Microsoft To Do (previously styled as Microsoft To-Do) is a cloud-based task management application. It allows users to manage their tasks from a smartphone, tablet and computer. The technology is produced by the team behind Wunderlist, which was acquired by Microsoft, and the stand-alone apps feed into the existing Tasks feature of the Outlook product range. == History == Microsoft To Do was first launched as a preview with basic features in April 2017. Later more features were added including Task list sharing in June 2018. In September 2019, a major update to the app was unveiled, adopting a new user interface with a closer resemblance to Wunderlist. The name was also slightly updated by removing the hyphen from To-Do. In May 2020, Microsoft officially closed the doors on Wunderlist, ending its active service in favor of improving and expanding Microsoft To Do.
Czekanowski distance
The Czekanowski distance (sometimes shortened as CZD) is a per-pixel quality metric that estimates quality or similarity by measuring differences between pixels. Because it compares vectors with strictly non-negative elements, it is often used to compare colored images, as color values cannot be negative. This different approach has a better correlation with subjective quality assessment than PSNR. == Definition == Androutsos et al. give the Czekanowski coefficient as follows: d z ( i , j ) = 1 − 2 ∑ k = 1 p min ( x i k , x j k ) ∑ k = 1 p ( x i k + x j k ) {\displaystyle d_{z}(i,j)=1-{\frac {2\sum _{k=1}^{p}{\text{min}}(x_{ik},\ x_{jk})}{\sum _{k=1}^{p}(x_{ik}+x_{jk})}}} Where a pixel x i {\displaystyle x_{i}} is being compared to a pixel x j {\displaystyle x_{j}} on the k-th band of color – usually one for each of red, green and blue. For a pixel matrix of size M × N {\displaystyle M\times N} , the Czekanowski coefficient can be used in an arithmetic mean spanning all pixels to calculate the Czekanowski distance as follows: 1 M N ∑ i = 0 M − 1 ∑ j = 0 N − 1 ( 1 − 2 ∑ k = 1 3 min ( A k ( i , j ) , B k ( i , j ) ) ∑ k = 1 3 ( A k ( i , j ) + B k ( i , j ) ) ) {\displaystyle {\frac {1}{MN}}\sum _{i=0}^{M-1}\sum _{j=0}^{N-1}{\begin{pmatrix}1-{\frac {2\sum _{k=1}^{3}{\text{min}}(A_{k}(i,j),\ B_{k}(i,j))}{\sum _{k=1}^{3}(A_{k}(i,j)+B_{k}(i,j))}}\end{pmatrix}}} Where A k ( i , j ) {\displaystyle A_{k}(i,j)} is the (i, j)-th pixel of the k-th band of a color image and, similarly, B k ( i , j ) {\displaystyle B_{k}(i,j)} is the pixel that it is being compared to. == Uses == In the context of image forensics – for example, detecting if an image has been manipulated –, Rocha et al. report the Czekanowski distance is a popular choice for Color Filter Array (CFA) identification.
Digital content
Digital content is any content that exists in the form of digital data. Digital content is stored on digital media or analog storage in specific formats. Forms of digital content include information that is digitally broadcast, streamed, or contained in computer files. Viewed narrowly, digital content includes popular media types, while a broader approach considers any type of digital information (e. g. digitally updated weather forecasts, GPS maps, and so on) as digital content. Digital content has increased as more households have accessed the Internet. Expanded access has made it easier for people to receive their news and watch TV online, challenging the popularity of traditional platforms. Increased access to the Internet has also led to the mass publication of digital content through individuals in the form of eBooks, blog posts, and even Facebook posts. == History == At the beginning of the Digital Revolution, computers facilitated the discovery, retrieval, and creation of new information in every field of human knowledge. As information became increasingly more accessible, the Digital Revolution also facilitated the creation of digital content. Despite an evolution to digital technology, which occurred somewhere between the late 1970s, distribution of digital content did not begin until the late 1990s with the rise in popularity of the Internet. In the past, digital content was primarily distributed through computers and the Internet. Methods of distribution are rapidly changing as the Digital Revolution brings new channels, such as mobile apps and eBooks. These new technologies will create challenges for content creators, as they determine the best channel to bring content to their consumers. Despite the benefits, new technologies have created new intellectual property issues. Users can easily share, modify, and redistribute content outside of the creator's control. While new technologies have made digital content available to large audiences, managing copyright and limiting content movement will continue to be an issue that digital content creators face in the future. == Types of digital content == Examples include: Video – Types of video content include home videos, music videos, TV shows, and movies. Many of these can be viewed on websites such as YouTube, Hulu, Paramount+, Disney+, HBO Max, and so on, in which people and companies alike can post content. However, many movies and television shows are not available for free legally, but rather can be purchased from sites such as iTunes and Amazon. Audio – Music is the most common form of audio. Spotify has emerged as a popular way for people to listen to music either over the Internet or from their computer desktop. Digital content in the form of music is also available through Pandora and last.fm, both of which allow listeners to listen to music online for no charge. Images – Photo and image sharing is another example of digital content. Popular sites used for this type of digital content includes Imgur, where people share self-created pictures, Flickr, where people share their photo albums, and DeviantArt, where people share their artwork. Popular apps that are used for images include Instagram and Snapchat. Visual Stories - Stories are a new type of digital content that got introduced by Snapchat. Since then, stories as a format has been introduced in a couple of other platforms such as Facebook and Linkedin. In 2018, Google introduced their AMP Stories, which provides content publishers with a mobile-focused format for delivering news and information as visually rich, tap-through stories. Text - Type of digital content which is available in text or written format. Blog websites which store data in form of textual format. === Paid digital content === In order to have access to more premium digital goods, consumers usually have to pay an upfront charge for digital content, or a subscription based fee. Video – Many licensed videos, such as movies and television shows, require money in order to be viewed or downloaded. Popular services used by many include streaming giant Netflix and Amazon's streaming service, as well as recent notice put forth by the online video platform YouTube. Audio – While songs can be streamed for free, generally in order to download most licensed music, consumers need to purchase songs from web stores, such as the popular iTunes. However, Spotify Premium is emerging as a new model for purchasing digital content on the web: consumers pay a monthly fee to unlimited streaming and downloading from Spotify's music library. According to a report done by IHS Inc. in 2013, the global consumer spending on digital content grew to over $57 billion in 2013, which was up almost 30% from $44 billion in 2012. In past years, the US has always been a leader in consumer expenditure on digital content, but as of 2013, many countries have emerged with great consumer expenditure. South Korea's overall digital spend per capita is now greater than the US. ==== Consolidation ==== According to research firm Ampere Analysis, in 2024, a small group of six media conglomerates; Disney, Comcast, Google, Warner Bros. Discovery, Netflix, and Paramount Global—are poised to dominate the global content market. These companies are projected to account for 51% of all global spending on content, a significant increase from 47% in 2020. Disney, in particular, is a major player, with an estimated $35.8 billion investment in television and film content, representing 14% of global spending. This significant increase, fueled by Disney's full ownership of Hulu, highlights the company's strategic focus on streaming services. A substantial portion of the projected $126 billion global content spending is allocated to streaming platforms. === Non-purchasable digital content === Not all digital content is purchasable, and is simply anything published digitally. This would include: News – in recent years newspapers have attempted to expand their readership by creating access to their newspapers digitally. As of 2012, 39% of readers learned about news from online formats, making news a prevalent form of digital content. Advertisements – as media consumers increasingly use digital formats to watch TV, check the weather, and search for content, advertisements have shifted to digital forms to keep up with their viewership. Advertisements are now being made digitally and placed on sites ranging from Facebook to YouTube. Question and Answer sites – these sites are a type of Internet forum where people can post questions they want answered, or provide responses to previous inquiries. With millions of questions posted each day, anyone has the ability to create content on these sites, so the information provided may not be 100% reliable or accurate. Popular sites include Yahoo! Answers, WikiAnswers and Quora. Web mapping – sites such as MapQuest and Google Maps provide users with map content. These sites give people the ability to quickly look up the location of a landmark and create routes to a destination. Online maps are a form of free content provided by companies such as Google and AOL, serving as much more efficient alternatives to the traditional Thomas Guide. == Business implications == === Digital companies === Digital content businesses can include news, information, and entertainment distributed over the Internet and consumed digitally by both consumers and businesses. Based on revenue, the leading digital businesses are ranked Google, China Mobile, Bloomberg, Reed Elsevier, and Apple. The 50 companies with the highest revenue are split between those offering free and paid digital content, but these top 50 companies combined generate revenue of $150 billion. === Educational opportunities === Programs such as CUNY's Macaulay Honors College in their New Media Lab, run by industry professional Robert Small, is set up to train and introduce students to the various disciplines within the digital content industry. The goal is to offer information and access to professional work opportunities. They also explore within an incubator how to create businesses and start ups within the world of digital content. There are many educational events in support of choosing digital content as a career. === Government support === The Irish government adopted a "Strategy for the Digital Content Industry in Ireland" in 2002.
Global digital divide
The global digital divide describes global disparities, primarily between developed and developing countries, in regards to access to computing and information resources such as the Internet and the opportunities derived from such access. The Internet is expanding very quickly, and not all countries—especially developing countries—can keep up with the constant changes. The term "digital divide" does not necessarily mean that someone does not have technology; it could mean that there is simply a difference in technology. These differences can refer to, for example, high-quality computers, fast Internet, technical assistance, or telephone services. == Statistics == There is a large inequality worldwide in terms of the distribution of installed telecommunication bandwidth. In 2014 only three countries (China, US, Japan) host 50% of the globally installed bandwidth potential (see pie-chart Figure on the right). This concentration is not new, as historically only ten countries have hosted 70–75% of the global telecommunication capacity (see Figure). The U.S. lost its global leadership in terms of installed bandwidth in 2011, being replaced by China, which hosts more than twice as much national bandwidth potential in 2014 (29% versus 13% of the global total). == Versus the digital divide == The global digital divide is a special case of the digital divide; the focus is set on the fact that "Internet has developed unevenly throughout the world" causing some countries to fall behind in technology, education, labor, democracy, and tourism. The concept of the digital divide was originally popularized regarding the disparity in Internet access between rural and urban areas of the United States of America; the global digital divide mirrors this disparity on an international scale. The global digital divide also contributes to the inequality of access to goods and services available through technology. Computers and the Internet provide users with improved education, which can lead to higher wages; the people living in nations with limited access are therefore disadvantaged. This global divide is often characterized as falling along what is sometimes called the North–South divide of "northern" wealthier nations and "southern" poorer ones. == Obstacles to a solution == Some people argue that necessities need to be considered before achieving digital inclusion, such as an ample food supply and quality health care. Minimizing the global digital divide requires considering and addressing the following types of access: === Physical access === Involves "the distribution of ICT devices per capita…and land lines per thousands". Individuals need to obtain access to computers, landlines, and networks in order to access the Internet. This access barrier is also addressed in Article 21 of the convention on the Rights of Persons with Disabilities by the United Nations. === Financial access === The cost of ICT devices, traffic, applications, technician and educator training, software, maintenance, and infrastructures require ongoing financial means. Financial access and "the levels of household income play a significant role in widening the gap". === Socio-demographic access === Empirical tests have identified that several socio-demographic characteristics foster or limit ICT access and usage. Among different countries, educational levels and income are the most powerful explanatory variables, with age being a third one. While a Global Gender Gap in access and usage of ICT's exist, empirical evidence shows that this is due to unfavorable conditions concerning employment, education and income and not to technophobia or lower ability. In the contexts understudy, women with the prerequisites for access and usage turned out to be more active users of digital tools than men. In the US, for example, the figures for 2018 show 89% of men and 88% of women use the Internet. === Cognitive access === In order to use computer technology, a certain level of information literacy is needed. Further challenges include information overload and the ability to find and use reliable information. === Design access === Computers need to be accessible to individuals with different learning and physical abilities including complying with Section 508 of the Rehabilitation Act as amended by the Workforce Investment Act of 1998 in the United States. === Institutional access === In illustrating institutional access, Wilson states "the numbers of users are greatly affected by whether access is offered only through individual homes or whether it is offered through schools, community centers, religious institutions, cybercafés, or post offices, especially in poor countries where computer access at work or home is highly limited". === Political access === Guillen & Suarez argue that "democratic political regimes enable faster growth of the Internet than authoritarian or totalitarian regimes." The Internet is considered a form of e-democracy, and attempting to control what citizens can or cannot view is in contradiction to this. Recently situations in Iran and China have denied people the ability to access certain websites and disseminate information. Iran has prohibited the use of high-speed Internet in the country and has removed many satellite dishes in order to prevent the influence of Western culture, such as music and television. === Cultural access === Many experts claim that bridging the digital divide is not sufficient and that the images and language needed to be conveyed in a language and images that can be read across different cultural lines. A 2013 study conducted by Pew Research Center noted how participants taking the survey in Spanish were nearly twice as likely not to use the internet. == Examples == In the early 21st century, residents of developed countries enjoy many Internet services which are not yet widely available in developing countries, including: Mobile phones and small electronic communication devices; E-communities and social-networking; Fast broadband Internet connections, enabling advanced Internet applications; Affordable and widespread Internet access, either through personal computers at home or work, through public terminals in public libraries and Internet cafes, and through wireless access points; E-commerce enabled by efficient electronic payment networks like credit cards and reliable shipping services; Virtual globes featuring street maps searchable down to individual street addresses and detailed satellite and aerial photography; Online research systems which enable users to peruse newspaper and magazine articles that may be centuries old, without having to leave home; Electronic readers such as Kindle, Sony Reader, Samsung Papyrus and Iliad by iRex Technologies; Price engines which help consumers find the best possible online prices and similar services which find the best possible prices at local retailers; Electronic services delivery of government services, such as the ability to pay taxes, fees, and fines online. Further civic engagement through e-government and other sources such as finding information about candidates regarding political situations. == Proposed remedies == There are four specific arguments why it is important to "bridge the gap": Economic equality – For example, the telephone is often seen as one of the most important components, because having access to a working telephone can lead to higher safety. If there were to be an emergency, one could easily call for help if one could use a nearby phone. In another example, many work-related tasks are online, and people without access to the Internet may not be able to complete work up to company standards. The Internet is regarded by some as a basic component of civic life that developed countries ought to guarantee for their citizens. Additionally, welfare services, for example, are sometimes offered via the Internet. Social mobility – Computer and Internet use is regarded as being very important to development and success. However, some children are not getting as much technical education as others, because lower socioeconomic areas cannot afford to provide schools with computer facilities. For this reason, some kids are being separated and not receiving the same chance as others to be successful. Democracy – Some people believe that eliminating the digital divide would help countries become healthier democracies. They argue that communities would become much more involved in events such as elections or decision making. Economic growth – It is believed that less-developed nations could gain quick access to economic growth if the information infrastructure were to be developed and well used. By improving the latest technologies, certain countries and industries can gain a competitive advantage. While these four arguments are meant to lead to a solution to the digital divide, there are a couple of other components that need to be considered. The first one is rural living versus s
Horus Music
Horus Music Limited is a global digital distribution and label services company. Established in 2006, Horus Music allows artists, labels and right-holders to send their music to over 200 download, streaming, and interactive platforms including iTunes, Google Play, Amazon, VEVO, 7digital, Spotify, Beatport, Deezer, Tidal, as well as offering digital marketing and playlisting opportunities. == History == The company were named Best Business Partner of 2014 by Huawei Technology of China, and were also a finalist in the International Trade category as part of the Leicester Mercury Business Awards during that same year. Their client base consists of unsigned and independent musicians and record labels, as well as well known recording artists. In November 2015, Horus Music sponsored the UK’s first Independent Label Week, in order to highlight the music that is released by the UK’s indie labels. In 2016, Horus Music celebrated their 10th anniversary Horus Music's sister companies Help for Bands and Help For Writers, provide advice and opportunities for musicians and E-book distribution for writers, respectively. Anara Publishing opened in 2017 which allows the company to work closely with a handpicked roster of musicians to provide royalty administration and sync licensing services. On 21 April 2017, Her Majesty Queen Elizabeth II’s 91st birthday, Horus Music was awarded with the Queen’s Award for Enterprise in International Trade. In 2021, Horus Music, UnitedMasters, and Symphonic Distribution partnered with pioneering music fintech company, beatBread, to offer clients access to more capital. beatBread's chordCashAI technology provides an automated advance experience for independent musicians while enable clients to choose their own terms and retain ownership of their music. == Clients == Horus Music has partnered with a number of charities including Save the Children, for the recording "Look into Your Heart", featuring Beverley Knight with Rolling Stones' Mick Jagger and Ronnie Wood, 100% of proceeds from the single were donated to the charity. The Pixel Project, who produced songs about violence against women and the blood cancer charity Bloodwise. The company have spoken openly about the state of the music industry and artists' rights and were one of the first distributors to remove their catalogue from Rdio after the streaming service was acquired by Pandora. Their relationships with artists and labels, as well as leading industry contacts, means they have the ability to work with musicians in a myriad of ways, including offering performance opportunities and even local auditions for TV shows such as The Voice UK. == Horus Music India == Horus Music India opened in 2016 and is based in Mumbai. By opening Horus Music India, the company are able to expand on their local connections as well as to provide a much more personalised service to musicians based in this area. The appointment of two Business Development Managers in India cemented their move.
SlideRocket
SlideRocket was an online presentation platform that let users create, manage, share and measure presentations. SlideRocket was provided via a SaaS model. The company was acquired by VMware in April 2011, who sold it to ClearSlide, a similar SaaS application, in March 2013. It is no longer offering independent signups, as the platform is being integrated into ClearSlide. == History == SlideRocket was founded in Jan 2006, and launched as a private beta in March 2008 at the Under The Radar Spring event. A public beta was announced in September 2008 followed shortly by public release on October 28, 2008. SlideRocket is most commonly credited with inventing the PResuMÉ or Presentation Résumé in early 2009. On April 26, 2011, SlideRocket was acquired by VMware. On March 5, 2013, VMware sold SlideRocket to ClearSlide. SlideRocket is based in San Francisco.
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.