AI Face Look

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ACLU Mobile Justice

ACLU Mobile Justice was a video live streaming application developed for smartphones by various state chapters of the American Civil Liberties Union. It was intended to allow instant, secure video recording and transmission of interactions with, and perceived abuses by, law enforcement officers. Since its release by the ACLU of California for California residents, other versions of the app have been released for 16 other states and the District of Columbia by their ACLU chapters. It was discontinued in February 2025.
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Bookmarklet

A bookmarklet is a bookmark stored in a web browser that contains JavaScript commands that add new features to the browser. They are stored as the URL of a bookmark in a web browser or as a hyperlink on a web page. Bookmarklets are usually small snippets of JavaScript executed when a user clicks on them. When clicked, bookmarklets can perform a wide variety of operations, such as running a search query from selected text or extracting data from a table. Another name for bookmarklet is favelet or favlet, derived from favorites (synonym of bookmark). == History == Steve Kangas of bookmarklets.com coined the word bookmarklet when he started to create short scripts based on a suggestion in Netscape's JavaScript guide. Before that, Tantek Çelik called these scripts favelets and used that word as early as on 6 September 2001 (personal email). Brendan Eich, who developed JavaScript at Netscape, gave this account of the origin of bookmarklets: They were a deliberate feature in this sense: I invented the javascript: URL along with JavaScript in 1995, and intended that javascript: URLs could be used as any other kind of URL, including being bookmark-able. In particular, I made it possible to generate a new document by loading, e.g. javascript:'hello, world', but also (key for bookmarklets) to run arbitrary script against the DOM of the current document, e.g. javascript:alert(document.links[0].href). The difference is that the latter kind of URL uses an expression that evaluates to the undefined type in JS. I added the void operator to JS before Netscape 2 shipped to make it easy to discard any non-undefined value in a javascript: URL. The increased implementation of Content Security Policy (CSP) in websites has caused problems with bookmarklet execution and usage (2013–2015), with some suggesting that this hails the end or death of bookmarklets. William Donnelly created a work-around solution for this problem (in the specific instance of loading, referencing and using JavaScript library code) in early 2015 using a Greasemonkey userscript (Firefox / Pale Moon browser add-on extension) and a simple bookmarklet-userscript communication protocol. It allows (library-based) bookmarklets to be executed on any and all websites, including those using CSP and having an https:// URI scheme. However, if/when browsers support disabling/disallowing inline script execution using CSP, and if/when websites begin to implement that feature, it will "break" this "fix". == Concept == Web browsers use URIs for the href attribute of the tag and for bookmarks. The URI scheme, such as http or ftp, and which generally specifies the protocol, determines the format of the rest of the string. Browsers also implement javascript: URIs that to a parser is just like any other URI. The browser recognizes the specified javascript scheme and treats the rest of the string as a JavaScript program which is then executed. The expression result, if any, is treated as the HTML source code for a new page displayed in place of the original. The executing script has access to the current page, which it may inspect and change. If the script returns an undefined type (rather than, for example, a string), the browser will not load a new page, with the result that the script simply runs against the current page content. This permits changes such as in-place font size and color changes without a page reload. An immediately invoked function that returns no value or an expression preceded by the void operator will prevent the browser from attempting to parse the result of the evaluation as a snippet of HTML markup: == Usage == Bookmarklets are saved and used as normal bookmarks. As such, they are simple "one-click" tools which add functionality to the browser. For example, they can: Modify the appearance of a web page within the browser (e.g., change font size, background color, etc.) Extract data from a web page (e.g., hyperlinks, images, text, etc.) Remove redirects from (e.g. Google) search results, to show the actual target URL Submit the current page to a blogging service such as Posterous, link-shortening service such as bit.ly, or bookmarking service such as Delicious Query a search engine or online encyclopedia with highlighted text or by a dialog box Submit the current page to a link validation service or translation service Set commonly chosen configuration options when the page itself provides no way to do this Control HTML5 audio and video playback parameters such as speed, position, toggling looping, and showing/hiding playback controls, the first of which can be adjusted beyond HTML5 players' typical range setting. Installing a bookmarklet follows the same process as adding a normal bookmark; the only difference is that in place of the URL destination field is JavaScript code preceded by javascript:. Once created, bookmarklets can be run by clicking on them.
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Bulletin (service)

Bulletin was an online newsletter platform launched by Facebook on July 6, 2021, that allows notable writers to make announcements directly to their subscribers. Its competitors included Substack, of which Bulletin was called a "near-clone." Writers participating in the platform's launch included Malcolm Gladwell, Mitch Albom, Tan France, Jessica Yellin, Jane Wells, Erin Andrews and Dorie Greenspan. Facebook CEO Mark Zuckerberg stated that Bulletin represented the first time that the company had "built a project that is directly for journalists and individual writers." In October 2022 Meta announced the shutdown of Bulletin. The platform went into read only mode in January 2023 and became unavailable in April 2023. == History == Facebook announced Bulletin as its online newsletter platform on June 29, 2021. and launched by the company on July 6, 2021. Facebook CEO Mark Zuckerberg touted the service by saying that Bulletin represented the first time that the company had "built a project that is directly for journalists and individual writers." Writers participating in the platform's launch included Malcolm Gladwell, Mitch Albom, Tan France, Jessica Yellin, Jane Wells, Erin Andrews and Dorie Greenspan. == Reception == Unlike competitor such as Substack, Facebook indicated upon service's launch that it would not take a cut of subscription fees of writers using that platform. According to Washington Post technology writer Will Oremus, the move was criticized by those who viewed it as a form of predatory pricing intended by Facebook to force those competitors out of business. Sandeep Vaheesan, legal director of the think tank Open Markets, called for the government to reexamine predatory pricing as a violation of antitrust law, saying, "We want companies to compete by making better products, investing in new equipment and tech — not purely relying on their financial advantages to capture market share."
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Creepy treehouse

Creepy treehouse is a social media term, or internet slang, referring to websites or technologies that are used for educational purposes but regarded by students as an invasion of privacy. == History == The term was first described in 2008 by Utah Valley University instructional-design services director Jared Stein as "institutionally controlled technology/tool that emulates or mimics pre-existing [sic] technologies or tools that may already be in use by the learners, or by learners' peer groups." This was when social media such as Facebook was starting to become mainstream and professors would try and get students to interact with them on the site for educational purposes. Some professors would require their students to use Facebook or Twitter as part of class assignments. == Usage == The term was first described as "technological innovations by faculty members that make students’ skin crawl." The term also refers to online accounts and websites that users tend to avoid, especially young people who avoid visiting the pages of educators and other adults. Author Martin Weller defines creepy treehouse as a digital space where authority figures are viewed as invading younger people's privacy. One such example is a professor giving his students an option to use a popular video game to learn about history instead of writing an essay. Students in that class chose to write the essay instead as the method was previously unmentioned and it was not an unnatural method of interaction. Another example given was Blackboard Sync, a feature that was used to connect the school website Blackboard with students' Facebook accounts. == Solutions == University of Regina professor Alec Couros suggests that instead of "forcing" student participation with their own digital platforms, professors should use methods like online forums. Jason Jones of chronicle.com suggested letting students create social media groups for the class themselves and explaining why using technologies is required and important.
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SAP StreamWork

SAP StreamWork is an enterprise collaboration tool from SAP SE released in March 2010, and discontinued in December 2015. StreamWork allowed real-time collaboration like Google Wave, but focused on business activities such as analyzing data, planning meetings, and making decisions. It incorporated technology from Box.net and Evernote to allow users to connect to online files and documents, and document-reader technology from Scribd allowed users to view documents directly within its environment. StreamWork supported the OpenSocial set of application programming interfaces (APIs), allowing it to connect to tools built by third-party developers, such as Google Docs. A version of StreamWork intended for large enterprises used a virtual appliance based on Novell's SUSE Linux Enterprise to connect it to business systems, including those from SAP.
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ProjectExplorer

ProjectExplorer is a documentary short film series. The films, directed and produced by ProjectExplorer's Founder, Jenny M Buccos, focus on histories and cultures of foreign places and people using interviews with subject experts, artists, and public figures including Archbishop Desmond Tutu, Dr. John Kani, Greg Marinovich, and Sipho “Hotstix” Mabuse. Produced for a child and young adult audience, segments in each series depict everyday life and the challenges and concerns of those living in the locations and regions featured. Each film is 2–4 minutes in length, with each series containing approximately 40 films. The ProjectExplorer series is distributed internationally without charge via the web by ProjectExplorer, LTD. an American not-for-profit organization. Three series have been produced and distributed. In fall 2009, ProjectExplorer's third series, Jordan, received a GOLD level Parents' Choice Award for excellence in web programming. == Film series == === Shakespeare's England (2006) === The first series was filmed in London, Stratford-upon-Avon, and New York City. The series includes more than 30 film segments. United Kingdom locations and individuals include: The London Eye The Tower of London The Whitechapel Bell Foundry, which demonstrates the process of making a bell Simon Hughes, Member of Parliament and President of the Liberal Democrats The Old Vic The Royal Shakespeare Company The National Archives (UK) Segments filmed in New York City include: Michael Cumpsty discusses and performs monologues from Hamlet (while starring in the Classic Stage Company production) Michael Stuhlbarg discusses and performs a monologue from Macbeth === South Africa (2007) === Filmed in Johannesburg, Cape Town, and KwaZulu Natal, the series contains over 40 film segments including: Ntate Thabong Phosa, a lesiba player from Lesotho. Due to the rarity of lesiba players globally, this is one of the only publicly available examples of the lesiba played on film. A Robben Island piece, filmed at the cell in which Nelson Mandela was held for 18 of his 27-year imprisonment. JSE Securities Exchange with Leigh Roberts, correspondent for CNBC Africa. A 3-part series on HIV/AIDS with amfAR Director of Research, Dr. Rowena Johnson. Dr. Johnson discusses high cost of anti-retroviral drugs and testing in South Africa. The June 16, 1976 Soweto Uprising, with archival film footage and photography from SABC and The Sowetan newspaper. Prominent South Africans featured in the series: Dr. John Kani, Chairperson of the Apartheid Museum and TONY Award Winning Actor Musician Sipho “Hotstix” Mabuse Former U.N. Ambassador Dave A. Steward, Executive Director of the FW de Klerk Foundation Director and producer, Duma Ndlovu Malcolm Purkey, Artistic Director of the Market Theatre === South Africa, Part II (2008) === Filmed in Johannesburg, Cape Town, and New York City, the series contains over 10 film segments. Prominent South Africans featured in the series: Archbishop Desmond Tutu, Nobel Peace Prize laureate Photojournalist Greg Marinovich, Pulitzer Prize winner and co-author of The Bang-Bang Club Vusi Mahlasela, musician Author, Max du Preez === Jordan (2008) === Filmed in Amman, Petra, Umm Qais, Jerash, Madaba, Bethany, the Dead Sea, and New York City, the series contains more than 45 film segments. Jordan series segments include: A tour of the throne room of King Abdullah II, at Raghadan Palace Sharing mansaf with a Bedouin family in the Wadi Rum desert The UNRWA Jabal Hussein refugee camp The Siq, Treasury, and Monastery at Petra The ruins of Gadara at Umm Qais Jerash, the capital and largest city of Jordan's Jerash Governorate Madaba, home of the Madaba Map and the mosaic capital of Jordan The archaeological site at Bethany Traditional clothing from Salt and Ma'an The reintroduction into the wild of the endangered Arabian Oryx The Desert Castles The science of the Dead Sea Her Royal Highness Princess Basma bint Ali and her Royal Botanic Garden
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OpenWebRTC

OpenWebRTC (OWR) is a free software stack that implements the WebRTC standard, a set of protocols and application programming interfaces defined by the World Wide Web Consortium (W3C) and the Internet Engineering Task Force (IETF). It is an alternative to the reference implementation that is based on software from Global IP Solutions (GIPS). It is published under the terms of the Simplified (2-clause) BSD license and officially supports iOS, Linux, OS X, and Android operating systems. It is meant to also work outside web browsers, e.g. to power native mobile apps. It is mostly written in C and based largely on the multimedia framework GStreamer and a number of other, smaller external libraries. It officially supports both VP8 and H.264 as video formats. For H.264 it uses OpenH264 to which Cisco pays the patent licensing bills. Development of OpenWebRTC started at Ericsson Research under the lead of Stefan Ålund. They released it as free software in September 2014, together with the proof-of-concept web browser "Bowser" that is based on the stack. Among other things, this initial version didn't support data channels yet and was said to still be less mature than Google's reference implementation.
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Microformat

Microformats (μF) are predefined HTML markup (like HTML classes) created to serve as descriptive and consistent metadata about elements, designating them as representing a certain type of data (such as contact information, geographic coordinates, events, products, recipes, etc.). They allow software to process the information reliably by having set classes refer to a specific type of data rather than being arbitrary. Microformats emerged around 2005 and were predominantly designed for use by search engines, web syndication and aggregators such as RSS. Google confirmed in 2020 that it still parses microformats for use in content indexing. Microformats are referenced in several W3C social web specifications, including IndieAuth and Webmention. Although the content of web pages has been capable of some "automated processing" since the inception of the web, such processing is difficult because the markup elements used to display information on the web do not describe what the information means. Microformats can bridge this gap by attaching semantics, and thereby obviating other, more complicated, methods of automated processing, such as natural language processing or screen scraping. The use, adoption and processing of microformats enables data items to be indexed, searched for, saved or cross-referenced, so that information can be reused or combined. As of 2013, microformats allow the encoding and extraction of event details, contact information, social relationships and similar information. Microformats2, abbreviated as mf2, is the updated version of microformats. Mf2 provides an easier way of interpreting HTML structured syntax and vocabularies than the earlier ways that made use of RDFa and microdata. == Background == Microformats emerged around 2005 as part of a grassroots movement to make recognizable data items (such as events, contact details or geographical locations) capable of automated processing by software, as well as directly readable by end-users. Link-based microformats emerged first. These include vote links that express opinions of the linked page, which search engines can tally into instant polls. CommerceNet, a nonprofit organization that promotes e-commerce on the Internet, has helped sponsor and promote the technology and support the microformats community in various ways. CommerceNet also helped co-found the Microformats.org community site. Neither CommerceNet nor Microformats.org operates as a standards body. The microformats community functions through an open wiki, a mailing list, and an Internet relay chat (IRC) channel. Most of the existing microformats originated at the Microformats.org wiki and the associated mailing list by a process of gathering examples of web-publishing behaviour, then codifying it. Some other microformats (such as rel=nofollow and unAPI) have been proposed, or developed, elsewhere. == Technical overview == XHTML and HTML standards allow for the embedding and encoding of semantics within the attributes of markup elements. Microformats take advantage of these standards by indicating the presence of metadata using the following attributes: class Classname rel relationship, description of the target address in an anchor-element (...) rev reverse relationship, description of the referenced document (in one case, otherwise deprecated in microformats) For example, in the text "The birds roosted at 52.48, -1.89" is a pair of numbers which may be understood, from their context, to be a set of geographic coordinates. With wrapping in spans (or other HTML elements) with specific class names (in this case geo, latitude and longitude, all part of the geo microformat specification): Software agents can recognize exactly what each value represents and can then perform a variety of tasks such as indexing, locating it on a map and exporting it to a GPS device. === Examples === In this example, the contact information is presented as follows: With hCard microformat markup, that becomes: Here, the formatted name (fn), organisation (org), telephone number (tel) and web address (url) have been identified using specific class names and the whole thing is wrapped in class="vcard", which indicates that the other classes form an hCard (short for "HTML vCard") and are not merely coincidentally named. Other, optional, hCard classes also exist. Software, such as browser plug-ins, can now extract the information, and transfer it to other applications, such as an address book. == Specific microformats == Several microformats have been developed to enable semantic markup of particular types of information. However, only hCard and hCalendar have been ratified, the others remaining as drafts: hAtom (superseded by h-entry and h-feed) – for marking up Atom feeds from within standard HTML hCalendar – for events hCard – for contact information; includes: adr – for postal addresses geo – for geographical coordinates (latitude, longitude) hMedia – for audio/video content hAudio – for audio content hNews – for news content hProduct – for products hRecipe – for recipes and foodstuffs. hReview – for reviews rel-directory – for distributed directory creation and inclusion rel-enclosure – for multimedia attachments to web pages rel-license – specification of copyright license rel-nofollow, an attempt to discourage third-party content spam (e.g. spam in blogs) rel-tag – for decentralized tagging (Folksonomy) XHTML Friends Network (XFN) – for social relationships XOXO – for lists and outlines == Uses == Using microformats within HTML code provides additional formatting and semantic data that applications can use. For example, applications such as web crawlers can collect data about online resources, or desktop applications such as e-mail clients or scheduling software can compile details. The use of microformats can also facilitate "mash ups" such as exporting all of the geographical locations on a web page into (for example) Google Maps to visualize them spatially. Several browser extensions, such as Operator for Firefox and Oomph for Internet Explorer, provide the ability to detect microformats within an HTML document. When hCard or hCalendar are involved, such browser extensions allow microformats to be exported into formats compatible with contact management and calendar utilities, such as Microsoft Outlook. When dealing with geographical coordinates, they allow the location to be sent to applications such as Google Maps. Yahoo! Query Language can be used to extract microformats from web pages. On 12 May 2009 Google announced that they would be parsing the hCard, hReview and hProduct microformats, and using them to populate search result pages. They subsequently extended this in 2010 to use hCalendar for events and hRecipe for cookery recipes. Similarly, microformats are also processed by Bing and Yahoo!. As of late 2010, these are the world's top three search engines. Microsoft said in 2006 that they needed to incorporate microformats into upcoming projects, as did other software companies. Alex Faaborg summarizes the arguments for putting the responsibility for microformat user interfaces in the web browser rather than making more complicated HTML: Only the web browser knows what applications are accessible to the user and what the user's preferences are It lowers the barrier to entry for web site developers if they only need to do the markup and not handle "appearance" or "action" issues Retains backwards compatibility with web browsers that do not support microformats The web browser presents a single point of entry from the web to the user's computer, which simplifies security issues == Evaluation == Various commentators have offered review and discussion on the design principles and practical aspects of microformats. Microformats have been compared to other approaches that seek to serve the same or similar purpose. As of 2007, there had been some criticism of one, or all, microformats. The spread and use of microformats was being advocated as of 2007. Opera Software CTO and CSS creator Håkon Wium Lie said in 2005 "We will also see a bunch of microformats being developed, and that’s how the semantic web will be built, I believe." However, in August 2008 Toby Inkster, author of the "Swignition" (formerly "Cognition") microformat parsing service, pointed out that no new microformat specifications had been published since 2005. === Design principles === Computer scientist and entrepreneur, Rohit Khare stated that reduce, reuse, and recycle is "shorthand for several design principles" that motivated the development and practices behind microformats. These aspects can be summarized as follows: Reduce: favor the simplest solutions and focus attention on specific problems; Reuse: work from experience and favor examples of current practice; Recycle: encourage modularity and the ability to embed, valid XHTML can be reused in blog posts, RSS feeds, and anywhere else you can access the web. === Accessibi
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Ideonomy

Ideonomy is a combinatorial "science of ideas" developed by American independent scholar Patrick M. Gunkel (1947–2017). Specifically, Ideonomy is concerned with the systematic organization of ideas and the discovery of the rules behind how ideas combine, diverge, and transform. Gunkel defined ideonomy as "the science of the laws of ideas and of the application of such laws to the generation of all possible ideas in connection with any subject, idea, or thing." In his 1992 book A History of Knowledge, Charles Van Doren compared ideonomy to a "mining operation" that excavates meanings and thought to discover treasures hidden deep within language. Sources from the 1980s and 1990s demonstrate that ideonomy was useful to academic researchers in fields including biology, toxicology, and nursing/patient care. Beginning in the 2010s, academics in a wide range of fields including machine learning, marketing, computational modeling, and cybersecurity have relied on materials generated for ideonomy to provide methodological support for their research. == Etymology and definition == The word "ideonomy" combines the Greek roots ideo- (from idea, meaning pattern or form) and -nomy (from nomos, meaning law or custom). The suffix -nomy suggests the laws concerning or the totality of knowledge about a given subject, as in astronomy or taxonomy. In a note posted on the MIT ideonomy website, Gunkel states that the word was supposedly first coined by the French Encyclopedists to refer to a science of ideas. No evidence is provided for this statement, however. The concept bears some relationship to Antoine Destutt de Tracy's "ideology" (1796), which originally meant a systematic science of ideas before acquiring its modern political connotations. Gunkel provided several metaphorical descriptions of ideonomy: An "idea bank": a computer network enabling systematic exploration of infinite possible ideas A "kaleidoscope" that can exhibit all possible combinations and transformations of ideas A "prism" capable of diffracting any idea into its cognitive components A "gigantic microscope for magnifying the ideocosm" == History and development == In 1984, Gunkel received a five-year unsolicited grant from the Richard Lounsbery Foundation of New York to develop ideonomy. A June 1, 1987 article on the front page of The Wall Street Journal brought Gunkel and ideonomy to wider public attention. Some academics were interested in using ideonomy's techniques, including biologist Betsey Dyer, who published several contemporaneous peer-reviewed studies citing ideonomy. Academic researchers in the field of toxicology and nursing/patient care also used ideonomy. However, ideonomy's broadest contribution to date came beginning in the 2010s, as a list of personality traits generated for combinatorial matching was used by researchers in artificial intelligence to code human emotions for machine-learning tasks, develop computational models related to personality, develop a measurement framework for influencer-brand recommender systems, and aid information awareness/cybersecurity assessment. == Methodology == The foundational empirical method of ideonomy involves the systematic creation of extensive lists. Gunkel's apartment reportedly contained thousands of lists on every conceivable topic. Gunkel termed each list an "organon," which he described as expanding through "combination, permutation, transformation, generalization, specialization, intersection, interaction, reapplication, recursive use, etc. of existing organons." The ideonomic process follows a progressive structure. The ideonomist begins with a simple list of examples of a particular idea, concept, or thing. The list need not be exhaustive. By studying this list, the ideonomist isolates and identifies types. This categorical analysis then reveals missing items, allowing the primary list to be improved and refined. Gunkel emphasized that list items must not only cover genuine categories of nature but also be formulated in ways that yield the largest possible number of syntactically coherent possibilities when combined. The core technique of ideonomy is "ideocombinatorics"—the systematic intersection and combination of items from different lists to generate novel composite concepts. Gunkel developed computer programs to automate this process. For example, combining a list of 230 Universal Elementary Shapes (pits, pyramids, trenches, hemispheres, needles) with a list of 74 Types of Order (recurrence, identity, likeness of parts) yields 17,020 possible "shapes of order." These combinations, when phrased as questions ("Can there be pits of recurrence?"), could suggest new categories of phenomena worthy of investigation. The computer-generated output is typically repetitive and often meaningless. However, with sufficient frequency, the combinations yield results that are unexpectedly interesting and fruitful. In one documented case, Gunkel's programs generated 45,540 questions about toxins for microbiologist David Bermudes. One question—"Can hierarchies of cell process be used as a basis for classifying toxic action?"—prompted Bermudes to develop a novel approach to classifying biological toxins by the type of molecule they attack, rather than by chemical structure or physiological system affected. According to one contemporaneous account of ideonomy, "Gunkel takes for his field all fields and all ideas about anything. He uses a computer to generate lists of words and phrases and by juxtaposition reviews the resultant patterns for novel ideas. The computer is ideal for this task because the mind would rebel at the formidable processing task ideonomy involves. What we have here is computer generated originality." == Applications == Gunkel and his supporters identified several practical applications for ideonomic methods: Scientific research: Biologist Betsey Dyer of Wheaton College published research crediting ideonomy for helping to generate ideas. Medical science: When Austin pathologist Michael T. O'Brien was presented with the ideonomically-generated question "Can arteries have rashes?", he initially dismissed it as nonsense. Upon reflection, he realized that large arteries are supplied with blood by tiny vessels that might become inflamed and dilated, analogous to skin vessels in a rash—a phenomenon potentially worth researching. Analogical thinking: Harvard law professor Robert Clark used ideonomic analogies to write a research paper comparing plant structure with human hierarchies. Artificial intelligence: Douglas Lenat, a researcher at Microelectronics and Computer Technology Corporation (MCC) in Austin, suggested that Gunkel's lists enumerating types of human mistakes could help design AI systems capable of recognizing and correcting their own errors. == Reception and criticism == Ideonomy received mixed reactions from the academic and scientific communities. Prominent supporters included: Edward Fredkin, former director of MIT's computer science laboratory, who praised Gunkel's "provocative ideas on artificial intelligence." Marvin Minsky, AI scientist and MIT professor, who described ideonomy as "perhaps the most extensive study of ways to generate ideas." Frederick Seitz, president emeritus of Rockefeller University, who noted Gunkel's "encyclopedic scope" Robert C. Clark, Harvard law professor, who called Gunkel "the most intelligent person I ever met" However, skeptics questioned whether ideonomy constituted a genuine science. Fredkin himself noted that Gunkel "pours out about 60 ideas a minute, and 59 of them are bad," though he added that "even with one good idea out of 60, it's still an amazing accomplishment." Douglas Lenat observed that brainstorming with Gunkel was "a bit like being hit over the head by the muse with a sledgehammer" and that "he puts people off." Gunkel himself acknowledged that ideonomy was in its infancy and might seem "absurdly utopian." His planned magnum opus on ideonomy remained incomplete, and was posted on an MIT website thanks to faculty advisor Whitman Richards. Gunkel wrote: "Pioneering in a completely new field, yes in a new science, is almost unreal. It is heartbreaking, it is pitiable, it is almost inhuman. Honestly, it is a hell. There is nothing heroic about it." == Related concepts == Gunkel identified several historical precedents for ideonomic thinking: Gottfried Wilhelm Leibniz (1646–1716): The philosopher's work on a universal characteristic (characteristica universalis) and calculus of reasoning Peter Mark Roget (1779–1869): Creator of Roget's Thesaurus, which organized concepts into a systematic taxonomy Dmitri Mendeleev (1834–1907): Developer of the periodic table, demonstrating how combining lists of element families could reveal previously unseen connections Fritz Zwicky (1898–1974): The Caltech astrophysicist whom Gunkel called the "grandfather of ideonomy" for his development of "morphological research"—systematic exploration of all possible solutions t
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Locative media

Locative media or location-based media (LBM) is a virtual medium of communication functionally bound to a location. The physical implementation of locative media, however, is not bound to the same location to which the content refers. Location-based media delivers multimedia and other content directly to the user of a mobile device dependent upon their location. Location information determined by means such as mobile phone tracking and other emerging real-time locating system technologies like Wi-Fi or RFID can be used to customize media content presented on the device. Locative media are digital media applied to real places and thus triggering real social interactions. While mobile technologies such as the Global Positioning System (GPS), laptop computers and mobile phones enable locative media, they are not the goal for the development of projects in this field. == Description == Media content is managed and organized externally of the device on a standard desktop, laptop, server, or cloud computing system. The device then downloads this formatted content with GPS or other RTLS coordinate-based triggers applied to each media sequence. As the location-aware device enters the selected area, centralized services trigger the assigned media, designed to be of optimal relevance to the user and their surroundings. Use of locative technologies "includes a range of experimental uses of geo-technologies including location-based games, artistic critique of surveillance technologies, experiential mapping, and spatial annotation." Location based media allows for the enhancement of any given environment offering explanation, analysis and detailed commentary on what the user is looking at through a combination of video, audio, images and text. The location-aware device can deliver interpretation of cities, parklands, heritage sites, sporting events or any other environment where location based media is required. The content production and pre-production are integral to the overall experience that is created and must have been performed with ultimate consideration of the location and the users position within that location. The media offers a depth to the environment beyond that which is immediately apparent, allowing revelations about background, history and current topical feeds. == Locative, ubiquitous and pervasive computing == The term 'locative media' was coined by Karlis Kalnins. Locative media is closely related to augmented reality (reality overlaid with virtual reality) and pervasive computing (computers everywhere, as in ubiquitous computing). Whereas augmented reality strives for technical solutions, and pervasive computing is interested in embedded computers, locative media concentrates on social interaction with a place and with technology. Many locative media projects have a social, critical or personal (memory) background. While strictly spoken, any kind of link to additional information set up in space (together with the information that a specific place supplies) would make up location-dependent media, the term locative media is strictly bound to technical projects. Locative media works on locations and yet many of its applications are still location-independent in a technical sense. As in the case of digital media, where the medium itself is not digital but the content is digital, in locative media the medium itself might not be location-oriented, whereas the content is location-oriented. Japanese mobile phone culture embraces location-dependent information and context-awareness. It is projected that in the near future locative media will develop to a significant factor in everyday life. == Enabling technologies == Locative media projects use technology such as Global Positioning System (GPS), laptop computers, the mobile phone, Geographic Information System (GIS), and web map services such as Mapbox, OpenStreetMap, and Google Maps among others. Whereas GPS allows for the accurate detection of a specific location, mobile computers allow interactive media to be linked to this place. The GIS supplies arbitrary information about the geological, strategic or economic situation of a location. Web maps like Google Maps give a visual representation of a specific place. Another important new technology that links digital data to a specific place is radio-frequency identification (RFID), a successor to barcodes like Semacode. Research that contributes to the field of locative media happens in fields such as pervasive computing, context awareness and mobile technology. The technological background of locative media is sometimes referred to as "location-aware computing". == Creative representation == Place is often seen as central to creativity; in fact, "for some—regional artists, citizen journalists and environmental organizations for example—a sense of place is a particularly important aspect of representation, and the starting point of conversations." Locative media can propel such conversations in its function as a "poetic form of data visualization," as its output often traces how people move in, and by proxy, make sense of, urban environments. Given the dynamism and hybridity of cities and the networks which comprise them, locative media extends the internet landscape to physical environments where people forge social relations and actions which can be "mobile, plural, differentiated, adventurous, innovative, but also estranged, alienated, impersonalized." Moreover, in using locative technologies, users can expand how they communicate and assert themselves in their environment and, in doing so, explore this continuum of urban interactions. Furthermore, users can assume a more active role in constructing the environments they are situated in accordingly. In turn, artists have been intrigued with locative media as a means of "user-led mapping, social networking and artistic interventions in which the fabric of the urban environment and the contours of the earth become a 'canvas.'" Such projects demystify how resident behaviors in a given city contribute to the culture and sense of personality that cities are often perceived to take on. Design scholars Anne Galloway and Matthew Ward state that "various online lists of pervasive computing and locative media projects draw out the breadth of current classification schema: everything from mobile games, place-based storytelling, spatial annotation and networked performances to device-specific applications." A prominent use of locative media is in locative art. A sub-category of interactive art or new media art, locative art explores the relationships between the real world and the virtual or between people, places or objects in the real world. == Examples == Notable locative media projects include Bio Mapping by Christian Nold in 2004, locative art projects such as the SpacePlace ZKM/ZKMax bluecasting and participatory urban media access in Munich in 2005 and Britglyph by Alfie Dennen in 2009, and location-based games such as AR Quake by the Wearable Computer Lab at the University of South Australia and Can You See Me Now? in 2001 by Blast Theory in collaboration with the Mixed Reality Lab at the University of Nottingham. In 2005, the Silicon Valley–based collaborators of C5 first exhibited the C5 Landscape Initiative, a suite of four GPS inspired projects that investigate perception of landscape in light of locative media. In William Gibson's 2007 novel Spook Country, locative art is one of the main themes and set pieces in the story. Narrative projects which engage with locative media are sometimes referred to as Location-Aware Fiction, as explored in "Data and Narrative: Location Aware Fiction" a 2003 essay by Kate Armstrong. This location-aware fiction is also known as locative literature, where locative stories and poems can be experienced via digital portals, apps, QR codes and e-books, as well as via analogue forms such as labelling tape, Scrabble tiles, fridge magnets or Post-It notes, and these are forms often used by the writer and artist Matt Blackwood. The Transborder Immigrant Tool by the Electronic Disturbance Theater is a locative media project aimed at providing life saving directions to water for people trying to cross the US / Mexico border. The project attracted global media attention in 2009 and 2010. Articles included a Los Angeles Times cover story focusing on Ricardo Dominguez and an AP story interviewing Micha Cárdenas and Brett Stalbaum. The articles focused on concerns over the legality of the project and the ensuing investigations of the group, which are still underway. The Transborder Immigrant Tool has recently been included in a number of major exhibitions including Here, Not There at the Museum of Contemporary Art San Diego and the 2010 California Biennial at the Orange County Museum of Art. Invisible Threads by Stephanie Rothenberg and Jeff Crouse is a locative media project aimed at creating embodied awareness of sweatshops and just-in-time production t
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Solid-state electronics

Solid-state electronics are semiconductor electronics: electronic equipment that use semiconductor devices such as transistors, diodes and integrated circuits (ICs). The term is also used as an adjective for devices in which semiconductor electronics that have no moving parts replace devices with moving parts, such as the solid-state relay, in which transistor switches are used in place of a moving-arm electromechanical relay, or the solid-state drive (SSD), a type of semiconductor memory used in computers to replace hard disk drives, which store data on rotating disks. == History == The term solid-state became popular at the beginning of the semiconductor era in the 1960s to distinguish this new technology. A semiconductor device works by controlling an electric current consisting of electrons or holes moving within a solid crystalline piece of semiconducting material such as silicon, while the thermionic vacuum tubes it replaced worked by controlling a current of electrons or ions in a vacuum within a sealed tube. Although the first solid-state electronic device was the cat's whisker detector, a crude semiconductor diode invented around 1904, solid-state electronics started with the invention of the transistor in 1947. Before that, all electronic equipment used vacuum tubes, because vacuum tubes were the only electronic components that could amplify—an essential capability in all electronics. The transistor, which was invented by John Bardeen and Walter Houser Brattain while working under William Shockley at Bell Laboratories in 1947, could also amplify, and replaced vacuum tubes. The first transistor hi-fi system was developed by engineers at GE and demonstrated at the University of Philadelphia in 1955. In terms of commercial production, The Fisher TR-1 was the first "all transistor" preamplifier, which became available mid-1956. In 1961, a company named Transis-tronics released a solid-state amplifier, the TEC S-15. The replacement of bulky, fragile, energy-hungry vacuum tubes by transistors in the 1960s and 1970s created a revolution not just in technology but in people's habits, making possible the first truly portable consumer electronics such as the transistor radio, cassette tape player, walkie-talkie and quartz watch, as well as the first practical computers and mobile phones. Other examples of solid state electronic devices are the microprocessor chip, LED lamp, solar cell, charge coupled device (CCD) image sensor used in cameras, and semiconductor laser. Also during the 1960s and 1970s, television set manufacturers switched from vacuum tubes to semiconductors, and advertised sets as "100% solid state" even though the cathode-ray tube (CRT) was still a vacuum tube. It meant only the chassis was 100% solid-state, not including the CRT. Early advertisements spelled out this distinction, but later advertisements assumed the audience had already been educated about it and shortened it to just "100% solid state". LED displays can be said to be truly 100% solid-state.
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Static web page

A static web page, sometimes called a flat page or a stationary page, is a web page that is delivered to a web browser exactly as stored, in contrast to dynamic web pages which are generated by a web application. Consequently, a static web page displays the same information for all users, from all contexts, subject to modern capabilities of a web server to negotiate content-type or language of the document where such versions are available and the server is configured to do so. However, a webpage's JavaScript can introduce dynamic functionality which may make the static web page dynamic. == Overview == Static web pages are often HTML documents, stored as files in the file system and made available by the web server over HTTP (nevertheless URLs ending with ".html" are not always static). However, loose interpretations of the term could include web pages stored in a database, and could even include pages formatted using a template and served through an application server, as long as the page served is unchanging and presented essentially as stored. The content of static web pages remains stationary irrespective of the number of times it is viewed. Such web pages are suitable for the contents that rarely need to be updated, though modern web template systems are changing this. Maintaining large numbers of static pages as files can be impractical without automated tools, such as static site generators. Any personalization or interactivity has to run client-side, which is restricting. Cloud-based website builders, including Wix, Weebly, and Duda, offer no-code platforms for creating static and dynamic web pages through graphical interfaces, without requiring programming expertise. === Advantages === Provide improved security over dynamic websites (dynamic websites are at risk to web shell attacks if a vulnerability is present) Improved performance for end users compared to dynamic websites Fewer or no dependencies on systems such as databases or other application servers Cost savings from utilizing cloud storage, as opposed to a hosted environment Security configurations are easy to set up, which makes it more secure Static files can be cached by content delivery networks (CDNs) and other intermediate caches, which both reduces page load times at the user and also reduces load on the origin server. Static websites can have improved uptime, since they are still available through any available CDN exit node even when other CDN nodes or the origin webserver are temporarily offline. === Disadvantages === Dynamic functionality must be performed on the client side. After each update of a static website, some or all users may see old, stale, outdated previous versions instead of the latest version until the old version is flushed from CDNs and other caches. == Static site generators == Static site generators are applications that compile static websites - typically populating HTML templates in a predefined folder and file structure, with content supplied in a format such as Markdown or AsciiDoc. === Implementations === Jekyll (powers GitHub Pages) Middleman Hugo Next.js Astro.build Pelican Franklin
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Object co-segmentation

In computer vision, object co-segmentation is a special case of image segmentation, which is defined as jointly segmenting semantically similar objects in multiple images or video frames. == Challenges == It is often challenging to extract segmentation masks of a target/object from a noisy collection of images or video frames, which involves object discovery coupled with segmentation. A noisy collection implies that the object/target is present sporadically in a set of images or the object/target disappears intermittently throughout the video of interest. Early methods typically involve mid-level representations such as object proposals. == Dynamic Markov networks-based methods == A joint object discover and co-segmentation method based on coupled dynamic Markov networks has been proposed recently, which claims significant improvements in robustness against irrelevant/noisy video frames. Unlike previous efforts which conveniently assumes the consistent presence of the target objects throughout the input video, this coupled dual dynamic Markov network based algorithm simultaneously carries out both the detection and segmentation tasks with two respective Markov networks jointly updated via belief propagation. Specifically, the Markov network responsible for segmentation is initialized with superpixels and provides information for its Markov counterpart responsible for the object detection task. Conversely, the Markov network responsible for detection builds the object proposal graph with inputs including the spatio-temporal segmentation tubes. == Graph cut-based methods == Graph cut optimization is a popular tool in computer vision, especially in earlier image segmentation applications. As an extension of regular graph cuts, multi-level hypergraph cut is proposed to account for more complex high order correspondences among video groups beyond typical pairwise correlations. With such hypergraph extension, multiple modalities of correspondences, including low-level appearance, saliency, coherent motion and high level features such as object regions, could be seamlessly incorporated in the hyperedge computation. In addition, as a core advantage over co-occurrence based approach, hypergraph implicitly retains more complex correspondences among its vertices, with the hyperedge weights conveniently computed by eigenvalue decomposition of Laplacian matrices. == CNN/LSTM-based methods == In action localization applications, object co-segmentation is also implemented as the segment-tube spatio-temporal detector. Inspired by the recent spatio-temporal action localization efforts with tubelets (sequences of bounding boxes), Le et al. present a new spatio-temporal action localization detector Segment-tube, which consists of sequences of per-frame segmentation masks. This Segment-tube detector can temporally pinpoint the starting/ending frame of each action category in the presence of preceding/subsequent interference actions in untrimmed videos. Simultaneously, the Segment-tube detector produces per-frame segmentation masks instead of bounding boxes, offering superior spatial accuracy to tubelets. This is achieved by alternating iterative optimization between temporal action localization and spatial action segmentation. The proposed segment-tube detector is illustrated in the flowchart on the right. The sample input is an untrimmed video containing all frames in a pair figure skating video, with only a portion of these frames belonging to a relevant category (e.g., the DeathSpirals). Initialized with saliency based image segmentation on individual frames, this method first performs temporal action localization step with a cascaded 3D CNN and LSTM, and pinpoints the starting frame and the ending frame of a target action with a coarse-to-fine strategy. Subsequently, the segment-tube detector refines per-frame spatial segmentation with graph cut by focusing on relevant frames identified by the temporal action localization step. The optimization alternates between the temporal action localization and spatial action segmentation in an iterative manner. Upon practical convergence, the final spatio-temporal action localization results are obtained in the format of a sequence of per-frame segmentation masks (bottom row in the flowchart) with precise starting/ending frames.
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The Big Book of Social Media

The Big Book of Social Media: Case Studies, Stories, Perspectives, released in November 2010 by Yorkshire Publishing, is a compilation of non-fiction articles and chapters written by social media experts in their respective fields and edited by Robert Fine, organizer of the Cool Social Conferences World Tour and founder of Cool Blue Press, with a foreword by Sam Feist, political director for CNN. == Synopsis == The publisher, on its site, summed up the book as, "Not business. Not marketing. This is an idea book." And an article in Business Insider described the book as bringing "the social back into social media." == Contributors == Contributing authors include: Alan Rosenblatt, Alane Anderson, Alecia Dantico, Alex Priest, Alfred Naranjo, Becky Carroll, Carri Bugbee, Cathy Scott, Colleen Crinklaw, Constantine Markides, Cordelia Mendoza, Craig Kanalley, Dave Ingland, Eric Andersen, Eric Brown, Gary Zukowski, Haja Rasambainarivo, Jennifer Kaplan, Kari Quaas, Lauri Stevens, Lev Ekster, Mark Stelzner, Matthew Felling, Matt Stewart, Melani Gordon, Michael Bourne, Michele Mattia, Mirna Bard, Neal Schaffer, Nic Evans, Noaf Ereiqat, Pek Pongpaet, Perri Gorman, Phil Baumann, Regina Holliday, Rory Cooper, Sam Feist, Shashi Bellamkonda, Shrinath Navghane, Steve Pratt, Ted Nguyen, Todd Schnick, Tonia Ries, Wayne Burke, as well as Robert Fine. In December 2011, some of the contributing authors organized "Tweet It Forward," a holiday charity fundraiser, with net proceeds benefitting the Food Bank for New York City. == Reception == Reviewer Mike Brown wrote on the Brainzooming blog that the book goes "beyond the valueless chatter out there; it provides solid discussions of real-life social media strategy implementations that have truly integrated organizational objectives and delivered real metrics." And Tech Cocktail wrote it in its review, "Through a collection of entertaining anecdotes and insightful marketing agendas, one sees what social media is truly all about and how it is revolutionizing the communications industry." In 2011, at the SXSW social media festival in Austin, Texas, Fine launched Cool Blue Press and reintroduced The Big Book of Social Media, with plans, he told a reporter from the Washington Examiner, for other new media books and publishing projects, including The Social Media Monthly magazine. The book was reviewed in 2012 by SAGE Publications for its Journalism and Mass Communication Educator magazine. It is also cited in several books and journals. === Awards === The book was a winner in the 4th Annual Reader's Choice "Small Business Book Awards" for 2011. Windmill Networking named it the Top 15 recommended social media books of 2010.
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Digital Cinema Initiatives

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