Victor Huse Yngve (July 5, 1920 – January 15, 2012) was a professor of linguistics at the University of Chicago and the Massachusetts Institute of Technology (1953-1965). He was one of the earliest researchers in computational linguistics and natural language processing, the use of computers to analyze and process languages. He created the first program to produce random but well-formed output sentences, given a text, a children's book called Engineer Small and the Little Train. Most importantly, he showed in computer processing terms why the human brain can only process sentences of a certain kind of complexity, ones that do not exceed a "depth limit" (which has nothing to do with length) of the kind established independently by George Miller with his depth limit of "seven plus or minus two" sentence constituents in memory at any given time. Yngve was also the author of COMIT, the first string processing language (compare SNOBOL, TRAC, and Perl), which was developed on the IBM 700/7000 series computers by Yngve and collaborators at MIT from 1957-1965. Yngve created the language for supporting computerized research in the field of linguistics, and more specifically, the area of machine translation for natural language processing. In his 1970 paper "On Getting a Word in Edgewise", Yngve coined the term 'back channel behavior' to describe the conversational phenomenon that to this day is known in the linguistic literature as back-channeling. According to Duncan, Yngve's paper also suggested the term turn-taking, independently of Erving Goffman (Duncan, 1972: 283).
WebGPU Shading Language
WebGPU Shading Language (WGSL, internet media type: text/wgsl) is a high-level shading language and the normative shader language for the WebGPU API on the web. WGSL's syntax is influenced by Rust and is designed with strong static validation, explicit resource binding, and portability in mind for secure execution in browsers. In web contexts, WebGPU implementations accept WGSL source and perform compilation to platform-specific intermediate forms (for example, to SPIR‑V, DXIL, or MSL via the user agent), but such backends are not exposed to web content. == History and background == Graphics on the web historically used WebGL, with shaders written in GLSL ES. As applications demanded more modern GPU features and finer control over compute and graphics pipelines, the W3C's GPU for the Web Community Group and Working Group created WebGPU and its companion shading language, WGSL, to provide a secure, portable model suitable for the web platform. WGSL was developed to be human-readable, avoid undefined behavior common in legacy shading languages, and align closely with WebGPU's resource and validation model. == Design goals == WGSL's design emphasizes: Safety and determinism suitable for web security constraints (extensive static validation and well-defined semantics). Portability across diverse GPU backends via an abstract resource model shared with WebGPU. Readability and explicitness (no preprocessor, minimal implicit conversions, explicit address spaces and bindings). Alignment with modern GPU features (compute, storage buffers, textures, atomics) while retaining a familiar C/Rust-like syntax. == Language overview == === Types and values === Core scalar types include bool, i32, u32, and f32. Vectors (e.g., vec2, vec3, vec4) and matrices (up to 4×4) are available for floating-point element types. Optional f16 (half precision) may be enabled via a WebGPU feature; availability is implementation-dependent. Atomic types (atomic
Bitmap index
A bitmap index is a special kind of database index that uses bitmaps. Bitmap indexes have traditionally been considered to work well for low-cardinality columns, which have a modest number of distinct values, either absolutely, or relative to the number of records that contain the data. The extreme case of low cardinality is Boolean data (e.g., does a resident in a city have internet access?), which has two values, True and False. Bitmap indexes use bit arrays (commonly called bitmaps) and answer queries by performing bitwise logical operations on these bitmaps. Bitmap indexes have a significant space and performance advantage over other structures for query of such data. Their drawback is they are less efficient than the traditional B-tree indexes for columns whose data is frequently updated: consequently, they are more often employed in read-only systems that are specialized for fast query - e.g., data warehouses, and generally unsuitable for online transaction processing applications. Some researchers argue that bitmap indexes are also useful for moderate or even high-cardinality data (e.g., unique-valued data) which is accessed in a read-only manner, and queries access multiple bitmap-indexed columns using the AND, OR or XOR operators extensively. Bitmap indexes are also useful in data warehousing applications for joining a large fact table to smaller dimension tables such as those arranged in a star schema. == Example == Continuing the internet access example, a bitmap index may be logically viewed as follows: On the left, Identifier refers to the unique number assigned to each resident, HasInternet is the data to be indexed, the content of the bitmap index is shown as two columns under the heading bitmaps. Each column in the left illustration under the Bitmaps header is a bitmap in the bitmap index. In this case, there are two such bitmaps, one for "has internet" Yes and one for "has internet" No. It is easy to see that each bit in bitmap Y shows whether a particular row refers to a person who has internet access. This is the simplest form of bitmap index. Most columns will have more distinct values. For example, the sales amount is likely to have a much larger number of distinct values. Variations on the bitmap index can effectively index this data as well. We briefly review three such variations. Note: Many of the references cited here are reviewed at (John Wu (2007)). For those who might be interested in experimenting with some of the ideas mentioned here, many of them are implemented in open source software such as FastBit, the Lemur Bitmap Index C++ Library, the Roaring Bitmap Java library and the Apache Hive Data Warehouse system. == Compression == For historical reasons, bitmap compression and inverted list compression were developed as separate lines of research, and only later were recognized as solving essentially the same problem. Software can compress each bitmap in a bitmap index to save space. There has been considerable amount of work on this subject. Though there are exceptions such as Roaring bitmaps, Bitmap compression algorithms typically employ run-length encoding, such as the Byte-aligned Bitmap Code, the Word-Aligned Hybrid code, the Partitioned Word-Aligned Hybrid (PWAH) compression, the Position List Word Aligned Hybrid, the Compressed Adaptive Index (COMPAX), Enhanced Word-Aligned Hybrid (EWAH) and the COmpressed 'N' Composable Integer SEt (CONCISE). These compression methods require very little effort to compress and decompress. More importantly, bitmaps compressed with BBC, WAH, COMPAX, PLWAH, EWAH and CONCISE can directly participate in bitwise operations without decompression. This gives them considerable advantages over generic compression techniques such as LZ77. BBC compression and its derivatives are used in a commercial database management system. BBC is effective in both reducing index sizes and maintaining query performance. BBC encodes the bitmaps in bytes, while WAH encodes in words, better matching current CPUs. "On both synthetic data and real application data, the new word aligned schemes use only 50% more space, but perform logical operations on compressed data 12 times faster than BBC." PLWAH bitmaps were reported to take 50% of the storage space consumed by WAH bitmaps and offer up to 20% faster performance on logical operations. Similar considerations can be done for CONCISE and Enhanced Word-Aligned Hybrid. The performance of schemes such as BBC, WAH, PLWAH, EWAH, COMPAX and CONCISE is dependent on the order of the rows. A simple lexicographical sort can divide the index size by 9 and make indexes several times faster. The larger the table, the more important it is to sort the rows. Reshuffling techniques have also been proposed to achieve the same results of sorting when indexing streaming data. == Encoding == Basic bitmap indexes use one bitmap for each distinct value. It is possible to reduce the number of bitmaps used by using a different encoding method. For example, it is possible to encode C distinct values using log(C) bitmaps with binary encoding. This reduces the number of bitmaps, further saving space, but to answer any query, most of the bitmaps have to be accessed. This makes it potentially not as effective as scanning a vertical projection of the base data, also known as a materialized view or projection index. Finding the optimal encoding method that balances (arbitrary) query performance, index size and index maintenance remains a challenge. Without considering compression, Chan and Ioannidis analyzed a class of multi-component encoding methods and came to the conclusion that two-component encoding sits at the kink of the performance vs. index size curve and therefore represents the best trade-off between index size and query performance. == Binning == For high-cardinality columns, it is useful to bin the values, where each bin covers multiple values and build the bitmaps to represent the values in each bin. This approach reduces the number of bitmaps used regardless of encoding method. However, binned indexes can only answer some queries without examining the base data. For example, if a bin covers the range from 0.1 to 0.2, then when the user asks for all values less than 0.15, all rows that fall in the bin are possible hits and have to be checked to verify whether they are actually less than 0.15. The process of checking the base data is known as the candidate check. In most cases, the time used by the candidate check is significantly longer than the time needed to work with the bitmap index. Therefore, binned indexes exhibit irregular performance. They can be very fast for some queries, but much slower if the query does not exactly match a bin. == History == The concept of bitmap index was first introduced by Professor Israel Spiegler and Rafi Maayan in their research "Storage and Retrieval Considerations of Binary Data Bases", published in 1985. The first commercial database product to implement a bitmap index was Computer Corporation of America's Model 204. Patrick O'Neil published a paper about this implementation in 1987. This implementation is a hybrid between the basic bitmap index (without compression) and the list of Row Identifiers (RID-list). Overall, the index is organized as a B+tree. When the column cardinality is low, each leaf node of the B-tree would contain long list of RIDs. In this case, it requires less space to represent the RID-lists as bitmaps. Since each bitmap represents one distinct value, this is the basic bitmap index. As the column cardinality increases, each bitmap becomes sparse and it may take more disk space to store the bitmaps than to store the same content as RID-lists. In this case, it switches to use the RID-lists, which makes it a B+tree index. == In-memory bitmaps == One of the strongest reasons for using bitmap indexes is that the intermediate results produced from them are also bitmaps and can be efficiently reused in further operations to answer more complex queries. Many programming languages support this as a bit array data structure. For example, Java has the BitSet class and .NET have the BitArray class. Some database systems that do not offer persistent bitmap indexes use bitmaps internally to speed up query processing. For example, PostgreSQL versions 8.1 and later implement a "bitmap index scan" optimization to speed up arbitrarily complex logical operations between available indexes on a single table. For tables with many columns, the total number of distinct indexes to satisfy all possible queries (with equality filtering conditions on either of the fields) grows very fast, being defined by this formula: C n [ n 2 ] ≡ n ! ( n − [ n 2 ] ) ! [ n 2 ] ! {\displaystyle \mathbf {C} _{n}^{\left[{\frac {n}{2}}\right]}\equiv {\frac {n!}{\left(n-\left[{\frac {n}{2}}\right]\right)!\left[{\frac {n}{2}}\right]!}}} . A bitmap index scan combines expressions on different indexes, thus requiring only one index per column t
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
Instagram egg
The Instagram egg is a photo of an egg posted by the account @world_record_egg on the social media platform Instagram. It became a global phenomenon and an internet meme within days of its publication on 4 January 2019. It is the second most-liked Instagram post and was the most-liked Instagram post from 14 January 2019 until 20 December 2022, when it was overtaken by Lionel Messi's post showing him and his teammates celebrating after Argentina won the 2022 FIFA World Cup. The owner of the account was revealed to be Chris Godfrey, a British advertising creative, who later worked with his two friends Alissa Khan-Whelan and CJ Brown on a Hulu commercial featuring the egg, intended to raise mental health awareness. == Background == The photo was originally taken by Serghei Platanov, who then posted it to Shutterstock on 23 June 2015 with the title "eggs isolated on white background". == History == On 4 January 2019, the @world_record_egg account was created, and posted an image of a bird egg with the caption, "Let's set a world record together and get the most liked post on Instagram. Beating the current world record held by Kylie Jenner (18 million)! We got this." Jenner's previous record, the first photo of her daughter Stormi, had garnered a total of 18.4 million likes. The post quickly reached 18.4 million likes in just under 10 days, becoming the most-liked Instagram post at the time. It then continued to rise over 45 million likes in the next 48 hours, surpassing the "Despacito" music video and taking the world record for the most-liked online post (on any media platform) in history. After the account became verified on 14 January 2019, the post rose in popularity and likes, which snowballed into coverage in various media outlets. By 18 March 2019, the post had accumulated over 53.3 million likes, nearly three times the previous record of 18.4 million. It posted frequent updates for a few days in the form of Instagram Stories. Alongside the like tally, as of January 2023 the post has 3.8 million comments. Several individuals tried to claim that they were the account's creator, the claims being dismissed by "the egg" on Instagram direct messages. On 3 February 2019, the creator of the Instagram egg was revealed by Hulu and The New York Times to be Chris Godfrey, a British advertising creative. Alissa Khan-Whelan, his colleague, was also outed. On 18 January 2019, the account posted a second picture of an egg, almost identical to the first one apart from a small crack at the top left. As of 25 February 2019, the post accumulated 11.8 million likes. On 22 January 2019, the account posted a third picture of an egg, this time having two larger cracks. In less than 25 minutes, the post accumulated 1 million likes, and by 25 February 2019, it had accumulated 9.5 million likes. On 29 January 2019, a fourth picture of an egg was posted to the account which has another large crack on the right hand side, attracting 7.6 million likes by 25 February 2019. On 1 February 2019, a fifth picture of an egg was posted with stitching like that of a football, referencing the upcoming Super Bowl. That post had accumulated 6.5 million likes by 25 February 2019. The account promised that it would reveal what was inside the egg on 3 February, on the subscription video on demand service Hulu. The Hulu Instagram egg reveal was used to promote an animation about a mental health campaign. A caption from the clip read, "Recently I've started to crack, the pressure of social media is getting to me. If you're struggling too, talk to someone." The video was later posted on the @world_record_egg Instagram account, and this post received over 33 million views by May 2019. As of May 2020, it had received over 41 million views. On 16 July 2019, Chris Godfrey (the creator of the account) was listed as one of the top 25 most influential people on the internet. On 20 December 2022, the record for the most-liked Instagram post was surpassed by a post from Argentine footballer Lionel Messi, showing him and his teammates celebrating after winning the 2022 FIFA World Cup with their national team. The world record egg responded to being overtaken in likes by Messi with "Today [Lionel Messi] has taken the crown, for now. But I'm still left with one question… Who is the greatest of all time – Cristiano Ronaldo or Leo Messi?" The account sold to Dubai-based investor Mustafa El Fishawy in April 2024 for an undisclosed seven-figure sum. Reed Smith, who advised Godfrey, Brown, and Khan-Whelan in the transaction, stated they opted to sell it to "focus on new ventures." On 3 June, @world_record_egg posted an egg with the flag of Palestine in support of the country during the Gaza war; the post's caption described it as an "Egg for Peace" and hoped to "set a new world record together and get the most liked post on Instagram for a good cause." == Reception == In response to breaking the world record for the most-liked Instagram post, the account's owner wrote "This is madness. What a time to be alive." Hours later, Jenner posted a video on Instagram of her cracking open an egg and pouring its yolk onto the ground, with the caption: "Take that little egg." Pundits pontificated on the meaning of the egg picture's dominance over social media's "first family". As Vogue observed, tapping a heart pictogram is easy, and eggs are "lovable". More pointedly: [T]he attention economy is a scam based on requiring little to no labor from both producer and consumer despite commanding the most space, and therefore value, in our digital lives... but it very well could be: As a metaphor for the fragility of the influencer ecosystem, the egg has broken the Internet. The significance of the event and its massive republishing are a topic of discussion. A University of Westminster researcher of internet memes compared it to the movement to name a scientific research vessel in the United Kingdom as Boaty McBoatface. The Instagrammer's success is a rare victory for the unpaid viral campaign on social media. "There is a bit of an anti-celebrity revolt here – 'look what we can do with a simple egg'" The researcher suggests that the accomplishment of becoming such a widely heralded unpaid viral post may become increasingly rare, as social networks rely more on paid and business promotion. The post's spread has been characterized as a populist backlash against "consumerism" and is seen by some as a triumph of community over celebrity. However, propelled by their popular success, the creators promised to release 'egg-centric' memorabilia. Hundreds of games based on the Instagram egg have appeared on Apple's App Store. The creators of the Instagram egg also reached a deal to promote Hulu.
Clip Studio Paint
Clip Studio Paint (previously marketed as Manga Studio in North America), informally known in Japan as Kurisuta (クリスタ), is a family of software applications developed by Japanese graphics software company Celsys. It is used for the digital creation of comics, general illustration, and 2D animation. The software is available in versions for macOS, Windows, iOS, iPadOS, Android, and ChromeOS. The program is widely used by amateur and professional comics creators, and animation studios. The application is sold in editions with varying feature sets. The full-featured edition is a page-based, layered drawing program, with support for bitmap and vector art, text, imported 3D models, and frame-by-frame animation. It is designed for use with a stylus and a graphics tablet or tablet computer. It has drawing tools which emulate natural media such as pencils, ink pens, and brushes, as well as patterns and decorations. It is distinguished from similar programs by features designed for creating comics: tools for creating panel layouts, perspective rulers, sketching, inking, applying tones and textures, coloring, and creating word balloons and captions. == History == The application has it origins in a program for macOS and Windows, released in Japan in 2001 as "Comic Studio". It was sold as "Manga Studio" in the Western market by E Frontier America until 2007, then by Smith Micro Software. Early versions were designed for creating black and white art with only spot color (a typical format for Japanese manga), with version 4 adding support for full-color art. Celsys developed Clip Studio Paint as a replacement for this product, based on the company's Illust Studio application, and it was released on May 31, 2012. It was initially distributed in Western markets as "Manga Studio 5", but in 2016, the branding was unified worldwide as "Clip Studio Paint". At this time, version 1.5.4 introduced a new file format (extension .clip) and frame-by-frame animation. In late 2017, Celsys took over direct support for the software worldwide, and ceased its relationship with Smith Micro. In July 2018, Celsys began a partnership with Graphixly for distribution in North America, South America, and Europe. Clip Studio Paint for the Apple iPad was introduced in November 2017, and for the iPhone in December 2019. Clip Studio Paint for Samsung Galaxy tablets and smartphones was released in August 2020 on the Galaxy Store, with versions for other Android devices and Chromebooks released in December. The Windows and macOS versions of the software have been sold and distributed either from the developer's web site or on DVD, and purchased either with a perpetual license or an ongoing subscription. The versions for iPhone, iPad, and Android-based devices are distributed through the corresponding app stores free of charge, but require a subscription – which includes cloud storage – for unrestricted use. Without a subscription, the tablet versions can be used only for a specified number of months, and the phone versions can be used only for 30 hours per month. From 2013 to 2023, regular updates for version 1 were distributed free of additional charge to both perpetual and subscription users. Since the release of version 2 in 2023, feature updates are included only in subscription plans and are available to perpetual licenses at an additional cost. Perpetual licenses can be upgraded permanently or with an annual "update pass". The "update pass" provides early access to features to be included in subsequent perpetual licenses for 12 months, after which the software reverts to the original license if not renewed. In March 2024, version 3 was released, and version 4 introduced additional features in March 2025. == Editions == Clip Studio Paint is available in three editions, with differing feature sets and prices: Debut (bundle-only grade), Pro (adding support for vector-based drawing, custom textures, and comics-focused features), and EX (adding support for multi-page documents, book exporting, and 2D animation). Companion programs include Clip Studio (for managing and sharing digital assets distributed through the Clip Studio web site, managing licenses, and getting updates and support) and Clip Studio Modeler (for setting up 3D materials to use in Clip Studio Paint).
Social media therapy
Social media therapy is a form of expressive therapy. It uses the act of creating and sharing user-generated content as a way of connecting with and understanding people. Social media therapy combines different expressive therapy aspects of talk therapy, art therapy, writing therapy, and drama therapy and applies them to the web domain. Within social media therapy, synchronous or asynchronous dialogue occurs through exchanges of audio, text or visual information. The digital content is published online to serve as a form of therapy. == Background == Time spent online via email, websites, instant messaging and social media has increased: since 1999, more than 2,554 million people have become internet users. This alters the way people communicate with each other, and alters the connotation of certain words. The concepts of "identity", "friend", "like" and "connected" have adapted alongside technology. People are influenced by data sharing, social marketing, and technological tools. There are multiple therapeutic services offered through the internet. E-therapy, online counseling, cyber therapy, and social media therapy are similar in that each utilizes the internet in order to provide therapy for patients. == Controversy == There are pros and cons when it comes to the subject of online therapy. Criticism of providing therapy through online methods comes from concerns over the lack of physical contact. There are important features of therapy created through face-to-face therapy such as transference and countertransference that can not be created through online therapy. Patricia R. Recupero and Samara E. Rainey stated in their article "Informed Consent to E-Therapy" of American Journal of Psychotherapy that the lack of face-to-face interaction increased the risk of misdiagnosis and misunderstanding between the E-therapist and patient, thereby increasing the risk of uncertainty for the clinician. There are also concerns over the internet creating a distraction from the therapy itself. Confidentiality and privacy concerns have been raised as well. However, several systematic reviews have found that online psychotherapy can produce clinical outcomes comparable to face-to-face treatment, suggesting that physical distance does not inherently reduce therapeutic effectiveness.