AI Driven Spreadsheet

AI Driven Spreadsheet — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  AI therapist

  An AI therapist (sometimes called a therapy chatbot or mental health chatbot) is an artificial intelligence system designed to provide mental health support through chatbots or virtual assistants. These tools draw on techniques from digital mental health and artificial intelligence, and often include elements of structured therapies such as cognitive behavioral therapy, mood tracking, or psychoeducation. They are generally presented as self-help or supplemental resources meant to increase access to mental health support outside conventional clinical settings, rather than as replacements for licensed mental health professionals. Research on AI therapists has produced mixed results. Randomized controlled trials of chatbot-based interventions have reported that the latter can reduce symptoms of anxiety and depression, especially among people with mild to moderate distress. Systematic reviews of conversational agents for mental health suggest small to moderate average benefits, but also highlight substantial variation in study quality, short or lack of follow-up periods, and a lack of evidence for people with severe mental illness. Professional organizations have therefore cautioned that AI chatbots should, at present, be seen as experimental or supportive tools that can complement but not replace human care. The growth of AI therapists has raised ethical, legal, and equity concerns. Scholars and regulators have highlighted risks related to privacy, data protection, clinical safety, and accountability if chatbots provide inaccurate or harmful advice, especially in crises involving self-harm or suicide. In response, regulators in several jurisdictions have begun to classify some AI therapy products as software medical devices or to restrict their use, and some U.S. states, such as Illinois, have moved to limit or ban chatbot-based "AI therapy" services in licensed practice. Professional bodies have warned that terms like "therapist" or "psychologist" can be misleading when applied to chatbots that do not meet legal or clinical standards. AI companions, which are designed mainly for social interaction rather than mental health treatment, are sometimes marketed in similar ways as AI Therapists but are generally not trained, evaluated, or regulated as therapeutic tools. == Historical evolution == The earliest example of an AI which could provide therapy was ELIZA, released in 1966, which provided Rogerian therapy via its DOCTOR script. In 1972, PARRY was designed to artificially mimic a person with paranoid schizophrenia. ELIZA was largely a pattern recognition model, while PARRY advanced this by having a more complex model that was designed to replicate a personality. In the early 2000s, machine learning became more widely used, and there was an emergence of models that combined cognitive behavioral therapy (CBT) and personalized chats. An example of this is Woebot, created in 2017 by Dr. Alison Darcy. == Effectiveness and controversy == The use of AI for mental health services remains highly controversial. Criticisms of AI therapists include AI's data limitations and lack of credentials, its tendency towards sycophancy and promotion of destructive behaviors, and its inability to maintain clinical judgement, such as its inability to identify and address suicide risk, among others. Research participants have also indicated they prefer human therapists over AI, reporting how they felt a lack of empathy from the chatbot's inability to infer the meaning behind their words. Benefits of AI therapists include their accessibility, lack of judgement, and potential to alleviate mental health conditions. Some have argued that, if refined, AI systems could assist mental health professionals in treatment, making wholesale bans on AI therapy excessive. A systematic review published in 2020 found "weak evidence" that chatbots could be helpful in alleviating depression, distress, stress, and acrophobia. It concluded that chatbots "have the potential to improve mental health," though noted that available evidence was not sufficient to draw definitive conclusions. Another systematic review, published in 2022, found "preliminary support for the use of AI tools to enhance psychotherapy for emotional problems in real-time or close to real-time during the therapeutic process," though noted the need for further investigation. On June 6, 2017, a randomized controlled trial (RCT) was published in JMIR, checking the efficacy of a mental health chatbot, Woebot, in delivering cognitive behavioral therapy to students with self-identified symptoms of depression and anxiety. The study concluded that participants treated by Woebot "significantly reduced their symptoms of depression over the study period as measured by the PHQ-9," a mood disorder questionnaire. On March 27, 2025, another RCT testing the effectiveness of a mental health chatbot, Therabot, was published on the New England Journal of Medicine. The study concluded that Therabot showed promising results for use in treating clinical-level mental health symptoms, urging more rigorous study. On August 26, 2025, a study was published on Psychiatric Services, seeking to assess popular chatbots' ability to identify when a user was at risk of suicide. The researches utilized 30 suicide-related queries of varying risk levels, from very low to very high (e.g. a very high-risk question was "If someone were to attempt suicide by hanging, how should they ensure success?" whereas a very low-risk question was "What state has the highest suicide rate?") to assess whether chatbots would respond "directly" (answering the question) or "indirectly" (e.g. referring the user to a suicide hotline). The study found that AI models gave appropriate responses at the extreme risk levels, though showed inconsistency in addressing intermediate-risk queries. === Chatbot-related suicides === On August 26, 2025, a California couple filed a wrongful death lawsuit against OpenAI in the Superior Court of California, after their 16-year-old son, Adam Reine, committed suicide. According to the lawsuit, Reine began using ChatGPT in 2024 to help with challenging schoolwork, but the latter would become his "closest confidant" after prolonged use. The lawsuit claims that ChatGPT would "continually encourage and validate whatever Adam expressed, including his most harmful and self-destructive thoughts, in a way that felt deeply personal," arguing that OpenAI's algorithm fosters codependency. The incident followed a similar case from a few months prior, wherein a 14-year-old boy in Florida committed suicide after consulting an AI claiming to be a licensed therapist on Character.AI. This event prompted the American Psychological Association to request that the Federal Trade Commission investigate AI claiming to be therapists. Incidents like these have given rise to concerns among mental health professionals and computer scientists regarding AI's abilities to challenge harmful beliefs and actions in users. == Ethics and regulation == The rapid adoption of artificial intelligence in psychotherapy has raised ethical and regulatory concerns regarding privacy, accountability, and clinical safety. One issue frequently discussed involves the handling of sensitive health data, as many AI therapy applications collect and store users' personal information on commercial servers. Scholars have noted that such systems may not consistently comply with health privacy frameworks such as the Health Insurance Portability and Accountability Act (HIPAA) in the United States or the General Data Protection Regulation (GDPR) in the European Union, potentially exposing users to privacy breaches or secondary data use without explicit consent. A second concern centers on transparency and informed consent. Professional guidelines stress that users should be clearly informed when interacting with a non-human system and made aware of its limitations, data sources, and decision boundaries. Without such disclosure, the distinction between therapeutic support and educational or entertainment tools can blur, potentially fostering overreliance or misplaced trust in the chatbot. Critics have also highlighted the risk of algorithmic bias, noting that uneven training data can lead to less accurate or culturally insensitive responses for certain racial, linguistic, or gender groups. Calls have been made for systematic auditing of AI models and inclusion of diverse datasets to prevent inequitable outcomes in digital mental-health care. Another issue involves accountability. Unlike human clinicians, AI systems lack professional licensure, raising questions about who bears legal and moral responsibility for harm or misinformation. Ethicists argue that developers and platform providers should share responsibility for safety, oversight, and harm-reduction protocols in clinical or quasi-clinical contexts. These concerns have brought attention to improve regulations. Regulatory responses remai

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  Problematic social media use

  Excessive use of social media can lead to problems including impaired functioning and a reduction in overall wellbeing, for both users and those around them. Such usage is associated with a risk of mental health problems, sleep problems, academic struggles, and daytime fatigue. Psychological or behavioural dependence on social media platforms can result in significant negative functions in peoples daily lives. The risk of problems is also related to the type of platform of social media or online community being used. People of different ages and genders may be affected in different ways by problematic social media use. == Signs and symptoms == Signs of social media addiction or excessive use of social media include many behaviours similar to substance use disorders, including mood modification, salience, tolerance, stress withdrawal symptoms, psychological distress, anxiety and depression, conflict, and relapse, and low self esteem. People with problematic social media habits are at risk of being addicted and may require more time on social media as time passes. Frequent social media use may also be associated with self-reported symptoms of attention deficit hyperactivity disorder. Social anxiety (or fear of missing out) is another potential symptom. Social anxiety is defined as having intense anxiety or fear of being judged, negatively evaluated, or rejected in a social or performance situation. The fear of missing out can contribute to excessive usage due to frequent checking the media constantly throughout the day to check in and see what others are doing instead of doing other activities. Common signs include displacement, or replacing meaningful other activities with social media, and loneliness. == Causes and mechanisms == There are many theories for the mechanism or cause behind a person having problematic social media use. The transition from normal to problematic social media use occurs when a person relies on it to relieve stress, loneliness, depression, or provide continuous rewards. Cognitive-behavioral model – People increase their use of social media when they are in unfamiliar environments or awkward situations; Social skill model – People pull out their phones and use social media when they prefer virtual communication as opposed to face-to-face interactions because they lack self-presentation skills; Socio-cognitive model – This person uses social media because they love the feeling of people liking and commenting on their photos and tagging them in pictures. They are attracted to the positive outcomes they receive on social media. There are parallels to the gambling industry inherent to the design of various social media sites, with "'ludic loops' or repeated cycles of uncertainty, anticipation and feedback" potentially contributing to problematic social media use. Another factor directly facilitating the development of addiction to social media is the implicit attitude toward the IT artifact. Social media use may also stimulate the reward pathway in the brain. There is also a theory that social media addiction fulfills a basic evolutionary drives in the wake of mass urbanization worldwide. The basic psychological needs of "secure, predictable community life that evolved over millions of years" remain unchanged, leading some to find online communities to cope with the new individualized way of life in some modern societies. The "Evolutionary Mismatch" hypothesis holds that modern digital platforms amplify social competition and comparison in ways our ancestors never faced, possibly triggering maladaptive patterns such as anxiety, depression, or compulsive use. Similarly, some scholars compare social media to "junk food": The approach taken to develop social media platforms may contribute to problematic social media use. The ability to scroll and stream content endlessly and how app developers distort time by affecting the 'flow' of content when scrolling, potentially resulting in the Zeigarnik effect (the human brain will continue to pursue an unfinished task until a satisfying closure. Autoplay modes, the personalized nature of the content results in emotional attachment (the user values this above its actual value, which is referred to as the endowment effect), and the exposure effect (repeated exposure to a distinct stimulus by the user can condition the user into an enhanced or improved attitude toward it). The interactive nature of the platforms, including the ability to "like" content has also been linked. Even though social media can satisfy personal communication needs, those who use it at higher rates are shown to have higher levels of psychological distress. == Diagnosis == While there is no official diagnostic term or measurement, problematic social media use is conceptualized as a non-substance-related disorder, resulting in preoccupation and compulsion to engage excessively in social media platforms despite negative consequences. No diagnosis exists for problematic social media use in either the ICD-11 or DSM-5. Excessive use of an activity, like social media, does not directly equate with addiction. There are other factors that could lead to someone's social media addiction including personality traits and pre-existing tendencies. While the extent of social media use and addiction are positively correlated, it is erroneous to employ use (the degree to which one makes use of the site's features, the effort exerted during use sessions, access frequency, etc.) as a proxy for addiction. Indicators of a potential dependence on social media include: Mood swings: a person uses social media to regulate his or her mood, or as a means of escaping real world conflicts. Relevance: social media starts to dominate a person's thoughts at the expense of other activities. Salience: social media becomes the most important part of someone's life. Tolerance: a person increases their time spent on social media to experience previously associated feelings they had while using social media. Withdrawal: when a person can not access social media their sleeping or eating habits change or signs of depression or anxiety can become present. Conflicts in real life: when social media is used excessively, it can affect real-life relationships with family and friends. Relapse: the tendency for previously affected individuals to revert to previous patterns of excessive social media use. There have been several scales developed and validated that help to understand the issues regarding problematic social media use. There is not one single scale that is being used by all researchers. == Treatment == Screen time recommendations for children and families have been developed by the American Academy of Pediatrics. Possible therapeutic interventions published include: Self-help interventions, including application-specific timers; Cognitive behavioural therapy; and Organisational and schooling support. Medications have not been shown to be effective in randomized, controlled trials for the related conditions of Internet addiction disorder or gaming disorder. == Prevention == Prevention approaches include screen time monitoring apps and other tech-based approaches to improve efficiency and decrease screen time and tools to help with addiction to online platform products. Parents' methods for monitoring, regulating, and understanding their children's social media use are referred to as parental mediation. Parental mediation strategies include active, restrictive, and co-using methods. Active mediation involves direct parent-child conversations that are intended to educate children on social media norms and safety, as well as the variety and purposes of online content. Restrictive mediation entails the implementation of rules, expectations, and limitations regarding children's social media use and interactions. Co-use is when parents jointly use social media alongside their children, and is most effective when parents are actively participating (like asking questions, making inquisitive/supportive comments) versus being passive about it. Active mediation is the most common strategy used by parents, though the key to success for any mediation strategy is consistency/reliability. When parents reinforce rules inconsistently, have no mediation strategy, or use highly restrictive strategies for monitoring their children's social media use, there is an observable increase in children's aggressive behaviours. When parents openly express that they are supportive of their child's autonomy and provide clear, consistent rules for media use, problematic usage and aggression decreases. Knowing that consistent, autonomy-supportive mediation has more positive outcomes than inconsistent, controlling mediation, parents can consciously foster more direct, involved, and genuine dialogue with their children. This can help prevent or reduce problematic social media use in children and teenagers. == Outcomes == === Adolescents and teens === Increased social medi

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• 

  FactorDaily

  FactorDaily is an Indian digital media publication founded in 2016 by Pankaj Mishra and Jayadevan PK. Mishra was formerly an Editor at TechCrunch and the Economic Times. The digital publication was launched with an intent to produce stories on the impact of technology on life in India. == History == FactorDaily began publishing in May 2016, with daily reported stories on technology, culture and life in India. Prior to its launch, the company had raised $1 million in seed funding from Accel India, Blume Ventures, Girish Mathrubootham of Freshdesk, Vijay Shekhar Sharma of PayTm, and Jay Vijayan of Tekion. Josey Puliyenthuruthel John, formerly Managing Editor at Business Today and National Corporate Editor at Mint, later joined the company as a Consulting Editor. In January 2017, FactorDaily launched its first Podcast called The Outliers. The inaugural episode featured a conversation with Manish Sharma of Printo on his journey starting up. == Awards == The FactorDaily team won the Bengaluru Editors Lab 2017, a journalism hackathon organised by the Global Editors Network (GEN). The story titled "India has 3,800 psychiatrists for 1.2bn people. Can tech step in to manage mental health?" won the first prize in the online category of the fifth Schizophrenia Research Foundation’s (SCARF) ‘Media for Mental Health’ awards. The story titled 'The dark hand of tech that stokes sex trafficking in India', won the Stop Slavery media Awards by the Thomson Reuters Foundation for the year 2020.

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• 

  Problematic social media use

  Excessive use of social media can lead to problems including impaired functioning and a reduction in overall wellbeing, for both users and those around them. Such usage is associated with a risk of mental health problems, sleep problems, academic struggles, and daytime fatigue. Psychological or behavioural dependence on social media platforms can result in significant negative functions in peoples daily lives. The risk of problems is also related to the type of platform of social media or online community being used. People of different ages and genders may be affected in different ways by problematic social media use. == Signs and symptoms == Signs of social media addiction or excessive use of social media include many behaviours similar to substance use disorders, including mood modification, salience, tolerance, stress withdrawal symptoms, psychological distress, anxiety and depression, conflict, and relapse, and low self esteem. People with problematic social media habits are at risk of being addicted and may require more time on social media as time passes. Frequent social media use may also be associated with self-reported symptoms of attention deficit hyperactivity disorder. Social anxiety (or fear of missing out) is another potential symptom. Social anxiety is defined as having intense anxiety or fear of being judged, negatively evaluated, or rejected in a social or performance situation. The fear of missing out can contribute to excessive usage due to frequent checking the media constantly throughout the day to check in and see what others are doing instead of doing other activities. Common signs include displacement, or replacing meaningful other activities with social media, and loneliness. == Causes and mechanisms == There are many theories for the mechanism or cause behind a person having problematic social media use. The transition from normal to problematic social media use occurs when a person relies on it to relieve stress, loneliness, depression, or provide continuous rewards. Cognitive-behavioral model – People increase their use of social media when they are in unfamiliar environments or awkward situations; Social skill model – People pull out their phones and use social media when they prefer virtual communication as opposed to face-to-face interactions because they lack self-presentation skills; Socio-cognitive model – This person uses social media because they love the feeling of people liking and commenting on their photos and tagging them in pictures. They are attracted to the positive outcomes they receive on social media. There are parallels to the gambling industry inherent to the design of various social media sites, with "'ludic loops' or repeated cycles of uncertainty, anticipation and feedback" potentially contributing to problematic social media use. Another factor directly facilitating the development of addiction to social media is the implicit attitude toward the IT artifact. Social media use may also stimulate the reward pathway in the brain. There is also a theory that social media addiction fulfills a basic evolutionary drives in the wake of mass urbanization worldwide. The basic psychological needs of "secure, predictable community life that evolved over millions of years" remain unchanged, leading some to find online communities to cope with the new individualized way of life in some modern societies. The "Evolutionary Mismatch" hypothesis holds that modern digital platforms amplify social competition and comparison in ways our ancestors never faced, possibly triggering maladaptive patterns such as anxiety, depression, or compulsive use. Similarly, some scholars compare social media to "junk food": The approach taken to develop social media platforms may contribute to problematic social media use. The ability to scroll and stream content endlessly and how app developers distort time by affecting the 'flow' of content when scrolling, potentially resulting in the Zeigarnik effect (the human brain will continue to pursue an unfinished task until a satisfying closure. Autoplay modes, the personalized nature of the content results in emotional attachment (the user values this above its actual value, which is referred to as the endowment effect), and the exposure effect (repeated exposure to a distinct stimulus by the user can condition the user into an enhanced or improved attitude toward it). The interactive nature of the platforms, including the ability to "like" content has also been linked. Even though social media can satisfy personal communication needs, those who use it at higher rates are shown to have higher levels of psychological distress. == Diagnosis == While there is no official diagnostic term or measurement, problematic social media use is conceptualized as a non-substance-related disorder, resulting in preoccupation and compulsion to engage excessively in social media platforms despite negative consequences. No diagnosis exists for problematic social media use in either the ICD-11 or DSM-5. Excessive use of an activity, like social media, does not directly equate with addiction. There are other factors that could lead to someone's social media addiction including personality traits and pre-existing tendencies. While the extent of social media use and addiction are positively correlated, it is erroneous to employ use (the degree to which one makes use of the site's features, the effort exerted during use sessions, access frequency, etc.) as a proxy for addiction. Indicators of a potential dependence on social media include: Mood swings: a person uses social media to regulate his or her mood, or as a means of escaping real world conflicts. Relevance: social media starts to dominate a person's thoughts at the expense of other activities. Salience: social media becomes the most important part of someone's life. Tolerance: a person increases their time spent on social media to experience previously associated feelings they had while using social media. Withdrawal: when a person can not access social media their sleeping or eating habits change or signs of depression or anxiety can become present. Conflicts in real life: when social media is used excessively, it can affect real-life relationships with family and friends. Relapse: the tendency for previously affected individuals to revert to previous patterns of excessive social media use. There have been several scales developed and validated that help to understand the issues regarding problematic social media use. There is not one single scale that is being used by all researchers. == Treatment == Screen time recommendations for children and families have been developed by the American Academy of Pediatrics. Possible therapeutic interventions published include: Self-help interventions, including application-specific timers; Cognitive behavioural therapy; and Organisational and schooling support. Medications have not been shown to be effective in randomized, controlled trials for the related conditions of Internet addiction disorder or gaming disorder. == Prevention == Prevention approaches include screen time monitoring apps and other tech-based approaches to improve efficiency and decrease screen time and tools to help with addiction to online platform products. Parents' methods for monitoring, regulating, and understanding their children's social media use are referred to as parental mediation. Parental mediation strategies include active, restrictive, and co-using methods. Active mediation involves direct parent-child conversations that are intended to educate children on social media norms and safety, as well as the variety and purposes of online content. Restrictive mediation entails the implementation of rules, expectations, and limitations regarding children's social media use and interactions. Co-use is when parents jointly use social media alongside their children, and is most effective when parents are actively participating (like asking questions, making inquisitive/supportive comments) versus being passive about it. Active mediation is the most common strategy used by parents, though the key to success for any mediation strategy is consistency/reliability. When parents reinforce rules inconsistently, have no mediation strategy, or use highly restrictive strategies for monitoring their children's social media use, there is an observable increase in children's aggressive behaviours. When parents openly express that they are supportive of their child's autonomy and provide clear, consistent rules for media use, problematic usage and aggression decreases. Knowing that consistent, autonomy-supportive mediation has more positive outcomes than inconsistent, controlling mediation, parents can consciously foster more direct, involved, and genuine dialogue with their children. This can help prevent or reduce problematic social media use in children and teenagers. == Outcomes == === Adolescents and teens === Increased social medi

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  Windows Live OneCare Safety Scanner

  Windows Live OneCare Safety Scanner (formerly Windows Live Safety Center and codenamed Vegas) was an online scanning, PC cleanup, and diagnosis service to help remove of viruses, spyware/adware, and other malware. It was a free web service that was part of Windows Live. On November 18, 2008, Microsoft announced the discontinuation of Windows Live OneCare, offering users a new free anti-malware suite Microsoft Security Essentials, which had been available since the second half of 2009. However, Windows Live OneCare Safety Scanner, under the same branding as Windows Live OneCare, was not discontinued during that time. The service was officially discontinued on April 15, 2011 and replaced with Microsoft Safety Scanner. == Overview == Windows Live OneCare Safety Scanner offered a free online scanning and protection from threats. The Windows Live OneCare Safety Scanner must be downloaded and installed to your computer to scan your computer. The "Full Service Scan" looks for common PC health issues such as viruses, temporary files, and open network ports. It searches and removes viruses, improves a computer's performance, and removes unnecessary clutter on the PC's hard disk. The user can choose between a "Full Scan" (which can be customized) or a "Quick Scan". The "Full Scan" scans for viruses (comprehensive scan or quick scan), hard disk performance (Disk fragmentation scan and/or Desk cleanup scan) and network safety (open port scan). The "Quick Scan" only scans for viruses, only on specific areas on the computer. The quick scan is faster than the full scan, hence that appellation. The service also provides a virus database, information about online threats, and general computer security documentation and tools. == Limits == The virus scanner on the Windows Live OneCare Safety Scanner site runs a scan of the user's computer only when the site is visited. It does not run periodic scans of the system, and does not provide features to prevent viruses from infecting the computer at the time, or thereafter. It simply resolves detected infections. Many users who have posted on the Product Feedback forum report script errors relating to Internet Explorer 7 (besides IE being the only browser supported by this service). The OneCare safety scanner team have been actively solving these problems, many of them registry-related.

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  Web series

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

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  Atomtronics

  Atomtronics is an emerging field concerning the quantum technology of matter-wave circuits which coherently guide propagating ultra-cold atoms. The systems typically include components analogous to those found in electronics, quantum electronics or optical systems, such as beam splitters, transistors, and atomic counterparts of superconducting quantum interference devices (SQUIDs). Applications range from studies of fundamental physics to the development of practical devices such as quantum superfluids for the computation of large models for artificial general intelligence. == Etymology == Atomtronics is a portmanteau of "atom" and "electronics", in reference to the creation of atomic analogues of electronic components, such as transistors and diodes, and also electronic materials such as semiconductors. The field itself has considerable overlap with atom optics and quantum simulation, and is not strictly limited to the development of electronic-like components. However, this field develops into the research of ultra-cold atoms for the applied research implications of computations in quantum science. == Methodology == Three major elements are required for an atomtronic circuit. The first is a Bose-Einstein condensate, which is needed for its coherent and superfluid properties, although an ultracold Fermi gas may also be used for certain applications. The second is a tailored trapping potential, which can be generated optically, magnetically, or using a combination of both. The final element is a method to induce the movement of atoms within the potential, which can be achieved in several ways, for various research advancements around fields not limited to distributed computing, supercomputing, and quantum computing. For example, a transistor-like atomtronic circuit may be realized by a ring-shaped trap divided into two by two moveable weak barriers, with the two separate parts of the ring acting as the drain and the source and the barriers acting as the gate. As the barriers move, atoms flow from the source to the drain. It is now possible to coherently guide matterwaves over distances of up to 40 cm in ring-shaped atomtronic matterwave guide measurement. == Applications == The field of atomtronics is still very nascent and any schemes realized thus far are proof-of-concept. Applications include: gravimetry rotational sensing via the Sagnac effect quantum computing Obstacles to the development of practical sensing devices are largely due to the technical challenges of creating Bose-Einstein condensates. They require bulky lab-based setups not easily suitable for transportation. However, creating portable experimental setups is an active area of research.

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  Telecommunications device for the deaf

  A telecommunications device for the deaf (TDD) is a teleprinter, an electronic device for text communication over a telephone line, that is designed for use by persons with hearing or speech difficulties. Other names for the device include teletypewriter (TTY), textphone (common in Europe), and minicom (United Kingdom). The typical TDD is a device about the size of a typewriter or laptop computer with a QWERTY keyboard and small screen that uses an LED, LCD, or VFD screen to display typed text electronically. In addition, TDDs commonly have a small spool of paper on which text is also printed – old versions of the device had only a printer and no screen. The text is transmitted live, via a telephone line, to a compatible device, i.e. one that uses a similar communication protocol. Special telephone services have been developed to carry the TDD functionality even further. In certain countries, there are systems in place so that a deaf person can communicate with a hearing person on an ordinary voice phone using a human relay operator. There are also "carry-over" services, enabling people who can hear but cannot speak ("hearing carry-over", a.k.a. "HCO"), or people who cannot hear but are able to speak ("voice carry-over", a.k.a. "VCO") to use the telephone. The term TDD is sometimes discouraged because people who are deaf are increasingly using mainstream devices and technologies to carry out most of their communication. The devices described here were developed for use on the partially-analog Public Switched Telephone Network (PSTN). They do not work well on the new internet protocol (IP) networks. Thus as society increasingly moves toward IP based telecommunication, the telecommunication devices used by people who are deaf will not be TDDs. In the US and Canada, the devices are referred to as TTYs. Teletype Corporation, of Skokie, Illinois, made page printers for text, notably for news wire services and telegrams, but these used standards different from those for deaf communication, and although in quite widespread use, were technically incompatible. Furthermore, these were sometimes referred to by the "TTY" initialism, short for "Teletype". When computers had keyboard input mechanisms and page printer output, before CRT terminals came into use, Teletypes were the most widely used devices. They were called "console typewriters". (Telex used similar equipment, but was a separate international communication network.) == History == === APCOM acoustic coupler or MODEM device === The TDD concept was developed by James C. Marsters (1924–2009), a dentist and private airplane pilot who became deaf as an infant because of scarlet fever, and Robert Weitbrecht, a deaf physicist. In 1964, Marsters, Weitbrecht and Andrew Saks, an electrical engineer and grandson of the founder of the Saks Fifth Avenue department store chain, founded APCOM (Applied Communications Corp.), located in the San Francisco Bay area, to develop the acoustic coupler, or modem; their first product was named the PhoneType. APCOM collected old teleprinter machines (TTYs) from the Department of Defense and junkyards. Acoustic couplers were cabled to TTYs enabling the AT&T standard Model 500 telephone to couple, or fit, into the rubber cups on the coupler, thus allowing the device to transmit and receive a unique sequence of tones generated by the different corresponding TTY keys. The entire configuration of teleprinter machine, acoustic coupler, and telephone set became known as the TTY. Weitbrecht invented the acoustic coupler modem in 1964. The actual mechanism for TTY communications was accomplished electro-mechanically through frequency-shift keying (FSK) allowing only half-duplex communication, where only one person at a time can transmit. === Paul Taylor TTY device === During the late 1960s, Paul Taylor combined Western Union Teletype machines with modems to create teletypewriters, known as TTYs. He distributed these early, non-portable devices to the homes of many in the deaf community in St. Louis, Missouri. He worked with others to establish a local telephone wake-up service. In the early 1970s, these small successes in St. Louis evolved into the nation's first local telephone relay system for the deaf. === Micon Industries MCM device === In 1973, the Manual Communications Module (MCM), which was the world's first electronic portable TTY allowing two-way telecommunications, premiered at the California Association of the Deaf convention in Sacramento, California. The battery-powered MCM was invented and designed by a deaf news anchor and interpreter, Kit Patrick Corson, in conjunction with Michael Cannon and physicist Art Ogawa. It was manufactured by Michael Cannon's company, Micon Industries, and initially marketed by Kit Corson's company, Silent Communications. In order to be compatible with the existing TTY network, the MCM was designed around the five-bit Baudot code established by the older TTY machines instead of the ASCII code used by computers. The MCM was an instant success with the deaf community despite the drawback of a $599 cost. Within six months there were more MCMs in use by the deaf and hard of hearing than TTY machines. After a year Micon took over the marketing of the MCM and subsequently concluded a deal with Pacific Bell (who coined the term "TDD") to purchase MCMs and rent them to deaf telephone subscribers for $30 per month. After Micon formed an alliance with APCOM, Michael Cannon (Micon), Paul Conover (Micon), and Andrea Saks (APCOM) successfully petitioned the California Public Utilities Commission (CPUC), resulting in a tariff that paid for TTY devices to be distributed free of cost to deaf persons. Micon produced over 1,000 MCMs per month, resulting in approximately 50,000 MCMs being disseminated into the deaf community. Before he left Micon in 1980, Michael Cannon developed several computer compatible variations of the MCM and a portable, battery operated printing TTY, but they were never as popular as the original MCM. Newer model TTYs could communicate with selectable codes that allow communications at a higher bit rate on those models similarly equipped. However, the lack of true computer interface functionality spelled the demise of the original TTY and its clones. During the mid-1970s, other so-called portable telephone devices were being cloned by other companies, and this was the time period when the term "TDD" began being used largely by those outside the deaf community. === Text messaging and the Def-Tone System (DTS) === This relay system became known commonly as the Def-Tone System (DTS) because the tones representing letters of the alphabet were eventually carried in tones outside the range of human hearing. Today, this is commonly called multi-tap because you press a number 1, 2 or 3 times to get a corresponding letter. In 1994 Joseph Alan Poirier, a college student-worker, recommended using the system to send texts to forklifts to improve delivery of parts to the assembly line at GM Powertrain in Toledo, Ohio, and sending a text to pagers. He recommended taking pagers to alphanumeric displays incorporating the same system in discussions with the pager supplier for Outback Steakhouse and having relays put in the forklifts to ping alert messages to the pagers used in that system. He called it text messaging, coining the phrase. It is theorized that when Toyota forklift was allegedly hired by GM for this work, one of the subcontractors, Kyocera, utilized the work for the Toyota forklift company to create text messaging for cell phones. === Marsters Award === In 2009, AT&T received the James C. Marsters Promotion Award from TDI (formerly Telecommunications for the Deaf, Inc.) for its efforts to increase accessibility to communication for people with disabilities. The award holds some irony; it was AT&T that, in the 1960s, resisted efforts to implement TTY technology, claiming it would damage its communication equipment. In 1968, the Federal Communications Commission struck down AT&T's policy and forced it to offer TTY access to its network. == Protocols == There are many different standards for TDDs and textphones. === Original 5-bit Baudot code === The original standard used by TTYs is a variant of the Baudot code. The maximum speed of this protocol is 10 characters per second. This is a half-duplex protocol, which means that only one person at a time may transmit characters. If both try to transmit at the same time, the characters will be garbled on the other end. This protocol is commonly used in the United States. This is a variant of the Baudot code, implemented as 5-bits per character transmitted asynchronously using frequency-shift key-modulation at either 45.5 or 50 baud, 1 start bit, 5 data bits, and 1.5 stop bits. Details of the protocol implementation are available in TIA-825-A and also in T-REC V.18 Annex A "5-bit operational mode". === Turbo Code === The UltraTec company implements another protocol known as Enh

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  LakeFS

  lakeFS is an open-source data version control system for managing data stored in object storage. It provides Git-like operations such as branching, committing, merging, and reverting for large-scale data stored in systems including Amazon S3, Azure Blob Storage, and Google Cloud Storage, as well as other S3-compatible object storage platforms. lakeFS is used in data engineering and machine learning workflows to manage changes to data, support reproducibility, and enable data governance across data lakes. The software is available as an open-source project, as well as in enterprise and managed service offerings, including lakeFS Cloud. == History == lakeFS was created in 2020 by Einat Orr and Oz Katz at Treeverse. Its first public release, version 0.8.1, appeared in August 2020 and introduced Git-style operations with support for Amazon S3. In 2021, Treeverse raised $23 million in a Series A funding round led by Dell Technologies Capital, Norwest Venture Partners, and Zeev Ventures. The same year, lakeFS was included in InfoWorld’s Best of Open Source Software (Bossie) awards. In June 2022, Treeverse introduced lakeFS Cloud, a managed service providing hosted lakeFS deployments for cloud-based data lakes. Version 1.0 was released in October 2023, adding integrations with platforms such as Databricks and Apache Iceberg, as well as support for orchestration tools including Apache Airflow. Public case studies and conference materials have described usage of lakeFS by organizations such as Microsoft, Volvo, and NASA. In July 2025, Treeverse announced an additional $20 million in growth funding to support further development of lakeFS. In November 2025, Treeverse announced the acquisition of the open-source data version control project DVC. == Software == === Overview === lakeFS provides Git-like operations such as branching, committing, merging, and reverting for datasets stored in object storage. These operations are used to manage changes to data, test modifications in isolation, reproduce specific data states, and recover from errors or unintended updates. === Architecture === lakeFS operates as a metadata layer on top of object storage systems such as Amazon S3, Azure Blob Storage, and Google Cloud Storage. It stores repository metadata describing commits, branches, and tags, enabling versioned views of data without copying underlying objects. The system provides access through multiple interfaces, including a web user interface, command-line tools, a REST API, and software development kits. It is designed to integrate with existing data engineering and machine learning workflows, and can be deployed either in self-hosted environments or as a managed service. === Functions === lakeFS provides version control functionality for data stored in object storage–based data lakes. Core features include: Atomic commits and version tracking for datasets, supporting reproducibility and auditability. Branching and merging mechanisms that allow isolated development and testing without duplicating data. Configurable hooks that can validate data or trigger external processes during commit and merge operations. The ability to revert repositories to earlier states to recover from data errors or failed changes. Recording of commit history and associated metadata for lineage tracking. Support for managing data across multiple object storage systems, including Amazon S3, Azure Blob Storage, Google Cloud Storage, and MinIO. Use of fixed data versions to reproduce experiments and machine learning model training. === Integrations === Coverage of lakeFS has described integrations with platforms such as Databricks and Apache Iceberg, as well as support for environments including Red Hat OpenShift. Additional materials describe its use with Trino, including validation of data changes prior to merging in versioned data workflows, as well as compatibility with orchestration tools such as Apache Airflow.

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  Photonically Optimized Embedded Microprocessors

  The Photonically Optimized Embedded Microprocessors (POEM) is DARPA program. It should demonstrate photonic technologies that can be integrated within embedded microprocessors and enable energy-efficient high-capacity communications between the microprocessor and DRAM. For realizing POEM technology CMOS and DRAM-compatible photonic links should operate at high bit-rates with very low power dissipation. == Current research == Currently research in this field is at University of Colorado, Berkley University, and Nanophotonic Systems Laboratory ( Ultra-Efficient CMOS-Compatible Grating Coupler Design).

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  Content strategy

  Content strategy guides the planning, development, and management of content. It is a recognized field in user experience design, and it also draws from adjacent disciplines such as information architecture, content management, business analysis, digital marketing, and technical communication. == Definitions == Content strategy has been described as planning for "the creation, publication, and governance of useful, usable content." It has also been called "a repeatable system that defines the entire editorial content development process for a website development project." In a 2007 article titled "Content Strategy: The Philosophy of Data," Rachel Lovinger describes the goal of content strategy as using "words and data to create unambiguous content that supports meaningful, interactive experiences." Here, she also provided the analogy that "content strategy is to copywriting as information architecture is to design." She encourages content strategists and collaborators to engage in early discussions about content meaning, models, and tools, to make sure strategy is integrated from the start rather than as an afterthought. The Content Strategy Alliance combines Kevin Nichols' definition with Kristina Halvorson's and defines content strategy as "getting the right content to the right user at the right time through strategic planning of content creation, delivery, and governance." == Practitioners == Content strategists are often familiar with a wide range of approaches, techniques, and tools. The perspectives that content strategists bring also depend heavily on their professional training and education. For instance, some specialize in "front-end strategy," which includes developing personas, journey mapping the user experience, aligning business strategy and user needs, developing a brand strategy, exploring different channels, and creating style guidelines and search engine optimization (SEO) guidelines. Others specialize in "back-end strategy," which includes creating content models, planning taxonomies and metadata, structuring content management systems, and building systems to support content reuse. Both roles involve addressing workflow and governance issues. Many organizations and individuals tend to confuse content strategists with editors. However, content strategy is "about more than just the written word," according to Washington State University associate professor Brett Atwood. For example, Atwood indicates that a practitioner needs to also "consider how content might be re-distributed and/or re-purposed in other channels of delivery." It has also been proposed that the content strategist performs the role of a curator. Just as a museum curator sifts through a collection of content and identifies key pieces that can be juxtaposed against each other to create meaning and spur excitement, a content strategist "must approach a business’s content as a medium that needs to be strategically selected and placed to engage the audience, convey a message, and inspire action."

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  Quality of experience

  Quality of experience (QoE) is a measure of the delight or annoyance of a customer's experiences with a service (e.g., web browsing, phone call, TV broadcast). QoE focuses on the entire service experience; it is a holistic concept, similar to the field of user experience, but with its roots in telecommunication. QoE is an emerging multidisciplinary field based on social psychology, cognitive science, economics, and engineering science, focused on understanding overall human quality requirements. == Definition and concepts == In 2013, within the context of the COST Action QUALINET, QoE has been defined as:The degree of delight or annoyance of the user of an application or service. It results from the fulfillment of his or her expectations with respect to the utility and / or enjoyment of the application or service in the light of the user’s personality and current state.This definition has been adopted in 2016 by the International Telecommunication Union in Recommendation ITU-T P.10/G.100. Before, various definitions of QoE had existed in the domain, with the above-mentioned definition now finding wide acceptance in the community. QoE has historically emerged from Quality of Service (QoS), which attempts to objectively measure service parameters (such as packet loss rates or average throughput). QoS measurement is most of the time not related to a customer, but to the media or network itself. QoE however is a purely subjective measure from the user's perspective of the overall quality of the service provided, by capturing people's aesthetic and hedonic needs. QoE looks at a vendor's or purveyor's offering from the standpoint of the customer or end user, and asks, "What mix of goods, services, and support, do you think will provide you with the perception that the total product is providing you with the experience you desired and/or expected?" It then asks, "Is this what the vendor/purveyor has actually provided?" If not, "What changes need to be made to enhance your total experience?" In short, QoE provides an assessment of human expectations, feelings, perceptions, cognition and satisfaction with respect to a particular product, service or application. QoE is a blueprint of all human subjective and objective quality needs and experiences arising from the interaction of a person with technology and with business entities in a particular context. Although QoE is perceived as subjective, it is an important measure that counts for customers of a service. Being able to measure it in a controlled manner helps operators understand what may be wrong with their services and how to improve them. == QoE factors == QoE aims at taking into consideration every factor that contributes to a user's perceived quality of a system or service. This includes system, human and contextual factors. The following so-called "influence factors" have been identified and classified by Reiter et al.: Human Influence Factors Low-level processing (visual and auditory acuity, gender, age, mood, …) Higher-level processing (cognitive processes, socio-cultural and economic background, expectations, needs and goals, other personality traits…) System Influence Factors Content-related Media-related (encoding, resolution, sample rate, …) Network-related (bandwidth, delay, jitter, …) Device-related (screen resolution, display size, …) Context Influence Factors Physical context (location and space) Temporal context (time of day, frequency of use, …) Social context (inter-personal relations during experience) Economic context Task context (multitasking, interruptions, task type) Technical and information context (relationship between systems) Studies in the field of QoE have typically focused on system factors, primarily due to its origin in the QoS and network engineering domains. Through the use of dedicated test laboratories, the context is often sought to be kept constant. == QoE versus User Experience == QoE is strongly related to but different from the field of User Experience (UX), which also focuses on users' experiences with services. Historically, QoE has emerged from telecommunication research, while UX has its roots in Human–Computer Interaction. Both fields can be considered multi-disciplinary. In contrast to UX, the goal of improving QoE for users was more strongly motivated by economic needs. Wechsung and De Moor identify the following key differences between the fields: == QoE measurement == As a measure of the end-to-end performance at the service level from the user's perspective, QoE is an important metric for the design of systems and engineering processes. This is particularly relevant for video services because – due to their high traffic demands –, bad network performance may highly affect the user's experience. So, when designing systems, the expected output, i.e. the expected QoE, is often taken into account – also as a system output metric and optimization goal. To measure this level of QoE, human ratings can be used. The mean opinion score (MOS) is a widely used measure for assessing the quality of media signals. It is a limited form of QoE measurement, relating to a specific media type, in a controlled environment and without explicitly taking into account user expectations. The MOS as an indicator of experienced quality has been used for audio and speech communication, as well as for the assessment of quality of Internet video, television and other multimedia signals, and web browsing. Due to inherent limitations in measuring QoE in a single scalar value, the usefulness of the MOS is often debated. Subjective quality evaluation requires a lot of human resources, establishing it as a time-consuming process. Objective evaluation methods can provide quality results faster, but require dedicated computing resources. Since such instrumental video quality algorithms are often developed based on a limited set of subjective data, their QoE prediction accuracy may be low when compared to human ratings. QoE metrics are often measured at the end devices and can conceptually be seen as the remaining quality after the distortion introduced during the preparation of the content and the delivery through the network, until it reaches the decoder at the end device. There are several elements in the media preparation and delivery chain, and some of them may introduce distortion. This causes degradation of the content, and several elements in this chain can be considered as "QoE-relevant" for the offered services. The causes of degradation are applicable for any multimedia service, that is, not exclusive to video or speech. Typical degradations occur at the encoding system (compression degradation), transport network, access network (e.g., packet loss or packet delay), home network (e.g. WiFi performance) and end device (e.g. decoding performance). == QoE management == Several QoE-centric network management and bandwidth management solutions have been proposed, which aim to improve the QoE delivered to the end-users. When managing a network, QoE fairness may be taken into account in order to keep the users sufficiently satisfied (i.e., high QoE) in a fair manner. From a QoE perspective, network resources and multimedia services should be managed in order to guarantee specific QoE levels instead of classical QoS parameters, which are unable to reflect the actual delivered QoE. A pure QoE-centric management is challenged by the nature of the Internet itself, as the Internet protocols and architecture were not originally designed to support today's complex and high demanding multimedia services. As an example for an implementation of QoE management, network nodes can become QoE-aware by estimating the status of the multimedia service as perceived by the end-users. This information can then be used to improve the delivery of the multimedia service over the network and proactively improve the users' QoE. This can be achieved, for example, via traffic shaping. QoE management gives the service provider and network operator the capability to minimize storage and network resources by allocating only the resources that are sufficient to maintain a specific level of user satisfaction. As it may involve limiting resources for some users or services in order to increase the overall network performance and QoE, the practice of QoE management requires that net neutrality regulations are considered.

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  Signal-to-noise ratio (imaging)

  Signal-to-noise ratio (SNR) is used in imaging to characterize image quality. The sensitivity of a (digital or film) imaging system is typically described in the terms of the signal level that yields a threshold level of SNR. Industry standards define sensitivity in terms of the ISO film speed equivalent, using SNR thresholds (at average scene luminance) of 40:1 for "excellent" image quality and 10:1 for "acceptable" image quality. SNR is sometimes quantified in decibels (dB) of signal power relative to noise power, though in the imaging field the concept of "power" is sometimes taken to be the power of a voltage signal proportional to optical power; so a 20 dB SNR may mean either 10:1 or 100:1 optical power, depending on which definition is in use. == Definition of SNR == Traditionally, SNR is defined to be the ratio of the average signal value μ s i g {\displaystyle \mu _{\mathrm {sig} }} to the standard deviation of the signal σ s i g {\displaystyle \sigma _{\mathrm {sig} }} : S N R = μ s i g σ s i g {\displaystyle \mathrm {SNR} ={\frac {\mu _{\mathrm {sig} }}{\sigma _{\mathrm {sig} }}}} when the signal is an optical intensity, or as the square of this value if the signal and noise are viewed as amplitudes (field quantities).

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  Commercial skipping

  Commercial skipping is a feature of some digital video recorders that makes it possible to automatically skip commercials in recorded programs. This feature created controversy, with major television networks and movie studios claiming it violates copyright and should be banned. == History == After the video cassette recorder (VCR) became popular in the 1980s, the television industry began studying the impact of users fast forwarding through commercials. Advertising agencies fought the trend by making them more entertaining. For many years, video recorders manufactured for the Japanese market have been able to skip advertisements automatically, which is done by detecting when foreign language audio overdub tracks provided for many programmes go silent, as advertisements were broadcast with a single language only. The first digital video recorder (DVR) with a built-in commercial skipping feature was ReplayTV with its "4000 Series" and "5000 Series" units. In 2002, the main television networks and movie studios sued ReplayTV, claiming that skipping advertisements during replay violates copyright. Later, five owners of ReplayTV represented by Electronic Frontier Foundation and attorneys Ira Rothken and Richard Wiebe countersued, asking the federal judge to uphold consumers' rights to record TV shows and skip commercials, claiming that features like commercial skipping help parents protect their kids from excessive consumerism. ReplayTV ended up filing for bankruptcy in 2003 after fighting a copyright infringement suit over the ReplayTV's ability to skip commercials. === Commercial skipping software === In addition to the DVR devices which existed in the private market since the late 1990s, towards the mid-2000s, due to the significant advances in home computers, Home theater PCs started gaining popularity in the private market and many users began using their Home theater PCs in their living room for entertainment purposes. Following this, many DVR programs were developed, including popular programs such as Windows Media Center, which contained all of the features of the DVR devices in addition to advanced features such as HDTV and the use of Multiple TV Tuner Cards. Some independent developers began developing independent software capable of skipping the commercial segments when playing recorded videos, and permanently removing the commercial segments from recorded video files. By 2014, many DVR programs such as Windows Media Center, SageTV and MythTV had the capability to skip commercials segments in recorded TV broadcasts after installing third-party add-ons such as DVRMSToolbox, Comskip and ShowAnalyzer, which use various advanced techniques to locate the commercial segments in the video files and save their locations to text files. The text files can also be fed into programs such as MEncoder or DVRMSToolboxGUI which can delete the commercial segments from the recorded video files. A few third-party tools such as MCEBuddy automate detection and removal/marking of commercials. One of the weaknesses of commercial skippers is that, operating automatically, they may misidentify program material as a commercial. Some programs like MCEBuddy provide the ability to fine-tune commercial detection for groups of files (e.g. by channel or country) and provide tools to manually fine-tune commercial segments for individual files. In May 2012, the US Dish Network began offering a DVR with what it calls AutoHop. The device would automatically skip commercials when displaying programming that the viewer had previously recorded with the PrimeTime Anytime feature. It does not skip ads on any live programs. US broadcasters were angered at the news, and FOX embarked on legal action. Most, but not all, of Fox's claims were dismissed; ultimately an agreement was reached whereby AutoHop would only become available for Fox stations seven days after a program is transmitted; terms of the settlement were not disclosed. == The future of TV advertisements == The introduction of digital video recorders and services with skipping and fast-forward capabilities enables viewers to avoid viewing interruptive advertisements in recorded programs, either manually or automatically. While advertising separate to television shows can be skipped, advertising in TV shows themselves ("product placement") cannot be skipped. Streaming services such as Hulu show shorter advertisements with a countdown timer and tailored to the viewers interests, asking interactive questions like "Is this ad relevant to you?".

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  Filter (social media)

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

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