FlowVella (formerly Flowboard) is an interactive presentation platform that includes an iPad/iPhone app, a Mac app and web site for viewing presentations, built first for the iPad and web. FlowVella allows users to create, publish and share presentations through their cloud-based SaaS system. FlowVella allows embedding of text, images, PDFs, video and gallery objects in easy linkable screens, defining modern interactive presentations. FlowVella grew out of Treemo Labs. == History == FlowVella launched as 'Flowboard' on April 18, 2013 after being built for almost a year. FlowVella was incubated out of Treemo Labs, which had years of experience building native apps for iPhone, iPad and Android devices. FlowVella is an iPad app and Mac app where users create, view, publish and share interactive presentations. Presentations are viewable on flowvella.com through a web-based viewer on any device or through the FlowVella native iPad app or Mac app. On December 18, 2014, Flowboard rebranded as FlowVella after a trademark dispute. == Presentation format == FlowVella is an interactive presentation format where instead of single directional slides, presentations are made up of linkable screens with embeddable media and content objects. While 'Flows' can be exported to PDF, they all have a web address and are meant to be viewed via a web browser or the FlowVella native applications. == Revenue model == FlowVella uses the freemium model for its presentation apps. Free users can make 4 public presentations with limited number of screens/slides, but most features are available to try out the software. In 2016, FlowVella introduced a second paid plan called PRO which includes team sharing, tracking and newly introduced 'Kiosk Mode' that launched in March of 2017. == Features == FlowVella is a native iPad app and Mac app which has advantages over web based tools. All downloaded presentations can be viewed offline, without an Internet connection. This includes videos which are enabled by caching the video files into memory. For students, teachers, sales people and all users, this is extremely important because this prevents having a presentation fail because of lack of an Internet connection. Beyond the offline capabilities, there is a trend to build native applications versus HTML5 as noted by Facebook and LinkedIn both rebuilding their mobile apps as 100% native applications.
IQTELL
IQTELL was a productivity app that allowed users to manage email, tasks, projects, calendars, contacts, Evernotes and more in a single app. IQTELL was available as a web app, as well as an iOS and Android app. All user information was automatically synced between all devices. iOS and Android apps supported offline access. The app could be used to implement concepts and techniques described in the book Getting Things Done by David Allen. == History == IQTELL was created by Ran Flam and released in 2013. In 2014, mobile apps for iOS and Android were released. In 2015, Premium and Platinum subscription plans were introduced (while maintaining the free user version). In April 2017, a new web app was launched. On July 31, 2017, all IQTell services have been closed. == Productivity methods == IQTell was designed to fit in with the Getting Things Done (GTD) productivity methods. Users may have had utilized GTD lists, such as Inbox, Actions, Projects, Someday, Ticklers, and Reference information to process their Inbox items into relevant GTD lists. Using the web app, iOS and/or Android apps, users could deploy macros/shortcuts to quickly process their email. Email was turned into tasks (actions), projects, etc. The original email was removed from the email inbox. The email became a part of the items created (e.g. actions, project, etc.) and could also be viewed in the All Mail folder (if Gmail), or the Archive folder (if non-Gmail). Users had flexibility to use the out-of-the-box macros/shortcuts as well as edit/create additional macros. IQTELL features included email, calendars, contacts, list management, sharing and collaboration with team members. All of the features were compatible with commonly used organization software such as Evernote and iCloud.
Human rights and encryption
Human rights and encryption refers to the ways in which digital encryption affects human rights. Encryption can be used as both a detriment and a boon to human rights; for example, encryption can be used to enforce digital rights management for video games. This kind of video game licensing can render software unusable long term and represents the erosion of consumer rights. At the same time, encryption is fundamental part of internet security. Asymmetrical encryption is used extensively online for authentication, providing users confidence their internet traffic is not being misdirected. Encryption is also used to obfuscate information as it travels from end-to-end over the internet, preventing eavesdropping and tampering. Encryption can also provide anonymity, which is an important consideration for freedom of expression. Despite its drawbacks, encryption is essential for a free, open, and trustworthy internet. == Background == === Human rights === Human rights are moral principles or norms for human behaviour that are regularly protected as legal rights in national and international law. They are commonly understood as inalienable, fundamental rights "to which a person is inherently entitled simply because they are a human being". Those rights are "inherent in all human beings" regardless of their nationality, location, language, religion, ethnic origin, or any other status. They are applicable everywhere and at every time and are universal and egalitarian. === Cryptography === Cryptography is a long-standing subfield of both mathematics and computer science. It can generally be defined as "the protection of information and computation using mathematical techniques." Encryption and cryptography are closely interlinked, although "cryptography" has a broader meaning. For example, a digital signature is "cryptography", but not technically "encryption". == Overview == Under international human rights law, freedom of expression is recognized as a human right under Article 19 of the Universal Declaration of Human Rights (UDHR) and the International Covenant on Civil and Political Rights (ICCPR). In Article 19 of the UDHR states that "everyone shall have the right to hold opinions without interference" and "everyone shall have the right to freedom of expression; this right shall include freedom to seek, receive and impart information and ideas of all kinds, regardless of frontiers, either orally, in writing or in print, in the form of art, or through any other media of his choice". Since the 1970s, the availability of digital computing and the invention of public-key cryptography have made encryption more widely available. (Previously, encryption techniques were the domain of nation-state actors.) Cryptographic techniques are also used to protect the anonymity of communicating actors and privacy more generally. The availability and use of encryption continue to lead to complex, important, and highly contentious legal policy debates. Some government agencies have made statements or proposals to lessen such usage and deployment due to hurdles it presents for government access. The rise of commercial end-to-end encryption services have pushed towards more debates around the use of encryption and the legal status of cryptography in general. Encryption, as defined above, is a set of cryptographic techniques to protect information. The normative value of encryption, however, is not fixed but varies with the type and purpose of the cryptographic methods used. Traditionally, encryption (cipher) techniques were used to ensure the confidentiality of communications and prevent access to information and communications by others and intended recipients. Cryptography can also ensure the authenticity of communicating parties and the integrity of communications contents, providing a key ingredient for enabling trust in the digital environment. There is a growing awareness within human rights organizations that encryption plays an important role in realizing a free, open, and trustworthy Internet. UN Special Rapporteur on the promotion and protection of the right to freedom of opinion and expression David Kaye observed, during the Human Rights Council in June 2015, that encryption and anonymity deserve a protected status under the rights to privacy and freedom of expression: "Encryption and anonymity, today's leading vehicles for online security, provide individuals with a means to protect their privacy, empowering them to browse, read, develop and share opinions and information without interference and enabling journalists, civil society organizations, members of ethnic or religious groups, those persecuted because of their sexual orientation or gender identity, activists, scholars, artists and others to exercise the rights to freedom of opinion and expression." == Encryption in media and communication == In the context of media and communication, two types of encryption in media and communication can be distinguished: It could be used as a result of the choice of a service provider or deployed by Internet users. Client-side encryption tools and technologies are relevant for marginalized communities, journalists and other online media actors practicing journalism as a way of protecting their rights. It could prevent unauthorized third party access, but the service provider implementing it would still have access to the relevant user data. End-to-end encryption is an encryption technique that refers to encryption that also prevents service providers themselves from having access to the user's communications. The implementation of these forms of encryption has sparked the most debate since the start of the 21st century. === Service providers deployed techniques to prevent unauthorized third-party access. === Among the most widely deployed cryptographic techniques is the securitization of communications channel between internet users and specific service providers from man-in-the-middle attacks, access by unauthorized third parties. Given the breadth of nuances involved, these cryptographic techniques must be run jointly by both the service user and the service provider in order to work properly. They require service providers, including online news publisher(s) or social network(s), to actively implement them into service design. Users cannot deploy these techniques unilaterally; their deployment is contingent on active participation by the service provider. The TLS protocol, which becomes visible to the normal internet user through the HTTPS header, is widely used for securing online commerce, e-government services and health applications as well as devices that make up networked infrastructures, e.g., routers, cameras. However, although the standard has been around since 1990, the wider spread and evolution of the technology has been slow. As with other cryptographic methods and protocols, the practical challenges related to proper, secure and (wider) deployment are significant and have to be considered. Many service providers still do not implement TLS or do not implement it well. In the context of wireless communications, the use of cryptographic techniques that protect communications from third parties are also important. Different standards have been developed to protect wireless communications: 2G, 3G and 4G standards for communication between mobile phones, base stations and base stations controllers; standards to protect communications between mobile devices and wireless routers ('WLAN'); and standards for local computer networks. One common weakness in these designs is that the transmission points of the wireless communication can access all communications e.g., the telecommunications provider. This vulnerability is exacerbated when wireless protocols only authenticate user devices, but not the wireless access point. Whether the data is stored on a device, or on a local server as in the cloud, there is also a distinction between 'at rest'. Given the vulnerability of cellphones to theft for instance, particular attention may be given to limiting service provided access. This does not exclude the situation that the service provider discloses this information to third parties like other commercial entities or governments. The user needs to trust the service provider to act in their interests. The possibility that a service provider is legally compelled to hand over user information or to interfere with particular communications with particular users, remains. === Privacy-enhancing Technologies === There are services that specifically market themselves with claims not to have access to the content of their users' communication. Service Providers can also take measures that restrict their ability to access information and communication, further increasing the protection of users against access to their information and communications. The integrity of these Privacy Enhancing Technologies (PETs), depends on delicate design decisions as well as the
Data Management Association
The Data Management Association (DAMA), formerly known as the Data Administration Management Association, is a global not-for-profit organization which aims to advance concepts and practices about information management and data management. It describes itself as vendor-independent, all-volunteer organization, and has a membership consisting of technical and business professionals. Its international branch is called DAMA International (or DAMA-I), and DAMA also has various continental and national branches around the world. == History == The Data Management Association International was founded in 1980 in Los Angeles. Other early chapters were: San Francisco, Portland, Seattle, Minneapolis, New York, and Washington D.C. == Data Management Body of Knowledge == DAMA has published the Data Management Body of Knowledge (DMBOK), which contains suggestions on best practices and suggestions of a common vernacular for enterprise data management. The first edition (DAMA-DMBOK) was published on 2009 November 1, the second edition (DAMA-DMBOK2) was published on 2017 July 1., and the Revised second edition (DAMA-DMBOK2 rev.2) was published on 2019 March 19. DMBOK has been described by the authors as being an "equivalent" to the Project Management Body of Knowledge (PMBOK) and Business Analysis Body of Knowledge (BABOK). It encompasses topics such as data architecture, security, quality, modelling, governance, big data, data science, and more. DMBOK also includes the DAMA Data Wheel, an infographic which represents core data management practices. The center of the infographic is data governance, and the surrounding segments each represent a different aspect of data management: Data architecture Data modeling and design Data storage and operations Data security Data integration and interoperability Document management Content management Master data management Reference data and master data Data warehousing Metadata management Data quality Business intelligence Data science == Professional Accreditation == DAMA also provides a professional data management certification for individuals known as a Certified Data Management Professional (CDMP), which is based on the DMBOK as a study reference. There are four levels of certification based on career experience and exam results. The highest level, Fellow, requires 25 years of experience and nomination by DAMA members. It is an example of one of many competing certifications for data management professionals.
TikTokification
TikTokification (also written TikTok-ification) is a term used to describe the widespread adoption of TikTok's short-form, vertical video format and its algorithmic content-delivery model across the broader social media landscape. The phenomenon encompasses the strategic and cultural changes made by competing platforms such as Instagram, YouTube, Facebook, Snapchat, and LinkedIn in response to TikTok's global dominance. Beyond platform design, the term is also used more broadly to describe shifts in media consumption habits, advertising strategies, and, more critically, the potential cognitive and psychological effects associated with constant short-form video consumption. == Background == === Origins of short-form video === The short-form video format predates TikTok. Vine, launched in 2013, popularised six-second looping videos before shutting down in 2017. TikTok itself, known as Douyin in the Chinese market, was created by the Chinese technology company ByteDance in September 2016. Following its international expansion and its 2018 merger with Musical.ly, TikTok grew rapidly. By 2020, the application had surpassed two billion total downloads worldwide, with over 800 million monthly active users. A key driver of TikTok's success was its recommendation algorithm. The platform's "For You Page" (FYP) serves content to users based on behaviour rather than follower count, making it possible for unknown creators to achieve widespread reach organically. Analysts noted that TikTok serves "fast, visually engaging, and authentic videos that feel more like entertainment than advertising," fundamentally reshaping consumer expectations of digital content. TikTok has been described as "the center of the internet for young people," where users go for entertainment, news, trends, and shopping. As of the mid-2020s, TikTok had approximately 1.12 billion monthly active users. == Platform responses == TikTok's success compelled nearly every major social media platform to restructure its product around short-form video. In 2020, Instagram launched Reels and YouTube launched Shorts, both directly in response to TikTok's growth. Platforms like Meta's Instagram Reels and Google's YouTube Shorts subsequently expanded aggressively, launching new features, creator tools, and even considering separate standalone applications to compete. LinkedIn, traditionally a professional networking site, began experimenting with TikTok-style short-form vertical video feeds. Facebook launched a singular unified video feed combining Reels, long videos, and live videos, similar in structure to TikTok's feed. Snapchat redesigned its application to combine Stories and Spotlight into a unified entertainment feed. YouTube extended its Shorts format to allow videos up to three minutes in length, up from the previous limit of sixty seconds, as of October 2024. Despite these adaptations, experts noted that none of TikTok's rivals had matched its algorithmic precision as of mid-2025. == Societal and cultural impact == === Media and journalism === News organisations have also been affected by TikTokification. Short-form video grew rapidly as a format for news content, driven in large part by TikTok's popularity. According to Pew Research Center, 17% of adults in the United States reported regularly getting news from TikTok in 2024, with 63% of teenagers saying they used the platform as a news source. In response, major publishers began creating bespoke short-form content for TikTok's audience, with organisations such as the BBC building dedicated internal TikTok teams. === Advertising and commerce === TikTokification has had significant effects on the advertising industry. US social video advertising spending was projected to surpass linear television advertising spending for the first time in 2025. Global social commerce sales were projected to reach approximately $900 billion in 2025, with platforms like Douyin and TikTok driving a large share of that growth. TikTok itself generated an estimated $23.6 billion in advertising revenue in 2024. Short-form video has been described as bridging the gap between brand awareness and direct conversion. Surveys have found that consumers trust user-generated content 8.7 times more than influencer content and 6.6 times more than branded content, prompting brands to favour creator-led video formats. === Attention spans and cognitive effects === A growing body of research has examined the cognitive consequences of heavy short-form video consumption, a set of effects sometimes referred to as "TikTok Brain." A large systematic review and meta-analysis published in Psychological Bulletin, analysing data from 98,299 participants across 71 studies, found that the more short-form video content a person watches, the poorer their cognitive performance in attention and inhibitory control. The review also found that greater engagement with short-form video was associated with higher levels of anxiety, depression, and stress, as well as sleep disturbances. The platform's inherent demand for engaging content has resulted in the proliferation of sludge content, a genre of split screen video with the main video on the top and an unrelated attention-grabbing video on the bottom, typically repetitive gameplay (notably of the endless runner mobile game Subway Surfers) or oddly satisfying videos, designed to maximize viewer retention in cases where the main video may appear uninteresting and would normally cause the viewer to skip it. Sludge content is often described as overstimulating, reflecting and contributing to declining attention spans, though the scholarly evidence supporting such claims is not conclusive. Dr. Yann Poncin, associate professor at the Child Study Center at Yale University, noted that "infinite scrolling and short-form video are designed to capture your attention in short bursts," contrasting this with earlier entertainment formats that guided audiences through longer narratives. Research suggests that children and teenagers may be particularly vulnerable, with early exposure to rapid frame changes potentially conditioning the brain's neural pathways to require constant stimulation, making it more challenging to engage with slower-paced activities. A separate study published in Nature Communications by researchers at the Technical University of Denmark documented a notable decrease in collective attention span over time, attributing it in part to the increasing volume and pace of content production and consumption online. Researchers caution, however, that the majority of relevant studies are cross-sectional, meaning they capture data at a single point in time and cannot establish causality. It remains possible that individuals with pre-existing conditions such as anxiety or attention deficits may be more likely to engage heavily with these platforms as a coping mechanism. === Academic and sociological analysis === Scholars have framed TikTokification within the context of the attention economy. A 2024 academic analysis described TikTok as representing "a new paradigm of social media communication" shaped by youth culture, mobile technology, and the economics of attention, in which spectators become active contributors to a shared content pipeline. The same analysis noted that TikTok "reflects a new mode of communication influenced by avant-garde cinema, the use of mobile technology, and the social habits of particular social groups." US social media users were projected to spend 61.1% of their time on social networks watching videos in 2025, up from 33.3% in 2019, before TikTok became widely popular, underscoring the scale of the behavioural shift. == Monetisation challenges == Despite high engagement levels, monetising short-form video has remained difficult for platforms and creators alike. Unlike long-form YouTube content, short clips offer limited space for advertisers to insert advertisements. YouTube Shorts pays approximately four cents per 1,000 views, considerably less than its long-form counterpart. From 2025 onward, platforms began introducing creator funds, advertisements, and AI-driven content recommendations as part of broader efforts to make short-form video economically sustainable for creators.
Desktop Window Manager
Desktop Window Manager (DWM, previously Desktop Compositing Engine or DCE in builds of pre-reset Windows Longhorn) is the compositing window manager in Microsoft Windows since Windows Vista that enables the use of hardware acceleration to render the graphical user interface of Windows. It was originally created to enable portions of the new "Windows Aero" user experience, which allowed for effects such as transparency, 3D window switching and more. It is also included with Windows Server 2008, but requires the "Desktop Experience" feature and compatible graphics drivers to be installed. == Architecture == The Desktop Window Manager is a compositing window manager, meaning that each program has a buffer that it writes data to; DWM then composites each program's buffer into a final image. By comparison, the stacking window manager in Windows XP and earlier (and also Windows Vista and Windows 7 with Windows Aero disabled) comprises a single display buffer to which all programs write. DWM works in different ways depending on the operating system (Windows 7 or Windows Vista) and on the version of the graphics drivers it uses (WDDM 1.0 or 1.1). Under Windows 7 and with WDDM 1.1 drivers, DWM only writes the program's buffer to the video RAM, even if it is a graphics device interface (GDI) program. This is because Windows 7 supports (limited) hardware acceleration for GDI and in doing so does not need to keep a copy of the buffer in system RAM so that the CPU can write to it. Because the compositor has access to the graphics of all applications, it easily allows visual effects that string together visuals from multiple applications, such as transparency. DWM uses DirectX to perform the function of compositing and rendering in the GPU, freeing the CPU of the task of managing the rendering from the off-screen buffers to the display. However, it does not affect applications painting to the off-screen buffers – depending on the technologies used for that, this might still be CPU-bound. DWM-agnostic rendering techniques like GDI are redirected to the buffers by rendering the user interface (UI) as bitmaps. DWM-aware rendering technologies like WPF directly make the internal data structures available in a DWM-compatible format. The window contents in the buffers are then converted to DirectX textures. The desktop itself is a full-screen Direct3D surface, with windows being represented as a mesh consisting of two adjacent (and mutually inverted) triangles, which are transformed to represent a 2D rectangle. The texture, representing the UI chrome, is then mapped onto these rectangles. Window transitions are implemented as transformations of the meshes, using shader programs. With Windows Vista, the transitions are limited to the set of built-in shaders that implement the transformations. Greg Schechter, a developer at Microsoft has suggested that this might be opened up for developers and users to plug in their own effects in a future release. DWM only maps the primary desktop object as a 3D surface; other desktop objects, including virtual desktops as well as the secure desktop used by User Account Control are not. Because all applications render to an off-screen buffer, they can be read off the buffer embedded in other applications as well. Since the off-screen buffer is constantly updated by the application, the embedded rendering will be a dynamic representation of the application window and not a static rendering. This is how the live thumbnail previews and Windows Flip work in Windows Vista and Windows 7. DWM exposes a public API that allows applications to access these thumbnail representations. The size of the thumbnail is not fixed; applications can request the thumbnails at any size - smaller than the original window, at the same size or even larger - and DWM will scale them properly before returning. Aero Flip does not use the public thumbnail APIs as they do not allow for directly accessing the Direct3D textures. Instead, Aero Flip is implemented directly in the DWM engine. The Desktop Window Manager uses Media Integration Layer (MIL), the unmanaged compositor which it shares with Windows Presentation Foundation, to represent the windows as composition nodes in a composition tree. The composition tree represents the desktop and all the windows hosted in it, which are then rendered by MIL from the back of the scene to the front. Since all the windows contribute to the final image, the color of a resultant pixel can be decided by more than one window. This is used to implement effects such as per-pixel transparency. DWM allows custom shaders to be invoked to control how pixels from multiple applications are used to create the displayed pixel. The DWM includes built-in Pixel Shader 2.0 programs which compute the color of a pixel in a window by averaging the color of the pixel as determined by the window behind it and its neighboring pixels. These shaders are used by DWM to achieve the blur effect in the window borders of windows managed by DWM, and optionally for the areas where it is requested by the application. Since MIL provides a retained mode graphics system by caching the composition trees, the job of repainting and refreshing the screen when windows are moved is handled by DWM and MIL, freeing the application of the responsibility. The background data is already in the composition tree and the off-screen buffers and is directly used to render the background. In pre-Vista Windows OSs, background applications had to be requested to re-render themselves by sending them the WM_PAINT message. DWM uses double-buffered graphics to prevent flickering and tearing when moving windows. The compositing engine uses optimizations such as culling to improve performance, as well as not redrawing areas that have not changed. Because the compositor is multi-monitor aware, DWM natively supports this too. During full-screen applications, such as games, DWM does not perform window compositing and therefore performance will not appreciably decrease. On Windows 8 and Windows Server 2012, DWM is used at all times and cannot be disabled, due to the new "start screen experience" implemented. Since the DWM process is usually required to run at all times on Windows 8, users experiencing an issue with the process are seeing memory usage decrease after a system reboot. This is often the first step in a long list of troubleshooting tasks that can help. It is possible to prevent DWM from restarting temporarily in Windows 8, which causes the desktop to turn black, the taskbar grey, and break the start screen/modern apps, but desktop apps will continue to function and appear just like Windows 7 and Vista's Basic theme, based on the single-buffer renderer used by XP. They also use Windows 8's centered title bar, visible within Windows PreInstallation Environment. Starting up Windows without DWM will not work because the default lock screen requires DWM unlike the fallback lockscreen that appears as a command line interface program when Windows.UI.Logon.dll isn't present on Windows versions such as 1507 and later, so it can only be done on the fly, and does not have any practical purposes. Starting with Windows 10, disabling DWM in such a way will cause the entire compositing engine to break, even traditional desktop apps, due to Universal App implementations in the taskbar and new start menu. Windows can still be partially usable without the presence of DWM but requires Sihost.exe to not be present due to it relying on DWM. Most of the applications in Windows 11 require DWM to render UI elements and transparency, Windows 11's new task manager requires dwm to render menus unlike the fallback -d version. Unlike its predecessors, Windows 8 supports basic display adapters through Windows Advanced Rasterization Platform (WARP), which uses software rendering and the CPU to render the interface rather than the graphics card. This allows DWM to function without compatible drivers, but not at the same level of performance as with a normal graphics card. DWM on Windows 8 also adds support for stereoscopic 3D. == Redirection == For rendering techniques that are not DWM-aware, output must be redirected to the DWM buffers. With Windows, either GDI or DirectX can be used for rendering. To make these two work with DWM, redirection techniques for both are provided. With GDI, which is the most used UI rendering technique in Microsoft Windows, each application window is notified when it or a part of it comes in view and it is the job of the application to render itself. Without DWM, the rendering rasterizes the UI in a buffer in video memory, from where it is rendered to the screen. Under DWM, GDI calls are redirected to use the Canonical Display Driver (cdd.dll), a software renderer. A buffer equal to the size of the window is allocated in system memory and CDD.DLL outputs to this buffer rather than the video memory. Another buffer is allocated in the video memory to represent t
Virtual influencer
A virtual influencer, sometimes described as a virtual persona or virtual model, is a computer-generated fictional character that can be used for a variety of marketing-related purposes, but most frequently for social media marketing, in lieu of online human "influencers". Most virtual influencers are designed using computer graphics and motion capture technology to resemble real people in realistic situations. Common derivatives of virtual influencers include VTubers, which broadly refer to online entertainers and YouTubers who represent themselves using virtual avatars instead of their physical selves. == History == Virtual influencers are fundamentally synonymous with virtual idols, which originate from Japan's anime and Japanese idol culture that dates back to the 1980s. The first virtual idol created was Lynn Minmay, a fictional singer and main character of the anime television series Super Dimension Fortress Macross (1982) and the animated film adaptation Macross: Do You Remember Love? (1984). Minmay's success led to the production of more Japanese virtual idols, such as EVE from the Japanese cyberpunk anime Megazone 23 (1985), and Sharon Apple in Macross Plus (1994). Virtual idols were not always well received – in 1995, Japanese talent agency Horipro created Kyoko Date, which was inspired by the Macross franchise and dating sim games such as Tokimeki Memorial (1994). Date failed to gain commercial success despite drawing headlines for her debut as a CGI idol, largely due to technical limitations leading to issues such as unnatural movements, an issue also known as the uncanny valley. Since their inception, many virtual idols created have achieved continual success, with notable names including the Vocaloid singer Hatsune Miku, and the VTuber Kizuna AI. Technological advancements have also enabled production teams to use artificial intelligence and advanced techniques to customize the personalities and behavior of virtual idols. Due to modern-day advancements in technology, many virtual idols have held real-life tours and events. Notable ones include Hatsune Miku's titular tour Miku Expo and Hololive's concerts with many of their idols from their English, Japanese and Indonesian branches. Some notable events including virtual singers and influencers have included: Hatsune Miku opening for Lady Gaga in 2014 and Hoshimachi Suisei's concerts at the famous Budokan venue in Japan and her addition to the Forbes Japan list of '30 Under 30' individuals who are changing the world in their respective fields. == Benefits and criticism == From a branding perspective, virtual influencers are perceived to be much less likely to be mired in scandals. In China, celebrities caught in bad publicity such as singer Wang Leehom and entertainer Kris Wu have heightened the appeal of virtual influencers, since their existence relies entirely on computer-generated imagery and they are therefore unlikely to cause any damage to a brand's image by association. Some studies have also suggested that Generation Z consumers have a unique appetite for virtual idols and influencers, since they grew up in the age of the internet. Studies also show that human-like appearance of virtual influencers show higher message credibility than anime-like virtual influencers. Scholars and commentators have also questioned the ethics and cultural impact of virtual influencers, arguing that computer-generated personas can entrench unrealistic beauty standards while diffusing accountability for labor, identity, and consent. Business and marketing analysts have also warned that disclosure and governance remain inconsistent, recommending clearer guardrails and transparency when brands deploy synthetic spokespeople. In 2025, reporting highlighted concerns that AI-driven "virtual humans" could displace human creators and sales workers, intensifying debates over the future of creative labor and authenticity online. == Notable examples == === Virtual bands === Eternity - A South Korean virtual idol group formed by Pulse9. Gorillaz - A virtual band formed in 1998. K/DA - A virtual K-pop girl group created as part of the League of Legends video game franchise. MAVE: - A South Korean virtual girl group formed in 2023 by Metaverse Entertainment. Pentakill - A virtual heavy metal band created as part of the League of Legends video game franchise. Plave (band) - A South Korean virtual boy band formed by VLast. Squid Sisters and Off the Hook - Two virtual pop idol duos as part of the Splatoon series. Studio Killers - A Finnish-Danish-British virtual band formed in 2011. === Vocaloids === Hatsune Miku (modeled after Saki Fujita) Kagamine Rin/Len (modeled after Asami Shimoda) Megurine Luka (modeled after Yū Asakawa) Meiko (modeled after Meiko Haigō) Kaito (modeled after Naoto Fūga) === VTubers === Kano Kizuna AI Neuro-sama VShojo Ironmouse Projekt Melody Nijisanji Hololive Akai Haato Gawr Gura Hoshimachi Suisei Natsuiro Matsuri === Other examples === Ami Yamato Crazy Frog FN Meka IA Kuki AI Kyoko Date Kyra Miquela Naevis Shudu Gram