In linguistics, realization is the process by which some kind of surface representation is derived from its underlying representation; that is, the way in which some abstract object of linguistic analysis comes to be produced in actual language. Phonemes are often said to be realized by speech sounds. The different sounds that can realize a particular phoneme are called its allophones. Realization is also a subtask of natural language generation, which involves creating an actual text in a human language (English, French, etc.) from a syntactic representation. There are a number of software packages available for realization, most of which have been developed by academic research groups in NLG. The remainder of this article concerns realization of this kind. == Example == For example, the following Java code causes the simplenlg system [2] to print out the text The women do not smoke.: In this example, the computer program has specified the linguistic constituents of the sentence (verb, subject), and also linguistic features (plural subject, negated), and from this information the realiser has constructed the actual sentence. == Processing == Realisation involves three kinds of processing: Syntactic realisation: Using grammatical knowledge to choose inflections, add function words and also to decide the order of components. For example, in English the subject usually precedes the verb, and the negated form of smoke is do not smoke. Morphological realisation: Computing inflected forms, for example the plural form of woman is women (not womans). Orthographic realisation: Dealing with casing, punctuation, and formatting. For example, capitalising The because it is the first word of the sentence. The above examples are very basic, most realisers are capable of considerably more complex processing. == Systems == A number of realisers have been developed over the past 20 years. These systems differ in terms of complexity and sophistication of their processing, robustness in dealing with unusual cases, and whether they are accessed programmatically via an API or whether they take a textual representation of a syntactic structure as their input. There are also major differences in pragmatic factors such as documentation, support, licensing terms, speed and memory usage, etc. It is not possible to describe all realisers here, but a few of the emerging areas are: Simplenlg [3]: a document realizing engine with an api which intended to be simple to learn and use, focused on limiting scope to only finding the surface area of a document. KPML [4]: this is the oldest realiser, which has been under development under different guises since the 1980s. It comes with grammars for ten different languages. FUF/SURGE [5]: a realiser which was widely used in the 1990s, and is still used in some projects today OpenCCG [6]: an open-source realiser which has a number of nice features, such as the ability to use statistical language models to make realisation decisions.
Framebuffer
A framebuffer (frame buffer, or sometimes framestore) is a portion of random-access memory (RAM) containing a bitmap that drives a video display. It is a memory buffer containing data representing all the pixels in a complete video frame. Modern video cards contain framebuffer circuitry in their cores. This circuitry converts an in-memory bitmap into a video signal that can be displayed on a computer monitor. In computing, a screen buffer is a part of computer memory used by a computer application for the representation of the content to be shown on the computer display. The screen buffer may also be called the video buffer, the regeneration buffer, or regen buffer for short. The phrase "screen buffer” refers to a logical function, while video memory refers to a hardware storage location. In particular, the screen buffer may be placed in the main RAM, the video memory, or some other hardware location. To reduce latency and avoid screen tearing, multiple frames can be buffered, and this technique is called multiple buffering. When this is so, at any time, only one frame would be visible, and the others would not be. The currently invisible frames are located in the off-screen buffer. The information in the buffer typically consists of color values for every pixel to be shown on the display. Color values are commonly stored in 1-bit binary (monochrome), 4-bit palettized, 8-bit palettized, 16-bit high color and 24-bit true color formats. An additional alpha channel is sometimes used to retain information about pixel transparency. The total amount of memory required for the framebuffer depends on the resolution of the output signal, and on the color depth or palette size. == History == Computer researchers had long discussed the theoretical advantages of a framebuffer but were unable to produce a machine with sufficient memory at an economically practicable cost. In 1947, the Manchester Baby computer used a Williams tube, later the Williams-Kilburn tube, to store 1024 bits on a cathode-ray tube (CRT) memory and displayed on a second CRT. Other research labs were exploring these techniques with MIT Lincoln Laboratory achieving a 4096 display in 1950. A color-scanned display was implemented in the late 1960s, called the Brookhaven RAster Display (BRAD), which used a drum memory and a television monitor. In 1969, A. Michael Noll of Bell Telephone Laboratories, Inc. implemented a scanned display with a frame buffer, using magnetic-core memory. A year or so later, the Bell Labs system was expanded to display an image with a color depth of three bits on a standard color TV monitor. The vector graphics used in the computer had to be converted for the scanned graphics of a TV display. In the early 1970s, the development of MOS memory (metal–oxide–semiconductor memory) integrated-circuit chips, particularly high-density DRAM (dynamic random-access memory) chips with at least 1 kb memory, made it practical to create, for the first time, a digital memory system with framebuffers capable of holding a standard video image. This led to the development of the SuperPaint system by Richard Shoup at Xerox PARC in 1972. Shoup was able to use the SuperPaint framebuffer to create an early digital video-capture system. By synchronizing the output signal to the input signal, Shoup was able to overwrite each pixel of data as it shifted in. Shoup also experimented with modifying the output signal using color tables. These color tables allowed the SuperPaint system to produce a wide variety of colors outside the range of the limited 8-bit data it contained. This scheme would later become commonplace in computer framebuffers. In 1974, Evans & Sutherland released the first commercial framebuffer, the Picture System, costing about $15,000. It was capable of producing resolutions of up to 512 by 512 pixels in 8-bit grayscale, and became a boon for graphics researchers who did not have the resources to build their own framebuffer. The New York Institute of Technology would later create the first 24-bit color system using three of the Evans & Sutherland framebuffers. Each framebuffer was connected to an RGB color output (one for red, one for green and one for blue), with a Digital Equipment Corporation PDP 11/04 minicomputer controlling the three devices as one. In 1975, the UK company Quantel produced the first commercial full-color broadcast framebuffer, the Quantel DFS 3000. It was first used in TV coverage of the 1976 Montreal Olympics to generate a picture-in-picture inset of the Olympic flaming torch while the rest of the picture featured the runner entering the stadium. The rapid improvement of integrated-circuit technology made it possible for many of the home computers of the late 1970s to contain low-color-depth framebuffers. Today, nearly all computers with graphical capabilities utilize a framebuffer for generating the video signal. Amiga computers, created in the 1980s, featured special design attention to graphics performance and included a unique Hold-And-Modify framebuffer capable of displaying 4096 colors. Framebuffers also became popular in high-end workstations and arcade system boards throughout the 1980s. SGI, Sun Microsystems, HP, DEC and IBM all released framebuffers for their workstation computers in this period. These framebuffers were usually of a much higher quality than could be found in most home computers, and were regularly used in television, printing, computer modeling and 3D graphics. Framebuffers were also used by Sega for its high-end arcade boards, which were also of a higher quality than on home computers. == Display modes == Framebuffers used in personal and home computing often had sets of defined modes under which the framebuffer can operate. These modes reconfigure the hardware to output different resolutions, color depths, memory layouts and refresh rate timings. In the world of Unix machines and operating systems, such conveniences were usually eschewed in favor of directly manipulating the hardware settings. This manipulation was far more flexible in that any resolution, color depth and refresh rate was attainable – limited only by the memory available to the framebuffer. An unfortunate side-effect of this method was that the display device could be driven beyond its capabilities. In some cases, this resulted in hardware damage to the display. More commonly, it simply produced garbled and unusable output. Modern CRT monitors fix this problem through the introduction of protection circuitry. When the display mode is changed, the monitor attempts to obtain a signal lock on the new refresh frequency. If the monitor is unable to obtain a signal lock or if the signal is outside the range of its design limitations, the monitor will ignore the framebuffer signal and possibly present the user with an error message. LCD monitors tend to contain similar protection circuitry, but for different reasons. Since the LCD must digitally sample the display signal (thereby emulating an electron beam), any signal that is out of range cannot be physically displayed on the monitor. == Color palette == Framebuffers have traditionally supported a wide variety of color modes. Due to the expense of memory, most early framebuffers used 1-bit (2 colors per pixel), 2-bit (4 colors), 4-bit (16 colors) or 8-bit (256 colors) color depths. The problem with such small color depths is that a full range of colors cannot be produced. The solution to this problem was indexed color, which adds a lookup table to the framebuffer. Each color stored in framebuffer memory acts as a color index. The lookup table serves as a palette with a limited number of different colors, while the rest is used as an index table. Here is a typical indexed 256-color image and its own palette (shown as a rectangle of swatches): In some designs, it was also possible to write data to the lookup table (or switch between existing palettes) on the fly, allowing dividing the picture into horizontal bars with their own palette and thus rendering an image that had a far wider palette. For example, viewing an outdoor shot photograph, the picture could be divided into four bars: the top one with emphasis on sky tones, the next with foliage tones, the next with skin and clothing tones, and the bottom one with ground colors. This required each palette to have overlapping colors, but, carefully done, allowed great flexibility. == Memory access == While framebuffers are commonly accessed via a memory mapping directly to the CPU memory space, this is not the only method by which they may be accessed. Framebuffers have varied widely in the methods used to access memory. Some of the most common are: Mapping the entire framebuffer to a given memory range. Port commands to set each pixel, range of pixels or palette entry. Mapping a memory range smaller than the framebuffer memory, then bank switching as necessary. The framebuffer organization may be packed pixel or planar. The framebuffer may be all
Majal (organization)
Majal is a regional not-for-profit organization focused on "amplifying voices of dissent" throughout the Middle East and North Africa via digital media. Founded in Bahrain, the organization "creates platforms and web applications that promote freedom of expression and social justice." Majal, which relies on open source platforms, like WordPress and Ruby on Rails, was launched in 2006 by Esra'a Al Shafei as a simple group-blogging idea. However, it has changed course to focus on the development of unique applications and tools. == Objectives and means == Majal's content, in addition to its projects and applications, is free open source content to ensure right to access information for everyone. The organization uses a broad spectrum of social media tools, ranging from written blogs, podcasts, vlogs, comics, video animation and pictures to live broadcasting through radio. == Projects and applications == Majal runs various active projects that include Alliance for Kurdish Rights, The Muslim Network for Baháʼí Rights, a discussion tool for Arab LGBT youth and various Mobile apps. == Funding == Majal is funded through private donations and grants from non-governmental organizations, as well as any potential revenues earned through freelance development. Its primary funders are the Shuttleworth Foundation and the Omidyar Network. In 2008, Majal won the Berkman Award from the Berkman Klein Center for Internet & Society at Harvard University in the Human Rights/Global Advocacy category. This $10,000 award was Majal’s first source of funding. This award is presented to “people or institutions that have made a significant contribution to the Internet and its impact on society over the past decade.” In 2009, the March 18 Movement, a project of Majal, received the Think Social Award, which demonstrates how social media can be used to solve the world’s problems. Esra'a Al-Shafei was named a 2009 Echoing Green Fellow for Civil and Human Rights, a seed funding award for young entrepreneurs engaged in social change. Financially, the fellowship consists of a $60,000 stipend paid over two years. Most recently, MEY has received a grant from the Arab Fund for Arts and Culture for its Mideast Tunes website. == Awards == Winner of Human Rights Tulip 2014 Human Rights Tulip - Human rights - Government.nl Ashoka Changemakers Citizen Media competition in 2011 for their CrowdVoice project. Monaco Media Prize 2011 for Majal founder and director Esra'a Al Shafei in 2011. The BOBS Special Topic Human Rights award in 2011 for the Majal website Migrant Rights. ThinkSocial Award in 2009, as powerful model for how social media can be used to address global problems. Echoing Green, 2009 Fellowship. TEDGlobal 2009 Fellowship. Berkman Award for Internet Innovation from Berkman Klein Center for Internet & Society at Harvard Law School in 2008 for the outstanding contributions to the internet and its impact on society. The Global Journal selected Majal as one of the Top 100 NGOs in 2013. 2013-2014 Shuttleworth Foundation Fellowship. == Leadership == Majal team is led primarily by women. The organization was founded by Esra'a Al Shafei, a blogger from Bahrain in 2006. Ahmed Zidan of Egypt has served for over three years as the Editor-in-Chief of Majal Arabic, and is the co-founder of Ahwaa, and is also a podcaster. Other team members include Mona Kareem, Rima Kalush, Abir Ghattas, Namita Malhotra, and Vani Saraswathi. == 2011 Middle East and North Africa protests == Blogs and video played a role in the documentation of protests throughout the Middle East and North Africa during 2010-2011, also known as the Arab Spring. During this period, MEY's project, CrowdVoice (launched in 2010) helped curate and archive the large amounts of videos, images, and eye-witness reports being aggregated and crowdsourced from across the region. As a result, it had been censored temporarily in Yemen and is still censored in Bahrain. == Media coverage == Majal claims to have received various coverage from news agencies, TV satellite channels, radio stations, newspapers, magazines. For instance, Sky News, CNN, New York Times, BBC, The Guardian, NPR, Time, MTV political blog "Act", VH1, Daily Telegraph, Die Zeit, Frankfurter Rundschau FR-online, Toronto Star, TechCrunch, Rolling Stone Middle East, Abu Dhabi TV, Gulf News, Al-Hasnaa' magazine, ReadWriteWeb, Mashable, The Next Web, Radio Sawt Beirut International, Radio Farda among many others.
Data
Data ( DAY-tə, US also DAT-ə, India: DEE-tə) is a collection of discrete or continuous values that conveys information, describing the quantity, quality, fact, statistics, other basic units of meaning, or simply sequences of symbols that may be further interpreted formally. A data point or datum is an individual value in a collection of data. Data is usually organized into structures such as tables that provide additional context and meaning, and may itself be used as data in larger structures. Data may be used as variables in a computational process. Data may represent abstract ideas or concrete measurements. Data is commonly used in scientific research, economics, and virtually every other form of human organizational activity. Examples of data sets include price indices (such as the consumer price index), unemployment rates, literacy rates, and census data. In this context, data represents the raw facts and figures from which useful information can be extracted. Data is collected using techniques such as measurement, observation, query, or analysis, and is typically represented as numbers or characters that may be further processed. Field data is data that is collected in an uncontrolled, in-situ environment. Experimental data is data that is generated in the course of a controlled scientific experiment. Data is analyzed using techniques such as calculation, reasoning, discussion, presentation, visualization, or other forms of post-analysis. Prior to analysis, raw data (or unprocessed data) is typically cleaned: Outliers are removed, and obvious instrument or data entry errors are corrected. Data can be seen as the smallest unit of factual information that can be used as a basis for calculation, reasoning, or discussion. Data can range from abstract ideas to concrete measurements, including, but not limited to, statistics. Thematically connected data presented in some relevant context can be viewed as information. Contextually connected pieces of information can then be described as data insights or intelligence. The stock of insights and intelligence that accumulate over time, resulting from the synthesis of data into information, can then be described as knowledge. Data has been described as "the new oil of the digital economy". Data, as a general concept, refers to the fact that some existing information or knowledge is represented or coded in some form suitable for better usage or processing. Advances in computing technologies have led to the advent of big data, which generally refers to very large quantities of data, typically at the petabyte scale. If restricted to traditional data analysis methods and computing, working with such large (and growing) datasets is difficult, even impossible. In response, the relatively new field of data science uses machine learning (and other artificial intelligence) methods that allow for efficient applications of analytic methods to big data. == Etymology and terminology == The Latin word data is the plural of datum, "(thing) given," and the neuter past participle of dare, "to give". The first English use of the word "data" is from the 1640s. The word "data" was first used to mean "transmissible and storable computer information" in 1946. The expression "data processing" was first used in 1954. When "data" is used more generally as a synonym for "information", it is treated as a mass noun in singular form. This usage is common in everyday language and in technical and scientific fields such as software development and computer science. One example of this usage is the term "big data". When used more specifically to refer to the processing and analysis of sets of data, the term retains its plural form. This usage is common in the natural sciences, life sciences, social sciences, software development and computer science, and grew in popularity in the 20th and 21st centuries. Some style guides do not recognize the different meanings of the term and simply recommend the form that best suits the target audience of the guide. For example, APA style as of the 7th edition requires "data" to be treated as a plural form. == Meaning == Data, information, knowledge, and wisdom are closely related concepts, but each has its role concerning the other, and each term has its meaning. According to a common view, data is collected and analyzed; data only becomes information suitable for making decisions once it has been analyzed in some fashion. One can say that the extent to which a set of data is informative to someone depends on the extent to which it is unexpected by that person. The amount of information contained in a data stream may be characterized by its Shannon entropy. Knowledge is the awareness of its environment that some entity possesses, whereas data merely communicates that knowledge. For example, the entry in a database specifying the height of Mount Everest is a datum that communicates a precisely measured value. This measurement may be included in a book along with other data on Mount Everest to describe the mountain in a manner useful for those who wish to decide on the best method to climb it. Awareness of the characteristics represented by this data is knowledge. Data are often assumed to be the least abstract concept, information the next least, and knowledge the most abstract. In this view, data becomes information by interpretation; e.g., the height of Mount Everest is generally considered "data", a book on Mount Everest geological characteristics may be considered "information", and a climber's guidebook containing practical information on the best way to reach Mount Everest's peak may be considered "knowledge". "Information" bears a diversity of meanings that range from everyday usage to technical use. This view, however, has also been argued to reverse how data emerges from information, and information from knowledge. Generally speaking, the concept of information is closely related to notions of constraint, communication, control, data, form, instruction, knowledge, meaning, mental stimulus, pattern, perception, and representation. Beynon-Davies uses the concept of a sign to differentiate between data and information; data is a series of symbols, while information occurs when the symbols are used to refer to something. Before the development of computing devices and machines, people had to manually collect data and impose patterns on it. With the development of computing devices and machines, these devices can also collect data. In the 2010s, computers were widely used in many fields to collect data and sort or process it, in disciplines ranging from marketing, analysis of social service usage by citizens to scientific research. These patterns in the data are seen as information that can be used to enhance knowledge. These patterns may be interpreted as "truth" (though "truth" can be a subjective concept) and may be authorized as aesthetic and ethical criteria in some disciplines or cultures. Events that leave behind perceivable physical or virtual remains can be traced back through data. Marks are no longer considered data once the link between the mark and observation is broken. Mechanical computing devices are classified according to how they represent data. An analog computer represents a datum as a voltage, distance, position, or other physical quantity. A digital computer represents a piece of data as a sequence of symbols drawn from a fixed alphabet. The most common digital computers use a binary alphabet, that is, an alphabet of two characters typically denoted "0" and "1". More familiar representations, such as numbers or letters, are then constructed from the binary alphabet. Some special forms of data are distinguished. A computer program is a collection of data, that can be interpreted as instructions. Most computer languages make a distinction between programs and the other data on which programs operate, but in some languages, notably Lisp and similar languages, programs are essentially indistinguishable from other data. It is also useful to distinguish metadata, that is, a description of other data. A similar yet earlier term for metadata is "ancillary data." The prototypical example of metadata is the library catalog, which is a description of the contents of books. == Data sources == With respect to ownership of data collected in the course of marketing or other corporate collection, data has been characterized according to party depending on how close the data is to the source or if it has been generated through additional processing. "Zero-party data" refers to data that customers "intentionally and proactively shares". This kind of data can come from a variety of sources, including: subscriptions, preference centers, quizzes, surveys, pop-up forms, and interactive digital experiences. "First-party data" may be collected by a company directly from its customers. The secure exchange of first-party data among companies can be done using data clean rooms. "S
Kruskal count
The Kruskal count (also known as Kruskal's principle, Dynkin–Kruskal count, Dynkin's counting trick, Dynkin's card trick, coupling card trick or shift coupling) is a probabilistic concept originally demonstrated by the Russian mathematician Evgenii Borisovich Dynkin in the 1950s or 1960s discussing coupling effects and rediscovered as a card trick by the American mathematician Martin David Kruskal in the early 1970s as a side-product while working on another problem. It was published by Kruskal's friend Martin Gardner and magician Karl Fulves in 1975. This is related to a similar trick published by magician Alexander F. Kraus in 1957 as Sum total and later called Kraus principle. Besides uses as a card trick, the underlying phenomenon has applications in cryptography, code breaking, software tamper protection, code self-synchronization, control-flow resynchronization, design of variable-length codes and variable-length instruction sets, web navigation, object alignment, and others. == Card trick == The trick is performed with cards, but is more a magical-looking effect than a conventional magic trick. The magician has no access to the cards, which are manipulated by members of the audience. Thus sleight of hand is not possible. Rather the effect is based on the mathematical fact that the output of a Markov chain, under certain conditions, is typically independent of the input. A simplified version using the hands of a clock performed by David Copperfield is as follows. A volunteer picks a number from one to twelve and does not reveal it to the magician. The volunteer is instructed to start from 12 on the clock and move clockwise by a number of spaces equal to the number of letters that the chosen number has when spelled out. This is then repeated, moving by the number of letters in the new number. The output after three or more moves does not depend on the initially chosen number and therefore the magician can predict it.
Yap (company)
Yap Speech Cloud was a multimodal speech recognition system developed by American technology company Yap Inc. It offered a fully cloud-based speech-to-text transcription platform that was used by customers such as Microsoft. The Company was a contestant at the inaugural TechCrunch conference and was subsequently acquired by Amazon in September 2011 to help develop products such as Alexa Voice Service, Echo, and Fire TV.
Social network game
A social network game (sometimes simply referred to as a social media game, social gaming, or online social game) is a type of online game that is played through social networks or social media. They typically feature gamification systems with multiplayer gameplay mechanics. Social network games were originally implemented as browser games. As mobile gaming took off, the games moved to mobile as well. While they share many aspects of traditional video games, social network games often employ additional ones that make them distinct. Traditionally they are oriented to be social games and casual games. The first cross-platform "Facebook-to-Mobile" social network game was developed in 2011 by a Finnish company Star Arcade. Social network games are amongst the most popular games played in the world, with several products with tens of millions of players. (Lil) Green Patch, Happy Farm, and Mob Wars were some of the first successful games of this genre. FarmVille, Mafia Wars, Kantai Collection, and The Sims Social are more recent examples of popular social network game. Major companies that made or published social network games include Zynga, Wooga and Bigpoint Games. == Demographics == As of 2010, it was reported that 55 percent of the social network gaming demographic in the United States consisted of women while in the United Kingdom, women made up nearly 60 percent of the demographic. In addition, most social gamers were around the 30 to 59 age range, with the average social gamer being 43 years old. Social gaming may appeal more to the older demographic because it is free, easier to advance through in a short period, does not involve as much violence as traditional video games, and is easier to grasp. Other games target certain demographics that use social media, such as Pot Farm creating a community by involving elements of cannabis subculture in its gameplay. == Technology and platforms == A social network video game is a client-server application. The client in the web era was implemented with a mix of web technologies like Flash, HTML5, PHP and JavaScript. When mobile games moved to mobile, social game front ends were developed using mobile platform technologies like Java, Objective-C, Swift and C++. The back end was a mix of programming languages and systems, including PHP, Ruby, C++ and go. Where social network video games diverged from traditional game development was the combination of real-time analytics to continuously optimize game mechanics to drive growth, revenue, and engagement. == Distinct features == The following table outlines common characteristics of social games, mentioned by Björk at the 2010 GCO Games Convention Online: A social network game may employ any of the following features: asynchronous gameplay, which allows rules to be resolved without needing players to play at the same time. gamification, which video game mechanics such as achievements and points are applied to those experienced when playing games in order to motivate and engage users. community, as one of the most distinct features of social video games is in leveraging the player's social network. Quests or game goals may only be possible if a player "shares" with friends connected by the social network hosting the game or gets them to play, as well as "neighbors" or "allies". a lack of victory conditions: there are generally no victory conditions since most developers count on users playing their games often. The game never ends and no one is ever declared winner. Instead, many casual games have "quests" or "missions" for players to complete. This is not true for board game-like social games, such as Scrabble. a virtual currency which players usually must purchase with real-world money. With the in-game currency, players can buy upgrades that would otherwise take much longer to earn through in-game achievements. In many cases, some upgrades are only available with the virtual currency. == Engagement strategies == Since social network games are often less challenging than console games and they have relatively shorter game play, they use different techniques to stretch game play and tools to retain users. Continuous goals: The games assign specific goals for users to achieve. As they advance in the game, the goals become more challenging and time-consuming. They also provide frequent feedback with their performance. Every action will translate towards a certain goal that will be used to attain higher gaming capitals. Gaming capitals: Players are encouraged to earn different badges, trophies, and accolades that indicate their progress and accomplishments. Some achievements are unlocked just by advancing in the game while others may significantly alter the rationale behind the game and require extensive investment from players. The ways of gaining gaming capital are not limited to playing games but the games-related productive activities that are appreciated in the player's social circle too. By accumulating gaming capitals, they provide an intrinsic benefit to gamers as there is an avenue to boost their accomplishment and showcase their expertise of the game. The achievements are visible to their network of friends. Gaming capitals are a way for developers to increase replay value provides extended play time, and players get more value from the game. Motivation for collecting gaming capitals: 1. Legitimization: refers to society's willingness to approve or condone certain behavior. Collecting is about channeling one's materialistic desires into more meaningful pursuits. Game achievements serve a similar purpose, allowing players to justify the hours spent playing the game. 2. Self-extension: Gathering and controlling meaningful objects or experiences can work to gain one an improved sense of self. The collector's goal to complete a collection is symbolically about completing the self too. Events timed to real world: Popular games such as Dragon City and Wild Ones require users to wait a certain time period before their "energy bars" replenish. Without energy, they are unable to conduct any form of action. Gamers are forced to wait and return after their energy replenishes to continue playing. == Monetization == Social network games frequently monetize based on virtual good transactions, but other games are emerging that utilize newer economic models. === Virtual goods === Gamers will be able to purchase in game items like power-ups, avatar accessories, or decorative items users purchase within the game itself. This is realized by monetize products that do not technically exist. Virtual goods account for over 90% of all revenue generated by the world's top social game developers. Designers optimize user experience through additional gameplay, missions, and quests, without having to worry about overhead or unused stock. == Advertising == The following are common ways of advertising in social network games: === Banner advertisements === As banner ads within social networks tend to be where ad response is low, they tend to be priced at bottom-of-the-barrel CPMs of around $2. However, because social games generate so many page views, they are the biggest part of advertising revenue for the social gaming industry. === Video ads === Videos are the ad format with the most revenue per view. They tend to be higher-priced, either by CPMs ($35+ CPM in social games) or cost-per-completed-view. According to studies, video ads result in highest brand recall thus a good return on investment for advertisers. Video ads are shown either in in-game interstitials (e.g. when the game is loading a new screen) or through incentive-based advertising, i.e. you will get either an in-game reward or Facebook credits for watching an advertisement. === Product placement === A brand or product will be injected in a game in some way. Due to the variety of ways in which product placement can be accomplished in any media, and because the category is nascent, this category is not standardized at all, but some examples include branded in-game goods or even in-game quests. For example, in a game where you run a restaurant, you might be asked to collect ingredients to make a Starbucks Frappuccino, and receive in-game rewards for doing so. As these product placement deals are non-standard, they are largely charged with a production fee, which can be $350,000 to $750,000 depending on the type of placement and the popularity of the game. === Lead generation offers === Another form of advertising that is prevalent in many social games are lead generation offers. In this form of advertising, companies, usually from different industries, aim to convince players to sign up for their goods or services and in exchange, players will receive virtual gifts or advance in the game as a reward. === Sponsorship === ==== White label games ==== Applications that are built once, then individualized and licensed again and again. Developer can create a quality app focused on fun while leaving the edge