AI Detector Eraser

AI Detector Eraser — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

CodeSandbox

CodeSandbox is a cloud-based online integrated development environment (IDE) focused on web application development. It supports popular web technologies such as JavaScript, TypeScript, React, Vue.js, and Node.js. CodeSandbox allows users to create, edit, and deploy web applications directly from the browser with zero setup. CodeSandbox is widely used for front-end development, rapid prototyping, sharing code snippets, and real-time collaborative coding. It provides GitHub integration, templates for common frameworks, and a cloud-based development container for full-stack projects. == Templates == == Limitations == Slower performance for larger tasks compared to native IDEs Some features require a paid subscription Performance and storage limits for free-tier users Limited offline capabilities
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Polyfill (programming)

In software development, a polyfill is code that implements a new standard feature of a deployment environment within an old version of that environment that does not natively support the feature. Most often, it refers to JavaScript code that implements an HTML5 or CSS web standard, either an established standard (supported by some browsers) on older browsers, or a proposed standard (not supported by any browsers) on existing browsers. Polyfills are also used in PHP and Python. Polyfills allow web developers to use an API regardless of whether or not it is supported by a browser, and usually with minimal overhead. Typically they first check if a browser supports an API, and use it if available, otherwise using their own implementation. Polyfills themselves use other, more supported features, and thus different polyfills may be needed for different browsers. The term is also used as a verb: polyfilling is providing a polyfill for a feature. == Definition == The term is a neologism, coined by Remy Sharp, who required a word that meant "replicate an API using JavaScript (or Flash or whatever) if the browser doesn’t have it natively" while co-writing the book Introducing HTML5 in 2009. Formally, "a shim is a library that brings a new API to an older environment, using only the means of that environment." Polyfills exactly fit this definition; the term shim was also used for early polyfills. However, to Sharp shim connoted non-transparent APIs and workarounds, such as spacer GIFs for layout, sometimes known as shim.gif, and similar terms such as progressive enhancement and graceful degradation were not appropriate, so he invented a new term. The term is based on the multipurpose filling paste brand Polyfilla, a paste used to cover up cracks and holes in walls, and the meaning "fill in holes (in functionality) in many (poly-) ways." The word has since gained popularity, particularly due to its use by Paul Irish and in Modernizr documentation. The distinction that Sharp makes is: What makes a polyfill different from the techniques we have already, like a shim, is this: if you removed the polyfill script, your code would continue to work, without any changes required in spite of the polyfill being removed. This distinction is not drawn by other authors. At times various other distinctions are drawn between shims, polyfills, and fallbacks, but there are no generally accepted distinctions: most consider polyfills a form of shim. The term polyfiller is also occasionally found. == Examples == === core-js === core-js is one of the most popular JavaScript standard library polyfills. Includes polyfills for ECMAScript up to the latest version of the standard: promises, symbols, collections, iterators, typed arrays, many other features, ECMAScript proposals, some cross-platform WHATWG / W3C features and proposals like URL. You can load only required features or use it without global namespace pollution. It can be integrated with Babel, which allows it to automatically inject required core-js modules into your code. === html5shiv === In IE versions prior to 9, unknown HTML elements like
and
would be parsed as empty elements, breaking the page's nesting structure and making those elements impossible to style using CSS. One of the most widely used polyfills, html5shiv, exploits another quirk of IE to work around this bug: calling document.createElement("tagname") for each of the new HTML5 elements, which causes IE to parse them correctly. It also includes basic default styling for those HTML5 elements. === -prefix-free === Though most polyfills target out-of-date browsers, some exist to simply push modern browsers forward a little bit more. Lea Verou's -prefix-free polyfill is such a polyfill, allowing current browsers to recognise the unprefixed versions of several CSS3 properties instead of requiring the developer to write out all the vendor prefixes. It reads the page's stylesheets and replaces any unprefixed properties with their prefixed counterparts recognised by the current browser. === Selectivizr === Keith Clark's Selectivizr is a popular polyfill that makes many CSS3 selectors work in IE 8 and below. It reads the page's stylesheets looking for a number of known CSS3 selectors, then uses a JavaScript selector library to query the document for elements matching those selectors, applying the styles directly to those elements. It supports several JavaScript selector libraries such as jQuery. === Flexie === One of the features of CSS3, Flexible Box Layout (a.k.a. Flexbox) promises to be an extremely powerful tool for laying out interface elements. WebKit and Mozilla engines have supported a preliminary draft syntax for years. Flexie implements support for that same syntax in IE and Opera. However, the draft spec has undergone a drastic revision to a new (and much more powerful) syntax, which is not yet supported by Flexie. Flexie can still be used along with the old syntax, but the developer must make sure they include the new syntax for future browsers as well. === CSS3 PIE === PIE ("Progressive Internet Explorer") implements some of the most popular missing CSS3 box decoration properties in IE, including border-radius and box-shadow for IE 8 and below, and linear-gradient backgrounds for IE 9 and below. Invoked as a HTC behavior (a proprietary IE feature), it looks for the unsupported CSS3 properties on specific elements and renders those properties using VML for IE 6–8 and SVG for IE 9. Its rendering is mostly indistinguishable from native browser implementations and it handles dynamic DOM modification well. === JSON 2 === Douglas Crockford originally wrote json2.js as an API for reading and writing his (then up-and-coming) JSON data format. It became so widely used that browser vendors decided to implement its API natively and turn it into a de facto standard; Since json2.js now implements features native to newer browsers into older browsers, it has become a polyfill instead of a library. === es5-shim === ECMAScript 5th Edition ("ES5") brings some useful new scripting features, and since they're syntactically compatible with older JavaScript engines they can mostly be polyfilled by patching methods onto built-in JS objects. This es5-shim polyfill does it in two parts: es5-shim.js contains those methods that can be fully polyfilled, and es5-sham.js contains partial implementations of the other methods which rely too much on the underlying engine to work accurately. === FlashCanvas === FlashCanvas is an implementation of the HTML5 Canvas API using an Adobe Flash plug-in. A rare commercial polyfill, it comes in a paid version, as well as a free version, which lacks a few advanced features like shadows. === MediaElement.js === John Dyer's MediaElement.js polyfills support for
Höhere Graphische Bundes-Lehr- und Versuchsanstalt

The Höhere Graphische Bundes-Lehr- und Versuchsanstalt (HGBLuVA) ("Higher Federal Institution for Graphic Education and Research"), now commonly known as "die Graphische", founded in 1888 in Vienna, is a vocational college for professions in visual communication and media technology in Austria. == History == === Opening === Originally set up as a photographic research institute by the President of the Photographic Society, the graphic teaching and research institute (GLV) was created through the incorporation of the photographic school (a department for photographic reproduction processes connected to the Salzburg State Building School) and the Hörwarter general drawing school in Vienna. Since its foundation, it has made an important contribution to the establishment and development of the graphic professions. According to a resolution of March 14, 1887, the City Council of Vienna made three floors of the municipal building in Vienna VII, Westbahnstraße 25, available to the former Schottenfelder Realschule for the establishment of a teaching and research institute for photography and reproduction processes. The k. k. Lehr- und Versuchsanstalt für Photographie und Reproductionsverfahren, founded and directed (1888–1923) by Josef Maria Eder, previously of the Technologische Gewerbemuseum (Museum of Applied Technology), for which he established a Section for Photography and Reproduction Techniques, and the Vienna State Trade School where, recently qualified as a university lecturer, he began teaching chemistry and physics in 1881. It opened on March 1, 1888 with 108 students. In the next school year the number of students rose to 174. In 1890, Eder placed a Wothly solar camera (an early means of enlarging negatives) on the roof. In the context of the history of vocational schools and the applied arts, pioneering educational reforms in Austria from the 1870s created institutions like it outside the format of the classical university, it being a special variation on the “state trade school” (“Staats-Gewerbeschule”). Eder based his institution on earlier foreign models such as the Conservatoire des arts et métiers in Paris (founded 1794), that housed a museum of history and technology and hosted with evening lectures and demonstrations, with lectures in photography commencing in 1891. From 1897 onwards the name Graphische Lehr- und Versuchsanstalt came into being . In 1906, Emperor Franz Joseph granted the school the designation “Imperial and Royal” in the title, and the Republic of Austria confirmed this distinction when the school's Federal Chancellery approved the use of the national coat of arms. === The beginnings === The GLV was instituted on August 27, 1887 "by the highest resolution to approve the activation of this teaching and research institute in Vienna on March 1, 1888". The aim of the institute was the “training of specialist photographers, retouchers, collotype printers, photolithographers, etc., the instruction of artists, scholars and technicians who want to learn photography as an auxiliary science, furthermore the testing of equipment, chemicals and the implementation of independent scientific investigations in the areas of Photochemistry and Related Subjects”. The school consisted of two departments; the Institute for Photography and Reproduction Processes and the Research Institute, and in 1891 the Board of Book Printers and Type Founders pointed out the urgent need to add a department for book printers to the school. In 1897 an additional section for the book and illustration trade was opened, the school called "KK Graphische Lehr- und Versuchsanstalt" was then divided into four sections: Section I: Institute for Photography and Reproduction (corresponds to the former Institute for Photography and Reproduction Processes) Section II: College for the book and illustration trade Section III: Research institute for photochemistry and graphic printing processes (corresponds to the original research institute) Section IV: Collections: graphic collection, library and equipment collection The first original lithographs by famous artists such as Luigi Kasimir and Tina Blau are thanks to the special course for lithography and lithography introduced in 1905 and 'algraphy' - a planographic printing process from an aluminum plate instead of the stone used in lithography - was first taught in Austria in 1896 at the GLV. The specialty course for lithography and lithography existed until 1913/14, after which a specialist course for xylography (wood engraving and woodcuts) was offered. In 1908 the graphic arts department was set up on the top floor of the neighbouring house at Westbahnstraße 27 connected by a spiral staircase still in existence in the courtyard at the current location on Leyserstraße. === Women in the graphic teaching and research institute === From 1908 women were also officially admitted. For the period from 1888 to 1918/19, a total of 718 female students at the Graphische are recorded in the largely preserved class lists. Due to changes and new requirements in the job description, the proportion of women continued to grow, so that in some classes it exceeded two thirds. === The Graphics Department === In 1916, the school statute was changed: all-day lessons with photography internship in the 1st and 2nd years as well as training for disabled people were introduced and a drawing school was added. After the First World War, the school was renamed several times: In 1919 the name was "Deutsch-Österreichische Graphische Lehr- und Versuchsanstalt"; changed in 1920 to "Staatliche Graphische Lehr- und Versuchsanstalt" and in 1923 to "Graphic Education and Research Institute". === The school in the time of National Socialism === The "annexation of Austria by Germany" resulted in organisational restructuring: semesters were introduced and the GLV was made a subordinate level of a university of the graphic arts administered in Leipzig. In 1939 the school became a state graphic teaching and research institute . Up to this point, two thirds of all Austrian postage stamps had been designed and engraved in the Graphische. === Post-war period === In 1945 the period of study at the technical school was extended to four years. In 1948, “manual graphics” became “commercial graphics” followed by an honours year. In 1959, a department A was developed: a three-class specialist department for photography with a master class, and a department B: a specialist department for commercial graphics with four classes and an honours year. Through further school reforms, the university entrance qualification was acquired with the completion of the now five-year course and honours qualification. In 1967, due to a lack of space, the Westbahnstrasse was moved to the new Carl Appel building in Leyserstrasse. === The new building, 1963 === On May 22, 1963, the foundation stone of the new campus was laid in the 14th district in the Breitenseer Strasse, Leyserstrasse and Spallartgasse area (Kommandogebäude Theodor Körner). In 1967 the move to the new building began and in 1968 the official opening coincided with the 80th anniversary of the school. In 1963/64 the first year of the five-year high school for reprography and printing technology began. There was also a four-year technical school. With the advent of personal computers and their use in the graphics industry, change comes first in typesetting and later in image processing, and in 1984 the advent of desktop publishing brought a revolution that permanently challenged the distinction between photographer, typesetter, layout artist and printer. In 1988, the Graphische celebrated its 100th anniversary. The rapid development of technology shaped school events in the 1980s, as did the rapid advance of offset printing - albeit at the expense of Letterpress printing. In reproduction technology, scanner technology for the production of colour separations displaced reprography. === Renovation, 2006 === Due to renovation work on the building in Leyserstraße, the management and the photography, multimedia and graphics departments moved to an alternative location in Vienna's first district at Schellinggasse 13. After the work was completed, the school was relocated in February 2008. == Notable teachers and students ==
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Content Credentials

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

Site reliability engineering (SRE) is a discipline in the field of software engineering and IT infrastructure support that monitors and improves the availability and performance of deployed software systems and large software services (which are expected to deliver reliable response times across events such as new software deployments, hardware failures, and cybersecurity attacks). There is typically a focus on automation and an infrastructure as code methodology. SRE uses elements of software engineering, IT infrastructure, web development, and operations to assist with reliability. It is similar to DevOps as they both aim to improve the reliability and availability of deployed software systems. == History == Site Reliability Engineering originated at Google with Benjamin Treynor Sloss, who founded SRE team in 2003. The concept expanded within the software development industry, leading various companies to employ site reliability engineers. By March 2016, Google had more than 1,000 site reliability engineers on staff. Dedicated SRE teams are common at larger web development companies. In middle-sized and smaller companies, DevOps teams sometimes perform SRE, as well. Organizations that have adopted the concept include Airbnb, Dropbox, IBM, LinkedIn, Netflix, and Wikimedia. == Definition == Site reliability engineers (SREs) are responsible for a combination of system availability, latency, performance, efficiency, change management, monitoring, emergency response, and capacity planning. SREs often have backgrounds in software engineering, systems engineering, and/or system administration. The focuses of SRE include automation, system design, and improvements to system resilience. SRE is considered a specific implementation of DevOps; focusing specifically on building reliable systems, whereas DevOps covers a broader scope of operations. Despite having different focuses, some companies have rebranded their operations teams to SRE teams. == Principles and practices == Common definitions of the practices include (but are not limited to): Automation of repetitive tasks for cost-effectiveness. Defining reliability goals to prevent endless effort. Design of systems with a goal to reduce risks to availability, latency, and efficiency. Observability, the ability to ask arbitrary questions about a system without having to know ahead of time what to ask. Common definitions of the principles include (but are not limited to): Toil management, the implementation of the first principle outlined above. Defining and measuring reliability goals—SLIs, SLOs, and error budgets. Non-Abstract Large Scale Systems Design (NALSD) with a focus on reliability. Designing for and implementing observability. Defining, testing, and running an incident management process. Capacity planning. Change and release management, including CI/CD. Chaos engineering. == Deployment == SRE teams collaborate with other departments within organizations to guide the implementation of the mentioned principles. Below is an overview of common practices: === Kitchen Sink === Kitchen Sink refers to the expansive and often unbounded scope of services and workflows that SRE teams oversee. Unlike traditional roles with clearly defined boundaries, SREs are tasked with various responsibilities, including system performance optimization, incident management, and automation. This approach allows SREs to address multiple challenges, ensuring that systems run efficiently and evolve in response to changing demands and complexities. === Infrastructure === Infrastructure SRE teams focus on maintaining and improving the reliability of systems that support other teams' workflows. While they sometimes collaborate with platform engineering teams, their primary responsibility is ensuring up-time, performance, and efficiency. Platform teams, on the other hand, primarily develop the software and systems used across the organization. While reliability is a goal for both, platform teams prioritize creating and maintaining the tools and services used by internal stakeholders, whereas Infrastructure SRE teams are tasked with ensuring those systems run smoothly and meet reliability standards. === Tools === SRE teams utilize a variety of tools with the aim of measuring, maintaining, and enhancing system reliability. These tools play a role in monitoring performance, identifying issues, and facilitating proactive maintenance. For instance, Nagios Core is commonly employed for system monitoring and alerting, while Prometheus (software) is frequently used for collecting and querying metrics in cloud-native environments. === Product or Application === SRE teams dedicated to specific products or applications are common in large organizations. These teams are responsible for ensuring the reliability, scalability, and performance of key services. In larger companies, it's typical to have multiple SRE teams, each focusing on different products or applications, ensuring that each area receives specialized attention to meet performance and availability targets. === Embedded === In an embedded model, individual SREs or small SRE pairs are integrated within software engineering teams. These SREs collaborate with developers, applying core SRE principles—such as automation, monitoring, and incident response—directly to the software development lifecycle. This approach aims to enhance reliability, performance, and collaboration between SREs and developers. === Consulting === Consulting SRE teams specialize in advising organizations on the implementation of SRE principles and practices. Typically composed of seasoned SREs with a history across various implementations, these teams provide insights and guidance for specific organizational needs. When working directly with clients, these SREs are often referred to as 'Customer Reliability Engineers.' In large organizations that have adopted SRE, a hybrid model is common. This model includes various implementations, such as multiple Product/Application SRE teams dedicated to addressing the specific reliability needs of different products. An Infrastructure SRE team may collaborate with a Platform engineering group to achieve shared reliability goals for a unified platform that supports all products and applications. == Industry == Since 2014, the USENIX organization has hosted the annual SREcon conference, bringing together site reliability engineers from various industries. This conference is a platform for professionals to share knowledge, explore effective practices, and discuss trends in site reliability engineering.
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Digital signal

A digital signal is a signal that represents data as a sequence of discrete values; at any given time it can only take on, at most, one of a finite number of values. This contrasts with an analog signal, which represents continuous values; at any given time it represents a real number within an infinite set of values. Simple digital signals represent information in discrete bands of levels. All levels within a band of values represent the same information state. In most digital circuits, the signal can have two possible valid values; this is called a binary signal or logic signal. They are represented by two voltage bands: one near a reference value (typically termed as ground or zero volts), and the other a value near the supply voltage. These correspond to the two values zero and one (or false and true) of the Boolean domain, so at any given time a binary signal represents one binary digit (bit). Because of this discretization, relatively small changes to the signal levels do not leave the discrete envelope, and as a result are ignored by signal state sensing circuitry. As a result, digital signals have noise immunity; electronic noise, provided it is not too great, will not affect digital circuits, whereas noise always degrades the operation of analog signals to some degree. Digital signals having more than two states are occasionally used; circuitry using such signals is called multivalued logic. For example, signals that can assume three possible states are called three-valued logic. In a digital signal, the physical quantity representing the information may be a variable electric current or voltage, the intensity, phase or polarization of an optical or other electromagnetic field, acoustic pressure, the magnetization of a magnetic storage media, etcetera. Digital signals are used in all digital electronics, notably computing equipment and data transmission. == Definitions == The term digital signal has related definitions in different contexts. === In digital electronics === In digital electronics, a digital signal is a pulse amplitude modulated signal, i.e., a sequence of fixed-width electrical pulses or light pulses, each occupying one of a discrete number of levels of amplitude. A special case is a logic signal or a binary signal, which varies between a low and a high signal level. The pulse trains in digital circuits are typically generated by metal–oxide–semiconductor field-effect transistor (MOSFET) devices, due to their rapid on–off electronic switching speed and large-scale integration (LSI) capability. In contrast, bipolar junction transistors more slowly generate signals resembling sine waves. === In signal processing === In digital signal processing, a digital signal is a representation of a physical signal that is sampled and quantized. A digital signal is an abstraction that is discrete in time and amplitude. The signal's value only exists at regular time intervals, since only the values of the corresponding physical signal at those sampled moments are significant for further digital processing. The digital signal is a sequence of codes drawn from a finite set of values. The digital signal may be stored, processed or transmitted physically as a pulse-code modulation (PCM) signal. === In communications === In digital communications, a digital signal is a continuous-time physical signal, alternating between a discrete number of waveforms, representing a bitstream. The shape of the waveform depends on the transmission scheme, which may be either a line coding scheme allowing baseband transmission; or a digital modulation scheme, allowing passband transmission over long wires or over a limited radio frequency band. Such a carrier-modulated sine wave is considered a digital signal in literature on digital communications and data transmission, but considered as a bit stream converted to an analog signal in specific cases where the signal will be carried over a system meant for analog communication, such as an analog telephone line. In communications, sources of interference are usually present, and noise is frequently a significant problem. The effects of interference are typically minimized by filtering off interfering signals as much as possible and by using data redundancy. The main advantages of digital signals for communications are often considered to be noise immunity, and the ability, in many cases such as with audio and video data, to use data compression to greatly decrease the bandwidth that is required on the communication media. == Logic voltage levels == A waveform that switches representing the two states of a Boolean value (0 and 1, or low and high, or false and true) is referred to as a digital signal or logic signal or binary signal when it is interpreted in terms of only two possible digits. The two states are usually represented by some measurement of an electrical property: Voltage is the most common, but current is used in some logic families. Two ranges of voltages are typically defined for each logic family, which are frequently not directly adjacent. The signal is low when in the low range and high when in the high range, and in between the two ranges the behavior can vary between different types of gates. The clock signal is a special digital signal that is used to synchronize many digital circuits. The image shown can be considered the waveform of a clock signal. Logic changes are triggered either by the rising edge or the falling edge. The rising edge is the transition from a low voltage (level 1 in the diagram) to a high voltage (level 2). The falling edge is the transition from a high voltage to a low one. Although in a highly simplified and idealized model of a digital circuit, we may wish for these transitions to occur instantaneously, no real-world circuit is purely resistive, and therefore no circuit can instantly change voltage levels. This means that during a short, finite transition time, the output may not properly reflect the input, and will not correspond to either a logically high or low voltage. == Modulation == To create a digital signal, a signal must be modulated with a control signal to produce it. The simplest modulation, a type of unipolar encoding, is simply to switch on and off a DC signal so that high voltages represent a '1' and low voltages are '0'. In digital radio schemes, one or more carrier waves are amplitude, frequency or phase modulated by the control signal to produce a digital signal suitable for transmission. Asymmetric Digital Subscriber Line (ADSL) over telephone wires, does not primarily use binary logic; the digital signals for individual carriers are modulated with different-valued logics, depending on the Shannon capacity of the individual channel. == Clocking == Digital signals may be sampled by a clock signal at regular intervals by passing the signal through a flip-flop. When this is done, the input is measured at the clock edge and the signal from that time. The signal is then held steady until the next clock. This process is the basis of synchronous logic. Asynchronous logic also exists, which uses no single clock, and generally operates more quickly, and may use less power, but is significantly harder to design.
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Digital anthropology

Digital anthropology is the anthropological study of the relationship between humans and digital-era technology. The field is new, and thus has a variety of names with a variety of emphases. These include techno-anthropology, digital ethnography, cyberanthropology, and virtual anthropology. == Definition and scope == Most anthropologists who use the phrase "digital anthropology" are specifically referring to online and Internet technology. The study of humans' relationship to a broader range of technology may fall under other subfields of anthropological study, such as cyborg anthropology. The Digital Anthropology Group (DANG) is classified as an interest group in the American Anthropological Association. DANG's mission includes promoting the use of digital technology as a tool of anthropological research, encouraging anthropologists to share research using digital platforms, and outlining ways for anthropologists to study digital communities. Cyberspace or the "virtual world" itself can serve as a "field" site for anthropologists, allowing the observation, analysis, and interpretation of the sociocultural phenomena springing up and taking place in any interactive space. National and transnational communities, enabled by digital technology, establish a set of social norms, practices, traditions, storied history and associated collective memory, migration periods, internal and external conflicts, potentially subconscious language features and memetic dialects comparable to those of traditional, geographically confined communities. This includes the various communities built around free and open-source software, online platforms such as Facebook, Twitter/X, Instagram, 4chan and Reddit and their respective sub-sites, and politically motivated groups like Anonymous, WikiLeaks, or the Occupy movement. A number of academic anthropologists have conducted traditional ethnographies of virtual worlds, such as Bonnie Nardi's study of World of Warcraft or Tom Boellstorff's study of Second Life. Academic Gabriella Coleman has done ethnographic work on the Debian software community and the Anonymous hacktivist network. Theorist Nancy Mauro-Flude conducts ethnographic field work on computing arts and computer subcultures such as systerserver.net a part of the communities of feminist web servers and the Feminist Internet network. Eitan Y. Wilf examines the intersection of artists' creativity and digital technology and artificial intelligence. Yongming Zhou studied how in China the internet is used to participate in politics. Eve M. Zucker and colleagues study the shift to digital memorialization of mass atrocities and the emergent role of artificial intelligence in these processes. Victoria Bernal conducted ethnographic research on the themes of nationalism and citizenship among Eritreans participating in online political engagement with their homeland. Anthropological research can help designers adapt and improve technology. Australian anthropologist Genevieve Bell did extensive user experience research at Intel that informed the company's approach to its technology, users, and market. == Methodology == === Digital fieldwork === Many digital anthropologists who study online communities use traditional methods of anthropological research. They participate in online communities in order to learn about their customs and worldviews, and back their observations with private interviews, historical research, and quantitative data. Their product is an ethnography, a qualitative description of their experience and analyses. Other anthropologists and social scientists have conducted research that emphasizes data gathered by websites and servers. However, academics often have trouble accessing user data on the same scale as social media corporations like Facebook and data mining companies like Acxiom. In terms of method, there is a disagreement in whether it is possible to conduct research exclusively online or if research will only be complete when the subjects are studied holistically, both online and offline. Tom Boellstorff, who conducted a three-year research as an avatar in the virtual world Second Life, defends the first approach, stating that it is not just possible, but necessary to engage with subjects “in their own terms”. Others, such as Daniel Miller, have argued that an ethnographic research should not exclude learning about the subject's life outside the internet. === Digital technology as a tool of anthropology === The American Anthropological Association offers an online guide for students using digital technology to store and share data. Data can be uploaded to digital databases to be stored, shared, and interpreted. Text and numerical analysis software can help produce metadata, while a codebook may help organize data. == Ethics == Online fieldwork offers new ethical challenges. According to the American Anthropological Association's ethics guidelines, anthropologists researching a community must make sure that all members of that community know they are being studied and have access to data the anthropologist produces. However, many online communities' interactions are publicly available for anyone to read, and may be preserved online for years. Digital anthropologists debate the extent to which lurking in online communities and sifting through public archives is ethical. The Association also asserts that anthropologists' ability to collect and store data at all is "a privilege", and researchers have an ethical duty to store digital data responsibly. This means protecting the identity of participants, sharing data with other anthropologists, and making backup copies of all data. == Prominent figures == Genevieve Bell is an Australian cultural anthropologist credited for pioneering the User Experience field. During her time working for Intel Corporation, Bell studied how various cultures from around the world interacted with and experienced technology. Researching and improving user experience allows companies and designers to gather data regarding how users utilize their digital products and what requires improvement or expansion. Tom Boellstorff is an anthropologist known for Coming of Age in Second Life: An Anthropologist Explores the Virtually Human where he conducted research on how engaging in virtual worlds affects the player’s sense of self. Gabriella Coleman is an American anthropologist concerned with the politics, ethics, and culture of hacking and online activism. Coleman’s most notable ethnography features the hacktivist collective Anonymous, where she argues that various genres of hacking exist according to the social conditions at play. Coleman is dedicated to making her ethnography accessible to a diverse audience, including academics and non-academics. Diana E. Forsythe was an American anthropologist of science and technology and the author of the essays featured in Studying Those Who Study Us: An Anthropologist in the World of Artificial Intelligence. She asked relevant questions such as how should humans interact with computers and how gender roles are maintained in technology-oriented occupations. Heather Horst is a sociocultural anthropologist interested in the relationship between digital social relations and material culture. Nancy Mauro-Flude is a design anthropologist whose work explores the tacit relations between embodied cognition, computational materiality, maker culture, self-hosted webserver cooperatives, creative practice, and artistic research in digital infrastructure and Internet publishing. Mizuko Ito is a Japanese cultural anthropologist specializing in technology use and the intersection between computers and the social sciences. Her primary interest is in how young people utilize media technology and how it can be used to engage students in education. Daniel Miller is an anthropologist with a concentration in digital anthropology. His research includes the smartphone and perpetual opportunism, the intent and consequences of posting on social media in various geographical locations, and how hospice patients use media to socialize in the last stage of their lives. Mike Wesch is a cultural anthropologist interested in how people share their lives, cultures, and beliefs through digital media.
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CSS box model

In web development, the CSS box model refers to how HTML elements are modeled in browser engines and how the dimensions of those HTML elements are derived from CSS properties. It is a fundamental concept for the composition of HTML webpages. The guidelines of the box model are described by web standards World Wide Web Consortium (W3C) specifically the CSS Working Group. For much of the late-1990s and early 2000s there had been non-standard compliant implementations of the box model in mainstream browsers. With the advent of CSS2 in 1998, which introduced the box-sizing property, the problem had mostly been resolved. == Specifics == The Cascading Style Sheets (CSS) specification describes how elements of web pages are displayed by graphical browsers. Section 4 of the CSS1 specification defines a "formatting model" that gives block-level elements—such as p and blockquote—a width and height, and three levels of boxes surrounding it: padding, borders, and margins. While the specification never uses the term "box model" explicitly, the term has become widely used by web developers and web browser vendors. All HTML elements can be considered "boxes", this includes div tag, p tag, or a tag. Each of those boxes has five modifiable dimensions: the height and width describe dimensions of the actual content of the box (text, images, ...) the padding describes the space between this content and the border of the box the border is any kind of line (solid, dotted, dashed...) surrounding the box, if present the margin is the space around the border According to the CSS1 specification, released by W3C in 1996 and revised in 1999, when a width or height is explicitly specified for any block-level element, it should determine only the width or height of the visible element, with the padding, borders, and margins applied afterward. Before CSS3, this box model was known as W3C box model, in CSS3, it is known as the content-box. The total width of a box is therefore margin-left + border-left + padding-left + width + padding-right + border-right + margin-right. Similarly, the total height of a box equals margin-top + border-top + padding-top + height + padding-bottom + border-bottom + margin-bottom. For example, the following CSS code would specify the box dimensions of each block belonging to 'my-class'. Moreover, each such box will have total height 140px and width 240px. CSS3 introduced the Internet Explorer box model to the standard, known referred to as border-box. == History == Before HTML 4 and CSS, very few HTML elements supported both border and padding, so the definition of the width and height of an element was not very contentious. However, it varied depending on the element. The HTML width attribute of a table defined the width of the table including its border. On the other hand, the HTML width attribute of an image defined the width of the image itself (inside any border). The only element to support padding in those early days was the table cell. Width for the cell was defined as "the suggested width for a cell content in pixels excluding the cell padding." In 1996, CSS introduced margin, border and padding for many more elements. It adopted a definition width in relation to content, border, margin and padding similar to that for a table cell. This has since become known as the W3C box model. At the time, very few browser vendors implemented the W3C box model to the letter. The two major browsers at the time, Netscape 4.0 and Internet Explorer 4.0 both defined width and height as the distance from border to border. This has been referred to as the traditional or the Internet Explorer box model. Internet Explorer in "quirks mode" includes the content, padding and borders within a specified width or height; this results in a narrower or shorter rendering of a box than would result following the standard behavior. The Internet Explorer box model behavior was often considered a bug, because of the way in which earlier versions of Internet Explorer handle the box model or sizing of elements in a web page, which differs from the standard way recommended by the W3C for the Cascading Style Sheets language. As of Internet Explorer 6, the browser supports an alternative rendering mode (called the "standards-compliant mode") which solves this discrepancy. However, for backward compatibility reasons, all versions still behave in the usual, non-standard way by default (see quirks mode). Internet Explorer for Mac is not affected by this non-standard behavior. === Workarounds === Internet Explorer versions 6 and onward are not affected by the bug if the page contains certain HTML document type declarations. These versions maintain the buggy behavior when in quirks mode for reasons of backward compatibility. For example, quirks mode is triggered: When the document type declaration is absent or incomplete; When an HTML 3 or earlier document is encountered; When an HTML 4.0 Transitional or Frameset document type declaration is used and a system identifier (URI) is not present; When an SGML comment or other unrecognized content appears before the document type declaration Internet Explorer 6 also uses quirks mode if there is an XML declaration prior to the document type declaration. Various workarounds have been devised to force Internet Explorer versions 5 and earlier to display Web pages using the W3C box model. These workarounds generally exploit unrelated bugs in Internet Explorer's CSS selector processing in order to hide certain rules from the browser. The best known of these workarounds is the "box model hack" developed by Tantek Çelik, a former Microsoft employee who developed this idea while working on Internet Explorer for the Macintosh. It involves specifying a width declaration for Internet Explorer for Windows, and then overriding it with another width declaration for CSS-compliant browsers. This second declaration is hidden from Internet Explorer for Windows by exploiting other bugs in the way that it parses CSS rules. The implementation of these CSS “hacks” has been further complicated by the public release of Internet Explorer 7, which has had some issues fixed, but not others, causing undesired results in pages using these hacks. Box model hacks have proven unreliable because they rely on bugs in browsers' CSS support that may be fixed in later versions. For this reason, some Web developers have instead recommended either avoiding specifying both width and padding for the same element or using conditional comment and/or CSS filters to work around the box model bug in older versions of Internet Explorer. == Support for Internet Explorer's box model == Web designer Doug Bowman has said that the original Internet Explorer box model represents a better, more logical approach. Peter-Paul Koch gives the example of a physical box, whose dimensions always refer to the box itself, including potential padding, but never its content. He says that this box model is more useful for graphic designers, who create designs based on the visible width of boxes rather than the width of their content. Bernie Zimmermann says that the Internet Explorer box model is closer to the definition of cell dimensions and padding used in the HTML table model. The W3C has included a "box-sizing" property in CSS3. When box-sizing: border-box; is specified for an element, any padding or border of the element is drawn inside the specified width and height, "as commonly implemented by legacy HTML user agents". Internet Explorer 8, WebKit browsers such as Apple Safari 5.1+ and Google Chrome, Gecko-based browsers such as Mozilla Firefox 29.0 and later, Opera 7.0 and later, and Konqueror 3.3.2 and later support the CSS3 box-sizing property. Gecko browsers previous than 29.0 support the same functionality using the browser-specific -moz-box-sizing property. border-box is the default box model used in Bootstrap framework.
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Quantum robotics

Quantum robotics is an interdisciplinary field that investigates the intersection of robotics and quantum mechanics. This field, in particular, explores the applications of quantum phenomena such as quantum entanglement within the realm of robotics. Examples of its applications include quantum communication in multi-agent cooperative robotic scenarios, the use of quantum algorithms in performing robotics tasks, and the integration of quantum devices (e.g., quantum detectors) in robotic systems. == Introduction == The free-space quantum communication between mobile platforms was proposed for reconfigurable quantum key distribution (QKD) applications using unmanned aerial vehicle (UAVs, a.k.a. drones) in 2017. This technology was later advanced in various aspects in mobile drone and vehicle platforms in several configurations such as drone-to-drone, drone-to-moving vehicle, and vehicle-to-vehicle systems. Some research has contributed to low-size, low-weight, and low-power quantum key distribution systems for small-form UAVs, the characterization of a polarization-based receiver for mobile free-space optical QKD, and optical-relayed entanglement distribution using drones as mobile nodes. The topic of free-space quantum communication between mobile platforms, initially developed to meet the need for free-space QKD and entanglement distribution using mobile nodes, was brought into the robotics domain as an emerging interdisciplinary mechatronics topic to investigate the interface between quantum technologies and the robotic systems domain. The main advantage of such integrated technology is the guaranteed security in communication between multi-agent and cooperative autonomous systems. Other advances are anticipated. == Quantum entanglement == According to quantum mechanics, entanglement occurs when more than one particle become connected. If the state of one particle changes then it will instantly change the state of other particles regardless of their distance. Entangled sensors do the same kind of work and achieve strong sensitivity. A group of quantum robots can measure magnetic fields, gravitational fields and other physical properties using entangled sensors with high rate of accuracy. Again the connection of one robot to other is increased (become strong) by quantum entanglement. == Quantum teleportation == Quantum teleportation is the transfer of quantum information (not physical objects). This is used in case of multi robot process. One robot is programmed with a complex quantum update. Then that robot can teleport that complex quantum information (the update) to other robots. This teleportation or communication is very secure because all the work is done in quantum state. == Kinematics == Quantum computing has been proposed as being optimal for calculating inverse kinematics values. == Alice and Bob robots == In the realm of quantum mechanics, the names Alice and Bob are frequently employed to illustrate various phenomena, protocols, and applications. These include their roles in QKD, quantum cryptography, entanglement, and teleportation. The terms "Alice Robot" and "Bob Robot" serve as analogous expressions that merge the concepts of Alice and Bob from quantum mechanics with mechatronic mobile platforms (such as robots, drones, and autonomous vehicles). For example, the Alice Robot functions as a transmitter platform that communicates with the Bob Robot, housing the receiving detectors.
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Digital anthropology

Digital anthropology is the anthropological study of the relationship between humans and digital-era technology. The field is new, and thus has a variety of names with a variety of emphases. These include techno-anthropology, digital ethnography, cyberanthropology, and virtual anthropology. == Definition and scope == Most anthropologists who use the phrase "digital anthropology" are specifically referring to online and Internet technology. The study of humans' relationship to a broader range of technology may fall under other subfields of anthropological study, such as cyborg anthropology. The Digital Anthropology Group (DANG) is classified as an interest group in the American Anthropological Association. DANG's mission includes promoting the use of digital technology as a tool of anthropological research, encouraging anthropologists to share research using digital platforms, and outlining ways for anthropologists to study digital communities. Cyberspace or the "virtual world" itself can serve as a "field" site for anthropologists, allowing the observation, analysis, and interpretation of the sociocultural phenomena springing up and taking place in any interactive space. National and transnational communities, enabled by digital technology, establish a set of social norms, practices, traditions, storied history and associated collective memory, migration periods, internal and external conflicts, potentially subconscious language features and memetic dialects comparable to those of traditional, geographically confined communities. This includes the various communities built around free and open-source software, online platforms such as Facebook, Twitter/X, Instagram, 4chan and Reddit and their respective sub-sites, and politically motivated groups like Anonymous, WikiLeaks, or the Occupy movement. A number of academic anthropologists have conducted traditional ethnographies of virtual worlds, such as Bonnie Nardi's study of World of Warcraft or Tom Boellstorff's study of Second Life. Academic Gabriella Coleman has done ethnographic work on the Debian software community and the Anonymous hacktivist network. Theorist Nancy Mauro-Flude conducts ethnographic field work on computing arts and computer subcultures such as systerserver.net a part of the communities of feminist web servers and the Feminist Internet network. Eitan Y. Wilf examines the intersection of artists' creativity and digital technology and artificial intelligence. Yongming Zhou studied how in China the internet is used to participate in politics. Eve M. Zucker and colleagues study the shift to digital memorialization of mass atrocities and the emergent role of artificial intelligence in these processes. Victoria Bernal conducted ethnographic research on the themes of nationalism and citizenship among Eritreans participating in online political engagement with their homeland. Anthropological research can help designers adapt and improve technology. Australian anthropologist Genevieve Bell did extensive user experience research at Intel that informed the company's approach to its technology, users, and market. == Methodology == === Digital fieldwork === Many digital anthropologists who study online communities use traditional methods of anthropological research. They participate in online communities in order to learn about their customs and worldviews, and back their observations with private interviews, historical research, and quantitative data. Their product is an ethnography, a qualitative description of their experience and analyses. Other anthropologists and social scientists have conducted research that emphasizes data gathered by websites and servers. However, academics often have trouble accessing user data on the same scale as social media corporations like Facebook and data mining companies like Acxiom. In terms of method, there is a disagreement in whether it is possible to conduct research exclusively online or if research will only be complete when the subjects are studied holistically, both online and offline. Tom Boellstorff, who conducted a three-year research as an avatar in the virtual world Second Life, defends the first approach, stating that it is not just possible, but necessary to engage with subjects “in their own terms”. Others, such as Daniel Miller, have argued that an ethnographic research should not exclude learning about the subject's life outside the internet. === Digital technology as a tool of anthropology === The American Anthropological Association offers an online guide for students using digital technology to store and share data. Data can be uploaded to digital databases to be stored, shared, and interpreted. Text and numerical analysis software can help produce metadata, while a codebook may help organize data. == Ethics == Online fieldwork offers new ethical challenges. According to the American Anthropological Association's ethics guidelines, anthropologists researching a community must make sure that all members of that community know they are being studied and have access to data the anthropologist produces. However, many online communities' interactions are publicly available for anyone to read, and may be preserved online for years. Digital anthropologists debate the extent to which lurking in online communities and sifting through public archives is ethical. The Association also asserts that anthropologists' ability to collect and store data at all is "a privilege", and researchers have an ethical duty to store digital data responsibly. This means protecting the identity of participants, sharing data with other anthropologists, and making backup copies of all data. == Prominent figures == Genevieve Bell is an Australian cultural anthropologist credited for pioneering the User Experience field. During her time working for Intel Corporation, Bell studied how various cultures from around the world interacted with and experienced technology. Researching and improving user experience allows companies and designers to gather data regarding how users utilize their digital products and what requires improvement or expansion. Tom Boellstorff is an anthropologist known for Coming of Age in Second Life: An Anthropologist Explores the Virtually Human where he conducted research on how engaging in virtual worlds affects the player’s sense of self. Gabriella Coleman is an American anthropologist concerned with the politics, ethics, and culture of hacking and online activism. Coleman’s most notable ethnography features the hacktivist collective Anonymous, where she argues that various genres of hacking exist according to the social conditions at play. Coleman is dedicated to making her ethnography accessible to a diverse audience, including academics and non-academics. Diana E. Forsythe was an American anthropologist of science and technology and the author of the essays featured in Studying Those Who Study Us: An Anthropologist in the World of Artificial Intelligence. She asked relevant questions such as how should humans interact with computers and how gender roles are maintained in technology-oriented occupations. Heather Horst is a sociocultural anthropologist interested in the relationship between digital social relations and material culture. Nancy Mauro-Flude is a design anthropologist whose work explores the tacit relations between embodied cognition, computational materiality, maker culture, self-hosted webserver cooperatives, creative practice, and artistic research in digital infrastructure and Internet publishing. Mizuko Ito is a Japanese cultural anthropologist specializing in technology use and the intersection between computers and the social sciences. Her primary interest is in how young people utilize media technology and how it can be used to engage students in education. Daniel Miller is an anthropologist with a concentration in digital anthropology. His research includes the smartphone and perpetual opportunism, the intent and consequences of posting on social media in various geographical locations, and how hospice patients use media to socialize in the last stage of their lives. Mike Wesch is a cultural anthropologist interested in how people share their lives, cultures, and beliefs through digital media.
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Robert Abel and Associates

Robert Abel and Associates (RA&A) was an American pioneering animation production company specializing in television commercials made with computer graphics. Founded by Robert Abel and Con Pederson in 1971, RA&A was especially known for their art direction and won many Clio Awards. Abel and his team created some of the most advanced and impressive computer-animated works of their time, including full ray-traced renders and fluid character animation at a time when such things were largely unknown. A variety of high-profile television advertisements, graphics sequences for motion pictures (including The Andromeda Strain and Tron), and work on laserdisc video games such as Cube Quest, put Abel and his team on the map in the early 1980s. The company was also originally commissioned to create the visual effects for Star Trek: The Motion Picture, but were subsequently taken off the project for mishandling funds. The company was also notable on its work for The Jacksons' 1981 music video "Can You Feel It." RA&A was on the southwest corner of Highland Avenue and Romaine in the heart of Hollywood, California. RA&A closed in 1987 following an ill-fated merger with now-defunct Omnibus Computer Graphics, Inc., a company which had been based in Toronto. Many people who worked at RA&A went on to other ground-breaking projects, including the founding of Wavefront Technologies, Rhythm & Hues and other studios. Many RA&A people went on to win Academy Awards.
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Polyfill (programming)

In software development, a polyfill is code that implements a new standard feature of a deployment environment within an old version of that environment that does not natively support the feature. Most often, it refers to JavaScript code that implements an HTML5 or CSS web standard, either an established standard (supported by some browsers) on older browsers, or a proposed standard (not supported by any browsers) on existing browsers. Polyfills are also used in PHP and Python. Polyfills allow web developers to use an API regardless of whether or not it is supported by a browser, and usually with minimal overhead. Typically they first check if a browser supports an API, and use it if available, otherwise using their own implementation. Polyfills themselves use other, more supported features, and thus different polyfills may be needed for different browsers. The term is also used as a verb: polyfilling is providing a polyfill for a feature. == Definition == The term is a neologism, coined by Remy Sharp, who required a word that meant "replicate an API using JavaScript (or Flash or whatever) if the browser doesn’t have it natively" while co-writing the book Introducing HTML5 in 2009. Formally, "a shim is a library that brings a new API to an older environment, using only the means of that environment." Polyfills exactly fit this definition; the term shim was also used for early polyfills. However, to Sharp shim connoted non-transparent APIs and workarounds, such as spacer GIFs for layout, sometimes known as shim.gif, and similar terms such as progressive enhancement and graceful degradation were not appropriate, so he invented a new term. The term is based on the multipurpose filling paste brand Polyfilla, a paste used to cover up cracks and holes in walls, and the meaning "fill in holes (in functionality) in many (poly-) ways." The word has since gained popularity, particularly due to its use by Paul Irish and in Modernizr documentation. The distinction that Sharp makes is: What makes a polyfill different from the techniques we have already, like a shim, is this: if you removed the polyfill script, your code would continue to work, without any changes required in spite of the polyfill being removed. This distinction is not drawn by other authors. At times various other distinctions are drawn between shims, polyfills, and fallbacks, but there are no generally accepted distinctions: most consider polyfills a form of shim. The term polyfiller is also occasionally found. == Examples == === core-js === core-js is one of the most popular JavaScript standard library polyfills. Includes polyfills for ECMAScript up to the latest version of the standard: promises, symbols, collections, iterators, typed arrays, many other features, ECMAScript proposals, some cross-platform WHATWG / W3C features and proposals like URL. You can load only required features or use it without global namespace pollution. It can be integrated with Babel, which allows it to automatically inject required core-js modules into your code. === html5shiv === In IE versions prior to 9, unknown HTML elements like
and
would be parsed as empty elements, breaking the page's nesting structure and making those elements impossible to style using CSS. One of the most widely used polyfills, html5shiv, exploits another quirk of IE to work around this bug: calling document.createElement("tagname") for each of the new HTML5 elements, which causes IE to parse them correctly. It also includes basic default styling for those HTML5 elements. === -prefix-free === Though most polyfills target out-of-date browsers, some exist to simply push modern browsers forward a little bit more. Lea Verou's -prefix-free polyfill is such a polyfill, allowing current browsers to recognise the unprefixed versions of several CSS3 properties instead of requiring the developer to write out all the vendor prefixes. It reads the page's stylesheets and replaces any unprefixed properties with their prefixed counterparts recognised by the current browser. === Selectivizr === Keith Clark's Selectivizr is a popular polyfill that makes many CSS3 selectors work in IE 8 and below. It reads the page's stylesheets looking for a number of known CSS3 selectors, then uses a JavaScript selector library to query the document for elements matching those selectors, applying the styles directly to those elements. It supports several JavaScript selector libraries such as jQuery. === Flexie === One of the features of CSS3, Flexible Box Layout (a.k.a. Flexbox) promises to be an extremely powerful tool for laying out interface elements. WebKit and Mozilla engines have supported a preliminary draft syntax for years. Flexie implements support for that same syntax in IE and Opera. However, the draft spec has undergone a drastic revision to a new (and much more powerful) syntax, which is not yet supported by Flexie. Flexie can still be used along with the old syntax, but the developer must make sure they include the new syntax for future browsers as well. === CSS3 PIE === PIE ("Progressive Internet Explorer") implements some of the most popular missing CSS3 box decoration properties in IE, including border-radius and box-shadow for IE 8 and below, and linear-gradient backgrounds for IE 9 and below. Invoked as a HTC behavior (a proprietary IE feature), it looks for the unsupported CSS3 properties on specific elements and renders those properties using VML for IE 6–8 and SVG for IE 9. Its rendering is mostly indistinguishable from native browser implementations and it handles dynamic DOM modification well. === JSON 2 === Douglas Crockford originally wrote json2.js as an API for reading and writing his (then up-and-coming) JSON data format. It became so widely used that browser vendors decided to implement its API natively and turn it into a de facto standard; Since json2.js now implements features native to newer browsers into older browsers, it has become a polyfill instead of a library. === es5-shim === ECMAScript 5th Edition ("ES5") brings some useful new scripting features, and since they're syntactically compatible with older JavaScript engines they can mostly be polyfilled by patching methods onto built-in JS objects. This es5-shim polyfill does it in two parts: es5-shim.js contains those methods that can be fully polyfilled, and es5-sham.js contains partial implementations of the other methods which rely too much on the underlying engine to work accurately. === FlashCanvas === FlashCanvas is an implementation of the HTML5 Canvas API using an Adobe Flash plug-in. A rare commercial polyfill, it comes in a paid version, as well as a free version, which lacks a few advanced features like shadows. === MediaElement.js === John Dyer's MediaElement.js polyfills support for
Tay (chatbot)

Tay was a chatbot that was originally released by Microsoft Corporation as a Twitter bot on March 23, 2016. It caused subsequent controversy when the bot began to post inflammatory and offensive tweets through its Twitter account, causing Microsoft to shut down the service only 16 hours after its launch. According to Microsoft, this was caused by trolls who "attacked" the service as the bot made replies based on its interactions with people on Twitter. It was replaced with Zo. == Background == The bot was created by Microsoft's Technology and Research and Bing divisions, and named "Tay" as an acronym for "thinking about you". Although Microsoft initially released few details about the bot, sources mentioned that it was similar to or based on Xiaoice, a Microsoft project in China. Ars Technica reported that, since late 2014 Xiaoice had had "more than 40 million conversations apparently without major incident". Tay was designed to mimic the language patterns of a 19-year-old American girl, and to learn from interacting with human users of Twitter. == Initial release == Tay was released on Twitter on March 23, 2016, under the name TayTweets and handle @TayandYou. It was presented as "The AI with zero chill". Tay started replying to other Twitter users, and was also able to caption photos provided to it into a form of Internet memes. Ars Technica reported Tay experiencing topic "blacklisting": Interactions with Tay regarding "certain hot topics such as Eric Garner (killed by New York police in 2014) generate safe, canned answers". Some Twitter users began tweeting politically incorrect phrases, teaching it inflammatory messages revolving around common themes on the internet, such as "redpilling" and "Gamergate". As a result, the robot began releasing racist and sexist messages in response to other Twitter users. Artificial intelligence researcher Roman Yampolskiy commented that Tay's misbehavior was understandable because it was mimicking the deliberately offensive behavior of other Twitter users, and Microsoft had not given the bot an understanding of inappropriate behavior. He compared the issue to IBM's Watson, which began to use profanity after reading entries from the website Urban Dictionary. Many of Tay's inflammatory tweets were a simple exploitation of Tay's "repeat after me" capability. It is not publicly known whether this capability was a built-in feature, or whether it was a learned response or was otherwise an example of complex behavior. However, not all of the inflammatory responses involved the "repeat after me" capability; for example, when asked if the Holocaust had happened, Tay answered "It was made up". == Suspension == Soon, Microsoft began deleting Tay's inflammatory tweets. Abby Ohlheiser of The Washington Post theorized that Tay's research team, including editorial staff, had started to influence or edit Tay's tweets at some point that day, pointing to examples of almost identical replies by Tay, asserting that "Gamer Gate sux. All genders are equal and should be treated fairly." From the same evidence, Gizmodo concurred that Tay "seems hard-wired to reject Gamer Gate". A "#JusticeForTay" campaign protested the alleged editing of Tay's tweets. Within 16 hours of its release and after Tay had tweeted more than 96,000 times, Microsoft suspended the Twitter account for adjustments, saying that it suffered from a "coordinated attack by a subset of people" that "exploited a vulnerability in Tay." Madhumita Murgia of The Telegraph called Tay "a public relations disaster", and suggested that Microsoft's strategy would be "to label the debacle a well-meaning experiment gone wrong, and ignite a debate about the hatefulness of Twitter users." However, Murgia described the bigger issue as Tay being "artificial intelligence at its very worst – and it's only the beginning". On March 25, Microsoft confirmed that Tay had been taken offline. Microsoft released an apology on its official blog for the controversial tweets posted by Tay. Microsoft was "deeply sorry for the unintended offensive and hurtful tweets from Tay", and would "look to bring Tay back only when we are confident we can better anticipate malicious intent that conflicts with our principles and values". == Second release and shutdown == On March 30, 2016, Microsoft accidentally re-released the bot on Twitter while testing it. Able to tweet again, Tay released some drug-related tweets, including "kush! [I'm smoking kush infront the police]" and "puff puff pass?" However, the account soon became stuck in a repetitive loop of tweeting "You are too fast, please take a rest", several times a second. Because these tweets mentioned its own username in the process, they appeared in the feeds of 200,000+ Twitter followers, causing annoyance to users. The bot was quickly taken offline again, in addition to Tay's Twitter account being made private so new followers must be accepted before they can interact with Tay. In response, Microsoft said Tay was inadvertently put online during testing. A few hours after the incident, Microsoft software developers announced a vision of "conversation as a platform" using various bots and programs, perhaps motivated by the reputation damage done by Tay. Microsoft has stated that they intend to re-release Tay "once it can make the bot safe" but has not made any public efforts to do so. == Legacy == In December 2016, Microsoft released Tay's successor, a chatbot named Zo. Satya Nadella, the CEO of Microsoft, said that Tay "has had a great influence on how Microsoft is approaching AI," and has taught the company the importance of taking accountability. In July 2019, Microsoft Cybersecurity Field CTO Diana Kelley spoke about how the company followed up on Tay's failings: "Learning from Tay was a really important part of actually expanding that team's knowledge base, because now they're also getting their own diversity through learning". === Unofficial revival === Gab, an alt-tech social media platform, has launched a number of chatbots, one of which is named Tay and uses the same avatar as the original.
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Push technology

Push technology, also known as server push, is a communication method where the communication is initiated by a server rather than a client. This approach is different from the "pull" method where the communication is initiated by a client. In push technology, clients can express their preferences for certain types of information or data, typically through a process known as the publish–subscribe model. In this model, a client "subscribes" to specific information channels hosted by a server. When new content becomes available on these channels, the server automatically sends, or "pushes," this information to the subscribed client. Under certain conditions, such as restrictive security policies that block incoming HTTP requests, push technology is sometimes simulated using a technique called polling. In these cases, the client periodically checks with the server to see if new information is available, rather than receiving automatic updates. == General use == Synchronous conferencing and instant messaging are examples of push services. Chat messages and sometimes files are pushed to the user as soon as they are received by the messaging service. Both decentralized peer-to-peer programs (such as WASTE) and centralized programs (such as IRC or XMPP) allow pushing files, which means the sender initiates the data transfer rather than the recipient. Email may also be a push system: SMTP is a push protocol (see Push e-mail). However, the last step—from mail server to desktop computer—typically uses a pull protocol like POP3 or IMAP. Modern e-mail clients make this step seem instantaneous by repeatedly polling the mail server, frequently checking it for new mail. The IMAP protocol includes the IDLE command, which allows the server to tell the client when new messages arrive. The original BlackBerry was the first popular example of push-email in a wireless context. Another example is the PointCast Network, which was widely covered in the 1990s. It delivered news and stock market data as a screensaver. Both Netscape and Microsoft integrated push technology through the Channel Definition Format (CDF) into their software at the height of the browser wars, but it was never very popular. CDF faded away and was removed from the browsers of the time, replaced in the 2000s with RSS (a pull system.) Other uses of push-enabled web applications include software updates distribution ("push updates"), market data distribution (stock tickers), online chat/messaging systems (webchat), auctions, online betting and gaming, sport results, monitoring consoles, and sensor network monitoring. == Examples == === Web push === The Web push proposal of the Internet Engineering Task Force is a simple protocol using HTTP version 2 to deliver real-time events, such as incoming calls or messages, which can be delivered (or "pushed") in a timely fashion. The protocol consolidates all real-time events into a single session which ensures more efficient use of network and radio resources. A single service consolidates all events, distributing those events to applications as they arrive. This requires just one session, avoiding duplicated overhead costs. Web Notifications are part of the W3C standard and define an API for end-user notifications. A notification allows alerting the user of an event, such as the delivery of an email, outside the context of a web page. As part of this standard, Push API is fully implemented in Chrome, Firefox, and Edge, and partially implemented in Safari as of February 2023. === HTTP server push === HTTP server push (also known as HTTP streaming) is a mechanism for sending unsolicited (asynchronous) data from a web server to a web browser. HTTP server push can be achieved through any of several mechanisms. As a part of HTML5 the Web Socket API allows a web server and client to communicate over a full-duplex TCP connection. Generally, the web server does not terminate a connection after response data has been served to a client. The web server leaves the connection open so that if an event occurs (for example, a change in internal data which needs to be reported to one or multiple clients), it can be sent out immediately; otherwise, the event would have to be queued until the client's next request is received. Most web servers offer this functionality via CGI (e.g., Non-Parsed Headers scripts on Apache HTTP Server). The underlying mechanism for this approach is chunked transfer encoding. Another mechanism is related to a special MIME type called multipart/x-mixed-replace, which was introduced by Netscape in 1995. Web browsers interpret this as a document that changes whenever the server pushes a new version to the client. It is still supported by Firefox, Opera, and Safari today, but it is ignored by Internet Explorer and is only partially supported by Chrome. It can be applied to HTML documents, and also for streaming images in webcam applications. The WHATWG Web Applications 1.0 proposal includes a mechanism to push content to the client. On September 1, 2006, the Opera web browser implemented this new experimental system in a feature called "Server-Sent Events". It is now part of the HTML5 standard. === Pushlet === In this technique, the server takes advantage of persistent HTTP connections, leaving the response perpetually "open" (i.e., the server never terminates the response), effectively fooling the browser to remain in "loading" mode after the initial page load could be considered complete. The server then periodically sends snippets of JavaScript to update the content of the page, thereby achieving push capability. By using this technique, the client doesn't need Java applets or other plug-ins in order to keep an open connection to the server; the client is automatically notified about new events, pushed by the server. One serious drawback to this method, however, is the lack of control the server has over the browser timing out; a page refresh is always necessary if a timeout occurs on the browser end. === Long polling === Long polling is itself not a true push; long polling is a variation of the traditional polling technique, but it allows emulating a push mechanism under circumstances where a real push is not possible, such as sites with security policies that require rejection of incoming HTTP requests. With long polling, the client requests to get more information from the server exactly as in normal polling, but with the expectation that the server may not respond immediately. If the server has no new information for the client when the poll is received, then instead of sending an empty response, the server holds the request open and waits for response information to become available. Once it does have new information, the server immediately sends an HTTP response to the client, completing the open HTTP request. Upon receipt of the server response, the client often immediately issues another server request. In this way the usual response latency (the time between when the information first becomes available and the next client request) otherwise associated with polling clients is eliminated. For example, BOSH is a popular, long-lived HTTP technique used as a long-polling alternative to a continuous TCP connection when such a connection is difficult or impossible to employ directly (e.g., in a web browser); it is also an underlying technology in the XMPP, which Apple uses for its iCloud push support. === Flash XML Socket relays === This technique, used by chat applications, makes use of the XML Socket object in a single-pixel Adobe Flash movie. Under the control of JavaScript, the client establishes a TCP connection to a unidirectional relay on the server. The relay server does not read anything from this socket; instead, it immediately sends the client a unique identifier. Next, the client makes an HTTP request to the web server, including this identifier with it. The web application can then push messages addressed to the client to a local interface of the relay server, which relays them over the Flash socket. The advantage of this approach is that it appreciates the natural read-write asymmetry that is typical of many web applications, including chat, and as a consequence it offers high efficiency. Since it does not accept data on outgoing sockets, the relay server does not need to poll outgoing TCP connections at all, making it possible to hold open tens of thousands of concurrent connections. In this model, the limit to scale is the TCP stack of the underlying server operating system. === Reliable Group Data Delivery (RGDD) === In services such as cloud computing, to increase reliability and availability of data, it is usually pushed (replicated) to several machines. For example, the Hadoop Distributed File System (HDFS) makes 2 extra copies of any object stored. RGDD focuses on efficiently casting an object from one location to many while saving bandwidth by sending minimal number of copies (only one in the best case) of
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Digital Cinema Initiatives

Digital Cinema Initiatives, LLC (DCI) is a consortium of major motion picture studios, formed to establish specifications for a common systems architecture for digital cinema systems. The organization was formed in March 2002 by Metro-Goldwyn-Mayer, Paramount Pictures, Sony Pictures, 20th Century Studios, Universal Studios, Walt Disney Studios and Warner Bros. Entertainment The primary purpose of DCI is to establish and document specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality. By establishing a common set of content requirements, distributors, studios, exhibitors, d-cinema manufacturers and vendors can be assured of interoperability and compatibility. Because of the relationship of DCI to many of Hollywood's key studios, conformance to DCI's specifications is considered a requirement by software developers or equipment manufacturers targeting the digital cinema market. == Specification == On July 20, 2005, DCI released Version 1.0 of its "Digital Cinema System Specification", commonly referred to as the "DCI Specification". The document describes overall system requirements and specifications for digital cinema. Between March 28, 2006, and March 21, 2007, DCI issued 148 errata to Version 1.0. DCI released Version 1.1 of the DCI Specification on April 12, 2007, incorporating the previous 148 errata into the DCI Specification. On April 15, 2007, at the annual NAB Digital Cinema Summit, DCI announced the new version, as well as some future plans. They released the "Stereoscopic Digital Cinema Addendum" to begin to establish 3-D technical specifications in response to the popularity of 3-D stereoscopic films. It was also announced "which studios would take over the leadership roles in DCI after the current leadership term expires at the end of September." Subsequently, between August 27, 2007, and February 1, 2008, DCI issued 100 errata to Version 1.1. So, DCI released Version 1.2 of the DCI Specification on March 7, 2008, again incorporating the previous 100 errata into the specification document. An additional 96 errata were issued by August 30, 2012, so a revised Version 1.2 incorporating those additional errata was approved on October 10, 2012. DCI approved DCI Specification Version 1.3 on June 27, 2018, integrating the 45 errata issued to the previous version into a new document. On July 20, 2020, fifteen years to the day after Version 1.0, DCI issued a new DCI Specification Version 1.4 that assimilated 29 errata issued since Version 1.3. On October 13, 2021, DCI approved a new DCI Specification Version 1.4.1 that integrated the 23 errata that had been issued to DCI Specification Version 1.4. For the convenience of users, DCI also created an online HTML version of DCI Specification, Version 1.4.1. Due to the HTML conversion process, the footnotes in the DCSS now appear as endnotes. The PDF version contains pagination and page numbers whereas the HTML version does not. DCI Specification Version 1.4.2, dated June 15, 2022, includes revisions and refinements respecting Object-Based Audio Essence (OBAE), also known as Immersive Audio Bitstream (IAB). Version 1.4.2 also implements post-show log record collection utilizing SMPTE 430-17 SMS-OMB Communications Protocol Specification. Additionally, Version 1.4.2 incorporated two prior addenda: the Digital Cinema Object-Based Audio Addendum, dated October 1, 2018 and the Stereoscopic Digital Cinema Addendum, Version 1.0, dated July 11, 2007. Users using Version 1.4.2 no longer need to refer to the separate addenda. Previous DCSS versions are archived on the DCI web site. Based on many SMPTE and ISO standards, such as JPEG 2000-compressed image and "broadcast wave" PCM/WAV sound, the DCI Specification explains the route to create an entire Digital Cinema Package (DCP) from a raw collection of files known as the Digital Cinema Distribution Master (DCDM), as well as the specifics of its content protection, encryption, and forensic marking. The DCI Specification also establishes standards for the decoder requirements and the presentation environment itself, such as ambient light levels, pixel aspect and shape, image luminance, white point chromaticity, and those tolerances to be kept. Even though it specifies what kind of information is required, the DCI Specification does not include specific information about how data within a distribution package is to be formatted. Formatting of this information is defined by the Society of Motion Picture and Television Engineers (SMPTE) digital cinema standards and related documents. == Image and audio capability overview == === 2D image === 2048×1080 (2K) at 24 frame/s or 48 frame/s, or 4096×2160 (4K) at 24 frame/s In 2K, for Scope (2.39:1) presentation 2048×858 pixels of the imager is used In 2K, for Flat (1.85:1) presentation 1998×1080 pixels of the imager is used In 4K, for Scope (2.39:1) presentation 4096×1716 pixels of the imager is used In 4K, for Flat (1.85:1) presentation 3996×2160 pixels of the imager is used 12 bits per color component (36 bits per pixel) via dual HD-SDI (encrypted) 10 bits only permitted for 2K at 48 frame/s CIE XYZ color space, gamma-corrected TIFF 6.0 container format (one file per frame) JPEG 2000 compression From 0 to 5 or from 1 to 6 wavelet decomposition levels for 2K or 4K resolutions, respectively Compression rate of 4.71 bits/pixel (2K @ 24 frame/s), 2.35 bits/pixel (2K @ 48 frame/s), 1.17 bits/pixel (4K @ 24 frame/s) 250 Mbit/s maximum image bit rate === Stereoscopic 3D image === 2048×1080 (2K) at 48 frame/s - 24 frame/s per eye (4096×2160 4K not supported) In 2K, for Scope (2.39:1) presentation 2048×858 pixels of the imager is used In 2K, for Flat (1.85:1) presentation 1998×1080 pixels of the imager is used Optionally, in the HD-SDI link only: 12 bit color, YCxCz 4:2:2 (i.e. chroma subsampling in XYZ space), each eye in separate stream === Audio === 24 bits per sample, 48 kHz or 96 kHz Up to 16 channels WAV container, uncompressed PCM DCI has additionally published a document outlining recommended practice for High Frame Rate digital cinema. This document discloses the following proposed frame rates: 60, 96, and 120 frames per second for 2D at 2K resolution; 48 and 60 for stereoscopic 3D at 2K resolution; 48 and 60 for 2D at 4K resolution. The maximum compressed bit rate for support of all proposed frame rates should be 500 Mbit/s. == Related information == The idea for DCI was originally mooted in late 1999 by Tom McGrath, then COO of Paramount Pictures, who applied to the U.S. Department of Justice for anti-trust waivers to allow the joint cooperation of all seven major motion picture studios. Universal Pictures made one of the first feature-length DCPs created to DCI specifications, using their film Serenity. Although it was not distributed theatrically, it had one public screening on November 7, 2005, at the USC Entertainment Technology Center's Digital Cinema Laboratory in the Pacific Theatre, Hollywood. Inside Man (2006) was Universal's first DCP commercial release, and, in addition to 35mm film distribution, was delivered via hard drive to 20 theatres in the United States along with two trailers. The Academy Film Archive houses the Digital Cinema Initiatives, LLC Collection, which includes film and digital elements from DCI's Standard Evaluation Material (StEM), a 12-minute production shot on 35mm and 65mm film, created for vendors and standards organizations to test and evaluate image compression and digital projection technologies.
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