The social media bubble is a hypothesis stating that there was a speculative boom and bust phenomenon in the field of social media in the 2010s, particularly in the United States. The Wall Street Journal defined a bubble as stocks "priced above a level that can be justified by economic fundamentals," but this bubble includes social media. Social networking services (SNS) have seen huge growth since 2006, but some investors believed around 2014-2015, that the "bubble" was similar to the dot-com bubble of the late 1990s and early 2000s. In 2015, Mark Cuban, owner of the Dallas Mavericks NBA team and star of the TV show, Shark Tank, sounded an alarm on his personal blog over the social media bubble, calling it worse than the tech bubble in 2000 due to the lack of liquidity in social media stocks. A year prior, however, Cuban told CNBC that he did not believe social media stocks were on the verge of a bubble. In a letter to investors in 2014, David Einhorn, who runs the hedge-fund Greenlight Capital, wrote that "we are witnessing our second tech bubble in 15 years." He went on to write, "What is uncertain is how much further the bubble can expand, and what might pop it." Einhorn cited several factors supporting the existence an over-exuberance including "rejection of conventional valuation methods" and "huge first day IPO pops for companies that have done little more than use the right buzzwords and attract the right venture capital." Since those claims, services like Facebook, Twitter, Instagram, and Snapchat have grown to become multi-billion-dollar corporations generating enormous revenues, though some continue to lose money. == History of social networking services == Social networking services have grown and evolved with time since the launch of SixDegrees.com in 1997. Cutting edge at its time, SixDegrees.com allowed users to create a profile, invite friends, and connect within its platform. At its peak, SixDegrees.com had more than 3.5 million users. Between 1997 and 2001 more social sites aimed at allowing users to connect with others for personal, professional, or dating reasons. Friendster and MySpace were next to enter the social SNS arena, followed by Facebook in 2004. Even though MySpace had a following of more than 300 million users, it could not compete with Facebook, which now has overtaken the social networking world. However, as development of SNS started to emerge, a market saturation began to take effect. Some classrooms have begun to incorporate technology in daily learning as well as social channels specific to student's course work. Traditional social media sites are used, as are educational oriented sites such as ShowMe and Educreations Interactive Whiteboard. == Controversies == While SNS continue to play an influential role in helping people form real-world connections via the Internet, renewed concerns over the social media bubble have surfaced due to recent controversies. These threats include growing concerns about breaches in data, the rise of bot accounts, and the sharing of fake news on SNS platforms. There are also concerns that big data figures associated with these SNS are inflated or fake, as well as worries about the role the platforms played in national elections (see Russian interference in the 2016 United States elections). These issues have resulted in a lack of trust among the sites' users.
Digital transaction management
Digital transaction management (DTM) is a category of cloud services designed to digitally manage document-based transactions. DTM removes the friction inherent in transactions that involve people, documents, and data to create faster, easier, more convenient, and secure processes. DTM goes beyond content and document management to include e-signatures, authentication and non-repudiation; enabling co-browsing between the customer and the business; document transfer and certification; secure archiving that goes beyond records management; and a variety of meta-processes around managing electronic transactions and the documents associated with them. DTM standards are proposed and managed by the xDTM Standard Association Aragon Research has estimated that "by YE 2016, 70% of large enterprises will have a DTM initiative underway or fully implemented."
Open Data-Link Interface
The Open Data-Link Interface (ODI) is an application programming interface (API) for network interface controllers (NICs) developed by Apple and Novell. The API serves the same function as Microsoft and 3COM's Network Driver Interface Specification (NDIS). Originally, ODI was written for NetWare and Macintosh environments. Like NDIS, ODI provides rules that establish a vendor-neutral interface between the protocol stack and the adapter driver. It resides in Layer 2, the Data Link layer, of the OSI model. This interface also enables one or more network drivers to support one or more protocol stacks.
PitchYaGame
PitchYaGame or #PitchYaGame (sometimes abbreviated to PYG) is a volunteer movement hosted on the social media platform Twitter to showcase, and present awards for, independent video games from around the world. == Description == PitchYaGame is hosted on the social media platform Twitter to showcase independent video games from around the world. Video pitches are presented by developers in June and November each year, and use the hashtag #PitchYaGame to identify and reference news about the showcase and the individual pitches, and the presentation of awards. The showcase was founded in May 2020 by Liam Twose, with the mission of recognising independent video games, and "focused on empowering indie game developers to strengthen their position in the industry." Twose has made clear that PitchYaGame is a showcase and not a hardcore competition, with "[j]ust enough of a push to make sure people put their best pitch forward." The team now comprises Twose (@LiamTwose at Twitter), operations manager "Indie Game Lover" (@IndieGameLover), and host Sarah Clancy (@ImSarahNow). The pitches were originally made monthly, with entries split into a number of categories, but this proved unmanageable. PitchYaGame collaborator, Sarah Clancy reported that judging the many entries on a monthly basis was "difficult and unwieldy." Therefore, pitches were later switched to six monthly, "feature creep" was reduced, and awards streamlined into gold, silver, bronze, runners-up, and most viral. == Sponsorship == In June 2021, PitchYaGame prizes were sponsored by Xsolla, and in November 2021 by Aurora Punks and Cold Pixel. No cash prizes were available in 2022, as the organisers moved PitchYaGame into a less-competitive, "more showcase centric format". == Reception == In October 2020, Elijah Beahm at The Escapist wrote that "One of the greatest challenges for any game is landing a solid pitch. You have to sell people, maybe even a publisher, to take your idea seriously. Most of the time, it's an obfuscated process that leaves the average developer scratching their heads, but Liam Twose and his team behind #PitchYaGame, 'PYG' for short, are looking to change all that with some clever social engineering." In March 2021, Cameron Koch at GameSpot wrote that "Using the #PitchYaGame, thousands of indie developers tweeted out pitches for their games on November 2 as part of a social media contest, and the results are astounding." He went on to say that "There is no arguing with the results. According to Twose, around 1100-1300 games were shared with the hashtag, and some real gems look to have shined through." In November 2021, Stafano "Stef" Castelli at IGN Italia wrote that "I myself enjoyed 'browsing through' the competitors, discovering a handful of intriguing video games in development." (translated from Italian). In November 2022, Eric Bartelson at Premortem Games wrote that "It's a great way to get games noticed by fellow developers, but also publishers, investors and press." In June 2023, Mark Plunkett in Kotaku wrote about the impossibility of keeping up with all the video game releases, and described PitchYaGame, which has attracted over 10,000 pitches since 2020, as an "astoundingly simple idea" that has "become an increasingly useful spot to catch up on some excellent-looking games that we may have otherwise completely slept on."
Instapoetry
Instapoetry is a style of poetry that emerged after the advent of social media, especially on Instagram. The term has been used to describe poems written specifically for being shared online, most commonly on Instagram, but also other platforms including Twitter, Tumblr, and TikTok. The style usually consists of short, direct lines in aesthetically pleasing fonts that are sometimes accompanied by an image or drawing, often without rhyme schemes or meter, and dealing with commonplace themes. Literary critics, poets, and writers have contended with Instapoetry's focus on brevity and plainness compared to traditional poetry, criticizing it for reproducing rather than subverting normative ideas on social media platforms that favor popularity and accessibility over craft and depth. == History == Instapoetry developed as a result of young, predominantly women, amateur poets sharing their output to expand their readership, who began using social media as their preferred method of distribution rather than traditional publishing methods. The term "Instapoetry" is a portmanteau of the words "Instagram" and "poetry," and was created by other writers trying to define and understand the new extension of "instant poetry" shared via social media, most prominently Instagram. In its most basic form, Instapoetry usually consists of bite-sized verses that consider political and social subjects such as immigration, domestic violence, sexual assault, love, culture, feminism, gun violence, war, racism, LGBTQ rights, and other social justice topics. All of these elements are usually made to fit social media feeds that are easily accessible through applications on smartphones. == Scholarship == Despite the diversity of poetry on Instagram, the Brazilian linguist Bruna Osaki Fazano found that shared "aspects of the compositional form, theme and style" mean that it can be understood as a specific genre. Camilla Holm Soelseth argues that taking on the platform-specific tasks of a social media creator is a prerequisite for being an Instapoet. Writing in Poetics Today, JuEunhae Knox combined quantitative and qualitative analysis to show that Instapoetry is a cohesive genre, in part because "the sheer volume and rapidity of content production in turn encourages posts that are not only visually appealing but also immediately recognizable as Instapoems". Instapoetry has been seen as a practice that serves as a form of self-staging for poets and "[crafts] authenticity". Eirik Vassenden describes the work of Norwegian poet Trygve Skaug as appearing to offer a "simple, almost direct access to the inner self". Vassenden writes that poems such as Rupi Kaur's "if you are not enough for yourself / you will never be enough / for someone else" are "authentic" to such an extent that they are not literary. Kiera Obbard describes how Rupi Kaur uses humour as a rhetorical device in her poetry performances to tell personal stories of trauma and challenge social inequalities. Scholars have also studied the work of specific Instapoets, such as Rupi Kaur, R.M. Drake, Aja Monet, Yrsa Daley-Ward, Nayyirah Waheed, Atticus, Nikita Gill and Trygve Skaug. == Overview == Academics have shown appreciation for the way in which Instapoetry has stimulated interest in poetry in general. Meanwhile, it has been argued that since Instapoets avoid critical evaluations, academics, and the publishing industry, Instapoets qualify more as online celebrities than literary figures. Additionally, although Instapoetry has been characterized as anti-establishment, Alyson Miller noted traditional or even conservative views in the online posts of Instapoets in contrast with the activist views the style is associated with, and that there is a contradiction between "the extra-textual commentary surrounding Instapoetry, particularly by way of interviews and artistic statements, and the content of works which repeatedly reinscribe conservative, patriarchal, and heteronormative worldviews". Thom Young, a poet and high school English teacher, created a parody Instagram page as a way to mock Instapoets and their work, describing it as "fidget-spinner poetry. Like they're just scrolling on their devices, to read something instantly, while the libraries are empty. I think people today don't want to read anything that causes a whole lot of critical thinking." According to Johnathan Ford's piece in the Financial Times, as Instagram's algorithms have limited prospective Instapoets' reach-per-post, it has pushed them to pay to promote their material. Popular Instagram accounts will be promoted to the front of users' feeds, with the app's algorithm, in the view of critics, favoring the spread of bland, inauthentic, or clichéd content while preventing disciplined poetry from reaching new audiences. == Writers described as Instapoets == Rupi Kaur Atticus Amanda Lovelace Tyler Knott Gregson Najwa Zebian Lang Leav Nikita Gill Upile Chisala Tendai M. Shaba Donna Ashworth Trista Mateer
Cinema 4D
Cinema 4D is a 3D software suite developed by the German company Maxon. == Overview == As of R21, only a single version of Cinema 4D is available. It replaces all previous variants, including BodyPaint 3D, and includes all features of the past 'Studio' variant. With R21, all binaries were unified. There is no technical difference between commercial, educational, or demo versions. The difference is now only in licensing. 2014 saw the release of Cinema 4D Lite, which came packaged with Adobe After Effects Creative Cloud 2014. "Lite" acts as an introductory version, with many features withheld. This is part of a partnership between the two companies, where a Maxon-produced plug-in, called Cineware, allows any variant to create a seamless workflow with After Effects. The "Lite" variant is dependent on After Effects CC, needing the latter application running to launch, and is only sold as a package component included with After Effects CC through Adobe. Initially, Cinema 4D was developed for Amiga computers in the early 1990s, and the first three versions of the program were available exclusively for that platform. With v4, however, Maxon began to develop the application for Windows and Macintosh computers as well, citing the wish to reach a wider audience and the growing instability of the Amiga market following Commodore's bankruptcy. It was also released for BeOS. On Linux, Cinema 4D is available as a commandline rendering version. == Modules and older variants == From R12 to R20, Cinema 4D was available in four variants. A core Cinema 4D 'Prime' application, a 'Broadcast' version with additional motion-graphics features, 'Visualize,' which adds functions for architectural design and 'Studio,' which includes all modules. From Release 8 until Release 11.5, Cinema 4D had a modular approach to the application, with the ability to expand upon the core application with various modules. This ended with Release 12, though the functionality of these modules remains in the different flavors of Cinema 4D (Prime, Broadcast, Visualize, Studio) The old modules were: Advanced Render (global illumination/HDRI, caustics, ambient occlusion and sky simulation) BodyPaint 3D (direct painting on UVW meshes; now included in the core. In essence Cinema 4D Core/Prime and the BodyPaint 3D products are identical. The only difference between the two is the splash screen that is shown at startup and the default user interface.) Dynamics (for simulating soft body and rigid body dynamics) Hair (simulates hair, fur, grass, etc.) MOCCA (character animation and cloth simulation) MoGraph (Motion Graphics procedural modelling and animation toolset) NET Render (to render animations over a TCP/IP network in render farms) PyroCluster (simulation of smoke and fire effects) Prime (the core application) Broadcast (adds MoGraph2) Visualize (adds Virtual Walkthrough, Advanced Render, Sky, Sketch and Toon, data exchange, camera matching) Studio (the complete package) == Version history == == Use in industry == A number of films and related works have been modeled and rendered in Cinema 4D, including: == Cinebench == Cinebench is a cross-platform test suite which tests a computer's hardware capabilities. It can be used as a test for Cinema 4D's 3D modeling, animation, motion graphic and rendering performance on multiple CPU cores. The program "target[s] a certain niche and [is] better suited for high-end desktop and workstation platforms". Cinebench is commonly used to demonstrate hardware capabilities at tech shows to show a CPU performance, especially by tech YouTubers and review sites.
Atomicity (database systems)
In database systems, atomicity (; from Ancient Greek: ἄτομος, romanized: átomos, lit. 'undividable') is the property of a database transaction consisting of an indivisible and irreducible series of database operations such that either all occur, or none occur. It is one of the ACID transaction properties: Atomicity, Consistency, Isolation, Durability. A guarantee of atomicity prevents partial database updates from occurring, because they can cause greater problems than rejecting the whole series outright. As a consequence, an atomic transaction cannot be observed to be in progress by another database client: at one moment in time, it has not yet happened, and at the next it has already occurred in whole (or nothing happened if the transaction was cancelled in progress). An example of transaction atomicity could be a digital monetary transfer from bank account A to account B. It consists of two operations, debiting the money from account A and crediting it to account B. Performing both of these operations inside of an atomic transaction ensures that the database remains in a consistent state, if either operation fails there will not be any unaccountable credits or debits affecting either account. The same term is also used in the definition of First normal form in database systems, where it instead refers to the concept that the values for fields may not consist of multiple smaller values to be decomposed, such as a string into which multiple names, numbers, dates, or other types may be packed. == Orthogonality == Atomicity does not behave completely orthogonally with regard to the other ACID properties of transactions. For example, isolation relies on atomicity to roll back the enclosing transaction in the event of an isolation violation such as a deadlock; consistency also relies on atomicity to roll back the enclosing transaction in the event of a consistency violation by an illegal transaction. As a result of this, a failure to detect a violation and roll back the enclosing transaction may cause an isolation or consistency failure. == Implementation == Typically, systems implement Atomicity by providing some mechanism to indicate which transactions have started and which finished; or by keeping a copy of the data before any changes occurred (Read-copy-update). Several filesystems have developed methods for avoiding the need to keep multiple copies of data, using journaling (see journaling file system). Databases usually implement this using some form of logging/journaling to track changes. The system synchronizes the logs (often the metadata) as necessary after changes have successfully taken place. Afterwards, crash recovery ignores incomplete entries. Although implementations vary depending on factors such as concurrency issues, the principle of atomicity – i.e. complete success or complete failure – remain. Ultimately, any application-level implementation relies on operating-system functionality. At the file-system level, POSIX-compliant systems provide system calls such as open(2) and flock(2) that allow applications to atomically open or lock a file. At the process level, POSIX Threads provide adequate synchronization primitives. The hardware level requires atomic operations such as Test-and-set, Fetch-and-add, Compare-and-swap, or Load-Link/Store-Conditional, together with memory barriers. Portable operating systems cannot simply block interrupts to implement synchronization, since hardware that lacks concurrent execution such as hyper-threading or multi-processing is now extremely rare. In distributed and sharded databases, atomicity is complicated by network latency and the potential for partial failures. While traditional distributed systems often employ locking protocols (like 2PC) to ensure cross-shard atomicity, these can introduce performance bottlenecks. Recent research into distributed ledger consensus suggests alternative models, such as "braided synchronization". This technique, utilized in protocols like Cerberus, intertwines the consensus phases of multiple shards to enforce atomic guarantees without a global ordering of all transactions.