AI Generator Xi Pics

AI Generator Xi Pics — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Olio (app)

Olio is a mobile app for sharing by giving away, getting, borrowing or lending things in your community for free, aiming to reduce household and food waste. It does this by connecting neighbours with spare food or household items to others nearby who wish to pick up those items. The food must be edible; it can be raw or cooked, sealed or open. Non-food items often listed on Olio include books, clothes and furniture. Those donating surplus food can be individuals or companies such as food retailers, restaurants, corporate canteens, food photographers etc., and donations can take place on an ad-hoc or recurrent basis. For example, some supermarket chains in the UK, including Tesco, the Midcounties Co-operative, Morrisons, Sainsbury's and Iceland have piloted Olio as an 'online food bank' to donate food and to reduce their waste. In March 2022, Olio partnered with Pandamart in Singapore. First launched in early 2015 by Tessa Clarke and Saasha Celestial-One, by October 2017 the company had raised $2.2 million in funding. Olio subsequently performed a series A funding round of $6 million in 2018 and a Series B of $43 million. Notable investors include Accel, Octopus Ventures and VNV Global. The Olio app had around 7 million registered users as of May 2023.
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Frictionless sharing

Frictionless sharing refers to the transparent or automatic dissemination of user activity across social media platforms, typically without requiring explicit action from the user each time content is shared. The concept gained prominence in 2011 after Mark Zuckerberg announced a series of new features for Facebook at the F8 developers conference, framing the changes as enabling “real-time serendipity in a friction-less experience.” == History and concept == Before 2011, the term “frictionless sharing” was occasionally used in academic and technical contexts to describe sharing of resources with minimal effort, such as through social bookmarking or Creative Commons licensing to reduce barriers to reuse of research data. The concept took on a broader cultural meaning when Facebook introduced its Timeline interface and new “social apps” in 2011. These features enabled third-party applications to automatically publish user activity to the platform—effectively shifting sharing from a deliberate act to a passive process. For example, integrating music streaming service Spotify meant that any song a user listened to could automatically appear in a Facebook “Ticker,” allowing friends to see the activity and click through to play the song themselves. == Zuckerberg’s vision == Zuckerberg articulated a vision of a Web in which sharing occurs by default rather than by choice: “You read, you watch, you listen, you buy—and everyone you know will hear all about it on Facebook.” This “frictionless” model assumes ongoing consent after an initial opt-in. Once users connect an app to their profile, any future activity with that app may be automatically shared. This shift from intentional posting to ambient sharing represented a significant evolution in how personal data is distributed online. == Criticism and debate == Many commentators and users have raised concerns about frictionless sharing. While some criticism centers on online privacy, others focus on how automatic updates can flood news feeds and erode the social value of sharing. Critics argue that when sharing becomes automatic, it dilutes the personal curation that makes social media exchanges meaningful. According to Slate, this approach risks “killing taste,” because users typically choose to share only select content they find worth highlighting, rather than everything they consume. AL.com similarly observed that the frictionless model encourages over-sharing, overwhelming both users and their networks with minor or trivial activities. For example, integrating multiple platforms—such as Twitter, Foursquare, Pinterest, Spotify, and others—can create an incessant stream of updates that some users may find intrusive or irritating. This can lead to what critics describe as “narcissistic” or noisy timelines, potentially undermining the “social” nature of social media. == Business model and data implications == For Facebook, frictionless sharing offers clear business advantages. More frequent and detailed sharing provides valuable data that can be used to refine targeted advertising and personalize content delivery. The model also encourages users to spend more time on the platform, reinforcing its position as a central hub of online social activity. Other technology companies have experimented with similar approaches. Google has introduced forms of cross-platform integration that facilitate automatic activity sharing, though with a more explicit opt-in structure compared to Facebook. This approach has been described as “friction with consent,” allowing users to manually enable or disable integrations on a per-service basis.
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Hype (marketing)

Hype in marketing is a strategy of using extreme publicity. Hype as a modern marketing strategy is closely associated with social media. Marketing through hype often uses artificial scarcity to induce demand. Consumers of hyped products often participate as a form of conspicuous consumption to signify characteristics about themselves. Hype allows brands to promote their image above the actual quality of the product. Streetwear brands have collaborated with luxury fashion to justify charging premium prices for their goods. As an example, fashion label Vetements used social media channels to promote a limited-edition hoodie which sold 500 units in hours, recording sales of €445,000. When hype marketing is used to drive demand for limited-edition goods, consumers sometimes attempt resell those good on secondary markets for a profit (comparable to ticket scalping). The resale market is a $24 billion industry. == Method == Luxury brands may release products as a collaborate with ready-made garment brands as a way to build hype. Collaborations have been used by some luxury brands to circumvent fast fashion brands copying their designs. NYU Professor Adam Alter says that for an established brand to create a scarcity frenzy, they need to release a limited number of different products, frequently. Hype is often built via Pop-up retail. Comme des Garçons was one of the first to use this strategy, leasing a short-term vacant shop solved the storage problems of releasing product for quick sale. Hype campaigns also rely on influencer marketing, where brands enlist creators whose parasocial relationships with their followers help convert audience attention into demand for limited releases. == In popular culture == The term 'hypebeast' has been coined to define consumers vulnerable to hype marketing. The origins of the term come from the Hong Kong-based company Hypebeast. The behaviours of the hypebeast define hype marketing; the purchase of popular goods they can't afford to impress others. Hype also manifests itself in queues with brands often retailing hyped products through pop-up stores. Many luxury brands release hyped products via their online shop. This has led to the creation of companies that allow consumers to use bots to guarantee or improve their chances of purchasing a limited-edition product.
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Elonis v. United States

Elonis v. United States, 575 U.S. 723 (2015), was a United States Supreme Court case concerning whether conviction of threatening another person over interstate lines (under 18 U.S.C. § 875(c)) requires proof of subjective intent to threaten or whether it is enough to show that a "reasonable person" would regard the statement as threatening. In controversy were the purported threats of violent rap lyrics written by Anthony Douglas Elonis and posted to Facebook under a pseudonym. The ACLU filed an amicus brief in support of the petitioner. It was the first time the Court has heard a case considering true threats and the limits of speech on social media. == Background == In May 2010, Elonis was in the process of divorce and made a number of public Facebook posts. Prior to his postings, he had lost his job at an amusement park. He "posted the script of a sketch" by The Whitest Kids U' Know, which originally referenced saying "I want to kill the President of the United States" and replaced the president with his wife: Elonis ended the post with this statement: "Art is about pushing limits. I'm willing to go to jail for my constitutional rights. Are you?" A week later, Elonis posted about local law enforcement and a kindergarten class, which caught the attention of the Federal Bureau of Investigation. Then, he wrote a post on Facebook about one of the agents who visited him: He concluded: == Arrest and Conviction == These actions led to Elonis's arrest on December 8, 2010. He was indicted by a grand jury on five counts of threats to his estranged ex-wife, park employees and visitors, local law enforcement, an FBI agent, and a kindergarten class that had been relayed through interstate communication. At the district court, Elonis moved to dismiss the indictment for failing to allege that he had intended to threaten anyone, claiming his Facebook post was not were not intended as a threat. He argued that, as an aspiring rap artist, his posts were intended to be a form of artistic expression to help him cope with his recent loses. According to him, he did not mean anything said in his posts in a literal sense. His motion was denied. He requested a jury instruction that "the government must prove that he intended to communicate a true threat", which was also denied. He was convicted on the last four of the five counts, and was sentenced to 44 months in prison and three years on supervised release. He appealed unsuccessfully to the Third Circuit, renewing his challenge to the jury instructions. He then appealed to the U.S. Supreme Court based on lack of any attempt to show intent to threaten and on First Amendment rights. == Decision == On June 1, 2015, the U.S. Supreme Court reversed Elonis's conviction in an 8–1 decision. Chief Justice John Roberts wrote for a seven-justice majority, Samuel Alito authored an opinion concurring in part and dissenting in part, and Clarence Thomas authored a dissenting opinion. The finding of the circuit court was reversed and the matter remanded. === Majority opinion === The majority opinion, written by Roberts, did not rule on First Amendment matters or on the question of whether recklessness was sufficient mens rea to show intent. It ruled that mens rea was required to prove the commission of a crime under §875(c). Importantly, the mens rea issue had been preserved for review, since Elonis had raised that objection at every stage of the previous proceedings. The government contended that the presence of the words "intent to extort" in §875(b) and §875(d) implied that the absence in §875(c) was constructive. The court disagreed, holding that the absence of the language in §875(c) was because the section was intended to have a broader scope than threats relating to extortion. The opinion drew on many Supreme Court cases holding that in criminal law, mens rea was required though it had not been mentioned explicitly in statute. Consequently, the Supreme Court ruled in favor of Elonis. === Alito's concurrence === Justice Samuel Alito, concurring in part and dissenting in part, opined that while agreeing that mens rea was required and specifically that showing negligence was not sufficient, the court should have ruled on the question of recklessness. He further opined that recklessness was sufficient to show a crime under that provision on the basis that going further would amount to amending the statute, rather than interpreting it. Since Elonis explicitly argued that recklessness was not sufficient, Alito said: I would therefore remand for the Third Circuit to determine if Elonis’s failure (indeed, refusal) to argue for recklessness prevents reversal of his conviction. The Third Circuit should also have the opportunity to consider whether the conviction could be upheld on harmless error grounds. Alito also addressed the First Amendment question, elided by the majority opinion. He held that "lyrics in songs that are performed for an audience or sold in recorded form are unlikely to be interpreted as a real threat to a real person. ... Statements on social media that are pointedly directed at their victims, by contrast, are much more likely to be taken seriously." === Thomas's dissent === Justice Clarence Thomas, dissenting, wrote against discarding the "general intent" standard without replacing it with a clearer standard. Thomas argued that "there is no historical practice requiring more than general intent when a statute regulates speech." Thomas cited Rosen v. United States, arguing that general intent was sufficient in this case. However, the majority opinion offers refutation in that Rosen turned on ignorance of the law: knowledge as to whether material was legally obscene, not on whether it was intended to be obscene. Thomas also supported the government's claim that the presence of "intent to extort" language in the adjacent §875(b) and did not address the majority's reasoning on that language. Thomas used precedent, notably from the states and 18th-century England based on other but similar and, arguably, influencing legislation to support his "general intent" claim. Thomas also drew a parallel with general intent in tort. While he sought to address the First Amendment issues, he never strayed far from "general intent". == Aftermath == On remand, the Third Circuit reaffirmed the conviction "concluding beyond a reasonable doubt that Elonis would have been convicted if the jury had been properly instructed" and therefore was harmless error. In 2022, Elonis was once again arrested and indicted on three counts of cyberstalking involving three people. It was discovered that between 2018 and 2021, Elonis had sent numerous threatening messages over email, text, voice mail, and social media platforms like Twitter to a former prosecutor of the Eastern District of Pennsylvania, his ex-girlfriend, and ex-wife. On August 5, after a five-day trial, Elonis was found guilty on all three counts, and on March 23, 2023, he was sentenced by U.S. District Court Judge Edward G. Smith of Easton, Pennsylvania to twelve years and seven months in prison.
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Application-release automation

Application-release automation (ARA) refers to the process of packaging and deploying an application or update of an application from development, across various environments, and ultimately to production. ARA solutions must combine the capabilities of deployment automation, environment management and modeling, and release coordination. == Relationship with DevOps == ARA tools help cultivate DevOps best practices by providing a combination of automation, environment modeling and workflow-management capabilities. These practices help teams deliver software rapidly, reliably and responsibly. ARA tools achieve a key DevOps goal of implementing continuous delivery with a large quantity of releases quickly. == Relationship with deployment == ARA is more than just software-deployment automation – it deploys applications using structured release-automation techniques that allow for an increase in visibility for the whole team. It combines workload automation and release-management tools as they relate to release packages, as well as movement through different environments within the DevOps pipeline. ARA tools help regulate deployments, how environments are created and deployed, and how and when releases are deployed. == ARA Solutions == All ARA solutions must include capabilities in automation, environment modeling, and release coordination. Additionally, the solution must provide this functionality without reliance on other tools.
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Cyber-Duck

Cyber-Duck is a digital transformation agency founded in 2005 and based in Elstree, United Kingdom. The company specialises in user experience (UX), software development and digital optimisation. The company employs over 90 staff in the UK and Europe. It works with clients from the financial, pharmaceutical, sport, motoring and security sectors, among others. These include the Bank of England, Cancer Research UK, GOV.UK Verify partner CitizenSafe, The Commonwealth of Nations and Sport England. == History == Cyber-Duck was founded in 2005 by Danny Bluestone in his flat in Mill Hill, United Kingdom. After a few months, the firm moved into its first office in Borehamwood. Projects with Ogilvy, London Creative and Wisteria followed before Cyber-Duck moved to offices in Devonshire House, Borehamwood. In 2010, the firm was commissioned to develop a website for the European Commission in the UK. In 2011, the company moved to a self-contained premises in Elstree, Hertfordshire. Shortly afterward, Cyber-Duck was listed on the Deloitte Technology Fast 500 EMEA in recognition of its substantial revenue growth over the previous five years. As the company grew, its expertise also broadened. This resulted in guest spots on several television shows. Cyber-Duck was featured in an episode of the Gadget Show in 2011, and Chief Production Officer Matt Gibson appeared on BBC Watchdog in 2013 to assist in researching websites and their checkout processes. The firm continued to attract business from companies in London, so the decision was made to open a new office in central London. The Farringdon office opened in 2015, and was followed by a rebrand. In 2016, Cyber-Duck went on to work with the Bank of England. Ahead of the launch of the new polymer £5 note, featuring Winston Churchill, the company was tasked with creating a user-friendly website to showcase the new banknote and promote public awareness. The success of the campaign led to further commissions, including 2017's website the New Ten and a redesign of the Bank of England's main website. The firm underwent significant growth in 2020, beginning working partnerships with Sport England and the College of Policing. During this time they also launched DevOps as a new service. In 2022, the Farringdon office closed and was relocated to a new office space in Holborn. The Laravel, Drupal and DevOps teams expanded, and Cyber-Duck became the lead Digital Agency for Worcester, Bosch Group. Several members of the team appeared on The Digital Society on Sky UK. == Awards and accreditations == Cyber-Duck is known for its focus on process accreditation as a driver of creativity. In 2011, the company obtained its first ISO 9241 accreditation in Human Centred Design for interactive systems. Two years later, Cyber-Duck obtained a further certification, the ISO 9001 for Quality Management Systems. It acquired another certification in 2016 with the ISO 27001 – the focus of this accreditation was Information Security Management. In 2022, Cyber-Duck gained the ISO 14001 certification in Environmental Management. Cyber-Duck's digital products have won numerous Wirehive 100, BIMA and Webby awards. Notably, the company's UX Companion, a free iOS and Android app that is a glossary of UX theories, featured in Usability Geek and Smashing Magazine. In 2021 they were awarded as one of the UK's 100 Best Small Companies to work for, and BIMA10 shortlisted for their work with Sport England and This Girl Can.
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List of operating systems

This is a list of operating systems. Computer operating systems can be categorized by technology, ownership, licensing, working state, usage, and by many other characteristics. In practice, many of these groupings may overlap. Criteria for inclusion is notability, as shown either through an existing Wikipedia article or citation to a reliable source. == Proprietary == === Acorn Computers === Arthur ARX MOS RISC iX RISC OS === Amazon === Fire OS === Amiga Inc. === AmigaOS AmigaOS 1.0-3.9 (Motorola 68000) AmigaOS 4 (PowerPC) Amiga Unix (a.k.a. Amix) === Amstrad === AMSDOS Contiki CP/M 2.2 CP/M Plus SymbOS === Apple === Apple II Apple DOS Apple Pascal ProDOS GS/OS GNO/ME Contiki Apple III Apple SOS Apple Lisa Mac Classic Mac OS A/UX (UNIX System V with BSD extensions) Copland MkLinux Pink Rhapsody macOS (formerly Mac OS X and OS X) macOS Server (formerly Mac OS X Server and OS X Server) Apple Network Server IBM AIX (Apple-customized) Apple MessagePad Newton OS iPhone and iPod Touch iOS (formerly iPhone OS) iPad iPadOS Apple Watch watchOS Apple TV tvOS Embedded operating systems bridgeOS Apple Vision Pro visionOS Embedded operating systems A/ROSE iPod software (unnamed embedded OS for iPod) Unnamed NetBSD variant for Airport Extreme and Time Capsule === Apollo Computer, Hewlett-Packard === Domain/OS – One of the first network-based systems. Run on Apollo/Domain hardware. Later bought by Hewlett-Packard. === Atari === Atari DOS (for 8-bit computers) Atari TOS Atari MultiTOS Contiki (for 8-bit, ST, Portfolio) === BAE Systems === XTS-400 === Be Inc. === BeOS BeIA BeOS r5.1d0 magnussoft ZETA (based on BeOS r5.1d0 source code, developed by yellowTAB) === Bell Labs === Unix ("Ken's new system," for its creator (Ken Thompson), officially Unics and then Unix, the prototypic operating system created in Bell Labs in 1969 that formed the basis for the Unix family of operating systems) UNIX Time-Sharing System v1 UNIX Time-Sharing System v2 UNIX Time-Sharing System v3 UNIX Time-Sharing System v4 UNIX Time-Sharing System v5 UNIX Time-Sharing System v6 MINI-UNIX PWB/UNIX USG CB Unix UNIX Time-Sharing System v7 (It is from Version 7 Unix (and, to an extent, its descendants listed below) that almost all Unix-based and Unix-like operating systems descend.) Unix System III Unix System IV Unix System V Unix System V Releases 2.0, 3.0, 3.2, 4.0, and 4.2 UNIX Time-Sharing System v8 UNIX Time-Sharing System v9 UNIX Time-Sharing System v10 Non-Unix Operating Systems: BESYS Plan 9 from Bell Labs Inferno === Burroughs Corporation, Unisys === Burroughs MCP === CII === Siris 8 === Commodore International === GEOS AmigaOS AROS Research Operating System === Control Data Corporation === ==== Lower 3000 series ==== SCOPE (Supervisory Control Of Program Execution) ==== Upper 3000 series ==== SCOPE (Supervisory Control Of Program Execution) Drum SCOPE ==== 6x00 and related Cyber ==== Chippewa Operating System (COS) MACE (Mansfield and Cahlander Executive) Kronos (Kronographic OS) NOS (Network Operating System) NOS/VE (NOS Virtual Environment) SCOPE (Supervisory Control Of Program Execution) NOS/BE NOS Batch Environment SIPROS (Simultaneous Processing Operating System) ==== Star-100 ==== Multiple Console Time Sharing System (MCTS), from General Motors Research === CloudMosa === Puffin OS === Convergent Technologies === Convergent Technologies Operating System (CTOS) – later acquired by Unisys === Cromemco === Cromemco DOS (CDOS) – a Disk Operating system compatible with CP/M Cromix – a multitasking, multi-user, Unix-like OS for Cromemco microcomputers with Z80A and/or 68000 CPU === Data General === AOS for 16-bit Data General Eclipse computers and AOS/VS for 32-bit (MV series) Eclipses, MP/AOS for microNOVA-based computers DG/UX RDOS Real-time Disk Operating System, with variants: RTOS and DOS (not related to PC DOS, MS-DOS etc.) === Datapoint === CTOS Cassette Tape Operating System for the Datapoint 2200 DOS Disk Operating System for the Datapoint 2200, 5500, and 1100 === DDC-I, Inc. === Deos – Time & Space Partitioned RTOS, Certified to DO-178B, Level A since 1998 HeartOS – POSIX-based Hard Real-Time Operating System === Digital Research, Inc. === CP/M CP/M CP/M for Intel 8080/8085 and Zilog Z80 Personal CP/M, a refinement of CP/M CP/M Plus with BDOS 3.0 CP/M-68K CP/M for Motorola 68000 CP/M-8000 CP/M for Zilog Z8000 CP/M-86 CP/M for Intel 8088/8086 CP/M-86 Plus Personal CP/M-86 MP/M Multi-user version of CP/M-80 MP/M II MP/M-86 Multi-user version of CP/M-86 MP/M 8-16, a dual-processor variant of MP/M for 8086 and 8080 CPUs. Concurrent CP/M, the successor of CP/M-80 and MP/M-80 Concurrent CP/M-86, the successor of CP/M-86 and MP/M-86 Concurrent CP/M 8-16, a dual-processor variant of Concurrent CP/M for 8086 and 8080 CPUs. Concurrent CP/M-68K, a variant for the 68000 DOS Concurrent DOS, the successor of Concurrent CP/M-86 with PC-MODE Concurrent PC DOS, a Concurrent DOS variant for IBM compatible PCs Concurrent DOS 8-16, a dual-processor variant of Concurrent DOS for 8086 and 8080 CPUs Concurrent DOS 286 Concurrent DOS XM, a real-mode variant of Concurrent DOS with EEMS support Concurrent DOS 386 Concurrent DOS 386/MGE, a Concurrent DOS 386 variant with advanced graphics terminal capabilities Concurrent DOS 68K, a port of Concurrent DOS to Motorola 68000 CPUs with DOS source code portability capabilities FlexOS 1.0 – 2.34, a derivative of Concurrent DOS 286 FlexOS 186, a variant of FlexOS for terminals FlexOS 286, a variant of FlexOS for hosts Siemens S5-DOS/MT, an industrial control system based on FlexOS IBM 4680 OS, a POS operating system based on FlexOS IBM 4690 OS, a POS operating system based on FlexOS Toshiba 4690 OS, a POS operating system based on IBM 4690 OS and FlexOS FlexOS 386, a later variant of FlexOS for hosts IBM 4690 OS, a POS operating system based on FlexOS Toshiba 4690 OS, a POS operating system based on IBM 4690 OS and FlexOS FlexOS 68K, a derivative of Concurrent DOS 68K Multiuser DOS, the successor of Concurrent DOS 386 CCI Multiuser DOS Datapac Multiuser DOS Datapac System Manager, a derivative of Datapac Multiuser DOS IMS Multiuser DOS IMS REAL/32, a derivative of Multiuser DOS IMS REAL/NG, the successor of REAL/32 DOS Plus 1.1 – 2.1, a single-user, multi-tasking system derived from Concurrent DOS 4.1 – 5.0 DR-DOS 3.31 – 6.0, a single-user, single-tasking native DOS derived from Concurrent DOS 6.0 Novell PalmDOS 1.0 Novell "Star Trek" Novell DOS 7, a single-user, multi-tasking system derived from DR DOS Caldera OpenDOS 7.01 Caldera DR-DOS 7.02 and higher === Digital Equipment Corporation, Compaq, Hewlett-Packard, Hewlett Packard Enterprise === Batch-11/DOS-11 OS/8 RSTS/E – multi-user time-sharing OS for PDP-11s RSX-11 – multiuser, multitasking OS for PDP-11s RT-11 – single user OS for PDP-11 TOPS-10 – for the PDP-10 TENEX – an ancestor of TOPS-20 from BBN, for the PDP-10 TOPS-20 – for the PDP-10 DEC MICA – for the DEC PRISM Digital UNIX – derived from OSF/1, became HP's Tru64 UNIX Ultrix VMS – originally by DEC (now by VMS Software Inc.) for the VAX mini-computer range; later renamed OpenVMS and ported to Alpha, and subsequently ported to Intel Itanium and then to x86-64 WAITS – for the PDP-6 and PDP-10 === ENEA AB === OSE – Flexible, small footprint, high-performance RTOS for control processors === Fujitsu === Towns OS XSP OS/IV MSP MSP-EX === GEC Computers === COS DOS OS4000 === General Electric, Honeywell, Bull === Real-Time Multiprogramming Operating System GCOS Multics === Google === ChromiumOS is an open source operating system development version of ChromeOS. Both operating systems are based on the Linux kernel. ChromeOS is designed to work exclusively with web applications, though has been updated to run Android apps with full support for Google Play Store. Announced on July 7, 2009, ChromeOS is currently publicly available and was released summer 2011. The ChromeOS source code was released on November 19, 2009, under the BSD license as ChromiumOS. Container-Optimized OS (COS) is an operating system that is optimized for running Docker containers, based on ChromiumOS. Android is an operating system for mobile devices. It consists of Android Runtime (userland) with Linux (kernel), with its Linux kernel modified to add drivers for mobile device hardware and to remove unused Vanilla Linux drivers. gLinux, a Linux distribution that Google uses internally Fuchsia is a capability-based real-time operating system (RTOS) scalable to universal devices, in early development, from the tiniest embedded hardware, wristwatches, tablets to the largest personal computers. Unlike ChromeOS and Android, it is not based on the Linux kernel, but instead began on a new microkernel called "Zircon", derived from "Little Kernel". Wear OS a version of Google's Android operating system designed for smartwatches and other wearables. === Green Hills Software === INTEGRITY – Reliable Operating system INTEGRITY-178B – A DO-178B certified version of INTEGRITY. μ-
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Access-independent services

Access-independent service (AIS) is a service concept in which a service does not depend on guaranteed access network cooperation for service delivery. Telecommunications industry analyst Dean Bubley first used the term in a report on Telco-OTT in February 2012. Traditionally, most telecom company or internet service provider services are access-dependent, because they rely heavily on guaranteed access cooperation on the network the service is delivered over. For instance, traditional IP-based TV service (IPTV) delivered by a telecom company is generally a managed service. This means that IPTV service assumes the IPTV service provider has control over the access network that the IPTV service is delivered over, and network quality of service (QoS) guarantees are available for IPTV service delivery. As a result, the reach of a telecom company's IPTV service is generally restricted by the reach of the telecom company's access network. In contrast, services offered by non-traditional video content delivery service providers such as Netflix, Hulu, and Amazon Video are considered access-independent services. Netflix's video content streaming service, for example, dynamically adapts to network conditions in real-time to strive for the best overall quality of experience (QoE) and does not assume guaranteed cooperation from the underlying IP network, such as QoS. As a result, without considering content rights and different countries' government restrictions, the reach of Netflix's video content streaming service is, in theory, the reach of the Internet. Skype is another example of AIS, because Skype offers an IP-based telephony service over the Internet without depending on IP network cooperation guarantees other than basic IP network connectivity. In the context of telecom service delivery, the concept of access independent services is also commonly described by the term "over-the-top" (OTT) services. OTT service providers such as but not limited to Facebook, WeChat, and Netflix generally do not own or directly manage any wide-area access network to begin with, so they design their services for overall quality of experience, with no assumptions on guaranteed access network cooperation.
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Inauthentic text

An inauthentic text is a computer-generated expository document meant to appear as genuine, but which is actually meaningless. Frequently they are created in order to be intermixed with genuine documents and thus manipulate the results of search engines, as with Spam blogs. They are also carried along in email in order to fool spam filters by giving the spam the superficial characteristics of legitimate text. Sometimes nonsensical documents are created with computer assistance for humorous effect, as with Dissociated press or Flarf poetry. They have also been used to challenge the veracity of a publication—MIT students submitted papers generated by a computer program called SCIgen to a conference, where they were initially accepted. This led the students to claim that the bar for submissions was too low. With the amount of computer generated text outpacing the ability of people to humans to curate it, there needs some means of distinguishing between the two. Yet automated approaches to determining absolutely whether a text is authentic or not face intrinsic challenges of semantics. Noam Chomsky coined the phrase "Colorless green ideas sleep furiously" giving an example of grammatically correct, but semantically incoherent sentence; some will point out that in certain contexts one could give this sentence (or any phrase) meaning. The first group to use the expression in this regard can be found below from Indiana University. Their work explains in detail an attempt to detect inauthentic texts and identify pernicious problems of inauthentic texts in cyberspace. The site has a means of submitting text that assesses, based on supervised learning, whether a corpus is inauthentic or not. Many users have submitted incorrect types of data and have correspondingly commented on the scores. This application is meant for a specific kind of data; therefore, submitting, say, an email, will not return a meaningful score.
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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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Open Sound Control

Open Sound Control (OSC) is a protocol for networking sound synthesizers, computers, and other multimedia devices for purposes such as musical performance or show control. OSC's advantages include interoperability, accuracy, flexibility and enhanced organization and documentation. Its disadvantages include higher bandwidth requirements, increased load on embedded processors, and lack of standardized messages/interoperability. The first specification was released in March 2002. == Motivation == OSC is a content format developed at CNMAT by Adrian Freed and Matt Wright comparable to XML, WDDX, or JSON. It was originally intended for sharing music performance data (gestures, parameters and note sequences) between musical instruments (especially electronic musical instruments such as synthesizers), computers, and other multimedia devices. OSC is sometimes used as an alternative to the 1983 MIDI standard, when higher resolution and a richer parameter space is desired. OSC messages are transported across the internet and within local subnets using UDP/IP and Ethernet. OSC messages between gestural controllers are usually transmitted over serial endpoints of USB wrapped in the SLIP protocol. == Features == OSC's main features, compared to MIDI, include: Open-ended, dynamic, URI-style symbolic naming scheme Symbolic and high-resolution numeric data Pattern matching language to specify multiple recipients of a single message High resolution time tags "Bundles" of messages whose effects must occur simultaneously == Applications == There are dozens of OSC applications, including real-time sound and media processing environments, web interactivity tools, software synthesizers, programming languages and hardware devices. OSC has achieved wide use in fields including musical expression, robotics, video performance interfaces, distributed music systems and inter-process communication. The TUIO community standard for tangible interfaces such as multitouch is built on top of OSC. Similarly the GDIF system for representing gestures integrates OSC. OSC is used extensively in experimental musical controllers, and has been built into several open source and commercial products. The Open Sound World (OSW) music programming language is designed around OSC messaging. OSC is the heart of the DSSI plugin API, an evolution of the LADSPA API, in order to make the eventual GUI interact with the core of the plugin via messaging the plugin host. LADSPA and DSSI are APIs dedicated to audio effects and synthesizers. In 2007, a standardized namespace within OSC called SYN, for communication between controllers, synthesizers and hosts, was proposed. == Design == OSC messages consist of an address pattern (such as /oscillator/4/frequency), a type tag string (such as ,fi for a float32 argument followed by an int32 argument), and the arguments themselves (which may include a time tag). Address patterns form a hierarchical name space, reminiscent of a Unix filesystem path, or a URL, and refer to "Methods" inside the server, which are invoked with the attached arguments. Type tag strings are a compact string representation of the argument types. Arguments are represented in binary form with four-byte alignment. The core types supported are 32-bit two's complement signed integers 32-bit IEEE floating point numbers Null-terminated arrays of eight-bit encoded data (C-style strings) arbitrary sized blob (e.g. audio data, or a video frame) An example message is included in the spec (with null padding bytes represented by ␀): /oscillator/4/frequency␀,f␀␀, Followed by the 4-byte float32 representation of 440.0: 0x43dc0000. Messages may be combined into bundles, which themselves may be combined into bundles, etc. Each bundle contains a timestamp, which determines whether the server should respond immediately or at some point in the future. Applications commonly employ extensions to this core set. More recently some of these extensions such as a compact Boolean type were integrated into the required core types of OSC 1.1. The advantages of OSC over MIDI are primarily internet connectivity; data type resolution; and the comparative ease of specifying a symbolic path, as opposed to specifying all connections as seven-bit numbers with seven-bit or fourteen-bit data types. This human-readability has the disadvantage of being inefficient to transmit and more difficult to parse by embedded firmware, however. The spec does not define any particular OSC Methods or OSC Containers. All messages are implementation-defined and vary from server to server.
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CU-RTC-WEB

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

Core FTP LE is a freeware secure FTP client for Windows, developed by CoreFTP.com. Features include FTP, SSL/TLS, SFTP via SSH, and HTTP/HTTPS support. Secure FTP clients encrypt account information and data transferred across the internet, protecting data from being seen, or sniffed across networks. Core FTP is a traditional FTP client with local files displayed on the left, remote files on the right. Core FTP Server is a secure FTP server for Windows, developed by CoreFTP.com, starting in 2010. == Licensing == CoreFTP LE is free for personal, educational, non-profit, and business use.
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1tik

1tik, pronounced Antik (Arabic: أنتيك; lit. "Everything is going well") is a fully Algerian instant messaging, social media and mobile payment app. designed, developed and built locally by the Algerian start-up, INTAJ Digital, with backing from the state-owned company ATM Mobilis (who's the company's main sponsor). It is described as Algeria's first super-app that is entirely designed and built by local developers. == Etymology == The name "1tik" (Arabic: أنتيك) is drawn from the popular Algerian vernacular (Antik), the neologism, which appeared several years ago, means "everything is going well" or "it's all good". == History == 1tik was officially launched and announced the 20th December 2025 by INTAJ Digital's founder Youcef Toulaib and a team of 50 employees, making it the first ever Algerian instant messaging, social media and mobile payment app, rivaling with the growing influence of Yassir in Algeria. it grew in popularity after the presidency of Algeria and several other state-owned companies, medias, and ministries opened official accounts on the app.
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Creator economy

The creator economy, also known as influencer economy, is a platform-driven economy in which creators produce content, products, or services and distribute them directly to their audience through social media platforms and emerging technologies. This economic model is based on the ability of creators to build and maintain communities of users, monetizing their creative activity through multiple channels including advertising, sponsorships, product sales, crowdfunding, and subscription-based services. Creators include various professional categories such as social media influencers, YouTubers, bloggers, artists, online educators, podcasters, and independent professionals, who use platforms as infrastructure to reach their audience without necessarily relying on traditional intermediaries in the cultural and media industry. According to Goldman Sachs Research, the ongoing growth of the creator economy will likely benefit companies that possess a combination of factors, including a large global user base, access to substantial capital, robust AI-powered recommendation engines, versatile monetization tools, comprehensive data analytics, and integrated e-commerce options. Examples of creator economy software platforms include YouTube, TikTok, Instagram, Facebook, Twitch, Spotify, Substack, OnlyFans and Patreon. == History == The term "creator" was coined by YouTube in 2011 to be used instead of "YouTube star", an expression that at the time could only apply to famous individuals on the platform. The term has since become omnipresent and is used to describe anyone creating any form of online content. A number of platforms such as TikTok, Snapchat, YouTube, and Facebook have set up funds with which to pay creators. == Criticism == The large majority of content creators derive no monetary gain for their creations, with most of the benefits accruing to the platforms who can make significant revenues from their uploads. As few as 0.1% of creators are able to earn a living through their channels.
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