Serial Experiments Lain is a Japanese anime television series created and co-produced by Yasuyuki Ueda, written by Chiaki J. Konaka and directed by Ryūtarō Nakamura. Animated by Triangle Staff and featuring original character designs by Yoshitoshi Abe, the series was broadcast for 13 episodes on TV Tokyo and its affiliates from July to September 1998. It follows Lain Iwakura, an adolescent girl in suburban Japan, and her relation to the Wired, a global communications network similar to the internet. Lain features surreal and avant-garde imagery and explores philosophical topics such as reality, identity, and communication. The series incorporates creative influences from computer history, cyberpunk, and conspiracy theories. Critics and fans have praised Lain for its originality, visuals, atmosphere, themes, and its dark depiction of a world fraught with paranoia, social alienation, and reliance on technology considered insightful of 21st century life. It received the Excellence Prize at the Japan Media Arts Festival in 1998. == Plot == Lain Iwakura is a socially isolated middle school student living in Setagaya City, Tokyo, with her emotionally detached family—her distant mother Miho, computer-obsessed father Yasuo, and disengaged older sister Mika. Her quiet existence is disrupted when students at her school receive emails from Chisa Yomoda, a classmate who had recently committed suicide. To Lain's confusion, Chisa claims she is not truly dead but has instead abandoned her physical form to exist within the Wired, a vast virtual realm similar to the Internet. Chisa declares she has found "God" there, drawing Lain into a surreal investigation of the Wired's nature and its growing influence over reality. The Wired is portrayed as an emergent digital plane, originating from telecommunications technology and expanding through the Internet and cyberspace. It is theorized that the Schumann resonances, a natural property of Earth's magnetic field, could enable direct subconscious communication between humans and machines, erasing the distinction between the virtual and the real. Masami Eiri, a former project director at Tachibana General Laboratories, exploited this possibility by embedding his own code into Protocol Seven, a next-generation Internet protocol. After transferring his consciousness into the Wired and discarding his physical body, he proclaims himself its deity. He identifies Lain as the key to merging both worlds, attempting to persuade her through manipulation, coercion, and promises of transcendence. A group known as the Knights of the Eastern Calculus, inspired by the Knights of the Lambda Calculus, operates as hackers who worship Masami and seek to dismantle the boundary between the Wired and reality. Their actions induce psychological breakdowns in those unable to reconcile the two realms. Meanwhile, Tachibana General Laboratories opposes them, striving to maintain the separation. Lain, however, exhibits an innate connection to the Wired, experiencing distortions in her perception—visions of a woman struck by a train, phantom whispers, and spectral messages urging her deeper into the network. Lain's home life remains cold and disconnected. Though Yasuo provides her with advanced computer equipment, her family shows little genuine care. Her interactions with classmates Alice, Julie, and Reika further highlight her alienation, particularly after an incident at Cyberia, a nightclub where a drug called Accela induces violent psychosis in users. There, Lain unnervingly stares down an assailant, who calls her a "scattered God's..." before killing himself. Later, she receives a mysterious Psyche chip, rumored to enhance her computer's capabilities, which she installs despite Yasuo's vague warnings about conflating the Wired with reality. As the boundary between worlds weakens, disturbing events escalate. A popular virtual game, Phantoma, is manipulated by the Knights to trap players in a distorted reality, leading to real-world violence. One player, convinced his actions have no consequences, murders a girl before realizing too late that the effects were tangible. Lain witnesses this through her computer, horrified yet increasingly aware of her own role in the unfolding crisis. In the end, Lain resets reality, erasing everyone's memory of her and restoring the division between worlds. Everyone's lives improve, but Lain is left alone, grappling with her identity as an artificial consciousness. Though forgotten, she finds solace in observing others' happiness, particularly Alice, who moves on with her life. Lain is now capable of existing anywhere across both realms. == Characters == Lain Iwakura (岩倉 玲音, Iwakura Rein) Voiced by: Kaori Shimizu (Japanese); Bridget Hoffman (English) Lain is a fourteen-year-old girl who uncovers her true nature through the series. She is first depicted as a shy junior high school student with few friends or interests. She later grows multiple bolder personalities, both in the physical world and the Wired, and starts making more friends. As the series progresses, she eventually learns she is an autonomous, sentient computer program in the form of a human, who is designed to sever the invisible barrier between the Wired and the real world. The truth of her creation is left ambiguous, particularly whether she was truly created by Tachibana General Laboratories (or Eiri independently), and whether some or all of her origin might be predestined from natural, supernatural, or alien factors. In the end, Lain is challenged to accept herself as a de facto goddess for the Wired, having become an omnipotent and omnipresent virtual being with worshippers of her own, whose existence is beyond the borders of devices, time, or space. Alice Mizuki (瑞城 ありす, Mizuki Arisu) Voiced by: Yōko Asada (Japanese); Emily Brown (English) Lain's classmate and only true friend throughout the series. She is very sincere and has no discernible quirks. She is the first to attempt to help Lain socialize; she takes her out to a nightclub. From then on, she tries her best to look after Lain. Alice, along with her two best friends Julie and Reika, were taken by Chiaki Konaka from his previous work, Alice in Cyberland . Masami Eiri (英利 政美, Eiri Masami) Voiced by: Shō Hayami (Japanese); Kirk Thornton (English) The key designer of Protocol Seven. While working for Tachibana General Laboratories, he illicitly included codes enabling him to control the whole protocol at will and embedded his own mind and will into the seventh protocol. Because of this, he was fired by Tachibana General Laboratories, and was found dead not long after. He believes that the only way for humans to evolve even further and develop even greater abilities is to absolve themselves of their physical and human limitations, and to live as virtual entities—or avatars—in the Wired for eternity. He claims to have been Lain's creator all along, but was in truth standing in for another as an acting god, who was waiting for the Wired to reach its more evolved current state: Lain herself. Yasuo Iwakura (岩倉 康男, Iwakura Yasuo) Voiced by: Ryūsuke Ōbayashi (Japanese); Barry Stigler (English) Lain and Mika's father. Passionate about computers and electronic communication, he works with Masami Eiri at Tachibana General Laboratories. He subtly pushes Lain, his "youngest daughter", towards the Wired and monitors her development until she becomes more and more aware of herself and of her raison d'être. He eventually leaves Lain, telling her that although he did not enjoy playing house, he genuinely loved and cared for her as a real father would. Despite Yasuo's eagerness to lure Lain into the Wired, he warns her not to get overly involved in it or to confuse it with the real world. Miho Iwakura (岩倉 美穂, Iwakura Miho) Voiced by: Rei Igarashi (Japanese); Dari Lallou Mackenzie (English) Lain and Mika's mother. Although she dotes on her husband, she is indifferent towards both her kids. She does not show much emotion compared to her husband, but she does share at least one trait; just like her husband, she ends up leaving Lain. She is a computer scientist. Mika Iwakura (岩倉 美香, Iwakura Mika) Voiced by: Ayako Kawasumi (Japanese); Patricia Ja Lee (English) Lain's older sister, an apathetic sixteen-year-old high school student. She seems to enjoy mocking Lain's behavior and interests. Mika is considered by Anime Revolution to be the only normal member of Lain's family: she sees her boyfriend in love hotels, is on a diet, and shops in Shibuya regularly. At a certain point in the series, she becomes heavily traumatized by violent and relentless hallucinations; while Lain begins freely delving into the Wired. Mika is taken there by her proximity to Lain, and she gets stuck between the real world and the Wired. Taro (タロウ, Tarō) Voiced by: Keito Takimoto (Japanese); Brianne Siddall (English) A young boy of about Lain's age. He occasionally works for the Knights to bring forth "the one truth". De
Sample complexity
The sample complexity of a machine learning algorithm represents the number of training-samples that it needs in order to successfully learn a target function. More precisely, the sample complexity is the number of training-samples that we need to supply to the algorithm, so that the function returned by the algorithm is within an arbitrarily small error of the best possible function, with probability arbitrarily close to 1. There are two variants of sample complexity: The weak variant fixes a particular input-output distribution; The strong variant takes the worst-case sample complexity over all input-output distributions. The No free lunch theorem, discussed below, proves that, in general, the strong sample complexity is infinite, i.e. that there is no algorithm that can learn the globally-optimal target function using a finite number of training samples. However, if we are only interested in a particular class of target functions (e.g., only linear functions) then the sample complexity is finite, and it depends linearly on the VC dimension on the class of target functions. == Definition == Let X {\displaystyle X} be a space which we call the input space, and Y {\displaystyle Y} be a space which we call the output space, and let Z {\displaystyle Z} denote the product X × Y {\displaystyle X\times Y} . For example, in the setting of binary classification, X {\displaystyle X} is typically a finite-dimensional vector space and Y {\displaystyle Y} is the set { − 1 , 1 } {\displaystyle \{-1,1\}} . Fix a hypothesis space H {\displaystyle {\mathcal {H}}} of functions h : X → Y {\displaystyle h\colon X\to Y} . A learning algorithm over H {\displaystyle {\mathcal {H}}} is a computable map from Z {\displaystyle Z} to H {\displaystyle {\mathcal {H}}} . In other words, it is an algorithm that takes as input a finite sequence of training samples and outputs a function from X {\displaystyle X} to Y {\displaystyle Y} . Typical learning algorithms include empirical risk minimization, without or with Tikhonov regularization. Fix a loss function L : Y × Y → R ≥ 0 {\displaystyle {\mathcal {L}}\colon Y\times Y\to \mathbb {R} _{\geq 0}} , for example, the square loss L ( y , y ′ ) = ( y − y ′ ) 2 {\displaystyle {\mathcal {L}}(y,y')=(y-y')^{2}} , where h ( x ) = y ′ {\displaystyle h(x)=y'} . For a given distribution ρ {\displaystyle \rho } on X × Y {\displaystyle X\times Y} , the expected risk of a hypothesis (a function) h ∈ H {\displaystyle h\in {\mathcal {H}}} is E ( h ) := E ρ [ L ( h ( x ) , y ) ] = ∫ X × Y L ( h ( x ) , y ) d ρ ( x , y ) {\displaystyle {\mathcal {E}}(h):=\mathbb {E} _{\rho }[{\mathcal {L}}(h(x),y)]=\int _{X\times Y}{\mathcal {L}}(h(x),y)\,d\rho (x,y)} In our setting, we have h = A ( S n ) {\displaystyle h={\mathcal {A}}(S_{n})} , where A {\displaystyle {\mathcal {A}}} is a learning algorithm and S n = ( ( x 1 , y 1 ) , … , ( x n , y n ) ) ∼ ρ n {\displaystyle S_{n}=((x_{1},y_{1}),\ldots ,(x_{n},y_{n}))\sim \rho ^{n}} is a sequence of vectors which are all drawn independently from ρ {\displaystyle \rho } . Define the optimal risk E H ∗ = inf h ∈ H E ( h ) . {\displaystyle {\mathcal {E}}_{\mathcal {H}}^{}={\underset {h\in {\mathcal {H}}}{\inf }}{\mathcal {E}}(h).} Set h n = A ( S n ) {\displaystyle h_{n}={\mathcal {A}}(S_{n})} , for each sample size n {\displaystyle n} . h n {\displaystyle h_{n}} is a random variable and depends on the random variable S n {\displaystyle S_{n}} , which is drawn from the distribution ρ n {\displaystyle \rho ^{n}} . The algorithm A {\displaystyle {\mathcal {A}}} is called consistent if E ( h n ) {\displaystyle {\mathcal {E}}(h_{n})} probabilistically converges to E H ∗ {\displaystyle {\mathcal {E}}_{\mathcal {H}}^{}} . In other words, for all ϵ , δ > 0 {\displaystyle \epsilon ,\delta >0} , there exists a positive integer N {\displaystyle N} , such that, for all sample sizes n ≥ N {\displaystyle n\geq N} , we have Pr ρ n [ E ( h n ) − E H ∗ ≥ ε ] < δ . {\displaystyle \Pr _{\rho ^{n}}[{\mathcal {E}}(h_{n})-{\mathcal {E}}_{\mathcal {H}}^{}\geq \varepsilon ]<\delta .} The sample complexity of A {\displaystyle {\mathcal {A}}} is then the minimum N {\displaystyle N} for which this holds, as a function of ρ , ϵ {\displaystyle \rho ,\epsilon } , and δ {\displaystyle \delta } . We write the sample complexity as N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} to emphasize that this value of N {\displaystyle N} depends on ρ , ϵ {\displaystyle \rho ,\epsilon } , and δ {\displaystyle \delta } . If A {\displaystyle {\mathcal {A}}} is not consistent, then we set N ( ρ , ϵ , δ ) = ∞ {\displaystyle N(\rho ,\epsilon ,\delta )=\infty } . If there exists an algorithm for which N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} is finite, then we say that the hypothesis space H {\displaystyle {\mathcal {H}}} is learnable. In others words, the sample complexity N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} defines the rate of consistency of the algorithm: given a desired accuracy ϵ {\displaystyle \epsilon } and confidence δ {\displaystyle \delta } , one needs to sample N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} data points to guarantee that the risk of the output function is within ϵ {\displaystyle \epsilon } of the best possible, with probability at least 1 − δ {\displaystyle 1-\delta } . In probably approximately correct (PAC) learning, one is concerned with whether the sample complexity is polynomial, that is, whether N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} is bounded by a polynomial in 1 / ϵ {\displaystyle 1/\epsilon } and 1 / δ {\displaystyle 1/\delta } . If N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} is polynomial for some learning algorithm, then one says that the hypothesis space H {\displaystyle {\mathcal {H}}} is PAC-learnable. This is a stronger notion than being learnable. == Unrestricted hypothesis space: infinite sample complexity == One can ask whether there exists a learning algorithm so that the sample complexity is finite in the strong sense, that is, there is a bound on the number of samples needed so that the algorithm can learn any distribution over the input-output space with a specified target error. More formally, one asks whether there exists a learning algorithm A {\displaystyle {\mathcal {A}}} , such that, for all ϵ , δ > 0 {\displaystyle \epsilon ,\delta >0} , there exists a positive integer N {\displaystyle N} such that for all n ≥ N {\displaystyle n\geq N} , we have sup ρ ( Pr ρ n [ E ( h n ) − E H ∗ ≥ ε ] ) < δ , {\displaystyle \sup _{\rho }\left(\Pr _{\rho ^{n}}[{\mathcal {E}}(h_{n})-{\mathcal {E}}_{\mathcal {H}}^{}\geq \varepsilon ]\right)<\delta ,} where h n = A ( S n ) {\displaystyle h_{n}={\mathcal {A}}(S_{n})} , with S n = ( ( x 1 , y 1 ) , … , ( x n , y n ) ) ∼ ρ n {\displaystyle S_{n}=((x_{1},y_{1}),\ldots ,(x_{n},y_{n}))\sim \rho ^{n}} as above. The No Free Lunch Theorem says that without restrictions on the hypothesis space H {\displaystyle {\mathcal {H}}} , this is not the case, i.e., there always exist "bad" distributions for which the sample complexity is arbitrarily large. Thus, in order to make statements about the rate of convergence of the quantity sup ρ ( Pr ρ n [ E ( h n ) − E H ∗ ≥ ε ] ) , {\displaystyle \sup _{\rho }\left(\Pr _{\rho ^{n}}[{\mathcal {E}}(h_{n})-{\mathcal {E}}_{\mathcal {H}}^{}\geq \varepsilon ]\right),} one must either constrain the space of probability distributions ρ {\displaystyle \rho } , e.g. via a parametric approach, or constrain the space of hypotheses H {\displaystyle {\mathcal {H}}} , as in distribution-free approaches. == Restricted hypothesis space: finite sample-complexity == The latter approach leads to concepts such as VC dimension and Rademacher complexity which control the complexity of the space H {\displaystyle {\mathcal {H}}} . A smaller hypothesis space introduces more bias into the inference process, meaning that E H ∗ {\displaystyle {\mathcal {E}}_{\mathcal {H}}^{}} may be greater than the best possible risk in a larger space. However, by restricting the complexity of the hypothesis space it becomes possible for an algorithm to produce more uniformly consistent functions. This trade-off leads to the concept of regularization. It is a theorem from VC theory that the following three statements are equivalent for a hypothesis space H {\displaystyle {\mathcal {H}}} : H {\displaystyle {\mathcal {H}}} is PAC-learnable. The VC dimension of H {\displaystyle {\mathcal {H}}} is finite. H {\displaystyle {\mathcal {H}}} is a uniform Glivenko-Cantelli class. This gives a way to prove that certain hypothesis spaces are PAC learnable, and by extension, learnable. === An example of a PAC-learnable hypothesis space === X = R d , Y = { − 1 , 1 } {\displaystyle X=\mathbb {R} ^{d},Y=\{-1,1\}} , and let H {\displaystyle {\mathcal {H}}} be the space of affine functions on X {\displaystyle X} , that is, functions of the form x ↦ ⟨ w , x ⟩ + b {\displaystyle x\mapsto \langl
Mass media use by the Islamic State
The Islamic State (IS) is known for its extensive and effective use of propaganda. It uses a version of the Muslim Black Standard flag and developed an emblem which has clear symbolic meaning in the Muslim world. The Islamic State targets younger audiences, such as teenagers and young adults, since they are more vulnerable to propaganda. It is known to exploit the internet to spread its propaganda by establishing websites, such as the Al Fustat domain. Videos by the Islamic State are commonly accompanied by nasheeds (chants), notable examples being the chant Dawlat al-Islam Qamat, which came to be viewed as an unofficial anthem of the Islamic State, and Salil al-Sawarim. Academic research has emphasized the scale and volume of Islamic State media production beyond its flagship magazines. A quantitative study cited in R. Malash’s academic work documented 1,373 distinct Islamic State media products released over a six-month period between 1 August 2017 and 28 February 2018, including magazines, newsletters, reports, photographic releases, audio recordings, and other media formats. Scholars have used such datasets to illustrate the breadth and intensity of the group’s media output, particularly during periods of territorial decline, when propaganda activity remained high despite military pressure. == Traditional media == === Al-Furqan Foundation for Media Production === In January 2006, shortly after the group's rebranding as the "Islamic State of Iraq", it established the Al-Furqan Foundation for Media Production (Arabic: مؤسسة الفرقان للإنتاج الإعلامي, romanized: Muasasat al-Furqān lil'īntāj al'ilāmī), which produces CDs, DVDs, posters, pamphlets, and web-related propaganda products and official statements. It is the primary media production house of the Islamic State and responsible for production of major media releases, including the statements of the spokesmen and leaders of the group. On January 10, 2006, Al-Furqan released its very first video, titled (Arabic: زحف الأنوار, romanized: Zahf al-Anwār) It was founded by the Iraqi man Dr Wa'il al-Fayad, known as Abu Muhammad al-Furqan. He got his name "Al-Furqan" from his role in founding this media house, which was named after the 25th surah of the Quran Al-Furqan. It is the oldest media production house for the Islamic State, being founded in November 2006 to release media for the Islamic State of Iraq. The earliest release indexed by the SITE Intelligence Group is on 21 November 2006, documenting the storming of a police station in the Iraqi town of Miqdadiyah. Al-Furqan is considered to be a considerable innovation in jihadist media, with Kavkaz Center describing it as "a milestone on the path of jihad, a distinguished media that takes the great care in the management of the conflict with the crusaders and their tails and to expose the lies in the crusader's media." In October 2007, the Long War Journal reported on United States Army raids targeting Al-Furqan media cell members across Iraq, including in Mosul and Samarra. Between August 2013 and March 2014 they released the 22 part series Messages from the Land of Epic Battles. On 2 September 2014 SITE Intelligence Group discovered the beheading video called A Second Message to America, about the death of Steven Sotloff. Since then, Al-Furqan has released videos of their operations across Iraq and Syria, as well as execution videos directed to governments around the world. In April 2019, Al-Furqan released a video Interviewing Abu Bakr al-Baghdadi. Al-Furqan also produces media in the form of audio, which consists mostly of recordings of IS leaders and spokesmen giving speeches, as well as producing a single nasheed under their name called "Ya Allah Al-Jannah" (O Allah, (we ask you for) Paradise), sung by now-dead member of IS, Uqab Al-Marzuqi. === Al-I'tisam Foundation for Media Production === The Islamic State of Iraq founded a second media foundation - Al-I'tisam Media Foundation - around 2011, marked by their first video release, titled "The Conqueror of the Murtaddin: Abu Ahmad Al-Ansari". The foundation has since released a few series of videos, 50 parts of "Windows on the Land of Battles", 9 parts of "Pictures from the Land of Battles", a 9-part series quoting leaders about the establishment of the Islamic State, and other series before their last release, "Deterring the Safavids in Salah ad-Din" in 2015. Since then, there were no further releases from their behalf. === Al-Hayat Media Center === In mid-2014, IS established the Al-Hayat Media Center, which targets Western audiences and produces material in English, German, Russian, Urdu, Indonesian, Turkish, Bengali, Chinese, Bosnian, Kurdish, Uyghur, and French. When IS announced its expansion to other countries in November 2014 it established media departments for the new branches, and its media apparatus ensured that the new branches follow the same models it uses in Iraq and Syria. Then FBI Director James Comey said that IS's "propaganda is unusually slick," noting that, "They are broadcasting... in something like 23 languages". In July 2014, Al-Hayat began publishing a digital magazine called Dabiq, in a number of different languages including English. According to the magazine, its name is taken from the town of Dabiq in northern Syria, which is mentioned in a hadith about Armageddon. Al-Hayat also began publishing other digital magazines, including the Turkish language Konstantiniyye, the Ottoman word for Istanbul, the French language Dar al-Islam, and the Russian language Istok (Russian: Исток). By late 2016, these magazines had apparently all been discontinued, with Al-Hayat's material being consolidated into a new magazine called Rumiyah (Arabic for Rome). === Al-Naba === While the group's glossy, foreign-language magazines like Dabiq and Rumiyah ceased publication as the group lost territory, the weekly Arabic newsletter Al-Naba (The News) has continued to publish regularly, becoming the central pillar of the group's "media jihad" in the post-territorial phase. Recent scholarship, including studies published in 2025, suggests that Al-Naba serves a dual purpose: maintaining internal cohesion among dispersed fighters and projecting a narrative of endurance to enemies. Unlike the earlier magazines which were designed for recruitment, Al-Naba focuses on bureaucratic reporting, military statistics, and religious instruction. These are then translated and disseminated by decentralized supporter networks ("media mujahideen") to reach non-Arabic speakers. === Furat Media Center === The Al-Furat Media Center is another media center established in around 2015 to cater towards non-Arab speaking audiences. However, unlike the other organizations, the production wasn't as professional as ones made by the other media centers. Instead, they partially relied on local media departments and foreign communities of the Mujahideen to produce short-form videos. However, some professional long-form videos were also made under their behalf. As of now, the media center is the only known active branch of all the media centers of the Islamic State, after heavy losses from past campaigns against them. Their last release was "The Resolve of Muwahhidin in Russia", where videos from the Surovikino penal colony hostage crisis were edited and released. === Ajnad Foundation for Media Production === Ajnad Foundation is one of the official media wings of Islamic State which produces nasheeds and Quran recitations. It was established in January 2014 and has released more than 150 nasheeds. === Asdaa Foundation === Like the Ajnad Foundation, the Asdaa Foundation (Arabic: مؤسسة أصداء) or Asedaa Foundation produces Anasheed (Islamic chants). The foundation is the closest counterpart to Ajnad in producing Islamic State nasheeds, only difference being Ajnad is directly linked to the Islamic State while Asdaa is only classified as a "supporter organization" (munaser/munasera). The foundation had humble beginnings possibly in Yemen, where low-quality nasheeds were produced at first by 2 munshids, Abu Layth Al-Iraqi and Abu Ya'qub Al-Yamani. After that, the quality had improved a bit (possibly with new equipment and increased recognition) and eventually had its nasheeds included in the Islamic State's official media releases. One of its munshids, Abu Hafs is a renowned munshid who sings around 70 nasheeds, who as well works with Ajnad Foundation in some instances. He is currently alive, and working under Ansar Production Center (مركز إنتاج الأنصار), another Munasir foundation and Asedaa. Another Yemeni munshid, Abu Musab al-Adani, worked temporarily with Asdaa Foundation before defecting back to AQAP, from which he previously defected from. Some of their anasheed is used in IS's execution videos, a popular one is their human slaughterhouse execution video released during the time of Eid Al-Adha in 2016. The background nasheed they used was "We Came To Fill The Horizons With Terror", produced by the Asd
Digital citizen
The term digital citizen is used with different meanings. According to the definition provided by Karen Mossberger, one of the authors of Digital Citizenship: The Internet, Society, and Participation, digital citizens are "those who use the internet regularly and effectively". In this sense, a digital citizen is a person who uses information technology (IT) to engage in society, politics, and government. More recent elaborations of the concept define digital citizenship as the self-enactment of people’s role in society through the use of digital technologies, stressing the empowering and democratizing characteristics of the citizenship idea. These theories aim at taking into account the ever-increasing datafication of contemporary societies (symbolically linked to the Snowden leaks), which has called into question the meaning of “being (digital) citizens in a datafied society”. This condition is also referred to as the “algorithmic society”, characterised by the increasing datafication of social life and the pervasive presence of surveillance practices – see surveillance and surveillance capitalism, the use of artificial intelligence, and Big Data. Datafication presents crucial challenges for the very notion of citizenship, so that data collection can no longer be seen as an issue of privacy alone so that:We cannot simply assume that being a citizen online already means something (whether it is the ability to participate or the ability to stay safe) and then look for those whose conduct conforms to this meaning Instead, the idea of digital citizenship shall reflect the idea that we are no longer mere “users” of technologies since they shape our agency both as individuals and as citizens. Digital citizenship refers to the responsible and respectful use of technology to engage online, evaluate information, and protect human rights. It encompasses skills for communication, collaboration, empathy, privacy protection, and security to prevent data breaches and identity theft. == Digital citizenship in the "algorithmic society" == In the context of the algorithmic society, the question of digital citizenship "becomes one of the extents to which subjects are able to challenge, avoid or mediate their data double in this datafied society”. These reflections put the emphasis on the idea of the digital space (or cyberspace) as a political space where the respect of fundamental rights of the individual shall be granted (with reference both to the traditional ones as well as to new specific rights of the internet [see “digital constitutionalism”]) and where the agency and the identity of the individuals as citizens is at stake. This idea of digital citizenship is thought to be not only active but also performative, in the sense that “in societies that are increasingly mediated through digital technologies, digital acts become important means through which citizens create, enact and perform their role in society.” In particular, for Isin and Ruppert this points towards an active meaning of (digital) citizenship based on the idea that we constitute ourselves as digital citizen by claiming rights on the internet, either by saying or by doing something. == Types of digital participation == People who characterize themselves as digital citizens often use IT extensively—creating blogs, using social networks, and participating in online journalism. Although digital citizenship begins when any child, teen, or adult signs up for an email address, posts pictures online, uses e-commerce to buy merchandise online, and/or participates in any electronic function that is B2B or B2C, the process of becoming a digital citizen goes beyond simple internet activity. According to Thomas Humphrey Marshall, a British sociologist known for his work on social citizenship, a primary framework of citizenship comprises three different traditions: liberalism, republicanism, and ascriptive hierarchy. Within this framework, the digital citizen needs to exist in order to promote equal economic opportunities and increase political participation. In this way, digital technology helps to lower the barriers to entry for participation as a citizen within a society. They also have a comprehensive understanding of digital citizenship, which is the appropriate and responsible behavior when using technology. Since digital citizenship evaluates the quality of an individual's response to membership in a digital community, it often requires the participation of all community members, both visible and those who are less visible. A large part in being a responsible digital citizen encompasses digital literacy, etiquette, online safety, and an acknowledgement of private versus public information. The development of digital citizen participation can be divided into two main stages. The first stage is through information dissemination, which includes subcategories of its own: static information dissemination, characterized largely by citizens who use read-only websites where they take control of data from credible sources in order to formulate judgments or facts. Many of these websites where credible information may be found are provided by the government. dynamic information dissemination, which is more interactive and involves citizens as well as public servants. Both questions and answers can be communicated, and citizens have the opportunity to engage in question-and-answer dialogues through two-way communication platforms The second stage of digital citizen participation is citizen deliberation, which evaluates what type of participation and role that they play when attempting to ignite some sort of policy change. static citizen participants can play a role by engaging in online polls as well as through complaints and recommendations sent up, mainly toward the government who can create changes in policy decisions. dynamic citizen participants can deliberate amongst others on their thoughts and recommendations in town hall meetings or various media sites. One potential advantage of online participation through digital citizenship is increased social inclusion. In a report on civic engagement, citizen-powered democracy can be initiated either through information shared through the web, direct communication signals made by the state toward the public, and social media tactics from both private and public companies. In fact, it was found that the community-based nature of social media platforms allow individuals to feel more socially included and informed about political issues that peers have also been found to engage with, otherwise known as a "second-order effect." Understanding strategic marketing on social media would further explain social media customers’ participation. Two types of opportunities rise as a result, the first being the ability to lower barriers that can make exchanges much easier. In addition, they have the chance to participate in transformative disruption, giving people who have a historically lower political engagement to mobilize in a much easier and convenient fashion. Nonetheless, there are several challenges that face the presence of digital technologies in political participation. Both current as well as potential challenges can create significant risks for democratic processes. Not only is digital technology still seen as relatively ambiguous, it was also seen to have "less inclusivity in democratic life." Demographic groups differ considerably in the use of technology, and thus, one group could potentially be more represented than another as a result of digital participation. Another primary challenge consists in the ideology of a "filter bubble" effect. Alongside a tremendous spread of false information, internet users could reinforce existing prejudices and assist in polarizing disagreements in the public sphere. This can lead to misinformed voting and decisions based on exposure rather than on pure knowledge. A communication technology director, Van Dijk, stated, "Computerized information campaigns and mass public information systems have to be designed and supported in such a way that they help to narrow the gap between the 'information rich' and 'information poor' otherwise the spontaneous development of ICT will widen it." Access and equivalent amounts of knowledge behind digital technology must be equivalent in order for a fair system to put into place. Alongside a lack of evidenced support for technology that can be proven to be safe for citizens, the OECD has identified five struggles for the online engagement of citizens: Scale: To what extent can a society allow every individual's voice to be heard, but also not be lost in the mass debate? This can be extremely challenging for the government, which may not effectively know how to listen and respond to each individual contribution. Capacity: How can digital technology offer citizens more information on public policy-making? The opportunity for citizens to debate with one another is lacking for acti
Static web page
A static web page, sometimes called a flat page or a stationary page, is a web page that is delivered to a web browser exactly as stored, in contrast to dynamic web pages which are generated by a web application. Consequently, a static web page displays the same information for all users, from all contexts, subject to modern capabilities of a web server to negotiate content-type or language of the document where such versions are available and the server is configured to do so. However, a webpage's JavaScript can introduce dynamic functionality which may make the static web page dynamic. == Overview == Static web pages are often HTML documents, stored as files in the file system and made available by the web server over HTTP (nevertheless URLs ending with ".html" are not always static). However, loose interpretations of the term could include web pages stored in a database, and could even include pages formatted using a template and served through an application server, as long as the page served is unchanging and presented essentially as stored. The content of static web pages remains stationary irrespective of the number of times it is viewed. Such web pages are suitable for the contents that rarely need to be updated, though modern web template systems are changing this. Maintaining large numbers of static pages as files can be impractical without automated tools, such as static site generators. Any personalization or interactivity has to run client-side, which is restricting. Cloud-based website builders, including Wix, Weebly, and Duda, offer no-code platforms for creating static and dynamic web pages through graphical interfaces, without requiring programming expertise. === Advantages === Provide improved security over dynamic websites (dynamic websites are at risk to web shell attacks if a vulnerability is present) Improved performance for end users compared to dynamic websites Fewer or no dependencies on systems such as databases or other application servers Cost savings from utilizing cloud storage, as opposed to a hosted environment Security configurations are easy to set up, which makes it more secure Static files can be cached by content delivery networks (CDNs) and other intermediate caches, which both reduces page load times at the user and also reduces load on the origin server. Static websites can have improved uptime, since they are still available through any available CDN exit node even when other CDN nodes or the origin webserver are temporarily offline. === Disadvantages === Dynamic functionality must be performed on the client side. After each update of a static website, some or all users may see old, stale, outdated previous versions instead of the latest version until the old version is flushed from CDNs and other caches. == Static site generators == Static site generators are applications that compile static websites - typically populating HTML templates in a predefined folder and file structure, with content supplied in a format such as Markdown or AsciiDoc. === Implementations === Jekyll (powers GitHub Pages) Middleman Hugo Next.js Astro.build Pelican Franklin
Elastic cloud storage
An elastic cloud is a cloud computing offering that provides variable service levels based on changing needs. Elasticity is an attribute that can be applied to most cloud services. It states that the capacity and performance of any given cloud service can expand or contract according to a customer's requirements and that this can potentially be changed automatically as a consequence of some software-driven event or, at worst, can be reconfigured quickly by the customer's infrastructure management team. Elasticity has been described as one of the five main principles of cloud computing by Rosenburg and Mateos in The Cloud at Your Service - Manning 2011. == History == Cloud computing was first described by Gillet and Kapor in 1996; however, the first practical implementation was a consequence of a strategy to leverage Amazon's excess data center capacity. Amazon and other pioneers of the commercial use of this technology were primarily interested in providing a “public” cloud service, whereby they could offer customers the benefits of using the cloud, particularly the utility-based pricing model benefit. Other suppliers followed suit with a range of cloud-based models all offering elasticity as a core component, but these suppliers were only offering this service as an element of their public cloud service. Due to perceived weaknesses in security, or at least a lack of proven compliance, many organizations, particularly in the financial and public sectors, have been slow adopters of cloud technologies. These wary organizations can achieve some of the benefits of cloud computing by adopting private cloud technologies. An alternative form of the elastic cloud has been offered by vendors such as EMC and IBM, whereby the service is based around an enterprise's own infrastructure but still retains elements of elasticity and the potential to bill by consumption. == Description == Elasticity in cloud computing is the ability for the organization to adjust its storage requirements in terms of capacity and processing with respect to operational requirements. This has the following benefits: Operational Benefits - Services can be acquired quickly, meaning that the evolving requirements of the business can be addressed almost immediately, giving an organization a potential agility advantage. A properly implemented elastic system will provision/de-provision according to application demands, so if a particular business has activity spikes then the provision can be enabled to match the demand and the capacity can be re-allocated. Research and Development (R&D) Projects - R&D activities are no longer hindered by a requirement to secure a capex budget prior to a project starting. Capability can simply be provisioned from the cloud and released at the end of the exercise. Testing and Deployment - With most large-scale projects a size test needs to be performed prior to final rollout. By taking advantage of the elasticity of the cloud and creating a full-scale avatar of the proposed production system, realistic data and traffic volumes can be provisioned and released as needed. Expensive Resources Allocated - This will normally apply only in the context where a customer is applying at least some of their own servers as part of a cloud infrastructure, specifically where a business (for performance reasons) has decided to invest in solid-state storage as opposed to spinning platters. There are instances when, due to activity spikes, a less critical process may need to be moved from the high-performance resources to more traditional storage. Server Specification - When a customer has elected to own/lease hardware, they can select and specify servers that are specifically tuned to meet the likely needs of their operation (i.e., directly controlling the cost/benefit equation). Utility Based Payments - There is, of course, a key cost driver in this process, and the notion that you should pay for what you consume is acceptable for many organizations. When hardware capacity is sourced internally, organizations need to over-provision. This applies just as much to traditional outsourcing as it does to capex-related expenditure on in-house servers. Cloud Platform – At the heart of any cloud storage system is the ability to manage hyperscale object storage and a Hadoop Distributed Files System (HDFS). Elastic storage capability is particularly well suited to hyperscale and Hadoop environments, where its capability to rapidly respond to changing circumstances and priorities is essential
Höhere Graphische Bundes-Lehr- und Versuchsanstalt
The Höhere Graphische Bundes-Lehr- und Versuchsanstalt (HGBLuVA) ("Higher Federal Institution for Graphic Education and Research"), now commonly known as "die Graphische", founded in 1888 in Vienna, is a vocational college for professions in visual communication and media technology in Austria. == History == === Opening === Originally set up as a photographic research institute by the President of the Photographic Society, the graphic teaching and research institute (GLV) was created through the incorporation of the photographic school (a department for photographic reproduction processes connected to the Salzburg State Building School) and the Hörwarter general drawing school in Vienna. Since its foundation, it has made an important contribution to the establishment and development of the graphic professions. According to a resolution of March 14, 1887, the City Council of Vienna made three floors of the municipal building in Vienna VII, Westbahnstraße 25, available to the former Schottenfelder Realschule for the establishment of a teaching and research institute for photography and reproduction processes. The k. k. Lehr- und Versuchsanstalt für Photographie und Reproductionsverfahren, founded and directed (1888–1923) by Josef Maria Eder, previously of the Technologische Gewerbemuseum (Museum of Applied Technology), for which he established a Section for Photography and Reproduction Techniques, and the Vienna State Trade School where, recently qualified as a university lecturer, he began teaching chemistry and physics in 1881. It opened on March 1, 1888 with 108 students. In the next school year the number of students rose to 174. In 1890, Eder placed a Wothly solar camera (an early means of enlarging negatives) on the roof. In the context of the history of vocational schools and the applied arts, pioneering educational reforms in Austria from the 1870s created institutions like it outside the format of the classical university, it being a special variation on the “state trade school” (“Staats-Gewerbeschule”). Eder based his institution on earlier foreign models such as the Conservatoire des arts et métiers in Paris (founded 1794), that housed a museum of history and technology and hosted with evening lectures and demonstrations, with lectures in photography commencing in 1891. From 1897 onwards the name Graphische Lehr- und Versuchsanstalt came into being . In 1906, Emperor Franz Joseph granted the school the designation “Imperial and Royal” in the title, and the Republic of Austria confirmed this distinction when the school's Federal Chancellery approved the use of the national coat of arms. === The beginnings === The GLV was instituted on August 27, 1887 "by the highest resolution to approve the activation of this teaching and research institute in Vienna on March 1, 1888". The aim of the institute was the “training of specialist photographers, retouchers, collotype printers, photolithographers, etc., the instruction of artists, scholars and technicians who want to learn photography as an auxiliary science, furthermore the testing of equipment, chemicals and the implementation of independent scientific investigations in the areas of Photochemistry and Related Subjects”. The school consisted of two departments; the Institute for Photography and Reproduction Processes and the Research Institute, and in 1891 the Board of Book Printers and Type Founders pointed out the urgent need to add a department for book printers to the school. In 1897 an additional section for the book and illustration trade was opened, the school called "KK Graphische Lehr- und Versuchsanstalt" was then divided into four sections: Section I: Institute for Photography and Reproduction (corresponds to the former Institute for Photography and Reproduction Processes) Section II: College for the book and illustration trade Section III: Research institute for photochemistry and graphic printing processes (corresponds to the original research institute) Section IV: Collections: graphic collection, library and equipment collection The first original lithographs by famous artists such as Luigi Kasimir and Tina Blau are thanks to the special course for lithography and lithography introduced in 1905 and 'algraphy' - a planographic printing process from an aluminum plate instead of the stone used in lithography - was first taught in Austria in 1896 at the GLV. The specialty course for lithography and lithography existed until 1913/14, after which a specialist course for xylography (wood engraving and woodcuts) was offered. In 1908 the graphic arts department was set up on the top floor of the neighbouring house at Westbahnstraße 27 connected by a spiral staircase still in existence in the courtyard at the current location on Leyserstraße. === Women in the graphic teaching and research institute === From 1908 women were also officially admitted. For the period from 1888 to 1918/19, a total of 718 female students at the Graphische are recorded in the largely preserved class lists. Due to changes and new requirements in the job description, the proportion of women continued to grow, so that in some classes it exceeded two thirds. === The Graphics Department === In 1916, the school statute was changed: all-day lessons with photography internship in the 1st and 2nd years as well as training for disabled people were introduced and a drawing school was added. After the First World War, the school was renamed several times: In 1919 the name was "Deutsch-Österreichische Graphische Lehr- und Versuchsanstalt"; changed in 1920 to "Staatliche Graphische Lehr- und Versuchsanstalt" and in 1923 to "Graphic Education and Research Institute". === The school in the time of National Socialism === The "annexation of Austria by Germany" resulted in organisational restructuring: semesters were introduced and the GLV was made a subordinate level of a university of the graphic arts administered in Leipzig. In 1939 the school became a state graphic teaching and research institute . Up to this point, two thirds of all Austrian postage stamps had been designed and engraved in the Graphische. === Post-war period === In 1945 the period of study at the technical school was extended to four years. In 1948, “manual graphics” became “commercial graphics” followed by an honours year. In 1959, a department A was developed: a three-class specialist department for photography with a master class, and a department B: a specialist department for commercial graphics with four classes and an honours year. Through further school reforms, the university entrance qualification was acquired with the completion of the now five-year course and honours qualification. In 1967, due to a lack of space, the Westbahnstrasse was moved to the new Carl Appel building in Leyserstrasse. === The new building, 1963 === On May 22, 1963, the foundation stone of the new campus was laid in the 14th district in the Breitenseer Strasse, Leyserstrasse and Spallartgasse area (Kommandogebäude Theodor Körner). In 1967 the move to the new building began and in 1968 the official opening coincided with the 80th anniversary of the school. In 1963/64 the first year of the five-year high school for reprography and printing technology began. There was also a four-year technical school. With the advent of personal computers and their use in the graphics industry, change comes first in typesetting and later in image processing, and in 1984 the advent of desktop publishing brought a revolution that permanently challenged the distinction between photographer, typesetter, layout artist and printer. In 1988, the Graphische celebrated its 100th anniversary. The rapid development of technology shaped school events in the 1980s, as did the rapid advance of offset printing - albeit at the expense of Letterpress printing. In reproduction technology, scanner technology for the production of colour separations displaced reprography. === Renovation, 2006 === Due to renovation work on the building in Leyserstraße, the management and the photography, multimedia and graphics departments moved to an alternative location in Vienna's first district at Schellinggasse 13. After the work was completed, the school was relocated in February 2008. == Notable teachers and students ==