Vinelink.com (VINE) is a national website in the United States that allows victims of crime, and the general public, to track the movements of prisoners held by the various states and territories. The first four letters in the websites name, "vine", are an acronym for "Victim Information and Notification Everyday". Vinelink.com displays information, based on the information provided by the various states' departments of correction and other law enforcement agencies, on whether an inmate is in custody, has been released, has been granted parole or probation, or has escaped from custody. In some cases, the website will reveal whether a defendant has been granted parole or probation, but then subsequently violated conditions of their release and become a fugitive. Information provided on Vinelink.com represents metadata, in that the website lists a defendant's custody status; but does not list what the individual is charged with, their criminal history, or the amount of their bail, if applicable. Internet users accessing the Vinelink.com website choose from a map of states and provinces within the United States where they wish to perform a search for an inmate. The user may then search for an individual using the inmate's or parolee's name, or by entering the inmate's specific department of corrections inmate number, if known. When the inmate's custody status changes, users who have registered to be notified of such changes will be notified via email, phone or both. This information is currently released upon request, without the website requesting reasons for the users search or requiring payment, as public records available to the general public. Inmate information is available for most states, and for Puerto Rico, on the website. The states of Arizona, Georgia, Massachusetts, Montana, New Hampshire and West Virginia provide very limited information on the site. In March of 2025, The Maine Sheriff's Association entered into a contract to pilot the use of the VINE system in three counties in the state as well as a regional jail, therefore making South Dakota the only state that does not participate in the VINE system to any degree. The website does not provide data on prisoners detained by the Federal Bureau of Prisons which has its own inmate locator web site nor for inmates of the U.S. military prisons.
Kuki AI
Kuki is an embodied AI bot designed for usage in the metaverse. Formerly known as Mitsuku, Kuki is a chatbot created from the Pandorabots framework. The bot has won the Loebner Prize 5 times. == Features == Kuki claims to be an 18-year-old female chatbot from the Metaverse, and the developers have stated she has been worked on since 2005. Early work by one of the company's co-founders inspired the Spike Jonze movie Her. As of 2015, she conversed, on average, in excess of a quarter of a million times daily, and it was estimated 5 million unique users had interacted with her between 2016 and 2020. == Virtual talent, model, and influencer == Kuki has appeared as a Virtual Model in Vogue Business and at Crypto Fashion Week where she modelled NFTs and spoke about the future of digital fashion. In 2021, Kuki modelled five digital looks from emerging Vogue Talents designers for Italian Vogue, that sold out as NFTs in under an hour. Kuki has also modeled for H&M on Instagram in a digital campaign that resulted in an "11x increase in ad recall" per a case study by Meta. == Awards == As of 2019, Kuki had been awarded the Loebner Prize five times, more than any other entrant. In 2020, Kuki competed against Facebook AI's Blenderbot in a 24/7 verbal sparring match called "Bot Battle", winning 79% of the audience vote.
Virtual advertising
Virtual advertising is the use of digital technology to insert virtual advertisements into a live or pre-recorded television show, often in sports events. This technique is often used to allow broadcasters to overlay existing physical advertising panels inside the sports venue with virtual content on the screen when broadcasting the same event in multiple regions; a Spanish football game can be broadcast in Mexico with Mexican advertisements. Similarly, virtual content can be inserted onto empty space within the sports venue such as the pitch, where physical advertising cannot be placed due to regulatory or safety reasons. Virtual advertising content is intended to be photorealistic, so that the viewer has the impression they are seeing the real in-stadium advertising. == History == Throughout the 1980s, 1990s, and 2000s, advertising on television and in newspapers was a popular method of spreading information. The marketer Jeremiah Lynwood stated that "Thirty years ago, [U.S.] consumers viewed an average of 560 ads per day", mostly from newspapers, television shows, gasoline pumps, and so on. Lynwood also stated that, at the time, "American consumers may be exposed to 3,000 commercial messages every day". Within that time frame, the exposure of daily ads have supported many local and big businesses. With the arrival of the 2000s and 2010s, technological advances have created new opportunities for many businesses to grow. In the 21st century, virtual advertising has been used to create virtual product placements in television shows hours, days, or years after they have been produced. Advertisements can be targeted to regional markets and updated over time to ensure maximum efficiency of advertising money. A good example of how virtual advertising is used in everyday life is in sports. Virtual advertising uses the latest technology to place an ad in position to the field of play, regardless of camera motion, and the players' movement over the logos. Recently, the NHL have virtually inserted sponsors on the glass above the physical boards in NHL stadiums. Big brands will not spend their time or money on hitting a certain region when their main goal is to build global brand awareness. Digital signage opportunities allow these larger brands to purchase signage in a stadium during games that are instead nationally televised. This gets even more expansive thanks to social media outlets like Twitter, Facebook, and Amazon. On the other hand, local businesses sign when there are smaller games going on. The signage is much more affordable and still reaches a vast number of people. Virtual advertising may even make live attendance more attractive to sport fans because the technology allows the playing field and surrounding areas to be cleared of advertisements while television viewers at home are exposed to commercials. For the most part, virtual advertising makes a live attendance more attractive to sports fans, because instead of being at home watching commercials, live fans are able to be clear of advertisements and enjoy the game without pop-up ads. == Technology == The technology used in virtual insertions often uses automated processes such as: automatic detection of playfield limits, automatic detection of cuts, recognition of playfield surface, recognition of existing logos for logo replacements, etc. An operator is usually dedicated to the visual control of the effect but new systems allow to use the instant replay operator. == Examples == === Live events === Virtual advertisements can be effectively integrated into live television in real-time. For example, Fox Sports Net places a virtual advertisement on the glass behind the goaltender that can only be seen on television. The advertising in the playfields is property of the club, except in some professional sports where the league or federation owns the advertising rights. However, the advertising rights broadcast on the screen are property of the broadcasters or the TV channel. This means that second right holders can benefit from selling this virtual advertising. The number of TV viewers is also higher than the people in the stadium, generating more visibility to the advertised marks and more income to the broadcasters. Virtual advertising was first introduced in football during the 2015 Audi Cup at the Allianz Arena in Munich. AIM Sport implemented the technology to digitally overlay advertisements on the stadium's perimeter boards, allowing different sponsors to be displayed to viewers in different broadcast regions. In Formula One, virtual ads are placed on the grass or as virtual billboards. In baseball, Major League Baseball places virtual advertisements on a back-board behind the batter which can be targeted differently in local markets or countries. During the World Series, MLB international broadcasts of the World Series feature different advertisements on a per market basis, showing a different ad in the US, Canadian, Latin American and Japanese markets. In tennis, e.g. during the 2019 ATP Finals in London's O2 Arena certain logos in the background were replaced for various country feeds. In table tennis e.g. during the ITTF World Tour Australian Open 2019 virtual advertising overlays were used by uniqFEED AG in Switzerland. Since the 2022–23 season, the National Hockey League (NHL) has used digitally enhanced dasherboards (DED) to erase and replace ads on each arena's boards with up to 120 thirty-second segments on all or part of the rink. Each broadcaster can use a different set of ads. DED were first used at the 2016 World Cup of Hockey, which was organized by the NHL. At UEFA Euro 2024, AIM Sport provided virtual advertising for all matches, marking one of the largest implementations of the technology in an international tournament. In addition to the tournament itself, virtual advertising was also used in the participating teams' domestic matches, extending region-specific advertising beyond the competition itself.
FreePBX Distro
The FreePBX Distro was a freeware unified communications software system that consisted of FreePBX, a graphical user interface (GUI) for configuring, controlling and managing Asterisk PBX software. The FreePBX Distro included packages that offer VoIP, PBX, Fax, IVR, voice-mail and email functions. The FreePBX Distro Linux distribution was based on CentOS, which maintains binary compatibility with Red Hat Enterprise Linux. FreePBX has contributed to the popularity of Asterisk. As a result of CentOS Linux being discontinued and the last version of CentOS 7 going out of support on June 30, 2024, FreePBX 17 has moved over to and is supported on Debian Linux. FreePBX will no longer be providing a pre-configured FreePBX Distro, but will provide a script to install FreePBX on a fresh install of Debian Linux. In-place migration will not be possible, but will be possible by restoring a backup on the new version from the previous version. As FreePBX 16 will be supported until the release of FreePBX 18, FreePBX on this distribution will still work and be supported, however, there will be no further support for the underlying operating system. == Installation == The Official FreePBX Distro is installed from a ISO image available by web download, that includes the system CentOS, Asterisk, FreePBX GUI and assorted dependencies. This can then either be burned to DVD or written to a USB stick for installation == Support for telephony hardware == The FreePBX Distro has built-in support for cards from multiple vendors, including Digium, OpenVox, Alto, Rhino Equipment, Xorcom and Sangoma. The FreePBX Distro supports a large number of phone models via open-source modules. Supported VoIP phone manufacturers include Algo, AND, AudioCodes, Cisco, Cyberdata, Digium, Grandstream, Mitel/Aastra, Nortel/Avaya, Panasonic, Polycom, Sangoma, Snom, Xorcom and Yealink. == Development == FreePBX made its debut in 2004 as the AMP project (Asterisk Management Portal). The FreePBX Distro was released in 2011 as an turnkey solution for building a PBX using Asterisk, CentOS and FreePBX. FreePBX has over 1 million active production PBXs and over 20,000 new systems added each month. The core telephony engine is Asterisk, as configured by the Open Source FreePBX GUI. The last stable release is FreePBX Distro Stable SNG7-PBX16-64bit-2302-1 based on these main components: FreePBX 16 CentOS 7.8 Asterisk 16, 18, 19 (20 supported by upgrade once installed)
Acousto-electronics
Acousto-electronics (also spelled 'Acoustoelectronics') is a branch of physics, acoustics and electronics that studies interactions of ultrasonic and hypersonic waves in solids with electrons and with electro-magnetic fields. Typical phenomena studied in acousto-electronics are acousto-electric effect and also amplification of acoustic waves by flows of electrons in piezoelectric semiconductors, when the drift velocity of the electrons exceeds the velocity of sound. The term 'acousto-electronics' is often understood in a wider sense to include numerous practical applications of the interactions of electro-magnetic fields with acoustic waves in solids. In particular, these are signal processing devices using surface acoustic waves (SAW), different sensors of temperature, pressure, humidity, acceleration, etc.
Film-out
Film-out is the process in the computer graphics, video production and filmmaking disciplines of transferring images or animation from videotape or digital files to a traditional film print. Film-out is a broad term that encompasses the conversion of frame rates, color correction, as well as the actual printing, also called scannior recording. The film-out process is different depending on the regional standard of the master videotape in question – NTSC, PAL, or SECAM – or likewise on the several emerging region-independent formats of high definition video (HD video); thus each type is covered separately, taking into account regional film-out industries, methods and technical considerations. == Live action video == Many modern documentaries and low-budget films are shot on videotape or other digital video media, instead of film stock, and completed as digital video. Video production means substantially lower costs than 16 mm or 35 mm film production on all levels. Until recently, the relatively low cost of video ended when the issue of a theatrical presentation was raised, which required a print for film projection. With the growing presence of digital projection, this is becoming less of a factor. === Standard definition (SD) video === Film-out of standard-definition video – or any source that has an incompatible frame rate – is the up-conversion of video media to film for theatrical viewing. The video-to-film conversion process consists of two major steps: first, the conversion of video into digital film frames which are then stored on a computer or on HD videotape; and secondly, the printing of these digital film frames onto actual film. To understand these two steps, it is important to understand how video and film differ. Film (sound film, at least) has remained unchanged for almost a century and creates the illusion of moving images through the rapid projection of still images, frames, upon a screen, typically 24 per second. Traditional interlaced SD video has no real frame rate, (though the term frame is applied to video, it has a different meaning). Instead, video consists of a very fast succession of horizontal lines that continually cascade down the television screen – streaming top to bottom, before jumping back to the top and then streaming down to the bottom again, repeatedly, almost 60 alternating screen-fulls every second for NTSC, or exactly 50 such screen-fulls per second for PAL and SECAM. Since visual movement in video is infused in this continuous cascade of scan lines, there is no discrete image or real frame that can be identified at any one time. Therefore, when transferring video to film, it is necessary to invent individual film frames, 24 for every second of elapsed time. The bulk of the work done by a film-out company is this first step, creating film frames out of the stream of interlaced video. Each company employs its own (often proprietary) technology for turning interlaced video into high-resolution digital video files of 24 discrete images every second, called 24 progressive video or 24p. The technology must filter out all the visually unappealing artifacting that results from the inherent mismatch between video and film movement. Moreover, the conversion process usually requires human intervention at every edit point of a video program, so that each type of scene can be calibrated for maximum visual quality. The use of archival footage in video especially calls for extra attention. Step two, the scanning to film, is the rote part of the process. This is the mechanical step where lasers print each of the newly created frames of the 24p video, stored on computer files or HD videotape, onto rolls of film. Most companies that do film-out, do all the stages of the process themselves for a lump sum. The job includes converting interlaced video into 24p and often a color correction session – (calibrating the image for theatrical projection), before scanning to physical film, (possibly followed by color correction of the film print made from the digital intermediary) – is offered. At the very least, film-out can be understood as the process of converting interlaced video to 24p and then scanning it to film. ==== NTSC video ==== NTSC is the most challenging of the formats when it comes to standards conversion and, specifically, converting to film prints. NTSC runs at the approximate rate of 29.97 video frames (consisting of two interlaced screen-fulls of scan lines, called fields, per frame) per second. In this way, NTSC resolves actual live action movement at almost – but not quite – 60 alternating half-resolution images every second. Because of this 29.97 rate, no direct correlation to film frames at 24 frames per second can be achieved. NTSC is hardest to reconcile with film, thus motivating its own unique processes. ==== PAL and SECAM video ==== PAL and SECAM run at 25 interlaced video frames per second, which can be slowed down or frame-dropped, then deinterlaced, to correlate frame for frame with film running at 24 actual frames per second. PAL and SECAM are less complex and demanding than NTSC for film-out. PAL and SECAM conversions do agitate, though, with the unpleasant choice between slowing down video (and audio pitch, noticeably) by four percent, from 25 to 24 frames per second, in order to maintain a 1:1 frame match, slightly changing the rhythm and feel of the program; or maintaining original speed by periodically dropping frames, thereby creating jerkiness and possible loss of vital detail in fast-moving action or precise edits. === High definition (HD) digital video === High definition digital video can be shot at a variety of frame rates, including 29.97 interlaced (like NTSC) or progressive; or 25 interlaced (like PAL) or progressive; or even 24-progressive (just like film). HD, if shot in 24-progressive, scans nearly perfectly to film without the need for a frame or field conversion process. Other issues remain though, based on the different resolutions, color spaces, and compression schemes that exist in the high-definition video world. == Computer graphics and animation == Artists working with CGI-Computer-generated imagery animation computers create pictures frame by frame. Once the finished product is done, the frames are outputted, normally in a DPX file. These picture data files can then be put on to film using a film recorder for film out. SGI computers started the high-end CGI-Computer-generated imagery animation systems, but with faster computers and the growth of Linux-based systems, many others are on the market now. Movies fully rendered and animated in CGI such as Toy Story, and Antz utilize the film-out method to produce 35mm copies for archival and release prints. Most CGI work is done in 2K Display resolution files (about the size of QXGA) and then output to the Film-out device for creation of 35 mm elements. With 4K Display resolution digital intermediates on the rise, newer types of film-out recorders are being developed to accept 4k resolution files. A 2K movie requires a Storage Area Network storage several terabytes in size to be properly stored and played out. Computer graphics files are handled the same way but in single frames and may use DPX, TIFF or other file formats. == Digital intermediates == Film-out-recording is the last step of digital intermediate workflow. DPX files that were scanned on a motion picture film scanner are stored on a storage area network (often abbreviated as SAN). The scanned DPX footage is edited and composited-FX on workstations, then mastered back on film. Film restoration is also done this way. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == Images for graphic design and print industries == The days of newspapers and magazines shooting 35mm film are almost gone. Digital cameras can now shoot all the images needed, storing them as files (e.g. JPEG, DPX or another format) that are readily edited prior to use. Once the final copy is approved, it can be filmed out for publishing. Digital stills are not the only way to get pictures used in the graphic design and print industries. Film scanners and computer graphics programs are also common sources for graphic design and print industries. == Types of devices == The following devices are used in film-out processes: CRT recorder. Camera and a special TV display Kinescope – early type Electronic Video Recording or EVR – early type EBR Electron Beam Film Recorder 16 mm by 3M Laser film recorder, like Kodak's high-end Lightning II recorder and Arri's Arrilaser. DLP Film recorder, like Cinevation's real-time Cinevator. == History == Lately it has become possible to transfer video images, inclu
Electronic game
An electronic game is a game that uses electronics to create an interactive system with which a player can play. Video games are the most common form today, and for this reason the two terms are often used interchangeably. There are other common forms of electronic games, including handheld electronic games, standalone arcade game systems (e.g. pinball, slot machines), and exclusively non-visual products (e.g. audio games). == Arcade games == === Arcade video games === Electronic video arcade games make extensive use of solid state electronics and integrated circuits. In the past coin-operated arcade video games generally used custom per-game hardware often with multiple CPUs, highly specialized sound and graphics chips and/or boards, and the latest in computer graphics display technology. Recent arcade game hardware is often based on modified video game console hardware or high end pc components. Arcade games may feature specialized ambiance or control accessories, including fully enclosed dynamic cabinets with force feedback controls, dedicated lightguns, rear-projection displays, reproductions of car or plane cockpits and even motorcycle or horse-shaped controllers, or even highly dedicated controllers such as dancing mats and fishing rods. These accessories are usually what set modern arcade games apart from PC or console games, and they provide an experience that some gamers consider more immersive and realistic. Examples of arcade video games include: Galaxy Game (1971) Pong (1972) Space Invaders (1978) Galaxian (1979) Pac-Man (1980) Battlezone (1980) Donkey Kong (1981) Street Fighter II (1991) Mortal Kombat (1992) Fatal Fury (1992) Killer Instinct (1994) King of Fighters (1994–2005) Time Crisis (1995) Dance Dance Revolution (1998) DrumMania (1999) House of the Dead (1998) === Pinball and pachinko machines === Since the introduction of electromechanics to the pinball machine in 1933's Contact, pinball has become increasingly dependent on electronics as a means to keep score on the backglass and to provide quick impulses on the playfield (as with bumpers and flippers) for exciting gameplay. Unlike games with electronic visual displays, pinball has retained a physical display that is viewed on a table through glass. Similar games such as pachinko have also become increasingly dependent on electronics in modern times. Examples of pinball games include: The Addams Family (1991) Indiana Jones: The Pinball Adventure (1993) Star Trek: The Next Generation (1993) List of pinball machines === Redemption games and merchandisers === Redemption games such as Skee-Ball have been around since the days of the carnival game - well earlier than the development of the electronic game, however with modern advances many of these games have been re-worked to employ electronic scoring and other game mechanics. The use of electronic scoring mechanisms has allowed carnival or arcade attendants to take a more passive role, simply exchanging prizes for electronically dispensed coupons and occasionally emptying out the coin boxes or banknote acceptors of the more popular games. Merchandisers such as the Claw Crane are more recent electronic games in which the player must accomplish a seemingly simple task (e.g. remotely controlling a mechanical arm) with sufficient ability to earn a reward. Examples of redemption games include: Whac-A-Mole (1976) Skee-Ball - modern electric versions Examples of merchandisers include: Claw crane (1980) === Slot machines === The slot machine is a casino gambling machine with three or more reels which spin when a button is pushed. Though slot machines were originally operated mechanically by a lever on the side of the machine (the one arm) instead of an electronic button on the front panel as used on today's models, many modern machines still have a "legacy lever" in addition to the button on the front. Slot machines include a currency detector that validates the coin or money inserted to play. The machine pays off based on patterns of symbols visible on the front of the machine when it stops. Modern computer technology has resulted in many variations on the slot machine concept. == Audio games == An audio game is a game played on an electronic device such as—but not limited to—a personal computer. It is similar to a video game save that the only feedback device is audible rather than visual. Audio games originally started out as 'blind accessible'-games, but recent interest in audio games has come from sound artists, game accessibility researchers, mobile game developers, and mainstream video gamers. Most audio games run on a computer platform, although there are a few audio games for handhelds and video game consoles. Audio games feature the same variety of genres as video games, such as adventure games, racing games, etc. Examples of audio games include: Real Sound: Kaze no Regret (1997) Chillingham (2004) BBBeat (2005) === Tabletop games === A tabletop audio game is an audio game that is designed to be played on a table rather than a handheld game. Examples of tabletop audio games include: Brain Shift (1998) Who Wants to be a Millionaire? (2000) Electronic Battleship (1977) (Milton Bradley) Electronic battleship is a portable game with the objective of marking all enemy ships. When an enemy ship is marked, an electronic battleship makes an explosion sound. Milton Bradley created the Electronic battleship game in 1977 and was later acquired by Hasbro in 1984. Modern day electronic battleship features an interactive missile launching platform and advanced mode that features custom special attack pegs. Tabletop non-audio games include: Electronic Chess Boards (DGT) DGT is a line of electronic chess boards that are commonly used in FIDE chess tournaments and national tournaments such as USCF. Electronic Chess boards can be used to broadcast games live. == Electronic handhelds == The earliest form of dedicated console, handheld electronic games are characterized by their size and portability. Used to play interactive games, handheld electronic games are often miniaturized versions of video games. The controls, display and speakers are all part of a single unit, and rather than a general-purpose screen made up of a grid of small pixels, they usually have custom displays designed to play one game. This simplicity means they can be made as small as a digital watch, which they sometimes are. The visual output of these games can range from a few small light bulbs or LED lights to calculator-like alphanumerical screens; later these were mostly displaced by liquid crystal and Vacuum fluorescent display screens with detailed images and in the case of VFD games, color. Handhelds were at their most popular from the late 1970s into the early 1990s. They are both the predecessors to and inexpensive alternatives to the handheld game console. Examples of handheld electronic games include: Mattel Auto Race (1976) Simon (1978) Merlin (1978) Game & Watch (1980) MB Omni (1980) Bandai LCD Solarpower (1982) Entex Adventure Vision (1982) Lights Out (1995) == Home video games == A video game is a game that involves interaction with a user interface to generate visual feedback on a video device. The word video in video game traditionally referred to a raster display device. However, with the popular use of the term "video game", it now implies any type of display device. Term "digital game" has been offered by some in academia as an alternative term. === Computer games === A personal computer video game (also known as a computer game or simply PC game) is a video game played on a personal computer. This is opposed to video game consoles or arcade machines, which are not considered personal computers. Computer games became a form of video games, and since the earliest days of the medium, visual displays such as the cathode-ray tube have been used to relay game information. === Console games === A console game is a form of interactive multimedia used for entertainment. The game consists of manipulable images (and usually sounds) generated by a video game console, and displayed on a television or similar audio-video system. The game itself is usually controlled and manipulated using a handheld device connected to the console called a controller. The controller generally contains a number of buttons and directional controls (such as analog joysticks) each of which has been assigned a purpose for interacting with and controlling the images on the screen. The display, speakers, console, and controls of a console can also be incorporated into one small object known as a handheld game console. Console games are most frequently differentiated between by their compatibility with consoles belonging in the following categories: Traditional console, also called "home console" - A multi-game system that uses the screen of a television to produce graphics. Handheld game console - A multi-game system the screen and controls of which are compacted into a singl