Mini-STX (mSTX, Mini Socket Technology EXtended, originally "Intel 5x5") is a computer motherboard form factor that was released by Intel in 2015 (as "Intel 5x5"). These motherboards measure 147mm by 140mm (5.8" x 5.5"), making them larger than "4x4" NUC (102x102mm / 4.01" x 4.01" inches) and Nano-ITX (120x120mm / 4.7" x 4.7") boards, but notably smaller than the more common Mini-ITX (170x170mm / 6.7" x 6.7") boards. Unlike these standards, which use a square shape, the Mini-STX form factor is 7mm longer from front-to-rear, making it slightly rectangular. == Mini-STX design elements == The Mini-STX design suggests (but does not require) support for: Socketed processors (e.g. LGA or PGA CPUs) Onboard power regulation circuitry, enabling direct DC power input IO ports embedded on the front and rear of the motherboard (akin to NUC, but unlike typical motherboards which often use headers instead to connect built-in ports on enclosures) == Adoption by manufacturers == This motherboard form factor is still not in particularly common use with consumer-PC manufacturers, although there are a few offerings: ASRock offers both DeskMini kits (that use mini-STX boards) and standalone motherboards, Asus offer VivoMini kits (that use mini-STX boards) and standalone motherboards, Gigabyte offers a few motherboards, and industrial PC suppliers (e.g. Kontron, Iesy, ASRock Industrial) also provide some options for mini-STX equipment. == Derivatives == ASRock developed a derivative of mini-STX, dubbed micro-STX, for their 'DeskMini GTX/RX' small form-factor PCs and industrial motherboards. Micro-STX adds an MXM slot which allows the use of special PCI Express expansion cards, including graphics or machine learning accelerators, but increases the width of the board to be extended two inches, resulting in measurements of 147 x 188 mm (5.8" x 7.4")
Audio inpainting
Audio inpainting (also known as audio interpolation) is an audio restoration task which deals with the reconstruction of missing or corrupted portions of a digital audio signal. Inpainting techniques are employed when parts of the audio have been lost due to various factors such as transmission errors, data corruption or errors during recording. The goal of audio inpainting is to fill in the gaps (i.e., the missing portions) in the audio signal seamlessly, making the reconstructed portions indistinguishable from the original content and avoiding the introduction of audible distortions or alterations. Many techniques have been proposed to solve the audio inpainting problem and this is usually achieved by analyzing the temporal and spectral information surrounding each missing portion of the considered audio signal. Classic methods employ statistical models or digital signal processing algorithms to predict and synthesize the missing or damaged sections. Recent solutions, instead, take advantage of deep learning models, thanks to the growing trend of exploiting data-driven methods in the context of audio restoration. Depending on the extent of the lost information, the inpainting task can be divided in three categories. Short inpainting refers to the reconstruction of few milliseconds (approximately less than 10) of missing signal, that occurs in the case of short distortions such as clicks or clipping. In this case, the goal of the reconstruction is to recover the lost information exactly. In long inpainting instead, with gaps in the order of hundreds of milliseconds or even seconds, this goal becomes unrealistic, since restoration techniques cannot rely on local information. Therefore, besides providing a coherent reconstruction, the algorithms need to generate new information that has to be semantically compatible with the surrounding context (i.e., the audio signal surrounding the gaps). The case of medium duration gaps lays between short and long inpainting. It refers to the reconstruction of tens of millisecond of missing data, a scale where the non-stationary characteristic of audio already becomes important. == Definition == Consider a digital audio signal x {\displaystyle \mathbf {x} } . A corrupted version of x {\displaystyle \mathbf {x} } , which is the audio signal presenting missing gaps to be reconstructed, can be defined as x ~ = m ∘ x {\displaystyle \mathbf {\tilde {x}} =\mathbf {m} \circ \mathbf {x} } , where m {\displaystyle \mathbf {m} } is a binary mask encoding the reliable or missing samples of x {\displaystyle \mathbf {x} } , and ∘ {\displaystyle \circ } represents the element-wise product. Audio inpainting aims at finding x ^ {\displaystyle \mathbf {\hat {x}} } (i.e., the reconstruction), which is an estimation of x {\displaystyle \mathbf {x} } . This is an ill-posed inverse problem, which is characterized by a non-unique set of solutions. For this reason, similarly to the formulation used for the inpainting problem in other domains, the reconstructed audio signal can be found through an optimization problem that is formally expressed as x ^ ∗ = argmin X ^ L ( m ∘ x ^ , x ~ ) + R ( x ^ ) {\displaystyle \mathbf {\hat {x}} ^{}={\underset {\hat {\mathbf {X} }}{\text{argmin}}}~L(\mathbf {m} \circ \mathbf {\hat {x}} ,\mathbf {\tilde {x}} )+R(\mathbf {\hat {x}} )} . In particular, x ^ ∗ {\displaystyle \mathbf {\hat {x}} ^{}} is the optimal reconstructed audio signal and L {\displaystyle L} is a distance measure term that computes the reconstruction accuracy between the corrupted audio signal and the estimated one. For example, this term can be expressed with a mean squared error or similar metrics. Since L {\displaystyle L} is computed only on the reliable frames, there are many solutions that can minimize L ( m ∘ x ^ , x ~ ) {\displaystyle L(\mathbf {m} \circ \mathbf {\hat {x}} ,\mathbf {\tilde {x}} )} . It is thus necessary to add a constraint to the minimization, in order to restrict the results only to the valid solutions. This is expressed through the regularization term R {\displaystyle R} that is computed on the reconstructed audio signal x ^ {\displaystyle \mathbf {\hat {x}} } . This term encodes some kind of a-priori information on the audio data. For example, R {\displaystyle R} can express assumptions on the stationarity of the signal, on the sparsity of its representation or can be learned from data. == Techniques == There exist various techniques to perform audio inpainting. These can vary significantly, influenced by factors such as the specific application requirements, the length of the gaps and the available data. In the literature, these techniques are broadly divided in model-based techniques (sometimes also referred as signal processing techniques) and data-driven techniques. === Model-based techniques === Model-based techniques involve the exploitation of mathematical models or assumptions about the underlying structure of the audio signal. These models can be based on prior knowledge of the audio content or statistical properties observed in the data. By leveraging these models, missing or corrupted portions of the audio signal can be inferred or estimated. An example of a model-based techniques are autoregressive models. These methods interpolate or extrapolate the missing samples based on the neighboring values, by using mathematical functions to approximate the missing data. In particular, in autoregressive models the missing samples are completed through linear prediction. The autoregressive coefficients necessary for this prediction are learned from the surrounding audio data, specifically from the data adjacent to each gap. Some more recent techniques approach audio inpainting by representing audio signals as sparse linear combinations of a limited number of basis functions (as for example in the Short Time Fourier Transform). In this context, the aim is to find the sparse representation of the missing section of the signal that most accurately matches the surrounding, unaffected signal. The aforementioned methods exhibit optimal performance when applied to filling in relatively short gaps, lasting only a few tens of milliseconds, and thus they can be included in the context of short inpainting. However, these signal-processing techniques tend to struggle when dealing with longer gaps. The reason behind this limitation lies in the violation of the stationarity condition, as the signal often undergoes significant changes after the gap, making it substantially different from the signal preceding the gap. As a way to overcome these limitations, some approaches add strong assumptions also about the fundamental structure of the gap itself, exploiting sinusoidal modeling or similarity graphs to perform inpainting of longer missing portions of audio signals. === Data-driven techniques === Data-driven techniques rely on the analysis and exploitation of the available audio data. These techniques often employ deep learning algorithms that learn patterns and relationships directly from the provided data. They involve training models on large datasets of audio examples, allowing them to capture the statistical regularities present in the audio signals. Once trained, these models can be used to generate missing portions of the audio signal based on the learned representations, without being restricted by stationarity assumptions. Data-driven techniques also offer the advantage of adaptability and flexibility, as they can learn from diverse audio datasets and potentially handle complex inpainting scenarios. As of today, such techniques constitute the state-of-the-art of audio inpainting, being able to reconstruct gaps of hundreds of milliseconds or even seconds. These performances are made possible by the use of generative models that have the capability to generate novel content to fill in the missing portions. For example, generative adversarial networks, which are the state-of-the-art of generative models in many areas, rely on two competing neural networks trained simultaneously in a two-player minmax game: the generator produces new data from samples of a random variable, the discriminator attempts to distinguish between generated and real data. During the training, the generator's objective is to fool the discriminator, while the discriminator attempts to learn to better classify real and fake data. In GAN-based inpainting methods the generator acts as a context encoder and produces a plausible completion for the gap only given the available information surrounding it. The discriminator is used to train the generator and tests the consistency of the produced inpainted audio. Recently, also diffusion models have established themselves as the state-of-the-art of generative models in many fields, often beating even GAN-based solutions. For this reason they have also been used to solve the audio inpainting problem, obtaining valid results. These models generate new data instances by inverting the
Weird SoundCloud
Weird SoundCloud, or SoundClown, is a mashup parody music scene taking place on the online distribution platform SoundCloud. The scene has been described by its producers and music journalists to be a satirical take on electronic dance music, and useless, throwaway internet content. One critic, Audra Schroeder, categorized it as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." == Origins == In a January 2014 interview, DJ Kevin Wang suggested that the Weird SoundCloud has "been around in the last one to two years", but started to gain much more popularity the previous year through electronic dance music internet blogs. Weird SoundCloud producer Ideaot suggested that some in the phenomenon came from the YouTube poop scene. Another producer in the community, DJ @@ (AT-AT), reasoned that producers joining the scene "want to express their musicality, see it as a more mature form of YouTube Poop," or are "just looking for recognition on social media sites." AT-AT said that it was "a fun thing to do, and after I stopped making proper music I felt I needed a bit of an outlet for my creativity. The fact that people enjoyed it and/or treated it as a travesty (Direct quote from one of my tracks) spurs me on." == Characteristics == Weird SoundCloud is a mash-up and parody music genre labeled by journalist Audra Schroeder as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." Most tracks range from around 30 seconds to one minute in length. The people who make weird SoundCloud are known as SoundClowns, a term coined by producer Dicksoak. Ideaot described the weird SoundCloud community as "largely just people who are friends with each other." Noisey critic Ryan Bassil spotlight the variety of music coming out of the weird SoundCloud landscape: "One minute you could be listening to the Seinfeld theme reimagined as an aneurysm inducing dubstep corker, the next, you're recovering from hearing a version of Tenacious D's "Tribute" that's akin to having a stroke." Bassil analyzes that the tracks "often take the past and repurpose it into something that, although not altogether useful, sounds fresh and reflective of the abstract, confusing panoramic that encapsulates the modern internet." Bassil compared the lexicon of SoundClown's track titles to that of Reddit and Twitter users. According to Dicksoak, most works of the style are critiques of EDM or "are just uploaded because they sound funny." However, Bassil disagreed, writing that there are also many tracks that keep repurposing a certain meme, such as "mom's spaghetti" or the re-use of vocals from recordings by hip hop group Death Grips. He describe the scene's re-use of memes as a satirical take on pointless online content that is only on the internet to "do nothing other than fill the void": They're changing the format of the original work's intended message or audience - a technique often employed by top-tier digital media companies - and in doing so they're sarcastically, ironically, taking the piss out of what Web 2.0's turned into - an open arena where the most ridiculous, unashamed, often pointless piggy-back content can rack up thousands and thousands of clicks. == Notable examples == There are mash-ups that "disrupt the flow of popular music", in the words of writer Schroeder, such as a "flutedrop" remix of the Miley Cyrus song "Wrecking Ball" and Shaliek's mashup of music by Bruno Mars and Korn. In November 2013, Wang released a set of mp3 files on SoundCloud named Best Drops Ever, which included tracks like "A Drop So Epic a Bunch of NYU Bros Already Bought a 3-Day Weekend Pass for It" and "A Drop So Crazy You'll Kill Your Family". All of the tracks start as normal electronic dance music build-ups, before they drop into a "bait and switch" audio or film clip such as Filet-O-Fish commercials, the Whitney Houston song "I Will Always Love You" and the film Bambi (1942) that ruins the anticipation. The collection is a parody of the over-importance and over-focus of the drop and lack of care of the overall quality of a song common in the modern electronic dance music scene. Wang has released more than 45 tracks in the weird SoundCloud, some of them receiving around a million plays. Subgenres of Weird SoundCloud include Macklecore, mash-ups and remixes that include the works of American hip-hop recording artist Macklemore, and Biggiewave, which include samples of songs from the album Ready to Die (1994) by The Notorious B.I.G. Common audio and meme sources used include Skrillex, the Martin Garrix track "Animals", Thomas the Tank Engine, Shrek, Macklemore, "Gangnam Style", the Bruno Mars track "Uptown Funk", the Disturbed track "Down with the Sickness", Space Jam, the Childish Gambino track "Bonfire", the Death Grips track "Takyon" and air horn sound effects. == Reception == Bassil praised the SoundClown scene as "loveable and strangely honest", reasoning that it "just reminds me that we're all humans on the internet, all searching for #content that means something, something to connect with, but usually only dredging up bastardised versions of things we've already read, seen, or watched before." Bassil also described the weird SoundCloud as a more successful version of a similar scene known as weird YouTube; the reason for the success of SoundClowns is due to SoundCloud's discovery algorithm: "Small collectives and trends are able to form, and there's an abundance of tracks from artists who are almost forging careers out of it, as opposed to uploading one viral hit." Publications have made lists of weird SoundCloud works, such as BuzzFeed's "23 Of The Weirdest Songs On Soundcloud", Obsev's "Weird SoundCloud Mashups That Must've Been Made While Drunk", and Thump's "9 of the Best and Most Upsetting Soundclowns we Could Find", where writer Isabelle Hellyer called it the "most influential genre of music in human history." A Your EDM writer called it "oddly addicting."
Kerckhoffs's principle
Kerckhoffs's principle (also called Kerckhoffs's desideratum, assumption, axiom, doctrine or law) of cryptography was stated by the Dutch cryptographer Auguste Kerckhoffs in the 19th century. The principle holds that a cryptosystem should be secure, even if everything about the system, except the key, is public knowledge. This concept is widely embraced by cryptographers, in contrast to security through obscurity, which is not. Kerckhoffs's principle was phrased by the American mathematician Claude Shannon as "the enemy knows the system", i.e., "one ought to design systems under the assumption that the enemy will immediately gain full familiarity with them". In that form, it is called Shannon's maxim. Another formulation by American researcher and professor Steven M. Bellovin is: In other words—design your system assuming that your opponents know it in detail. (A former official at NSA's National Computer Security Center told me that the standard assumption there was that serial number 1 of any new device was delivered to the Kremlin.) == Origins == The invention of telegraphy radically changed military communications and increased the number of messages that needed to be protected from the enemy dramatically, leading to the development of field ciphers which had to be easy to use without large confidential codebooks prone to capture on the battlefield. It was this environment which led to the development of Kerckhoffs's requirements. Auguste Kerckhoffs was a professor of German language at Ecole des Hautes Etudes Commerciales (HEC) in Paris. In early 1883, Kerckhoffs's article, La Cryptographie Militaire, was published in two parts in the Journal of Military Science, in which he stated six design rules for military ciphers. Translated from French, they are: The system must be practically, if not mathematically, indecipherable; It should not require secrecy, and it should not be a problem if it falls into enemy hands; It must be possible to communicate and remember the key without using written notes, and correspondents must be able to change or modify it at will; It must be applicable to telegraph communications; It must be portable, and should not require several persons to handle or operate; Lastly, given the circumstances in which it is to be used, the system must be easy to use and should not be stressful to use or require its users to know and comply with a long list of rules. Some are no longer relevant given the ability of computers to perform complex encryption. The second rule, now known as Kerckhoffs's principle, is still critically important. == Explanation of the principle == Kerckhoffs viewed cryptography as a rival to, and a better alternative than, steganographic encoding, which was common in the nineteenth century for hiding the meaning of military messages. One problem with encoding schemes is that they rely on humanly-held secrets such as "dictionaries" which disclose for example, the secret meaning of words. Steganographic-like dictionaries, once revealed, permanently compromise a corresponding encoding system. Another problem is that the risk of exposure increases as the number of users holding the secrets increases. Nineteenth century cryptography, in contrast, used simple tables which provided for the transposition of alphanumeric characters, generally given row-column intersections which could be modified by keys which were generally short, numeric, and could be committed to human memory. The system was considered "indecipherable" because tables and keys do not convey meaning by themselves. Secret messages can be compromised only if a matching set of table, key, and message falls into enemy hands in a relevant time frame. Kerckhoffs viewed tactical messages as only having a few hours of relevance. Systems are not necessarily compromised, because their components (i.e. alphanumeric character tables and keys) can be easily changed. === Advantage of secret keys === Using secure cryptography is supposed to replace the difficult problem of keeping messages secure with a much more manageable one, keeping relatively small keys secure. A system that requires long-term secrecy for something as large and complex as the whole design of a cryptographic system obviously cannot achieve that goal. It only replaces one hard problem with another. However, if a system is secure even when the enemy knows everything except the key, then all that is needed is to manage keeping the keys secret. There are a large number of ways the internal details of a widely used system could be discovered. The most obvious is that someone could bribe, blackmail, or otherwise threaten staff or customers into explaining the system. In war, for example, one side will probably capture some equipment and people from the other side. Each side will also use spies to gather information. If a method involves software, someone could do memory dumps or run the software under the control of a debugger in order to understand the method. If hardware is being used, someone could buy or steal some of the hardware and build whatever programs or gadgets needed to test it. Hardware can also be dismantled so that the chip details can be examined under the microscope. === Maintaining security === A generalization some make from Kerckhoffs's principle is: "The fewer and simpler the secrets that one must keep to ensure system security, the easier it is to maintain system security." Bruce Schneier ties it in with a belief that all security systems must be designed to fail as gracefully as possible: Kerckhoffs's principle applies beyond codes and ciphers to security systems in general: every secret creates a potential failure point. Secrecy, in other words, is a prime cause of brittleness—and therefore something likely to make a system prone to catastrophic collapse. Conversely, openness provides ductility. Any security system depends crucially on keeping some things secret. However, Kerckhoffs's principle points out that the things kept secret ought to be those least costly to change if inadvertently disclosed. For example, a cryptographic algorithm may be implemented by hardware and software that is widely distributed among users. If security depends on keeping that secret, then disclosure leads to major logistic difficulties in developing, testing, and distributing implementations of a new algorithm – it is "brittle". On the other hand, if keeping the algorithm secret is not important, but only the keys used with the algorithm must be secret, then disclosure of the keys simply requires the simpler, less costly process of generating and distributing new keys. == Applications == In accordance with Kerckhoffs's principle, the majority of civilian cryptography makes use of publicly known algorithms. By contrast, ciphers used to protect classified government or military information are often kept secret (see Type 1 encryption). However, it should not be assumed that government/military ciphers must be kept secret to maintain security. It is possible that they are intended to be as cryptographically sound as public algorithms, and the decision to keep them secret is in keeping with a layered security posture. == Security through obscurity == It is moderately common for companies to keep the inner workings of a system secret. Some argue this "security by obscurity" makes the product safer and less vulnerable to attack. A counter-argument is that keeping the innards secret may improve security in the short term, but in the long run, only systems that have been published and analyzed should be trusted. Steven Bellovin and Randy Bush commented: Security Through Obscurity Considered Dangerous Hiding security vulnerabilities in algorithms, software, and/or hardware decreases the likelihood they will be repaired and increases the likelihood that they can and will be exploited. Discouraging or outlawing discussion of weaknesses and vulnerabilities is extremely dangerous and deleterious to the security of computer systems, the network, and its citizens. Open Discussion Encourages Better Security The long history of cryptography and cryptoanalysis has shown time and time again that open discussion and analysis of algorithms exposes weaknesses not thought of by the original authors, and thereby leads to better and more secure algorithms. As Kerckhoffs noted about cipher systems in 1883 [Kerc83], "Il faut qu'il n'exige pas le secret, et qu'il puisse sans inconvénient tomber entre les mains de l'ennemi." (Roughly, "the system must not require secrecy and must be able to be stolen by the enemy without causing trouble.")
Social media reach
Social media reach is a media analytics metric that refers to the number of users who have come across a particular content on a particular social media platform. Social media platforms have their own individual ways of tracking, analyzing and reporting the traffic on each of the individual platforms. As these platforms are a main source of communication between companies and their target audiences, by conducting research, companies are able to utilize analytical information, such as the reach of their posts, to better understand the interactions between the users and their content. There are multiple underlying factors that will determine what shows up on a newsfeed or timeline. Algorithms, for example, are a type of factor that can alter the reach of a post due to the way the algorithm is coded, which can affect who sees a post and when. Other examples of factors that can impede the reach can include the time at which posts are made, as well as how frequent the posts are between one another. In comparison, an impression is the total number of circumstances where content has been shown on a social timeline, meanwhile, engagement looks at how people interact with the content that they see on a social platform such as like, share or retweet. == Reach on Facebook == Facebook has their own analytic platform which allows the user to see how other users are interacting with their posts, with the use of multiple metrics. This is not something the average user uses, but rather a tool that is used by pages or public figures. For example, Facebook pages that represent a business often look at the activity their posts have generated. There are three types of reach that can be looked at on the Facebook analytic platform. === Types of reach === ==== Organic Reach ==== This type of reach regards the number of distinct users that have seen a specific post on their feed. Organic reach, in other words is the number of people who have seen the post being analyzed on their Facebook newsfeed. Data gathered from this type of reach can give intel to those doing the analysis, such as the demographics of those who have seen the post. ==== Paid Reach ==== This type of reach regards the number of times that distinct users have come across sponsored posts, ads or content. In other words, paid reach is the number of times Facebook users have seen a post that has been paid for by a company. Data collected can give insight, to advertisers or marketers for example, on the activity based around the reach of their post. ==== Viral Reach ==== This type of reach regards the number of views by distinct users on posts that have been commented on or shared by their friends on Facebook. In other words, viral reach looks at the number of people who have seen a post after a friend of theirs commented or shared the original post, therefore it showed on their timeline. Viral reach can be looked at in terms of a collective number of times that the post has been on individual user's timelines. Data collected from viral reach can be used in multiple ways, for example, it can be used to analyze the type of content that gets shared or commented on and can be further used to compare to other posts. === Engaged users === This refers to the number of individual users who have clicked and interacted with a post on Facebook. == Reach on Twitter == Twitter gives access to any of their users to analytics of their tweets as well as their followers. Their dashboard is user friendly, which allows anyone to take a look at the analytics behind their Twitter account. This open access is useful for both the average user and companies as it can provide a quick glance or general outlook of who has seen their tweets. The way that Twitter works is slightly different than the way of Facebook in terms of the reach. On Twitter, especially for users with a higher profile, they are not only engaging with the people who follow them, but also with the followers of their own followers. The reach metric on Twitter looks at the quantity of Twitter users who have been engaged, but also the number of users that follow them as well. This metric is useful to see the if the tweets/content being shared on Twitter are contributing to the growth of audience on this platform. == Reach on Instagram == Instagram gives their users access to their reach, in the Instagram Insights section. Instagram insights can be used to learn more about an account's followers and performance. Reach indicates the total number of unique Instagram accounts that have seen your Instagram post or story. You can find this data by looking at each individual post insights. == Uses of reach == The reach can be a useful metric to analyze for marketers and advertisers. Social media is a platform that is used by marketers to directly target their intended audience with ease. These platforms not only allow marketers to get a better understanding of their audience, but also allow advertisers to insert their ads onto the timelines of specific users to later be able to conduct research to see the reach of their posts/content. The basic goal of marketers is to increase their reach as much as possible to impact bigger audiences of their dream customers and, in the end, make more sales. When doing organic social media marketing, using paid methods like ads or doing influencer marketing whether it is paid or free, it allows marketers to track the performance of their strategy and tweak it based on what works and what does not. == Analytics and reach == Social analytics looks at the data collected based on the interactions of users on social media platforms. A lot of information can be gathered which can provide intel based on user activities on social media. When looking into analytics in regard to social media, each company or group has a different goal in mind to engage their audience. At a glance, the three might seem as if they are very similar, however the differences between them are significant. There are many aspects that can be analyzed from the data gathered from social media platforms, depending on what is being observed, the correct metric would then be selected to further analyze. One example of the many metrics that can be used through social analytics is the reach. == Reach formula == To calculate social media reach one can use the following formula: R = I f ¯ {\displaystyle R={\frac {I}{\bar {f}}}} where R {\displaystyle R} — is social media reach, I {\displaystyle I} stands for the number of impressions, f ¯ {\displaystyle {\bar {f}}} is the average frequency of impressions per user. f ¯ {\displaystyle {\bar {f}}} represents the number of events when the ad is shown to a particular user. The average value should be calculated over the time period with stable settings of advertisement campaign. == Commenting For Better Reach == Commenting For Better Reach also known as "CFBR" is a widely used strategy for organically boosting post reach on social media platforms. Algorithms tend to favor posts with substantial likes and comments, granting them broader exposure compared to less engaging content. Primarily seen on LinkedIn, a platform geared toward professional networking and business connections, the use of CFBR signals active engagement aimed at enhancing post visibility. It is important to note that genuine and meaningful comments are key to effective engagement. Spammy or irrelevant comments not only detract from the conversation but may also limit a post's potential reach and impact.
Nice (app)
Nice is a photo-sharing mobile app developed by Nice App Mobile Technology Co., Ltd. (Chinese: 北京极赞科技有限公司) in China. The app allows users to tag specific locations on images, enabling detailed labeling of items such as clothing and accessories. The company received a $36 million investment in C-round funding in 2014. Nice had 30 million registered users and 12 million active users as of late 2015. As of January 2024, it remained a popular app, the 6th most-downloaded in the iOS App Store for China. == Official website == Official website
Hilscher netx network controller
The netX network controller family (based on ASICs), developed by Hilscher Gesellschaft für Systemautomation mbH, is a solution for implementing all proven Fieldbus and Real-Time Ethernet systems. It was the first Multi-Protocol ASIC which combines Real-Time-Ethernet and Fieldbus System in one solution. The Multiprotocol functionality is done over a flexible cpu sub system called XC. Through exchanging some microcode the XC is able to realize beside others a PROFINET IRT Switch, EtherCAT Slave, Ethernet Powerlink HUB, PROFIBUS, CAN bus, CC-Link Industrial Networks Interface. == The Hilscher netX family == === Multiplex Matrix IOs (MMIO) === The Multiplex Matrix is a set of PINs which could be configured freely with peripheral functions. Options are CAN, UART, SPI, I2C, GPIOs, PIOs and SYNC Trigger. === GPIOs === The GPIOs from Hilscher are able to generate Interrupts, could count level or flags, or could be connected to a timer unit to auto generate a PWM. The Resolution of the PWM is normally 10ns. In some netX ASICS is a dedicated Motion unit with a resolution if 1ns is available.