AI Face Animator

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  Transderivational search

  Transderivational search (often abbreviated to TDS) is a psychological and cybernetics term, meaning when a search is being conducted for a fuzzy match across a broad field. In computing the equivalent function can be performed using content-addressable memory. Unlike usual searches, which look for literal (i.e. exact, logical, or regular expression) matches, a transderivational search is a search for a possible meaning or possible match as part of communication, and without which an incoming communication cannot be made any sense of whatsoever. It is thus an integral part of processing language, and of attaching meaning to communication. In NLP (Neuro-linguistic programming), a transderivational search (Bandler and Grinder, 1976) is essentially the process of searching back through one's stored memories and mental representations to find the personal reference experiences from which a current understanding or mental map has been derived. By the end of 1976, Grinder and Bandler had combined Satir’s and Perls’ language patterns and Erickson’s hypnotic language and use of metaphor with anchoring to create new processes that they called collapsing anchors, trans-derivational search, changing personal history, and reframing. A psychological example of TDS is in Ericksonian hypnotherapy, where vague suggestions are used that the patient must process intensely in order to find their own meanings, thus ensuring that the practitioner does not intrude his own beliefs into the subject's inner world. == TDS in human communication and processing == Because TDS is a compelling, automatic and unconscious state of internal focus and processing (i.e. a type of everyday trance state), and often a state of internal lack of certainty, or openness to finding an answer (since something is being checked out at that moment), it can be utilized or interrupted, in order to create, or deepen, trance. TDS is a fundamental part of human language and cognitive processing. Arguably, every word or utterance a person hears, for example, and everything they see or feel and take note of, results in a very brief trance while TDS is carried out to establish a contextual meaning for it. === Examples === Leading statements: "And those thoughts you had yesterday..." the human mind cannot process hearing this phrase, without at some level searching internally for some thoughts or other that it had yesterday, to make the subject of the sentence. "The many colors that fruit can be" likewise starts the human mind considering even if briefly, different fruit sorted by color. "You did it again, didn't you!" This everyday manipulative use of TDS usually sends the recipient looking internally for some "it" they may have done for which blame is being fairly given. Regardless of whether such a matter can be identified, guilt or anger may result. "There has been pain, hasn't there" the mind of a patient suffering an illness will find it very hard or impossible to hear or answer this sentence without conducting internal searches to verify whether this is true or not, or to find an example if so. "You'd forgotten something [or: some part of your body], hadn't you?" the mind usually checks through the various things, or parts of the body, on hearing this, seeing if each in turn has been forgotten. Textual ambiguity: "Do you remember line dancing on the steps?" Without sufficient context, some statements may trigger TDS in order to resolve inherent ambiguity in the interpretation of a posed question. Do I remember a bygone fad called "line dancing on the steps"? Do I remember personally engaging in dancing in the past? Do I remember my routine practice dancing by focusing on the steps of the dance? Do I tend to forget about dancing when I am standing on steps? "Penny-wise and pound the table dance to the beat of a different drummer". The mixing of cliché and stock phrases may trigger TDS in order to reconcile the discrepancies between expected and actual utterances in sequence. Although TDS is often associated with spoken language, it can be induced in any perceptual system. Thus Milton Erickson's "hypnotic handshake" is a technique that leaves the other person performing TDS in search of meaning to a deliberately ambiguous use of touch.

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  Web3D

  Web3D, also called 3D Web, is a group of technologies to display and navigate websites using 3D computer graphics. These technologies enable applications such as online games, virtual reality experiences, interactive product demonstrations, and 3D data visualization directly within web browsers. The emergence of Web3D dates back to 1994, with the advent of VRML, a file format designed to store and display 3D graphical data on the World Wide Web. Modern Web3D is primarily powered by WebGL, a JavaScript API that enables hardware-accelerated 3D graphics rendering in web browsers without requiring plug-ins. == Pre-WebGL era == The emergence of Web3D dates back to 1994, with the advent of VRML, a file format designed to store and display 3D graphical data on the World Wide Web. In October 1995, at Internet World, Template Graphics Software demonstrated a 3D/VRML plug-in for the beta release of Netscape 2.0 by Netscape Communications. The Web3D Consortium was formed to further the collective development of the format. VRML and its successor, X3D, have been accepted as international standards by the International Organization for Standardization and the International Electrotechnical Commission. The main drawback of the technology was the requirement to use third-party browser plug-ins to perform 3D rendering, which slowed the adoption of the standard. Between 2000 and 2010, one of these plug-ins, Adobe Flash Player, was widely installed on desktop computers and was used to display interactive web pages and online games and to play video and audio content. Several Flash-based frameworks appeared that used software rendering and ActionScript 3 to perform 3D computations such as transformations, lighting, and texturing. Most notable among them were Papervision3D and Away3D. Eventually, Adobe developed Stage3D, an API for rendering interactive 3D graphics with GPU-acceleration for its Flash player and AIR products, which was adopted by software vendors. In 2009, an open-source 3D web technology called O3D was introduced by Google. It also required a browser plug-in, but contrary to Flash/Stage3D, was based on JavaScript API. O3D was geared not only for games but also for advertisements, 3D model viewers, product demos, simulations, engineering applications, control and monitoring systems. == WebGL and glTF == WebGL (short for "Web Graphics Library") evolved out of the Canvas 3D experiments started by Vladimir Vukićević at Mozilla Foundation. Vukićević first demonstrated a Canvas 3D prototype in 2006. By the end of 2007, both Mozilla and Opera had made their own separate implementations. In early 2009, the nonprofit technology consortium Khronos Group started the WebGL Working Group, with initial participation from Apple, Google, Mozilla, Opera, and others. Version 1.0 of the WebGL specification was released in March 2011. Major advantages of the new technology include conformity with web standards and near-native 3D performance without the use of any browser plug-ins. Since WebGL is based on OpenGL ES, it works on mobile devices without any additional abstraction layers. For other platforms, WebGL implementations leverage ANGLE to translate OpenGL ES calls to DirectX, OpenGL, or Vulkan API calls. Among notable WebGL frameworks are A-Frame, which uses HTML-based markup for building virtual reality experiences; PlayCanvas, an open-source engine alongside a proprietary cloud-hosted creation platform for building browser games; Three.js, an MIT-licensed framework used to create demoscene from the early 2000s; Unity, which obtained a WebGL back-end in version 5; and Verge3D, which integrates with Blender, 3ds Max, and Maya to create 3D web content. With the rapid adoption of WebGL, a new problem arose—the lack of a 3D file format optimized for the Web. This issue was addressed by glTF, a format that was conceived in 2012 by members of the COLLADA working group. At SIGGRAPH 2012, Khronos presented a demo of glTF, which was then called WebGL Transmissions Format (WebGL TF). On 19 October 2015, the glTF 1.0 specification was released. Version 2.0 glTF uses a physically based rendering material model, proposed by Fraunhofer. Other upgrades include sparse accessors and morph targets for techniques such as facial animation, and schema tweaks and breaking changes for corner cases or performance, such as replacing top-level glTF object properties with arrays for faster index-based access. == Future == "WebGPU" is the working name for a potential web standard and JavaScript API for accelerated graphics and computing, aiming to provide "modern 3D graphics and computation capabilities". It is developed by the W3C "GPU for the Web" Community Group, with engineers from Apple, Mozilla, Microsoft, and Google, among others. WebGPU will not be based on any existing 3D API and will use Rust-like syntax for shaders.

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  Digital studio

  A digital studio provides both a technology-equipped space and technological/rhetorical support to students (commonly at a university) working individually or in groups on a variety of digital projects, such as designing a website, developing an electronic portfolio for a class, creating a blog, making edits, selecting images for a visual essay, or writing a script for a podcast. == History/theory == === Overview === Digital Studios are places with different names but similar objectives. They have risen in response to the need for resources dedicated to improving students' interactions with digital technologies for rhetorical ends. Digital Studios have often been theoretically and administratively linked to writing centers, which are sites where students can seek assistance with their text-based projects. The academic term that has been used for this kind of site (i.e. a writing center with a focus on digital and new media) is multiliteracy center. Besides having a multimodal focus, Digital Studios also make a departure from writing center model in allowing students the freedom to work in the Studio without one-on-one interaction with a writing tutor. === The rise of technology === ==== Computer literacy in popular culture ==== As early as 1983, computer literacy was being hailed in The New York Times as the "new goal in schools." As computer technology became more ubiquitous, and the World Wide Web became more popular and accessible, and as the teaching of computer skills became official US policy with the enactment of the "Technology Literacy Challenge" by the Clinton Administration in 1996, educators across disciplines began to investigate with renewed vigor the role of computer technology in curriculum as both a means and an end. ==== Scholarly interest in 'multiliteracies' ==== The same year that President Clinton initiated the "Technology Literacy Challenge", the New London Group (NLG) issued a call for scholars of literacy pedagogy to account for the burgeoning variety of text forms associated with information and multimedia technologies. This includes understanding and competent control of representational forms that are becoming increasingly significant in the overall communications environment, such as visual images and their relationship to the written word – for instance, visual design in desktop publishing or the interface of visual and linguistic meaning in multimedia. This account for new text forms, combined with a similar account for "increasingly globalized societies," is called 'multiliteracies' by the NLG. ==== Technological literacy in rhetoric and composition ==== Two years later, during the 1998 CCCC Chair's Address, Cynthia Selfe (who founded the peer-reviewed journal Computers and Composition in 1983) addressed professionals in the field of Rhetoric and Composition with an objective similar to that of the NLG, arguing that as a field, composition scholars had "paid technology issues precious little focused attention over the years." She called this lack of attention "dangerously shortsighted." What was needed, Selfe claimed, was for teachers to "pay attention" to "how technology is now inextricably linked with literacy and literacy education in this country." In a way, Selfe's call marked the beginning of a new scholarly interest in what Selfe called "critical technological literacy": Composition teachers, language arts teachers, and other literacy specialists need to recognize that the relevance of technology in the English studies disciplines is not simply a matter of helping students work effectively with communication software and hardware, but, rather, also a matter of helping them to understand and to be able to assess – to pay attention to – the social, economic, and pedagogical implications of new communication technologies and technological initiatives that affect their lives. Scholars who took up this call included Barbara Blakely Duffelmeyer, who conducted studies involving the incorporation of "critical computer literacy" (an adaptation of Selfe's term) into first-year composition. ==== Communications across media, inside and outside school ==== The years following Selfe's address saw more rapid advancements in mobile technologies, social media, and Web 2.0, creating even more new venues of composing for teachers to pay attention to. In her own CCCC Chair's Address in 2004, Kathleen Blake Yancey cited these new venues in her argument as a "new curriculum for the 21st century," one that would bring "together the writing outside of school and that of inside." Such a curriculum, she said: is located in a new vocabulary, a new set of practices, and a new set of outcomes; it will focus our research in new and provocative ways; it has as its goal the creation of thoughtful, informed, technologically adept writing publics. A professor at Clemson at the time of her speech, Yancey also argued for the creation of an undergraduate major in composition and rhetoric. She soon moved to Florida State University, where she helped to establish a new major in line with the one she argued for at CCCC called Editing, Writing, and Media (EWM). As teachers and administrators across the country looked to incorporate more digital technology into their curriculum, the need for spaces for digital composition and for support with the innumerable digital composing platforms became apparent. A Digital Studio is one such space. === Link with writing centers === With the need for support for students who would engage with digital writing and multimedia projects, professionals involved with work in writing centers began to draw comparisons between their traditional work — assisting students with alphabetic texts on the page — and a new kind of work: assisting students with their multimedia projects on the screen. John Trimbur predicted in 2000: My guess is that writing centers will more and more define themselves as multiliteracy centers. Many are already doing so – tutoring oral presentations, adding online tutorials, offering workshops in evaluating web sources, and being more conscious of document design. To my mind, new digital literacies will increasingly be incorporated into writing centers not just as sources of information or delivery systems for tutoring but as productive arts in their own right, and writing center work will, if anything, become more rhetorical in paying attention to the practices and effects of design in written and visual communication — more product-oriented and perhaps less like the composing conferences of the process movement. Later, just months before Yancey delivered her CCCC Chair's Address, Michael Pemberton, writing in the Writing Center Journal, asked: As we enter an era when electronic publishing and computer-mediated discourse are the norm, an era when new literary genres and new forms of communication emerge on, seemingly, a weekly basis, we must ask ourselves whether writing centers should continue to dwell exclusively in the linear, non-linked world of the printed page or whether they should plan to redefine themselves – and retrain themselves – to take residence in the emerging world of multimedia, hyperlinked, digital documents. To put it plainly, should we be preparing tutors to conference with students about hypertexts? Pemberton also surveyed (by his account) the forty-year history of how "writing centers [have] viewed new technologies," observing that "the relationship between writing centers and computer technology has been, overall, only a cordial one." Pemberton's article is evidence of the continuing discussion among writing center professionals about the need for support for students' digital creations, support which they saw as analogous to work in writing centers. In 2010, a collection edited by David Sheridan and James Inman, Multiliteracy Centers: Writing Center Work, New Media, and Multimodal Rhetoric, was published. Many of the chapters therein cite the above Trimbur and Pemberton quotes as they work to explain the exigence for the collection, the instances in which multiliteracy centers have been established (the founding of the Clemson Class of 1941 Studio for Student Communication is the subject of two chapters), and both theoretical and practical analyses of potential futures of such work. === 'Studio' vs. 'Center:' A break from the model === The conflation of digital studios and writing centers into multiliteracy centers is helpful in some respects, for example, administratively the two may be managed in similar ways and staffed by the same people. In other respects, it has been said that it is better to separate them into two distinct kinds of facilities. The very choice of naming a "writing center" or "digital studio" by either (or another) title, for instance, ought (according to some) to be informed by what kinds of student-activities are expected to take place there. A writing center is a place for individual students to seek help from individual writing

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  CU-RTC-WEB

  Customizable, Ubiquitous Real Time Communication over the Web is an API definition being drafted by Bernard Aboba at Microsoft. It is a competing standard to WebRTC, which drafted by a World Wide Web Consortium working group since May 2011. As of 2024, CU-RTC-WEB is still in the drafting phase, with ongoing discussions and contributions from various stakeholders in the tech community. Bernard Aboba, who serves as a co-chair of the W3C WebRTC Working Group, is actively involved in both CU-RTC-WEB and WebRTC, indicating a commitment to advancing real-time communication standards across platforms.

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  Gooch shading

  Gooch shading is a non-photorealistic rendering technique for shading objects. It is also known as "cool to warm" shading, and is widely used in technical illustration. == History == Gooch shading was developed by Amy Gooch et al. at the University of Utah School of Computing and first presented at the 1998 SIGGRAPH conference. It has since been implemented in shader libraries, software, and games released by Autodesk, Nvidia, and Valve. == Process == Gooch shading defines an additional two colors in conjunction with the original model color: a warm color (such as yellow) and a cool color (such as blue). The warm color indicates surfaces that are facing toward the light source while the cool color indicates surfaces facing away. This allows shading to occur only in mid-tones so that edge lines and highlights remain visually prominent. The Gooch shader is typically implemented in two passes: all objects in the scene are first drawn with the "cool to warm" shading, and in the second pass the object's edges are rendered in black.

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  Brand networking

  Brand networking is the engagement of a social networking service around a brand by providing consumers with a platform of relevant content, elements of participation, and a currency, score, or ranking. Brand networking creates communities that serve as interactive destinations to encourage brand participation online and off. This evolved level of user participation with the brand facilitates strong relationships with consumers, leverages sales, and generates fan equity. The concept builds on the marketing literature on brand communities, which describes specialized, non-geographically bound groups of consumers organized around shared interest in a brand, and on subsequent research on social-media-based brand communities that examines how such groups operate when embedded in general-purpose networking platforms. == History == The development and growth of social networking in the early 2000s gave birth to brand networking. Brands saw the immediate potential to reach and interact with consumers through online platforms like Facebook and MySpace. At first, the ability to reach consumers through these platforms was inadequate; brands had the option to join as members or simply advertise on these sites. The potential existed to not only display advertisements to consumers, but to encourage them to interact with the brand. This is when brands made the shift to create their own networking platforms. Less evolved attempts to connect brands with consumers via networking are typically built as online platforms meant only to complement a product/service and are limited in functionality. Typically these sites offer consumers the opportunity to interact through discussion boards and group pages. The Guiding Light Community was built to complement the popular CBS television soap opera. The site offers members reward points for contributing content to discussion boards and blogs (which is all geared toward the show). == Structure == Brand networking is more than the utilization of a social networking platform; it is connecting consumers together and constructing relationships directly with the brand. Three key elements, in unity, create effective brand networking: relevant content, elements of participation, and a competitive currency. Websites in conjunction with other media types (television, radio, print) present content around a vertical industry, sector of interest, or cultural and social issues for a brand. This can be in areas such as health, marketing, or business, or any content relevant to the brand message. Such content is not only provided by the brand but also in the form of consumer-generated media. Research on brand-related user-generated content across major platforms suggests that the form and tone of consumer contributions vary by platform, with promotional content more common on some networks and response-oriented content on others. A brand provides participation with consumers online and offline. This is accomplished through the combination of typical social networking features online, such as personalised pages, friend lists, groups, and messaging, alongside elements of involvement offline. This is not simply connecting an online platform with mobile devices, but providing separate mobile features jointly with a secondary media type to drive online usage and build relationships with the brand on the go. By participating in mobile campaigns, users are interacting with the brand outside of traditional brick and mortar or e-commerce destinations. Empirical work on consumer brand engagement in social media frames such participation along cognitive, affective, and behavioural dimensions. The final element of brand networking involves incentivising participation with the other two elements. The addition of a currency or point system acts as an anchor to the brand and network and creates a competitive dynamic between consumers. These points are distributed for activity carried out outside of the networking site. By incentivising usage offline, the brand image is reinforced for the consumer and strengthens the relationship. Consumers are turned into promoters for both the brand and the users' benefit. The use of points, badges, leaderboards, and similar mechanics is described in the marketing literature as gamification, and has been linked to higher participation rates in mobile and loyalty programmes. == Fan equity == Fan equity is the idea that by locking in consumers to a brand, they are turned into fans of the brand. As fans, they promote, interact, and consume on a daily basis and become assets. Apple Inc. is one example of a company often cited as possessing fan equity. Customers of Apple are extremely brand loyal and are assets to the company. Creating a fan-generated brand is a difficult but effective method of business. Through the use of brand networking, a company is able to build a consumer or fan base that provides a strong relationship between business and consumers. The trust is formed and fans do a lot of work for the brand by word of mouth. Peer-to-peer channels are the strongest means of communication for a brand, but also one in which the brand can only influence and not control. Subsequent research links community engagement with brand trust, identifying community engagement as a mediator between social-media brand community participation and trust. This method of business is argued to be a relationship handled by the brand generally for its own gain. Many fans do not realise the work they are doing for companies by using their product or service. Facebook is a fan-based brand that has become a global phenomenon through customer use, with social media features such as sharing and commenting. With the growth of social media, marketing and advertising through social media has continued to expand. Brands can display and promote their products or services at a fast rate, with consumers sharing and contributing to the brand on a global scale. This can also be seen as online word of mouth exposure that can produce positive or negative feedback for brands. Once consumers become fans they are typically loyal, which can create positive word of mouth for a brand. Fans become a valuable asset, boosting the status and reputation of a brand. Different perceptions of brands can be linked to a person's origin or religion, which creates a difficulty when trying to enter a market or gain market share. Businesses need to be aware of the types of products or services they introduce to a specific market, ensuring they are culturally sensitive. Fan pages are created on social media to maintain the relationship between brands and consumers. By engaging and interacting with consumers, brands obtain fans and produce positive imaging. Some fans become attached to brands and are often encouraged to remain as fans through the use of celebrities endorsing the brand. Research on parasocial interaction in social-media environments suggests that one-sided emotional bonds that consumers form with endorsers and brand personae help convert ordinary followers into engaged fans.

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  Harmonic

  In physics, acoustics, and telecommunications, a harmonic is a sinusoidal wave with a frequency that is a positive integer multiple of the fundamental frequency of a periodic signal. The fundamental frequency is also called the 1st harmonic; the other harmonics are known as higher harmonics. As all harmonics are periodic at the fundamental frequency, the sum of harmonics is also periodic at that frequency. The set of harmonics forms a harmonic series. The term is employed in various disciplines, including music, physics, acoustics, electronic power transmission, radio technology, and other fields. For example, if the fundamental frequency is 50 Hz, a common AC power supply frequency, the frequencies of the first three higher harmonics are 100 Hz (2nd harmonic), 150 Hz (3rd harmonic), 200 Hz (4th harmonic) and any addition of waves with these frequencies is periodic at 50 Hz. An n {\displaystyle \ n} th characteristic mode, for n > 1 , {\displaystyle \ n>1\ ,} will have nodes that are not vibrating. For example, the 3rd characteristic mode will have nodes at 1 3 L {\displaystyle \ {\tfrac {1}{3}}\ L\ } and 2 3 L , {\displaystyle \ {\tfrac {2}{3}}\ L\ ,} where L {\displaystyle \ L\ } is the length of the string. In fact, each n {\displaystyle \ n} th characteristic mode, for n {\displaystyle \ n\ } not a multiple of 3, will not have nodes at these points. These other characteristic modes will be vibrating at the positions 1 3 L {\displaystyle \ {\tfrac {1}{3}}\ L\ } and 2 3 L . {\displaystyle \ {\tfrac {2}{3}}\ L~.} If the player gently touches one of these positions, then these other characteristic modes will be suppressed. The tonal harmonics from these other characteristic modes will then also be suppressed. Consequently, the tonal harmonics from the n {\displaystyle \ n} th characteristic characteristic modes, where n {\displaystyle \ n\ } is a multiple of 3, will be made relatively more prominent. In music, harmonics are used on string instruments and wind instruments as a way of producing sound on the instrument, particularly to play higher notes and, with strings, obtain notes that have a unique sound quality or "tone colour". On strings, bowed harmonics have a "glassy", pure tone. On stringed instruments, harmonics are played by touching (but not fully pressing down the string) at an exact point on the string while sounding the string (plucking, bowing, etc.); this allows the harmonic to sound, a pitch which is always higher than the fundamental frequency of the string. == Terminology == Harmonics may be called "overtones", "partials", or "upper partials", and in some music contexts, the terms "harmonic", "overtone" and "partial" are used fairly interchangeably. But more precisely, the term "harmonic" includes all pitches in a harmonic series (including the fundamental frequency) while the term "overtone" only includes pitches above the fundamental. == Characteristics == A whizzing, whistling tonal character, distinguishes all the harmonics both natural and artificial from the firmly stopped intervals; therefore their application in connection with the latter must always be carefully considered. Most acoustic instruments emit complex tones containing many individual partials (component simple tones or sinusoidal waves), but the untrained human ear typically does not perceive those partials as separate phenomena. Rather, a musical note is perceived as one sound, the quality or timbre of that sound being a result of the relative strengths of the individual partials. Many acoustic oscillators, such as the human voice or a bowed violin string, produce complex tones that are more or less periodic, and thus are composed of partials that are nearly matched to the integer multiples of fundamental frequency and therefore resemble the ideal harmonics and are called "harmonic partials" or simply "harmonics" for convenience (although it's not strictly accurate to call a partial a harmonic, the first being actual and the second being theoretical). Oscillators that produce harmonic partials behave somewhat like one-dimensional resonators, and are often long and thin, such as a guitar string or a column of air open at both ends (as with the metallic modern orchestral transverse flute). Wind instruments whose air column is open at only one end, such as trumpets and clarinets, also produce partials resembling harmonics. However they only produce partials matching the odd harmonics—at least in theory. In practical use, no real acoustic instrument behaves as perfectly as the simplified physical models predict; for example, instruments made of non-linearly elastic wood, instead of metal, or strung with gut instead of brass or steel strings, tend to have not-quite-integer partials. Partials whose frequencies are not integer multiples of the fundamental are referred to as inharmonic partials. Some acoustic instruments emit a mix of harmonic and inharmonic partials but still produce an effect on the ear of having a definite fundamental pitch, such as pianos, strings plucked pizzicato, vibraphones, marimbas, and certain pure-sounding bells or chimes. Antique singing bowls are known for producing multiple harmonic partials or multiphonics. Other oscillators, such as cymbals, drum heads, and most percussion instruments, naturally produce an abundance of inharmonic partials and do not imply any particular pitch, and therefore cannot be used melodically or harmonically in the same way other instruments can. Building on of Sethares (2004), dynamic tonality introduces the notion of pseudo-harmonic partials, in which the frequency of each partial is aligned to match the pitch of a corresponding note in a pseudo-just tuning, thereby maximizing the consonance of that pseudo-harmonic timbre with notes of that pseudo-just tuning. == Partials, overtones, and harmonics == An overtone is any partial higher than the lowest partial in a compound tone. The relative strengths and frequency relationships of the component partials determine the timbre of an instrument. The similarity between the terms overtone and partial sometimes leads to their being loosely used interchangeably in a musical context, but they are counted differently, leading to some possible confusion. In the special case of instrumental timbres whose component partials closely match a harmonic series (such as with most strings and winds) rather than being inharmonic partials (such as with most pitched percussion instruments), it is also convenient to call the component partials "harmonics", but not strictly correct, because harmonics are numbered the same even when missing, while partials and overtones are only counted when present. This chart demonstrates how the three types of names (partial, overtone, and harmonic) are counted (assuming that the harmonics are present): In many musical instruments, it is possible to play the upper harmonics without the fundamental note being present. In a simple case (e.g., recorder) this has the effect of making the note go up in pitch by an octave, but in more complex cases many other pitch variations are obtained. In some cases it also changes the timbre of the note. This is part of the normal method of obtaining higher notes in wind instruments, where it is called overblowing. The extended technique of playing multiphonics also produces harmonics. On string instruments it is possible to produce very pure sounding notes, called harmonics or flageolets by string players, which have an eerie quality, as well as being high in pitch. Harmonics may be used to check at a unison the tuning of strings that are not tuned to the unison. For example, lightly fingering the node found halfway down the highest string of a cello produces the same pitch as lightly fingering the node ⁠ 1 / 3 ⁠ of the way down the second highest string. For the human voice see Overtone singing, which uses harmonics. While it is true that electronically produced periodic tones (e.g. square waves or other non-sinusoidal waves) have "harmonics" that are whole number multiples of the fundamental frequency, practical instruments do not all have this characteristic. For example, higher "harmonics" of piano notes are not true harmonics but are "overtones" and can be very sharp, i.e. a higher frequency than given by a pure harmonic series. This is especially true of instruments other than strings, brass, or woodwinds. Examples of these "other" instruments are xylophones, drums, bells, chimes, etc.; not all of their overtone frequencies make a simple whole number ratio with the fundamental frequency. (The fundamental frequency is the reciprocal of the longest time period of the collection of vibrations in some single periodic phenomenon.) == On stringed instruments == Harmonics may be singly produced [on stringed instruments] (1) by varying the point of contact with the bow, or (2) by slightly pressing the string at the nodes, or divisions of its aliquot parts ( 1 2 {\displaystyle {\tfrac {1}{2}}} , 1

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  Vacuum tube characteristics

  Vacuum tube characteristics (also called tube curves, valve characteristics or valve curves) describes the electrical relationships between electrode voltages and currents in a vacuum tube. These relationships are commonly presented as characteristic curves in tube manuals and engineering references. The curves typically show plate current versus plate voltage for several fixed control-grid voltages, showing how current varies with electrode potentials under controlled conditions. Designers use them to select operating points, determine voltage gain, estimate output power, and construct graphical load-line analyses. The use of characteristic curves as an engineering tool for analyzing vacuum-tube operation was established in the 1910s, notably in work by Edwin Howard Armstrong. Examples of such curves appear in early tube manuals and textbooks and form the basis of classical vacuum-tube circuit design. Different types of vacuum tubes are characterized using plots appropriate to their electrode structure and intended use. Two-electrode devices such as diodes are described primarily by the relation between plate voltage and plate current. Amplifying tubes containing control grids, such as triodes, tetrodes, pentodes, and beam tetrodes, are represented by families of curves measured for different grid voltages. From these families additional parameters such as amplification factor (μ), transconductance (gm), and plate resistance (rp) may be obtained. Although these plots are used primarily for circuit design, their shapes arise from the underlying physics of electron flow in vacuum tubes. The physical principles responsible for the observed characteristics are discussed in later sections. == 3/2 power law == In high-vacuum thermionic diodes operating under normal conditions, plate current increases nonlinearly with plate voltage. Over the space-charge-limited region, the current is well approximated by the three-halves power relation I p = P ⋅ V p 3 / 2 {\displaystyle I_{p}=P\cdot V_{p}^{3/2}} where P {\displaystyle P} is the perveance of the tube. Perveance is determined primarily by electrode geometry, including cathode area and cathode-to-plate spacing. It provides a practical measure of current-producing capability and is often used in tube manuals in place of a complete family of plate-characteristic curves. == Signal diode characterization == For small-signal diodes, tube manuals typically publish a single static anode characteristic showing anode current (Ia) as a function of anode voltage (Va), measured with the heater operating at its rated voltage. Because the diode contains no control grid, only one such I–V curve is required. The low-voltage portion of the curve is particularly important in detector service, where the nonlinear curvature of the current–voltage relation allows a small alternating signal to produce a net direct-current output, resulting in rectification. In addition to the static characteristic, tube manuals specify heater ratings, maximum plate voltage, permissible average current, and interelectrode capacitance. These parameters define the allowable operating region and high-frequency behavior. Another typical data sheet for a diode is for the Philips EB91 double diode. This book includes curves of the diode response in use as a detector. The output voltage is non-zero for an input voltage of 0 due to the Edison effect. == Rectifier characterization == Vacuum-tube rectifiers intended for power-supply service are specified differently from signal diodes. Their data emphasize heater requirements, peak inverse voltage, maximum peak plate current, permissible DC output current for various filter configurations, and regulation characteristics. Rectifier tubes exhibit nonlinear voltage drop that increases with current. For limited operating ranges this behavior may be represented by an equivalent or effective series resistance corresponding to the local slope of the plate characteristic (dynamic plate resistance, dV/dI). Diode voltages can be determied by use of a graphical aide. In capacitor-input supplies, conduction occurs in pulses near the peaks of the AC waveform, producing peak currents substantially greater than the average DC load current. Data sheets therefore specify maximum peak plate current and permissible filter capacitance in addition to average DC ratings. Under varying load conditions, the supply voltage changes in accordance with the rectifier's nonlinear characteristic and effective impedance. == Triode characterization == === Early use === The systematic use of characteristic curves to explain and quantify vacuum-tube amplification was introduced by Edwin Howard Armstrong in 1914. Using measured plate voltage-current curves, Armstrong demonstrated the mechanism of triode amplification and clarified the operation of grid-leak detection. ==== Plate and transfer characteristics ==== Triode data sheets present families of plate characteristics showing plate current I p {\displaystyle I_{p}} as a function of plate voltage E p {\displaystyle E_{p}} for several fixed grid voltages E g {\displaystyle E_{g}} . From these curves the operating point, voltage gain, and load-line behavior may be determined graphically. In normal operation, plate current depends on both grid and plate voltage. Classical analysis shows that the characteristics for different grid voltages are similar in form and differ primarily by horizontal displacement. In triodes, plate current may be approximated by I p = k ( E g + E p μ ) 3 / 2 {\displaystyle I_{p}=k\left(E_{g}+{\frac {E_{p}}{\mu }}\right)^{3/2}} where E g {\displaystyle E_{g}} is the grid voltage, E p {\displaystyle E_{p}} the plate voltage, μ {\displaystyle \mu } the amplification factor, and k {\displaystyle k} a constant determined by the tube geometry.. The amplification factor μ represents the relative effectiveness of grid voltage compared with plate voltage in controlling current. It is fundamentally determined by structural dimensions, particularly grid-to-cathode spacing relative to plate-to-cathode spacing. ==== Small-signal parameters ==== Triodes are commonly characterized by three interrelated small-signal parameters: Amplification factor ( μ {\displaystyle \mu } ) — the change in plate voltage divided by the change in grid voltage at constant plate current: μ = ( ∂ E p ∂ E g ) I p {\displaystyle \mu =\left({\frac {\partial E_{p}}{\partial E_{g}}}\right)_{I_{p}}} Transconductance ( g m {\displaystyle g_{m}} ) — the change in plate current divided by the change in grid voltage at constant plate voltage: g m = ( ∂ I p ∂ E g ) E p {\displaystyle g_{m}=\left({\frac {\partial I_{p}}{\partial E_{g}}}\right)_{E_{p}}} Plate resistance ( r p {\displaystyle r_{p}} ) — the change in plate voltage divided by the change in plate current at constant grid voltage: r p = ( ∂ E p ∂ I p ) E g {\displaystyle r_{p}=\left({\frac {\partial E_{p}}{\partial I_{p}}}\right)_{E_{g}}} These parameters are related by μ = g m r p {\displaystyle \mu =g_{m}r_{p}} as shown in classical tube theory treatments. These parameters are obtained either from slopes of the characteristic curves or from tabulated operating-point data. ==== Comparison of ECC81, ECC82, and ECC83 ==== The ECC81, ECC82, and ECC83 (also known respectively as 12AT7, 12AU7, and 12AX7) are closely related dual triodes widely used in small-signal amplifier stages. Although similar in construction and envelope size, they differ significantly in electrical parameters due to differences in electrode spacing and grid structure. (Data representative of manufacturer specifications.) The ECC83 exhibits high μ {\displaystyle \mu } and high plate resistance, producing large voltage gain but relatively low current drive capability. The ECC82 has lower μ {\displaystyle \mu } and lower plate resistance, allowing greater current delivery and reduced voltage gain. The ECC81 occupies an intermediate position with comparatively high transconductance and moderate amplification factor. These differences arise primarily from variations in grid pitch, cathode area, and electrode spacing, which determine perveance and amplification factor. Although the external envelope is similar, the internal geometry governs the characteristic curves and small-signal parameters. == Tetrode (screen-grid) characterization == The screen-grid tube (tetrode) was developed primarily to reduce the electrostatic coupling between plate and control grid that limited gain and stability in radio-frequency triode amplifiers. In triodes, the grid–plate capacitance provides feedback from plate to grid, restricting obtainable gain and often requiring neutralization circuits such as those used in neutrodyne receivers. By inserting a positively biased screen grid between control grid and plate, this capacitive coupling is greatly reduced, permitting higher stable gain at radio frequencies. The screen grid, also known as the shield grid or grid 2 (to distinguish it from t

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  Fatpaint

  Fatpaint is a free, online (web-based) graphic design and desktop publishing software product and image editor. It includes integrated tools for creating page layout, painting, coloring and editing pictures and photos, drawing vector images, using dingbat vector clipart, writing rich text, creating ray traced 3D text logos and displaying graphics on products from Zazzle that can be purchased or sold. Fatpaint integrates desktop publishing features with brush painting, vector drawing and custom printed products in a single Flash application. It supports the use of a pressure-sensitive pen tablet and allows the user to add images by searching Wikimedia, Picasa, Flickr, Google, Yahoo, Bing, and Fatpaint's own collection of public domain images. The completed project can be saved on Fatpaint's server or locally. Fatpaint is affiliated with Zazzle, and owned by Mersica (also the developer of MakeWebVideo). == History == Fatpaint was launched in May 2010, after five years of development by Danish-Brazilian software developer, Mario Gomes Cavalcanti. After his departure, he was involved in the development of two of Denmark's most visited websites and is responsible for developing and running Fatpaint. Partner Kenneth Christensen mastered assembler and graphics programming on the Amiga computer. He spent years with Mario on the Amiga demo scene. According to the CEO, Kenneth helped him with the Linux servers while he handled the development, administration, promotion, video production, testing and content. The founder of Fatpaint also created "Make Web Video" (or Video Maker), a web application for creating video presentations for business, families and individuals. Video Maker allows users to give out the videos for personal or business use in a simple and affordable way. == Tools == Fatpaint provides free online logo maker, graphic design, vector drawing, photo editor and paint design in English, Danish and Portuguese. === Photo Editor === Users can change photo colours by manipulating R, G, B and A channels, saturation, contrast, brightness, hue, gamma, sharpness, tint and RGBA matrix. Users can also remove unwanted background and other artifacts by using the paint tools with added effects or by cloning. Multiple photos can be combined into a single image. Users can pick different blend modes and multiple layers. Users can also extract or change parts of the photo by cropping, resizing, skewing, bending, distorting and rotating in 2D and 3D. Hence, users' graphics can be printed on custom products that can be bought and sold for personal and business purposes. === Vector Drawing === Users can choose from 5000 vector images or draw vector graphics and art from scratch, using Fatpaint's vector shape creation tools. It also provides advanced symmetric vector transformation in 2D and 3D, as well as support for colour gradients. Multiple drawings can be combined to form complex vector shapes. Different blend modes and effects are supported. Vector drawings can be cropped, resized, skewed, distorted and rotated in 2D and 3D. Similar to Fatpaint's photo editor, vector graphics can be displayed on custom printed products that can be purchased and sold by the users for personal or business uses. === Paint Design === Fatpaint has full support for Pen Tablets and users can pick pen, brush, airbrush, paint bucket, clone painting, eraser and smudging tools. Fatpaint offers 8 palettes for painting, plus 13 palettes when clone painting. Fatpaint allows users to import or create their own brushes and thousands of free clipart drawings and brush sets that have dynamic brushes, effects and blend modes. Paintings can be combined in different layers and objects. Similarly, paintings can be cropped, resized, skewed, bent, distorted and rotated in 2D and 3D. Moreover, the graphics can be displayed on custom printed products, which users can buy or sell for personal or business uses. == Top Features == 3D Text objects: Create photorealistic, ray-traced 3D text logos and images. Image objects: Paint on multiple layers, import or create your own brushes, clone painting, and painting with effects. Vector drawing objects: Create vector images using multiple paths. Rich text objects with 981 fonts. Effect objects: Blur, Drop Shadow, Glow, Gradient Glow, Bevel, Gradient Bevel, Color manipulations. Page layout: Create multiple pages with a size limit of 64 megapixels, and arrange graphical objects on created pages (each object can be up to 7.8 megapixels in size). Nest graphical objects and transform them into 2D and 3D. Skew, bend and distort images and text. Design, purchase and sell custom-printed products. Fatpaint can send the projects to a printing company. Supports pressure-sensitive pen tablets. Fonts, public domain images, cliparts, and brushes. == Compatibility == Fatpaint supports Firefox, Google Chrome, Opera, and Internet Explorer with cookies and JavaScript enabled. Other browsers may not work correctly due to their support of Java Applets. Fatpaint requires Adobe's Flash 10 or newer and Sun's Java 6 or newer. It is recommended to run on Windows 7 and on Apple and Linux if Java has been disabled. The editor only works on Firefox on Linux. Java and Flash integration do not work on Linux and Apple browsers. WikiMedia search is disabled on those browsers. Fatpaint works best with at least 2 GB RAM and 1 GB video memory, as well as a decent graphics card.

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  SPACEMAP

  SPACEMAP (Korean: 스페이스맵) is a South Korean satellite orbit optimization and satellite communications company headquartered in Seoul, South Korea. The company was founded in 2021 by CEO, Douglas Deok-Soo Kim, as an offshoot of Hanyang University. It was funded by the Leader Research grant from the National Research Foundation of Korea with the goal of capitalizing on the growing space industry. == History == Kim initially began research into Voronoi diagrams at the University of Michigan. He met with Dr. Misoon Ma, former director of the Asia Division of the U.S. Air Force Office of Scientific Research (AFOSR) and was recruited to work with the U.S. Air force, using Voronoi diagrams for a satellite collision prevention program. After his work with the U.S. Air Force, Kim founded SPACEMAP Inc in September 2021. In 2023, the company was selected by Korea's Tech Incubator Program for Startups (TIPS) to be funded up to 17 billion KRW (approx. US$13 million) in 3 years. == Technology == The services provided by SPACEMAP are based on using dynamic Voronoi diagrams to predict satellite orbits with the aim of enhancing space mission safety and efficiency. For complex problems involving many moving points, Voronoi diagrams maintain a near-constant computation time regardless of the number of points involved. By utilizing Voronoi diagrams and artificial intelligence, the software can easily determine the number of neighboring satellites surrounding a specific satellite and calculate the distances between them, thereby predicting the probability of a collision. SPACEMAP claims their method to be superior in computational time and memory efficiency, compared to the previously established three-filter method. == Products == SPACEMAP offers satellite products and services including the following: AstroOne, a conjunction assessment, and optimal collision avoidance service for all space vehicles in both orbital and non-orbital motions. AstroOrca, providing data transmission for satellites in multiple orbits, launch optimization, shuttle logistics for space gas stations, and Active Debris Removal (ADR) itinerary. AstroLibrary, a library of RESTful APIs to access the C++ implementation of SPACEMAP's Voronoi diagram algorithms wrapped in a Python interface. It also provides real-time tracking of the North Korean reconnaissance satellite, Malligyong-1.

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  DBOS

  DBOS (Formerly Database-Oriented Operating System, now just DBOS) is an open source durable workflow execution software library written for the Python, TypeScript, Java, and Go programming languages. DBOS arose from a joint open source project from MIT and Stanford, after a discussion between Michael Stonebraker and Matei Zaharia on how to scale and improve scheduling and performance of millions of Apache Spark tasks. Today it is a commercial company that offers an open source system to add durable computing to any software, built on concepts derived from the joint research project. == History == === 2020: Academic R&D Project === DBOS originated in 2020 as a joint open source project between MIT, Stanford, and Carnegie Mellon. The project explored the idea of operating system services built atop a distributed database - a database-oriented operating system meant to simplify and improve the scalability, security and resilience of large-scale distributed applications. The basic concept was to run a multi-node multi-core, transactional, highly-available distributed database, such as VoltDB, as the only application for a microkernel, and then to implement scheduling, messaging, file systems and other operating system services on top of the database. The architectural philosophy is described by this quote from the abstract of their initial preprint: All operating system state should be represented uniformly as database tables, and operations on this state should be made via queries from otherwise stateless tasks. This design makes it easy to scale and evolve the OS without whole-system refactoring, inspect and debug system state, upgrade components without downtime, manage decisions using machine learning, and implement sophisticated security features. A prototype was built with competitive performance to existing systems. ==

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  Media Auxiliary Memory

  Media Auxiliary Memory or Medium Auxiliary Memory (MAM) refers to a chip embedded into a digital media device (usually a tape cartridge) that stores a small amount of data or metadata that a computer can read without having to read the actual tape. MAMs can be used by the tape driver to increase efficiency, or by custom software to store & retrieve custom data. Some examples of MAM's are Cartridge Memory (HP/Seagate/IBM LTO) and MIC (Sony AIT).

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  1 Second Everyday

  1 Second Everyday (1SE) is an application developed by Cesar Kuriyama. The application allows the user to record one second of video every day and then chronologically edits (mashes) them together into a single film. It is compatible with iOS and Android. The idea of the application was developed by Kuriyama's 1 Second Everyday — Age 30 video. The application was launched in January 2013. 1 Second Everyday played a part in the plot of Chef and also became the inspiration for the 2014 short animated clip Feast. == Background == === Kuriyama's video === In February 2011, when Cesar Kuriyama turned 30, after saving money, he quit his job in an advertising firm and took a year off to travel. During this time, he started working on a project he called 1 Second Everyday. As part of the project, every day he recorded one second of video – something that was supposed to help him remember that day. He started the project because he was frustrated with his memory. He planned to stockpile the 365 one-second clips into one film to serve as a memento of his year. While working on the project Kuriyama realized that recording one second every day impacted the decisions he made in a positive way. After a year he made a 365-second clip out of his recordings. The video called 1 Second Everyday – Age 30, went viral. According to Kuriyama, he was initially inspired to take a year off from work by a TED talk given by Stefan Sagmeister called "The Power of Time Off." Kuriyama also delivered a TED talk about 1 Second Everyday in 2012 at TED 2012 in Long Beach California. === Kickstarter campaign === After completing his own video, Kuriyama decided to develop an application that would allow the users to record one second every day and compile their own videos. He developed a prototype of the application and then in 2012, he launched a Kickstarter campaign to raise funds for completing the application. The campaign became one of the most backed app campaigns in the history of Kickstarter. It was backed by 11,281 backers who pledged a total of $56,959 on an initial goal of $20,000. Following the completion of the Kickstarter campaign, he partnered with an application design studio in Brooklyn to develop the application. 1 Second Everyday was released two weeks after the completion of its Kickstarter campaign. == Application == The application was released for iOS on 10 January 2013. An Android-compatible version of the application was developed later. Using it, the user can record the videos in the application or they can select one second portions from their libraries. 1 Second Everyday dates every snippet. The user can also set alarms to remember to record their daily video. In order to compile a video, the user selects the seconds they want and the application creates a compilation video. The user can keep multiple timelines. It also allows users to post directly on social networks. The main interface in 1 Second Everyday is a calendar, which shows the user which days have snippets and which they can still fill in. In the beginning, 1 Second Everyday restricted the recording to one second. However, the developers later released Super Seconds, which allowed users to record an additional half a second video. In 2014, 1 Second Everyday Crowds was launched, which is an area in the application featuring compilations of second clips from different users. == In the media == The Kickstarter campaign of 1 Second Everyday was featured in Entrepreneur's 3 Innovative Tech Startups on Kickstarter Right Now in 2012. The application was featured in The New York Times, The Washington Post, Gawker and other media outlets. By the end of the launch day, it was in Top 10 Free Apps on App Store. It was also selected as the App of the Week on GeekWire in 2013. Several other one-second compilation videos were also posted on the Internet after Kuriyama's video gained media attention. Sam Cornwell, an English photographer documented his son Indigo's growth using a montage of one-second iPhone clips. He shot these clips every single day from the moment of birth right up to the baby's first birthday. According to Cornwell, he was inspired by Kuriyama's project. The video of Cornwell's son gained considerable media attention after it was posted on YouTube. Save the Children also made a video commercial based on a similar format that showed a British girl oblivious of the Syrian war end up being a refugee. 1SE was a finalist for the Fast Company Innovation by Design Award in 2015, but lost to Google Maps. In 2015, Google Android created a gallery, Leap Second 2015, with the help of Droga5 and Kuriyama. The gallery showcased how people around the world enjoyed the one extra second of their lives. Through the 1 Second Everyday app available at Google Play, people were able to submit their extra second, which were then vetted and added to the gallery. The viewers were able to view other celebratory seconds from around the world as well as searching for them using different hashtags.

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  Webedia

  Webedia S.A. is a company specializing in online media, a subsidiary of the Fimalac group based in Levallois-Perret, France. Webedia is active in more than twenty countries including France (AlloCiné, Jeuxvideo.com, MGG, Puremédias, Ode, Pureshopping, Volum, Terrafemina, 750g, easyVoyage, l’Automobile Magazine, Le 10 Sport), Brazil (AdoroCinema, Tudo Gostoso, Minhavida), Germany (Filmstarts, Moviepilot, GameStar), Spain and Latin America (Xataka, SensaCine, Raiser Games), Poland (Gry-Online and GetHero) and the United States (Boxoffice Pro). == History == === Early years (2007-2013) === Webedia was created in France in 2007, following the successive launches of the websites Purepeople, Puretrend and Purefans. Webedia bought the comparison shopping website Shopoon in 2008 and renamed it Pureshopping, and the website Ozap (media news) from M6 group in 2011 and renamed it Puremédias. Webedia was acquired by Fimalac in May 2013 and became its Internet media subsidiary. === Growth (2013-2016) === In 2013, Fimalac acquired AlloCiné, the websites Newsring and Youmag, the cooking website 750g and the cultural platform Exponaute. In 2014, Webedia acquired OverBlog, Jeuxvideo.com (through L'Odyssée Interactive and moved to Paris in 2015), Moviepilot (Germany), and Gameo Consulting (owner of Millenium, electronic sports), In December 2014, Webedia announced a license agreement with Ziff Davis to launch sites under the IGN franchise in Brazil and France at the beginning of 2015. The French version of IGN was launched on 2, it targets the general public and casual gamers. In 2015, Webedia acquired Côté Ciné Group (technological solutions for movie theaters and specialized press magazines: BoxOffice Pro in the United States and Côté Ciné in France), 57% of Easyvoyage group (online travel comparators Easyvol and Alibabuy, Mixicom (website JeuxActu and multi-channel network), 50% of the Brazilian network Paramaker, and West World Media (digital marketing company for the film industry). In 2016, Webedia bought Scimob (mobile video game studio), Surprizemi (home-delivered surprise boxes), Eklablog (blogging platform) Oxent (eSports World Convention), and Bang Bang Management (sports PR agency). In addition, an agreement is made with Paris Saint-Germain for Webedia to recruit and manage e-sports players on behalf of Paris Saint-Germain eSports. On November 15, 2016, the LFP announced that it had reached an agreement with beIN Sports and Webedia for the broadcasting of the first edition of the e-League 1. The competition is renewed for two additional seasons on July 26, 2017, the broadcasting agreements are renewed. On December 8, 2016, Webedia joined forces with Chronopost to launch Pourdebon, a home delivery service that connects Internet users and labeled producers (AOC, organic AB, etc.). Webedia has a slight majority (53%) in this new platform. === 2017 === On January 19, 2017, Webedia announced the acquisition of the English company Peach Digital, specializing in web development and digital marketing for movie theaters. In February 2017, Le Figaro announced that Webedia had invested 10 million euros in Illico Fresco, a home delivery service for baskets of recipes. The same month, FDJ and Webedia announced a partnership for the creation of eSports competitions: a professional one (FDJ Masters League) and another one for amateur gamers (FDJ Open Series) starting in March 2017. They are broadcast on Webedia's Web TV. At the end of February 2017, the media group finalized the acquisition of MyPoseo, a SaaS publisher specialized on SEO analytics. On March 8, 2017, Webedia launched LeStream, a Twitch Web TV dedicated to video games, the result of two years of development, in the company of several YouTubers including Cyprien and Squeezie,. On March 29, 2017, Webedia bought the Brazilian web publisher Minha Vida, a website devoted to health, nutrition, beauty and fitness, which attracts 14.3 million unique monthly visitors. Webedia reaches 44 million unique visitors in Brazil, and thus becomes the leading publisher on entertainment themes. In June 2017, the company made its largest international acquisition, with the American agency 3BlackDot, a media and marketing agency focused on videogamers. The agency, based in Los Angeles, manages 36 YouTubers followed by millions of subscribers on their channels which total 700 million videos viewed per month. In July 2017, Webedia bought IDZ, an audiovisual production company, and thus strengthened its production activities and its leadership on the YouTube channel networks in France. That year, Webedia was the first French media group to use the measurement of their global audiences by Comscore. It represents deduplicated coverage on desktops, laptops, smartphones and tablets, and includes audiences for websites, mobile applications and videos. This new measure allows Webedia to establish a deduplicated global audience of 177 million unique visitors in April 2017. In October 2017, Webedia announced its intention to launch a TV channel dedicated to electronic sports, called ES1. The channel was officially launched on January 10, 2018, on Orange TV and on February 6, 2018, on Free and Bouygues Telecom. In November 2017, Webedia, with the support of CDC International Capital, entered into exclusive negotiations with the Saudi company Uturn Entertainment, specializing in online entertainment, particularly on YouTube, and the production of digital content for the region's youth, with a view to merging it with Diwanee, a Webedia subsidiary in the Middle East, for an amount close to $100 million. In December 2017, Webedia acquired a majority stake in the United States–based company called Creators Media, which brings together social and video production platforms specializing in popular culture and entertainment. That same month, Webedia joined forces with Elephant, Emmanuel Chain's audiovisual production company, to create a new content production label aimed at Millennials. === 2018-2019 === In January 2018, Webedia launched a sports marketing agency: Only Sports & Passions. That same month, Illico Fresco, specialist in the delivery of kit meals belonging to Webedia, joined forces with Weight Watchers, the world leader in slimming products. In April 2018, Webedia published new audience figures in partnership with Comscore, 188 million unique monthly visitors in December 2017, an increase of 6.2% compared to the previous measure dating from April 2017. The same month, Webedia unveils its ambitions concerning content production, as a partnership with the video game studio Focus Home Interactive is signed with a title "Fear the Wolves" already planned for 2018, co-production projects of films, cartoons or series are announced. In July 2018, Webedia bought the American authors company Full Fathom Five, a company that helps authors produce books, TV series, films and video games. In October 2018, Webedia announced that it was focusing on both esports clubs PSG Esports and LeStream Esport. The first one being geared towards international competitions and the second devoted mainly to the French esports scene. The "Millenium" brand is thus refocusing around its media activities and esports merchandising products, and the "Millenium esport club" being gradually closed. The same month, the company announced the acquisition of Weblogs, a Spanish-speaking website publisher, thereby strengthening its activity in Spain and Latin America. On October 22, 2018, Webedia announced the merger of BoxOffice magazine with Film Journal International. On November 13, 2018, Groupe SEB announced the acquisition from Webedia of 750g International, the international branch of the French recipe site 750g (the original French website 750g.com being retained by Webedia). The group is thus separating from Gourmandize (United States and United Kingdom), HeimGourmet (Germany), Rebañando (Spain), Receitas Sem Fronteiras (Brazil / Portugal) and Tribù Golosa (Italy). The same month, Webedia joined forces with Riot Games to launch the French League of League of Legends (LFL), the first French professional league on the League of Legends game, which will bring together the 8 best teams on the French scene. In March 2019, Webedia bought 51% of the audiovisual production company Elephant. The new set will weigh 500 million euros, a quarter of which will be made outside France. The same month, Webedia purchased a majority stake in the company Partoo, which publishes a SaaS platform specializing in local marketing for brands and merchants. On March 14, 2019, a new measurement of the international audience of Webedia sites was produced by Comscore, posting 250 million unique visitors in December 2018, up 9.2% compared to December 2017. In June 2019, the group joined forces with Michel Cymes, a famous doctor and French TV host by taking a majority stake in his company Club Santé Débat, in order to develop a health platform around the Dr. Good! Brand. In Sep

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  Digital backlot

  A digital backlot or virtual backlot is a motion-picture set that is neither a genuine location nor a constructed studio; the shooting takes place entirely on a stage with a blank background (often a greenscreen) that will later on project an artificial environment put in during post-production. Digital backlots are mainly used for genres such as science fiction, where building a real set would be too expensive or outright impossible. == Notable films == Among the first films to introduce the technique was Mini Moni the Movie by Shinji Higuchi in 2002, predated by Rest In Peace by Stolpskott Film (2000). Others include: === Released === Rest in Peace (Sweden, 2000) – Shot entirely with green-screen. Some sections fully CGI. Casshern (Japan, 2004) – Shot on celluloid. A few practical set pieces used. Able Edwards (United States, 2004) – Shot digitally on Canon XL1 cameras. Immortal (France, 2004) – Shot on celluloid. Also showed CGI characters interacting with live actors. Sky Captain and the World of Tomorrow (United States, 2004) – Shot digitally on Sony CineAlta cameras. Sin City (United States, 2005) – Shot digitally on CineAlta cameras. Three practical sets used. MirrorMask (United States/United Kingdom, 2005) – Shot on celluloid. 80% of film uses digital backlot. Some practical set pieces used. The Cabinet of Dr. Caligari (United States, 2005) – Shot digitally. 300 (United States, 2007) – Shot on celluloid. Two practical sets used. Speed Racer (United States, 2008) – Directed by the Wachowskis. Three practical sets used. The Spirit (United States, 2008) – Director Frank Miller shot the film with the same techniques he and Robert Rodriguez used on Sin City. Avatar (United States, 2009) – Directed by James Cameron. Two practical sets used. Goemon (Japan, 2009) – The second film from Casshern helmer Kazuaki Kiriya. Alice in Wonderland (United States, 2010) – Directed by Tim Burton. Practical sets used. Sin City: A Dame to Kill For (United States 2014) – Co-directed by Robert Rodriguez and Frank Miller. Sequel to Sin City. === Upcoming === Tribes of October

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