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  • Catie Cuan

    Catie Cuan

    Catie Cuan is an artist, entrepeuneur, and innovator in the field of robotic art and human-robot interaction, where she specializes in choreorobotics, an emerging field at the intersection of choreographic dance and robotics. Catie Cuan is currently one of the academic researchers pioneering the field of choreorobotics and currently holds a post-doctoral fellowship at Stanford University. == Career == Catie Cuan earned a bachelor's degree from the University of California, Berkeley. She graduated with a Ph.D. from the Department of Mechanical Engineering at Stanford University, focusing in robotics. Her most cited publication is about how to improve robotic expressive systems using tools from dance theory, such as the Laban/Bartenieff Movement Analysis. In her most recent research projects, she explores a predictive model of imitation learning for robots moving around humans, a project that advances the field of social robotics. Cuan credits her work in robotics to the experience with her father when he had a stroke and was surrounded by many medical machines, which made her think about how people might feel empowered and hopeful rather than afraid. As a ballet dancer and choreographer, she has performed with the Metropolitan Opera Ballet and the Lyric Opera of Chicago. In 2020, she was the dancer and choreographer of the show Output, which was part of a collaboration with ThoughtWorks Arts and the Pratt Institute. In the production, she danced with an ABB IRB 6700 industrial robot. In 2022, she was named as an IF/THEN ambassador for the American Association for the Advancement of Science. The same year, she was appointed Futurist-in-Residence at the Smithsonian Arts and Industries Building, where she performed at the closing ceremonies of the FUTURES exhibit on July 6, 2022. Cuan has also contributed to product designs, working with IDEO and Dutch interior design firm moooi on their Piro project, which launched a dancing scent diffuser robot during Milan Design Week in June 2022. She is a TED speaker with talks about how to teach robots to dance, and what is coming up for dancing robots in the AI era.

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  • The Culture of Connectivity

    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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  • Battleboarding

    Battleboarding

    Battleboarding, also known as versus debating and "who would win" debating, is an activity that involves discussing and debating around hypothetical fights between individuals; most popularly, fictional characters. These debates are often held in forums, blogs, sites and wikis, known as versus sites or battle boards. Netizens who engage in battleboarding online are often called "battleboarders". The earliest iterations of battleboarding first appeared in various online boards and forums, though its origins can be traced back to magazines, television shows, and comic book letter columns. Eventually, the online activity grew, becoming one of the most popular internet activities today, and spawning many online communities dedicated solely for battleboarding. It soon evolved into its own subculture, and even went on to inspire other media. == History == === Origins === Before the advent of the internet, articles about hypothetical fights were published in magazines. These articles range from topics like sports, comics and anime, such as Black Belt Magazine issue May 1997 which discussed about a hypothetical match between Muhammad Ali and Bruce Lee, and Wizard Magazine #133 which discussed about various hypothetical fights between American comic characters against Japanese anime characters. During that time, many comic book publishers also conceptualized and published "versus" storylines like Batman Versus Predator and Justice League/Avengers. Many films also capitalized on the concept of characters from different franchises fighting each other, such as Frankenstein Meets the Wolf Man (1934), King Kong vs. Godzilla (1962), Freddy vs Jason (2003), and Alien vs. Predator (2004). Another inspiration behind battleboarding were television shows and documentaries whose premise involved hypothetical fights concerning a variety of subjects like zoology, paleontology, and military history. These include shows such as Animal Face-Off (which pitted animals against each other), Deadliest Warrior (which pitted historical warriors, oftentimes from different time periods, against each other), and Jurassic Fight Club (which was about analyzing cases where different types of dinosaurs fought one another). Death Battle, a web series about pitting characters against each other that began in 2010, is a similar show that soon inspired many battleboarding communities and fandoms. Death Battle, as with many other battleboarding series and websites before it, utilised "calcs", which are mathematical equations that try to calculate how strong a character or weapon is. Other popular web series about the subject include Super Power Beat Down and Grudge Match. === Forums and sites === Many internet forums about movies, comics, anime, and video games often held discussions about hypothetical fights between characters from these media. These discussions would be the first iteration of online battleboarding. A notable early battleboarding website was stardestroyer.net (founded 1998), created by Michael Wong. The website focuses in large part on match-ups between the Star Wars and Star Trek franchises, and also includes a forum covering this as well as other more general battleboarding topics, usually related to science fiction and space opera. In addition to the forums, several webpages written by the administrators and contributors were embedded on the site. These attempted to mathematically quantify the capabilities of Star Wars technology and prove their superiority to their Star Trek equivalents, such as Wong's "Star Wars vs Star Trek: Technology Overview" and Brian Young's "Turbolaser Commentaries." stardestroyer.net had a notable impact on early battleboarding culture and also influenced official products. Curtis Saxton, author of several officially-licensed Star Wars technical reference books, thanked Wong, Young, and several other stardestroyer.net contributors by name in the acknowledgements section of Star Wars: Attack of the Clones Incredible Cross-Sections (2002), referring to them as "prominent among the hundreds of people contributing to constructive debates about Star Wars technicalities over the years, resulting in the consensus of conceptual and physical foundations applied in these pages." Saxton's books in the Incredible Cross-Sections series contain specific numbers about the capabilities of Star Wars ships original to these publications and not used in any other official sources. In an interview conducted by TheForce.Net, Saxton claimed to have been offered the job of writing reference books by a DK employee familiar with his "Star Wars Technical Commentaries" webpage (1995–2001), where Saxton attempted to calculate the firepower, speed, and durability of Star Wars spaceships using his background as an astrophysics student. One of the oldest and longest-running battleboarding forum is Comic Vine's "battle forum", whose first post was in 2007. Comic Vine also has one of the largest impacts on battleboarding, creating many common rules and terminologies such as "bloodlusted", "morals are off", "speed equalized", and many others. Another long-running battle forum is a subreddit called r/whowouldwin, where redditors can post and debate fights about real or fictional individuals. Verdicts of these match-ups are often chosen by using evidences of a character's power, weakness, or feat, such as movie clips, comic book panel scans, and excerpts from related literature; all of which are posted and categorized in a separate subreddit called r/respectthreads. Other influential battle forums include Fanverse, where users can post their own calcs about a character's power level. The popularity of battle forums inspired the creation of websites dedicated only for battleboarding. These include The Outskirts Battle Dome, a website that popularized the use of "power levels" in battleboarding; the aforementioned stardestroyer.net; and Space Battles, a website whose forums and threads are filled with posts about hypothetical fights between characters as well as other related topics. Another influential battleboarding site is the now defunct Fact Pile, and its sister site, FactPileTopia. Fact Pile is one of the first battleboarding site that actually listed down and documented winners of their match-ups. The site closed down in 2016 along with its forum, wikia, and YouTube channel. Besides these, blogs about battleboarding were also created, such as dreager1.com. === Wikis === Nowadays, the most popular battleboarding communities can be seen in Fandom, with two of the oldest and most popular being Deadliest Fiction and VS Battles Wiki. Deadliest Fiction is a Deadliest Warrior-inspired fanon created in July 2010 by a group of historians, academics, and pop culture enthusiasts. Being one of the most influential and accurate battleboarding sites around, Deadliest Fiction allows users to create hypothetical match-ups in the form of blogs, where other users can vote and debate around who will win in the comment section. Once a verdict is reached, the site allows the user to create a simulated fanfiction of how the fight would happen. The same year in October, a similar battleboarding site named VS Battles Wiki was created. In the VS Battles Wiki, users can create profiles and power levels of characters, post match-ups in its threads and forums, and list down the winners and losers of these threads in said character profiles. The wiki is considered the most active wiki battleboarding site today, with over 1 million visitors per month. However, throughout the years, the VS Battles Wiki has had its share of controversies, such as alleged inaccuracies in its profiles. There have also been websites and fanfiction wikis inspired by the battleboarding internet show Death Battle. These include the long-running G1 Death Battle Fan Blog, r/deathbattlematchups, and the popular Death Battle Fanon Wiki and DBX Fanon Wiki. Death Battle also released its own dice and card game, complete with rules and effects taken from battleboarding. == Subculture == In its rise in popularity, battleboarding has given birth to a unique online subculture with its own rules, activities, and terminologies. Several of these influences have become present in other online communities and popular media. Some of the common slang and terminologies used in battleboarding subculture includes: Battle Field Removal: Often abbreviated to "BFR", this is a rule that a fight can end if one character is taken out of a battlefield. This rule is used for characters who have the powers to teleport or transport enemies without actually killing them. Battle Royale: A term originating from Comic Vine in which multiple characters are pitted against each other. The name is probably derived from the film Battle Royale or the video game genre of the same name. Bloodlusted: A hypothetical situation wherein the characters are pitted against each other while in a furious, berserker-like state. Calc: These are calculations battl

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  • Amplified conference

    Amplified conference

    An amplified conference is a conference or similar event in which the talks and discussions at the conference are 'amplified' through use of networked technologies in order to extend the reach of the conference deliberations. The term was originally coined by Lorcan Dempsey in a blog post. The term is now widely used within the academic and research community with Wankel proposing the following definition: The extension of a physical event (or a series of events) through the use of social media tools for expanding access to (aspects of) the event beyond physical and temporal bounds. Such amplification takes place in the context of intent to make the most of the intellectual content, discussion, networking, and discovery initiated by the event through the process of sharing with co-attendees, colleagues, friends and wider informed publics. A paper by Haider and others illustrates how amplified conferences are becoming mainstream in a discussion on "how social media have been employed as part of the project, particularly around event amplification". As described by Guy in the Ariadne ejournal the term is not a prescriptive one, but rather describes a pattern of behaviors which initially took place at IT and Web-oriented conferences once WiFi networks started to become available at conference venues and delegates started to bring with them networked devices such as laptops and, more recently, PDAs and mobile phones. == Different Approaches to 'Amplification' of Conferences == There are a number of ways in which conferences can be amplified through use of networked technologies: Amplification of the audiences' voice: Prior to the availability of real time chat technologies at events (whether use of IRC, Twitter, instant messaging clients, etc.) it was only feasible to discuss talks with immediate neighbours, and even then this may be considered rude. Amplification of the speaker's talk: The availability of video and audio-conferencing technologies make it possible for a speaker to be heard by an audience which isn't physically present at the conference. Although use of video technologies has been available to support conferences for some time, this has normally been expensive and require use of dedicated video-conferencing technologies. However the availability of lightweight desktop tools make it much easier to deploy such technologies, without even, requiring the involvement of conference organisers. Amplification across time: Video and audio technologies can also be used to allow a speaker's talk to be made available after the event, with use of podcasting or videocasting technologies allowing the talks to be easily syndicated to mobile devices as well as accessed on desktop computers. Amplification of the speaker's slides: The popularity of global repository services for slides, such as SlideShare, enable the slides used by a speaker to be more easily found, embedded on other Web sites and commented upon, in ways that were not possible when the slides, if made available at all, were only available on a conference Web site. Amplification of feedback to the speaker: Micro-blogging technologies, such as Twitter, are being used not only as a discussion channel for conference participants but also as a way of providing real-time feedback to a speaker during a talk. We are also now seeing dedicated microblogging technologies, such as Coveritlive and Scribblelive, being developed which aim to provide more sophisticated 'back channels' for use at conferences. Amplification of a conference's collective memory: The popularity of digital cameras and the photographic capabilities of many mobile phones is leading to many photographs being taken at conferences. With such photographs often being uploaded to popular photographic sharing services, such as Flickr, and such collections being made more easy to discover through agreed use of tags, we are seeing amplification of the memories of an event though the sharing of such resources. The ability of such photographic resources to be 'mashed up' with, say, accompanying music, can similarly help to enrich such collective experiences. Amplification of the learning: The ability to be able to follow links to resources and discuss the points made by a speaker during a talk can enrich the learning which takes place at an event, as described by Shabajee's article on "'Hot' or Not? Welcome to real-time peer review" published in the Times Higher Education Supplement in May 2003. Long term amplification of conference outputs: The availability in a digital format of conference resources, including 'official' resources such as slides, video and audio recordings, etc. which have been made by the conference organisers with the approval of speakers, together with more nebulous resources such as archives of conference back channels, and photographs and unofficial recordings taken at the event may help to provide a more authentic record of an event, which could potentially provide a valuable historical record. The amplification of conferences can be viewed as an example of how new technologies are altering standard practice. By using these techniques a different type of interaction is created at the conference itself, but also the boundaries around the conference can be seen as permeable, with remote participants engaging in discussion. An amplified conference also provides a considerably altered archive compared with a 'traditional' one. For the latter, the printed proceedings will be the main record, but for an amplified event this record is distributed across many media and takes in a wider range of content types, including the papers, videos of the presentations (for example on YouTube), the slides (e.g. on Slideshare), photos of the event (Flickr), interaction between participants (Twitter), reflections and comments (blogs), etc. The amplified conference represents an example of changing practice in digital scholarship.

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  • SWILE

    SWILE

    SWILE (formerly: Lunchr) is a French app-based company that focuses on improving the employee experience. Among others, the platform offers meal vouchers, gift vouchers, mobility vouchers, and business travel solutions. In March 2020, it was renamed SWILE and entered the lunch break and meal voucher market. == History == The company was founded as Lunchr by Loïc Soubeyrand in 2016. Originally, Lunchr was an app for pre-ordering lunch on the spot or to go. In January 2017, the company raised €2.5 million in seed funding from Daphni. In 2018, the company raised €11 million (series A) from Idinvest, followed by another €30 million in February 2019 (series B), notably from Index Ventures and Kima Ventures. In January 2020, Lunchr became one of the first startups to join the French Tech 120. A few months later, in March, Lunchr diversified its services, adding team life management tools and changing its brand name to Swile. In June 2020, the company raised €70 million more in a new round of financing (Series C) from the same investors and the BPI. In November 2020, Swile acquired Briq, a startup specializing in employee engagement. In January 2021, Swile won a tender with Carrefour and distributed 62,000 Swile cards to its employees. In early October 2021, a new $200 million (€175 million) fundraising round, in which Japanese Softbank joined other investors, allowed Swile to capitalize on $1 billion. President Emmanuel Macron cited the company as "a further proof that FrenchTech is at the forefront internationally." In May 2022, the company acquired the travel management start-up Okarito for €6 million. == Overview == Swile operates in two countries (France and Brazil) and has a total of 1000 employees, 5.5 million users and 85,000 corporate customers, including Carrefour, Le Monde, JCDECAUX, PSG, Airbnb, Spotify, Red Bull, and TikTok in the private sector, as well as numerous local authorities and ministerial references in the public sector.

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  • Content creation

    Content creation

    Content creation is the act of making and sharing media content, particularly in digital contexts. A content creator is the person or studio behind such content. According to Dictionary.com, content refers to "something that is to be expressed through some medium, as speech, writing or any of various arts" for self-expression, distribution, marketing and/or publication. Content creation encompasses various activities, including maintaining and updating web sites, blogging, article writing, photography, videography, online commentary, social media accounts, and editing and distribution of digital media. In a survey conducted by the Pew Research Center, the content thus created was defined as "the material people contribute to the online world". In addition to traditional forms of content creation, digital platforms face growing challenges related to privacy, copyright, misinformation, platform moderation policies, and the repercussions of violating community guidelines. == Content creators == Content creation is the process of producing and sharing various forms of content such as text, images, audio, and video, designed to engage and inform a specific audience. It plays a crucial role in digital marketing, branding, and online communication and brand awareness. Content can be created for a range of platforms, including social media, websites, blogs, and multimedia channels. Whether it's through written articles, compelling photography, or engaging videos, content creation helps businesses build a connection with their audience, increase visibility, and drive traffic. The process typically involves identifying the target audience, brainstorming ideas, creating the content, and distributing it across various channels. Successful content creation combines creativity with strategic planning, considering audience preferences, trends, and platform characteristics to achieve marketing and branding goals. === News organizations === News organizations, especially those with a large and global reach like The New York Times, NPR, and CNN, consistently create some of the most shared content on the Web, especially in relation to current events. In the words of a 2011 report from the Oxford School for the Study of Journalism and the Reuters Institute for the Study of Journalism, "Mainstream media is the lifeblood of topical social media conversations in the UK." While the rise of digital media has disrupted traditional news outlets, many have adapted and have begun to produce content that is designed to function on the web and be shared on social media. The social media site Twitter is a major distributor and aggregator of breaking news from various sources, and the function and value of Twitter in the distribution of news is a frequent topic of discussion and research in journalism. User-generated content, social media blogging and citizen journalism have changed the nature of news content in recent years. The company Narrative Science is now using artificial intelligence to produce news articles and interpret data. === Colleges, universities, and think tanks === Academic institutions, such as colleges and universities, create content in the form of books, journal articles, white papers, and some forms of digital scholarship, such as blogs that are group edited by academics, class wikis, or video lectures that support a massive open online course (MOOC). Through an open data initiative, institutions may make raw data supporting their experiments or conclusions available on the Web. Academic content may be gathered and made accessible to other academics or the public through publications, databases, libraries, and digital libraries. Academic content may be closed source or open access (OA). Closed-source content is only available to authorized users or subscribers. For example, an important journal or a scholarly database may be a closed source, available only to students and faculty through the institution's library. Open-access articles are open to the public, with the publication and distribution costs shouldered by the institution publishing the content. === Companies === Corporate content includes advertising and public relations content, as well as other types of content produced for profit, including white papers and sponsored research. Advertising can also include auto-generated content, with blocks of content generated by programs or bots for search engine optimization. Companies also create annual reports which are part of their company's workings and a detailed review of their financial year. This gives the stakeholders of the company insight into the company's current and future prospects and direction. === Artists and writers === Cultural works, like music, movies, literature, and art, are also major forms of content. Examples include traditionally published books and e-books as well as self-published books, digital art, fanfiction, and fan art. Independent artists, including authors and musicians, have found commercial success by making their work available on the Internet. === Government === Through digitization, sunshine laws, open records laws and data collection, governments may make statistical, legal or regulatory information available on the Internet. National libraries and state archives turn historical documents, public records, and unique relics into online databases and exhibits. This has raised significant privacy issues. In 2012, The Journal News, a New York state paper, sparked an outcry when it published an interactive map of the state's gun owner locations using legally obtained public records. Governments also create online or digital propaganda or misinformation to support domestic and international goals. This can include astroturfing, or using media to create a false impression of mainstream belief or opinion. Governments can also use open content, such as public records and open data, in service of public health, educational and scientific goals, such as crowdsourcing solutions to complex policy problems. In 2013, the National Aeronautics and Space Administration (NASA) joined the asteroid mining company Planetary Resources to crowdsource the hunt for near-Earth objects. Describing NASA's crowdsourcing work in an interview, technology transfer executive David Locke spoke of the "untapped cognitive surplus that exists in the world" which could be used to help develop NASA technology. In addition to making governments more participatory, open records and open data have the potential to make governments more transparent and less corrupt. === Users === The introduction of Web 2.0 made it possible for content consumers to be more involved in the generation and sharing of content. With the advent of digital media, the amount of user generated content, as well as the age and class range of users, has increased. 8% of Internet users are very active in content creation and consumption. Worldwide, about one in four Internet users are significant content creators, and users in emerging markets lead the world in engagement. Research has also found that young adults of a higher socioeconomic background tend to create more content than those from lower socioeconomic backgrounds. 69% of American and European internet users are "spectators", who consume—but do not create—online and digital media. The ratio of content creators to the amount of content they generate is sometimes referred to as the 1% rule, a rule of thumb that suggests that only 1% of a forum's users create nearly all of its content. Motivations for creating new content may include the desire to gain new knowledge, the possibility of publicity, or simple altruism. Users may also create new content in order to bring about social reforms. However, researchers caution that in order to be effective, context must be considered, a diverse array of people must be included, and all users must participate throughout the process. According to a 2011 study, minorities create content in order to connect with their communities online. African-American users have been found to create content as a means of self-expression that was not previously available. Media portrayals of minorities are sometimes inaccurate and stereotypical which affects the general perception of these minorities. African-Americans respond to their portrayals digitally through the use of social media such as Twitter and Tumblr. The creation of Black Twitter has allowed a community to share their problems and ideas. ==== Teens ==== Younger users now have greater access to content, content creating applications, and the ability to publish to different types of media, such as Facebook, Blogger, Instagram, DeviantArt, or Tumblr. As of 2005, around 21 million teens used the internet and 57%, or 12 million teens, consider themselves content creators. This proportion of media creation and sharing is higher than that of adults. With the advent of the Internet, teens have had more access to tools for sharing an

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  • Flat-panel display

    Flat-panel display

    A flat-panel display (FPD) is an electronic display used to display visual content such as text or images. It is present in consumer, medical, transportation, and industrial equipment. Flat-panel displays are thin, lightweight, provide better linearity and are capable of higher resolution and contrast than typical consumer-grade TVs from earlier eras. They are usually less than 10 centimetres (3.9 in) thick. While the highest resolution for consumer-grade CRT televisions is 1080i, many interactive flat panels in the 2020s are capable of 1080p and 4K resolution. In the 2010s, portable consumer electronics such as laptops, mobile phones, and portable cameras have used flat-panel displays since they consume less power and are lightweight. As of 2016, flat-panel displays have almost completely replaced CRT displays. Most 2010s-era flat-panel displays use LCD or light-emitting diode (LED) technologies, sometimes combined. Most LCD screens are back-lit with color filters used to display colors. In many cases, flat-panel displays are combined with touch screen technology, which allows the user to interact with the display in a natural manner. For example, modern smartphone displays often use OLED panels, with capacitive touch screens. Flat-panel displays can be divided into two display device categories: volatile and static. The former requires that pixels be periodically electronically refreshed to retain their state (e.g. liquid-crystal displays (LCD)), and can only show an image when it has power. On the other hand, static flat-panel displays rely on materials whose color states are bistable, such as displays that make use of e-ink technology, and as such retain content even when power is removed. == History == The first engineering proposal for a flat-panel TV was by General Electric in 1954 as a result of its work on radar monitors. The publication of their findings gave all the basics of future flat-panel TVs and monitors. But GE did not continue with the R&D required and never built a working flat panel at that time. The first production flat-panel display was the Aiken tube, developed in the early 1950s and produced in limited numbers in 1958. This saw some use in military systems as a heads up display and as an oscilloscope monitor, but conventional technologies overtook its development. Attempts to commercialize the system for home television use ran into continued problems and the system was never released commercially. Dennis Gabor, better known as the inventor of holography, patented a flat-screen CRT in 1958. This was substantially similar to Aiken's concept, and led to a years-long patent battle. By the time the lawsuits were complete, with Aiken's patent applying in the US and Gabor's in the UK, the commercial aspects had long lapsed, and the two became friends. Around this time, Clive Sinclair came across Gabor's work and began an ultimately unsuccessful decade-long effort to commercialize it. The Philco Predicta featured a relatively flat (for its day) cathode-ray tube setup and would be the first commercially released "flat panel" upon its launch in 1958; the Predicta was a commercial failure. The plasma display panel was invented in 1964 at the University of Illinois, according to The History of Plasma Display Panels. === Liquid-crystal displays (LC displays, or LCDs) === The MOSFET (metal–oxide–semiconductor field-effect transistor, or MOS transistor) was invented by Mohamed M. Atalla and Dawon Kahng at Bell Labs in 1959, and presented in 1960. Building on their work, Paul K. Weimer at RCA developed the thin-film transistor (TFT) in 1962. It was a type of MOSFET distinct from the standard bulk MOSFET. The idea of a TFT-based LCD was conceived by Bernard J. Lechner of RCA Laboratories in 1968. B.J. Lechner, F.J. Marlowe, E.O. Nester and J. Tults demonstrated the concept in 1968 with a dynamic scattering LCD that used standard discrete MOSFETs. The first active-matrix addressed electroluminescent display was made using TFTs by T. Peter Brody's Thin-Film Devices department at Westinghouse Electric Corporation in 1968. In 1973, Brody, J. A. Asars and G. D. Dixon at Westinghouse Research Laboratories demonstrated the first thin-film-transistor liquid-crystal display. Brody and Fang-Chen Luo demonstrated the first flat active-matrix liquid-crystal display (AM LCD) using TFTs in 1974. By 1982, pocket LCD TVs based on LCD technology were developed in Japan. The 2.1-inch Epson ET-10 Epson Elf was the first color LCD pocket TV, released in 1984. In 1988, a Sharp research team led by engineer T. Nagayasu demonstrated a 14-inch full-color LCD, which convinced the electronics industry that LCD would eventually replace CRTs as the standard television display technology. As of 2013, all modern high-resolution and high-quality electronic visual display devices use TFT-based active-matrix displays. === LED displays === The first usable LED display was developed by Hewlett-Packard (HP) and introduced in 1968. It was the result of research and development (R&D) on practical LED technology between 1962 and 1968, by a research team under Howard C. Borden, Gerald P. Pighini, and Mohamed M. Atalla, at HP Associates and HP Labs. In February 1969, they introduced the HP Model 5082-7000 Numeric Indicator. It was the first alphanumeric LED display, and was a revolution in digital display technology, replacing the Nixie tube for numeric displays and becoming the basis for later LED displays. In 1977, James P Mitchell prototyped and later demonstrated what was perhaps the earliest monochromatic flat-panel LED television display. Ching W. Tang and Steven Van Slyke at Eastman Kodak built the first practical organic LED (OLED) device in 1987. In 2003, Hynix produced an organic EL driver capable of lighting in 4,096 colors. In 2004, the Sony Qualia 005 was the first LED-backlit LCD. The Sony XEL-1, released in 2007, was the first OLED television. == Common types == === Liquid-crystal display (LCD) === Field-effect LCDs are lightweight, compact, portable, cheap, more reliable, and easier on the eyes than CRT screens. LCD screens use a thin layer of liquid crystal, a liquid that exhibits crystalline properties. It is sandwiched between two glass plates carrying transparent electrodes. Two polarizing films are placed at each side of the LCD. By generating a controlled electric field between electrodes, various segments or pixels of the liquid crystal can be activated, causing changes in their polarizing properties. These polarizing properties depend on the alignment of the liquid-crystal layer and the specific field-effect used, being either twisted nematic (TN), in-plane switching (IPS) or vertical alignment (VA). Color is produced by applying appropriate color filters (red, green and blue) to the individual subpixels. LC displays are used in various electronics like watches, calculators, mobile phones, TVs, computer monitors and laptops screens etc. === LED-LCD === Most earlier large LCD screens were back-lit using a number of CCFL (cold-cathode fluorescent lamps). However, small pocket size devices almost always used LEDs as their illumination source. With the improvement of LEDs, almost all new displays are now equipped with LED backlight technology. The image is still generated by the LCD layer. === Plasma panel === A plasma display consists of two glass plates separated by a thin gap filled with a gas such as neon. Each of these plates has several parallel electrodes running across it. The electrodes on the two plates are at right angles to each other. A voltage applied between the two electrodes one on each plate causes a small segment of gas at the two electrodes to glow. The glow of gas segments is maintained by a lower voltage that is continuously applied to all electrodes. By 2010, consumer plasma displays had been discontinued by numerous manufacturers. === Electroluminescent panel === In an electroluminescent display, the image is created by applying electrical signals to the plates which make the phosphor glow. === Organic light-emitting diode === An OLED (organic light-emitting diode) is a light-emitting diode (LED) in which the emissive electroluminescent layer is a film of organic compound which emits light in response to an electric current. This layer of organic semiconductor is situated between two electrodes; typically, at least one of these electrodes is transparent. OLEDs are used to create digital displays in devices such as television screens, computer monitors, portable systems such as mobile phones, handheld game consoles and PDAs. === Quantum-dot light-emitting diode === QLED or quantum dot LED is a flat panel display technology introduced by Samsung under this trademark. Other television set manufacturers such as Sony have used the same technology to enhance the backlighting of LCD TVs already in 2013. Quantum dots create their own unique light when illuminated by a light source of shorter wavelength such as blue LEDs. Th

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  • Optical recording

    Optical recording

    The history of optical recording can be divided into a few number of distinct major contributions. The pioneers of optical recording worked mostly independently, and their solutions to the many technical challenges have very distinctive features, such as reflective disc (Compaan and Kramer) transparent disc (Gregg) floppy disc (Russell) rigid disc (Compaan and Kramer) focused laser beam for read-out through transparent substrate (Compaan and Kramer). == Gregg 1958 == Laserdisc technology, using a transparent disc, was invented by David Paul Gregg in 1958 (and patented in 1970 and 1990). By 1969 Philips had developed a videodisc in reflective mode, which has great advantages over the transparent mode. MCA and Philips decided to join their efforts. They first publicly demonstrated the videodisc in 1972. Laserdisc was first available on the market, in Atlanta, on December 15, 1978, two years after the VHS VCR and four years before the CD, which is based on Laserdisc technology. Philips produced the players and MCA produced the discs. The Philips/MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (John Winslow, Richard Wilkinson and Ray Dakin) founded Optical Disc Corporation (now ODC Nimbus). == Russell 1965 == While working at Pacific Northwest National Laboratory, James Russell invented an optical storage system for digital audio and video, patenting the concept in 1970. The earliest patents by Russell, US 3,501,586, and 3,795,902 were filed in 1966, and 1969. respectively. He built prototypes, and the first was operating in 1973. Russell had found a way to record digital information onto a photosensitive plate in tiny dark spots, each spot one micrometre from centre to centre, with a laser that wrote the binary patterns. Russell's first optical disc was distinctly different from the eventual compact disc product: the disc in the player was not read by laser light. A key characteristic of Russell's invention is that a laser is not used for the reading the disc, instead the entire disc or oblong sheet to be read is illuminated by a large playback light source at the back of the transparent foil. As a result, the information density is relatively low. By 1985, Russell held over 25 patents to various technologies related to optical recording and playback. Russell's intellectual property was purchased by Optical Recording Corporation (ORC) in Toronto in 1985, and this firm notified a number of CD manufacturers that their CD technology was based on patents held by ORC. In 1987, ORC signed an agreement with Sony whereby Sony paid for licensing of the technology. Further licenses followed from Philips and others. Warner Communications did not sign, and was sued by ORC. In 1992, the large CD manufacturer, now called Time Warner, was ordered to pay ORC US$30 million in patent violations. In the 1970 patent, the spot diameter was around 10 micrometres. Thus, the areal information density was around a factor hundred less than that of the CD as later developed. Russell continued to refine the concept throughout the 1970s. Philips and Sony, however, were able to put far greater resources into the parallel development of the concept, arriving at a smaller and more sophisticated product in just a few years. Russell's various partners and ventures failed to produce a single consumer product. == Korpel 1968 == Adrianus Korpel worked for the Zenith Electronics Corporation, when he developed very early optical videodisc systems, including holographic storage. == Kramer and Compaan 1969 == The Philips development of the videodisc technology began in 1969 with efforts by Dutch physicists Klaas Compaan and Piet Kramer to record video images in holographic form on disc. Their prototype Laserdisc shown in 1972 used a laser beam in reflective mode to read a track of pits using an FM video signal. Together with MCA, Philips brought the optical videodisk to market in 1978. The cooperation between Philips and MCA did not last long, and discontinued after a few years. == Immink and Doi 1979 == The Compact Disc (CD), which is based on MCA/Philips Laserdisc technology, was developed by a taskforce of Sony and Philips in 1979–1980. Toshi Doi and Kees Schouhamer Immink created the digital technologies that turned the analog Laserdisc into a high-density low-cost digital audio disc. The CD, available on the market since October 1982, remains the standard physical medium for sale of commercial audio recordings Standard CDs have a diameter of 120 mm and can hold up to 80 minutes of audio (700 MB of data). The Mini CD has various diameters ranging from 60 to 80 mm; they are sometimes used for CD singles or device drivers, storing up to 24 minutes of audio. The technology was later adapted and expanded to include data storage CD-ROM, write-once audio and data storage CD-R, rewritable media CD-RW, Super Audio CD (SACD), Video Compact Discs (VCD), Super Video Compact Discs (SVCD), PhotoCD, PictureCD, CD-i, and Enhanced CD. CD-ROMs and CD-Rs remain widely used technologies in the computer industry. The CD and its extensions have been extremely successful: in 2004, worldwide sales of CD audio, CD-ROM, and CD-R reached about 30 billion discs. By 2007, 200 billion CDs had been sold worldwide.

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  • Google Vids

    Google Vids

    Google Vids (not to be confused with Google Video) is an online timeline-based video editing application included as part of the Google Workspace suite. It is designed to help users create informational videos for work-related purposes. The app uses Google's Gemini technology to enable users to create video storyboards manually or with AI assistance using simple prompts. Features include uploading media, choosing stock videos, images, background music, and a voiceover feature with script generation using AI. The app is currently in testing with select Google Workspace Labs users. Like Kapwing and Capcut, Google Vids is primarily for creating work-related content like sales training, onboarding videos, vendor outreach, and project updates. It offers various styles and templates, collaborative features, and is not limited to videos without the short integration at the moment. Google Vids was announced on April 9, 2024. In September 2025, Google began to roll out a basic version of the application to Google Workspace users.

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  • Polyfill (programming)

    Polyfill (programming)

    In software development, a polyfill is code that implements a new standard feature of a deployment environment within an old version of that environment that does not natively support the feature. Most often, it refers to JavaScript code that implements an HTML5 or CSS web standard, either an established standard (supported by some browsers) on older browsers, or a proposed standard (not supported by any browsers) on existing browsers. Polyfills are also used in PHP and Python. Polyfills allow web developers to use an API regardless of whether or not it is supported by a browser, and usually with minimal overhead. Typically they first check if a browser supports an API, and use it if available, otherwise using their own implementation. Polyfills themselves use other, more supported features, and thus different polyfills may be needed for different browsers. The term is also used as a verb: polyfilling is providing a polyfill for a feature. == Definition == The term is a neologism, coined by Remy Sharp, who required a word that meant "replicate an API using JavaScript (or Flash or whatever) if the browser doesn’t have it natively" while co-writing the book Introducing HTML5 in 2009. Formally, "a shim is a library that brings a new API to an older environment, using only the means of that environment." Polyfills exactly fit this definition; the term shim was also used for early polyfills. However, to Sharp shim connoted non-transparent APIs and workarounds, such as spacer GIFs for layout, sometimes known as shim.gif, and similar terms such as progressive enhancement and graceful degradation were not appropriate, so he invented a new term. The term is based on the multipurpose filling paste brand Polyfilla, a paste used to cover up cracks and holes in walls, and the meaning "fill in holes (in functionality) in many (poly-) ways." The word has since gained popularity, particularly due to its use by Paul Irish and in Modernizr documentation. The distinction that Sharp makes is: What makes a polyfill different from the techniques we have already, like a shim, is this: if you removed the polyfill script, your code would continue to work, without any changes required in spite of the polyfill being removed. This distinction is not drawn by other authors. At times various other distinctions are drawn between shims, polyfills, and fallbacks, but there are no generally accepted distinctions: most consider polyfills a form of shim. The term polyfiller is also occasionally found. == Examples == === core-js === core-js is one of the most popular JavaScript standard library polyfills. Includes polyfills for ECMAScript up to the latest version of the standard: promises, symbols, collections, iterators, typed arrays, many other features, ECMAScript proposals, some cross-platform WHATWG / W3C features and proposals like URL. You can load only required features or use it without global namespace pollution. It can be integrated with Babel, which allows it to automatically inject required core-js modules into your code. === html5shiv === In IE versions prior to 9, unknown HTML elements like

    and
  • Electronics

    Electronics

    Electronics is a scientific and engineering discipline that studies and applies the principles of physics to design, create, and operate devices that manipulate electrons and other electrically charged particles. It is a subfield of physics and electrical engineering which uses active devices such as transistors, diodes, and integrated circuits to control and amplify the flow of electric current and to convert it from one form to another, such as from alternating current (AC) to direct current (DC) or from analog signals to digital signals. Electronic devices have significantly influenced the development of many aspects of modern society, such as telecommunications, entertainment, education, health care, industry, and security. The main driving force behind the advancement of electronics is the semiconductor industry, which continually produces ever-more sophisticated electronic devices and circuits in response to global demand. The semiconductor industry is one of the global economy's largest and most profitable industries, with annual revenues exceeding $481 billion in 2018. The electronics industry also encompasses other branches that rely on electronic devices and systems, such as e-commerce, which generated over $29 trillion in online sales in 2017. == History and development == Karl Ferdinand Braun's development of the crystal detector, the first semiconductor device, in 1874 and the identification of the electron in 1897 by Sir Joseph John Thomson, along with the subsequent invention of the vacuum tube which could amplify and rectify small electrical signals, inaugurated the field of electronics and the electron age. Practical applications started with the invention of the diode by Ambrose Fleming and the triode by Lee De Forest in the early 1900s, which made the detection of small electrical voltages, such as radio signals from a radio antenna, practicable. Vacuum tubes (thermionic valves) were the first active electronic components which controlled current flow by influencing the flow of individual electrons, and enabled the construction of equipment that used current amplification and rectification to give us radio, television, radar, long-distance telephony and much more. The early growth of electronics was rapid, and by the 1920s, commercial radio broadcasting and telecommunications were becoming widespread and electronic amplifiers were being used in such diverse applications as long-distance telephony and the music recording industry. The next big technological step took several decades to appear, when the first working point-contact transistor was invented by John Bardeen and Walter Houser Brattain at Bell Labs in 1947. However, vacuum tubes continued to play a leading role in the field of microwave and high power transmission as well as television receivers until the middle of the 1980s. Since then, solid-state devices have all but completely taken over. Vacuum tubes are still used in some specialist applications such as high power RF amplifiers, cathode-ray tubes, specialist audio equipment, guitar amplifiers and some microwave devices. In April 1955, the IBM 608 was the first IBM product to use transistor circuits without any vacuum tubes and is believed to be the first all-transistorized calculator to be manufactured for the commercial market. The 608 contained more than 3,000 germanium transistors. Thomas J. Watson Jr. ordered all future IBM products to use transistors in their design. From that time on, transistors were almost exclusively used for computer logic circuits and peripheral devices. However, early junction transistors were relatively bulky devices that were difficult to manufacture on a mass-production basis, which limited them to a number of specialised applications. The MOSFET was invented at Bell Labs between 1955 and 1960. It was the first truly compact transistor that could be miniaturised and mass-produced for a wide range of uses. Its advantages include high scalability, affordability, low power consumption, and high density. It revolutionized the electronics industry, becoming the most widely used electronic device in the world. The MOSFET is the basic element in most modern electronic equipment. As the complexity of circuits grew, problems arose. One problem was the size of the circuit. A complex circuit like a computer was dependent on speed. If the components were large, the wires interconnecting them must be long. The electric signals took time to go through the circuit, thus slowing the computer. The invention of the integrated circuit by Jack Kilby and Robert Noyce solved this problem by making all the components and the chip out of the same block (monolith) of semiconductor material. The circuits could be made smaller, and the manufacturing process could be automated. This led to the idea of integrating all components on a single-crystal silicon wafer, which led to small-scale integration (SSI) in the early 1960s, and then medium-scale integration (MSI) in the late 1960s, followed by VLSI. In 2008, billion-transistor processors became commercially available. == Subfields == == Devices and components == An electronic component is any component, either active or passive, in an electronic system or electronic device. Components are connected together, usually by being soldered to a printed circuit board (PCB), to create an electronic circuit with a particular function. Components may be packaged singly or in more complex groups as integrated circuits. Passive electronic components are capacitors, inductors, resistors, whilst active components are such as semiconductor devices; transistors and thyristors, which control current flow at electron level. == Types of circuits == Electronic circuit functions can be divided into two function groups: analog and digital. A particular device may consist of circuitry that has either or a mix of the two types. Analog circuits are becoming less common, as many of their functions are being digitized. === Analog circuits === Analog circuits use a continuous range of voltage or current for signal processing, as opposed to the discrete levels used in digital circuits. Analog circuits were common throughout electronic devices in the early years, in devices such as radio receivers and transmitters. Analog electronic computers were valuable for solving problems with continuous variables until digital processing advanced. As semiconductor technology developed, many of the functions of analog circuits were taken over by digital circuits, and modern circuits that are entirely analog are less common; their functions being replaced by hybrid approach which, for instance, uses analog circuits at the front end of a device receiving an analog signal, and then use digital processing using microprocessor techniques thereafter. Sometimes it may be difficult to classify some circuits that have elements of both linear and non-linear operation. An example is the voltage comparator, which receives a continuous range of voltage but only outputs one of two levels, as in a digital circuit. Similarly, an overdriven transistor amplifier can take on the characteristics of a controlled switch, having essentially two levels of output. Analog circuits are still widely used for signal amplification, such as in the entertainment industry, and conditioning signals from analog sensors, such as in industrial measurement and control. === Digital circuits === Digital circuits are electric circuits based on discrete voltage levels. Digital circuits use Boolean algebra and are the basis of all digital computers and microprocessor devices. They range from simple logic gates to large integrated circuits, employing millions of such gates. Digital circuits use a binary system with two voltage levels labelled 0 and 1 to indicate logical status. Often logic 0 will be a lower voltage and referred to as Low while logic 1 is referred to as High. However, some systems use the reverse definition (0 is High) or are current based. Quite often, the logic designer may reverse these definitions from one circuit to the next as they see fit to facilitate their design. The definition of the levels as 0 or 1 is arbitrary. Ternary (with three states) logic has been studied, and some prototype computers made, but have not gained any significant practical acceptance. Universally, computers and digital signal processors are constructed with digital logic circuits using transistors such as MOSFETs in the electronic logic gates to generate binary states. Logic gates Adders Flip-flops Counters Registers Multiplexers Schmitt triggers Highly integrated devices: Memory chip Microprocessors Microcontrollers Application-specific integrated circuit (ASIC) Digital signal processor (DSP) Field-programmable gate array (FPGA) Field-programmable analog array (FPAA) System on chip (SOC) == Design == Electronic systems design deals with the multi-disciplinary design issues of complex electronic devices and systems, such as mob

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  • Filter (social media)

    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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  • Secure environment

    Secure environment

    In computing, a secure environment is any system which implements the controlled storage and use of information. In the event of computing data loss, a secure environment is used to protect personal or confidential data. It may also be known as a trusted execution environment (TEE). Often, secure environments employ cryptography as a means to protect information. This is typically used for processing confidential or restricted information. Some secure environments employ cryptographic hashing, simply to verify that the information has not been altered since it was last modified.

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  • Open Media Framework Interchange

    Open Media Framework Interchange

    Open Media Format (OMF), Open Media Framework, or Open Media Framework Interchange (OMFI), is a platform-independent file format intended for transfer of digital media between different software applications. OMFI is a file format that aids in exchange of digital media across applications and platforms. This framework enables users to import media elements and to edit information and effects summaries. Sequential media representation is the primary concern that is addressed by this format. The primary objective of OMFI is video production. However, there are a number of additional features which can be listed as follows: The origin of the data can be easily backtracked or identified since the import material is in the form of a videotape or film. There are predefined effects and transitions, which paves the way for easy and quick overlapping and sequencing of various track. The format supports motion control. (i.e. enabling a particular segment to play at a ratio of the speed of another segment) Some of the key benefits of OMFI are: It saves time by getting rid of tape-based file transfers. It brings in flexibility owing to its ability to use a number of applications on multiple workstations. The format preserves the best sound and picture quality during all imports. It eliminates the risk of file formatting and incompatibilities, which in turn allows users to spend their productive time on the creative aspects of their work. It preserves the formatting information during file transfers between applications or workstations. Hence, the need for rebuilding the effects and sequences is eliminated. The OMFI format consists of four primary sections namely Header, Object data, Object dictionary and Track data. The header contains an index of all the segments that constitute the file.

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  • Event cinema

    Event cinema

    Event cinema sometimes called alternative content cinema or livecasts refers to the use of movie theaters to display a varied range of live and recorded entertainment excluding traditional films, such as sport, opera, musicals, ballet, music, one-off TV specials, current affairs, comedy and religious services. == History and development == Event Cinema was set up at the start of the century with rock concerts by Bon Jovi (2001), David Bowie (2003), and Robbie Williams (2005) bringing non-film audiences into cinemas that had newly installed digital equipment. The Metropolitan Opera in New York through their partnership with Fathom Events is acknowledged as the trailblazer in this area, aggressively seeking out new markets and setting high standards for live broadcasts via satellite. Emulated by other opera houses worldwide such as the Royal Opera House following a close second, Glyndebourne, La Scala and the Sydney Opera House the genre of opera within the 'Event Cinema' industry has been a huge success, and has brought new, younger audiences into cash-strapped opera houses depended on state funding and wealthy benefactors for the first time - an unforeseen and happy consequence of digitisation. Ballet and theater have also been very successful, as have rock concerts, both live and recorded. The UK's National Theatre has been a huge success here with their season of live broadcasts under the banner 'NT Live', featuring big name casts such as Helen Mirren, whose recent turn as Queen Elizabeth II in The Audience was a sell out everywhere. (This was in partnership with another West End theatre and the NT are keen to help other theatres maximise their potential through live broadcasts). The Globe and the Royal Shakespeare Company are also producing work for live broadcast and recorded exhibition. As digitisation of cinemas matures, the Event Cinema industry is growing. The strongest territory is the US, followed by the UK and mainland European territories. Latin America is also a very strong market. Recent additions include Pompeii Live, a unique exhibition by the UK's British Museum, featuring celebrities and curators taking the audience on a live tour around the recreated set of Pompeii within the museum itself, and they are also exploring the schools market for the first time, following the live broadcast on June 18 with a daytime broadcast aimed at UK schools for the first time. If successful this will no doubt prove a model for future museums to emulate. An added incentive for exhibitors is the ability to show alternative content, i.e. alternative to mainstream, studio-driven content, such as live special events, sports, pre-show advertising and other digital or video content. In industry terms this has become known as 'Alternative Content', but has recently become known more widely as 'Event Cinema'. === Expanding markets === Some low-budget films that would normally not have a theatrical release because of distribution costs might be shown in smaller engagements than the typical large release studio pictures. The cost of duplicating a digital "print" is very low, so adding more theaters to a release has a small additional cost to the distributor. Movies that start with a small release could scale to a much larger release quickly if they were sufficiently successful, opening up the possibility that smaller movies could achieve box office success previously out of their reach. ==== Technical specifications ==== Event Cinema is also finding a market in 3rd world countries in which the higher costs and quality of DCI equipment are not yet affordable, as crucially there are no DCI specifications for Alternative Content as there is in mainstream [studio] content. This has led to an explosion in the variety of content on offer, but a lack of standardisation has led to questionable quality at times. As the industry matures, this lack of regulation is expected to change and there are moves afoot to introduce codes of practice and technical specifications. Recorded content complements mainstream studio content by maximising the 'downtime' that plagues the cinema industry, where screens worldwide spend a large proportion of their time in darkness and cinemas empty. Some cinema chains have targeted pensioners in particular, offering free tea and coffee for afternoon matinees of recorded opera, for example. Digital Cinema Packages (DCPs) have been useful to cinemas not yet equipped with satellite broadcasting capability and has enabled exhibitors to build their Event Cinema audience, which is not generally the 18-24 demographic that multiplexes are targeting. ==== New Audiences ==== Event Cinema has seen a return of an older, affluent audience, previously turned off by the multiplex experience, and cinemas are starting to capitalise on this by offering waiter-serviced, high class finger food and alcoholic beverages, complete with bars and restaurants, a world away from the traditional popcorn/soft drink model; art house cinemas are increasingly marketing themselves as 'destination' venues for an evening's entertainment, somewhere to spend an entire evening, rather than just a couple of hours. As exhibition admissions have plateau'd in recent years due to the explosion in VOD, tablet and mobile content technology, this new revenue stream has been a surprise and welcome addition to the cinema industry, though the US studios have been cautious in embracing the change as yet. The thrill of Live broadcasts means they are generally regarded as more popular than recorded events, but there are exceptions; artists with a loyal cult or teenage following tend to do particularly well in this area, as concert films featuring artists such as the Grateful Dead, Pearl Jam, JLS, Led Zeppelin and the Rolling Stones have shown. ==== The Future ==== As more and more distributors are emerging, offering an increasingly broad range of content to cinemas worldwide, the landscape itself is shifting: screen advertising companies, technical providers, and exhibitors themselves are reinventing themselves as Alternative Content or Event Cinema distributors, and the industry is witnessing a re-evaluation of business models and practices worldwide. Predictions are that this industry could be work in excess of US$1bn by 2015. An illustration of the growth of this industry is the news the establishment of a European trade association promoting the industry to the general public and supporting those involved in it and the Event Cinema Association.

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