AI Chat Bots Like Character AI

AI Chat Bots Like Character AI — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

TensorFlow Hub

TensorFlow Hub (also styled TF Hub) is an open-source machine learning library and online repository that provides TensorFlow model components, called modules. It is maintained by Google as part of the TensorFlow ecosystem and allows developers to discover, publish, and reuse pretrained models for tasks such as computer vision, natural language processing, and transfer learning. == Overview == TensorFlow Hub provides a central platform where developers and researchers can access pre-trained models and integrate them directly into TensorFlow workflows. Each module encapsulates a computation graph and its trained weights, with standardized input and output signatures. Modules can be loaded using the hub.load() function or through Keras integration via hub.KerasLayer, enabling users to perform transfer learning or feature extraction. == History == TensorFlow Hub was announced by Google in March 2018, with the first public version released shortly after. Its introduction coincided with the growing adoption of transfer learning techniques and the need for standardized model packaging. Over time, the hub expanded to include models such as the BERT family, MobileNet, EfficientNet, and the Universal Sentence Encoder. In 2020, research on “Regret selection in TensorFlow Hub” explored the problem of identifying optimal models for downstream tasks given a large repository of alternatives. == Applications == TensorFlow Hub hosts a variety of models across machine learning domains: Natural language processing: BERT, ALBERT language model, and Universal Sentence Encoder. Computer vision: ResNet, Inception (deep learning), MobileNet, EfficientNet. Speech and audio: spectrogram feature extractors and automatic speech recognition models. Multilingual embeddings: cross-lingual and sentence-level representations for machine translation and semantic similarity. Modules are widely used in education, academic research, and industry for prototyping and production deployment.
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Far-Play

Far-Play (stylized fAR-Play, from augmented reality) was a software platform developed at the University of Alberta, for creating location-based, scavenger-hunt style games which use the GPS and web-connectivity features of a player's smartphone. According to the development team, "our long-term objective is to develop a general framework that supports the implementation of AARGs that are fun to play and also educational". It utilizes Layar, an augmented reality smartphone application, QR codes located at particular real-world sites, or a phone's web browser, to facilitate games which require players to be in close physical proximity to predefined "nodes". A node, referred to by the developers as a Virtual Point of Interest (vPOI), is a point in space defined by a set of map coordinates; fAR-Play uses the GPS function of a player's smartphone — or, for indoor games, which are not easily tracked by GPS satellites, specially-created QR codes— to confirm that they are adequately near a given node. Once a player is within a node's proximity, Layar's various augmented reality features can be utilized to display a range of extra content overlaid upon the physical play-space or launch another application for extra functionality. == Development and features == fAR-Play began development in 2008, emerging from a collaborative project undertaken by a group of University of Alberta students from the Computer Science and Humanities Computing departments. fAR-Play is still under development, but a beta version is available for testing by request. fAR-Play's development is managed by a team of interdisciplinary professors and students at the University of Alberta. Currently, the developing team's roster includes Supervising Professors Geoffrey Rockwell and Eleni Stroulia, Developers Lucio Gutierrez and Matthew Delaney, and Website Developers Calen Henry and Garry Wong. === Technology === fAR-Play relies on a number of open- and closed-source web technologies as tools to create, and enhance the users' experience. Layar is the recommended client-side frontend for delivering game content to the player; it is available on Android and iOS, which covers over 91% of smartphones. While Layar is not a requirement to play fAR-Play games, the application does supply additional augmented reality functionality; Layar also includes a built-in QR scanner. Depending on the design of the particular game, the player may instead use a dedicated QR code scanner; the developers recommend BeeTagg, but any such application will do. Layar or a QR code scanner are the maximum software requirements to play a fAR-Play game, making implementation of games on a wide variety of platforms relatively straightforward. fAR-Play games can also be designed for play strictly within a mobile phone's web browser. On the server side, fAR-Play's engine is composed of an Apache server which manages the system's web interface, including the mobile and desktop versions of the fAR-Play website, and a Java-based REST framework for managing the database of nodes. === Features === As a platform for designing AR games, as opposed to an AR game itself, fAR-Play offers little in the way of explicit shapes or patterns for games to take; instead, these elements are left to the game designer or players to develop. However, the nonspecific nature of nodes, the many options they offer for content delivery, and the open design of the platform are such that these elements can be developed extensively. Functionally, fAR-Play is a tool for tracking arbitrary points in space and a given player's proximity to them; what it does beyond that is up to the developers' and players' discretion. However, the fAR-Play website contains a leaderboard which tracks registered user's total scores. Players are assigned levels based on their total score, ranging from Novice — Super Player. Player profiles will display nodes that the player has recently caught, and any achievements the player has gained. Additionally, players can share their adventure progress, achievements, and the capture of vPOIs on Facebook. == How to play == In order to participate in the locative aspects of fAR-Play games, users must have an Android or iOS mobile device and access to wireless internet. Players can participate in fAR-Play anonymously, or create and sign into a fAR-Play account. Those who choose to play anonymously will lose the ability to track their progress across multiple games. When signed in, the player is presented with a list of games that are currently available for play. Each game includes a brief description and the various "adventures" available to the player. Once the game has been started, the player has three different methods for capturing nodes: they may scan a QR in the physical space, discover a node through the Layar camera virtual view, or receive a link in their device's web browser. === QR codes and Layar === QR codes can only be used as a method for capturing nodes and initiating games when there is a physical code present. In order to scan a QR code, players are required to have an application which can capture and recognize QR codes. If the player is utilizing a QR scanning application that has a built in browser, they will be required to log into fAR-Play through the app. Layar is a free to download augmented reality app, containing a built in QR code scanner, which enables its users to participate in fAR-Play games. === Capturing nodes === Layar permits the player to see nodes on their mobile device, guiding the player to their goal. Using this application, the player is able to navigate to their objective with map provided by Google Maps' API or by using their camera — Layar overlays a virtual image onto the real-world scene presented by the camera. The representations on screen expand in size as the player approaches the node destination, simulating relative distance. If the player taps any of the nodes that are presented on the screen, they will be provided additional information about that node, including the node's name and a brief description. Nodes can be captured by tapping the "capture" button. === Playing on browsers === The player can also play fAR-Play games within their mobile device's browser. By visiting https://archive.today/20131123223038/http://farplay.ualberta.ca/far-play/ on a mobile device, players will be presented with a fully realized user interface, permitting full interaction with the games. The player can capture the in game vPOIs through their browser by tapping the "nodes" button. This will bring up a list of all the accessible nodes, complete with a brief description for each location. By clicking on one of the nodes, the player is shown to a screen with a mapped location of the vPOI, an in-depth description of it, and hints. At the top of the page, the player can tap "CAPTURE THIS NODE" and advance in the game. When attempting to capture a node, the developer may or may not associate a challenge with the node. For example, in the game "Zombies ate my Campus", when players are attempting to capture a node, they're presented with a multiple choice question associated with the current node. === Game types === Players complete an adventure when they have captured all of the nodes within it. fAR-Play provides two game modes: in a Virtual Scavenger Hunt, nodes must be captured in a specific order; in a Virtual Treasure Hunt, the order is unimportant. == Existing fAR-Play games == Games currently available through fAR-Play include: Giselle Ever After Thought Hub Comics Arts Capture Challenge Pioneering Edmonton The Intelliphone Challenge A Tour of Atwater Zombies ate my Campus == For developers == fAR-Play's ultimate goal is to provide a simple, effective platform for the creation of locative augmented reality games, but the developer tools are still under active development and not openly available to the public. Access can be granted on a case-by-case basis, however, and a developer's manual is available. Users with development privileges can create new games or edit their existing games, in addition to playing their own or others' games. === Adventures === Games that are developed with fAR-Play are segmented into components called "Adventures". To progress through each game adventure, the player must reach and capture virtual points of interest, referred to in the game as vPOIs. In order to capture a vPOI, the player must travel to a physical location that is set by the developer. It is the developer's choice to include a challenge question to capture the vPOI, though it is not mandatory. A deduction of points can be implemented if the player submits an incorrect answer to a challenge question. === Points and achievements === Each of the nodes will reward the player with a predetermined number of points once they have been captured by the player. These points are added to the player's total points. Each of the adventures that are created require a predetermined number of vPOIs
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GeForce RTX 50 series

The GeForce RTX 50 series of consumer graphics cards is the successor of Nvidia's GeForce 40 series. Announced at CES 2025, it debuted with the release of the RTX 5070, RTX 5080 and RTX 5090 in January 2025. It is based on Nvidia's Blackwell architecture featuring Nvidia RTX's fourth-generation RT cores for hardware-accelerated real-time ray tracing, and fifth-generation deep learning–focused Tensor Cores. The GPUs are manufactured by TSMC on a custom 4N process node. == Background == In March 2024, Nvidia announced the Blackwell architecture for its datacenter products. Like Ampere, the architecture is shared by consumer and datacenter products rather than having distinct architectures released simultaneously like Ada Lovelace for consumers and Hopper for datacenter. At the Game Awards in December 2024, a cinematic trailer for The Witcher IV was shown that had been pre-rendered on an "unannounced Nvidia GeForce RTX GPU". This was assumed to be an upcoming GeForce RTX 50 series GPU. Following the RTX 50 series announcement, Nvidia confirmed that the trailer was "pre-rendered in Unreal Engine 5 on a GeForce RTX 5090". Later in the same month, it was reported that Nvidia had begun stockpiling GeForce RTX 50 series units in U.S. warehouses due to a threatened 10% import tariff and 60% tariff on Chinese imports that Donald Trump promised in his re-election campaign. === Announcement === On January 6, 2025, the GeForce RTX 50 series was officially announced for desktop and mobile devices during Nvidia's CES keynote in Las Vegas. The pricing announcement was met with surprise as the RTX 5080 at $999 was the same price that the RTX 4080 Super released at a year earlier despite the anticipated price increases. Nvidia CEO Jensen Huang falsely claimed that the RTX 5070 could reach "RTX 4090 performance at $549", a figure that relies on the use of DLSS 4 upscaling and Multi Frame generation, and is not an indication of raw performance. == Features == === Blackwell architecture === The GeForce RTX 50 series is powered by the Blackwell microarchitecture, which continues Ada Lovelace's emphasis on high graphics frequencies and large L2 caches. The Blackwell architecture introduces Nvidia RTX's fourth-generation RT cores for hardware-accelerated real-time ray tracing and fifth-generation Tensor Cores for AI compute and performing floating-point calculations. === GDDR7 === RTX 50 series GPUs are the first consumer GPUs to feature GDDR7 video memory for greater memory bandwidth over the same bus width compared to the GDDR6 and GDDR6X memory used in the GeForce 40 series. RTX 50 series desktop GPUs use GDDR7 modules from Samsung due to them being available for validation earlier than modules from SK Hynix and Micron. === 12V-2×6 connector === The GeForce RTX 50 series uses the 16-pin 12V-2×6 connector, which is a revision of the 12VHPWR connector featured on the GeForce 40 series. There were problems with the 12VHPWR connector melting on some RTX 4090 GPUs due to the connector not being fully seated and connector design flaws that did not implement a high enough safety and error tolerance. The 12V-2×6 connector revision, published by PCI-SIG in July 2023, addressed this by shortening the four sense pins so the connector will not push any power if it has not been fully seated. The 12VHPWR design would still draw up to 150W of power even if the sense pins were not making full contact. 12V-2×6 is backwards compatible with existing 12VHPWR cables and adapters. Nvidia has mandated to its AIB partners that the 16-pin 12V-2×6 connector be used on all RTX 50 series designs. With the GeForce 40 series, the 12VHPWR connector was only mandated on higher power cards such as the RTX 4070 Super, RTX 4070 Ti, RTX 4070 Ti Super, RTX 4080, RTX 4080 Super and RTX 4090 while RTX 4060, RTX 4060 Ti and RTX 4070 AIB designs had the option of using 8-pin PCIe connectors. The 600W-capable 12VHPWR connector would not have been necessary on sub-200W cards. === DLSS 4 === The fourth generation of Deep Learning Super Sampling (DLSS) was unveiled alongside the RTX 50 series. DLSS 4 upscaling uses a new vision transformer-based model for enhanced image quality with reduced ghosting and greater image stability in motion compared to the previous convolutional neural network (CNN) model. DLSS 4 also allows a greater number of frames to be generated and interpolated based on a single traditionally rendered frame. This form of frame generation called Multi Frame Generation is exclusive to the RTX 50 series while the GeForce 40 series is limited to one interpolated frame per traditionally rendered frame. Nvidia claims that DLSS 4's frame generation model uses 30% less video memory with the example of Warhammer 40,000: Darktide using 400 MB less memory at 4K resolution with frame generation enabled. Nvidia claims that 75 titles will integrate DLSS 4 Multi Frame Generation at launch, including Alan Wake 2, Cyberpunk 2077, Indiana Jones and the Great Circle, and Star Wars Outlaws. === Media Engine and I/O === The RTX 50 series includes DisplayPort 2.1b UHBR20 (80Gbps) with higher display output data rates to support high resolution and high refresh rate displays. The GeForce 40 series received criticism for only including DisplayPort 1.4a (32Gbps) while the competing Radeon RX 7000 series included DisplayPort 2.1 UHBR13.5 (54Gbps). At CES 2025, VESA announced a collaboration with Nvidia on the new DP80LL ("low loss") UHBR20 active cable standard. DP80LL allows for 80Gbps DisplayPort 2.1 cables up to 3 meters long as passive DP80 cables are limited in length due to signal integrity concerns. The RTX 50 series introduces the ninth-generation NVENC encoder and sixth-generation NVDEC video decoder. For the first time in a consumer GeForce GPU, encoding and decoding video in the 4:2:2 color format for professional-grade higher color depth is supported. == List of GPUs == === Desktop === GeForce RTX 50 series desktop GPUs are the second consumer GPUs to utilize a PCIe 5.0 interface and the first to feature GDDR7 video memory (except for the entry level RTX 5050 that still uses GDDR6). They are fabricated by TSMC using a custom 5 nm process dubbed 4N. === Mobile === Laptops featuring GeForce RTX 50 series laptop GPUs were shown at CES 2025. Laptops with RTX 50 series GPUs were paired with Intel's Arrow Lake-HX and AMD's Strix Point and Fire Range CPUs. Nvidia claims that Blackwell architecture's new Max-Q features can increase battery life by up to 40% over GeForce 40 series laptops. For example, Advanced Power Gating saves power by turning off areas of the GPU that are unused and the paired GDDR7 memory can run in an "ultra" low-voltage state. Initial RTX 50 series laptops will become available in March 2025 starting at $1,299. == Controversies == === 12V-2x6 power connector issue === The 12V-2x6 connector used by multiple 5090 cards faces criticism due to a design flaw that can potentially cause the connector to melt. The flaw primarily affect Nvidia's own RTX 5090 FE and RTX 5080 FE cards and are similar to the failures seen on the RTX 40 series but models by third party OEMs have been affected as well. === Availability and pricing === The releases of the RTX 5090, 5080 and 5070 Ti were marked by severe availability issues and pricing well above MSRP. Pricing became an issue again at the end of 2025 due to an ongoing memory supply shortage. Nvidia has been rumored to cut production of 16GB VRAM cards, affecting the availability of the RTX 5060 Ti 16GB and RTX 5070 Ti SKUs. === 32-bit support removal for CUDA, OpenCL, and GPU PhysX === Support for 32-bit OpenCL, and CUDA applications (and as a result 32-bit GPU-accelerated PhysX), was dropped for the GeForce RTX 50 series, which resulted in several applications encountering performance issues with GPU PhysX options or not being able to run at all, causing negative reactions from numerous gaming communities. On December 4, 2025, with the release of driver version 591.44, 32-bit GPU-accelerated PhysX support was restored for certain games. Support for more games was promised in the future. === Incomplete dies and missing ROPs === The dies of certain RTX 5090/5090D, 5080, and 5070 Ti cards were missing eight render output units (ROPs), resulting in slower graphics while pure compute and AI workloads are unaffected. Nvidia claimed that less than 0.5% of cards are affected and that the "production anomaly" has been rectified. === Black screen issues === Some RTX 5080 and 5090 users reported an issue where the system would boot into a black screen after installing Nvidia drivers. Nvidia confirmed the issue and said that a new driver update would fix it for people who hadn't received a VBIOS update yet. Released on February 27, 2025 Nvidia drivers version 572.60 claim to have fixed the issue. Nvidia has since released multiple hotfix and Game Ready drivers that contain additional fixes for the issue. === Windows driver branch quality and stabilit
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Watcher Entertainment

Watcher Entertainment is an American digital media and entertainment company, founded by Steven Lim, Shane Madej, and Ryan Bergara. The channel features a variety of comedy, paranormal, gaming, cooking, and educational shows – typically hosted by Madej and Bergara. The Watcher main channel has over 400 million views and 2.9 million subscribers. The company launched their own streaming service, WatcherTV, in 2024. == History == === Buzzfeed and the creation of Watcher Entertainment (2019) === Madej, Bergara, and Lim met while working at the digital media company BuzzFeed. Madej and Bergara were co-hosts of the popular true crime and paranormal series Buzzfeed Unsolved and Lim was the creator and co-host of the popular internet food series Worth It. Both shows generated a combined 2 billion views with 15 billion minutes watched, making them two of the most successful shows on Buzzfeed. In 2019, Madej, Bergara, and Lim quit Buzzfeed as full-time employees. They each stayed on as contracted employees to complete their respective shows. The trio credited their departure to their desire to found a company with more "creative opportunities" and the ability to have "actual ownership of the content" made. The company is majority-owned by the trio. They received funding from Neuro, a caffeinated energy gum company; Boba Guys, a bubble-milk tea chain; and Steve Chen, a YouTube co-founder. Watcher Entertainment gained its name from the infamous true crime case of The Westfield Watcher, which Madej and Bergara had covered in a Buzzfeed Unsolved episode. The trio began the company as co-CEOs; however, Bergara and Madej stepped down from the role in 2023 to focus on content creation. === Watcher Entertainment (2020–present) === Watcher Entertainment was launched in January 2020. The company debuted with seven series and a weekly interactive talk show: Homemade, Grocery Run, Weird Wonderful World, Puppet History, Tourist Trapped, Top 5 Beatdown, Spooky Small Talk, and Watcher Weekly. The channel reached over 300,000 subscribers within the first month of launching. They were signed by talent agency CAA in the same year. Puppet History, a comedy educational game show, quickly became a success and gained a significant audience. The show, which stars Madej as a fluffy blue puppet, has spanned seven seasons and led to the creation of a variety of merchandise. It has featured a variety of guest stars on every episode, including other former Buzzfeed employees. The company premiered its first horror series in July 2020 with Are You Scared?. Following the end of Buzzfeed Unsolved: Supernatural in 2021, the studio premiered its highly anticipated successor, Ghost Files, just months after. The show followed a similar format, with Bergara and Madej investigating reportedly haunted locations and attempting to find evidence of the paranormal. The show had significant success, with critics noting the improved production value and design from its predecessor. In 2023, Bergara and Madej went on a tour across the United States to premiere episodes of the second season. The series was renewed for a third season, which they premiered with a United Kingdom tour in 2024. That year, Watcher premiered a light-hearted successor to the graphic Buzzfeed Unsolved: True Crime, with Mystery Files. In this rendition, Bergara or Madej present unusual crime or supernatural mysteries with a collection of theoretical solutions. The show was met with great success by audiences and was quickly renewed for a second season. Watcher launched a second channel, 'WatcherPodcasts,' in October 2023. The channel features podcasts hosted by Lim, Bergara, and Madej. On April 19, 2024, the company launched its Watcher streaming service. Going forward, all of their content would be released exclusively on the service and the company planned to transition away from YouTube. This announcement was met with overwhelmingly negative reactions from their fans, with many calling for the company to reverse the decision. Additionally, their YouTube channel lost over 50,000 subscribers in the day following the announcement. On April 22, 2024, the company issued an apology and changed their decision, stating that episodes would instead be released on the streaming service a month before their premiere on YouTube. In May 2025, the channel 'Andrew, Steven, and Adam' was launched as a subsidiary of Watcher with the release of the second season of Travel Season. Travel Season is a spiritual successor to Worth It with the same cast of Lim, Andrew Ilnyckyj, and Adam Bianchi. The channel focuses on food reviews and the behind of the scenes of making it. The main channel is now set to be focused primarily on horror, creepy, and paranormal content. == Channels and shows == === Watcher === ==== Current shows ==== Puppet History (2020–present) A whimsical puppet host walks through history's wildest tales as two guests compete for the title of history wizard. Making Watcher (2020–present) What happens when 3 creators with no business experience decide to make their own company? A multi-series documentary on the journey of creating Watcher Entertainment. Weird Wonderful World (2020–present) Curious pals Madej and Bergara explore lesser-known destinations and the fascinating subcultures within them. Too Many Spirits (2020–present) Bergara and Madej read and rate audience-submitted ghost stories, while getting progressively more tipsy drinking cocktails prepared by Steven and Ricky Wang. Top 5 Beatdown (2020–present) Bergara and Madej compare asinine top 5 lists with a topical expert, inspiring surprisingly heated debate. Are You Scared? (2020–2022, 2024–present) Bergara reads the internet's scariest stories (some true, some false) to his pal Madej as they try to figure out if the story is experienced or imagined. Ghost Files (2021–present) Bergara and Madej investigate haunted locations to discover whether something paranormal really lies within. Mystery Files (2023–present) Bergara and Madej present unusual crime or supernatural mysteries with a collection of theoretical solutions. Survival Mode (2023–present) Bergara and Madej play a variety of horror games and give a spooky review. ==== Former shows ==== Grocery Run (2020) Madej interviews a celeb on their typical grocery run, before returning to their home to help prepare their signature dish. Homemade (2020) Lim examines popular food by comparing an elevated restaurant experience vs. a home-cooked experience. Spooky Small Talk (2020) Bergara interviews celebs in a haunted house, exposing their fears and if they can manage it, a little about themselves too. Social Distancing D&D (2020) Socially Distance along with the motley gang of Watchers as they embark on a great quest of Dungeons and Dragons! Tourist Trapped (2020) Begara and Madej battle for tour guide supremacy, highlighting the two sides of a city, tourist attractions and hidden gems. Watcher Weekly (2020–2021) Lim, Bergara, and Madej chat the week's content and answer questions, with the occasional musical guest! Dish Granted (2021–2022) A show where host and amateur home cook Lim attempts to create the most extravagant dishes for his friends. Pretty Historic (2022) Selorm and guests explore beauty and fashion trends from history, try them, and decide whether the trends should remain in the past or come to the present. Worth a Shot (2022–2023) Take a seat at a Master Mixologist's bar as pro Ricky Wang crafts the unbelievable into a digestible drink for his guests. === Watcher Podcast === ==== Current shows ==== Get Scared with Shane, Ryan, and Steven (2023–2025) Previously named 'Pod Watcher' Madej, Bergara, and Lim host a weekly podcasts, exploring a variety of topics and answering viewer questions. Guests occasionally appear to replace one host. Matt Real serves as the producer and a fourth voice for the podcast. For Your Amusement (2023–present) Bergara explores a variety of topics surrounding theme parks. === Andrew, Steven, and Adam === Travel Season (2024–present) Lim reunites with Worth It costars Andrew Ilnyckyj and Adam Bianchi in a new food review show. == Awards and nominations ==
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Software bot

A software bot is a type of software agent in the service of software project management and software engineering. A software bot has an identity and potentially personified aspects in order to serve their stakeholders. Software bots often compose software services and provide an alternative user interface, which is sometimes, but not necessarily conversational. Software bots are typically used to execute tasks, suggest actions, engage in dialogue, and promote social and cultural aspects of a software project. The term bot is derived from robot. However, robots act in the physical world and software bots act only in digital spaces. Some software bots are designed and behave as chatbots, but not all chatbots are software bots. Discussions about the past and future of software bots show that software bots have been adopted for many years. == Usage == Software bots are used to support development activities, such as communication among software developers and automation of repetitive tasks. Software bots have been adopted by several communities related to software development, such as open-source communities on GitHub and Stack Overflow. GitHub bots have user accounts and can open, close, or comment on pull requests and issues. GitHub bots have been used to assign reviewers, ask contributors to sign the Contributor License Agreement, report continuous integration failures, review code and pull requests, welcome newcomers, run automated tests, merge pull requests, fix bugs and vulnerabilities, etc. The Slack tool includes an API for developing software bots. There are slack bots for keeping track of todo lists, coordinating standup meetings, and managing support tickets. The ChatBot company products further simplify the process of creating a custom Slack bot. On Wikipedia, Wikipedia bots automate a variety of tasks, such as creating stub articles, consistently updating the format of multiple articles, and so on. Bots like ClueBot NG are capable of recognizing vandalism and automatically remove disruptive content. == Taxonomies and Classification Frameworks == Lebeuf et al. provide a faceted taxonomy to characterize bots based on a literature review. It is composed of 3 main facets: (i) properties of the environment that the bot was created in; (ii) intrinsic properties of the bot itself; and (iii) the bot's interactions within its environment. They further detail the facets into sets of sub-facets under each of the main facets. Paikari and van der Hoek defined a set of dimensions to enable comparison of software bots, applied specifically to chatbots. It resulted in six dimensions: Type: the main purpose of the bot (information, collaboration, or automation) Direction of the "conversation" (input, output, or bi-directional) Guidance (human-mediated, or autonomous) Predictability (deterministic, or evolving) Interaction style (dull, alternate vocabulary, relationship-builder, human-like) Communication channel (text, voice, or both) Erlenhov et al. raised the question of the difference between a bot and simple automation, since much research done in the name of software bots uses the term bot to describe various different tools and sometimes things are "just" plain old development tools. After interviewing and surveying over 100 developers the authors found that not one, but three definitions dominated the community. They created three personas based on these definitions and the difference between what the three personas see as being a bot is mainly the association with a different set of human-like traits. The chat bot persona (Charlie) primarily thinks of bots as tools that communicates with the developer through a natural language interface (typically voice or chat), and caring little about what tasks the bot is used for or how it actually implements these tasks. The autonomous bot persona (Alex) thinks of bots as tools that work on their own (without requiring much input from a developer) on a task that would normally be done by a human. The smart bot persona (Sam) separates bots and plain old development tools through how smart (technically sophisticated) a tool is. Sam cares less about how the tool communicates, but more about if it is unusually good or adaptive at executing a task. The authors recommends that people doing research or writing about bots try to put their work in the context of one of the personas since the personas have different expectations and problems with the tools. == Example of notable bots == Dependabot and Renovatebot update software dependencies and detect vulnerabilities. (https://dependabot.com/) Probot is an organization that create and maintain bots for GitHub. The example bots using Probot are the following. Auto Assign (https://probot.github.io/apps/auto-assign/) license bot (https://probot.github.io/) Sentiment bot (https://probot.github.io/apps/sentiment-bot/) Untrivializer bot (https://probot.github.io/apps/untrivializer/) Refactoring-Bot (Refactoring-Bot): provides refactoring based on static code analysis Looks good to me bot (LGTM) is a Semmle product that inspects pull requests on GitHub for code style and unsafe code practices. == Issues and threats == Software bots may not be well accepted by humans. A study from the University of Antwerp has compared how developers active on Stack Overflow perceive answers generated by software bots. They find that developers perceive the quality of software bot-generated answers to be significantly worse if the identity of the software bot is made apparent. By contrast, answers from software bots with human-like identity were better received. In practice, when software bots are used on platforms like GitHub or Wikipedia, their username makes it clear that they are bots, e.g., DependaBot, RenovateBot, DatBot, SineBot. Bots may be subject to special rules. For instance, the GitHub terms of service does not allow 'bots' but accepts 'machine account', where a 'machine account' has two properties: 1) a human takes full responsibility of the bot's actions 2) it cannot create other accounts.
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Paperless society

A paperless society is a society in which paper communication (written documents, email, letters, etc.) is replaced by electronic communication and storage. The concept was first introduced by Frederick Wilfrid Lancaster in 1978. Furthermore, libraries would no longer be needed to handle printed documents. "Librarians will, in time, become information specialists in a deinstitutionalized setting". Lancaster also stated that both computers and libraries will not always give us the information that other people and living life will. == Literature == Brodman, E. (1979). Review of Toward Paperless Information Systems. Bulletin of the Medical Library Association, 67(4), 437–439. Buckland, M. K. (1980). Review of Toward Paperless Information Systems. Journal of Academic Librarianship, 5(6), 349. Grosch, A. (1979). Review of Toward Paperless Information Systems. College & Research Libraries, 40(1), 88–89. Kohl, D. F. (2004). From the editor . . . The paperless society . . . Not quite yet. Journal of Academic Librarianship, 30(3), 177–178. Lancaster, F. W. (1978a). Toward paperless information systems. New York: Academic Press. Lancaster, F. W. (1980b). The future of the librarian lies outside of the library. Catholic Library World, 51, 388–391. Lancaster, F. W. (1982a). Libraries and librarians in an age of electronics. Arlington, VA: Information Resources Press. Lancaster, F. W. (1982b). The evolving paperless society and its implications for libraries. International Forum on Information and Documentation, 7(4), 3–10. Lancaster, F. W. (1983). Future librarianship: Preparing for an unconventional career. Wilson Library Bulletin, 57, 747–753. Lancaster, F. W. (1985). The paperless society revisited. American Libraries, 16, 553–555. Lancaster, F. W. (1993). Libraries and the future: Essays on the library in the twenty-first century. New York: Haworth Press. Lancaster, F. W. (1999). Second thoughts on the paperless society. Library Journal, 124(15), 48– 50. Lancaster, F. W., & Smith, L. C. (1980c). On-Line systems in the communication process: Projections. Journal of the American Society for Information Science, 31(3), 193–200. Miall, D. S. (2001). The library versus the Internet: Literary studies under siege? Proceedings of the Modern Language Association, 116(5), 1405–1414. Salton, G. (1979). Review of Toward Paperless Information Systems. Journal of Documentation, 35(3), 250–252. Sellen, A. J., & Harper, R. H. R. (2003). The myth of the paperless office. Cambridge, MA: MIT Press. Stevens, N. D. (2006). The fully electronic academic library. College & Research Libraries, 67(1),5–14. Young, Arthur P. (2008).Aftermath of a Prediction: F. W. Lancaster and the Paperless Society LIBRARY TRENDS, 56(4),(“The Evaluation and Transformation of Information Systems: Essays Honoring the Legacy of F. W. Lancaster,” edited by Lorraine J. Haricombe and Keith Russell), pp. 843–858.
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Open Media Framework Interchange

Open Media Format (OMF), Open Media Framework, or Open Media Framework Interchange (OMFI), is a platform-independent file format intended for transfer of digital media between different software applications. OMFI is a file format that aids in exchange of digital media across applications and platforms. This framework enables users to import media elements and to edit information and effects summaries. Sequential media representation is the primary concern that is addressed by this format. The primary objective of OMFI is video production. However, there are a number of additional features which can be listed as follows: The origin of the data can be easily backtracked or identified since the import material is in the form of a videotape or film. There are predefined effects and transitions, which paves the way for easy and quick overlapping and sequencing of various track. The format supports motion control. (i.e. enabling a particular segment to play at a ratio of the speed of another segment) Some of the key benefits of OMFI are: It saves time by getting rid of tape-based file transfers. It brings in flexibility owing to its ability to use a number of applications on multiple workstations. The format preserves the best sound and picture quality during all imports. It eliminates the risk of file formatting and incompatibilities, which in turn allows users to spend their productive time on the creative aspects of their work. It preserves the formatting information during file transfers between applications or workstations. Hence, the need for rebuilding the effects and sequences is eliminated. The OMFI format consists of four primary sections namely Header, Object data, Object dictionary and Track data. The header contains an index of all the segments that constitute the file.
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Digital Cinema Initiatives

Digital Cinema Initiatives, LLC (DCI) is a consortium of major motion picture studios, formed to establish specifications for a common systems architecture for digital cinema systems. The organization was formed in March 2002 by Metro-Goldwyn-Mayer, Paramount Pictures, Sony Pictures, 20th Century Studios, Universal Studios, Walt Disney Studios and Warner Bros. Entertainment The primary purpose of DCI is to establish and document specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality. By establishing a common set of content requirements, distributors, studios, exhibitors, d-cinema manufacturers and vendors can be assured of interoperability and compatibility. Because of the relationship of DCI to many of Hollywood's key studios, conformance to DCI's specifications is considered a requirement by software developers or equipment manufacturers targeting the digital cinema market. == Specification == On July 20, 2005, DCI released Version 1.0 of its "Digital Cinema System Specification", commonly referred to as the "DCI Specification". The document describes overall system requirements and specifications for digital cinema. Between March 28, 2006, and March 21, 2007, DCI issued 148 errata to Version 1.0. DCI released Version 1.1 of the DCI Specification on April 12, 2007, incorporating the previous 148 errata into the DCI Specification. On April 15, 2007, at the annual NAB Digital Cinema Summit, DCI announced the new version, as well as some future plans. They released the "Stereoscopic Digital Cinema Addendum" to begin to establish 3-D technical specifications in response to the popularity of 3-D stereoscopic films. It was also announced "which studios would take over the leadership roles in DCI after the current leadership term expires at the end of September." Subsequently, between August 27, 2007, and February 1, 2008, DCI issued 100 errata to Version 1.1. So, DCI released Version 1.2 of the DCI Specification on March 7, 2008, again incorporating the previous 100 errata into the specification document. An additional 96 errata were issued by August 30, 2012, so a revised Version 1.2 incorporating those additional errata was approved on October 10, 2012. DCI approved DCI Specification Version 1.3 on June 27, 2018, integrating the 45 errata issued to the previous version into a new document. On July 20, 2020, fifteen years to the day after Version 1.0, DCI issued a new DCI Specification Version 1.4 that assimilated 29 errata issued since Version 1.3. On October 13, 2021, DCI approved a new DCI Specification Version 1.4.1 that integrated the 23 errata that had been issued to DCI Specification Version 1.4. For the convenience of users, DCI also created an online HTML version of DCI Specification, Version 1.4.1. Due to the HTML conversion process, the footnotes in the DCSS now appear as endnotes. The PDF version contains pagination and page numbers whereas the HTML version does not. DCI Specification Version 1.4.2, dated June 15, 2022, includes revisions and refinements respecting Object-Based Audio Essence (OBAE), also known as Immersive Audio Bitstream (IAB). Version 1.4.2 also implements post-show log record collection utilizing SMPTE 430-17 SMS-OMB Communications Protocol Specification. Additionally, Version 1.4.2 incorporated two prior addenda: the Digital Cinema Object-Based Audio Addendum, dated October 1, 2018 and the Stereoscopic Digital Cinema Addendum, Version 1.0, dated July 11, 2007. Users using Version 1.4.2 no longer need to refer to the separate addenda. Previous DCSS versions are archived on the DCI web site. Based on many SMPTE and ISO standards, such as JPEG 2000-compressed image and "broadcast wave" PCM/WAV sound, the DCI Specification explains the route to create an entire Digital Cinema Package (DCP) from a raw collection of files known as the Digital Cinema Distribution Master (DCDM), as well as the specifics of its content protection, encryption, and forensic marking. The DCI Specification also establishes standards for the decoder requirements and the presentation environment itself, such as ambient light levels, pixel aspect and shape, image luminance, white point chromaticity, and those tolerances to be kept. Even though it specifies what kind of information is required, the DCI Specification does not include specific information about how data within a distribution package is to be formatted. Formatting of this information is defined by the Society of Motion Picture and Television Engineers (SMPTE) digital cinema standards and related documents. == Image and audio capability overview == === 2D image === 2048×1080 (2K) at 24 frame/s or 48 frame/s, or 4096×2160 (4K) at 24 frame/s In 2K, for Scope (2.39:1) presentation 2048×858 pixels of the imager is used In 2K, for Flat (1.85:1) presentation 1998×1080 pixels of the imager is used In 4K, for Scope (2.39:1) presentation 4096×1716 pixels of the imager is used In 4K, for Flat (1.85:1) presentation 3996×2160 pixels of the imager is used 12 bits per color component (36 bits per pixel) via dual HD-SDI (encrypted) 10 bits only permitted for 2K at 48 frame/s CIE XYZ color space, gamma-corrected TIFF 6.0 container format (one file per frame) JPEG 2000 compression From 0 to 5 or from 1 to 6 wavelet decomposition levels for 2K or 4K resolutions, respectively Compression rate of 4.71 bits/pixel (2K @ 24 frame/s), 2.35 bits/pixel (2K @ 48 frame/s), 1.17 bits/pixel (4K @ 24 frame/s) 250 Mbit/s maximum image bit rate === Stereoscopic 3D image === 2048×1080 (2K) at 48 frame/s - 24 frame/s per eye (4096×2160 4K not supported) In 2K, for Scope (2.39:1) presentation 2048×858 pixels of the imager is used In 2K, for Flat (1.85:1) presentation 1998×1080 pixels of the imager is used Optionally, in the HD-SDI link only: 12 bit color, YCxCz 4:2:2 (i.e. chroma subsampling in XYZ space), each eye in separate stream === Audio === 24 bits per sample, 48 kHz or 96 kHz Up to 16 channels WAV container, uncompressed PCM DCI has additionally published a document outlining recommended practice for High Frame Rate digital cinema. This document discloses the following proposed frame rates: 60, 96, and 120 frames per second for 2D at 2K resolution; 48 and 60 for stereoscopic 3D at 2K resolution; 48 and 60 for 2D at 4K resolution. The maximum compressed bit rate for support of all proposed frame rates should be 500 Mbit/s. == Related information == The idea for DCI was originally mooted in late 1999 by Tom McGrath, then COO of Paramount Pictures, who applied to the U.S. Department of Justice for anti-trust waivers to allow the joint cooperation of all seven major motion picture studios. Universal Pictures made one of the first feature-length DCPs created to DCI specifications, using their film Serenity. Although it was not distributed theatrically, it had one public screening on November 7, 2005, at the USC Entertainment Technology Center's Digital Cinema Laboratory in the Pacific Theatre, Hollywood. Inside Man (2006) was Universal's first DCP commercial release, and, in addition to 35mm film distribution, was delivered via hard drive to 20 theatres in the United States along with two trailers. The Academy Film Archive houses the Digital Cinema Initiatives, LLC Collection, which includes film and digital elements from DCI's Standard Evaluation Material (StEM), a 12-minute production shot on 35mm and 65mm film, created for vendors and standards organizations to test and evaluate image compression and digital projection technologies.
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Shader lamps

Shader lamps is a computer graphic technique used to change the appearance of physical objects. The still or moving objects are illuminated, using one or more video projectors, by static or animated texture or video stream. The method was invented at University of North Carolina at Chapel Hill by Ramesh Raskar, Greg Welch, Kok-lim Low and Deepak Bandyopadhyay in 1999 [1] as a follow on to Spatial Augmented Reality [2] also invented at University of North Carolina at Chapel Hill in 1998 by Ramesh Raskar, Greg Welch and Henry Fuchs. A 3D graphic rendering software is typically used to compute the deformation caused by the non perpendicular, non-planar or even complex projection surface. Complex objects (or aggregation of multiple simple objects) create self shadows that must be compensated by using several projectors. The objects are typically replaced by neutral color ones, the projection giving all its visual properties, thus the name shader lamps. The technique can be used to create a sense of invisibility, by rendering transparency. The object is illuminated not by a replacement of its own visual properties, but by the corresponding visual surface placed behind the object as seen from an arbitrary viewing point.
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Glossary of operating systems terms

This page is a glossary of Operating systems terminology. == A == access token: In Microsoft Windows operating systems, an access token contains the security credentials for a login session and identifies the user, the user's groups, the user's privileges, and, in some cases, a particular application. == B == binary semaphore: See semaphore. booting: In computing, booting (also known as booting up) is the initial set of operations that a computer performs after electrical power is switched on or when the computer is reset. This can take tens of seconds and typically involves performing a power-on self-test, locating and initializing peripheral devices, and then finding, loading and starting the operating system. == C == cache: In computer science, a cache is a component that transparently stores data so that future requests for that data can be served faster. The data that is stored within a cache might be values that have been computed earlier or duplicates of original values that are stored elsewhere. cloud: Cloud computing operating systems are recent, and were not mentioned in Gagne's 8th Edition (2009). In contrast, by Gagne's 9th (2012), cloud o/s received 3 pages of coverage (41, 42, 716). Doeppner (2011) mentions them (p. 3), but only to prove that operating systems "are not a solved problem" and that even if the day of the dedicated PC is waning, cloud computing has created an entirely new opportunity for o/s development ala sharing, networks, memory, parallelism, etc. Gagne (2012) adds that in addition to numerous traditional o/s's at cloud warehouses, Virtual machine o/s (VMMs), Eucalyptus, Vware, vCloud Director and others are being developed specifically for cloud management with numerous traditional o/s features (security, threads, file and memory management, guis, etc.) (p. 42). Microsoft's investment in cloud aspects of o/s tend to support that argument. concurrency == D == daemon: Operating systems often start daemons at boot time and serve the function of responding to network requests, hardware activity, or other programs by performing some task. Daemons can also configure hardware (like udevd on some Linux systems), run scheduled tasks (like cron), and perform a variety of other tasks. == E == == F == == G == == H == == I == == J == == K == kernel: In computing, the kernel is a computer program that manages input/output requests from software and translates them into data processing instructions for the central processing unit and other electronic components of a computer. The kernel is a fundamental part of a modern computer's operating system. == L == lock: In computer science, a lock or mutex (from mutual exclusion) is a synchronization mechanism for enforcing limits on access to a resource in an environment where there are many threads of execution. A lock is designed to enforce a mutual exclusion concurrency control policy. == M == mutual exclusion: Mutual exclusion is to allow only one process at a time to access the same critical section (a part of code which accesses the critical resource). This helps prevent race conditions. mutex: See lock. == N == == O == == P == paging daemon: See daemon. process == Q == == R == == S == semaphore: In computer science, particularly in operating systems, a semaphore is a variable or abstract data type that is used for controlling access, by multiple processes, to a common resource in a parallel programming or a multi user environment. == T == thread: In computer science, a thread of execution is the smallest sequence of programmed instructions that can be managed independently by an operating system scheduler. The scheduler itself is a light-weight process. The implementation of threads and processes differs from one operating system to another, but in most cases, a thread is contained inside a process. templating: In an o/s context, templating refers to creating a single virtual machine image as a guest operating system, then saving it as a tool for multiple running virtual machines (Gagne, 2012, p. 716). The technique is used both in virtualization and cloud computing management, and is common in large server warehouses. == U == == V == == W == == Z ==
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1tik

1tik, pronounced Antik (Arabic: أنتيك; lit. "Everything is going well") is a fully Algerian instant messaging, social media and mobile payment app. designed, developed and built locally by the Algerian start-up, INTAJ Digital, with backing from the state-owned company ATM Mobilis (who's the company's main sponsor). It is described as Algeria's first super-app that is entirely designed and built by local developers. == Etymology == The name "1tik" (Arabic: أنتيك) is drawn from the popular Algerian vernacular (Antik), the neologism, which appeared several years ago, means "everything is going well" or "it's all good". == History == 1tik was officially launched and announced the 20th December 2025 by INTAJ Digital's founder Youcef Toulaib and a team of 50 employees, making it the first ever Algerian instant messaging, social media and mobile payment app, rivaling with the growing influence of Yassir in Algeria. it grew in popularity after the presidency of Algeria and several other state-owned companies, medias, and ministries opened official accounts on the app.
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Data plan

A data plan is a subscription plan from a cellular or other mobile service provider to provide internet data and connectivity. == Formatting == Data plans are usually created by a contract between the telecommunications carrier and the user of their service. This contract outlines a maximum amount of usable data, usually highlighted in either megabytes or gigabytes, allotted per month for the user. In most cases companies will allow a user to surpass the amount of data allowed in the contract, however, will have to pay a per-gigabyte fee, ranging anywhere from five to fifteen U.S. dollars. === Popularization of unlimited plans === Unlimited data plans have seen a large increase in usage by consumers since their initial introduction by U.S. network T-Mobile. These plans, instead of setting an overall maximum for the user, have an amount set-up that, when surpassed, will slow the speed of the network for that user. Unlimited plans typically cost significantly more than the traditional shared data plans, which is a major reason that carriers have set large boundaries and fees. The limits imposed on unlimited plans are designed to fight against attempts to misuse the network, such as a DDoS attack, but are more commonly reasoned as a method to increase the number of people that can use one tower simultaneously. === Data speed changes === When a network is near reaching peak capacity data speeds may be slowed down by carriers as part of most major telecom contracts. This, as stated previously, allows for more people to be utilizing one tower, reducing needed capital for the company. Since speed changes are allowed at the company's will, the user has no official guarantee of speed on most major networks. === Costs brought upon by additional data === In many cases both the user and carrier have to incur additional costs when a user utilizes more of a given data package, which has helped in the proliferation of data caps and other forms of shared data plans. Most of the charges that the carrier has to incur for additional data usage is partially or fully given to the user of the network. ==== Users ==== Users are required to pay flat-rate additional fees that occur when they go above the amount of data given to them in their contract, utility, or prepaid plan. The cost per gigabyte of this fee is usually higher than what the contract itself offers, which discourages users from over-utilizing data and incurring a charge for the carrier. Certain contracts, which do not offer paying additional fees for an increase in data, may result in a shutdown of service, or in extremely rare cases, termination of the service as a whole. ==== Carriers ==== Carriers incur costs for additional data usage, as it limits the number of customers, and associated contracts, that they can handle on one network. Creating more cell phone towers in a given area would be costly, and largely useless until particular spikes in traffic. When the peak usable amount of one tower is reached, it may cause negative public relations towards the reliability of the corporation as a whole.
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Parasolid

Parasolid is a geometric modeling kernel originally developed by Shape Data Limited, now owned and developed by Siemens Digital Industries Software. It can be licensed by other companies for use in their 3D computer graphics software products. Parasolid's abilities include model creation and editing utilities such as Boolean modeling operators, feature modeling support, advanced surfacing, thickening and hollowing, blending and filleting, and sheet modeling. It also incorporates modeling with mesh surfaces and lattices. Parasolid also includes tools for direct model editing, including tapering, offsetting, geometry replacement and removing feature details with automated regeneration of surrounding data. Parasolid also provides wide-ranging graphical and rendering support, including hidden-line, wireframe and drafting, tessellation, and model data inquiries. To use Parasolid effectively, software developers need knowledge of CAD in general, computational geometry, and topology. Parasolid is available for Windows (32-bit, 64-bit and AArch64), Linux (64-bit and AArch64), macOS (Apple silicon and Intel), iOS, and Android. == Parasolid XT format == Parasolid parts are normally saved in XT format, which usually has the file extension .X_T. The format is documented and open. There is also a binary version of the format, usually with an .X_B extension, which is somewhat more compact. Both .X_T and .X_B are used for parts files. == Applications == It is used in many computer-aided design (CAD), computer-aided manufacturing (CAM), computer-aided engineering (CAE), product visualization, and CAD data exchange packages. Notable uses include:
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Enterprise social software

Enterprise social software (also known as or regarded as a major component of Enterprise 2.0), comprises social software as used in "enterprise" (business/commercial) contexts. It includes social and networked modifications to corporate intranets and other classic software platforms used by large companies to organize their communication. In contrast to traditional enterprise software, which imposes structure prior to use, enterprise social software tends to encourage use prior to providing structure. Carl Frappaolo and Dan Keldsen defined Enterprise 2.0 in a report written for Association for Information and Image Management (AIIM) as "a system of web-based technologies that provide rapid and agile collaboration, information sharing, emergence and integration capabilities in the extended enterprise". == Applications == === Functionality === Social software for an enterprise must (according to Andrew McAfee, Associate Professor, Harvard Business School) have the following functionality to work well: Search: allowing users to search for other users or content Links: grouping similar users or content together Authoring: including blogs and wikis Tags: allowing users to tag content Extensions: recommendations of users; or content based on profile Signals: allowing people to subscribe to users or content with RSS feeds McAfee recommends installing easy-to-use software which does not impose any rigid structure on users. He envisages an informal roll-out, but on a common platform to enable future collaboration between areas. He also recommends strong and visible managerial support to achieve this. In 2007 Dion Hinchcliffe expanded the list above by adding the following four functions: Freeform function: no barriers to authorship (meaning free from a learning curve or from restrictions) Network-oriented function, requiring web-addressable content in all cases Social function: stressing transparency (to access), diversity (in content and community members) and openness (to structure) Emergence function: requiring the provision of approaches that detect and leverage the collective wisdom of the community Enterprise search differs from a typical web search in its focus on "use within an organization by employees seeking information held internally, in a variety of formats and locations, including databases, document management systems, and other repositories". === Criticism === There has been recent criticism that the adaptation of the social paradigm (e.g. openness and altruistic behavior) does not always work well for the enterprise setting, which led some authors to question the proper functioning of enterprise social software. The findings from a novel study suggests that free and non-anonymous sharing of trusted information (beyond marketing or product information) is significantly influenced by concerns from business users.
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Economía Feminista

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