AI Detector Zero

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

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  EnQuire

  Enquire is a web-based software application used as a platform for project, contract and grant management, as well as reporting and planning. Initially designed for the specific business requirements of the Australian Government, Queensland Government and Queensland Regional Bodies to manage natural resource projects, Enquire has since seen adoption outside of this industry and user segment. The use of Enquire by Natural Resource Management bodies within Queensland has been cited as a reason for the improved efficiency, quantity and quality of reporting. Technically, Enquire is implemented as a Java application built on a MySQL database. Enquire is hosted and supported under the software as a service model by Tactiv Pty Ltd. == History == The system was first released in 2005 under the name ViSTA NRM Online, proactively changing its name to Enquire in 2007 to avoid possible confusion with Windows Vista, which was being released at the time. In 2012, the Enquire project and support team was commercialized as its own company called Tactiv Pty Ltd. Tactiv is based predominantly in Brisbane, Australia. Tactiv has continued to develop and grow the Enquire Grant, Contract and Project management solution, releasing a new platform in 2017. Since commercialization, Tactiv has grown its client base to include government and non-government organizations such as foundations and not-for-profit organizations. == Functionality == The functionality of Enquire can be broken down into 5 key lifecycle solutions, all fully integrated and supported by over 40 feature rich and configurable modules: Grant Management Contract Management Project Portfolio Management Procurement Management Relationship Management The system provides its platform to meet the needs of "off the shelf" customers looking for a ready to use best practice option as well as a fully configurable option for specific requirements. The system offers a client supplier portal for external applicants or suppliers, a management portal for internal team usage and an administration portal for clients to manage access, roles, information, and other configurations. Key functional modules include: Online authoring and publishing for forms and applications Workflows Project Tracking Performance Reporting Financial Reporting Stakeholder Communication Budget management Document Management Milestone tracking Payments and Variations Management KPI tracking and Impact reporting The Enquire system is used to report against the Queensland Government's Q2 Coast and Country Program and parts of the Australian Government's Caring for our Country program. There is also a strategic planning module, which provides functionality to manage core-business administration and reporting requirements, whilst providing visibility of key activities and their alignment against organizational goals and strategic objectives. The systems architecture supports a range of implementation models with the capacity to manage one-to-one, one-to-many and many-to-many relationships between investors and investees. Under the usage model within Queensland, Regional Bodies use Enquire to load project contracts and report against these online. The regional bodies also record output, target and financial information in Enquire, which can then be used for operational purposes including financial, performance and target reporting. == External Audit == The Australian National Audit Office Audit Report No.21 2007–08 undertook a case study on Enquire. It noted: "The Queensland Department of Environment and Resource Management has developed the first integrated web-based system [Enquire] to manage performance information about Natural Resource Management activities in Queensland." Four of Queensland's 14 regional bodies commented on Enquire through the ANAO's survey. These four regional bodies indicated that Enquire offers a means of consistent reporting at the State level.

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  Data exchange

  Data exchange is the process of moving data from one information system to another. It often involves transforming data that is native to the source system into a form that is consumable by the target system or to a standardized form that is consumable by any compatible system. In particular, data exchange allows data to be shared between computer programs. Data exchange is similar to data integration except that data may be restructured with possible loss of content. There may be no way to transform a particular collection based on exchange constraints. Conversely, there may be multiple ways to transform the data, in which case one option must be identified in order to achieve compatibility between source and target. There are two main types of data exchange: broadcast and peer-to-peer (a.k.a. unicast). For broadcast, data is transmitted simultaneously to all consumers. Just as a conference call, all participants get the same information from the speaker at the same time. For peer-to-peer, data is sent to a single receiver, defined by a specific address. For example, a letter goes to just one mail box. == Single-domain == In some domains, a multiple source and target schema (proprietary data formats) may exist. An exchange or interchange format is often developed for a single domain, and then necessary routines (mappings) are written to (indirectly) transform/translate each and every source schema to each and every target schema by using the interchange format as an intermediate step. That requires less work than writing and debugging the many routines that would be required to directly translate each source schema directly to each target schema. Examples of these transformative interchange formats include: Standard Interchange Format for geospatial data; Data Interchange Format for spreadsheet data; Open Document Format for spreadsheets, charts, presentations and word processing documents; GPS eXchange Format or Keyhole Markup Language for describing GPS data; GDSII for integrated circuit layout. == Representation == A data exchange (a.k.a. interchange) language defines a domain-independent way to represent data. These languages have evolved from being markup and display-oriented to support the encoding of metadata that describes the structural attributes of the information. Practice has shown that certain types of formal languages are better suited for this task than others, since their specification is driven by a formal process instead of particular software implementation. For example, XML is a markup language that was designed to enable the creation of dialects (the definition of domain-specific sublanguages). However, it does not contain domain-specific dictionaries or fact types. Beneficial to a reliable data exchange is the availability of standard dictionaries-taxonomies and tools libraries such as parsers, schema validators, and transformation tools. === XML === The popularity of XML for data exchange on the World Wide Web has several reasons. First of all, it is closely related to the preexisting standards Standard Generalized Markup Language (SGML) and Hypertext Markup Language (HTML), and as such a parser written to support these two languages can be easily extended to support XML as well. For example, XHTML has been defined as a format that is formal XML, but understood correctly by most (if not all) HTML parsers. === YAML === YAML was designed to be human-readable and authored via a text editor with notion similar to reStructuredText and wiki syntax. YAML 1.2 also includes a shorthand notion that is compatible with JSON, and as such any JSON document is also valid YAML; this however does not hold the other way. === REBOL === REBOL was designed to be human-readable and authored via a text editor. It uses a simple free-form syntax with minimal punctuation and a rich set of data types (such as URL, email, date and time, tuple, string, tag) that respect common standards. It is designed to not need any additional meta-language, being designed in a metacircular fashion which is why the parse dialect used for definitions and transformations of REBOL dialects is also itself a dialect of REBOL. REBOL was used as a source of inspiration for JSON. === Gellish === Gellish English is a formalized subset of natural English (language), which includes a simple grammar and a large, extensible dictionary (taxonomy) that defines the general and domain specific terminology, whereas the concepts are arranged in a hierarchy, which supports inheritance of knowledge and requirements. The dictionary also includes standardized fact types. The terms and relation types together can be used to create and interpret expressions of facts, knowledge, requirements and other information. Gellish can be used in combination with SQL, RDF/XML, OWL and various other meta-languages. The Gellish standard is a combination of ISO 10303-221 (AP221) and ISO 15926. === List === The following describes and compares popular data exchange languages. Columns Schemas – Whether supports representing domain specific data structure definition Flexible – Whether supports extension of the semantic expression capabilities without modifying the schema Semantic verification – Whether supports semantic verification of the correctness of expressions in the language Dictionary – Whether includes a dictionary and a taxonomy (hierarchy) of concepts with inheritance Information model – Whether supports an information model Synonyms and homonyms – Whether supports the use of synonyms and homonyms in expressions Dialecting – Whether is available in multiple natural languages or dialects Web standard – Whether is standardized by a recognized body Transformations – Whether includes a translation to other standards Lightweight – Whether a lightweight version is available Human readable – Whether expressions are understandable without training Compatibility – Which other tools can be used or are required

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  TikTokification

  TikTokification (also written TikTok-ification) is a term used to describe the widespread adoption of TikTok's short-form, vertical video format and its algorithmic content-delivery model across the broader social media landscape. The phenomenon encompasses the strategic and cultural changes made by competing platforms such as Instagram, YouTube, Facebook, Snapchat, and LinkedIn in response to TikTok's global dominance. Beyond platform design, the term is also used more broadly to describe shifts in media consumption habits, advertising strategies, and, more critically, the potential cognitive and psychological effects associated with constant short-form video consumption. == Background == === Origins of short-form video === The short-form video format predates TikTok. Vine, launched in 2013, popularised six-second looping videos before shutting down in 2017. TikTok itself, known as Douyin in the Chinese market, was created by the Chinese technology company ByteDance in September 2016. Following its international expansion and its 2018 merger with Musical.ly, TikTok grew rapidly. By 2020, the application had surpassed two billion total downloads worldwide, with over 800 million monthly active users. A key driver of TikTok's success was its recommendation algorithm. The platform's "For You Page" (FYP) serves content to users based on behaviour rather than follower count, making it possible for unknown creators to achieve widespread reach organically. Analysts noted that TikTok serves "fast, visually engaging, and authentic videos that feel more like entertainment than advertising," fundamentally reshaping consumer expectations of digital content. TikTok has been described as "the center of the internet for young people," where users go for entertainment, news, trends, and shopping. As of the mid-2020s, TikTok had approximately 1.12 billion monthly active users. == Platform responses == TikTok's success compelled nearly every major social media platform to restructure its product around short-form video. In 2020, Instagram launched Reels and YouTube launched Shorts, both directly in response to TikTok's growth. Platforms like Meta's Instagram Reels and Google's YouTube Shorts subsequently expanded aggressively, launching new features, creator tools, and even considering separate standalone applications to compete. LinkedIn, traditionally a professional networking site, began experimenting with TikTok-style short-form vertical video feeds. Facebook launched a singular unified video feed combining Reels, long videos, and live videos, similar in structure to TikTok's feed. Snapchat redesigned its application to combine Stories and Spotlight into a unified entertainment feed. YouTube extended its Shorts format to allow videos up to three minutes in length, up from the previous limit of sixty seconds, as of October 2024. Despite these adaptations, experts noted that none of TikTok's rivals had matched its algorithmic precision as of mid-2025. == Societal and cultural impact == === Media and journalism === News organisations have also been affected by TikTokification. Short-form video grew rapidly as a format for news content, driven in large part by TikTok's popularity. According to Pew Research Center, 17% of adults in the United States reported regularly getting news from TikTok in 2024, with 63% of teenagers saying they used the platform as a news source. In response, major publishers began creating bespoke short-form content for TikTok's audience, with organisations such as the BBC building dedicated internal TikTok teams. === Advertising and commerce === TikTokification has had significant effects on the advertising industry. US social video advertising spending was projected to surpass linear television advertising spending for the first time in 2025. Global social commerce sales were projected to reach approximately $900 billion in 2025, with platforms like Douyin and TikTok driving a large share of that growth. TikTok itself generated an estimated $23.6 billion in advertising revenue in 2024. Short-form video has been described as bridging the gap between brand awareness and direct conversion. Surveys have found that consumers trust user-generated content 8.7 times more than influencer content and 6.6 times more than branded content, prompting brands to favour creator-led video formats. === Attention spans and cognitive effects === A growing body of research has examined the cognitive consequences of heavy short-form video consumption, a set of effects sometimes referred to as "TikTok Brain." A large systematic review and meta-analysis published in Psychological Bulletin, analysing data from 98,299 participants across 71 studies, found that the more short-form video content a person watches, the poorer their cognitive performance in attention and inhibitory control. The review also found that greater engagement with short-form video was associated with higher levels of anxiety, depression, and stress, as well as sleep disturbances. The platform's inherent demand for engaging content has resulted in the proliferation of sludge content, a genre of split screen video with the main video on the top and an unrelated attention-grabbing video on the bottom, typically repetitive gameplay (notably of the endless runner mobile game Subway Surfers) or oddly satisfying videos, designed to maximize viewer retention in cases where the main video may appear uninteresting and would normally cause the viewer to skip it. Sludge content is often described as overstimulating, reflecting and contributing to declining attention spans, though the scholarly evidence supporting such claims is not conclusive. Dr. Yann Poncin, associate professor at the Child Study Center at Yale University, noted that "infinite scrolling and short-form video are designed to capture your attention in short bursts," contrasting this with earlier entertainment formats that guided audiences through longer narratives. Research suggests that children and teenagers may be particularly vulnerable, with early exposure to rapid frame changes potentially conditioning the brain's neural pathways to require constant stimulation, making it more challenging to engage with slower-paced activities. A separate study published in Nature Communications by researchers at the Technical University of Denmark documented a notable decrease in collective attention span over time, attributing it in part to the increasing volume and pace of content production and consumption online. Researchers caution, however, that the majority of relevant studies are cross-sectional, meaning they capture data at a single point in time and cannot establish causality. It remains possible that individuals with pre-existing conditions such as anxiety or attention deficits may be more likely to engage heavily with these platforms as a coping mechanism. === Academic and sociological analysis === Scholars have framed TikTokification within the context of the attention economy. A 2024 academic analysis described TikTok as representing "a new paradigm of social media communication" shaped by youth culture, mobile technology, and the economics of attention, in which spectators become active contributors to a shared content pipeline. The same analysis noted that TikTok "reflects a new mode of communication influenced by avant-garde cinema, the use of mobile technology, and the social habits of particular social groups." US social media users were projected to spend 61.1% of their time on social networks watching videos in 2025, up from 33.3% in 2019, before TikTok became widely popular, underscoring the scale of the behavioural shift. == Monetisation challenges == Despite high engagement levels, monetising short-form video has remained difficult for platforms and creators alike. Unlike long-form YouTube content, short clips offer limited space for advertisers to insert advertisements. YouTube Shorts pays approximately four cents per 1,000 views, considerably less than its long-form counterpart. From 2025 onward, platforms began introducing creator funds, advertisements, and AI-driven content recommendations as part of broader efforts to make short-form video economically sustainable for creators.

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  Visual networking

  Visual networking refers to an emerging class of user applications that combine digital video and social networking capabilities. It is based upon the premise that visual literacy, "the ability to interpret, negotiate and make meaning from information presented in the form of a moving image", is a powerful force in how humans communicate, entertain and learn. The duality of visual networking—subsuming entertainment and communications, professional and personal content, video and other digital media, data networks and social networks to create immersive experiences, when, where and how the user wants it. These applications have changed video content from long-form movies and broadcast television programming to a database of segments or "clips", and social network annotations. And the generation and distribution of content takes on a new dimension with Web 2.0 applications—participatory social-networks or communities that facilitate interactive creativity, collaboration and sharing between users. == History == The rise of visual networking is relatively recent phenomenon driven by the emergence of social networking capabilities and the ability to deliver interactive video over a broadband network. It is a natural evolution of the current social networking phenomena whereby social networking annotations are layered over broadband video to create highly interactive and immersive experiences between individuals and their content. Until early 2005 this was not considered viable due to the lack of web and broadband infrastructure designed to support the transmission of web video and the still nascent stage of social networks like MySpace and Facebook. The introduction of YouTube in February 2005 marked the first significant combination of broadband video and social network systems designed to allow users to share, rate and tag user generated and premium content. From 2006 to 2008 this trend continued to gain steam as individuals and businesses pursued new combinations of video and social networking across a wide range of entertainment, communication and learning applications. == Broadband video takes off == Video has largely been defined by its use as an entertainment medium. Since the commercial availability of the television in the late '30s video has become the dominant entertainment medium far eclipsing audio and text based entertainment both in terms of time and dollars spent. Within the past decade, video use has rapidly evolved across a broader range of devices, multiple locations and user applications. The popularization of the long-tail and user-generated video has further challenged people's ideas of what's possible with video. A key advantage of video relative to other media is its superior ability to communicate ideas and emotions economically. If a picture is worth a thousand words, then a video may be worth a thousand pictures. Video by its very nature is highly experiential, making communications more compelling, informative and memorable. == Social networking meets video == At the core of visual networking is the concept that people can participate in communities of content and communities of interest. A community of interest is defined as a community of people who share a common interest or passion. These people exchange ideas and thoughts about the given passion, but may know (or care) little about each other outside of this area. Participation in a community of interest can be compelling, entertaining and create a ‘sticky’ community where people return frequently and remain for extended periods. The unparalleled potential of the Internet to promote such connections is only now being fully recognized and exploited, through Web-based groups established for that purpose. Based on the six degrees of separation concept (the idea that any two people on the planet could make contact through a chain of no more than five intermediaries), social networking establishes interconnected Internet communities (sometimes known as personal networks) that help people make contacts that would be good for them to know, but that they would be unlikely to have met otherwise. == Transition from search to discovery == The phrase The Long Tail was, according to Chris Anderson, first coined by himself in October 2004. Anderson argued that products that are in low demand or have low sales volume can collectively make up a market share that rivals or exceeds the relatively few current bestsellers and blockbusters, if the store or distribution channel is large enough. The Long Tail also has implications for the producers of content; especially those whose products could not—for economic reasons—find a place in pre-Internet information distribution channels controlled by book publishers, record companies, movie studios, and television networks. Looked at from the producers' side, the Long Tail has made possible a flowering of creativity across all fields of human endeavor. One example of this is YouTube, where thousands of diverse videos—whose content, production value or lack of popularity make them inappropriate for traditional television—are easily accessible to a wide range of viewers. The benefit to the consumer is that they know have an almost infinite choice of content to select from able to create their own specific channels based upon their unique needs. A potential negative side effect of the long tail is the rapidly growing inventory of text, audio and video content. The storage and distribution systems of the past restricted the number of songs, video, and books making it easier to search for what was relevant to the individual. As the long-tail has grown, more and more relevant and irrelevant content passes an individual by without their knowledge. This is especially true for video because unlike text-based files which can searched and indexed for easy finding, video typically has only its title as a clue to what's in it. This lack of comprehensive meta-data has limited the applicability of traditional search models. Augmenting traditional search has been the emergence of content based discovery tools that make people aware of relevant content based upon their participation in communities of interest and/or communities of content. The idea is that users may or may not start out searching for something, but they soon begin reacting to things they find, exploring links on pages they stumble upon and taking cues from fellow surfers about where to go. Instead of the old, passive, lean-back style of watching video, viewers are actively seeking content through discovery. People interact with each other, posting comments on what they just saw. Many sites now allow people to vote on videos, ranking and rating them. Ranking is the result of one of a number of algorithms that measure how many people have watched something or how many sites link to it. == Early examples == YouTube is the best early example of a visual networking experience. YouTube is a video sharing website where users can upload, view and share video clips. Unregistered users can watch most videos on the site, while registered users are permitted to upload an unlimited number of videos. Few statistics are publicly available regarding the number of videos on YouTube. However, in July 2006, the company revealed that more than 100 million videos were being watched every day, and 2.5 billion videos were watched in June 2006. 50,000 videos were being added per day in May 2006, and this increased to 65,000 by July. In January 2008 alone, nearly 79 million users watched over 3 billion videos on YouTube. Telepresence refers to a set of technologies which allow a person to feel as if they were present, to give the appearance that they were present, or to have an effect, at a location other than their true location. Telepresence requires that the senses of the user, or users, are provided with such stimuli as to give the feeling of being in that other location. Additionally, the user(s) may be given the ability to affect the remote location. In this case, the user's position, movements, actions, voice, etc. may be sensed, transmitted and duplicated in the remote location to bring about this effect. Therefore, information may be traveling in both directions between the user and the remote location. Critical the creating an in-person experience is the presence of high-definition video perfectly synchronized with stereophonic sound. A minimum system usually includes visual feedback. Ideally, the entire field of view of the user is filled with a view of the remote location, and the viewpoint corresponds to the movement and orientation of the user's head. In this way, it differs from television or cinema, where the viewpoint is out of the control of the viewer. == Other applications == While still in its infancy, visual networking applications are beginning to emerge that span both consumer and business markets. === Mobile video === Proliferation of multi-function mobile devices, particularl

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  Tokken

  Tokken is a payment system and mobile app most known for being a legal and secure option for businesses transactions within the cannabis industry, because of its compliance with bank requirements. The startup company was created by Lamine Zarrad, a former regulator at the Office of the Comptroller of the Currency. == Operability == In order for a person to start using the app, they need to provide evidence, in the form of bioidentification data and mobile carrier records, that they can legally purchase weed. After they have been verified, customers can pay directly through the app at any dispensary that is using Tokken. Tokken turns credit card transactions into a digital token, which can be exchanged back for money that can later be deposited into a bank account. All transactions are logged publicly through a blockchain leger, making the process both anonymous and verified. === Banking services === Tokken has a "pay taxes" function which enables dispensaries to pay their taxes directly to the department.

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  Visual networking

  Visual networking refers to an emerging class of user applications that combine digital video and social networking capabilities. It is based upon the premise that visual literacy, "the ability to interpret, negotiate and make meaning from information presented in the form of a moving image", is a powerful force in how humans communicate, entertain and learn. The duality of visual networking—subsuming entertainment and communications, professional and personal content, video and other digital media, data networks and social networks to create immersive experiences, when, where and how the user wants it. These applications have changed video content from long-form movies and broadcast television programming to a database of segments or "clips", and social network annotations. And the generation and distribution of content takes on a new dimension with Web 2.0 applications—participatory social-networks or communities that facilitate interactive creativity, collaboration and sharing between users. == History == The rise of visual networking is relatively recent phenomenon driven by the emergence of social networking capabilities and the ability to deliver interactive video over a broadband network. It is a natural evolution of the current social networking phenomena whereby social networking annotations are layered over broadband video to create highly interactive and immersive experiences between individuals and their content. Until early 2005 this was not considered viable due to the lack of web and broadband infrastructure designed to support the transmission of web video and the still nascent stage of social networks like MySpace and Facebook. The introduction of YouTube in February 2005 marked the first significant combination of broadband video and social network systems designed to allow users to share, rate and tag user generated and premium content. From 2006 to 2008 this trend continued to gain steam as individuals and businesses pursued new combinations of video and social networking across a wide range of entertainment, communication and learning applications. == Broadband video takes off == Video has largely been defined by its use as an entertainment medium. Since the commercial availability of the television in the late '30s video has become the dominant entertainment medium far eclipsing audio and text based entertainment both in terms of time and dollars spent. Within the past decade, video use has rapidly evolved across a broader range of devices, multiple locations and user applications. The popularization of the long-tail and user-generated video has further challenged people's ideas of what's possible with video. A key advantage of video relative to other media is its superior ability to communicate ideas and emotions economically. If a picture is worth a thousand words, then a video may be worth a thousand pictures. Video by its very nature is highly experiential, making communications more compelling, informative and memorable. == Social networking meets video == At the core of visual networking is the concept that people can participate in communities of content and communities of interest. A community of interest is defined as a community of people who share a common interest or passion. These people exchange ideas and thoughts about the given passion, but may know (or care) little about each other outside of this area. Participation in a community of interest can be compelling, entertaining and create a ‘sticky’ community where people return frequently and remain for extended periods. The unparalleled potential of the Internet to promote such connections is only now being fully recognized and exploited, through Web-based groups established for that purpose. Based on the six degrees of separation concept (the idea that any two people on the planet could make contact through a chain of no more than five intermediaries), social networking establishes interconnected Internet communities (sometimes known as personal networks) that help people make contacts that would be good for them to know, but that they would be unlikely to have met otherwise. == Transition from search to discovery == The phrase The Long Tail was, according to Chris Anderson, first coined by himself in October 2004. Anderson argued that products that are in low demand or have low sales volume can collectively make up a market share that rivals or exceeds the relatively few current bestsellers and blockbusters, if the store or distribution channel is large enough. The Long Tail also has implications for the producers of content; especially those whose products could not—for economic reasons—find a place in pre-Internet information distribution channels controlled by book publishers, record companies, movie studios, and television networks. Looked at from the producers' side, the Long Tail has made possible a flowering of creativity across all fields of human endeavor. One example of this is YouTube, where thousands of diverse videos—whose content, production value or lack of popularity make them inappropriate for traditional television—are easily accessible to a wide range of viewers. The benefit to the consumer is that they know have an almost infinite choice of content to select from able to create their own specific channels based upon their unique needs. A potential negative side effect of the long tail is the rapidly growing inventory of text, audio and video content. The storage and distribution systems of the past restricted the number of songs, video, and books making it easier to search for what was relevant to the individual. As the long-tail has grown, more and more relevant and irrelevant content passes an individual by without their knowledge. This is especially true for video because unlike text-based files which can searched and indexed for easy finding, video typically has only its title as a clue to what's in it. This lack of comprehensive meta-data has limited the applicability of traditional search models. Augmenting traditional search has been the emergence of content based discovery tools that make people aware of relevant content based upon their participation in communities of interest and/or communities of content. The idea is that users may or may not start out searching for something, but they soon begin reacting to things they find, exploring links on pages they stumble upon and taking cues from fellow surfers about where to go. Instead of the old, passive, lean-back style of watching video, viewers are actively seeking content through discovery. People interact with each other, posting comments on what they just saw. Many sites now allow people to vote on videos, ranking and rating them. Ranking is the result of one of a number of algorithms that measure how many people have watched something or how many sites link to it. == Early examples == YouTube is the best early example of a visual networking experience. YouTube is a video sharing website where users can upload, view and share video clips. Unregistered users can watch most videos on the site, while registered users are permitted to upload an unlimited number of videos. Few statistics are publicly available regarding the number of videos on YouTube. However, in July 2006, the company revealed that more than 100 million videos were being watched every day, and 2.5 billion videos were watched in June 2006. 50,000 videos were being added per day in May 2006, and this increased to 65,000 by July. In January 2008 alone, nearly 79 million users watched over 3 billion videos on YouTube. Telepresence refers to a set of technologies which allow a person to feel as if they were present, to give the appearance that they were present, or to have an effect, at a location other than their true location. Telepresence requires that the senses of the user, or users, are provided with such stimuli as to give the feeling of being in that other location. Additionally, the user(s) may be given the ability to affect the remote location. In this case, the user's position, movements, actions, voice, etc. may be sensed, transmitted and duplicated in the remote location to bring about this effect. Therefore, information may be traveling in both directions between the user and the remote location. Critical the creating an in-person experience is the presence of high-definition video perfectly synchronized with stereophonic sound. A minimum system usually includes visual feedback. Ideally, the entire field of view of the user is filled with a view of the remote location, and the viewpoint corresponds to the movement and orientation of the user's head. In this way, it differs from television or cinema, where the viewpoint is out of the control of the viewer. == Other applications == While still in its infancy, visual networking applications are beginning to emerge that span both consumer and business markets. === Mobile video === Proliferation of multi-function mobile devices, particularl

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  Undeniable signature

  An undeniable signature is a digital signature scheme which allows the signer to be selective to whom they allow to verify signatures. The scheme adds explicit signature repudiation, preventing a signer later refusing to verify a signature by omission; a situation that would devalue the signature in the eyes of the verifier. It was invented by David Chaum and Hans van Antwerpen in 1989. == Overview == In this scheme, a signer possessing a private key can publish a signature of a message. However, the signature reveals nothing to a recipient/verifier of the message and signature without taking part in either of two interactive protocols: Confirmation protocol, which confirms that a candidate is a valid signature of the message issued by the signer, identified by the public key. Disavowal protocol, which confirms that a candidate is not a valid signature of the message issued by the signer. The motivation for the scheme is to allow the signer to choose to whom signatures are verified. However, that the signer might claim the signature is invalid at any later point, by refusing to take part in verification, would devalue signatures to verifiers. The disavowal protocol distinguishes these cases removing the signer's plausible deniability. It is important that the confirmation and disavowal exchanges are not transferable. They achieve this by having the property of zero-knowledge; both parties can create transcripts of both confirmation and disavowal that are indistinguishable, to a third-party, of correct exchanges. The designated verifier signature scheme improves upon deniable signatures by allowing, for each signature, the interactive portion of the scheme to be offloaded onto another party, a designated verifier, reducing the burden on the signer. == Zero-knowledge protocol == The following protocol was suggested by David Chaum. A group, G, is chosen in which the discrete logarithm problem is intractable, and all operation in the scheme take place in this group. Commonly, this will be the finite cyclic group of order p contained in Z/nZ, with p being a large prime number; this group is equipped with the group operation of integer multiplication modulo n. An arbitrary primitive element (or generator), g, of G is chosen; computed powers of g then combine obeying fixed axioms. Alice generates a key pair, randomly chooses a private key, x, and then derives and publishes the public key, y = gx. === Message signing === Alice signs the message, m, by computing and publishing the signature, z = mx. === Confirmation (i.e., avowal) protocol === Bob wishes to verify the signature, z, of m by Alice under the key, y. Bob picks two random numbers: a and b, and uses them to blind the message, sending to Alice: c = magb. Alice picks a random number, q, uses it to blind, c, and then signing this using her private key, x, sending to Bob: s1 = cgq ands2 = s1x. Note that s1x = (cgq)x = (magb)xgqx = (mx)a(gx)b+q = zayb+q. Bob reveals a and b. Alice verifies that a and b are the correct blind values, then, if so, reveals q. Revealing these blinds makes the exchange zero knowledge. Bob verifies s1 = cgq, proving q has not been chosen dishonestly, and s2 = zayb+q, proving z is valid signature issued by Alice's key. Note that zayb+q = (mx)a(gx)b+q. Alice can cheat at step 2 by attempting to randomly guess s2. === Disavowal protocol === Alice wishes to convince Bob that z is not a valid signature of m under the key, gx; i.e., z ≠ mx. Alice and Bob have agreed an integer, k, which sets the computational burden on Alice and the likelihood that she should succeed by chance. Bob picks random values, s ∈ {0, 1, ..., k} and a, and sends: v1 = msga and v2 = zsya, where exponentiating by a is used to blind the sent values. Note that v2 = zsya = (mx)s(gx)a = v1x. Alice, using her private key, computes v1x and then the quotient, v1xv2−1 = (msga)x(zsgxa)−1 = msxz−s = (mxz−1)s. Thus, v1xv2−1 = 1, unless z ≠ mx. Alice then tests v1xv2−1 for equality against the values: (mxz−1)i for i ∈ {0, 1, …, k}; which are calculated by repeated multiplication of mxz−1 (rather than exponentiating for each i). If the test succeeds, Alice conjectures the relevant i to be s; otherwise, she conjectures random value. Where z = mx, (mxz−1)i = v1xv2−1 = 1 for all i, s is unrecoverable. Alice commits to i: she picks a random r and sends hash(r, i) to Bob. Bob reveals a. Alice confirms that a is the correct blind (i.e., v1 and v2 can be generated using it), then, if so, reveals r. Revealing these blinds makes the exchange zero knowledge. Bob checks hash(r, i) = hash(r, s), proving Alice knows s, hence z ≠ mx. If Alice attempts to cheat at step 3 by guessing s at random, the probability of succeeding is 1/(k + 1). So, if k = 1023 and the protocol is conducted ten times, her chances are 1 to 2100.

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  Correlation immunity

  In mathematics, the correlation immunity of a Boolean function is a measure of the degree to which its outputs are uncorrelated with some subset of its inputs. Specifically, a Boolean function is said to be correlation-immune of order m if every subset of m or fewer variables in x 1 , x 2 , … , x n {\displaystyle x_{1},x_{2},\ldots ,x_{n}} is statistically independent of the value of f ( x 1 , x 2 , … , x n ) {\displaystyle f(x_{1},x_{2},\ldots ,x_{n})} . == Definition == A function f : F 2 n → F 2 {\displaystyle f:\mathbb {F} _{2}^{n}\rightarrow \mathbb {F} _{2}} is k {\displaystyle k} -th order correlation immune if for any independent n {\displaystyle n} binary random variables X 0 … X n − 1 {\displaystyle X_{0}\ldots X_{n-1}} , the random variable Z = f ( X 0 , … , X n − 1 ) {\displaystyle Z=f(X_{0},\ldots ,X_{n-1})} is independent from any random vector ( X i 1 … X i k ) {\displaystyle (X_{i_{1}}\ldots X_{i_{k}})} with 0 ≤ i 1 < … < i k < n {\displaystyle 0\leq i_{1}<\ldots Read more →

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  IgHome

  igHome is a customizable start page introduced in 2012 as an alternative to iGoogle, the personal web portal launched by Google in May 2005. Just like iGoogle, igHome offers users the possibility to build a start page containing a central search box and a number of gadgets. igHome mimics the user interface of iGoogle. Registered igHome users can create multiple tabs and import RSS feeds.

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  Hybrid argument (cryptography)

  In cryptography, the hybrid argument is a proof technique used to show that two distributions are computationally indistinguishable. == History == Hybrid arguments had their origin in a papers by Andrew Yao in 1982 and Shafi Goldwasser and Silvio Micali in 1983. == Formal description == Formally, to show two distributions D1 and D2 are computationally indistinguishable, we can define a sequence of hybrid distributions D1 := H0, H1, ..., Ht =: D2 where t is polynomial in the security parameter n. Define the advantage of any probabilistic efficient (polynomial-bounded time) algorithm A as A d v H i , H i + 1 d i s t ( A ) := | Pr [ x ← $ H i : A ( x ) = 1 ] − Pr [ x ← $ H i + 1 : A ( x ) = 1 ] | , {\displaystyle {\mathsf {Adv}}_{H_{i},H_{i+1}}^{\mathsf {dist}}(\mathbf {A} ):=\left|\Pr[x{\stackrel {\$}{\gets }}H_{i}:\mathbf {A} (x)=1]-\Pr[x{\stackrel {\$}{\gets }}H_{i+1}:\mathbf {A} (x)=1]\right|,} where the dollar symbol ($) denotes that we sample an element from the distribution at random. By triangle inequality, it is clear that for any probabilistic polynomial time algorithm A, A d v D 1 , D 2 d i s t ( A ) ≤ ∑ i = 0 t − 1 A d v H i , H i + 1 d i s t ( A ) . {\displaystyle {\mathsf {Adv}}_{D_{1},D_{2}}^{\mathsf {dist}}(\mathbf {A} )\leq \sum _{i=0}^{t-1}{\mathsf {Adv}}_{H_{i},H_{i+1}}^{\mathsf {dist}}(\mathbf {A} ).} Thus there must exist some k s.t. 0 ≤ k < t(n) and A d v H k , H k + 1 d i s t ( A ) ≥ A d v D 1 , D 2 d i s t ( A ) / t ( n ) . {\displaystyle {\mathsf {Adv}}_{H_{k},H_{k+1}}^{\mathsf {dist}}(\mathbf {A} )\geq {\mathsf {Adv}}_{D_{1},D_{2}}^{\mathsf {dist}}(\mathbf {A} )/t(n).} Since t is polynomial-bounded, for any such algorithm A, if we can show that it has a fixed negligible advantage function ε(n) between distributions Hi and Hi+1 for every i, so in particular, ϵ ( n ) ≥ A d v H k , H k + 1 d i s t ( A ) ≥ A d v D 1 , D 2 d i s t ( A ) / t ( n ) , {\displaystyle \epsilon (n)\geq {\mathsf {Adv}}_{H_{k},H_{k+1}}^{\mathsf {dist}}(\mathbf {A} )\geq {\mathsf {Adv}}_{D_{1},D_{2}}^{\mathsf {dist}}(\mathbf {A} )/t(n),} then it immediately follows that its advantage to distinguish the distributions D1 = H0 and D2 = Ht must also be negligible. == Applications == The hybrid argument is extensively used in cryptography. Some simple proofs using hybrid arguments are: If one cannot efficiently predict the next bit of the output of some number generator, then this generator is a pseudorandom number generator (PRG). We can securely expand a PRG with 1-bit output into a PRG with n-bit output.

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  Thirst trap

  A thirst trap is a type of social media post intended to entice viewers sexually. It refers to a viewer's "thirst", a colloquialism likening sexual frustration to dehydration, implying desperation, with the afflicted individual being described as "thirsty". The phrase entered into the lexicon in the late 1990s, but is most related to Internet slang that developed in the early 2010s. Its meaning has changed over time, previously referring to a graceless need for approval, affection or attention. == History == The term thirst trap originated within selfie culture, though its precise origins remain unclear. An early use of the phrase with reference to dehydration appears in the 1999 book Running for Dummies by Florence Griffith Joyner and John Hanc, where it referred to the deceptive sensation of thirst being quenched after initial fluid intake, advising continued hydration to avoid the so-called "thirst trap." The modern usage of thirst trap resurfaced around 2011 on platforms such as Twitter and Urban Dictionary, coinciding with the growing popularity of Snapchat, Instagram, and dating apps like Tinder and Grindr. In 2011, Urban Dictionary defined it as "any statement used to intentionally create attention or 'thirst'." By 2018, the term had entered mainstream discourse, appearing in outlets such as The New York Times and GQ without the need for explanation. == Usage of the term == Often, the term thirst trap describes an attractive picture of an individual that they post online. Thirst trap can also describe a digital heartthrob. For instance, former Canadian prime minister Justin Trudeau has been described as a political thirst trap. It has also been described as a modern form of "fishing for compliments". == Motivation == Thirst trapping may be driven by a variety of motives. Individuals often seek attention through "likes" and comments on social media, which can offer a temporary sense of validation and improved self-esteem. It can also serve as an outlet for expressing one's sexuality or enhancing a personal brand. In some cases, sharing such content may provide financial gain. Others might post thirst traps to cope with emotional distress, such as after breakup, or to spite a former lover. Sharing a thirst trap has also been used as a way to connect in times of social isolation (e.g. COVID-19 pandemic). From a physiological standpoint, endorphins and neurotransmitters like oxytocin and dopamine are released during sexual contact. It has been speculated outside of the academic setting that sharing and engaging with thirst traps may elicit similar pleasure responses. == Methodology == Methodologies have developed to take an optimal thirst trap photo. Reporting for Vice magazine, Graham Isador found several of his social network contacts spent a lot of time considering how to take the best photo and what text they should use. They considered angles and lighting. Sometimes they made use of the self-timer feature available on some cameras. Often, body parts are put on display without being too explicit (e.g. bulges of male genitalia, breast cleavage, abdominal muscles, pectoral muscles, backs, buttocks). Often, the thirst trap is accompanied by a caption. For instance, in October 2019, actress Tracee Ellis Ross posted bikini pictures on Instagram with a caption that included the message: "I've worked so hard to feel good in my skin and to build a life that truly matches me and I'm in it and it feels good. ... No filter, no retouch 47 year old thirst trap! Boom!" On Instagram, #ThirstTrapThursdays is a popular tag. Followers reply in turn after a posting. == Variations == "Gatsbying" is a variation of the thirst trap, where one puts posts on social media to attract the attention of a particular individual. The term alludes to the novel The Great Gatsby where the character Jay Gatsby would throw extravagant parties to attract the attention of his love interest, Daisy. "Instagrandstanding" is an alternative name for this. "Wholesome trapping" has developed, where one posts pictures of more meaningful aspects of life, such as spending time with friends or doing outdoor activities. == Criticism == Psychotherapist Lisa Brateman has criticized thirst traps as an unhealthy method of receiving external validation. This desire for external validation can be addictive. Thirst traps can cause pressure to maintain a good physical appearance, and therefore cause self-esteem issues. Additionally, thirst traps are often highly choreographed and thus present a distorted perception of reality. The manufacturing of thirst traps can be limited when one enters a relationship or with time as the body ages. In some cases, thirst traps can lead to harassment and online bullying. In April 2020, model Chrissy Teigen posted a video of herself wearing a black one-piece swimsuit, and she received a multitude of negative comments that constituted bullying and body shaming.

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  G.9963

  Recommendation G.9963 is a home networking standard under development at the International Telecommunication Union standards sector, the ITU-T. It was begun in 2010 by ITU-T to add multiple-input and multiple-output (known as MIMO) capabilities to the G.hn standard originally defined in Recommendation G.9960. The standard is also known as "G.hn-mimo". As part of the family of G.hn standards, G.9963 was endorsed by the HomeGrid Forum.

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  Graph cut optimization

  Graph cut optimization is a combinatorial optimization method applicable to a family of functions of discrete variables, named after the concept of cut in the theory of flow networks. Thanks to the max-flow min-cut theorem, determining the minimum cut over a graph representing a flow network is equivalent to computing the maximum flow over the network. Given a pseudo-Boolean function f {\displaystyle f} , if it is possible to construct a flow network with positive weights such that each cut C {\displaystyle C} of the network can be mapped to an assignment of variables x {\displaystyle \mathbf {x} } to f {\displaystyle f} (and vice versa), and the cost of C {\displaystyle C} equals f ( x ) {\displaystyle f(\mathbf {x} )} (up to an additive constant) then it is possible to find the global optimum of f {\displaystyle f} in polynomial time by computing a minimum cut of the graph. The mapping between cuts and variable assignments is done by representing each variable with one node in the graph and, given a cut, each variable will have a value of 0 if the corresponding node belongs to the component connected to the source, or 1 if it belong to the component connected to the sink. Not all pseudo-Boolean functions can be represented by a flow network, and in the general case the global optimization problem is NP-hard. There exist sufficient conditions to characterise families of functions that can be optimised through graph cuts, such as submodular quadratic functions. Graph cut optimization can be extended to functions of discrete variables with a finite number of values, that can be approached with iterative algorithms with strong optimality properties, computing one graph cut at each iteration. Graph cut optimization is an important tool for inference over graphical models such as Markov random fields or conditional random fields, and it has applications in computer vision problems such as image segmentation, denoising, registration and stereo matching. == Representability == A pseudo-Boolean function f : { 0 , 1 } n → R {\displaystyle f:\{0,1\}^{n}\to \mathbb {R} } is said to be representable if there exists a graph G = ( V , E ) {\displaystyle G=(V,E)} with non-negative weights and with source and sink nodes s {\displaystyle s} and t {\displaystyle t} respectively, and there exists a set of nodes V 0 = { v 1 , … , v n } ⊂ V − { s , t } {\displaystyle V_{0}=\{v_{1},\dots ,v_{n}\}\subset V-\{s,t\}} such that, for each tuple of values ( x 1 , … , x n ) ∈ { 0 , 1 } n {\displaystyle (x_{1},\dots ,x_{n})\in \{0,1\}^{n}} assigned to the variables, f ( x 1 , … , x n ) {\displaystyle f(x_{1},\dots ,x_{n})} equals (up to a constant) the value of the flow determined by a minimum cut C = ( S , T ) {\displaystyle C=(S,T)} of the graph G {\displaystyle G} such that v i ∈ S {\displaystyle v_{i}\in S} if x i = 0 {\displaystyle x_{i}=0} and v i ∈ T {\displaystyle v_{i}\in T} if x i = 1 {\displaystyle x_{i}=1} . It is possible to classify pseudo-Boolean functions according to their order, determined by the maximum number of variables contributing to each single term. All first order functions, where each term depends upon at most one variable, are always representable. Quadratic functions f ( x ) = w 0 + ∑ i w i ( x i ) + ∑ i < j w i j ( x i , x j ) . {\displaystyle f(\mathbf {x} )=w_{0}+\sum _{i}w_{i}(x_{i})+\sum _{i 0 {\displaystyle p>0} then w i j k ( x i , x j , x k ) = w i j k ( 0 , 0 , 0 ) + p 1 ( x i − 1 ) + p 2 ( x j − 1 ) + p 3 ( x k − 1 ) + p 23 ( x j − 1 ) x k + p 31 x i ( x k − 1 ) + p 12 ( x i − 1 ) x j − p x i x j x k {\displaystyle w_{ijk}(x_{i},x_{j},x_{k})=w_{ijk}(0,0,0)+p_{1}(x_{i}-1)+p_{2}(x_{j}-1)+p_{3}(x_{k}-1)+p_{23}(x_{j}-1)x_{k}+p_{31}x_{i}(x_{k}-1)+p_{12}(x_{i}-1)x_{j}-px_{i}x_{j}x_{k}} with p 1 = w i j k ( 1 , 0 , 1 ) − w i j k ( 0 , 0 , 1 ) p 2 = w i j k ( 1 , 1 , 0 ) − w i j k ( 1 , 0 , 1 ) p 3 = w i j k ( 0 , 1 , 1 ) − w i j k ( 0 , 1 , 0 ) p 23 = w i j k ( 0 , 0 , 1 ) + w i j k ( 0 , 1 , 0 ) − w i j k ( 0 , 0 , 0 ) − w i j k ( 0 , 1 , 1 ) p 31 = w i j k ( 0 , 0 , 1 ) + w i j k ( 1 , 0 , 0 ) − w i j k ( 0 , 0 , 0 ) − w i j k ( 1 , 0 , 1 ) p 12 = w i j k ( 0 , 1 , 0 ) + w i j k ( 1 , 0 , 0 ) − w i j k ( 0 , 0 , 0 ) − w i j k ( 1 , 1 , 0 ) . {\displaystyle {\begin{aligned}p_{1}&=w_{ijk}(1,0,1)-w_{ijk}(0,0,1)\\p_{2}&=w_{ijk}(1,1,0)-w_{ijk}(1,0,1)\\p_{3}&=w_{ijk}(0,1,1)-w_{ijk}(0,1,0)\\p_{23}&=w_{ijk}(0,0,1)+w_{ijk}(0,1,0)-w_{ijk}(0,0,0)-w_{ijk}(0,1,1)\\p_{31}&=w_{ijk}(0,0,1)+w_{ijk}(1,0,0)-w_{ijk}(0,0,0)-w_{ijk}(1,0,1)\\p_{12}&=w_{ijk}(0,1,0)+w_{ijk}(1,0,0)-w_{ijk}(0,0,0)-w_{ijk}(1,1

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  Instapoetry

  Instapoetry is a style of poetry that emerged after the advent of social media, especially on Instagram. The term has been used to describe poems written specifically for being shared online, most commonly on Instagram, but also other platforms including Twitter, Tumblr, and TikTok. The style usually consists of short, direct lines in aesthetically pleasing fonts that are sometimes accompanied by an image or drawing, often without rhyme schemes or meter, and dealing with commonplace themes. Literary critics, poets, and writers have contended with Instapoetry's focus on brevity and plainness compared to traditional poetry, criticizing it for reproducing rather than subverting normative ideas on social media platforms that favor popularity and accessibility over craft and depth. == History == Instapoetry developed as a result of young, predominantly women, amateur poets sharing their output to expand their readership, who began using social media as their preferred method of distribution rather than traditional publishing methods. The term "Instapoetry" is a portmanteau of the words "Instagram" and "poetry," and was created by other writers trying to define and understand the new extension of "instant poetry" shared via social media, most prominently Instagram. In its most basic form, Instapoetry usually consists of bite-sized verses that consider political and social subjects such as immigration, domestic violence, sexual assault, love, culture, feminism, gun violence, war, racism, LGBTQ rights, and other social justice topics. All of these elements are usually made to fit social media feeds that are easily accessible through applications on smartphones. == Scholarship == Despite the diversity of poetry on Instagram, the Brazilian linguist Bruna Osaki Fazano found that shared "aspects of the compositional form, theme and style" mean that it can be understood as a specific genre. Camilla Holm Soelseth argues that taking on the platform-specific tasks of a social media creator is a prerequisite for being an Instapoet. Writing in Poetics Today, JuEunhae Knox combined quantitative and qualitative analysis to show that Instapoetry is a cohesive genre, in part because "the sheer volume and rapidity of content production in turn encourages posts that are not only visually appealing but also immediately recognizable as Instapoems". Instapoetry has been seen as a practice that serves as a form of self-staging for poets and "[crafts] authenticity". Eirik Vassenden describes the work of Norwegian poet Trygve Skaug as appearing to offer a "simple, almost direct access to the inner self". Vassenden writes that poems such as Rupi Kaur's "if you are not enough for yourself / you will never be enough / for someone else" are "authentic" to such an extent that they are not literary. Kiera Obbard describes how Rupi Kaur uses humour as a rhetorical device in her poetry performances to tell personal stories of trauma and challenge social inequalities. Scholars have also studied the work of specific Instapoets, such as Rupi Kaur, R.M. Drake, Aja Monet, Yrsa Daley-Ward, Nayyirah Waheed, Atticus, Nikita Gill and Trygve Skaug. == Overview == Academics have shown appreciation for the way in which Instapoetry has stimulated interest in poetry in general. Meanwhile, it has been argued that since Instapoets avoid critical evaluations, academics, and the publishing industry, Instapoets qualify more as online celebrities than literary figures. Additionally, although Instapoetry has been characterized as anti-establishment, Alyson Miller noted traditional or even conservative views in the online posts of Instapoets in contrast with the activist views the style is associated with, and that there is a contradiction between "the extra-textual commentary surrounding Instapoetry, particularly by way of interviews and artistic statements, and the content of works which repeatedly reinscribe conservative, patriarchal, and heteronormative worldviews". Thom Young, a poet and high school English teacher, created a parody Instagram page as a way to mock Instapoets and their work, describing it as "fidget-spinner poetry. Like they're just scrolling on their devices, to read something instantly, while the libraries are empty. I think people today don't want to read anything that causes a whole lot of critical thinking." According to Johnathan Ford's piece in the Financial Times, as Instagram's algorithms have limited prospective Instapoets' reach-per-post, it has pushed them to pay to promote their material. Popular Instagram accounts will be promoted to the front of users' feeds, with the app's algorithm, in the view of critics, favoring the spread of bland, inauthentic, or clichéd content while preventing disciplined poetry from reaching new audiences. == Writers described as Instapoets == Rupi Kaur Atticus Amanda Lovelace Tyler Knott Gregson Najwa Zebian Lang Leav Nikita Gill Upile Chisala Tendai M. Shaba Donna Ashworth Trista Mateer

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  Letter frequency

  Letter frequency is the number of times letters of the alphabet appear on average in written language. Letter frequency analysis dates back to the Arab mathematician Al-Kindi (c. AD 801–873), who formally developed the method to break ciphers. Letter frequency analysis gained importance in Europe with the development of movable type in AD 1450, wherein one must estimate the amount of type required for each letterform. Linguists use letter frequency analysis as a rudimentary technique for language identification, where it is particularly effective as an indication of whether an unknown writing system is alphabetic, syllabic, or logographic. The use of letter frequencies and frequency analysis plays a fundamental role in cryptograms and several word puzzle games, including hangman, Scrabble, Wordle and the television game show Wheel of Fortune. One of the earliest descriptions in classical literature of applying the knowledge of English letter frequency to solving a cryptogram is found in Edgar Allan Poe's famous story "The Gold-Bug", where the method is successfully applied to decipher a message giving the location of a treasure hidden by Captain Kidd. Herbert S. Zim, in his classic introductory cryptography text Codes and Secret Writing, gives the English letter frequency sequence as "ETAON RISHD LFCMU GYPWB VKJXZQ", the most common letter pairs as "TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO", and the most common doubled letters as "LL EE SS OO TT FF RR NN PP CC". Different ways of counting can produce somewhat different orders. Letter frequencies also have a strong effect on the design of some keyboard layouts. The most frequent letters are placed on the home row of the Blickensderfer typewriter, the Dvorak keyboard layout, Colemak and other optimized layouts, while the commonly used QWERTY layout places common letters apart from each other to prevent typewriter jamming. == Background == The frequency of letters in text has been studied for use in cryptanalysis, and frequency analysis in particular, dating back to the Arab mathematician al-Kindi (c. AD 801–873 ), who formally developed the method (the ciphers breakable by this technique go back at least to the Caesar cipher used by Julius Caesar, so this method could have been explored in classical times). Letter frequency analysis gained additional importance in Europe with the development of movable type in AD 1450, wherein one must estimate the amount of type required for each letterform, as evidenced by the variations in letter compartment size in typographer's type cases. No exact letter frequency distribution underlies a given language, since all writers write slightly differently. However, most languages have a characteristic distribution which is strongly apparent in longer texts. Even language changes as extreme as from Old English to modern English (regarded as mutually unintelligible) show strong trends in related letter frequencies: over a small sample of Biblical passages, from most frequent to least frequent, enaid sorhm tgþlwu æcfy ðbpxz of Old English compares to eotha sinrd luymw fgcbp kvjqxz of modern English, with the most extreme differences concerning letterforms not shared. Linotype machines for the English language assumed the letter order, from most to least common, to be etaoin shrdlu cmfwyp vbgkqj xz based on the experience and custom of manual compositors. The equivalent for the French language was elaoin sdrétu cmfhyp vbgwqj xz. Arranging the alphabet in Morse into groups of letters that require equal amounts of time to transmit, and then sorting these groups in increasing order, yields e it san hurdm wgvlfbk opxcz jyq. Letter frequency was used by other telegraph systems, such as the Murray Code. Similar ideas are used in modern data-compression techniques such as Huffman coding. Letter frequencies, like word frequencies, tend to vary, both by writer and by subject. For instance, ⟨d⟩ occurs with greater frequency in fiction, as most fiction is written in past tense and thus most verbs will end in the inflectional suffix -ed / -d. One cannot write an essay about x-rays without using ⟨x⟩ frequently, and the essay will have an idiosyncratic letter frequency if the essay is about, say, Queen Zelda of Zanzibar requesting X-rays from Qatar to examine hypoxia in zebras. Different authors have habits which can be reflected in their use of letters. Hemingway's writing style, for example, is visibly different from Faulkner's. Letter, bigram, trigram, word frequencies, word length, and sentence length can be calculated for specific authors and used to prove or disprove authorship of texts, even for authors whose styles are not so divergent. Accurate average letter frequencies can only be gleaned by analyzing a large amount of representative text. With the availability of modern computing and collections of large text corpora, such calculations are easily made. Examples can be drawn from a variety of sources (press reporting, religious texts, scientific texts and general fiction) and there are differences especially for general fiction with the position of ⟨h⟩ and ⟨i⟩, with ⟨h⟩ becoming more common. Different dialects of a language will also affect a letter's frequency. For example, an author in the United States would produce something in which ⟨z⟩ is more common than an author in the United Kingdom writing on the same topic: words like "analyze", "apologize", and "recognize" contain the letter in American English, whereas the same words are spelled "analyse", "apologise", and "recognise" in British English. This would highly affect the frequency of the letter ⟨z⟩, as it is rarely used by British writers in the English language. The "top twelve" letters constitute about 80% of the total usage. The "top eight" letters constitute about 65% of the total usage. Letter frequency as a function of rank can be fitted well by several rank functions, with the two-parameter Cocho/Beta rank function being the best. Another rank function with no adjustable free parameter also fits the letter frequency distribution reasonably well (the same function has been used to fit the amino acid frequency in protein sequences.) A spy using the VIC cipher or some other cipher based on a straddling checkerboard typically uses a mnemonic such as "a sin to err" (dropping the second "r") or "at one sir" to remember the top eight characters. == Relative frequencies of letters in the English language == There are three ways to count letter frequency that result in very different charts for common letters. The first method, used in the chart below, is to count letter frequency in lemmas of a dictionary. The lemma is the word in its canonical form. The second method is to include all word variants when counting, such as "abstracts", "abstracted" and "abstracting" and not just the lemma of "abstract". This second method results in letters like ⟨s⟩ appearing much more frequently, such as when counting letters from lists of the most used English words on the Internet. ⟨s⟩ is especially common in inflected words (non-lemma forms) because it is added to form plurals and third person singular present tense verbs. A final method is to count letters based on their frequency of use in actual texts, resulting in certain letter combinations like ⟨th⟩ becoming more common due to the frequent use of common words like "the", "then", "both", "this", etc. Absolute usage frequency measures like this are used when creating keyboard layouts or letter frequencies in old fashioned printing presses. An analysis of entries in the Concise Oxford dictionary, ignoring frequency of word use, gives an order of "EARIOTNSLCUDPMHGBFYWKVXZJQ". The letter-frequency table above is taken from Pavel Mička's website, which cites Robert Lewand's Cryptological Mathematics. According to Lewand, arranged from most to least common in appearance, the letters are: etaoinshrdlcumwfgypbvkjxqz. Lewand's ordering differs slightly from others, such as Cornell University Math Explorer's Project, which produced a table after measuring 40,000 words. In English, the space character occurs almost twice as frequently as the top letter (⟨e⟩) and the non-alphabetic characters (digits, punctuation, etc.) collectively occupy the fourth position (having already included the space) between ⟨t⟩ and ⟨a⟩. == Relative frequencies of the first letters of a word in the English language == The frequency of the first letters of words or names is helpful in pre-assigning space in physical files and indexes. Given 26 filing cabinet drawers, rather than a 1:1 assignment of one drawer to one letter of the alphabet, it is often useful to use a more equal-frequency-letter code by assigning several low-frequency letters to the same drawer (often one drawer is labeled VWXYZ), and to split up the most-frequent initial letters (⟨s, a, c⟩) into several drawers (often 6 drawers Aa-An, Ao-Az, Ca-Cj, Ck-Cz, Sa-Si, Sj-Sz). The same system is used in some mult

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