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Synthesia (company)

Synthesia Limited is a British multinational artificial intelligence company based in London, United Kingdom. It is a synthetic media-generation software developer and creator of AI-generated video content, including audio-visual agents and cloned avatars. Britain's largest generative-AI firm, it is used by 70% of FTSE 100 and over 90% of Fortune 100 companies. == Overview == Synthesia is most often used by corporations for localized communication, orientation, employee training videos, advertising campaigns, reporting, product demonstrations, customer service, and to create chatbots. Its software algorithm mimics speech and facial movements based on video recordings of an individual’s speech and facial expressions. From this, a text-to-speech video is created to look and sound like the individual. Swiss bank UBS incorporated Synthesia AI-powered avatars of their human financial experts, for instance, in 2025. Users create content via the platform's pre-generated AI presenters or by creating digital representations of themselves, or personal avatars, using the platform's AI video editing tool. These avatars can be used to narrate videos generated from text. As of August 2021, Synthesia's voice database included multiple gender options in over 60 languages. Its free voice library doubled by 2025, to 140 languages and accents, and its Express-Voice technology can clone a user's own voice, or generate a synthetic one. === Deepfakes === The platform prohibits use of its software to create non-consensual clones, including of celebrities or political figures for satirical purposes. Explicit consent must be provided in addition to a strict pre-screening regimen for use of an individual's likeness to avoid “deepfaking”. While the company prohibits use of its technology for misinformation or "news-like content", an October 2023 Freedom House report stated that Synthesia tools had been used by governments in Venezuela, China, Burkina Faso, and Russia to create videos of fake TV news outlets with AI-generated avatars in order to spread propaganda. Actor Dan Dewhirst signed a contract with the company in 2021, becoming one of the first actors whose likeness would be made into an AI avatar, finding his likeness used in the Venezuelan generated-videos. The company stated, in February 2024, that it had improved its misuse detection systems, and, in April 2024, that new users of its technology are screened by the company, and content employing it is further vetted by Synthesia moderators. == History == Synthesia's software utilizes deep learning architecture developed by Lourdes Agapito and Matthias Niessner. The company was co-founded in 2017 by Agapito, Niessner, Victor Riparbelli, and Steffen Tjerrild. In 2018, the company first demonstrated the software's capabilities on the BBC programme Click when it presented a digitization of Matthew Amroliwala speaking Spanish, Mandarin, and Hindi. Through Synthesia's first two years of existence, it employed 10 people and struggled to make sales, leading to an expansion of the company's focus. It moved on from just targeting entertainment studios to a variety of businesses. In 2020, Synthesia users were reported to include Amazon, Tiffany & Co. and IHG Hotels & Resorts. In January 2024, the company introduced its AI video assistant, which turns text-to-video. That April, with a reported 55,000 customers, including half of the Fortune 100, Synthesia launched "expressive avatars". That September, an enhanced dubbing feature was launched, to translate video in 30 languages with naturalized lip-syncing. Peter Hill joined Synthesia as CTO in January 2025, following 25 years at Amazon, and two years as CEO and CPO of Wildfire Studios. That March, a million dollar base of shares was formed to furnish human actors, employed to generate digital avatars, with company stock, which all of its employees hold. By June of that year, 150,000 individuals from among Synthesia's 65,000 customers had created AI-generated avatars of themselves. In July 2025, the company's new global headquarters at Regent’s Place was opened by London mayor Sadiq Khan, who described Britain's largest generative-AI company, then valued at over $2 billion, as a "London success story". By that October, its technology was employed by 90% of the Fortune 100, and Synthesia 3.0 was launched, with hyper-realistic digital avatars equipped with AI-powered dubbing and translation, and a built-in video assistant. In January 2026, it reached a $4 billion valuation, with 70% of FTSE 100 companies noted among its customers. === Funding === The company raised $3.1 million in seed funding in 2019. In April 2021, the company raised $12.5 million in Series A funding. In December 2021, it raised $50 million in a Series B funding round led by Kleiner Perkins and GV (then Google Ventures). Synthesia gained a total valuation of $1 billion, and achieved unicorn status, when it raised $90 million from Accel and Nvidia partnership NVentures, in June 2023, during its Series C funding round. Counting 60,000 customers by January 2025, including over 60% of Fortune 100 companies; the company raised $180 million in a Series D round led by NEA, with new investors World Innovation Lab (WiL), Atlassian Ventures and PSP Growth, as well as existing investors GV, MMC Ventures and FirstMark, doubling Synthesia's valuation to $2.1 billion. Capital raised by 2025 had reached $330 million, with investments slated to further product innovation, talent growth, and company expansion in North America, Europe, Japan and Australia. In April 2025, Adobe Inc. invested £10 million in the company for a strategic partnership. Synthesia subsequently rejected a $3 billion acquisition offer from Adobe, choosing to remain independent. With a revenue stream then exceeding $100 million annually; GV led a Series E funding round in October 2025, resulting in Synthesia's $4 billion valuation, raising $200 million from GV, Nvidia and Accel to develop, in 2026, interactive audio-visual avatar "agents" that converse on topic, for automated sales training and corporate communications, such as recruiting. == Recognition == In 2021, Synthesia partnered with Lay's to create the Messi Messages campaign featuring Argentine footballer Lionel Messi. Users created personalized messages with Synthesia's software and sent custom artificial reality video messages from Messi based on their text input. The campaign received a Cannes Lion Award under the Bronze category. In February 2025, UK Science and Technology Minister Peter Kyle commended Synthesia's "pioneering generative AI innovations."
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Librem

Librem is a line of computers manufactured by Purism, SPC featuring free (libre) software. The laptop line is designed to protect privacy and freedom by omitting non-free (proprietary) software in their operating system and kernel, avoiding the Intel Active Management Technology, and gradually freeing and securing firmware. Librem laptops feature hardware kill switches for the microphone, webcam, Bluetooth and Wi-Fi. == Models == === Laptops === ==== Librem 13, Librem 15 and Librem 14 ==== In 2014, Purism launched a crowdfunding campaign on Crowd Supply to fund the creation and production of the Librem 15 laptop, conceived as a modern alternative to existing open-source hardware laptops, all of which used older hardware. The 15 in the name refers to its 15-inch screen size. The campaign succeeded after extending the original campaign, and the laptops were shipped to backers. In a second revision of the laptop, hardware kill switches for the camera, microphone, Wi-Fi, and Bluetooth were added. After the successful launch of the Librem 15, Purism created another campaign on Crowd Supply for a 13-inch laptop named Librem 13, which also came with hardware kill switches similar to those on the Librem 15v2. The campaign was again successful and the laptops were shipped to customers. Purism announced in December 2016 that it would start shipping from inventory rather than building to order with the new batches of Librem 15 and 13. As of January 2023, Purism has one laptop model in production, the Librem 14. ==== Comparison of laptops ==== === Librem Mini === The Librem Mini is a small form factor desktop computer, which began shipping in June 2020. === Librem 5 === On August 24, 2017, Purism began a crowdfunding campaign for the Librem 5, a smartphone aimed to run 100% free software, which would "[focus] on security by design and privacy protection by default". Purism claimed that the phone would become "the world's first ever IP-native mobile handset, using end-to-end encrypted decentralized communication." Purism cooperated with KDE and GNOME in its development of Librem 5. Security features of the Librem 5 include separation of the CPU from the baseband processor, which, according to Linux Magazine, makes the Librem 5 unique in comparison to other mobile phones. The Librem 5 also features hardware kill switches for Wi-Fi and Bluetooth communication and the phone's camera, microphone, and baseband processor. The default operating system for the Librem 5 is Purism's PureOS, a Debian derivative. The operating system uses a new user interface named Phosh, based on Wayland, wlroots, GTK and GNOME middleware. It is planned that Phosh/Plasma Mobile, Ubuntu Touch, and postmarketOS can also be installed on the phone. The release of the Librem 5 has been postponed several times. In September 2018, Purism announced that the launch date of Librem 5 would be moved from January to April 2019, because of two hardware bugs and the holiday season in Europe and North America. The Librem 5's DevKits for software developers were shipped in December 2018. The launch date was later postponed to the third quarter because of the necessity of further CPU tests. On September 24, 2019, Purism announced that the first batch of Librem 5 phones had begun shipping. The finished version of the Librem 5, known as "Evergreen", was finally shipped on November 18, 2020. === Librem Server === The Librem server is a rack mounted server, released to the public in December 2019. === Librem Key === Announced on 20 September 2018, the Librem Key is a hardware USB security token with multiple features, including integration with a tamper-evident Heads BIOS, which ensures that the Librem laptop Basic Input/Output System (BIOS) was not maliciously altered since the last laptop launch. The Librem Key also features one-time password storage with 3x HMAC-based One-time Password algorithm (HOTP) (RFC 4226) and 15 x Time-based One-time Password algorithm (TOTP) (RFC 6238) and an integrated password manager (16 entries), 40 kbit/s true random number generator, and a tamper-resistant smart card. The key supports type A USB 2.0, has dimensions of 48 x 19 x 7 mm, and weighs 6 g. == Operating system == Initially planning to preload its Librem laptops with the Trisquel operating system, Purism eventually moved off the Trisquel platform to Debian for the 2.0 release of its PureOS Linux operating system. As an alternative to PureOS, Librem laptops are purchasable with Qubes OS preinstalled. In December 2017, the Free Software Foundation added PureOS to its list of endorsed GNU/Linux distributions. == BIOS == In 2015, Purism began research to port the Librem 13 to coreboot but the effort was initially stalled. By the end of the year, a coreboot developer completed an initial port of the Librem 13 and submitted it for review. In December 2016, hardware enablement developer Youness Alaoui joined Purism and was tasked to complete the coreboot port for the original Librem 13 and prepare a port for the second revision of the device. Since summer 2017, new Librem laptops are shipped with coreboot as their standard BIOS, and updates are available for all older models. Purism calls a collection of these six components, involved in the boot process, as PureBoot: Neutralized and disabled Intel Management Engine coreboot A Trusted Platform Module (TPM) chip Heads, which has tamper-evident features to detect if the BIOS or important boot files have been modified Librem Key, Purism's USB security token Multi-factor authentication that unlocks disk encryption using the Librem Key PureBoot protects the users from various attacks like theft, BIOS malware and kernel rootkits, vulnerabilities and malicious code in the Intel Management Engine, and interdiction.
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The Culture of Connectivity

The Culture of Connectivity: A Critical History of Social Media is a book by José van Dijck published by Oxford University Press in 2013 on social media platforms and their history. The author considers the histories of five social media platforms: Facebook, Twitter, Flickr, YouTube, and Wikipedia. She focuses on how their technological, social and cultural dimensions contribute to their current status.
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Creator economy

The creator economy, also known as influencer economy, is a platform-driven economy in which creators produce content, products, or services and distribute them directly to their audience through social media platforms and emerging technologies. This economic model is based on the ability of creators to build and maintain communities of users, monetizing their creative activity through multiple channels including advertising, sponsorships, product sales, crowdfunding, and subscription-based services. Creators include various professional categories such as social media influencers, YouTubers, bloggers, artists, online educators, podcasters, and independent professionals, who use platforms as infrastructure to reach their audience without necessarily relying on traditional intermediaries in the cultural and media industry. According to Goldman Sachs Research, the ongoing growth of the creator economy will likely benefit companies that possess a combination of factors, including a large global user base, access to substantial capital, robust AI-powered recommendation engines, versatile monetization tools, comprehensive data analytics, and integrated e-commerce options. Examples of creator economy software platforms include YouTube, TikTok, Instagram, Facebook, Twitch, Spotify, Substack, OnlyFans and Patreon. == History == The term "creator" was coined by YouTube in 2011 to be used instead of "YouTube star", an expression that at the time could only apply to famous individuals on the platform. The term has since become omnipresent and is used to describe anyone creating any form of online content. A number of platforms such as TikTok, Snapchat, YouTube, and Facebook have set up funds with which to pay creators. == Criticism == The large majority of content creators derive no monetary gain for their creations, with most of the benefits accruing to the platforms who can make significant revenues from their uploads. As few as 0.1% of creators are able to earn a living through their channels.
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Morphing

Morphing is a special effect in motion pictures and animations that changes (or morphs) one image or shape into another through a seamless transition. Traditionally such a depiction would be achieved through dissolving techniques on film. Since the early 1990s, this has been replaced by computer software to create more realistic transitions. A similar method is applied to audio recordings, for example, by changing voices or vocal lines. == Early transformation techniques == Long before digital morphing, several techniques were used for similar image transformations. Some of those techniques are closer to a matched dissolve – a gradual change between two pictures without warping the shapes in the images – while others did change the shapes in between the start and end phases of the transformation. === Tabula scalata === Known since at least the end of the 16th century, Tabula scalata is a type of painting with two images divided over a corrugated surface. Each image is only correctly visible from a certain angle. If the pictures are matched properly, a primitive type of morphing effect occurs when changing from one viewing angle to the other. === Mechanical transformations === Around 1790 French shadow play showman François Dominique Séraphin used a metal shadow figure with jointed parts to have the face of a young woman changing into that of a witch. Some 19th century mechanical magic lantern slides produced changes to the appearance of figures. For instance a nose could grow to enormous size, simply by slowly sliding away a piece of glass with black paint that masked part of another glass plate with the picture. === Matched dissolves === In the first half of the 19th century "dissolving views" were a popular type of magic lantern show, mostly showing landscapes gradually dissolving from a day to night version or from summer to winter. Other uses are known, for instance Henry Langdon Childe showed groves transforming into cathedrals. The 1910 short film Narren-grappen shows a dissolve transformation of the clothing of a female character. Maurice Tourneur's 1915 film Alias Jimmy Valentine featured a subtle dissolve transformation of the main character from respected citizen Lee Randall into his criminal alter ego Jimmy Valentine. The Peter Tchaikovsky Story in a 1959 TV-series episode of Disneyland features a swan automaton transforming into a real ballet dancer. In 1985, Godley & Creme created a "morph" effect using analogue cross-fades on parts of different faces in the video for "Cry". === Animation === In animation, the morphing effect was created long before the introduction of cinema. A phenakistiscope designed by its inventor Joseph Plateau was printed around 1835 and shows the head of a woman changing into a witch and then into a monster. Émile Cohl's 1908 animated film Fantasmagorie featured much morphing of characters and objects drawn in simple outlines. == Digital morphing == In the early 1990s, computer techniques capable of more convincing results saw increasing use. These involved distorting one image at the same time that it faded into another through marking corresponding points and vectors on the "before" and "after" images used in the morph. For example, one would morph one face into another by marking key points on the first face, such as the contour of the nose or location of an eye, and mark where these same points existed on the second face. The computer would then distort the first face to have the shape of the second face at the same time that it faded the two faces. To compute the transformation of image coordinates required for the distortion, the algorithm of Beier and Neely can be used. === Concerns === In 1993 concerns were raised about the authenticity of digitally altered images arising from morphing. Images of fake "tween" people found half way between two morphed people created a skeptical media long before AI. === Early examples === In or before 1986, computer graphics company Omnibus created a digital animation for a Tide commercial with a Tide detergent bottle smoothly morphing into the shape of the United States. The effect was programmed by Bob Hoffman. Omnibus re-used the technique in the movie Flight of the Navigator (1986). It featured scenes with a computer generated spaceship that appeared to change shape. The plaster cast of a model of the spaceship was scanned and digitally modified with techniques that included a reflection mapping technique that was also developed by programmer Bob Hoffman. The 1986 movie The Golden Child implemented early digital morphing effects from animal to human and back. Willow (1988) featured a more detailed digital morphing sequence with a person changing into different animals. A similar process was used a year later in Indiana Jones and the Last Crusade to create Walter Donovan's gruesome demise. Both effects were created by Industrial Light & Magic, using software developed by Tom Brigham and Doug Smythe (AMPAS). In 1991, morphing appeared notably in the Michael Jackson music video "Black or White" and in the movies Terminator 2: Judgment Day and Star Trek VI: The Undiscovered Country. The first application for personal computers to offer morphing was Gryphon Software Morph on the Macintosh. Other early morphing systems included ImageMaster, MorphPlus and CineMorph, all of which premiered for the Amiga in 1992. Other programs became widely available within a year, and for a time the effect became common to the point of cliché. For high-end use, Elastic Reality (based on MorphPlus) saw its first feature film use in In The Line of Fire (1993) and was used in Quantum Leap (work performed by the Post Group). At VisionArt Ted Fay used Elastic Reality to morph Odo for Star Trek: Deep Space Nine. The Snoop Dogg music video "Who Am I? (What's My Name?)", where Snoop Dogg and the others morph into dogs. Elastic Reality was later purchased by Avid, having already become the de facto system of choice, used in many hundreds of films. The technology behind Elastic Reality earned two Academy Awards in 1996 for Scientific and Technical Achievement going to Garth Dickie and Perry Kivolowitz. The effect is technically called a "spatially warped cross-dissolve". The first social network designed for user-generated morph examples to be posted online was Galleries by Morpheus. In late 1991 Yeti Productions employed a young Stephen Regelous to run it's 486 computer graphics system in Wellington New Zealand. After producer Barry Thomas showed him Michael Jackson's "Black or White", Regelous wrote 10,000 lines of C++ code of triangle-based digital morphing software. Together they created morphing based TV commercials for The NZ Cancer Society, Fit food, Salvation Army and others. The Fit food commercial employed morphing with 35mm, pin registered, digitally controlled motion control designed and made by Russell Collins with software by Stephen Regelous. In Taiwan, Aderans, a hair loss solutions provider, did a TV commercial featuring a morphing sequence in which people with lush, thick hair morph into one another, reminiscent of the end sequence of the "Black or White" video. === Present use === Morphing algorithms continue to advance and programs can automatically morph images that correspond closely enough with relatively little instruction from the user. This has led to the use of morphing techniques to create convincing slow-motion effects where none existed in the original film or video footage by morphing between each individual frame using optical flow technology. Morphing has also appeared as a transition technique between one scene and another in television shows, even if the contents of the two images are entirely unrelated. The algorithm in this case attempts to find corresponding points between the images and distort one into the other as they crossfade. While perhaps less obvious than in the past, morphing is used heavily today. Whereas the effect was initially a novelty, today, morphing effects are most often designed to be seamless and invisible to the eye. A particular use for morphing effects is modern digital font design. Using morphing technology, called interpolation or multiple master tech, a designer can create an intermediate between two styles, for example generating a semibold font by compromising between a bold and regular style, or extend a trend to create an ultra-light or ultra-bold. The technique is commonly used by font design studios. == Software == After Effects Animate Elastic Reality FantaMorph Gryphon Software Morph Morph Age Morpheus Nuke SilhouetteFX
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Facebook Platform

The Facebook Platform is the set of services, tools, and products provided by the social networking service Facebook for third-party developers to create their own applications and services that access data in Facebook. The current Facebook Platform was launched in 2010. The platform offers a set of programming interfaces and tools which enable developers to integrate with the open "social graph" of personal relations and other things like songs, places, and Facebook pages. Applications on facebook.com, external websites, and devices are all allowed to access the graph. == History == Facebook launched the Facebook Platform on May 24, 2007, providing a framework for software developers to create applications that interact with core Facebook features. A markup language called Facebook Markup Language was introduced simultaneously; it is used to customize the "look and feel" of applications that developers create. Prior to the Facebook platform, Facebook had built many applications themselves within the Facebook website, including Gifts, allowing users to send virtual gifts to each other, Marketplace, allowing users to post free classified ads, Facebook events, giving users a method of informing their friends about upcoming events, Video, letting users share homemade videos with one another, and social network game, where users can use their connections to friends to help them advance in games they are playing. The Facebook Platform made it possible for outside partners to build similar applications. Many of the popular early social network games would combine capabilities. For instance, one of the early games to reach the top application spot, (Lil) Green Patch, combined virtual Gifts with Event notifications to friends and contributions to charities through Causes. Third-party companies provide application metrics, and several blogs arose in response to the clamor for Facebook applications. On July 4, 2007, Altura Ventures announced the "Altura 1 Facebook Investment Fund," becoming the world's first Facebook-only venture capital firm. On August 29, 2007, Facebook changed the way in which the popularity of applications is measured, to give attention to the more engaging applications, following criticism that ranking applications only by the number of people who had installed the application was giving an advantage to the highly viral, yet useless applications. Tech blog Valleywag has criticized Facebook Applications, labeling them a "cornucopia of uselessness." Others have called for limiting third-party applications so the Facebook user experience is not degraded. Applications that have been created on the Platform include chess, which both allow users to play games with their friends. In such games, a user's moves are saved on the website, allowing the next move to be made at any time rather than immediately after the previous move. By November 3, 2007, seven thousand applications had been developed on the Facebook Platform, with another hundred created every day. By the second annual f8 developers conference on July 23, 2008, the number of applications had grown to 33,000, and the number of registered developers had exceeded 400,000. Within a few months of launching the Facebook Platform, issues arose regarding "application spam", which involves Facebook applications "spamming" users to request it be installed. Facebook integration was announced for the Xbox 360 and Nintendo DSi on June 1, 2009 at E3. On November 18, 2009, Sony announced an integration with Facebook to deliver the first phase of a variety of new features to further connect and enhance the online social experiences of PlayStation 3. On February 2, 2010, Facebook announced the release of HipHop for PHP as an opensource project. Mark Zuckerberg said that his team from Facebook is developing a Facebook search engine. “Facebook is pretty well placed to respond to people’s questions. At some point, we will. We have a team that is working on it", said Mark Zuckerberg. For him, the traditional search engines return too many results that do not necessarily respond to questions. “The search engines really need to evolve a set of answers: 'I have a specific question, answer this question for me.'" On June 10, 2014, Facebook announced Haxl, a Haskell library that simplified the access to remote data, such as databases or web-based services. === Partnerships with device manufacturers === Starting in 2007, Facebook formed data sharing partnerships with at least 60 handset manufacturers, including Apple, Amazon, BlackBerry, Microsoft and Samsung. Those manufacturers were provided with Facebook user data without the users' consent. Most of the partnerships remained in place as of 2018, when the partnerships were first publicly reported. == High-level Platform components == === Graph API === The Graph API is the core of Facebook Platform, enabling developers to read from and write data into Facebook. The Graph API presents a simple, consistent view of the Facebook social graph, uniformly representing objects in the graph (e.g., people, photos, events, and pages) and the connections between them (e.g., friend relationships, shared content, and photo tags). On April 30, 2015, Facebook shut down friends' data API prior to the v2.0 release. === Authentication === Facebook authentication enables developers’ applications to interact with the Graph API on behalf of Facebook users, and it provides a single-sign on mechanism across web, mobile, and desktop apps. ==== Facebook Connect ==== Facebook Connect, also called Log in with Facebook, like OpenID, is a set of authentication APIs from Facebook that developers can use to help their users connect and share with such users' Facebook friends (on and off Facebook) and increase engagement for their website or application. When so used, Facebook members can log on to third-party websites, applications, mobile devices and gaming systems with their Facebook identity and, while logged in, can connect with friends via these media and post information and updates to their Facebook profile. Originally unveiled during Facebook's developer conference, F8, in July 2008, Log in with Facebook became generally available in December 2008. According to an article from The New York Times, "Some say the services are representative of surprising new thinking in Silicon Valley. Instead of trying to hoard information about their users, the Internet companies (including Facebook, Google, MySpace and Twitter) all share at least some of that data so people do not have to enter the same identifying information again and again on different sites." Log in with Facebook cannot be used by users in locations that cannot access Facebook, even if the third-party site is otherwise accessible from that location. According to Facebook, users who logged into The Huffington Post with Facebook spent more time on the site than the average user. === Social plugins === Social plugins – including the Like Button, Recommendations, and Activity Feed – enable developers to provide social experiences to their users with just a few lines of HTML. All social plugins are extensions of Facebook and are designed so that no user data is shared with the sites on which they appear. On the other hand, the social plugins let Facebook track its users’ browsing habits through any sites that feature the plugins. === Open Graph protocol === The Open Graph protocol enables developers to integrate their pages into Facebook's global mapping/tracking tool Social Graph. These pages gain the functionality of other graph objects including profile links and stream updates for connected users. OpenGraph tags in HTML5 might look like this: === iframes === Facebook uses iframes to allow third-party developers to create applications that are hosted separately from Facebook, but operate within a Facebook session and are accessed through a user's profile. Since iframes essentially nest independent websites within a Facebook session, their content is distinct from Facebook formatting. Facebook originally used 'Facebook Markup Language (FBML)' to allow Facebook Application developers to customize the "look and feel" of their applications, to a limited extent. FBML is a specification of how to encode content so that Facebook's servers can read and publish it, which is needed in the Facebook-specific feed so that Facebook's system can properly parse content and publish it as specified. FBML set by any application is cached by Facebook until a subsequent API call replaces it. Facebook also offers a specialized Facebook JavaScript (FBJS) library. Facebook stopped accepting new FBML applications on March 18, 2011, but continued to support existing FBML tabs and applications. Since January 1, 2012 FBML was no longer supported, and FBML no longer functioned as of June 1, 2012. === Microformats === In February 2011, Facebook began to use the hCalendar microformat to mark up events, and the hCard for the events' venues,
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Packard Bell Statesman

The Packard Bell Statesman was an economy line of notebook-sized laptops introduced in 1993 by Packard Bell. They were slower in performance and lacked features compared to most competitor products, but they were lower in price. It was created in a collaboration between Packard Bell and Zenith Data Systems. The Statesman series was essentially a rebrand of Zenith Data Systems Z-Star 433 series, with the only notable difference of the logo in the middle and text on the front bezel. == History == In June 1993 Zenith Data Systems announced an alliance with Packard Bell. Zenith acquired about 20% of Packard Bell and they would both now work together to design and build PC's. Zenith would also provide Packard Bell with private-label versions of their portable PC's. The Packard Bell Statesman was a rebrand of the Zenith Z-Star notebook computer series. While the Statesman was being advertised by Packard Bell, the Z-Star series was also still being sold by Zenith. The Statesman was first introduced on October 4, 1993. Prices started at $1,500 for a monochrome or color DSTN model with a 33 MHz Cyrix Cx486SLC, 4 MB of RAM, 200 MB hard disk drive, internal 1.44 MB floppy disk drive, and MS-DOS 6.0 with Windows 3.1 for the included software. A "J mouse" pointing device was included, similar to the TrackPoint. The Statesman was expected to begin shipping within the next few weeks. == Specifications == === Hardware === CPU The first two models, the 200M and 200C, used the Cyrix Cx486SLC. This was Cyrix's first processor, which was a 386SX pin-compatible chip with on-board L1 cache and 486 instructions, being known as a "hybrid chip". The processor was clocked at 33 MHz and had 1 KB of L1 cache. It was a 16-bit processor and was pin compatible with the Intel 80386SX. On the bottom of the unit, the motherboard had an empty socket for a Cyrix FasMath co-processor, which could improve floating-point math performance. The 200M and 200C plus models had a Cyrix Cx486SLC2 clocked at 50 MHz, which was 50% faster than the original 486SLC. The SLC2 similarly had 1 KB of on-board cache and was pin compatible with the previous model. Graphics & Display For video all models used three versions of the Chips & Technologies 655xx, the CT65520, 65525, and 65530. The 65520 was first introduced in early 1992 as the first controller with Super VGA resolution. It supported resolutions up to 1024x768 in 16 colors or shades of gray. If in 800x600 resolution, it can display up to 256 colors. All 3 chips were the same, with the CT65525 identifying as a CT65530. The CT65530 had an ability of 5V and 3.3V mixed operation and linear video memory addressing. All models used a 9.5in 800x600 resolution DSTN LCD. The 200M and 200M Plus had a monochrome display, while the 200C and 200C Plus had a color display. Audio All models had only basic audio available, with just a piezo speaker soldered onto the motherboard and no sound controller. Memory Standard RAM included was 4-8 MB of EDO RAM. The RAM was on a proprietary SIPP package that could only be upgraded to 12 MB maximum if the user had compatible modules. Storage For storage all models used a hard drive with a size of 100 or 200 MB, and all models had an internal 1.44 MB floppy disk drive located on the side of the unit. The maximum capacity hard drive compatible if the user wanted to upgrade was 500 MB.Ports & Expansion For ports all models had 1x serial, 1x parallel, 1x VGA output, and 1x PS/2 keyboard/mouse input. For expansion all models only had one PCMCIA type II slot. Keyboard & Mouse All models used a small-scale keyboard with control keys. One interesting feature of the keyboard is that the J key also acted as a mouse, working similar to IBM's ThinkPad TrackPoint. On some models additional keys such as S, D, F, G and space let you do other mouse actions such as right click, left click, double click, and middle mouse click. === Software === The series shipped with MS-DOS and Windows 3.1 as the included operating system. == Model Comparison == Statesman 200M — The first Statesman model, it came with a DSTN monochrome screen, and a Nickel-cadmium battery pack which could last up to 4 hours. It weighed 7.4 lb and was $1500. Statesman 200C — The second Statesman model, it was the same as the 200M with the only notable differences of a DSTN color display rather than monochrome and a slightly decreased battery life of about 3 hours. It cost $700 more than the 200M at $2200. Statesman 200M/200C Plus — The 200M/200C Plus were both identical to their previous base models, with the only difference of them having a Cx486SLC2 running at 50 MHz. In 1994 it cost around $2,295 for the 200C plus with 4 MB of ram, with 8 MB costing an extra $400. == Reception == The Statesman received fair reception, with most reviewers giving positivity for the low price and high battery life, but mainly criticizing the performance and screen quality of the model line. A review by PC World writer Rex Farrance and Owen Linderholm said the 200M had a good price, being only $1500, and a good battery life which lasted about 4 hours. In benchmarks however, the 200M performed "noticeably below the average". It was noted that the 200M's worst feature was its monochrome display, being "cloudy and a bit dim for our tastes". The J mouse was considered a decent choice, and was said to be "highly usable" after some practice. The 200M was listed as number 3 on PC World's top 20 budget PC list. PC World also reviewed the 200C, saying the color display is only a "marginal, although an improvement on the monochrome version". The 200C placed 9 on the PC World top 20 budget PC list. Compute! Magazine reviewed the 200C Plus in September 1994 stating it "lagged far behind the others, especially the DXs, but then speed isn't everything". It was given pros for low cost and good display, but criticized for its low performance, not having a trackball, and poor external monitor support.
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Digital Cinema Initiatives

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

The XLNet was an autoregressive Transformer designed as an improvement over BERT, with 340M parameters and trained on 33 billion words. It was released on 19 June 2019, under the Apache 2.0 license. It achieved state-of-the-art results on a variety of natural language processing tasks, including language modeling, question answering, and natural language inference. == Architecture == The main idea of XLNet is to model language autoregressively like the GPT models, but allow for all possible permutations of a sentence. Concretely, consider the following sentence:My dog is cute.In standard autoregressive language modeling, the model would be tasked with predicting the probability of each word, conditioned on the previous words as its context: We factorize the joint probability of a sequence of words x 1 , … , x T {\displaystyle x_{1},\ldots ,x_{T}} using the chain rule: Pr ( x 1 , … , x T ) = Pr ( x 1 ) Pr ( x 2 | x 1 ) Pr ( x 3 | x 1 , x 2 ) … Pr ( x T | x 1 , … , x T − 1 ) . {\displaystyle \Pr(x_{1},\ldots ,x_{T})=\Pr(x_{1})\Pr(x_{2}|x_{1})\Pr(x_{3}|x_{1},x_{2})\ldots \Pr(x_{T}|x_{1},\ldots ,x_{T-1}).} For example, the sentence "My dog is cute" is factorized as: Pr ( My , dog , is , cute ) = Pr ( My ) Pr ( dog | My ) Pr ( is | My , dog ) Pr ( cute | My , dog , is ) . {\displaystyle \Pr({\text{My}},{\text{dog}},{\text{is}},{\text{cute}})=\Pr({\text{My}})\Pr({\text{dog}}|{\text{My}})\Pr({\text{is}}|{\text{My}},{\text{dog}})\Pr({\text{cute}}|{\text{My}},{\text{dog}},{\text{is}}).} Schematically, we can write it as → My → My dog → My dog is → My dog is cute . {\displaystyle {\texttt {}}{\texttt {}}{\texttt {}}{\texttt {}}\to {\text{My }}{\texttt {}}{\texttt {}}{\texttt {}}\to {\text{My dog }}{\texttt {}}{\texttt {}}\to {\text{My dog is }}{\texttt {}}\to {\text{My dog is cute}}.} However, for XLNet, the model is required to predict the words in a randomly generated order. Suppose we have sampled a randomly generated order 3241, then schematically, the model is required to perform the following prediction task: → is → dog is → dog is cute → My dog is cute {\displaystyle {\texttt {}}{\texttt {}}{\texttt {}}{\texttt {}}\to {\texttt {}}{\texttt {}}{\text{is }}{\texttt {}}\to {\texttt {}}{\text{dog is }}{\texttt {}}\to {\texttt {}}{\text{dog is cute}}\to {\text{My dog is cute}}} By considering all permutations, XLNet is able to capture longer-range dependencies and better model the bidirectional context of words. === Two-Stream Self-Attention === To implement permutation language modeling, XLNet uses a two-stream self-attention mechanism. The two streams are: Content stream: This stream encodes the content of each word, as in standard causally masked self-attention. Query stream: This stream encodes the content of each word in the context of what has gone before. In more detail, it is a masked cross-attention mechanism, where the queries are from the query stream, and the key-value pairs are from the content stream. The content stream uses the causal mask M causal = [ 0 − ∞ − ∞ … − ∞ 0 0 − ∞ … − ∞ 0 0 0 … − ∞ ⋮ ⋮ ⋮ ⋱ ⋮ 0 0 0 … 0 ] {\displaystyle M_{\text{causal}}={\begin{bmatrix}0&-\infty &-\infty &\dots &-\infty \\0&0&-\infty &\dots &-\infty \\0&0&0&\dots &-\infty \\\vdots &\vdots &\vdots &\ddots &\vdots \\0&0&0&\dots &0\end{bmatrix}}} permuted by a random permutation matrix to P M causal P − 1 {\displaystyle PM_{\text{causal}}P^{-1}} . The query stream uses the cross-attention mask P ( M causal − ∞ I ) P − 1 {\displaystyle P(M_{\text{causal}}-\infty I)P^{-1}} , where the diagonal is subtracted away specifically to avoid the model "cheating" by looking at the content stream for what the current masked token is. Like the causal masking for GPT models, this two-stream masked architecture allows the model to train on all tokens in one forward pass. == Training == Two models were released: XLNet-Large, cased: 110M parameters, 24-layer, 1024-hidden, 16-heads XLNet-Base, cased: 340M parameters, 12-layer, 768-hidden, 12-heads. It was trained on a dataset that amounted to 32.89 billion tokens after tokenization with SentencePiece. The dataset was composed of BooksCorpus, and English Wikipedia, Giga5, ClueWeb 2012-B, and Common Crawl. It was trained on 512 TPU v3 chips, for 5.5 days. At the end of training, it still under-fitted the data, meaning it could have achieved lower loss with more training. It took 0.5 million steps with an Adam optimizer, linear learning rate decay, and a batch size of 8192.
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New media

New media are communication technologies that enable or enhance interaction between users, as well as interaction between users and content. In the middle of the 1990s, the phrase "new media" became widely used as part of a sales pitch for the influx of interactive CD-ROMs for entertainment and education. The new media technologies, sometimes known as Web 2.0, include a wide range of web-related communication tools such as blogs, wikis, online social networking, virtual worlds, and other social media platforms. The phrase "new media" refers to computational media that share material online and through computers. New media inspire new ways of thinking about older media. Media do not replace one another in a clear, linear succession, instead evolving in a more complicated network of interconnected feedback loops . What is different about new media is how they specifically refashion traditional media and how older media refashion themselves to meet the challenges of new media. Unless they contain technologies that enable digital generative or interactive processes, broadcast television programs, non-interactive news websites, feature films, magazines, and books are not considered to be new media. The term "new media" stands in contrast to old media, which dominated the media landscape as a form of mass media for many years. == History == In the 1950s, connections between computing and radical art began to grow stronger. It was not until the 1980s that Alan Kay and his co-workers at Xerox PARC began to give the computability of a personal computer to the individual, rather than have a big organization be in charge of this. In the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually, it makes sense that the Cold War and the design of the Web took place at exactly the same time. Writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period which is now famous declaration in Understanding Media: The Extensions of Man, that "the medium is the message" drew attention to the too often ignored influence media and technology themselves, rather than their "content," have on humans' experience of the world and on society broadly. Until the 1980s, media relied primarily upon print and analog broadcast models such as television and radio. The last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies such as the Internet and video games. However, these examples are only a small representation of new media. The use of digital computers has transformed the remaining 'old' media, as suggested by the advent of digital television and online publications. Even traditional media forms such as the printing press have been transformed through the application of technologies by using of image manipulation software like Adobe Photoshop and desktop publishing tools. Andrew L. Shapiro argues that the "emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources". W. Russell Neuman suggests that whilst the "new media" have technical capabilities to pull in one direction, economic and social forces pull back in the opposite direction. According to Neuman, "We are witnessing the evolution of a universal interconnected network of audio, video, and electronic text communications that will blur the distinction between interpersonal and mass communication; and between public and private communication". Neuman argues that new media will: Alter the meaning of geographic distance. Allow for a huge increase in the volume of communication. Provide the possibility of increasing the speed of communication. Provide opportunities for interactive communication. Allow forms of communication that were previously separate to overlap and interconnect. Consequently, it has been the contention of scholars such as Douglas Kellner and James Bohman that new media and particularly the Internet will provide the potential for a democratic postmodern public sphere, in which citizens can participate in well informed, non-hierarchical debate pertaining to their social structures. Contradicting these positive appraisals of the potential social impacts of new media are scholars such as Edward S. Herman and Robert McChesney who have suggested that the transition to new media has seen a handful of powerful transnational telecommunications corporations who achieve a level of global influence which was hitherto unimaginable. Scholars have highlighted both the positive and negative potential and actual implications of new media technologies, suggesting that some of the early work in new media studies was guilty of technologicaldeterminism – whereby the effects of media were determined by the technologies themselves, rather than by tracing the complex social networks that governed the development, funding, implementation, and future evolution of any technology. Based on the argument that people have a limited amount of time to spend on the consumption of different media, displacement theory argue that the viewership or readership of one particular outlet leads to the reduction in the amount of time spent by the individual on another. The introduction of new media, such as the internet, therefore reduces the amount of time individuals would spend on existing "old" media, which could ultimately lead to the end of such traditional media. == Definition == Although, there are several ways that new media may be described, Lev Manovich, in an introduction to The New Media Reader, defines new media by using eight propositions: New media versus cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas new media is concerned more with cultural objects and paradigms (digital to analog television, smartphones). New media as computer technology used as a distribution platform – New media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers. New media as digital data controlled by software – The language of new media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc. New media as the mix between existing cultural conventions and the conventions of software – New media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation. New media as the aesthetics that accompanies the early stage of every new modern media and communication technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period. New media as faster execution of algorithms previously executed manually or through other technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device. New media as the encoding of modernist avant-garde; new media as metamedia – Manovi
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Conversion path

A conversion path is a description of the steps taken by a user of a website towards a desired end from the standpoint of the website operator or marketer. The typical conversion path begins with a user arriving at a landing page or a product page and proceeding through a series of page transitions until reaching a final state, either positive (e.g. purchase) or negative (e.g. abandoned session). In practice, the study of the dynamics of this process by the interested party has evolved into a sophisticated field, where various statistical methods are being applied to the optimization of outcomes. This includes real-time adjustment of presented content, in which a website operator tries to provide deliberate incentives to increase the odds of conversion based on various sources of information, including demographic traits, search history, and browsing events. In practice, this reflects in different content presented to users arriving from online advertising versus search engines, and similarly, different content is presented depending on their demographic segments. The fundamental metric describing this process in the aggregate is known as conversion rate.
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Cardiovascular health awareness in Nepal

Cardiovascular health awareness in Nepal has improved in recent times. It has emerged as a cost-effective tool for prevention of heart disease in recent years. == Background == Cardiovascular diseases in Nepal is responsible for maximum number of deaths and rapid urbanization possess extra threat in this situation emphasizing need for widespread awareness campaigns. Efforts to enhance cardiovascular health awareness among the general public, particularly through social media platforms, have proven pivotal in motivating individuals to adopt healthier lifestyle choices and improve heart health in Nepal in recent years. These awareness initiatives, often organized on special occasions such as World Heart Day of World Heart Federation, World Hypertension Day, and World Health Day of World Health Organization, have garnered active participation from the public, reflecting a growing interest in health-related information. Notably, various hospitals, organizations, and health professionals actively contribute to cardiovascular health awareness in Nepal. The prevalence of heart health-related content on social media platforms indicates a substantial dissemination of information. The engagement of a large number of followers underscores the audience's keen interest in health matters, evident in the significant engagement on various social media accounts and pages. During an event of cardiovascular health awareness a Guinness World Record was achieved on World Heart Day 2023. A Facebook live awareness programme on heart health prevention attracted 11,212 viewers during the 30-minute presentation and was awarded the "Most viewers for a cardiovascular health awareness live stream on Facebook" by Guinness World Record signifying depth of public involvement and importance of social media use in health awareness. In 2014, a 11-day heart camp was conducted in Nepal to raise awareness . In 2015, a is a heart health education program " Mission to Save Heart" was conducted to empower health professionals to manage heart attacks and reduce heart disease deaths.
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Variable data publishing

Variable-data publishing (VDP) (also known as database publishing) is a term referring to the output of a variable composition system. While these systems can produce both electronically viewable and hard-copy (print) output, the "variable-data publishing" term today often distinguishes output destined for electronic viewing, rather than that which is destined for hard-copy print (e.g. variable data printing). Essentially the same techniques are employed to perform variable-data publishing, as those utilized with variable data printing. The difference is in the interpretation for output. While variable-data printing may be interpreted to produce various print streams or page-description files (e.g. AFP/IPDS, PostScript, PCL), variable-data publishing produces electronically viewable files, most commonly seen in the forms of PDF, HTML, or XML. Variable-data composition involves the use of data to conditionally: exhibit text (static blocks and/or variable content) exhibit images select fonts select colors format page layouts & flows Variable-data may be as simple as an address block or salutation. However, it can be any or all of the document's textual content—including words, sentences, paragraphs, pages, or the entire document. In other words, it can make up as little or as much of the document as the composer desires. Variable data may also be used to exhibit various images, such as logos, products, or membership photos. Further, variable-data can be used to build rule-based design schemes, including fonts, colors, and page formats. The possibilities are vast. The variable-data tools available today, make it possible to perform variable-data composition at nearly every stage of document production. However, the level of control that can be achieved varies, based upon how far into the document production process a variable-data tool is deployed. For example, if variable-data insertion occurs just prior to output...it's not likely that the text flow or layout can be altered with nearly as much control as would be available at the time of initial document composition. Many organizations will produce multiple forms of output (aka: multi-channel output), for the same document. This ensures that the published content is available to recipients via any form of access method they might require. When multi-channel output is utilized, integrity between those output channels often becomes important. Variable-data publishing may be performed on everything from a personal computer to a mainframe system. However, the speed and practical output volumes which can be achieved are directly affected by the computer power utilized. == Origin of the concept == The term variable-data publishing was likely an offshoot of the term "variable-data printing", first introduced to the printing industry by Frank Romano, Professor Emeritus, School of Print Media, at the College of Imaging Arts and Sciences at Rochester Institute of Technology. However, the concept of merging static document elements and variable document elements predates the term and has seen various implementations ranging from simple desktop 'mail merge', to complex mainframe applications in the financial and banking industry. In the past, the term VDP has been most closely associated with digital printing machines. However, in the past 3 years the application of this technology has spread to web pages, emails, and mobile messaging.
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Power cycling

Power cycling is the act of turning a piece of equipment, usually a computer, off and then on again. Reasons for power cycling include having an electronic device reinitialize its set of configuration parameters or recover from an unresponsive state of its mission critical functionality, such as in a crash or hang situation. Power cycling can also be used to reset network activity inside a modem. It can also be among the first steps for troubleshooting an issue. == Overview == Power cycling can be done manually, usually using the power switch on the device, or remotely, through some type of external device connected to the power input. In the data center environment, remote control power cycling can usually be done through a power distribution unit, over the network. In the home environment, this can be done through home automation powerline communications. Most Internet service providers publish a "how-to" on their website showing their customers the correct procedure to power cycle their devices. Power cycling is a common diagnostic procedure usually performed first when a computer system freezes. However, frequently power cycling a computer can cause thermal stress. Reset has an equal effect on the software but may be less problematic for the hardware as power is not interrupted. == Historical uses == On all Apollo missions to the moon, the landing radar was required to acquire the surface before a landing could be attempted. But on Apollo 14, the landing radar was unable to lock on. Mission control told the astronauts to cycle the power. They did, the radar locked on just in time, and the landing was completed. During the Rosetta mission to comet 67P/Churyumov–Gerasimenko, the Philae lander did not return the expected telemetry on awakening after arrival at the comet. The problem was diagnosed as "somehow a glitch in the electronics", engineers cycled the power, and the lander awoke correctly. During the launch of the billion dollar AEHF-6 satellite on 26 March 2020 by an Atlas V rocket from Cape Canaveral Space Force Station in Florida, a hold was called at T-46 seconds due to hydraulic system not responding as expected. The launch crew turned it off and back on, and the launch proceeded normally. In 2023 the Interstellar Boundary Explorer spacecraft stopped responding to commands after an anomaly. When gentler techniques failed, NASA resorted to rebooting the spacecraft with the remote equivalent of a power cycle.
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Giditraffic

GidiTraffic (or GIDITRAFFIC) is an online social service started on 23 September 2011. Based primarily on social media, the service employs crowdsourcing as its primary means of providing real-time traffic updates to subscribers on its platform. The service, delivered free of charge, affords its users access to various types of information. Though its broadest category of users is road users and motorists, GIDITRAFFIC lends itself as a platform for answering inquiries from anyone who requires information on any subject of interest. GIDITRAFFIC's core competence is in vehicular traffic reports, however, the service also handles all other forms of traffic (going by the fact that the word traffic also means "the mutual exchange of information"). == Operation == Users of the service log on to its Twitter feed to get up-to-date traffic information or to post a general inquiry, which GIDITRAFFIC then publishes to all subscribers. Through crowdsourced replies, a requester receives numerous responses from other subscribers who have seen the question and can provide a relevant answer. In addition, updates are provided by subscribers to the platform via their mobile devices, thereby making the service effective in delivering traffic updates as they occur, and providing timely answers to other user inquiries. This informs GIDITRAFFIC's motto of "Lending each other an eye", alluding to the collaboration and cooperation between the platform's users in making the service indispensable to its users. == Reception == On Twitter, which is its primary platform, the service caters to over 1,800,000 subscribers, with the number increasing daily. The popularity of the platform stems from the fact that it not only keeps its subscribers abreast of the traffic situation in Lagos, the commercial capital city of Nigeria (well known for its many traffic jams), but users in other parts of the world. For a regular user of the platform, knowing where to avoid getting to a set destination in good time is well worth the two or three minutes it takes to access and scroll through the GIDITRAFFIC feed for updates. Another interesting aspect of this platform is the identity of the person behind it. The sustained anonymity of this individual has sparked many discussions centering on his or her possible identity. Online, GIDITRAFFIC continuously publishes traffic updates and user questions, while keeping up witty interactions with the platform's followers round the clock – adding to the mystery and persona of the GIDITRAFFIC owner. == Awards and recognition == In early 2012, GIDITRAFFIC received a nomination for a Shorty Award in the Life-Saving Hero category. Although this did not translate into a win, it brought recognition and wider exposure for the service from international news outlets such as the BBC, Washington Post. and New York Times. Back home in Nigeria, also in 2012, GIDITRAFFIC was honored with a Future Award for Best Use of New Media in recognition of the huge impact the service has had in terms of helping Lagos residents better manage time spent in traffic. == Mobile Applications == In 2012, GIDITRAFFIC partnered with telecommunications company Nokia to produce a downloadable mobile traffic application (the GIDITRAFFIC application, available for Nokia Asha phones on Nokia's online store). There are plans to extend the application to a wider range of mobile phone platforms. On 4 September 2013, the GIDITRAFFIC application for Nokia Lumia phones using Windows Phone 8 was launched on the Windows App Store.
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