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  • A Logical Calculus of the Ideas Immanent in Nervous Activity

    A Logical Calculus of the Ideas Immanent in Nervous Activity

    "A Logical Calculus of the Ideas Immanent in Nervous Activity" is a 1943 paper written by Warren Sturgis McCulloch and Walter Pitts, published in the journal The Bulletin of Mathematical Biophysics. The paper proposed a mathematical model of the nervous system as a network of simple logical elements, later known as artificial neurons, or McCulloch–Pitts neurons. These neurons receive inputs, perform a weighted sum, and fire an output signal based on a threshold function. By connecting these units in various configurations, McCulloch and Pitts demonstrated that their model could perform all logical functions. It is a seminal work in cognitive science, computational neuroscience, computer science, and artificial intelligence. It was a foundational result in automata theory. John von Neumann cited it as a significant result. == Mathematics == The artificial neuron used in the original paper is slightly different from the modern version. They considered neural networks that operate in discrete steps of time t = 0 , 1 , … {\displaystyle t=0,1,\dots } . The neural network contains a number of neurons. Let the state of a neuron i {\displaystyle i} at time t {\displaystyle t} be N i ( t ) {\displaystyle N_{i}(t)} . The state of a neuron can either be 0 or 1, standing for "not firing" and "firing". Each neuron also has a firing threshold θ {\displaystyle \theta } , such that it fires if the total input exceeds the threshold. Each neuron can connect to any other neuron (including itself) with positive synapses (excitatory) or negative synapses (inhibitory). That is, each neuron can connect to another neuron with a weight w {\displaystyle w} taking an integer value. A peripheral afferent is a neuron with no incoming synapses. We can regard each neural network as a directed graph, with the nodes being the neurons, and the directed edges being the synapses. A neural network has a circle or a circuit if there exists a directed circle in the graph. Let w i j ( t ) {\displaystyle w_{ij}(t)} be the connection weight from neuron j {\displaystyle j} to neuron i {\displaystyle i} at time t {\displaystyle t} , then its next state is N i ( t + 1 ) = H ( ∑ j = 1 n w i j ( t ) N j ( t ) − θ i ( t ) ) , {\displaystyle N_{i}(t+1)=H\left(\sum _{j=1}^{n}w_{ij}(t)N_{j}(t)-\theta _{i}(t)\right),} where H {\displaystyle H} is the Heaviside step function (outputting 1 if the input is greater than or equal to 0, and 0 otherwise). === Symbolic logic === The paper used, as a logical language for describing neural networks, "Language II" from The Logical Syntax of Language by Rudolf Carnap with some notations taken from Principia Mathematica by Alfred North Whitehead and Bertrand Russell. Language II covers substantial parts of classical mathematics, including real analysis and portions of set theory. To describe a neural network with peripheral afferents N 1 , N 2 , … , N p {\displaystyle N_{1},N_{2},\dots ,N_{p}} and non-peripheral afferents N p + 1 , N p + 2 , … , N n {\displaystyle N_{p+1},N_{p+2},\dots ,N_{n}} they considered logical predicate of form P r ( N 1 , N 2 , … , N p , t ) {\displaystyle Pr(N_{1},N_{2},\dots ,N_{p},t)} where P r {\displaystyle Pr} is a first-order logic predicate function (a function that outputs a boolean), N 1 , … , N p {\displaystyle N_{1},\dots ,N_{p}} are predicates that take t {\displaystyle t} as an argument, and t {\displaystyle t} is the only free variable in the predicate. Intuitively speaking, N 1 , … , N p {\displaystyle N_{1},\dots ,N_{p}} specifies the binary input patterns going into the neural network over all time, and P r ( N 1 , N 2 , … , N n , t ) {\displaystyle Pr(N_{1},N_{2},\dots ,N_{n},t)} is a function that takes some binary input patterns, and constructs an output binary pattern P r ( N 1 , N 2 , … , N n , 0 ) , P r ( N 1 , N 2 , … , N n , 1 ) , … {\displaystyle Pr(N_{1},N_{2},\dots ,N_{n},0),Pr(N_{1},N_{2},\dots ,N_{n},1),\dots } . A logical sentence P r ( N 1 , N 2 , … , N n , t ) {\displaystyle Pr(N_{1},N_{2},\dots ,N_{n},t)} is realized by a neural network iff there exists a time-delay T ≥ 0 {\displaystyle T\geq 0} , a neuron i {\displaystyle i} in the network, and an initial state for the non-peripheral neurons N p + 1 ( 0 ) , … , N n ( 0 ) {\displaystyle N_{p+1}(0),\dots ,N_{n}(0)} , such that for any time t {\displaystyle t} , the truth-value of the logical sentence is equal to the state of the neuron i {\displaystyle i} at time t + T {\displaystyle t+T} . That is, ∀ t = 0 , 1 , 2 , … , P r ( N 1 , N 2 , … , N p , t ) = N i ( t + T ) {\displaystyle \forall t=0,1,2,\dots ,\quad Pr(N_{1},N_{2},\dots ,N_{p},t)=N_{i}(t+T)} === Equivalence === In the paper, they considered some alternative definitions of artificial neural networks, and have shown them to be equivalent, that is, neural networks under one definition realizes precisely the same logical sentences as neural networks under another definition. They considered three forms of inhibition: relative inhibition, absolute inhibition, and extinction. The definition above is relative inhibition. By "absolute inhibition" they meant that if any negative synapse fires, then the neuron will not fire. By "extinction" they meant that if at time t {\displaystyle t} , any inhibitory synapse fires on a neuron i {\displaystyle i} , then θ i ( t + j ) = θ i ( 0 ) + b j {\displaystyle \theta _{i}(t+j)=\theta _{i}(0)+b_{j}} for j = 1 , 2 , 3 , … {\displaystyle j=1,2,3,\dots } , until the next time an inhibitory synapse fires on i {\displaystyle i} . It is required that b j = 0 {\displaystyle b_{j}=0} for all large j {\displaystyle j} . Theorem 4 and 5 state that these are equivalent. They considered three forms of excitation: spatial summation, temporal summation, and facilitation. The definition above is spatial summation (which they pictured as having multiple synapses placed close together, so that the effect of their firing sums up). By "temporal summation" they meant that the total incoming signal is ∑ τ = 0 T ∑ j = 1 n w i j ( t ) N j ( t − τ ) {\displaystyle \sum _{\tau =0}^{T}\sum _{j=1}^{n}w_{ij}(t)N_{j}(t-\tau )} for some T ≥ 1 {\displaystyle T\geq 1} . By "facilitation" they meant the same as extinction, except that b j ≤ 0 {\displaystyle b_{j}\leq 0} . Theorem 6 states that these are equivalent. They considered neural networks that do not change, and those that change by Hebbian learning. That is, they assume that at t = 0 {\displaystyle t=0} , some excitatory synaptic connections are not active. If at any t {\displaystyle t} , both N i ( t ) = 1 , N j ( t ) = 1 {\displaystyle N_{i}(t)=1,N_{j}(t)=1} , then any latent excitatory synapse between i , j {\displaystyle i,j} becomes active. Theorem 7 states that these are equivalent. === Logical expressivity === They considered "temporal propositional expressions" (TPE), which are propositional formulas with one free variable t {\displaystyle t} . For example, N 1 ( t ) ∨ N 2 ( t ) ∧ ¬ N 3 ( t ) {\displaystyle N_{1}(t)\vee N_{2}(t)\wedge \neg N_{3}(t)} is such an expression. Theorem 1 and 2 together showed that neural nets without circles are equivalent to TPE. For neural nets with loops, they noted that "realizable P r {\displaystyle Pr} may involve reference to past events of an indefinite degree of remoteness". These then encodes for sentences like "There was some x such that x was a ψ" or ( ∃ x ) ( ψ x ) {\displaystyle (\exists x)(\psi x)} . Theorems 8 to 10 showed that neural nets with loops can encode all first-order logic with equality and conversely, any looped neural networks is equivalent to a sentence in first-order logic with equality, thus showing that they are equivalent in logical expressiveness. As a remark, they noted that a neural network, if furnished with a tape, scanners, and write-heads, is equivalent to a Turing machine, and conversely, every Turing machine is equivalent to some such neural network. Thus, these neural networks are equivalent to Turing computability and Church's lambda-definability. == Context == === Previous work === The paper built upon several previous strands of work. In the symbolic logic side, it built on the previous work by Carnap, Whitehead, and Russell. This was contributed by Walter Pitts, who had a strong proficiency with symbolic logic. Pitts provided mathematical and logical rigor to McCulloch’s vague ideas on psychons (atoms of psychological events) and circular causality. In the neuroscience side, it built on previous work by the mathematical biology research group centered around Nicolas Rashevsky, of which McCulloch was a member. The paper was published in the Bulletin of Mathematical Biophysics, which was founded by Rashevsky in 1939. During the late 1930s, Rashevsky's research group was producing papers that had difficulty publishing in other journals at the time, so Rashevsky decided to found a new journal exclusively devoted to mathematical biophysics. Also in the Rashevsky's group was Alston Scott Householder, who in 1941 published an abstract model

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  • Festival of International Virtual & Augmented Reality Stories

    Festival of International Virtual & Augmented Reality Stories

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

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  • Errored second

    Errored second

    In telecommunications and data communication systems, an errored second is an interval of a second during which any error whatsoever has occurred, regardless of whether that error was a single bit error or a complete loss of communication for that entire second. The type of error is not important for the purpose of counting errored seconds. In communication systems with very low uncorrected bit error rates, such as modern fiber-optic transmission systems, or systems with higher low-level error rates that are corrected using large amounts of forward error correction, errored seconds are often a better measure of the effective user-visible error rate than the raw bit error rate. For many modern packet-switched communication systems, even a single uncorrected bit error is enough to cause the loss of a data packet by causing its CRC check to fail; whether that packet loss was caused by a single bit error or a hundred-bit-long error burst is irrelevant. For systems using large amounts of forward error correction, the reverse applies; a single low-level bit error will almost never occur, since any small errors will almost always be corrected, but any error sufficiently large to cause the forward error correction to fail will almost always result in a large burst error. More specialist and precise definitions of errored seconds exist in standards such as the T1 and DS1 transport systems.

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  • Mass media use by the Islamic State

    Mass media use by the Islamic State

    The Islamic State (IS) is known for its extensive and effective use of propaganda. It uses a version of the Muslim Black Standard flag and developed an emblem which has clear symbolic meaning in the Muslim world. The Islamic State targets younger audiences, such as teenagers and young adults, since they are more vulnerable to propaganda. It is known to exploit the internet to spread its propaganda by establishing websites, such as the Al Fustat domain. Videos by the Islamic State are commonly accompanied by nasheeds (chants), notable examples being the chant Dawlat al-Islam Qamat, which came to be viewed as an unofficial anthem of the Islamic State, and Salil al-Sawarim. Academic research has emphasized the scale and volume of Islamic State media production beyond its flagship magazines. A quantitative study cited in R. Malash’s academic work documented 1,373 distinct Islamic State media products released over a six-month period between 1 August 2017 and 28 February 2018, including magazines, newsletters, reports, photographic releases, audio recordings, and other media formats. Scholars have used such datasets to illustrate the breadth and intensity of the group’s media output, particularly during periods of territorial decline, when propaganda activity remained high despite military pressure. == Traditional media == === Al-Furqan Foundation for Media Production === In January 2006, shortly after the group's rebranding as the "Islamic State of Iraq", it established the Al-Furqan Foundation for Media Production (Arabic: مؤسسة الفرقان للإنتاج الإعلامي, romanized: Muasasat al-Furqān lil'īntāj al'ilāmī), which produces CDs, DVDs, posters, pamphlets, and web-related propaganda products and official statements. It is the primary media production house of the Islamic State and responsible for production of major media releases, including the statements of the spokesmen and leaders of the group. On January 10, 2006, Al-Furqan released its very first video, titled (Arabic: زحف الأنوار, romanized: Zahf al-Anwār) It was founded by the Iraqi man Dr Wa'il al-Fayad, known as Abu Muhammad al-Furqan. He got his name "Al-Furqan" from his role in founding this media house, which was named after the 25th surah of the Quran Al-Furqan. It is the oldest media production house for the Islamic State, being founded in November 2006 to release media for the Islamic State of Iraq. The earliest release indexed by the SITE Intelligence Group is on 21 November 2006, documenting the storming of a police station in the Iraqi town of Miqdadiyah. Al-Furqan is considered to be a considerable innovation in jihadist media, with Kavkaz Center describing it as "a milestone on the path of jihad, a distinguished media that takes the great care in the management of the conflict with the crusaders and their tails and to expose the lies in the crusader's media." In October 2007, the Long War Journal reported on United States Army raids targeting Al-Furqan media cell members across Iraq, including in Mosul and Samarra. Between August 2013 and March 2014 they released the 22 part series Messages from the Land of Epic Battles. On 2 September 2014 SITE Intelligence Group discovered the beheading video called A Second Message to America, about the death of Steven Sotloff. Since then, Al-Furqan has released videos of their operations across Iraq and Syria, as well as execution videos directed to governments around the world. In April 2019, Al-Furqan released a video Interviewing Abu Bakr al-Baghdadi. Al-Furqan also produces media in the form of audio, which consists mostly of recordings of IS leaders and spokesmen giving speeches, as well as producing a single nasheed under their name called "Ya Allah Al-Jannah" (O Allah, (we ask you for) Paradise), sung by now-dead member of IS, Uqab Al-Marzuqi. === Al-I'tisam Foundation for Media Production === The Islamic State of Iraq founded a second media foundation - Al-I'tisam Media Foundation - around 2011, marked by their first video release, titled "The Conqueror of the Murtaddin: Abu Ahmad Al-Ansari". The foundation has since released a few series of videos, 50 parts of "Windows on the Land of Battles", 9 parts of "Pictures from the Land of Battles", a 9-part series quoting leaders about the establishment of the Islamic State, and other series before their last release, "Deterring the Safavids in Salah ad-Din" in 2015. Since then, there were no further releases from their behalf. === Al-Hayat Media Center === In mid-2014, IS established the Al-Hayat Media Center, which targets Western audiences and produces material in English, German, Russian, Urdu, Indonesian, Turkish, Bengali, Chinese, Bosnian, Kurdish, Uyghur, and French. When IS announced its expansion to other countries in November 2014 it established media departments for the new branches, and its media apparatus ensured that the new branches follow the same models it uses in Iraq and Syria. Then FBI Director James Comey said that IS's "propaganda is unusually slick," noting that, "They are broadcasting... in something like 23 languages". In July 2014, Al-Hayat began publishing a digital magazine called Dabiq, in a number of different languages including English. According to the magazine, its name is taken from the town of Dabiq in northern Syria, which is mentioned in a hadith about Armageddon. Al-Hayat also began publishing other digital magazines, including the Turkish language Konstantiniyye, the Ottoman word for Istanbul, the French language Dar al-Islam, and the Russian language Istok (Russian: Исток). By late 2016, these magazines had apparently all been discontinued, with Al-Hayat's material being consolidated into a new magazine called Rumiyah (Arabic for Rome). === Al-Naba === While the group's glossy, foreign-language magazines like Dabiq and Rumiyah ceased publication as the group lost territory, the weekly Arabic newsletter Al-Naba (The News) has continued to publish regularly, becoming the central pillar of the group's "media jihad" in the post-territorial phase. Recent scholarship, including studies published in 2025, suggests that Al-Naba serves a dual purpose: maintaining internal cohesion among dispersed fighters and projecting a narrative of endurance to enemies. Unlike the earlier magazines which were designed for recruitment, Al-Naba focuses on bureaucratic reporting, military statistics, and religious instruction. These are then translated and disseminated by decentralized supporter networks ("media mujahideen") to reach non-Arabic speakers. === Furat Media Center === The Al-Furat Media Center is another media center established in around 2015 to cater towards non-Arab speaking audiences. However, unlike the other organizations, the production wasn't as professional as ones made by the other media centers. Instead, they partially relied on local media departments and foreign communities of the Mujahideen to produce short-form videos. However, some professional long-form videos were also made under their behalf. As of now, the media center is the only known active branch of all the media centers of the Islamic State, after heavy losses from past campaigns against them. Their last release was "The Resolve of Muwahhidin in Russia", where videos from the Surovikino penal colony hostage crisis were edited and released. === Ajnad Foundation for Media Production === Ajnad Foundation is one of the official media wings of Islamic State which produces nasheeds and Quran recitations. It was established in January 2014 and has released more than 150 nasheeds. === Asdaa Foundation === Like the Ajnad Foundation, the Asdaa Foundation (Arabic: مؤسسة أصداء) or Asedaa Foundation produces Anasheed (Islamic chants). The foundation is the closest counterpart to Ajnad in producing Islamic State nasheeds, only difference being Ajnad is directly linked to the Islamic State while Asdaa is only classified as a "supporter organization" (munaser/munasera). The foundation had humble beginnings possibly in Yemen, where low-quality nasheeds were produced at first by 2 munshids, Abu Layth Al-Iraqi and Abu Ya'qub Al-Yamani. After that, the quality had improved a bit (possibly with new equipment and increased recognition) and eventually had its nasheeds included in the Islamic State's official media releases. One of its munshids, Abu Hafs is a renowned munshid who sings around 70 nasheeds, who as well works with Ajnad Foundation in some instances. He is currently alive, and working under Ansar Production Center (مركز إنتاج الأنصار), another Munasir foundation and Asedaa. Another Yemeni munshid, Abu Musab al-Adani, worked temporarily with Asdaa Foundation before defecting back to AQAP, from which he previously defected from. Some of their anasheed is used in IS's execution videos, a popular one is their human slaughterhouse execution video released during the time of Eid Al-Adha in 2016. The background nasheed they used was "We Came To Fill The Horizons With Terror", produced by the Asd

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  • Lost Art-Database

    Lost Art-Database

    The Lost Art-Datenbank is an online database published by the German Lost Art Foundation (Deutsches Zentrum Kulturgutverluste. It contains information on cultural objects looted from Jewish collectors or transferred due to Nazi persecution during the Nazi era. Until 2015, it was managed by the Koordinierungsstelle für Kulturgutverluste (Magdeburg Coordination Office). == Creation == Following the Washington Conference of 1998, and the commitments to provide more transparency regarding looted art, Germany launched the Lost Art Database in 2000 order to help Holocaust victims and their families track down artworks that had been looted from them or lost due to Nazi persecution. == Functionality == The Lost Art Database lists art and books and other cultural objects that were lost, seized, stolen or forceably sold during the Nazi era. The database is divided into search requests from victims' families, heirs or institutions and "found" reports from cultural institutions on items with unresolved provenance gaps from the Nazi periods. The section on reports of finds lists objects that are known to have been unlawfully seized or relocated as a result of the war. In addition, reports are published here on cultural objects for which an uncertain or incomplete provenance may indicate a possible unlawful seizure or war-related relocation. The publication of reports in the Lost Art Internet Database is carried out on behalf of and with the consent of the reporting persons and institutions. The responsibility for the content of the reports lies with these legal or natural persons. There have been controversies over which items should be included in the database. Lost Art is based on the Washington Principles adopted in 1998, which Germany has committed itself to implementing (Joint Declaration, 1999). The Lost Art Database is considered a key resource in the search for looted art and the victims of persecution. Every item in the Lost Art Database has an identifier, known as a Lost Art ID. Proveana is the linked research database. == Other lost art databases == Other countries have launched databases to help identify Nazi looted art. Each database has its own area of focus. The German Lost Art Database allows families or heirs to submit information. Other countries have databases that focus on looted artworks that have not been found or artworks that were repatriated to the national authorities after the defeat of the Nazis but were never returned to their original owners. Other databases have been created for stolen antiquities, looted art from colonial era, art stolen from Syria, Iraq, Ukraine, or from museums or collectors.

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  • Video game

    Video game

    A video game, computer game, or simply game is an electronic game that involves interaction with a user interface or input device (such as a joystick, controller, keyboard, or motion sensing device) to generate visual feedback from a display device, most commonly shown in a video format on a television set, computer monitor, flat-panel display or touchscreen on handheld devices, or a virtual reality headset. Most modern video games are audiovisual, with audio complement delivered through speakers or headphones, and sometimes also with other types of sensory feedback (e.g., haptic technology that provides tactile sensations). Some video games also allow microphone and webcam inputs for in-game chatting and livestreaming. Video games are typically categorized according to their hardware platform, which traditionally includes arcade video games, console games, and computer games (which includes LAN games, online games, and browser games). More recently, the video game industry has expanded onto mobile gaming through mobile devices (such as smartphones and tablet computers), virtual and augmented reality systems, and remote cloud gaming. Video games are also classified into a wide range of genres based on their style of gameplay and target audience. The first video game prototypes in the 1950s and 1960s were simple extensions of electronic games using video-like output from large, room-sized mainframe computers. The first consumer video game was the arcade video game Computer Space in 1971, which took inspiration from the earlier 1962 computer game Spacewar!. In 1972 came the now-iconic video game Pong and the first home console, the Magnavox Odyssey. The industry grew quickly during the "golden age" of arcade video games from the late 1970s to early 1980s but suffered from the crash of the North American video game market in 1983 due to loss of publishing control and saturation of the market. Following the crash, the industry matured, was dominated by Japanese companies such as Nintendo, Sega, and Sony, and established practices and methods around the development and distribution of video games to prevent a similar crash in the future, many of which continue to be followed. In the 2000s, the core industry centered on "AAA" games, leaving little room for riskier experimental games. Coupled with the availability of the Internet and digital distribution, this gave room for independent video game development (or "indie games") to gain prominence into the 2010s. Since then, the commercial importance of the video game industry has been increasing. The emerging Asian markets and proliferation of smartphone games in particular are altering player demographics towards casual and cozy gaming, and increasing monetization by incorporating games as a service. Today, video game development requires numerous skills, vision, teamwork, and liaisons between different parties, including developers, publishers, distributors, retailers, hardware manufacturers, and other marketers, to successfully bring a game to its consumers. As of 2020, the global video game market had estimated annual revenues of US$159 billion across hardware, software, and services, which is three times the size of the global music industry and four times that of the film industry in 2019, making it a formidable heavyweight across the modern entertainment industry. The video game market is also a major influence behind the electronics industry, where personal computer component, console, and peripheral sales, as well as consumer demands for better game performance, have been powerful driving factors for hardware design and innovation. == Origins == Early video games used interactive electronic devices with various display formats. The earliest example dates to 1947—a "cathode-ray tube amusement device" was filed for a patent on 25 January 1947, by Thomas T. Goldsmith Jr. and Estle Ray Mann, and issued on 14 December 1948, as U.S. Patent 2455992. Inspired by radar display technology, it consisted of an analog device allowing a user to control the parabolic arc of a dot on the screen to simulate a missile being fired at targets, which were paper drawings fixed to the screen. Other early examples include the Nimrod computer at the 1951 Festival of Britain; Christopher Strachey's Checkers, possibly the first game to display visuals on an electronic screen in 1952; OXO, a tic-tac-toe computer game by Alexander S. Douglas for the EDSAC in 1952; Tennis for Two, an electronic interactive game engineered by William Higinbotham in 1958; and Spacewar!, written by Massachusetts Institute of Technology students Martin Graetz, Steve Russell, and Wayne Wiitanen's on a DEC PDP-1 computer in 1962. Each game had different means of display: NIMROD had a panel of lights to play the game of Nim, OXO had a graphical display to play tic-tac-toe, Tennis for Two had an oscilloscope to display a side view of a tennis court, and Spacewar! had the DEC PDP-1's vector display to have two spaceships battle each other. These inventions laid the foundation for modern video games. In 1966, while working at Sanders Associates, Ralph H. Baer devised a system to play a basic table tennis game on a television screen. With the company's approval, Baer created the prototype known as the "Brown Box". Sanders patented Baer's innovations and licensed them to Magnavox, which commercialized the technology as the first home video game console, the Magnavox Odyssey, released in 1972. Separately, Nolan Bushnell and Ted Dabney, inspired by seeing Spacewar! running at Stanford University, devised a similar version running in a smaller coin-operated arcade cabinet using a less expensive computer. This was released as Computer Space, the first arcade video game, in 1971. Bushnell and Dabney went on to form Atari, Inc., and with Allan Alcorn, created their second arcade game in 1972, the hit ping pong-style Pong, which was directly inspired by the table tennis game on the Odyssey. Atari made a home version of Pong, which was released by Christmas 1975. The success of the Odyssey and Pong, both as an arcade game and home machine, launched the video game industry. Both Baer and Bushnell have been titled "Father of Video Games" for their contributions. == Terminology == The term "video game" was developed to describe electronic games played on a video display rather than on a teletype printer, audio speaker, or similar device. This also distinguished from handheld electronic games such as Merlin, which commonly used LED lights for indicators not in combination for imaging purposes. "Computer game" may also be used as a descriptor, as all these types of games essentially require the use of a computer processor; in some cases, it is used interchangeably with "video game". Particularly in the United Kingdom and Western Europe, this is common due to the historic relevance of domestically produced microcomputers. Other terms used include digital game, for example, by the Australian Bureau of Statistics. The term "computer game" can also refer to PC games, which are played primarily on personal computers or other flexible hardware systems, to distinguish them from console games, arcade games, or mobile games. Other terms, such as "television game", "telegame", or "TV game", had been used in the 1970s and early 1980s, particularly for home gaming consoles that rely on connection to a television set. However, these terms were also used interchangeably with "video game" in the 1970s, primarily due to "video" and "television" being synonymous. In Japan, where consoles like the Odyssey were first imported and then made within the country by the large television manufacturers such as Toshiba and Sharp Corporation, such games are known as "TV games", "TV geemu", or "terebi geemu". The term "TV game" is still commonly used into the 21st century. "Electronic game" may also be used to refer to video games, but this also incorporates devices like early handheld electronic games that lack any video output. The first appearance of the term "video game" emerged around 1973. The Oxford English Dictionary cited a 10 November 1973 BusinessWeek article as the first printed use of the term. Though Bushnell believed the term came from a vending magazine review of Computer Space in 1971, a review of the major vending magazines Vending Times and Cashbox showed that the term may have come even earlier, appearing first in a letter dated July 10, 1972. In the letter, Bushnell uses the term "video game" twice. Per video game historian Keith Smith, the sudden appearance suggested that the term had been proposed and readily adopted by those in the field. Around March 1973, Ed Adlum, who ran Cashbox's coin-operated section until 1972 and then later founded RePlay Magazine, covering the coin-op amusement field, in 1975, used the term in an article in March 1973. In a September 1982 issue of RePlay, Adlum is credited with first naming these games as "video games": "RePlay

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  • Dynamic web page

    Dynamic web page

    A dynamic web page is a web page constructed at runtime (during software execution), as opposed to a static web page, delivered as it is stored. A server-side dynamic web page is a web page whose construction is controlled by an application server processing server-side scripts. In server-side scripting, parameters determine how the assembly of every new web page proceeds, and including the setting up of more client-side processing. A client-side dynamic web page processes the web page using JavaScript running in the browser as it loads. JavaScript can interact with the page via Document Object Model (DOM), to query page state and modify it. Even though a web page can be dynamic on the client-side, it can still be hosted on a static hosting service such as GitHub Pages or Amazon S3 as long as there is not any server-side code included. A dynamic web page is then reloaded by the user or by a computer program to change some variable content. The updating information could come from the server, or from changes made to that page's DOM. This may or may not truncate the browsing history or create a saved version to go back to, but a dynamic web page update using AJAX technologies will neither create a page to go back to, nor truncate the web browsing history forward of the displayed page. Using AJAX, the end user gets one dynamic page managed as a single page in the web browser while the actual web content rendered on that page can vary. The AJAX engine sits only on the browser requesting parts of its DOM, the DOM, for its client, from an application server. A particular application server could offer a standardized REST style interface to offer services to the web application. DHTML is the umbrella term for technologies and methods used to create web pages that are not static web pages, though it has fallen out of common use since the popularization of AJAX, a term which is now itself rarely used. Client-side-scripting, server-side scripting, or a combination of these make for the dynamic web experience in a browser. == Basic concepts == Classical hypertext navigation, with HTML or XHTML alone, provides "static" content, meaning that the user requests a web page and simply views the page and the information on that page. However, a web page can also provide a "live", "dynamic", or "interactive" user experience. Content (text, images, form fields, etc.) on a web page can change, in response to different contexts or conditions. There are two ways to create this kind of effect: Using client-side scripting to change interface behaviors within a specific web page, in response to mouse or keyboard actions, data received from a web API, websocket or at specified timing events. In this case the dynamic behavior occurs within the presentation. Using server-side scripting to change the supplied page source code between pages, adjusting the sequence or reload of the web pages or web content supplied to the browser. Server responses may be determined by such conditions as data in a posted HTML form, parameters in the URL, the type of browser being used, the passage of time, or a database or server state. Web pages that use client-side scripting must use presentation technology broadly called rich interfaced pages. Client-side scripting languages like JavaScript or ActionScript, used for Dynamic HTML (DHTML) and Flash technologies respectively, are frequently used to orchestrate media types (sound, animations, changing text, etc.) of the presentation. The scripting also allows use of remote scripting, a technique by which the DHTML page requests additional information from a server, using a hidden Frame, XMLHttpRequests, or a web service. It is also possible to use a web framework to create a web API, which the client, via the use of JavaScript, uses to obtain data and alter its appearance or behavior dynamically depending on the data. Web pages that use server-side scripting are often created with the help of server-side languages such as PHP, Perl, ASP, JSP, ColdFusion and other languages. These server-side languages typically use the Common Gateway Interface (CGI) to produce dynamic web pages. These kinds of pages can also use, on the client-side, the first kind (DHTML, etc.). == History == It is difficult to be precise about "dynamic web page beginnings" or chronology because the precise concept makes sense only after the "widespread development of web pages". HTTP has existed since 1989, HTML, publicly standardized since 1996. The web browser's rise in popularity started with Mosaic in 1993. Between 1995 and 1996, multiple dynamic web products were introduced to the market, including Coldfusion, WebObjects, PHP, and Active Server Pages. The introduction of JavaScript (then known as LiveScript) enabled the production of client-side dynamic web pages, with JavaScript code executed in the client's browser. The letter "J" in the term AJAX originally indicated the use of JavaScript, as well as XML. With the rise of server side JavaScript processing, for example, Node.js, originally developed in 2009, JavaScript is also used to dynamically create pages on the server that are sent fully formed to clients. MediaWiki, the content management system that powers Wikipedia, is an example for an originally server-side dynamic web page, interacted with through form submissions and URL parameters. Throughout time, progressively enhancing extensions such as the visual editor have also added elements that are dynamic on the client side, while the original dynamic server-side elements such as the classic edit form remain available to be fallen back on (graceful degradation) in case of error or incompatibility. == Server-side scripting == A program running on a web server is used to generate the web content on various web pages, manage user sessions, and control workflow. Server responses may be determined by such conditions as data in a posted HTML form, parameters in the URL, the type of browser being used, the passage of time, or a database or server state. Such web pages are often created with the help of server-side languages such as ASP, ColdFusion, Java, JavaScript, Perl, PHP, Ruby, Python, and other languages, by a support server that can run on the same hardware as the web server. These server-side languages often use the Common Gateway Interface (CGI) to produce dynamic web pages. Two notable exceptions are ASP.NET, and JSP, which reuse CGI concepts in their APIs but actually dispatch all web requests into a shared virtual machine. The server-side languages are used to embed tags or markers within the source file of the web page on the web server. When a user on a client computer requests that web page, the web server interprets these tags or markers to perform actions on the server. For example, the server may be instructed to insert information from a database or information such as the current date. Dynamic web pages are often cached when there are few or no changes expected and the page is anticipated to receive considerable amount of web traffic that would wastefully strain the server and slow down page loading if it had to generate the pages on the fly for each request. == Client-side scripting == Client-side scripting is changing interface behaviors within a specific web page in response to input device actions, or at specified timing events. In this case, the dynamic behavior occurs within the presentation. The client-side content is generated on the user's local computer system. Such web pages use presentation technology called rich interfaced pages. Client-side scripting languages like JavaScript or ActionScript, used for Dynamic HTML (DHTML) and Flash technologies respectively, are frequently used to orchestrate media types (sound, animations, changing text, etc.) of the presentation. Client-side scripting also allows the use of remote scripting, a technique by which the DHTML page requests additional information from a server, using a hidden frame, XMLHttpRequests, or a Web service. The first public use of JavaScript was in 1995, when the language was implemented in Netscape Navigator 2, standardized as ECMAScript two years later. Example The client-side content is generated on the client's computer. The web browser retrieves a page from the server, then processes the code embedded in the page (typically written in JavaScript) and displays the retrieved page's content to the user. The innerHTML property (or write command) can illustrate the client-side dynamic page generation: two distinct pages, A and B, can be regenerated (by an "event response dynamic") as document.innerHTML = A and document.innerHTML = B; or "on load dynamic" by document.write(A) and document.write(B). == Combination technologies == All of the client and server components that collectively build a dynamic web page are called a web application. Web applications manage user interactions, state, security, and performance. Ajax uses a combination of both client-side script

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  • Awwwards

    Awwwards

    Awwwards (Awwwards Online SL) is an organization that hosts web design competitions and conferences across Europe and the United States. Website owners and developers can participate by submitting their websites for review. Submissions are assessed by a jury, and top entries are presented and awarded prizes on a rotational basis. == Nomination process == Web designers submit their websites through Awwwards' platform for consideration for the Site of the Day. A jury, composed of industry professionals, and the Awwwards community evaluate the entries. The best daily sites are published annually in "The 365 Best Websites Around the World" book. == Jury == The jury consists of international designers, developers, and agencies who assess the creativity, technical skills, and insight of the submitted web projects. The panel's expertise ensures a comprehensive review process. === Developer Award === Awwwards, in partnership with Microsoft, created the Developer Award to recognize web developers who demonstrate excellence in creating websites that meet modern standards. The award highlights websites that work seamlessly across various platforms and devices, using best practices in HTML5, JavaScript, and CSS. == Annual winners == Some prominent Site of the Year winners include Mercedes-Benz, Bloomberg L.P., Bose Corporation, Warner Brothers, Volkswagen, Uber, and Google. == Awwwards conference == Awwwards also organizes two-day conferences featuring speakers from major tech companies and industry leaders such as Microsoft, Google, Spotify, Adobe, Opera, and Smashing Magazine. These events focus on the latest trends in web design and development. Speakers at Awwwards conferences have included notable figures in the design and technology industry such as Stefan Sagmeister, Paula Scher, and design leaders from companies including Wix. == Corporate affairs == === Platform === Awwwards operates an online platform where web designers and developers submit websites for evaluation and awards. Submitted projects are reviewed by a jury based on design, usability, creativity, and content. The platform also serves as a community hub for discovering digital trends, showcasing work, and accessing educational resources including talks and interviews. Design professionals from international companies have participated in Awwwards events and platform content. For example, Wix, a cloud-based web development company known for its website builder tools, has featured prominently in Awwwards conferences, with its design leadership contributing to discussions on design trends and creative thinking.

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  • Image warping

    Image warping

    Image warping is the process of digitally manipulating an image such that any shapes portrayed in the image have been significantly distorted. Warping may be used for correcting image distortion as well as for creative purposes (e.g., morphing). The same techniques are equally applicable to video. While an image can be transformed in various ways, pure warping means that points are mapped to points without changing the colors. This can be based mathematically on any function from (part of) the plane to the plane. If the function is injective the original can be reconstructed. If the function is a bijection any image can be inversely transformed. Some methods are: Images may be distorted through simulation of optical aberrations. Images may be viewed as if they had been projected onto a curved or mirrored surface. (This is often seen in ray traced images.) Images can be partitioned into image polygons and each polygon distorted. Images can be distorted using morphing. The most obvious approach to transforming a digital image is the forward mapping. This applies the transform directly to the source image, typically generating unevenly-spaced points that will then be interpolated to generate the required regularly-spaced pixels. However, for injective transforms reverse mapping is also available. This applies the inverse transform to the target pixels to find the unevenly-spaced locations in the source image that contribute to them. Estimating them from source image pixels will require interpolation of the source image. To work out what kind of warping has taken place between consecutive images, one can use optical flow estimation techniques. == Image warping toolbox == ImWIP is an open-source, image warping tool for modeling deformation and motion in digital images, which contains differentiable image warping operators, together with their exact adjoints and derivatives.

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  • Digital asset

    Digital asset

    A digital asset is anything that exists only in digital form and comes with a distinct usage right or distinct permission for use. Data that do not possess those rights are not considered assets. Digital assets include, but are not limited to: digital documents, audio content, motion pictures, and other relevant digital data currently in circulation or stored on digital appliances, such as personal computers, laptops, portable media players, tablets, data storage devices, and telecommunication devices. This encompasses any apparatus that currently exists or will exist as technology progresses to accommodate the conception of new modalities capable of carrying digital assets. This holds true regardless of the ownership of the physical device on which the digital asset is located. == Types == Types of digital assets include, but are not limited to: software, photography, logos, illustrations, animations, audiovisual media, presentations, spreadsheets, digital paintings, word documents, electronic mails, websites, and various other digital formats with their respective metadata. The number of different types of digital assets is exponentially increasing due to the rising number of devices that leverage these assets, such as smartphones, serving as conduits for digital media. In Intel's presentation at the 'Intel Developer Forum 2013,' they introduced several new types of digital assets related to medicine, education, voting, friendships, conversations, and reputation, among others. == Digital asset management system == A digital asset management (DAM) is an integrated structure that combines software, hardware, and/or other services to manage, store, ingest, organize, and retrieve digital assets. These systems enable users to find and use content when needed. == Digital asset metadata == Metadata is data about other data. Any structured information that defines a specification of any form of data is referred to as metadata. Metadata is also a claimed relationship between two entities, often used to establish connections or associations. Librarian Lorcan Dempsey says "Think of metadata as data which removes from a user (human or machine) the need to have full advance knowledge of the existence or characteristics of things of potential interest in the environment". At first, the term metadata was used for digital data exclusively, but nowadays metadata can apply to both physical and digital data. Catalogs, inventories, registers, and other similar standardized forms of organizing, managing, and retrieving resources contain metadata. Metadata can be stored and contained directly within the file it refers to or independently from it with the help of other forms of data management such as a DAM system. The more metadata is assigned to an asset the easier it gets to categorize it, especially as the amount of information grows. The asset's value rises the more metadata it has for it becomes more accessible, easier to manage, and more complex. Structured metadata can be shared with open protocols like OAI-PMH to allow further aggregation and processing. Open data sources like institutional repositories have thus been aggregated to form large datasets and academic search engines comprising tens of millions of open access works, like BASE, CORE, and Unpaywall. == Issues == Due to a lack of either legislation or legal precedent, there is limited existing governmental control and regulation surrounding digital assets in the United States and other large economies globally. Many of the control issues relating to access and transferability are maintained by individual companies. Some consequences of this include 'What is to become of the assets once their owner is deceased?' as well as can, and, if so, how, may they be inherited. This subject was broached in a bogus story about Bruce Willis allegedly looking to sue Apple as the end user agreement prevented him from bequeathing his iTunes collection to his children. Another case of this was when a soldier died on duty and the family requested access to the Yahoo! account. When Yahoo! refused to grant access, the probate judge ordered them to give the emails to the family but Yahoo! still was not required to give access. The Music Modernization Act was passed in September 2018 by the U.S. Congress to create a new music licensing system, with the aim to help songwriters get paid more.

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  • New media

    New media

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

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  • Optical recording

    Optical recording

    The history of optical recording can be divided into a few number of distinct major contributions. The pioneers of optical recording worked mostly independently, and their solutions to the many technical challenges have very distinctive features, such as reflective disc (Compaan and Kramer) transparent disc (Gregg) floppy disc (Russell) rigid disc (Compaan and Kramer) focused laser beam for read-out through transparent substrate (Compaan and Kramer). == Gregg 1958 == Laserdisc technology, using a transparent disc, was invented by David Paul Gregg in 1958 (and patented in 1970 and 1990). By 1969 Philips had developed a videodisc in reflective mode, which has great advantages over the transparent mode. MCA and Philips decided to join their efforts. They first publicly demonstrated the videodisc in 1972. Laserdisc was first available on the market, in Atlanta, on December 15, 1978, two years after the VHS VCR and four years before the CD, which is based on Laserdisc technology. Philips produced the players and MCA produced the discs. The Philips/MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (John Winslow, Richard Wilkinson and Ray Dakin) founded Optical Disc Corporation (now ODC Nimbus). == Russell 1965 == While working at Pacific Northwest National Laboratory, James Russell invented an optical storage system for digital audio and video, patenting the concept in 1970. The earliest patents by Russell, US 3,501,586, and 3,795,902 were filed in 1966, and 1969. respectively. He built prototypes, and the first was operating in 1973. Russell had found a way to record digital information onto a photosensitive plate in tiny dark spots, each spot one micrometre from centre to centre, with a laser that wrote the binary patterns. Russell's first optical disc was distinctly different from the eventual compact disc product: the disc in the player was not read by laser light. A key characteristic of Russell's invention is that a laser is not used for the reading the disc, instead the entire disc or oblong sheet to be read is illuminated by a large playback light source at the back of the transparent foil. As a result, the information density is relatively low. By 1985, Russell held over 25 patents to various technologies related to optical recording and playback. Russell's intellectual property was purchased by Optical Recording Corporation (ORC) in Toronto in 1985, and this firm notified a number of CD manufacturers that their CD technology was based on patents held by ORC. In 1987, ORC signed an agreement with Sony whereby Sony paid for licensing of the technology. Further licenses followed from Philips and others. Warner Communications did not sign, and was sued by ORC. In 1992, the large CD manufacturer, now called Time Warner, was ordered to pay ORC US$30 million in patent violations. In the 1970 patent, the spot diameter was around 10 micrometres. Thus, the areal information density was around a factor hundred less than that of the CD as later developed. Russell continued to refine the concept throughout the 1970s. Philips and Sony, however, were able to put far greater resources into the parallel development of the concept, arriving at a smaller and more sophisticated product in just a few years. Russell's various partners and ventures failed to produce a single consumer product. == Korpel 1968 == Adrianus Korpel worked for the Zenith Electronics Corporation, when he developed very early optical videodisc systems, including holographic storage. == Kramer and Compaan 1969 == The Philips development of the videodisc technology began in 1969 with efforts by Dutch physicists Klaas Compaan and Piet Kramer to record video images in holographic form on disc. Their prototype Laserdisc shown in 1972 used a laser beam in reflective mode to read a track of pits using an FM video signal. Together with MCA, Philips brought the optical videodisk to market in 1978. The cooperation between Philips and MCA did not last long, and discontinued after a few years. == Immink and Doi 1979 == The Compact Disc (CD), which is based on MCA/Philips Laserdisc technology, was developed by a taskforce of Sony and Philips in 1979–1980. Toshi Doi and Kees Schouhamer Immink created the digital technologies that turned the analog Laserdisc into a high-density low-cost digital audio disc. The CD, available on the market since October 1982, remains the standard physical medium for sale of commercial audio recordings Standard CDs have a diameter of 120 mm and can hold up to 80 minutes of audio (700 MB of data). The Mini CD has various diameters ranging from 60 to 80 mm; they are sometimes used for CD singles or device drivers, storing up to 24 minutes of audio. The technology was later adapted and expanded to include data storage CD-ROM, write-once audio and data storage CD-R, rewritable media CD-RW, Super Audio CD (SACD), Video Compact Discs (VCD), Super Video Compact Discs (SVCD), PhotoCD, PictureCD, CD-i, and Enhanced CD. CD-ROMs and CD-Rs remain widely used technologies in the computer industry. The CD and its extensions have been extremely successful: in 2004, worldwide sales of CD audio, CD-ROM, and CD-R reached about 30 billion discs. By 2007, 200 billion CDs had been sold worldwide.

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  • Arattai

    Arattai

    Arattai Messenger (or simply Arattai) is an encrypted messaging service for instant messaging, voice calls, and video calls, developed by Zoho Corporation. The name Arattai means "chat" or "conversation" in Tamil. The app was soft-launched in January 2021. The app saw a sharp surge in downloads in September 2025, partially fueled by endorsements from Indian government officials. However, the app dropped from the top rankings in October 2025. == History == Arattai was initially tested internally among Zoho employees before being released publicly in early 2021. The launch coincided with a surge in interest for privacy-focused and messaging services, triggered by concerns over WhatsApp's updated terms of service. In September 2025, Arattai experienced a major surge in adoption, with daily sign-ups reportedly increasing 100-fold, from around 3,000 to more than 350,000 in three days. The surge in downloads was attributed to Zoho products being promoted by Indian government officials as part of their Make in India push for homegrown alternatives to foreign‐owned apps, amid deteriorating India–US relations. The growth temporarily strained Zoho's infrastructure, prompting rapid scaling of servers and capacity expansion. During the same period, the app reached the top position in Apple's App Store charts for the "Social Networking" category in India. The app dropped from the top ranking in late October 2025. == Reception == At launch, Arattai was positioned as a potential domestic rival to WhatsApp in India, but analysts noted that it faced challenges with encryption, ecosystem, and network effect. Critics pointed to occasional sync delays.

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  • Asymmetric follow

    Asymmetric follow

    An asymmetric follow social network is one which allows many people to follow an individual or account without having to follow them back. It is also known as asynchronous follow or sometimes asymmetric friendship. Asymmetric follow is a common pattern on Twitter, where someone may have thousands of followers, but themselves follow few (or no) accounts. In September 2010 Facebook started experimenting with a similar feature, which Facebook calls "Subscribe To."

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  • Content adaptation

    Content adaptation

    Content adaptation is the action of transforming content to adapt to device capabilities. Content adaptation is usually related to mobile devices, which require special handling because of their limited computational power, small screen size, and constrained keyboard functionality. Content adaptation could roughly be divided to two fields: Media content adaptation that adapts media files. Browsing content adaptation that adapts a website to mobile devices. == Browsing content adaptation == Advances in the capabilities of small, mobile devices such as mobile phones (cell phones) and Personal Digital Assistants have led to an explosion in the number of types of device that can now access the Web. Some commentators refer to the Web that can be accessed from mobile devices as the Mobile Web. The sheer number and variety of Web-enabled devices poses significant challenges for authors of websites who want to support access from mobile devices. The W3C Device Independence Working Group described many of the issues in its report Authoring Challenges for Device Independence. Content adaptation is one approach to a solution. Rather than requiring authors to create pages explicitly for each type of device that might request them, content adaptation transforms an author's materials automatically. For example, content might be converted from a device-independent markup language, such as XDIME, an implementation of the W3C's DIAL specification, into a form suitable for the device, such as XHTML Basic, C-HTML, or WML. Similarly, a suitable device-specific CSS style sheet or a set of in-line styles might be generated from abstract style definitions. Likewise, a device specific layout might be generated from abstract layout definitions. Once created, the device-specific materials form the response returned to the device from which the request was made. Another way is to use the latest trend responsive design based on CSS, covered in this article (RWD). Content adaptation requires a processor that performs the selection, modification, and generation of materials to form the device-specific result. IBM's Websphere Everyplace Mobile Portal (WEMP), BEA Systems' WebLogic Mobility Server, Morfeo's MyMobileWeb, and Apache Cocoon are examples of such processors. Wurfl and WALL are popular open source tools for content adaptation. WURFL is an XML-based Device Description Repository with APIs to access the data in Java and PHP (and other popular programming languages). WALL (Wireless Abstraction Library) lets a developer author mobile pages which look like plain HTML, but converts them to WML, C-HTML, or XHTML Mobile Profile, depending on the capabilities of the device from which the HTTP request originates. GreasySpoon lets the developer build plugins for content editing, in JavaScript, Ruby (programming language), and more, just like the Firefox application GreaseMonkey. Alembik (Media Transcoding Server) is a Java (J2EE) application providing transcoding services for variety of clients and for different media types (image, audio, video, etc.). It is fully compliant with OMA's Standard Transcoder Interface specification and is distributed under the LGPL open source license. In 2007, the first large scale carrier-grade deployments of content transformation, on existing mass-market handsets, with no software download required, were deployed by Vodafone in the UK and globally for Yahoo! oneSearch, using the Novarra Vision solution. Novarra's content adaptation solution had been used in enterprise intranet deployments as early as 2003 (at that time, the platform was named "Engines for Wireless Data"). InfoGin, the 9-year-old content-adaptation company with customers like Vodafone, Orange, Telefónica and PCCW. The patented "Web to Mobile adaptation", Mobile Matrix Transcoder, Multimedia and Documents transcoders, Video adaptation supporte. Launched in 2007, Bytemobile's Web Fidelity Service was another carrier-grade, commercial infrastructure solution, which provided wireless content adaptation to mobile subscribers on their existing mass-market handsets, with no client download required.

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