AI Chat List

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

  • Software durability

    Software durability

    In software engineering, software durability means the solution ability of serviceability of software and to meet user's needs for a relatively long time. Software durability is important for user's satisfaction. For a software security to be durable, it must allow an organization to adjust the software to business needs that are constantly evolving, often in impulsive ways. Durability of software depends on four characteristics mainly; i.e. software trustworthiness, Human Trust for Serviceability, software dependability and software usability.

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  • Honeywell JetWave

    Honeywell JetWave

    Honeywell's JetWave is a piece of satellite communications hardware produced by Honeywell that enables global in-flight internet connectivity. Its connectivity is provided using Inmarsat’s GX Aviation network. The JetWave platform is used in business and general aviation, as well as defense and commercial airline users. == History == In 2012, Honeywell announced it would provide Inmarsat with the hardware for its GX Ka-band in-flight connectivity network. The Ka-band (pronounced either "kay-ay band" or "ka band") is a portion of the microwave part of the electromagnetic spectrum defined as frequencies in the range 27.5 to 31 gigahertz (GHz). In satellite communications, the Ka-band allows higher bandwidth communication. In 2017, after five years and more than 180 flight hours and testing, JetWave was launched as part of GX Aviation with Lufthansa Group. Honeywell’s JetWave was the exclusive terminal hardware option for the Inmarsat GX Aviation network; however, the exclusivity clause in that contract has expired. In July 2019, the United States Air Force selected Honeywell’s JetWave satcom system for 70 of its C-17 Globemaster III cargo planes. In December 2019, it was reported that six AirAsia aircraft had been fitted with Inmarsat’s GX Aviation Ka-band connectivity system and is slated to be implemented fleetwide across AirAsia’s Airbus A320 and A330 models in 2020, requiring installation of JetWave atop AirAsia’s fuselages. Today, Honeywell’s JetWave hardware is installed on over 1,000 aircraft worldwide. In August 2021, the Civil Aviation Administration of China approved a validation of Honeywell’s MCS-8420 JetWave satellite connectivity system for Airbus 320 aircraft. In December 2021, Honeywell, SES, and Hughes Network Systems demonstrated multi-orbit high-speed airborne connectivity for military customers using Honeywell’s JetWave MCX terminal with a Hughes HM-series modem, and SES satellites in both medium Earth orbit (MEO) and geostationary orbit (GEO). The tests achieved full duplex data rates of more than 40 megabits per second via a number of SES' (GEO) satellites including GovSat-1, and the high-throughput, low-latency O3b MEO satellite constellation, with connections moving between GEO/MEO links in under 30 sec. == Uses == === Commercial aviation === Honeywell’s JetWave enables air transport and regional aircraft to connect to Inmarsat’s GX Aviation network. The multichannel satellite (MSC) JetWave terminals share the same antenna controller, modem and router hardware with the business market, but have an MCS-8200 fuselage-mounted antenna. === Business aviation === Honeywell’s JetWave hardware allows users to connect to Inmarsat’s Jet ConneX, a business aviation broadband connectivity offering to provide Wi-Fi for connected devices. JetWave offers a tail-mount antenna for business jets. === Defense === Honeywell’s JetWave satellite communications system for defense allows users to connect to the Inmarsat GX network, offering global coverage for military airborne operators, including over water, over nontraditional flight paths and in remote areas. JetWave and the Inmarsat GX network enable mission-critical applications like real-time weather; videoconferencing; large file transfers; encryption capabilities; in-flight briefings; intelligence, surveillance, and reconnaissance video; and secure communications. JetWave is configurable for a variety of military platforms and offers antennas for large and small airframes.

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  • Frictionless sharing

    Frictionless sharing

    Frictionless sharing refers to the transparent or automatic dissemination of user activity across social media platforms, typically without requiring explicit action from the user each time content is shared. The concept gained prominence in 2011 after Mark Zuckerberg announced a series of new features for Facebook at the F8 developers conference, framing the changes as enabling “real-time serendipity in a friction-less experience.” == History and concept == Before 2011, the term “frictionless sharing” was occasionally used in academic and technical contexts to describe sharing of resources with minimal effort, such as through social bookmarking or Creative Commons licensing to reduce barriers to reuse of research data. The concept took on a broader cultural meaning when Facebook introduced its Timeline interface and new “social apps” in 2011. These features enabled third-party applications to automatically publish user activity to the platform—effectively shifting sharing from a deliberate act to a passive process. For example, integrating music streaming service Spotify meant that any song a user listened to could automatically appear in a Facebook “Ticker,” allowing friends to see the activity and click through to play the song themselves. == Zuckerberg’s vision == Zuckerberg articulated a vision of a Web in which sharing occurs by default rather than by choice: “You read, you watch, you listen, you buy—and everyone you know will hear all about it on Facebook.” This “frictionless” model assumes ongoing consent after an initial opt-in. Once users connect an app to their profile, any future activity with that app may be automatically shared. This shift from intentional posting to ambient sharing represented a significant evolution in how personal data is distributed online. == Criticism and debate == Many commentators and users have raised concerns about frictionless sharing. While some criticism centers on online privacy, others focus on how automatic updates can flood news feeds and erode the social value of sharing. Critics argue that when sharing becomes automatic, it dilutes the personal curation that makes social media exchanges meaningful. According to Slate, this approach risks “killing taste,” because users typically choose to share only select content they find worth highlighting, rather than everything they consume. AL.com similarly observed that the frictionless model encourages over-sharing, overwhelming both users and their networks with minor or trivial activities. For example, integrating multiple platforms—such as Twitter, Foursquare, Pinterest, Spotify, and others—can create an incessant stream of updates that some users may find intrusive or irritating. This can lead to what critics describe as “narcissistic” or noisy timelines, potentially undermining the “social” nature of social media. == Business model and data implications == For Facebook, frictionless sharing offers clear business advantages. More frequent and detailed sharing provides valuable data that can be used to refine targeted advertising and personalize content delivery. The model also encourages users to spend more time on the platform, reinforcing its position as a central hub of online social activity. Other technology companies have experimented with similar approaches. Google has introduced forms of cross-platform integration that facilitate automatic activity sharing, though with a more explicit opt-in structure compared to Facebook. This approach has been described as “friction with consent,” allowing users to manually enable or disable integrations on a per-service basis.

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  • Rider Spoke

    Rider Spoke

    Rider Spoke developed by Blast Theory in collaboration with the Mixed Reality Lab was first staged at the Barbican, London in October 2007. Created for cyclists, it combines elements of theatre, performance, game play and state of the art technology. Rider Spoke was built in the IPerG project on the EQUIP architecture. Rider Spoke has since been presented in Athens (2008), Brighton (2008), Budapest (2008), Sydney (2009, Adelaide (2009) and Liverpool (2010).

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  • Scripped

    Scripped

    Scripped was an online screenplay services company offering three services: script writing, script registration, and script coverage. Scripped did not facilitate collaboration among screenwriters. It combined with Zhura in 2010. According to Techcrunch, Scripped had more than 60,000 writers as of March 2010. Scripped was administered by Sunil Rajaraman, Ryan Buckley and Zak Freer. Actor, writer, and director Edward Burns and screenwriter Steven E. de Souza joined Scripped's Board of Advisers in May 2008. In 2008, the company formed a partnership with Write Brothers, makers of Movie Magic Screenwriter software. On March 29, 2010, Scripped announced that it closed $250,000 in private investment and merged with competitor Zhura. Scripped's CEO, Sunil Rajaraman, remains the merged company's Chief Executive Officer. On April 1, 2015, citing a serious technical failure, Scripped shuttered its service. As part of the announcement, it was disclosed that their backup servers had failed as well, losing all of its users' stored scripts. The website URL currently redirects to WriterDuet's website, another online scriptwriting service; Scripped had advertised WriterDuet in Scripped's shutdown open letter. == Features == The Scripped Writer provided a built-in screenplay template which formatted the document to a standard for scripts as recommended by the AMPAS. The screenplay document was composed of seven elements: scene, action, character, dialog, parenthetical, transition and general. Each element had a specific style to which the Scripped Writer conformed as text was entered. Like other client-side screenplay software, Scripped offered Tab-Enter toggling between screenplay elements, making the writing process much faster. Text files could be imported into the Scripped Writer and automatically conformed to the screenplay template. Completed scripts could be exported as PDF files. In May 2011 the administrators of Scripped launched Scripted.com - a sister site focused on freelance writing jobs. Subsequent to the service's launch, the company was renamed to Scripted, Inc.

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  • T.38

    T.38

    T.38 is an ITU recommendation for allowing transmission of fax over IP networks (FoIP) in real time. == History == The T.38 fax relay standard was devised in 1998 as a way to transport faxes across IP networks between existing Group 3 (G3) fax terminals. T.4 and related fax standards were published by the ITU in 1980, before the rise of the Internet. In the late 1990s, VoIP, or voice over IP, began to gain ground as an alternative to the conventional public switched telephone network (PSTN). However, because most VoIP systems are optimized (through their use of aggressive lossy bandwidth-saving compression) for voice rather than data calls, conventional fax machines worked poorly or not at all on them due to the network impairments such as delay, jitter, packet loss, and so on. Thus, some way of transmitting fax over IP was needed. == Overview == In practical scenarios, a T.38 fax call has at least part of the call being carried over PSTN, although this is not required by the T.38 definition, and two T.38 devices can send faxes to each other. This particular type of device is called Internet-Aware Fax device, or IAF, and it is capable of initiating or completing a fax call towards the IP network. The typical scenario where T.38 is used is – T.38 fax relay – where a T.30 fax device sends a fax over PSTN to a T.38 fax gateway which converts or encapsulates the T.30 protocol into a T.38 data stream. This is then sent either to a T.38-enabled end point such as fax machine or fax server or another T.38 gateway that converts it back to a PSTN PCM or analog signal and terminates the fax on a T.30 device. The T.38 recommendation defines the use of both TCP and UDP to transport T.38 packets. Implementations tend to use UDP, due to TCP's requirement for acknowledgement packets and resulting retransmission during packet loss, which introduces delays. When using UDP, T.38 copes with packet loss by using redundant data packets. T.38 is not a call setup protocol, thus the T.38 devices need to use standard call setup protocols to negotiate the T.38 call, e.g. H.323, SIP & MGCP. == Operation == There are two primary ways that fax transactions are conveyed across packet networks. The T.37 standard specifies how a fax image is encapsulated in e-mail and transported, ultimately, to the recipient using a store-and-forward process through intermediary entities. T.38, however, defines a protocol that supports the use of the T.30 protocol in both the sender and recipient terminals. (See diagram above.) T.38 lets one transmit a fax across an IP network in real time, just as the original G3 fax standards did for the traditional (time-division multiplexed (TDM)) network, also called the public switched telephone network or PSTN. A special protocol is needed for real-time fax over IP (Internet Protocol) since existing fax terminals only supported PSTN connections, where the information flow was generally smooth and uninterrupted, as opposed to the jittery arrival of IP packets. The trick was to come up with a protocol that makes the IP network “invisible” to the endpoint fax terminals, which would mean the user of a legacy fax terminal need not know that the fax call was traversing an IP network. The network interconnections supported by T.38 are shown above. The two fax terminals on either side of the figure communicate using the T.30 fax protocol published by the ITU in 1980. Interconnection of the PSTN with the IP packet network requires a “gateway” between the PSTN and IP networks. PSTN-IP Gateways support TDM voice on the PSTN side and VoIP and FoIP on the packet side. For voice sessions, the gateway will take in voice packets on the IP side, accumulate a few packets to ensure a smooth flow of TDM data upon their release, and then meter them out over TDM where they eventually are heard by a human or stored on a computer for later playback. The gateway employs packet-management techniques to enhance the quality of the speech in the presence of network errors by taking advantage of the natural ability of a listener to not really hear the occasional missing or repeated packet. But facsimile data are transmitted by modems, which aren't as forgiving as the human ear is for speech. Missing packets will often cause a fax session to fail at worst or create one or more image lines in error at best. So the job of T.38 is to “fool” the terminal into “thinking” that it's communicating directly with another T.30 terminal. It will also correct for network delays with so-called spoofing techniques, and missing or delayed packets with fax-aware buffer-management techniques. Spoofing refers to the logic implemented in the protocol engine of a T.38 relay that modifies the protocol commands and responses on the TDM side to keep network delays on the IP side from causing the transaction to fail. This is done, for example, by padding image lines or deliberately causing a message to be re-transmitted to render network delays transparent to the sending/receiving fax terminals. Networks that do not have packet loss or excessive delay can exhibit acceptable fax performance without T.38, provided the PCM clocks in all gateways are of very high accuracy (explained below). T.38 not only removes the effect of PCM clocks not being synchronized, but also reduces the required network bandwidth by a factor of 10, while it corrects for packet loss and delay. === Bandwidth reduction === As shown in the diagram below, a T.38 gateway is composed of two primary elements: the fax modems and the T.38 subsystem. The fax modems modulate and demodulate the PCM samples of the analog data, turning the sampled-data representation of the fax terminal's analog signal to its binary translation, and vice versa. The PSTN network samples the analog signal of a voice or modem signal (it doesn't know the difference) 8,000 times per second (SPS), and encodes them as 8-bit data bytes. This means 8000 samples-per-second times 8-bits per sample, or 64,000 bits per second (bit/s) to represent the modem (or voice) data in one direction. For both directions the modem transaction consumes 128,000 bits of network bandwidth. However, the typical modem in a fax terminal transmits the image data at 33,600 bit/s, so if the analog data are first converted to the digital content they represent, only 33,600 bits (plus network overhead of a few bytes) are needed. And since T.30 fax is a half-duplex protocol, the network is only needed for one direction at a time. Refer to RFC 3261 === PCM clock synchronization === In the diagram above, there is a sample-rate clock in the fax terminal and one in the gateway's modems that is used to trigger the sampling of the analog line 8,000 times per second. These clocks are usually quite accurate, but in some low-cost terminal adapters (a one or two-line gateway) the PCM clock can be surprisingly inaccurate. If the terminal is sending data to the gateway, and the gateway's clock is too slow, the buffers (jitter buffers) in the gateway will eventually overflow, causing the transaction to fail. Since the difference is often quite small, this problem occurs on long, detailed fax images giving the clocks more time to cause the jitter buffer in gateway to either underflow or overflow, which is just the same as missing or duplicated packets. === Packet loss === T.38 provides facilities to eliminate the effects of packet loss through data redundancy. When a packet is sent, either zero, one, two, three, or even more of the previously sent packets are repeated. (The specification does not impose a limit.) This increases the network bandwidth required (it's still much less than not using T.38) but it allows the receiving gateway to reconstruct the complete packet sequence, even with a fairly high level of packet loss. == Related standards == T.4 is the umbrella specification for fax. It specifies the standard image sizes, two forms of image-data compression (encoding), the image-data format, and references, T.30 and the various modem standards. T.6 specifies a compression scheme that reduces the time required to transmit an image by roughly 50-percent. T.30 specifies the procedures that a sending and receiving terminal use to set up a fax call, determine the image size, encoding, and transfer speed, the demarcation between pages, and the termination of the call. T.30 also references the various modem standards. V.21, V.27ter, V.29, V.17, V.34: ITU modem standards used in facsimile. The first three were ratified prior to 1980, and were specified in the original T.4 and T.30 standards. V.34 was published for fax in 1994. T.37 The ITU standard for sending a fax-image file via e-mail to the intended recipient of a fax. G.711 pass through - this is where the T.30 fax call is carried in a VoIP call encoded as audio. This is sensitive to network packet loss, jitter and clock synchronization. When using voice high-compression encoding techniques such as, but not limited to, G.729, some fax tonal signa

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  • Festival of International Virtual & Augmented Reality Stories

    Festival of International Virtual & Augmented Reality Stories

    Festival of International Virtual & Augmented Reality Stories (FIVARS) is a Canadian media festival for story-driven works using extended reality (XR) and immersive media, including virtual reality, augmented reality, WebXR, live VR performance, projection mapping and spatialized audio. Founded in Toronto in 2015, it has been described as Canada's first dedicated virtual and augmented reality stories festival, the first Canadian festival of its kind, and Canada's original festival dedicated to immersive storytelling. FIVARS has described itself as "the original and longest-running festival wholly dedicated to Virtual and Augmented Reality Stories", while third-party XR coverage has called it one of the longest-running events dedicated to immersive content. FIVARS is produced by Constant Change Media Group, Inc., with its partner event VRTO. == History == FIVARS began in 2015, with preview screenings at the Camp Wavelength music festival on Toronto Island and an inaugural festival held in Toronto in September 2015. Contemporary coverage described the first edition as a virtual reality film festival held at UG3 Live in Toronto. The festival continued with a second edition in 2016. L'Express described the 2016 festival as presenting Canadian and international interactive works in virtual and augmented reality narrative forms. FIVARS's 2016 festival was also listed in a York University Future Cinema course page as a public event students could attend. In 2017, the third annual FIVARS festival was held at the House of VR in Toronto. In 2018, the festival was held at the Matador Ballroom, which NOW Magazine reported was reopening for FIVARS from September 14 to 16. The festival's own history states that the 2018 edition included 36 works from 12 countries and that Stephanie Greenall took over as co-producer that year. In 2019, FIVARS moved to the Toronto Media Arts Centre for its fifth anniversary and listed official selections in passive and interactive immersive-experience categories. The festival also held talks and panels at the Toronto Media Arts Centre. During the COVID-19 pandemic, FIVARS moved part of its programming online. In 2020, Voices of VR reported that Malicki-Sanchez and WebXR developer James Baicoianu used JanusXR code to create a platform for presenting 360-degree video through the web. The festival's history states that its 2020 online festival included 39 selections from 16 countries and was produced by Malicki-Sanchez and Greenall. In 2021, FIVARS introduced a dual-event structure with FIVARS in FEB and FIVARS in FALL. The fall 2021 edition used a hybrid format, with an in-person component in West Hollywood from October 15 to 17 and an online WebXR component from October 22 to November 2. In 2022, FIVARS held hybrid programming with pop-up viewing locations in Los Angeles and Toronto. The fall 2022 edition was listed by blogTO as the festival's tenth edition, with an in-person component at Stackt - an outdoor arts park built from shipping containers in Toronto and online programming. The 2023 festival was presented as a hybrid exhibition of 65 immersive stories, with an in-person Toronto component and an online component. The FIVARS Online Festival was later listed among the Innovator of the Year nominees for the 2024 Poly Awards. FIVARS stated that the nominees for that recognition were producer and designer Keram Malicki-Sanchez and developer James Baicoianu. The 2024 edition was listed as FIVARS 2024 (Toronto + Online), with an in-person Toronto event from October 3 to 8 and an online component beginning October 10. The festival also published a 2024 official selections list covering virtual reality, augmented reality, spherical video, spatial web and related immersive formats. In 2025, FIVARS and VRTO were held together at OCAD University. The 2026 edition is scheduled for June 15 to 19, 2026, at OCAD University in Toronto, with OCAD University as presenting sponsor and first-time venue host. FIVARS has featured official selections from more than forty countries across six continents. == Organization == FIVARS was founded in 2015 by Keram Malicki-Sánchez. Joseph Ellsworth was the festival's original technical director and helped operate FIVARS during its early years. Malicki-Sánchez remains executive director and festival director. Jessy Blaze joined Malicki-Sánchez as co-producer in 2016 and served until Stephanie Greenall took over the role in 2018. Greenall served as co-producer and associate producer from 2018 to 2022. Aimee Reynolds took over from Greenall in 2022 and has served as associate producer of FIVARS and VRTO since 2022. == Immersive Media Awards == FIVARS presents People's Choice awards for interactive works and immersive video or passive immersive works. Juried award categories have included the Grand Jury Prize, Impact Award, Technical Achievement, Excellence in Experience Design, Excellence in Visual Design, Excellence in Sound Design, and Outstanding Performance. === 2015 === On Monday, September 21, the festival announced People's Choice awards for two categories at the Cadillac Lounge, a music venue and restaurant in Toronto. People's Choice Best Interactive Experience: Apollo 11 Best Immersive Video: SONAR === 2016 === People's Choice Best Interactive Experience: Pearl (Patrick Osborne) Best Immersive Video: Help (Justin Lin) Juried Grand Jury Award: Real (Connor Hair and Alex Meader) === 2017 === People's Choice Best Interactive: Alteration Best Immersive (Passive): Guardian of the Guge Kingdom Juried Impact Award: Priya's Shakti / Priya's Mirror (Dan Goldman) Grand Jury Prize: Manifest 99 === 2018 === People's Choice Best Interactive: Museum of Symmetry (Paloma Dawkins) Best Immersive (Passive): Going Home (David Beier) Juried Impact Award: The Hidden (Annie Lukowski, BJ Schwartz) Grand Jury Prize: Battlescar (Nico Casavecchia, Martin Allais) === 2019 === People's Choice Best Interactive: After Dan Graham (David Han/Friend Generator) Best Immersive (Passive): 2nd Step (Joerg Courtial) Juried Technical Achievement: tx-reverse Excellence in Experience Design: Battlescar (Nico Casavecchia, Martin Allais) Excellence in Sound Design: Unheard (Zhechuan Zhang) Excellence in Visual Design: Ex Anima (Pierre Zandrowicz) Impact Award: State Power (Jeff Stanzler) Grand Jury Prize: The Industry (Mirka Duijn) === 2020 === People's Choice Best Interactive: Gravity VR (Fabito Rychter, Amir Admoni) Best Immersive (Passive): Warsaw Rising (Tomasz Dobosz) Juried Technical Achievement: The Cosmic Laughter of Cucci Binaca (Jonathan Sims) Excellence in Experience Design: Sleeping Eyes (Sojung Bahng, Sungeun Lee) Excellence in Sound Design: Symphony of Noise VR (Michaela Pnacekova) Excellence in Visual Design: Hominidae (Brian Andrews) Impact Award: Indirect Actions (Maranatha Hay) Grand Jury Prize: Minimum Mass (Raqi Syed, Areito Echevarria) === 2021 === FIVARS in FEB – People's Choice Best Interactive: CLAWS (created by Evan Neiden; directed by John Ertman) Best Immersive (Passive): Inside COVID 19 (Gary Yost, Adam Loften) FIVARS in FALL – People's Choice Best Interactive: Samsara (director: Hsin-Chien Huang) Best Immersive (Passive): The Invasion of Normandy Omaha Beach (director: Uli Futschik) Juried Technical Achievement: Dark Threads (director: Jonathon Corbiere) Excellence in Experience Design: Andy's World (director: Liquan Liu) Excellence in Sound Design: Symphony (director: Igor Cortadellas) Excellence in Visual Design: Mind VR Exploration (director: Deng Zuyun) Outstanding Performance: Lori Kovachevich, Lena's Journey (director: Wes Evans) Impact Award: Om Devi: Sheroes Revolution (director: Claudio Casale) Grand Jury Prize: Montegelato (director: Davide Rapp) === 2022 === FIVARS in FEB – People's Choice Best Interactive: Severance Theory: Welcome to Respite (Lyndsie Scoggin, United States) Best Immersive (Passive): Beescapes (Alan Nguyen, Australia) FIVARS in FALL – People's Choice Best Interactive: Namuanki (Kevin Mack, United States) Best Immersive (Passive): Reimagined Vol. 1: Nyssa (Julie Cavaliere, United States) Juried (Whole Year) Technical Achievement: Namuanki (Kevin Mack, United States) Excellence in Experience Design: Unframed: Hand Puppets, Paul Klee (Martin Charrière, Switzerland) Excellence in Visual Design: The Last Dance (Toshiaki Hanzaki, Japan) Excellence in Sound Design: Kingdom of Plants with David Attenborough (Iona McEwan, UK and USA) Outstanding Performance: Ari Tarr, OffRail (Ari Tarr, United States) Impact Award: Tearless (Gina Kim, South Korea) Grand Jury Prize: Klaxon. My dear sweet Friend (Nikita Shokhov, United States) === 2023 === People's Choice Best Interactive: PULSAR Best Immersive (Passive): Behind the Dish Juried Technical Achievement: VFC Excellence in Experience Design: Broken Spectre Excellence in Visual Design: Night Creatures Excellence in Sound Design: VFC Outstanding Performance: Origins Impact Award: LOU Grand Jury Prize: Stay Alive, My Son === 2024 ==

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  • Paperless society

    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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  • Apache Hama

    Apache Hama

    Apache Hama is a distributed computing framework based on bulk synchronous parallel computing techniques for massive scientific computations e.g., matrix, graph and network algorithms. Originally a sub-project of Hadoop, it became an Apache Software Foundation top level project in 2012. It was created by Edward J. Yoon, who named it (short for "Hadoop Matrix Algebra"), and Hama also means hippopotamus in Yoon's native Korean language (하마), following the trend of naming Apache projects after animals and zoology (such as Apache Pig). Hama was inspired by Google's Pregel large-scale graph computing framework described in 2010. When executing graph algorithms, Hama showed a fifty-fold performance increase relative to Hadoop. Retired in April 2020, project resources are made available as part of the Apache Attic. Yoon cited issues of installation, scalability, and a difficult programming model for its lack of adoption. == Architecture == Hama consists of three major components: BSPMaster, GroomServers and Zookeeper. === BSPMaster === BSPMaster is responsible for: Maintaining groom server status Controlling super steps in a cluster Maintaining job progress information Scheduling jobs and assigning tasks to groom servers Disseminating execution class across groom servers Controlling fault Providing users with the cluster control interface. A BSP Master and multiple grooms are started by the script. Then, the bsp master starts up with a RPC server for groom servers. Groom servers starts up with a BSPPeer instance and a RPC proxy to contact the bsp master. After started, each groom periodically sends a heartbeat message that encloses its groom server status, including maximum task capacity, unused memory, and so on. Each time the BSP master receives a heartbeat message, it brings the groom server status up-to-date. The bsp master makes use of groom servers' status in order to assign tasks to idle groom servers - and returns a heartbeat response containing assigned tasks and others actions for a groom server to do. Currently BSP master has a FIFO job scheduler and simple task assignment algorithms. === GroomServer === A groom server (shortly referred to as groom) is a process that performs BSP tasks assigned by BSPMaster. Each groom contacts the BSPMaster, and it takes assigned tasks and reports its status by means of periodical piggybacks with BSPMaster. Each groom is designed to run with HDFS or other distributed storages. Basically, a groom server and a data node should be run on one physical node. === Zookeeper === A Zookeeper is used to manage the efficient barrier synchronisation of the BSPPeers.

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  • Randomized benchmarking

    Randomized benchmarking

    Randomized benchmarking is an experimental method for measuring the average error rates of quantum computing hardware platforms. The protocol estimates the average error rates by implementing long sequences of randomly sampled quantum gate operations. Randomized benchmarking is the industry-standard protocol used by quantum hardware developers such as IBM and Google to test the performance of the quantum operations. The original theory of randomized benchmarking, proposed by Joseph Emerson and collaborators, considered the implementation of sequences of Haar-random operations, but this had several practical limitations. The now-standard protocol for randomized benchmarking (RB) relies on uniformly random Clifford operations, as proposed in 2006 by Dankert et al. as an application of the theory of unitary t-designs. In current usage randomized benchmarking sometimes refers to the broader family of generalizations of the 2005 protocol involving different random gate sets that can identify various features of the strength and type of errors affecting the elementary quantum gate operations. Randomized benchmarking protocols are an important means of verifying and validating quantum operations and are also routinely used for the optimization of quantum control procedures. == Overview == Randomized benchmarking offers several key advantages over alternative approaches to error characterization. For example, the number of experimental procedures required for full characterization of errors (called tomography) grows exponentially with the number of quantum bits (called qubits). This makes tomographic methods impractical for even small systems of just 3 or 4 qubits. In contrast, randomized benchmarking protocols are the only known approaches to error characterization that scale efficiently as number of qubits in the system increases. Thus RB can be applied in practice to characterize errors in arbitrarily large quantum processors. Additionally, in experimental quantum computing, procedures for state preparation and measurement (SPAM) are also error-prone, and thus quantum process tomography is unable to distinguish errors associated with gate operations from errors associated with SPAM. In contrast, RB protocols are robust to state-preparation and measurement errors Randomized benchmarking protocols estimate key features of the errors that affect a set of quantum operations by examining how the observed fidelity of the final quantum state decreases as the length of the random sequence increases. If the set of operations satisfies certain mathematical properties, such as comprising a sequence of twirls with unitary two-designs, then the measured decay can be shown to be an invariant exponential with a rate fixed uniquely by features of the error model. == History == Randomized benchmarking was proposed in Scalable noise estimation with random unitary operators, where it was shown that long sequences of quantum gates sampled uniformly at random from the Haar measure on the group SU(d) would lead to an exponential decay at a rate that was uniquely fixed by the error model. Emerson, Alicki and Zyczkowski also showed, under the assumption of gate-independent errors, that the measured decay rate is directly related to an important figure of merit, the average gate fidelity and independent of the choice of initial state and any errors in the initial state, as well as the specific random sequences of quantum gates. This protocol applied for arbitrary dimension d and an arbitrary number n of qubits, where d=2n. The SU(d) RB protocol had two important limitations that were overcome in a modified protocol proposed by Dankert et al., who proposed sampling the gate operations uniformly at random from any unitary two-design, such as the Clifford group. They proved that this would produce the same exponential decay rate as the random SU(d) version of the protocol proposed in Emerson et al.. This follows from the observation that a random sequence of gates is equivalent to an independent sequence of twirls under that group, as conjectured in and later proven in. This Clifford-group approach to Randomized Benchmarking is the now standard method for assessing error rates in quantum computers. A variation of this protocol was proposed by NIST in 2008 for the first experimental implementation of an RB-type for single qubit gates. However, the sampling of random gates in the NIST protocol was later proven not to reproduce any unitary two-design. The NIST RB protocol was later shown to also produce an exponential fidelity decay, albeit with a rate that depends on non-invariant features of the error model In recent years a rigorous theoretical framework has been developed for Clifford-group RB protocols to show that they work reliably under very broad experimental conditions. In 2011 and 2012, Magesan et al. proved that the exponential decay rate is fully robust to arbitrary state preparation and measurement errors (SPAM). They also proved a connection between the average gate fidelity and diamond norm metric of error that is relevant to the fault-tolerant threshold. They also provided evidence that the observed decay was exponential and related to the average gate fidelity even if the error model varied across the gate operations, so-called gate-dependent errors, which is the experimentally realistic situation. In 2018, Wallman and Dugas et al., showed that, despite concerns raised in, even under very strong gate-dependence errors the standard RB protocols produces an exponential decay at a rate that precisely measures the average gate-fidelity of the experimentally relevant errors. The results of Wallman. in particular proved that the RB error rate is so robust to gate-dependent errors models that it provides an extremely sensitive tool for detecting non-Markovian errors. This follows because under a standard RB experiment only non-Markovian errors (including time-dependent Markovian errors) can produce a statistically significant deviation from an exponential decay The standard RB protocol was first implemented for single qubit gate operations in 2012 at Yale on a superconducting qubit. A variation of this standard protocol that is only defined for single qubit operations was implemented by NIST in 2008 on a trapped ion. The first implementation of the standard RB protocol for two-qubit gates was performed in 2012 at NIST for a system of two trapped ions

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  • New media

    New media

    New media are communication technologies that enable or enhance interaction between users, as well as interaction between users and content. In the middle of the 1990s, the phrase "new media" became widely used as part of a sales pitch for the influx of interactive CD-ROMs for entertainment and education. The new media technologies, sometimes known as Web 2.0, include a wide range of web-related communication tools such as blogs, wikis, online social networking, virtual worlds, and other social media platforms. The phrase "new media" refers to computational media that share material online and through computers. New media inspire new ways of thinking about older media. Media do not replace one another in a clear, linear succession, instead evolving in a more complicated network of interconnected feedback loops . What is different about new media is how they specifically refashion traditional media and how older media refashion themselves to meet the challenges of new media. Unless they contain technologies that enable digital generative or interactive processes, broadcast television programs, non-interactive news websites, feature films, magazines, and books are not considered to be new media. The term "new media" stands in contrast to old media, which dominated the media landscape as a form of mass media for many years. == History == In the 1950s, connections between computing and radical art began to grow stronger. It was not until the 1980s that Alan Kay and his co-workers at Xerox PARC began to give the computability of a personal computer to the individual, rather than have a big organization be in charge of this. In the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually, it makes sense that the Cold War and the design of the Web took place at exactly the same time. Writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period which is now famous declaration in Understanding Media: The Extensions of Man, that "the medium is the message" drew attention to the too often ignored influence media and technology themselves, rather than their "content," have on humans' experience of the world and on society broadly. Until the 1980s, media relied primarily upon print and analog broadcast models such as television and radio. The last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies such as the Internet and video games. However, these examples are only a small representation of new media. The use of digital computers has transformed the remaining 'old' media, as suggested by the advent of digital television and online publications. Even traditional media forms such as the printing press have been transformed through the application of technologies by using of image manipulation software like Adobe Photoshop and desktop publishing tools. Andrew L. Shapiro argues that the "emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources". W. Russell Neuman suggests that whilst the "new media" have technical capabilities to pull in one direction, economic and social forces pull back in the opposite direction. According to Neuman, "We are witnessing the evolution of a universal interconnected network of audio, video, and electronic text communications that will blur the distinction between interpersonal and mass communication; and between public and private communication". Neuman argues that new media will: Alter the meaning of geographic distance. Allow for a huge increase in the volume of communication. Provide the possibility of increasing the speed of communication. Provide opportunities for interactive communication. Allow forms of communication that were previously separate to overlap and interconnect. Consequently, it has been the contention of scholars such as Douglas Kellner and James Bohman that new media and particularly the Internet will provide the potential for a democratic postmodern public sphere, in which citizens can participate in well informed, non-hierarchical debate pertaining to their social structures. Contradicting these positive appraisals of the potential social impacts of new media are scholars such as Edward S. Herman and Robert McChesney who have suggested that the transition to new media has seen a handful of powerful transnational telecommunications corporations who achieve a level of global influence which was hitherto unimaginable. Scholars have highlighted both the positive and negative potential and actual implications of new media technologies, suggesting that some of the early work in new media studies was guilty of technologicaldeterminism – whereby the effects of media were determined by the technologies themselves, rather than by tracing the complex social networks that governed the development, funding, implementation, and future evolution of any technology. Based on the argument that people have a limited amount of time to spend on the consumption of different media, displacement theory argue that the viewership or readership of one particular outlet leads to the reduction in the amount of time spent by the individual on another. The introduction of new media, such as the internet, therefore reduces the amount of time individuals would spend on existing "old" media, which could ultimately lead to the end of such traditional media. == Definition == Although, there are several ways that new media may be described, Lev Manovich, in an introduction to The New Media Reader, defines new media by using eight propositions: New media versus cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas new media is concerned more with cultural objects and paradigms (digital to analog television, smartphones). New media as computer technology used as a distribution platform – New media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers. New media as digital data controlled by software – The language of new media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc. New media as the mix between existing cultural conventions and the conventions of software – New media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation. New media as the aesthetics that accompanies the early stage of every new modern media and communication technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period. New media as faster execution of algorithms previously executed manually or through other technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device. New media as the encoding of modernist avant-garde; new media as metamedia – Manovi

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  • Amplified conference

    Amplified conference

    An amplified conference is a conference or similar event in which the talks and discussions at the conference are 'amplified' through use of networked technologies in order to extend the reach of the conference deliberations. The term was originally coined by Lorcan Dempsey in a blog post. The term is now widely used within the academic and research community with Wankel proposing the following definition: The extension of a physical event (or a series of events) through the use of social media tools for expanding access to (aspects of) the event beyond physical and temporal bounds. Such amplification takes place in the context of intent to make the most of the intellectual content, discussion, networking, and discovery initiated by the event through the process of sharing with co-attendees, colleagues, friends and wider informed publics. A paper by Haider and others illustrates how amplified conferences are becoming mainstream in a discussion on "how social media have been employed as part of the project, particularly around event amplification". As described by Guy in the Ariadne ejournal the term is not a prescriptive one, but rather describes a pattern of behaviors which initially took place at IT and Web-oriented conferences once WiFi networks started to become available at conference venues and delegates started to bring with them networked devices such as laptops and, more recently, PDAs and mobile phones. == Different Approaches to 'Amplification' of Conferences == There are a number of ways in which conferences can be amplified through use of networked technologies: Amplification of the audiences' voice: Prior to the availability of real time chat technologies at events (whether use of IRC, Twitter, instant messaging clients, etc.) it was only feasible to discuss talks with immediate neighbours, and even then this may be considered rude. Amplification of the speaker's talk: The availability of video and audio-conferencing technologies make it possible for a speaker to be heard by an audience which isn't physically present at the conference. Although use of video technologies has been available to support conferences for some time, this has normally been expensive and require use of dedicated video-conferencing technologies. However the availability of lightweight desktop tools make it much easier to deploy such technologies, without even, requiring the involvement of conference organisers. Amplification across time: Video and audio technologies can also be used to allow a speaker's talk to be made available after the event, with use of podcasting or videocasting technologies allowing the talks to be easily syndicated to mobile devices as well as accessed on desktop computers. Amplification of the speaker's slides: The popularity of global repository services for slides, such as SlideShare, enable the slides used by a speaker to be more easily found, embedded on other Web sites and commented upon, in ways that were not possible when the slides, if made available at all, were only available on a conference Web site. Amplification of feedback to the speaker: Micro-blogging technologies, such as Twitter, are being used not only as a discussion channel for conference participants but also as a way of providing real-time feedback to a speaker during a talk. We are also now seeing dedicated microblogging technologies, such as Coveritlive and Scribblelive, being developed which aim to provide more sophisticated 'back channels' for use at conferences. Amplification of a conference's collective memory: The popularity of digital cameras and the photographic capabilities of many mobile phones is leading to many photographs being taken at conferences. With such photographs often being uploaded to popular photographic sharing services, such as Flickr, and such collections being made more easy to discover through agreed use of tags, we are seeing amplification of the memories of an event though the sharing of such resources. The ability of such photographic resources to be 'mashed up' with, say, accompanying music, can similarly help to enrich such collective experiences. Amplification of the learning: The ability to be able to follow links to resources and discuss the points made by a speaker during a talk can enrich the learning which takes place at an event, as described by Shabajee's article on "'Hot' or Not? Welcome to real-time peer review" published in the Times Higher Education Supplement in May 2003. Long term amplification of conference outputs: The availability in a digital format of conference resources, including 'official' resources such as slides, video and audio recordings, etc. which have been made by the conference organisers with the approval of speakers, together with more nebulous resources such as archives of conference back channels, and photographs and unofficial recordings taken at the event may help to provide a more authentic record of an event, which could potentially provide a valuable historical record. The amplification of conferences can be viewed as an example of how new technologies are altering standard practice. By using these techniques a different type of interaction is created at the conference itself, but also the boundaries around the conference can be seen as permeable, with remote participants engaging in discussion. An amplified conference also provides a considerably altered archive compared with a 'traditional' one. For the latter, the printed proceedings will be the main record, but for an amplified event this record is distributed across many media and takes in a wider range of content types, including the papers, videos of the presentations (for example on YouTube), the slides (e.g. on Slideshare), photos of the event (Flickr), interaction between participants (Twitter), reflections and comments (blogs), etc. The amplified conference represents an example of changing practice in digital scholarship.

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  • Neuro-symbolic AI

    Neuro-symbolic AI

    Neuro-symbolic AI is a subfield of artificial intelligence that integrates neural methods (e.g., neural networks and deep learning) with symbolic methods (e.g., formal logic, knowledge representation, and automated reasoning). The goal is to combine the strengths of both approaches, resulting in AI systems that can be trained from raw data and demonstrate robustness against outliers or errors in the base data, while preserving explainability, explicit use of expert knowledge, and explicit cognitive reasoning. As argued by Leslie Valiant and others, the effective construction of rich computational cognitive models demands the combination of symbolic reasoning and efficient machine learning. Gary Marcus argued, "We cannot construct rich cognitive models in an adequate, automated way without the triumvirate of hybrid architecture, rich prior knowledge, and sophisticated techniques for reasoning." Further, "To build a robust, knowledge-driven approach to AI we must have the machinery of symbol manipulation in our toolkit. Too much of useful knowledge is abstract to make do without tools that represent and manipulate abstraction, and to date, the only known machinery that can manipulate such abstract knowledge reliably is the apparatus of symbol manipulation." Angelo Dalli, Henry Kautz, Francesca Rossi, and Bart Selman also argued for such a synthesis. Their arguments attempt to address the two kinds of thinking, as discussed in Daniel Kahneman's book Thinking, Fast and Slow. It describes cognition as encompassing two components: System 1 is fast, reflexive, intuitive, and unconscious. System 2 is slower, step-by-step, and explicit. System 1 is used for pattern recognition. System 2 handles planning, deduction, and deliberative thinking. In this view, deep learning best handles the first kind of cognition, while symbolic reasoning best handles the second kind. Both are necessary for the development of a robust and reliable AI system capable of learning, reasoning, and interacting with humans to accept advice and answer questions. Since the 1990s, dual-process models with explicit references to the two contrasting systems have been the focus of research in both the fields of AI and cognitive science by numerous researchers. In 2025, the adoption of neurosymbolic AI, an approach that integrates neural networks with symbolic reasoning, increased in response to the need to address hallucination issues in large language models. For example, Amazon implemented Neurosymbolic AI in its Vulcan warehouse robots and Rufus shopping assistant to enhance accuracy and decision-making. == Approaches == Approaches for integration are diverse. Henry Kautz's taxonomy of neuro-symbolic architectures follows, along with some examples: Symbolic Neural symbolic is the current approach of many neural models in natural language processing, where words or subword tokens are the ultimate input and output of large language models. Examples include BERT, RoBERTa, and GPT-3. Symbolic[Neural] is exemplified by AlphaGo, where symbolic techniques are used to invoke neural techniques. In this case, the symbolic approach is Monte Carlo tree search and the neural techniques learn how to evaluate game positions. Neural | Symbolic uses a neural architecture to interpret perceptual data as symbols and relationships that are reasoned about symbolically. Neural-Concept Learner is an example. Neural: Symbolic → Neural relies on symbolic reasoning to generate or label training data that is subsequently learned by a deep learning model, e.g., to train a neural model for symbolic computation by using a Macsyma-like symbolic mathematics system to create or label examples. NeuralSymbolic uses a neural net that is generated from symbolic rules. An example is the Neural Theorem Prover, which constructs a neural network from an AND-OR proof tree generated from knowledge base rules and terms. Logic Tensor Networks also fall into this category. Neural[Symbolic] according to Kautz, this approach embeds true symbolic reasoning inside a neural network. These are tightly-coupled neural-symbolic systems, in which the logical inference rules are internal to the neural network. This way, the neural network internally computes the inference from the premises and learns to reason based on logical inference systems. Early work on connectionist modal and temporal logics by Garcez, Lamb, and Gabbay is aligned with this approach. These categories are not exhaustive, as they do not consider multi-agent systems. In 2005, Bader and Hitzler presented a more fine-grained categorization that took into account, e.g., whether the use of symbols included logic and, if so, whether the logic was propositional or first-order logic. The 2005 categorization and Kautz's taxonomy above are compared and contrasted in a 2021 article. Sepp Hochreiter argued that Graph Neural Networks "...are the predominant models of neural-symbolic computing" since "[t]hey describe the properties of molecules, simulate social networks, or predict future states in physical and engineering applications with particle-particle interactions." == Artificial general intelligence == Gary Marcus argues that "...hybrid architectures that combine learning and symbol manipulation are necessary for robust intelligence, but not sufficient", and that there are ...four cognitive prerequisites for building robust artificial intelligence: hybrid architectures that combine large-scale learning with the representational and computational powers of symbol manipulation, large-scale knowledge bases—likely leveraging innate frameworks—that incorporate symbolic knowledge along with other forms of knowledge, reasoning mechanisms capable of leveraging those knowledge bases in tractable ways, and rich cognitive models that work together with those mechanisms and knowledge bases. This echoes earlier calls for hybrid models as early as the 1990s. == History == Garcez and Lamb described research in this area as ongoing, at least since the 1990s. During that period, the terms symbolic and sub-symbolic AI were popular. A series of workshops on neuro-symbolic AI has been held annually since 2005 Neuro-Symbolic Artificial Intelligence. In the early 1990s, an initial set of workshops on this topic were organized. == Research == Key research questions remain, such as: What is the best way to integrate neural and symbolic architectures? How should symbolic structures be represented within neural networks and extracted from them? How should common-sense knowledge be learned and reasoned about? How can abstract knowledge that is hard to encode logically be handled? == Implementations == Implementations of neuro-symbolic approaches include: AllegroGraph: an integrated Knowledge Graph based platform for neuro-symbolic application development. Scallop: a language based on Datalog that supports differentiable logical and relational reasoning. Scallop can be integrated in Python and with a PyTorch learning module. Logic Tensor Networks: encode logical formulas as neural networks and simultaneously learn term encodings, term weights, and formula weights. DeepProbLog: combines neural networks with the probabilistic reasoning of ProbLog. Abductive Learning: integrates machine learning and logical reasoning in a balanced-loop via abductive reasoning, enabling them to work together in a mutually beneficial way. SymbolicAI: a compositional differentiable programming library.

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  • Virtual advertising

    Virtual advertising

    Virtual advertising is the use of digital technology to insert virtual advertisements into a live or pre-recorded television show, often in sports events. This technique is often used to allow broadcasters to overlay existing physical advertising panels inside the sports venue with virtual content on the screen when broadcasting the same event in multiple regions; a Spanish football game can be broadcast in Mexico with Mexican advertisements. Similarly, virtual content can be inserted onto empty space within the sports venue such as the pitch, where physical advertising cannot be placed due to regulatory or safety reasons. Virtual advertising content is intended to be photorealistic, so that the viewer has the impression they are seeing the real in-stadium advertising. == History == Throughout the 1980s, 1990s, and 2000s, advertising on television and in newspapers was a popular method of spreading information. The marketer Jeremiah Lynwood stated that "Thirty years ago, [U.S.] consumers viewed an average of 560 ads per day", mostly from newspapers, television shows, gasoline pumps, and so on. Lynwood also stated that, at the time, "American consumers may be exposed to 3,000 commercial messages every day". Within that time frame, the exposure of daily ads have supported many local and big businesses. With the arrival of the 2000s and 2010s, technological advances have created new opportunities for many businesses to grow. In the 21st century, virtual advertising has been used to create virtual product placements in television shows hours, days, or years after they have been produced. Advertisements can be targeted to regional markets and updated over time to ensure maximum efficiency of advertising money. A good example of how virtual advertising is used in everyday life is in sports. Virtual advertising uses the latest technology to place an ad in position to the field of play, regardless of camera motion, and the players' movement over the logos. Recently, the NHL have virtually inserted sponsors on the glass above the physical boards in NHL stadiums. Big brands will not spend their time or money on hitting a certain region when their main goal is to build global brand awareness. Digital signage opportunities allow these larger brands to purchase signage in a stadium during games that are instead nationally televised. This gets even more expansive thanks to social media outlets like Twitter, Facebook, and Amazon. On the other hand, local businesses sign when there are smaller games going on. The signage is much more affordable and still reaches a vast number of people. Virtual advertising may even make live attendance more attractive to sport fans because the technology allows the playing field and surrounding areas to be cleared of advertisements while television viewers at home are exposed to commercials. For the most part, virtual advertising makes a live attendance more attractive to sports fans, because instead of being at home watching commercials, live fans are able to be clear of advertisements and enjoy the game without pop-up ads. == Technology == The technology used in virtual insertions often uses automated processes such as: automatic detection of playfield limits, automatic detection of cuts, recognition of playfield surface, recognition of existing logos for logo replacements, etc. An operator is usually dedicated to the visual control of the effect but new systems allow to use the instant replay operator. == Examples == === Live events === Virtual advertisements can be effectively integrated into live television in real-time. For example, Fox Sports Net places a virtual advertisement on the glass behind the goaltender that can only be seen on television. The advertising in the playfields is property of the club, except in some professional sports where the league or federation owns the advertising rights. However, the advertising rights broadcast on the screen are property of the broadcasters or the TV channel. This means that second right holders can benefit from selling this virtual advertising. The number of TV viewers is also higher than the people in the stadium, generating more visibility to the advertised marks and more income to the broadcasters. Virtual advertising was first introduced in football during the 2015 Audi Cup at the Allianz Arena in Munich. AIM Sport implemented the technology to digitally overlay advertisements on the stadium's perimeter boards, allowing different sponsors to be displayed to viewers in different broadcast regions. In Formula One, virtual ads are placed on the grass or as virtual billboards. In baseball, Major League Baseball places virtual advertisements on a back-board behind the batter which can be targeted differently in local markets or countries. During the World Series, MLB international broadcasts of the World Series feature different advertisements on a per market basis, showing a different ad in the US, Canadian, Latin American and Japanese markets. In tennis, e.g. during the 2019 ATP Finals in London's O2 Arena certain logos in the background were replaced for various country feeds. In table tennis e.g. during the ITTF World Tour Australian Open 2019 virtual advertising overlays were used by uniqFEED AG in Switzerland. Since the 2022–23 season, the National Hockey League (NHL) has used digitally enhanced dasherboards (DED) to erase and replace ads on each arena's boards with up to 120 thirty-second segments on all or part of the rink. Each broadcaster can use a different set of ads. DED were first used at the 2016 World Cup of Hockey, which was organized by the NHL. At UEFA Euro 2024, AIM Sport provided virtual advertising for all matches, marking one of the largest implementations of the technology in an international tournament. In addition to the tournament itself, virtual advertising was also used in the participating teams' domestic matches, extending region-specific advertising beyond the competition itself.

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  • Communications system

    Communications system

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

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