AI Content Is Getting Out Of Hand

AI Content Is Getting Out Of Hand — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Corona-Warn-App

Corona-Warn-App was the official and open-source COVID-19 contact tracing app used for digital contact tracing in Germany made by SAP and Deutsche Telekom subsidiary T-Systems. It had been downloaded 22.8 million times as of 19 November 2020 and 26.2 million times as of 18 March 2021. The app has been promoted by billboard and broadcast advertisements, e.g. in cooperation with the German Football Association (DFB) and other prominent companies. The German government has announced that the app would no longer exchange tracing information as of April 30, 2023 & would enter hibernation as of June 1, 2023. == Effectiveness == Experts believe that time saved by using the app can be critical for improving the effectiveness contact tracing efforts. Some virologists say when at least 60% of people in Germany use it, it would be very effective. == Functioning == The app works with the Exposure Notification Framework (what is implemented in Google Play Services for Android and in iOS) by using Bluetooth to exchange codes with app users that are within 1.5 meters of each other for a period of at least 10 minutes. Anyone who tests positive for COVID-19 can share this information voluntarily with the app. Other app users are then notified about when, how long and at what distance they had contact with the infected person within a 14-day period. Testing is available for persons on a voluntary basis. === Server architecture === Based on the Client–server model five servers are operated within the app backend: the Corona-Warn-App server. It stores the authorized keys of infected users, referred to as diagnosis keys, from the past 14 days in its database. Stored diagnosis keys are grouped into regularly updated blocks which are transmitted to the Content Delivery Network. This interface supplies the keys for the app clients to download and locally compute a potential exposure risk. the Verification server. It is responsible for documenting the approval of the user to share their positive test result with the app and also to verify the test result. the Portal Server. It generates a so-called teleTAN token if the user did not give their consent to share their test result with the app at first but then changed their mind or if the local public health authority or test laboratory is not connected to the app system yet. the Test Result Server. It saves the test results provided by the local public health authorities or test laboratories for further use within the backend. the Federation Gateway Server. It connects to the national Corona-Warn-App servers of participating EU countries to enable transnational key exchange. By the distribution of the data on different servers the decoupling of the data becomes possible and results in an obstructed tracing of the app users. ==== Report of a positive COVID-19 test ==== The app provides a function to warn other app users by uploading their positive test result on a voluntarily and anonymous basis to the Corona-Warn-App server. In case the local public health authority or test laboratory is already connected to the app system, the user receives a QR-Code when the swab specimen is taken that can be scanned in the app. After scanning the QR-Code und the user getting authorized by the Verification server, the app receives an individual Registration token which gets stored locally and with which the status and the result of the test can be checked manually as well as automatically. If the local public health authority or test laboratory is not connected to the app system yet and the user wants to share their positive test result with other app users, it is required to request a teleTAN token by calling the verification hotline of the app. In both cases, the user can upload their diagnosis keys of the last 14 days to the Corona-Warn-App server in case their consent to share the information is given. The Corona-Warn-App server then verifies the uploaded keys by asking the Verification server if the keys are valid and if they are, the Corona-Warn-App server stores them in its database. == Privacy == The use of the app is voluntary. The app implements decentralized data storage to ensure data privacy. Employers can require that Corona-Warn be installed on company phones, but can not compel its use on private phones. == Funding == The open source app, which costs €20 million to develop is intended to supplement human contact tracing efforts, which Germany put in place during the early stages of the COVID-19 pandemic in Germany. In August 2022, a spokesperson for the German ministry of health announced that the total costs including all additional developments are now estimated to be closer to €150m. == Interoperability == At its start the app only worked in Germany, and Jens Spahn, than Federal Minister of Health (CDU), has said the development of a Europe-wide system is a future goal. With the update published on 19 October 2020 the app supports key-exchanges with the EU Interoperability Gateway and is therefore able to communicate with contact tracing apps from Ireland and Italy. Austria, Belgium, Czech Republic, Croatia, Cyprus, Denmark, Finland, Ireland, Italy, Latvia, Malta, Netherlands, Norway, Poland, Slovenia, Spain and Switzerland had joined the gateway as well and are also able to exchange keys with Corona-Warn-App. The app can be downloaded in many App stores outside of Germany. However, as of August 2021, the app is still unavailable for those of notable national German minorities like Turks, Russians or Ukrainians, who use App stores of their home countries. == Software variants == An unofficial Corona-Warn-App has been released on F-Droid, making the app available without proprietary components on Android phones. == Literature == Thomas Köllmann: Die Corona-Warn-App – Schnittstelle zwischen Datenschutz- und Arbeitsrecht. In: Neue Zeitschrift für Arbeitsrecht. Nr. 13, 10. Juli 2020, S. 831–836.
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Verge3D

Verge3D is a real-time renderer and a toolkit used for creating interactive 3D experiences running on websites. == Overview == Verge3D enables users to convert content from 3D modelling tools (Blender, 3ds Max, and Maya are currently supported) to view in a web browser. Verge3D was created by the same core group of software engineers that previously created the Blend4Web framework. == Features == Verge3D uses WebGL for rendering. It incorporates components of the Three.js library and exposes its API to application developers. Puzzles Application functionality can be added via JavaScript, either by writing code directly or by using Puzzles, Verge3D’s visual programming environment based on Google Blockly. Puzzles is aimed primarily at non-programmers allowing quick creation of interactive scenarios in a drag-and-drop fashion. App Manager and web publishing App Manager is a lightweight web-based tool for creating, managing and publishing Verge3D projects, running on top of the local development server. Verge3D Network service integrated in the App Manager allows for publishing Verge3D applications via Amazon S3 and EC2 cloud services. PBR For purposes of authoring materials, a glTF 2.0-compliant physically based rendering pipeline is offered alongside the standard shader-based approach. PBR textures can be authored using external texturing software such as Substance Painter for which Verge3D offers the corresponding export preset. Besides the glTF 2.0 model, Verge3D supports physical materials of 3ds Max and Maya (with Autodesk Arnold as reference), and Blender's real-time Eevee materials. glTF and DCC software integration Verge3D integrates directly with Blender, 3ds Max, and Maya, enabling users to create 3D geometry, materials, and animations inside the software, then export them in the JSON-based glTF format. The Sneak Peek feature allows for exporting and viewing scenes from the DCC tool environment. Facebook 3D posts For Facebook publishing, Verge3D offers a specific GLB export option. The exported GLB files are displayed and can be opened in the App Manager. Asset compression Exported files can optionally use LZMA compression, resulting in a reduction in file size of up to 6x. UI and website layouts Interface layouts, created using external WYSIWYG editors, can be linked with Puzzles to trigger changes to a 3D scene being rendered in the browser and vice versa. Animation Verge3D supports skeletal animation, including animation of bipeds and character rigs, and allows for animation of material parameters. Model parts can also be set up to be dragged by the user. Physics The physics module can be linked separately to enable collision detection, dynamically moving objects, support for characters and vehicles, springs, ropes and cloth simulation. As of version 2.11, simple physics simulations can be created and controlled without coding via Puzzles, the visual programming system used by Verge3D. AR/VR The 2.10 update added support for WebXR, an in-development open technology designed to enable virtual reality and augmented reality experiences to be displayed in web browsers. It works with both headsets with controllers, like the HTC Vive and Oculus Rift, and those without, like Google Cardboard. AR/VR experiences can enabled via Puzzles or JavaScript. == Workflow == Verge3D's workflow differs substantially from other mainstream WebGL frameworks. Development of a new Verge3D application is usually started from modeling, texturing and animating 3D objects. The models are assembled in the 3D authoring tool. The scene file is then used as a basis for a Verge3D project initialized from the App Manager. An interactive scenario is optionally added using the Puzzles editor. A Verge3D application can be previewed in the web browser at any development stage using the App Manager. The finished web application can be deployed on the Verge3D Network, on Facebook or on the user's website. == Notable uses == NASA's Jet Propulsion Laboratory used Verge3D to create an interactive 3D visualization of the Mars InSight lander. The web application allows for exploring and interacting with the real-time model of the spacecraft, with the possibility to move different parts and unfurl the solar panels. NASA's older interactive web application Experience Curiosity was ported to Verge3D from Blend4Web. The application makes it possible to operate the rover, control its cameras and the robotic arm and reproduces some of the prominent events of the Mars Science Laboratory mission. Route 66 Digital's Escape Room used Verge3D and Blender. This interactive short explores how users can navigate 3D spaces and interact with objects without the need for instruction.
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End-to-end encryption

End-to-end encryption (E2EE) is a method of implementing a secure communication system where only the sender and intended recipient can read the messages. No one else, including the system provider, telecom providers, Internet providers or malicious actors, can access the cryptographic keys needed to read or send messages. End-to-end encryption prevents data from being read or secretly modified, except by the sender and intended recipients. In many applications, messages are relayed from a sender to some recipients by a service provider. In an E2EE-enabled service, messages are encrypted on the sender's device such that no third party, including the service provider, has the means to decrypt them. The recipients retrieve encrypted messages and decrypt them independently on their own devices. Since third parties cannot decrypt the data being communicated or stored, services with E2EE are better at protecting user data from data breaches and espionage. Computer security experts, digital freedom organizations, and human rights activists advocate for the use of E2EE due to its security and privacy benefits, including its ability to resist mass surveillance. Popular messaging apps like WhatsApp, iMessage, Facebook Messenger, and Signal use end-to-end encryption for chat messages, with some also supporting E2EE of voice and video calls. As of May 2025, WhatsApp is the most widely used E2EE messaging service, with over 3 billion users. Meanwhile, Signal with an estimated 70 million users, is regarded as the current gold standard in secure messaging by cryptographers, protestors, and journalists. Since end-to-end encrypted services cannot offer decrypted messages in response to government requests, the proliferation of E2EE has been met with controversy. Around the world, governments, law enforcement agencies, and child protection groups have expressed concerns over its impact on criminal investigations. As of 2025, some governments have successfully passed legislation targeting E2EE, such as Australia's Telecommunications and Other Legislation Amendment Act (2018) and the Online Safety Act (2023) in the UK. Other attempts at restricting E2EE include the EARN IT Act in the US and the Child Sexual Abuse Regulation in the EU.[1] Nevertheless, some government bodies such as the UK's Information Commissioner's Office and the US's Cybersecurity and Infrastructure Security Agency (CISA) have argued for the use of E2EE, with Jeff Greene of the CISA advising that "encryption is your friend" following the discovery of the Salt Typhoon espionage campaign in 2024. == Definitions == End-to-end encryption is a means of ensuring the security of communications in applications like secure messaging. Under E2EE, messages are encrypted on the sender's device such that they can be decoded only by the final recipient's device. In many non-E2EE messaging systems, including email and many chat platforms, messages pass through intermediaries and are stored by a third party service provider, from which they are retrieved by the recipient. Even if messages are encrypted, they are only encrypted 'in transit', and are thus accessible by the service provider. Server-side disk encryption is also distinct from E2EE because it does not prevent the service provider from viewing the information, as they have the encryption keys and can simply decrypt it. The term "end-to-end encryption" originally only meant that the communication is never decrypted during its transport from the sender to the receiver. For example, around 2003, E2EE was proposed as an additional layer of encryption for GSM or TETRA, in addition to the existing radio encryption protecting the communication between the mobile device and the network infrastructure. This has been standardized by SFPG for TETRA. Note that in TETRA, the keys are generated by a Key Management Centre (KMC) or a Key Management Facility (KMF), not by the communicating users. Later, around 2014, the meaning of "end-to-end encryption" started to evolve when WhatsApp encrypted a portion of its network, requiring that not only the communication stays encrypted during transport, but also that the provider of the communication service is not able to decrypt the communications—maliciously or when requested by law enforcement agencies. Similarly, messages must be undecryptable in transit by attackers through man-in-the-middle attacks. This new meaning is now the widely accepted one. == Motivations == The lack of end-to-end encryption can allow service providers to easily provide search and other features, or to scan for illegal and unacceptable content. However, it also means that content can be read by anyone who has access to the data stored by the service provider, by design or via a backdoor. This can be a concern in many cases where privacy is important, such as in governmental and military communications, financial transactions, and when sensitive information such as health and biometric data are sent. If this content were shared without E2EE, a malicious actor or adversarial government could obtain it through unauthorized access or subpoenas targeted at the service provider. E2EE alone does not guarantee privacy or security. For example, the data may be held unencrypted on the user's own device or accessed through their own app if their credentials are compromised. == Modern implementations == === Messaging === In May 2026, Meta ended support for end-to-end encryption (E2EE) on Instagram, reversing a previous commitment to expand the technology across its messaging services. The company justified the move as a measure to mitigate fraudulent activity and facilitate the detection of harmful content. The decision highlighted a conflict between digital privacy and online safety; while child protection organizations supported the change to better identify predatory behavior, privacy advocates argued that removing E2EE compromises user security. As of 2025, messaging apps like Signal and WhatsApp are designed to exclusively use end-to-end encryption. Both Signal and WhatsApp use the Signal Protocol. Other messaging apps and protocols that support end-to-end encryption include Facebook Messenger, iMessage, Telegram, Matrix, and Keybase. Although Telegram supports end-to-end encryption, it has been criticized for not enabling it by default, instead supporting E2EE through opt-in "secret chats". As of 2020, Telegram did not support E2EE for group chats and no E2EE on its desktop clients. In 2022, after controversy over the use of Facebook Messenger messages in an abortion lawsuit in Nebraska, Facebook added support for end-to-end encryption in the Messenger app. Writing for Wired, technologist Albert Fox Cahn criticized Messenger's approach to end-to-end encryption, which required the user to opt into E2EE for each conversation and split the message thread into two chats which were easy for users to confuse. In December 2023, Facebook announced plans to enable end-to-end encryption by default despite pressure from British law enforcement agencies. As of 2016, many server-based communications systems did not include end-to-end encryption. These systems can only guarantee the protection of communications between clients and servers, meaning that users have to trust the third parties who are running the servers with the sensitive content. End-to-end encryption is regarded as safer because it reduces the number of parties who might be able to interfere or break the encryption. In the case of instant messaging, users may use a third-party client or plugin to implement an end-to-end encryption scheme over an otherwise non-E2EE protocol. === Audio and video conferencing === Signal and WhatsApp use end-to-end encryption for audio and video calls. Since 2020, Signal has also supported end-to-encrypted video calls. In 2024, Discord added end-to-end encryption for audio and video calls, voice channels, and certain live streams. However, they had no plans to implement E2EE for messages. In 2020, after acquiring Keybase, Zoom announced end-to-end encryption would be limited to paid accounts. Following criticism from human rights advocates, Zoom extended the feature to all users with accounts. In 2021, Zoom settled an $85M class action lawsuit over past misrepresentation about end-to-end encryption. The FTC confirmed Zoom previously retained access to meeting keys. === Other uses === Some encrypted backup and file sharing services provide client-side encryption. Nextcloud and MEGA, offer end-to-end encryption of shared files. The term "end-to-end encryption" is sometimes incorrectly used to describe client-side encryption. Some non-E2EE systems, such as Lavabit and Hushmail, have described themselves as offering "end-to-end" encryption when they did not. == Law enforcement and regulation == In 2022, Facebook Messenger came under scrutiny because the messages between a mother and daughter in Nebraska were used to seek criminal charges in an abortion-rel
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Digital media in education

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

In image editing, a curve is a remapping of image tonality, specified as a function from input level to output level, used as a way to emphasize colours or other elements in a picture. Curves can usually be applied to all channels together in an image, or to each channel individually. Applying a curve to all channels typically changes the brightness in part of the spectrum. Light parts of a picture can be easily made lighter and dark parts darker to increase contrast. Applying a curve to individual channels can be used to stress a colour. This is particularly efficient in the Lab colour space due to the separation of luminance and chromaticity, but it can also be used in RGB, CMYK or whatever other colour models the software supports.
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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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Digital Cinema Package

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

Algorithm curation is the selection of online media by technologies such as recommender systems and personalized search. Curation entails the selective sharing of online content and recommendations based on inferred interests. Curation algorithms implement different filter approaches, such as collaborative filtering and content-based filtering. Examples include search engine and social media products such as the Twitter feed, Facebook's News Feed, and Google Personalized Search. == History == === Early algorithmic curation === Online platforms use newsfeed algorithms to determine what content to present to each user. The volume of content published on social media platforms created a need for automated filtering, as manual review of all available content by users is not feasible. These systems function as a form of gatekeeper, shaping which new material users are exposed to and influencing knowledge, attention, and political exposure. ==== Information overload ==== Early ranking algorithms addressed information overload by surfacing the most recent or most popular posts. Later systems shifted toward ranking content based on predicted engagement, aiming to increase the time users spend on a platform. Research has found that these engagement-oriented systems can increase the spread of misinformation and contribute to political polarization as a side effect of optimising for user interaction. ==== How algorithm changes users' feeds over time ==== Algorithmic curation has been found to increase source diversity in some respects while simultaneously reducing the number of external links presented to users, which limits exposure to off-platform content. Research using agent-based modelling has examined how user behaviour, information quality, and algorithmic design interact with one another over time. === Emergence of AI === Platforms increasingly shifted from rule-based ranking systems toward machine-learning and AI-driven approaches, which allow feeds to be personalised at a larger scale and with greater responsiveness to user behaviour. For example, X (formerly Twitter) moved away from a chronological feed toward an AI-powered ranking system that personalises content for each user. These systems are capable of making ranking decisions across volumes of content and user interactions that would not be practical to handle manually. == Approach == === Filter types === ==== Collaborative filtering ==== Collaborative filtering (CF) methods create recommendations based on a person's usage patterns. CF predicts a person's preference for an item by matching their interests with those of users who have similar interests. This process allows for the sharing of ratings between users with similar profiles. CF is based on patterns of human behaviour rather than machine analysis of content itself. Users of CF systems rate items they have interacted with, and these ratings form a profile of interests. The CF system then matches that user with others who have similar profiles, and uses their ratings to generate recommendations. Collaborative filtering can be applied across various content types including text, images, music, and financial products, and can account for complex attributes such as taste and quality that are difficult to represent explicitly. ==== Content-based filtering ==== Content-based filtering (CBF) builds a user profile to represent the types of items a user has engaged with, based on keywords and attributes used to describe those items. Recommendations are generated by presenting items similar to those the user has previously engaged with or is currently viewing. The CBF method creates a profile for each item based on discrete attributes and features, and then constructs a content-based user profile using a weighted vector of those features derived from items the user has rated, purchased, or interacted with. The weights represent the relative importance of each feature, and can be computed using techniques such as Bayesian classifiers, cluster analysis, decision trees, and artificial neural networks, with the goal of estimating the probability that a user will engage with a suggested item. One application of content-based filtering is Pandora Radio, where users provide an artist, genre, or composer to generate a station, and the system surfaces music with similar attributes. == Technology == === Recommender system === Recommender systems rank and suggest content to users based on a combination of implicit and explicit user input. Implicit signals include time spent viewing or engaging with a specific item. Explicit signals include actions such as liking posts, saving store pages, reading news articles, or sharing content. === Personalized search === Personalized search aims to retrieve results most relevant to the user by incorporating contextual factors beyond the explicit query, such as past queries, browsing history, and inferred interests. Social media platforms such as X (formerly Twitter) and Bluesky generate recommendations based on similar users and the content those users interact with. Personalized search may also allow users to explicitly filter results by blocking content containing certain phrases or hashtags. For first-time users without prior history, personalized search may draw on content-based filtering to establish an initial context. Similar processes are used by search engines and retail platforms to tailor results and product recommendations to individual users. == AI contribution == Artificial intelligence contributes to algorithmic curation through machine-learning models capable of processing large volumes of data. Techniques such as deep learning and reinforcement learning allow curation algorithms to model user preferences with greater granularity alongside established filtering approaches. This enables platforms to adjust content rankings rapidly in response to user behaviour. In social media and streaming contexts, AI-driven systems arrange feeds according to predicted relevance, with the outputs shaped by patterns present in the training data. == Social media and potential impact == === Echo chambers === Social media algorithms, such as those used by X (formerly Twitter), recommend content that the system predicts a user will engage with positively. Content from accounts with differing perspectives is less likely to be surfaced, which may reduce source and topic diversity and contribute to the formation of echo chambers. For example, Facebook's news feed is designed to surface content aligned with users' prior engagement, which may reinforce existing views. This dynamic may contribute to filter bubbles, in which users are seldom exposed to content outside their existing interests. Users may further narrow their feeds by actively blocking certain content or accounts. === Over-representation === A pattern observed across social media platforms is the concentration of algorithmic visibility among a small subset of users. Content from the most active users, those with the largest followings, or those generating the most engagement tends to be surfaced more frequently, meaning a small number of accounts can account for a disproportionate share of what appears in other users' feeds.
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Deep Zoom

Deep Zoom is a technology developed by Microsoft for efficiently transmitting and viewing images. It allows users to pan around and zoom in on a large, high resolution image or a large collection of images. It reduces the time required for initial load by downloading only the region being viewed or only at the resolution it is displayed at. Subsequent regions are downloaded as the user pans to (or zooms into) them; animations are used to hide any jerkiness in the transition. The libraries are also available in other platforms including Java and Flash. == History == The Deep Zoom file format is very similar to the Google Maps image format where images are broken into tiles and then displayed as required. The tiling typically follows a quadtree pattern of increasing resolution of image (in other words twice the zoom and twice the resolution). The main difference is that with Google Maps the actual details on the image change from one zoom level to another, while with Deep Zoom the same image is displayed at each zoom level. Seadragon Software, formerly Sand Codex, first created the Seadragon technology and its implementation of what is now called Deep Zoom. This technology was then absorbed into the Microsoft Live Labs when Seadragon Software was acquired. Engineers from Seadragon now work with Microsoft to integrate their work into technology such as Silverlight and Photosynth. == Deep Zoom examples == The most famous implementation of Deep Zoom was probably the first: the memorabilia collection at the Hard Rock website. Conceived and designed by Duncan/Channon and built by Vertigo, it was demonstrated for the first time in March 2008 at the Microsoft MIX convention in Las Vegas. In 2010, Microsoft Live Labs partnered with the University of California, Berkeley to create ChronoZoom, a DeepZoom-powered time visualization tool that pushed the limits of DeepZoom, since it required zooming from the scale of 13 billion years down to a single day. The project has since graduated to development under Microsoft Research. Another example is the Deep Earth project. It is described by its creators as "a community project focused on creating a rich interactive mapping control using Silverlight2 Deep Zoom. Concentrating on Microsoft Virtual Earth imagery and data the project offers team members the opportunity to learn and share while creating something cool and useful." A paintings collection project http://galleryzoom.co.uk/ shows 1000 high resolution/sensor images individually indexed. (Using Deep Zoom Composer). Blaise Aguera y Arcas gave a demonstration of Seadragon and Photosynth at the 2007 TED conference. In November 2009, 352 Media Group, a Silverlight developer in the Microsoft Silverlight Partner Program, created an example of Deep Zoom using Microsoft Silverlight version 3. It is online at 352 Media Group's Web site. The Winston Churchill Deep Zoom Archived 2010-07-04 at the Wayback Machine mosaic, created by Silverlight developers Shoothill, features as both an online interactive deep zoom and a standalone deep zoom which forms part of the Churchill exhibit in the Churchill War Rooms in Whitehall. In 2010, Shoothill built the Sumatran Tiger Deep Zoom - the largest seen to date - for worldwide conservation charity Fauna and Flora International, featuring thousands of images of endangered species. An early example of Deep Zoom-like technology was implemented at The Department of Maori Affairs in New Zealand in 1997. The technology was used to display Maori land ownership. == Deep Zoom images == The file format used by Deep Zoom (as well as Photosynth and Seadragon Ajax) is XML based. Users can specify a single large image (dzi) or a collection of images (dzc). It also allows for "Sparse Images"; where some parts of the image have greater resolution than others, an example of which can be found on the Seadragon Ajax home page; The bike image displayed is a sparse image. Though used in the proprietary Deep Zoom, the dzi format is open and able to be used by anyone. === Deep Zoom image (dzi) === A DZI has two parts: a DZI file (with either a .dzi or .xml extension) and a subdirectory of image folders. Each folder in the image subdirectory is labeled with its level of resolution. Higher numbers correspond to a higher resolution level; inside each folder are the image tiles corresponding to that level of resolution, numbered consecutively in columns from top left to bottom right. === Deep Zoom collection (dzc) === A DZC is a collection of some number of DZIs linked and referenced by a DZC file (with either a .dzc or .xml extension). At a high level, a collection is a number of image thumbnails whose location is kept track of by the .dzc/.xml file, when zooming into an image, it accesses greater resolutions tiles. A DZC's structure is similar to that of a DZI; the .dzc/.xml file defines the collection and the subdirectory of folders maps to the DZI file structure, each with their set of .dzi/.xml and image tiles. The DZC is used in Microsoft's Pivot, but not in SeaDragon per se. === Sparse Images === Sparse images are a sub-classification of the DZI file type. A sparse image is normally a number of separate photographs with varying resolution levels that have been placed in a single DZI instead of a DZC. Sparse images have no different file structure than that of a DZI and differ only in that there is not a single "highest resolution" level for the entire DZI. == Software that uses Deep Zoom == Image Composite Editor - image stitching tool created by Microsoft Research Deep Zoom Composer - collage maker and simple panorama tool created by Microsoft. Images' resolution is maintained when exporting for web use (via Silverlight Deep Zoom or JavaScript using a third-party template). No longer available for download from Microsoft though it can be found on various other sources such as Internet Archive. == iPhone OS development == Microsoft Live Labs has created an application for the App Store called Seadragon Mobile. It is run over the internet and includes Deep Zoom on the following categories; art, history, maps, photos, Photosynth which anybody can upload to, space and technology & web.
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Mixvoip

Mixvoip S.A. is a Luxembourg-based telecommunications service provider founded in 2008. The company offers IP telephony, high-speed Internet connectivity, and IT solutions to businesses and individuals. == Company history == In November 2017, Mixvoip expanded its operations to Belgium and Germany. At the beginning of 2019, the company acquired the telecommunications provider Voipgate. In December 2019, Mixvoip was named Telecom Company of the Year at the Luxembourg ICT Awards 2019 organized by Farvest and IT One. A 2024 article in Duke described the company's transition during the 2010s from traditional telephony services to cloud-based communication platforms. In the end of 2024, the ILR published the statistics about electronic communications in Luxembourg, including Mixvoip in the fix telephony section. In July 2025, Mixvoip acquired Crossing Telecom. In 2026, Mixvoip acquired Nomado's portfolio.
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ProjectExplorer

ProjectExplorer is a documentary short film series. The films, directed and produced by ProjectExplorer's Founder, Jenny M Buccos, focus on histories and cultures of foreign places and people using interviews with subject experts, artists, and public figures including Archbishop Desmond Tutu, Dr. John Kani, Greg Marinovich, and Sipho “Hotstix” Mabuse. Produced for a child and young adult audience, segments in each series depict everyday life and the challenges and concerns of those living in the locations and regions featured. Each film is 2–4 minutes in length, with each series containing approximately 40 films. The ProjectExplorer series is distributed internationally without charge via the web by ProjectExplorer, LTD. an American not-for-profit organization. Three series have been produced and distributed. In fall 2009, ProjectExplorer's third series, Jordan, received a GOLD level Parents' Choice Award for excellence in web programming. == Film series == === Shakespeare's England (2006) === The first series was filmed in London, Stratford-upon-Avon, and New York City. The series includes more than 30 film segments. United Kingdom locations and individuals include: The London Eye The Tower of London The Whitechapel Bell Foundry, which demonstrates the process of making a bell Simon Hughes, Member of Parliament and President of the Liberal Democrats The Old Vic The Royal Shakespeare Company The National Archives (UK) Segments filmed in New York City include: Michael Cumpsty discusses and performs monologues from Hamlet (while starring in the Classic Stage Company production) Michael Stuhlbarg discusses and performs a monologue from Macbeth === South Africa (2007) === Filmed in Johannesburg, Cape Town, and KwaZulu Natal, the series contains over 40 film segments including: Ntate Thabong Phosa, a lesiba player from Lesotho. Due to the rarity of lesiba players globally, this is one of the only publicly available examples of the lesiba played on film. A Robben Island piece, filmed at the cell in which Nelson Mandela was held for 18 of his 27-year imprisonment. JSE Securities Exchange with Leigh Roberts, correspondent for CNBC Africa. A 3-part series on HIV/AIDS with amfAR Director of Research, Dr. Rowena Johnson. Dr. Johnson discusses high cost of anti-retroviral drugs and testing in South Africa. The June 16, 1976 Soweto Uprising, with archival film footage and photography from SABC and The Sowetan newspaper. Prominent South Africans featured in the series: Dr. John Kani, Chairperson of the Apartheid Museum and TONY Award Winning Actor Musician Sipho “Hotstix” Mabuse Former U.N. Ambassador Dave A. Steward, Executive Director of the FW de Klerk Foundation Director and producer, Duma Ndlovu Malcolm Purkey, Artistic Director of the Market Theatre === South Africa, Part II (2008) === Filmed in Johannesburg, Cape Town, and New York City, the series contains over 10 film segments. Prominent South Africans featured in the series: Archbishop Desmond Tutu, Nobel Peace Prize laureate Photojournalist Greg Marinovich, Pulitzer Prize winner and co-author of The Bang-Bang Club Vusi Mahlasela, musician Author, Max du Preez === Jordan (2008) === Filmed in Amman, Petra, Umm Qais, Jerash, Madaba, Bethany, the Dead Sea, and New York City, the series contains more than 45 film segments. Jordan series segments include: A tour of the throne room of King Abdullah II, at Raghadan Palace Sharing mansaf with a Bedouin family in the Wadi Rum desert The UNRWA Jabal Hussein refugee camp The Siq, Treasury, and Monastery at Petra The ruins of Gadara at Umm Qais Jerash, the capital and largest city of Jordan's Jerash Governorate Madaba, home of the Madaba Map and the mosaic capital of Jordan The archaeological site at Bethany Traditional clothing from Salt and Ma'an The reintroduction into the wild of the endangered Arabian Oryx The Desert Castles The science of the Dead Sea Her Royal Highness Princess Basma bint Ali and her Royal Botanic Garden
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Web developer

A web developer is a programmer who develops World Wide Web applications using a client–server model. The applications typically use HTML, CSS, and JavaScript in the client, and any general-purpose programming language in the server. HTTP is used for communications between client and server. A web developer may specialize in client-side applications (Front-end web development), server-side applications (back-end development), or both (full-stack development). == Prerequisite == There are no formal educational or license requirements to become a web developer. However, many colleges and trade schools offer coursework in web development. There are also many tutorials and articles which teach web development, often freely available on the web - for example, on JavaScript. Even though there are no formal requirements, web development projects require web developers to have knowledge and skills such as: Using HTML, CSS, and JavaScript Programming/coding/scripting in one of the many server-side languages or frameworks Understanding server-side/client-side architecture and communication of the kind mentioned above Ability to utilize a database
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Minimum resolvable contrast

Minimum resolvable contrast (MRC) is a subjective measure of a visible spectrum sensor’s or camera's sensitivity and ability to resolve data. A snapshot image of a series of three bar targets of selected spatial frequencies and various contrast coatings captured by the unit under test (UUT) is used to determine the MRC of the UUT, i.e., the visible spectrum camera or sensor. A trained observer selects the smallest target resolvable at each contrast level. Typically, specialized computer software collects the inputted data of the observer and provides a graph of contrast vs. spatial frequency at a given luminance level. A first order polynomial is fitted to the data and an MRC curve of spatial frequency versus contrast is generated.
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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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Mike Little

Mike Little (born 12 May 1962) is an English web developer and writer. He is the co-founder of the free and open source web publishing software WordPress. == Biography == Mike Little was born in Manchester, England in 1962 to a Nigerian father, who was a mathematics lecturer and musician, and an English mother who worked as a primary school teacher. Little was placed into foster care when he was four months of age, and was later adopted by the same family. He grew up on a council estate in Brinnington, Stockport, and was educated at Stockport School. In 2003, Little and Matt Mullenweg started working on a project in which they built on b2/cafelog and later named it WordPress, releasing the first version on 27 May 2003. Little states that, despite not being invited to join his co-founder's for-profit business Automattic, he and Mullenweg remain on good terms. He clarified: "I don’t want it to sound like he cheated me out of something or ripped me off in some way. He didn’t." In June 2013, Little was awarded the SAScon's "Outstanding Contribution to Digital" award for his part in co-founding and developing WordPress. Little has been described as "modest" and living in "virtual anonymity". He has one daughter. He identifies as a follower of Stoicism and a humanist, and in 2021, he became a patron of charity Humanists UK.
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