AI Data Quality Analyst Jobs

AI Data Quality Analyst Jobs — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Optical granulometry

  Optical granulometry is the process of measuring the different grain sizes in a granular material, based on a photograph. Technology has been created to analyze a photograph and create statistics based on what the picture portrays. This information is vital in maintaining machinery in various trades worldwide. Mining companies can use optical granulometry to analyze inactive or moving rock to quantify the size of these fragments. Forestry companies can zero in on wood chip sizes without stopping the production process, and minimize sizing errors. With more photoanalysis technologies being produced, mining companies have shown an increased interest in these types of systems because of their ability to maintain efficiency throughout the mining process. Companies are saving millions of dollars annually because of this new technology, and are cutting back on maintenance costs on equipment. In order for optical granulometry to be completely successful, an accurate photo must be taken – under sufficient lighting, and using proper technology – to obtain quantified results. If these requirements are met, an image analysis system can be implemented. == The process == Software uses four basic steps in determining the average size of material: See the Wikipedia article on Photoanalysis to see how mining, forestry and agricultural companies are using this technology to improve quality control techniques. == Smartphone-based, segmentation-free estimation of grain size distribution == Recently, a methodology has emerged by which soil grain size distribution can be inferred from optical images acquired with commodity smartphones by training convolutional neural networks to predict parameters of the distribution curve directly from the image, without explicit image segmentation . In this approach, a standardized image of a soil surface is captured under controlled conditions, preprocessed to reduce device-specific variability, and passed to a regression model that outputs the parameters of a cumulative distribution function e.g., a two-parameter Weibull curve. The resulting distribution can be used to derive geotechnical descriptors and class boundaries.

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  Filter (social media)

  Filters are digital image effects often used on social media. They initially simulated the effects of camera filters, and they have since developed with facial recognition technology and computer-generated augmented reality. Social media filters—especially beauty filters—are often used to alter the appearance of selfies taken on smartphones or other similar devices. While filters are commonly associated with beauty enhancement and feature alterations, there is a wide range of filters that have different functions. From adjusting photo tones to using face animations and interactive elements, users have access to a range of tools. These filters allow users to enhance photos and allow room for creative expression and fun interactions with digital content. == History == Beauty filters originate from Purikura ("print club"), a type of Japanese photographic arcade game machine conceived in 1994 by Sasaki Miho, a female employee at Atlus, and released in 1995 by Atlus and Sega primarily for female visitors at Japanese arcades. They allowed the manipulation of digital selfie photos with kawaii beauty filters similar to later Snapchat filters. Purikura filters included beautifying the image, cat whiskers, bunny ears, writing text, scribbling graffiti, selecting backdrops, borders, insertable decorations, icons, hair extensions, twinkling diamond tiaras, tenderized light effects, and predesigned decorative margins. To capitalize on the Purikura phenomenon in Japan during the late 1990s, Japanese mobile phones began including a front-facing camera, starting with the Kyocera Visual Phone VP‑210 in 1999. The Sanyo SCP-5300 released in 2002 was the first camera phone with filter effects, such as illumination, white‑balance control, sepia, black and white, and negative colors. Purikura-like beauty filters later appeared in smartphone apps such as Instagram and Snapchat in the 2010s. In 2010, Apple introduced the iPhone 4—the first iPhone model with a front-facing camera. It gave rise to a dramatic increase in selfies, which could be touched up with more flattering lighting effects with applications such as Instagram. The American photographer Cole Rise was involved in the creation of the original filters for Instagram around 2010, designing several of them himself, including Sierra, Mayfair, Sutro, Amaro, and Willow. However, the technology for virtual lens filters was invented and patented by Patrick Levy-Rosenthal in 2007. The patent received 100 citations, including Facebook, Nvidia, Microsoft, Samsung, and Snap. In September, 2011, the Instagram 2.0 update for the application introduced "live filters," which allowed the user to preview the effect of the filter while shooting with the application's camera. #NoFilter, a hashtag label to describe an image that had not been filtered, became popular around 2013. An update in 2014 allowed users to adjust the intensity of the filters as well as fine-tune other aspects of the image, features that had been available for years on applications such as VSCO and Litely. In 2014, Snapchat started releasing sponsored filters to monetize the participatory use of the application. In September 2015, Snapchat acquired Looksery and released a feature called "lenses," animated filters using facial recognition technology. Some of the early lenses available on Snapchat at the time were Heart Eyes, Terminator, Puke Rainbows, Old, Scary, Rage Face, Heart Avalanche. The Coachella filter released April 2016 was a popular early augmented reality filter. In April 2017, Facebook released the Camera Effects Platform, which is the first augmented reality platform that allows developers to create their own filters and effects on Facebook's Camera. In December 2017, Snapchat also launched their Lens Studio augmented reality developer tool that allows users and advertisers to do the same on the Snapchat application. In April 2022,TikTok joined the two, and launched their own augmented reality developer platform called Effect house. In February 2023, Effect House gave opened up the access to generative AI tools that allowed creators to change facial features in real time. In November 2023, TikTok released a feature where users no longer needed Effect House to create their own filters, as they are now able to create their own effects on the TikTok application. In August 2024, Meta announced that it would be removing third-party filter effects from its family of apps by January 14, 2025. The AR development software Meta Spark AR will also be retired at the same time; it was at one point the "world's largest mobile AR platform". Brand and creator effects represent the vast majority of filters available on Meta platforms, with over 2 million third-party filters available as of 2021. == Beauty filter == A beauty filter is a filter applied to still photographs, or to video in real time, to enhance the physical attractiveness of the subject. Typical effects of such filters include smoothing skin texture and modifying the proportions of facial features, for example enlarging the eyes or narrowing the nose. Filters may be included as a built-in feature of social media apps such as Instagram or Snapchat, or implemented through standalone applications such as Facetune. In 2020, the "Perfect Skin" filter for Snapchat and Instagram which was created by Brazilian augmented reality developer Brenno Faustino gained more than 36 million impressions in the first 24 hours of its release. In 2021, TikTok users pointed out how the default front-facing camera on the platform automatically applied the retouch and other feature-altering filters. Users noted that these filters slimmed down faces, smoothed skin, whitened teeth, and altered facial features such as nose and eye size, without the option to disable this feature through settings. In March 2023, the "Bold Glamour" filter was released on TikTok and instantly went viral with over 18 million videos created within its first week. This filter subtly enhances the user's facial features seamlessly, giving the illusion of fuller eyebrows, taller cheekbones, enhanced eye make up, a smaller nose, plumper lips, and clearer skin, giving off a natural yet distinct effect. As of May 2024, the filter has been used in over 220 million videos and has become a pivotal moment for beauty filters on digital platforms. Critics have raised concerns that the widespread use of such filters on social media may lead to negative body image, particularly among girls. Though Meta's intention of removing third-party filters will likely see all beauty filters removed, academics feel that the damage of beautifying filters is already done. === Background === The manipulation of photos to enhance attractiveness has long been possible using software such as Adobe Photoshop and, before that, analogue techniques such as airbrushing. However, such tools required considerable technical and artistic skill, and so their use was mostly limited to professional contexts, such as magazines or advertisements. By contrast, filters work in an automated fashion through the use of complex algorithms, requiring little or no input from the user. This ease of use, in combination with the increase in processing power of smartphones, and the rise of social media and selfie culture, have led to photographic manipulation occurring on a much wider scale than ever before. One of the earliest examples of a content-aware digital photographic filter is red-eye reduction. === Effects === Typical changes applied by beauty filters include: Smoothing skin texture; minimizing fine lines and blemishes Erasing under-eye bags Erasing naso-labial lines ("laugh lines") Application of virtual makeup, such as lipstick or eyeshadow Slimming the face; erasing double chins Enlarging the eyes Whitening teeth Narrowing the nose Increasing fullness of the lips Beauty filters most frequently target the face, though in some cases they may affect other body parts. For example, the app "Retouch Me" was reported to have a feature which allows users to superimpose visible abdominal muscles (a "six pack") onto photos featuring the subject's bare stomach. === Reception and psychological effects === Some commentators have expressed concern that beauty filters may create unrealistic beauty standards, particularly among girls, and contribute to rates of body dysmorphic disorder. A correlation has been established between negative body image and the use of beautifying filters, though the direction of causation is unknown. The inability to discern whether a particular image has been filtered is thought to exacerbate their negative psychological effects. Policymakers have advocated for social networks to disclose the use of filters; TikTok, Instagram, and Snapchat all label filtered photos and videos with the name of the filter applied. It has also been noted that beauty filters on social media tend to highlight Eurocentric features, like lighter eyes, a smaller nose, and flushed ch

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  Digital data

  Digital data or digital information, in information theory and information systems, is data or information represented as a string of discrete symbols, each of which can take on one of only a finite number of values from some alphabet, such as letters or digits. An example is a text document, which consists of a string of alphanumeric characters. The most common form of digital data in modern information systems is binary data, which is represented by a string of binary digits (bits) each of which can have one of two values, either 0 or 1. Digital data can be contrasted with analog data, which is represented by a value from a continuous range of real numbers. Analog data is transmitted by an analog signal, which not only takes on continuous values but can vary continuously with time, a continuous real-valued function of time. An example is the air pressure variation in a sound wave. Data requires interpretation to become information. In modern (post-1960) computer systems, all data is digital. The word digital comes from the same source as the words digit and digitus (the Latin word for finger), as fingers are often used for counting. Mathematician George Stibitz of Bell Telephone Laboratories used the word digital in reference to the fast electric pulses emitted by a device designed to aim and fire anti-aircraft guns in 1942. The term is most commonly used in computing and electronics, especially where real-world information is converted to binary numeric form as in digital audio and digital photography. == Symbol to digital conversion == Since symbols (for example, alphanumeric characters) are not continuous, representing symbols digitally is rather simpler than conversion of continuous or analog information to digital. Instead of sampling and quantization as in analog-to-digital conversion, such techniques as polling and encoding are used. A symbol input device usually consists of a group of switches that are polled at regular intervals to see which switches are switched. Data will be lost if, within a single polling interval, two switches are pressed, or a switch is pressed, released, and pressed again. This polling can be done by a specialized processor in the device to prevent burdening the main CPU. When a new symbol has been entered, the device typically sends an interrupt, in a specialized format, so that the CPU can read it. For devices with only a few switches (such as the buttons on a joystick), the status of each can be encoded as bits (usually 0 for released and 1 for pressed) in a single word. This is useful when combinations of key presses are meaningful, and is sometimes used for passing the status of modifier keys on a keyboard (such as shift and control). But it does not scale to support more keys than the number of bits in a single byte or word. Devices with many switches (such as a computer keyboard) usually arrange these switches in a scan matrix, with the individual switches on the intersections of x and y lines. When a switch is pressed, it connects the corresponding x and y lines together. Polling (often called scanning in this case) is done by activating each x line in sequence and detecting which y lines then have a signal, thus which keys are pressed. When the keyboard processor detects that a key has changed state, it sends a signal to the CPU indicating the scan code of the key and its new state. The symbol is then encoded or converted into a number based on the status of modifier keys and the desired character encoding. A custom encoding can be used for a specific application with no loss of data. However, using a standard encoding such as ASCII is problematic if a symbol such as 'ß' needs to be converted but is not in the standard. It is estimated that in the year 1986, less than 1% of the world's technological capacity to store information was digital and in 2007 it was already 94%. The year 2002 is assumed to be the year when humankind was able to store more information in digital than in analog format (the "beginning of the digital age"). == States == Digital data come in these three states: data at rest, data in transit, and data in use. The confidentiality, integrity, and availability have to be managed during the entire lifecycle from 'birth' to the destruction of the data. === Data at rest === Data at rest in information technology means data that is housed physically on computer data storage in any digital form (e.g. cloud storage, file hosting services, databases, data warehouses, spreadsheets, archives, tapes, off-site or cloud backups, mobile devices etc.). Data at rest includes both structured and unstructured data. This type of data is subject to threats from hackers and other malicious threats to gain access to the data digitally or physical theft of the data storage media. To prevent this data from being accessed, modified or stolen, organizations will often employ security protection measures such as password protection, data encryption, or a combination of both. The security options used for this type of data are broadly referred to as data-at-rest protection (DARP). Definitions include: "...all data in computer storage while excluding data that is traversing a network or temporarily residing in computer memory to be read or updated." "...all data in storage but excludes any data that frequently traverses the network or that which resides in temporary memory. Data at rest includes but is not limited to archived data, data which is not accessed or changed frequently, files stored on hard drives, USB thumb drives, files stored on backup tape and disks, and also files stored off-site or on a storage area network (SAN)." While it is generally accepted that archive data (i.e. which never changes), regardless of its storage medium, is data at rest and active data subject to constant or frequent change is data in use. “Inactive data” could be taken to mean data which may change, but infrequently. The imprecise nature of terms such as “constant” and “frequent” means that some stored data cannot be comprehensively defined as either data at rest or in use. These definitions could be taken to assume that Data at Rest is a superset of data in use; however, data in use, subject to frequent change, has distinct processing requirements from data at rest, whether completely static or subject to occasional change. ==== Security ==== Because of its nature data at rest is of increasing concern to businesses, government agencies and other institutions. Mobile devices are often subject to specific security protocols to protect data at rest from unauthorized access when lost or stolen and there is an increasing recognition that database management systems and file servers should also be considered as at risk; the longer data is left unused in storage, the more likely it might be retrieved by unauthorized individuals outside the network. Data encryption, which prevents data visibility in the event of its unauthorized access or theft, is commonly used to protect data in motion and increasingly promoted for protecting data at rest. The encryption of data at rest should only include strong encryption methods such as AES or RSA. Encrypted data should remain encrypted when access controls such as usernames and password fail. Increasing encryption on multiple levels is recommended. Cryptography can be implemented on the database housing the data and on the physical storage where the databases are stored. Data encryption keys should be updated on a regular basis. Encryption keys should be stored separately from the data. Encryption also enables crypto-shredding at the end of the data or hardware lifecycle. Periodic auditing of sensitive data should be part of policy and should occur on scheduled occurrences. Finally, only store the minimum possible amount of sensitive data. Tokenization is a non-mathematical approach to protecting data at rest that replaces sensitive data with non-sensitive substitutes, referred to as tokens, which have no extrinsic or exploitable meaning or value. This process does not alter the type or length of data, which means it can be processed by legacy systems such as databases that may be sensitive to data length and type. Tokens require significantly less computational resources to process and less storage space in databases than traditionally encrypted data. This is achieved by keeping specific data fully or partially visible for processing and analytics while sensitive information is kept hidden. Lower processing and storage requirements makes tokenization an ideal method of securing data at rest in systems that manage large volumes of data. A further method of preventing unwanted access to data at rest is the use of data federation especially when data is distributed globally (e.g. in off-shore archives). An example of this would be a European organisation which stores its archived data off-site in the US. Under the terms of the USA PATRIOT Act the American authorities can demand

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  Industry Dive

  Industry Dive is a United States-based business-to-business news organization with an estimated 18 million readers in more than 25 industries, such as banking and waste management. Since 2022, it has been owned by Informa plc. Industry Dive aims to serve business executives who read news on their mobile phones. The company had an estimated revenue of more than of more than $110 million in 2023. As of 2020, it has more than 300 employees, including 80 journalists and 12 engineers. Its headquarters is in Washington, D.C. == History == Industry Dive was formed in 2012 by Sean Griffey (president), Eli Dickinson (chief technology officer), and Ryan Willumson (chief revenue officer). It was funded with $900,000 from private investors in 2012 and 2013. The company covered five industries: construction, education, marketing, utility, and waste. In 2016, it began its Dive Awards. Industry Dive's revenues quadrupled from 2015 to 2018, putting it in the top half of the Deloitte Technology Fast 500 and the top 20 percent of the Inc. Top 5000 list. In 2019, Falfurrias Capital Partners acquired a majority stake in the company. ID's content marketing clients included IBM, Siemens, and UPS. In 2020, DCA Live named Industry Dive to its "Red Hot Companies" list, which recognizes the D.C. area's 'fastest-growing' companies. In the same year, Industry Dive acquired CFO. In 2021, Industry Dive acquired PharmaVOICE. In 2022, it was purchased by Informa plc, which bought its majority stake from Falfurrias Capital Partners for about $530 million. == Publications == Industry Dive provides news coverage of a variety of industries including agriculture, banking, construction, education, fashion, healthcare, and manufacturing, each using a different website: == Awards == Industry Dive publications have received several national and regional Awards of Excellence from the American Society of Business Publication Editors, including for a series of 2020 articles about Big Pharma and the race for the coronavirus vaccine. The Washington Post recognized Industry Dive as a top place to work for four consecutive years, from 2016 to 2020.

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  Joseph Stanislaus Ostoja-Kotkowski

  Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio

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  Single address space operating system

  In computer science, a single address space operating system (or SASOS) is an operating system that provides only one globally shared address space for all processes. In a single address space operating system, numerically identical (virtual memory) logical addresses in different processes all refer to exactly the same byte of data. In a traditional OS with private per-process address space, memory protection is based on address space boundaries ("address space isolation"). Single address-space operating systems make translation and protection orthogonal, which in no way weakens protection. The core advantage is that pointers (i.e. memory references) have global validity, meaning their meaning is independent of the process using it. This allows sharing pointer-connected data structures across processes, and making them persistent, i.e. storing them on backup store. Some processor architectures have direct support for protection independent of translation. On such architectures, a SASOS may be able to perform context switches faster than a traditional OS. Such architectures include Itanium, and Version 5 of the Arm architecture, as well as capability architectures such as CHERI. A SASOS should not be confused with a flat memory model, which provides no address translation and generally no memory protection. In contrast, a SASOS makes protection orthogonal to translation: it may be possible to name a data item (i.e. know its virtual address) while not being able to access it. SASOS projects using hardware-based protection include the following: Angel IBM i (formerly called OS/400) Iguana at NICTA, Australia Mungi at NICTA, Australia Nemesis Opal Scout Sombrero Related are OSes that provide protection through language-level type safety: Br1X Genera JX a research Java OS Phantom OS Singularity Theseus OS Torsion

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  Locative media

  Locative media or location-based media (LBM) is a virtual medium of communication functionally bound to a location. The physical implementation of locative media, however, is not bound to the same location to which the content refers. Location-based media delivers multimedia and other content directly to the user of a mobile device dependent upon their location. Location information determined by means such as mobile phone tracking and other emerging real-time locating system technologies like Wi-Fi or RFID can be used to customize media content presented on the device. Locative media are digital media applied to real places and thus triggering real social interactions. While mobile technologies such as the Global Positioning System (GPS), laptop computers and mobile phones enable locative media, they are not the goal for the development of projects in this field. == Description == Media content is managed and organized externally of the device on a standard desktop, laptop, server, or cloud computing system. The device then downloads this formatted content with GPS or other RTLS coordinate-based triggers applied to each media sequence. As the location-aware device enters the selected area, centralized services trigger the assigned media, designed to be of optimal relevance to the user and their surroundings. Use of locative technologies "includes a range of experimental uses of geo-technologies including location-based games, artistic critique of surveillance technologies, experiential mapping, and spatial annotation." Location based media allows for the enhancement of any given environment offering explanation, analysis and detailed commentary on what the user is looking at through a combination of video, audio, images and text. The location-aware device can deliver interpretation of cities, parklands, heritage sites, sporting events or any other environment where location based media is required. The content production and pre-production are integral to the overall experience that is created and must have been performed with ultimate consideration of the location and the users position within that location. The media offers a depth to the environment beyond that which is immediately apparent, allowing revelations about background, history and current topical feeds. == Locative, ubiquitous and pervasive computing == The term 'locative media' was coined by Karlis Kalnins. Locative media is closely related to augmented reality (reality overlaid with virtual reality) and pervasive computing (computers everywhere, as in ubiquitous computing). Whereas augmented reality strives for technical solutions, and pervasive computing is interested in embedded computers, locative media concentrates on social interaction with a place and with technology. Many locative media projects have a social, critical or personal (memory) background. While strictly spoken, any kind of link to additional information set up in space (together with the information that a specific place supplies) would make up location-dependent media, the term locative media is strictly bound to technical projects. Locative media works on locations and yet many of its applications are still location-independent in a technical sense. As in the case of digital media, where the medium itself is not digital but the content is digital, in locative media the medium itself might not be location-oriented, whereas the content is location-oriented. Japanese mobile phone culture embraces location-dependent information and context-awareness. It is projected that in the near future locative media will develop to a significant factor in everyday life. == Enabling technologies == Locative media projects use technology such as Global Positioning System (GPS), laptop computers, the mobile phone, Geographic Information System (GIS), and web map services such as Mapbox, OpenStreetMap, and Google Maps among others. Whereas GPS allows for the accurate detection of a specific location, mobile computers allow interactive media to be linked to this place. The GIS supplies arbitrary information about the geological, strategic or economic situation of a location. Web maps like Google Maps give a visual representation of a specific place. Another important new technology that links digital data to a specific place is radio-frequency identification (RFID), a successor to barcodes like Semacode. Research that contributes to the field of locative media happens in fields such as pervasive computing, context awareness and mobile technology. The technological background of locative media is sometimes referred to as "location-aware computing". == Creative representation == Place is often seen as central to creativity; in fact, "for some—regional artists, citizen journalists and environmental organizations for example—a sense of place is a particularly important aspect of representation, and the starting point of conversations." Locative media can propel such conversations in its function as a "poetic form of data visualization," as its output often traces how people move in, and by proxy, make sense of, urban environments. Given the dynamism and hybridity of cities and the networks which comprise them, locative media extends the internet landscape to physical environments where people forge social relations and actions which can be "mobile, plural, differentiated, adventurous, innovative, but also estranged, alienated, impersonalized." Moreover, in using locative technologies, users can expand how they communicate and assert themselves in their environment and, in doing so, explore this continuum of urban interactions. Furthermore, users can assume a more active role in constructing the environments they are situated in accordingly. In turn, artists have been intrigued with locative media as a means of "user-led mapping, social networking and artistic interventions in which the fabric of the urban environment and the contours of the earth become a 'canvas.'" Such projects demystify how resident behaviors in a given city contribute to the culture and sense of personality that cities are often perceived to take on. Design scholars Anne Galloway and Matthew Ward state that "various online lists of pervasive computing and locative media projects draw out the breadth of current classification schema: everything from mobile games, place-based storytelling, spatial annotation and networked performances to device-specific applications." A prominent use of locative media is in locative art. A sub-category of interactive art or new media art, locative art explores the relationships between the real world and the virtual or between people, places or objects in the real world. == Examples == Notable locative media projects include Bio Mapping by Christian Nold in 2004, locative art projects such as the SpacePlace ZKM/ZKMax bluecasting and participatory urban media access in Munich in 2005 and Britglyph by Alfie Dennen in 2009, and location-based games such as AR Quake by the Wearable Computer Lab at the University of South Australia and Can You See Me Now? in 2001 by Blast Theory in collaboration with the Mixed Reality Lab at the University of Nottingham. In 2005, the Silicon Valley–based collaborators of C5 first exhibited the C5 Landscape Initiative, a suite of four GPS inspired projects that investigate perception of landscape in light of locative media. In William Gibson's 2007 novel Spook Country, locative art is one of the main themes and set pieces in the story. Narrative projects which engage with locative media are sometimes referred to as Location-Aware Fiction, as explored in "Data and Narrative: Location Aware Fiction" a 2003 essay by Kate Armstrong. This location-aware fiction is also known as locative literature, where locative stories and poems can be experienced via digital portals, apps, QR codes and e-books, as well as via analogue forms such as labelling tape, Scrabble tiles, fridge magnets or Post-It notes, and these are forms often used by the writer and artist Matt Blackwood. The Transborder Immigrant Tool by the Electronic Disturbance Theater is a locative media project aimed at providing life saving directions to water for people trying to cross the US / Mexico border. The project attracted global media attention in 2009 and 2010. Articles included a Los Angeles Times cover story focusing on Ricardo Dominguez and an AP story interviewing Micha Cárdenas and Brett Stalbaum. The articles focused on concerns over the legality of the project and the ensuing investigations of the group, which are still underway. The Transborder Immigrant Tool has recently been included in a number of major exhibitions including Here, Not There at the Museum of Contemporary Art San Diego and the 2010 California Biennial at the Orange County Museum of Art. Invisible Threads by Stephanie Rothenberg and Jeff Crouse is a locative media project aimed at creating embodied awareness of sweatshops and just-in-time production t

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  False answer supervision

  False answer supervision (FAS) refers to VoIP fraud where the billed duration for the caller is more than the duration of the actual connection duration. The FAS is usually performed by VoIP wholesalers in their softswitches for randomly selected calls. Adding a small amount of extra billed seconds for many calls results in significant revenue for the VoIP wholesaler. == Implementation of FAS == The FAS fraud can be implemented in a softswitch in many different ways. These include: False billing of party A without calling a party B. Usually a fake ringback tone, loopback audio or voicemail message is played Start of billing before actual answer of party B Extra billing after disconnection of party B == Detection of FAS == The FAS can be detected and blocked in a softswitch. Common methods are: Manual verification of call detail records: listening to voice recordings Identification of FAS types and using algorithms to automatically detect the FAS RTP audio signal processing: detection of voice RTP audio signal processing: detection of silence RTP audio signal processing: detection of ringback tone

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  Apache CarbonData

  Apache CarbonData is a free and open-source column-oriented data storage format of the Apache Hadoop ecosystem. It is similar to the other columnar-storage file formats available in Hadoop namely RCFile and ORC. It is compatible with most of the data processing frameworks in the Hadoop environment. It provides efficient data compression and encoding schemes with enhanced performance to handle complex data in bulk. == History == CarbonData was developed at Huawei in 2013. The project was donated to the Apache Community in 2015 submitted to the Apache Incubator in June 2016. The project won top honors in the BlackDuck 2016 Open Source Rookies of the Year's Big Data category. Apache CarbonData has been a top-level Apache Software Foundation (ASF)-sponsored project since May 1, 2017.

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  Contact center telephony

  In marketing, contact center telephony is the communication and collaboration system used by businesses to either manage high volumes of inbound queries or outbound telephone calls keeping their workforce or agents productive and in control to serve or acquire customers. This business communication system is an extension of computer telephony integration (CTI). == Overview == The interactions between callers and customer service representatives are supported by the collective system of computers, telephones and the Internet. The shift from CTI to contact center telephony is marked by the sheer change in the customer’s behavior when it comes to communication. Means customers are no longer confined only to voice-based communication i.e. phone to connect with their customer service departments. In addition, they are making use of email, SMS, chat, social media, and other virtual contact channels. This is also the reason for the shift in nomenclature from "call centers" to "contact centers", "contact" being a wider term than "call". Respecting the trend, contact center owners need to adopt unified communication or multi-channel approach to let customers get in touch with them via their preferred communication mediums, either voice or non-voice (data). Cloud-based phone system is a further advancement in the direction as it allows operators to access all the features and benefits of call center telephony over the Web against an affordable & flexible pay-as-you-go subscription model. Thus, in-house infrastructure deployment to manage public switched telephone networks, storage, communication applications, and collaboration servers is no more an obligation. Neither is the need to invest resources for their upgrade, repair, maintenance and security as cloud vendor would be responsible for the same. == India == India, a popular call center business process outsourcing destination, often uses a cloud-based phone system in order to cut operational expenses and downtime, and increase connectivity. == Promotion == Businesses can rely on contact center telephony services to respond to their customers’ queries over phone, email, chat, fax, etc. Integrating it with their customer relationship management tools, entire contact details of customers and their interaction sessions with different customer service representatives can be found at one place. The combination can manage not just sales and marketing but also deliver excellent post-sales customer service or technical support to allow customers derive the most from their products or services. Hence, it’s becoming instrumental in increasing customer satisfaction and loyalty and most of the call center services in India are taking refuge from it. The entire contact center telephony service can be availed by professionals over a browser. Hence, businesses can leverage the concept of BYOD (bring your own device) and mobility and serve their customers well using mobile applications. According to market analysts, BYOD increases satisfaction among workforce, and hence their individual and collective productivity as well. BYOD programme significantly reduces the TCO (total cost of ownership) as professionals prefer to work with their own devices rather than using company-provisioned devices. Next, they tend to be more caring towards such devices and can even shell out money to update and upgrade those when required. Integration of IM, along with audio and video conferencing services helps call center or contact center representatives to get real time assistance from their peers or seniors to resolve any complex issues. They can internally exchange information and knowledge articles as and when required. Real-time call monitoring/barging system can be used by quality assessment team to provide important guidelines to agents to maintain the standard of the service as per industry norms. Integrated recording feature is helpful for internal training and quality purposes to improve productivity and customer satisfaction in equal measures. It also helps in getting business insights and improving products or services to gain deeper penetration into the market.

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  Personal media

  Personal media are media of communication which are used by an individual rather than by a corporation or institution. They are generally contrasted with mass media which are produced by teams of people and broadcast to a general population. In other words, personal media allow individuals, as opposed to corporate entities, to contribute knowledge and opinion to the public. The term dates from the 1980s. New technologies such as social media and self-publishing are creating a variety of modes for modern media. Marika Lüders suggests a two-dimensional model for classifying such media with one dimension being the degree of interaction between the senders and receivers; and the other dimension being the level of institutionalisation and professionalism. Katherine Nashleanas links the concept of personal media to the notion of 'control' by an individual as opposed to a centralised authority. She argues that although personal media including the fax have been available to the general public since the 1960s, more recent technologies such as the smartphone confer greater control over content production and distribution to their users.

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  Web series

  A web series, also known as a short-form series or web show, is a collection of short scripted or unscripted online videos released on the Internet (i.e., World Wide Web), generally in episodic form. A single installment of a web series can be called a webisode or an episode. The scale of a web series is small, and a typical episode can be anywhere from 3 to 15 minutes long (though some may run up to 20 minutes). Web series first emerged in the mid-1990s and became more prominent in the early 2000s. Web series are distributed online on video-sharing websites and apps, such as YouTube, Vimeo, and TikTok, and can be watched on devices such as smartphones, tablets, desktops, laptops, and Smart TVs (or television sets connected to the Internet with a media streaming device). They can also be released on social media platforms. Because of the nature of the Internet, a web series may be interactive and immersive. Web series are classified as new media. Web series are different from streaming television series, as the latter are designed to be watched on streaming platforms such as Netflix, Amazon Prime Video, or Hotstar, with the streaming services offering original productions made for and by them, as well as acquiring the rights to distribute licensed content. The length of a streaming television series episode is 30 to 60 minutes (runtimes can also be longer). Although the design of a web series can be similar to that of a television series, its development and production do not entail the same financial investment required for a television series. The popularity of some web series, however, has led to them being optioned for television. Web series differ from short-form content in that the latter are vertical videos specifically designed for smartphone viewing and intended for fast-paced consumption, with runtimes typically ranging from less than one minute to three minutes. There are film festivals for web series, like Webfest Berlin, NYC Web Fest, LA Web Fest, and Vancouver Web Fest. Awards organizations have also been established to celebrate excellence in web series, such as the Streamys, Webbys, IAWTV Awards, and Indie Series Awards. Most major award ceremonies have also created web series and digital media award categories, including the Emmy Awards and the Canadian Screen Awards. == History == === 1990s === In April 1995, "Global Village Idiots", an episode of the reality-based program Rox on public access cable television in Bloomington, Indiana, was uploaded to the Internet, making Rox the first show distributed via the web. The same year, Scott Zakarin created The Spot, an episodic online story that integrated photos, videos, and blogs into the storyline. Likened to Melrose Place-on-the-Web, The Spot featured a rotating cast of characters playing trendy twenty-somethings who rented rooms in a fabled Santa Monica, California beach house called "The Spot". The Spot earned Infoseek's "Cool Site of the Year," an award which later became the Webby. In January 1999, Showtime licensed the animated sci-fi web series WhirlGirl, making it the first independently produced web series licensed by a national television network. In February 1999, the show premiered simultaneously on Showtime and online. The character occasionally appeared on Showtime, for example, hosting a "Lethal Ladies" programming block, but spent most of her time online, appearing in 100 webisodes. === 2000s === As broadband bandwidth increased in speed and availability, delivering high-quality video over the Internet became a reality. In the early 2000s, the Japanese anime industry began broadcasting original net animation (ONA), a type of original video animation (OVA) series, on the Internet. Early examples of the ONA series include Infinite Ryvius: Illusion (2000), Ajimu (2001), and Mahou Yuugi (2001). In 2000, The Brothers Chaps launched the Adobe Flash-created web series Homestar Runner. After being put on hiatus in 2010, it returned in 2014. In 2002, Matt Jolly (better known as "Krinkels") released the first episode of Madness Combat to Newgrounds. The show is still ongoing, with the latest episode "Madness Combat 12: Contravention" released on Twitch in September 2024. In 2003, Microsoft launched MSN Video, offering NBC-related content. Its web series, Weird TV 2000, a spin-off of the syndicated television series Weird TV, featured dozens of shorts, comedy sketches, and mini-documentaries produced exclusively for MSN Video. The video-sharing site YouTube was launched in early 2005, allowing users to share television programs. YouTube co-founder Jawed Karim said the inspiration for YouTube first came from Janet Jackson's role in the 2004 Super Bowl incident, when her breast was exposed during her performance, and later from the 2004 Indian Ocean tsunami. Karim could not easily find video clips of either event online, which led to the idea of a video-sharing site. From 2003 to 2006, many independent web series gained significant popularity, most notably the science fiction series Red vs. Blue by Rooster Teeth. The series was distributed independently via online portals YouTube and Revver, as well as the Rooster Teeth website, acquiring over 100 million social media views during its run. (Rooster Teeth would eventually create the computer-animated web series RWBY in 2013.) In 2004, the adult-animated series Salad Fingers was created, which amassed a cult following. The comedy show The Burg, hailed as the internet's first sitcom and starring Kelli Giddish and Lindsey Broad, rapidly gained an audience and press attention before its creators signed a creation deal with Michael Eisner. The drama Sam Has 7 Friends, which ran in the summer and fall of 2006, was nominated for a Daytime Emmy Award and was temporarily removed from the Internet when it was also acquired by Eisner. In 2004–2005, Spanish producer Pedro Alonso Pablos recorded a series of video interviews featuring actors and directors such as Guillermo del Toro, Santiago Segura, Álex de la Iglesia, and Keanu Reeves, which were distributed through his own website. lonelygirl15, California Heaven, "The Burg", and SamHas7Friends also gained popularity during this time, acquiring audiences in the millions. (Science fiction thriller lonelygirl15 was so successful that it secured a sponsorship deal with Neutrogena in 2007.) In 2004, Stewart St. John, executive producer and head writer of 1990s webisodies The Spot, revived the brand for online audiences as The Spot (2.0), with a new cast, and as a separate soap opera on Sprint PCS Vision-enabled cell phones, creating the first American mobile phone series. St. John and partner Todd Fisher produced over 2,500 daily videos of the mobile soap, driving story lines across platforms to its web counterpart. In 2007, the creators of lonelygirl15 followed up on the show's success with KateModern, a comedy-drama series that debuted on social network Bebo, and took place in the same fictional universe as their previous show. Big Fantastic created and produced the soap opera Prom Queen, financed and distributed by Michael Eisner's production firm Vuguru, and debuted the series on MySpace. Vuguru partnered with Mark Cuban's channel HDNet to release All-for-nots, a mockumentary series by The Burg creators Kathleen Grace and Thom Woodley, which debuted at the SXSW Festival in 2008. These web series highlighted interactivity with the audience in addition to the narrative on relatively low budgets. In contrast, the eight-episode show Sanctuary, starring actor/producer Amanda Tapping, cost $4.3 million to produce. Both Sanctuary and Prom Queen were nominated for a Daytime Emmy Award. Award-winning producer/director Marshall Herskovitz created the drama Quarterlife, which debuted on MySpace and was later distributed on NBC. In 2008, major television studios began releasing web series, such as the ABC comedy show Squeegies, the NBC sci-fi show Gemini Division, and the Bravo reality series The Malan Show. Warner Bros. relaunched The WB as an online network beginning with original mystery web series, Sorority Forever, created and produced by Big Fantastic and executive produced by McG. Meanwhile, MTV announced a new original web series created by Craig Brewer, $5 Cover, that brought together the indie music world and new media expansion. Joss Whedon created, produced, and self-financed musical comedy-drama Dr. Horrible's Sing-Along Blog starring Neil Patrick Harris and Felicia Day. Big Fantastic wrote and produced Foreign Body, a mystery web series that served as a prequel to Robin Cook's novel of the same name. Beckett and Goodfried founded a new Internet studio, EQAL, and produced a spin-off of lonelygirl15 titled LG15: The Resistance. The mainstream press began to provide coverage. In the United Kingdom, KateModern ended its run on Bebo. Bebo also hosted a six-month-long reality travel show, The Gap Year, produced by Endemol UK, and produced an interactive sci-fi drama Kirill for

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  Line detection

  In image processing, line detection is an algorithm that takes a collection of n edge points and finds all the lines on which these edge points lie. The most popular line detectors are the Hough transform and convolution-based techniques. == Hough transform == The Hough transform can be used to detect lines and the output is a parametric description of the lines in an image, for example ρ = r cos(θ) + c sin(θ). If there is a line in a row and column based image space, it can be defined ρ, the distance from the origin to the line along a perpendicular to the line, and θ, the angle of the perpendicular projection from the origin to the line measured in degrees clockwise from the positive row axis. Therefore, a line in the image corresponds to a point in the Hough space. The Hough space for lines has therefore these two dimensions θ and ρ, and a line is represented by a single point corresponding to a unique set of these parameters. The Hough transform can then be implemented by choosing a set of values of ρ and θ to use. For each pixel (r, c) in the image, compute r cos(θ) + c sin(θ) for each values of θ, and place the result in the appropriate position in the (ρ, θ) array. At the end, the values of (ρ, θ) with the highest values in the array will correspond to strongest lines in the image == Convolution-based technique == In a convolution-based technique, the line detector operator consists of a convolution masks tuned to detect the presence of lines of a particular width n and a θ orientation. Here are the four convolution masks to detect horizontal, vertical, oblique (+45 degrees), and oblique (−45 degrees) lines in an image. a) Horizontal mask(R1) (b) Vertical (R3) (C) Oblique (+45 degrees)(R2) (d) Oblique (−45 degrees)(R4) In practice, masks are run over the image and the responses are combined given by the following equation: R(x, y) = max(|R1 (x, y)|, |R2 (x, y)|, |R3 (x, y)|, |R4 (x, y)|) If R(x, y) > T, then discontinuity As can be seen below, if mask is overlay on the image (horizontal line), multiply the coincident values, and sum all these results, the output will be the (convolved image). For example, (−1)(0)+(−1)(0)+(−1)(0) + (2)(1) +(2)(1)+(2)(1) + (−1)(0)+(−1)(0)+(−1)(0) = 6 pixels on the second row, second column in the (convolved image) starting from the upper left corner of the horizontal lines. page 82 == Example == These masks above are tuned for light lines against a dark background, and would give a big negative response to dark lines against a light background. == Code example == The code was used to detect only the vertical lines in an image using Matlab and the result is below. The original image is the one on the top and the result is below it. As can be seen on the picture on the right, only the vertical lines were detected

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  FaceApp

  FaceApp is a photo and video editing application for iOS and Android developed by FaceApp Technology Limited, a company based in Cyprus. The app generates highly realistic transformations of human faces in photographs by using neural networks. The app can transform a face to make it smile, look younger, look older, or change gender. == History == FaceApp was launched on iOS in January 2017 and on Android in February 2017. It was developed by Yaroslav Goncharov, a former executive at Yandex, and created by the Russian company Wireless Lab. == Features == There are multiple options to manipulate the photo uploaded such as editor options of adding an impression, make-up, smiles, hair colors, hairstyles, glasses, age or beards. Filters, lens blur and backgrounds along with overlays, tattoos, and vignettes are also a part of the app. The gender change transformations of FaceApp have attracted particular interest from the LGBT and transgender communities, due to their ability to realistically simulate the appearance of a person as the opposite gender. == Criticism == In 2017, FaceApp faced criticism for a "hot" filter that appeared to lighten users' skin tones, prompting accusations of racial bias. The feature was briefly renamed "spark" before being removed. Founder Yaroslav Goncharov attributed the issue to training data bias and apologized. In August of that year, more criticism arose when it featured "ethnicity filters" depicting "White", "Black", "Asian", and "Indian". The filters were immediately removed from the app. In 2019, FaceApp faced criticism over its handling of user data, including concerns that it stored users' photos on its servers and could use them for commercial purposes. Founder Yaroslav Goncharov stated that images were processed on cloud servers like Google Cloud Platform and Amazon Web Services, not transferred to Russia, and were temporarily stored only to support editing functions before being deleted. U.S. Senator Chuck Schumer raised concerns about data privacy and called for an FBI investigation.

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  Extremely online

  An extremely online (often capitalized), terminally online, or chronically online person is someone who is closely engaged with Internet culture. People said to be extremely online often believe that online posts are very important. Events and phenomena can themselves be extremely online; while often used as a descriptive term, the phenomenon of extreme online usage has been described as "both a reformation of the delivery of ideas – shared through words and videos and memes and GIFs and copypasta – and the ideas themselves". Here, "online" is used to describe "a way of doing things, not [simply] the place they are done". == Criteria == While the term was in use as early as 2014, it gained popularity over the latter half of the 2010s in conjunction with the increasing prevalence and notability of Internet phenomena in all areas of life. Extremely online people, according to The Daily Dot, are interested in topics "no normal, healthy person could possibly care about", and have been analogized to "pop culture fandoms, just without the pop". Extremely online phenomena such as fan culture and reaction GIFs have been described as "swallowing democracy" by journalists such as Amanda Hess in The New York Times, who claimed that a "great convergence between politics and culture, values and aesthetics, citizenship and commercialism" had become "a dominant mode of experiencing politics". Vulture – formerly the pop culture section of New York magazine, now a stand-alone website – has a section for articles tagged "extremely online". == Historical background == In the 2010s, many categories and labels came into wide use from media outlets to describe Internet-mediated cultural trends, such as the alt-right, the dirtbag left, and doomerism. These ideological categories are often defined by their close association with online discourse. For example, the term "alt-right" was added to the Associated Press' stylebook in 2016 to describe the "digital presence" of far-right ideologies, the dirtbag left refers to a group of "underemployed and overly online millennials" who "have no time for the pieties of traditional political discourse", and the doomer's "blackpilled despair" is combined with spending "too much time on message boards in high school" to produce an eclectic "anti-socialism". Extreme onlineness transcends ideological boundaries. For example, right-wing figures like Alex Jones and Laura Loomer have been described as "extremely online", but so have those on the left like Alexandria Ocasio-Cortez and fans of the Chapo Trap House podcast. Extremely online phenomena can range from acts of offline violence (such as the 2019 Christchurch shootings) to "[going] on NPR to explain the anti-capitalist irony inherent in kids eating Tide Pods". United States President Donald Trump's posts on social media have been frequently cited as extremely online, during both his presidency and his 2020 presidential campaign; Vox claimed his approach to re-election veered into being "Too Online", and Reason questioned whether the final presidential debate was "incomprehensible to normies". While individual people are often given the description, being extremely online has also been posited as an overall cultural phenomenon, applying to trends like lifestyle movements suffixed with "-wave" and "-core" based heavily on Internet media, as well as an increasing expectation for digital social researchers to have an "online presence" to advance in their careers. == Participants and media coverage == One example of a phenomenon considered to be extremely online is the "wife guy" (a guy who posts about his wife); despite being a "stupid online thing" which spent several years as a piece of Internet slang, in 2019 it became the subject of five articles in leading U.S. media outlets. Like many extremely online phrases and phenomena, the "wife guy" has been attributed in part to the in-character Twitter account dril. The account frequently parodies how people behave on the Internet, and has been widely cited as influential on online culture. In one tweet, his character refuses to stop using the Internet, even when someone shouts outside his house that he should log off. Many of dril's other coinages have become ubiquitous parts of Internet slang. Throughout the 2010s, posters such as dril inspired commonly used terms like "corncobbing" (referring to someone losing an argument and failing to admit it); while originally a piece of obscure Internet slang used on sites like Twitter, use of the term (and controversy over its misinterpretation) became a subject of reporting from traditional publications, with some noting that keeping up with the rapid turnover of inside jokes, memes, and quotes online required daily attention to avoid embarrassment. Twitch has been described as "talk radio for the extremely online". Another example of an event cited as extremely online is No Nut November. Increasingly, researchers are expected to have more of an online presence, to advance in their careers, as networking and portfolios continue to transition to the digital world. In November 2020, an article in The Washington Post criticized the filter bubble theory of online discourse on the basis that it "overgeneralized" based on a "small subset of extremely online people". The 2021 storming of the United States Capitol was described as extremely online, with "pro-Trump internet personalities", such as Baked Alaska, and fans livestreaming and taking selfies. People who have been described as extremely online include Chrissy Teigen, Jon Ossoff, and Andrew Yang. In contrast, Joe Biden has been cited as the antithesis of extremely online—The New York Times wrote in 2019 that he had "zero meme energy".

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