Social media reach is a media analytics metric that refers to the number of users who have come across a particular content on a particular social media platform. Social media platforms have their own individual ways of tracking, analyzing and reporting the traffic on each of the individual platforms. As these platforms are a main source of communication between companies and their target audiences, by conducting research, companies are able to utilize analytical information, such as the reach of their posts, to better understand the interactions between the users and their content. There are multiple underlying factors that will determine what shows up on a newsfeed or timeline. Algorithms, for example, are a type of factor that can alter the reach of a post due to the way the algorithm is coded, which can affect who sees a post and when. Other examples of factors that can impede the reach can include the time at which posts are made, as well as how frequent the posts are between one another. In comparison, an impression is the total number of circumstances where content has been shown on a social timeline, meanwhile, engagement looks at how people interact with the content that they see on a social platform such as like, share or retweet. == Reach on Facebook == Facebook has their own analytic platform which allows the user to see how other users are interacting with their posts, with the use of multiple metrics. This is not something the average user uses, but rather a tool that is used by pages or public figures. For example, Facebook pages that represent a business often look at the activity their posts have generated. There are three types of reach that can be looked at on the Facebook analytic platform. === Types of reach === ==== Organic Reach ==== This type of reach regards the number of distinct users that have seen a specific post on their feed. Organic reach, in other words is the number of people who have seen the post being analyzed on their Facebook newsfeed. Data gathered from this type of reach can give intel to those doing the analysis, such as the demographics of those who have seen the post. ==== Paid Reach ==== This type of reach regards the number of times that distinct users have come across sponsored posts, ads or content. In other words, paid reach is the number of times Facebook users have seen a post that has been paid for by a company. Data collected can give insight, to advertisers or marketers for example, on the activity based around the reach of their post. ==== Viral Reach ==== This type of reach regards the number of views by distinct users on posts that have been commented on or shared by their friends on Facebook. In other words, viral reach looks at the number of people who have seen a post after a friend of theirs commented or shared the original post, therefore it showed on their timeline. Viral reach can be looked at in terms of a collective number of times that the post has been on individual user's timelines. Data collected from viral reach can be used in multiple ways, for example, it can be used to analyze the type of content that gets shared or commented on and can be further used to compare to other posts. === Engaged users === This refers to the number of individual users who have clicked and interacted with a post on Facebook. == Reach on Twitter == Twitter gives access to any of their users to analytics of their tweets as well as their followers. Their dashboard is user friendly, which allows anyone to take a look at the analytics behind their Twitter account. This open access is useful for both the average user and companies as it can provide a quick glance or general outlook of who has seen their tweets. The way that Twitter works is slightly different than the way of Facebook in terms of the reach. On Twitter, especially for users with a higher profile, they are not only engaging with the people who follow them, but also with the followers of their own followers. The reach metric on Twitter looks at the quantity of Twitter users who have been engaged, but also the number of users that follow them as well. This metric is useful to see the if the tweets/content being shared on Twitter are contributing to the growth of audience on this platform. == Reach on Instagram == Instagram gives their users access to their reach, in the Instagram Insights section. Instagram insights can be used to learn more about an account's followers and performance. Reach indicates the total number of unique Instagram accounts that have seen your Instagram post or story. You can find this data by looking at each individual post insights. == Uses of reach == The reach can be a useful metric to analyze for marketers and advertisers. Social media is a platform that is used by marketers to directly target their intended audience with ease. These platforms not only allow marketers to get a better understanding of their audience, but also allow advertisers to insert their ads onto the timelines of specific users to later be able to conduct research to see the reach of their posts/content. The basic goal of marketers is to increase their reach as much as possible to impact bigger audiences of their dream customers and, in the end, make more sales. When doing organic social media marketing, using paid methods like ads or doing influencer marketing whether it is paid or free, it allows marketers to track the performance of their strategy and tweak it based on what works and what does not. == Analytics and reach == Social analytics looks at the data collected based on the interactions of users on social media platforms. A lot of information can be gathered which can provide intel based on user activities on social media. When looking into analytics in regard to social media, each company or group has a different goal in mind to engage their audience. At a glance, the three might seem as if they are very similar, however the differences between them are significant. There are many aspects that can be analyzed from the data gathered from social media platforms, depending on what is being observed, the correct metric would then be selected to further analyze. One example of the many metrics that can be used through social analytics is the reach. == Reach formula == To calculate social media reach one can use the following formula: R = I f ¯ {\displaystyle R={\frac {I}{\bar {f}}}} where R {\displaystyle R} — is social media reach, I {\displaystyle I} stands for the number of impressions, f ¯ {\displaystyle {\bar {f}}} is the average frequency of impressions per user. f ¯ {\displaystyle {\bar {f}}} represents the number of events when the ad is shown to a particular user. The average value should be calculated over the time period with stable settings of advertisement campaign. == Commenting For Better Reach == Commenting For Better Reach also known as "CFBR" is a widely used strategy for organically boosting post reach on social media platforms. Algorithms tend to favor posts with substantial likes and comments, granting them broader exposure compared to less engaging content. Primarily seen on LinkedIn, a platform geared toward professional networking and business connections, the use of CFBR signals active engagement aimed at enhancing post visibility. It is important to note that genuine and meaningful comments are key to effective engagement. Spammy or irrelevant comments not only detract from the conversation but may also limit a post's potential reach and impact.
Framebuffer
A framebuffer (frame buffer, or sometimes framestore) is a portion of random-access memory (RAM) containing a bitmap that drives a video display. It is a memory buffer containing data representing all the pixels in a complete video frame. Modern video cards contain framebuffer circuitry in their cores. This circuitry converts an in-memory bitmap into a video signal that can be displayed on a computer monitor. In computing, a screen buffer is a part of computer memory used by a computer application for the representation of the content to be shown on the computer display. The screen buffer may also be called the video buffer, the regeneration buffer, or regen buffer for short. The phrase "screen buffer” refers to a logical function, while video memory refers to a hardware storage location. In particular, the screen buffer may be placed in the main RAM, the video memory, or some other hardware location. To reduce latency and avoid screen tearing, multiple frames can be buffered, and this technique is called multiple buffering. When this is so, at any time, only one frame would be visible, and the others would not be. The currently invisible frames are located in the off-screen buffer. The information in the buffer typically consists of color values for every pixel to be shown on the display. Color values are commonly stored in 1-bit binary (monochrome), 4-bit palettized, 8-bit palettized, 16-bit high color and 24-bit true color formats. An additional alpha channel is sometimes used to retain information about pixel transparency. The total amount of memory required for the framebuffer depends on the resolution of the output signal, and on the color depth or palette size. == History == Computer researchers had long discussed the theoretical advantages of a framebuffer but were unable to produce a machine with sufficient memory at an economically practicable cost. In 1947, the Manchester Baby computer used a Williams tube, later the Williams-Kilburn tube, to store 1024 bits on a cathode-ray tube (CRT) memory and displayed on a second CRT. Other research labs were exploring these techniques with MIT Lincoln Laboratory achieving a 4096 display in 1950. A color-scanned display was implemented in the late 1960s, called the Brookhaven RAster Display (BRAD), which used a drum memory and a television monitor. In 1969, A. Michael Noll of Bell Telephone Laboratories, Inc. implemented a scanned display with a frame buffer, using magnetic-core memory. A year or so later, the Bell Labs system was expanded to display an image with a color depth of three bits on a standard color TV monitor. The vector graphics used in the computer had to be converted for the scanned graphics of a TV display. In the early 1970s, the development of MOS memory (metal–oxide–semiconductor memory) integrated-circuit chips, particularly high-density DRAM (dynamic random-access memory) chips with at least 1 kb memory, made it practical to create, for the first time, a digital memory system with framebuffers capable of holding a standard video image. This led to the development of the SuperPaint system by Richard Shoup at Xerox PARC in 1972. Shoup was able to use the SuperPaint framebuffer to create an early digital video-capture system. By synchronizing the output signal to the input signal, Shoup was able to overwrite each pixel of data as it shifted in. Shoup also experimented with modifying the output signal using color tables. These color tables allowed the SuperPaint system to produce a wide variety of colors outside the range of the limited 8-bit data it contained. This scheme would later become commonplace in computer framebuffers. In 1974, Evans & Sutherland released the first commercial framebuffer, the Picture System, costing about $15,000. It was capable of producing resolutions of up to 512 by 512 pixels in 8-bit grayscale, and became a boon for graphics researchers who did not have the resources to build their own framebuffer. The New York Institute of Technology would later create the first 24-bit color system using three of the Evans & Sutherland framebuffers. Each framebuffer was connected to an RGB color output (one for red, one for green and one for blue), with a Digital Equipment Corporation PDP 11/04 minicomputer controlling the three devices as one. In 1975, the UK company Quantel produced the first commercial full-color broadcast framebuffer, the Quantel DFS 3000. It was first used in TV coverage of the 1976 Montreal Olympics to generate a picture-in-picture inset of the Olympic flaming torch while the rest of the picture featured the runner entering the stadium. The rapid improvement of integrated-circuit technology made it possible for many of the home computers of the late 1970s to contain low-color-depth framebuffers. Today, nearly all computers with graphical capabilities utilize a framebuffer for generating the video signal. Amiga computers, created in the 1980s, featured special design attention to graphics performance and included a unique Hold-And-Modify framebuffer capable of displaying 4096 colors. Framebuffers also became popular in high-end workstations and arcade system boards throughout the 1980s. SGI, Sun Microsystems, HP, DEC and IBM all released framebuffers for their workstation computers in this period. These framebuffers were usually of a much higher quality than could be found in most home computers, and were regularly used in television, printing, computer modeling and 3D graphics. Framebuffers were also used by Sega for its high-end arcade boards, which were also of a higher quality than on home computers. == Display modes == Framebuffers used in personal and home computing often had sets of defined modes under which the framebuffer can operate. These modes reconfigure the hardware to output different resolutions, color depths, memory layouts and refresh rate timings. In the world of Unix machines and operating systems, such conveniences were usually eschewed in favor of directly manipulating the hardware settings. This manipulation was far more flexible in that any resolution, color depth and refresh rate was attainable – limited only by the memory available to the framebuffer. An unfortunate side-effect of this method was that the display device could be driven beyond its capabilities. In some cases, this resulted in hardware damage to the display. More commonly, it simply produced garbled and unusable output. Modern CRT monitors fix this problem through the introduction of protection circuitry. When the display mode is changed, the monitor attempts to obtain a signal lock on the new refresh frequency. If the monitor is unable to obtain a signal lock or if the signal is outside the range of its design limitations, the monitor will ignore the framebuffer signal and possibly present the user with an error message. LCD monitors tend to contain similar protection circuitry, but for different reasons. Since the LCD must digitally sample the display signal (thereby emulating an electron beam), any signal that is out of range cannot be physically displayed on the monitor. == Color palette == Framebuffers have traditionally supported a wide variety of color modes. Due to the expense of memory, most early framebuffers used 1-bit (2 colors per pixel), 2-bit (4 colors), 4-bit (16 colors) or 8-bit (256 colors) color depths. The problem with such small color depths is that a full range of colors cannot be produced. The solution to this problem was indexed color, which adds a lookup table to the framebuffer. Each color stored in framebuffer memory acts as a color index. The lookup table serves as a palette with a limited number of different colors, while the rest is used as an index table. Here is a typical indexed 256-color image and its own palette (shown as a rectangle of swatches): In some designs, it was also possible to write data to the lookup table (or switch between existing palettes) on the fly, allowing dividing the picture into horizontal bars with their own palette and thus rendering an image that had a far wider palette. For example, viewing an outdoor shot photograph, the picture could be divided into four bars: the top one with emphasis on sky tones, the next with foliage tones, the next with skin and clothing tones, and the bottom one with ground colors. This required each palette to have overlapping colors, but, carefully done, allowed great flexibility. == Memory access == While framebuffers are commonly accessed via a memory mapping directly to the CPU memory space, this is not the only method by which they may be accessed. Framebuffers have varied widely in the methods used to access memory. Some of the most common are: Mapping the entire framebuffer to a given memory range. Port commands to set each pixel, range of pixels or palette entry. Mapping a memory range smaller than the framebuffer memory, then bank switching as necessary. The framebuffer organization may be packed pixel or planar. The framebuffer may be all
AI: When a Robot Writes a Play
AI: When a Robot Writes a Play (in Czech: AI: Když robot píše hru) is a 2021 experimental theatre play, where 90% of its script was automatically generated by artificial intelligence (the GPT-2 language model). The play is in Czech language, but an English version of the script also exists. == Creation == The play is the first result of the THEaiTRE research project, aiming to commemorate the centenary of the R.U.R. play by Karel Čapek by investigating to what extent artificial intelligence could be used to create theatre play scripts. The script of the play was created using the THEaiTRobot tool, based on the GPT-2 language model. First, the play dramaturge, David Košťák, described the initial setting of each scene in a few sentences, and wrote the first line for each character. Next, THEaiTRobot suggested a continuation of the script, which the dramaturge could use, reject, or use part of it and let the tool generate a new continuation. Another option was to manually insert another line or a scenic remark. The script was generated in English and was automatically translated to Czech by the state-of-the-art CUBBITT machine translation tool. The resulting script was then further post-edited by the dramaturge. The resulting script was made freely available for non-commercial use both in English and in Czech, with marked manually inserted texts and manual edits. The analysis shows that 90% of the English script is automatically generated, with 10% manually written or manually post-edited. In the Czech script, a larger amount of edits were made, but the analysis claims that these additional edits are corrections of errors of the automated translation and stylistic corrections which do not change the meaning of the lines as represented by the English script, but rather bring the Czech script closer to the English one. == Characters == The play contains 9 characters. The Robot appears in all the scenes, while each of the other characters appears in only one scene. Robot – The lead character, a male humanoid robot. Master – An old man, the creator of the Robot. Boy – A schoolboy. Masseuse – A sex worker in a brothel. Stranger – An engineer. Man. Psychologist. Administrator – A female clerk at an employment agency. Actress – A film actress and a model in a robot-like costume. == Plot == The play is composed of 8 scenes. It tells the story of a humanoid robot, who encounters 8 other characters and engages into various typically human situations and activities, related to death, love, sex, violence, etc. The individual scenes are not tightly linked, but there are some linking points, such as the central character of the robot or some repeated and developing themes, such as the robot's search for love. The scenes often contain some absurd turns and it is often hard to find sense in them. It is therefore a very complicated piece interpretationally, requiring the director and the actors to invest a lot of effort and creativity in finding a meaningful interpretation which would not deviate from the script. In the interpretation by Švanda theatre, who premiered the play and who also participated on the creation of the script, the scenes typically contain non-verbally expressed content which can add a lot to the meaning of the scene compared to what is contained in the actual script (as the script only contains the lines said by the characters). === Scene 1: Death === The play opens by the Robot parting with his dying Master. The Master gives the Robot several last lessons and talks with him about death, soul, and love. === Scene 2: Sense of Humour === In the second scene, the Robot meets a sad and angry Boy, who complains that he wants to go to school, that his girlfriend is crazy, that he wants to buy a car, etc. The Robot tries to help the Boy by giving him advice, but the Boy's reactions are quite negative and irritated. The Boy then repeatedly asks the Robot to tell him a joke; the Robot keeps refusing, but ultimately tells the following joke: When you are dead. When your children are dead. When your grandchildren are dead, I will be still alive. === Scene 3: Nightclub === The Robot wants to feel pleasure, so he goes to a "night club" (a brothel), where he meets a "Masseuse" (a prostitute). The Robot is initially "a bit cold", but eventually manages to enjoy the experience and falls in love with the Masseuse. In the Švanda theatre performance, the Robot and the Masseuse seem to have a sort of virtual sex without touching each other, reminiscent of the sex scene in Demolition Man. === Scene 4: Fear of the Dark === It is the night. The Robot is standing under a lamp, unable to move away from the light as he finds that he is afraid of the dark. He meets a Stranger, an engineer who tells him that robots don't have feelings and that people cannot be trusted, and keeps hurting him. In the Švanda theatre performance, the Man repeatedly zaps the Robot with some kind of electric pulse. === Scene 5: Killer Robot === A Man approaches the Robot and repeatedly asks him to kill him. Instead, the Robot sticks a finger into the Man's anus, which leads to an argument between the Man and the Robot. === Scene 6: Burn Out === The Robot meets a Psychologist, who keeps asking him lots of questions regarding his life, burnout feeling, love, relationships, and emotions. They also talk about the Robot using a device called emotion machine which helps him to get rid of stress. === Scene 7: Search for Job === The Robot comes to an employment agency. He meets an Administrator and asks her to help him find a job. He expresses the wish to become an actor, and talks about his experience as a clown. He reveals his name to be Troy McClure, which is a character from The Simpsons who is an actor. In the Švanda theatre performance, the Administrator starts to seduce the Robot once his name is revealed, which he keeps ignoring; the Administrator then becomes irritated. === Scene 8: Love at First Sight === The Robot meets a human Actress in a robotic costume and falls in love with her immediately. The Actress is first reluctant, but the Robot manages to seduce her and she also falls in love with him. The Robot tells her about a binary world, in which he lives and where he will also take her. Ultimately, the Actress agrees, and the whole play concludes by the Robot and the Actress promising each to other to always be together. In the Švanda theatre performance, the Robot does not have a physical body in this scene, we can only hear his voice and see a pulsating light (based on the line in the script where the Robot says: "I have no body. So I don't need to wear clothes. You can't see me, you only hear me."), and the Actress eventually also agrees to lose her physical body so that she can be with the Robot forever. == Theatrical performances == The play premiered on 26 February 2021 in Švanda Theatre in Prague, Czech Republic, directed by Daniel Hrbek. Due to the COVID-19 pandemic, the play was not played in front of a live audience, but it was broadcast online, in Czech language with English subtitles. The play was followed by a panel discussion by the project members and experts on artificial intelligence. The premiere was viewed by 13,498 spectators worldwide. A short trailer of the premiere is available on YouTube. In 2021, after the opening of the theatres in the Czech Republic to spectators, the play can be viewed at Švanda Theatre. The performance takes approximately 60 minutes, and is followed by a discussion of the creators with the audience. The derniere is planned for 4 February 2023. == Reception == The play received a number of reviews, both in its country of origin as well as internationally. It is praised as first of its kind, although some reviewers note the similarity to previous works, such as the musical Beyond the Fence, the play Lifestyle of the Richard and Family, or the short movie Sunspring; however, these works used less advanced technology, and either were very short (Sunspring) or necessitated a larger amount of human interventions. The reviewers note that the script is far from perfect, with many inconsistencies and nonsensical parts, and conclude that the technology is definitely not yet ready to replace human authors; however, some find some parts of the script frighteningly human-like. The amount of human intervention is a somewhat controversial topic, with some reviewers finding the human influence too large (especially in interpreting the script and putting the play on scene), while others feel that a greater amount of human intervention would have been favorable as this could greatly improve the quality of the play. The reviews also frequently comment on the amount of sex, violence and strong language in the play; this can be attributed to the method used for creating the script, where the GPT-2 language model reflects topics and language common in the human-written articles on the internet that were used to train the model. Furthermore, some r
Virtual facility
A Virtual Facility (VF) is a highly realistic digital representation of a data center, used to model all relevant aspects of a physical data center with a high degree of precision. The term "virtual" in Virtual Facility refers to its use of virtual reality, rather than the abstraction of computer resources as seen in platform virtualization. The VF mirrors the characteristics of a physical facility over time and allows for detailed analysis and modeling. == VF Model features == A standard VF model includes: Three-dimensional physical facility layout Network connectivity of facility equipment Full inventory of facility equipment, including electronics and electrical systems such as power distribution units (PDUs) and uninterruptible power supplies (UPSs) Full air conditioning system (ACUs) and controls within the room The term Virtual Facility was introduced to address the emerging environmental problems facing modern Mission Critical Facilities (MCFs). This concept combines virtual reality (VR), computer simulation, and expert systems applied to the domain of facilities. The VF type of computer simulation allows for detailed analysis and prototyping of airflow in the data center using computational fluid dynamics (CFD) techniques. This enables the visualization and numerical analysis of airflow and temperatures within the facility, helping to predict real-world outcomes. == VF applications == The VF model can be used to assist with the following: Greenfield design Asset management Troubleshooting existing data centers Making existing data centers more resilient Making existing data centers more energy efficient Cost prediction Staff training Capacity planning Load growth management Many organizations use VF models to virtually assess scenarios before committing resources to physical changes. This allows for better decision-making regarding the addition or modification of equipment, helping to avoid logistical or thermal problems.
SQL programming tool
In the field of software, SQL programming tools provide platforms for database administrators (DBAs) and application developers to perform daily tasks efficiently and accurately. Database administrators and application developers often face constantly changing environments which they rarely completely control. Many changes result from new development projects or from modifications to existing code, which, when deployed to production, do not always produce the expected result. For organizations to better manage development projects and the teams that develop code, suppliers of SQL programming tools normally provide more than facility to the database administrator or application developer to aid in database management and in quality code-deployment practices. == Features == SQL programming tools may include the following features: === SQL editing === SQL editors allow users to edit and execute SQL statements. They may support the following features: cut, copy, paste, undo, redo, find (and replace), bookmarks block indent, print, save file, uppercase/lowercase keyword highlighting auto-completion access to frequently used files output of query result editing query-results committing and rolling-back transactions inside cut paper === Object browsing === Tools may display information about database objects relevant to developers or to database administrators. Users may: view object descriptions view object definitions (DDL) create database objects enable and disable triggers and constraints recompile valid or invalid objects query or edit tables and views Some tools also provide features to display dependencies among objects, and allow users to expand these dependent objects recursively (for example: packages may reference views, views generally reference tables, super/subtypes, and so on). === Session browsing === Database administrators and application developers can use session browsing tools to view the current activities of each user in the database. They can check the resource-usage of individual users, statistics information, locked objects and the current running SQL of each individual session. === User-security management === DBAs can create, edit, delete, disable or enable user-accounts in the database using security-management tools. DBAs can also assign roles, system privileges, object privileges, and storage-quotas to users. === Debugging === Some tools offer features for the debugging of stored procedures: step in, step over, step out, run until exception, breakpoints, view & set variables, view call stack, and so on. Users can debug any program-unit without making any modification to it, including triggers and object types. === Performance monitoring === Monitoring tools may show the database resources — usage summary, service time summary, recent activities, top sessions, session history or top SQL — in easy-to-read graphs. Database administrators can easily monitor the health of various components in the monitoring instance. Application developers may also make use of such tools to diagnose and correct application-performance problems as well as improve SQL server performance. === Test data === Test data generation tools can populate the database by realistic test data for server or client side testing purposes. Also, this kind of software can upload sample blob files to database.
AI nationalism
AI nationalism is the idea that nations should develop and control their own artificial intelligence technologies to advance their own interests and ensure technological sovereignty. This concept is gaining traction globally, leading countries to implement new laws, form strategic alliances, and invest significantly in domestic AI capabilities. == Global trends and national strategies == In 2018, British technology investor Ian Hogarth published an influential essay titled AI Nationalism. He argued that as AI gains more power and its economic and military significance expands, governments will take measures to bolster their own domestic AI industries, and predicted that the advancement of machine learning systems would lead to what he termed "AI nationalism." He anticipated that this rise in AI would accelerate a global arms race, resulting in more closed economies, restrictions on foreign acquisitions, and limitations on the movement of talent. Hogarth predicted that AI policy would become a central focus of government agendas. He also criticized Britain’s approach to AI strategy, citing the sale of London-based DeepMind—one of the leading AI laboratories, acquired by Google for a relatively modest £400 million in 2014—as a significant misstep. AI nationalism is chiefly reflected in the escalating rhetoric of an artificial intelligence arms race, portraying AI development as a zero-sum game where the winner gains significant economic, political, and military advantages. This mindset, as highlighted in a 2017 Pentagon report, warns that sharing AI technology could erode technological supremacy and enhance rivals' capabilities. The winner-takes-all mentality of AI nationalism poses risks including unsafe AI development, increased geopolitical tension, and potential military aggression (such as cyberattacks or targeting AI professionals). Several countries, including Canada, France, and India, have formulated national strategies to advance their positions in AI. In the United States, a leading player in the global AI arena, trade policies have been enacted to restrict China's access to critical microchips, reflecting a strategic effort to maintain a technological edge. The United States’ National Security Commission on Artificial Intelligence (NSCAI) frames AI development as a critical aspect of a broader technology competition crucial for national success. It emphasizes the need to outpace China in AI to maintain strategic advantage, reflecting AI nationalism by linking geopolitical power directly to advancements in AI. France has seen notable governmental support for local AI startups, particularly those specializing in language technologies that cater to French and other non-English languages. In Saudi Arabia, Crown Prince Mohammed bin Salman is investing billions in AI research and development. The country has actively collaborated with major technology firms such as Amazon, IBM, and Microsoft to establish itself as a prominent AI hub. == Historical and cultural context == AI nationalism is seen as deeply connected to historical racism and imperialism. It is viewed not merely as a technological competition but as a contest over racial and civilizational superiority. Historically, technological achievements were often used to justify colonialism and racial hierarchies, with Western societies perceiving their advancements as evidence of superiority. In the context of AI, this historical context continues to shape views on intelligence and development. Some argue that AI nationalism reinforces the idea of fundamental civilizational divides, especially between the Western world and China. This perspective often frames China's progress in AI as a direct challenge to Western values, presenting the AI competition as a struggle over values. AI nationalism is said to draw from long-standing anti-Asian stereotypes, such as the "Yellow Peril," which portray Asian nations as threats to Western civilization. This viewpoint links Asian technological advances with dehumanization and artificiality, reflecting persistent anxieties about China's growing role in the global tech landscape. == Implications == AI nationalism is seen as a component of a broader trend towards the fragmentation of the internet, where digital services are increasingly influenced by local regulations and national interests. This shift is creating a new technological landscape in which the impact of artificial intelligence on individuals' lives can vary significantly depending on their geographic location. J. Paul Goode argues that AI nationalism may exacerbate existing societal divisions by promoting the development of systems that embed cultural biases, thereby privileging certain groups while disadvantaging others.
Materials informatics
Materials informatics is a field of study that applies the principles of informatics and data science to materials science and engineering to improve the understanding, use, selection, development, and discovery of materials. The term "materials informatics" is frequently used interchangeably with "data science", "machine learning", and "artificial intelligence" by the community. This is an emerging field, with a goal to achieve high-speed and robust acquisition, management, analysis, and dissemination of diverse materials data with the goal of greatly reducing the time and risk required to develop, produce, and deploy new materials, which generally takes longer than 20 years. This field of endeavor is not limited to some traditional understandings of the relationship between materials and information. Some more narrow interpretations include combinatorial chemistry, process modeling, materials databases, materials data management, and product life cycle management. Materials informatics is at the convergence of these concepts, but also transcends them and has the potential to achieve greater insights and deeper understanding by applying lessons learned from data gathered on one type of material to others. By gathering appropriate meta data, the value of each individual data point can be greatly expanded. == Databases == Databases are essential for any informatics research and applications. In material informatics many databases exist containing both empirical data obtained experimentally, and theoretical data obtained computationally. Big data that can be used for machine learning is particularly difficult to obtain for experimental data due to the lack of a standard for reporting data and the variability in the experimental environment. This lack of big data has led to growing effort in developing machine learning techniques that utilize data extremely data sets. On the other hand, large uniform database of theoretical density functional theory (DFT) calculations exists. These databases have proven their utility in high-throughput material screening and discovery. Some common DFT databases and high throughput tools are listed below: Databases: MaterialsProject.org, MaterialsWeb.org (University of Florida) HT software: Pymatgen, MPInterfaces, Matminer == Beyond computational methods? == The concept of materials informatics is addressed by the Materials Research Society. For example, materials informatics was the theme of the December 2006 issue of the MRS Bulletin. The issue was guest-edited by John Rodgers of Innovative Materials, Inc., and David Cebon of Cambridge University, who described the "high payoff for developing methodologies that will accelerate the insertion of materials, thereby saving millions of investment dollars." The editors focused on the limited definition of materials informatics as primarily focused on computational methods to process and interpret data. They stated that "specialized informatics tools for data capture, management, analysis, and dissemination" and "advances in computing power, coupled with computational modeling and simulation and materials properties databases" will enable such accelerated insertion of materials. A broader definition of materials informatics goes beyond the use of computational methods to carry out the same experimentation, viewing materials informatics as a framework in which a measurement or computation is one step in an information-based learning process that uses the power of a collective to achieve greater efficiency in exploration. When properly organized, this framework crosses materials boundaries to uncover fundamental knowledge of the basis of physical, mechanical, and engineering properties. == Challenges == While there are many who believe in the future of informatics in the materials development and scaling process, many challenges remain. Hill, et al., write that "Today, the materials community faces serious challenges to bringing about this data-accelerated research paradigm, including diversity of research areas within materials, lack of data standards, and missing incentives for sharing, among others. Nonetheless, the landscape is rapidly changing in ways that should benefit the entire materials research enterprise." This remaining tension between traditional materials development methodologies and the use of more computationally, machine learning, and analytics approaches will likely exist for some time as the materials industry overcomes some of the cultural barriers necessary to fully embrace such new ways of thinking. == Analogy from Biology == The overarching goals of bioinformatics and systems biology may provide a useful analogy. Andrew Murray of Harvard University expresses the hope that such an approach "will save us from the era of "one graduate student, one gene, one PhD". Similarly, the goal of materials informatics is to save us from one graduate student, one alloy, one PhD. Such goals will require more sophisticated strategies and research paradigms than applying data-science methods to the same tasks set currently undertaken by students.