Information and media literacy (IML) is a combination of information literacy and media literacy. It enables people to show and make informed judgments as users of information and media, as well as to become skillful creators and producers of information and media messages. The transformative nature of IML includes creative works and creating new knowledge; to publish and collaborate responsibly requires ethical, cultural and social understanding. IML is also known as media and information literacy (MIL). UNESCO first adopted the term MIL in 2008 as a "composite concept" combining the competencies of information literacy and media literacy. UNESCO emphasizes the importance of global education in media and information literacy, and in 2013 defined Media and Information Literacy (MIL) as the ability to access, evaluate, use, and create information and media content in critical and ethical ways. Prior to the 1990s, the primary focus of information literacy was research skills. Media literacy, a study that emerged around the 1970s, traditionally focuses on the analysis and the delivery of information through various forms of media. Information literacy, as a skill proposed as early as 1974, centers on an individual's ability to recognize information needs and effectively locate, evaluate, and use information. These days, the study of information literacy has been extended to include the study of media literacy in many countries like the UK, Australia and New Zealand. It is also referred to as information and communication technologies (ICT) in the United States. Educators such as Gregory Ulmer have also defined the field as electracy.Media literacy is the ability to actively inquire into and think critically about information. It includes the ability to understand, evaluate, and create media content, and is an essential skill in today's information society. Livingstone, Van Couvering, and Thumim (2008) described the distinction between media literacy and information literacy: "Media literacy views media as lenses or windows for observing the world and expressing the self, whereas information literacy sees information as a tool for taking action in the world." == Integration of media and information literacy == Historically, the fields of information and media literacy have been separate, but over the course of the 21st century there have been calls to integrate both fields. Most definitions of information and media literacy include not only the abilities to locate, access, and analyze information but also the ability to create information. Only by integrating media literacy with information literacy can students better understand the sources of information and how it is used. Media education has primarily taken place in educational institutions, while information education has primarily occurred in libraries. Discussions surrounding the overlap of information literacy and media literacy came to fruition in the mid-to-late 2000s and 2010s as noted by Marcus Leaning. == In the digital age == The definition of literacy is "the ability to read and write". In practice many more skills are needed to locate, critically assess and make effective use of information. By extension, literacy now also includes the ability to manage and interact with digital information and media, in personal, shared and public domains. Historically, "information literacy" has largely been seen from the relatively top-down, organisational viewpoint of library and information sciences. However the same term is also used to describe a generic "information literacy" skill. The modern digital age has led to the proliferation of information spread across the Internet. Individuals must be able to recognize whether information is true or false and better yet know how to locate, evaluate, use, and communicate information in various formats; this is called information literacy. Towards the end of the 20th century, literacy was redefined to include "new literacies" relating to the new skills needed in everyday experience. "Multiliteracies" recognised the multiplicity of literacies, which were often used in combination. "21st century skills" frameworks link new literacies to wider life skills such as creativity, critical thinking, accountability. What these approaches have in common is a focus on the multiple skills needed by individuals to navigate changing personal, professional and public "information landscapes". As the conventional definition of literacy itself continues to evolve among practitioners, so too has the definition of information literacies. Noteworthy definitions include: Zurkowski defined information literacy as "the ability to find known or knowable content on any subject." CILIP, the Chartered Institute of Library and Information Practitioners, defines information literacy as "the ability to think critically and make balanced judgements about any information we find and use". In the United States, the definition proposed by the Association of College and Research Libraries (ACRL) is the most widely recognized. It defines information literacy as "a set of abilities requiring individuals to recognize when information is needed and to locate, evaluate, and use the needed information effectively." JISC, the Joint Information Systems Committee, refers to information literacy as one of six "digital capabilities", seen as an interconnected group of elements centered on "ICT literacy". Mozilla groups digital and other literacies as "21st century skills", a "broad set of knowledge, skills, habits and traits that are important to succeed in today's world". UNESCO, the United Nations Educational, Scientific and Cultural Organization, recognizing the necessity of teaching and learning both traditional and new types of information, the global importance of education was emphasized in 2008 through the "Teacher Media and Information Literacy (MIL) Curriculum". It defines MIL as a set of competencies that enable citizens to access, retrieve, understand, evaluate, use, create, and share information and media content in all formats through various tools in a critical, ethical, and effective manner, so as to participate in and carry out personal, professional, and social activities. Besides this, UNESCO also asserts information literacy as a "universal human right". == 21st-century students == In modern society, although the overall level of education has improved, the channels for knowledge production and dissemination have become increasingly diverse and commercialized, and traditional authoritative institutions no longer hold a monopoly over knowledge validation. While digital platforms have broadened access to information, they have also weakened trust mechanisms and evaluation standards, making epistemological skepticism a norm. Moreover, with the rise and spread of social media, misinformation and disinformation can be just as easily accessed in both densely and sparsely populated areas. These factors further underscore the importance of information literacy education. The IML learning capacities prepare students to be 21st century literate. According to Jeff Wilhelm (2000), "technology has everything to do with literacy. And being able to use the latest electronic technologies has everything to do with being literate." He supports his argument with J. David Bolter's statement that "if our students are not reading and composing with various electronic technologies, then they are illiterate. They are not just unprepared for the future; they are illiterate right now, in our current time and context". In a broader sense, developing this advanced competency of media and information literacy is essential, as it is crucial for students to exercise their freedom of expression in the 21st century. Wilhelm's statement is supported by the 2005 Wired World Phase II (YCWW II) survey conducted by the Media Awareness Network of Canada on 5000 Grade 4 – 11 students. The key findings of the survey were: 62% of Grade 4 students prefer the Internet. 38% of Grade 4 students prefer the library. 91% of Grade 11 students prefer the Internet. 9% of Grade 11 students prefer the library. Marc Prensky (2001) uses the term "digital native" to describe people who have been brought up in a digital world. The Internet has been a pervasive element of young people's home lives. 94% of kids reported that they had Internet access at home, and a significant majority (61%) had a high-speed connection. By the time kids reach Grade 11, half of them (51 percent) have their own Internet-connected computer, separate and apart from the family computer. The survey also showed that young Canadians are now among the most wired in the world. Contrary to the earlier stereotype of the isolated and awkward computer nerd, today's wired kid is a social kid. In general, many students are better networked through the use of technology than most teachers and parents, who may not understand the abilities of technology.
Sahara Net
Sahara Net is an information and communications technology provider (ICT) serving the Saudi market, the company has rapidly grown since 1989 to offer various complementary services such as connectivity, internet, hosting, cloud, optimization, cyber security, and managed services. == History == Sahara Net is a Saudi Joint Stock Company (JSC) and its history goes back to 1989 when Sahara Net established the 1st Saudi Bulletin Board Service (BBS) in the Kingdom. During this period, it operated as a hub for email exchange in the FidoNet network. And in 1994 Sahara Net started offering Internet connectivity and other related services like internet email, web design, web hosting, and Domain name registry services. These services made the first ISP in Saudi Arabia before the official licensing in 1998, when the Saudi Internet market was regulated and Sahara Net received Internet Service Provider (ISP) license and was appointed as the official Local Internet Registry (LIR) in the Kingdom of Saudi Arabia. == Today == The company grew over these years to become one of the main ICTs in the Saudi Arabian market, extending network coverage to all major cities in Saudi Arabia, and offering various connectivity options to business as well as home users. In 2009, the company was partially acquired by Telindus (the ICT investment arm of Belgacom), the famous telecom operator in Belgium and Europe. Then, in 2014, the company was fully acquired by its original founders. Recently, Sahara Net was converted from an LLC to a JSC with over 1200 shareholders by a capital raise (original founders still control 70% of the shares).
Glossary of operating systems terms
This page is a glossary of Operating systems terminology. == A == access token: In Microsoft Windows operating systems, an access token contains the security credentials for a login session and identifies the user, the user's groups, the user's privileges, and, in some cases, a particular application. == B == binary semaphore: See semaphore. booting: In computing, booting (also known as booting up) is the initial set of operations that a computer performs after electrical power is switched on or when the computer is reset. This can take tens of seconds and typically involves performing a power-on self-test, locating and initializing peripheral devices, and then finding, loading and starting the operating system. == C == cache: In computer science, a cache is a component that transparently stores data so that future requests for that data can be served faster. The data that is stored within a cache might be values that have been computed earlier or duplicates of original values that are stored elsewhere. cloud: Cloud computing operating systems are recent, and were not mentioned in Gagne's 8th Edition (2009). In contrast, by Gagne's 9th (2012), cloud o/s received 3 pages of coverage (41, 42, 716). Doeppner (2011) mentions them (p. 3), but only to prove that operating systems "are not a solved problem" and that even if the day of the dedicated PC is waning, cloud computing has created an entirely new opportunity for o/s development ala sharing, networks, memory, parallelism, etc. Gagne (2012) adds that in addition to numerous traditional o/s's at cloud warehouses, Virtual machine o/s (VMMs), Eucalyptus, Vware, vCloud Director and others are being developed specifically for cloud management with numerous traditional o/s features (security, threads, file and memory management, guis, etc.) (p. 42). Microsoft's investment in cloud aspects of o/s tend to support that argument. concurrency == D == daemon: Operating systems often start daemons at boot time and serve the function of responding to network requests, hardware activity, or other programs by performing some task. Daemons can also configure hardware (like udevd on some Linux systems), run scheduled tasks (like cron), and perform a variety of other tasks. == E == == F == == G == == H == == I == == J == == K == kernel: In computing, the kernel is a computer program that manages input/output requests from software and translates them into data processing instructions for the central processing unit and other electronic components of a computer. The kernel is a fundamental part of a modern computer's operating system. == L == lock: In computer science, a lock or mutex (from mutual exclusion) is a synchronization mechanism for enforcing limits on access to a resource in an environment where there are many threads of execution. A lock is designed to enforce a mutual exclusion concurrency control policy. == M == mutual exclusion: Mutual exclusion is to allow only one process at a time to access the same critical section (a part of code which accesses the critical resource). This helps prevent race conditions. mutex: See lock. == N == == O == == P == paging daemon: See daemon. process == Q == == R == == S == semaphore: In computer science, particularly in operating systems, a semaphore is a variable or abstract data type that is used for controlling access, by multiple processes, to a common resource in a parallel programming or a multi user environment. == T == thread: In computer science, a thread of execution is the smallest sequence of programmed instructions that can be managed independently by an operating system scheduler. The scheduler itself is a light-weight process. The implementation of threads and processes differs from one operating system to another, but in most cases, a thread is contained inside a process. templating: In an o/s context, templating refers to creating a single virtual machine image as a guest operating system, then saving it as a tool for multiple running virtual machines (Gagne, 2012, p. 716). The technique is used both in virtualization and cloud computing management, and is common in large server warehouses. == U == == V == == W == == Z ==
Web series
A web series, also known as a short-form series or web show, is a collection of short scripted or unscripted online videos released on the Internet (i.e., World Wide Web), generally in episodic form. A single installment of a web series can be called a webisode or an episode. The scale of a web series is small, and a typical episode can be anywhere from 3 to 15 minutes long (though some may run up to 20 minutes). Web series first emerged in the mid-1990s and became more prominent in the early 2000s. Web series are distributed online on video-sharing websites and apps, such as YouTube, Vimeo, and TikTok, and can be watched on devices such as smartphones, tablets, desktops, laptops, and Smart TVs (or television sets connected to the Internet with a media streaming device). They can also be released on social media platforms. Because of the nature of the Internet, a web series may be interactive and immersive. Web series are classified as new media. Web series are different from streaming television series, as the latter are designed to be watched on streaming platforms such as Netflix, Amazon Prime Video, or Hotstar, with the streaming services offering original productions made for and by them, as well as acquiring the rights to distribute licensed content. The length of a streaming television series episode is 30 to 60 minutes (runtimes can also be longer). Although the design of a web series can be similar to that of a television series, its development and production do not entail the same financial investment required for a television series. The popularity of some web series, however, has led to them being optioned for television. Web series differ from short-form content in that the latter are vertical videos specifically designed for smartphone viewing and intended for fast-paced consumption, with runtimes typically ranging from less than one minute to three minutes. There are film festivals for web series, like Webfest Berlin, NYC Web Fest, LA Web Fest, and Vancouver Web Fest. Awards organizations have also been established to celebrate excellence in web series, such as the Streamys, Webbys, IAWTV Awards, and Indie Series Awards. Most major award ceremonies have also created web series and digital media award categories, including the Emmy Awards and the Canadian Screen Awards. == History == === 1990s === In April 1995, "Global Village Idiots", an episode of the reality-based program Rox on public access cable television in Bloomington, Indiana, was uploaded to the Internet, making Rox the first show distributed via the web. The same year, Scott Zakarin created The Spot, an episodic online story that integrated photos, videos, and blogs into the storyline. Likened to Melrose Place-on-the-Web, The Spot featured a rotating cast of characters playing trendy twenty-somethings who rented rooms in a fabled Santa Monica, California beach house called "The Spot". The Spot earned Infoseek's "Cool Site of the Year," an award which later became the Webby. In January 1999, Showtime licensed the animated sci-fi web series WhirlGirl, making it the first independently produced web series licensed by a national television network. In February 1999, the show premiered simultaneously on Showtime and online. The character occasionally appeared on Showtime, for example, hosting a "Lethal Ladies" programming block, but spent most of her time online, appearing in 100 webisodes. === 2000s === As broadband bandwidth increased in speed and availability, delivering high-quality video over the Internet became a reality. In the early 2000s, the Japanese anime industry began broadcasting original net animation (ONA), a type of original video animation (OVA) series, on the Internet. Early examples of the ONA series include Infinite Ryvius: Illusion (2000), Ajimu (2001), and Mahou Yuugi (2001). In 2000, The Brothers Chaps launched the Adobe Flash-created web series Homestar Runner. After being put on hiatus in 2010, it returned in 2014. In 2002, Matt Jolly (better known as "Krinkels") released the first episode of Madness Combat to Newgrounds. The show is still ongoing, with the latest episode "Madness Combat 12: Contravention" released on Twitch in September 2024. In 2003, Microsoft launched MSN Video, offering NBC-related content. Its web series, Weird TV 2000, a spin-off of the syndicated television series Weird TV, featured dozens of shorts, comedy sketches, and mini-documentaries produced exclusively for MSN Video. The video-sharing site YouTube was launched in early 2005, allowing users to share television programs. YouTube co-founder Jawed Karim said the inspiration for YouTube first came from Janet Jackson's role in the 2004 Super Bowl incident, when her breast was exposed during her performance, and later from the 2004 Indian Ocean tsunami. Karim could not easily find video clips of either event online, which led to the idea of a video-sharing site. From 2003 to 2006, many independent web series gained significant popularity, most notably the science fiction series Red vs. Blue by Rooster Teeth. The series was distributed independently via online portals YouTube and Revver, as well as the Rooster Teeth website, acquiring over 100 million social media views during its run. (Rooster Teeth would eventually create the computer-animated web series RWBY in 2013.) In 2004, the adult-animated series Salad Fingers was created, which amassed a cult following. The comedy show The Burg, hailed as the internet's first sitcom and starring Kelli Giddish and Lindsey Broad, rapidly gained an audience and press attention before its creators signed a creation deal with Michael Eisner. The drama Sam Has 7 Friends, which ran in the summer and fall of 2006, was nominated for a Daytime Emmy Award and was temporarily removed from the Internet when it was also acquired by Eisner. In 2004–2005, Spanish producer Pedro Alonso Pablos recorded a series of video interviews featuring actors and directors such as Guillermo del Toro, Santiago Segura, Álex de la Iglesia, and Keanu Reeves, which were distributed through his own website. lonelygirl15, California Heaven, "The Burg", and SamHas7Friends also gained popularity during this time, acquiring audiences in the millions. (Science fiction thriller lonelygirl15 was so successful that it secured a sponsorship deal with Neutrogena in 2007.) In 2004, Stewart St. John, executive producer and head writer of 1990s webisodies The Spot, revived the brand for online audiences as The Spot (2.0), with a new cast, and as a separate soap opera on Sprint PCS Vision-enabled cell phones, creating the first American mobile phone series. St. John and partner Todd Fisher produced over 2,500 daily videos of the mobile soap, driving story lines across platforms to its web counterpart. In 2007, the creators of lonelygirl15 followed up on the show's success with KateModern, a comedy-drama series that debuted on social network Bebo, and took place in the same fictional universe as their previous show. Big Fantastic created and produced the soap opera Prom Queen, financed and distributed by Michael Eisner's production firm Vuguru, and debuted the series on MySpace. Vuguru partnered with Mark Cuban's channel HDNet to release All-for-nots, a mockumentary series by The Burg creators Kathleen Grace and Thom Woodley, which debuted at the SXSW Festival in 2008. These web series highlighted interactivity with the audience in addition to the narrative on relatively low budgets. In contrast, the eight-episode show Sanctuary, starring actor/producer Amanda Tapping, cost $4.3 million to produce. Both Sanctuary and Prom Queen were nominated for a Daytime Emmy Award. Award-winning producer/director Marshall Herskovitz created the drama Quarterlife, which debuted on MySpace and was later distributed on NBC. In 2008, major television studios began releasing web series, such as the ABC comedy show Squeegies, the NBC sci-fi show Gemini Division, and the Bravo reality series The Malan Show. Warner Bros. relaunched The WB as an online network beginning with original mystery web series, Sorority Forever, created and produced by Big Fantastic and executive produced by McG. Meanwhile, MTV announced a new original web series created by Craig Brewer, $5 Cover, that brought together the indie music world and new media expansion. Joss Whedon created, produced, and self-financed musical comedy-drama Dr. Horrible's Sing-Along Blog starring Neil Patrick Harris and Felicia Day. Big Fantastic wrote and produced Foreign Body, a mystery web series that served as a prequel to Robin Cook's novel of the same name. Beckett and Goodfried founded a new Internet studio, EQAL, and produced a spin-off of lonelygirl15 titled LG15: The Resistance. The mainstream press began to provide coverage. In the United Kingdom, KateModern ended its run on Bebo. Bebo also hosted a six-month-long reality travel show, The Gap Year, produced by Endemol UK, and produced an interactive sci-fi drama Kirill for
Digital anthropology
Digital anthropology is the anthropological study of the relationship between humans and digital-era technology. The field is new, and thus has a variety of names with a variety of emphases. These include techno-anthropology, digital ethnography, cyberanthropology, and virtual anthropology. == Definition and scope == Most anthropologists who use the phrase "digital anthropology" are specifically referring to online and Internet technology. The study of humans' relationship to a broader range of technology may fall under other subfields of anthropological study, such as cyborg anthropology. The Digital Anthropology Group (DANG) is classified as an interest group in the American Anthropological Association. DANG's mission includes promoting the use of digital technology as a tool of anthropological research, encouraging anthropologists to share research using digital platforms, and outlining ways for anthropologists to study digital communities. Cyberspace or the "virtual world" itself can serve as a "field" site for anthropologists, allowing the observation, analysis, and interpretation of the sociocultural phenomena springing up and taking place in any interactive space. National and transnational communities, enabled by digital technology, establish a set of social norms, practices, traditions, storied history and associated collective memory, migration periods, internal and external conflicts, potentially subconscious language features and memetic dialects comparable to those of traditional, geographically confined communities. This includes the various communities built around free and open-source software, online platforms such as Facebook, Twitter/X, Instagram, 4chan and Reddit and their respective sub-sites, and politically motivated groups like Anonymous, WikiLeaks, or the Occupy movement. A number of academic anthropologists have conducted traditional ethnographies of virtual worlds, such as Bonnie Nardi's study of World of Warcraft or Tom Boellstorff's study of Second Life. Academic Gabriella Coleman has done ethnographic work on the Debian software community and the Anonymous hacktivist network. Theorist Nancy Mauro-Flude conducts ethnographic field work on computing arts and computer subcultures such as systerserver.net a part of the communities of feminist web servers and the Feminist Internet network. Eitan Y. Wilf examines the intersection of artists' creativity and digital technology and artificial intelligence. Yongming Zhou studied how in China the internet is used to participate in politics. Eve M. Zucker and colleagues study the shift to digital memorialization of mass atrocities and the emergent role of artificial intelligence in these processes. Victoria Bernal conducted ethnographic research on the themes of nationalism and citizenship among Eritreans participating in online political engagement with their homeland. Anthropological research can help designers adapt and improve technology. Australian anthropologist Genevieve Bell did extensive user experience research at Intel that informed the company's approach to its technology, users, and market. == Methodology == === Digital fieldwork === Many digital anthropologists who study online communities use traditional methods of anthropological research. They participate in online communities in order to learn about their customs and worldviews, and back their observations with private interviews, historical research, and quantitative data. Their product is an ethnography, a qualitative description of their experience and analyses. Other anthropologists and social scientists have conducted research that emphasizes data gathered by websites and servers. However, academics often have trouble accessing user data on the same scale as social media corporations like Facebook and data mining companies like Acxiom. In terms of method, there is a disagreement in whether it is possible to conduct research exclusively online or if research will only be complete when the subjects are studied holistically, both online and offline. Tom Boellstorff, who conducted a three-year research as an avatar in the virtual world Second Life, defends the first approach, stating that it is not just possible, but necessary to engage with subjects “in their own terms”. Others, such as Daniel Miller, have argued that an ethnographic research should not exclude learning about the subject's life outside the internet. === Digital technology as a tool of anthropology === The American Anthropological Association offers an online guide for students using digital technology to store and share data. Data can be uploaded to digital databases to be stored, shared, and interpreted. Text and numerical analysis software can help produce metadata, while a codebook may help organize data. == Ethics == Online fieldwork offers new ethical challenges. According to the American Anthropological Association's ethics guidelines, anthropologists researching a community must make sure that all members of that community know they are being studied and have access to data the anthropologist produces. However, many online communities' interactions are publicly available for anyone to read, and may be preserved online for years. Digital anthropologists debate the extent to which lurking in online communities and sifting through public archives is ethical. The Association also asserts that anthropologists' ability to collect and store data at all is "a privilege", and researchers have an ethical duty to store digital data responsibly. This means protecting the identity of participants, sharing data with other anthropologists, and making backup copies of all data. == Prominent figures == Genevieve Bell is an Australian cultural anthropologist credited for pioneering the User Experience field. During her time working for Intel Corporation, Bell studied how various cultures from around the world interacted with and experienced technology. Researching and improving user experience allows companies and designers to gather data regarding how users utilize their digital products and what requires improvement or expansion. Tom Boellstorff is an anthropologist known for Coming of Age in Second Life: An Anthropologist Explores the Virtually Human where he conducted research on how engaging in virtual worlds affects the player’s sense of self. Gabriella Coleman is an American anthropologist concerned with the politics, ethics, and culture of hacking and online activism. Coleman’s most notable ethnography features the hacktivist collective Anonymous, where she argues that various genres of hacking exist according to the social conditions at play. Coleman is dedicated to making her ethnography accessible to a diverse audience, including academics and non-academics. Diana E. Forsythe was an American anthropologist of science and technology and the author of the essays featured in Studying Those Who Study Us: An Anthropologist in the World of Artificial Intelligence. She asked relevant questions such as how should humans interact with computers and how gender roles are maintained in technology-oriented occupations. Heather Horst is a sociocultural anthropologist interested in the relationship between digital social relations and material culture. Nancy Mauro-Flude is a design anthropologist whose work explores the tacit relations between embodied cognition, computational materiality, maker culture, self-hosted webserver cooperatives, creative practice, and artistic research in digital infrastructure and Internet publishing. Mizuko Ito is a Japanese cultural anthropologist specializing in technology use and the intersection between computers and the social sciences. Her primary interest is in how young people utilize media technology and how it can be used to engage students in education. Daniel Miller is an anthropologist with a concentration in digital anthropology. His research includes the smartphone and perpetual opportunism, the intent and consequences of posting on social media in various geographical locations, and how hospice patients use media to socialize in the last stage of their lives. Mike Wesch is a cultural anthropologist interested in how people share their lives, cultures, and beliefs through digital media.
Faceu
FaceU (Chinese: 激萌) is a camera app for smartphones running Android or Apple iOS that edits portrait photographs, typically selfies. This app uses AR technology to allow users to add stickers or effects in real-time when taking selfies and videos. It was launched in 2016 and had 250 million registered users in 2017. Most of the users of Faceu are females from 15 to 35 years old. In February 2018, Faceu was acquired by Chinese media startup Toutiao, which is worth about $300 million. The app was banned in India (along with other Chinese apps) on 2 September 2020 by the government, the move came amid the 2020 China-India skirmish. == Online marketing == FaceU is one of several selfie camera apps in China, including MeituPic, Pitu, and Camera360. The app includes social functions such as instant messaging and video chat. Photos and short videos are deleted after a short period. . FaceU has worked with brands to create themed stickers for social media campaigns. In 2016, Faceu collaborated with MeituPic's Meipai and launched a rainbow effect. In October 2017, during the Mid-Autumn Festival and National Day, FaceU released a feature that applied historical or military costumes to selfies. The app has also worked with various social media personalities and celebrities, who have posted content using FaceU effects. Faceu group engages users' emotions utilizing key opinion leaders (KOL) and posters on social media. == Usage and Demographics == FaceU had a large user base. According to industry sources, the app had more than 90 million monthly active users (MAU) and over 11 million daily active users (DAU) at certain points. Most of the users were under 30 and mainly women. The app was especially popular in major Chinese cities like Beijing, Shanghai, and Guangzhou. FaceU also caught on in other parts of East Asia, particularly Japan and South Korea. Some app stores claim the app had hundreds of millions of users worldwide, but these numbers mostly come from the company’s marketing materials and have not been confirmed by independent sources. == Product Features == FaceU includes face recognition and live augmented reality (AR) effects. It allows users to add filters and stickers in real time while they are recording, rather than having to apply them later. The app integrates beauty filters, tools to create emojis and GIFs, and follow-video functionality that automatically tracks the face and movements as it records. Studies and market reports indicate that augmented reality (AR) filters and beautification tools are now common in smartphone photography. These features have influenced the way people take photos and what they expect photos to look like when shared online. Adding AR filters and beautification options has become a standard feature that most mobile photography apps now include.
Digital heritage
The Charter on the Preservation of Digital Heritage of UNESCO defines digital heritage as embracing "cultural, educational, scientific and administrative resources, as well as technical, legal, medical and other kinds of information created digitally, or converted into digital form from existing analogue resources". Digital heritage also includes the use of digital media in the service of understanding and preserving cultural or natural heritage. The digitization of both cultural heritage and Natural heritage serves to enable the permanent access of current and future generations to culturally important objects ranging from literature and paintings to flora, fauna, or habitats. It is also used in the preservation and access of objects with enduring or significant historical, scientific, or cultural value including buildings, archeological sites, and natural phenomena. The main idea is the transformation of a material object into a virtual copy. It should not be confused with digital humanities, which uses digitizing technology to specifically help with research. There have been several debates concerning the efficiency of the process of digitizing heritage. Some of the drawbacks refer to the deterioration and technological obsolescence due to the lack of funding for archival materials and underdeveloped policies that would regulate such a process. Another main social debate has taken place around the restricted accessibility due to the digital divide that exists around the world. Nevertheless, new technologies enable easy, instant and cross boarder access to the digitized work. Many of these technologies include spatial and surveying technology to gain aerial or 3D images. Digital heritage is also used to monitor cultural heritage sites over years to help with preservation, maintenance, and sustainable tourism. It aims to observe any changes, diseases, or deterioration that may occur on objects. == Cultural and natural heritage == Digital Heritage that is not born-digital can be divided into two separate groups—digital cultural heritage and digital natural heritage. Digital cultural heritage is the maintenance or preservation of cultural objects through digitization. These are objects, in some cases entire cities, that are considered of cultural importance. These objects are sometimes able to be digitized or physically represented in minute detail. Digital cultural heritage also includes intangible heritage. These are things such as "oral traditions, customs, value systems, skills, traditional dances, diets, performances" and other unique features of a culture. Intangible heritage is particularly vulnerable to destruction due to urbanization. There are several projects and programs which concentrate on digital cultural heritage. One such project is Mapping Gothic France, which aims to document and preserve cathedrals across France using images, VR tours, laser scans, and panoramas. This allows for scientific and historical study and preservation of the cathedrals and also provides detailed access to the sites for anyone in the world. The aim of projects like these is to help with the preservation and restoration of cultural objects. After the fire at Notre-Dame de Paris in 2019, digital scans are a major component in the ongoing restoration. Digital natural heritage pertains to objects of natural heritage that are considered of cultural, scientific, or aesthetic importance. Digital heritage in this instance is used not only to grant access to these objects, but to monitor any changes over time, such as with plant or animal habitats. Geographic information systems are a form of technology that is used primarily in the study of natural heritage. Western Australia has one such digital heritage project where they have created a digital repository of native plants important to both the region and the Aboriginal people. This is in order to protect and preserve the important biological heritage of Western Australia. == Educational impact == The digitization of these heritage objects has impacts around the world and across many disciplines. The increase of digital items means that people, especially the youth, are able to learn about new objects and cultures online through various media. They provide viewers with a more in-depth experience with an item or place, instead of just an image. The media is also able to be curated to age- or educational-level appropriateness, making learning easier. Some of the technology used in education, especially in museums, includes mobile apps, virtual reality, social media, and video games. Cultural heritage institutions are using this technology to try to expand access, increase appreciation for these items, and to gain new viewpoints on their collections. Digital heritage also helps scientists, archeologists, or other historians and specialists collect data on these objects, providing more information on the objects and the past. Digital Heritage is still currently being studied and improved by several sectors invested in cultural and intellectual preservation. It is particularly of interest to museums, governments, and academic institutions. Research by these groups are creating new concepts, methodologies, and techniques for the implementation of digital heritage to protect this type of cultural and natural heritage. As new technologies are created, museums and other heritage institutions are provided with more ways of disseminating their information and engaging with the public. A lack of resources within certain groups may still hinder everyone from accessing digital heritage. == Technologies used == The digitization of cultural heritage is attained through several means. Some of the main technology used is spatial and surveying technology. Space archaeological technology - Observations from space satellites are non-intrusive and can be integrated with other technologies on the ground. It is used to photograph vast areas of earth and help with research. Remnants of ancient civilizations or other human objects are also able to be spotted via satellite imaging. Unmanned aerial vehicles - UAV, such as drones, are commonly used in digitization of cultural heritage objects. The Great Wall of China is one such site that has been digitized and analyzed through unmanned aerial vehicle investigation. The resulting images, 3-D scans, maps, and other data are used to evaluate and maintain the Great Wall. Laser Scanning - Laser scanning is used to scan an area and recreate spatially accurate depictions, such as a 3D model. Virtual and Augmented Reality - VR is used primarily for education but does have uses for reconstruction and research. It is used to provide users with an immersive experience, as though they are actually at the site. Geographic Information systems - GIS are used primarily to study objects and sites over time. It is also important in studying the socioeconomic status of the past. 3D Modeling - 3D modeling has become more widely used due to an increase in technology that works specifically with heritage sites. It is often used in tandem with GIS to reconstruct objects for restoration, documentation, preservation, and educational purposes. Data is collected using satellite or other aerial imaging and ground-based imaging. There is some concern about the accuracy and authenticity of these types of digital reconstructions and their effects on the sites themselves. A major barrier to digital heritage is the amount of resources it takes to undertake such projects, such as money, time, and technology. Money and the lack of qualified personnel are two that are considered the most obstructive. This is especially an issue in less developed areas or within underfunded groups such as minorities. == Virtual heritage == A particular branch of digital heritage, known as "virtual heritage", is formed by the use of information technology with the aim of recreating the experience of existing cultural heritage, as in (approximations of) virtual reality. It is hard to differentiate this branch from the core contribution of digital heritage which is storing the heritage data digitally. Parsinejad et al. developed two techniques for Digital Twinning of the architectural assets and representation of the physical assets virtually in the museum context. Two techniques are hand recording and digital recording and both have challenges in adoption and implementation of Digital Twin as a revolutionary concept. == Digital heritage stewardship == Digital heritage stewardship is a form of digital curation which is modeled after collaborative curation. Digital heritage stewardship means stepping away from typical curatorial practices (e.g. discovering, arranging, and sharing information, material, and/or content) in favor of practices which allow its stakeholders the opportunity to contribute historical, political, and social context and culture. The collaborative practice encourages the creation, engagement, and maintena