MIDI Show Control (MSC), is a real-time System Exclusive extension of the international Musical Instrument Digital Interface (MIDI) standard. MSC enables all types of entertainment equipment to communicate with each other through the process of show control. The MIDI Show Control protocol is a technical standard ratified by the MIDI Manufacturers Association in 1991, which allows entertainment control devices to talk with each other and with computers to perform show control functions in live and prerecorded entertainment applications. Just like musical MIDI, MSC does not transmit the actual show media - it simply transmits digital information about a multimedia performance. == How MSC works == When any cue is called by a user (typically a stage manager) and/or preprogrammed timeline in a show control software application, the show controller transmits one or more MSC messages from its 'MIDI Out' port. A typical MSC message sequence is: the user has just called a cue the cue is for lighting device 3 the cue is number 45.8 the cue is in cue list 7 MSC messages are serially transmitted in the same way as musical messages and are fully compatible with all conventional MIDI hardware; however, many modern MSC devices now use Ethernet communications for higher bandwidth and the flexibility afforded by networks. Other performance parameters are also transmitted, such as lighting desk submaster settings using MSC SET messages. All cues that a media control device is capable of playing are assigned MSC messages within the Show Controller's cue list and they are transmitted from its MIDI Out port at the appropriate show time, depending on the actions of the user and the show controller's internally timed sequences. All MSC-compatible instruments follow the MSC specification and thus transmit identical MSC messages for identical MSC events, such as the playing of a certain cue on the media controller. Since they follow a published standard, all MSC devices can communicate with and understand each other, as well as with computers that have been programmed to understand MSC messages using the MSC Command Set. All MSC compatible instruments have a built-in MIDI interface and many now follow one of the various MIDI-over-Ethernet protocols. == History == To create the MSC spec, Charlie Richmond headed the USITT MIDI Forum on their Callboard Network in 1990, which included developers and designers from the theatre sound and lighting industry from around the world. It is believed that this was the first international standard to be developed without a single physical meeting of the participants. This Forum created the MSC standard between January and September 1990. This was ratified by the MIDI Manufacturers Association (MMA) in January 1991, and the Japan MIDI Standards Committee (JMSC) later that year, becoming a part of the standard MIDI specification in August 1991. The first show to fully use the MSC specification was the Magic Kingdom Parade at Walt Disney World's Magic Kingdom in September 1991. == MIDI Show Control software ==
Visual analytics
Visual analytics is a multidisciplinary science and technology field that emerged from information visualization and scientific visualization. It focuses on how analytical reasoning can be facilitated by interactive visual interfaces. == Overview == Visual analytics is "the science of analytical reasoning facilitated by interactive visual interfaces." It can address problems whose size, complexity, and need for closely coupled human and machine analysis may make them otherwise intractable. Visual analytics advances scientific and technological development across multiple domains, including analytical reasoning, human–computer interaction, data transformations, visual representation for computation and analysis, analytic reporting, and the transition of new technologies into practice. As a research agenda, visual analytics brings together several scientific and technical communities from computer science, information visualization, cognitive and perceptual sciences, interactive design, graphic design, and social sciences. Visual analytics integrates new computational and theory-based tools with innovative interactive techniques and visual representations to enable human-information discourse. The design of the tools and techniques is based on cognitive, design, and perceptual principles. This science of analytical reasoning provides the reasoning framework upon which one can build both strategic and tactical visual analytics technologies for threat analysis, prevention, and response. Analytical reasoning is central to the analyst's task of applying human judgments to reach conclusions from a combination of evidence and assumptions. Visual analytics has some overlapping goals and techniques with information visualization and scientific visualization. There is currently no clear consensus on the boundaries between these fields, but broadly speaking the three areas can be distinguished as follows: Scientific visualization deals with data that has a natural geometric structure (e.g., MRI data, wind flows). Information visualization handles abstract data structures such as trees or graphs. Visual analytics is especially concerned with coupling interactive visual representations with underlying analytical processes (e.g., statistical procedures, data mining techniques) such that high-level, complex activities can be effectively performed (e.g., sense making, reasoning, decision making). Visual analytics seeks to marry techniques from information visualization with techniques from computational transformation and analysis of data. Information visualization forms part of the direct interface between user and machine, amplifying human cognitive capabilities in six basic ways: by increasing cognitive resources, such as by using a visual resource to expand human working memory, by reducing search, such as by representing a large amount of data in a small space, by enhancing the recognition of patterns, such as when information is organized in space by its time relationships, by supporting the easy perceptual inference of relationships that are otherwise more difficult to induce, by perceptual monitoring of a large number of potential events, and by providing a manipulable medium that, unlike static diagrams, enables the exploration of a space of parameter values These capabilities of information visualization, combined with computational data analysis, can be applied to analytic reasoning to support the sense-making process. == History == As an interdisciplinary approach, visual analytics has its roots in information visualization, cognitive sciences, and computer science. The term and scope of the field was defined in the early 2000s through researchers such as Jim Thomas, Kristin A. Cook, John Stasko, Pak Chung Wong, Daniel A. Keim and David S. Ebert. As a reaction to the September 11, 2001 attacks the United States Department of Homeland Security was established in late 2002, combining dozens of previously separated government agencies. Building upon earlier work on visual data mining by Daniel A. Keim starting in the late 1990s, this simultaneously lead to the development of a research agenda for visual analytics. As part of these efforts the National Visualization and Analytics Center (NVAC) at Pacific Northwest National Laboratory was established in 2004, whose charter was to develop system to mitigate information overload after the September 11, 2001 attacks in the intelligence community. Their research work determined core challenges, posed open research questions, and positioned visual analytics as a new research domain, in particular through the 2005 research agenda Illuminating the Path. In 2006, the IEEE VIS community led by Pak Chung Wong and Daniel A. Keim launched the annual IEEE Conference on Visual Analytics Science and Technology (VAST), providing a dedicated venue for research into visual analytics, which in 2020 merged to form the IEEE Visualization conference. In 2008, scope and challenges of visual analytics were conceptually defined by Daniel A. Keim and Jim Thomas in their influential book about visual data mining. The domain was further refined as part of the European Commissions FP7 VisMaster program in the late 2000s. == Topics == === Scope === Visual analytics is a multidisciplinary field that includes the following focus areas: Analytical reasoning techniques that enable users to obtain deep insights that directly support assessment, planning, and decision making Data representations and transformations that convert all types of conflicting and dynamic data in ways that support visualization and analysis Techniques to support production, presentation, and dissemination of the results of an analysis to communicate information in the appropriate context to a variety of audiences. Visual representations and interaction techniques that take advantage of the human eye's broad bandwidth pathway into the mind to allow users to see, explore, and understand large amounts of information at once. === Analytical reasoning techniques === Analytical reasoning techniques are the method by which users obtain deep insights that directly support situation assessment, planning, and decision making. Visual analytics must facilitate high-quality human judgment with a limited investment of the analysts’ time. Visual analytics tools must enable diverse analytical tasks such as: Understanding past and present situations quickly, as well as the trends and events that have produced current conditions Identifying possible alternative futures and their warning signs Monitoring current events for emergence of warning signs as well as unexpected events Determining indicators of the intent of an action or an individual Supporting the decision maker in times of crisis. These tasks will be conducted through a combination of individual and collaborative analysis, often under extreme time pressure. Visual analytics must enable hypothesis-based and scenario-based analytical techniques, providing support for the analyst to reason based on the available evidence. === Data representations === Data representations are structured forms suitable for computer-based transformations. These structures must exist in the original data or be derivable from the data themselves. They must retain the information and knowledge content and the related context within the original data to the greatest degree possible. The structures of underlying data representations are generally neither accessible nor intuitive to the user of the visual analytics tool. They are frequently more complex in nature than the original data and are not necessarily smaller in size than the original data. The structures of the data representations may contain hundreds or thousands of dimensions and be unintelligible to a person, but they must be transformable into lower-dimensional representations for visualization and analysis. === Theories of visualization === Theories of visualization include: Jacques Bertin's Semiology of Graphics (1967) Nelson Goodman's Languages of Art (1977) Jock D. Mackinlay's Automated design of optimal visualization (APT) (1986) Leland Wilkinson's Grammar of Graphics (1998) Hadley Wickham's Layered Grammar of Graphics (2010) === Visual representations === Visual representations translate data into a visible form that highlights important features, including commonalities and anomalies. These visual representations make it easy for users to perceive salient aspects of their data quickly. Augmenting the cognitive reasoning process with perceptual reasoning through visual representations permits the analytical reasoning process to become faster and more focused. == Process == The input for the data sets used in the visual analytics process are heterogeneous data sources (i.e., the internet, newspapers, books, scientific experiments, expert systems). From these rich sources, the data sets S = S1, ..., Sm are chosen, whereas each Si , i ∈ (1, ..., m) consists of attrib
Online exhibition
An online exhibition, also referred to as a virtual exhibition, online gallery, cyber-exhibition, is an exhibition whose venue is cyberspace. Museums and other organizations create online exhibitions for many reasons. For example, an online exhibition may: expand on material presented at, or generate interest in, or create a durable online record of, a physical exhibition; save production costs (insurance, shipping, installation); solve conservation/preservation problems (e.g., handling of fragile or rare objects); reach lots more people: "Access to information is no longer restricted to those who can afford travel and museum visits, but is available to anyone who has access to a computer with an Internet connection. Unlike physical exhibitions, online exhibitions are not restricted by time; they are not forced to open and close but may be available 24 hours a day. In the nonprofit world, many museums, libraries, archives, universities, and other cultural organizations create online exhibitions. A database of such exhibitions is Library and Archival Exhibitions on the Web. Online exhibition organizers may use techniques such as marquee text, display advertisements, and in-event emails to engage patrons. Various guides have been published to help organizations create effective online exhibitions. The earliest museum with a physical existence to create a programme of substantial online exhibitions with high resolution images of artefacts was the Museum of the History of Science in Oxford, the first of which, The Measurers: a Flemish Image of Mathematics in the Sixteenth Century and an exhibition of early photographs, were published on 21 August 1995. == Examples of online exhibitions == International Museum of Women is an online-only museum that does not have a physical building and instead offers online exhibitions about women's issues globally as well as an online community. Online exhibitions include "Imagining Ourselves" (launched 2006) about women's identity, "Women, Power and Politics" (2008), and "Economica: Women and the Global Economy" (2009). Tucson LGBTQ Museum is an online-only museum that does not have a physical building and instead offers online exhibitions about LGBTQ history. The online photographic, audio, video, text, and other historical exhibitions include exhibits from the 1700s to the present day. The effort began in the summer of 1967 and spanned almost 50 years. International New Media Gallery (INMG) is an online museum specialising in moving image and screen-based art. The INMG is dedicated to exploring current debates and topics in art history: touching on areas such as migration, war, environmental activism and the internet itself. The gallery publishes extensive academic catalogues alongside its exhibitions. It also hosts spaces for discussion and debate, both online and offline. Virtual Museum of Modern Nigerian Art – the VMMNA is the first of its kind in Africa. Hosted by the Pan-African University, Lagos, Nigeria this virtual museum offers a good view of the development on Nigerian Art in the past fifty years.
Digital edition
A digital edition is an online magazine or online newspaper delivered in electronic form which is formatted identically to the print version. Digital editions are often called digital facsimiles to underline the likeness to the print version. Digital editions have the benefit of reduced cost to the publisher and reader by avoiding the time and the expense to print and deliver paper edition. This format is considered more environmentally friendly due to the reduction of paper and energy use. These editions also often feature interactive elements such as hyperlinks both within the publication itself and to other internet resources, search option and bookmarking, and can also incorporate multimedia such as video or animation to enhance articles themselves or for advertisement purposes. Some delivery methods also include animation and sound effects that replicate turning of the page to further enhance the experience of their print counterparts. Magazine publishers have traditionally relied on two revenue sources: selling ads and selling magazines. Additionally some publishers are using other electronic publication methods such as RSS to reach out to readers and inform them when new digital editions are available. Current technologies are generally either reader-based, requiring a download of an application and subsequent download of each edition, or browser-based, often using Macromedia Flash, requiring no application download (such as Adobe Acrobat). Some application-based readers allow users to access editions while not connected to internet. Dedicated hardware such as the Amazon Kindle and the iPad is also available for reading digital editions of select books, popular national magazines such as Time, The Atlantic, and Forbes and popular national newspapers such as the New York Times, Wall Street Journal, and Washington Post. Archives of print newspapers, in some cases dating hundreds of years back, are being digitized and made available online. Google is indexing existing digital archives produced by the newspapers themselves or by third parties. Newspaper and magazine archival began with microform film formats solving the problem of efficiently storing and preserving. This format, however, lacked accessibility. Many libraries, especially state libraries in the United States are archiving their collections digitally and converting existing microfilm to digital format. The Library of Congress provides project planning assistance and the National Endowment for the Humanities procures funding through grants from its National Digital Newspaper Program. Digital magazines, ezines, e-editions and emags are sometimes referred to as digital editions, however some of these formats are published only in digital format unlike digital editions which replicate a printed edition as well. == Digital magazines == Digital-replica magazines number in thousands—consumer and business publications, house magazines for associations, institutions and corporations – and conversion from print to digital was still increasing as of 2009. A 2008 report funded by digital-replica technology providers and auditing agencies counted 1,786 digital-replica editions having more than 7 million circulation among business-to-business publications, of which 230 editions were audited The same report counted 1,470 digital-replica editions of consumer magazines having 5.5 million digital circulation, of which 240 editions were audited. These authors estimated that by year end of 2009 there would be 8,000 digital magazines, having a combined distribution of more than 30 million people. Surveys have shown that, while not all subscribers prefer a digital edition, some do because of the environmental benefit and also because digital magazines are searchable and may easily be passed along or linked to. One such survey funded by a digital publisher reported on inputs from more than 30,000 subscribers to business, consumer and other digital magazines. == Digital magazine business models == === Reduced printing and distribution costs === The publishers' choice to save by moving some or all subscribers from print to digital is widely accepted. Oracle magazine, which has 176,000 of its 516,000 subscribers receiving digital according to its June 2009 BPA circulation statement, is said to be the most widely circulated digital edition of a business-to-business publication. Publishers who do this need to choose whether to make some issues all-digital, move some subscribers to digital edition, add some digital-only subscribers, or send all subscribers the digital edition. === Paid subscription revenue === In 2009, a major consumer magazine, PC Magazine, went all-digital, charging an annual subscription fee for its digital-replica edition. Many consumer magazines and newspapers are already available in eReader formats that are sold through booksellers. === Sponsorship and advertising revenue === Digital editions often carry special "front cover" advertising, or advertising on the email message alerting the subscriber of the digital edition. Publishers also produce special digital-only inserts and rich-media ads or advertorials. === Designed-for-digital issues === Another approach is to fully replace printed issues with digital ones, or to use digital editions for extra issues that would otherwise have to be printed.
Mass media use by the Islamic State
The Islamic State (IS) is known for its extensive and effective use of propaganda. It uses a version of the Muslim Black Standard flag and developed an emblem which has clear symbolic meaning in the Muslim world. The Islamic State targets younger audiences, such as teenagers and young adults, since they are more vulnerable to propaganda. It is known to exploit the internet to spread its propaganda by establishing websites, such as the Al Fustat domain. Videos by the Islamic State are commonly accompanied by nasheeds (chants), notable examples being the chant Dawlat al-Islam Qamat, which came to be viewed as an unofficial anthem of the Islamic State, and Salil al-Sawarim. Academic research has emphasized the scale and volume of Islamic State media production beyond its flagship magazines. A quantitative study cited in R. Malash’s academic work documented 1,373 distinct Islamic State media products released over a six-month period between 1 August 2017 and 28 February 2018, including magazines, newsletters, reports, photographic releases, audio recordings, and other media formats. Scholars have used such datasets to illustrate the breadth and intensity of the group’s media output, particularly during periods of territorial decline, when propaganda activity remained high despite military pressure. == Traditional media == === Al-Furqan Foundation for Media Production === In January 2006, shortly after the group's rebranding as the "Islamic State of Iraq", it established the Al-Furqan Foundation for Media Production (Arabic: مؤسسة الفرقان للإنتاج الإعلامي, romanized: Muasasat al-Furqān lil'īntāj al'ilāmī), which produces CDs, DVDs, posters, pamphlets, and web-related propaganda products and official statements. It is the primary media production house of the Islamic State and responsible for production of major media releases, including the statements of the spokesmen and leaders of the group. On January 10, 2006, Al-Furqan released its very first video, titled (Arabic: زحف الأنوار, romanized: Zahf al-Anwār) It was founded by the Iraqi man Dr Wa'il al-Fayad, known as Abu Muhammad al-Furqan. He got his name "Al-Furqan" from his role in founding this media house, which was named after the 25th surah of the Quran Al-Furqan. It is the oldest media production house for the Islamic State, being founded in November 2006 to release media for the Islamic State of Iraq. The earliest release indexed by the SITE Intelligence Group is on 21 November 2006, documenting the storming of a police station in the Iraqi town of Miqdadiyah. Al-Furqan is considered to be a considerable innovation in jihadist media, with Kavkaz Center describing it as "a milestone on the path of jihad, a distinguished media that takes the great care in the management of the conflict with the crusaders and their tails and to expose the lies in the crusader's media." In October 2007, the Long War Journal reported on United States Army raids targeting Al-Furqan media cell members across Iraq, including in Mosul and Samarra. Between August 2013 and March 2014 they released the 22 part series Messages from the Land of Epic Battles. On 2 September 2014 SITE Intelligence Group discovered the beheading video called A Second Message to America, about the death of Steven Sotloff. Since then, Al-Furqan has released videos of their operations across Iraq and Syria, as well as execution videos directed to governments around the world. In April 2019, Al-Furqan released a video Interviewing Abu Bakr al-Baghdadi. Al-Furqan also produces media in the form of audio, which consists mostly of recordings of IS leaders and spokesmen giving speeches, as well as producing a single nasheed under their name called "Ya Allah Al-Jannah" (O Allah, (we ask you for) Paradise), sung by now-dead member of IS, Uqab Al-Marzuqi. === Al-I'tisam Foundation for Media Production === The Islamic State of Iraq founded a second media foundation - Al-I'tisam Media Foundation - around 2011, marked by their first video release, titled "The Conqueror of the Murtaddin: Abu Ahmad Al-Ansari". The foundation has since released a few series of videos, 50 parts of "Windows on the Land of Battles", 9 parts of "Pictures from the Land of Battles", a 9-part series quoting leaders about the establishment of the Islamic State, and other series before their last release, "Deterring the Safavids in Salah ad-Din" in 2015. Since then, there were no further releases from their behalf. === Al-Hayat Media Center === In mid-2014, IS established the Al-Hayat Media Center, which targets Western audiences and produces material in English, German, Russian, Urdu, Indonesian, Turkish, Bengali, Chinese, Bosnian, Kurdish, Uyghur, and French. When IS announced its expansion to other countries in November 2014 it established media departments for the new branches, and its media apparatus ensured that the new branches follow the same models it uses in Iraq and Syria. Then FBI Director James Comey said that IS's "propaganda is unusually slick," noting that, "They are broadcasting... in something like 23 languages". In July 2014, Al-Hayat began publishing a digital magazine called Dabiq, in a number of different languages including English. According to the magazine, its name is taken from the town of Dabiq in northern Syria, which is mentioned in a hadith about Armageddon. Al-Hayat also began publishing other digital magazines, including the Turkish language Konstantiniyye, the Ottoman word for Istanbul, the French language Dar al-Islam, and the Russian language Istok (Russian: Исток). By late 2016, these magazines had apparently all been discontinued, with Al-Hayat's material being consolidated into a new magazine called Rumiyah (Arabic for Rome). === Al-Naba === While the group's glossy, foreign-language magazines like Dabiq and Rumiyah ceased publication as the group lost territory, the weekly Arabic newsletter Al-Naba (The News) has continued to publish regularly, becoming the central pillar of the group's "media jihad" in the post-territorial phase. Recent scholarship, including studies published in 2025, suggests that Al-Naba serves a dual purpose: maintaining internal cohesion among dispersed fighters and projecting a narrative of endurance to enemies. Unlike the earlier magazines which were designed for recruitment, Al-Naba focuses on bureaucratic reporting, military statistics, and religious instruction. These are then translated and disseminated by decentralized supporter networks ("media mujahideen") to reach non-Arabic speakers. === Furat Media Center === The Al-Furat Media Center is another media center established in around 2015 to cater towards non-Arab speaking audiences. However, unlike the other organizations, the production wasn't as professional as ones made by the other media centers. Instead, they partially relied on local media departments and foreign communities of the Mujahideen to produce short-form videos. However, some professional long-form videos were also made under their behalf. As of now, the media center is the only known active branch of all the media centers of the Islamic State, after heavy losses from past campaigns against them. Their last release was "The Resolve of Muwahhidin in Russia", where videos from the Surovikino penal colony hostage crisis were edited and released. === Ajnad Foundation for Media Production === Ajnad Foundation is one of the official media wings of Islamic State which produces nasheeds and Quran recitations. It was established in January 2014 and has released more than 150 nasheeds. === Asdaa Foundation === Like the Ajnad Foundation, the Asdaa Foundation (Arabic: مؤسسة أصداء) or Asedaa Foundation produces Anasheed (Islamic chants). The foundation is the closest counterpart to Ajnad in producing Islamic State nasheeds, only difference being Ajnad is directly linked to the Islamic State while Asdaa is only classified as a "supporter organization" (munaser/munasera). The foundation had humble beginnings possibly in Yemen, where low-quality nasheeds were produced at first by 2 munshids, Abu Layth Al-Iraqi and Abu Ya'qub Al-Yamani. After that, the quality had improved a bit (possibly with new equipment and increased recognition) and eventually had its nasheeds included in the Islamic State's official media releases. One of its munshids, Abu Hafs is a renowned munshid who sings around 70 nasheeds, who as well works with Ajnad Foundation in some instances. He is currently alive, and working under Ansar Production Center (مركز إنتاج الأنصار), another Munasir foundation and Asedaa. Another Yemeni munshid, Abu Musab al-Adani, worked temporarily with Asdaa Foundation before defecting back to AQAP, from which he previously defected from. Some of their anasheed is used in IS's execution videos, a popular one is their human slaughterhouse execution video released during the time of Eid Al-Adha in 2016. The background nasheed they used was "We Came To Fill The Horizons With Terror", produced by the Asd
Color picker
A color picker (also color chooser or color tool) is a graphical user interface widget, usually found within graphics software or online, used to select colors and, in some cases, to create color schemes (the color picker might be more sophisticated than the palette included with the program). Operating systems such as Microsoft Windows or macOS have a system color picker, which can be used by third-party programs (e.g., Adobe Photoshop). == History == The concept of color pickers dates back to the early days of computer graphics and digital design. Early versions were rudimentary, often featuring basic color palettes and limited functionality. One of the first drawing programs to include a color picker was SketchPad (also referred to as LisaSketch), designed by Bill Atkinson in 1983 to showcase LisaGraf's capabilities. It used a black and white pattern system, using dithering to create the illusion of color depth. With the increased popularity of personal computers with color graphics, there soon came software similar to SketchPad that supported more than two colors, like Broderbund's Dazzle Draw for the Apple II or Electronic Arts' Deluxe Paint. However, the color pickers present in those programs relied on indexed colors. Color pickers, resembling ones used in modern software with support for direct, 24-bit color, appeared soon after the release of the Macintosh II, with the release of programs like Adobe Photoshop and Corel Painter. As the increase of color depth allowed the choice of significantly more colors, the shape and form of color pickers started to diverge. For example, Adobe Photoshop used a hue-saturation color wheel with a slider for brightness in version 0.63, later on switching to a rectangular design accompanied by a hue slider. Corel Painter pioneered the triangular saturation and brightness picker with a hue ring around it, aiming to better represent the continuity of the hue spectrum and the relationship between saturation and brightness. == Purpose == A color picker is used to select and adjust color values. In graphic design and image editing, users typically choose colors via an interface with a visual representation of a color—organized with quasi-perceptually-relevant hue, saturation and lightness dimensions (HSL) – instead of keying in alphanumeric text values. Because color appearance depends on comparison of neighboring colors (see color vision), many interfaces attempt to clarify the relationships between colors. == Interface == Color tools can vary in their interface. Some may use sliders, buttons, text boxes for color values, or direct manipulation. Often a two-dimensional square is used to create a range of color values (such as lightness and saturation) that can be clicked on or selected in some other manner. Drag and drop, color droppers, and various other forms of interfaces are commonly used as well. Usually, color values are also displayed numerically, so they can be precisely remembered and keyed-in later, such as three values of 0-255 representing red, green, and blue, respectively. === Eyedropper === The eyedropper is a tool present in most color pickers and graphics software that allows a user to read a color at a specific point in an image, or position on a display. This enables the color to be transferred to other applications particularly quickly. Modern implementations of eyedropper tools are also available as browser extensions, allowing users to pick colors directly from web pages, such as in Google Chrome and Microsoft Edge. == Working == A color picker has two main parts, first a color slider and second a color canvas. The color slider has a linear or radial gradient of the seven rainbow colors i.e. Violet, Indigo, Blue, Green, Yellow, Orange and Red. It allows one to choose any of the seven primary colors. The color value chosen from the color slider instantly reflects in the color canvas. The color canvas is a mixture of two linear color gradients. First a linear gradient of the current chosen color and second a linear gradient of the black color. This mixture of color gradients lets one choose a lighter and darker version of the current chosen color from the color slider.
FactorDaily
FactorDaily is an Indian digital media publication founded in 2016 by Pankaj Mishra and Jayadevan PK. Mishra was formerly an Editor at TechCrunch and the Economic Times. The digital publication was launched with an intent to produce stories on the impact of technology on life in India. == History == FactorDaily began publishing in May 2016, with daily reported stories on technology, culture and life in India. Prior to its launch, the company had raised $1 million in seed funding from Accel India, Blume Ventures, Girish Mathrubootham of Freshdesk, Vijay Shekhar Sharma of PayTm, and Jay Vijayan of Tekion. Josey Puliyenthuruthel John, formerly Managing Editor at Business Today and National Corporate Editor at Mint, later joined the company as a Consulting Editor. In January 2017, FactorDaily launched its first Podcast called The Outliers. The inaugural episode featured a conversation with Manish Sharma of Printo on his journey starting up. == Awards == The FactorDaily team won the Bengaluru Editors Lab 2017, a journalism hackathon organised by the Global Editors Network (GEN). The story titled "India has 3,800 psychiatrists for 1.2bn people. Can tech step in to manage mental health?" won the first prize in the online category of the fifth Schizophrenia Research Foundation’s (SCARF) ‘Media for Mental Health’ awards. The story titled 'The dark hand of tech that stokes sex trafficking in India', won the Stop Slavery media Awards by the Thomson Reuters Foundation for the year 2020.