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  • Blackmagic Design

    Blackmagic Design

    Blackmagic Design Pty Ltd is an Australian company that develops digital cinema technology and manufactures professional video production hardware and software. Headquartered in South Melbourne, it is known for producing high-end digital movie cameras and a range of broadcast and post-production equipment. The company also develops software applications, including the DaVinci Resolve application for non-linear video editing, color correction, color grading, visual effects, and audio post-production. == History == Blackmagic Design Pty Ltd was founded on 7 September 2001 by Grant Petty. Its first product, DeckLink, introduced in 2002, was a video capture card for macOS that supported uncompressed 10-bit video, marking a shift toward professional-grade yet affordable video workflows. Subsequent versions—including the DeckLink 2, Pro SDI, HD Plus, and Multibridge—added capabilities such as color correction, Windows support, and compatibility with major editing software like Adobe Premiere Pro, to broaden the product's appeal. At the 2012 NAB Show, Blackmagic announced its first Cinema Camera, a digital movie camera. Blackmagic made several acquisitions over the next decade. In 2009, it acquired da Vinci Systems, known for its color-grading tools. In 2010, it acquired Echolab's ATEM switcher line, in 2014, it added eyeon Software (developer of the Blackmagic Fusion compositing software) and London's Cintel (film scanning and restoration), and in 2016, it acquired Fairlight, an audio technology company known for its CMI synthesizers as well as mixing consoles. == Products == List of all products developed by the company. Editing, Color Correction and Audio Post Production DaVinci Resolve (free version) and DaVinci Resolve Studio (paid version), computer software for non-linear video editing, color correction, color grading, visual effects, and audio post-production. Audio/Video Controller Consoles: Editor Keyboard, Speed Editor, DaVinci Resolve Replay Editor, Micro Panel, Mini Panel, DaVinci Resolve Micro Color Panel, Advanced Panel, Fairlight Console Channel Fader, Fairlight Console Channel Control, Fairlight Console LCD Monitor, Fairlight Console Audio Editor, Fairlight Desktop Audio Editor, Fairlight Desktop Console, Fairlight Audio Interface Cintel Film Scanner (Generations 1-3) Live Production Home Streaming: ATEM Mini, ATEM Mini Pro/ISO, ATEM Mini Extreme, ATEM Mini Extreme ISO (The ATEM Mini series has both HDMI and SDI variants) Production Switchers: ATEM 1,2 & 4 M/E Constellation HD, ATEM 1,2 & 4 M/E Constellation 4K, ATEM Constellation 8K, ATEM 1,2 & 4 M/E Production Studio 4K, ATEM Television Studio HD8 & HD8 ISO Switcher & Camera Controllers: ATEM Camera Control Panel, ATEM 1 M/E Advanced Panel, ATEM 2 M/E Advanced Panel, ATEM 4 M/E Advanced Panel Chroma Keyers: Ultimatte 12 HD Mini, Ultimatte 12 HD, Ultimatte 12 4K, Ultimatte 12 8K Recording and Storage: HyperDeck Studio HD Mini, HyperDeck Studio HD Plus, HyperDeck Studio HD Plus, HyperDeck Studio 4K Pro, HyperDeck Extreme 8K HDR, HyperDeck Extreme 4K HDR, HyperDeck Extreme Control, HyperDeck Shuttle HD, Duplicator 4K, MultiDock 10G, Video Assist 7" 12G HDR, Video Assist 5" 12G HDR Capture and Playback UltraStudio: 3G, HD Mini, 4K Mini, 4K Extreme 3 DeckLink (PCIe cards): Mini Recorder, Mini Monitor, Mini Monitor 4K, Mini Recorder 4K, Duo 2 Mini, Duo 2, Quad 2, SDI 4K, Studio 4K, 4K Extreme 12G, 8K Pro, Quad HDMI Recorder Network Storage Cloud Store Cloud Pod Broadcast Converters Micro Converter: BiDirectional SDI/HDMI 3G wPSU, HDMI to SDI 3G wPSU, SDI to HDMI 3G wPSU, BiDirectional SDI/HDMI 3G, HDMI to SDI 3G, SDI to HDMI 3G Mini Converters: Audio to SDI, Optical Fiber 12G, SDI Multiplex 4K, Quad SDI to HDMI 4K, SDI Distribution 4K, SDI to Analog 4K, Audio to SDI 4K, SDI to Audio 4K, HDMI to SDI 6G, SDI to HDMI 6G Teranex Mini: SDI Distribution 12G, SDI to HDMI 12G, Audio to SDI 12G, SDI to Analog 12G, SDI to HDMI 8K HDR, SDI to DisplayPort 8K HDR 2110 IP Converters Routing and Distribution Videohub

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  • Supercomputer operating system

    Supercomputer operating system

    A supercomputer operating system is an operating system intended for supercomputers. Since the end of the 20th century, supercomputer operating systems have undergone major transformations, as fundamental changes have occurred in supercomputer architecture. While early operating systems were custom tailored to each supercomputer to gain speed, the trend has been moving away from in-house operating systems and toward some form of Linux, with it running all the supercomputers on the TOP500 list in November 2017. In 2021, top 10 computers run for instance Red Hat Enterprise Linux (RHEL), or some variant of it or other Linux distribution e.g. Ubuntu. Given that modern massively parallel supercomputers typically separate computations from other services by using multiple types of nodes, they usually run different operating systems on different nodes, e.g., using a small and efficient lightweight kernel such as Compute Node Kernel (CNK) or Compute Node Linux (CNL) on compute nodes, but a larger system such as a Linux distribution on server and input/output (I/O) nodes. While in a traditional multi-user computer system job scheduling is in effect a tasking problem for processing and peripheral resources, in a massively parallel system, the job management system needs to manage the allocation of both computational and communication resources, as well as gracefully dealing with inevitable hardware failures when tens of thousands of processors are present. Although most modern supercomputers use the Linux operating system, each manufacturer has made its own specific changes to the Linux distribution they use, and no industry standard exists, partly because the differences in hardware architectures require changes to optimize the operating system to each hardware design. == Context and overview == In the early days of supercomputing, the basic architectural concepts were evolving rapidly, and system software had to follow hardware innovations that usually took rapid turns. In the early systems, operating systems were custom tailored to each supercomputer to gain speed, yet in the rush to develop them, serious software quality challenges surfaced and in many cases the cost and complexity of system software development became as much an issue as that of hardware. In the 1980s the cost for software development at Cray came to equal what they spent on hardware and that trend was partly responsible for a move away from the in-house operating systems to the adaptation of generic software. The first wave in operating system changes came in the mid-1980s, as vendor specific operating systems were abandoned in favor of Unix. Despite early skepticism, this transition proved successful. By the early 1990s, major changes were occurring in supercomputing system software. By this time, the growing use of Unix had begun to change the way system software was viewed. The use of a high level language (C) to implement the operating system, and the reliance on standardized interfaces was in contrast to the assembly language oriented approaches of the past. As hardware vendors adapted Unix to their systems, new and useful features were added to Unix, e.g., fast file systems and tunable process schedulers. However, all the companies that adapted Unix made unique changes to it, rather than collaborating on an industry standard to create "Unix for supercomputers". This was partly because differences in their architectures required these changes to optimize Unix to each architecture. As general purpose operating systems became stable, supercomputers began to borrow and adapt critical system code from them, and relied on the rich set of secondary functions that came with them. However, at the same time the size of the code for general purpose operating systems was growing rapidly. By the time Unix-based code had reached 500,000 lines long, its maintenance and use was a challenge. This resulted in the move to use microkernels which used a minimal set of the operating system functions. Systems such as Mach at Carnegie Mellon University and ChorusOS at INRIA were examples of early microkernels. The separation of the operating system into separate components became necessary as supercomputers developed different types of nodes, e.g., compute nodes versus I/O nodes. Thus modern supercomputers usually run different operating systems on different nodes, e.g., using a small and efficient lightweight kernel such as CNK or CNL on compute nodes, but a larger system such as a Linux-derivative on server and I/O nodes. == Early systems == The CDC 6600, generally considered the first supercomputer in the world, ran the Chippewa Operating System, which was then deployed on various other CDC 6000 series computers. The Chippewa was a rather simple job control oriented system derived from the earlier CDC 3000, but it influenced the later KRONOS and SCOPE systems. The first Cray-1 was delivered to the Los Alamos Lab with no operating system, or any other software. Los Alamos developed the application software for it, and the operating system. The main timesharing system for the Cray 1, the Cray Time Sharing System (CTSS), was then developed at the Livermore Labs as a direct descendant of the Livermore Time Sharing System (LTSS) for the CDC 6600 operating system from twenty years earlier. In developing supercomputers, rising software costs soon became dominant, as evidenced by the 1980s cost for software development at Cray growing to equal their cost for hardware. That trend was partly responsible for a move away from the in-house Cray Operating System to UNICOS system based on Unix. In 1985, the Cray-2 was the first system to ship with the UNICOS operating system. Around the same time, the EOS operating system was developed by ETA Systems for use in their ETA10 supercomputers. Written in Cybil, a Pascal-like language from Control Data Corporation, EOS highlighted the stability problems in developing stable operating systems for supercomputers and eventually a Unix-like system was offered on the same machine. The lessons learned from developing ETA system software included the high level of risk associated with developing a new supercomputer operating system, and the advantages of using Unix with its large extant base of system software libraries. By the middle 1990s, despite the extant investment in older operating systems, the trend was toward the use of Unix-based systems, which also facilitated the use of interactive graphical user interfaces (GUIs) for scientific computing across multiple platforms. The move toward a commodity OS had opponents, who cited the fast pace and focus of Linux development as a major obstacle against adoption. As one author wrote "Linux will likely catch up, but we have large-scale systems now". Nevertheless, that trend continued to gain momentum and by 2005, virtually all supercomputers used some Unix-like OS. These variants of Unix included IBM AIX, the open source Linux system, and other adaptations such as UNICOS from Cray. By the end of the 20th century, Linux was estimated to command the highest share of the supercomputing pie. == Modern approaches == The IBM Blue Gene supercomputer uses the CNK operating system on the compute nodes, but uses a modified Linux-based kernel called I/O Node Kernel (INK) on the I/O nodes. CNK is a lightweight kernel that runs on each node and supports a single application running for a single user on that node. For the sake of efficient operation, the design of CNK was kept simple and minimal, with physical memory being statically mapped and the CNK neither needing nor providing scheduling or context switching. CNK does not even implement file I/O on the compute node, but delegates that to dedicated I/O nodes. However, given that on the Blue Gene multiple compute nodes share a single I/O node, the I/O node operating system does require multi-tasking, hence the selection of the Linux-based operating system. While in traditional multi-user computer systems and early supercomputers, job scheduling was in effect a task scheduling problem for processing and peripheral resources, in a massively parallel system, the job management system needs to manage the allocation of both computational and communication resources. It is essential to tune task scheduling, and the operating system, in different configurations of a supercomputer. A typical parallel job scheduler has a master scheduler which instructs some number of slave schedulers to launch, monitor, and control parallel jobs, and periodically receives reports from them about the status of job progress. Some, but not all supercomputer schedulers attempt to maintain locality of job execution. The PBS Pro scheduler used on the Cray XT3 and Cray XT4 systems does not attempt to optimize locality on its three-dimensional torus interconnect, but simply uses the first available processor. On the other hand, IBM's scheduler on the Blue Gene supercomputers aims to exploit locality a

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  • Digital video recorder

    Digital video recorder

    A digital video recorder (DVR), also referred to as a personal video recorder (PVR) particularly in Canadian and British English, is an electronic device that records video in a digital format to a disk drive, USB flash drive, SD memory card, SSD or other local or networked mass storage device. The term includes set-top boxes (STB) with direct to disk recording, portable media players and TV gateways with recording capability, and digital camcorders. Personal computers can be connected to video capture devices and used as DVRs; in such cases the application software used to record video is an integral part of the DVR. Many DVRs are classified as consumer electronic devices. Similar small devices with built-in (~5 inch diagonal) displays and SSD support may be used for professional film or video production, as these recorders often do not have the limitations that built-in recorders in cameras have, offering wider codec support, the removal of recording time limitations and higher bitrates. == History == In the 1980s, prototype high-definition (HD) digital video recorders were developed by Fujitsu, Hitachi, Sanyo and Canon Inc. In 1985, Hitachi demonstrated a prototype digital video tape recorder (VTR) that used digital recording video tape as storage media to record digital HD video content. In 1987, the first commercial digital video recorder was the Sony DVR-1000, a digital video cassette recorder (VCR) that recorded digital video content on D-1 (Sony) digital video cassettes. === Hard-disk-based DVR === In early 1995, Tektronix introduced the "Profile" series PDR100 Video Disk Recorder, which recorded and played back video stored on hard disk as motion JPEG. In 1996, Sweden's TV4 used the PDR100 extensively in building a new facility in Stockholm, and NBC used PDR100s at the Olympic games in Atlanta Georgia. The Tektronix Profile disk recorder won an Engineering, Science & Technology Emmy Award for "Outstanding Achievement in Engineering Development" at the 1996 Primetime Emmy Awards. In 1997 the U.S. Patent Office granted Tektronix patent 5,642,497 for two claims key to Profile. In 1998, Tektronix introduced two Profile models which were combined VDRs and file servers: the PDR200 and PDR300. The PDR300 stored its compressed video as MPEG-2 (ISO/IEC 13818-2) A working disk-based DVR prototype was developed in 1998 at Stanford University Computer Science department. The DVR design was a chapter of Edward Y. Chang's PhD dissertation, supervised by Professors Hector Garcia-Molina and Jennifer Widom. Two design papers were published at the 1998 VLDB conference, and the 1999 ICDE conference. The prototype was developed in 1998 at Pat Hanrahan's CS488 class: Experiments in Digital Television, and the prototype was demoed to industrial partners including Sony, Intel, and Apple. Consumer digital video recorders ReplayTV and TiVo were launched at the 1999 Consumer Electronics Show in Las Vegas, Nevada. Microsoft also demonstrated a unit with DVR capability, but this did not become available until the end of 1999 for full DVR features in Dish Network's DISHplayer receivers. TiVo shipped their first units on March 31, 1999. ReplayTV won the "Best of Show" award in the video category with Netscape co-founder Marc Andreessen as an early investor and board member, but TiVo was more successful commercially. Ad Age cited Forrester Research as saying that market penetration by the end of 1999 was "less than 100,000". In 2001, Toshiba introduced a combination DVR that allows video recording on both DVD recordable and hard disk drive. Legal action by media companies forced ReplayTV to remove many features such as automatic commercial skip and the sharing of recordings over the Internet, but newer devices have steadily regained these functions while adding complementary abilities, such as recording onto DVDs and programming and remote control facilities using PDAs, networked PCs, and Web browsers. In contrast to VCRs, hard-disk based digital video recorders make "time shifting" more convenient and also allow for functions such as pausing live TV, instant replay, chasing playback (viewing a recording before it has been completed) and skipping over advertising during playback. Many DVRs use the MPEG format for compressing the digital video. Video recording capabilities have become an essential part of the modern set-top box, as TV viewers have wanted to take control of their viewing experiences. As consumers have been able to converge increasing amounts of video content on their set-tops, delivered by traditional 'broadcast' cable, satellite and terrestrial as well as IP networks, the ability to capture programming and view it whenever they want has become a must-have function for many consumers. === DVR tied to video service === At the 1999 CES, Dish Network demonstrated the hardware that would later have DVR capability with the assistance of Microsoft software, which also included access to the WebTV service. By the end of 1999 the Dishplayer had full DVR capabilities and within a year, over 200,000 units were sold. In the UK, digital video recorders are often referred to as "plus boxes" (such as BSKYB's Sky+ and Virgin Media's V+ which integrates an HD capability, and the subscription free Freesat+ and Freeview+). Freeview+ have been around in the UK since the late 2000s, although the platform's first DVR, the Pace Twin, dates to 2002. British Sky Broadcasting marketed a popular combined receiver and DVR as Sky+, now replaced by the Sky Q box. TiVo launched a UK model in 2000, and is no longer supported, except for third party services, and the continuation of TiVo through Virgin Media in 2010. South African based Africa Satellite TV beamer Multichoice recently launched their DVR which is available on their DStv platform. In addition to ReplayTV and TiVo, there are a number of other suppliers of digital terrestrial (DTT) DVRs, including Technicolor SA, Topfield, Fusion, Commscope, Humax, VBox Communications, AC Ryan Playon and Advanced Digital Broadcast (ADB). Many satellite, cable and IPTV companies are incorporating digital video recording functions into their set-top box, such as with DirecTiVo, DISHPlayer/DishDVR, Scientific Atlanta Explorer 8xxx from Time Warner, Total Home DVR from AT&T U-verse, Motorola DCT6412 from Comcast and others, Moxi Media Center by Digeo (available through Charter, Adelphia, Sunflower, Bend Broadband, and soon Comcast and other cable companies), or Sky+. Astro introduced their DVR system, called Astro MAX, which was the first PVR in Malaysia but was phased out two years after its introduction. In the case of digital television, there is no encoding necessary in the DVR since the signal is already a digitally encoded MPEG stream. The digital video recorder simply stores the digital stream directly to disk. Having the broadcaster involved with, and sometimes subsidizing, the design of the DVR can lead to features such as the ability to use interactive TV on recorded shows, pre-loading of programs, or directly recording encrypted digital streams. It can, however, also force the manufacturer to implement non-skippable advertisements and automatically expiring recordings. In the United States, the FCC has ruled that starting on July 1, 2007, consumers will be able to purchase a set-top box from a third-party company, rather than being forced to purchase or rent the set-top box from their cable company. This ruling only applies to "navigation devices", otherwise known as a cable television set-top box, and not to the security functions that control the user's access to the content of the cable operator. The overall net effect on digital video recorders and related technology is unlikely to be substantial as standalone DVRs are currently readily available on the open market. In Europe Free-To-Air and Pay TV TV gateways with multiple tuners have whole house recording capabilities allowing recording of TV programs to Network Attached Storage or attached USB storage, recorded programs are then shared across the home network to tablet, smartphone, PC, Mac, Smart TV. === Introduction of dual tuners === In 2003 many Satellite and Cable providers introduced dual-tuner digital video recorders. In the UK, BSkyB introduced their first PVR Sky+ with dual tuner support in 2001. These machines have two independent tuners within the same receiver. The main use for this feature is the capability to record a live program while watching another live program simultaneously or to record two programs at the same time, possibly while watching a previously recorded one. Kogan.com introduced a dual-tuner PVR in the Australian market allowing free-to-air television to be recorded on a removable hard drive. Some dual-tuner DVRs also have the ability to output to two separate television sets at the same time. The PVR manufactured by UEC (Durban, South Africa) and used by Multichoice and Scientific Atlanta 8300DVB PVR have the ability to view two

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  • Computer aided transceiver

    Computer aided transceiver

    Computer aided transceiver (CAT) is a non-generic serial protocol used by radio amateurs for (remotely) controlling a transceiver radio receiver equipment using a computer. Conventional transmitters are manually controlled and used to transmit voice using buttons, dials, etc. However, advances in electronics have come to market devices that can be controlled by a computer and allow digital modes such as packet radio and also the use of satellite tracking, because it can continuously change the device's frequency according to the Doppler effect. This is done by connecting a Radio receiver and a PC using a CAT interface and a CAT Program Additionally, CAT interfaces can also be used to position tracking antennas, in controllers. As a satellite moves overhead. A CAT interface is a piece of hardware that connects the PC and radio that provides a connection to allows the radio and the PC to communicate with each other. The CAT interface provides the signals to and fro via correct voltage levels and in the case of a Universal Serial Bus (USB) CAT interface it requires a "protocol" for communication but communication itself is down to the radio and the software on the PC. Software that may be called a CAT program allows a radio to be controlled through the PC. Changes made on the radio through user interactions on the CAT Program are (generally) shown on the PC's screen. The functionality of CAT equipment (software & interface) depends on the radio and what features the software writers included in the CAT software. Modern radio systems do have more CAT functionality If you run a logging program that supports CAT, then that software may take advantage of the CAT system by retrieving information from the radio to help fill in log details, such as the frequency that the contact was made. CAT is also useful on many radios where there are many sub-menus in the radios menu system, and many of the sub-menu items can be easily changed via the PC. On many HF radios, the CAT system is also used to program the memories on the radio, but you would need to use appropriate programming software. A CAT interface does not receive or transmit any DATA mode, that is the purpose of a DATA interface. Although, both may be used at the same time with the correct CAT Equipment. DATA modes, and getting audio to and from the PC is the function of a DATA interface. A completely different thing but it is easier and more useful when CAT and DATA are used at the same time. Wouldn't it be nice to have an interface that could operate Frequency-shift keying (FSK), Audio FSK (AFSK), (real) Morse Code (CW), with a CAT interface and its own sound card..... (eg. The DigiMaster Pro3).

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  • Shearlet

    Shearlet

    In applied mathematical analysis, shearlets are a multiscale framework which allows efficient encoding of anisotropic features in multivariate problem classes. Originally, shearlets were introduced in 2006 for the analysis and sparse approximation of functions f ∈ L 2 ( R 2 ) {\displaystyle f\in L^{2}(\mathbb {R} ^{2})} . They are a natural extension of wavelets, to accommodate the fact that multivariate functions are typically governed by anisotropic features such as edges in images, since wavelets, as isotropic objects, are not capable of capturing such phenomena. Shearlets are constructed by parabolic scaling, shearing, and translation applied to a few generating functions. At fine scales, they are essentially supported within skinny and directional ridges following the parabolic scaling law, which reads length² ≈ width. Similar to wavelets, shearlets arise from the affine group and allow a unified treatment of the continuum and digital situation leading to faithful implementations. Although they do not constitute an orthonormal basis for L 2 ( R 2 ) {\displaystyle L^{2}(\mathbb {R} ^{2})} , they still form a frame allowing stable expansions of arbitrary functions f ∈ L 2 ( R 2 ) {\displaystyle f\in L^{2}(\mathbb {R} ^{2})} . One of the most important properties of shearlets is their ability to provide optimally sparse approximations (in the sense of optimality in ) for cartoon-like functions f {\displaystyle f} . In imaging sciences, cartoon-like functions serve as a model for anisotropic features and are compactly supported in [ 0 , 1 ] 2 {\displaystyle [0,1]^{2}} while being C 2 {\displaystyle C^{2}} apart from a closed piecewise C 2 {\displaystyle C^{2}} singularity curve with bounded curvature. The decay rate of the L 2 {\displaystyle L^{2}} -error of the N {\displaystyle N} -term shearlet approximation obtained by taking the N {\displaystyle N} largest coefficients from the shearlet expansion is in fact optimal up to a log-factor: ‖ f − f N ‖ L 2 2 ≤ C N − 2 ( log ⁡ N ) 3 , N → ∞ , {\displaystyle \|f-f_{N}\|_{L^{2}}^{2}\leq CN^{-2}(\log N)^{3},\quad N\to \infty ,} where the constant C {\displaystyle C} depends only on the maximum curvature of the singularity curve and the maximum magnitudes of f {\displaystyle f} , f ′ {\displaystyle f'} and f ″ . {\displaystyle f''.} This approximation rate significantly improves the best N {\displaystyle N} -term approximation rate of wavelets providing only O ( N − 1 ) {\displaystyle O(N^{-1})} for such class of functions. Shearlets are to date the only directional representation system that provides sparse approximation of anisotropic features while providing a unified treatment of the continuum and digital realm that allows faithful implementation. Extensions of shearlet systems to L 2 ( R d ) , d ≥ 2 {\displaystyle L^{2}(\mathbb {R} ^{d}),d\geq 2} are also available. A comprehensive presentation of the theory and applications of shearlets can be found in. == Definition == === Continuous shearlet systems === The construction of continuous shearlet systems is based on parabolic scaling matrices A a = [ a 0 0 a 1 / 2 ] , a > 0 {\displaystyle A_{a}={\begin{bmatrix}a&0\\0&a^{1/2}\end{bmatrix}},\quad a>0} as a means to change the resolution, on shear matrices S s = [ 1 s 0 1 ] , s ∈ R {\displaystyle S_{s}={\begin{bmatrix}1&s\\0&1\end{bmatrix}},\quad s\in \mathbb {R} } as a means to change the orientation, and finally on translations to change the positioning. In comparison to curvelets, shearlets use shearings instead of rotations, the advantage being that the shear operator S s {\displaystyle S_{s}} leaves the integer lattice invariant in case s ∈ Z {\displaystyle s\in \mathbb {Z} } , i.e., S s Z 2 ⊆ Z 2 . {\displaystyle S_{s}\mathbb {Z} ^{2}\subseteq \mathbb {Z} ^{2}.} This indeed allows a unified treatment of the continuum and digital realm, thereby guaranteeing a faithful digital implementation. For ψ ∈ L 2 ( R 2 ) {\displaystyle \psi \in L^{2}(\mathbb {R} ^{2})} the continuous shearlet system generated by ψ {\displaystyle \psi } is then defined as SH c o n t ⁡ ( ψ ) = { ψ a , s , t = a 3 / 4 ψ ( S s A a ( ⋅ − t ) ) ∣ a > 0 , s ∈ R , t ∈ R 2 } , {\displaystyle \operatorname {SH} _{\mathrm {cont} }(\psi )=\{\psi _{a,s,t}=a^{3/4}\psi (S_{s}A_{a}(\cdot -t))\mid a>0,s\in \mathbb {R} ,t\in \mathbb {R} ^{2}\},} and the corresponding continuous shearlet transform is given by the map f ↦ S H ψ f ( a , s , t ) = ⟨ f , ψ a , s , t ⟩ , f ∈ L 2 ( R 2 ) , ( a , s , t ) ∈ R > 0 × R × R 2 . {\displaystyle f\mapsto {\mathcal {SH}}_{\psi }f(a,s,t)=\langle f,\psi _{a,s,t}\rangle ,\quad f\in L^{2}(\mathbb {R} ^{2}),\quad (a,s,t)\in \mathbb {R} _{>0}\times \mathbb {R} \times \mathbb {R} ^{2}.} === Discrete shearlet systems === A discrete version of shearlet systems can be directly obtained from SH c o n t ⁡ ( ψ ) {\displaystyle \operatorname {SH} _{\mathrm {cont} }(\psi )} by discretizing the parameter set R > 0 × R × R 2 . {\displaystyle \mathbb {R} _{>0}\times \mathbb {R} \times \mathbb {R} ^{2}.} There are numerous approaches for this but the most popular one is given by { ( 2 j , k , A 2 j − 1 S k − 1 m ) ∣ j ∈ Z , k ∈ Z , m ∈ Z 2 } ⊆ R > 0 × R × R 2 . {\displaystyle \{(2^{j},k,A_{2^{j}}^{-1}S_{k}^{-1}m)\mid j\in \mathbb {Z} ,k\in \mathbb {Z} ,m\in \mathbb {Z} ^{2}\}\subseteq \mathbb {R} _{>0}\times \mathbb {R} \times \mathbb {R} ^{2}.} From this, the discrete shearlet system associated with the shearlet generator ψ {\displaystyle \psi } is defined by SH ⁡ ( ψ ) = { ψ j , k , m = 2 3 j / 4 ψ ( S k A 2 j ⋅ − m ) ∣ j ∈ Z , k ∈ Z , m ∈ Z 2 } , {\displaystyle \operatorname {SH} (\psi )=\{\psi _{j,k,m}=2^{3j/4}\psi (S_{k}A_{2^{j}}\cdot {}-m)\mid j\in \mathbb {Z} ,k\in \mathbb {Z} ,m\in \mathbb {Z} ^{2}\},} and the associated discrete shearlet transform is defined by f ↦ S H ψ f ( j , k , m ) = ⟨ f , ψ j , k , m ⟩ , f ∈ L 2 ( R 2 ) , ( j , k , m ) ∈ Z × Z × Z 2 . {\displaystyle f\mapsto {\mathcal {SH}}_{\psi }f(j,k,m)=\langle f,\psi _{j,k,m}\rangle ,\quad f\in L^{2}(\mathbb {R} ^{2}),\quad (j,k,m)\in \mathbb {Z} \times \mathbb {Z} \times \mathbb {Z} ^{2}.} == Examples == Let ψ 1 ∈ L 2 ( R ) {\displaystyle \psi _{1}\in L^{2}(\mathbb {R} )} be a function satisfying the discrete Calderón condition, i.e., ∑ j ∈ Z | ψ ^ 1 ( 2 − j ξ ) | 2 = 1 , for a.e. ξ ∈ R , {\displaystyle \sum _{j\in \mathbb {Z} }|{\hat {\psi }}_{1}(2^{-j}\xi )|^{2}=1,{\text{for a.e. }}\xi \in \mathbb {R} ,} with ψ ^ 1 ∈ C ∞ ( R ) {\displaystyle {\hat {\psi }}_{1}\in C^{\infty }(\mathbb {R} )} and supp ⁡ ψ ^ 1 ⊆ [ − 1 2 , − 1 16 ] ∪ [ 1 16 , 1 2 ] , {\displaystyle \operatorname {supp} {\hat {\psi }}_{1}\subseteq [-{\tfrac {1}{2}},-{\tfrac {1}{16}}]\cup [{\tfrac {1}{16}},{\tfrac {1}{2}}],} where ψ ^ 1 {\displaystyle {\hat {\psi }}_{1}} denotes the Fourier transform of ψ 1 . {\displaystyle \psi _{1}.} For instance, one can choose ψ 1 {\displaystyle \psi _{1}} to be a Meyer wavelet. Furthermore, let ψ 2 ∈ L 2 ( R ) {\displaystyle \psi _{2}\in L^{2}(\mathbb {R} )} be such that ψ ^ 2 ∈ C ∞ ( R ) , {\displaystyle {\hat {\psi }}_{2}\in C^{\infty }(\mathbb {R} ),} supp ⁡ ψ ^ 2 ⊆ [ − 1 , 1 ] {\displaystyle \operatorname {supp} {\hat {\psi }}_{2}\subseteq [-1,1]} and ∑ k = − 1 1 | ψ ^ 2 ( ξ + k ) | 2 = 1 , for a.e. ξ ∈ [ − 1 , 1 ] . {\displaystyle \sum _{k=-1}^{1}|{\hat {\psi }}_{2}(\xi +k)|^{2}=1,{\text{for a.e. }}\xi \in \left[-1,1\right].} One typically chooses ψ ^ 2 {\displaystyle {\hat {\psi }}_{2}} to be a smooth bump function. Then ψ ∈ L 2 ( R 2 ) {\displaystyle \psi \in L^{2}(\mathbb {R} ^{2})} given by ψ ^ ( ξ ) = ψ ^ 1 ( ξ 1 ) ψ ^ 2 ( ξ 2 ξ 1 ) , ξ = ( ξ 1 , ξ 2 ) ∈ R 2 , {\displaystyle {\hat {\psi }}(\xi )={\hat {\psi }}_{1}(\xi _{1}){\hat {\psi }}_{2}\left({\tfrac {\xi _{2}}{\xi _{1}}}\right),\quad \xi =(\xi _{1},\xi _{2})\in \mathbb {R} ^{2},} is called a classical shearlet. It can be shown that the corresponding discrete shearlet system SH ⁡ ( ψ ) {\displaystyle \operatorname {SH} (\psi )} constitutes a Parseval frame for L 2 ( R 2 ) {\displaystyle L^{2}(\mathbb {R} ^{2})} consisting of bandlimited functions. Another example are compactly supported shearlet systems, where a compactly supported function ψ ∈ L 2 ( R 2 ) {\displaystyle \psi \in L^{2}(\mathbb {R} ^{2})} can be chosen so that SH ⁡ ( ψ ) {\displaystyle \operatorname {SH} (\psi )} forms a frame for L 2 ( R 2 ) {\displaystyle L^{2}(\mathbb {R} ^{2})} . In this case, all shearlet elements in SH ⁡ ( ψ ) {\displaystyle \operatorname {SH} (\psi )} are compactly supported providing superior spatial localization compared to the classical shearlets, which are bandlimited. Although a compactly supported shearlet system does not generally form a Parseval frame, any function f ∈ L 2 ( R 2 ) {\displaystyle f\in L^{2}(\mathbb {R} ^{2})} can be represented by the shearlet expansion due to its frame property. == Cone-adapted shearlets == One drawback of shearlets defined as above is the directional bias of shearlet elements associated with large shearing parameters. This effect is already r

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  • Amino (app)

    Amino (app)

    Amino was a social media application originally developed by Narvii, Inc. It was originally created by Yin Wang and Ben Anderson in 2010, and then launched as an app in 2012. Amino was acquired by MediaLab AI Inc in January 2021, and the founders are no longer associated with the application. The platform ceased all operations in December 2025. == History == In 2010, Wang and Anderson came up with the idea for a convention-like community while attending an anime convention in Boston, Massachusetts. Later that year, they would release two apps revolving around K-pop and photography that allowed fans of those subjects to chat freely. That same year, Amino was officially released. === Shutdown === In early December 2025, the Amino platform abruptly stopped all operations. Users worldwide lost access to the mobile application and website, with server requests returning connection time-out errors. Parent company MediaLab AI has issued no official statement regarding the cause to date, or declared any possible cause behind it. === Final Message === According to Shawn, a member of Amino support, Amino has ceased operations as of December 19th. The message that was sent out from Shawn reads: "Hey there, Thanks for your message. Amino has ceased operations. As of December 19th, we no longer retain personal data relating to you. Accordingly, we are unable to provide a copy of your data. Kind regards, - Amino Support" This message was sent on January 4th, 2026. This was the final support message sent from the Amino Support mail. == Growth == Amino received 1.65 million dollars of seed funding in 2014, primarily from Union Ventures. Some additional seed investors include Google Ventures, SV Angel, Box Group, and other interested parties. By July 2014, Amino's apps were downloaded 500,000 times. Though only having 15 communities at that time, Amino eventually grew to have 41 communities in September 2015. Amino's apps had been downloaded 13 million times by July 2016. Fandoms had migrated from websites like Facebook and Reddit to Amino, partly because of the app's mobile-native experience. Before 2016, when a user wanted to join a new Amino, they had to download another app for the Amino they wanted to join, with each apps name beginning with "Amino for:". In 2016, Amino Apps launched a centralized portal that hosted every Amino community in one app, meaning users no longer had to download multiple apps. In July of the same year, ACM, an app that allowed users to create their own communities, was launched. This resulted in the number of communities on Amino skyrocketing to over 2.5 million as of June 2018. == Features == The main feature of Amino was communities dedicated to a certain topic that users could join. Users could also chat with other members of a community in three ways: text, voice, or screening room, which allowed users to watch videos together while voice chatting. Other features include polls, blog posts, image posts, wiki entries, stories, and quizzes. In some cases, posts that were very well-made and had been noticed by a community's administration would end up receiving a feature, making it appear on the front page along with other featured content. In 2018, a premium membership option called Amino+ was added. Amino+ comes with additional features such as exclusive stickers, the ability to make stickers, custom chat bubbles, high resolution images, and other perks. Membership can now only be purchased with money. Amino coins can be purchased or earned through enabling ads, watching ad videos, completing activities on the Offer Wall, and playing Lucky Draw when checking in, but are of little use due to the users not being able to buy Amino+ by amino coins anymore. Members can give and receive coins through props. In 2019, Amino introduced six original short-form animated series, labelled "Amino Originals," produced by independent artists from across the internet. ATJ's "Little Red," a re-imagining of Little Red Riding Hood, premiered on November 15, 2019. "Little Red" was joined by five other shows in late December. Sophie Feher's "The Reef," a comedy featuring an aspiring marine biologist meeting a merman, premiered on December 27 alongside "Princely," an LGBT fairy tale created by Matt Bruneau-Richardson of Tiny Siren Animation. "Spaced Out," an alien abduction comedy by Michael Jae, and YouTuber Alex Clark's "Wyndvania II" premiered on December 28. Mysie Pereira's fairy tale "Turned to Stone" and Marcin Pawlowski's "Stranded" premiered on December 29, 2019. == Administration == On each community, there are two types of staff members, these being ‘Leader’ and ‘Curator.’ Leaders are higher rank than curators. Curators are usually the ones who feature posts, or post important announcements for users to see. Curators are able to disable a post or public chat, delete comments or chat threads, manage featured content, manage posts in topic categories, and approve Wiki entries. Leaders have more power than curators. In addition to curator powers, leaders can submit a community to be listed, change the Amino's features, change navigation, alter the community appearance, change the Amino's privacy settings, manage the Amino's join requests, send invites, appoint or demote Curators, strike or ban members, manage flagged content, change users' custom titles, manage topics and wiki categories, and create broadcasts (notifications sent for posts). One leader will have the status of agent. An agent is the primary leader of a community; the person who created the community is automatically agent. An agent has the ability to delete their community as long as it is not too large or too active. An agent can appoint and remove both leaders and curators. Agent status can be transferred voluntarily to another leader, curator, or community member. If an agent is inactive, Team Amino may assist in transferring agent status. == Apps == === Amino Community Manager === Otherwise known as ACM, this application is what users use to create and manage their own community in Amino. This app allows moderators to customize a community's theme, icon, and categories. ACM also allows moderation to customize community descriptions, pick leaders, change language settings, create a tagline for the community, change the home page lay out, alter the side navigation menu, and more. Unlisted communities are able to change their community's title and Amino ID, but this is not an option once a community is listed. A leader can use ACM to submit a request for their community to be listed on the explore page, after which the community will be reviewed by Team Amino for approval. Communities can be deleted on ACM, but only by the agent of that community. == Guidelines == Amino has a set of guidelines that all communities must comply with. Amino does not allow harassment or hate, spam or self-promotion (including promotion of one's own Amino community), sexual/NSFW content, self harm, real graphic/gross content (fictional content is generally acceptable), unsafe/illegal content, or content that violates copyright. Communities are allowed to have additional rules so long as they do not violate Amino's rules. In addition to Amino's rules, users are required to be at least 13 years of age in the U.S. and 16 years of age in European Union countries. While sexual imagery is not allowed in any community and text based sexual content is not allowed in public areas, some private communities are allowed to discuss sexual themes. However, they are not exempt from Amino's rules on NSFW content. If guidelines are broken, a leader may disable content or impose a warning, strike, or ban, depending on the severity of the infringement. A warning is a message informing the user that they have violated a guideline and may face further punishment unless they change their behaviour. A strike will put the user in read-only mode for up to 24 hours; this mode prevents the user from posting, chatting, or interacting with posts in that community. A ban removes the user from the community. Team Amino can separately issue users with strikes or bans across the entire platform. == Controversies == In 2017, organizations in Argentina for the protection of minors reported inappropriate material on the app, ranging from pornography to material promoting suicide to underage users. In 2019, Abilene police in Texas released a statement that sexual predators were using Amino chat rooms to approach minors. In 2020, authorities from the Christian County in the state of Kentucky alerted parents about possible sexual predators on Amino. In 2025, the British Police identified Amino as one of several platforms used by a child exploitation network that had previously extorted minors in different countries in Europe and North America. Several families reported to the National Society for the Prevention of Cruelty to Children that pedophiles were using the app for the purpose of sexual role-playing with minors, c

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  • W3C Device Description Working Group

    W3C Device Description Working Group

    The W3C Device Description Working Group (DDWG), operating as part of the World Wide Web Consortium (W3C) Mobile Web Initiative (MWI), was chartered to "foster the provision and access to device descriptions that can be used in support of Web-enabled applications that provide an appropriate user experience on mobile devices." Mobile devices exhibit the greatest diversity of capabilities, and therefore present the greatest challenge to content adaptation technologies. The group published several documents, including a list of requirements for an interface to a Device Description Repository (DDR) and a standard interface meeting those requirements. The group was rechartered in 2006 to work in public towards the development of the Application Programming Interface (API) for a DDR. Early in 2007, the group launched a wiki and a blog to add to the public mailing list. The group subsequently published a formal vocabulary of core device properties, and an API called the DDR Simple API, which became a W3C Recommendation in December 2008. The group closed at the end of 2008, but with the intention of maintaining the Web pages, blog and wiki through W3C volunteer effort. == Publications == The DDWG published several W3C Working Group Notes and one W3C Recommendation. A W3C WG Note that articulates what the W3C and other organizations are doing or have already done with regard to device information. This document suggests an environment in which these technologies work together to meet the goals of content adaptation. The completed document was published on 31 October 2007. A W3C WG Note describing the ecosystem surrounding creation, maintenance and use of device descriptions. The completed document was published on 31 October 2007. A W3C WG Note describing a set of requirements for a reference repository of device descriptions. The completed document was published on 17 December 2007. A W3C WG Note describing a process to manage contributions to an initial core vocabulary, identification of key device properties, a formal initial core vocabulary and the identification of a maintainer for the core vocabulary. The details were contained in the Working Group Note describing the DDWG Core Vocabulary published on 14 April 2008. A W3C WG Note defining useful grouping and structure patterns in device descriptions. The Device Description Structures document was published as a Working Draft on 5 December 2008. The intention is that this document will be future input to other W3C groups. A W3C Recommendation defining a language-neutral programming interface to a Device Description Repository. The DDR Simple API was published on 5 December 2008. There is the possibility of future publications on the DDWG wiki describing implementations of the API in various languages, including Java, IDL, WSDL, C# etc. Much of the DDWG's material was developed in public via the DDWG Wiki and through their public mailing lists.

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  • Digital Cinema Initiatives

    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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  • POP-11

    POP-11

    POP-11 is a reflective, incrementally compiled programming language with many of the features of an interpreted language. It is the core language of the Poplog programming environment developed originally by the University of Sussex, and recently in the School of Computer Science at the University of Birmingham, which hosts the main Poplog website. POP-11 is an evolution of the language POP-2, developed in Edinburgh University, and features an open stack model (like Forth, among others). It is mainly procedural, but supports declarative language constructs, including a pattern matcher, and is mostly used for research and teaching in artificial intelligence, although it has features sufficient for many other classes of problems. It is often used to introduce symbolic programming techniques to programmers of more conventional languages like Pascal, who find POP syntax more familiar than that of Lisp. One of POP-11's features is that it supports first-class functions. POP-11 is the core language of the Poplog system. The availability of the compiler and compiler subroutines at run-time (a requirement for incremental compiling) gives it the ability to support a far wider range of extensions (including run-time extensions, such as adding new data-types) than would be possible using only a macro facility. This made it possible for (optional) incremental compilers to be added for Prolog, Common Lisp and Standard ML, which could be added as required to support either mixed language development or development in the second language without using any POP-11 constructs. This made it possible for Poplog to be used by teachers, researchers, and developers who were interested in only one of the languages. The most successful product developed in POP-11 was the Clementine data mining system, developed by ISL. After SPSS bought ISL, they renamed Clementine to SPSS Modeler and decided to port it to C++ and Java, and eventually succeeded with great effort, and perhaps some loss of the flexibility provided by the use of an AI language. POP-11 was for a time available only as part of an expensive commercial package (Poplog), but since about 1999 it has been freely available as part of the open-source software version of Poplog, including various added packages and teaching libraries. An online version of ELIZA using POP-11 is available at Birmingham. At the University of Sussex, David Young used POP-11 in combination with C and Fortran to develop a suite of teaching and interactive development tools for image processing and vision, and has made them available in the Popvision extension to Poplog. == Simple code examples == Here is an example of a simple POP-11 program: define Double(Source) -> Result; Source2 -> Result; enddefine; Double(123) => That prints out: 246 This one includes some list processing: define RemoveElementsMatching(Element, Source) -> Result; lvars Index; [[% for Index in Source do unless Index = Element or Index matches Element then Index; endunless; endfor; %]] -> Result; enddefine; RemoveElementsMatching("the", [[the cat sat on the mat]]) => ;;; outputs [[cat sat on mat]] RemoveElementsMatching("the", [[the cat] [sat on] the mat]) => ;;; outputs [[the cat] [sat on] mat] RemoveElementsMatching([[= cat]], [[the cat]] is a [[big cat]]) => ;;; outputs [[is a]] Examples using the POP-11 pattern matcher, which makes it relatively easy for students to learn to develop sophisticated list-processing programs without having to treat patterns as tree structures accessed by 'head' and 'tail' functions (CAR and CDR in Lisp), can be found in the online introductory tutorial. The matcher is at the heart of the SimAgent (sim_agent) toolkit. Some of the powerful features of the toolkit, such as linking pattern variables to inline code variables, would have been very difficult to implement without the incremental compiler facilities.

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  • Digital zombie

    Digital zombie

    A digital zombie is a person so engaged with digital technology or social media they are unable to separate themselves from a persistent online presence. Writing in 2017, University of Sydney researcher Andrew Campbell expressed concerns over whether or not the individual can truly live a full and healthy life while they are preoccupied with the digital world. Other individuals have also begun referencing certain types of behaviour with being a digital zombie. Stefanie Valentic, managing editor of EHS Today, refers to it as people hunting digital creatures through their smartphones in public spaces, always fixed on their phones. The University of Warwick has used the term to argue that further research needs to be done with people who exist in digital form after death to help people grieve their loss. == Modern applications == === Distracted walking === The term digital zombie can refer to a person performing distracted walking, which has been labelled dangerous by the American Academy of Orthopaedic Surgeons. They created the "Digital Deadwalkers" campaign after physicians became aware of the risks associated with walking across intersections and sidewalks while paying attention only to smartphones and not one's surroundings. Also stating that the name is derived from the fact that "they're oblivious to everyone else, so it's like they're dead-walking, sleepwalking." === Living through media === The Department of Sociology, University of Warwick has also identified the term, digital zombie, to refer to an individual who has died but is digitally resurrected, reanimated and socially active. These digital zombies do things in death they did not do when they were alive as they "live" again through a digital self on a digital medium. Dead celebrities sometimes become digital zombies when they are reanimated to appear in commercial advertisements (such as Audrey Hepburn and Bob Monkhouse). Other accidental digital zombies include Tupac Shakur and Michael Jackson who were both digitally resurrected and recreated to perform "live" on stage years after their death. Researchers at the University of Warwick have carried out research into the area of human-computer interaction. in an effort to understand the affect these digital zombies have on grief and bereavement. === Mobile gaming === Writer for EHS Today, Stefanie Valentic, has made observations with the mobile phone video game Pokémon Go, which offers players the experience to hunt and collect digital creatures called Pokémon through their smartphone in real world. Players can be observed simultaneously gazing at their phone while also obliviously walking around their environments looking for Pokémon. Stefanie references these individuals as "digital zombies" since they walk around with no cognition of their surroundings while engaged with their phone. == Health risks == === Heavy use of technology === Research by the University of Sydney has begun looking at how new technology such as digital media and smartphones impact our lives and questioning whether they can create new compulsions and obsessions. The research demonstrates that increased heavy technological use can have negative health consequences similar to drugs, smoking, and alcohol. Marcel O'Gorman, an associate professor of English at the University of Waterloo, has commented on the body of research examining how technology impacts cognition, stating currently that there is no empirical evidence to support any theories that suggest that technology can damage memory and attention span. === Heightened risk to children === Manfred Spitzer, a German psychiatrist, has raised concerns with providing digital devices to children. During the early childhood stage while their brains are rapidly growing, increased exposure to digital devices may deprive them of necessary development required to facilitate brain growth. These concerns are also shared by Korean doctors who believe giving digital devices, like smartphones to children, limits their cognitive development.

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  • Boba liberal

    Boba liberal

    Boba liberal is a term mostly used within the Asian diaspora communities in the West, especially in the United States. It describes someone of East or Southeast Asian descent living in the West who has a shallow, surface-level liberal outlook. It is also occasionally used to describe conservatives who weaponize their East or Southeast Asian identity. The neologism emerged among the Asian American leftist community on Twitter who accused "boba liberals" of only holding their liberal beliefs to appear more white-adjacent by engaging in progressive social movements or viewpoints, while at the same time disregarding and trivializing issues concerning Asians. Mary Chao, writing for The North Jersey Record, said that "Asians call peers boba liberals when they aspire to liberal whiteness." An article in The Yale Herald described it as a term "used to describe the ethnocentric politics of Asian Americans, usually of East Asian descent, who exclusively advocate for issues that benefit themselves, without acknowledging problematic dimensions of their own history and working to support other people of color." The feminist magazine Fem said that "the faces of boba liberalism are Asian Americans that are part of the middle and upper economic class. As a result, boba liberals disregard the negative effects of capitalism because they profit from it. For instance, boba liberals tend to focus on advocating for Asian representation in white spaces, or discussing whether or not wearing chopsticks in one's hair is culture appropriation. These topics are popular within boba liberal circles, all while dialogue regarding inequality, globalization, and racial injustice are purposely neglected." UnHerd notes that conservative Asian Americans have used the term not to critique capitalism, but to "aim at a small but influential group of progressive Asian-American activists who are supposedly selling out other Asians, especially working-class Asians, in order to win brownie points from elite, generally white liberals." MRAsians have similarly used the term to attack Asian American feminists who supported the Black Lives Matter movement. The Asian identity of boba liberals has often been accused of being shallow and superficial. Boba liberals are accused of using surface-level stereotypical Asian traits such as liking boba tea to bolster their Asian credentials. Plan A Magazine, an Asian diaspora magazine, described the film Crazy Rich Asians and the sitcom Fresh Off the Boat as "boba liberal media", calling them the result of "a specific kind of atomized identity politics". Other media outlets have connected the Crazy Rich Asians film to boba liberalism. == Controversy == The term "boba liberal" was coined in 2019 by Vietnamese American Twitter user Redmond (@diaspora_is_red) to analyze a form of Asian American liberalism through a Marxist lens. Redmond has criticized the misappropriation of their neologism by stripping away the Marxist framework by failing to discuss "socialism, communism, the capitalist system, imperialism, and the diaspora bourgeoisie" and conflating "boba liberalism" with the flawed concept of "East Asian privilege". In 2024, Redmond criticized misuse of the term by conservatives and liberals, and said "The term boba liberalism can go away for all I care. It's corny and stale". === United States === One commentator described boba liberals as supporting policies that primarily benefit upper-income Asian-Americans, and not necessarily the Asian-American community as a whole. Therefore, while the word "liberal" is used in the term, it is not mutually exclusive to one specific ideology, as it may also extend to conservative-aligned Asians in some areas, as they would often take advantage of the "model minority" label by defending such measures.

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  • Duck face

    Duck face

    Duck face or duck lips is a photographic pose that is common on profile pictures in social networks. The lips are pressed together as in a pout and the cheeks are typically also sucked in. The pose is usually seen as an attempt to appear alluring, but it can be ironic or an attempt to hide self-conscious embarrassment. == History == Fashion models frequently use exaggerated pouts, and self-portraits with a pouty face go back to Rembrandt. In the 1994 film Four Weddings and a Funeral, one of the lead characters, Henrietta, played by Anna Chancellor, is nicknamed Duckface for her pouty expressions. Ben Stiller mocked models' pouty expressions in 1996 comedy sketches and the 2001 feature film Zoolander. The silly expressions made by his narcissistic character have retroactively been identified as an example of duck face. As social networks became popular, young women frequently made exaggeratedly pouty expressions. This became a major fad by the 2010s, provoking a strong negative reaction among some viewers. OxfordDictionaries.com added "duck face" as a new word in 2014 to their list of current and modern words, but it has not been added to the Oxford English Dictionary. In an animal communication studies of capuchin monkeys, the "duck face" term has been used synonymously with "protruded lip face", which females exhibit in the proceptive phase before mating.

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  • Computer Graphics: Principles and Practice

    Computer Graphics: Principles and Practice

    Computer Graphics: Principles and Practice is a textbook written by James D. Foley, Andries van Dam, Steven K. Feiner, John Hughes, Morgan McGuire, David F. Sklar, and Kurt Akeley and published by Addison–Wesley. First published in 1982 as Fundamentals of Interactive Computer Graphics, it is widely considered a classic standard reference book on the topic of computer graphics. It is sometimes known as the bible of computer graphics (due to its size). == Editions == === First Edition === The first edition, published in 1982 and titled Fundamentals of Interactive Computer Graphics, discussed the SGP library, which was based on ACM's SIGGRAPH CORE 1979 graphics standard, and focused on 2D vector graphics. === Second Edition === The second edition, published 1990, was completely rewritten and covered 2D and 3D raster and vector graphics, user interfaces, geometric modeling, anti-aliasing, advanced rendering algorithms and an introduction to animation. The SGP library was replaced by SRGP (Simple Raster Graphics Package), a library for 2D raster primitives and interaction handling, and SPHIGS (Simple PHIGS), a library for 3D primitives, which were specifically written for the book. === Second Edition in C === In the second edition in C, published in 1995, all examples were converted from Pascal to C. New implementations for the SRGP and SPHIGS graphics packages in C were also provided. === Third Edition === A third edition covering modern GPU architecture was released in July 2013. Examples in the third edition are written in C++, C#, WPF, GLSL, OpenGL, G3D, or pseudocode. == Awards == The book has won a Front Line Award (Hall of Fame) in 1998.

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  • Media preservation

    Media preservation

    Preservation of documents, pictures, recordings, digital content, etc., is a major aspect of archival science. It is also an important consideration for people who are creating time capsules, family history, historical documents, scrapbooks and family trees. Common storage media are not permanent, and there are few reliable methods of preserving documents and pictures for the future. == Paper/prints (photos) == Color negatives and ordinary color prints may fade away to nothing in a relatively short period if not stored and handled properly. This happens even if the negatives and prints are kept in the dark, because ambient light is not the determining factor, but heat and humidity are. The color degradation is the result of the dyes used in the color processes. Because color processing results in a less stable image than traditional black-and-white processing, black-and-white pictures from the 1920s are more likely to survive long-term than color films and photographs from after the middle 20th century. Black-and-white photographic films using silver halide emulsions are the only film types that have proven to last for archival storage. The determining factors for longevity include the film base type, proper processing (develop, stop, fix and wash) and proper storage. Early films used a Cellulose nitrate base which was prone to decomposition and highly flammable. Nitrate film was replaced with acetate-base films. These Cellulose acetate films were later discovered to outgass acids (also referred to as vinegar syndrome). Acetate films were replaced in the early 1980s by polyester film base materials which have been determined to be more stable than film stocks with a nitrate or acetate base. Color prints made on most inkjet printers look very good at first but they have a very short lifespan, measured in months rather than in years. Even prints from commercial photo labs will start to fade in a matter of years if not processed properly and stored in cool, dry environments. == Documents/books == With documents for which the media are not so critical as what the documents contain, the information in documents can be copied by using photocopiers and image scanners. Books and manuscripts can also have their information saved without destruction by using a book scanner. Where the medium itself needs to be preserved, for example if a document is a crayon sketch by a famous artist on paper, a complex process of preservation may be used. Depending on the condition and importance of the item this can include gluing the media onto more stable media, or protective enclosing of the media. Polyester sleeves, acid-free folders, and pH buffered document boxes are common supportive protective enclosures whose selection must match the media's chemical and physical properties. Other considerations in preserving paper/books are: Damaging light, particularly UV light, which fades and destroys media over time by breaking down the molecules. Atmosphere contains small traces of sulfur dioxide and nitric acid which turn media yellow and break the fibers down. Humidity and moisture also aid in the breakdown of media. If there is too much, the document can be attacked by bacteria, and if too little, cellulose material breaks down. Temperature, particularly elevated ones, can destroy some media. Low temperatures can cause the water to form crystals which expands destroying the structure of paper-based documents. == Online photo albums == Although there are many websites that allow the upload of photographs and videos, digital preservation for the long-term is still considered an issue. There is a lack of confidence that such websites are capable of storing data for long periods of time (ex. 50 years) without data degradation or loss. == Optical media - CD, DVD, Blu-ray, M-Disc == Write-once optical media, such as CD-Rs and DVD-Rs, typically contain an organic dye that distinguishes data reading from data writing based on the dye's transparency along the disc. Conventional CDs and DVDs have finite shelf-life due to natural degradation of the dye; the newer M-DISC uses inorganic material technology to produce molded DVDs and Blu-Rays (up to 3-layer 100GB BDXL) with a claimed lifespan of 100-1000 years if stored correctly with most BD & BDXL rated read/writers enabling the higher power mode for the M-Disc format after 2011. The National Archives and Records Administration lists published life expectancies to be 10 or 25 years or more for normal CDs and DVDs and conservative life expectancies to be between 2 and 5 years. Storage environments, such as temperature and humidity, as well as handling conditions such as frequency of media use and compatibility between the recorder and media, affect media shelf-life. Improvements in media storage and migrations to new recording technologies can make certain formats obsolete within their respective lifespan. Technologists have pointed to internet streaming services, where services such as video-on-demand have contributed to the 33 percent decline in DVD sales the past 5 years, as a challenge for digital preservation. == Magnetic media - video cassettes, tapes, hard drives == Magnetic media such as audio and video tape and floppy disks also have limited life spans. Audio and video tapes require specific care and handling to ensure that the recorded information will be preserved. For information that must be preserved indefinitely, periodic transcription from old media to new ones is necessary, not only because the media are unstable but also because the recording technology may become obsolete. Magnetic media also deteriorates naturally with typical shelf lives between 10 and 20 years. Magnetic tape can degrade from binder hydrolysis or magnetic remanence decay. Binder hydrolysis, also known as sticky-shed syndrome, refers to the breakdown of binder, or glue, that holds the magnetic particles to the polyester base of the tape. Tapes which have been stored in hot, humid conditions are particularly vulnerable to this phenomenon and may suffer from accelerated degradation. Severe binder can cause the magnetic material to fall off or sheds from the base, leaving a pile of dust and clear backing. Archivists can bake the tape, which evaporates water molecules on the tape, to temporarily restore the binder before making a copy. Magnetic tape can also be destabilized by magnetic remanence decay, which refers to the weakening of the tape's magnetization over time. This weakens the affected tape's readability, leading to reduced sound clarity and volume or picture hue and contrast. Baking the tape will not restore magnetization. Media at risk include recorded media such as master audio recordings of symphonies and videotape recordings of the news gathered over the last 40 years. Threats to media that must be considered when archiving important record media include accidental erasure, physical loss due to disasters such as fires and floods, and media degradation. Along with the actual media being degraded over the years, the machines that are available to play back or reproduce the audio sources are becoming archaic themselves. Manufacturers and their support (parts, technical updates) for their machines have disappeared throughout the years. Even if the medium is vaulted and archived correctly, the mechanical properties of the machines have deteriorated to the point that they could do more harm than good to the tape being played. Many major film studios are now backing up their libraries by converting them to electronic media files, such as .AIFF or .WAV-based files via digital audio workstations. That way, even if the digital platform manufacturer goes out of business or no longer supports their product, the files can still be played on any common computer. There is a detailed process that must take place previous to the final archival product now that a digital solution is in place. Sample rates and their conversion and reference speed are both critical in this process. In floppy disks, the lubricants inside the plastic jackets of many older floppies promote the decay of the magnetic medium. Also, the alignment of the magnetic particles of the disk substrate may gradually degrade, leading to a loss of formatting and data. Early laser disk media were prone to degradation as the layers of the disk substrate were bonded with an adhesive that was vulnerable to decay and would crumble over time. This would lead the different layers of the disk to peel apart, damaging the pitted data surface and rendering the disk unreadable.

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  • NexDock

    NexDock

    NexDock is a series of lapdock devices (containing a laptop screen, keyboard, trackpad, and battery connected to a phone or other device) sold by Nex Computer LLC. The product can be used with mobile desktop environments, including Samsung DeX and the former Windows Continuum. Critical reception for the series has been mixed, with reviewers praising the concept's utility for mobile productivity while noting hardware limitations and its niche appeal. == History == The first NexDock was introduced in 2016 through a successful Indiegogo campaign. Its development coincided with interest in smartphone-powered desktop interfaces, and it was marketed as a companion for Windows 10 Mobile's Continuum feature. Subsequent models, often launched via Kickstarter, added features like higher-resolution displays, touchscreens, and convertible hinges to adapt to the growing capabilities of smartphones. == Models == === NexDock (Original, 2016) === The first model featured a 14.1-inch 1366x768 display and connected primarily via a mini HDMI port. === NexDock 2 (2019) === This model introduced a 13.3-inch 1080p IPS display and a USB-C port, improvements aimed at better supporting platforms like Samsung DeX. === NexDock Touch (2020) === A touchscreen was added to the 13.3-inch display, allowing for more direct interaction with the connected device's operating system. === NexDock 360 (2021) === This version incorporated a 360-degree hinge, allowing the device to be used in laptop, tablet, tent, or stand modes. === NexDock Wireless (2023) === Wireless display connectivity was the key feature of this model, offering a cable-free connection to compatible phones and computers. === NexDock XL (2023) === The screen size was increased to 15.6 inches. It retained the 360-degree hinge and also offered a version with wireless charging for a connected phone. == Reception == Reviews of NexDock products have been mixed, generally praising the concept while pointing out execution flaws. The devices are often lauded for their utility with Samsung DeX, turning a high-end Samsung phone into a viable portable workstation. A review of the NexDock 2 from ZDNet concluded it was a "great companion for the modern road warrior," and Digital Trends called the original a "no-brainer shell" for expanding a phone's capability. However, reviewers have consistently highlighted hardware limitations. In its review of the NexDock Touch, TechRadar stated that while it was a "compelling package for a very specific niche," the "trackpad and keyboard are a bit of a letdown and the screen could be brighter." This sentiment was echoed in other reviews, with criticism often aimed at the trackpad's performance and feel. A review of the NexDock 2 from Android Authority described the experience as being "janky at times," concluding that the device "delivers on its promise — sort of." A common point across many reviews is that the overall performance is entirely dependent on the power of the connected phone, and the experience is often best suited for light productivity tasks rather than replacing a dedicated laptop.

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