howard Armstrong – American radio-frequency engineer and inventor (1890–1954) John Logie Baird – Scottish inventor (1888–1946) Paul Baran – American-Jewish engineer (1926–2011) Alexander Graham Bell – Inventor of the telephone (1847–1922) Tim Berners-Lee – English computer scientist (born 1955) Jagadish Chandra Bose – Physicist, biologist and botanist (1857–1937) Vint Cerf – American computer scientist and Internet pioneer (born 1943) Claude Chappe – Late 18th-century French inventor Donald Davies – British computer scientist (1924–2000) Louis Pouzin – French computer scientist and Internet pioneer (born 1931) Lee de Forest – American inventor (1873–1961) Philo Farnsworth – American inventor (1906–1971) Reginald Fessenden – Canadian-American electrical engineer and inventor (1866–1932) Elisha Gray – American electrical engineer (1835–1901) Innocenzo Manzetti – Italian inventor (1826–1877) Guglielmo Marconi – Italian radio-frequency engineer and inventor (1874–1937) Antonio Meucci – Italian inventor (1808–1889) Alexander Stepanovich Popov – Russian physicist (1859–1906)Pages displaying short descriptions of redirect targets Johann Philipp Reis – German scientist and inventor Almon Brown Strowger – American inventor of the telephone exchange (1839–1902) Nikola Tesla – Serbian-American engineer and inventor (1856–1943) Camille Tissot – French physicist (1868–1917) Alfred Vail – 19th-century American machinist and inventor Charles Wheatstone – English physicist and inventor (1802–1875) Vladimir K. Zworykin – Russian-American engineer (1888–1982)

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  • Digital artifactual value

    Digital artifactual value

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

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  • Tail latency

    Tail latency

    Tail latency is a term used to describe the high-percentile response times seen in a system. This is usually measured at the 95th, 99th, or 99.9th percentile, not the average latency. In distributed systems, cloud computing, and large-scale web services, even a small number of slow requests can make the user experience and system performance much worse. Tail latency often happens because of things like resource contention, network variability, garbage collection pauses, and hardware heterogeneity. A major problem in system design is managing tail latency, because lowering average latency doesn't always make the worst-case performance better. To lessen its effects, people often use techniques like request hedging, replication, load balancing, and adaptive timeouts. In latency-sensitive applications like search engines, financial systems, and real-time services, where service-level objectives (SLOs) are often based on high-percentile latencies, it is especially important to understand and improve tail latency.

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  • CloudLibrary

    CloudLibrary

    CloudLibrary (stylized as "cloudLibrary") is a cloud-based software system through which libraries lend electronic books; it is also the name of the app that users download to access the e-books. CloudLibrary was created in 2011 by 3M as part of its library systems unit as a competitor to OverDrive, Inc.; in 2015 3M sold the North American part of that unit to Bibliotheca Group GmbH, a company founded in 2011 that was funded by One Equity Partners Capital Advisors, a division of JP Morgan Chase. By 2019, Bibliotecha had tried, unsuccessfully, to negotiate with Amazon to add Kindle-ebook compatibility to cloudLibrary - something that, as of then, Amazon had only made available to Overdrive. In that year, cloudLibrary, along with hoopla offered by Midwest Tape, ODILO, and Baker & Taylor’s Axis 360, were the main competitors to the Overdrive and Libby apps offered by OverDrive, Inc. in the library e-book market. In April 2024, Bibliotheca sold cloudLibrary to the nonprofit cooperative OCLC. By that time, cloudLibrary was used by around 500 libraries in around 20 countries in around 50 languages, and was used to lend audiobooks, digital magazines, newspapers, and comics, and streaming media, along with e-books.

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  • Vue.js

    Vue.js

    Vue.js (commonly referred to as Vue; pronounced "view") is an open-source model–view–viewmodel front end JavaScript framework for building user interfaces and single-page applications. It was created by Evan You and is maintained by him and the rest of the active core team members. == Overview == Vue.js features an incrementally adaptable architecture that focuses on declarative rendering and component composition. The core library is focused on the view layer only. Advanced features required for complex applications such as routing, state management and build tooling are offered via officially maintained supporting libraries and packages. Vue.js allows for extending HTML with HTML attributes called directives. The directives offer functionality to HTML applications, and come as either built-in or user defined directives. == History == Vue was created by Evan You after working for Google using AngularJS in several projects. He later summed up his thought process: "I figured, what if I could just extract the part that I really liked about Angular and build something really lightweight." The first source code commit to the project was dated July 2013, at which time it was originally named "Seed". Vue was first publicly announced the following February, in 2014. Version names are often derived from manga and anime series, with the first letters arranged in alphabetical order. === Versions === When a new major is released i.e. v3.y.z, the last minor i.e. 2.x.y will become a LTS release for 18 months (bug fixes and security patches) and for the following 18 months will be in maintenance mode (security patches only). Vue 3 was officially released in September 2020. According to the State of Vue.js Report 2025, 96% of surveyed developers reported having used Vue 3.x. However, 35% also indicated that they used Vue 2.7.x in the past year, reflecting continued reliance on Vue 2 despite its end of support. The report also noted that more than a quarter of respondents encountered challenges when migrating from Vue 2 to Vue 3. === State management evolution === 2015 - Vuex introduced as official state management solution 2021 - Pinia development begins as Vuex 5 experiment 2022 - Pinia becomes officially recommended for new projects 2023 - Vue team announces Vuex maintenance mode transition According to the State of Vue.js Report 2025, the Vue's core team recommendation is reflected in developer adoption–over 80% of surveyed developers reported using Pinia while Vuex still had 38.4% usage, indicating ongoing reliance on the older library. == Features == === Components === Vue components extend basic HTML elements to encapsulate reusable code. At a high level, components are custom elements to which the Vue's compiler attaches behavior. In Vue, a component is essentially a Vue instance with pre-defined options. The code snippet below contains an example of a Vue component. The component presents a button and prints the number of times the button is clicked: === Templates === Vue uses an HTML-based template syntax that allows binding the rendered DOM to the underlying Vue instance's data. All Vue templates are valid HTML that can be parsed by specification-compliant browsers and HTML parsers. Vue compiles the templates into virtual DOM render functions. A virtual Document Object Model (or "DOM") allows Vue to render components in its memory before updating the browser. Combined with the reactivity system, Vue can calculate the minimal number of components to re-render and apply the minimal amount of DOM manipulations when the app state changes. Vue users can use template syntax or choose to directly write render functions using hyperscript either through function calls or JSX. Render functions allow applications to be built from software components. === Reactivity === Vue features a reactivity system that uses plain JavaScript objects and optimized re-rendering. Each component keeps track of its reactive dependencies during its render, so the system knows precisely when to re-render, and which components to re-render. === Transitions === Vue provides a variety of ways to apply transition effects when items are inserted, updated, or removed from the DOM. This includes tools to: Automatically apply classes for CSS transitions and animations Integrate third-party CSS animation libraries, such as Animate.css Use JavaScript to directly manipulate the DOM during transition hooks Integrate third-party JavaScript animation libraries, such as Velocity.js When an element wrapped in a transition component is inserted or removed, this is what happens: Vue will automatically sniff whether the target element has CSS transitions or animations applied. If it does, CSS transition classes will be added/removed at appropriate timings. If the transition component provided JavaScript hooks, these hooks will be called at appropriate timings. If no CSS transitions/animations are detected and no JavaScript hooks are provided, the DOM operations for insertion and/or removal will be executed immediately on next frame. === Routing === A traditional disadvantage of single-page applications (SPAs) is the inability to share links to the exact "sub" page within a specific web page. Because SPAs serve their users only one URL-based response from the server (it typically serves index.html or index.vue), bookmarking certain screens or sharing links to specific sections is normally difficult if not impossible. To solve this problem, many client-side routers delimit their dynamic URLs with a "hashbang" (#!), e.g. page.com/#!/. However, with HTML5 most modern browsers support routing without hashbangs. Vue provides an interface to change what is displayed on the page based on the current URL path – regardless of how it was changed (whether by emailed link, refresh, or in-page links). Additionally, using a front-end router allows for the intentional transition of the browser path when certain browser events (i.e. clicks) occur on buttons or links. Vue itself doesn't come with front-end hashed routing. But the open-source "vue-router" package provides an API to update the application's URL, supports the back button (navigating history), and email password resets or email verification links with authentication URL parameters. It supports mapping nested routes to nested components and offers fine-grained transition control. With Vue, developers are already composing applications with small building blocks building larger components. With vue-router added to the mix, components must merely be mapped to the routes they belong to, and parent/root routes must indicate where children should render. The code above: Sets a front-end route at websitename.com/user/. Which will render in the User component defined in (const User...) Allows the User component to pass in the particular id of the user which was typed into the URL using the $route object's params key: $route.params.id. This template (varying by the params passed into the router) will be rendered into inside the DOM's div#app. The finally generated HTML for someone typing in: websitename.com/user/1 will be: == Ecosystem == The core library comes with tools and libraries both developed by the core team and contributors. === Official tooling === Devtools – Browser devtools extension for debugging Vue.js applications Vite – Standard Tooling for rapid Vue.js development Vue Loader – a webpack loader that allows the writing of Vue components in a format called Single-File Components (SFCs) Vue.js Plugins Collection - Collection of almost 100 plugins and ecosystem libraries across various categories. === Official libraries === Vue Router – The official router, suitable for building SPAs Pinia – The official state management solution === Video courses === Vue School – Expert-led courses on Vue.js and its ecosystem. === State management libraries === Pinia – Official state management solution with modular architecture Vuex – Legacy state management library, now in maintenance mode VueUse – Collection of 200+ composition utilities including state management helpers === Community & Core Teams Resources === The State of Vue.js Report - A comprehensive publication about Vue.js created since 2017 by Monterail, Vue & Nuxt Official Partner. Each edition includes unique data from developer survey, key ecosystem trends and case studies. The latest 5th edition released in March 2025 was co-created with Evan You and Vue&Nuxt Core Teams. Although the Vue.js Ecosystem is generally very well-developed, developers point to some ecosystem gaps as one of the most important thing missing (as of March 2025 Developer Survey in the State of Vue.js Report 2025). 22% of respondents mentioned the lack of robust, official component libraries like MUI or Radix, and the need for better testing utilities. There was also demand for more modular, enterprise-ready solutions for dashboards, e-commerce, and animation libraries similar to Fr

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