AI Grammar English

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  • Stability (learning theory)

    Stability (learning theory)

    Stability, also known as algorithmic stability, is a notion in computational learning theory of how a machine learning algorithm output is changed with small perturbations to its inputs. A stable learning algorithm is one for which the prediction does not change much when the training data is modified slightly. For instance, consider a machine learning algorithm that is being trained to recognize handwritten letters of the alphabet, using 1000 examples of handwritten letters and their labels ("A" to "Z") as a training set. One way to modify this training set is to leave out an example, so that only 999 examples of handwritten letters and their labels are available. A stable learning algorithm would produce a similar classifier with both the 1000-element and 999-element training sets. Stability can be studied for many types of learning problems, from language learning to inverse problems in physics and engineering, as it is a property of the learning process rather than the type of information being learned. The study of stability gained importance in computational learning theory in the 2000s when it was shown to have a connection with generalization. It was shown that for large classes of learning algorithms, notably empirical risk minimization algorithms, certain types of stability ensure good generalization. == History == A central goal in designing a machine learning system is to guarantee that the learning algorithm will generalize, or perform accurately on new examples after being trained on a finite number of them. In the 1990s, milestones were reached in obtaining generalization bounds for supervised learning algorithms. The technique historically used to prove generalization was to show that an algorithm was consistent, using the uniform convergence properties of empirical quantities to their means. This technique was used to obtain generalization bounds for the large class of empirical risk minimization (ERM) algorithms. An ERM algorithm is one that selects a solution from a hypothesis space H {\displaystyle H} in such a way to minimize the empirical error on a training set S {\displaystyle S} . A general result, proved by Vladimir Vapnik for an ERM binary classification algorithms, is that for any target function and input distribution, any hypothesis space H {\displaystyle H} with VC-dimension d {\displaystyle d} , and n {\displaystyle n} training examples, the algorithm is consistent and will produce a training error that is at most O ( d n ) {\displaystyle O\left({\sqrt {\frac {d}{n}}}\right)} (plus logarithmic factors) from the true error. The result was later extended to almost-ERM algorithms with function classes that do not have unique minimizers. Vapnik's work, using what became known as VC theory, established a relationship between generalization of a learning algorithm and properties of the hypothesis space H {\displaystyle H} of functions being learned. However, these results could not be applied to algorithms with hypothesis spaces of unbounded VC-dimension. Put another way, these results could not be applied when the information being learned had a complexity that was too large to measure. Some of the simplest machine learning algorithms—for instance, for regression—have hypothesis spaces with unbounded VC-dimension. Another example is language learning algorithms that can produce sentences of arbitrary length. Stability analysis was developed in the 2000s for computational learning theory and is an alternative method for obtaining generalization bounds. The stability of an algorithm is a property of the learning process, rather than a direct property of the hypothesis space H {\displaystyle H} , and it can be assessed in algorithms that have hypothesis spaces with unbounded or undefined VC-dimension such as nearest neighbor. A stable learning algorithm is one for which the learned function does not change much when the training set is slightly modified, for instance by leaving out an example. A measure of Leave one out error is used in a Cross Validation Leave One Out (CVloo) algorithm to evaluate a learning algorithm's stability with respect to the loss function. As such, stability analysis is the application of sensitivity analysis to machine learning. == Summary of classic results == Early 1900s - Stability in learning theory was earliest described in terms of continuity of the learning map L {\displaystyle L} , traced to Andrey Nikolayevich Tikhonov. 1979 - Devroye and Wagner observed that the leave-one-out behavior of an algorithm is related to its sensitivity to small changes in the sample. 1999 - Kearns and Ron discovered a connection between finite VC-dimension and stability. 2002 - In a landmark paper, Bousquet and Elisseeff proposed the notion of uniform hypothesis stability of a learning algorithm and showed that it implies low generalization error. Uniform hypothesis stability, however, is a strong condition that does not apply to large classes of algorithms, including ERM algorithms with a hypothesis space of only two functions. 2002 - Kutin and Niyogi extended Bousquet and Elisseeff's results by providing generalization bounds for several weaker forms of stability which they called almost-everywhere stability. Furthermore, they took an initial step in establishing the relationship between stability and consistency in ERM algorithms in the Probably Approximately Correct (PAC) setting. 2004 - Poggio et al. proved a general relationship between stability and ERM consistency. They proposed a statistical form of leave-one-out-stability which they called CVEEEloo stability, and showed that it is a) sufficient for generalization in bounded loss classes, and b) necessary and sufficient for consistency (and thus generalization) of ERM algorithms for certain loss functions such as the square loss, the absolute value and the binary classification loss. 2010 - Shalev Shwartz et al. noticed problems with the original results of Vapnik due to the complex relations between hypothesis space and loss class. They discuss stability notions that capture different loss classes and different types of learning, supervised and unsupervised. 2016 - Moritz Hardt et al. proved stability of gradient descent given certain assumption on the hypothesis and number of times each instance is used to update the model. == Preliminary definitions == We define several terms related to learning algorithms training sets, so that we can then define stability in multiple ways and present theorems from the field. A machine learning algorithm, also known as a learning map L {\displaystyle L} , maps a training data set, which is a set of labeled examples ( x , y ) {\displaystyle (x,y)} , onto a function f {\displaystyle f} from X {\displaystyle X} to Y {\displaystyle Y} , where X {\displaystyle X} and Y {\displaystyle Y} are in the same space of the training examples. The functions f {\displaystyle f} are selected from a hypothesis space of functions called H {\displaystyle H} . The training set from which an algorithm learns is defined as S = { z 1 = ( x 1 , y 1 ) , . . , z m = ( x m , y m ) } {\displaystyle S=\{z_{1}=(x_{1},\ y_{1})\ ,..,\ z_{m}=(x_{m},\ y_{m})\}} and is of size m {\displaystyle m} in Z = X × Y {\displaystyle Z=X\times Y} drawn i.i.d. from an unknown distribution D. Thus, the learning map L {\displaystyle L} is defined as a mapping from Z m {\displaystyle Z_{m}} into H {\displaystyle H} , mapping a training set S {\displaystyle S} onto a function f S {\displaystyle f_{S}} from X {\displaystyle X} to Y {\displaystyle Y} . Here, we consider only deterministic algorithms where L {\displaystyle L} is symmetric with respect to S {\displaystyle S} , i.e. it does not depend on the order of the elements in the training set. Furthermore, we assume that all functions are measurable and all sets are countable. The loss V {\displaystyle V} of a hypothesis f {\displaystyle f} with respect to an example z = ( x , y ) {\displaystyle z=(x,y)} is then defined as V ( f , z ) = V ( f ( x ) , y ) {\displaystyle V(f,z)=V(f(x),y)} . The empirical error of f {\displaystyle f} is I S [ f ] = 1 n ∑ V ( f , z i ) {\displaystyle I_{S}[f]={\frac {1}{n}}\sum V(f,z_{i})} . The true error of f {\displaystyle f} is I [ f ] = E z V ( f , z ) {\displaystyle I[f]=\mathbb {E} _{z}V(f,z)} Given a training set S of size m, we will build, for all i = 1....,m, modified training sets as follows: By removing the i-th element S | i = { z 1 , . . . , z i − 1 , z i + 1 , . . . , z m } {\displaystyle S^{|i}=\{z_{1},...,\ z_{i-1},\ z_{i+1},...,\ z_{m}\}} By replacing the i-th element S i = { z 1 , . . . , z i − 1 , z i ′ , z i + 1 , . . . , z m } {\displaystyle S^{i}=\{z_{1},...,\ z_{i-1},\ z_{i}',\ z_{i+1},...,\ z_{m}\}} == Definitions of stability == === Hypothesis Stability === An algorithm L {\displaystyle L} has hypothesis stability β with respect to the loss function V if the following holds: ∀ i ∈ { 1 , . . . , m } , E S , z [ | V ( f S , z ) − V ( f S |

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  • Digital video recorder

    Digital video recorder

    A digital video recorder (DVR), also referred to as a personal video recorder (PVR) particularly in Canadian and British English, is an electronic device that records video in a digital format to a disk drive, USB flash drive, SD memory card, SSD or other local or networked mass storage device. The term includes set-top boxes (STB) with direct to disk recording, portable media players and TV gateways with recording capability, and digital camcorders. Personal computers can be connected to video capture devices and used as DVRs; in such cases the application software used to record video is an integral part of the DVR. Many DVRs are classified as consumer electronic devices. Similar small devices with built-in (~5 inch diagonal) displays and SSD support may be used for professional film or video production, as these recorders often do not have the limitations that built-in recorders in cameras have, offering wider codec support, the removal of recording time limitations and higher bitrates. == History == In the 1980s, prototype high-definition (HD) digital video recorders were developed by Fujitsu, Hitachi, Sanyo and Canon Inc. In 1985, Hitachi demonstrated a prototype digital video tape recorder (VTR) that used digital recording video tape as storage media to record digital HD video content. In 1987, the first commercial digital video recorder was the Sony DVR-1000, a digital video cassette recorder (VCR) that recorded digital video content on D-1 (Sony) digital video cassettes. === Hard-disk-based DVR === In early 1995, Tektronix introduced the "Profile" series PDR100 Video Disk Recorder, which recorded and played back video stored on hard disk as motion JPEG. In 1996, Sweden's TV4 used the PDR100 extensively in building a new facility in Stockholm, and NBC used PDR100s at the Olympic games in Atlanta Georgia. The Tektronix Profile disk recorder won an Engineering, Science & Technology Emmy Award for "Outstanding Achievement in Engineering Development" at the 1996 Primetime Emmy Awards. In 1997 the U.S. Patent Office granted Tektronix patent 5,642,497 for two claims key to Profile. In 1998, Tektronix introduced two Profile models which were combined VDRs and file servers: the PDR200 and PDR300. The PDR300 stored its compressed video as MPEG-2 (ISO/IEC 13818-2) A working disk-based DVR prototype was developed in 1998 at Stanford University Computer Science department. The DVR design was a chapter of Edward Y. Chang's PhD dissertation, supervised by Professors Hector Garcia-Molina and Jennifer Widom. Two design papers were published at the 1998 VLDB conference, and the 1999 ICDE conference. The prototype was developed in 1998 at Pat Hanrahan's CS488 class: Experiments in Digital Television, and the prototype was demoed to industrial partners including Sony, Intel, and Apple. Consumer digital video recorders ReplayTV and TiVo were launched at the 1999 Consumer Electronics Show in Las Vegas, Nevada. Microsoft also demonstrated a unit with DVR capability, but this did not become available until the end of 1999 for full DVR features in Dish Network's DISHplayer receivers. TiVo shipped their first units on March 31, 1999. ReplayTV won the "Best of Show" award in the video category with Netscape co-founder Marc Andreessen as an early investor and board member, but TiVo was more successful commercially. Ad Age cited Forrester Research as saying that market penetration by the end of 1999 was "less than 100,000". In 2001, Toshiba introduced a combination DVR that allows video recording on both DVD recordable and hard disk drive. Legal action by media companies forced ReplayTV to remove many features such as automatic commercial skip and the sharing of recordings over the Internet, but newer devices have steadily regained these functions while adding complementary abilities, such as recording onto DVDs and programming and remote control facilities using PDAs, networked PCs, and Web browsers. In contrast to VCRs, hard-disk based digital video recorders make "time shifting" more convenient and also allow for functions such as pausing live TV, instant replay, chasing playback (viewing a recording before it has been completed) and skipping over advertising during playback. Many DVRs use the MPEG format for compressing the digital video. Video recording capabilities have become an essential part of the modern set-top box, as TV viewers have wanted to take control of their viewing experiences. As consumers have been able to converge increasing amounts of video content on their set-tops, delivered by traditional 'broadcast' cable, satellite and terrestrial as well as IP networks, the ability to capture programming and view it whenever they want has become a must-have function for many consumers. === DVR tied to video service === At the 1999 CES, Dish Network demonstrated the hardware that would later have DVR capability with the assistance of Microsoft software, which also included access to the WebTV service. By the end of 1999 the Dishplayer had full DVR capabilities and within a year, over 200,000 units were sold. In the UK, digital video recorders are often referred to as "plus boxes" (such as BSKYB's Sky+ and Virgin Media's V+ which integrates an HD capability, and the subscription free Freesat+ and Freeview+). Freeview+ have been around in the UK since the late 2000s, although the platform's first DVR, the Pace Twin, dates to 2002. British Sky Broadcasting marketed a popular combined receiver and DVR as Sky+, now replaced by the Sky Q box. TiVo launched a UK model in 2000, and is no longer supported, except for third party services, and the continuation of TiVo through Virgin Media in 2010. South African based Africa Satellite TV beamer Multichoice recently launched their DVR which is available on their DStv platform. In addition to ReplayTV and TiVo, there are a number of other suppliers of digital terrestrial (DTT) DVRs, including Technicolor SA, Topfield, Fusion, Commscope, Humax, VBox Communications, AC Ryan Playon and Advanced Digital Broadcast (ADB). Many satellite, cable and IPTV companies are incorporating digital video recording functions into their set-top box, such as with DirecTiVo, DISHPlayer/DishDVR, Scientific Atlanta Explorer 8xxx from Time Warner, Total Home DVR from AT&T U-verse, Motorola DCT6412 from Comcast and others, Moxi Media Center by Digeo (available through Charter, Adelphia, Sunflower, Bend Broadband, and soon Comcast and other cable companies), or Sky+. Astro introduced their DVR system, called Astro MAX, which was the first PVR in Malaysia but was phased out two years after its introduction. In the case of digital television, there is no encoding necessary in the DVR since the signal is already a digitally encoded MPEG stream. The digital video recorder simply stores the digital stream directly to disk. Having the broadcaster involved with, and sometimes subsidizing, the design of the DVR can lead to features such as the ability to use interactive TV on recorded shows, pre-loading of programs, or directly recording encrypted digital streams. It can, however, also force the manufacturer to implement non-skippable advertisements and automatically expiring recordings. In the United States, the FCC has ruled that starting on July 1, 2007, consumers will be able to purchase a set-top box from a third-party company, rather than being forced to purchase or rent the set-top box from their cable company. This ruling only applies to "navigation devices", otherwise known as a cable television set-top box, and not to the security functions that control the user's access to the content of the cable operator. The overall net effect on digital video recorders and related technology is unlikely to be substantial as standalone DVRs are currently readily available on the open market. In Europe Free-To-Air and Pay TV TV gateways with multiple tuners have whole house recording capabilities allowing recording of TV programs to Network Attached Storage or attached USB storage, recorded programs are then shared across the home network to tablet, smartphone, PC, Mac, Smart TV. === Introduction of dual tuners === In 2003 many Satellite and Cable providers introduced dual-tuner digital video recorders. In the UK, BSkyB introduced their first PVR Sky+ with dual tuner support in 2001. These machines have two independent tuners within the same receiver. The main use for this feature is the capability to record a live program while watching another live program simultaneously or to record two programs at the same time, possibly while watching a previously recorded one. Kogan.com introduced a dual-tuner PVR in the Australian market allowing free-to-air television to be recorded on a removable hard drive. Some dual-tuner DVRs also have the ability to output to two separate television sets at the same time. The PVR manufactured by UEC (Durban, South Africa) and used by Multichoice and Scientific Atlanta 8300DVB PVR have the ability to view two

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  • Outline of electronics

    Outline of electronics

    The following outline is provided as an overview of and topical guide to electronics: Electronics – branch of physics, engineering and technology dealing with electrical circuits that involve active semiconductor components and associated passive interconnection technologies. == Branches == === Classical electronics === Analog electronics Digital electronics Electronic instrumentation Electronic engineering Microelectronics Optoelectronics Power electronics Printed electronics Semiconductor technology Schematic capture Thermal management Automation Electronics === Advanced topics === Atomtronics Bioelectronics Failure modes of electronics Flexible electronics Low-power electronics Microelectromechanical systems (MEMS) Molecular electronics Nanoelectronics Organic electronics Photonics Piezotronics Quantum electronics Spintronics === History of electronics === History of electronic engineering History of radar History of radio History of television == General concepts == === Data converters === Analog-to-digital converters (ADC) Aliasing Successive approximation ADC Dual-slope ADC Quantization Sensor resolution Sampling Delta-sigma ADC Digital-to-analog converters (DAC) Digital potentiometer Binary weighted resistor converter Charge distribution DAC Pulse width modulator Reconstruction filter The R2R ladder === Digital electronics === Binary decision diagrams Boolean algebra Combinational logic Counters (digital) De Morgan's laws Digital circuit Formal verification Karnaugh maps Logic families Logic gate Logic minimization Logic simulation Logic synthesis Registers Sequential logic State machines Truth tables Transparent latch === Electrical element/discretes === Passive elements: Capacitor Inductor Memristor Resistor Transformer Active elements: Diode Zener diode Light-emitting diode PIN diode Schottky diode Avalanche diode Laser diode Microcontroller Operational amplifier Thyristor DIAC TRIAC IGBT Transistor Bipolar transistor (BJT) Field effect transistor (FET) Darlington transistor Other components Aural devices Battery (electricity) Crystal oscillator Electromechanical devices Sensors Surface acoustic wave (SAW) === Electronics analysis === Electronic packaging Electronic circuit simulation Electronic design automation Electronic noise Mathematical methods in electronics Thermal management of electronic devices and systems === Electronic circuits === Amplifiers Differential amplifiers Feedback amplifiers Power amplifiers Comparators Converters Filters Active filters Passive filters Digital filters Oscillators Phase-locked loops Timers === Electronic equipment === Air conditioner Breathalyzer Central heating Clothes dryer Computer/Notebook Dishwasher Freezer Home robot Home entertainment system Information technologies Cooker Microwave oven Refrigerator Robotic vacuum cleaner Tablet Telephone Water heater Washing machine === Television === Analog television History of television Television show Television broadcaster Timeline of the introduction of television in countries Mechanical television Color television Digital television Digital television transition Smart television Streaming television Internet Protocol television 3D television Terrestrial television ==== Television broadcasting ==== === Electronic instrumentation === Ammeter Capacitance meter Distortionmeter Electric energy meter LCR meter Microwave power meter Multimeter Network analyzer Ohmmeter Oscilloscope Psophometer Q meter Signal analyzer Signal generator Spectrum analyzer Transistor tester Tube tester Wattmeter Vectorscope Video signal generator Voltmeter VU meter === Memory technology === Flash memory Hard drive systems Optical storage Probe Storage Programmable read-only memory Read-only memory Solid-state drive (SSD) Volatile memory === Microcontrollers === Features Analog-to-digital converter Central processing unit (CPU) Clock generator (Quartz timing crystal, resonator or RC circuit) Debugging support Digital-to-analog converters Discrete input and output bits In-circuit programming Non-volatile memory (ROM, EPROM, EEPROM or Flash) Peripherals (Timers, event counters, PWM generators, and watchdog) Serial interface (Input/output such as serial ports (UARTs)) Serial communications (I²C, Serial Peripheral Interface and Controller Area Network) Volatile memory (RAM) 8-bit microcontroller families: AVR - PIC - COP8 - MCS-48 - MCS-51 - Z8 - eZ80 - HC08 - HC11 - H8 - PSoC Some notable suppliers: ARM Atmel Cypress Semiconductor Freescale Intel MIPS Microchip Technology NXP Semiconductors Parallax Propeller PowerPC Rabbit 2000 Renesas RX, V850 Silicon Laboratories STMicroelectronics Texas Instruments Toshiba TLCS === Optoelectronics === Optical fiber Optical properties Optical receivers Optical system design Optical transmitters === Physical laws === Ampère's law Coulomb's law Faraday's law of induction/Faraday-Lenz law Gauss's law Kirchhoff's circuit laws Current law Voltage law Maxwell's equations Gauss's law Faraday's law of induction Ampère's law Ohm's law === Power electronics === Power Devices Gate turn-off thyristor MOS-controlled thyristor (MCT) Power BJT/MOSFET Static induction devices Electric power conversion DC to DC DC to DC converter Voltage stabiliser Linear regulator AC to DC Rectifier Mains power supply unit (PSU) Switched-mode power supply DC to AC Inverter AC to AC Cycloconverter Transformer Variable frequency transformer Voltage converter Voltage regulator Power applications Automotive applications Capacitor charging applications Electronic ballasts Energy harvesting technologies Flexible AC transmission systems (FACTS) High frequency inverters HVDC transmission Motor controller Photovoltaic system Conversion Power factor correction circuits Power supply Renewable energy sources Switching power converters Uninterruptible power supply Wind power === Programmable devices === Application-specific integrated circuit (ASIC) Complex programmable logic device (CPLD) Erasable programmable logic device (EPLD) Simple programmable logic device (SPLD) Macrocell array Programmable array logic (PAL) Programmable logic array (PLA) Programmable logic device (PLD) Field-programmable gate array (FPGA) VHSIC Hardware Description Language (VHDL) Verilog Hardware Description Language Some notable suppliers: Altera - Atmel - Cypress Semiconductor - Lattice Semiconductor - Xilinx === Semiconductors theory === Properties Bipolar junction transistors Capacitance voltage profiling Charge carrier Charge-transfer complex Deep-level transient spectroscopy Depletion region Density of states Diode modelling Direct band gap Electronic band structure Energy level Exciton Field-effect transistors Metal–semiconductor junction MOSFETs N-type semiconductor Organic semiconductors P–n junction P-type semiconductor Photoelectric effect Quantum tunneling Semiconductor chip Semiconductor detector Solar cell Transistor model Thin film Tight-binding model Device Fabrication Semiconductor device fabrication Semiconductor industry Semiconductor consolidation == Applications == Audio electronics Automotive electronics Avionics Control Systems Consumer electronics Data acquisition E-health Electronic book Electronics industry Electronic warfare Embedded systems Home automation Integrated circuits Marine electronics Microwave technology Military electronics Multimedia Nuclear electronics Open hardware Radar and Radionavigation Radio electronics Terahertz technology Video hardware Wired and Wireless Communications

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  • Algorithmic radicalization

    Algorithmic radicalization

    Algorithmic radicalization is the concept that recommender algorithms on popular social media sites, such as YouTube and Facebook, drive users toward progressively more extreme content over time, leading to the development of radicalized extremist political views. Algorithms meticulously record user interactions, encompassing likes, dislikes and the duration of time watching content, with the objective of generating an endless stream of media designed to sustain user engagement. The phenomenon of echo chamber channels has been demonstrated to exacerbate the polarization of consumers, primarily through the reinforcement of media preferences and the validation of one's existing beliefs. Algorithmic radicalization remains a controversial phenomenon as it is often not in the best interest of social media companies to remove echo chamber channels. To what extent recommender algorithms are actually responsible for radicalization remains disputed. Studies have found contradictory results regarding the promotion of extremist content by algorithms. == Social media echo chambers and filter bubbles == Social media platforms learn the interests and likes of the user to modify their experiences in their feed to keep them engaged and scrolling, known as a filter bubble. An echo chamber is formed when users come across beliefs that magnify or reinforce their thoughts and form a group of like-minded users in a closed system. Echo chambers spread information without any opposing beliefs and can possibly lead to confirmation bias. According to group polarization theory, an echo chamber can potentially lead users and groups towards more extreme radicalized positions. According to the National Library of Medicine, "Users online tend to prefer information adhering to their worldviews, ignore dissenting information, and form polarized groups around shared narratives. Furthermore, when polarization is high, misinformation quickly proliferates." == By site == === Facebook === Facebook's algorithm focuses on recommending content that makes the user want to interact. They rank content by prioritizing popular posts by friends, viral content, and sometimes divisive content. Each feed is personalized to the user's specific interests which can sometimes lead users towards an echo chamber of troublesome content. Users can find their list of interests the algorithm uses by going to the "Your ad Preferences" page. According to a Pew Research study, 74% of Facebook users did not know that list existed until they were directed towards that page in the study. It is also relatively common for Facebook to assign political labels to their users. In recent years, Facebook has started using artificial intelligence to change the content users see in their feed and what is recommended to them. A document known as The Facebook Files has revealed that their AI system prioritizes user engagement over everything else. The Facebook Files has also demonstrated that controlling the AI systems has proven difficult to handle. In an August 2019 internal memo leaked in 2021, Facebook has admitted that "the mechanics of our platforms are not neutral", concluding that in order to reach maximum profits, optimization for engagement is necessary. In order to increase engagement, algorithms have found that hate, misinformation, and politics are instrumental for app activity. As referenced in the memo, "The more incendiary the material, the more it keeps users engaged, the more it is boosted by the algorithm." According to a 2018 study, "false rumors spread faster and wider than true information... They found falsehoods are 70% more likely to be retweeted on Twitter than the truth, and reach their first 1,500 people six times faster. This effect is more pronounced with political news than other categories." === YouTube === YouTube has been around since 2005 and has more than 2.5 billion monthly users. YouTube discovery content systems focus on the user's personal activity (watched, favorites, likes) to direct them to recommended content. YouTube's algorithm is accountable for roughly 70% of users' recommended videos and what drives people to watch certain content. According to a 2022 study by the Mozilla Foundation, users have little power to keep unsolicited videos out of their suggested recommended content. This includes videos about hate speech, livestreams, etc. YouTube has been identified as an influential platform for spreading radicalized content. Al-Qaeda and similar extremist groups have been linked to using YouTube for recruitment videos and engaging with international media outlets. In a research study published by the American Behavioral Scientist Journal, they researched "whether it is possible to identify a set of attributes that may help explain part of the YouTube algorithm's decision-making process". The results of the study showed that YouTube's algorithm recommendations for extremism content factor into the presence of radical keywords in a video's title. In February 2023, in the case of Gonzalez v. Google, the question at hand is whether or not Google, the parent company of YouTube, is protected from lawsuits claiming that the site's algorithms aided terrorists in recommending ISIS videos to users. Section 230 is known to generally protect online platforms from civil liability for the content posted by its users. Multiple studies have found little to no evidence to suggest that YouTube's algorithms direct attention towards far-right content to those not already engaged with it. === TikTok === TikTok is a platform that recommends videos to a user's 'For You Page' (FYP), making every users' page different. With the nature of the algorithm behind the app, TikTok's FYP has been linked to showing more explicit and radical videos over time based on users' previous interactions on the app. Since TikTok's inception, the app has been scrutinized for misinformation and hate speech as those forms of media usually generate more interactions to the algorithm. Various extremist groups, including jihadist organizations, have utilized TikTok to disseminate propaganda, recruit followers, and incite violence. The platform's algorithm, which recommends content based on user engagement, can expose users to extremist content that aligns with their interests or interactions. As of 2022, TikTok's head of US Security has put out a statement that "81,518,334 videos were removed globally between April – June for violating our Community Guidelines or Terms of Service" to cut back on hate speech, harassment, and misinformation. Studies have noted instances where individuals were radicalized through content encountered on TikTok. For example, in early 2023, Austrian authorities thwarted a plot against an LGBTQ+ pride parade that involved two teenagers and a 20-year-old who were inspired by jihadist content on TikTok. The youngest suspect, 14 years old, had been exposed to videos created by Islamist influencers glorifying jihad. These videos led him to further engagement with similar content, eventually resulting in his involvement in planning an attack. Another case involved the arrest of several teenagers in Vienna, Austria, in 2024, who were planning to carry out a terrorist attack at a Taylor Swift concert. The investigation revealed that some of the suspects had been radicalized online, with TikTok being one of the platforms used to disseminate extremist content that influenced their beliefs and actions. == Self-radicalization == The U.S. Department of Justice defines 'Lone-wolf' (self) terrorism as "someone who acts alone in a terrorist attack without the help or encouragement of a government or a terrorist organization". Through social media outlets on the internet, 'Lone-wolf' terrorism has been on the rise, being linked to algorithmic radicalization. Through echo-chambers on the internet, viewpoints typically seen as radical were accepted and quickly adopted by other extremists. These viewpoints are encouraged by forums, group chats, and social media to reinforce their beliefs. == References in media == === The Social Dilemma === The Social Dilemma is a 2020 docudrama about how algorithms behind social media enables addiction, while possessing abilities to manipulate people's views, emotions, and behavior to spread conspiracy theories and disinformation. The film repeatedly uses buzz words such as 'echo chambers' and 'fake news' to prove psychological manipulation on social media, therefore leading to political manipulation. In the film, Ben falls deeper into a social media addiction as the algorithm found that his social media page has a 62.3% chance of long-term engagement. This leads into more videos on the recommended feed for Ben and he eventually becomes more immersed into propaganda and conspiracy theories, becoming more polarized with each video. == Proposed solutions == === United States: Weakening Section 230 protections === In the Communications Decency Act, Section 230 states t

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  • Convolution

    Convolution

    In mathematics (in particular, functional analysis), convolution is a mathematical operation on two functions f {\displaystyle f} and g {\displaystyle g} that produces a third function f ∗ g {\displaystyle fg} , as the integral of the product of the two functions after one is reflected about the y-axis and shifted. The term convolution refers to both the resulting function and to the process of computing it. The integral is evaluated for all values of shift, producing the convolution function. The choice of which function is reflected and shifted before the integral does not change the integral result (see commutativity). Graphically, it expresses how the 'shape' of one function is modified by the other. Some features of convolution are similar to cross-correlation: for real-valued functions, of a continuous or discrete variable, convolution f ∗ g {\displaystyle fg} differs from cross-correlation f ⋆ g {\displaystyle f\star g} only in that either f ( x ) {\displaystyle f(x)} or g ( x ) {\displaystyle g(x)} is reflected about the y-axis in convolution; thus it is a cross-correlation of g ( − x ) {\displaystyle g(-x)} and f ( x ) {\displaystyle f(x)} , or f ( − x ) {\displaystyle f(-x)} and g ( x ) {\displaystyle g(x)} . For complex-valued functions, the cross-correlation operator is the adjoint of the convolution operator. Convolution has applications that include probability, statistics, acoustics, spectroscopy, signal processing and image processing, computer vision and human vision, geophysics, engineering, physics, and differential equations. The convolution can be defined for functions on Euclidean space and other groups (as algebraic structures). For example, periodic functions, such as the discrete-time Fourier transform, can be defined on a circle and convolved by periodic convolution. (See row 18 at DTFT § Properties.) A discrete convolution can be defined for functions on the set of integers. Generalizations of convolution have applications in the field of numerical analysis and numerical linear algebra, and in the design and implementation of finite impulse response filters in signal processing. Computing the inverse of the convolution operation is known as deconvolution. == Definition == The convolution of f {\displaystyle f} and g {\displaystyle g} is written f ∗ g {\displaystyle fg} , denoting the operator with the symbol ∗ {\displaystyle } . It is defined as the integral of the product of the two functions after one is reflected about the y-axis and shifted. As such, it is a particular kind of integral transform: ( f ∗ g ) ( t ) := ∫ − ∞ ∞ f ( τ ) g ( t − τ ) d τ . {\displaystyle (fg)(t):=\int _{-\infty }^{\infty }f(\tau )g(t-\tau )\,d\tau .} An equivalent definition is (see commutativity): ( f ∗ g ) ( t ) := ∫ − ∞ ∞ f ( t − τ ) g ( τ ) d τ . {\displaystyle (fg)(t):=\int _{-\infty }^{\infty }f(t-\tau )g(\tau )\,d\tau .} While the symbol t {\displaystyle t} is used above, it need not represent the time domain. At each t {\displaystyle t} , the convolution formula can be described as the area under the function f ( τ ) {\displaystyle f(\tau )} weighted by the function g ( − τ ) {\displaystyle g(-\tau )} shifted by the amount t {\displaystyle t} . As t {\displaystyle t} changes, the weighting function g ( t − τ ) {\displaystyle g(t-\tau )} emphasizes different parts of the input function f ( τ ) {\displaystyle f(\tau )} ; If t {\displaystyle t} is a positive value, then g ( t − τ ) {\displaystyle g(t-\tau )} is equal to g ( − τ ) {\displaystyle g(-\tau )} that slides or is shifted along the τ {\displaystyle \tau } -axis toward the right (toward + ∞ {\displaystyle +\infty } ) by the amount of t {\displaystyle t} , while if t {\displaystyle t} is a negative value, then g ( t − τ ) {\displaystyle g(t-\tau )} is equal to g ( − τ ) {\displaystyle g(-\tau )} that slides or is shifted toward the left (toward − ∞ {\displaystyle -\infty } ) by the amount of | t | {\displaystyle |t|} . For functions f {\displaystyle f} , g {\displaystyle g} supported on only [ 0 , ∞ ) {\displaystyle [0,\infty )} (i.e., zero for negative arguments), the integration limits can be truncated, resulting in: ( f ∗ g ) ( t ) = ∫ 0 t f ( τ ) g ( t − τ ) d τ for f , g : [ 0 , ∞ ) → R . {\displaystyle (fg)(t)=\int _{0}^{t}f(\tau )g(t-\tau )\,d\tau \quad \ {\text{for }}f,g:[0,\infty )\to \mathbb {R} .} For the multi-dimensional formulation of convolution, see domain of definition (below). === Notation === A common engineering notational convention is: f ( t ) ∗ g ( t ) := ∫ − ∞ ∞ f ( τ ) g ( t − τ ) d τ ⏟ ( f ∗ g ) ( t ) , {\displaystyle f(t)g(t)\mathrel {:=} \underbrace {\int _{-\infty }^{\infty }f(\tau )g(t-\tau )\,d\tau } _{(fg)(t)},} which has to be interpreted carefully to avoid confusion. For instance, f ( t ) ∗ g ( t − t 0 ) {\displaystyle f(t)g(t-t_{0})} is equivalent to ( f ∗ g ) ( t − t 0 ) {\displaystyle (fg)(t-t_{0})} , but f ( t − t 0 ) ∗ g ( t − t 0 ) {\displaystyle f(t-t_{0})g(t-t_{0})} is in fact equivalent to ( f ∗ g ) ( t − 2 t 0 ) {\displaystyle (fg)(t-2t_{0})} . === Relations with other transforms === Given two functions f ( t ) {\displaystyle f(t)} and g ( t ) {\displaystyle g(t)} with bilateral Laplace transforms (two-sided Laplace transform) F ( s ) = ∫ − ∞ ∞ e − s u f ( u ) d u {\displaystyle F(s)=\int _{-\infty }^{\infty }e^{-su}\ f(u)\ {\text{d}}u} and G ( s ) = ∫ − ∞ ∞ e − s v g ( v ) d v {\displaystyle G(s)=\int _{-\infty }^{\infty }e^{-sv}\ g(v)\ {\text{d}}v} respectively, the convolution operation ( f ∗ g ) ( t ) {\displaystyle (fg)(t)} can be defined as the inverse Laplace transform of the product of F ( s ) {\displaystyle F(s)} and G ( s ) {\displaystyle G(s)} . More precisely, F ( s ) ⋅ G ( s ) = ∫ − ∞ ∞ e − s u f ( u ) d u ⋅ ∫ − ∞ ∞ e − s v g ( v ) d v = ∫ − ∞ ∞ ∫ − ∞ ∞ e − s ( u + v ) f ( u ) g ( v ) d u d v {\displaystyle {\begin{aligned}F(s)\cdot G(s)&=\int _{-\infty }^{\infty }e^{-su}\ f(u)\ {\text{d}}u\cdot \int _{-\infty }^{\infty }e^{-sv}\ g(v)\ {\text{d}}v\\&=\int _{-\infty }^{\infty }\int _{-\infty }^{\infty }e^{-s(u+v)}\ f(u)\ g(v)\ {\text{d}}u\ {\text{d}}v\end{aligned}}} Let t = u + v {\displaystyle t=u+v} , then F ( s ) ⋅ G ( s ) = ∫ − ∞ ∞ ∫ − ∞ ∞ e − s t f ( u ) g ( t − u ) d u d t = ∫ − ∞ ∞ e − s t ∫ − ∞ ∞ f ( u ) g ( t − u ) d u ⏟ ( f ∗ g ) ( t ) d t = ∫ − ∞ ∞ e − s t ( f ∗ g ) ( t ) d t . {\displaystyle {\begin{aligned}F(s)\cdot G(s)&=\int _{-\infty }^{\infty }\int _{-\infty }^{\infty }e^{-st}\ f(u)\ g(t-u)\ {\text{d}}u\ {\text{d}}t\\&=\int _{-\infty }^{\infty }e^{-st}\underbrace {\int _{-\infty }^{\infty }f(u)\ g(t-u)\ {\text{d}}u} _{(fg)(t)}\ {\text{d}}t\\&=\int _{-\infty }^{\infty }e^{-st}(fg)(t)\ {\text{d}}t.\end{aligned}}} Note that F ( s ) ⋅ G ( s ) {\displaystyle F(s)\cdot G(s)} is the bilateral Laplace transform of ( f ∗ g ) ( t ) {\displaystyle (fg)(t)} . A similar derivation can be done using the unilateral Laplace transform (one-sided Laplace transform). The convolution operation also describes the output (in terms of the input) of an important class of operations known as linear time-invariant (LTI). See LTI system theory for a derivation of convolution as the result of LTI constraints. In terms of the Fourier transforms of the input and output of an LTI operation, no new frequency components are created. The existing ones are only modified (amplitude and/or phase). In other words, the output transform is the pointwise product of the input transform with a third transform (known as a transfer function). See Convolution theorem for a derivation of that property of convolution. Conversely, convolution can be derived as the inverse Fourier transform of the pointwise product of two Fourier transforms. == Visual explanation == == Historical developments == One of the earliest uses of the convolution integral appeared in D'Alembert's derivation of Taylor's theorem in Recherches sur différents points importants du système du monde, published in 1754. Also, an expression of the type: ∫ f ( u ) ⋅ g ( x − u ) d u {\displaystyle \int f(u)\cdot g(x-u)\,du} is used by Sylvestre François Lacroix on page 505 of his book entitled Treatise on differences and series, which is the last of 3 volumes of the encyclopedic series: Traité du calcul différentiel et du calcul intégral, Chez Courcier, Paris, 1797–1800. Soon thereafter, convolution operations appear in the works of Pierre Simon Laplace, Jean-Baptiste Joseph Fourier, Siméon Denis Poisson, and others. The term itself did not come into wide use until the 1950s or 1960s. Prior to that it was sometimes known as Faltung (which means folding in German), composition product, superposition integral, and Carson's integral. Yet it appears as early as 1903, though the definition is rather unfamiliar in older uses. The operation: ∫ 0 t φ ( s ) ψ ( t − s ) d s , 0 ≤ t < ∞ , {\displaystyle \int _{0}^{t}\varphi (s)\psi (t-s)\,ds,\quad 0\leq t<\infty ,} is a particular case of composition products considered by the Italian mathematician Vito Volterra in 1913. == Circular c

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  • Digital Cinema Package

    Digital Cinema Package

    A Digital Cinema Package (DCP) is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams. The term was popularized by Digital Cinema Initiatives, LLC in its original recommendation for packaging DC contents. However, the industry tends to apply the term to the structure more formally known as the composition. A DCP is a container format for compositions, a hierarchical file structure that represents a title version. The DCP may carry a partial composition (e.g. not a complete set of files), a single complete composition, or multiple and complete compositions. The composition consists of a Composition Playlist (in XML format) that defines the playback sequence of a set of Track Files. Track Files carry the essence (audio, image, subtitles), which is wrapped using Material eXchange Format (MXF). Track Files must contain only one essence type. Two track files at a minimum must be present in every composition (see SMPTE ST429-2 D-Cinema Packaging – DCP Constraints, or Cinepedia): a track file carrying picture essence, and a track file carrying audio essence. The composition, consisting of a Composition Playlist (CPL) and associated track files, are distributed as a Digital Cinema Package (DCP). A composition is a complete representation of a title version, while the DCP need not carry a full composition. However, as already noted, it is commonplace in the industry to discuss the title in terms of a DCP, as that is the deliverable to the cinema. The Picture Track File essence is compressed using JPEG 2000 and the Audio Track File carries a 24-bit linear PCM uncompressed multichannel WAV file. Encryption may optionally be applied to the essence of a track file to protect it from unauthorized use. The encryption used is AES 128-bit in CBC mode. In practice, there are two versions of composition in use. The original version is called Interop DCP. In 2009, a specification was published by SMPTE (SMPTE ST 429-2 Digital Cinema Packaging – DCP Constraints) for what is commonly referred to as SMPTE DCP. SMPTE DCP is similar but not backwards compatible with Interop DCP, resulting in an uphill effort to transition the industry from Interop DCP to SMPTE DCP. SMPTE DCP requires significant constraints to ensure success in the field, as shown by ISDCF. While legacy support for Interop DCP is necessary for commercial products, new productions are encouraged to be distributed in SMPTE DCP. == Technical specifications == The DCP root folder (in the storage medium) contains a number of files, some used to store the image and audio contents, and some other used to organize and manage the whole playlist. === Picture MXF files === Picture contents may be stored in one or more reels corresponding to one or more MXF files. Each reel contains pictures as MPEG-2 or JPEG 2000 essence, depending on the adopted codec. MPEG-2 is no longer compliant with the DCI specification. JPEG 2000 is the only accepted compression format. Supported frame rates are: SMPTE (JPEG 2000) 24, 25, 30, 48, 50, and 60 fps @ 2K 24, 25, and 30 fps @ 4K 24 and 48 fps @ 2K stereoscopic MXF Interop (JPEG 2000) – Deprecated 24 and 48 fps @ 2K (MXF Interop can be encoded at 25 frame/s but support is not guaranteed) 24 fps @ 4K 24 fps @ 2K stereoscopic MXF Interop (MPEG-2) – Deprecated 23.976 and 24 fps @ 1920 × 1080 Maximum frame sizes are 2048 × 1080 for 2K DC, and 4096 × 2160 for 4K DC. Common formats are: SMPTE (JPEG 2000) Flat (1998 × 1080 or 3996 × 2160), = 1.85:1 aspect ratio Scope (2048 × 858 or 4096 × 1716), ~2.39:1 aspect ratio HDTV (1920 × 1080 or 3840 × 2160), 16:9 aspect ratio (~1.78:1) (although not specifically defined in the DCI specification, this resolution is DCI compliant per section 8.4.3.2). Full (2048 × 1080 or 4096 × 2160) (~1.9:1 aspect ratio, official name by DCI is Full Container. Not widely accepted in cinemas.) MXF Interop (MPEG-2) – Deprecated Full Frame (1920 × 1080) 12 bits per component precision (36 bits total per pixel) XYZ' colorspace; the prime mark indicates gamma encoding (gamma=2.6) Maximum bit rate is 250 Mbit/s (1.3 MBytes per frame at 24 frame per second) === Sound MXF files === Sound contents are also stored in reels corresponding to picture reels in number and duration. In case of multilingual features, separate reels are required to convey different languages. Each file contains linear PCM essence. Sampling rate is 48,000 or 96,000 samples per second Sample precision of 24 bits Linear mapping (no companding) Up to 16 independent channels === Asset map file === List of all files included in the DCP, in XML format. === Composition playlist file === Defines the playback order during presentation. The order is saved in XML format in this file; each picture and sound reel is identified by its UUID. In the following example, a reel is composed by picture and sound: === Packing list file or package key list (PKL) === All files in the composition are hashed and their hash is stored here, in XML format. This file is generally used during ingestion in a digital cinema server to verify if data have been corrupted or tampered with in some way. For example, an MXF picture reel is identified by the following element: The hash value is the Base64 encoding of the SHA-1 checksum. It can be calculated with the command: openssl sha1 -binary "FILE_NAME" | openssl base64 === Volume index file === A single DCP may be stored in more than one medium (e.g., multiple hard disks). The XML file VOLINDEX is used to identify the volume order in the series. == 3D DCP == The DCP format is also used to store stereoscopic (3D) contents for 3D films. In this case, 48 frames exist for every second – 24 frames for the left eye, 24 frames for the right. Depending on the projection system used, the left eye and right eye pictures are either shown alternately (double or triple flash systems) at 48 fps or, on 4k systems, both left and right eye pictures are shown simultaneously, one above the other, at 24 fps. In triple flash systems, active shutter glasses are required whereas optical filtering such as circular polarisation is used in conjunction with passive glasses on polarized systems. Since the maximum bit rate is always 250 Mbit/s, this results in a net 125 Mbit/s for single frame, but the visual quality decrease is generally unnoticeable. == D-Box == D-Box codes for motion controlled seating (labelled as "Motion Data" in the DCP specification), if present, are stored as a monoaural WAV file on Sound Track channel 13. Motion Data tracks are unencrypted and not watermarked. == Creation == Most film producers and distributors rely on digital cinema encoding facilities to produce and quality control check a digital cinema package before release. Facilities follow strict guidelines set out in the DCI recommendations to ensure compatibility with all digital cinema equipment. For bigger studio release films, the facility will usually create a Digital Cinema Distribution Master (DCDM). A DCDM is the post-production step prior to a DCP. The frames are in XYZ TIFF format and both sound and picture are not yet wrapped into MXF files. A DCP can be encoded directly from a DCDM. A DCDM is useful for archiving purposes and also facilities can share them for international re-versioning purposes. They can easily be turned into alternative version DCPs for foreign territories. For smaller release films, the facility will usually skip the creation of a DCDM and instead encode directly from the Digital Source Master (DSM) the original film supplied to the encoding facility. A DSM can be supplied in a multitude of formats and color spaces. For this reason, the encoding facility needs to have extensive knowledge in color space handling including, on occasion, the use of 3D LUTs to carefully match the look of the finished DCP to a celluloid film print. This can be a highly involved process in which the DCP and the film print are "butterflied" (shown side by side) in a highly calibrated cinema. Less demanding DCPs are encoded from tape formats such as HDCAM SR. Quality control checks are always performed in calibrated cinemas and carefully checked for errors. QC checks are often attended by colorists, directors, sound mixers and other personnel to check for correct picture and sound reproduction in the finished DCP. == Accessibility == === Hearing impaired audio === A Hearing Impaired (HI) audio track is designed for people who are hearing-impaired to better hear dialog. Moviegoers can wear headphones which play this audio track synchronized with the film. Hearing Impaired audio is stored in the DCP on Sound Track channel 7. === Audio description === Audio description is narration for people who are blind or visually impaired. Audio description is stored in the DCP as "Visually Impaired-Native" (VI-N) audio on Sound Track channel 8. === Sign Language Video === A Sign Language Video track can be included in a DCP to allow for display of sign la

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  • Prix Ars Electronica

    Prix Ars Electronica

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

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  • Macroelectronics

    Macroelectronics

    Macroelectronics are flexible electronics that cover a large area. The most visible example of macroelectronics is flat-panel displays. Other emerging applications include rollable display, printable thin film solar cell and electronic skin. Flat-panel displays fabricated on glass substrates are fragile so fabricating directly on flexible substrates, such as polymers is being explored. Displays made on thin polymer substrates can be more rugged than glass. In September 2005, Philips Polymer Vision revealed the world's first prototype of a rollable electronic reader, which can unfold to a 5-inch display and roll back into a pocket-size (100×60×20 mm) device. Thin-film devices on flexible polymer substrates can lend themselves to low-cost fabrication processes (i.e., roll-to-roll printing), resulting in lightweight, rugged and flexible macroelectronic products.

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  • Group of Governmental Experts on Lethal Autonomous Weapons Systems

    Group of Governmental Experts on Lethal Autonomous Weapons Systems

    The Group of Governmental Experts on Lethal Autonomous Weapons Systems, commonly known as the GGE on LAWS, refers to a group of governmental experts established under the framework of the Convention on Certain Conventional Weapons (CCW), a United Nations arms control framework. The group examines legal, ethical, societal and moral questions that arise from the increased use of autonomous robots to carry weapons and to be programmed to engage in combat in various situations that might arise, including battles between countries, or in patrolling border areas or sensitive areas, or other similar roles. As of 18 March 2025, the Convention on Certain Conventional Weapons had 128 High Contracting Parties. In the Geneva Conventions, the term "High Contracting Parties" refers to the states that have joined the conventions and are therefore bound to uphold them. Among the countries that have joined are states with tense relations or ongoing armed conflict with one another, including Russia and Ukraine, Israel and the State of Palestine, and Pakistan and Afghanistan. == Background == In 2013, the Meeting of State Parties to the Convention on Certain Conventional Weapons agreed on a mandate on lethal autonomous weapon systems and tasked its chairperson with convening an informal Meeting of Experts to discuss issues related to emerging technologies in the area of LAWS. Those informal Meetings of Experts were then held in 2014, 2015 and 2016, and their reports fed into subsequent meetings of the High Contracting Parties. At the Fifth CCW Review Conference in 2016, the High Contracting Parties decided to establish an open-ended Group of Governmental Experts on emerging technologies in the area of LAWS, building on the earlier expert meetings. Since then, the group has been reconvened annually. In 2023, the Meeting of the High Contracting Parties to the CCW decided that the GGE on LAWS would continue its work in 2024 and 2025. The group was tasked with developing, by consensus, elements of a possible instrument, without predetermining its form, as well as other measures addressing lethal autonomous weapon systems, drawing on existing CCW protocols, earlier recommendations, state proposals, and legal, military, and technological expertise. == 2024 == In 2024, the GGE met twice, and the group was chaired by Robert in den Bosch, the Netherlands' disarmament ambassador. The 2024 Meeting of the High Contracting Parties decided that the group would meet for 10 days in 2025, in two five-day sessions, and reaffirmed its mandate to continue work by consensus on possible elements of an instrument and other measures addressing lethal autonomous weapon systems. == 2025 == At its first 2025 session, held in Geneva from 3 to 7 March 2025, the Group of Governmental Experts on Lethal Autonomous Weapon Systems discussed revisions to the chair's rolling text. The text was structured into five sections, or "boxes", though delegates held differing views on whether headings were useful or appropriate. Broadly, the discussions covered the characterization of lethal autonomous weapon systems, the application of international humanitarian law, possible prohibitions and regulations, legal review, and questions of accountability and responsibility. At its second session, held from 1 to 5 September 2025, delegations continued work on the chair's rolling text, which set out elements of a possible instrument and was organized into five thematic "boxes". == 2026 == === Developments before the 2026 session === A few weeks before the meeting, autonomous weapons drew renewed attention when the United States pressured Anthropic to revise the terms of use for its AI model Claude. Anthropic prohibited the model's use for mass domestic surveillance and for fully autonomous weapons operating without human oversight, while reports also emerged that OpenAI had reached an agreement with the U.S. Department of War for the use of its AI models, reportedly stipulating that they would not independently direct autonomous weapons where human control was required. The U.S. military nevertheless continued to use Claude during its war on Iran, and there was increasing alarm about the use of AI-assisted semi-autonomous weapons in conflicts including those in Ukraine, Sudan, Gaza, and Iran. Before the start of the sessions, Robert in den Bosch, as chair, warned that progress was urgent because technological developments were moving quickly. At the same time, although states agreed that international humanitarian law applied to LAWS, specific internationally binding standards governing such systems remained largely absent. A key divide before the session was that Russia and the United States opposed new legally binding instruments, while other states argued that new rules were necessary. According to Robert in den Bosch, the talks could lead to new rules, amendments to an existing convention, or a new treaty. === First session === From 2 to 6 March 2026, the group held its penultimate session under the group's three-year mandate. Delegations discussed the chair's rolling draft text, circulated in December 2025, on elements of a possible instrument or other measures concerning lethal autonomous weapon systems. In revised text circulated by the chair on 5 March 2026, a lethal autonomous weapon system was characterized as "a functionally integrated combination of one or more weapons and technological components, that can identify, select, and engage a target, without intervention by a human operator in the execution of these tasks". The text was divided into five boxes to structure discussion. During the session, delegates conducted a first reading of the draft text, and the chair later circulated revised language for several sections. Informal consultations were also held. According to campaign groups and participating observers, support grew during the week for moving to negotiations on the basis of the rolling text, with more than 70 states said to support that step by the end of the session, though some participants warned that attempts to bridge differences risked blurring the group's core purpose. The International Committee of the Red Cross argued that the text should not only restate existing international humanitarian law, but also clarify how those rules apply to autonomous weapons and set out additional measures tailored to the specific challenges such systems raise. Stop Killer Robots likewise emphasized the need to preserve meaningful human judgment and control over increasingly autonomous systems. During the discussions, the U.S. delegation opposed the term "human control" and reportedly proposed the alternative phrase "good faith human judgment and care". Other delegations rejected that wording as too weak, while many states continued to insist that meaningful human control over weapon systems remained essential.

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  • DBOS

    DBOS

    DBOS (Formerly Database-Oriented Operating System, now just DBOS) is an open source durable workflow execution software library written for the Python, TypeScript, Java, and Go programming languages. DBOS arose from a joint open source project from MIT and Stanford, after a discussion between Michael Stonebraker and Matei Zaharia on how to scale and improve scheduling and performance of millions of Apache Spark tasks. Today it is a commercial company that offers an open source system to add durable computing to any software, built on concepts derived from the joint research project. == History == === 2020: Academic R&D Project === DBOS originated in 2020 as a joint open source project between MIT, Stanford, and Carnegie Mellon. The project explored the idea of operating system services built atop a distributed database - a database-oriented operating system meant to simplify and improve the scalability, security and resilience of large-scale distributed applications. The basic concept was to run a multi-node multi-core, transactional, highly-available distributed database, such as VoltDB, as the only application for a microkernel, and then to implement scheduling, messaging, file systems and other operating system services on top of the database. The architectural philosophy is described by this quote from the abstract of their initial preprint: All operating system state should be represented uniformly as database tables, and operations on this state should be made via queries from otherwise stateless tasks. This design makes it easy to scale and evolve the OS without whole-system refactoring, inspect and debug system state, upgrade components without downtime, manage decisions using machine learning, and implement sophisticated security features. A prototype was built with competitive performance to existing systems. ==

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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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  • Hardware-based encryption

    Hardware-based encryption

    Hardware-based encryption is the use of computer hardware to assist software, or sometimes replace software, in the process of data encryption. Typically, this is implemented as part of the processor's instruction set. For example, the AES encryption algorithm (a modern cipher) can be implemented using the AES instruction set on the ubiquitous x86 architecture. Such instructions also exist on the ARM architecture. However, more unusual systems exist where the cryptography module is separate from the central processor, instead being implemented as a coprocessor, in particular a secure cryptoprocessor or cryptographic accelerator, of which an example is the IBM 4758, or its successor, the IBM 4764. Hardware implementations can be faster and less prone to exploitation than traditional software implementations, and furthermore can be protected against tampering. == History == Prior to the use of computer hardware, cryptography could be performed through various mechanical or electro-mechanical means. An early example is the Scytale used by the Spartans. The Enigma machine was an electro-mechanical system cipher machine notably used by the Germans in World War II. After World War II, purely electronic systems were developed. In 1987 the ABYSS (A Basic Yorktown Security System) project was initiated. The aim of this project was to protect against software piracy. However, the application of computers to cryptography in general dates back to the 1940s and Bletchley Park, where the Colossus computer was used to break the encryption used by German High Command during World War II. The use of computers to encrypt, however, came later. In particular, until the development of the integrated circuit, of which the first was produced in 1960, computers were impractical for encryption, since, in comparison to the portable form factor of the Enigma machine, computers of the era took the space of an entire building. It was only with the development of the microcomputer that computer encryption became feasible, outside of niche applications. The development of the World Wide Web lead to the need for consumers to have access to encryption, as online shopping became prevalent. The key concerns for consumers were security and speed. This led to the eventual inclusion of the key algorithms into processors as a way of both increasing speed and security. == Implementations == === In the instruction set === ==== x86 ==== The X86 architecture, as a CISC (Complex Instruction Set Computer) Architecture, typically implements complex algorithms in hardware. Cryptographic algorithms are no exception. The x86 architecture implements significant components of the AES (Advanced Encryption Standard) algorithm, which can be used by the NSA for Top Secret information. The architecture also includes support for the SHA Hashing Algorithms through the Intel SHA extensions. Whereas AES is a cipher, which is useful for encrypting documents, hashing is used for verification, such as of passwords (see PBKDF2). ==== ARM ==== ARM processors can optionally support Security Extensions. Although ARM is a RISC (Reduced Instruction Set Computer) architecture, there are several optional extensions specified by ARM Holdings. === As a coprocessor === IBM 4758 – The predecessor to the IBM 4764. This includes its own specialised processor, memory and a Random Number Generator. IBM 4764 and IBM 4765, identical except for the connection used. The former uses PCI-X, while the latter uses PCI-e. Both are peripheral devices that plug into the motherboard. === Proliferation === Advanced Micro Devices (AMD) processors are also x86 devices, and have supported the AES instructions since the 2011 Bulldozer processor iteration. Due to the existence of encryption instructions on modern processors provided by both Intel and AMD, the instructions are present on most modern computers. They also exist on many tablets and smartphones due to their implementation in ARM processors. == Advantages == Implementing cryptography in hardware means that part of the processor is dedicated to the task. This can lead to a large increase in speed. In particular, modern processor architectures that support pipelining can often perform other instructions concurrently with the execution of the encryption instruction. Furthermore, hardware can have methods of protecting data from software. Consequently, even if the operating system is compromised, the data may still be secure (see Software Guard Extensions). == Disadvantages == If, however, the hardware implementation is compromised, major issues arise. Malicious software can retrieve the data from the (supposedly) secure hardware – a large class of method used is the timing attack. This is far more problematic to solve than a software bug, even within the operating system. Microsoft regularly deals with security issues through Windows Update. Similarly, regular security updates are released for Mac OS X and Linux, as well as mobile operating systems like iOS, Android, and Windows Phone. However, hardware is a different issue. Sometimes, the issue will be fixable through updates to the processor's microcode (a low level type of software). However, other issues may only be resolvable through replacing the hardware, or a workaround in the operating system which mitigates the performance benefit of the hardware implementation, such as in the Spectre exploit.

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  • Jaggies

    Jaggies

    Jaggies are visual artifacts in raster images, most frequently from aliasing, which in turn is often caused by non-linear mixing effects producing high-frequency components, or missing or poor anti-aliasing filtering prior to sampling. Jaggies are stair-like lines that appear where there should be "smooth" straight lines or curves. For example, when a nominally straight, un-aliased line steps across one pixel either horizontally or vertically, a "dogleg" occurs halfway through the line, where it crosses the threshold from one pixel to the other. Jaggies should not be confused with most compression artifacts, which are a different phenomenon. == Causes == Jaggies occur due to the "staircase effect". This is because a line represented in raster mode is approximated by a sequence of pixels. Jaggies can occur for a variety of reasons, the most common being that the output device (display monitor or printer) does not have sufficient resolution to portray a smooth line. In addition, jaggies often occur when a bit-mapped image is scaled to a higher resolution. This is one of the advantages that vector graphics have over bitmapped graphics – a vector image can be losslessly scaled to any arbitrary resolution or stretched infinitely in either axis without introducing jaggies. == Solutions == The effect of jaggies can be reduced by a graphics technique known as spatial anti-aliasing. Anti-aliasing smooths out jagged lines by surrounding them with transparent pixels to simulate the appearance of fractionally-filled pixels when viewed at a distance. The downside of anti-aliasing is that it reduces contrast – rather than sharp black/white transitions, there are shades of gray – and the resulting image can appear fuzzy. This is an inescapable trade-off: if the resolution is insufficient to display the desired detail, the output will either be jagged, fuzzy, or some combination thereof. While machine learning-based upscaling techniques such as DLSS can be used to infer this missing information, other types of artifacts may be introduced in the process. In real-time 3D rendering such as in video games, various anti-aliasing techniques are used to remove jaggies created by the edges of polygons and other contrasting lines. Since anti-aliasing can impose a significant performance overhead, games for home computers often allow users to choose the level and type of anti-aliasing in use in order to optimize their experience, whereas on consoles this setting is typically fixed for each title to ensure a consistent experience. While anti-aliasing is generally implemented through graphics APIs like DirectX and Vulkan, some consoles such as the Xbox 360 and PlayStation 3 are also capable of anti-aliasing to little direct performance cost by way of dedicated hardware which performs anti-aliasing on the contents of the framebuffer once it has been rendered by the GPU. Jaggies in bitmaps, such as sprites and surface materials, are most often dealt with by separate texture filtering routines, which are far easier to perform than anti-aliasing filtering. Texture filtering became ubiquitous on PCs after the introduction of 3Dfx's Voodoo GPU. == Notable uses of the term == In the 1985 game Rescue on Fractalus! for the Atari 8-bit computers, the graphics depicting the cockpit of the player's spacecraft contains two window struts, which are not anti-aliased and are therefore very "jagged". The developers made fun of this and named the in-game enemies "Jaggi", and also initially titled the game Behind Jaggi Lines!. The latter idea was scrapped by the marketing department before release.

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  • Cultural technology

    Cultural technology

    Cultural technology (Korean: 문화기술; Hanja: 文化技術; RR: munhwagisul) is a system used by South Korean talent agencies to promote K-pop culture throughout the world as part of the Korean Wave. The system was developed by Lee Soo-man, founder of talent agency and record company SM Entertainment. == History == === Coinage === During a speech at the Stanford Graduate School of Business in 2011, Lee said he coined the term "cultural technology" as a system about fourteen years prior, when S.M. Entertainment decided to promote its K-pop artists to all of Asia. In the late 1990s, Lee and his colleagues created a manual on cultural technology, which specified the steps needed to popularize K-pop artists outside South Korea. "The manual, which all S.M. employees are instructed to learn, explains when to bring in foreign composers, producers, and choreographers; what chord progressions to use in what country; the precise color of eyeshadow a performer should wear in a particular country; the exact hand gestures he or she should make; and the camera angles to be used in the videos (a three-hundred-and-sixty-degree group shot to open the video, followed by a montage of individual closeups)," according to The New Yorker. The term "cultural technology," apart from Lee's systemized definition, can be traced back to the lectures of Michael White, an Australian social worker, educator, and therapeutic theorist and his works Narrative Means to Therapeutic Ends (1990) and Maps of Narrative Practice (2007). Its usage may also date further back to French philosopher Michel Foucault (1977). South Korean computer scientist Kwangyun Wohn said he coined the term "culture technology" in 1994. Cultural technology has also been one of six technology initiatives of the South Korean government since 2001. In regards to cultural technology, the Korean Wave is considered one of the most successful outcomes of government support of exporting Korean entertainment products. === The Four Core Stages === The cultural technology system originally employed by SM Entertainment since the 1990s existed in four stages: Casting, Training, Producing, and Marketing/Managing. Each of these four stages were curated to help spread the Hallyu wave through the development of its artists, and are present in the strategies of many other South Korean talent agencies when creating, debuting, and marketing groups. ==== Casting ==== While the majority of K-pop idols are from South Korea, some are from Japan, China, or Thailand. Many of Korea's entertainment companies, such as SM's Global Auditions, Bighit's Hit It auditions, and YG's Next Generation, host worldwide auditions. Scouting and streetcasting are also common, with members like BTS's Jin recruited for their looks or other surface reasons. Sometimes, casting agents go to dance schools to recruit the top dancers to be trained further at the entertainment company. ==== Training ==== Idols train extensively before debut. They receive training in dance, vocal activities, presentation, and other areas that will benefit them in the industry. Oftentimes, this training will last for years at a time, and trainees are in the proverbial dungeon. Before debut, idols and groups attempt to gain fans through pre-debut activities. SM Entertainment has a system in place called SM Rookies, which is a pre-debut team that hosts concerts and releases videos that strengthen the fanbase of the group even before their first single is released. Other forms of pre-debut activities include featuring in other, more seasoned idols' videos—like Nu'est in Orange Caramel or Exo in Girls' Generation-TTS Twinkle or BTS in Jo Kwon. One particular method of pre-debut training is coupled with casting in production shows, like Sixteen and Produce 101, in which members for a final group are selected and trained. ==== Producing ==== The production of music is integral in culture technology. For cultural technology, production of music helps create differentiated content to set trends in the K-pop world—trends that vary from music to also costume, choreography, and music videos. SM in particular focuses heavily on the expansion globally. Some companies also outsource production to more internationally famed parties, like Cube Entertainment's partnership with Skrillex for 4minute's Act. 7. ==== Marketing/Managing ==== In the marketing and management stage, talent agencies seek to broaden their reach. Often, idols have potential for being actors and actresses in dramas, or perhaps hosts/permanent members of variety shows like Kim Hee-chul in Knowing Bros. This so-called omnidirectional marketing lineup ranges over lifestyle and seeks to reach many aspects of living, like music, TV, drama, entertainment, sports, and fashion. This is also where older groups find new life, like Super Junior. Companies are not complacent but experiment constantly to develop the best marketing for the best management system. Marketing also aspires to branch out to international audiences, sometimes via the implementation of variety shows. Despite being primarily in Korean, these variety shows are accessible to all due to the simplistic, easily understood nature of shows—game-oriented shows like Run BTS! or consistently subbed shows like Weekly Idol are popular in showing the fun-loving side of idols. == Evolution into New Culture Technology == In February 2016, SM hosted a press conference discussing the future of SM and its cultural technology. Lee Soo-man announced the implementation of New Culture Technology, an SM-specific system. While SM's cultural technology in the past relied on local, Korean artists like Rain and BoA, the updated model tries to embed more and more foreign singers from strategic markets into larger girl or boy bands. These imported singers are then used to promote their acts back in their respective home countries. New Culture Technology is five projects—SM Station, EDM, Digital Platforms, Rookies Entertainment, and MCN—and one experimental group, NCT. It is a convergence and expansion of SM's four core culture technologies developed and deals heavily with interaction and the desire to innovate through communication. === SM Station === SM announced their intention of creating a new song every week for 52 weeks. Through this constant output of music, they intend to stray away from conventional forms of music and show active movement in digital music market and physical album market through freely and continuously releasing music. Additionally, this SM Station will feature collaborations between artists, producers, composers, and company brands outside the SM label. The name of SM Station is both derived from the radio station and the metaphorical train station. === NCT === Neo Culture Technology (NCT) introduced the idea of "Interactive". SM company tried to connect the targeting market, customers and artist, in order to lead the K-pop culture. NCT (Neo Culture Technology) is the new artist group formed by SM that embodies the concepts of cultural technology. With the seemingly limitless combinations and groups, SM aspires to make the whole world a stage for NCT. Since 2023, there are six NCT groups, who debuted on the digital song sales: NCT U, NCT 127, NCT Dream, WayV, NCT DoJaeJung, and NCT Wish. As of October 2023, the group consists of 25 members: Johnny, Taeyong, Yuta, Kun, Doyoung, Ten, Jaehyun, Winwin, Jungwoo, Mark, Xiaojun, Hendery, Renjun, Jeno, Haechan, Jaemin, Yangyang, Chenle, Jisung, Sion, Riku, Yushi, Daeyoung, Ryo, and Sakuya. ScreaM Records ScreaM Records has been released by SM Entertainment as an EDM label since 2016 for "SM TOWN: New Culture Technology". ScreaM Records is made for "performances made to be enjoyed". It collaborates with inside and outside Korean well-known EDM DJs. ScreaM Records has first launched collaborated song "Wave" E-Mart's home electronics store, Electro Mart. "Our goal is to provide opportunities to producers who have yet to be discovered and produce world famous DJs from the Asian scene." a ScreaM Records representative said. == Three stages of globalization == According to Lee, there are three stages necessary to popularize Korean culture outside South Korea: exporting the product, collaborating with international companies to expand the product's presence abroad, and finally creating a joint venture with international companies. As part of their joint ventures with international companies, South Korean talent agencies may hire foreign composers, producers, and choreographers to ensure K-pop songs feel "local" to foreign countries.

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  • Technology company

    Technology company

    A technology company, or tech company, is a company that focuses primarily on the manufacturing, support, research and development of—most commonly computing, telecommunication and consumer electronics–based—technology-intensive products and services, which include businesses relating to digital electronics, software, optics, new energy, and Internet-related services such as cloud storage and e-commerce services. Big Tech refers to the 6 largest companies, both in the United States and globally, symbolized by the metonym 'Silicon Valley', where 4 of them are based. == Details == According to Fortune, as of 2020, the ten largest technology companies by revenue are: Apple Inc., Samsung, Foxconn, Alphabet Inc., Microsoft, Huawei, Dell Technologies, Hitachi, IBM, and Sony. Amazon has higher revenue than Apple, but is classified by Fortune in the retail sector. The most profitable listed in 2020 are Apple Inc., Microsoft, Alphabet Inc., Intel, Meta Platforms, Samsung, and Tencent. Apple Inc., Alphabet Inc. (owner of Google), Meta Platforms (owner of Facebook), Microsoft, and Amazon.com, Inc. are often referred to as the Big Five multinational technology companies based in the United States. These five technology companies dominate major functions, e-commerce channels, and information of the entire Internet ecosystem. As of 2017, the Big Five had a combined valuation of over $3.3 trillion and make up more than 40 percent of the value of the Nasdaq-100 index. Many large tech companies have a reputation for innovation, spending large sums of money annually on research and development. According to PwC's 2017 Global Innovation 1000 ranking, tech companies made up nine of the 20 most innovative companies in the world, with the top R&D spender (as measured by expenditure) being Amazon, followed by Alphabet Inc., and then Intel. As a result of numerous influential tech companies and tech startups opening offices in proximity to one another, a number of technology districts have developed in various areas across the globe. These include: Silicon Valley in the San Francisco Bay Area, Silicon Wadi in Israel, Silicon Docks in Dublin, Silicon Hills in Austin, Tech City in London; Digital Media City in Seoul, Zhongguancun in Beijing, Cyberjaya in Malaysia and Cyberabad in Hyderabad, India. As of 2026, Europe has six of the world's 100 most valuable tech companies, compared with 56 in the United States and 16 in China.

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