A toolchain is a set of software development tools used to build and otherwise develop software. Often, the tools are executed sequentially and form a pipeline such that the output of one tool is the input for the next. Sometimes the term is used for a set of related tools that are not necessarily executed sequentially. A relatively common and simple toolchain consists of the tools to build for a particular operating system (OS) and CPU architecture: a compiler, a linker, and a debugger. With a cross-compiler, a toolchain can support cross-platform development. For building more complex software systems, many other tools may be in the toolchain. For example, for a video game, the toolchain may include tools for preparing sound effects, music, textures, 3-dimensional models and animations, and for combining these resources into the finished product.
Kleene star
In formal language theory, the Kleene star (or Kleene operator or Kleene closure) refers to two related unary operations, that can be applied either to an alphabet of symbols or to a formal language, a set of strings (finite sequences of symbols). The Kleene star operator on an alphabet V generates the set V of all finite-length strings over V, that is, finite sequences whose elements belong to V; in mathematics, it is more commonly known as the free monoid construction. The Kleene star operator on a language L generates another language L, the set of all strings that can be obtained as a concatenation of zero or more members of L. In both cases, repetitions are allowed. The Kleene star operators are named after American mathematician Stephen Cole Kleene, who first introduced and widely used it to characterize automata for regular expressions. == Of an alphabet == Given an alphabet V {\displaystyle V} , define V 0 = { ε } {\displaystyle V^{0}=\{\varepsilon \}} (the set consists only of the empty string), V 1 = V , {\displaystyle V^{1}=V,} and define recursively the set V i + 1 = { w v : w ∈ V i and v ∈ V } {\displaystyle V^{i+1}=\{wv:w\in V^{i}{\text{ and }}v\in V\}} for each i > 0 , {\displaystyle i>0,} where w v {\displaystyle wv} denotes the string obtained by appending the single character v {\displaystyle v} to the end of w {\displaystyle w} . Here, V i {\displaystyle V^{i}} can be understood to be the set of all strings of length exactly i {\displaystyle i} , with characters from V {\displaystyle V} . The definition of Kleene star on V {\displaystyle V} is V ∗ = ⋃ i ≥ 0 V i = V 0 ∪ V 1 ∪ V 2 ∪ V 3 ∪ V 4 ∪ ⋯ . {\displaystyle V^{}=\bigcup _{i\geq 0}V^{i}=V^{0}\cup V^{1}\cup V^{2}\cup V^{3}\cup V^{4}\cup \cdots .} == Of a language == Given a language L {\displaystyle L} (any finite or infinite set of strings), define L 0 = { ε } {\displaystyle L^{0}=\{\varepsilon \}} (the language consisting only of the empty string), L 1 = L , {\displaystyle L^{1}=L,} and define recursively the set L i + 1 = { w v : w ∈ L i and v ∈ L } {\displaystyle L^{i+1}=\{wv:w\in L^{i}{\text{ and }}v\in L\}} for each i > 0 , {\displaystyle i>0,} where w v {\displaystyle wv} denotes the string obtained by concatenating w {\displaystyle w} and v {\displaystyle v} . Here, L i {\displaystyle L^{i}} can be understood to be the set of all strings that can be obtained by concatenating exactly i {\displaystyle i} strings from L {\displaystyle L} , allowing repetitions. The definition of Kleene star on L {\displaystyle L} is L ∗ = ⋃ i ≥ 0 L i = L 0 ∪ L 1 ∪ L 2 ∪ L 3 ∪ L 4 ∪ ⋯ . {\displaystyle L^{}=\bigcup _{i\geq 0}L^{i}=L^{0}\cup L^{1}\cup L^{2}\cup L^{3}\cup L^{4}\cup \cdots .} == Kleene plus == In some formal language studies, (e.g. AFL theory) a variation on the Kleene star operation called the Kleene plus is used. The Kleene plus omits the V 0 {\displaystyle V^{0}} or L 0 {\displaystyle L^{0}} term in the above unions. In other words, the Kleene plus on V {\displaystyle V} is V + = ⋃ i ≥ 1 V i = V 1 ∪ V 2 ∪ V 3 ∪ ⋯ , {\displaystyle V^{+}=\bigcup _{i\geq 1}V^{i}=V^{1}\cup V^{2}\cup V^{3}\cup \cdots ,} or V + = V ∗ V . {\displaystyle V^{+}=V^{}V.} == Examples == Example of Kleene star applied to a set of strings: {"ab","c"} = { ε, "ab", "c", "abab", "abc", "cab", "cc", "ababab", "ababc", "abcab", "abcc", "cabab", "cabc", "ccab", "ccc", ...}. Example of Kleene star applied to a set of strings without the prefix property: {"a","ab","b"} = { ε, "a", "ab", "b", "aa", "aab", "aba", "abab", "abb", "ba", "bab", "bb", ...};In this example, the string "aab" can be obtained in two different ways. The Sardinas-Patterson algorithm can be used to check for a given V whether any member of V can be obtained in more than one way. Example of Kleene and Kleene plus applied to a set of characters (following the C programming language convention where a character is denoted by single quotes and a string is denoted by double quotes): {'a', 'b', 'c'} = { ε, "a", "b", "c", "aa", "ab", "ac", "ba", "bb", "bc", "ca", "cb", "cc", "aaa", "aab", ...}. {'a', 'b', 'c'}+ = { "a", "b", "c", "aa", "ab", "ac", "ba", "bb", "bc", "ca", "cb", "cc", "aaa", "aab", ...}. == Properties == If V {\displaystyle V} is any finite or countably infinite set of characters, then V ∗ {\displaystyle V^{}} is a countably infinite set. As a result, each formal language over a finite or countably infinite alphabet Σ {\displaystyle \Sigma } is countable, since it is a subset of the countably infinite set Σ ∗ {\displaystyle \Sigma ^{}} . ( L ∗ ) ∗ = L ∗ {\displaystyle (L^{})^{}=L^{}} , which means that the Kleene star operator is an idempotent unary operator, as ( L ∗ ) i = L ∗ {\displaystyle (L^{})^{i}=L^{}} for every i ≥ 1 {\displaystyle i\geq 1} . V ∗ = { ε } {\displaystyle V^{}=\{\varepsilon \}} , if V {\displaystyle V} is the empty set ∅. For the version of the Kleene star operator on languages, L ∗ = { ε } {\displaystyle L^{}=\{\varepsilon \}} when L {\displaystyle L} is either the empty set ∅ or the singleton set { ε } {\displaystyle \{\varepsilon \}} . == Generalization == Strings form a monoid with concatenation as the binary operation and ε the identity element. In addition to strings, the Kleene star is defined for any monoid. More precisely, let (M, ⋅) be a monoid, and S ⊆ M. Then S is the smallest submonoid of M containing S; that is, S contains the neutral element of M, the set S, and is such that if x,y ∈ S, then x⋅y ∈ S. Furthermore, the Kleene star is generalized by including the -operation (and the union) in the algebraic structure itself by the notion of complete star semiring.
Hype (marketing)
Hype in marketing is a strategy of using extreme publicity. Hype as a modern marketing strategy is closely associated with social media. Marketing through hype often uses artificial scarcity to induce demand. Consumers of hyped products often participate as a form of conspicuous consumption to signify characteristics about themselves. Hype allows brands to promote their image above the actual quality of the product. Streetwear brands have collaborated with luxury fashion to justify charging premium prices for their goods. As an example, fashion label Vetements used social media channels to promote a limited-edition hoodie which sold 500 units in hours, recording sales of €445,000. When hype marketing is used to drive demand for limited-edition goods, consumers sometimes attempt resell those good on secondary markets for a profit (comparable to ticket scalping). The resale market is a $24 billion industry. == Method == Luxury brands may release products as a collaborate with ready-made garment brands as a way to build hype. Collaborations have been used by some luxury brands to circumvent fast fashion brands copying their designs. NYU Professor Adam Alter says that for an established brand to create a scarcity frenzy, they need to release a limited number of different products, frequently. Hype is often built via Pop-up retail. Comme des Garçons was one of the first to use this strategy, leasing a short-term vacant shop solved the storage problems of releasing product for quick sale. Hype campaigns also rely on influencer marketing, where brands enlist creators whose parasocial relationships with their followers help convert audience attention into demand for limited releases. == In popular culture == The term 'hypebeast' has been coined to define consumers vulnerable to hype marketing. The origins of the term come from the Hong Kong-based company Hypebeast. The behaviours of the hypebeast define hype marketing; the purchase of popular goods they can't afford to impress others. Hype also manifests itself in queues with brands often retailing hyped products through pop-up stores. Many luxury brands release hyped products via their online shop. This has led to the creation of companies that allow consumers to use bots to guarantee or improve their chances of purchasing a limited-edition product.
MADI
Multichannel Audio Digital Interface (MADI) standardized as AES10 by the Audio Engineering Society (AES) defines the data format and electrical characteristics of an interface that carries multiple channels of digital audio. The AES first documented the MADI standard in AES10-1991 and updated it in AES10-2003 and AES10-2008. The MADI standard includes a bit-level description and has features in common with the two-channel AES3 interface. MADI supports serial digital transmission over coaxial cable or fibre-optic lines of 28, 56, 32, or 64 channels; and sampling rates to 96 kHz and beyond with an audio bit depth of up to 24 bits per channel. Like AES3 and ADAT Lightpipe, it is a unidirectional interface from one sender to one receiver. == Development and applications == MADI was developed by AMS Neve, Solid State Logic, Sony and Mitsubishi and is widely used in the audio industry, especially in the professional audio sector. It provides advantages over other audio digital interface protocols and standards such as AES3, ADAT Lightpipe, TDIF (Tascam Digital Interface), and S/PDIF (Sony/Philips Digital Interface). These advantages include: Support for a greater number of channels per line Use of coaxial and optical fiber media that support transmission of audio signals over 100 meters, up to 3000 meters over multi-mode and 40,000 meters over single-mode optical fiber The original specification (AES10-1991) defined the MADI link as a 56-channel transport for linking large-format mixing consoles to digital multitrack recording devices. Large broadcast studios also adopted it for routing multi-channel audio throughout their facilities. The 2003 revision (AES10-2003) adds a 64-channel capability by removing varispeed operation and supports 96 kHz sampling frequency with reduced channel capacity. The latest AES10-2008 standard includes minor clarifications and updates to correspond to the current AES3 standard. Audio over Ethernet of various types is the primary alternative to MADI for transport of many channels of professional digital audio. == Transmission format == MADI links use a transmission format similar to Fiber Distributed Data Interface (FDDI) networking. Since MADI is most often transmitted on copper links via 75-ohm coaxial cables, it more closely compares to the FDDI specification for copper-based links, called CDDI. AES10-2003 recommends using BNC connectors with coaxial cables and SC connectors with optic fibers. MADI over fibre can support a range of up to 2 km. The basic data rate is 100 Mbit/s of data using 4B5B encoding to produce a 125 MHz physical baud rate. Unlike AES3, this clock is not synchronized to the audio sample rate, and the audio data payload is padded using JK sync symbols. Sync symbols may be inserted at any subframe boundary, and must occur at least once per frame. Though the standard disassociates the transmission clock from the audio sample rate, and thus requires a separate word clock connection to maintain synchronization, some vendors do give the option of locking to parts of the transmission timing information for purposes of deriving a word clock. The audio data is almost identical to the AES3 payload, though with more channels. Rather than letters, MADI assigns channel numbers from 0–63. Frame synchronization is provided by sync symbols outside the data itself, rather than an embedded preamble sequence, and the first four time slots of each sub-channel are encoded as normal data, used for sub-channel identification: Bit 0: Set to 1 to mark channel 0, the first channel in each frame Bit 1: Set to 1 to indicate that this channel is active (contains interesting data) Bit 2: notA/B channel marker, used to mark left (0) and right (1) channels. Generally, even channels are A and odd channels are B. Bit 3: Set to 1 to mark the beginning of a 192-sample data block == Sampling frequency == The original AES10-1991 specification allowed 56 channels at sample rates from 32 to 48 kHz with an additional vari-speed range of ± 12.5%. This leads to a total range of 28 to 54 kHz. At the highest frequency, this produces a total of 56 × 32 × 54 = 96768 kbit/s, leaving 3.232% of the channel for synchronization marks and transmit clock error. The 2003 revision specifies different relations between sampling frequency and number of channels. 32 kHz to 48 kHz ± 12.5%, 56 channels; 32 kHz to 48 kHz nominal, 64 channels; 64 kHz to 96 kHz ± 12.5%, 28 channels. With a 48 kHz sampling frequency, 64 channels take 64 × 32 × 48000 = 98.304 Mbit/s. Adding the minimum 8 × 58 kbit/s of framing produces 98688 bit/s, leaving 1.312% free for timing variation and other overhead. Both versions of the standard accommodate higher sampling frequencies (for example, 96 kHz or 192 kHz) by using two or more channels per audio sample on the link.
The Big Book of Social Media
The Big Book of Social Media: Case Studies, Stories, Perspectives, released in November 2010 by Yorkshire Publishing, is a compilation of non-fiction articles and chapters written by social media experts in their respective fields and edited by Robert Fine, organizer of the Cool Social Conferences World Tour and founder of Cool Blue Press, with a foreword by Sam Feist, political director for CNN. == Synopsis == The publisher, on its site, summed up the book as, "Not business. Not marketing. This is an idea book." And an article in Business Insider described the book as bringing "the social back into social media." == Contributors == Contributing authors include: Alan Rosenblatt, Alane Anderson, Alecia Dantico, Alex Priest, Alfred Naranjo, Becky Carroll, Carri Bugbee, Cathy Scott, Colleen Crinklaw, Constantine Markides, Cordelia Mendoza, Craig Kanalley, Dave Ingland, Eric Andersen, Eric Brown, Gary Zukowski, Haja Rasambainarivo, Jennifer Kaplan, Kari Quaas, Lauri Stevens, Lev Ekster, Mark Stelzner, Matthew Felling, Matt Stewart, Melani Gordon, Michael Bourne, Michele Mattia, Mirna Bard, Neal Schaffer, Nic Evans, Noaf Ereiqat, Pek Pongpaet, Perri Gorman, Phil Baumann, Regina Holliday, Rory Cooper, Sam Feist, Shashi Bellamkonda, Shrinath Navghane, Steve Pratt, Ted Nguyen, Todd Schnick, Tonia Ries, Wayne Burke, as well as Robert Fine. In December 2011, some of the contributing authors organized "Tweet It Forward," a holiday charity fundraiser, with net proceeds benefitting the Food Bank for New York City. == Reception == Reviewer Mike Brown wrote on the Brainzooming blog that the book goes "beyond the valueless chatter out there; it provides solid discussions of real-life social media strategy implementations that have truly integrated organizational objectives and delivered real metrics." And Tech Cocktail wrote it in its review, "Through a collection of entertaining anecdotes and insightful marketing agendas, one sees what social media is truly all about and how it is revolutionizing the communications industry." In 2011, at the SXSW social media festival in Austin, Texas, Fine launched Cool Blue Press and reintroduced The Big Book of Social Media, with plans, he told a reporter from the Washington Examiner, for other new media books and publishing projects, including The Social Media Monthly magazine. The book was reviewed in 2012 by SAGE Publications for its Journalism and Mass Communication Educator magazine. It is also cited in several books and journals. === Awards === The book was a winner in the 4th Annual Reader's Choice "Small Business Book Awards" for 2011. Windmill Networking named it the Top 15 recommended social media books of 2010.
Once (dating platform)
Once is an online dating platform founded in 2015. The platform offers users one selected match per day for more meaningful connections. == History == Once was established in 2015, the founders included dating industry entrepreneur Jean Meyer, who became a CEO of the company, as well as Guillaume Sempe and Guilhem Duche. It focused on providing a single daily match to its users. On its early stages Once secured a $3.5 million seed round from Partech Ventures and some private investors. The same year, it opened offices in Paris, and London. By 2016, it reached 1 million users. In 2020, the company was acquired by Dating Group for $18 million. Following the acquisition, Once underwent rebranding. Alexandra Beaumont took over leadership of the brand in 2021, driving growth, rebranding, and innovation. == Overview == Once provides an online dating service with a focus on thoughtful connections. Users receive one selected match per day, which encourages meaningful interactions. The platform operates primarily in the United States, the United Kingdom, Canada, France, and Spain. The platform is supported by Android, iOS, and Apple Watch OS.
Digital goods
Digital goods or e-goods are intangible goods that exist in digital form. Examples are Wikipedia articles; digital media, such as e-books, downloadable music, internet radio, internet television and streaming media; fonts, logos, photos and graphics; digital subscriptions; online ads (as purchased by the advertiser); internet coupons; electronic tickets; electronically treated documentation in many different fields; downloadable software (Digital Distribution) and mobile apps; cloud-based applications and online games; virtual goods used within the virtual economies of online games and communities; community access; workbooks; worksheets; planners; e-learning (online courses); webinars, video tutorials, blog posts; cards; patterns; website themes and templates. == Legal concerns about digital goods == Special legal concerns regarding digital goods include copyright infringement and taxation. Also the question of the ownership (versus licensed use or service only) of purely digital goods is not finally resolved. For instance, the software installers of the digital software distributor gog.com are technically independent to the account but are still subject to the EULA, where a "licensed, not sold" formulation is used. Therefore, it is not clear if the software can be legally used after a hypothetical loss of the account; a question which was also raised before in practice for the similar service Steam. In July 2012, the European Court of Justice ruled in the case UsedSoft GMbH v. Oracle International Corp. that the sale of a software product, either through a physical support or download, constituted a transfer of ownership in EU law, thus the first sale doctrine applies; the ruling thereby breaks the "licensed, not sold" legal theory, but leaves open numerous questions. Therefore, it is also permissible to resell software licenses even if the digital good has been downloaded directly from the Internet, as the first-sale doctrine applied whenever software was originally sold to a customer for an unlimited amount of time, thus prohibiting any software maker from preventing the resale of their software by any of their legitimate owners. The court requires that the previous owner must no longer be able to use the licensed software after the resale, but finds that the practical difficulties in enforcing this clause should not be an obstacle to authorizing resale, as they are also present for software which can be installed from physical supports, where the first-sale doctrine is in force. In several cases, content providers have faced criticism for revoking access to digital goods due to expired licenses or the discontinuation of a product, such as ebooks (which resulted in a lawsuit against Amazon.com, Inc.), digital video (with Sony Interactive Entertainment revoking access to purchased StudioCanal content from its now-defunct PlayStation video store; a similar move involving Warner Bros. Discovery content was averted by an updated license agreement), and video games (such as Ubisoft discontinuing and revoking access to its game The Crew without providing refunds or the ability to redownload the game) In September 2024, the U.S. state of California implemented a consumer protection law that prohibits the use of terms such as "buy" or "purchase" during transactions involving digital goods if there is no way to obtain the purchases in a manner that cannot be revoked by the seller (such as allowing it to be downloaded for permanent, offline access), and requires a disclaimer to be displayed to the customer at the time of purchase.