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  • Threat actor

    Threat actor

    In cybersecurity and risk assessment, a threat actor (or threat agents, attackers, or adversaries) is a person, group, organisation, state, or other entity with the ability to cause, carry, transmit, support, or exploit a threat. Threat actors are commonly analysed according to their motivations, resources, technical capability, access to systems, relationship to a target, and degree of connection to state authority. They may exploit vulnerabilities, conduct social engineering, steal or monetise data, disrupt operations, or support other actors who carry out such activity. Because the term covers a wide range of actors, researchers and security organisations use taxonomies that distinguish between groups such as cybercriminals, state-linked actors, ideologically motivated actors, thrill seekers or trolls, insiders, and competitors. Threat actor classifications are used in risk management, cyber threat intelligence, and incident response to connect observed behaviour with possible objectives and likely future activity. The categories are not always mutually exclusive: the same actor may combine criminal, ideological, commercial, or state-linked motivations, and different organisations may use different names for similar actors. == Risk assessment and security management == In risk assessment, threat actor analysis is used to identify who or what may create, carry, transmit, support, or exploit a threat, and how that actor relates to the system being assessed. Rausand and Haugen classify threat actors by their relationship to the system, distinguishing between internal and external actors, and by intent, distinguishing between intentional and unintentional actors. Threat actor classification may also support incident investigation. Rogers argued that actor categories could be inferred from observable case points, such as tools used, messages left, data targeted, forensic knowledge, and the degree of damage, allowing investigators to assess likely motivation and skill level. Later work similarly linked actor classification to operational analysis. Chng, Lu, Kumar and Yau proposed a framework connecting hacker types, motivations and typical strategies, arguing that observed behaviour before or during an attack can help analysts infer the likely type of actor involved. At the strategic level, actor analysis may consider an actor's resources, capabilities, degree of state involvement, motivations and objectives. == Landscape == The United Nations Institute for Disarmament Research has described the contemporary cyberthreat landscape as involving an increasingly diverse and interconnected set of actors, including state-led operations, cybercriminal syndicates, ideological hacktivists, commercial cyber mercenaries, private companies and civilian volunteers. Its 2026 report argued that these actors vary in resources, technical sophistication and relationships with states, making it traditional distinctions between state, civilian combatant roles, and legitimate and illegitimate conduct harder to apply. == Academic taxonomies == Early taxonomies classified hackers by activity, skill, motivation, or criminal profile. Landreth proposed six categories based on activity: novice, student, tourist, crasher, and thief. Hollinger classified computer misuse into pirates, browsers, and crackers, describing a progression from less-skilled activity to more technically serious offences. Chantler used attributes including activity, skill, knowledge, motivation, and duration of involvement to distinguish between an elite group, neophytes, and "losers and lamers". Parker proposed seven profiles of cybercriminals: pranksters, hacksters, malicious hackers, personal problem solvers, career criminals, extreme advocates, and malcontents, addicts, and irrational or incompetent people. In 2000, Marc Rogers proposed a taxonomy of hackers with seven, non-mutually-exclusive categories: newbie/tool kit users, cyber-punks, internals, coders, old guard hackers, professional criminals, and cyber-terrorists. Rausand and Haugen distinguish between internal and external threat actors, and between intentional and unintentional threat actors. Internal actors have some relationship with, access to, or position inside the system or organisation, while external actors operate from outside it. Intentional actors seek to create, exploit, or support a threat event, whereas unintentional actors may cause or enable a threat event through error, negligence, accident, or lack of awareness. Rogers later revised his hacker taxonomy into Novices, Cyber-punks, Internals, Petty Thieves, Virus Writers, Old Guard hackers, Professional Criminals, Information Warriors, and, more tentatively, Political Activists. In the model, motivation is grouped into four broad domains: curiosity, notoriety, revenge, and financial gain. A 2022 review by Chng, Lu, Kumar and Yau examined 11 hacker typologies published over three decades and proposed a unified framework linking hacker types, motivations, and strategies. The framework identified 13 hacker types and seven motivations, and argued that observed strategies during an attack can help analysts infer the likely type of actor involved. == Government taxonomies == Taxonomies of threat actors by governments are much more likely to include state-level threat actors. In the United States the National Institute of Standards and Technology (NIST) uses the term threat source in its risk-assessment guidance: organisations are directed to identify and characterise threat sources of concern, including capability, intent and targeting for adversarial threat sources, and the range of effects for non-adversarial threat sources. NIST treats threat-source identification as part of the risk-assessment process, alongside identifying threat events, vulnerabilities, likelihood and impact. In the EU, European Union Agency for Cybersecurity publishes the annual ENISA Threat Landscape, which analyses cyber incidents and adversary behaviour affecting the European Union. The 2025 report analysed selected incidents from the previous year and grouped activity around cybercrime, state-aligned activity, foreign information manipulation and interference, and hacktivism. In ENISA's 2025 analysis, hacktivist activity dominated reporting, representing almost 80% of recorded incidents and consisting mainly of low-level distributed denial-of-service operations. ENISA also reported increasing convergence between hacktivism, cybercrime and state-nexus activity, including state-aligned use of hacktivist personas, hacktivist adoption of ransomware, and false-flag or impersonation activity. At the UN level, A 2026 report by the United Nations Institute for Disarmament Research described the cyberthreat landscape as involving state-led operations, cybercriminal syndicates, ideological hacktivists, commercial cyber mercenaries, and civilian volunteers, with actors varying in resources, technical sophistication, and links to states. Canada defines threat actors as states, groups, or individuals who aim to cause harm by exploiting a vulnerability with malicious intent. A threat actor must be trying to gain access to information systems to access or alter data, devices, systems, or networks. The Japanese government's National Centre of Incident Readiness and Strategy (NISC) was established in 2015 to create a "free, fair and secure cyberspace" in Japan. The NICS created a cybersecurity strategy in 2018 that outlines nation-states and cybercrime to be some of the most key threats. It also indicates that terrorist usage of the cyberspace needs to be monitored and understood. The Security Council of the Russian Federation published the cyber security strategy doctrine in 2016. This strategy highlights the following threat actors as a risk to cyber security measures: nation-state actors, cyber criminals, and terrorists. == Techniques == Threat actors use techniques like Social engineering (security), and Phishing, alongside technical exploits like Cross-site scripting, SQL injection, and denial-of-service attacks. == Limitations == In practice, actor categories may overlap (Edward Snowden for example), and the same activity may combine features associated with hacktivism, cybercrime and state-linked operations. The lines between hacktivism, cybercrime and state-nexus activity had continued to blur, with shared toolsets, overlapping methods, fake personas, hacktivist adoption of ransomware, and cybercriminal or state-linked actors masquerading as other groups. Threat actor analysis also has limits as a risk-management method. NIST notes that risk assessments depend on their purpose, scope, assumptions, constraints, information sources, risk model and analytic approach, and that assessments are tied to particular time frames and organisational contexts. NIST also warns that simple threat-vulnerability pairing may be undesirable or problematic where there are many threats and vulnerabilities, and recom

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  • Alt TikTok

    Alt TikTok

    Alt TikTok (or 2020 Alt) was an online youth subculture and internet community that emerged on TikTok in 2020. Alt TikTok users (also known as alt girls, alt boys, or alt kids) emerged as primarily LGBTQ+ individuals who were in contrast to "Straight TikTok" which was seen as the mainstream and heteronormative side of the platform. The subculture became closely associated with music surrounding the hyperpop scene, particularly 100 gecs and also led to a short-lived fashion style and Internet aesthetic adopted by Generation Z during the COVID-19 lockdowns. Notable artists associated with the movement included Girl in Red, Freddie Dredd, David Shawty, WHOKILLEDXIX, and 645AR. While "alt kid" might imply a general association with traditional alternative fashion, the subculture was more an offshoot of e-girls and e-boys. In 2023, the hashtag #altfashion on TikTok amassed over 1.8 billion views. == History == Around mid-2020, users on TikTok began to group different content on the site into labels like "elite TikTok", "deep TikTok", and "floptok". These categories acted as different "sides of TikTok", deviating from mainstream lip syncing, online trends, and dance videos. Alt TikTok became one of the many subcultural communities to emerge during this period, initially referred to interchangeably with "elite TikTok". The movement quickly identified itself with alternative and queer users, in contrast to "Straight TikTok", also known as the "straight side of TikTok", which was seen as the mainstream and heteronormative side of the platform. Alt TikTok was accompanied by memes with surrealist or supernatural themes (sometimes being described as cursed), such as videos with heavy saturation and humanoid animals. One of the popular videos from Alt TikTok, gaining 18 million likes, shows a llama dancing to a cover of a song from a Russian commercial by the cereal brand Miel Pops, later becoming a viral audio. Some Alt TikTok users personified brands and products in what was referred to as Retail TikTok. In 2020, Rolling Stone described Alt TikTok as "one of the primary countercultures on the app." In 2020, American journalist Taylor Lorenz stated in an article of The New York Times, "Every pop sensation needs its ironic counterpoints. Alt Tiktok gets it done. [...] alt TikTok stars like Mooptopia are mainstays on the more indie side of the app. They aren't the popular crowd, but their cool, quirky content still attracts millions." === Trump rally trolling === In June 2020, alt TikTok and K-pop twitter users coordinated a strategy to ruin a Trump rally in Tulsa, Oklahoma. American politician and activist Alexandria Ocasio-Cortez later saluted the individuals for their "Trump troll". == Alt subculture == In 2020, Alt TikTok was one of many subcultural communities to emerge on TikTok, alongside Deep TikTok (aka DeepTok) and Flop TikTok (aka Floptok). The alt kid subculture emerged from Alt TikTok primarily among young Gen Z women, influenced by online fashion and aesthetics shaped by e-girls and e-boys. The movement was accelerated by the COVID-19 lockdowns, while the subculture itself stood in opposition to mainstream "Straight TikTok" and the VSCO girl movement, primarily adopting aspects of queer and alternative culture. While the phrase might imply a general association with alternative fashion or alternative culture, it is more accurately understood as a specific internet-driven outgrowth of online aesthetic youth subcultures like e-girls and e-boys. The alt subculture's visual style blended influences from goth, punk, emo, and grunge, often expressed through fashion, music taste, and online presence. === Style and music === The style of alt-girls is reminiscent of a myriad of previous alternative fashion trends, often blending these influences with online aesthetics. In 2020, TikTok alt-girls were teens ranging from ages 13 to 16, who tended to wear friendship bracelets, goth boots, Dr. Martens, bunny and frog hats, piercings, and split-dyed hair, as well as iconography lifted from Monster Energy and Hello Kitty. Some alt-girls displayed a love of cosplay, while drawing from Japanese anime and manga, particularly Danganronpa and Haikyu!!, which originally gained traction on the app through Anime TikTok (aka Anitok). Alt TikTok has been noted for being primarily influenced by queer and alternative culture, positioning itself in contrast to "Straight TikTok", which focused on mainstream dances and music. Alt kids frequently intersected with the e-girls and e-boys subculture, in terms of music, style, visual media, and aesthetics. Several musicians and artists were closely associated with the alt subculture, particularly those in the hyperpop scene, while alt tiktok users became important in the wider popularization of artists like 100 gecs. Notable prominent artists associated with Alt Tiktok included Girl in Red, Freddie Dredd, David Shawty, WHOKILLEDXIX, and 645AR, alongside music by YouTubers turned musicians such as Wilbur Soot's "I'm in Love With an E‐Girl" and Corpse Husband's "E-Girls Are Ruining My Life!". == Legacy == In 2020, Pitchfork claimed Alt TikTok as having an influence on wider music trends, stating: "Alt TikTok's music is now a hot zone for major record labels, pushing it even further into the mainstream". After the COVID-19 lockdowns, Alt TikTok, alongside its subculture, fell out of prominence and was taken over by other Gen Z-related internet aesthetics, developments, and online trends.

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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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  • 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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  • Machine learning in video games

    Machine learning in video games

    Artificial intelligence and machine learning techniques are used in video games for a wide variety of applications such as non-player character (NPC) control, procedural content generation (PCG) and deep learning-based content generation. Machine learning is a subset of artificial intelligence that uses historical data to build predictive and analytical models. This is in sharp contrast to traditional methods of artificial intelligence such as search trees and expert systems. Information on machine learning techniques in the field of games is mostly known to public through research projects as most gaming companies choose not to publish specific information about their intellectual property. The most publicly known application of machine learning in games is likely the use of deep learning agents that compete with professional human players in complex strategy games. There has been a significant application of machine learning on games such as Atari/ALE, Doom, Minecraft, StarCraft, and car racing. Other games that did not originally exists as video games, such as chess and Go have also been affected by the machine learning. == Overview of relevant machine learning techniques == === Deep learning === Deep learning is a subset of machine learning which focuses heavily on the use of artificial neural networks (ANN) that learn to solve complex tasks. Deep learning uses multiple layers of ANN and other techniques to progressively extract information from an input. Due to this complex layered approach, deep learning models often require powerful machines to train and run on. ==== Convolutional neural networks ==== Convolutional neural networks (CNN) are specialized ANNs that are often used to analyze image data. These types of networks are able to learn translation invariant patterns, which are patterns that are not dependent on location. CNNs are able to learn these patterns in a hierarchy, meaning that earlier convolutional layers will learn smaller local patterns while later layers will learn larger patterns based on the previous patterns. A CNN's ability to learn visual data has made it a commonly used tool for deep learning in games. === Recurrent neural network === Recurrent neural networks are a type of ANN that are designed to process sequences of data in order, one part at a time rather than all at once. An RNN runs over each part of a sequence, using the current part of the sequence along with memory of previous parts of the current sequence to produce an output. These types of ANN are highly effective at tasks such as speech recognition and other problems that depend heavily on temporal order. There are several types of RNNs with different internal configurations; the basic implementation suffers from a lack of long term memory due to the vanishing gradient problem, thus it is rarely used over newer implementations. ==== Long short-term memory ==== A long short-term memory (LSTM) network is a specific implementation of a RNN that is designed to deal with the vanishing gradient problem seen in simple RNNs, which would lead to them gradually "forgetting" about previous parts of an inputted sequence when calculating the output of a current part. LSTMs solve this problem with the addition of an elaborate system that uses an additional input/output to keep track of long term data. LSTMs have achieved very strong results across various fields, and were used by several monumental deep learning agents in games. === Reinforcement learning === Reinforcement learning is the process of training an agent using rewards and/or punishments. The way an agent is rewarded or punished depends heavily on the problem; such as giving an agent a positive reward for winning a game or a negative one for losing. Reinforcement learning is used heavily in the field of machine learning and can be seen in methods such as Q-learning, policy search, Deep Q-networks and others. It has seen strong performance in both the field of games and robotics. === Neuroevolution === Neuroevolution involves the use of both neural networks and evolutionary algorithms. Instead of using gradient descent like most neural networks, neuroevolution models make use of evolutionary algorithms to update neurons in the network. Researchers claim that this process is less likely to get stuck in a local minimum and is potentially faster than state of the art deep learning techniques. == Deep learning agents == Machine learning agents have been used to take the place of a human player rather than function as NPCs, which are deliberately added into video games as part of designed gameplay. Deep learning agents have achieved impressive results when used in competition with both humans and other artificial intelligence agents. === Chess === Chess is a turn-based strategy game that is considered a difficult AI problem due to the computational complexity of its board space. Similar strategy games are often solved with some form of a Minimax Tree Search. These types of AI agents have been known to beat professional human players, such as the historic 1997 Deep Blue versus Garry Kasparov match. Since then, machine learning agents have shown ever greater success than previous AI agents. === Go === Go is another turn-based strategy game which is considered an even more difficult AI problem than chess. The state space of is Go is around 10^170 possible board states compared to the 10^120 board states for Chess. Prior to recent deep learning models, AI Go agents were only able to play at the level of a human amateur. ==== AlphaGo ==== Google's 2015 AlphaGo was the first AI agent to beat a professional Go player. AlphaGo used a deep learning model to train the weights of a Monte Carlo tree search (MCTS). The deep learning model consisted of 2 ANN, a policy network to predict the probabilities of potential moves by opponents, and a value network to predict the win chance of a given state. The deep learning model allows the agent to explore potential game states more efficiently than a vanilla MCTS. The network were initially trained on games of humans players and then were further trained by games against itself. ==== AlphaGo Zero ==== AlphaGo Zero, another implementation of AlphaGo, was able to train entirely by playing against itself. It was able to quickly train up to the capabilities of the previous agent. === StarCraft series === StarCraft and its sequel StarCraft II are real-time strategy (RTS) video games that have become popular environments for AI research. Blizzard and DeepMind have worked together to release a public StarCraft 2 environment for AI research to be done on. Various deep learning methods have been tested on both games, though most agents usually have trouble outperforming the default AI with cheats enabled or skilled players of the game. ==== Alphastar ==== Alphastar was the first AI agent to beat professional StarCraft 2 players without any in-game advantages. The deep learning network of the agent initially received input from a simplified zoomed out version of the gamestate, but was later updated to play using a camera like other human players. The developers have not publicly released the code or architecture of their model, but have listed several state of the art machine learning techniques such as relational deep reinforcement learning, long short-term memory, auto-regressive policy heads, pointer networks, and centralized value baseline. Alphastar was initially trained with supervised learning, it watched replays of many human games in order to learn basic strategies. It then trained against different versions of itself and was improved through reinforcement learning. The final version was hugely successful, but only trained to play on a specific map in a protoss mirror matchup. === Dota 2 === Dota 2 is a multiplayer online battle arena (MOBA) game. Like other complex games, traditional AI agents have not been able to compete on the same level as professional human player. The only widely published information on AI agents attempted on Dota 2 is OpenAI's deep learning Five agent. ==== OpenAI Five ==== OpenAI Five utilized separate long short-term memory networks to learn each hero. It trained using a reinforcement learning technique known as Proximal Policy Learning running on a system containing 256 GPUs and 128,000 CPU cores. Five trained for months, accumulating 180 years of game experience each day, before facing off with professional players. It was eventually able to beat the 2018 Dota 2 esports champion team in a 2019 series of games. === Planetary Annihilation === Planetary Annihilation is a real-time strategy game which focuses on massive scale war. The developers use ANNs in their default AI agent. === Supreme Commander 2 === Supreme Commander 2 is a real-time strategy (RTS) video game. The game uses Multilayer Perceptrons (MLPs) to control a platoon’s reaction to encountered enemy units. Total of four MLPs are used, one for each platoon type: land, naval

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  • Content reference identifier

    Content reference identifier

    A content reference identifier or CRID is a concept from the standardization work done by the TV-Anytime forum. It is or closely matches the concept of the Uniform Resource Locator, or URL, as used on the World-Wide Web: A unit of content, in a broadcast stream, can be referred to by its globally unique CRID in the same way that a webpage can be referred to by its globally unique URL on the web. The concept of CRID permits referencing contents unambiguously, regardless of their location, i.e., without knowing specific broadcast information (time, date and channel) or how to obtain them through a network, for instance, by means of a streaming service or by downloading a file from an Internet server. The receiver must be capable of resolving these unambiguous references, i.e. of translating them into specific data that will allow it to obtain the location of that content in order to acquire it. This makes it possible for recording processes to take place without knowing that information, and even without knowing beforehand the duration of the content to be recorded: a complete series by a simple click, a program that has not been scheduled yet, a set of programs grouped by a specific criterion... This framework allows for the separation between the reference to a given content (the CRID) and the necessary information to acquire it, which is called a “locator”. Each CRID may lead to one or more locators which will represent different copies of the same content. They may be identical copies broadcast in different channels or dates, or cost different prices. They may also be distinct copies with different technical parameters such as format or quality. It may also be the case that the resolution process of a CRID provides another CRID as a result (for example, its reference in a different network, where it has an alternative identifier assigned by a different operator) or a set of CRIDs (for instance, if the original CRID represents a TV series, in which case the resolution process would result in the list of CRIDs representing each episode). From the above it can be concluded that provided that a given content can belong to many groups (each possibly defined by distinctive qualities), it is possible that many CRIDs carry the same content. That is, several CRIDs may be resolved into the same locator. A CRID is not exactly a universal, unique and exclusive identifier for a given content. It is closely related to the authority that creates it, to the resolution service provider, and to the content provider in such a way that the same content may have different CRIDs depending on the field in which they are used (for example, a different one for each television operator that has the rights to broadcast the content). == Format == A CRID is specified much like URLs. In fact, a CRID is a so-called URI. Typically, the content creator, the broadcaster or a third party will use their DNS-names in a combination with a product-specific name to create globally unique CRIDs. That is, the syntax of a CRID is: crid://authority/data The authority field represents the entity that created the CRID and its format is that of a DNS name. The data field represents a string of characters that will unambiguously identify the content within the authority scope (it is a string of characters assigned by the authority itself). As an example, let's assume that BBC wanted to make a CRID for (all the programs of) the Olympics in China. It may have looked something like this crid://bbc.co.uk/olympics/2008/ This would be a group CRID, that is, a CRID representing a group of contents. Then, to refer to a specific event – such as the women's shot-put final – they could have used the following inside their metadata. crid://bbc.co.uk/olympics/2008/final/shotput/women Currently, four types of CRIDs are playing a major role in some unidirectional television networks: programme CRID, series CRID, group CRID, and recommendation CRID. One of the most important applications of CRIDs is the so-called series link recording function (SL) of modern digital video recorders (DVR, PVR). In turn, a locator is a string of characters that contains all the necessary information for a receiver to find and acquire a given content, whether it is received through a transport stream, located in local storage, downloaded as a file from an Internet server, or through a streaming service. For example, a DVB locator will include all the necessary parameters to identify a specific content within a transport stream: network, transport stream, service, table and/or event identifiers. The locators' format, as established in TV-Anytime, is quite generic and simple, and corresponds to: [transport-mechanism]:[specific-data] The first part of the locator's format (the transport mechanism) must be a string of characters that is unique for each mechanism (transport stream, local file, HTTP Internet access...). The second part must be unambiguous only within the scope of a given transport mechanism and will be standardized by the organism in charge of the regulation of the mechanism itself. For instance, a DVB locator to identify a content within the transport stream of networks that follow this standard would be: dvb://112.4a2.5ec;2d22~20121212T220000Z—PT01H30M which would indicate a content (identified by the string “2d22”) that airs on a channel available on a DVB network identified by the address “112.4a2.5ec” (network “112”, transport stream “4a2” and service “5ec”), on 12 December 2012 at 10 p.m. and with a duration of 90 minutes. == The location resolution process == The location resolution process is the procedure by which, starting from the CRID of a given content, one or several locators of that content are obtained. Resolving a CRID can be a direct process, which leads immediately to one or many locators, or it may also happen that in the first place one or many intermediate CRIDs are returned, which must undergo the same procedure to finally obtain one or several locators. This procedure involves some information elements, among which we find two structures named resolving authority record (RAR) and ContentReferencingTable, respectively. Consulting them repeatedly will take the receiver from a CRID to one or many locators that will allow it to acquire the content. The RAR table The RAR table is one or many data structures that provide the receiver, for each authority that submits CRIDs, information on the corresponding resolution service provider. Among other things, it informs about which mechanism is used to provide information to resolve the CRIDs from each authority. That is, one or many RAR records must exist for each authority that indicate the receiver where it has to go to resolve the CRIDs of that particular authority. For example, in the record of the figure (expressed by means of a XML structure, according to the XML Schema defined in the TV-Anytime) there is an authority called “tve.es”, whose resolution service provider is the entity “rtve.es”, available on the URL "http://tva.rtve.es/locres/tve", which means there is resolution information in that URL. These RAR records will have reached the receiver in an indefinite form, unimportant for the TV-Anytime specification, which will depend on the specific transport mechanism of the network to which the receiver is connected. Each family of standards that regulates distribution networks (DVB, ATSC, ISDB, IPTV...) will have previously defined such procedure, which will be used by devices certified according to those standards. The ContentReferencingTable table The second structure involved in the location resolution process is a proper resolution table which, given a content's CRID, returns one or several locators that enable the receiver to access an instance of that content, or one or many CRIDs that allow it to move forward in the resolution process. The figure shows an example of this second structure, an XML document according to the specifications of the XML Schema defined in TV-Anytime. In it, several sections are included ( elements) that structure the information that describes each resolution case. The first one declares how a CRID (crid://tv.com/Friends/all), which corresponds to a group content that encompasses several episodes (two) of the “Friends” series is resolved. The result of the resolution process provides two new CRIDs each of them corresponding to one of the two episodes. The second element resolves the CRID of the first episode of the first season. The result of the resolution process is two DVB locators. The “acquire” attribute with “any” value indicates that any of them are good (the second one is a repetition broadcast a week later). The third element gives information about the second episode. It indicates that it cannot be resolved yet (“status” attribute with the “cannot yet resolve” value), indicating a date on which the request for resolution information must be repeated. The pro

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  • Electronics (journal)

    Electronics (journal)

    Electronics is a peer-reviewed, scientific journal that covers the study of electronics, including the design, development, and application of electronic devices, systems, and circuits. The journal is published by MDPI and was established in 2012. The editor-in-chief is Flavio Canavero 'Politecnico di Torino). The journal covers a wide range of topics related to electronics, including: electronic devices, electronic materials, electronic circuits, electronic systems, communication electronics, power electronics, and biomedical electronics. The journal also includes articles on the application of electronics in various fields, such as consumer electronics, industrial electronics, automotive electronics, and military electronics. The journal publishes original research articles, review articles, and short communications. == Abstracting and indexing == EBSCO databases ProQuest databases Scopus According to the Journal Citation Reports, the journal has a 2021 impact factor of 2.690.

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  • New media

    New media

    New media are communication technologies that enable or enhance interaction between users, as well as interaction between users and content. In the middle of the 1990s, the phrase "new media" became widely used as part of a sales pitch for the influx of interactive CD-ROMs for entertainment and education. The new media technologies, sometimes known as Web 2.0, include a wide range of web-related communication tools such as blogs, wikis, online social networking, virtual worlds, and other social media platforms. The phrase "new media" refers to computational media that share material online and through computers. New media inspire new ways of thinking about older media. Media do not replace one another in a clear, linear succession, instead evolving in a more complicated network of interconnected feedback loops . What is different about new media is how they specifically refashion traditional media and how older media refashion themselves to meet the challenges of new media. Unless they contain technologies that enable digital generative or interactive processes, broadcast television programs, non-interactive news websites, feature films, magazines, and books are not considered to be new media. The term "new media" stands in contrast to old media, which dominated the media landscape as a form of mass media for many years. == History == In the 1950s, connections between computing and radical art began to grow stronger. It was not until the 1980s that Alan Kay and his co-workers at Xerox PARC began to give the computability of a personal computer to the individual, rather than have a big organization be in charge of this. In the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually, it makes sense that the Cold War and the design of the Web took place at exactly the same time. Writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period which is now famous declaration in Understanding Media: The Extensions of Man, that "the medium is the message" drew attention to the too often ignored influence media and technology themselves, rather than their "content," have on humans' experience of the world and on society broadly. Until the 1980s, media relied primarily upon print and analog broadcast models such as television and radio. The last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies such as the Internet and video games. However, these examples are only a small representation of new media. The use of digital computers has transformed the remaining 'old' media, as suggested by the advent of digital television and online publications. Even traditional media forms such as the printing press have been transformed through the application of technologies by using of image manipulation software like Adobe Photoshop and desktop publishing tools. Andrew L. Shapiro argues that the "emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources". W. Russell Neuman suggests that whilst the "new media" have technical capabilities to pull in one direction, economic and social forces pull back in the opposite direction. According to Neuman, "We are witnessing the evolution of a universal interconnected network of audio, video, and electronic text communications that will blur the distinction between interpersonal and mass communication; and between public and private communication". Neuman argues that new media will: Alter the meaning of geographic distance. Allow for a huge increase in the volume of communication. Provide the possibility of increasing the speed of communication. Provide opportunities for interactive communication. Allow forms of communication that were previously separate to overlap and interconnect. Consequently, it has been the contention of scholars such as Douglas Kellner and James Bohman that new media and particularly the Internet will provide the potential for a democratic postmodern public sphere, in which citizens can participate in well informed, non-hierarchical debate pertaining to their social structures. Contradicting these positive appraisals of the potential social impacts of new media are scholars such as Edward S. Herman and Robert McChesney who have suggested that the transition to new media has seen a handful of powerful transnational telecommunications corporations who achieve a level of global influence which was hitherto unimaginable. Scholars have highlighted both the positive and negative potential and actual implications of new media technologies, suggesting that some of the early work in new media studies was guilty of technologicaldeterminism – whereby the effects of media were determined by the technologies themselves, rather than by tracing the complex social networks that governed the development, funding, implementation, and future evolution of any technology. Based on the argument that people have a limited amount of time to spend on the consumption of different media, displacement theory argue that the viewership or readership of one particular outlet leads to the reduction in the amount of time spent by the individual on another. The introduction of new media, such as the internet, therefore reduces the amount of time individuals would spend on existing "old" media, which could ultimately lead to the end of such traditional media. == Definition == Although, there are several ways that new media may be described, Lev Manovich, in an introduction to The New Media Reader, defines new media by using eight propositions: New media versus cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas new media is concerned more with cultural objects and paradigms (digital to analog television, smartphones). New media as computer technology used as a distribution platform – New media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers. New media as digital data controlled by software – The language of new media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc. New media as the mix between existing cultural conventions and the conventions of software – New media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation. New media as the aesthetics that accompanies the early stage of every new modern media and communication technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period. New media as faster execution of algorithms previously executed manually or through other technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device. New media as the encoding of modernist avant-garde; new media as metamedia – Manovi

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  • Web Intents

    Web Intents

    Web Intents was an experimental framework for web-based inter-application communication and service discovery. Web Intents consists of a discovery mechanism and a very light-weight RPC system between web applications, modelled after the Intents system in Android. In the context of the framework an Intent equals an action to be performed by a provider. Web Intents allow two web applications to communicate with each other, without either of them having to actually know what the other one is. == Support == === Client === Google Chrome versions 18 to 23 natively supported Web Intents. This support was disabled in version 24, citing the existence of a "number of areas for development in both the API and specific user experience in Chrome". There is a JavaScript shim with support for IE 8, IE 9, Opera, Safari, Firefox 3+ and Chrome 3+. === Server === There are some Web Intents proxy pages that make available some real services that don't yet support intents. AddThis supports Web Intents by their sharing tools regardless of browser support. == History == Paul Kinlan of Google announced the Web Intents project in December 2010. He soon released a prototype API to GitHub. In August 2011 Google announced that Chrome would support Web Intents. Google and Mozilla have started co-operating to unify Web Intents and Mozilla's Web Activities (which tries to solve the same problem) into one proposal. In November 2012, Greg Billock of Google announced that experimental support of Web Intents had been removed from Chrome.

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  • Front-end web development

    Front-end web development

    Front-end web development is the development of the graphical user interface of a website through the use of HTML, CSS, and JavaScript so users can view and interact with that website. == Tools used for front-end development == There are several tools and platforms, such as WordPress, Joomla, and Drupal, available that can be used to develop the front end of a website. === HyperText Markup Language === HyperText Markup Language (HTML) is the modern standard for displaying and structuring web content across the internet. HTML defines what elements will be displayed on a website, and how they will be arranged. All major web browsers are designed to interpret HTML, and most modern websites serve HTML to the user. Hypertext is text displayed on a computer with references to other text, these references (or links,) are termed "hyperlinks." When an internet user interacts with a hyperlinked item, the website serves the user the linked data. This data can be another HTML web-page, JavaScript, or anything else. The latest major release of HTML is HTML5, originally published on October 28, 2014 as a W3C recommendation. A web page may be developed to include many markup tags. For each pair of markup tag normally starts with a Start tag and ends with a matching end tag. The text in between the Start tag and the End tag is called an HTML Element. [1] === Cascading Style Sheets === Cascading Style Sheets (CSS) control the presentation and style of a website. CSS uses a cascading system to resolve style conflicts by applying style rules based on specificity, inheritance, and importance. Media queries allow for adjustments to the site's layout and appearance depending on factors such as screen size and resolution. CSS can be applied in three ways: external stylesheets linked in an HTML file, internal