Social media can have both positive and negative impacts on a user's identity. Scholars within the fields of psychology and communication study the relationship between social media and identity in order to understand individual behavior, psychological impacts, and social patterns. Communication within political or social groups online can result in practice application, real-world implementation of a concept, of those found identities or the adoption of them as a whole. Young people, defined as emerging adults in or entering college, are especially found to have their identities shaped through social media. Sometimes it seems as though social media is taking over and changing us for the worse. Social media is always changing and can be hard to keep up with. Platforms come and go trends change everyday. What was cool yesterday is lame today. The biggest change from recent years that users are still adjusting to is the name change of Twitter now called X. Since Elon Musk purchased the platform he changed the name but nothing else about the app. Users now feel the need to explain when talking about X. Now it is often referred to as ‘X(Twitter)’ to clarify. == Social Media Usage and Demographics == We know what social media is and how it is used but who uses it? The Pew Research center conducted a 10 year study from 2005-2015 about the demographics of social media usage. While this article is 10 years old the statistics in it are from a very formative time in social media. This is when most people joined and were consistently using social media. Age: While it is no surprise that 90% of young adults use social media they are the main demographic of users. Older adults (65 and older) really hit a boom on social media. In 2005 only 2% of older adults used any form of social media. By 2015 35% of older adults used social media. We can infer that that percentage has grown even more since 2015. Gender: It is known that women tend to use social media more than men. In 2015 it was noted that 65% of women used social media. Men were not far behind, 62% of men were reported to use social media. There are no notable differences of users from various races and ethnicities. The research also shows that more suburban and urban residents use social media over those who live in rural areas. == Young adults == Young adults are especially influenced by social media, where they find social groups to belong to. Research shows that nearly half of teens believe social media platforms has a negative impact on people their age. Psychologists believe that at a time when young adults are coming into adolescence, they are more likely to be influenced by what they see on sites like Instagram or Twitter. Most young adults will widely share, with varying degrees of accuracy, honesty, and openness, information that in the past would have been private or reserved for select individuals. Key questions include whether they accurately portray their identities online and whether the use of social media might impact young adults' identity development. Media Imagery, in particular, is said to be a major influence on the minds of young men and women. Studies have shown that it is even more relevant when it comes to the issue of body image. Social media, in part, has been created to host a safe haven for those who do not claim a solid identity in the material world, but past identities are not easy to escape from since the Internet preserves much of the information that was shared. Social media is an essential part of the social lives of young adults. They rely on it to maintain relationships, create new relationships, and stay up to date with the world around them. Adolescents find social media to be extremely helpful when changing environments, like moving off to university for example. Social media provides students, especially first year students, the opportunity to create the identity they want the world to see. However, it has been seen that these students create online personas that may not reflect their true selves bringing up the issues of impression management. Social media provides young adults with the opportunity to present themselves as something other than their authentic self. Social media providers can help build relationships and community on their platforms. This is something that will create a more positive impact from social media. When young adults interact with each other using social media they are creating something called a social self-identity. Social self identity is what individuals create when they assimilate to being in a group. Social media has gained the reputation of being isolating. If these platforms encourage community then they can help grow users' social self-identity. == Media literacy == The definition of media literacy has evolved over time to encompass a range of experiences that can occur in social media or other digital spaces. The definition of media literacy is also broad and wide ranging in its context. Currently, media literacy is the idea that one is able to analyze, evaluate, and interact with media content in a meaningful way. Educators teach media literacy skills because of the vulnerable relationship that young adults can have with social media. Some examples of media literacy practices, particularly on Twitter, include using hashtags, live tweeting, and sharing information. One of the overall goals of media literacy within the context of social media is to keep young adults aware of potentially violent, graphic, or dangerous content that they may come across on the internet, and how to determine if the content is credible while engaging responsibly with it. In order to be considered media-literate, a person must be able to take in media from online and social platforms and have the correct competencies and context to be able to organize the information. In order to be considered media-literate, the digital information must be given to the user in a way that it can be put into the correct perspective and analyzed, deducted and synthesized.Teenagers and young adults can be vulnerable to specific content online outside of their age-range. Media literacy campaigns and education research shows that targeting those who fall into this age category would be the best way to understand and target their needs as young online users. There are multiple individual studies investigating social media identity relating to media literacy online, however there is a need for much more conclusive information that analyzes multiple studies at a time. Social media literacy is still considered an under-researched topic. Many scholars in media literacy research emphasize the impact of training young adults to consume media in a safe way is the major solution for furthering internet education in children and young adults. The more information the young adults are given on media literacy, the better prepared they are to enter the digital world confidently. One scientific model that has been proposed, known as The Social Media Literacy (SMILE) model is a framework that hypothesizes that at the core of this model it is helping young adults truly know the meaning and display the actions of media literacy online. SMILE is also meant to inspire more research on the subject of media literacy as it relates to social media effects and young adult learning abilities. The model was applied through the lens of a social media positivity bias among adolescents and puts forth five different assumptions about social media and media literacy; Social media literacy as a moderator (what is seen on social media) Social media literacy as a predictor (what is seen for specific individuals on social media) Media literacy within social media is a reciprocal process The development of social media literacy depends on a conditional process of variables affecting other variables Media literacy within social media is a differential learning process, and who teaches it is highly affective of the outcome This model also stresses that human beings learn media literacy (and social media literacy) naturally as they go through life. Research suggests that having young adults taught media literacy from an educator may make them less interested (and therefore less careful) of threats on social media. == Self Presentation == People create images of themselves to present to the public, a process called self presentation. Depending on the demographic, presenting oneself as authentic can result in identity clarity. Methods of self presentation can also be influenced by geography. The framework for this relationship between a user's location and their social media presentation is called the spatial self. Users depict their spatial self in order to include their physical space as a part of their self presentation to an audience. According to a 2018 research paper, patients of plastic surgeons have gone in and asked for specific snapchat "filter" features. This led to a theory of Snap
Granular computing
Granular computing is an emerging computing paradigm of information processing that concerns the processing of complex information entities called "information granules", which arise in the process of data abstraction and derivation of knowledge from information or data. Generally speaking, information granules are collections of entities that usually originate at the numeric level and are arranged together due to their similarity, functional or physical adjacency, indistinguishability, coherency, or the like. At present, granular computing is more a theoretical perspective than a coherent set of methods or principles. As a theoretical perspective, it encourages an approach to data that recognizes and exploits the knowledge present in data at various levels of resolution or scales. In this sense, it encompasses all methods which provide flexibility and adaptability in the resolution at which knowledge or information is extracted and represented. == Types of granulation == As mentioned above, granular computing is not an algorithm or process; there is no particular method that is called "granular computing". It is rather an approach to looking at data that recognizes how different and interesting regularities in the data can appear at different levels of granularity, much as different features become salient in satellite images of greater or lesser resolution. On a low-resolution satellite image, for example, one might notice interesting cloud patterns representing cyclones or other large-scale weather phenomena, while in a higher-resolution image, one misses these large-scale atmospheric phenomena but instead notices smaller-scale phenomena, such as the interesting pattern that is the streets of Manhattan. The same is generally true of all data: At different resolutions or granularities, different features and relationships emerge. The aim of granular computing is to try to take advantage of this fact in designing more effective machine-learning and reasoning systems. There are several types of granularity that are often encountered in data mining and machine learning, and we review them below: === Value granulation (discretization/quantization) === One type of granulation is the quantization of variables. It is very common that in data mining or machine-learning applications the resolution of variables needs to be decreased in order to extract meaningful regularities. An example of this would be a variable such as "outside temperature" (temp), which in a given application might be recorded to several decimal places of precision (depending on the sensing apparatus). However, for purposes of extracting relationships between "outside temperature" and, say, "number of health-club applications" (club), it will generally be advantageous to quantize "outside temperature" into a smaller number of intervals. ==== Motivations ==== There are several interrelated reasons for granulating variables in this fashion: Based on prior domain knowledge, there is no expectation that minute variations in temperature (e.g., the difference between 80–80.7 °F (26.7–27.1 °C)) could have an influence on behaviors driving the number of health-club applications. For this reason, any "regularity" which our learning algorithms might detect at this level of resolution would have to be spurious, as an artifact of overfitting. By coarsening the temperature variable into intervals the difference between which we do anticipate (based on prior domain knowledge) might influence number of health-club applications, we eliminate the possibility of detecting these spurious patterns. Thus, in this case, reducing resolution is a method of controlling overfitting. By reducing the number of intervals in the temperature variable (i.e., increasing its grain size), we increase the amount of sample data indexed by each interval designation. Thus, by coarsening the variable, we increase sample sizes and achieve better statistical estimation. In this sense, increasing granularity provides an antidote to the so-called curse of dimensionality, which relates to the exponential decrease in statistical power with increase in number of dimensions or variable cardinality. Independent of prior domain knowledge, it is often the case that meaningful regularities (i.e., which can be detected by a given learning methodology, representational language, etc.) may exist at one level of resolution and not at another. For example, a simple learner or pattern recognition system may seek to extract regularities satisfying a conditional probability threshold such as p ( Y = y j | X = x i ) ≥ α . {\displaystyle p(Y=y_{j}|X=x_{i})\geq \alpha .} In the special case where α = 1 , {\displaystyle \alpha =1,} this recognition system is essentially detecting logical implication of the form X = x i → Y = y j {\displaystyle X=x_{i}\rightarrow Y=y_{j}} or, in words, "if X = x i , {\displaystyle X=x_{i},} then Y = y j {\displaystyle Y=y_{j}} ". The system's ability to recognize such implications (or, in general, conditional probabilities exceeding threshold) is partially contingent on the resolution with which the system analyzes the variables. As an example of this last point, consider the feature space shown to the right. The variables may each be regarded at two different resolutions. Variable X {\displaystyle X} may be regarded at a high (quaternary) resolution wherein it takes on the four values { x 1 , x 2 , x 3 , x 4 } {\displaystyle \{x_{1},x_{2},x_{3},x_{4}\}} or at a lower (binary) resolution wherein it takes on the two values { X 1 , X 2 } . {\displaystyle \{X_{1},X_{2}\}.} Similarly, variable Y {\displaystyle Y} may be regarded at a high (quaternary) resolution or at a lower (binary) resolution, where it takes on the values { y 1 , y 2 , y 3 , y 4 } {\displaystyle \{y_{1},y_{2},y_{3},y_{4}\}} or { Y 1 , Y 2 } , {\displaystyle \{Y_{1},Y_{2}\},} respectively. At the high resolution, there are no detectable implications of the form X = x i → Y = y j , {\displaystyle X=x_{i}\rightarrow Y=y_{j},} since every x i {\displaystyle x_{i}} is associated with more than one y j , {\displaystyle y_{j},} and thus, for all x i , {\displaystyle x_{i},} p ( Y = y j | X = x i ) < 1. {\displaystyle p(Y=y_{j}|X=x_{i})<1.} However, at the low (binary) variable resolution, two bilateral implications become detectable: X = X 1 ↔ Y = Y 1 {\displaystyle X=X_{1}\leftrightarrow Y=Y_{1}} and X = X 2 ↔ Y = Y 2 {\displaystyle X=X_{2}\leftrightarrow Y=Y_{2}} , since every X 1 {\displaystyle X_{1}} occurs iff Y 1 {\displaystyle Y_{1}} and X 2 {\displaystyle X_{2}} occurs iff Y 2 . {\displaystyle Y_{2}.} Thus, a pattern recognition system scanning for implications of this kind would find them at the binary variable resolution, but would fail to find them at the higher quaternary variable resolution. ==== Issues and methods ==== It is not feasible to exhaustively test all possible discretization resolutions on all variables in order to see which combination of resolutions yields interesting or significant results. Instead, the feature space must be preprocessed (often by an entropy analysis of some kind) so that some guidance can be given as to how the discretization process should proceed. Moreover, one cannot generally achieve good results by naively analyzing and discretizing each variable independently, since this may obliterate the very interactions that we had hoped to discover. A sample of papers that address the problem of variable discretization in general, and multiple-variable discretization in particular, is as follows: Chiu, Wong & Cheung (1991), Bay (2001), Liu et al. (2002), Wang & Liu (1998), Zighed, Rabaséda & Rakotomalala (1998), Catlett (1991), Dougherty, Kohavi & Sahami (1995), Monti & Cooper (1999), Fayyad & Irani (1993), Chiu, Cheung & Wong (1990), Nguyen & Nguyen (1998), Grzymala-Busse & Stefanowski (2001), Ting (1994), Ludl & Widmer (2000), Pfahringer (1995), An & Cercone (1999), Chiu & Cheung (1989), Chmielewski & Grzymala-Busse (1996), Lee & Shin (1994), Liu & Wellman (2002), Liu & Wellman (2004). === Variable granulation (clustering/aggregation/transformation) === Variable granulation is a term that could describe a variety of techniques, most of which are aimed at reducing dimensionality, redundancy, and storage requirements. We briefly describe some of the ideas here, and present pointers to the literature. ==== Variable transformation ==== A number of classical methods, such as principal component analysis, multidimensional scaling, factor analysis, and structural equation modeling, and their relatives, fall under the genus of "variable transformation." Also in this category are more modern areas of study such as dimensionality reduction, projection pursuit, and independent component analysis. The common goal of these methods in general is to find a representation of the data in terms of new variables, which are a linear or nonlinear transformation of the original variables, and in which important stati
Echo Lake (software)
Echo Lake (AKA Family Album Creator) was the most notable multimedia software product produced by Delrina, which debuted in June 1995. It was touted internally as a "cross [of] Quark Xpress and Myst". It featured an immersive 3D environment where a user could go to a virtual desktop in a virtual office and assemble video and audio clips along with images, and then print them out as either a virtual book other users of the program could use, or for print. It was a highly innovative product for its time, and ultimately was hampered by the inability of many users able to input their own multimedia content easily into a computer from that period. Creative Wonders bought the rights to the Echo Lake multimedia product, which was re-shaped as an introductory program on multimedia and re-released as Family Album Creator in 1996.
PCPaint
PCPaint was one of the first IBM PC-based mouse-driven GUI paint programs, released in 1984. It followed after Microsoft Doodle, released in 1983 with the Microsoft Mouse version 1 drivers for DOS, and around the same time as Digital Research’s Draw program. It was developed and created by John Bridges and Doug Wolfgram. It was later developed into Pictor Paint. The hardware manufacturer Mouse Systems bundled PCPaint with millions of computer mice that they sold, making PCPaint one of the best-selling DOS-based paint programs of the mid 1980s. == History == In 1983, Doug Wolfgram bought a Microsoft Mouse and decided to write a drawing program for it. They named it “Mouse Draw”. The interface was primitive but the program functioned well. Wolfgram traveled to SoftCon in New Orleans where he demonstrated the program to Mouse Systems. Mouse Systems was developing an optical mouse and they wanted to bundle a painting program so they agreed to publish Mouse Draw. The original program was written entirely in assembly language with primitive graphics routines developed by Wolfgram. John Bridges worked for an educational software company, Classroom Consortia Media, Inc., developing and writing Apple and IBM graphics libraries for CCM's software. Bridges and Wolfgram were friends who had been connected through a bulletin board system developed and run by Wolfgram. The two collaborated cross country via the BBS, Wolfram in California and Bridges in New York. Mouse Systems wanted the paint program to capture the look and feel of MacPaint. John Bridges and Doug Wolfgram started reworking Mouse Draw into what became PCPaint. The program was completely re-written using Bridge's graphics library and the top-level elements were written in C rather than assembly language. Bridges developed the core graphics code for the first version of PCPaint while Wolfgram worked on the user interface and top-level code. Mouse Systems signed an exclusive agreement with Wolfgram's company, Microtex Industries, Inc., to bundle PCPaint with every mouse they sold. They began publishing PCPaint with their mice in 1984. Microsoft responded in 1985 by bundling a competing product, PC Paintbrush, with version 4 of its DOS drivers for the Microsoft Mouse, replacing its in-house Microsoft Doodle program which it published with version 1 of the DOS drivers in mid-1983. Microsoft’s mouse began to outsell Mouse Systems mouse. In November 1985 Microsoft bundled a cut-down version of PC Paintbrush with Windows 1.0 (called Microsoft Paint), later bundling an updated version of PC Paintbrush with Windows 3.0 (as Paintbrush), impacting PCPaint’s marketshare. In early 1987, Mouse Systems decided that PCPaint wasn't helping to sell mice any longer so they discontinued the bundle deal and returned rights to the code to MicroTex Industries, but retained rights to the name, PCPaint. Wolfgram then combined the paint program with a new animation system he was developing (called GRASP) and Paul Mace Software bought publishing rights to the animation system and PCPaint, which was to be renamed Pictor. Bridges again got involved and took over programming responsibilities for GRASP as well as PCPaint while Wolfgram focused on more of the business details. In creating the first version of PCPaint, Doug had a dual-floppy machine with a Computer Innovations compiler on one disk and source code on the other. John had the "luxury" of a 10MB hard disk in his XT. Data was exchanged daily via 1200, then 2400 baud modems. === Authorship and Ownership === John Bridges and Wolfgram continued to work on PCPaint and GRASP on behalf of Paul Mace Software until 1990. Also in that year, Doug Wolfgram sold his remaining rights to PCPaint (and its animation system, GRASP) to John Bridges. In 1994, GRASP development stopped and so did development of Pictor Paint. John Bridges terminated his GRASP publishing contract with Paul Mace Software, and went off to create GLPro (the next generation of GRASP) with GMEDIA. Along with GLPro, came GLPaint, the successor to PCPaint and Pictor Paint. == Versions == In June 1984, Mouse Systems shipped PCPaint 1.0, the first GUI based Paint program for the IBM PC family of computers. John Bridges and Doug Wolfgram, were the co-authors of PCPaint 1.0. PCPaint 1.0 saved its graphics in a modified BSaved image format with the extension of ".PIC". The release of PCPaint Version 1.5 followed in late 1984, with the additions of graphics image compression for the .PIC format and support for "larger-than-screen" images. PCjr support was also added in this version after overcoming severe memory shortage problems getting PCPaint to run on the 128k PCjr. October 1985 saw the release of PCPaint 2.0. EGA support and publishing features were added to this version. The .PIC format was further refined, offering support for the rapidly expanding graphics capabilities of the PC and efficient image compression. PCPaint 3.1 was released in 1989. Unlike previous versions, it was not bundled with mice but was sold as a stand-alone software product. PCPaint 3.1 offered improved text and image handling, provided 36 types of flood and fill, worked with VGA adapters in hi-res 16-color and 256-color modes, allowed the user to save and retrieve files in a variety of intercompatible formats (.PIC, .GIF, .PCX, .IMG), and printed selected portions of images on color or black-and-white dot matrix, ink jet, and laser printers such as PostScript and HP Laser Jet. PCPaint 3.1 is still in use today by some users of DOS emulation programs like DOSBox and available for free download. Pictor Paint was an improved version, written by John Bridges, and bundled with GRASP GRaphical System for Presentation also written by John Bridges. It was also called "The Painter's Easel". GLPaint, released in 1995, was the last in this series of paint programs written by John Bridges. By 1998 version 7.0 provided support for TrueColor images and the Pictor PIC format was expanded to handle these. == Pictor PIC Image Format == PCPaint 1.0 saved its graphics in a modified BSAVE image format (which was popular at the time) with the file type (extension) of ".PIC". By PCPaint 1.5 this format was extended further to accommodate image compression. With the release of version 2.0 the PICtor PIC image format was developed almost to its present state, with no similarity to the BSAVE format used by earlier versions. Pictor Paint saved its files in a compressed format with the file extension PIC, which was the same format used by PCPaint.
Adobe GoLive
Adobe GoLive was a WYSIWYG HTML editor and web site management application from Adobe Systems. It replaced Adobe PageMill as Adobe's primary HTML editor and was itself discontinued in favor of Dreamweaver. The last version of GoLive that Adobe released was GoLive 9. == History == GoLive originated as the flagship product of a company named GoNet Communication, Inc. then based in Menlo Park, California, and the development company GoNet Communications GmbH in Hamburg, Germany, in 1996. Later GoNet changed its name to GoLive Systems, Inc, and the name of its product to GoLive CyberStudio. Adobe acquired GoLive in 1999 and re-branded the GoLive CyberStudio product to what became Adobe GoLive. Adobe took over the Hamburg office as an Adobe development site to continue to develop the product. At the time of the acquisition, CyberStudio was a Macintosh-only application. In the spring of 1999 Adobe released Adobe GoLive for both Macintosh and Microsoft Windows. The first versions of Dreamweaver and CyberStudio were released in a similar timeframe. However, Dreamweaver eventually became the dominant WYSIWYG HTML editor in market share. After the Adobe acquisition of Macromedia (the company that had owned Dreamweaver), GoLive was progressively re-targeted toward Adobe's traditional design market, and the product became better integrated with Adobe's existing suite of design-oriented software products and less focused on the professional web development market. The Adobe CS2 Premium suite contained GoLive CS2. With the release of Creative Suite 3, Adobe integrated Dreamweaver as a replacement for GoLive and released GoLive 9 as a standalone product. In April 2008, Adobe announced that sales and development of GoLive would cease in favor of Dreamweaver. == General description and distinctive aspects == GoLive incorporated a largely modeless workflow that relied heavily on drag-and-drop. Most user interaction was done via a contextual inspector rather than the modal workflow found in Dreamweaver. Among its features were a separate editor for tables that supported nesting, and a two-dimensional panel for applying CSS styles to elements. GoLive supported drag-and-drop of native Adobe Photoshop and Adobe Illustrator files via what the company called "Smart Objects", which then automatically guided the user through saving those files in web-supported formats. Updates to the original Photoshop or Illustrator assets were automatically tracked by GoLive. It also implemented a tool called "Components" which allowed updates to interface elements throughout a site to be updated globally by changing one single file. As a website management tool, GoLive allowed users to transfer and publish content directly from within the application, and allowed individual files to be excluded from uploading. == Features == One of the new features of GoLive version 5 was Dynamic Link, which was a method of creating dynamic, database-driven web content without the need to know a server-side language and with full WYSIWYG support in the GoLive user interface. GoLive had a powerful set of extensibility API which could be used to add additional functionality to the product. The GoLive SDK provided interfaces which allowed developers to use a combination of XML, JavaScript and C/C++ to create plugins for the product. The extensibility API allowed developers access to custom drawing and event handling using JavaScript, as well as a full JavaScript debugger and command line interpreter. This allowed intermediate-level developers using interpreted JavaScript to create sophisticated user interfaces. == Language and framework structure == Adobe GoLive is coded in the C++ programming language. It uses a custom C++ framework called SCL (Simple Class Library) which was initially built from scratch by the engineers at GoLive Systems Inc. The SCL framework was also used in the short-lived Adobe Atmosphere 3D software. == Release history == As the final version, GoLive 9 was discontinued in April 2008.
Evntlive
Evntlive was an interactive digital concert venue that allowed music fans worldwide to stream concerts to their computer, tablet, or phone. Based in Redwood City, CA, EVNTLIVE Beta launched on April 15, 2013. EVNTLIVE provided users with the ability to switch camera angles, view All Access interviews and clips from artists, buy music, and chat with other online concert-goers in the in-app feature. Users could watch live and on-demand concerts with both free and pay-per-view concerts offered. In its first two months, EVNTLIVE streamed live performances of popular artists ranging from Bon Jovi to Wale, as well as music festivals such as Taste of Country and Mountain Jam; including performances by The Lumineers, Gary Clark Jr., Phil Lesh & Friends, Primus, and more. On December 6, 2013, Evntlive was acquired and absorbed by Yahoo!. The site ceased operations and redirected viewers to Yahoo! Music and Yahoo! Screen promptly afterwards. == About the Platform == EvntLive is an HTML5, web-based platform available on laptops, iPads, and mobile devices. Users must register for a free account on Evntlive’s website in order to reserve tickets and access live and on-demand content. Once they reserve tickets, they can view All Access features from their favorite artists or bands, purchase music, and interact with other online audience members using Buzz. Users can also switch between alternate camera angles as though they are on the concert floor - sharing the experience with their friends online in real-time. EvntLive was acquired by Yahoo in December 2013 == Artists == Bon Jovi Wale Escape the Fate The Parlotones === Taste of Country Music Festival === Trace Adkins Willie Nelson Justin Moore Montgomery Gentry Craig Campbell Blackberry Smoke Gloriana Dustin Lynch LoCash Cowboys Rachel Farley Parmalee Joe Nichols === Mountain Jam Music Festival === Source: The Lumineers Primus Widespread Panic Gov't Mule Phil Lesh The Avett Brothers Dispatch Rubblebucket Michael Franti Jackie Greene Deer Tick Gary Clark Jr. ALO The London Souls Nicki Bluhm Amy Helm The Lone Bellow The Revivalists Swear and Shake Roadkill Ghost Choir Michael Bernard Fitzgerald Michele Clark 's Sunset Sessions Semi Precious Weapons Dale Earnhardt Jr. Jr. DigiTour Media Pentatonix Allstar Weekend Tyler Ward === Launch Music Festival ===
Pixelmator Pro
Pixelmator Pro is a photo, video, and vector graphic editor developed by Apple for macOS and iPadOS as part of its Pixelmator and pro apps platforms and as a part of their Apple Creator Studio suite of applications. Pixelmator Pro relies heavily on technologies from Apple platforms such as Metal, CoreML, Core Image, AVFoundation, GCD, and SwiftUI. == Features == GPU accelerated with Metal 50+ standard image editing tools Layer-based image editor Video editing support Vector graphic support (including SVG support) AI-powered editing features such as background removal ML Super Resolution and Smart Replace Supports a variety of media formats (JPEG, RAW, Apple ProRAW, PSD, PNG, GIF, MP4, HEIF, etc) == Reception == Pixelmator Pro was generally well-received by reviewers who praised its deep use of machine learning, fully macOS-native design, and relatively affordable one-time purchase compared to subscription software such as Adobe Photoshop. Some reviewers criticized that some features are hard to find or hard to use. It was awarded Apple's Mac App of the Year in 2018. Pixelmator Pro does not have support for panorama stitching. == Acquisition by Apple == On November 1, 2024, the Pixelmator Team announced that they were to be acquired by Apple, subject to regulatory approval. Their site promises "There will be no material changes to the Pixelmator Pro, Pixelmator for iOS, and Photomator apps at this time." The acquisition was completed in February 2025. On January 13, 2026, Apple announced that a new version of Pixelmator Pro with AI features would be included in its new Apple Creator Studio subscription, the app would be brought to the iPad and the Mac app would be redesigned with Liquid Glass. == Version history == == Applescript == In 2020 Pixelmator Pro added the ability to leverage Apple's automation language 'AppleScript' to automate many tasks in version 1.8 (Lynx). This enabled simple and advanced automation activities such as image resize, crop, color adjustments, format change, moving layers around, and more advanced actions like removing background, Gaussian blur, text replacement, shadows, color replacement, etc.