Really Simple Licensing (RSL) is an open content licensing standard that allows web publishers to set terms for web crawlers gathering training data for generative AI use. It was launched on September 10, 2025 and is managed by the nonprofit RSL Collective, co-founded by RSS co-creator Eckart Walther and former Ask.com CEO Doug Leeds. Participating companies at launch include Reddit, Yahoo, and Medium. Publishers can implement the RSL standard by adding licensing terms to their robots.txt files.
Keith Youngin George II
Keith "Youngin" George II is a former mixtape DJ, music executive, manager, producer, and technology app director. He has collaborated with Maino, T-Pain, Nas and Soulja Boy, among others. He was instrumental in the launch of social media app and website, Kandiid in 2021 and served as Fliiks App Director of Regional Development. == Career == Keith Anthony George II was born in Upper Heyford, Oxfordshire, England. His father was in the Air Force which exposed him to different cultures and music. He graduated from Allen High School and attended San Antonio College. George's music career began in 2006 as a mixtape DJ working as DJ Youngin Beatz. He performed at various shows and worked with a variety of artists, managers, and music executives. In 2007, George released the mixtape, Untapped market Vol. 1 (Da Underdogz), which featured tracks from artists including Kanye West, Lil Wayne, 50 Cent, Yung Berg, and Nelly. In 2008, he began working with Def Jam executive Sarah Alminawi who was managing Maino at the time. George played a key role in the marketing and promotional success of Maino's single, Hi Hater, which peaked at #8 on Billboard's US Bubbling Under Hot 100 chart. In 2021, George was an advisor and infrastructure head at Kandiid, a social media app which won a W3 Award in 2022. In 2023, he became involved with Fliiks App as Director of Regional Development which earned a Telly Award, two Muse Awards, and a W3 Award in 2025. In 2025, George was a composer and producer on two singles on Sekou Andrews's album, Koumami; The Chosen One: ACT 1 (featuring Lion Babe) and Love Don't Care (featuring Jordin Sparks and Omari Hardwick). In 2025, he was awarded an Atlanta City Proclamation for Philanthropy and Community Leadership for his partnership with Women's International Grail, a nonprofit organization that assists women, single mothers, and low-income families. He also collaborates with local youth programs, creative networks, and minority-owned startups, providing access to mentorship and industry knowledge. == Awards ==
Web API
A web API is an application programming interface (API) for either a web server or a web browser. As a web development concept, it can be related to a web application's client side (including any web frameworks being used). A server-side web API consists of one or more publicly exposed endpoints to a defined request–response message system, typically expressed in JSON or XML by means of an HTTP-based web server. A server API (SAPI) is not considered a server-side web API, unless it is publicly accessible by a remote web application. == Client side == A client-side web API is a programmatic interface to extend functionality within a web browser or other HTTP client. Originally these were most commonly in the form of native plug-in browser extensions however most newer ones target standardized JavaScript bindings. The Mozilla Foundation created their WebAPI specification which is designed to help replace native mobile applications with HTML5 applications. Google created their Native Client architecture which is designed to help replace insecure native plug-ins with secure native sandboxed extensions and applications. They have also made this portable by employing a modified LLVM AOT compiler. == Server side == A server-side web API consists of one or more publicly exposed endpoints to a defined request–response message system, typically expressed in JSON or XML. The web API is exposed most commonly by means of an HTTP-based web server. Mashups are web applications which combine the use of multiple server-side web APIs. Webhooks are server-side web APIs that take input as a Uniform Resource Identifier (URI) that is designed to be used like a remote named pipe or a type of callback such that the server acts as a client to dereference the provided URI and trigger an event on another server which handles this event thus providing a type of peer-to-peer IPC. === Endpoints === Endpoints are important aspects of interacting with server-side web APIs, as they specify where resources can be accessed by third-party software. Usually the access is via a URI to which HTTP requests are posted, and from which the response is thus expected. Web APIs may be public or private, the latter of which requires an access token. Endpoints need to be static, otherwise the correct functioning of software that interacts with them cannot be guaranteed. If the location of a resource changes (and with it the endpoint) then previously written software will break, as the required resource can no longer be found at the same place. As API providers still want to update their web APIs, many have introduced a versioning system in the URI that points to an endpoint. === Resources versus services === Web 2.0 Web APIs often use machine-based interactions such as REST and SOAP. RESTful web APIs use HTTP methods to access resources via URL-encoded parameters, and use JSON or XML to transmit data. By contrast, SOAP protocols are standardized by the W3C and mandate the use of XML as the payload format, typically over HTTP. Furthermore, SOAP-based Web APIs use XML validation to ensure structural message integrity, by leveraging the XML schemas provisioned with WSDL documents. A WSDL document accurately defines the XML messages and transport bindings of a Web service. === Documentation === Server-side web APIs are interfaces for the outside world to interact with the business logic. For many companies this internal business logic and the intellectual property associated with it are what distinguishes them from other companies, and potentially what gives them a competitive edge. They do not want this information to be exposed. However, in order to provide a web API of high quality, there needs to be a sufficient level of documentation. One API provider that not only provides documentation, but also links to it in its error messages is Twilio. However, there are now directories of popular documented server-side web APIs. === Growth and impact === The number of available web APIs has grown consistently over the past years, as businesses realize the growth opportunities associated with running an open platform, that any developer can interact with. ProgrammableWeb tracks over 24000 Web APIs that were available in 2022, up from 105 in 2005. Web APIs have become ubiquitous. There are few major software applications/services that do not offer some form of web API. One of the most common forms of interacting with these web APIs is via embedding external resources, such as tweets, Facebook comments, YouTube videos, etc. In fact there are very successful companies, such as Disqus, whose main service is to provide embeddable tools, such as a feature-rich comment system. Any website of the TOP 100 Alexa Internet ranked websites uses APIs and/or provides its own APIs, which is a very distinct indicator for the prodigious scale and impact of web APIs as a whole. As the number of available web APIs has grown, open source tools have been developed to provide more sophisticated search and discovery. APIs.json provides a machine-readable description of an API and its operations, and the related project APIs.io offers a searchable public listing of APIs based on the APIs.json metadata format. === Business === ==== Commercial ==== Many companies and organizations rely heavily on their Web API infrastructure to serve their core business clients. In 2014 Netflix received around 5 billion API requests, most of them within their private API. ==== Governmental ==== Many governments collect a lot of data, and some governments are now opening up access to this data. The interfaces through which this data is typically made accessible are web APIs. Web APIs allow for data, such as "budget, public works, crime, legal, and other agency data" to be accessed by any developer in a convenient manner. == Example == An example of a popular web API is the Astronomy Picture of the Day API operated by the American space agency NASA. It is a server-side API used to retrieve photographs of space or other images of interest to astronomers, and metadata about the images. According to the API documentation, the API has one endpoint: https://api.nasa.gov/planetary/apod The documentation states that this endpoint accepts GET requests. It requires one piece of information from the user, an API key, and accepts several other optional pieces of information. Such pieces of information are known as parameters. The parameters for this API are written in a format known as a query string, which is separated by a question mark character (?) from the endpoint. An ampersand (&) separates the parameters in the query string from each other. Together, the endpoint and the query string form a URL that determines how the API will respond. This URL is also known as a query or an API call. In the below example, two parameters are transmitted (or passed) to the API via the query string. The first is the required API key and the second is an optional parameter — the date of the photograph requested. https://api.nasa.gov/planetary/apod?api_key=DEMO_KEY&date=1996-12-03 Visiting the above URL in a web browser will initiate a GET request, calling the API and showing the user a result, known as a return value or as a return. This API returns JSON, a type of data format intended to be understood by computers, but which is somewhat easy for a human to read as well. In this case, the JSON contains information about a photograph of a white dwarf star: The above API return has been reformatted so that names of JSON data items, known as keys, appear at the start of each line. The last of these keys, named url, indicates a URL which points to a photograph: https://apod.nasa.gov/apod/image/9612/ngc2440_hst2.jpg Following the above URL, a web browser user would see this photo: Although this API can be called by an end user with a web browser (as in this example) it is intended to be called automatically by software or by computer programmers while writing software. JSON is intended to be parsed by a computer program, which would extract the URL of the photograph and the other metadata. The resulting photo could be embedded in a website, automatically sent via text message, or used for any other purpose envisioned by a software developer.
Directed-energy weapon wildfire conspiracy theories
The directed-energy weapon wildfire conspiracy theories are claims circulating on social media and in fringe commentary that 2020s wildfires in places such as California, Hawaii and Texas were started or steered by directed-energy weapons or other lasers or directed-energy systems rather than by the documented ignition sources identified by investigators. Fact-checking organisations and newsrooms have repeatedly shown that widely shared images and clips said to depict “beams from the sky” are unrelated, miscaptioned or fabricated, and that official inquiries point to causes such as damaged or re-energised power lines, vegetation and extreme wind conditions. Coverage of the January 2025 Los Angeles fires described a resurgence of familiar hoaxes while local and federal agencies coordinated public rebuttals. == Background == Rumours linking directed-energy weapons to wildfire outbreaks appeared during earlier disaster seasons, then re-emerged at scale during the 2018 Camp Fire and again with the 2023 Maui wildfires and the 2025 Los Angeles fires. Journalists documented how large disasters reliably attract miscaptioned imagery and speculative narratives that portray official explanations as cover stories, while researchers and emergency managers noted that such claims tend to flourish during the information vacuum that accompanies fast-moving events. == Narratives and debunks == Recurring claims include assertions that videos show lasers igniting neighbourhoods, that “green” or “blue” items or roofs were spared because lasers cannot burn those colours, that trees remaining upright indicate precision targeting of houses, and that beams recorded over Hawaii or Texas came from secret platforms. Investigations show that a purported laser-strike video was actually an explosion at a Russian gas station recorded years earlier, that a photograph said to capture an “attack” was an Ohio gas flare from 2018, and that a separate video of green lights over Hawaii was captured months before the Maui fires by an astronomical camera and is unrelated. Fact-checks addressing colour myths have further explained that images of intact blue roofs were either misinterpreted or in at least one widely shared instance artificially generated, and that laser interaction with materials is not governed by such simplistic rules. == Investigations and identified causes == Authorities who examined specific incidents have published findings that contradict DEW narratives. A multi-agency investigation into the Maui disaster concluded that downed and later re-energised lines ignited an initial morning fire that re-kindled under extreme winds in the afternoon, with reports detailing the timeline and infrastructure context; summaries by national outlets echoed those conclusions. Investigators of the February 2024 Smokehouse Creek Fire in the Texas Panhandle reported that power lines ignited both the state’s largest wildfire and another major blaze, and the regional utility acknowledged its facilities appeared to have been involved; subsequent media coverage outlined the findings and regulatory follow-up. For the 2018 Camp Fire in Northern California, public reports from Butte County and subsequent proceedings identified PG&E transmission equipment as the source of ignition, with documentation of maintenance issues on the Caribou–Palermo line preceding the event. == Platform and agency responses == As major fires burned in and around Los Angeles in January 2025, officials from city agencies and national partners pursued a coordinated strategy to counter falsehoods by issuing timely updates, flagging fake imagery and directing residents to verified resources. Reporters described how federal emergency managers and local departments used social channels and briefings to rebut specific rumours, including claims about lasers and targeted ignition, and to clarify that early imagery often misleads during fast-moving disasters.
International Teletraffic Congress
The International Teletraffic Congress (ITC) is the first international conference in networking science and practice. It was created in 1955 by Arne Jensen to initially cater to the emerging need to understand and model traffic in telephone networks using stochastic methodologies, and to bring together researchers with these considerations as a common theme. Up through World War II, teletraffic research was done mainly by engineers and mathematicians working in telephone companies. Most of their work was published in local or company journals. In 1955, however, the field acquired a formal, international, institutional structure, with the organization of the first International Teletraffic Congress (ITC). Over the years, it has broaden its scope to address a wide spectrum ranging from the mathematical theory of traffic processes, stochastic system modelling and analysis, traffic and performance measurements, network management, traffic engineering to network capacity planning and cost optimization, including network economics and reliability for various types of networks. ITC served as a forum for all theoretical fundamentals and engineering practices for large-scale deployment and operation of telecommunications networks. Since its inception, ITC witnessed the evolution of communications and networking: the influence of computer science on telecommunication, the advent of the Internet and the massive deployment of mobile communications and optics, the appearance of peer-to-peer networking and social networks, the ever increasing speed and flexibility of new communication technologies, networks, user devices, and applications, and the ever changing operation challenges arising from this development. ITC documented this evolution with contemporary measurement studies, performance analyses of new technologies, recommendations for provisioning and configuration, and greatly contributed to the methodological toolbox of network scientists. Today, with its conferences, specialist seminars, regional seminars, training courses and publications, the ITC aims at a worldwide forum for all questions related to network and service performance, management, and assessment, both present and futuristic. The notion of traffic is broadly used to encompass data traffic from the MAC layer all the way to application traffic in the application layer. The scope of ITC is thus ranging all issues embedding operations, design, planning, economics and performance analysis of current and emerging communication networks and services, to be addressed by applying a variety of tools from different fields, such as Stochastic Processes, Information theory, Control theory, Signal and Processing, Game theory and optimization techniques, Statistical methodologies and Artificial Intelligence techniques. The target audience of such issues is experts from research organizations, universities, equipment vendors and suppliers, network operators, service providers, system integrators and international technical organizations, guaranteeing a well-balanced contribution from theory, application, and practice. The general goal remains to bring researchers and practitioners together toward operational understanding of all types of current and future networks. The ITC is ruled by the International Advisory Council (IAC) which gathers a number of technical experts, from universities and the research arms of key corporations in the industry, from countries having a strong tradition in teletraffic development. The IAC responsibilities are to disseminate information on teletraffic which is of interest for the whole community and: to select the locations of Plenary Congresses and to ensure their high-level technical programme to support Specialist Seminars on specific topics of current interest to promote Regional Seminars for the dissemination of teletraffic concepts in developing countries to facilitate the liaison activity with the ITU through participation in the standardization process and in the Development Programme The technical program and the organization of each ITC event remains within the responsibilities of the hosting country, but with significant IAC support to guarantee that the event is consistent with the quality standards established during the previous congresses. The ITC Plenary Congresses were scheduled tri-annually from 1955 until 1995 when the interval became bi-annual to account for the ever-accelerating development of network technologies, products and services and the associated dramatic increases in network demands. Similarly, to better cover the impact of dramatic changes undergoing in the field of computer and communication systems, networks and usage, it has been decided to hold the Plenary Congress on an annual basis from 2009. == Content == Teletraffic science is the traditional term for all theoretical fundamentals and engineering practices to describe data flows in telecommunication networks, the performance of the usage of network resources, procedures for sizing of resources and engineering the networks for given traffic load and quality of service requirements. For more than 50 years of the 20th century, traffic or teletraffic has been identified primarily with telephone networks. With the huge development of computers, stored program control of network nodes and computer communication, the traditional teletraffic science field naturally extended to computer networks, mobile and wireless/optical networks, and for a wide spectrum of new applications. The convergence between the voice network, the Internet, the television and mobility raised new questions that request new models and tools to be developed. In addition, the development of community networks, home networking, multiple access networking technologies, and the advent of pervasive and ambient communications dictates new challenges to be addressed. Today, ITC addresses the emerging paradigms such as an increasing diversity of distributed applications and services over various media like mobile/optical networks, enabling new markets and economy. ITC has steered the evolutions in communications since its creation in 1955 and remains at the forefront of innovation regarding modeling and performance. The scientific roots of communications traffic are based on the theory of probability and stochastic processes, modelling and performance evaluation. Modelling is the key for the mathematical description and quantitative performance analysis. Traffic flows are described by stochastic processes with complex dependencies which have to be validated by traffic measurements. Modelling also includes operational properties of resource control reflected by service strategies such as queueing disciplines, admission control, and routing. The results of such performance analyses are used for resource dimensioning (sizing), resource management, and network optimization while providing targeted Quality of Service. Teletraffic science is closely related to methods of operation research (queueing theory, optimization, forecasting) and computational sciences (simulation technology distributed systems). In this context, ITC represents a wide community of researchers and practitioners and is regularly organizing events like Congresses, Specialist Seminars and Workshops in order to discuss the latest changes in the modelling, design and performance of communication systems, networks and services. === The evolution of technologies of the 20th century === ITC has been witnessing the change of communication and networking technologies which are reflected in the proceedings and programs of the congresses. The specialist seminars and the motto of the congresses thereby reflect the hot topics of that time and the evolution. Selected topics of the 70's, 80's and 90's were 1998: Traffic Issues related to Multimedia and Nomadic Communications 1995: Traffic Modeling and Measurement in Broadband and Mobile Communications 1990: Broadband Technologies: Architectures, Applications, Control and Performance 1986: ISDN Traffic Issues 1984: Fundamentals of Teletraffic Theory 1977: Modeling of SPC Exchanges and Data Networks === Recent topics in the 21st century === With the rise of the Internet, new networking paradigms and technologies but also new challenges emerged: 2020: Teletraffic in the era of beyond-5G and AI 2019: Networked Systems and Services 2018: Teletraffic in the Smart World 2017: Ubiquitous, software-based, and sustainable networks and services 2016: Digital Connected World 2015: Traffic, Performance and Big Data 2014: Towards a Sustainable World 2013: Energy Efficient and Green Networking 2010: Multimedia Applications - Traffic, Performance and QoE 2009: Network Virtualization - Concepts and Performance 2008: Future Internet Design and Experimental Facilities 2008: Quality of Experience 2002: Internet Traffic Engineering and Traffic Management == Arne Jensen Lifetime Achievement Awards == The Arne Jensen Lifetime A
Software diagnosis
Software diagnosis (also: software diagnostics) refers to concepts, techniques, and tools that allow for obtaining findings, conclusions, and evaluations about software systems and their implementation, composition, behaviour, and evolution. It serves as means to monitor, steer, observe and optimize software development, software maintenance, and software re-engineering in the sense of a business intelligence approach specific to software systems. It is generally based on the automatic extraction, analysis, and visualization of corresponding information sources of the software system. It can also be manually done and not automatic. == Applications == Software diagnosis supports all branches of software engineering, in particular project management, quality management, risk management as well as implementation and test. Its main strength is to support all stakeholders of software projects (in particular during software maintenance and for software re-engineering tasks) and to provide effective communication means for software development projects. For example, software diagnosis facilitates "bridging an essential information gap between management and development, improve awareness, and serve as early risk detection instrument". Software diagnosis includes assessment methods for "perfective maintenance" that, for example, apply "visual analysis techniques to combine multiple indicators for low maintainability, including code complexity and entanglement with other parts of the system, and recent changes applied to the code". == Characteristics == In contrast to manifold approaches and techniques in software engineering, software diagnosis does not depend on programming languages, modeling techniques, software development processes or the specific techniques used in the various stages of the software development process. Instead, software diagnosis aims at analyzing and evaluating the software system in its as-is state and based on system-generated information to bypass any subjective or potentially outdated information sources (e.g., initial software models). For it, software diagnosis combines and relates sources of information that are typically not directly linked. Examples: Source-code metrics are related with software developer activity to gain insight into developer-specific effects on software code quality. System structure and run-time execution traces are correlated to facilitate program comprehension through dynamic analysis in software maintenance tasks. == Principles == The core principle of software diagnosis is to automatically extract information from all available information sources of a given software projects such as source code base, project repository, code metrics, execution traces, test results, etc. To combine information, software-specific data mining, analysis, and visualization techniques are applied. Its strength results, among various reasons, from integrating decoupled information spaces in the scope of a typical software project, for example development and developer activities (recorded by the repository) and code and quality metrics (derived by analyzing source code) or key performance indicators (KPIs). == Examples == Examples of software diagnosis tools include software maps and software metrics. == Critics == Software diagnosis—in contrast to many approaches in software engineering—does not assume that developer capabilities, development methods, programming or modeling languages are right or wrong (or better or worse compared to each other): Software diagnosis aims at giving insight into a given software system and its status regardless of the methods, languages, or models used to create and maintain the system. === Related subjects === Cost estimation in software engineering Programming productivity Rapid application development Software design Software development Software documentation Software map Software release life cycle Systems design Systems Development Life Cycle
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.