AI Writing Tools

Explore the best AI Writing Tools — independent reviews, comparisons, pricing and step-by-step how-to guides, curated by Aizhi.

  • SmartQVT

    SmartQVT

    SmartQVT is a unmaintained (since 2013) full Java open-source implementation of the QTV-Operational language which is dedicated to express model-to-model transformations. This tool compiles QVT transformations into Java programs to be able to run QVT transformations. The compiled Java programs are EMF-based applications. It is provided as Eclipse plug-ins running on top of the EMF metamodeling framework and is licensed under EPL. == Components == SmartQVT contains 3 main components: a code editor: this component helps the user to write QVT code by highlighting key words. a parser: this component converts QVT code files into model representations of the QVT programs (abstract syntax). a compiler: this component converts model representations of the QVT program into executable Java programs.

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  • MADI

    MADI

    Multichannel Audio Digital Interface (MADI) standardized as AES10 by the Audio Engineering Society (AES) defines the data format and electrical characteristics of an interface that carries multiple channels of digital audio. The AES first documented the MADI standard in AES10-1991 and updated it in AES10-2003 and AES10-2008. The MADI standard includes a bit-level description and has features in common with the two-channel AES3 interface. MADI supports serial digital transmission over coaxial cable or fibre-optic lines of 28, 56, 32, or 64 channels; and sampling rates to 96 kHz and beyond with an audio bit depth of up to 24 bits per channel. Like AES3 and ADAT Lightpipe, it is a unidirectional interface from one sender to one receiver. == Development and applications == MADI was developed by AMS Neve, Solid State Logic, Sony and Mitsubishi and is widely used in the audio industry, especially in the professional audio sector. It provides advantages over other audio digital interface protocols and standards such as AES3, ADAT Lightpipe, TDIF (Tascam Digital Interface), and S/PDIF (Sony/Philips Digital Interface). These advantages include: Support for a greater number of channels per line Use of coaxial and optical fiber media that support transmission of audio signals over 100 meters, up to 3000 meters over multi-mode and 40,000 meters over single-mode optical fiber The original specification (AES10-1991) defined the MADI link as a 56-channel transport for linking large-format mixing consoles to digital multitrack recording devices. Large broadcast studios also adopted it for routing multi-channel audio throughout their facilities. The 2003 revision (AES10-2003) adds a 64-channel capability by removing varispeed operation and supports 96 kHz sampling frequency with reduced channel capacity. The latest AES10-2008 standard includes minor clarifications and updates to correspond to the current AES3 standard. Audio over Ethernet of various types is the primary alternative to MADI for transport of many channels of professional digital audio. == Transmission format == MADI links use a transmission format similar to Fiber Distributed Data Interface (FDDI) networking. Since MADI is most often transmitted on copper links via 75-ohm coaxial cables, it more closely compares to the FDDI specification for copper-based links, called CDDI. AES10-2003 recommends using BNC connectors with coaxial cables and SC connectors with optic fibers. MADI over fibre can support a range of up to 2 km. The basic data rate is 100 Mbit/s of data using 4B5B encoding to produce a 125 MHz physical baud rate. Unlike AES3, this clock is not synchronized to the audio sample rate, and the audio data payload is padded using JK sync symbols. Sync symbols may be inserted at any subframe boundary, and must occur at least once per frame. Though the standard disassociates the transmission clock from the audio sample rate, and thus requires a separate word clock connection to maintain synchronization, some vendors do give the option of locking to parts of the transmission timing information for purposes of deriving a word clock. The audio data is almost identical to the AES3 payload, though with more channels. Rather than letters, MADI assigns channel numbers from 0–63. Frame synchronization is provided by sync symbols outside the data itself, rather than an embedded preamble sequence, and the first four time slots of each sub-channel are encoded as normal data, used for sub-channel identification: Bit 0: Set to 1 to mark channel 0, the first channel in each frame Bit 1: Set to 1 to indicate that this channel is active (contains interesting data) Bit 2: notA/B channel marker, used to mark left (0) and right (1) channels. Generally, even channels are A and odd channels are B. Bit 3: Set to 1 to mark the beginning of a 192-sample data block == Sampling frequency == The original AES10-1991 specification allowed 56 channels at sample rates from 32 to 48 kHz with an additional vari-speed range of ± 12.5%. This leads to a total range of 28 to 54 kHz. At the highest frequency, this produces a total of 56 × 32 × 54 = 96768 kbit/s, leaving 3.232% of the channel for synchronization marks and transmit clock error. The 2003 revision specifies different relations between sampling frequency and number of channels. 32 kHz to 48 kHz ± 12.5%, 56 channels; 32 kHz to 48 kHz nominal, 64 channels; 64 kHz to 96 kHz ± 12.5%, 28 channels. With a 48 kHz sampling frequency, 64 channels take 64 × 32 × 48000 = 98.304 Mbit/s. Adding the minimum 8 × 58 kbit/s of framing produces 98688 bit/s, leaving 1.312% free for timing variation and other overhead. Both versions of the standard accommodate higher sampling frequencies (for example, 96 kHz or 192 kHz) by using two or more channels per audio sample on the link.

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  • Video game

    Video game

    A video game, computer game, or simply game is an electronic game that involves interaction with a user interface or input device (such as a joystick, controller, keyboard, or motion sensing device) to generate visual feedback from a display device, most commonly shown in a video format on a television set, computer monitor, flat-panel display or touchscreen on handheld devices, or a virtual reality headset. Most modern video games are audiovisual, with audio complement delivered through speakers or headphones, and sometimes also with other types of sensory feedback (e.g., haptic technology that provides tactile sensations). Some video games also allow microphone and webcam inputs for in-game chatting and livestreaming. Video games are typically categorized according to their hardware platform, which traditionally includes arcade video games, console games, and computer games (which includes LAN games, online games, and browser games). More recently, the video game industry has expanded onto mobile gaming through mobile devices (such as smartphones and tablet computers), virtual and augmented reality systems, and remote cloud gaming. Video games are also classified into a wide range of genres based on their style of gameplay and target audience. The first video game prototypes in the 1950s and 1960s were simple extensions of electronic games using video-like output from large, room-sized mainframe computers. The first consumer video game was the arcade video game Computer Space in 1971, which took inspiration from the earlier 1962 computer game Spacewar!. In 1972 came the now-iconic video game Pong and the first home console, the Magnavox Odyssey. The industry grew quickly during the "golden age" of arcade video games from the late 1970s to early 1980s but suffered from the crash of the North American video game market in 1983 due to loss of publishing control and saturation of the market. Following the crash, the industry matured, was dominated by Japanese companies such as Nintendo, Sega, and Sony, and established practices and methods around the development and distribution of video games to prevent a similar crash in the future, many of which continue to be followed. In the 2000s, the core industry centered on "AAA" games, leaving little room for riskier experimental games. Coupled with the availability of the Internet and digital distribution, this gave room for independent video game development (or "indie games") to gain prominence into the 2010s. Since then, the commercial importance of the video game industry has been increasing. The emerging Asian markets and proliferation of smartphone games in particular are altering player demographics towards casual and cozy gaming, and increasing monetization by incorporating games as a service. Today, video game development requires numerous skills, vision, teamwork, and liaisons between different parties, including developers, publishers, distributors, retailers, hardware manufacturers, and other marketers, to successfully bring a game to its consumers. As of 2020, the global video game market had estimated annual revenues of US$159 billion across hardware, software, and services, which is three times the size of the global music industry and four times that of the film industry in 2019, making it a formidable heavyweight across the modern entertainment industry. The video game market is also a major influence behind the electronics industry, where personal computer component, console, and peripheral sales, as well as consumer demands for better game performance, have been powerful driving factors for hardware design and innovation. == Origins == Early video games used interactive electronic devices with various display formats. The earliest example dates to 1947—a "cathode-ray tube amusement device" was filed for a patent on 25 January 1947, by Thomas T. Goldsmith Jr. and Estle Ray Mann, and issued on 14 December 1948, as U.S. Patent 2455992. Inspired by radar display technology, it consisted of an analog device allowing a user to control the parabolic arc of a dot on the screen to simulate a missile being fired at targets, which were paper drawings fixed to the screen. Other early examples include the Nimrod computer at the 1951 Festival of Britain; Christopher Strachey's Checkers, possibly the first game to display visuals on an electronic screen in 1952; OXO, a tic-tac-toe computer game by Alexander S. Douglas for the EDSAC in 1952; Tennis for Two, an electronic interactive game engineered by William Higinbotham in 1958; and Spacewar!, written by Massachusetts Institute of Technology students Martin Graetz, Steve Russell, and Wayne Wiitanen's on a DEC PDP-1 computer in 1962. Each game had different means of display: NIMROD had a panel of lights to play the game of Nim, OXO had a graphical display to play tic-tac-toe, Tennis for Two had an oscilloscope to display a side view of a tennis court, and Spacewar! had the DEC PDP-1's vector display to have two spaceships battle each other. These inventions laid the foundation for modern video games. In 1966, while working at Sanders Associates, Ralph H. Baer devised a system to play a basic table tennis game on a television screen. With the company's approval, Baer created the prototype known as the "Brown Box". Sanders patented Baer's innovations and licensed them to Magnavox, which commercialized the technology as the first home video game console, the Magnavox Odyssey, released in 1972. Separately, Nolan Bushnell and Ted Dabney, inspired by seeing Spacewar! running at Stanford University, devised a similar version running in a smaller coin-operated arcade cabinet using a less expensive computer. This was released as Computer Space, the first arcade video game, in 1971. Bushnell and Dabney went on to form Atari, Inc., and with Allan Alcorn, created their second arcade game in 1972, the hit ping pong-style Pong, which was directly inspired by the table tennis game on the Odyssey. Atari made a home version of Pong, which was released by Christmas 1975. The success of the Odyssey and Pong, both as an arcade game and home machine, launched the video game industry. Both Baer and Bushnell have been titled "Father of Video Games" for their contributions. == Terminology == The term "video game" was developed to describe electronic games played on a video display rather than on a teletype printer, audio speaker, or similar device. This also distinguished from handheld electronic games such as Merlin, which commonly used LED lights for indicators not in combination for imaging purposes. "Computer game" may also be used as a descriptor, as all these types of games essentially require the use of a computer processor; in some cases, it is used interchangeably with "video game". Particularly in the United Kingdom and Western Europe, this is common due to the historic relevance of domestically produced microcomputers. Other terms used include digital game, for example, by the Australian Bureau of Statistics. The term "computer game" can also refer to PC games, which are played primarily on personal computers or other flexible hardware systems, to distinguish them from console games, arcade games, or mobile games. Other terms, such as "television game", "telegame", or "TV game", had been used in the 1970s and early 1980s, particularly for home gaming consoles that rely on connection to a television set. However, these terms were also used interchangeably with "video game" in the 1970s, primarily due to "video" and "television" being synonymous. In Japan, where consoles like the Odyssey were first imported and then made within the country by the large television manufacturers such as Toshiba and Sharp Corporation, such games are known as "TV games", "TV geemu", or "terebi geemu". The term "TV game" is still commonly used into the 21st century. "Electronic game" may also be used to refer to video games, but this also incorporates devices like early handheld electronic games that lack any video output. The first appearance of the term "video game" emerged around 1973. The Oxford English Dictionary cited a 10 November 1973 BusinessWeek article as the first printed use of the term. Though Bushnell believed the term came from a vending magazine review of Computer Space in 1971, a review of the major vending magazines Vending Times and Cashbox showed that the term may have come even earlier, appearing first in a letter dated July 10, 1972. In the letter, Bushnell uses the term "video game" twice. Per video game historian Keith Smith, the sudden appearance suggested that the term had been proposed and readily adopted by those in the field. Around March 1973, Ed Adlum, who ran Cashbox's coin-operated section until 1972 and then later founded RePlay Magazine, covering the coin-op amusement field, in 1975, used the term in an article in March 1973. In a September 1982 issue of RePlay, Adlum is credited with first naming these games as "video games": "RePlay

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  • HTTP compression

    HTTP compression

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

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  • Hit-testing

    Hit-testing

    In computer graphics programming, hit-testing (hit detection, picking, or pick correlation) is the process of determining whether a user-controlled cursor (such as a mouse cursor or touch-point on a touch-screen interface) intersects a given graphical object (such as a shape, line, or curve) drawn on the screen. Hit-testing may be performed on the movement or activation of a mouse or other pointing device. Hit-testing is used by GUI environments to respond to user actions, such as selecting a menu item or a target in a game based on its visual location. In web programming languages such as HTML, SVG, and CSS, this is associated with the concept of pointer-events (e.g. user-initiated cursor movement or object selection). Collision detection is a related concept for detecting intersections of two or more different graphical objects, rather than intersection of a cursor with one or more graphical objects. == Algorithm == There are many different algorithms that may be used to perform hit-testing, with different performance or accuracy outcomes. One common hit-test algorithm for axis aligned bounding boxes. A key idea is that the box being tested must be either entirely above, entirely below, entirely to the right or left of the current box. If this is not possible, they are colliding. Example logic is presented in the pseudo-code below: In Python:

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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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  • Acquisition of DirecTV by AT&T

    Acquisition of DirecTV by AT&T

    AT&T Inc. announced an agreement with the DirecTV Group on May 18, 2014, to acquire the company for $48.5 billion in a joint cash-stock transaction and assumed debts of $18.6 billion for a total offer of $67.1 billion. Due to stalling growth in the wireless sector, AT&T began diversifying into mass media to expand its consumer offerings. After regulatory agencies approved the purchase on July 24, 2015, AT&T briefly became the largest Pay-TV provider. DirecTV was brought under AT&T's communication segment and DirecTV Now was launched on November 30, 2016, as an alternative to cord-cutting. In the years following the purchase, DirecTV lost millions of subscribers across its satellite and streaming services and by 2019, calls grew for AT&T to divest itself off the business. Initially, AT&T rejected these calls and defended the acquisition, but by February 2021, it reached a deal with TPG Inc. to transfer ownership of DirecTV. Under the terms of the agreement, AT&T would retain a 70% majority stake in DirecTV but would no longer oversee its daily operations. The deal was finalized by August 2, 2021, with AT&T receiving $7.1 billion. By July 3, 2025, AT&T sold its majority stake to TPG, ending any ties of involvement. == Background and Development == === AT&T's history === The company to bear the name "AT&T" was founded on March 3, 1885, as American Telephone and Telegraph Company (or AT&T Corporation) by Theodore Newton Vail as a long-distance subsidiary of the Bell Telephone Company. By December 1899, the Bell Telephone's assets were transferred to AT&T, with the latter gaining control of the Bell System, a regional network of local telecom companies. Theodore Vail became AT&T's President in 1907 and under his leadership, AT&T gained a monopoly over the telephone sector in the United States. This near century dominance earned AT&T the nickname of "Ma Bell." In 1974, the U.S. Department of Justice sued AT&T on accounts of antitrust violations. AT&T challenged the lawsuit, but in 1982, it reached a settlement with the DOJ to break apart its Bell System monopoly into seven regional companies. On January 1, 1984, the Bell System came to an end and led to a reshaped telecom industry. One of these regional companies, Southwestern Bell, emerged as the smallest, but after the passage of the 1996 Telecom Act, deregulated telecom rules allowed SBC to become a major telecom company. AT&T briefly became the largest cable and broadband company by the end of the 20th Century, but later deconsolidated to exit those industries. In 2005, SBC acquired its former parent, AT&T, and took on its branding as AT&T Inc, while retaining its previous business history. The newly reincorporated AT&T acquired BellSouth in 2006 and reconstituted much of its former Bell System. === DirecTV's history === == Acquisition Timeline == == Managing DirecTV == == Divestment and Spinoff ==

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  • Event cinema

    Event cinema

    Event cinema sometimes called alternative content cinema or livecasts refers to the use of movie theaters to display a varied range of live and recorded entertainment excluding traditional films, such as sport, opera, musicals, ballet, music, one-off TV specials, current affairs, comedy and religious services. == History and development == Event Cinema was set up at the start of the century with rock concerts by Bon Jovi (2001), David Bowie (2003), and Robbie Williams (2005) bringing non-film audiences into cinemas that had newly installed digital equipment. The Metropolitan Opera in New York through their partnership with Fathom Events is acknowledged as the trailblazer in this area, aggressively seeking out new markets and setting high standards for live broadcasts via satellite. Emulated by other opera houses worldwide such as the Royal Opera House following a close second, Glyndebourne, La Scala and the Sydney Opera House the genre of opera within the 'Event Cinema' industry has been a huge success, and has brought new, younger audiences into cash-strapped opera houses depended on state funding and wealthy benefactors for the first time - an unforeseen and happy consequence of digitisation. Ballet and theater have also been very successful, as have rock concerts, both live and recorded. The UK's National Theatre has been a huge success here with their season of live broadcasts under the banner 'NT Live', featuring big name casts such as Helen Mirren, whose recent turn as Queen Elizabeth II in The Audience was a sell out everywhere. (This was in partnership with another West End theatre and the NT are keen to help other theatres maximise their potential through live broadcasts). The Globe and the Royal Shakespeare Company are also producing work for live broadcast and recorded exhibition. As digitisation of cinemas matures, the Event Cinema industry is growing. The strongest territory is the US, followed by the UK and mainland European territories. Latin America is also a very strong market. Recent additions include Pompeii Live, a unique exhibition by the UK's British Museum, featuring celebrities and curators taking the audience on a live tour around the recreated set of Pompeii within the museum itself, and they are also exploring the schools market for the first time, following the live broadcast on June 18 with a daytime broadcast aimed at UK schools for the first time. If successful this will no doubt prove a model for future museums to emulate. An added incentive for exhibitors is the ability to show alternative content, i.e. alternative to mainstream, studio-driven content, such as live special events, sports, pre-show advertising and other digital or video content. In industry terms this has become known as 'Alternative Content', but has recently become known more widely as 'Event Cinema'. === Expanding markets === Some low-budget films that would normally not have a theatrical release because of distribution costs might be shown in smaller engagements than the typical large release studio pictures. The cost of duplicating a digital "print" is very low, so adding more theaters to a release has a small additional cost to the distributor. Movies that start with a small release could scale to a much larger release quickly if they were sufficiently successful, opening up the possibility that smaller movies could achieve box office success previously out of their reach. ==== Technical specifications ==== Event Cinema is also finding a market in 3rd world countries in which the higher costs and quality of DCI equipment are not yet affordable, as crucially there are no DCI specifications for Alternative Content as there is in mainstream [studio] content. This has led to an explosion in the variety of content on offer, but a lack of standardisation has led to questionable quality at times. As the industry matures, this lack of regulation is expected to change and there are moves afoot to introduce codes of practice and technical specifications. Recorded content complements mainstream studio content by maximising the 'downtime' that plagues the cinema industry, where screens worldwide spend a large proportion of their time in darkness and cinemas empty. Some cinema chains have targeted pensioners in particular, offering free tea and coffee for afternoon matinees of recorded opera, for example. Digital Cinema Packages (DCPs) have been useful to cinemas not yet equipped with satellite broadcasting capability and has enabled exhibitors to build their Event Cinema audience, which is not generally the 18-24 demographic that multiplexes are targeting. ==== New Audiences ==== Event Cinema has seen a return of an older, affluent audience, previously turned off by the multiplex experience, and cinemas are starting to capitalise on this by offering waiter-serviced, high class finger food and alcoholic beverages, complete with bars and restaurants, a world away from the traditional popcorn/soft drink model; art house cinemas are increasingly marketing themselves as 'destination' venues for an evening's entertainment, somewhere to spend an entire evening, rather than just a couple of hours. As exhibition admissions have plateau'd in recent years due to the explosion in VOD, tablet and mobile content technology, this new revenue stream has been a surprise and welcome addition to the cinema industry, though the US studios have been cautious in embracing the change as yet. The thrill of Live broadcasts means they are generally regarded as more popular than recorded events, but there are exceptions; artists with a loyal cult or teenage following tend to do particularly well in this area, as concert films featuring artists such as the Grateful Dead, Pearl Jam, JLS, Led Zeppelin and the Rolling Stones have shown. ==== The Future ==== As more and more distributors are emerging, offering an increasingly broad range of content to cinemas worldwide, the landscape itself is shifting: screen advertising companies, technical providers, and exhibitors themselves are reinventing themselves as Alternative Content or Event Cinema distributors, and the industry is witnessing a re-evaluation of business models and practices worldwide. Predictions are that this industry could be work in excess of US$1bn by 2015. An illustration of the growth of this industry is the news the establishment of a European trade association promoting the industry to the general public and supporting those involved in it and the Event Cinema Association.

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  • List of JavaScript libraries

    List of JavaScript libraries

    This is a list of notable JavaScript libraries. == Constraint programming == Cassowary (software) CHR.js == DOM (manipulation) oriented == Google Polymer Dojo Toolkit jQuery MooTools Prototype JavaScript Framework == Graphical/visualization (canvas, SVG, or WebGL related) == AnyChart Apache ECharts Babylon.js Chart.js Cytoscape D3.js Dojo Toolkit FusionCharts Google Charts JointJS p5.js Plotly.js Processing.js Raphaël RGraph SWFObject Teechart Three.js Velocity.js Verge3D Webix == GUI (Graphical user interface) and widget related == Angular (application platform) by Google AngularJS by Google Bootstrap Dojo Widgets Ext JS by Sencha Foundation by ZURB jQuery UI jQWidgets OpenUI5 by SAP Polymer (library) by Google qooxdoo React.js by Meta/Facebook Vue.js Webix WinJS Svelte === No longer actively developed === Glow Lively Kernel Script.aculo.us YUI Library == Pure JavaScript/Ajax == Google Closure Library JsPHP Microsoft's Ajax library MochiKit PDF.js Socket.IO Spry framework Underscore.js == Template systems == jQuery Mobile Mustache Jinja-JS Twig.js == Unit testing == Jasmine Mocha QUnit == Test automation == Playwright Cypress == Web-application related (MVC, MVVM) == Angular (application platform) by Google AngularJS by Google Backbone.js Echo Ember.js Enyo Express.js Ext JS Google Web Toolkit JsRender/JsViews Knockout Meteor Mojito MooTools Next.js Nuxt.js OpenUI5 by SAP Polymer (library) by Google Prototype JavaScript Framework qooxdoo React.js SproutCore svelte Vue.js == Other == Blockly Cannon.js MathJax Modernizr TensorFlow Brain.js

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  • Electronic game

    Electronic game

    An electronic game is a game that uses electronics to create an interactive system with which a player can play. Video games are the most common form today, and for this reason the two terms are often used interchangeably. There are other common forms of electronic games, including handheld electronic games, standalone arcade game systems (e.g. pinball, slot machines), and exclusively non-visual products (e.g. audio games). == Arcade games == === Arcade video games === Electronic video arcade games make extensive use of solid state electronics and integrated circuits. In the past coin-operated arcade video games generally used custom per-game hardware often with multiple CPUs, highly specialized sound and graphics chips and/or boards, and the latest in computer graphics display technology. Recent arcade game hardware is often based on modified video game console hardware or high end pc components. Arcade games may feature specialized ambiance or control accessories, including fully enclosed dynamic cabinets with force feedback controls, dedicated lightguns, rear-projection displays, reproductions of car or plane cockpits and even motorcycle or horse-shaped controllers, or even highly dedicated controllers such as dancing mats and fishing rods. These accessories are usually what set modern arcade games apart from PC or console games, and they provide an experience that some gamers consider more immersive and realistic. Examples of arcade video games include: Galaxy Game (1971) Pong (1972) Space Invaders (1978) Galaxian (1979) Pac-Man (1980) Battlezone (1980) Donkey Kong (1981) Street Fighter II (1991) Mortal Kombat (1992) Fatal Fury (1992) Killer Instinct (1994) King of Fighters (1994–2005) Time Crisis (1995) Dance Dance Revolution (1998) DrumMania (1999) House of the Dead (1998) === Pinball and pachinko machines === Since the introduction of electromechanics to the pinball machine in 1933's Contact, pinball has become increasingly dependent on electronics as a means to keep score on the backglass and to provide quick impulses on the playfield (as with bumpers and flippers) for exciting gameplay. Unlike games with electronic visual displays, pinball has retained a physical display that is viewed on a table through glass. Similar games such as pachinko have also become increasingly dependent on electronics in modern times. Examples of pinball games include: The Addams Family (1991) Indiana Jones: The Pinball Adventure (1993) Star Trek: The Next Generation (1993) List of pinball machines === Redemption games and merchandisers === Redemption games such as Skee-Ball have been around since the days of the carnival game - well earlier than the development of the electronic game, however with modern advances many of these games have been re-worked to employ electronic scoring and other game mechanics. The use of electronic scoring mechanisms has allowed carnival or arcade attendants to take a more passive role, simply exchanging prizes for electronically dispensed coupons and occasionally emptying out the coin boxes or banknote acceptors of the more popular games. Merchandisers such as the Claw Crane are more recent electronic games in which the player must accomplish a seemingly simple task (e.g. remotely controlling a mechanical arm) with sufficient ability to earn a reward. Examples of redemption games include: Whac-A-Mole (1976) Skee-Ball - modern electric versions Examples of merchandisers include: Claw crane (1980) === Slot machines === The slot machine is a casino gambling machine with three or more reels which spin when a button is pushed. Though slot machines were originally operated mechanically by a lever on the side of the machine (the one arm) instead of an electronic button on the front panel as used on today's models, many modern machines still have a "legacy lever" in addition to the button on the front. Slot machines include a currency detector that validates the coin or money inserted to play. The machine pays off based on patterns of symbols visible on the front of the machine when it stops. Modern computer technology has resulted in many variations on the slot machine concept. == Audio games == An audio game is a game played on an electronic device such as—but not limited to—a personal computer. It is similar to a video game save that the only feedback device is audible rather than visual. Audio games originally started out as 'blind accessible'-games, but recent interest in audio games has come from sound artists, game accessibility researchers, mobile game developers, and mainstream video gamers. Most audio games run on a computer platform, although there are a few audio games for handhelds and video game consoles. Audio games feature the same variety of genres as video games, such as adventure games, racing games, etc. Examples of audio games include: Real Sound: Kaze no Regret (1997) Chillingham (2004) BBBeat (2005) === Tabletop games === A tabletop audio game is an audio game that is designed to be played on a table rather than a handheld game. Examples of tabletop audio games include: Brain Shift (1998) Who Wants to be a Millionaire? (2000) Electronic Battleship (1977) (Milton Bradley) Electronic battleship is a portable game with the objective of marking all enemy ships. When an enemy ship is marked, an electronic battleship makes an explosion sound. Milton Bradley created the Electronic battleship game in 1977 and was later acquired by Hasbro in 1984. Modern day electronic battleship features an interactive missile launching platform and advanced mode that features custom special attack pegs. Tabletop non-audio games include: Electronic Chess Boards (DGT) DGT is a line of electronic chess boards that are commonly used in FIDE chess tournaments and national tournaments such as USCF. Electronic Chess boards can be used to broadcast games live. == Electronic handhelds == The earliest form of dedicated console, handheld electronic games are characterized by their size and portability. Used to play interactive games, handheld electronic games are often miniaturized versions of video games. The controls, display and speakers are all part of a single unit, and rather than a general-purpose screen made up of a grid of small pixels, they usually have custom displays designed to play one game. This simplicity means they can be made as small as a digital watch, which they sometimes are. The visual output of these games can range from a few small light bulbs or LED lights to calculator-like alphanumerical screens; later these were mostly displaced by liquid crystal and Vacuum fluorescent display screens with detailed images and in the case of VFD games, color. Handhelds were at their most popular from the late 1970s into the early 1990s. They are both the predecessors to and inexpensive alternatives to the handheld game console. Examples of handheld electronic games include: Mattel Auto Race (1976) Simon (1978) Merlin (1978) Game & Watch (1980) MB Omni (1980) Bandai LCD Solarpower (1982) Entex Adventure Vision (1982) Lights Out (1995) == Home video games == A video game is a game that involves interaction with a user interface to generate visual feedback on a video device. The word video in video game traditionally referred to a raster display device. However, with the popular use of the term "video game", it now implies any type of display device. Term "digital game" has been offered by some in academia as an alternative term. === Computer games === A personal computer video game (also known as a computer game or simply PC game) is a video game played on a personal computer. This is opposed to video game consoles or arcade machines, which are not considered personal computers. Computer games became a form of video games, and since the earliest days of the medium, visual displays such as the cathode-ray tube have been used to relay game information. === Console games === A console game is a form of interactive multimedia used for entertainment. The game consists of manipulable images (and usually sounds) generated by a video game console, and displayed on a television or similar audio-video system. The game itself is usually controlled and manipulated using a handheld device connected to the console called a controller. The controller generally contains a number of buttons and directional controls (such as analog joysticks) each of which has been assigned a purpose for interacting with and controlling the images on the screen. The display, speakers, console, and controls of a console can also be incorporated into one small object known as a handheld game console. Console games are most frequently differentiated between by their compatibility with consoles belonging in the following categories: Traditional console, also called "home console" - A multi-game system that uses the screen of a television to produce graphics. Handheld game console - A multi-game system the screen and controls of which are compacted into a singl

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  • The Holocaust and social media

    The Holocaust and social media

    The representation of the Holocaust on social media has been a subject of scholarly inquiry and media attention. == Selfies at Holocaust memorial sites == Some visitors take selfies at Holocaust memorials, which has been the subject of controversy. In 2018, Rhian Sugden, a British model, received criticism after posting a selfie at the Memorial to the Murdered Jews of Europe in Berlin with the caption "ET phone home". She later removed the caption, but defended taking the photograph. Other celebrities have also been criticised for photographs at the Berlin memorial, including Indian actress Priyanka Chopra and US politician Pete Buttigieg, whose husband posted a photograph of him at the memorial on a personal social media account. The Israeli artist and satirist Shahak Shapira set up the website yolocaust.de in 2017 to expose people who take inappropriate selfies at the Holocaust memorial in Berlin. Shapira went through thousands of selfies posted to social media sites such as Facebook, Instagram, Tinder, and Grindr, choosing the twelve that he found most offensive. When the images were moused over, the website replaces the memorial backdrop with black and white images of Nazi victims. "Yolocaust" is a portmanteau of "Holocaust" and YOLO, an acronym for "you only live once". The website went viral, receiving 1.2 million views in the first 24 hours after its launch. Shapira honored requests to take down all of the photographs, which he had used without permission, and the website remains with only a textual documentation of the project. In an analysis of comments by Internet users on the project, Christoph Bareither estimated that 75% were positive. However, the memorial's architect, Peter Eisenman, criticized the website. In his 2018 book Postcards from Auschwitz, Grinnell professor Daniel P. Reynolds defends the practice of selfie-taking at Holocaust sites. In 2019, the Auschwitz-Birkenau State Museum requested that visitors not take inappropriate selfies, although the museum's staff acknowledged that other visitors take selfies in a thoughtful and respectful manner, which they did not criticize. In an academic paper, Gemma Commane and Rebekah Potton analyze the use of Instagram to share tourist photographs at Holocaust sites and conclude that "Instagram encourages conversation and empathy, keeping the Holocaust visible in youth discourses". According to their analysis, most images are tagged with respectful hashtags such as #tragic, #remembrance, and #sadness. The Auschwitz museum has an official Instagram account, auschwitzmemorial, which it uses to share selected appropriate Instagram posts. However, the image feed for the hashtag "Auschwitz" includes potentially offensive images such as an image of "Nazi Vs. Jews #beerpong". This image, according to the authors, expresses "mockery and contempt" for Holocaust victims. They also document offensive memes using images of Holocaust atrocities and shared on Instagram. Some social media users post in order to criticize what they see as inappropriate behavior at Holocaust sites, with one commenting, "Taking photos posing next to razor wire, selfies with victim's hair in the background, and even group shots in front of the crematoria had to be seen to be believed." == Assessment of tourism == Social media posts have been used by researchers to analyze the phenomenon of Holocaust-related tourism. == Social media groups == People have created groups on Facebook to discuss issues related to the Holocaust. One paper analyses two such groups, "The Holocaust and My Family" and "The Descendants of the Victims and Survivors of the Holocaust" in which people engage in collective trauma processing. == Eva.stories == In 2019, Israeli high-tech entrepreneur Mati Kochavi created a fictitious Instagram account for Eva Heyman, a Hungarian-Jewish girl who was murdered in Auschwitz concentration camp. The project met with mixed reception. Israeli prime minister Benjamin Netanyahu praised the project, saying that it "exposes the immense tragedy of our people through the story of one girl". == Holocaust denial == The issue of Holocaust denial on social media has also attracted attention. In October 2020, Facebook reversed its policy and banned Holocaust denial from the platform. Founder Mark Zuckerberg had previously argued that such content should not be banned on freedom of speech grounds.

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  • Microelectronics

    Microelectronics

    Microelectronics is a subfield of electronics. As the name suggests, microelectronics relates to the study and manufacture (or microfabrication) of very small electronic designs and components. Usually, but not always, this means micrometre-scale or smaller. These devices are typically made from semiconductor materials. Many components of a normal electronic design are available in a microelectronic equivalent. These include transistors, capacitors, inductors, resistors, diodes and (naturally) insulators and conductors can all be found in microelectronic devices. Unique wiring techniques such as wire bonding are also often used in microelectronics because of the unusually small size of the components, leads and pads. This technique requires specialized equipment and is expensive. Digital integrated circuits (ICs) consist of billions of transistors, resistors, diodes, and capacitors. Analog circuits commonly contain resistors and capacitors as well. Inductors are used in some high frequency analog circuits, but tend to occupy larger chip area due to their lower reactance at low frequencies. Gyrators can replace them in many applications. As techniques have improved, the scale of microelectronic components has continued to decrease. At smaller scales, the relative impact of intrinsic circuit properties, such as unintended interactions between components or their parts, may become more significant. These are called parasitic effects, and the goal of the microelectronics design engineer is to find ways to compensate for or to minimize these effects, while delivering smaller, faster, and cheaper devices. Today, microelectronics design is largely aided by electronic design automation (EDA) software.

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  • Source-code editor

    Source-code editor

    A source-code editor is a text editor program designed specifically for editing the source code of computer programs. It includes basic functionality such as syntax highlighting, and sometimes debugging. It may be a standalone application or it may be built into an integrated development environment (IDE). == Features == Source-code editors have features specifically designed to simplify and speed up typing of source code, such as syntax highlighting(syntax error highlighting), auto indentation, autocomplete and brace matching functionality. These editors may also provide a convenient way to run a compiler, interpreter, debugger, or other program relevant for the software-development process. While many text editors like Notepad can be used to edit source code, if they do not enhance, automate or ease the editing of code, they are not defined as source-code editors. Structure editors are a different form of a source-code editor, where instead of editing raw text, one manipulates the code's structure, generally the abstract syntax tree. In this case features such as syntax highlighting, validation, and code formatting are easily and efficiently implemented from the concrete syntax tree or abstract syntax tree, but editing is often more rigid than free-form text. Structure editors also require extensive support for each language, and thus are harder to extend to new languages than text editors, where basic support only requires supporting syntax highlighting or indentation. For this reason, strict structure editors are not popular for source code editing, though some IDEs provide similar functionality. A source-code editor can check syntax dynamically while code is being entered and immediately warn of syntax problems, as well as suggest code autocomplete snippets. A few source-code editors compress source code, typically converting common keywords into single-byte tokens, removing unnecessary whitespace, and converting numbers to a binary form. Such tokenizing editors later uncompress the source code when viewing it, possibly prettyprinting it with consistent capitalization and spacing. A few source-code editors do both. The Language Server Protocol, first used in Microsoft's Visual Studio Code, allows for source code editors to implement an LSP client that can read syntax information about any language with a LSP server. This allows for source code editors to easily support more languages with syntax highlighting, refactoring, and reference finding. Many source code editors such as Neovim and Brackets have added a built-in LSP client while other editors such as Emacs, Vim, and Sublime Text have support for an LSP Client via a separate plug-in. == History == In 1985, Mike Cowlishaw of IBM created LEXX while seconded to the Oxford University Press. LEXX used live parsing and used color and fonts for syntax highlighting. IBM's LPEX (Live Parsing Extensible Editor) was based on LEXX and ran on VM/CMS, OS/2, OS/400, Windows, and Java Although the initial public release of vim was in 1991, the syntax highlighting feature was not introduced until version 5.0 in 1998. On November 1, 2015, the first version of NeoVim was released. In 2003, Notepad++, a source code editor for Windows, was released by Don Ho. The intention was to create an alternative to the java-based source code editor, JEXT In 2015, Microsoft released Visual Studio Code as a lightweight and cross-platform alternative to their Visual Studio IDE. The following year, Visual Studio Code became the Microsoft product using the Language Server Protocol. This code editor quickly gained popularity and emerged as the most widely used source code editor. == Comparison with IDEs == A source-code editor is one component of a Integrated Development Environment. In contrast to a standalone source-code editor, an IDE typically also includes several tools which enhance the software development process. Such tools include syntax highlighting, code autocomplete suggestions, version control, automatic formatting, integrated runtime environments, debugger, and build tools. Standalone source code editors are preferred over IDEs by some developers when they believe the IDEs are bloated with features they do not need. == Notable examples == == Controversy == Many source-code editors and IDEs have been involved in ongoing user arguments, sometimes referred to jovially as "holy wars" by the programming community. Notable examples include vi vs. Emacs and Eclipse vs. NetBeans. These arguments have formed a significant part of internet culture and they often start whenever either editor is mentioned anywhere.

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  • Verge3D

    Verge3D

    Verge3D is a real-time renderer and a toolkit used for creating interactive 3D experiences running on websites. == Overview == Verge3D enables users to convert content from 3D modelling tools (Blender, 3ds Max, and Maya are currently supported) to view in a web browser. Verge3D was created by the same core group of software engineers that previously created the Blend4Web framework. == Features == Verge3D uses WebGL for rendering. It incorporates components of the Three.js library and exposes its API to application developers. Puzzles Application functionality can be added via JavaScript, either by writing code directly or by using Puzzles, Verge3D’s visual programming environment based on Google Blockly. Puzzles is aimed primarily at non-programmers allowing quick creation of interactive scenarios in a drag-and-drop fashion. App Manager and web publishing App Manager is a lightweight web-based tool for creating, managing and publishing Verge3D projects, running on top of the local development server. Verge3D Network service integrated in the App Manager allows for publishing Verge3D applications via Amazon S3 and EC2 cloud services. PBR For purposes of authoring materials, a glTF 2.0-compliant physically based rendering pipeline is offered alongside the standard shader-based approach. PBR textures can be authored using external texturing software such as Substance Painter for which Verge3D offers the corresponding export preset. Besides the glTF 2.0 model, Verge3D supports physical materials of 3ds Max and Maya (with Autodesk Arnold as reference), and Blender's real-time Eevee materials. glTF and DCC software integration Verge3D integrates directly with Blender, 3ds Max, and Maya, enabling users to create 3D geometry, materials, and animations inside the software, then export them in the JSON-based glTF format. The Sneak Peek feature allows for exporting and viewing scenes from the DCC tool environment. Facebook 3D posts For Facebook publishing, Verge3D offers a specific GLB export option. The exported GLB files are displayed and can be opened in the App Manager. Asset compression Exported files can optionally use LZMA compression, resulting in a reduction in file size of up to 6x. UI and website layouts Interface layouts, created using external WYSIWYG editors, can be linked with Puzzles to trigger changes to a 3D scene being rendered in the browser and vice versa. Animation Verge3D supports skeletal animation, including animation of bipeds and character rigs, and allows for animation of material parameters. Model parts can also be set up to be dragged by the user. Physics The physics module can be linked separately to enable collision detection, dynamically moving objects, support for characters and vehicles, springs, ropes and cloth simulation. As of version 2.11, simple physics simulations can be created and controlled without coding via Puzzles, the visual programming system used by Verge3D. AR/VR The 2.10 update added support for WebXR, an in-development open technology designed to enable virtual reality and augmented reality experiences to be displayed in web browsers. It works with both headsets with controllers, like the HTC Vive and Oculus Rift, and those without, like Google Cardboard. AR/VR experiences can enabled via Puzzles or JavaScript. == Workflow == Verge3D's workflow differs substantially from other mainstream WebGL frameworks. Development of a new Verge3D application is usually started from modeling, texturing and animating 3D objects. The models are assembled in the 3D authoring tool. The scene file is then used as a basis for a Verge3D project initialized from the App Manager. An interactive scenario is optionally added using the Puzzles editor. A Verge3D application can be previewed in the web browser at any development stage using the App Manager. The finished web application can be deployed on the Verge3D Network, on Facebook or on the user's website. == Notable uses == NASA's Jet Propulsion Laboratory used Verge3D to create an interactive 3D visualization of the Mars InSight lander. The web application allows for exploring and interacting with the real-time model of the spacecraft, with the possibility to move different parts and unfurl the solar panels. NASA's older interactive web application Experience Curiosity was ported to Verge3D from Blend4Web. The application makes it possible to operate the rover, control its cameras and the robotic arm and reproduces some of the prominent events of the Mars Science Laboratory mission. Route 66 Digital's Escape Room used Verge3D and Blender. This interactive short explores how users can navigate 3D spaces and interact with objects without the need for instruction.

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  • Remote scripting

    Remote scripting

    Remote scripting is a technology which allows scripts and programs that are running inside a browser to exchange information with a server. The local scripts can invoke scripts on the remote side and process the returned information. The earliest form of asynchronous remote scripting was developed before XMLHttpRequest existed, and made use of very simple process: a static web page opens a dynamic web page (e.g. at other target frame) that is reloaded with new JavaScript content, generated remotely on the server side. The XMLHttpRequest and similar "client-side script remote procedure call" functions, open the possibility of use and triggering web services from the web page interface. The web development community subsequently developed a range of techniques for remote scripting in order to enable consistent results across different browsers. Early examples include JSRS library from 2000, the introduction of the Image/Cookie technique in 2000. == JavaScript Remote Scripting == JavaScript Remote Scripting (JSRS) is a web development technique for creating interactive web applications using a combination of: HTML (or XHTML) The Document Object Model manipulated through JavaScript to dynamically display and interact with the information presented A transport layer. Different technologies may be used, though using a script tag or an iframe is used the most because it has better browser support than XMLHttpRequest A data format. XML with WDDX can be used as well as JSON or any other text format. Schematic A similar approach is Ajax, though it depends on the XmlHttpRequest in newer web browsers. === Libraries === Brent Ashley's original JSRS library released in 2000 BlueShoes JSRS with added encoding and OO RPC abstractions Simple Tutorials: Javascript Remote Scripting with PHP at the Wayback Machine (archived 2006-04-14) MSDN article

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