AI Coding Book

AI Coding Book — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Microsoft Sway

Microsoft Sway is a presentation program and is part of the Microsoft 365 family of products. Sway was offered for general release by Microsoft in August 2015. It allows users who have a Microsoft account to combine text and media to create a presentable website. Users can pull content locally from the device in use, or from internet sources such as Bing, Facebook, OneDrive, and YouTube. Sway is distinguished from Microsoft FrontPage and Microsoft Expression Web – unrelated web design programs previously developed by Microsoft – in that Sway includes a method for hosting sites. Sway sites are stored on Microsoft's servers and are tied to the user's Microsoft account. They can be viewed and edited from any web browser through Office on the web. There is no offline editing or viewing function, but sites can be accessed using the app for Windows, and formerly iOS. == History == Sway was developed internally by Microsoft. In late 2014, the company announced an invite-only preview version of Sway and announced that Sway would not require an Office 365 subscription. An iOS app was released as a preview on 31 October 2014, but was discontinued on 17 December 2018 due to low usage. As of July 17, 2021, the Sway iOS app's discontinuance in 2018 was the last piece of news posted in the Sway tech blog. The Sway feature blog has not received an update since April 2017. The Microsoft Office Roadmap did not include any items related to Sway ever since. The iOS application is no longer under active development, and is not available for download. Since 2023, Microsoft has been consolidating the domains of its Microsoft 365 apps and services under cloud.microsoft. By 2025, the vast majority of services, including Sway, have already migrated to the cloud.microsoft domain. == Features == Users are able to add content from various sources into their Sway presentations. Some of the integrated services are owned by Microsoft, including OneNote, Bing, and other Sway sites. The program also provides native integration with other services, including YouTube, Facebook, Twitter, Mixcloud, and Infogram.
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Content Credentials

Content Credentials (also known as C2PA signatures) are a digital media metadata specification. They aim to provide provenance information about a piece of media (such as an image or a video) and help prove its authenticity. They are described as the equivalent of nutrition labels for digital media. One of the stated goal of this specification is to fight online disinformation. The specification is written and maintained by the Coalition for Content Provenance and Authenticity (C2PA), a group of many media and tech organizations including Adobe, Amazon, the BBC, Google, Meta, Microsoft, OpenAI and Sony. Another organization, the Content Authenticity Initiative (CAI), is responsible for promoting the standard and accelerate its adoption. The standard relies on cryptographic digital signatures. == Adoption == There are two main stakeholders who can implement Content Credentials: Producers (softwares and hardwares that produce or modify digital media) and publishers (softwares that show digital media to users). === Producers === ==== Adobe ==== Adobe is one of the first companies to implement the specification, announcing support in Photoshop in 2021. Content Credentials can be enabled and the complete history of edits is kept. ==== Google ==== Google announced support for Content Credentials on its Pixel 10 phones in August 2025. The Content Credentials are embedded on each picture taken from the Pixel Camera, and modifications done using Google Photos. Information include picture timestamp and a non-identifiable signature that proves it was taken from a Pixel 10. As for Google Photos, a list of AI and non-AI edits are kept. Google is the first company to introduce support for Content Credentials on either phones or consumer-grade devices, and also the first company to make it available for free to all users. ==== Nikon ==== Nikon announced in 2024 that their Z6 III camera would support embedding Content Credentials in its photos. However, in 2025, a vulnerability was discovered in the software of the camera that allowed to combine unauthentic images with authentic photos and still have the resulting image with a valid digital signature. Nikon revoked the certificates. ==== Media organizations ==== CBC/Radio-Canada and the BBC both have started attaching Content Credentials to media they produce or verify. ==== OpenAI ==== OpenAI embeds Content Credentials on the images and videos it generates that includes that the media was created by AI using their platforms. ==== Sony ==== In June 2025, Sony announced the release of its Camera Verify system for press photographers and news editors using C2PA digital signatures. Initially, the system will be limited to still images, high‑end cameras, and selected news agencies. Registration with Sony Creators' Cloud is also required. === Publishers === ==== LinkedIn ==== In 2024, LinkedIn started showing a "CR" icon on images that contain Content Credentials of AI-generated images. In 2025, they announced a partnership with Adobe to allow photographers to prove ownership of images using Content Credentials. ==== TikTok ==== TikTok announced in 2024 that an "AI-generated" label would be applied to videos containing Content Credentials if they were AI-generated. In 2025, they announced that users could control the amount of AI-generated content they see, using self-reported labels, Content Credentials and an invisible, proprietary AI watermark embedded in videos by their AI editor tool. ==== YouTube ==== In 2024, YouTube started showing to users a label that reads "captured with a camera" on videos that show authentic, unedited videos taken by Content Credentials-compatible cameras.
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Hoopla (digital media service)

Hoopla Digital is a web and mobile streaming platform launched in 2013 that provides access to a wide range of digital media, including audiobooks, eBooks, comics, manga, music, movies, and TV shows. The service is available to users through participating public libraries, allowing library cardholders to borrow and stream digital media. Hoopla is a division of Midwest Tape. == History == Hoopla was launched in 2013. Its goal was for libraries to provide patrons with access to digital content such as audiobooks, music, movies, and TV shows, without the need for holds or waiting lists. Hoopla's model is a pay-per-use system, which means patrons can borrow items instantly. Since its inception, the service has expanded its offerings to include eBooks and comics. The app was built exclusively for public libraries and their patrons. Hoopla Digital is the only platform that combines all formats and all license models into one convenient app with no platform fees. In 2017, Hoopla became available on Apple TV, Amazon Fire TV, Android TV, and Roku, allowing users to stream content on larger screens. In 2020, Hoopla Flex and Bonus Borrows programs are introduced, enabling libraries to move their one copy/one user titles. At that time, there were 6.5 million library card holders and 2,700+ library partners. In 2021, the BingePass was introduced, offering patrons seven days to access entire collections with just one borrow. In 2022, Apple CarPlay and Android Auto become available, giving users safe and easy access while driving. In 2023, manga joins Hoopla's comic collection, adding 1.5 million titles to Hoopla's offerings. In January 2025, Hoopla introduced a new streaming feature called SeasonPass. Building on the existing BingePass model, SeasonPass allows users to borrow an entire season of a television series with a single borrow. == Business model == Hoopla is free-of-charge for patrons of participating libraries. The content is paid for by library systems, using a "per circulation transaction model". == Content == Hoopla claims to have over 500,000 content titles across six formats, including over 25,000 comic books. As of November 2016, Hoopla's content comprised 35% audiobooks (for which Hoopla has contracts with publishers such as Blackstone Audio, HarperCollins, Simon & Schuster Audio, Tantor Audio, and others), followed by 22% movies (for which Hoopla has motion picture contracts with publishers such as Disney, Lionsgate, Starz, Warner Bros., and others), 19% music, 12% ebooks, 6% comics, and 6% television. One drawback is that Hoopla has few new bestsellers. In February 2025, 404 Media reported that Hoopla's collection includes books created by generative AI with fictional authors and dubious quality. Often not labeled as AI-produced or fact-checked, this AI slop can cost libraries money when checked out by unsuspecting patrons. Libraries like Sacramento Public library have questioned the sustainability of Hoopla's pay-per-use model and have considered transitioning to other digital platforms. === Areas served === Hoopla expanded to serve Australia and New Zealand in June 2021. == Technology == Hoopla content can be borrowed and consumed on the web, or via the native Android or iOS apps. Hoopla broadcasts only in Standard definition unlike most of its competitors such as Kanopy. == Parent company == John Eldred and Jeff Jankowski founded Hoopla's parent company, Midwest Tape, in 1989. Midwest Tape is a library vendor of physical media such as audiobooks, CDs, and DVD/Blu-ray. == Controversy == Hoopla and Midwest Tapes were censured by the Library Freedom Project and Library Futures in a joint statement for hosting what it described as "fascist propaganda", including a recent English translation of A New Nobility of Blood and Soil by Richard Walther Darré of the SS and books related to Holocaust denial, in public library collections without the input from the staff. Criticism was also directed at the inclusion of books on homosexuality, abortion, and vaccines claimed by the Library Freedom Project and Library Futures to be misinformation. On February 17, 2022, Hoopla removed a number of titles after public outcry about Holocaust denial books available on the app under non-fiction. The advocacy groups expressed appreciation for the response, however state that it is "insufficient," as they maintain concerns about the company's practices in selecting materials and lack of transparency.
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Control communications

In telecommunications, control communications is the branch of technology devoted to the design, development, and application of communications facilities used specifically for control purposes, such as for controlling (a) industrial processes, (b) movement of resources, (c) electric power generation, distribution, and utilization, (d) communications networks, and (e) transportation systems.
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Quantum artificial life

Quantum artificial life is the application of quantum algorithms with the ability to simulate biological behavior. Quantum computers offer many potential improvements to processes performed on classical computers, including machine learning and artificial intelligence. Artificial intelligence applications are often inspired by the idea of mimicking human brains through closely related biomimicry. This has been implemented to a certain extent on classical computers (using neural networks), but quantum computers offer many advantages in the simulation of artificial life. Artificial life and artificial intelligence are extremely similar, with minor differences; the goal of studying artificial life is to understand living beings better, while the goal of artificial intelligence is to create intelligent beings. In 2016, Alvarez-Rodriguez et al. developed a proposal for a quantum artificial life algorithm with the ability to simulate life and Darwinian evolution. In 2018, the same research team led by Alvarez-Rodriguez performed the proposed algorithm on the IBM ibmqx4 quantum computer, and received optimistic results. The results accurately simulated a system with the ability to undergo self-replication at the quantum scale. == Artificial life on quantum computers == The growing advancement of quantum computers has led researchers to develop quantum algorithms for simulating life processes. Researchers have designed a quantum algorithm that can accurately simulate Darwinian Evolution. Since the complete simulation of artificial life on quantum computers has only been actualized by one group, this section shall focus on the implementation by Alvarez-Rodriguez, Sanz, Lomata, and Solano on an IBM quantum computer. Individuals were realized as two qubits, one representing the genotype of the individual and the other representing the phenotype. The genotype is copied to transmit genetic information through generations, and the phenotype is dependent on the genetic information as well as the individual's interactions with their environment. In order to set up the system, the state of the genotype is instantiated by some rotation of an ancillary state ( | 0 ⟩ ⟨ 0 | {\displaystyle |0\rangle \langle 0|} ). The environment is a two-dimensional spatial grid occupied by individuals and ancillary states. The environment is divided into cells that are able to possess one or more individuals. Individuals move throughout the grid and occupy cells randomly; when two or more individuals occupy the same cell they interact with each other. === Self replication === The ability to self-replicate is critical for simulating life. Self-replication occurs when the genotype of an individual interacts with an ancillary state, creating a genotype for a new individual; this genotype interacts with a different ancillary state in order to create the phenotype. During this interaction, one would like to copy some information about the initial state into the ancillary state, but by the no cloning theorem, it is impossible to copy an arbitrary unknown quantum state. However, physicists have derived different methods for quantum cloning which does not require the exact copying of an unknown state. The method that has been implemented by Alvarez-Rodriguez et al. is one that involves the cloning of the expectation value of some observable. For a unitary U {\displaystyle U} which copies the expectation value of some set of observables X {\displaystyle {\mathsf {X}}} of state ρ {\displaystyle \rho } into a blank state ρ e {\displaystyle \rho _{e}} , the cloning machine is defined by any ( U , ρ e , X ) {\displaystyle (U,\rho _{e},{\mathsf {X}})} that fulfill the following: ∀ ρ ∀ X ∈ X {\displaystyle \forall \rho \forall X\in {\mathsf {X}}} X ¯ = X 1 ¯ = X 2 ¯ {\displaystyle {\bar {X}}={\bar {X_{1}}}={\bar {X_{2}}}} Where X ¯ {\displaystyle {\bar {X}}} is the mean value of the observable in ρ {\displaystyle \rho } before cloning, X 1 ¯ {\displaystyle {\bar {X_{1}}}} is the mean value of the observable in ρ {\displaystyle \rho } after cloning, and X 2 ¯ {\displaystyle {\bar {X_{2}}}} is the mean value of the observable in ρ e {\displaystyle \rho _{e}} after cloning. Note that the cloning machine has no dependence on ρ {\displaystyle \rho } because we want to be able to clone the expectation of the observables for any initial state. It is important to note that cloning the mean value of the observable transmits more information than is allowed classically. The calculation of the mean value is defined naturally as: X ¯ = T r [ ρ X ] {\displaystyle {\bar {X}}=Tr[\rho X]} , X 1 ¯ = T r [ R X ⊗ I ] {\displaystyle {\bar {X_{1}}}=Tr[RX\otimes I]} , X 2 ¯ = T r [ R I ⊗ X ] {\displaystyle {\bar {X_{2}}}=Tr[RI\otimes X]} where R = U ρ ⊗ ρ e U † {\displaystyle R=U\rho \otimes \rho _{e}U^{\dagger }} The simplest cloning machine clones the expectation value of σ z {\displaystyle \sigma _{z}} in arbitrary state ρ = | ψ ⟩ ⟨ ψ | {\displaystyle \rho =|\psi \rangle \langle \psi |} to ρ e = | 0 ⟩ ⟨ 0 | {\displaystyle \rho _{e}=|0\rangle \langle 0|} using U = C N O T {\displaystyle U=CNOT} . This is the cloning machine implemented for self-replication by Alvarez-Rodriguez et al. The self-replication process clearly only requires interactions between two qubits, and therefore this cloning machine is the only one necessary for self replication. === Interactions === Interactions occur between individuals when the two take up the same space on the environmental grid. The presence of interactions between individuals provides an advantage for shorter-lifespan individuals. When two individuals interact, exchanges of information between the two phenotypes may or may not occur based on their existing values. When both individual's control qubits (genotypes) are alike, no information will be exchanged. When the control qubits differ, the target qubits (phenotype) will be exchanged between the two individuals. This procedure produces a constantly changing predator-prey dynamic in the simulation. Therefore, long-living qubits, with a larger genetic makeup in the simulation, are at a disadvantage. Since information is only exchanged when interacting with an individual of different genetic makeup, the short-lived population has the advantage. === Mutation === Mutations exist in the artificial world with limited probability, equivalent to their occurrence in the real world. There are two ways in which the individual can mutate: through random single qubit rotations and by errors in the self-replication process. There are two different operators that act on the individual and cause mutations. The M operation causes a spontaneous mutation within the individual by rotating a single qubit by parameter θ. The parameter θ is random for each mutation, which creates biodiversity within the artificial environment. The M operation is a unitary matrix which can be described as: M = ( cos ⁡ ( θ ) s i n ( θ ) s i n ( θ ) − c o s ( θ ) ) {\displaystyle M={\begin{pmatrix}\cos(\theta )&sin(\theta )\\sin(\theta )&-cos(\theta )\end{pmatrix}}} The other possible way for mutations to occur is due to errors in the replication process. Due to the no-cloning theorem, it is impossible to produce perfect copies of systems that are originally in unknown quantum states. However, quantum cloning machines make it possible to create imperfect copies of quantum states, in other words, the process introduces some degree of error. The error that exists in current quantum cloning machines is the root cause for the second kind of mutations in the artificial life experiment. The imperfect cloning operation can be seen as: U M ( θ ) = I 4 + 1 2 ( 0 0 0 1 ) ⊗ ( − 1 1 1 − 1 ) ( c o s θ + i s i n θ + 1 ) {\displaystyle U_{M}(\theta )=\mathrm {I} _{4}+{\frac {1}{2}}{\begin{pmatrix}0&0\\0&1\end{pmatrix}}\otimes {\begin{pmatrix}-1&1\\1&-1\end{pmatrix}}(cos\theta +isin\theta +1)} The two kinds of mutations affect the individual differently. While the spontaneous M operation does not affect the phenotype of the individual, the self-replicating error mutation, UM, alters both the genotype of the individual, and its associated lifetime. The presence of mutations in the quantum artificial life experiment is critical for providing randomness and biodiversity. The inclusion of mutations helps to increase the accuracy of the quantum algorithm. === Death === At the instant the individual is created (when the genotype is copied into the phenotype), the phenotype interacts with the environment. As time evolves, the interaction of the individual with the environment simulates aging which eventually leads to the death of the individual. The death of an individual occurs when the expectation value of σ z {\displaystyle \sigma _{z}} is within some ϵ {\displaystyle \epsilon } of 1 in the phenotype, or, equivalently, when ρ p = | 0 ⟩ ⟨ 0 | {\displaystyle \rho _{p}=|0\rangle \langle 0|} The Lindbladian describes the interaction of the individual with the environment: ρ
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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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Digital intermediate

Digital intermediate (DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. == Definition and overview == A digital intermediate often replaces or augments the photochemical timing process and is usually the final creative adjustment to a movie before distribution in theaters. It is distinguished from the telecine process in which film is scanned and color is manipulated early in the process to facilitate editing. However the lines between telecine and DI are continually blurred and are often executed on the same hardware by colorists of the same background. These two steps are typically part of the overall color management process in a motion picture at different points in time. A digital intermediate is also customarily done at higher resolution and with greater color fidelity than telecine transfers. Although originally used to describe a process that started with film scanning and ended with film recording, digital intermediate is also used to describe color correction and color grading and even final mastering when a digital camera is used as the image source and/or when the final movie is not output to film. This is due to recent advances in digital cinematography and digital projection technologies that strive to match film origination and film projection. In traditional photochemical film finishing, an intermediate is produced by exposing film to the original camera negative. The intermediate is then used to mass-produce the films that get distributed to theaters. Color grading is done by varying the amount of red, green, and blue light used to expose the intermediate. The digital intermediate process uses digital tools to color grade, which allows for much finer control of individual colors and areas of the image, and allows for the adjustment of image structure (grain, sharpness, etc.). The intermediate for film reproduction can then be produced by means of a film recorder. The physical intermediate film that is a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (IN) stock, which is inherently finer-grain than original camera negative (OCN). One of the key technical achievements that made the transition to DI possible was the use of 3D look-up tables, which could be used to mimic how the digital image would look once it was printed onto release print stock. This removed a large amount of guesswork from the film-making process, and allowed greater freedom in the colour grading process while reducing risk. The digital master is often used as a source for a DCI-compliant distribution of the motion picture for digital projection. For archival purposes, the digital master created during the digital intermediate process can be recorded to very stable high dynamic range yellow-cyan-magenta (YCM) separations on black-and-white film with an expected 100-year or longer life. While still subject to the natural degradation of any analog chemical master, this archival format, long used in the industry prior to the invention of DI, was considered valuable for providing an archival medium that is independent of changes in digital data recording technologies and file formats that might otherwise render digitally archived material unreadable in the long term. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == History == Telecine tools to electronically capture film images are nearly as old as broadcast television, but the resulting images were widely considered unsuitable for exposing back onto film for theatrical distribution. Film scanners and recorders with quality sufficient to produce images that could be inter-cut with regular film began appearing in the 1970s, with significant improvements in the late 1980s and early 1990s. During this time, digitally processing an entire feature-length film was impractical because the scanners and recorders were extremely slow and the image files were too large compared to computing power available. Instead, individual shots or short sequences were processed for visual effects. In 1992, Visual Effects Supervisor/Producer Chris F. Woods broke through several "techno-barriers" in creating a digital studio to produce the visual effects for the 1993 release Super Mario Bros. It was the first feature film project to digitally scan a large number of VFX plates (over 700) at 2K resolution. It was also the first film scanned and recorded at Kodak's just launched Cinesite facility in Hollywood. This project based studio was the first feature film to use Discreet Logic's (now Autodesk) Flame and Inferno systems, which enjoyed early dominance as high resolution / high performance digital compositing systems. Digital film compositing for visual effects was immediately embraced, while optical printer use for VFX declined just as quickly. Chris Watts further revolutionized the process on the 1998 feature film Pleasantville, becoming the first visual effects supervisor for New Line Cinema to scan, process, and record the majority of a feature-length, live-action, Hollywood film digitally. The first Hollywood film to utilize a digital intermediate process from beginning to end was O Brother, Where Art Thou? in 2000 and in Europe it was Chicken Run released that same year. The process rapidly caught on in the mid-2000s. Around 50% of Hollywood films went through a digital intermediate in 2005, increasing to around 70% by mid-2007. This is due not only to the extra creative options the process affords film makers but also the need for high-quality scanning and color adjustments to produce movies for digital cinema. == Milestones == 1990: The Rescuers Down Under – First feature-length film to be entirely recorded to film from digital files; in this case animation assembled on computers using Walt Disney Feature Animation and Pixar's CAPS system. 1992: Visual effects supervisor and producer Chris F. Woods creates a VFX studio to produce the visual effects for the 1993 film Super Mario Bros. It was the first 35mm feature film to digitally scan a large number of VFX plates (over 700) at 2K resolution, as well as to output the finished VFX to 35mm negative at 2K. 1993: Snow White and the Seven Dwarfs – First film to be entirely scanned to digital files, manipulated, and recorded back to film at 4K resolution. The restoration project was done entirely at 4K resolution and 10-bit color depth using the Cineon system to digitally remove dirt and scratches and restore faded colors. 1998: Pleasantville – The first time the majority of a new feature film was scanned, processed, and recorded digitally. The black-and-white meets color world portrayed in the movie was filmed entirely in color and selectively desaturated and contrast adjusted digitally. The work was done in Los Angeles by Cinesite utilizing a Spirit DataCine for scanning at 2K resolution and a MegaDef color correction system from UK Company Pandora International 1998: Zingo - The first feature film to use digital color correction via digital intermediate in its entirety. The work was performed at the Digital Film Lab in Copenhagen, using a Spirit Datacine to transfer the entire film to digital files at 2K resolution. The digital intermediate process was also used to perform a digital blowup of the film's original Super 16 source format to a 35mm output. 1999: Pacific Ocean Post Film, a team led by John McCunn and Greg Kimble used Kodak film scanners & laser film printer, Cineon software as well as proprietary tools to rebuild and repair the first two reels of the 1968 Beatles' film Yellow Submarine for re-release. 1999: Star Wars: Episode I – The Phantom Menace - Industrial Light & Magic (ILM) scanned the entirety of the visual effects-laden film for the purposes of digital enhancement and the integration of thousands of separately filmed elements with computer generated characters and environments. Outside of the approximately 2000 effects shots that were digitally manipulated, the remaining 170 non-effects shots were also scanned for continuity. However, after the digital shots were manipulated at ILM, they were filmed out individually and sent to Deluxe Labs where they were processed and color timed photochemically. 2000: Sorted - The first feature-length, color 35mm motion picture to fully utilize the digital intermediate process in its entirety from inception to completion. The film was produced at Wave Pictures' digital intermediate film facility in London, England. It was scanned at 2K resolution with 8 bits color depth per color / per pixel using a pin registered, liquid gate Oxberry
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Groundswell (book)

Groundswell is a book by Forrester Research executives Charlene Li and Josh Bernoff that focuses on how companies can take advantage of emerging social technologies. It was published in 2008 by Harvard Business Press. A revised edition was published in 2011. The book attempts to explain a shift in the relationship between customers and companies, in which companies are no longer able to control customers' attitudes through market research, customer service, and advertising. Instead, customers are controlling the conversation by using new media to communicate about products and companies. == Synopsis == The groundswell is characterized by several tactics that guide companies into using social technologies strategically and effectively. Listening: Businesses should listen to their customers to understand what the market is looking for in their products. In order to do this, a company needs to find out if their customers are using social technologies and how they are using them. Talking: Instead of advertising to customers, marketing departments should find creative ways to connect with users about their experience with a product and their feelings about the brand. One common method is participation in social networks. Energizing: Enthusiastic customers are part of the groundswell, and companies can recognize and appreciate these customers by creating online communities and social platforms where they can connect with the brand and provide reviews. Supporting: Businesses can harness the support of their own employees by creating internal social applications for them to connect with the brand, also known as enterprise social software. == Groundswell in action == === Examples === Some companies distinguish their product through the use of social technologies. Tom Dickson successfully marketed his Blendtec line of blenders through the viral marketing campaign Will It Blend? The groundswell spread marketing messages through Digg and YouTube with a small budget and little marketing experience. Other companies have been able to listen to and talk with the groundswell by building their own online communities. Procter & Gamble created beinggirl.com Archived 2016-04-10 at the Wayback Machine to introduce girls to P&G feminine care products. The community approach worked because the company could reach girls with information that might seem embarrassing or sensitive in a traditional marketing campaign. === Risks === Features of particular industries or companies can make direct customer engagement more difficult. For instance, some companies must work within industry regulations, national or multinational corporations must balance corporate and local engagement, and other companies must find ways to engage with customers on time-sensitive issues. == Reception == Kevin Allison of the Financial Times praised the book for its focus on Web analytics: "[Groundswell] is not so much a manifesto or a dissection of online culture as it is a how-to manual for executives and mid-level managers trying to navigate this fast-changing and often confusing environment." The book won the American Marketing Association Foundation’s Berry-AMA Book Prize for best marketing book of 2009. It was also listed by: Amazon, as one of the Top 10 Business & Investing Books of 2008 CIO Insight, as one of the Top 10 Business-Tech Books of 2008 and one of 10 Insightful Web 2.0 Books Fortune as Magazine as one of the 3 best Web books of 2008 Advertising Age as number 3 of 10 Books You Should Have Read BusinessWeek as one of the Best Innovation & Design Books of 2008 "strategy+business" as one of the Best Business Books 2008 and “Top Shelf” in Marketing
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Fluency Voice Technology

Fluency Voice Technology was a company that developed and sold packaged speech recognition solutions for use in call centers. Fluency's Speech Recognition solutions are used by call centers worldwide to improve customer service and significantly reduce costs and are available on-premises and hosted. == History == 1998 – Fluency was created as a spin-off from the Voice Research & Development team of a company called netdecisions. This R&D operation was established in Cambridge UK. The focus of the development was speech recognition systems based on the VXML standard. 2001 – Fluency became a separate entity in May 2001. Fluency began the creation of a software development platform specifically aimed at automating call center activities. This platform became Fluency's VoiceRunner. 2002 to 2004 – Fluency establishes accomplishes many successful deployments in customer sites such as National Express and Barclaycard. 2003 – Fluency expanded into the USA. Fluency also acquires Vocalis of Cambridge, UK in August 2003. 2004 – Fluency receives £6 million investment from leading European Venture Capitalists and establishes a global OEM partnership with Avaya, and the acquisition of SRC Telecom. 2008 – Fluency is acquired by Syntellect Ltd == Customers == Call Centers around the world use Fluency to improve service and reduce costs. They include Travelodge, Standard Life Bank, Sutton and East Surrey Water, Pizza Hut, CWT, Barclays, Powergen, First Choice, OutRight, J D Williams, Capital Blue Cross, Chelsea Building Society, EDF, bss, TV Licensing and Capita Software Services.
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RR Media

RR Media was a NASDAQ listed provider of global digital media services to the broadcast industry and content owners. Its services can be divided into four main groups: global content distribution network (satellite, fiber and the internet); content management & playout; sports, news & live events; and online video services. The company was rebranded to RR Media from RRsat in September 2014. In February 2016, it was announced that, subject to regulatory approvals, RR Media was to be acquired by SES, based in Betzdorf, Luxembourg, and merged with SES subsidiary company, SES Platform Services a media services provider for television broadcasters, production companies and platform operators, based in Unterföhring near Munich, Germany. In July 2016, the merged company was named MX1. == Digital media services == Global content distribution services RR Media's global distribution network uses a combination of satellite, fiber and the internet. The network includes satellite downlink and uplink; fiber connectivity to digital media hubs; connectivity to TV service providers; and internet-based content delivery. RR Media's network delivers live television channels, streaming media and Video on demand (VOD) content in all formats including Standard-definition television (SD), High-definition television (HD), 4K resolution (4K) & 3D television (3D). End-to-end content management & playout services RR Media manages, prepares and plays out content from its media centers. Services include: content preparation (digitization, localization, conversion, ingest, multiple formatting, editing, restoration); content management (digital asset management, media ingest and library, streamlined workflows, metadata curation, Video on demand (VOD) delivery) and playout, channel creation, playlist management, advertising insertion/management, graphics, titles & overlay, live events operations). RR Media also creates branded or white label product television channels using live and archived materials. Sports, news & live events RR Media delivers live sports and event content for sports rights holders, broadcasters and news channels. Services include: live production (Outside broadcasting vans, Satellite news gathering (SNG), studios), global live distribution, sports content preparation and content management, playout and origination.RR Media provides downlink, uplink, simultaneous translation, turnaround and live production services for sports events like football, basketball, tennis and golf, news and entertainment channels. Online video services RR Media converts existing and archive content into programs, channels and other digital assets, and converges broadcast and internet delivery. Services include converged media (preparing content for broadcast or online use) Content Management Systems (CMS), VOD services, branded platforms, multi-screen delivery, web video portals and viewer measurement tools (using digital analytics). == Media centers == RR Media's media centers are based in Hawley, PA (USA), Emeq Ha’Ela (Israel) Bucharest (Romania), with another facility opened in London, (UK) in June 2015. An additional facility in Miami, FL United States was announced in April 2016. The centers provide RR Media's services, including content preparation, management, online video, live content and distribution, and 24/7 service and support. == Awards == In November 2014, RR Media won the award for Achievement in Legacy Content at the 2014 TVB Europe awards in London, in recognition for its work with British Pathe and the restoration for YouTube. In February 2014, the World Teleport Association named Avi Cohen, CEO of RR Media (formerly RRsat), as its 2014 Teleport Executive of the Year. In 2009, the World Teleport Association awarded RR Media (then RRsat) the Independent Teleport Operator of the Year award for excellence. == History == RR Media (as RRsat) was established in 1981 as a communications provider. The company was founded by David Rivel, an electronics, computers and communications engineer. Rivel is CEO of the company for 31 years and from 2012 a Member of RR Media's board of directors. Under management of Rivel RRsat Communications Network Ltd. went public on 2006-11-01 - NASDAQ:RRST In 2014, the Company rebranded from RRsat Global Communications Network to RR Media. The rebrand was launched at the International Broadcasting Convention (IBC) Show in Amsterdam. In 2015, RR Media announced its NASDAQ stock ticker symbol change to RRM. == Acquisitions == In April 2015, RR Media acquired Eastern Space Systems (ESS) in Romania, a privately held provider of content management and content distribution services and related consulting services. In June 2015, RR Media acquired Satlink Communications as part of strategy to increase scale and expand its global content distribution network and content management footprint, strengthening its customer mix and leverage media industry expertise.
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Raseef22

Raseef22 (Arabic: رصيف22) is a liberal Arabic media network founded in 2013 based in Beirut, Lebanon. It publishes content in Arabic and English from different Arab states and describes itself as an independent media platform. International Media Support mentions Raseef22 along with HuffPost Arabic and Al Jazeera as one of the biggest Pan-Arab online platforms. == Name == The Arabic word raseef (رَصِيف) means platform or pavement, and the number 22 refers to the number of states in the Arab League. == History == Kareem Sakka co-founded Raseef22 in the aftermath of the Arab Spring, which he cites as a source of inspiration. In an article in The Washington Post, he wrote that Raseef22 was created as a "digital space for those eager to know what was going on around them." Raseef22 was one of the 500 websites censored in Egypt in late 2017 after it published an article on Egyptian security agencies' vies to influence the media. After the site was blocked in Egypt, it was targeted in a cyber attack that took it offline in locations around the world. Jamal Khashoggi wrote for Raseef22 regularly. One of his notable articles was "Notes on the Freedom of the Arabs from Oslo, Norway," published June 5, 2018. The site was blocked in Saudi Arabia December 2018 when the Saudi Ministry of Communications and Information Technology ordered its censorship due to its "unprecedented response to the assassination of Jamal Khashoggi in Istanbul." This decision might have also been related to Raseef22's coverage of Saudi-Israeli relations and interviews with activists later imprisoned or placed under house arrest coverage In 2019 the Association of LGBT Journalists (AJL) in Paris gave Raseef22 a golden foreign press award for its six-month series of articles on gender and sexuality issues. == Readership == According to its publisher in 2019, the news agency counted 12 million readers annually from 22 Arab nations. Of the readership, he wrote that it "believes in the talent and promise of the Arab mind and sees the ugliness of tyranny, patriarchy, misogyny and the futility of proxy rulers and wars." Al-Quds Al-Arabi described Raseef22 as "oriented to the youth."
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Bridgefy

Bridgefy is a Mexican software company with offices in Mexico and California, the United States, dedicated to developing mesh-networking technology for mobile apps. It was founded circa 2014 by Jorge Rios, Roberto Betancourt and Diego Garcia who conceived the idea while participating in a tech competition called StartupBus. Bridgefy's smartphone ad hoc network technology, apparently using Bluetooth Mesh, is licensed to other apps. The app gained popularity during protests in different countries since it can operate without Internet, using Bluetooth instead. Aware of the security issues of not using cryptography and the criticism surrounding it, Bridgefy announced in late October 2020 that they adopted the Signal protocol, in both their app and SDK, to keep information private, though security researchers have demonstrated that Bridgefy's usage of the Signal Protocol is insecure. == Usage == The app gained popularity as a communication tactic during the 2019–2020 Hong Kong protests and Citizenship Amendment Act protests in India, because it requires people who want to intercept the message to be physically close because of Bluetooth's limited range, and the ability to daisy-chain devices to send messages further than Bluetooth's range. == Security == In August 2020, researchers published a paper describing numerous attacks against the application, which allow de-anonymizing users, building social graphs of users’ interactions (both in real time and after the fact), decrypting and reading direct messages, impersonating users to anyone else on the network, completely shutting down the network, performing active man-in-the-middle attacks to read messages and even modify them. In response to the disclosures, developers acknowledged that "no part of the Bridgefy app is encrypted now" and gave a vague promise to release a new version "encrypted with top security protocols". Later developers said they plan to switch to Signal Protocol, which is widely recognized by cryptographers and used by Signal and WhatsApp. The Signal Protocol was integrated into the Bridgefy app and SDK by late October 2020, with the developers claiming to have included improvements such as the impossibility of a third person impersonating any other user, man-in-the-middle attacks done by modifying stored keys, and historical proximity tracking, among others. However, in 2022, the same security researchers, now including Kenny Paterson, published a paper describing how Bridgefy's usage of the Signal Protocol was incorrect, failing to remedy the previously discovered issues. The researchers performed a demonstration, showing that it was possible for users to intercept messages intended for others without the sender noticing. The researchers disclosed the vulnerabilities to the developers of Bridgefy in August 2021, but, according to the researchers, the developers had yet to resolve the issues as of June 2022. On July 31, 2023, the security firm 7asecurity released a blog post and pentest report of a white box penetration test and overall security review of the Bridgefy app in collaboration with the platform's developers. Their review, which began in November 2022 and concluded in May 2023, identified multiple critical vulnerabilities throughout the application. Many of the issues were fixed, or partially fixed, before the end of the audit, including user impersonation and biometric bypass. Bridgefy also published a blog post on August 8, 2023, announcing the audit results.
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Convolution

In mathematics (in particular, functional analysis), convolution is a mathematical operation on two functions f {\displaystyle f} and g {\displaystyle g} that produces a third function f ∗ g {\displaystyle fg} , as the integral of the product of the two functions after one is reflected about the y-axis and shifted. The term convolution refers to both the resulting function and to the process of computing it. The integral is evaluated for all values of shift, producing the convolution function. The choice of which function is reflected and shifted before the integral does not change the integral result (see commutativity). Graphically, it expresses how the 'shape' of one function is modified by the other. Some features of convolution are similar to cross-correlation: for real-valued functions, of a continuous or discrete variable, convolution f ∗ g {\displaystyle fg} differs from cross-correlation f ⋆ g {\displaystyle f\star g} only in that either f ( x ) {\displaystyle f(x)} or g ( x ) {\displaystyle g(x)} is reflected about the y-axis in convolution; thus it is a cross-correlation of g ( − x ) {\displaystyle g(-x)} and f ( x ) {\displaystyle f(x)} , or f ( − x ) {\displaystyle f(-x)} and g ( x ) {\displaystyle g(x)} . For complex-valued functions, the cross-correlation operator is the adjoint of the convolution operator. Convolution has applications that include probability, statistics, acoustics, spectroscopy, signal processing and image processing, computer vision and human vision, geophysics, engineering, physics, and differential equations. The convolution can be defined for functions on Euclidean space and other groups (as algebraic structures). For example, periodic functions, such as the discrete-time Fourier transform, can be defined on a circle and convolved by periodic convolution. (See row 18 at DTFT § Properties.) A discrete convolution can be defined for functions on the set of integers. Generalizations of convolution have applications in the field of numerical analysis and numerical linear algebra, and in the design and implementation of finite impulse response filters in signal processing. Computing the inverse of the convolution operation is known as deconvolution. == Definition == The convolution of f {\displaystyle f} and g {\displaystyle g} is written f ∗ g {\displaystyle fg} , denoting the operator with the symbol ∗ {\displaystyle } . It is defined as the integral of the product of the two functions after one is reflected about the y-axis and shifted. As such, it is a particular kind of integral transform: ( f ∗ g ) ( t ) := ∫ − ∞ ∞ f ( τ ) g ( t − τ ) d τ . {\displaystyle (fg)(t):=\int _{-\infty }^{\infty }f(\tau )g(t-\tau )\,d\tau .} An equivalent definition is (see commutativity): ( f ∗ g ) ( t ) := ∫ − ∞ ∞ f ( t − τ ) g ( τ ) d τ . {\displaystyle (fg)(t):=\int _{-\infty }^{\infty }f(t-\tau )g(\tau )\,d\tau .} While the symbol t {\displaystyle t} is used above, it need not represent the time domain. At each t {\displaystyle t} , the convolution formula can be described as the area under the function f ( τ ) {\displaystyle f(\tau )} weighted by the function g ( − τ ) {\displaystyle g(-\tau )} shifted by the amount t {\displaystyle t} . As t {\displaystyle t} changes, the weighting function g ( t − τ ) {\displaystyle g(t-\tau )} emphasizes different parts of the input function f ( τ ) {\displaystyle f(\tau )} ; If t {\displaystyle t} is a positive value, then g ( t − τ ) {\displaystyle g(t-\tau )} is equal to g ( − τ ) {\displaystyle g(-\tau )} that slides or is shifted along the τ {\displaystyle \tau } -axis toward the right (toward + ∞ {\displaystyle +\infty } ) by the amount of t {\displaystyle t} , while if t {\displaystyle t} is a negative value, then g ( t − τ ) {\displaystyle g(t-\tau )} is equal to g ( − τ ) {\displaystyle g(-\tau )} that slides or is shifted toward the left (toward − ∞ {\displaystyle -\infty } ) by the amount of | t | {\displaystyle |t|} . For functions f {\displaystyle f} , g {\displaystyle g} supported on only [ 0 , ∞ ) {\displaystyle [0,\infty )} (i.e., zero for negative arguments), the integration limits can be truncated, resulting in: ( f ∗ g ) ( t ) = ∫ 0 t f ( τ ) g ( t − τ ) d τ for f , g : [ 0 , ∞ ) → R . {\displaystyle (fg)(t)=\int _{0}^{t}f(\tau )g(t-\tau )\,d\tau \quad \ {\text{for }}f,g:[0,\infty )\to \mathbb {R} .} For the multi-dimensional formulation of convolution, see domain of definition (below). === Notation === A common engineering notational convention is: f ( t ) ∗ g ( t ) := ∫ − ∞ ∞ f ( τ ) g ( t − τ ) d τ ⏟ ( f ∗ g ) ( t ) , {\displaystyle f(t)g(t)\mathrel {:=} \underbrace {\int _{-\infty }^{\infty }f(\tau )g(t-\tau )\,d\tau } _{(fg)(t)},} which has to be interpreted carefully to avoid confusion. For instance, f ( t ) ∗ g ( t − t 0 ) {\displaystyle f(t)g(t-t_{0})} is equivalent to ( f ∗ g ) ( t − t 0 ) {\displaystyle (fg)(t-t_{0})} , but f ( t − t 0 ) ∗ g ( t − t 0 ) {\displaystyle f(t-t_{0})g(t-t_{0})} is in fact equivalent to ( f ∗ g ) ( t − 2 t 0 ) {\displaystyle (fg)(t-2t_{0})} . === Relations with other transforms === Given two functions f ( t ) {\displaystyle f(t)} and g ( t ) {\displaystyle g(t)} with bilateral Laplace transforms (two-sided Laplace transform) F ( s ) = ∫ − ∞ ∞ e − s u f ( u ) d u {\displaystyle F(s)=\int _{-\infty }^{\infty }e^{-su}\ f(u)\ {\text{d}}u} and G ( s ) = ∫ − ∞ ∞ e − s v g ( v ) d v {\displaystyle G(s)=\int _{-\infty }^{\infty }e^{-sv}\ g(v)\ {\text{d}}v} respectively, the convolution operation ( f ∗ g ) ( t ) {\displaystyle (fg)(t)} can be defined as the inverse Laplace transform of the product of F ( s ) {\displaystyle F(s)} and G ( s ) {\displaystyle G(s)} . More precisely, F ( s ) ⋅ G ( s ) = ∫ − ∞ ∞ e − s u f ( u ) d u ⋅ ∫ − ∞ ∞ e − s v g ( v ) d v = ∫ − ∞ ∞ ∫ − ∞ ∞ e − s ( u + v ) f ( u ) g ( v ) d u d v {\displaystyle {\begin{aligned}F(s)\cdot G(s)&=\int _{-\infty }^{\infty }e^{-su}\ f(u)\ {\text{d}}u\cdot \int _{-\infty }^{\infty }e^{-sv}\ g(v)\ {\text{d}}v\\&=\int _{-\infty }^{\infty }\int _{-\infty }^{\infty }e^{-s(u+v)}\ f(u)\ g(v)\ {\text{d}}u\ {\text{d}}v\end{aligned}}} Let t = u + v {\displaystyle t=u+v} , then F ( s ) ⋅ G ( s ) = ∫ − ∞ ∞ ∫ − ∞ ∞ e − s t f ( u ) g ( t − u ) d u d t = ∫ − ∞ ∞ e − s t ∫ − ∞ ∞ f ( u ) g ( t − u ) d u ⏟ ( f ∗ g ) ( t ) d t = ∫ − ∞ ∞ e − s t ( f ∗ g ) ( t ) d t . {\displaystyle {\begin{aligned}F(s)\cdot G(s)&=\int _{-\infty }^{\infty }\int _{-\infty }^{\infty }e^{-st}\ f(u)\ g(t-u)\ {\text{d}}u\ {\text{d}}t\\&=\int _{-\infty }^{\infty }e^{-st}\underbrace {\int _{-\infty }^{\infty }f(u)\ g(t-u)\ {\text{d}}u} _{(fg)(t)}\ {\text{d}}t\\&=\int _{-\infty }^{\infty }e^{-st}(fg)(t)\ {\text{d}}t.\end{aligned}}} Note that F ( s ) ⋅ G ( s ) {\displaystyle F(s)\cdot G(s)} is the bilateral Laplace transform of ( f ∗ g ) ( t ) {\displaystyle (fg)(t)} . A similar derivation can be done using the unilateral Laplace transform (one-sided Laplace transform). The convolution operation also describes the output (in terms of the input) of an important class of operations known as linear time-invariant (LTI). See LTI system theory for a derivation of convolution as the result of LTI constraints. In terms of the Fourier transforms of the input and output of an LTI operation, no new frequency components are created. The existing ones are only modified (amplitude and/or phase). In other words, the output transform is the pointwise product of the input transform with a third transform (known as a transfer function). See Convolution theorem for a derivation of that property of convolution. Conversely, convolution can be derived as the inverse Fourier transform of the pointwise product of two Fourier transforms. == Visual explanation == == Historical developments == One of the earliest uses of the convolution integral appeared in D'Alembert's derivation of Taylor's theorem in Recherches sur différents points importants du système du monde, published in 1754. Also, an expression of the type: ∫ f ( u ) ⋅ g ( x − u ) d u {\displaystyle \int f(u)\cdot g(x-u)\,du} is used by Sylvestre François Lacroix on page 505 of his book entitled Treatise on differences and series, which is the last of 3 volumes of the encyclopedic series: Traité du calcul différentiel et du calcul intégral, Chez Courcier, Paris, 1797–1800. Soon thereafter, convolution operations appear in the works of Pierre Simon Laplace, Jean-Baptiste Joseph Fourier, Siméon Denis Poisson, and others. The term itself did not come into wide use until the 1950s or 1960s. Prior to that it was sometimes known as Faltung (which means folding in German), composition product, superposition integral, and Carson's integral. Yet it appears as early as 1903, though the definition is rather unfamiliar in older uses. The operation: ∫ 0 t φ ( s ) ψ ( t − s ) d s , 0 ≤ t < ∞ , {\displaystyle \int _{0}^{t}\varphi (s)\psi (t-s)\,ds,\quad 0\leq t<\infty ,} is a particular case of composition products considered by the Italian mathematician Vito Volterra in 1913. == Circular c
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List of UPnP AV media servers and clients

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

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