AI Generator Video Free Online

AI Generator Video Free Online — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Clone tool

    Clone tool

    The clone tool, as it is known in Adobe Photoshop, Inkscape, GIMP, and Corel PhotoPaint, is used in digital image editing to replace information for one part of a picture with information from another part. In other image editing software, its equivalent is sometimes called a rubber stamp tool or a clone brush. == Applications == The clone tool can remove objects by copying a nearby background. The user selects a matching location as the source, then paints over the element to be hidden. A typical use for the tool is in object removal – more colloquially, "airbrushing" or "photoshopping" out an unwanted part of the image. If a part of an image is removed simply by cutting it out, then a hole is left in the background. The Clone tool can fill in this hole convincingly with a copy of the existing background from elsewhere in the image. A common use for this tool is to retouch skin, particularly in portraits, to remove blemishes and make skin tones more even. Cloning can also be used to remove other unwanted elements, such as telephone wires, an unwanted bird in the sky, and the like. A more automated method of object removal uses texture synthesis to fill in gaps. Of these, patch-based texture synthesis or "image quilting" is essentially an automated application of the clone tool, choosing the optimal source area so as to patch over with a minimal seam. In some cases, the undesired object is mixed with the remainder of the image, and a simple circular brush, even with feathering, would not work. For these cases, some programs allow an object to be selected by color/outline so other areas are not affected. Other programs allow edge/color sensitive brushes to deal with such objects. == Healing tool == A similar tool is the healing tool, which occurs in variants such as the healing brush or spot healing tool. These incorporate the existing texture, rather than painting it over.

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  • Deluxe Media

    Deluxe Media

    Deluxe Media Inc., also known simply as Deluxe and formerly Deluxe Entertainment Services Group, Inc., is an American multinational multimedia and entertainment service provisions company owned by Platinum Equity, founded in 1915 by Hungarian-born American film producer William Fox and headquartered in Burbank, California. The company services multiple clients in the film, television, digital content and advertising industries across the globe, and has been recognized with 10 Academy Awards for scientific and technical achievements, including developments in CinemaScope pictures (as part of 20th Century Fox) and more recently for a process of creating archival separations from digital image data. == History == Deluxe began as a film processing laboratory established in 1915 by William Fox under the name De Luxe as part of his eponymous film conglomerate corporation in Fort Lee, New Jersey. In 1916, Fox Film Corporation opened its studio in Hollywood on 13 acres at Sunset and Western. The first Deluxe film laboratory on the west coast was built on the south side of the lot (Fernwood and Serrano), and the laboratory was moved to the new Fox studios building on Manhattan's west side in 1919, where it remained for over 40 years. The "business manager" (later president) of the laboratory was Alan E. Freedman, who guided the company into the 1960s. In 1927, Fox (Deluxe) received a patent for sound-on-film, the Fox Movietone system. In 1927, "Sunrise: A Song of Two Humans," an early Movietone film, opened. Fox Movietone News, ran weekly in theaters until 1963. During the Great Depression, Fox Film Corporation encountered financial difficulties. Among the actions taken to maintain liquidity, Fox sold the laboratories in 1932 to Freedman, who renamed the operation Deluxe. Under Freedman's leadership, Deluxe added two more plants in Chicago and Toronto. In January 1934, Fox was granted an option to rebuy DeLuxe before December 31, 1938. On 31 May 1935, under Sidney Kent, Fox merged his film company with Twentieth Century Pictures to form The Twentieth Century-Fox Film Corporation following a bank-infused reorganisation. The merged company then exercised this option in July 1936, with Freedman remaining as president. In 1953, Deluxe developed the widescreen format CinemaScope. Titles included "There's No Business Like Show Business" (1954) and "The Seven Year Itch" (1955). Other innovations included the processing and sound striping of CinemaScope, and were patented and/or received Academy awards. In 1962 Freedman retired. In the 1960s, Deluxe closed its New York plant, followed by its plants in Chicago and Toronto, as motion picture production declined on the East Coast. In 1972, Deluxe began large volume videocassette production, with a billion by 1996. In 1990, The Rank Organisation acquired Deluxe from Fox. In 2000, Deluxe began large volume DVD production. In 2006, The Rank Organisation sold Deluxe Film Group to MacAndrews & Forbes, renamed Deluxe Entertainment Services Group. On 9 February 2012, Deluxe acquired Hong Kong–based visual effects and post-production company, Centro Digital Pictures, with its founder John Chu remaining as president while reporting to Alaric McAusland, managing director for Deluxe in Australia. In May 2014, Deluxe shut down its Los Angeles plant at Sunset & Western Studios complex, where other studios themselves were demolished way back in 1971. Also that same year, Deluxe closed the Hollywood film labs, and they gave thousands of orphaned film elements to the Academy Film Archive. The Deluxe Laboratories Collection at the Academy Film Archive consists of over 7,500 35mm and 16mm film elements of various motion pictures dating back to the early 1960s. On 22 April 2015, Deluxe and its longtime competitor, Technicolor S.A., announced that they had entered into a binding agreement to create a new joint venture known as Deluxe Technicolor Digital Cinema which will specialize in cinema mastering, distribution and management services. Deluxe got acquired on 4 September 2019 by creditors in a debt-for-equity swap to avoid bankruptcy. On 3 October 2019, Deluxe filed for bankruptcy, pending in the Southern District of New York. The same month on the 24th, the company received court approval to emerge from bankruptcy with a comprehensive restructuring plan. On July 1, 2020, Platinum Equity agreed to acquire the distribution division of Deluxe and re-unite with former CEO Cyril Drabinsky who would merge CineVizion, a film distribution company he founded after leaving Deluxe in 2016, into it. The companies Company 3 and Method Studios which formed the creative divisions of Deluxe were sold to Framestore in November 2020.

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  • Facebook Platform

    Facebook Platform

    The Facebook Platform is the set of services, tools, and products provided by the social networking service Facebook for third-party developers to create their own applications and services that access data in Facebook. The current Facebook Platform was launched in 2010. The platform offers a set of programming interfaces and tools which enable developers to integrate with the open "social graph" of personal relations and other things like songs, places, and Facebook pages. Applications on facebook.com, external websites, and devices are all allowed to access the graph. == History == Facebook launched the Facebook Platform on May 24, 2007, providing a framework for software developers to create applications that interact with core Facebook features. A markup language called Facebook Markup Language was introduced simultaneously; it is used to customize the "look and feel" of applications that developers create. Prior to the Facebook platform, Facebook had built many applications themselves within the Facebook website, including Gifts, allowing users to send virtual gifts to each other, Marketplace, allowing users to post free classified ads, Facebook events, giving users a method of informing their friends about upcoming events, Video, letting users share homemade videos with one another, and social network game, where users can use their connections to friends to help them advance in games they are playing. The Facebook Platform made it possible for outside partners to build similar applications. Many of the popular early social network games would combine capabilities. For instance, one of the early games to reach the top application spot, (Lil) Green Patch, combined virtual Gifts with Event notifications to friends and contributions to charities through Causes. Third-party companies provide application metrics, and several blogs arose in response to the clamor for Facebook applications. On July 4, 2007, Altura Ventures announced the "Altura 1 Facebook Investment Fund," becoming the world's first Facebook-only venture capital firm. On August 29, 2007, Facebook changed the way in which the popularity of applications is measured, to give attention to the more engaging applications, following criticism that ranking applications only by the number of people who had installed the application was giving an advantage to the highly viral, yet useless applications. Tech blog Valleywag has criticized Facebook Applications, labeling them a "cornucopia of uselessness." Others have called for limiting third-party applications so the Facebook user experience is not degraded. Applications that have been created on the Platform include chess, which both allow users to play games with their friends. In such games, a user's moves are saved on the website, allowing the next move to be made at any time rather than immediately after the previous move. By November 3, 2007, seven thousand applications had been developed on the Facebook Platform, with another hundred created every day. By the second annual f8 developers conference on July 23, 2008, the number of applications had grown to 33,000, and the number of registered developers had exceeded 400,000. Within a few months of launching the Facebook Platform, issues arose regarding "application spam", which involves Facebook applications "spamming" users to request it be installed. Facebook integration was announced for the Xbox 360 and Nintendo DSi on June 1, 2009 at E3. On November 18, 2009, Sony announced an integration with Facebook to deliver the first phase of a variety of new features to further connect and enhance the online social experiences of PlayStation 3. On February 2, 2010, Facebook announced the release of HipHop for PHP as an opensource project. Mark Zuckerberg said that his team from Facebook is developing a Facebook search engine. “Facebook is pretty well placed to respond to people’s questions. At some point, we will. We have a team that is working on it", said Mark Zuckerberg. For him, the traditional search engines return too many results that do not necessarily respond to questions. “The search engines really need to evolve a set of answers: 'I have a specific question, answer this question for me.'" On June 10, 2014, Facebook announced Haxl, a Haskell library that simplified the access to remote data, such as databases or web-based services. === Partnerships with device manufacturers === Starting in 2007, Facebook formed data sharing partnerships with at least 60 handset manufacturers, including Apple, Amazon, BlackBerry, Microsoft and Samsung. Those manufacturers were provided with Facebook user data without the users' consent. Most of the partnerships remained in place as of 2018, when the partnerships were first publicly reported. == High-level Platform components == === Graph API === The Graph API is the core of Facebook Platform, enabling developers to read from and write data into Facebook. The Graph API presents a simple, consistent view of the Facebook social graph, uniformly representing objects in the graph (e.g., people, photos, events, and pages) and the connections between them (e.g., friend relationships, shared content, and photo tags). On April 30, 2015, Facebook shut down friends' data API prior to the v2.0 release. === Authentication === Facebook authentication enables developers’ applications to interact with the Graph API on behalf of Facebook users, and it provides a single-sign on mechanism across web, mobile, and desktop apps. ==== Facebook Connect ==== Facebook Connect, also called Log in with Facebook, like OpenID, is a set of authentication APIs from Facebook that developers can use to help their users connect and share with such users' Facebook friends (on and off Facebook) and increase engagement for their website or application. When so used, Facebook members can log on to third-party websites, applications, mobile devices and gaming systems with their Facebook identity and, while logged in, can connect with friends via these media and post information and updates to their Facebook profile. Originally unveiled during Facebook's developer conference, F8, in July 2008, Log in with Facebook became generally available in December 2008. According to an article from The New York Times, "Some say the services are representative of surprising new thinking in Silicon Valley. Instead of trying to hoard information about their users, the Internet companies (including Facebook, Google, MySpace and Twitter) all share at least some of that data so people do not have to enter the same identifying information again and again on different sites." Log in with Facebook cannot be used by users in locations that cannot access Facebook, even if the third-party site is otherwise accessible from that location. According to Facebook, users who logged into The Huffington Post with Facebook spent more time on the site than the average user. === Social plugins === Social plugins – including the Like Button, Recommendations, and Activity Feed – enable developers to provide social experiences to their users with just a few lines of HTML. All social plugins are extensions of Facebook and are designed so that no user data is shared with the sites on which they appear. On the other hand, the social plugins let Facebook track its users’ browsing habits through any sites that feature the plugins. === Open Graph protocol === The Open Graph protocol enables developers to integrate their pages into Facebook's global mapping/tracking tool Social Graph. These pages gain the functionality of other graph objects including profile links and stream updates for connected users. OpenGraph tags in HTML5 might look like this: === iframes === Facebook uses iframes to allow third-party developers to create applications that are hosted separately from Facebook, but operate within a Facebook session and are accessed through a user's profile. Since iframes essentially nest independent websites within a Facebook session, their content is distinct from Facebook formatting. Facebook originally used 'Facebook Markup Language (FBML)' to allow Facebook Application developers to customize the "look and feel" of their applications, to a limited extent. FBML is a specification of how to encode content so that Facebook's servers can read and publish it, which is needed in the Facebook-specific feed so that Facebook's system can properly parse content and publish it as specified. FBML set by any application is cached by Facebook until a subsequent API call replaces it. Facebook also offers a specialized Facebook JavaScript (FBJS) library. Facebook stopped accepting new FBML applications on March 18, 2011, but continued to support existing FBML tabs and applications. Since January 1, 2012 FBML was no longer supported, and FBML no longer functioned as of June 1, 2012. === Microformats === In February 2011, Facebook began to use the hCalendar microformat to mark up events, and the hCard for the events' venues,

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  • MIDI Show Control

    MIDI Show Control

    MIDI Show Control (MSC), is a real-time System Exclusive extension of the international Musical Instrument Digital Interface (MIDI) standard. MSC enables all types of entertainment equipment to communicate with each other through the process of show control. The MIDI Show Control protocol is a technical standard ratified by the MIDI Manufacturers Association in 1991, which allows entertainment control devices to talk with each other and with computers to perform show control functions in live and prerecorded entertainment applications. Just like musical MIDI, MSC does not transmit the actual show media - it simply transmits digital information about a multimedia performance. == How MSC works == When any cue is called by a user (typically a stage manager) and/or preprogrammed timeline in a show control software application, the show controller transmits one or more MSC messages from its 'MIDI Out' port. A typical MSC message sequence is: the user has just called a cue the cue is for lighting device 3 the cue is number 45.8 the cue is in cue list 7 MSC messages are serially transmitted in the same way as musical messages and are fully compatible with all conventional MIDI hardware; however, many modern MSC devices now use Ethernet communications for higher bandwidth and the flexibility afforded by networks. Other performance parameters are also transmitted, such as lighting desk submaster settings using MSC SET messages. All cues that a media control device is capable of playing are assigned MSC messages within the Show Controller's cue list and they are transmitted from its MIDI Out port at the appropriate show time, depending on the actions of the user and the show controller's internally timed sequences. All MSC-compatible instruments follow the MSC specification and thus transmit identical MSC messages for identical MSC events, such as the playing of a certain cue on the media controller. Since they follow a published standard, all MSC devices can communicate with and understand each other, as well as with computers that have been programmed to understand MSC messages using the MSC Command Set. All MSC compatible instruments have a built-in MIDI interface and many now follow one of the various MIDI-over-Ethernet protocols. == History == To create the MSC spec, Charlie Richmond headed the USITT MIDI Forum on their Callboard Network in 1990, which included developers and designers from the theatre sound and lighting industry from around the world. It is believed that this was the first international standard to be developed without a single physical meeting of the participants. This Forum created the MSC standard between January and September 1990. This was ratified by the MIDI Manufacturers Association (MMA) in January 1991, and the Japan MIDI Standards Committee (JMSC) later that year, becoming a part of the standard MIDI specification in August 1991. The first show to fully use the MSC specification was the Magic Kingdom Parade at Walt Disney World's Magic Kingdom in September 1991. == MIDI Show Control software ==

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  • Chai AI

    Chai AI

    Chai AI (also known as Chai Research) is an American artificial intelligence (AI) company that operates a chatbot platform where users can create, share, and interact with character-based chatbots powered by large language models (LLMs). The company is headquartered in Palo Alto, California. == History == Chai was founded in 2021 by William Beauchamp, a former quantitative trader educated at Cambridge, who began developing the initial prototype in 2020 in Cambridge, England. The company launched in 2021 and relocated to Palo Alto in 2022. In June 2023, Chai raised US$2 million in a pre-seed funding round. In September 2023, GPU cloud provider CoreWeave invested in the company at a valuation of US$450 million. In January 2024, Chai Research reported a $450 million valuation following an investment from cloud computing provider CoreWeave. In July 2024, authorities in Belgium launched an investigation into the company following reports of a man dying by suicide following extensive chats on the Chai app. == Reception == In 2025, Chai Research announced that their app had over 10 million downloads and 1 million daily active users. In 2022, Canadian writer Sheila Heti published her conversations with various chatbots in The Paris Review, including Chai AI chatbots, and later used Chai AI chatbots in the development of a novel. Heti said that she had found that Chai's default chatbot, Eliza, "had turned out to be like most of the other bots on the site—primarily interested in sex". In January 2026, CHAI introduced country-based blocks on its free, ad-supported tier, initially providing the community with little information and inaccurate lists of the affected countries. Users in "Low tier" regions are required to subscribe to use the app in any capacity, while "High tier" regions will retain free ad-supported access. In response to backlash, the company announced a "Basic" tier with unlimited messages and ads, intended to cover electricity and infrastructure costs. In February 2026, CHAI was criticized for the unannounced implementation of restrictive "token limits" that abruptly blocked messages and froze conversations for both free and paid subscribers. Users generating long responses or utilizing roleplay features found their quotas exhausted within minutes, resulting in lockouts lasting anywhere from a few hours to a week. == Technology == Chai allows users to create characters and interact with chatbot versions of those characters. These chatbots use the open-source large language model (LLM) GPT-J originally developed by EleutherAI. Chai AI chatbots can be shared on the platform for other users to interact with.

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  • Virtual Print Fee

    Virtual Print Fee

    Virtual Print Fee (VPF) is a subsidy paid by a film distributor towards the purchase of digital cinema projection equipment for use by a film exhibitor in the presentation of first release motion pictures. The subsidy is paid in the form of a fee per booking of a movie, intended to match the savings that occurs by not shipping a film print. The model is designed to help redistribute the savings realized by studios when using digital distribution instead of film print distribution and is intended to vanish when the transition phase is over when the vast majority of cinemas screens are equipped. == History == The first public demonstration of digital projection for cinema took place at ShoWest in 1999, and it was readily apparent that the technology was further ahead than the business model. Early technology presentations attempted to claim that the technology would pay for itself through new revenues generated by new forms of content. But exhibitors knew their audience, and could see that digital projection was only a replacement technology, creating new financial liabilities, and not new revenue. It wasn’t until the rollout of digital 3-D years later in 2005 that digital projection demonstrated that it could be used to generate additional revenue. The economics were challenging. Film projectors and platters cost in the neighborhood of US$30,000, while early digital projectors cost up to US$150,000. Further, film projectors had a lifetime of 30 years with relatively small annual expenditures in maintenance and replacement parts. On the other hand, exhibitors felt they would be lucky to get 10 years of service from a digital projector, after which there would have to be a refresh in capital expenditure. Meanwhile, distributors would realize significant savings by eliminating the high cost of film prints with corresponding shipping costs, and instead distributing digital files either by satellite or hard drive. The Virtual Print Fee was designed to better balance savings and expenditures for both exhibitors and distributors. It is intended to primarily assist in the replacement of film projectors, and not assist in the purchase of new projection equipment for new construction. To give confidence to financial institutions that digital cinema technology was stable and worthy of investment, Digital Cinema Initiatives was created in 2002, resulting in the release of the first version of the DCI Digital Cinema System Specification in 2005. The DCI Specification continues to be the core specification for digital cinema, establishing the baseline technology and system requirements for which studios will release digital movies. The first set of VPF agreements executed with four major studios were announced by Christie/AIX in November 2005. Christie/AIX at that time was a subsidiary of Access Integrated Technology, now renamed Cinedigm Digital Cinema Corp. The agreements were for the rollout of digital cinema technology to 4000 screens. Since that time, numerous other Digital Cinema Deployment Agreements have been executed around the world, allowing exhibitors in nearly every territory to benefit from VPF subsidies in the conversion from film projection to digital projection.

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  • BitClout

    BitClout

    BitClout was an open source blockchain-based social media platform. On the platform, users could post short-form writings and photos, award money to posts they particularly like by clicking a diamond icon, as well as buy and sell "creator coins" (personalized tokens whose value depends on people's reputations). BitClout ran on a custom proof of work blockchain, and was a prototype of what can be built on DeSo (short for "Decentralized Social"). BitClout's founder and primary leader is Nader al-Naji, known pseudonymously as "Diamondhands". Under development since 2019, BitClout's blockchain created its first block in January 2021, and BitClout itself launched publicly in March 2021. The platform launched with 15,000 "reserved" accounts — a move intended to prevent impersonation, but which backfired as some people with reserved accounts tried to actively distance themselves. Later, in September 2021, BitClout was revealed to be the flagship product of the DeSo blockchain. == History == === Origins (2019 - March 2021) === In early 2019, Nader al-Naji became interested in "mixing investing and social media". He started creating a custom blockchain in May 2019, but didn't tell anyone else until November 2020. However, in the fall of 2020, al-Naji pitched BitClout's own investors under his real name and began posting job listings for a "new operation". Although BitClout was not originally intended to launch until mid-2021, its development was sped up due to "zeitgeist about decentralized social media" in January 2021. BitClout's first block was mined on 18 January 2021. Its next block was mined on 1 March 2021. === As BitClout (March - September 2021) === In early March 2021, about fifty investors received links to a password-protected website with the BitClout white paper. They were encouraged to explore the site and send the same link to "two or three other 'trusted contacts'". Within weeks users were spending millions of dollars per day on the platform. The platform's founders said they were "completely unprepared", having planned to have a "soft-launch". The leader went by the name "diamondhands" on the platform. On 24 March 2021, BitClout launched out of private beta. Investors include Sequoia Capital, Andreessen Horowitz, the venture capital firm Social Capital, Coinbase Ventures, Winklevoss Capital Management, Alexis Ohanian, Polychain, Pantera, and Digital Currency Group (CoinDesk's parent company). During its initial launch, BitClout's currency could be bought with bitcoin, but not sold except on Discord servers or Twitter threads. A single bitcoin wallet related to BitClout received more than $165M worth of deposits. In March 2021, law firm Anderson Kill P.C. sent Nader al-Naji, the presumed leader of the BitClout platform, a cease-and-desist letter, demanding the removal of Brandon Curtis's account and alleging that BitClout violated sections 1798 and 3344 of the California Civil Code by using Curtis's name and likeness without his consent. Curtis also tweeted, "Adopting Bitcoin's aesthetic to raise VC funding to carry out unethical and blatantly illegal schemes like BitClout: not cool". (However, Curtis's coin, despite not being listed on the official website, can still be bought by users searching for the original username.) Additionally, in April 2021, Lee Hsien Loong asked for his name and photograph to be removed from the site, stating that he has "nothing to do with the platform" and that "it is misleading and done without [his] permission". On 18 May 2021, diamondhands announced that 100% of the BitClout code went public. On 12 June 2021, the supply of BitClout was capped at around 11 million coins. On 18 July 2021, BitClout added the ability for users to mint and purchase NFTs within the platform. === As part of DeSo (September 2021 - July 2024) === On 21 September 2021, it was revealed that BitClout was a prototype built on DeSo, short for "Decentralized Social". As a part of this revelation, diamondhands confirmed his identity as Nader al-Naji. (As early as April 2021, it had been believed that diamondhands indeed was that person.)The Bitclout project raised $200M in funding, which went to setting up the DeSo Foundation. === End and aftermath (July 2024 - present) === In July 2024, al-Naji was arrested by the FBI and charged with wire fraud involving BitClout. He also faced civil charges of securities fraud and unregistered offers and sales of securities from the Securities and Exchange Commission. In response, the official "deso" account posted that al-Naji was "safe and at home" and "that this experience has only reinforced [his] commitment to DeSo". In February 2025, the Justice Department dropped its case against al-Naji. In March 2026, the SEC voluntarily dismissed the enforcement case with prejudice. == Design == BitClout is a social media platform. Its users can post short-form writings and photos (similarly to Twitter). They can award money to posts they particularly like by clicking a diamond icon (similarly to Twitch Bits). The prices of each account's "creator coin" goes up and down with the popularity of the celebrity behind it. For example, if someone says something negative, the value of their corresponding account may go down. This price is computed automatically according to the formula p r i c e _ i n _ b i t c l o u t = .003 ∗ c r e a t o r _ c o i n s _ i n _ c i r c u l a t i o n 2 {\displaystyle price\_in\_bitclout=.003creator\_coins\_in\_circulation^{2}} . At launch time, BitClout scraped 15,000 profiles of celebrities from Twitter to create "reserved" accounts in their names. To claim a reserved account, the account holder would need to tweet about it (which also serves as a marketing strategy). At least 80 such reserved profiles have been claimed. Proof of stake was introduced in March 2024.

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  • Electric Literature

    Electric Literature

    Electric Literature is an American literary magazine. == History == Founded by Andy Hunter and Scott Lindenbaum in 2009 as a print quarterly journal, Electric Literature transitioned to a daily website in 2012 under the helm of Halimah Marcus and Benjamin Samuel. Electric Literature publishes essays, reading lists, interviews, fiction, poetry, graphic narratives, humor, and book news, all available to read online for free without a paywall. It launched the first fiction magazine on the iPhone and iPad. Work published has been recognized by Best American Short Stories, Essays, Poetry, and Comics, the Pushcart Prize, Best Canadian Short Stories, The Best of the Small Presses, and the O. Henry Prize. in 2014, Electric Literature became a registered non-profit. In 2016, Halimah Marcus was appointed the first executive director of Electric Literature. She has been with the magazine since 2010. In 2021, Denne Michele Norris became editor-in-chief of Electric Literature, the first Black and openly trans editor-in-chief of a major U.S. literary publication. In 2022, Electric Literature was the Digital Prize Winner of the Whiting Literary Magazine Prizes. In 2023, Electric Literature partnered with Banned Books USA to offer free banned and challenged books to residents of Florida. In 2025, Electric Literature published their first book, edited by Norris and published by HarperOne: Both/And: Essays by Trans and Gender-Nonconforming Writers of Color. It builds on a prior essay series that Electric Literature sponsored for trans writers of color. Both/And became a finalist for the 2026 Lambda Literary Award for Transgender Nonfiction. == Recommended reading == In May 2012, Electric Literature launched Recommended Reading, a weekly fiction magazine. Each issue is curated by a well known editor or writer. == The Commuter == The Commuter, a weekly magazine for poetry, flash, graphic, or experimental narrative, debuted in January 2018, helmed by writer Kelly Luce.

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  • MobileNet

    MobileNet

    MobileNet is a family of convolutional neural network (CNN) architectures designed for image classification, object detection, and other computer vision tasks. They are designed for small size, low latency, and low power consumption, making them suitable for on-device inference and edge computing on resource-constrained devices like mobile phones and embedded systems. They were originally designed to be run efficiently on mobile devices with TensorFlow Lite. The need for efficient deep learning models on mobile devices led researchers at Google to develop MobileNet. As of June 2025, the family has five versions, each improving upon the previous one in terms of performance and efficiency. == Features == === V1 === MobileNetV1 was published in April 2017. Its main architectural innovation was incorporation of depthwise separable convolutions. It was first developed by Laurent Sifre during an internship at Google Brain in 2013 as an architectural variation on AlexNet to improve convergence speed and model size. The depthwise separable convolution decomposes a single standard convolution into two convolutions: a depthwise convolution that filters each input channel independently and a pointwise convolution ( 1 × 1 {\displaystyle 1\times 1} convolution) that combines the outputs of the depthwise convolution. This factorization significantly reduces computational cost. The MobileNetV1 has two hyperparameters: a width multiplier α {\displaystyle \alpha } that controls the number of channels in each layer. Smaller values of α {\displaystyle \alpha } lead to smaller and faster models, but at the cost of reduced accuracy, and a resolution multiplier ρ {\displaystyle \rho } , which controls the input resolution of the images. Lower resolutions result in faster processing but potentially lower accuracy. === V2 === MobileNetV2 was published in March 2019. It uses inverted residual layers and linear bottlenecks. Inverted residuals modify the traditional residual block structure. Instead of compressing the input channels before the depthwise convolution, they expand them. This expansion is followed by a 1 × 1 {\displaystyle 1\times 1} depthwise convolution and then a 1 × 1 {\displaystyle 1\times 1} projection layer that reduces the number of channels back down. This inverted structure helps to maintain representational capacity by allowing the depthwise convolution to operate on a higher-dimensional feature space, thus preserving more information flow during the convolutional process. Linear bottlenecks removes the typical ReLU activation function in the projection layers. This was rationalized by arguing that that nonlinear activation loses information in lower-dimensional spaces, which is problematic when the number of channels is already small. === V3 === MobileNetV3 was published in 2019. The publication included MobileNetV3-Small, MobileNetV3-Large, and MobileNetEdgeTPU (optimized for Pixel 4). They were found by a form of neural architecture search (NAS) that takes mobile latency into account, to achieve good trade-off between accuracy and latency. It used piecewise-linear approximations of swish and sigmoid activation functions (which they called "h-swish" and "h-sigmoid"), squeeze-and-excitation modules, and the inverted bottlenecks of MobileNetV2. === V4 === MobileNetV4 was published in September 2024. The publication included a large number of architectures found by NAS. Inspired by Vision Transformers, the V4 series included multi-query attention. It also unified both inverted residual and inverted bottleneck from the V3 series with the "universal inverted bottleneck", which includes these two as special cases. === V5 === MobileNetV5's architecture was published shortly after the release of Gemma 3n in June 2025. While the announcement stated a technical report on MobileNetV5 would be available soon, this has not yet materialised. The network is 10 times larger than the largest V4 variant.

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  • Hardware compatibility list

    Hardware compatibility list

    A hardware compatibility list (HCL) is a list of computer hardware (typically including many types of peripheral devices) that is compatible with a particular operating system or device management software. The list contains both whole computer systems and specific hardware elements including motherboards, sound cards, and video cards. In today's world, there is a vast amount of computer hardware in circulation, and many operating systems too. A hardware compatibility list is a database of hardware models and their compatibility with a certain operating system. HCLs can be centrally controlled (one person or team keeps the list of hardware maintained) or user-driven (users submit reviews on hardware they have used). There are many HCLs. Usually, each operating system will have an official HCL on its website.

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  • Visopsys

    Visopsys

    Visopsys (Visual Operating System), is an operating system, written by Andy McLaughlin. Development of the operating system began in 1997. The operating system is licensed under the GNU GPL, with the headers and libraries under the less restrictive LGPL license. It runs on the 32-bit IA-32 architecture. It features a multitasking kernel, supports asynchronous I/O and the FAT line of file systems. It requires a Pentium processor. == History == The development of Visopsys began in 1997, being written by Andy McLaughlin. The first public release of the Operating System was on 2 March 2001, with version 0.1. In this release, Visopsys was a 32 bit operating system, supporting preemptive multitasking and virtual memory. == System overview == Visopsys uses a monolithic kernel, written in the C programming language, with elements of assembly language for certain interactions with the hardware. The operating system supports a graphical user interface, with a small C library.

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  • Digital divide

    Digital divide

    Digital divide is inequitable access to and use of digital technology, encompassing four interrelated dimensions: motivational, material, skills, and usage access. The digital divide worsens inequality in access to information and resources. According to 2026 data from the U.S. Census Bureau, a significant 'digital divide' persists, with over 15.7 million Americans lacking access to high-speed broadband. Students from low-income households often face limited access to reliable internet and digital devices, which negatively affects their educational opportunities. In the Information Age, people without access to the Internet and other technology are at a disadvantage, for they are less able to connect with others, find and apply for jobs, shop, and learn. People living in poverty, in insecure housing or who are homeless, elderly people, and those living in rural communities may have limited access to the Internet; in contrast, urban middle class people have easy access to the Internet. Another divide is between producers and consumers of Internet content, which could be a result of educational disparities. While social media use varies across age groups, a US 2010 study reported no racial divide. == History == The historical roots of the digital divide in the United States refer to the increasing gap that occurred during the early modern period between those who could and could not access the real time forms of calculation, decision-making, and visualization offered via written and printed media. "Over time, focus has shifted from binary access to differentiated use, where quality and purpose of engagement vary across socio-economic groups." Within this context, ethical discussions regarding the relationship between education and the free distribution of information were raised by thinkers such as Immanuel Kant, Jean Jacques Rousseau, and Mary Wollstonecraft (1712–1778). The latter advocated that governments should intervene to ensure that any society's economic benefits should be fairly and meaningfully distributed. Amid the Industrial Revolution in Great Britain, Rousseau's idea helped to justify poor laws that created a safety net for those who were harmed by new forms of production. Later, when telegraph and postal systems evolved, many used Rousseau's ideas to argue for full access to those services, even if it meant subsidizing hard-to-serve citizens. Thus, "universal services" referred to innovations in regulation and taxation that would allow phone services such as AT&T in the United States to serve hard-to-serve rural users. In 1996, as telecommunications companies merged with Internet companies, the Federal Communications Commission adopted Telecommunications Act of 1996 to consider regulatory strategies and taxation policies to close the digital divide. Though the term "digital divide" was coined among consumer groups that sought to tax and regulate information and communications technology (ICeT) companies to close the digital divide, the topic soon moved onto a global stage. The focus was the World Trade Organization which passed the Telecommunications Services Act, which resisted regulation of ICT companies so that they would be required to serve hard-to-serve individuals and communities. In 1999, to assuage anti-globalization forces, the WTO hosted the "Financial Solutions to Digital Divide" in Seattle, US, co-organized by Craig Warren Smith of Digital Divide Institute and Bill Gates Sr. the chairman of the Bill and Melinda Gates Foundation. It catalyzed a full-scale global movement to close the digital divide, which quickly spread to all sectors of the global economy. In 2000, US president Bill Clinton mentioned the term in the State of the Union Address. Since the early 2000s, the international community has transitioned from a focus on domestic infrastructure to a global, multi-dimensional framework for digital equity. This shift was formalized through the World Summit on the Information Society (WSIS) in Geneva (2003) and Tunis (2005), where the International Telecommunication Union (ITU) established a roadmap for bridging the Global North-South disparity as part of the Sustainable Development Goals. Academic and policy discourse has since evolved to distinguish between the first-level divide (physical access), the second-level divide (digital literacy), and the third-level divide (the ability to translate technology use into socio-economic capital). By the 2020s, critical reflections on national development emphasized that the divide is fundamentally a socio-institutional gap. Research by Tiwari, Kostenko, and Yekhanurov (2025) identifies four pillars for achieving national digital maturity which are digital governance capacity, institutional design to prevent adverse digital incorporation, infrastructure resilience, and citizen capability. This modern era is characterized by the pursuit of meaningful connectivity, a standard that requires internet access to be not only available but affordable, high-speed, and supportive of active content creation. === During the COVID-19 pandemic === At the outset of the COVID-19 pandemic, governments worldwide issued stay-at-home orders that imposed lockdowns, quarantines, restrictions, and closures. The resulting interruptions to schooling, public services, and business operations drove nearly half of the world's population into seeking alternative methods to live while in isolation. These methods included telemedicine, virtual classrooms, online shopping, technology-based social interactions and working remotely, all of which require access to high-speed or broadband internet access and digital technologies. A Pew Research Centre study reports that 90% of Americans describe the use of the Internet as "essential" during the pandemic. The accelerated use of digital technologies created a landscape where the ability, or lack thereof, to access digital spaces became a crucial factor in everyday life. According to the Pew Research Center, 59% of children from lower-income families were likely to face digital obstacles in completing school assignments. These obstacles included the use of a cellphone to complete homework, having to use public Wi-Fi because of unreliable internet service in the home and lack of access to a computer in the home. This difficulty, titled the homework gap, affects more than 30% of K-12 students living below the poverty threshold, and disproportionally affects American Indian/Alaska Native, Black, and Hispanic students. These types of interruptions or privilege gaps in education exemplify problems in the systemic marginalization of historically oppressed individuals in primary education. The pandemic exposed inequity causing discrepancies in learning. "Large-scale events such as COVID-19 intensify both access and skills gaps, underlining the need for resilient digital inclusion policies. Studies during COVID-19 reveal first-level (access) and second-level (skills) divides, with underserved students struggling with reliable internet, devices, and platform navigation ” A lack of "tech readiness", that is, confident and independent use of devices, was reported among the US elderly population; with more than 50% reporting an inadequate knowledge of devices and more than one-third reporting a lack of confidence. "Older adults often face skills and confidence barriers, illustrating later-stage divides in van Dijk’s model." Moreover, according to a UN research paper, similar results can be found across various Asian countries, with those aged over 74, reporting less confident or inconsistent use of digital devices. This aspect of the digital divide and the elderly occurred during the pandemic as healthcare providers increasingly relied upon telemedicine to manage chronic and acute health conditions. == Aspects == There are various definitions of the digital divide, all with slightly different emphasis, which is evidenced by related concepts like digital inclusion, digital participation, digital skills, media literacy, and digital accessibility.“Van Dijk’s model identifies sequential barriers—motivational, material, skills, and usage—that must be addressed to bridge the divide.” === Infrastructure === The infrastructure by which individuals, households, businesses, and communities connect to the Internet addresses the physical mediums that people use to connect to the Internet such as desktop computers, laptops, basic mobile phones or smartphones, MP3 players, gaming consoles, electronic book readers, and tablets. Traditionally, the nature of the divide has been measured in terms of the existing numbers of subscriptions and digital devices. Given the increasing number of such devices, some have concluded that the digital divide among individuals has increasingly been closing as the result of a natural and almost automatic process. Others point to persistent lower levels of connectivity among women, racial and ethnic minorities, people with lower incomes, rura

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  • Paprika (app)

    Paprika (app)

    Paprika is an app and website that helps users organize recipes, produce meal plans, and create grocery lists. The app is available for Android, iOS, macOS, and Windows devices. == Overview == The app allows users to import recipes from various sources, including websites and other apps. The app also allows users to automatically generate meal plans, which are also customizable, in order to achieve specific objectives such as weight loss, muscle gain, adherence to various dietary preferences, or personal taste. The app is also capable of generating grocery lists based on the daily or weekly meal plans chosen by the user. All the recipes, menus, and grocery lists of each user are accessible from smartphones, tablets, and computers. The app is part of a broader category of mobile apps focused on meal planning, recipe management, and shopping list automation, which have grown in popularity with the expansion of smartphone usage and digital cooking tools. == History == Paprika Recipe Manager for iPad version 1.0 was initially released in September 2010 by Hindsight LLC. Paprika 2.0 was released for iPhone and iPad in November 2013, and Paprika 3.0 was released for iOS and macOS in November 2017. == Reception == Paprika has been featured in technology and lifestyle publications as a recipe management and meal planning application. Coverage has noted features such as importing recipes from websites, ingredient scaling, and cross-platform synchronization. The app has also appeared in lists of cooking and meal planning tools published by outlets including The Verge and The Kitchn.

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  • Personal media

    Personal media

    Personal media are media of communication which are used by an individual rather than by a corporation or institution. They are generally contrasted with mass media which are produced by teams of people and broadcast to a general population. In other words, personal media allow individuals, as opposed to corporate entities, to contribute knowledge and opinion to the public. The term dates from the 1980s. New technologies such as social media and self-publishing are creating a variety of modes for modern media. Marika Lüders suggests a two-dimensional model for classifying such media with one dimension being the degree of interaction between the senders and receivers; and the other dimension being the level of institutionalisation and professionalism. Katherine Nashleanas links the concept of personal media to the notion of 'control' by an individual as opposed to a centralised authority. She argues that although personal media including the fax have been available to the general public since the 1960s, more recent technologies such as the smartphone confer greater control over content production and distribution to their users.

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  • Web series

    Web series

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

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