The Stanhope Demonstrator was the first machine to solve problems in logic. It was designed by Charles Stanhope, 3rd Earl Stanhope to demonstrate consequences in logic symbolically. The first model was constructed in 1775. It consisted of two slides coloured red and gray mounted in a square brass frame. This could be used to demonstrate the solution to a syllogistic type of problem in which objects might have two different properties and the question was how many would have both properties. Scales marked zero to ten were used to set the numbers or proportions of objects with the two properties. This form of inference anticipated the numerically definite syllogism which Augustus De Morgan laid out in his book, Formal Logic, in 1847. == Construction == The device was a brass plate about four inches square which was mounted on a piece of mahogany which was three-quarters of an inch thick. There was an opening with a depression in the wood about one and a half inches square and half an inch deep. This opening was called the holon, meaning "whole", and represented the full set of objects under consideration. A slide of red translucent glass could be inserted from the right across the holon. A slide of gray wood could be slid under the red slide. When the device was used for the "Rule for the Logic of Certainty", the gray slider was inserted from the left. When it was used for the "Rule for the Logic of Probability", the gray slider was inserted from above. The red and the gray sliders represented the two affirmative propositions which were being combined. Stanhope called these ho and los. At least four of the devices with this square style were built. In 1879, Robert Harley wrote that he had one which he had been given by Stanhope's great-grandson, Arthur, who had kept one. The other two were owned by Henry Prevost Babbage – the son of Charles Babbage, who continued his work on the Analytical Engine. One of the devices was donated to the Science Museum, London by the last Earl in 1953. Other styles, such as circular models, were constructed, but these were less convenient.
Anthrobotics
Anthrobotics is the science of developing and studying robots that are either entirely or in some way human-like. The term anthrobotics was originally coined by Mark Rosheim in a paper entitled "Design of An Omnidirectional Arm" presented at the IEEE International Conference on Robotics and Automation, May 13–18, 1990, pp. 2162–2167. Rosheim says he derived the term from "...Anthropomorphic and Robotics to distinguish the new generation of dexterous robots from its simple industrial robot forebears." The word gained wider recognition as a result of its use in the title of Rosheim's subsequent book Robot Evolution: The Development of Anthrobotics, which focussed on facsimiles of human physical and psychological skills and attributes. However, a wider definition of the term anthrobotics has been proposed, in which the meaning is derived from anthropology rather than anthropomorphic. This usage includes robots that respond to input in a human-like fashion, rather than simply mimicking human actions, thus theoretically being able to respond more flexibly or to adapt to unforeseen circumstances. This expanded definition also encompasses robots that are situated in social environments with the ability to respond to those environments appropriately, such as insect robots, robotic pets, and the like. Anthrobotics is now taught at some universities, encouraging students not only to design and build robots for environments beyond current industrial applications, but also to speculate on the future of robotics that are embedded in the world at large, as mobile phones and computers are today. In 2016 philosopher Luis de Miranda created the Anthrobotics Cluster at the University of Edinburgh "a platform of cross-disciplinary research that seeks to investigate some of the biggest questions that will need to be answered" on the relationship between humans, robots and intelligent systems and "a think tank on the social spread of robotics, and also how automation is part of the definition of what humans have always been". to explore the symbiotic relationship between humans and automated protocols.
Social media surgery
A social media surgery is a gathering at which volunteer "surgeons" with expertise in using web tools, chiefly social media, offer free advice in using such tools, to representatives ("patients") of non-profit organisations, charities, community groups and activists, with "no boring speeches or jargon". The idea was conceived by Pete Ashton, with Nick Booth of Podnosh Ltd, who ran the first such surgery in Birmingham, England, on 15 October 2008. In July 2009, a spin-off surgery (dubbed the "Social media mob") started in Mosman, Australia, and in January 2010, the first spin-off surgery in Africa was held. On 16 February 2012, it was announced that the Social Media Surgery movement had won "the Prime Minister’s Big Society Award". Prime Minister David Cameron said: This is an excellent initiative - such a simple idea and yet so effective. The popularity of these surgeries and the fact that they have inspired so many others across the country to follow in their footsteps, is testament to its brilliance. Congratulations to Nick and all the volunteers who have shared their time and expertise to help so many local groups make the most of the internet to support their community. A great example of the Big Society in action. The scheme also won the 2013 Adult Learners' Week "BBC Learning Through Technology Award".
Social media use in education
Social media in education is the use of social media to enhance education. Social media are "a group of Internet-based applications...that allow the creation and exchange of user-generated content". It is also known as the read/write web. As time went on and technology evolved, social media has been an integral part of people's lives, including students, scholars, and teachers. However, social media are controversial because, in addition to providing new means of connection, critics claim that they damage self-esteem, shorten attention spans, and increase mental health issues. A 2016 dissertation presented surveys that focused on the impact of social media. It reported that 54.6% of students believed that social media affected their studies positively (38% agree, 16.6% strongly agree). About 40% disagreed, and 4.7% of students strongly disagreed. 53% of female students reported that social media negatively impacted their studies. Among male students, 40% agreed that social media had a negative impact on studies, while 59% disagreed. A 2023 article dives deep into the rewards system of the brain in response to social media. This study compares the social rewards system in our brain to those from social media. From ages 10-12, most are receiving a cell phone, social rewards in the brain start to feel more satisfying. Leading to adulthood, the effects of social rewards are less likely to feel reliant on feedback from peers. Equivalent to a more mature prefrontal cortex, this enables a better management of their emotional reaction to these social rewards, meaning a more balanced and controlled reaction. == History == A survey from Cambridge International of nearly 20,000 teachers and students (ages 12–19) from 100 countries found that 48% of students use a desktop computer in class, 42% uses phones, 33% use interactive whiteboards and 20% use tablets. Desktop computers are more used than tablets. Teachers were abandoning the "no phones at school" rule. A 2024 research survey through Common Sense Education reported 54% of age 8-12 and 69% of ages 13-18 social media is an extensive distraction from homework. === United States === The long-running technology boom accelerated after the millennium. As of 2018, 95% of US teenage students had access to a smartphone and 45% said they were online almost constantly. In the early days of social media, access to technology was a significant issue as many students did not own not compatible devices and school budgets were often insufficient to purchase devices for student use. Despite backlash, Missouri passed a law that prohibited teachers from communicating privately with students over social media in 2011. Supporters were concerned that online communication between underage students and faculty could lead to inappropriate relationships. Some schools adopted a "Bring Your Own Device" (BYOD) policy, allowing students to bring Internet-accessing devices, such as phones or tablets to class. During the pandemic, the federal government offered funds that allowed more schools to purchase devices. Over time, more students acquired phones with social media access. Personal devices increased student satisfaction, but reduced teachers' ability to control device use in their classrooms. A 2018 Pew Research study reported that 95% of teenagers had a phone and used social media consistently. === Canada === The Peel District School Board (PDSB) in Ontario accepted the use of social media in the classroom. In 2013, the PDSB introduced BYOD and unblocked many social media sites. That was later replaced by a policy that dealt specifically with social media. == Uses == === Classroom === In the classroom, social media offers a way to systematically distribute and gather information from students. Teachers can supply documents, and audio/video media to students for immediate or later use. One study on higher education reported that devices and social media: created opportunities for interaction provided occasions for collaboration sped up information access offered more ways to learn situated learning. Frustrations included anti-technology instructors, device challenges, and devices as a distraction. Social media in classrooms can have a negative effect. A Yale University publication reported that students who used laptops in class for non-academic reasons had poorer performance. Students spent most of their time on social media, shopping, and other personal activities. Social media has helped many educators mentor their students more effectively. === Outside of class === Social media offer a venue for video calls, stories, feeds, and game playing that can enhance the learning process. Teachers can utilize social media to communicate with their students. Social media can provide students with resources that they can utilize in essays, projects, and presentations. Students can easily access comments made by teachers and peers and offer feedback to teachers. Social media can offer students the opportunity to collaborate by sharing information without requiring face to face meetings. Social media can allow students to more easily connect with experts, to go beyond course materials. Instructors in a 2010 study reported that online technologies (social media) can help students become comfortable having discussions outside the classroom better than traditional means. Teachers may face some risk when using social media outside the classroom, without appropriate work rules. Studies explores how college students' engagement with social media platforms influences their communication preferences and habits, particularly in relation to using school email for academic purposes. === Professional development === Social media can aid professional development, as teachers become students, enhancing knowledge transfer, skill master, and collaboration. === Non-academic uses === Schools can use social media to make public announcements. Teachers and administrators can communicate other important information to parents and students and to receive feedback from them. Families can keep up with school events and policies. === Ecology education === The potential of using social media in ecological, nature and forest education include: virtual nature groups can help promote good habits in forest tourism and recreation (nature ethics), by entering general rules in the regulations by administrators, e.g. "DO NOT PICK UP PLANTS UNKNOWN TO US", which is to protects rare species from pointless picking. social media activity motivates people to learn about nature in the field, allows them to gain knowledge, dispels popular myths, enables contact with scientists and practitioners, promotes valuable literature, websites, and at the same time reveals distortions and substantive errors in popular news services. contact is not only virtual. Despite financial barriers and distance, Internet users organize nature conventions. Such meetings are an opportunity not only to make friends, but also to learn about nature together and have fun. the possibility of contact between scientists and nature lovers via Facebook has become a source of cooperation in species inventory, e.g. the online campaign of the NATRIX Herpetological Society, which consists not only of collecting reports of observations of the smooth snake by Internet users, but also of drawing attention to the biology and threats to this species. Social media has become a place where ecology education quickly reaches people of different ages and social statuses. The nature groups that have been created, in which nature lovers, biologists, foresters and scientists participate, can have a real impact on the state of knowledge and data collection through citizen science. == Apps and services == Social media can allow students to participate in their field by working with organizations outside the classroom. By offering easier access to peers outside the classroom, students can broaden their perspectives and find support resources. Social media aided learning outside of the classroom through collaboration and innovation. One specific study, "Exploring education-related use of social media," called this "audience connectors". Audience connectors bring students together while studying with WhatsApp and Facebook. This study reported that "60 percent [of students in the study] agreed that technology changes education for the better." While social media can promote a beneficial education platform, downsides exist. Students may become skilled at "lifting material from the internet" rather than enhancing their personal understanding. Another downside is student attention spans decline. A concern raised by the students of this study showed how many use spell-check as a crutch and will see a trend of points taken off when spell-check is not an option. Apps like X allowed teachers to make classroom accounts where students can learn about social media in a controlled context. Teachers can post assignments on th
Professional network service
A professional network service (or, in an Internet context, simply a professional network) is a type of social network service that focuses on interactions and relationships for business opportunities and career growth, with less emphasis on activities in personal life. A professional network service is used by working individuals, job-seekers, and businesses to establish and maintain professional contacts, to find work or hire employees, share professional achievements, sell or promote services, and stay up-to-date with industry news and trends. According to LinkedIn managing director Clifford Rosenberg in an interview with AAP in 2010, "[t]his is a call to action for professionals to re-address their use of social networks and begin to reap as many rewards from networking professionally as they do personally." Businesses mostly depend on resources and information outside the company and to get what they need, they need to reach out and professionally network with others, such as employees or clients as well as potential opportunities. "Nardi, Whittaker, and Schwarz (2002) point out three main tasks that they believe networkers need to attend to keep a successful professional (intentional) network: building a network, maintaining the network, and activating selected contacts. They stress that networkers need to continue to add new contacts to their network to access as many resources as possible and to maintain their network by staying in touch with their contacts. This is so that the contacts are easy to activate when the networker has work that needs to be done." By using a professional network service, businesses can keep all of their networks up-to-date, and in order, and helps figure out the best way to efficiently get in touch with each of them. A service that can do all that helps relieve some of the stress when trying to get things done. Not all professional network services are online sites that help promote a business. Some services connect the user to other services that help promote the business other than online sites, such as phone/Internet companies that provide services and companies that specifically are designed to do all of the promoting, online and in person, for a business. == History == In 1997, professional network services started up throughout the world and continue to grow. The first recognizable site to combine all features, such as creating profiles, adding friends, and searching for friends, was SixDegrees.com. According to Boyd and Ellison's article, "Social Network Sites: Definition, History, and Scholarship", from 1997 to 2001, several community tools began supporting various combinations of profiles and publicly articulated Friends. Boyd and Ellison go on to say that the next wave began with Ryze.com in 2001. It was introduced as a new way "to help people leverage their business networks". == Inside the works == Quite a lot of work is put into a professional network service, such as the number of hours that go into them and the type of people they work for, as well as the business model of it all, such as the professional interaction and the multiple services they deal with. === Types of services === Some professional network services not only help promote the business but can also help in connecting to other people. Those services may include a specific phone and/or Internet company or a company that helps to connect with other businesses. According to the Society for New Communications Research (SNCR), there are at least nine online professional networks that are being used. === Professional interaction === Kaplan and Haenlein elaborate on five key considerations for companies when utilizing media. These include the importance of careful selection, the option to choose existing applications or develop custom ones, ensuring alignment with organizational activities, integrating a comprehensive media plan, and providing accessibility to all stakeholders. ==== Choose carefully ==== "Choosing the right medium for any given purpose depends on the target group to be reached and the message to be communicated. On one hand, each Social Media application usually attracts a certain group of people, and firms should be active wherever their customers are present. On the other hand, there may be situations whereby certain features are necessary to ensure effective communication, and these features are only offered by one specific application." ==== Ensure activity alignment ==== "Sometimes you may decide to rely on various Social Media, or a set of different applications within the same group, to have the largest possible reach." "Using different contact channels can be a worthwhile and profitable strategy." According to the Society for New Communications Research at Harvard University, "the average professional belongs to 3–5 online networks for business use, and LinkedIn, Facebook, and Twitter are among the top used." ==== Integrate a media plan ==== Social media and traditional media are "both part of the same: your corporate image" in the customers' eyes. ==== Allow access to all ==== "...once the firm has decided to utilize Social Media applications, it is worth checking that all employees may access them." According to the SNCR, "the convergence of Internet, mobile, and social media has taken significant shape as professionals rely on anywhere access to information, relationships, and networks." ==== Online usage ==== "Half of the respondents report participating in 3 to 5 online professional networks. Another three in ten participate in 6 or more professional networks." "Popular social networks are now being used frequently as Professional Communities. More than nine in ten respondents indicated that they use LinkedIn and half reported using Facebook. Twitter and blogs were frequently listed as 'professional networks'." === Business model === According to Michael Rappa's article, Business models on the Web", "a business model is the method of doing business by which a company can sustain itself – that is, generate revenue. The business model spells out how a company makes money by specifying where it is positioned in the value chain." Rappa mentions that there are at least nine basic categories from which a business model can be separated. Those categories are a brokerage, advertising, infomediary, merchant, manufacturer, affiliate, community, subscription, and utility. "...a firm may combine several different models as part of its overall Internet business strategy." At first, Flickr started as a way to mainstream public relations. == Social impact == When it comes to the social impact that professional network services have on today's society, it has proved to increase activity. According to the SNCR, "[t]hree quarters of respondents rely on professional networks to support business decisions. Reliance has increased for essentially all respondents over the past three years. Younger (20–35) and older professionals (55+) are more active users of social tools than middle-aged professionals. More people are collaborating outside their company wall than within their organizational intranet." == Limitations == Since the internet and social media are a part of this "world where consumers can speak so freely with each other and businesses have increasingly less control over the information available about them in cyberspace", most firms and businesses are uncomfortable with all the freedom. According to Kaplan and Haenlein's article, "Users of the world, unite! The challenges and opportunities of Social Media", businesses are pushed aside and are only able to sit back and watch as their customers publicly post comments, which may or may not be well-written.
Digital art
Digital art, or the digital arts, is artistic work that uses digital technology as part of the creative or presentational process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art. Digital art includes pieces stored on physical media, such as with digital painting, as well as digital galleries on websites. Digital art also extends to the field of visual computing. == History == In the early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user interactive computer-graphics interface known as Sketchpad. Between 1974 and 1977, Salvador Dalí created two big canvases of Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko) and prints of Lincoln in Dalivision based on a portrait of Abraham Lincoln processed on a computer by Leon Harmon published in "The Recognition of Faces". The technique is similar to what later became known as photographic mosaics. Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Center in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color using flood fills. == Art made for digital media == Artwork that is highly computational, presented through digital media, and explicitly engages with digital technologies are categorized as "art made for digital media". This differs from art using digital tools, which incorporate digital technology in the creation process but may exist outside the digital world. Digital art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statement about the art form". == Art that uses digital tools == Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings when created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Despite differing viewpoints on digital technology's impact on the arts, a consensus exists within the digital art community about its significant contribution to expanding the creative domain, i.e., that it has greatly broadened the creative opportunities available to professional and non-professional artists alike. == Art theorists and art historians == Notable art theorists and historians in this field include: Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Tina Rivers Ryan, Fred Forest and Edward A. Shanken. === Digital painting === Digital painting is either a physical painting made with the use of digital electronics and spray paint robotics within the digital art fine art context or pictorial art imagery made with pixels on a computer screen that mimics artworks from the traditional histories of painting and illustration. === Artificial intelligence art === Artists have used artificial intelligence to create artwork since at least the 1960s. Since their design in 2014, some artists have created artwork using a generative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate. It can be used to generate pictures that have visual effects similar to traditional fine art. The essential idea of image generators is that people can use text descriptions to let AI convert their text into visual picture content. Anyone can turn their language into a painting through a picture generator. == Digital art education == Digital art education has become more common with the advancement of digital hardware and software. From hardware such as graphics tablets, styluses, tablets, 3D scanners, virtual reality headsets, and digital cameras; to software such as digital art software, 3D modeling software, 3D rendering, digital sculpting, 2D graphics software, digital painting, 3D terrain generation, 2D animation software, 3D animation software, raster graphics editors, vector graphics editors, mathematical art software, and video editing software. == Scholarship and archives == In addition to the creation of original art, research methods that utilize AI have been generated to quantitatively analyze digital art collections. This has been made possible due to the large-scale digitization of artwork in the past few decades. Although the main goal of digitization was to allow for accessibility and exploration of these collections, the use of AI in analyzing them has brought about new research perspectives. Two computational methods, close reading and distant viewing, are the typical approaches used to analyze digitized art. Close reading focuses on specific visual aspects of one piece. Some tasks performed by machines in close reading methods include computational artist authentication and analysis of brushstrokes or texture properties. In contrast, through distant viewing methods, the similarity across an entire collection for a specific feature can be statistically visualized. Common tasks relating to this method include automatic classification, object detection, multimodal tasks, knowledge discovery in art history, and computational aesthetics. Whereas distant viewing includes the analysis of large collections, close reading involves one piece of artwork. Whilst 2D and 3D digital art is beneficial as it allows the preservation of history that would otherwise have been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans – i.e., who should own the digital copyrights. === Computer demos === Computer demos are based on computer programs, usually non-interactive. It produces audiovisual presentations. They are a novel form of art, which emerged as a consequence of the home computer revolution in the early 1980s. In the classification of digital art, they can be best described as real-time procedurally generated animated audio-visuals. This form of art does not concentrate only on the aesthetics of the final presentation, but also on the complexities and skills involved in creating the presentation. As such, it can be fully enjoyed only by persons with a relatively high knowledge level of relevant computer technologies. An example is that, as said by Hua Jin and Jie Yang, Using computer-aided design software to present the class content in art design teaching," is not to advocate computer-aided design instead of hand-drawn performance, but to make it serve the profession earlier through a more reasonable course arrangement." On the other hand, many of the created pieces of art are primarily aesthetic or amusing, and those can be enjoyed by the general public. === Digital installation art === Digital installation art constitutes a broad field of artistic practices and a variety of forms. Some resemble video installations, especially large-scale works involving projections and live video capture. By using projection techniques that enhance an audience's impression of sensory envelopment, many digital installations attempt to create immersive environments. While others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site-specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces. Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people, indicating their personal space.Noah Wardrip-Fruin's "Screen"(2003) utilizes a Cave Automatic Virtual Environment (CAVE) to create an interactive, text-based digital experience that engages the viewer in a multi-sensory interaction. === Internet art and net.art === Internet art is digital art that uses the specific characteristics of the Internet and is exhibited on the Internet. The term "internet art" is included by "net art" for which artists assume that network will be refreshed through history. So the term "post-internet art" is used to exclude artworks outside of the internet media. A representative example is Protocols for Achievements, which is a digital photo frame that confronts the aestheti
Public Services Network
The Public Services Network (PSN) is a UK government's high-performance network, which helps public sector organisations work together, reduce duplication and share resources. It unified the provision of network infrastructure across the United Kingdom public sector into an interconnected "network of networks" to increase efficiency and reduce overall public expenditure. It is now a legacy network and public sector organisations are being migrated to using services on the public internet. == Origins == The Public Services Network (PSN) was launched officially as part of the Transformational Government Strategy commencing in 2005, under the original name of the Public Sector Network. Prior to this, some parts of local government had already successfully implemented the concept. The Hampshire Public Services Network (HPSN) was the first PSN, launched in 1999, followed closely by Kent County Councils partnerships with the KPSN. The HPSN, encompassing all of the borough, district and unitary councils, with the County Council, as well as the Fire Services, the Isle of Wight Council and 540 schools. National PSN technical and architecture compliance criteria were established from 2007, by GDS working with local government leaders from Socitm (the Society of Information Technology Management) on the National CIO Council and the Local CIO Council. The PSN's aim was to bring public services organisations with a common interest onto a single, coherent and standards-based ‘network of networks’. This would create influence, economies of scale and a commonality of standards for secure and easy inter-connection between public service organisations. The original concept of a network of networks strategy was based upon the work already undertaken in local government and recognition of Communities of Interest (COI) within the Criminal Justice Sector during work by the Office for Criminal Justice Reform (OCJR) between 2005 and 2007 to enable data sharing across business units. In this context a COI was defined as groups of Government departments and external partners who in combination provided services within a specific area of operation and used the same data, with a similar risk profile, shared risk appetite and common governance framework. Historically each group member had implemented their own networks and standards of operation in isolation with little or no consideration as to how services and data may be shared and resulting in increased costs of operation. The Network of Networks strategy proposed within OCJR recommended the creation of specific networks based upon these Communities of Interest which were joined together through data interchange gateways supporting common standards. Under this approach networks would be arranged by data type and business functions such as Criminal Justice, Health and Social Care, Defence and Intelligence or Public Finance rather than solely on established departmental boundaries. Within a COI, trust relationships and data interchange are readily supported, enabling data sharing without a need to cross network boundaries and providing benefits of scale without the challenges and compromises intrinsic to homogeneous cross sector networks. Data is made available without a need to transport it between organisations and control is retained by the data originator. In early 2007 a group of UK Government department CTOs in conjunction with the Office for Government Commerce Buying Solutions (OGC BS) established the vision for a single commonly provided, procured and managed public sector voice and data network infrastructure to replace the multitude of separately procured and managed networks serving various segments of the UK public sector; Education, Health, Central Government, Local Government etc. In 2008 an Industry Working Group was established to document the objectives and requirements more clearly. Their report set out the architectural and commercial principles as well as anticipated security, service management, governance and transition arrangements. == Architecture == The PSN comprises a core network, the Government Conveyancing Network or GCN provided by GCN Service Providers or GCNSPs. The GCN interconnects multiple operator networks, termed Direct Network Service Providers or DNSPs. Subscriber organisations contract to a connection from a local participating DNSP, connect via that to GCN and hence onwards to other interconnected networks and services. The GCN network is entirely based on IPv4 and MPLS and the GCNSPs are not currently mandated to provide IPv6, though they should have a roadmap to implementing it if and when required. == Commercial framework == In 2010 Virgin Media Business, BT, Cable & Wireless and Global Crossing signed Deeds of Undertaking (DoU) and subsequently achieved accreditation for providing GCN and IP VPN services. In March 2012, BT, Cable & Wireless, Capita Business Services, Eircom, Fujitsu, Kcom, Level 3, Logicalis, MDNX, Thales, Updata and Virgin Media Business were successful bidders for the initial two-year PSN Connectivity framework. In June 2012, 29 companies were confirmed as suppliers of ICT services to the UK public sector under the Government's PSN Services framework contract. Apart from most of the previous suppliers, additional companies also included 2e2, Airwave Solutions, Azzurri Communications, Cassidian, CSC Computer Sciences, Computacenter, Daisy Communications, Easynet Global Services, EE, Freedom Communications, Icom Holdings, NextiraOne, PageOne Communications, Phoenix IT Group, Siemens Communications, Specialist Computer Centres, Telefónica, telent Technology Services, Uniworld Communications and Vodafone. == Governance == The PSN is managed within the Cabinet Office where it is part of the Government Digital Service. == Early implementations == There were already notable initiatives in progress in county council areas, demonstrating public sector network integration in both the Hampshire HPSN2 network and in Kent's community network. Project Pathway was established as a pilot linking these two county-wide networks, with Virgin Media Business and Global Crossing the subscriber and GCN network elements. Staffordshire County Council was the first council in England to establish a PSN that included the county's NHS Health partners. Other county councils have since followed the leads of these councils. == Transition == Centrally procured public sector networks are expected to migrate across to the PSN framework as they reach the end of their contract terms, either through an interim framework or directly. The Government Secure Intranet (GSi) contracts expired in September 2011, running on to 12 February 2012 and were replaced by the transitional Government Secure Intranet Convergence Framework (GCF). The Managed Telephony Service (MTS) contract expired on 31 December 2011 and was replaced by the Managed Telephony Convergence Framework (MTCF). == Future plan == In a blog post published on 20 January 2017, Government Digital Service announced that the Technology Leaders Network (TLN) had agreed that government was starting a journey away from the PSN. This was because using the Internet was considered suitable for the vast majority of the work that the public sector does. The blog post confirmed that the 'move was not going to happen immediately' and stated that 'there's quite a bit of work to do across the public sector to prepare for the changes'. It also stated that it was too early for a full timeline to be provided, although all PSN-connected organisations would be updated as the process evolved. The blog post confirmed that organisations that need to access services that are only available on the PSN would still need to connect to it for the time being and continue to meet its assurance requirements. In a blog post published on 16 March 2017, Government Digital Service (GDS) set out its plans for PSN assurance. The blog post confirmed that the PSN compliance process wasn't 'going anywhere, certainly for a while yet'. It explained that the TLN agreed that – as one of the only recognised, externally accredited, cross-government common assurance standards – it 'needs to live on far beyond the end of the physical PSN network'. Government Digital Service, along with the National Cyber Security Centre (NCSC) and the Cyber and Government Security Directorate, are now looking at ways to expand and reframe PSN compliance in a new context that, while retaining the assurance principles that are the basis of the existing process, will aim to improve the process. A GDS blog post titled 'The road to closing down the PSN' published on 8 September 2020 describes how the public sector will migrate away from the PSN. The Cabinet Office has set up a programme called Future Networks for Government (FN4G) to help organisations move away from the PSN.