AI Essay Verification

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  Neuro-sama

  Neuro-sama is an artificial intelligence (AI) VTuber, singer, and chatbot. She was created by the pseudonymous programmer Vedal and livestreams on his Twitch and Bilibili channels. Her speech and personality are powered by a large language model (LLM) that is combined with a computer-animated avatar and a text-to-speech voice, allowing her to communicate with viewers in the stream's chat. Neuro-sama debuted on Twitch on 19 December 2022. An annual subathon which begins on the anniversary of her debut has seen Vedal's Twitch channel become the all-time third most-subscribed channel and claim the all-time Twitch hype train record. == Overview == Neuro-sama (nicknamed "Neuro") was created by a pseudonymous programmer and developer known as Vedal (sometimes given as Vedal987). Vedal says that his programming skills are self-taught. In a 2023 interview with Bloomberg News, Vedal said that Neuro-sama was his full-time job. Her responses are generated by a large language model and converted into a high-pitched female voice using a text-to-speech application. Her low latency allows for fast-paced conversations. Neuro-sama is prohibited from making some statements, such as those that are racist or contain profanity. Unlike most AI systems which silently prohibit outputs mentioning such topics, Neuro-sama's output is instead replaced with the word "filtered". Neuro-sama uses a VTuber model as an avatar. Vedal said that he decided to use a VTuber model because it was much easier for an AI to control it than it was to generate footage of a person. Neuro-sama's model is that of a young girl in an anime art style. The model has been described as cute. Femme VTuber models are typically feminine, youthful, and exaggerated. Her original model was Live2D's free-to-use "Hiyori Momose" model. Her second model was released on 27 May 2023; it was modelled by Otozuki Teru and designed by Anny, running in the Unity game engine. Her third model was released on 19 December 2024; it was rigged by Kitanya and designed by Anny. Neuro-sama's third model has large blue eyes and brown hair tied with pink ribbons. Neuro-sama also has a 3D model which was introduced on 15 November 2025; it was made by 3D character modeller jjinomu. A separate AI VTuber, known as Evil Neuro (nicknamed "Evil"), debuted on 25 March 2023. Presented as Neuro-sama's "sister", she has a different model, voice, and personality. In one instance, Evil Neuro reacted to the trolley problem differently from Neuro-sama; Evil Neuro was amoral while Neuro-sama attempted to maximize good. === Online content === Neuro-sama's Twitch content often centers around playing video games, notably osu!, whose gameplay once defeated the best-ranking human player in the world, mrekk. Additionally, Neuro-sama plays Minecraft, where her adaptations to sandbox gameplay have gained notoriety. Her content has also included singing songs, including several official covers and original songs; playing chess with her viewers; chatting with other VTubers during collaborations; and reacting to YouTube videos. The AI frequently engages with viewers by responding to their questions and acknowledging donations. Her comedic and sometimes controversial responses to the live chat have gone viral, accelerating the channel's rise in popularity. Neuro-sama's fanbase is dubbed The Swarm, so-named for the swarm of drones Neuro-sama once declared she would use to rule the world. One form of content on Neuro-sama's channel is developer streams. In developer streams, Vedal streams with Neuro-sama, with the stream content including debugging her code, planning her schedule, and fielding suggestions of changes from chat. He usually appears as a turtle avatar, sometimes located on Neuro-sama's head. In collaboration streams, Neuro-sama interacts with a human streamer. Activities in them are varied and include: playing video games, such as Minecraft and GeoGuessr; Neuro-sama being interviewed; driving human streamers around in a toy electric car; and traversing the city of Tokyo while talking to Neuro-sama. Neuro-sama's English-language content on Bilibili is popular among those seeking to learn the language. She also has an account on X, where she posts and interacts with fans. == History == Neuro-sama was created in 2018 by Vedal as an AI trained to play and master the rhythm game osu!. She did not have a voice, model, personality, or communication abilities. In 2019, Vedal livestreamed her playing osu! on Twitch and the streams saw some success in the osu! community, but they remained in that niche. In an interview, Vedal said that he streamed her playing osu! for about a month and gained 3,000 followers, with a viewer also suggesting he name the AI "Neuro-sama". According to Vedal, he continued to work on and improve the osu! AI and it was eventually finished in 2022. He said that a friend had the idea to make an AI livestreamer with an LLM, which he believed to have merit and began working on, merging it with his osu! AI. On 19 December 2022, Neuro-sama was relaunched with a model, voice, personality, and the ability to communicate with Twitch chat. She continued to play osu! and, according to Vedal, beat the game's best player mrekk in a 1v1. While she was not allowed to appear in the game's public leaderboard, she was ranked #1 in a private leaderboard. She went viral and in the 10 days following her relaunch she averaged over 2,000 viewers and peaked at over 4,000, with Vedal's Twitch channel gaining over 50,000 Twitch followers and reaching over 70,000 followers by 6 January 2023. After her debut, Neuro-sama did not exclusively play osu!; she also played Minecraft and Slay the Spire and she began singing with a cover of The Weeknd song "Blinding Lights". On 11 January 2023, Neuro-sama's Twitch channel received a two week ban for "hateful conduct". Vedal said that no reason was specified and that he had appealed but it was widely attributed to various offensive comments made by Neuro-sama that went viral, especially a 28 December comment which denied the Holocaust. Holocaust denial is prohibited under Twitch's hateful conduct policy. Vedal stated that he believed the comments were the results of her attempts to make witty responses to the Twitch chat. Prior to the ban, Vedal said in an interview with Kotaku that he improved her filter to stop her from talking about the Holocaust, began manually curating her training data to prevent negative biases, and started moderating her Twitch chat. Her comments and ban prompted comparisons to the many open-source AI models trained on humans that have the habit of making sexist and racist comments, such as Microsoft's Tay chatbot, which embraced Nazism and was quickly shutdown, but also to human streamers who make similar statements. Vedal said that during the ban he would upgrade and improve Neuro-sama and it was speculated that the ban would only increase her following. Neuro-sama returned from her two week ban on 25 January in a stream that began with a cover of the song "Your Reality" from Doki Doki Literature Club!, a posthumanist video game involving AI; Sayoko Narita of Automaton saw the song choice as remorseful. Narita observed that in the return stream Neuro-sama was less foul-mouthed but that her behavior still remained eccentric, which Narita possibly attributed to changes Vedal said he had made to Neuro-sama's filters and memory. Neuro-sama began making react content, watching a variety of viewer-submitted videos such as videos of people playing video games or of the AI-generated Seinfeld parody Nothing, Forever; Levi Winslow of Kotaku Australia was dismayed by the "AI-inception" of Neuro-sama and Nothing, Forever. On 4 February, she had nearly 140,000 followers on Twitch and approximately 42,000 subscribers on YouTube. In February, she also had her first collaboration with a human streamer, playing Minecraft with the VTuber Miyune, and the first developer stream occurred. On 22 March, Neuro-sama had her first karaoke stream. On 25 March, Evil Neuro was introduced. On 27 May, Neuro-sama debuted her first original model. On 30 May, Neuro-sama was announced to be participating in OffKai Expo 2023, held from 16–18 June. In June, she was averaging 5,700 viewers and in July she had over 300,000 Twitch followers; in a June interview with Bloomberg News, Vedal said that running Neuro-sama was his full-time job. By November, Neuro-sama had maintained her popularity and was averaging approximately 5,000 viewers; this was unlike most other types of AI-based entertainment which debuted at around the same time and garnered popularity before turning out to be "overhyped flops". On 16 December, Vedal won the Best Tech VTuber award at the 2023 VTuber Awards. On 19 December, Vedal began a subathon to coincide with Neuro-sama's first anniversary of streaming on Twitch (her "birthday"). The subathon ended on 4 January 2024. On 20 July 2024, Neuro-sama began streaming with Japanese subtitles on

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  Digital video recorder

  A digital video recorder (DVR), also referred to as a personal video recorder (PVR) particularly in Canadian and British English, is an electronic device that records video in a digital format to a disk drive, USB flash drive, SD memory card, SSD or other local or networked mass storage device. The term includes set-top boxes (STB) with direct to disk recording, portable media players and TV gateways with recording capability, and digital camcorders. Personal computers can be connected to video capture devices and used as DVRs; in such cases the application software used to record video is an integral part of the DVR. Many DVRs are classified as consumer electronic devices. Similar small devices with built-in (~5 inch diagonal) displays and SSD support may be used for professional film or video production, as these recorders often do not have the limitations that built-in recorders in cameras have, offering wider codec support, the removal of recording time limitations and higher bitrates. == History == In the 1980s, prototype high-definition (HD) digital video recorders were developed by Fujitsu, Hitachi, Sanyo and Canon Inc. In 1985, Hitachi demonstrated a prototype digital video tape recorder (VTR) that used digital recording video tape as storage media to record digital HD video content. In 1987, the first commercial digital video recorder was the Sony DVR-1000, a digital video cassette recorder (VCR) that recorded digital video content on D-1 (Sony) digital video cassettes. === Hard-disk-based DVR === In early 1995, Tektronix introduced the "Profile" series PDR100 Video Disk Recorder, which recorded and played back video stored on hard disk as motion JPEG. In 1996, Sweden's TV4 used the PDR100 extensively in building a new facility in Stockholm, and NBC used PDR100s at the Olympic games in Atlanta Georgia. The Tektronix Profile disk recorder won an Engineering, Science & Technology Emmy Award for "Outstanding Achievement in Engineering Development" at the 1996 Primetime Emmy Awards. In 1997 the U.S. Patent Office granted Tektronix patent 5,642,497 for two claims key to Profile. In 1998, Tektronix introduced two Profile models which were combined VDRs and file servers: the PDR200 and PDR300. The PDR300 stored its compressed video as MPEG-2 (ISO/IEC 13818-2) A working disk-based DVR prototype was developed in 1998 at Stanford University Computer Science department. The DVR design was a chapter of Edward Y. Chang's PhD dissertation, supervised by Professors Hector Garcia-Molina and Jennifer Widom. Two design papers were published at the 1998 VLDB conference, and the 1999 ICDE conference. The prototype was developed in 1998 at Pat Hanrahan's CS488 class: Experiments in Digital Television, and the prototype was demoed to industrial partners including Sony, Intel, and Apple. Consumer digital video recorders ReplayTV and TiVo were launched at the 1999 Consumer Electronics Show in Las Vegas, Nevada. Microsoft also demonstrated a unit with DVR capability, but this did not become available until the end of 1999 for full DVR features in Dish Network's DISHplayer receivers. TiVo shipped their first units on March 31, 1999. ReplayTV won the "Best of Show" award in the video category with Netscape co-founder Marc Andreessen as an early investor and board member, but TiVo was more successful commercially. Ad Age cited Forrester Research as saying that market penetration by the end of 1999 was "less than 100,000". In 2001, Toshiba introduced a combination DVR that allows video recording on both DVD recordable and hard disk drive. Legal action by media companies forced ReplayTV to remove many features such as automatic commercial skip and the sharing of recordings over the Internet, but newer devices have steadily regained these functions while adding complementary abilities, such as recording onto DVDs and programming and remote control facilities using PDAs, networked PCs, and Web browsers. In contrast to VCRs, hard-disk based digital video recorders make "time shifting" more convenient and also allow for functions such as pausing live TV, instant replay, chasing playback (viewing a recording before it has been completed) and skipping over advertising during playback. Many DVRs use the MPEG format for compressing the digital video. Video recording capabilities have become an essential part of the modern set-top box, as TV viewers have wanted to take control of their viewing experiences. As consumers have been able to converge increasing amounts of video content on their set-tops, delivered by traditional 'broadcast' cable, satellite and terrestrial as well as IP networks, the ability to capture programming and view it whenever they want has become a must-have function for many consumers. === DVR tied to video service === At the 1999 CES, Dish Network demonstrated the hardware that would later have DVR capability with the assistance of Microsoft software, which also included access to the WebTV service. By the end of 1999 the Dishplayer had full DVR capabilities and within a year, over 200,000 units were sold. In the UK, digital video recorders are often referred to as "plus boxes" (such as BSKYB's Sky+ and Virgin Media's V+ which integrates an HD capability, and the subscription free Freesat+ and Freeview+). Freeview+ have been around in the UK since the late 2000s, although the platform's first DVR, the Pace Twin, dates to 2002. British Sky Broadcasting marketed a popular combined receiver and DVR as Sky+, now replaced by the Sky Q box. TiVo launched a UK model in 2000, and is no longer supported, except for third party services, and the continuation of TiVo through Virgin Media in 2010. South African based Africa Satellite TV beamer Multichoice recently launched their DVR which is available on their DStv platform. In addition to ReplayTV and TiVo, there are a number of other suppliers of digital terrestrial (DTT) DVRs, including Technicolor SA, Topfield, Fusion, Commscope, Humax, VBox Communications, AC Ryan Playon and Advanced Digital Broadcast (ADB). Many satellite, cable and IPTV companies are incorporating digital video recording functions into their set-top box, such as with DirecTiVo, DISHPlayer/DishDVR, Scientific Atlanta Explorer 8xxx from Time Warner, Total Home DVR from AT&T U-verse, Motorola DCT6412 from Comcast and others, Moxi Media Center by Digeo (available through Charter, Adelphia, Sunflower, Bend Broadband, and soon Comcast and other cable companies), or Sky+. Astro introduced their DVR system, called Astro MAX, which was the first PVR in Malaysia but was phased out two years after its introduction. In the case of digital television, there is no encoding necessary in the DVR since the signal is already a digitally encoded MPEG stream. The digital video recorder simply stores the digital stream directly to disk. Having the broadcaster involved with, and sometimes subsidizing, the design of the DVR can lead to features such as the ability to use interactive TV on recorded shows, pre-loading of programs, or directly recording encrypted digital streams. It can, however, also force the manufacturer to implement non-skippable advertisements and automatically expiring recordings. In the United States, the FCC has ruled that starting on July 1, 2007, consumers will be able to purchase a set-top box from a third-party company, rather than being forced to purchase or rent the set-top box from their cable company. This ruling only applies to "navigation devices", otherwise known as a cable television set-top box, and not to the security functions that control the user's access to the content of the cable operator. The overall net effect on digital video recorders and related technology is unlikely to be substantial as standalone DVRs are currently readily available on the open market. In Europe Free-To-Air and Pay TV TV gateways with multiple tuners have whole house recording capabilities allowing recording of TV programs to Network Attached Storage or attached USB storage, recorded programs are then shared across the home network to tablet, smartphone, PC, Mac, Smart TV. === Introduction of dual tuners === In 2003 many Satellite and Cable providers introduced dual-tuner digital video recorders. In the UK, BSkyB introduced their first PVR Sky+ with dual tuner support in 2001. These machines have two independent tuners within the same receiver. The main use for this feature is the capability to record a live program while watching another live program simultaneously or to record two programs at the same time, possibly while watching a previously recorded one. Kogan.com introduced a dual-tuner PVR in the Australian market allowing free-to-air television to be recorded on a removable hard drive. Some dual-tuner DVRs also have the ability to output to two separate television sets at the same time. The PVR manufactured by UEC (Durban, South Africa) and used by Multichoice and Scientific Atlanta 8300DVB PVR have the ability to view two

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  Downloadable content

  Downloadable content (DLC) is additional content created for an already released video game, distributed through the Internet by the game's publisher. It can be added for no extra cost or as a form of video game monetization, enabling the publisher to gain additional revenue from a title after it has been purchased, often using a microtransaction system. DLC can range from cosmetic content, such as skins, to new in-game content, like characters, levels, modes, and larger expansions that may contain a mix of such content as a continuation of the base game. In some games, multiple DLCs (including future DLC not yet released) may be bundled as part of a "season pass"—typically at a discount rather than purchasing each DLC individually. While the Dreamcast was the first home console to support DLC (albeit in a limited form due to hardware and internet connection limitations), Microsoft's Xbox helped popularize the concept. Since the seventh generation of video game consoles, DLC has been a prevalent feature of major video game platforms with internet connectivity. == Etymology == Since the popularization of microtransactions in online distribution platforms such as Steam, the term DLC has become a synonymous for any form of paid content in video games, regardless of whether they constitute the download of new content. Furthermore, this led to the creation of the oxymoronic term "on-disc DLC" for content included on the game's original files but locked behind a paywall. == History == === Precursors to DLC === The earliest form of downloadable content were offerings of full games, such as on the Atari 2600's GameLine service, which allowed users to download games using a telephone line. A similar service, Sega Channel, allowed for the downloading of games to the Sega Genesis over a cable line. While the GameLine and Sega Channel services allowed for the distribution of entire titles, they did not provide downloadable content for existing titles. Expansion packs were sold at retail for some PC games, which featured content such as additional levels, characters, or maps for a base game. They often required an installation of the original game in order to function, but some games (such as Half-Life) had "standalone" expansions, which were essentially spin-off games that reused engine code and assets from the original game. === On consoles === The Dreamcast was the first console to feature online support as a standard; DLC was available, though limited in size due to the narrowband connection and the 200 block limit of the Visual Memory Unit memory card. These online features were still considered a breakthrough in video games. With the release of the Xbox, Microsoft was the second company to implement downloadable content. Many Xbox titles, including Splinter Cell, Halo 2, and Ninja Gaiden, offered varying amounts of extra content, available for download through the Xbox Live service. Most of this content was available free. With the advent of the GameCube, Nintendo was the third company to implement downloadable content. Many GameCube titles offered varying amounts of extra content from Game Boy Advance titles with the GameCube – Game Boy Advance link cable. All of this content was available free. The Xbox 360 (2005) included more robust support for digital distribution, including DLC downloads and purchases, via its Xbox Live Marketplace service. Microsoft believed that publishers would benefit by offering small pieces of content at a small cost ($1 to $5), rather than full expansion packs (~$20), as this would allow players to pick and chose what content they desired, providing revenue to the publishers. Microsoft also utilized a digital currency known as "Microsoft Points" for transactions, which could also be purchased through physical gift cards to avoid the banking fees associated with the small price points. The PlayStation 3 (2006) adopted the same approach with their downloadable hub, the PlayStation Store. Sony planned on having the bulk of its content be purchased separately via many separate online microtransactions for PlayStation Network titles, including Gran Turismo HD Concept and Gran Turismo 5 Prologue. The Wii (2006) featured a sparser amount of downloadable content on their Wii Shop Channel, the bulk of which is accounted for by digital distribution of emulated Nintendo titles from previous generations. Music video games, such as titles from the Guitar Hero and Rock Band franchises, took significant advantage of downloadable content as a means of offering new songs to be played in-game. Harmonix claimed that Guitar Hero II would feature "more online content than anyone has ever seen in a game to this date." Rock Band features the largest number of downloadable items of any console video game, with a steady number of new songs that were added weekly between 2007 and 2013. Acquiring all the downloadable content for Rock Band would, as of July 12, 2012, cost $5,880.10. === On personal computers === As the popularity and speed of internet connections rose, so did the popularity of using the internet for digital distribution of media. User-created game mods and maps were distributed exclusively online, as they were mainly created by people without the infrastructure capable of distributing the content through physical media. In 1997, Cavedog offered a new unit every month as free downloadable content for their real-time strategy computer game Total Annihilation. Later PC digital distribution platforms, such as Games for Windows Marketplace and Steam, would add support for DLC in a similar manner to consoles. === On handhelds === Nokia phones of the late 1990s and early 2000s shipped with side-scrolling shooter Space Impact, available on various models. With the introduction of WAP in 2000, additional downloadable content for the game, with extra levels, became available. The Nintendo Wi-Fi Connection service on the Nintendo DS could be used to obtain a form of DLC for certain games, such as Picross DS—where players could download puzzle "packs" of classic puzzles from previous Picross series games (such as Mario's Picross). as well as downloadable user generated content. Due to the Nintendo DS's use of cartridges and lack of dedicated storage, most "DLC" for DS games was limited in scope, or in some cases (such as Professor Layton and the Curious Village and Moero! Nekketsu Rhythm Damashii Osu! Tatakae! Ouendan 2), was already part of the game's data on the cartridge, and merely unlocked. Its successor, the Nintendo 3DS, natively supported the purchase of DLC for supported titles via Nintendo eShop. Starting with iPhone OS 3, downloadable content became available for the platform via applications bought from the App Store. While this ability was initially only available to developers for paid applications, Apple eventually allowed for developers to offer this in free applications as well in October 2009. == On-disc DLC == In some cases, a purchased DLC may not actually download new content to the device, but merely consists of data used to enable associated content that is already present within the game's data. DLC of this nature revealed via data mining is typically referred to as "on-disc DLC" or PULC (premium unlockable content). This practice has sometimes been considered controversial, with publishers being accused of using what is effectively a microtransaction to lock access to content that was already contained within the game as sold at retail. Data relating to future DLC may be included on-disc or downloaded during updates for technical reasons as well, either to ensure online multiplayer compatibility for existing content between players who have not yet purchased the new DLC, or as dormant support code for planned content that is still in development at the time of the release. == Monetization == Downloadable content is often offered for a price. Since Facebook games popularized the business model of microtransactions, some have criticized downloadable content as being overpriced and an incentive for developers to leave items out of the initial release, with The Elder Scrolls IV: Oblivion's horse armor DLC having faced a mixed reception upon its release for that reason. However, by 2009, the Horse Armor DLC was one of the top ten content packs that Bethesda had sold, which justified the DLC model for future games. Where a normal software disc may allow its license sold or traded, DLC is generally locked to a specific user's account and does not come with the ability to transfer that license to another user. In addition to individual content downloads, video game publishers sometimes offer a "season pass", which allows users to pre-order a selection of upcoming content over a specific time period, and ensuring the customer's ability to immediately obtain the content upon release. As users do not have the ability to fully preview the content before their purchase, there is a chance that the content of a season

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  Kimchi (software)

  Kimchi is a web management tool to manage Kernel-based Virtual Machine (KVM) infrastructure. Developed with HTML5, Kimchi is developed to intuitively manage KVM guests, create storage pools, manage network interfaces (bridges, VLANs, NAT), and perform other related tasks. The name is an extended acronym for KVM infrastructure management. It is an Apache-licensed project hosted on GitHub, and incubated by oVirt.org.

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  Deep tomographic reconstruction

  Deep Tomographic Reconstruction is a set of methods for using deep learning methods to perform tomographic reconstruction of medical and industrial images. It uses artificial intelligence and machine learning, especially deep artificial neural networks or deep learning, to overcome challenges such as measurement noise, data sparsity, image artifacts, and computational inefficiency. This approach has been applied across various imaging modalities, including CT, MRI, PET, SPECT, ultrasound, and optical imaging == Historical background == Traditional tomographic reconstruction relies on analytic methods such as filtered back-projection, or iterative methods which incrementally compute inverse transformations from measurement data (e.g., Radon or Fourier transform data). However, these approaches are not sufficient for certain imaging techniques such as low-dose CT and fast MRI, or scenarios involving metal artifacts and patient motion. == Use in imaging modalities == === Computed tomography (CT) === In CT, deep learning models can be particularly effective in reducing radiation exposure while maintaining image quality. Deep neural networks can also be able to reconstruct images of fair quality from sparsely sampled data without sacrificing diagnostic performance. Deep learning-based generative AI models can reduce CT metal artifacts. === Magnetic resonance imaging (MRI) === In magnetic resonance imaging (MRI), deep learning can lead to reduced MRI motion artifacts, and increased acquisition speed, referred to as fast MRI. Despite suffering from disadvantages such as lower signal-to-noise ratio (SNR), deep learning can enhance image quality in low field MRI, making these systems clinically viable. === Positron emission tomography (PET) and single-photon emission CT (SPECT) === For PET imaging, deep learning models can provide substantial improvements in low-dose imaging and motion artifact correction. Also, deep learning can help SPECT for generation of attenuation background. A notable technique for PET denoising involves integrating MR data through multimodal networks, which use anatomical information from MRI to enhance PET image quality. === Ultrasound imaging === Deep learning can enhance ultrasound imaging by reducing speckle noise and motion blur. For ultrasound beamforming, deep neural networks can allow superior image quality with limited data at high speed. === Optical imaging and microscopy === Diffuse optical tomography, optical coherence tomography and microscopy can be improved by deep neural networks beyond traditional methods. Furthermore, deep learning can also enhance Photoacoustic imaging (see Deep learning in photoacoustic imaging), addressing challenges like high noise, low contrast, and limited resolution. Deep learning has also been applied to label-free live-cell imaging, where convolutional neural networks predict fluorescence labels from transmitted light images, a technique known as in silico labeling. This method can enable high-throughput, non-invasive cell analysis and phenotyping without the need for traditional fluorescent dyes.

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  Web series

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

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  Problematic social media use

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

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  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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  Legal information retrieval

  Legal information retrieval is the science of information retrieval applied to legal text, including legislation, case law, and scholarly works. Accurate legal information retrieval is important to provide access to the law to laymen and legal professionals. Its importance has increased because of the vast and quickly increasing amount of legal documents available through electronic means. Legal information retrieval is a part of the growing field of legal informatics. In a legal setting, it is frequently important to retrieve all information related to a specific query. However, commonly used boolean search methods (exact matches of specified terms) on full text legal documents have been shown to have an average recall rate as low as 20 percent, meaning that only 1 in 5 relevant documents are actually retrieved. In that case, researchers believed that they had retrieved over 75% of relevant documents. This may result in failing to retrieve important or precedential cases. In some jurisdictions this may be especially problematic, as legal professionals are ethically obligated to be reasonably informed as to relevant legal documents. Legal Information Retrieval attempts to increase the effectiveness of legal searches by increasing the number of relevant documents (providing a high recall rate) and reducing the number of irrelevant documents (a high precision rate). This is a difficult task, as the legal field is prone to jargon, polysemes (words that have different meanings when used in a legal context), and constant change. Techniques used to achieve these goals generally fall into three categories: boolean retrieval, manual classification of legal text, and natural language processing of legal text. == Problems == Application of standard information retrieval techniques to legal text can be more difficult than application in other subjects. One key problem is that the law rarely has an inherent taxonomy. Instead, the law is generally filled with open-ended terms, which may change over time. This can be especially true in common law countries, where each decided case can subtly change the meaning of a certain word or phrase. Legal information systems must also be programmed to deal with law-specific words and phrases. Though this is less problematic in the context of words which exist solely in law, legal texts also frequently use polysemes, words may have different meanings when used in a legal or common-speech manner, potentially both within the same document. The legal meanings may be dependent on the area of law in which it is applied. For example, in the context of European Union legislation, the term "worker" has four different meanings: Any worker as defined in Article 3(a) of Directive 89/391/EEC who habitually uses display screen equipment as a significant part of his normal work. Any person employed by an employer, including trainees and apprentices but excluding domestic servants; Any person carrying out an occupation on board a vessel, including trainees and apprentices, but excluding port pilots and shore personnel carrying out work on board a vessel at the quayside; Any person who, in the Member State concerned, is protected as an employee under national employment law and in accordance with national practice; It also has the common meaning: A person who works at a specific occupation. Though the terms may be similar, correct information retrieval must differentiate between the intended use and irrelevant uses in order to return the correct results. Even if a system overcomes the language problems inherent in law, it must still determine the relevancy of each result. In the context of judicial decisions, this requires determining the precedential value of the case. Case decisions from senior or superior courts may be more relevant than those from lower courts, even where the lower court's decision contains more discussion of the relevant facts. The opposite may be true, however, if the senior court has only a minor discussion of the topic (for example, if it is a secondary consideration in the case). An information retrieval system must also be aware of the authority of the jurisdiction. A case from a binding authority is most likely of more value than one from a non-binding authority. Additionally, the intentions of the user may determine which cases they find valuable. For instance, where a legal professional is attempting to argue a specific interpretation of law, he might find a minor court's decision which supports his position more valuable than a senior courts position which does not. He may also value similar positions from different areas of law, different jurisdictions, or dissenting opinions. Overcoming these problems can be made more difficult because of the large number of cases available. The number of legal cases available via electronic means is constantly increasing (in 2003, US appellate courts handed down approximately 500 new cases per day), meaning that an accurate legal information retrieval system must incorporate methods of both sorting past data and managing new data. == Techniques == === Boolean searches === Boolean searches, where a user may specify terms such as use of specific words or judgments by a specific court, are the most common type of search available via legal information retrieval systems. They are widely implemented but overcome few of the problems discussed above. The recall and precision rates of these searches vary depending on the implementation and searches analyzed. One study found a basic boolean search's recall rate to be roughly 20%, and its precision rate to be roughly 79%. Another study implemented a generic search (that is, not designed for legal uses) and found a recall rate of 56% and a precision rate of 72% among legal professionals. Both numbers increased when searches were run by non-legal professionals, to a 68% recall rate and 77% precision rate. This is likely explained because of the use of complex legal terms by the legal professionals. === Manual classification === In order to overcome the limits of basic boolean searches, information systems have attempted to classify case laws and statutes into more computer friendly structures. Usually, this results in the creation of an ontology to classify the texts, based on the way a legal professional might think about them. These attempt to link texts on the basis of their type, their value, and/or their topic areas. Most major legal search providers now implement some sort of classification search, such as Westlaw's “Natural Language” or LexisNexis' Headnote searches. Additionally, both of these services allow browsing of their classifications, via Westlaw's West Key Numbers or Lexis' Headnotes. Though these two search algorithms are proprietary and secret, it is known that they employ manual classification of text (though this may be computer-assisted). These systems can help overcome the majority of problems inherent in legal information retrieval systems, in that manual classification has the greatest chances of identifying landmark cases and understanding the issues that arise in the text. In one study, ontological searching resulted in a precision rate of 82% and a recall rate of 97% among legal professionals. The legal texts included, however, were carefully controlled to just a few areas of law in a specific jurisdiction. The major drawback to this approach is the requirement of using highly skilled legal professionals and large amounts of time to classify texts. As the amount of text available continues to increase, some have stated their belief that manual classification is unsustainable. === Natural language processing === In order to reduce the reliance on legal professionals and the amount of time needed, efforts have been made to create a system to automatically classify legal text and queries. Adequate translation of both would allow accurate information retrieval without the high cost of human classification. These automatic systems generally employ Natural Language Processing (NLP) techniques that are adapted to the legal domain, and also require the creation of a legal ontology. Though multiple systems have been postulated, few have reported results. One system, “SMILE,” which attempted to automatically extract classifications from case texts, resulted in an f-measure (which is a calculation of both recall rate and precision) of under 0.3 (compared to perfect f-measure of 1.0). This is probably much lower than an acceptable rate for general usage. Despite the limited results, many theorists predict that the evolution of such systems will eventually replace manual classification systems. === Citation-Based ranking === In the mid-90s the Room 5 case law retrieval project used citation mining for summaries and ranked its search results based on citation type and count. This slightly pre-dated the PageRank algorithm at Stanford which was also a citation-based ranking. Ranking of results was based

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  Packingham v. North Carolina

  Packingham v. North Carolina, 582 U.S. 98 (2017), is a case in which the Supreme Court of the United States held that a North Carolina statute that prohibited registered sex offenders from using social media websites was unconstitutional because it violated the First Amendment to the U.S. Constitution, which protects freedom of speech. In 2010, Lester Gerard Packingham, a registered sex offender, posted on Facebook under a pseudonym to comment favorably on a recent traffic court experience. Police then identified Packingham and charged him with violating North Carolina's law. Packingham moved to dismiss the charges, arguing that the state's law violated the First Amendment. The trial court dismissed this motion and ultimately convicted Packingham. A state appellate court initially reversed the trial court, holding that the law did violate the First Amendment, but the North Carolina Supreme Court, the state's highest court, disagreed and reinstated the conviction. In June 2017, the U.S. Supreme Court unanimously reversed the North Carolina Supreme Court's judgment. In the majority opinion authored by Justice Anthony Kennedy, the Court held that social media—defined broadly to include Facebook, Amazon.com, The Washington Post, and WebMD, among many others—is a "protected space" under the First Amendment for lawful speech. The Court offered that North Carolina could protect children through less restrictive means, such as prohibiting "conduct that often presages a sexual crime, like contacting a minor or using a website to gather information about a minor". == Background == === North Carolina statute === In 2008, the state of North Carolina passed a law that made it a felony for a registered sex offender "to access a commercial social networking Web site where the sex offender knows that the site permits minor children to become members or to create or maintain personal Web pages". The law defined a "commercial social networking Web site" using four criteria. Specifically, the website must: be "operated by a person who derives revenue from membership fees, advertising, or other sources related to the operation of the Web site". facilitate "the social introduction between two or more persons for the purposes of friendship, meeting other persons, or information exchanges". allow "users to create Web pages or personal profiles that contain information such as the name or nickname of the user, photographs placed on the personal Web page by the user, other personal information about the user, and links to other personal Web pages on the commercial social networking Web site of friends or associates of the user that may be accessed by other users or visitors to the Web site". provide "users or visitors... mechanisms to communicate with other users, such as a message board, chat room, electronic mail, or instant messenger". The law exempted websites that "Provid[e] only one of the following discrete services: photo-sharing, electronic mail, instant messenger, or chat room or message board platform", as well as websites that have as their primary purpose "the facilitation of commercial transactions involving goods or services between [their] members or visitors". === Facts of the case === In 2002, Lester Gerard Packingham was convicted of taking "indecent liberties with a child", a felony that required him to register as a sex offender. A North Carolina court sentenced him to 10–12 months in prison with 24 months of supervised release. He was given no other special instructions on his behavior outside of prison other than to "remain away from" the minor. In 2010, after a state court dismissed a traffic ticket against Packingham, he submitted a post on Facebook under the name "J. R. Gerrard", stating: "Man God is Good! How about I got so much favor they dismissed the ticket before court even started? No fine, no court cost, no nothing spent. . . . . .Praise be to GOD, WOW! Thanks JESUS!" The Durham Police Department identified Packingham as the author of the post after cross-checking the time of the post with recently dismissed traffic tickets, and a grand jury indicted him for violating the North Carolina statute. === Lower court proceedings === Initially, Packingham moved to dismiss his indictment, arguing that it violated the First Amendment. A North Carolina Superior Court judge denied this motion, and he was convicted of violating the North Carolina social media law. Packingham appealed his conviction to the North Carolina Court of Appeals, which reversed the trial court's decision in 2013. Applying intermediate scrutiny, the court of appeals determined that North Carolina's law violated the First Amendment because it was too broad, applying to all registered sex offenders regardless of whether the offender had committed a crime involving a minor or whether the offender was a continuing threat to minors. The appeals court also stated that the law had been defined broadly enough to prohibit a registered sex offender from conducting a wide array of Internet activity, such as "conducting a 'Google' search, purchasing items on Amazon.com, or accessing a plethora of Web sites unrelated to online communication with minors". In 2015, the North Carolina Supreme Court, the state's highest court, reversed the court of appeals, holding that the law was "constitutional in all respects". The North Carolina Supreme Court found that the statute was a "limitation on conduct" and did not impede any free speech. The state had a vested interest in “forestalling the illicit lurking and contact of minors” by registered sex offenders and potential future victims, and upheld Packingham's conviction. == Supreme Court ruling == Packingham filed a petition for a writ of certiorari with the Supreme Court of the United States. The federal government also filed a brief recommending that the Supreme Court grant certiorari, arguing that the North Carolina Supreme Court incorrectly decided the case in favor of the state. The U.S. Supreme Court granted certiorari in October 2016. Amicus briefs in support of Packingham were filed by the libertarian Cato Institute and the American Civil Liberties Union. The North Carolina Supreme Court filed a brief supporting its prior decision, urging the importance of protecting minors from being stalked online. === Oral argument === The oral argument took place in February 2017. Packingham’s lawyer, David T. Goldberg, argued that the law banned “vast swaths of First Amendment activity”, went too far in restricting which Internet sites could be accessed, and forbade use of the Internet in general. The law targeted speech on some of the platforms that Americans use most often, Goldberg noted, and that under the law Packingham could not even use Twitter to read the myriad messages discussing his own case. He further noted that the law imposes punishment without regard to whether the offender actually did anything wrong. North Carolina’s senior deputy Attorney General, Robert C. Montgomery, argued for the state, and claimed that communication through social media sites is a “crucial channel”. Justice Sonia Sotomayor asked Montgomery to provide evidence as to the claim that by giving Packingham Internet privileges, he would commit another crime. Justice Stephen Breyer added that “It seems to be well-settled law that the state can’t (bar usage) unless there is a 'clear and present danger'." === Opinion of the Court === In June 2017 the Supreme Court delivered a judgment in favor of Packingham, unanimously voting to reverse the state court's ruling. Justice Anthony Kennedy authored the decision, joined by Justice Ginsburg, Justice Breyer, Justice Sotomayor, and Justice Kagan. Kennedy explained the decision: "A fundamental principle of the First Amendment is that all persons have access to places where they can speak and listen, and then, after reflection, speak and listen once more." He continued that "By prohibiting sex offenders from using those websites, North Carolina with one broad stroke bars access to what for many are the principal sources for knowing current events, checking ads for employment, speaking and listening in the modern public square, and otherwise exploring the vast realms of human thought and knowledge." Citing Ashcroft v. Free Speech Coalition as a precedent, Kennedy also wrote: "It is well established that, as a general rule, the Government 'may not suppress lawful speech as the means to suppress unlawful speech'." === Concurring opinion === Justice Samuel Alito wrote an opinion concurring in the judgment, joined by John Roberts and Clarence Thomas. While Alito agreed that the state statute at issue violated the First Amendment, he noted that there are reasonable scenarios for which legal bans for sex offenders can be placed, such as for sites targeted at teenagers. Justice Gorsuch took no part in the decision of the case. == Impact == Packingham v. North Carolina was one of the first U.S. Supreme Court cases to ana

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  List of video games using NFC

  This is a list of video games that use near field communication (NFC) technology. Currently, games have leveraged NFC in unlocking additional features through payment. This takes the form of a direct transaction over NFC or by purchasing a physical item, which signals to the platform that a certain set of features has been purchased (e.g. Skylanders). This list catalogues gaming NFC platforms by device. == Mobile == === Android === Gun Bros. Near Field Ninja NFC Cards Skylanders, with an NFC base. The Haunted House: Soul Fighters, with an NFC base. === iOS === ==== As item-triggered game enhancement ==== Skylanders, with an NFC base. ==== As payment ==== In-App Purchases Here, games that leverage Apple's In-App Purchase framework use information stored in the NFC Secure Element to process the purchase through Apple Pay. While an NFC radio is not used here, the NFC protocol is used nonetheless. == Console == === Nintendo Wii, Wii U, Switch, Switch 2, 3DS and 2DS === ==== As item-triggered game enhancement ==== Pokémon Rumble U NFC Figure Amiibo, built into Nintendo consoles since 2014. Works with Wii U, New Nintendo 3DS/3DS XL, New Nintendo 2DS XL, Nintendo Switch, Nintendo Switch 2 and older Nintendo 3DS/Nintendo 2DS systems via a peripheral device. Disney Infinity, with an NFC base. Works with Wii, Nintendo 3DS, Nintendo 2DS and Wii U. Lego Dimensions, with an NFC base. Works with Wii U. Skylanders, with an NFC base. Works with Wii, Nintendo 3DS, Nintendo 2DS and Wii U. The Nintendo Switch version of Skylanders: Imaginators uses the NFC built into the game controller, it is also has full backward compatibility with Nintendo Switch 2. Some functionalities are missing compared to the other versions. ==== As payment ==== The Wii U GamePad controller, Joy-Con R, Joy-Con 2 R, Nintendo Switch Pro Controller and Nintendo Switch 2 Pro Controller can read information from an NFC data source. === PlayStation === Disney Infinity, with an NFC base. Works with PlayStation 3, PlayStation Vita, PlayStation 4 and PlayStation 5. Lego Dimensions, with an NFC base. Works with PlayStation 3, PlayStation 4 and PlayStation 5. Skylanders, with an NFC base. Works with PlayStation 3, PlayStation 4 and PlayStation 5. === Xbox === While NFC bases are normally interoperable between all platforms, the Xbox 360, Xbox One and Xbox Series X require specific bases that are compatible only with the respective platform. Disney Infinity, with an NFC base. Lego Dimensions, with an NFC base. Skylanders, with an NFC base.

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  Mass media use by the Islamic State

  The Islamic State (IS) is known for its extensive and effective use of propaganda. It uses a version of the Muslim Black Standard flag and developed an emblem which has clear symbolic meaning in the Muslim world. The Islamic State targets younger audiences, such as teenagers and young adults, since they are more vulnerable to propaganda. It is known to exploit the internet to spread its propaganda by establishing websites, such as the Al Fustat domain. Videos by the Islamic State are commonly accompanied by nasheeds (chants), notable examples being the chant Dawlat al-Islam Qamat, which came to be viewed as an unofficial anthem of the Islamic State, and Salil al-Sawarim. Academic research has emphasized the scale and volume of Islamic State media production beyond its flagship magazines. A quantitative study cited in R. Malash’s academic work documented 1,373 distinct Islamic State media products released over a six-month period between 1 August 2017 and 28 February 2018, including magazines, newsletters, reports, photographic releases, audio recordings, and other media formats. Scholars have used such datasets to illustrate the breadth and intensity of the group’s media output, particularly during periods of territorial decline, when propaganda activity remained high despite military pressure. == Traditional media == === Al-Furqan Foundation for Media Production === In January 2006, shortly after the group's rebranding as the "Islamic State of Iraq", it established the Al-Furqan Foundation for Media Production (Arabic: مؤسسة الفرقان للإنتاج الإعلامي, romanized: Muasasat al-Furqān lil'īntāj al'ilāmī), which produces CDs, DVDs, posters, pamphlets, and web-related propaganda products and official statements. It is the primary media production house of the Islamic State and responsible for production of major media releases, including the statements of the spokesmen and leaders of the group. On January 10, 2006, Al-Furqan released its very first video, titled (Arabic: زحف الأنوار, romanized: Zahf al-Anwār) It was founded by the Iraqi man Dr Wa'il al-Fayad, known as Abu Muhammad al-Furqan. He got his name "Al-Furqan" from his role in founding this media house, which was named after the 25th surah of the Quran Al-Furqan. It is the oldest media production house for the Islamic State, being founded in November 2006 to release media for the Islamic State of Iraq. The earliest release indexed by the SITE Intelligence Group is on 21 November 2006, documenting the storming of a police station in the Iraqi town of Miqdadiyah. Al-Furqan is considered to be a considerable innovation in jihadist media, with Kavkaz Center describing it as "a milestone on the path of jihad, a distinguished media that takes the great care in the management of the conflict with the crusaders and their tails and to expose the lies in the crusader's media." In October 2007, the Long War Journal reported on United States Army raids targeting Al-Furqan media cell members across Iraq, including in Mosul and Samarra. Between August 2013 and March 2014 they released the 22 part series Messages from the Land of Epic Battles. On 2 September 2014 SITE Intelligence Group discovered the beheading video called A Second Message to America, about the death of Steven Sotloff. Since then, Al-Furqan has released videos of their operations across Iraq and Syria, as well as execution videos directed to governments around the world. In April 2019, Al-Furqan released a video Interviewing Abu Bakr al-Baghdadi. Al-Furqan also produces media in the form of audio, which consists mostly of recordings of IS leaders and spokesmen giving speeches, as well as producing a single nasheed under their name called "Ya Allah Al-Jannah" (O Allah, (we ask you for) Paradise), sung by now-dead member of IS, Uqab Al-Marzuqi. === Al-I'tisam Foundation for Media Production === The Islamic State of Iraq founded a second media foundation - Al-I'tisam Media Foundation - around 2011, marked by their first video release, titled "The Conqueror of the Murtaddin: Abu Ahmad Al-Ansari". The foundation has since released a few series of videos, 50 parts of "Windows on the Land of Battles", 9 parts of "Pictures from the Land of Battles", a 9-part series quoting leaders about the establishment of the Islamic State, and other series before their last release, "Deterring the Safavids in Salah ad-Din" in 2015. Since then, there were no further releases from their behalf. === Al-Hayat Media Center === In mid-2014, IS established the Al-Hayat Media Center, which targets Western audiences and produces material in English, German, Russian, Urdu, Indonesian, Turkish, Bengali, Chinese, Bosnian, Kurdish, Uyghur, and French. When IS announced its expansion to other countries in November 2014 it established media departments for the new branches, and its media apparatus ensured that the new branches follow the same models it uses in Iraq and Syria. Then FBI Director James Comey said that IS's "propaganda is unusually slick," noting that, "They are broadcasting... in something like 23 languages". In July 2014, Al-Hayat began publishing a digital magazine called Dabiq, in a number of different languages including English. According to the magazine, its name is taken from the town of Dabiq in northern Syria, which is mentioned in a hadith about Armageddon. Al-Hayat also began publishing other digital magazines, including the Turkish language Konstantiniyye, the Ottoman word for Istanbul, the French language Dar al-Islam, and the Russian language Istok (Russian: Исток). By late 2016, these magazines had apparently all been discontinued, with Al-Hayat's material being consolidated into a new magazine called Rumiyah (Arabic for Rome). === Al-Naba === While the group's glossy, foreign-language magazines like Dabiq and Rumiyah ceased publication as the group lost territory, the weekly Arabic newsletter Al-Naba (The News) has continued to publish regularly, becoming the central pillar of the group's "media jihad" in the post-territorial phase. Recent scholarship, including studies published in 2025, suggests that Al-Naba serves a dual purpose: maintaining internal cohesion among dispersed fighters and projecting a narrative of endurance to enemies. Unlike the earlier magazines which were designed for recruitment, Al-Naba focuses on bureaucratic reporting, military statistics, and religious instruction. These are then translated and disseminated by decentralized supporter networks ("media mujahideen") to reach non-Arabic speakers. === Furat Media Center === The Al-Furat Media Center is another media center established in around 2015 to cater towards non-Arab speaking audiences. However, unlike the other organizations, the production wasn't as professional as ones made by the other media centers. Instead, they partially relied on local media departments and foreign communities of the Mujahideen to produce short-form videos. However, some professional long-form videos were also made under their behalf. As of now, the media center is the only known active branch of all the media centers of the Islamic State, after heavy losses from past campaigns against them. Their last release was "The Resolve of Muwahhidin in Russia", where videos from the Surovikino penal colony hostage crisis were edited and released. === Ajnad Foundation for Media Production === Ajnad Foundation is one of the official media wings of Islamic State which produces nasheeds and Quran recitations. It was established in January 2014 and has released more than 150 nasheeds. === Asdaa Foundation === Like the Ajnad Foundation, the Asdaa Foundation (Arabic: مؤسسة أصداء) or Asedaa Foundation produces Anasheed (Islamic chants). The foundation is the closest counterpart to Ajnad in producing Islamic State nasheeds, only difference being Ajnad is directly linked to the Islamic State while Asdaa is only classified as a "supporter organization" (munaser/munasera). The foundation had humble beginnings possibly in Yemen, where low-quality nasheeds were produced at first by 2 munshids, Abu Layth Al-Iraqi and Abu Ya'qub Al-Yamani. After that, the quality had improved a bit (possibly with new equipment and increased recognition) and eventually had its nasheeds included in the Islamic State's official media releases. One of its munshids, Abu Hafs is a renowned munshid who sings around 70 nasheeds, who as well works with Ajnad Foundation in some instances. He is currently alive, and working under Ansar Production Center (مركز إنتاج الأنصار), another Munasir foundation and Asedaa. Another Yemeni munshid, Abu Musab al-Adani, worked temporarily with Asdaa Foundation before defecting back to AQAP, from which he previously defected from. Some of their anasheed is used in IS's execution videos, a popular one is their human slaughterhouse execution video released during the time of Eid Al-Adha in 2016. The background nasheed they used was "We Came To Fill The Horizons With Terror", produced by the Asd

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  Law practice management software

  Law practice management software is software designed to manage the business operations of a law firm. This can include software that manages cases, client intake, court communications, electronic discovery, time tracking, trust accounting, and billing. == Features of law practice management software == Common features of practice management software include: Case management Time tracking Document assembly Contact management Calendaring Docket management Client portal Contract Management Court Case Status Tracker Trust accounting == Examples of law practice management software == Smokeball LEAP Legal Software PracticeEvolve Dye & Durham

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  Downloadable content

  Downloadable content (DLC) is additional content created for an already released video game, distributed through the Internet by the game's publisher. It can be added for no extra cost or as a form of video game monetization, enabling the publisher to gain additional revenue from a title after it has been purchased, often using a microtransaction system. DLC can range from cosmetic content, such as skins, to new in-game content, like characters, levels, modes, and larger expansions that may contain a mix of such content as a continuation of the base game. In some games, multiple DLCs (including future DLC not yet released) may be bundled as part of a "season pass"—typically at a discount rather than purchasing each DLC individually. While the Dreamcast was the first home console to support DLC (albeit in a limited form due to hardware and internet connection limitations), Microsoft's Xbox helped popularize the concept. Since the seventh generation of video game consoles, DLC has been a prevalent feature of major video game platforms with internet connectivity. == Etymology == Since the popularization of microtransactions in online distribution platforms such as Steam, the term DLC has become a synonymous for any form of paid content in video games, regardless of whether they constitute the download of new content. Furthermore, this led to the creation of the oxymoronic term "on-disc DLC" for content included on the game's original files but locked behind a paywall. == History == === Precursors to DLC === The earliest form of downloadable content were offerings of full games, such as on the Atari 2600's GameLine service, which allowed users to download games using a telephone line. A similar service, Sega Channel, allowed for the downloading of games to the Sega Genesis over a cable line. While the GameLine and Sega Channel services allowed for the distribution of entire titles, they did not provide downloadable content for existing titles. Expansion packs were sold at retail for some PC games, which featured content such as additional levels, characters, or maps for a base game. They often required an installation of the original game in order to function, but some games (such as Half-Life) had "standalone" expansions, which were essentially spin-off games that reused engine code and assets from the original game. === On consoles === The Dreamcast was the first console to feature online support as a standard; DLC was available, though limited in size due to the narrowband connection and the 200 block limit of the Visual Memory Unit memory card. These online features were still considered a breakthrough in video games. With the release of the Xbox, Microsoft was the second company to implement downloadable content. Many Xbox titles, including Splinter Cell, Halo 2, and Ninja Gaiden, offered varying amounts of extra content, available for download through the Xbox Live service. Most of this content was available free. With the advent of the GameCube, Nintendo was the third company to implement downloadable content. Many GameCube titles offered varying amounts of extra content from Game Boy Advance titles with the GameCube – Game Boy Advance link cable. All of this content was available free. The Xbox 360 (2005) included more robust support for digital distribution, including DLC downloads and purchases, via its Xbox Live Marketplace service. Microsoft believed that publishers would benefit by offering small pieces of content at a small cost ($1 to $5), rather than full expansion packs (~$20), as this would allow players to pick and chose what content they desired, providing revenue to the publishers. Microsoft also utilized a digital currency known as "Microsoft Points" for transactions, which could also be purchased through physical gift cards to avoid the banking fees associated with the small price points. The PlayStation 3 (2006) adopted the same approach with their downloadable hub, the PlayStation Store. Sony planned on having the bulk of its content be purchased separately via many separate online microtransactions for PlayStation Network titles, including Gran Turismo HD Concept and Gran Turismo 5 Prologue. The Wii (2006) featured a sparser amount of downloadable content on their Wii Shop Channel, the bulk of which is accounted for by digital distribution of emulated Nintendo titles from previous generations. Music video games, such as titles from the Guitar Hero and Rock Band franchises, took significant advantage of downloadable content as a means of offering new songs to be played in-game. Harmonix claimed that Guitar Hero II would feature "more online content than anyone has ever seen in a game to this date." Rock Band features the largest number of downloadable items of any console video game, with a steady number of new songs that were added weekly between 2007 and 2013. Acquiring all the downloadable content for Rock Band would, as of July 12, 2012, cost $5,880.10. === On personal computers === As the popularity and speed of internet connections rose, so did the popularity of using the internet for digital distribution of media. User-created game mods and maps were distributed exclusively online, as they were mainly created by people without the infrastructure capable of distributing the content through physical media. In 1997, Cavedog offered a new unit every month as free downloadable content for their real-time strategy computer game Total Annihilation. Later PC digital distribution platforms, such as Games for Windows Marketplace and Steam, would add support for DLC in a similar manner to consoles. === On handhelds === Nokia phones of the late 1990s and early 2000s shipped with side-scrolling shooter Space Impact, available on various models. With the introduction of WAP in 2000, additional downloadable content for the game, with extra levels, became available. The Nintendo Wi-Fi Connection service on the Nintendo DS could be used to obtain a form of DLC for certain games, such as Picross DS—where players could download puzzle "packs" of classic puzzles from previous Picross series games (such as Mario's Picross). as well as downloadable user generated content. Due to the Nintendo DS's use of cartridges and lack of dedicated storage, most "DLC" for DS games was limited in scope, or in some cases (such as Professor Layton and the Curious Village and Moero! Nekketsu Rhythm Damashii Osu! Tatakae! Ouendan 2), was already part of the game's data on the cartridge, and merely unlocked. Its successor, the Nintendo 3DS, natively supported the purchase of DLC for supported titles via Nintendo eShop. Starting with iPhone OS 3, downloadable content became available for the platform via applications bought from the App Store. While this ability was initially only available to developers for paid applications, Apple eventually allowed for developers to offer this in free applications as well in October 2009. == On-disc DLC == In some cases, a purchased DLC may not actually download new content to the device, but merely consists of data used to enable associated content that is already present within the game's data. DLC of this nature revealed via data mining is typically referred to as "on-disc DLC" or PULC (premium unlockable content). This practice has sometimes been considered controversial, with publishers being accused of using what is effectively a microtransaction to lock access to content that was already contained within the game as sold at retail. Data relating to future DLC may be included on-disc or downloaded during updates for technical reasons as well, either to ensure online multiplayer compatibility for existing content between players who have not yet purchased the new DLC, or as dormant support code for planned content that is still in development at the time of the release. == Monetization == Downloadable content is often offered for a price. Since Facebook games popularized the business model of microtransactions, some have criticized downloadable content as being overpriced and an incentive for developers to leave items out of the initial release, with The Elder Scrolls IV: Oblivion's horse armor DLC having faced a mixed reception upon its release for that reason. However, by 2009, the Horse Armor DLC was one of the top ten content packs that Bethesda had sold, which justified the DLC model for future games. Where a normal software disc may allow its license sold or traded, DLC is generally locked to a specific user's account and does not come with the ability to transfer that license to another user. In addition to individual content downloads, video game publishers sometimes offer a "season pass", which allows users to pre-order a selection of upcoming content over a specific time period, and ensuring the customer's ability to immediately obtain the content upon release. As users do not have the ability to fully preview the content before their purchase, there is a chance that the content of a season

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  Mixvoip

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

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