AI Face Upscale

AI Face Upscale — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Confused deputy problem

    Confused deputy problem

    In information security, a confused deputy is a computer program that is tricked by another program (with fewer privileges or less rights) into misusing its authority on the system. It is a specific type of privilege escalation. The confused deputy problem is often cited as an example of why capability-based security is important. Capability systems protect against the confused deputy problem, whereas access-control list–based systems do not. Such systems can mitigate the confused deputy problem by eliminating ambient authority, allowing programs to act only on resources for which they hold explicit capabilities, whereas access-control list–based systems are more susceptible to it. However, this protection depends on correct implementation; in formally verified capability systems such as seL4, it can be shown that the kernel enforces capability constraints correctly, preventing such behavior at the system level. == Example == In the original example of a confused deputy, there was a compiler program provided on a commercial timesharing service. Users could run the compiler and optionally specify a filename where it would write debugging output, and the compiler would be able to write to that file if the user had permission to write there. The compiler also collected statistics about language feature usage. Those statistics were stored in a file called "(SYSX)STAT", in the directory "SYSX". To make this possible, the compiler program was given permission to write to files in SYSX. But there were other files in SYSX: in particular, the system's billing information was stored in a file "(SYSX)BILL". A user ran the compiler and named "(SYSX)BILL" as the desired debugging output file. This produced a confused deputy problem. The compiler made a request to the operating system to open (SYSX)BILL. Even though the user did not have access to that file, the compiler did, so the open succeeded. The compiler wrote the compilation output to the file (here "(SYSX)BILL") as normal, overwriting it, and the billing information was destroyed. === The confused deputy === In this example, the compiler program is the deputy because it is acting at the request of the user. The program is seen as 'confused' because it was tricked into overwriting the system's billing file. Whenever a program tries to access a file, the operating system needs to know two things: which file the program is asking for, and whether the program has permission to access the file. In the example, the file is designated by its name, “(SYSX)BILL”. The program receives the file name from the user, but does not know whether the user had permission to write the file. When the program opens the file, the system uses the program's permission, not the user's. When the file name was passed from the user to the program, the permission did not go along with it; the permission was increased by the system silently and automatically. It is not essential to the attack that the billing file be designated by a name represented as a string. The essential points are that: the designator for the file does not carry the full authority needed to access the file; the program's own permission to access the file is used implicitly. == Other examples == A cross-site request forgery (CSRF) is an example of a confused deputy attack that uses the web browser to perform sensitive actions against a web application. A common form of this attack occurs when a web application uses a cookie to authenticate all requests transmitted by a browser. Using JavaScript, an attacker can force a browser into transmitting authenticated HTTP requests. The Samy computer worm used cross-site scripting (XSS) to turn the browser's authenticated MySpace session into a confused deputy. Using XSS the worm forced the browser into posting an executable copy of the worm as a MySpace message which was then viewed and executed by friends of the infected user. Clickjacking is an attack where the user acts as the confused deputy. In this attack a user thinks they are harmlessly browsing a website (an attacker-controlled website) but they are in fact tricked into performing sensitive actions on another website. An FTP bounce attack can allow an attacker to connect indirectly to TCP ports to which the attacker's machine has no access, using a remote FTP server as the confused deputy. Another example relates to personal firewall software. It can restrict Internet access for specific applications. Some applications circumvent this by starting a browser with instructions to access a specific URL. The browser has authority to open a network connection, even though the application does not. Firewall software can attempt to address this by prompting the user in cases where one program starts another which then accesses the network. However, the user frequently does not have sufficient information to determine whether such an access is legitimate—false positives are common, and there is a substantial risk that even sophisticated users will become habituated to clicking "OK" to these prompts. Not every program that misuses authority is a confused deputy. Sometimes misuse of authority is simply a result of a program error. The confused deputy problem occurs when the designation of an object is passed from one program to another, and the associated permission changes unintentionally, without any explicit action by either party. It is insidious because neither party did anything explicit to change the authority. Another example is when an administrator authorizes an AI agent to act on their behalf, and that AI subsequently delegates authority to another AI agent neither vetted nor authorized by the original administrator. The unvetted AI can then act without permissions or oversight from the original developer. == Solutions == In some systems it is possible to ask the operating system to open a file using the permissions of another client. This solution has some drawbacks: It requires explicit attention to security by the server. A naive or careless server might not take this extra step. It becomes more difficult to identify the correct permission if the server is in turn the client of another service and wants to pass along access to the file. It requires the client to trust the server to not abuse the borrowed permissions. Note that intersecting the server and client's permissions does not solve the problem either, because the server may then have to be given very wide permissions (all of the time, rather than those needed for a given request) in order to act for arbitrary clients. The simplest way to solve the confused deputy problem is to bundle together the designation of an object and the permission to access that object. This is exactly what a capability is. Using capability security in the compiler example, the client would pass to the server a capability to the output file, such as a file descriptor, rather than the name of the file. Since it lacks a capability to the billing file, it cannot designate that file for output. In the cross-site request forgery example, a URL supplied "cross"-site would include its own authority independent of that of the client of the web browser.

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  • Line splice

    Line splice

    In electrical engineering and telecommunications, a line splice is a joint directly connecting lengths of electrical cables (electrical splice) or optical fibers (optical splice). The splices are often protected by sleeves. == Splicing of copper wires == The splicing of copper wires happens in the following steps: The cores are laid one above the other at the junction. The core insulation is removed. The wires are wrapped two to three times around each other (twisting). The bare veins on a length of about 3 cm "strangle" or "twist". In some cases, the strangulation is soldered. To isolate the splice, an insulating sleeve made of paper or plastic is pushed over it. The splicing of copper wires is mainly used on paper insulated wires. LSA techniques (LSA: soldering, screwing and stripping free) are used to connect copper wires, making the copper wires faster and easier to connect. LSA techniques include: Wire connection sleeves (AVH = Adernverbindungshülsen) and other crimp connectors. The two wires to be connected are inserted into the AVH without being stripped, which is then compressed with special pliers. The about 2 cm long AVH consist of contact, pressure and insulation. For wire connection strips (AVL = Adernverbindungsleisten) several pairs of wires (10 = AVL10 or 20 = AVL20) are inserted, the strip is then closed with a lid and pressed together with a hydraulic press, which ensures the connection. == Splicing of glass fibers == Fiber-optic cables are spliced using a special arc-splicer, with installation cables connected at their ends to respective "pigtails" - short individual fibers with fiber-optic connectors at one end. The splicer precisely adjusts the light-guiding cores of the two ends of the glass fibers to be spliced. The adjustment is done fully automatically in modern devices, whereas in older models this is carried out manually by means of micrometer screws and microscope. An experienced splicer can precisely position the fiber ends within a few seconds. Subsequently, the fibers are fused together (welded) with an electric arc. Since no additional material is added, such as gas welding or soldering, this is called a "fusion splice". Depending on the quality of the splicing process, attenuation values at the splice points are achieved by 0.3 dB, with good splices also below 0.02 dB. For newer generation devices, alignment is done automatically by motors. Here one differentiates core and jacket centering. At core centering (usually single-mode fibers), the fiber cores are aligned. A possible core offset with respect to the jacket is corrected. In the jacket centering (usually in multimode fibers), the fibers are adjusted to each other by means of electronic image processing in front of the splice. When working with good equipment, the damping value is according to experience at max. 0.1 dB. Measurements are made by means of special measuring devices including optical time-domain reflectometry (OTDR). A good splice should have an attenuation of less than 0.3 dB over the entire distance. Finished fiber optic splices are housed in splice boxes. One differentiates: Fusion splice Adhesive splicing Crimp splice or NENP (no-epoxy no-polish), mechanical splice

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  • IDN Times

    IDN Times

    IDN Times is a digital multi-platform media outlet that provides news and entertainment for Millennials and Gen Z in Indonesia. IDN Times is one of IDN’s business units under the Digital Media pillar, founded by Winston Utomo and William Utomo on June 8, 2014. Currently, senior journalist Uni Zulfiani Lubis serves as the Editor-in-Chief of IDN Times. == History == IDN Times was initially known as Indonesian Times, a blog featuring articles written by Winston Utomo while he was working at Google Singapore. As interest and readership grew, Indonesian Times evolved into IDN Times, a digital multi-platform media company focused on delivering relevant content for Indonesia’s younger generations. == Bureau == IDN Times has a representative bureau that has spread over 12 provinces in Indonesia: == Events == === Indonesia Millennial and Gen Z Summit === The Indonesia Millennial and Gen-Z Summit (IMGS) is an annual event organized by IDN. This event aims to empower Indonesia’s younger generations through discussions and interdisciplinary collaborations. IMGS features inspirational figures, professionals, and leaders from various fields who share insights and drive positive change. The event hosts dozens of discussion sessions in collaboration with eight prominent communities. Topics covered include politics, economics, technology, and pop culture. === Indonesia Writers Festival === The Indonesia Writers Festival is an independent writing festival organized by IDN Times. The event seeks to empower Indonesians through writing by inviting experts and literacy activists from various backgrounds. == Duniaku.com == Duniaku.com is a multi-platform digital media part of IDN Times which presents content about geek culture ranging from video games, anime, comics, films, technology and gadgets. Duniaku.com was officially launched on September 6, 2019 by the Minister of Communication and Informatics Rudiantara together with CEO of IDN Media Winston Utomo and IDN Times and Editor-in-Chief of Duniaku.com Uni Lubis. == Awards == 2019 IDN won WAN-IFRA Asia Digital Media Awards 2019 as the Best Digital Project to Engage Younger and/or Millennial Audiences for IDN Times’ #MillennialsMemilih program 2020 IDN Times (IDN Times Community) won WAN-IFRA Asia Digital Media Awards 2019 in The Best in Audience Engagement category. 2021 IDN Times journalists won awards at the Subroto Award, Ministry of Energy and Mineral Resources (ESDM) on 28 September 2021. 2024 IDN Times won WAN-IFRA event at both the Asia and Global levels in Best Use of AI in Revenue Strategy. === #Interconnected22 by Pulitzer Center === One of the IDN Times journalists, Dhana Kencana, was the speaker at the #Interconnected22 conference held from June 9 to June 10, 2022, in Washington DC, United States of America. Dhana Kencana is also a grant recipient Pulitzer Center through the Rainforest Journalism Fund (RJF) program, a funding program for journalists that makes a number of coverage of the rainforest.

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  • HTTP compression

    HTTP compression

    HTTP compression is a capability that can be built into web servers and web clients to improve transfer speed and bandwidth utilization. HTTP data is compressed before it is sent from the server: compliant browsers will announce what methods are supported to the server before downloading the correct format; browsers that do not support compliant compression method will download uncompressed data. The most common compression schemes include gzip and Brotli; a full list of available schemes is maintained by the IANA. There are two different ways compression can be done in HTTP. At a lower level, a Transfer-Encoding header field may indicate the payload of an HTTP message is compressed. At a higher level, a Content-Encoding header field may indicate that a resource being transferred, cached, or otherwise referenced is compressed. Compression using Content-Encoding is more widely supported than Transfer-Encoding, and some browsers do not advertise support for Transfer-Encoding compression to avoid triggering bugs in servers. == Compression scheme negotiation == The negotiation is done in two steps, described in RFC 2616 and RFC 9110: 1. The web client advertises which compression schemes it supports by including a list of tokens in the HTTP request. For Content-Encoding, the list is in a field called Accept-Encoding; for Transfer-Encoding, the field is called TE. 2. If the server supports one or more compression schemes, the outgoing data may be compressed by one or more methods supported by both parties. If this is the case, the server will add a Content-Encoding or Transfer-Encoding field in the HTTP response with the used schemes, separated by commas. The web server is by no means obligated to use any compression method – this depends on the internal settings of the web server and also may depend on the internal architecture of the website in question. == Content-Encoding tokens == The official list of tokens available to servers and client is maintained by IANA, and it includes: br – Brotli, a compression algorithm specifically designed for HTTP content encoding, defined in RFC 7932 and implemented in all modern major browsers. compress – UNIX "compress" program method (historic; deprecated in most applications and replaced by gzip or deflate) deflate – compression based on the deflate algorithm (described in RFC 1951), a combination of the LZ77 algorithm and Huffman coding, wrapped inside the zlib data format (RFC 1950); exi – W3C Efficient XML Interchange gzip – GNU zip format (described in RFC 1952). Uses the deflate algorithm for compression, but the data format and the checksum algorithm differ from the "deflate" content-encoding. This method is the most broadly supported as of March 2011. identity – No transformation is used. This is the default value for content coding. pack200-gzip – Network Transfer Format for Java Archives zstd – Zstandard compression, defined in RFC 8478 In addition to these, a number of unofficial or non-standardized tokens are used in the wild by either servers or clients: bzip2 – compression based on the free bzip2 format, supported by lighttpd lzip – compression based on the free lzip format, supported by wget and Links lzma – compression based on (raw) LZMA is available in Opera 20, and in elinks via a compile-time option peerdist – Microsoft Peer Content Caching and Retrieval rsync – delta encoding in HTTP, implemented by a pair of rproxy proxies. xpress – Microsoft compression protocol used by Windows 8 and later for Windows Store application updates. LZ77-based compression optionally using a Huffman encoding. xz – LZMA2-based content compression, supported by a non-official Firefox patch; and fully implemented in mget since 2013-12-31. == Servers that support HTTP compression == SAP NetWeaver Microsoft IIS: built-in or using third-party module Apache HTTP Server, via mod_deflate (despite its name, only supporting gzip), and mod_brotli Hiawatha HTTP server: serves pre-compressed files Cherokee HTTP server, On the fly gzip and deflate compressions Oracle iPlanet Web Server Zeus Web Server lighttpd nginx – built-in Applications based on Tornado, if "compress_response" is set to True in the application settings (for versions prior to 4.0, set "gzip" to True) Jetty Server – built-into default static content serving and available via servlet filter configurations GeoServer Apache Tomcat IBM Websphere AOLserver Ruby Rack, via the Rack::Deflater middleware HAProxy Varnish – built-in. Works also with ESI Armeria – Serving pre-compressed files NaviServer – built-in, dynamic and static compression Caddy – built-in via encode Many content delivery networks also implement HTTP compression to improve speedy delivery of resources to end users. The compression in HTTP can also be achieved by using the functionality of server-side scripting languages like PHP, or programming languages like Java. Various online tools exist to verify a working implementation of HTTP compression. These online tools usually request multiple variants of a URL, each with different request headers (with varying Accept-Encoding content). HTTP compression is considered to be implemented correctly when the server returns a document in a compressed format. By comparing the sizes of the returned documents, the effective compression ratio can be calculated (even between different compression algorithms). == Problems preventing the use of HTTP compression == A 2009 article by Google engineers Arvind Jain and Jason Glasgow states that more than 99 person-years are wasted daily due to increase in page load time when users do not receive compressed content. This occurs when anti-virus software interferes with connections to force them to be uncompressed, where proxies are used (with overcautious web browsers), where servers are misconfigured, and where browser bugs stop compression being used. Internet Explorer 6, which drops to HTTP 1.0 (without features like compression or pipelining) when behind a proxy – a common configuration in corporate environments – was the mainstream browser most prone to failing back to uncompressed HTTP. Another problem found while deploying HTTP compression on large scale is due to the deflate encoding definition: while HTTP 1.1 defines the deflate encoding as data compressed with deflate (RFC 1951) inside a zlib formatted stream (RFC 1950), Microsoft server and client products historically implemented it as a "raw" deflated stream, making its deployment unreliable. For this reason, some software, including the Apache HTTP Server, only implements gzip encoding. == Security implications == Compression allows a form of chosen plaintext attack to be performed: if an attacker can inject any chosen content into the page, they can know whether the page contains their given content by observing the size increase of the encrypted stream. If the increase is smaller than expected for random injections, it means that the compressor has found a repeat in the text, i.e. the injected content overlaps the secret information. This is the idea behind CRIME. In 2012, a general attack against the use of data compression, called CRIME, was announced. While the CRIME attack could work effectively against a large number of protocols, including but not limited to TLS, and application-layer protocols such as SPDY or HTTP, only exploits against TLS and SPDY were demonstrated and largely mitigated in browsers and servers. The CRIME exploit against HTTP compression has not been mitigated at all, even though the authors of CRIME have warned that this vulnerability might be even more widespread than SPDY and TLS compression combined. In 2013, a new instance of the CRIME attack against HTTP compression, dubbed BREACH, was published. A BREACH attack can extract login tokens, email addresses or other sensitive information from TLS encrypted web traffic in as little as 30 seconds (depending on the number of bytes to be extracted), provided the attacker tricks the victim into visiting a malicious web link. All versions of TLS and SSL are at risk from BREACH regardless of the encryption algorithm or cipher used. Unlike previous instances of CRIME, which can be successfully defended against by turning off TLS compression or SPDY header compression, BREACH exploits HTTP compression which cannot realistically be turned off, as virtually all web servers rely upon it to improve data transmission speeds for users. As of 2016, the TIME attack and the HEIST attack are now public knowledge.

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  • Robot Monk Xian'er

    Robot Monk Xian'er

    Robot Monk Xian'er (Chinese: 贤二机器僧) is a humanoid robot based on the cartoon character Xian'er. It was developed by a team of monks, volunteers and AI experts from Beijing Longquan Monastery in Beijing, China. He can follow human instructions to make body movements, read scriptures and play Buddhist music. He can chat and respond to people's emotional and spiritual questions with Buddhist wisdom. As a chatbot, Robot Monk Xian'er is available on certain public platforms including WeChat and Facebook. Over the years, master Xuecheng, the abbot of Beijing Longquan Monastery, replied to thousands of questions on Sina Weibo. These questions and their answers become the data source of the chatbot.

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  • Content adaptation

    Content adaptation

    Content adaptation is the action of transforming content to adapt to device capabilities. Content adaptation is usually related to mobile devices, which require special handling because of their limited computational power, small screen size, and constrained keyboard functionality. Content adaptation could roughly be divided to two fields: Media content adaptation that adapts media files. Browsing content adaptation that adapts a website to mobile devices. == Browsing content adaptation == Advances in the capabilities of small, mobile devices such as mobile phones (cell phones) and Personal Digital Assistants have led to an explosion in the number of types of device that can now access the Web. Some commentators refer to the Web that can be accessed from mobile devices as the Mobile Web. The sheer number and variety of Web-enabled devices poses significant challenges for authors of websites who want to support access from mobile devices. The W3C Device Independence Working Group described many of the issues in its report Authoring Challenges for Device Independence. Content adaptation is one approach to a solution. Rather than requiring authors to create pages explicitly for each type of device that might request them, content adaptation transforms an author's materials automatically. For example, content might be converted from a device-independent markup language, such as XDIME, an implementation of the W3C's DIAL specification, into a form suitable for the device, such as XHTML Basic, C-HTML, or WML. Similarly, a suitable device-specific CSS style sheet or a set of in-line styles might be generated from abstract style definitions. Likewise, a device specific layout might be generated from abstract layout definitions. Once created, the device-specific materials form the response returned to the device from which the request was made. Another way is to use the latest trend responsive design based on CSS, covered in this article (RWD). Content adaptation requires a processor that performs the selection, modification, and generation of materials to form the device-specific result. IBM's Websphere Everyplace Mobile Portal (WEMP), BEA Systems' WebLogic Mobility Server, Morfeo's MyMobileWeb, and Apache Cocoon are examples of such processors. Wurfl and WALL are popular open source tools for content adaptation. WURFL is an XML-based Device Description Repository with APIs to access the data in Java and PHP (and other popular programming languages). WALL (Wireless Abstraction Library) lets a developer author mobile pages which look like plain HTML, but converts them to WML, C-HTML, or XHTML Mobile Profile, depending on the capabilities of the device from which the HTTP request originates. GreasySpoon lets the developer build plugins for content editing, in JavaScript, Ruby (programming language), and more, just like the Firefox application GreaseMonkey. Alembik (Media Transcoding Server) is a Java (J2EE) application providing transcoding services for variety of clients and for different media types (image, audio, video, etc.). It is fully compliant with OMA's Standard Transcoder Interface specification and is distributed under the LGPL open source license. In 2007, the first large scale carrier-grade deployments of content transformation, on existing mass-market handsets, with no software download required, were deployed by Vodafone in the UK and globally for Yahoo! oneSearch, using the Novarra Vision solution. Novarra's content adaptation solution had been used in enterprise intranet deployments as early as 2003 (at that time, the platform was named "Engines for Wireless Data"). InfoGin, the 9-year-old content-adaptation company with customers like Vodafone, Orange, Telefónica and PCCW. The patented "Web to Mobile adaptation", Mobile Matrix Transcoder, Multimedia and Documents transcoders, Video adaptation supporte. Launched in 2007, Bytemobile's Web Fidelity Service was another carrier-grade, commercial infrastructure solution, which provided wireless content adaptation to mobile subscribers on their existing mass-market handsets, with no client download required.

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  • Errored second

    Errored second

    In telecommunications and data communication systems, an errored second is an interval of a second during which any error whatsoever has occurred, regardless of whether that error was a single bit error or a complete loss of communication for that entire second. The type of error is not important for the purpose of counting errored seconds. In communication systems with very low uncorrected bit error rates, such as modern fiber-optic transmission systems, or systems with higher low-level error rates that are corrected using large amounts of forward error correction, errored seconds are often a better measure of the effective user-visible error rate than the raw bit error rate. For many modern packet-switched communication systems, even a single uncorrected bit error is enough to cause the loss of a data packet by causing its CRC check to fail; whether that packet loss was caused by a single bit error or a hundred-bit-long error burst is irrelevant. For systems using large amounts of forward error correction, the reverse applies; a single low-level bit error will almost never occur, since any small errors will almost always be corrected, but any error sufficiently large to cause the forward error correction to fail will almost always result in a large burst error. More specialist and precise definitions of errored seconds exist in standards such as the T1 and DS1 transport systems.

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  • Web3D

    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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  • Luma (video)

    Luma (video)

    In video, luma ( Y ′ {\displaystyle Y'} ) represents the brightness in an image (the "black-and-white" or achromatic portion of the image). Luma is typically paired with chroma. Luma represents the achromatic image, while the chroma components represent the color information. Converting R′G′B′ sources (such as the output of a three-CCD camera) into luma and chroma allows for chroma subsampling: because human vision has finer spatial sensitivity to luminance ("black and white") differences than chromatic differences, video systems can store and transmit chromatic information at lower resolution, optimizing perceived detail at a particular bandwidth. == Luma versus relative luminance == Luma is the weighted sum of gamma-compressed R′G′B′ components of a color video—the prime symbols ′ denote gamma compression. The word was proposed to prevent confusion between luma as implemented in video engineering and relative luminance as used in color science (i.e. as defined by CIE). Relative luminance is formed as a weighted sum of linear RGB components, not gamma-compressed ones. Even so, luma is sometimes erroneously called luminance. SMPTE EG 28 recommends the symbol Y ′ {\displaystyle Y'} to denote luma and the symbol Y {\displaystyle Y} to denote relative luminance. === Use of relative luminance === While luma is more often encountered, relative luminance is sometimes used in video engineering when referring to the brightness of a monitor. The formula used to calculate relative luminance uses coefficients based on the CIE color matching functions and the relevant standard chromaticities of red, green, and blue (e.g., the original NTSC primaries, SMPTE C, or Rec. 709). For the Rec. 709 (and sRGB) primaries, the linear combination, based on pure colorimetric considerations and the definition of relative luminance is: Y = 0.2126 R + 0.7152 G + 0.0722 B {\displaystyle Y=0.2126R+0.7152G+0.0722B} The formula used to calculate luma in the Rec. 709 spec arbitrarily also uses these same coefficients, but with gamma-compressed components: Y ′ = 0.2126 R ′ + 0.7152 G ′ + 0.0722 B ′ , {\displaystyle Y'=0.2126R'+0.7152G'+0.0722B',} where the prime symbol ′ denotes gamma compression. == Rec. 601 luma versus Rec. 709 luma coefficients == For digital formats following CCIR 601 (i.e. most digital standard definition formats), luma is calculated with this formula: Y 601 ′ = 0.299 R ′ + 0.587 G ′ + 0.114 B ′ {\displaystyle Y'_{\text{601}}=0.299R'+0.587G'+0.114B'} Formats following ITU-R Recommendation BT. 709 (i.e. most digital high definition formats) use a different formula: Y 709 ′ = 0.2126 R ′ + 0.7152 G ′ + 0.0722 B ′ {\displaystyle Y'_{\text{709}}=0.2126R'+0.7152G'+0.0722B'} Modern HDTV systems use the 709 coefficients, while transitional 1035i HDTV (MUSE) formats may use the SMPTE 240M coefficients: Y 240 ′ = 0.212 R ′ + 0.701 G ′ + 0.087 B ′ = Y 145 ′ {\displaystyle Y'_{\text{240}}=0.212R'+0.701G'+0.087B'=Y'_{\text{145}}} These coefficients correspond to the SMPTE RP 145 primaries (also known as "SMPTE C") in use at the time the standard was created. The change in the luma coefficients is to provide the "theoretically correct" coefficients that reflect the corresponding standard chromaticities ('colors') of the primaries red, green, and blue. However, there is some controversy regarding this decision. The difference in luma coefficients requires that component signals must be converted between Rec. 601 and Rec. 709 to provide accurate colors. In consumer equipment, the matrix required to perform this conversion may be omitted (to reduce cost), resulting in inaccurate color. == Luma and luminance errors == As well, the Rec. 709 luma coefficients may not necessarily provide better performance. Because of the difference between luma and relative luminance, luma does not exactly represent the luminance in an image. As a result, errors in chroma can affect luminance. Luma alone does not perfectly represent luminance; accurate luminance requires both accurate luma and chroma. Hence, errors in chroma "bleed" into the luminance of an image. Note the bleeding in lightness near the borders. Due to the widespread usage of chroma subsampling, errors in chroma typically occur when it is lowered in resolution/bandwidth. This lowered bandwidth, coupled with high frequency chroma components, can cause visible errors in luminance. An example of a high frequency chroma component would be the line between the green and magenta bars of the SMPTE color bars test pattern. Error in luminance can be seen as a dark band that occurs in this area.

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  • Digital scrapbooking

    Digital scrapbooking

    Digital scrapbooking is the term for the creation of a new 2D artwork by re-combining various graphic elements. It is a form of scrapbooking that is done using a personal computer, digital or scanned photos and computer graphics software. It is a relatively new form of the traditional print scrapbooking. Recent advances in technology now enable the craft to be pursued on tablets and smart devices utilising imaging apps as well as hobby specific apps, some of which have been created specifically by brands for use with their own image products. Digital scrapbooking kits are available to purchase and download at many websites that specialize in the craft. Kits contain graphics and word-art and are usually themed and color-coordinated. They usually consist of a mix of background images and "cut out" [extracted] images containing alpha channels. Once a kit has been downloaded to the computer or device, it can then be used over and over again to make new scrapbook pages (scrapbook layouts) within the software program that one chooses to use, often in combination with the users's own family photographs, scanned keepsakes and other unique personal elements scanned on a flatbed scanner. Scanning is usually done at 300dpi, to make the resulting images suitable for print. == Licensing and Copyright == Kits are sometimes licensed differently from other forms of traditional royalty-free stock images that may be purchased per-item or in sets at online stock photography sites. Some kit packs will be wholly royalty-free, but some kit makers may restrict usage to non-commercial work only. Some may specifically forbid the use of their work in projects for commercial gain, for example greetings cards and gift tags that may be made with their kits. Licensing often varies from kit to kit, even from the same maker. Some kits include derivative works of public domain material. In contrast to stock, creators of digital scrapbooking kits often require a credit or byline to indicate that their image elements have been used in a new creation. == Uses == Some artistic individuals combine digital scrapbooking with traditional scrapbooking to create what's known as hybrid scrapbooking projects. Hybrid scrapbooking involves creating layouts on the computer using digital supplies that will then be printed and combined with traditional supplies such as buttons, ribbons and other elements. Conversely, a hybrid scrapbook project may also be created using traditional paper supplies and augmented with digital elements that have been printed and cut out specifically for use on the project. Journaling may be done within the software programs to accompany images and to create digital storybooks, or scrapbooks, which are then published in photo books via various popular print-on-demand services, printed and added to traditional scrapbooks, burned to CDs or posted on the Web. Digital Scrapbooking may also be done online by uploading photos to a specialist scrapbooking website and utilising their custom built platforms and decorative image elements to complete the projects for print to finished products, for example photo books and holiday greeting cards. == Market Size == The traditional scrapbooking market appeared to decline somewhat in the USA since 2010, probably due to the 2008 financial crisis, and the digital scrapbooking market (being potentially a much cheaper form of scrapbooking) may have increased accordingly. Both markets currently appear to have recovered lost ground and expanded since the beginning of the COVID-19 pandemic as many people sought to productively fill their time during lockdowns, quarantines and self-isolation / stay at home directions. == Digital scrapbooking software == The main software programs that are typically used are Adobe Photoshop, Adobe Photoshop Elements, paint.net (freeware), Filter Forge, Corel Paintshop Pro, and GIMP. Additionally Adobe offer the Photoshop iOS product using the same code base as the desktop version to drive the app version. == Digital scrapbooking supplies == Digital scrapbooking supplies are downloaded from the Internet and then stored on a computer or external hardrive, DVD or CD media, SD cards, or in the cloud, to be used as needed. Both paid and free digital scrapbooking supplies available from numerous designers on their blogs or in e-commerce stores either as solo designers or as part of a wide cohort of designers working cooperatively in large full service e-commerce websites. Usually designed at 300ppi image resolution, digital scrapbooking product offerings and supplies often include: Full coordinated kits containing digital background “papers”, decorative alphabets, and diverse embellishments generally containing a mixture of .JPG and .PNG files; "Quick pages", flattened files containing a completed page layout with transparent photo windows in .PNG file format; Digital templates, fully layered layouts i.e. pages that have had the composition pre-designed ready for use in an imaging program or app, fully customizable for color schemes, kit choices, photographs and other embellishments, generally supplied in either .PSD or .TIF file format; Hybrid “quick pages”, i.e. layouts that are both fully designed and fully layered for customization, generally supplied in either .PSD or .TIF file format; Adobe Photoshop actions, brushes, custom shapes, paths and styles, saved in their respective native Photoshop file formats; and Corel PaintShop Pro equivalent tools.

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  • NexDock

    NexDock

    NexDock is a series of lapdock devices (containing a laptop screen, keyboard, trackpad, and battery connected to a phone or other device) sold by Nex Computer LLC. The product can be used with mobile desktop environments, including Samsung DeX and the former Windows Continuum. Critical reception for the series has been mixed, with reviewers praising the concept's utility for mobile productivity while noting hardware limitations and its niche appeal. == History == The first NexDock was introduced in 2016 through a successful Indiegogo campaign. Its development coincided with interest in smartphone-powered desktop interfaces, and it was marketed as a companion for Windows 10 Mobile's Continuum feature. Subsequent models, often launched via Kickstarter, added features like higher-resolution displays, touchscreens, and convertible hinges to adapt to the growing capabilities of smartphones. == Models == === NexDock (Original, 2016) === The first model featured a 14.1-inch 1366x768 display and connected primarily via a mini HDMI port. === NexDock 2 (2019) === This model introduced a 13.3-inch 1080p IPS display and a USB-C port, improvements aimed at better supporting platforms like Samsung DeX. === NexDock Touch (2020) === A touchscreen was added to the 13.3-inch display, allowing for more direct interaction with the connected device's operating system. === NexDock 360 (2021) === This version incorporated a 360-degree hinge, allowing the device to be used in laptop, tablet, tent, or stand modes. === NexDock Wireless (2023) === Wireless display connectivity was the key feature of this model, offering a cable-free connection to compatible phones and computers. === NexDock XL (2023) === The screen size was increased to 15.6 inches. It retained the 360-degree hinge and also offered a version with wireless charging for a connected phone. == Reception == Reviews of NexDock products have been mixed, generally praising the concept while pointing out execution flaws. The devices are often lauded for their utility with Samsung DeX, turning a high-end Samsung phone into a viable portable workstation. A review of the NexDock 2 from ZDNet concluded it was a "great companion for the modern road warrior," and Digital Trends called the original a "no-brainer shell" for expanding a phone's capability. However, reviewers have consistently highlighted hardware limitations. In its review of the NexDock Touch, TechRadar stated that while it was a "compelling package for a very specific niche," the "trackpad and keyboard are a bit of a letdown and the screen could be brighter." This sentiment was echoed in other reviews, with criticism often aimed at the trackpad's performance and feel. A review of the NexDock 2 from Android Authority described the experience as being "janky at times," concluding that the device "delivers on its promise — sort of." A common point across many reviews is that the overall performance is entirely dependent on the power of the connected phone, and the experience is often best suited for light productivity tasks rather than replacing a dedicated laptop.

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  • Robert Abel and Associates

    Robert Abel and Associates

    Robert Abel and Associates (RA&A) was an American pioneering animation production company specializing in television commercials made with computer graphics. Founded by Robert Abel and Con Pederson in 1971, RA&A was especially known for their art direction and won many Clio Awards. Abel and his team created some of the most advanced and impressive computer-animated works of their time, including full ray-traced renders and fluid character animation at a time when such things were largely unknown. A variety of high-profile television advertisements, graphics sequences for motion pictures (including The Andromeda Strain and Tron), and work on laserdisc video games such as Cube Quest, put Abel and his team on the map in the early 1980s. The company was also originally commissioned to create the visual effects for Star Trek: The Motion Picture, but were subsequently taken off the project for mishandling funds. The company was also notable on its work for The Jacksons' 1981 music video "Can You Feel It." RA&A was on the southwest corner of Highland Avenue and Romaine in the heart of Hollywood, California. RA&A closed in 1987 following an ill-fated merger with now-defunct Omnibus Computer Graphics, Inc., a company which had been based in Toronto. Many people who worked at RA&A went on to other ground-breaking projects, including the founding of Wavefront Technologies, Rhythm & Hues and other studios. Many RA&A people went on to win Academy Awards.

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  • SAP StreamWork

    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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  • Prix Ars Electronica

    Prix Ars Electronica

    The Prix Ars Electronica is one of the best known and longest running yearly prizes in the field of electronic and interactive art, computer animation, digital culture and music. It has been awarded since 1987 by Ars Electronica (Linz, Austria). In 2005, the Golden Nica, the highest prize, was awarded in six categories: "Computer Animation/Visual Effects," "Digital Musics," "Interactive Art," "Net Vision," "Digital Communities" and the "u19" award for "freestyle computing." Each Golden Nica came with a prize of €10,000, apart from the u19 category, where the prize was €5,000. In each category, there are also Awards of Distinction and Honorary Mentions. The Golden Nica trophy is a replica of the Greek Nike of Samothrace. It is a handmade gold-plated wooden statuette that is approximately 35 cm high with a wingspan of about 20 cm. "Prix Ars Electronica" is a phrase composed of French, Latin and Spanish words, loosely translated as "Electronic Arts Prize." == Golden Nica winners == === Computer animation / film / vfx === The "Computer Graphics" category (1987–1994) was open to different kinds of computer images. The "Computer Animation" (1987–1997) was replaced by the current "Computer Animation/Visual Effects" category in 1998. ==== Computer Graphics ==== 1987 – Figur10 by Brian Reffin Smith, UK 1988 – The Battle by David Sherwin, US 1989 – Gramophone by Tamás Waliczky, HU 1990 – P-411-A by Manfred Mohr, Germany 1991 – Having encountered Eve for the second time, Adam begins to speak by Bill Woodard, US 1992 – RD Texture Buttons by Michael Kass and Andrew Witkin, US 1993 – Founders Series by Michael Tolson, US 1994 – Jellylife / Jellycycle / Jelly Locomotion by Michael Joaquin Grey, US ==== Computer Animation ==== 1987 – Luxo Jr. by John Lasseter, US 1988 – Red's Dream by John Lasseter, US 1989 – Broken Heart by Joan Staveley, US 1990 – Footprint by Mario Sasso and Nicola Sani, IT 1991 – Panspermia by Karl Sims, US 1992 – Liquid Selves / Primordial Dance by Karl Sims, US 1993 – Lakmé by Pascal Roulin, BE 1994 – Jurassic Park by Dennis Muren, Mark Dippé and Steve Williams, US/CA Distinction: Quarxs by Maurice Benayoun, FR Distinction: K.O. Kid by Marc Caro, FR 1995 – God's Little Monkey by David Atherton and Bob Sabiston, US 1996 – Toy Story by John Lasseter, Lee Unkrich and Ralph Eggleston, US 1997 – Dragonheart by Scott Squires, Industrial Light & Magic (ILM), US ==== Computer Animation/Visual Effects ==== 1998 – The Sitter by Liang-Yuan Wang, TW Titanic by Robert Legato and Digital Domain, US 1999 – Bunny by Chris Wedge, US What Dreams May Come by Mass Illusions, POP, Digital Domain, Vincent Ward, Stephen Simon and Barnet Bain, US 2000 – Maly Milos by Jakub Pistecky, CA Maaz by Christian Volckman, FR 2001 – Le Processus by Xavier de l’Hermuzičre and Philippe Grammaticopoulos, FR 2002 – Monsters, Inc. by Andrew Stanton, Lee Unkrich, Pete Docter and David Silverman, US 2003 – Tim Tom by Romain Segaud and Cristel Pougeoise, FR 2004 – Ryan by Chris Landreth, US. Distinction: Parenthèse from Francois Blondeau, Thibault Deloof, Jérémie Droulers, Christophe Stampe, France Distinction: Birthday Boy from Sejong Park, Australia 2005 – Fallen Art by Tomek Baginski, Poland. Distinction: The Incredibles from Pixar Distinction: City Paradise by Gaëlle Denis (UK), Passion Pictures (FR) 2006 – 458nm by Jan Bitzer, Ilija Brunck, Tom Weber, Filmakademie Baden-Württemberg, Germany. Distinction: Kein platz Für Gerold by Daniel Nocke / Studio Film Bilder, Germany Distinction: Negadon, the monster from Mars, by Jun Awazu, Japan 2007 – Codehunters by Ben Hibon, (UK) 2008 – Madame Tutli-Putli by Chris Lavis, Maciek Szczerbowski. (Directors), Jason Walker (Special Visual Effects), National Film Board of Canada 2009 – HA'Aki by Iriz Pääbo, National Film Board of Canada 2010 – Nuit Blanche by Arev Manoukian (Director), Marc-André Gray (Visual Effects Artist), National Film Board of Canada 2011 – Metachaos by Alessandro Bavari (IT) 2012 – Rear Window Loop by Jeff Desom (LU) Distinction: Caldera by Evan Viera/Orchid Animation (US) Distinction: Rise of the Planet of the Apes by Weta Digital (NZ)/Twentieth Century Fox 2013 – Forms by Quayola (IT), Memo Akten (TR) Distinction: Duku Spacemarines by La Mécanique du Plastique (FR) Distinction: Oh Willy… by Emma De Swaef (BE), Marc James Roels (BE) / Beast Animation 2014 – Walking City by Universal Everything (UK) 2015 – Temps Mort by Alex Verhaest (BE)[1] Distinction: Bär by Pascal Floerks (DE) Distinction: The Reflection of Power by Mihai Grecu (RO/HU) === Digital Music === This category is for those making electronic music and sound art through digital means. From 1987 to 1998 the category was known as "Computer music." Two Golden Nicas were awarded in 1987, and none in 1990. There was no Computer Music category in 1991. 1987 – Peter Gabriel and Jean-Claude Risset 1988 – Denis Smalley 1989 – Kaija Saariaho 1990 – None 1991 – Category omitted 1992 – Alejandro Viñao 1993 – Bernard Parmegiani 1994 – Ludger Brümmer Distinction: Jonathan Impett 1995 – Trevor Wishart 1996 – Robert Normandeau 1997 – Matt Heckert 1998 – Peter Bosch and Simone Simons (joint award) 1999 – Come to Daddy by Aphex Twin (Richard D. James) and Chris Cunningham (joint award) Distinction: Birthdays by Ikue Mori (JP) Distinction: Mego (label), Hotel Paral.lel by Christian Fennesz, Seven Tons For Free by Peter Rehberg (a.k.a. Pita) 2000 – 20' to 2000 by Carsten Nicolai Distinction: Minidisc by Gescom Distinction: Outside the Circle of Fire by Chris Watson 2001 – Matrix by Ryoji Ikeda 2002 – Man'yo Wounded 2001 by Yasunao Tone 2003 – Ami Yoshida, Sachiko M and Utah Kawasaki (joint award) 2004 – Banlieue du Vide by Thomas Köner 2005 – TEO! A Sonic Sculpture by Maryanne Amacher 2006 – L'île ré-sonante by Éliane Radigue 2007 – Reverse-Simulation Music by Mashiro Miwa 2008 – Reactable by Sergi Jordà (ES), Martin Kaltenbrunner (AT), Günter Geiger (AT) and Marcos Alonso (ES) 2009 – Speeds of Time versions 1 and 2 by Bill Fontana (US) 2010 – rheo: 5 horizons by Ryoichi Kurokawa (JP) 2011 – Energy Field by Jana Winderen (NO) 2012 – "Crystal Sounds of a Synchrotron" by Jo Thomas (GB) 2013 – frequencies (a) by Nicolas Bernier (CA) Distinction: SjQ++ by SjQ++ (JP) Distinction: Borderlands Granular by Chris Carlson (US) 2015 – Chijikinkutsu by Nelo Akamatsu (JP) Distinction: Drumming is an elastic concept by Josef Klammer (AT) Distinction: Under Way by Douglas Henderson (DE) 2017 – Not Your World Music: Noise In South East Asia by Cedrik Fermont (CD/BE/DE), Dimitri della Faille (BE/CA) Distinction: Gamelan Wizard by Lucas Abela (AU), Wukir Suryadi (ID) und Rully Shabara (ID) Distinction: Corpus Nil by Marco Donnarumma (DE/IT) === Hybrid art === 2007 – Symbiotica 2008 – Pollstream – Nuage Vert by Helen Evans (FR/UK) and Heiko Hansen (FR/DE) HeHe 2009 – Natural History of the Enigma by Eduardo Kac (US) 2010 – Ear on Arm by Stelarc (AU) 2011 – May the Horse Live in me by Art Orienté Objet (FR) 2012 – Bacterial radio by Joe Davis (US) Distinction: Free Universal Construction Kit (F.U.C.K.) by Golan Levin and Shawn Sims 2013 – Cosmopolitan Chicken Project, Koen Vanmechelen (BE) 2015 – Plantas Autofotosintéticas, Gilberto Esparza (MX) 2017 – K-9_topology, Maja Smrekar (SI) === [the next idea] voestalpine Art and Technology Grant === 2009 – Open_Sailing by Open_Sailing Crew led by Cesar Harada. 2010 – Hostage by [Frederik De Wilde]. 2011 – Choke Point Project by P2P Foundation (NL). 2012 – qaul.net – tools for the next revolution by Christoph Wachter & Mathias Jud 2013 – Hyperform by Marcelo Coelho (BR), Skylar Tibbits (US), Natan Linder (IL), Yoav Reaches (IL) Honorary Mentions: GravityLight by Martin Riddiford (GB), Jim Reeves (GB) 2014 – BlindMaps by Markus Schmeiduch, Andrew Spitz and Ruben van der Vleuten 2015 – SOYA C(O)U(L)TURE by XXLab (ID) – Irene Agrivina Widyaningrum, Asa Rahmana, Ratna Djuwita, Eka Jayani Ayuningtias, Atinna Rizqiana === Interactive Art === Prizes in the category of interactive art have been awarded since 1990. This category applies to many categories of works, including installations and performances, characterized by audience participation, virtual reality, multimedia and telecommunication. 1990 – Videoplace installation by Myron Krueger 1991 – Think About the People Now project by Paul Sermon 1992 – Home of the Brain installation by Monika Fleischmann and Wolfgang Strauss 1993 – Simulationsraum-Mosaik mobiler Datenklänge (smdk) installation by Knowbotic Research 1994 – A-Volve environment by Christa Sommerer and Laurent Mignonneau 1995 – the concept of Hypertext, attributed to Tim Berners-Lee 1996 – Global Interior Project installation by Masaki Fujihata 1997 – Music Plays Images X Images Play Music concert by Ryuichi Sakamoto and Toshio Iwai 1998 – World Skin, a Photo Safari in the Land of War installation by Jean-Baptiste Barrière and Maurice Benayoun 1999 – Difference Engine #3 by construct and Lynn Hershman 2000 – Vectorial Elevati

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  • Enterprise social software

    Enterprise social software

    Enterprise social software (also known as or regarded as a major component of Enterprise 2.0), comprises social software as used in "enterprise" (business/commercial) contexts. It includes social and networked modifications to corporate intranets and other classic software platforms used by large companies to organize their communication. In contrast to traditional enterprise software, which imposes structure prior to use, enterprise social software tends to encourage use prior to providing structure. Carl Frappaolo and Dan Keldsen defined Enterprise 2.0 in a report written for Association for Information and Image Management (AIIM) as "a system of web-based technologies that provide rapid and agile collaboration, information sharing, emergence and integration capabilities in the extended enterprise". == Applications == === Functionality === Social software for an enterprise must (according to Andrew McAfee, Associate Professor, Harvard Business School) have the following functionality to work well: Search: allowing users to search for other users or content Links: grouping similar users or content together Authoring: including blogs and wikis Tags: allowing users to tag content Extensions: recommendations of users; or content based on profile Signals: allowing people to subscribe to users or content with RSS feeds McAfee recommends installing easy-to-use software which does not impose any rigid structure on users. He envisages an informal roll-out, but on a common platform to enable future collaboration between areas. He also recommends strong and visible managerial support to achieve this. In 2007 Dion Hinchcliffe expanded the list above by adding the following four functions: Freeform function: no barriers to authorship (meaning free from a learning curve or from restrictions) Network-oriented function, requiring web-addressable content in all cases Social function: stressing transparency (to access), diversity (in content and community members) and openness (to structure) Emergence function: requiring the provision of approaches that detect and leverage the collective wisdom of the community Enterprise search differs from a typical web search in its focus on "use within an organization by employees seeking information held internally, in a variety of formats and locations, including databases, document management systems, and other repositories". === Criticism === There has been recent criticism that the adaptation of the social paradigm (e.g. openness and altruistic behavior) does not always work well for the enterprise setting, which led some authors to question the proper functioning of enterprise social software. The findings from a novel study suggests that free and non-anonymous sharing of trusted information (beyond marketing or product information) is significantly influenced by concerns from business users.

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