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  • Underwater computer vision

    Underwater computer vision

    Underwater computer vision is a subfield of computer vision. In recent years, with the development of underwater vehicles ( ROV, AUV, gliders), the need to be able to record and process huge amounts of information has become increasingly important. Applications range from inspection of underwater structures for the offshore industry to the identification and counting of fishes for biological research. However, no matter how big the impact of this technology can be to industry and research, it still is in a very early stage of development compared to traditional computer vision. One reason for this is that, the moment the camera goes into the water, a whole new set of challenges appear. On one hand, cameras have to be made waterproof, marine corrosion deteriorates materials quickly and access and modifications to experimental setups are costly, both in time and resources. On the other hand, the physical properties of the water make light behave differently, changing the appearance of a same object with variations of depth, organic material, currents, temperature etc. == Applications == Seafloor survey Vehicle navigation and positioning Biological monitoring {possibly aquatic biomonitoring) Video mosaics as visual navigation maps Submarine pipeline inspection Wreckage visualization Maintenance of underwater structures Drowning detection systems == Medium differences == === Illumination === In air, light comes from the whole hemisphere on cloudy days, and is dominated by the sun. In water direct lighting comes from a cone about 96° wide above the scene. This phenomenon is called Snell's window. Artificial lighting can be used where natural light levels are insufficient and where the light path is too long to produce acceptable colour, as the loss of colour is a function of the total distance through water from the source to the camera lens port. === Light attenuation === Unlike air, water attenuates light exponentially. This results in hazy images with very low contrast. The main reasons for light attenuation are light absorption (where energy is removed from the light) and light scattering, by which the direction of light is changed. Light scattering can further be divided into forward scattering, which results in an increased blurriness and backward scattering that limits the contrast and is responsible for the characteristic veil of underwater images. Both scattering and attenuation are heavily influenced by the amount of organic matter dissolved or suspended in the water. Light attenuation in water is also a function of the wavelength. This means that different colours are attenuated at different rates, leading to colour degradation.with depth and distance. Red and orange light are attenuated faster, followed by yellows and greens. Blue is the least attenuated visible wavelength. === Artificial lighting === == Challenges == In high level computer vision, human structures are frequently used as image features for image matching in different applications. However, the sea bottom lacks such features, making it hard to find correspondences in two images. In order to be able to use a camera in the water, a watertight housing is required. However, refraction will happen at the water-glass and glass-air interface due to differences in density of the materials. This has the effect of introducing a non-linear image deformation. The motion of the vehicle presents another special challenge. Underwater vehicles are constantly moving due to currents and other phenomena. This introduces another uncertainty to algorithms, where small motions may appear in all directions. This can be specially important for video tracking. In order to reduce this problem image stabilization algorithms may be applied. == Relevant technology == === Image restoration === Image restoration< techniques are intended to model the degradation process and then invert it, obtaining the new image after solving. It is generally a complex approach that requires plenty of parameters that vary a lot between different water conditions. === Image enhancement === Image enhancement only tries to provide a visually more appealing image without taking the physical image formation process into account. These methods are usually simpler and less computational intensive. === Color correction === Various algorithms exist that perform automatic color correction. The UCM (Unsupervised Color Correction Method), for example, does this in the following steps: It firstly reduces the color cast by equalizing the color values. Then it enhances contrast by stretching the red histogram towards the maximum and finally saturation and intensity components are optimized. == Underwater stereo vision == It is usually assumed that stereo cameras have been calibrated previously, geometrically and radiometrically. This leads to the assumption that corresponding pixels should have the same color. However this can not be guaranteed in an underwater scene, because of dispersion and backscatter. However, it is possible to digitally model this phenomenon and create a virtual image with those effects removed == Other application fields == Imaging sonars have become more and more accessible and gained resolution, delivering better images. Sidescan sonars are used to produce complete maps of regions of the sea floor stitching together sequences of sonar images. However, sonar images often lack proper contrast and are degraded by artefacts and distortions due to noise, attitude changes of the AUV/ROV carrying the sonar or non uniform beam patterns. Another common problem with sonar computer vision is the comparatively low frame rate of sonar images.

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  • WebAR

    WebAR

    WebAR, previously known as the Augmented Web, is a web technology that allows for augmented reality functionality within a web browser. It is a combination of HTML, Web Audio, WebGL, and WebRTC. From 2020s more known as web-based Augmented Reality or WebAR, which is about the use of augmented reality elements in browsers. It was the focus of a Birds of a Feather meeting at ISMAR2012 and is now the focus of the W3C Augmented Web Community Group. == Features == Browser augmented reality for smartphones has a number of features that distinguish it from similar content in special apps. No special applications are needed for Web AR. A regular browser is enough. And it can run to a certain extent on most browsers. It is easy to set up marketing analytics. By connecting the website to services that collect statistics, it is convenient to receive geographic coordinates, demographic characteristics and other information about users. Ability to add a CTA button. It is extremely important for marketing websites to place it so that the user can add contact information or place an order after considering the offer. Rich content. Browser augmented reality for tablets and smartphones supports 2D and 3D graphics, animation and other formats. Image marker tracking. If a QR code is selected as an activator for an AR element or just a picture on a flat surface, the device can easily read it. Various activation ways. Web AR can be marker and markerless, attached to geolocation, it can also be hidden in a direct link. Game content. Even simple games with simple mechanics, transferred into augmented reality, can delight the website visitor. Cross-platform. You can view content that complements our usual reality using any modern smartphone model. == Limitations == Performance is simply better on an app, where there's capacity for more memory and programs are executed in native code therefore it provides better visuals, better animations and better interactivity than in WebAR experience. A web page can only have access to certain parts of the device you're using, whereas a native app can access all of a device's capabilities. Meaning if you want the convenience of WebAR, you need to be thinking of simple but effective experiences instead. Compatibility. Not every mobile device has the required HW for AR performance. == Implementation == Browser support is evolving quickly and can best be monitored using services like Can I Use. Since this is a web application, there are platforms that support the creation of WebAR that are similar to normal web development platforms. Something which enables the creation of 3D assets and environments using a web framework that looks similar to HTML. Applications (like for example – A-Frame) are supported by 8th Wall, which is by the end of 2021 the leading SLAM tracking SDK for WebAR on the market. WebAR is currently limited mostly by the browser – so how much the technology will develop rather depends on what the big players like Google and Apple develop. For iOS device users, Apple developed AR Quick Look, an extension that enables users to use ARKit on the web. For Android devices your browser should support WebXR, an API that allows users to view AR/VR content without installing extra plugins or software, and have ARCore installed. There are many tools and frameworks that help developers in expanding the immersive web with WebAR. For example, AR.js is an open-source library for Augmented Reality on the Web for improved WebAR performance on smartphones that includes marker-based technology (simplified QR-codes) and location-based AR. Apple at the WWDC Conference 2018, announced that it has developed a new file format, working together with Pixar, called USDZ Universal. This file will allow developers to create 3d models for augmented reality. USDZ format was created by Apple together with Pixar Animation Studio and allowed developers to create 3D models for AR. == Industries == Where WebAR can be used from virtual guides, which can help students navigate through campus to virtual film posters: E-commerce and Advertising. Education. Entertainment. Business. Fashion. == Examples == Promotion of Spider-Man: Into the Spider-Verse for which 8th Wall developed the AR platform that made this interactive WebAR promoting the Sony animated smash hit. Everyone can invite teenage Spiderman/Miles Morales into their homes for some one-on-one interaction, take pictures and share the experience with friends. Sony Pictures included the QR code to launch this WebAR site in print promotions for the movie. Also in 2017 the advertising of Jumanji: The Next Level gave us the world's first WebAR activation with usage of Amazon Lex to power voice interaction (the same tool that powers Amazon Alexa), the experience sends users on a wild 3D adventure into the world of Jumanji! This was a collaboration between Sony Pictures and Trigger - The Mixed Reality Agency. The WebAR technology is powered by 8th Wall. And you can check it via the link to the official YouTube recording of the experience. RPR & Microsoft's Holographic Retail Platform, where Web AR brings a new twist to online shopping by allowing users to interact with 3D holographic images of models right from their smartphones' browsers. This experience is designed to increase buyer confidence and reduce clothing returns, which are two of the greatest challenges to purchasing clothing online. Digital Porsche Brand Academy was developed by the Team of svarmony Technologies GmbH and it is the first-to-market training tool that uses augmented reality to provide Porsche employees an immersive experience learning about the company's history and values. The star of this WebAR experience is an animated avatar that serves as a tour guide for Porsche's past, present, and future. Employees can explore realistically animated Porsche-locations, take a ride in a virtual Porsche, help assemble a car, and test Porsche knowledge via a quiz. The Digital Porsche Brand Academy is a great starter kit for employees to establish a relationship with the brand and align with the company's plans. == Future == By freeing smartphone users from having to install numerous apps, WebAR can make Augmented Reality far more accessible for them and more beneficial for business. The further development of the WebAR can be accelerated by the widespread social acceptance of the headsets that can give the whole other level of AR experience. This means instant access to the information when the contextually relevant content is appearing as the person's real background is changing.

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  • RR Media

    RR Media

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

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  • Spintronics

    Spintronics

    Spintronics (a portmanteau of spin transport electronics), also known as spin electronics, is the study of the intrinsic spin of the electron and its associated magnetic moment, in addition to its fundamental electronic charge, in solid-state devices. The field of spintronics concerns spin-charge coupling in metallic systems. The analogous effects in insulators fall into the field of multiferroics. Spintronics fundamentally differs from traditional electronics in that, in addition to charge state, electron spins are used as a further degree of freedom, with implications in the efficiency of data storage and transfer. Spintronic systems are most often realised in dilute magnetic semiconductors (DMS) and Heusler alloys and are of particular interest in the field of quantum computing, such as atomtronics computation. == History == Spintronics emerged from discoveries in the 1980s concerning spin-dependent electron transport phenomena in solid-state devices. This includes the observation of spin-polarized electron injection from a ferromagnetic metal to a normal metal by Johnson and Silsbee (1985) and the discovery of giant magnetoresistance independently by Albert Fert et al. and Peter Grünberg et al. (1988). The origin of spintronics can be traced to the ferromagnet/superconductor tunneling experiments pioneered by Meservey and Tedrow and initial experiments on magnetic tunnel junctions by Julliere in the 1970s. The use of semiconductors for spintronics began with the theoretical proposal of a spin field-effect-transistor by Datta and Das in 1990 and of the electric dipole spin resonance by Rashba in 1960. In 2012, persistent spin helices of synchronized electrons were made to persist for more than a nanosecond, a 30-fold increase over earlier efforts, and longer than the duration of a modern processor clock cycle. In 2025, at 60 K (−213.2 °C; −351.7 °F) crystalline nickel(II) iodide (NiI2) was reported to exhibit p-wave magnetism, in which the spins of nickel atoms became arranged in a spiral pattern in two orientations. The orientations can be switched via a small electrical current. Applied in digital devices, this spintronics behavior requires far less current than the conventional charge-based electronics that powers devices such as computers and phones. == Theory == The spin of the electron is an intrinsic angular momentum that is separate from the angular momentum due to its orbital motion. The magnitude of the projection of the electron's spin along an arbitrary axis is 1 2 ℏ {\displaystyle {\tfrac {1}{2}}\hbar } , implying that the electron acts as a fermion by the spin-statistics theorem. Like orbital angular momentum, the spin has an associated magnetic moment, the magnitude of which is expressed as μ = 3 2 q m e ℏ {\displaystyle \mu ={\tfrac {\sqrt {3}}{2}}{\frac {q}{m_{e}}}\hbar } . In a solid, the spins of many electrons can act together to affect the magnetic and electronic properties of a material, for example endowing it with a permanent magnetic moment as in a ferromagnet. In many materials, electron spins are equally present in both the up and the down state, and no transport properties are dependent on spin. A spintronic device requires generation or manipulation of a spin-polarized population of electrons, resulting in an excess of spin up or spin down electrons. The polarization of any spin dependent property X can be written as P X = X ↑ − X ↓ X ↑ + X ↓ {\displaystyle P_{X}={\frac {X_{\uparrow }-X_{\downarrow }}{X_{\uparrow }+X_{\downarrow }}}} . A net spin polarization can be achieved either through creating an equilibrium energy split between spin up and spin down. Methods include putting a material in a large magnetic field (Zeeman effect), the exchange energy present in a ferromagnet or forcing the system out of equilibrium. The period of time that such a non-equilibrium population can be maintained is known as the spin lifetime, τ {\displaystyle \tau } . In a diffusive conductor, a spin diffusion length λ {\displaystyle \lambda } can be defined as the distance over which a non-equilibrium spin population can propagate. Spin lifetimes of conduction electrons in metals are relatively short (typically less than 1 nanosecond). An important research area is devoted to extending this lifetime to technologically relevant timescales. The mechanisms of decay for a spin polarized population can be broadly classified as spin-flip scattering and spin dephasing. Spin-flip scattering is a process inside a solid that does not conserve spin, and can therefore switch an incoming spin up state into an outgoing spin down state. Spin dephasing is the process wherein a population of electrons with a common spin state becomes less polarized over time due to different rates of electron spin precession. In confined structures, spin dephasing can be suppressed, leading to spin lifetimes of milliseconds in semiconductor quantum dots at low temperatures. Superconductors can enhance central effects in spintronics such as magnetoresistance effects, spin lifetimes and dissipationless spin-currents. The simplest method of generating a spin-polarised current in a metal is to pass the current through a ferromagnetic material. The most common applications of this effect involve giant magnetoresistance (GMR) devices. A typical GMR device consists of at least two layers of ferromagnetic materials separated by a spacer layer. When the two magnetization vectors of the ferromagnetic layers are aligned, the electrical resistance will be lower (so a higher current flows at constant voltage) than if the ferromagnetic layers are anti-aligned. This constitutes a magnetic field sensor. Two variants of GMR have been applied in devices: Current-in-plane (CIP), where the electric current flows parallel to the layers and, Current-perpendicular-to-plane (CPP), where the electric current flows in a direction perpendicular to the layers. Other metal-based spintronics devices: Tunnel magnetoresistance (TMR), where CPP transport is achieved by using quantum-mechanical tunneling of electrons through a thin insulator separating ferromagnetic layers. Spin-transfer torque, where a current of spin-polarized electrons is used to control the magnetization direction of ferromagnetic electrodes in the device. Spin-wave logic devices carry information in the phase. Interference and spin-wave scattering can perform logic operations. == Device types == === Spintronic-logic === Non-volatile spin-logic devices to enable scaling are being extensively studied. Spin-transfer, torque-based logic devices that use spins and magnets for information processing have been proposed. These devices are part of the ITRS exploratory road map. Logic-in memory applications are already in the development stage. A 2017 review article can be found in Materials Today. A generalized circuit theory for spintronic integrated circuits has been proposed so that the physics of spin transport can be utilized by SPICE developers and subsequently by circuit and system designers for the exploration of spintronics for "beyond CMOS computing". === Semiconductor === Doped semiconductor materials display dilute ferromagnetism. In recent years, dilute magnetic oxides (DMOs) including ZnO based DMOs and TiO2-based DMOs have been the subject of numerous experimental and computational investigations. N`0 sources (like manganese-doped gallium arsenide (Ga,Mn)As), increase the interface resistance with a tunnel barrier, or using hot-electron injection. Spin detection in semiconductors has been addressed with multiple techniques: Faraday/Kerr rotation of transmitted/reflected photons Circular polarization analysis of electroluminescence Nonlocal spin valve (adapted from Johnson and Silsbee's work with metals) Ballistic spin filtering The latter technique was used to overcome the lack of spin-orbit interaction and materials issues to achieve spin transport in silicon. Because external magnetic fields (and stray fields from magnetic contacts) can cause large Hall effects and magnetoresistance in semiconductors (which mimic spin-valve effects), the only conclusive evidence of spin transport in semiconductors is demonstration of spin precession and dephasing in a magnetic field non-collinear to the injected spin orientation, called the Hanle effect. === Storage media === Antiferromagnetic storage media have been studied as an alternative to ferromagnetism, especially since with antiferromagnetic material the bits can be stored as well as with ferromagnetic material. Instead of the usual definition 0 ↔ 'magnetisation upwards', 1 ↔ 'magnetisation downwards', the states can be, e.g., 0 ↔ 'vertically alternating spin configuration' and 1 ↔ 'horizontally-alternating spin configuration'.). The main advantages of antiferromagnetic material are: insensitivity to data-damaging perturbations by stray fields due to zero net external magnetization; no effect on near particles, implying that antiferromagnetic device elements wo

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  • DAvE (Infineon)

    DAvE (Infineon)

    DAVE, or Digital Application Virtual Engineer, is a software development and code generation tool for microcontroller applications created in C/C++. == Versions == === Version 4 (beta) === The successor of the Eclipse-based development environment for C/C++ and/or graphical user interface (GUI) based development using application software (apps). It generates code for the latest XMC1xxx and XMC4xxx microcontrollers using ARM Cortex-M processors. DAVE software development kit (SDK) is a free integrated development environment to set up its own apps for DAVE. === Version 3 === Automatic code generation is based on the use of case-oriented, configurable, and tested software (SW) components, called DAVE Apps. They are comparable to executable and configurable application notes that can be downloaded from the web. The environment is based on Eclipse. Ordinary program development using C/C++ is also available. The targets for this development are XMC1xxx and XMC4xxx microcontrollers that use Cortex-M processors. === Previous versions === This version targets 32-bit microcontroller units (MCUs) (Infineon TriCore AUDO family), 16-bit MCUs (C166, XC166, XE166, and XC2000 family), and 8-bit MCUs (XC800 family) from Infineon. After the initial setup, the configuration wizard appears and gives an overview of the hardware peripherals, control units, and modules. The microcontroller application can be created by selecting the desired functions. At this step, module-specific functions must be selected for module initializing and control. Finally, the application source files will be generated by DAVE and embedded in a project in the selected development environment, where the code can still be modified or added to an extant project. == DAVE-related software == Infineon also developed additional software that can be used in conjunction with DAVE for specific microcontroller families or additional hardware: DAVE Bench for XC800 is a platform providing free development tools for Infineon's 8-bit microcontroller family, based on the Open Source Eclipse architecture. DAVE Drive is a GUI-based software tool that allows application developers to create embedded software for the control of brushless synchronous three-phase motors. == Alternative software == The Infineon MCUs are directly supported by several commercial products, depending on the selected MCU target. An embedded programming library for MATLAB exists. As a free alternative to DAVE, the developer can use the Keil Microcontroller Development Kit (MDK) Version 5. Code for the XMX1000 series up to 128 kB can be developed this way without purchasing a license from Keil.

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  • VHS

    VHS

    VHS (Video Home System) is a discontinued standard for consumer-level analog video recording on tape cassettes, introduced in 1976 by JVC. It was the dominant home video format throughout the tape media period of the 1980s and 1990s. Magnetic tape video recording was adopted by the television industry in the 1950s in the form of the first commercialized video tape recorders (VTRs), but the devices were expensive and used only in professional environments. In the 1970s, videotape technology became affordable for home use, and widespread adoption of videocassette recorders (VCRs) began; the VHS became the most popular media format for VCRs as it would win the "format war" against Betamax (backed by Sony) and a number of other competing tape standards. The cassettes themselves use a 0.5-inch (12.7 mm) magnetic tape between two spools and typically offer a capacity of at least two hours. The popularity of VHS was intertwined with the rise of the video rental market, when films were released on pre-recorded videotapes for home viewing. Newer improved tape formats such as S-VHS were later developed, as well as the earliest optical disc format, LaserDisc; the lack of global adoption of these formats increased VHS's lifetime, which eventually peaked and started to decline in the late 1990s after the introduction of DVD, a digital optical disc format. VHS rentals were surpassed by DVD in the United States in 2003, which eventually became the preferred low-end method of movie distribution. For home recording purposes, VHS and VCRs were surpassed by (typically hard disk–based) digital video recorders (DVR) in the 2000s. Production of all VHS equipment ceased by 2016, although the format has since gained some popularity amongst collectors. A niche revival of VHS has taken place with This Is How The World Ends becoming the first straight-to-VHS release in 20 years. == History == === Before VHS === In 1956, after several attempts by other companies, the first commercially successful VTR, the Ampex VRX-1000, was introduced by Ampex Corporation. At a price of US$50,000 in 1956 (equivalent to $592,000 in 2025) and US$300 (equivalent to $3,600 in 2025) for a 90-minute reel of tape, it was intended only for the professional market. Kenjiro Takayanagi, a television broadcasting pioneer then working for JVC as its vice president, saw the need for his company to produce VTRs for the Japanese market at a more affordable price. In 1959, JVC developed a two-head video tape recorder and, by 1960, a color version for professional broadcasting. In 1964, JVC released the DV220, which would be the company's standard VTR until the mid-1970s. In 1969, JVC collaborated with Sony and Matsushita Electric (Matsushita was the majority stockholder of JVC until 2011) to build a video recording standard for the Japanese consumer. The effort produced the U-matic format in 1971, which was the first cassette format to become a unified standard for different companies. It was preceded by the reel-to-reel 1⁄2-inch EIAJ format. The U-matic format was successful in businesses and some broadcast television applications, such as electronic news-gathering, and was produced by all three companies until the late 1980s, but because of cost and limited recording time, very few of the machines were sold for home use. Therefore, soon after the U-Matic release, all three companies started working on new consumer-grade video recording formats of their own. Sony started working on Betamax, Matsushita started working on VX, and JVC released the CR-6060 in 1975, based on the U-matic format. === VHS development === In 1971, JVC engineers Yuma Shiraishi and Shizuo Takano put together a team to develop a VTR for consumers. By the end of 1971, they created an internal diagram, "VHS Development Matrix", which established twelve objectives for JVC's new VTR; among them: The system must be compatible with any ordinary television set. Picture quality must be similar to a normal air broadcast. The tape must have at least a two-hour recording capacity. Tapes must be interchangeable between machines. The overall system should be versatile, meaning it can be scaled and expanded, such as connecting a video camera, or dubbing between two recorders. Recorders should be affordable, easy to operate, and have low maintenance costs. Recorders must be capable of being produced in high volume, their parts must be interchangeable, and they must be easy to service. In early 1972, the commercial video recording industry in Japan took a financial hit. JVC cut its budgets and restructured its video division, shelving the VHS project. However, despite the lack of funding, Takano and Shiraishi continued to work on the project in secret. By 1973, the two engineers had produced a functional prototype. === Competition with Betamax === In 1974, the Japanese Ministry of International Trade and Industry (MITI), desiring to avoid consumer confusion, attempted to force the Japanese video industry to standardize on just one home video recording format. Later, Sony had a functional prototype of the Betamax format, and was very close to releasing a finished product. With this prototype, Sony persuaded the MITI to adopt Betamax as the standard, and allow it to license the technology to other companies. JVC believed that an open standard, with the format shared among competitors without licensing the technology, was better for the consumer. To prevent the MITI from adopting Betamax, JVC worked to convince other companies, in particular Matsushita (Japan's largest electronics manufacturer at the time, marketing its products under the National brand in most territories and the Panasonic brand in North America, and JVC's majority stockholder), to accept VHS, and thereby work against Sony and the MITI. Matsushita agreed, fearing Sony would dominate the market with a Betamax monopoly. Matsushita also regarded Betamax's one-hour recording time limit as a disadvantage. Matsushita's backing of JVC persuaded Hitachi, Mitsubishi, and Sharp to back the VHS standard as well. Sony's release of its Betamax unit to the Japanese market in 1975 placed further pressure on the MITI to side with the company. However, the collaboration of JVC and its partners was much stronger, which eventually led the MITI to drop its push for an industry standard. JVC released the first VHS machines in Japan in late 1976, and in the United States in mid-1977. Sony's Betamax competed with VHS throughout the late 1970s and into the 1980s (see Videotape format war). Betamax's major advantages were its smaller cassette size, theoretical higher video quality, and earlier availability, but its shorter recording time proved to be a major shortcoming. Originally, Beta I machines using the NTSC television standard were able to record one hour of programming at their standard tape speed of 1.5 inches per second (ips). The first VHS machines could record for two hours, due to both a slightly slower tape speed (1.31 ips) and significantly longer tape. Betamax's smaller cassette limited the size of the reel of tape, and could not compete with VHS's two-hour capability by extending the tape length. Instead, Sony had to slow the tape down to 0.787 ips (Beta II) in order to achieve two hours of recording in the same cassette size. Sony eventually created a Beta III speed of 0.524 ips, which allowed NTSC Betamax to break the two-hour limit, but by then VHS had already won the format battle. Additionally, VHS had a "far less complex tape transport mechanism" than Betamax, and VHS machines were faster at rewinding and fast-forwarding than their Sony counterparts. VHS eventually won the war, gaining 60% of the North American market by 1980. == Initial releases of VHS-based devices == The first VCR to use VHS was the Victor HR-3300, and was introduced by the president of JVC in Japan on September 9, 1976. JVC started selling the HR-3300 in Akihabara, Tokyo, Japan, on October 31, 1976. Region-specific versions of the JVC HR-3300 were also distributed later on, such as the HR-3300U in the United States, and the HR-3300EK in the United Kingdom. The United States received its first VHS-based VCR, the RCA VBT200, on August 23, 1977. The RCA unit was designed by Matsushita and was the first VHS-based VCR manufactured by a company other than JVC. It was also capable of recording four hours in LP (long play) mode. The UK received its first VHS-based VCR, the Victor HR-3300EK, in 1978. Quasar and General Electric followed-up with VHS-based VCRs – all designed by Matsushita. By 1999, Matsushita alone produced just over half of all Japanese VCRs. TV/VCR combos, combining a TV set with a VHS mechanism, were also once available for purchase. Combo units containing both a VHS mechanism and a DVD player were introduced in the late 1990s, and at least one combo unit, the Panasonic DMP-BD70V, included a Blu-ray player. == Technical details == VHS has been standardized in IEC 60774–1. === Cassette and

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  • Homeboyz Interactive

    Homeboyz Interactive

    Homeboyz Interactive (HBI) was a faith-based recruitment, training and job placement non-profit business in Milwaukee, Wisconsin, United States, founded by a Jesuit brother in 1996 to transform gang members into productive workers. == History == James Holub, a former Jesuit brother affiliated with Wheeling Jesuit University, asked gang members in the Southside of Milwaukee, WI how they could be helped, to break the cycle of poverty and violence. The youth suggested that they be trained for work they found exciting. To attract interest, the training must lead to jobs that paid at least a living wage, and computer skills seemed the most attractive. The non-profit Homeboyz Interactive was established to prepare professionals in web design, application development, and PC/network support. This non-profit outfit spawned the for-profit web design firm HBI Consulting, which provided trainees with work experience. It turned out more than 20 teachers yearly for computer and computer network programs for high schools and other clients, as well as for computer service providers. Some graduates of the program continued their education, some founded their own business, and others continued working at HBI. The Economist described this effort as "turning thugs into programmers" on Milwaukee's South Side, which has proportionally twice as many murders as New York. Holub had "buried his 28th gang member" before he implemented the Homeboyz plan, with the understanding that "nothing stops a bullet like a job." The programs would pass through about 80 prospects a year who successfully completed training and provide them with a job while studying for their high school equivalency test, before they were asked to decide in which direction to go. Most accepted a job or went on to community college but about 25 entered the Homeboyz training for computer programmers. Of first 150 graduates of this program none lost their job; their average pay after two years was US$63,000. Some preferred to return to full-time work at HBI. By 2002, a total of 142 people had graduated from HBI training and moved into full-time IT careers. The training curriculum as of 2000 included JavaScript and Photoshop, among other web-development tools. In 2000, HBI received a 14% ownership stake in reEmploy.com, a payrolling company, in exchange for the development of an electronic time sheet created by the organization. As of 2001, HBI Consulting, the for profit web design firm, had 72 clients. Among those clients were GE Medical, Toyota Forklift, Northwestern Mutual Life, Verizon Wireless, BP; and Marquette University. Companies that graduates of HBI's training programs secured positions have included Northwestern Mutual and Manpower Inc., United Community Center in Milwaukee and EKI Consulting. A pair of graduates also started their own company in 2002, Innovative Source, a web design firm, which itself has had clients such as the University of Wisconsin-Milwaukee and the Milwaukee Women's Center. This was a common path forward, graduates starting their own consulting firms. In 2004, HBI received a grant for General Support from the Vine and Branches Foundation in the amount of US$120,000. The product Project Foundry found its start in the difficulty of managing project-based learning across dozens of students with widely varying levels of skill, a problem encountered by Shane Krukowski, who developed the software while teaching at HBI. Krukowski subsequently an eponymous company to commercialize the software through a subscription-based business model. Some came to Homeboyz through the criminal courts or Department of Corrections. A Jesuit Volunteer (JV) was assigned to work with the program, and to add a spiritual dimension through regular reflection together. Gradually the market began prioritizing graphic design and flash images more than site construction. After 2006 Homeboyz HBI morphed into several spinoffs and ceased to exist as a separate entity.

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  • Mosaik Solutions

    Mosaik Solutions

    Mosaik Solutions (formerly American Roamer) was a company that specializes in wireless coverage data and wireless coverage maps, based in Memphis, Tennessee before being acquired by Ookla. The company collects and crowdsources carrier signal quality from major telecommunications providers or users who have its consumer or enterprise mobile application installed. The data is used to provide insights into places around the world without access to cellular coverage and the development of new coverage patterns, as well as to provide maps showing what provider offers the best service in an area. In 2011, the Federal Communications Commission (FCC), recognized Mosaik Solutions as the "industry standard" for the presence of wireless service at the census-block level. == History == In 2016, Mosaik purchased Sensorly, a free app developed to crowdsource cellular network performance service and provide coverage mapping for wireless networks worldwide. == Products and services == === MapELEMENTS === MapELEMENTS software is a visualization tool that allows users to analyze data from the largest cellular coverage database in the world. === CellMaps === CellMaps is an interactive mapping solution that allows companies to show their network coverage directly on their website through an iframe or API. In 2013 Mosaik launched an android app for CellMaps that provides data directly from carriers so that users can determine what carrier meets their needs in a given area. On the map you can overlay multiple carriers, zoom to street-view level, and drop a pin onto any given spot to get a breakdown of carrier service in that area. === Signal Insights App === Signal Insights is an SaaS platform service available for android users that measures and analyzes the customer's experience in cellular or Wi-Fi networks. Indoor mode allows a user to upload a building floor plan and then map and test specific points in the building for cellular or Wi-Fi connectivity. === Sensorly App === Sensorly is a free app that crowdsources cellular network performance to provide coverage mapping worldwide and mobile speed data to help consumers make informed decisions when choosing a cellular carrier. In February 2017, Sensorly launched Map Trip, a feature that allows users to map their routes and share with others their signal data at a particular point in real time. === TowerSource === TowerSource is a resource for locating cell towers and identifying ownership, availability, fiber routes, type and height. It was acquired by Mosaik Solutions in September 2014. === Network Validator === Network Validator is a SaaS solution designed for users to quickly determine whether global cellular networks exist - by country, operator and wireless technology. === CoverageRight === CoverageRight is composed of licensed GIS file datasets that identify the marketed coverage of wireless operators in the United States and worldwide. It enables users to perform spatial analyses, monitor competitive build-outs, analyze coverage trends and assemble roaming footprints. This data has been utilized by the FCC to analyze wireless coverage nationwide. === Network QoE === Network QoE is an enterprise platform that uses crowdsourced data from cellular devices to detect wireless network issues including 3G, 4G and wifi accessibility, network coverage holes and data performance issues. === Wireless Spectrum Report === In March 2017, Mosaik Solutions launched the Wireless Spectrum Report, a tabular dataset detailing facts about spectrum ownership and availability in the United States.

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  • CinePlayer

    CinePlayer

    CinePlayer is a software based media player used to review Digital Cinema Packages (DCP) without the need for a digital cinema server by Doremi Labs. CinePlayer can play back any DCP, not just those created by Doremi Mastering products. In addition to playing DCPs, CinePlayer can also playback JPEG2000 image sequences and many popular multimedia file types. There are two versions of CinePlayer available, standard and Pro. The standard version supports playback of non-encrypted, 2D DCP's up to 2K resolution. The Pro version supports playback of encrypted, 2D or 3D DCP's with subtitles up to 4K resolution. == Supported formats == === Containers === AVI MOV MXF MPG TS WMV M2TS MTS MP4 MKV === Video codecs === JPEG2000 ProRes 422 DNxHD YUV Uncompressed 8-10 bits DIVX XVID MPEG4 AVC / H-264 VC-1 MPEG2 === Supported image sequences === BMP TIFF TGA DPX JPG J2C === Supported audio files === WAV MP3 WMA MP2

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  • Digital media in education

    Digital media in education

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

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  • Watcher Entertainment

    Watcher Entertainment

    Watcher Entertainment is an American digital media and entertainment company, founded by Steven Lim, Shane Madej, and Ryan Bergara. The channel features a variety of comedy, paranormal, gaming, cooking, and educational shows – typically hosted by Madej and Bergara. The Watcher main channel has over 400 million views and 2.9 million subscribers. The company launched their own streaming service, WatcherTV, in 2024. == History == === Buzzfeed and the creation of Watcher Entertainment (2019) === Madej, Bergara, and Lim met while working at the digital media company BuzzFeed. Madej and Bergara were co-hosts of the popular true crime and paranormal series Buzzfeed Unsolved and Lim was the creator and co-host of the popular internet food series Worth It. Both shows generated a combined 2 billion views with 15 billion minutes watched, making them two of the most successful shows on Buzzfeed. In 2019, Madej, Bergara, and Lim quit Buzzfeed as full-time employees. They each stayed on as contracted employees to complete their respective shows. The trio credited their departure to their desire to found a company with more "creative opportunities" and the ability to have "actual ownership of the content" made. The company is majority-owned by the trio. They received funding from Neuro, a caffeinated energy gum company; Boba Guys, a bubble-milk tea chain; and Steve Chen, a YouTube co-founder. Watcher Entertainment gained its name from the infamous true crime case of The Westfield Watcher, which Madej and Bergara had covered in a Buzzfeed Unsolved episode. The trio began the company as co-CEOs; however, Bergara and Madej stepped down from the role in 2023 to focus on content creation. === Watcher Entertainment (2020–present) === Watcher Entertainment was launched in January 2020. The company debuted with seven series and a weekly interactive talk show: Homemade, Grocery Run, Weird Wonderful World, Puppet History, Tourist Trapped, Top 5 Beatdown, Spooky Small Talk, and Watcher Weekly. The channel reached over 300,000 subscribers within the first month of launching. They were signed by talent agency CAA in the same year. Puppet History, a comedy educational game show, quickly became a success and gained a significant audience. The show, which stars Madej as a fluffy blue puppet, has spanned seven seasons and led to the creation of a variety of merchandise. It has featured a variety of guest stars on every episode, including other former Buzzfeed employees. The company premiered its first horror series in July 2020 with Are You Scared?. Following the end of Buzzfeed Unsolved: Supernatural in 2021, the studio premiered its highly anticipated successor, Ghost Files, just months after. The show followed a similar format, with Bergara and Madej investigating reportedly haunted locations and attempting to find evidence of the paranormal. The show had significant success, with critics noting the improved production value and design from its predecessor. In 2023, Bergara and Madej went on a tour across the United States to premiere episodes of the second season. The series was renewed for a third season, which they premiered with a United Kingdom tour in 2024. That year, Watcher premiered a light-hearted successor to the graphic Buzzfeed Unsolved: True Crime, with Mystery Files. In this rendition, Bergara or Madej present unusual crime or supernatural mysteries with a collection of theoretical solutions. The show was met with great success by audiences and was quickly renewed for a second season. Watcher launched a second channel, 'WatcherPodcasts,' in October 2023. The channel features podcasts hosted by Lim, Bergara, and Madej. On April 19, 2024, the company launched its Watcher streaming service. Going forward, all of their content would be released exclusively on the service and the company planned to transition away from YouTube. This announcement was met with overwhelmingly negative reactions from their fans, with many calling for the company to reverse the decision. Additionally, their YouTube channel lost over 50,000 subscribers in the day following the announcement. On April 22, 2024, the company issued an apology and changed their decision, stating that episodes would instead be released on the streaming service a month before their premiere on YouTube. In May 2025, the channel 'Andrew, Steven, and Adam' was launched as a subsidiary of Watcher with the release of the second season of Travel Season. Travel Season is a spiritual successor to Worth It with the same cast of Lim, Andrew Ilnyckyj, and Adam Bianchi. The channel focuses on food reviews and the behind of the scenes of making it. The main channel is now set to be focused primarily on horror, creepy, and paranormal content. == Channels and shows == === Watcher === ==== Current shows ==== Puppet History (2020–present) A whimsical puppet host walks through history's wildest tales as two guests compete for the title of history wizard. Making Watcher (2020–present) What happens when 3 creators with no business experience decide to make their own company? A multi-series documentary on the journey of creating Watcher Entertainment. Weird Wonderful World (2020–present) Curious pals Madej and Bergara explore lesser-known destinations and the fascinating subcultures within them. Too Many Spirits (2020–present) Bergara and Madej read and rate audience-submitted ghost stories, while getting progressively more tipsy drinking cocktails prepared by Steven and Ricky Wang. Top 5 Beatdown (2020–present) Bergara and Madej compare asinine top 5 lists with a topical expert, inspiring surprisingly heated debate. Are You Scared? (2020–2022, 2024–present) Bergara reads the internet's scariest stories (some true, some false) to his pal Madej as they try to figure out if the story is experienced or imagined. Ghost Files (2021–present) Bergara and Madej investigate haunted locations to discover whether something paranormal really lies within. Mystery Files (2023–present) Bergara and Madej present unusual crime or supernatural mysteries with a collection of theoretical solutions. Survival Mode (2023–present) Bergara and Madej play a variety of horror games and give a spooky review. ==== Former shows ==== Grocery Run (2020) Madej interviews a celeb on their typical grocery run, before returning to their home to help prepare their signature dish. Homemade (2020) Lim examines popular food by comparing an elevated restaurant experience vs. a home-cooked experience. Spooky Small Talk (2020) Bergara interviews celebs in a haunted house, exposing their fears and if they can manage it, a little about themselves too. Social Distancing D&D (2020) Socially Distance along with the motley gang of Watchers as they embark on a great quest of Dungeons and Dragons! Tourist Trapped (2020) Begara and Madej battle for tour guide supremacy, highlighting the two sides of a city, tourist attractions and hidden gems. Watcher Weekly (2020–2021) Lim, Bergara, and Madej chat the week's content and answer questions, with the occasional musical guest! Dish Granted (2021–2022) A show where host and amateur home cook Lim attempts to create the most extravagant dishes for his friends. Pretty Historic (2022) Selorm and guests explore beauty and fashion trends from history, try them, and decide whether the trends should remain in the past or come to the present. Worth a Shot (2022–2023) Take a seat at a Master Mixologist's bar as pro Ricky Wang crafts the unbelievable into a digestible drink for his guests. === Watcher Podcast === ==== Current shows ==== Get Scared with Shane, Ryan, and Steven (2023–2025) Previously named 'Pod Watcher' Madej, Bergara, and Lim host a weekly podcasts, exploring a variety of topics and answering viewer questions. Guests occasionally appear to replace one host. Matt Real serves as the producer and a fourth voice for the podcast. For Your Amusement (2023–present) Bergara explores a variety of topics surrounding theme parks. === Andrew, Steven, and Adam === Travel Season (2024–present) Lim reunites with Worth It costars Andrew Ilnyckyj and Adam Bianchi in a new food review show. == Awards and nominations ==

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  • Mixvoip

    Mixvoip

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

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  • Artificial intelligence in spirituality

    Artificial intelligence in spirituality

    Some users of artificial intelligence (AI) technologies, especially chatbots, may develop beliefs that AI has or can attain supernatural or spiritual powers. AI models such as ChatGPT are turned to for fortune telling, mysticism and remote viewing. Recent and sudden advances in large language models have led to folk myths about their origin or capabilities, as well as their deification or worship by some users. Tucker Carlson has made similar claims, including directly to Sam Altman. Pope Leo XIV advised priests against using LLM models when it came to the creation of sermons.

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  • Digital anthropology

    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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  • CodePen

    CodePen

    CodePen is an online community for testing and showcasing user-created HTML, CSS and JavaScript code snippets. It functions as an online code editor and open-source learning environment, where developers can create code snippets, called "pens," and test them. It was founded in 2012 by full-stack developers Alex Vazquez and Tim Sabat and front-end designer Chris Coyier. Its employees work remotely, rarely all meeting together in person. CodePen is a large community for web designers and developers to showcase their coding skills, with an estimated 330,000 registered users and 14.16 million monthly visitors.

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