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  World Database of Happiness

  The World Database of Happiness is a web-based archive of research findings on subjective appreciation of life, based in the Erasmus Happiness Economics Research Organization of the Erasmus University Rotterdam in The Netherlands. The database contains both an overview of scientific publications on happiness and a digest of research findings. Happiness is defined as the degree to which an individual judges the quality of his or her life as a whole favorably. Two 'components' of happiness are distinguished: hedonic level of affect (the degree to which pleasant affect dominates) and contentment (perceived realization of wants). == Aims == The World Database of Happiness is a tool to quickly acquire an overview on the ever-growing stream of research findings on happiness Medio 2023 the database covered some 16,000 scientific publications on happiness, from which were extracted 23,000 distributional findings (on how happy people are) and another 24,000 correlational findings (on factors associated with more and less happiness). The first findings date from 1915. == Technique == The World Database of Happiness is a ‘findings archive’, which consists of electronic ‘finding pages’ on which separate research results are described in a standard format and terminology. These finding pages can be selected on various characteristics, such as population studies, the measure of happiness used and observed co-variates. All finding-pages have a specific internet address to which links can be made in scientific review papers or policy recommendations. This allows a concise presentation of many findings in a table, while providing readers with access to detail. == Scientific use == The Database has been cited in 254 scientific papers, for example to access under what conditions economic growth enhances average happiness or to show that rising mean happiness at first raises happiness inequality, but further rise will diminish these differences, or that healthy eating is associated with more happiness, even after controlling for the effect on health Another finding is that relative simple happiness training techniques raise happiness by some 5% == Popular use == The World Database of Happiness is often used by popular media to make lists of the happiest countries around the globe. An example is the Happy Planet Index, which aims to chart sustainable happiness all over the world by combining data on longevity, happiness and the size of the ecological footprint of citizens. == Strengths and weaknesses == The database has a clear conceptual focus, it includes only research findings on subjective enjoyment of one's life as a whole. Thereby it evades the Babel that has haunted the study of happiness for ages. The other side of that coin is that much interesting research is left out. The findings are reported with technical details about measurement and statistical analysis. This detail is welcomed by scholars, but makes the information difficult to digest for lay-persons. Still another limitation is that the determinants of happiness appear to vary considerably across persons and situations, which make it hard to draw general conclusions about the causes of happiness. What is clear is that poor health, separation, unemployment and lack of social contact are all strongly negatively associated with happiness. Another problem for the World database of happiness is that the studies on happiness increase with such a high rate that it gets increasingly difficult to offer a complete overview of all research findings. A further concern is that the Database of Happiness is exclusively focused on hedonic happiness (feeling good) and not on mature happiness that might exist in the face of suffering

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  Flat-panel display

  A flat-panel display (FPD) is an electronic display used to display visual content such as text or images. It is present in consumer, medical, transportation, and industrial equipment. Flat-panel displays are thin, lightweight, provide better linearity and are capable of higher resolution and contrast than typical consumer-grade TVs from earlier eras. They are usually less than 10 centimetres (3.9 in) thick. While the highest resolution for consumer-grade CRT televisions is 1080i, many interactive flat panels in the 2020s are capable of 1080p and 4K resolution. In the 2010s, portable consumer electronics such as laptops, mobile phones, and portable cameras have used flat-panel displays since they consume less power and are lightweight. As of 2016, flat-panel displays have almost completely replaced CRT displays. Most 2010s-era flat-panel displays use LCD or light-emitting diode (LED) technologies, sometimes combined. Most LCD screens are back-lit with color filters used to display colors. In many cases, flat-panel displays are combined with touch screen technology, which allows the user to interact with the display in a natural manner. For example, modern smartphone displays often use OLED panels, with capacitive touch screens. Flat-panel displays can be divided into two display device categories: volatile and static. The former requires that pixels be periodically electronically refreshed to retain their state (e.g. liquid-crystal displays (LCD)), and can only show an image when it has power. On the other hand, static flat-panel displays rely on materials whose color states are bistable, such as displays that make use of e-ink technology, and as such retain content even when power is removed. == History == The first engineering proposal for a flat-panel TV was by General Electric in 1954 as a result of its work on radar monitors. The publication of their findings gave all the basics of future flat-panel TVs and monitors. But GE did not continue with the R&D required and never built a working flat panel at that time. The first production flat-panel display was the Aiken tube, developed in the early 1950s and produced in limited numbers in 1958. This saw some use in military systems as a heads up display and as an oscilloscope monitor, but conventional technologies overtook its development. Attempts to commercialize the system for home television use ran into continued problems and the system was never released commercially. Dennis Gabor, better known as the inventor of holography, patented a flat-screen CRT in 1958. This was substantially similar to Aiken's concept, and led to a years-long patent battle. By the time the lawsuits were complete, with Aiken's patent applying in the US and Gabor's in the UK, the commercial aspects had long lapsed, and the two became friends. Around this time, Clive Sinclair came across Gabor's work and began an ultimately unsuccessful decade-long effort to commercialize it. The Philco Predicta featured a relatively flat (for its day) cathode-ray tube setup and would be the first commercially released "flat panel" upon its launch in 1958; the Predicta was a commercial failure. The plasma display panel was invented in 1964 at the University of Illinois, according to The History of Plasma Display Panels. === Liquid-crystal displays (LC displays, or LCDs) === The MOSFET (metal–oxide–semiconductor field-effect transistor, or MOS transistor) was invented by Mohamed M. Atalla and Dawon Kahng at Bell Labs in 1959, and presented in 1960. Building on their work, Paul K. Weimer at RCA developed the thin-film transistor (TFT) in 1962. It was a type of MOSFET distinct from the standard bulk MOSFET. The idea of a TFT-based LCD was conceived by Bernard J. Lechner of RCA Laboratories in 1968. B.J. Lechner, F.J. Marlowe, E.O. Nester and J. Tults demonstrated the concept in 1968 with a dynamic scattering LCD that used standard discrete MOSFETs. The first active-matrix addressed electroluminescent display was made using TFTs by T. Peter Brody's Thin-Film Devices department at Westinghouse Electric Corporation in 1968. In 1973, Brody, J. A. Asars and G. D. Dixon at Westinghouse Research Laboratories demonstrated the first thin-film-transistor liquid-crystal display. Brody and Fang-Chen Luo demonstrated the first flat active-matrix liquid-crystal display (AM LCD) using TFTs in 1974. By 1982, pocket LCD TVs based on LCD technology were developed in Japan. The 2.1-inch Epson ET-10 Epson Elf was the first color LCD pocket TV, released in 1984. In 1988, a Sharp research team led by engineer T. Nagayasu demonstrated a 14-inch full-color LCD, which convinced the electronics industry that LCD would eventually replace CRTs as the standard television display technology. As of 2013, all modern high-resolution and high-quality electronic visual display devices use TFT-based active-matrix displays. === LED displays === The first usable LED display was developed by Hewlett-Packard (HP) and introduced in 1968. It was the result of research and development (R&D) on practical LED technology between 1962 and 1968, by a research team under Howard C. Borden, Gerald P. Pighini, and Mohamed M. Atalla, at HP Associates and HP Labs. In February 1969, they introduced the HP Model 5082-7000 Numeric Indicator. It was the first alphanumeric LED display, and was a revolution in digital display technology, replacing the Nixie tube for numeric displays and becoming the basis for later LED displays. In 1977, James P Mitchell prototyped and later demonstrated what was perhaps the earliest monochromatic flat-panel LED television display. Ching W. Tang and Steven Van Slyke at Eastman Kodak built the first practical organic LED (OLED) device in 1987. In 2003, Hynix produced an organic EL driver capable of lighting in 4,096 colors. In 2004, the Sony Qualia 005 was the first LED-backlit LCD. The Sony XEL-1, released in 2007, was the first OLED television. == Common types == === Liquid-crystal display (LCD) === Field-effect LCDs are lightweight, compact, portable, cheap, more reliable, and easier on the eyes than CRT screens. LCD screens use a thin layer of liquid crystal, a liquid that exhibits crystalline properties. It is sandwiched between two glass plates carrying transparent electrodes. Two polarizing films are placed at each side of the LCD. By generating a controlled electric field between electrodes, various segments or pixels of the liquid crystal can be activated, causing changes in their polarizing properties. These polarizing properties depend on the alignment of the liquid-crystal layer and the specific field-effect used, being either twisted nematic (TN), in-plane switching (IPS) or vertical alignment (VA). Color is produced by applying appropriate color filters (red, green and blue) to the individual subpixels. LC displays are used in various electronics like watches, calculators, mobile phones, TVs, computer monitors and laptops screens etc. === LED-LCD === Most earlier large LCD screens were back-lit using a number of CCFL (cold-cathode fluorescent lamps). However, small pocket size devices almost always used LEDs as their illumination source. With the improvement of LEDs, almost all new displays are now equipped with LED backlight technology. The image is still generated by the LCD layer. === Plasma panel === A plasma display consists of two glass plates separated by a thin gap filled with a gas such as neon. Each of these plates has several parallel electrodes running across it. The electrodes on the two plates are at right angles to each other. A voltage applied between the two electrodes one on each plate causes a small segment of gas at the two electrodes to glow. The glow of gas segments is maintained by a lower voltage that is continuously applied to all electrodes. By 2010, consumer plasma displays had been discontinued by numerous manufacturers. === Electroluminescent panel === In an electroluminescent display, the image is created by applying electrical signals to the plates which make the phosphor glow. === Organic light-emitting diode === An OLED (organic light-emitting diode) is a light-emitting diode (LED) in which the emissive electroluminescent layer is a film of organic compound which emits light in response to an electric current. This layer of organic semiconductor is situated between two electrodes; typically, at least one of these electrodes is transparent. OLEDs are used to create digital displays in devices such as television screens, computer monitors, portable systems such as mobile phones, handheld game consoles and PDAs. === Quantum-dot light-emitting diode === QLED or quantum dot LED is a flat panel display technology introduced by Samsung under this trademark. Other television set manufacturers such as Sony have used the same technology to enhance the backlighting of LCD TVs already in 2013. Quantum dots create their own unique light when illuminated by a light source of shorter wavelength such as blue LEDs. Th

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  Amplified conference

  An amplified conference is a conference or similar event in which the talks and discussions at the conference are 'amplified' through use of networked technologies in order to extend the reach of the conference deliberations. The term was originally coined by Lorcan Dempsey in a blog post. The term is now widely used within the academic and research community with Wankel proposing the following definition: The extension of a physical event (or a series of events) through the use of social media tools for expanding access to (aspects of) the event beyond physical and temporal bounds. Such amplification takes place in the context of intent to make the most of the intellectual content, discussion, networking, and discovery initiated by the event through the process of sharing with co-attendees, colleagues, friends and wider informed publics. A paper by Haider and others illustrates how amplified conferences are becoming mainstream in a discussion on "how social media have been employed as part of the project, particularly around event amplification". As described by Guy in the Ariadne ejournal the term is not a prescriptive one, but rather describes a pattern of behaviors which initially took place at IT and Web-oriented conferences once WiFi networks started to become available at conference venues and delegates started to bring with them networked devices such as laptops and, more recently, PDAs and mobile phones. == Different Approaches to 'Amplification' of Conferences == There are a number of ways in which conferences can be amplified through use of networked technologies: Amplification of the audiences' voice: Prior to the availability of real time chat technologies at events (whether use of IRC, Twitter, instant messaging clients, etc.) it was only feasible to discuss talks with immediate neighbours, and even then this may be considered rude. Amplification of the speaker's talk: The availability of video and audio-conferencing technologies make it possible for a speaker to be heard by an audience which isn't physically present at the conference. Although use of video technologies has been available to support conferences for some time, this has normally been expensive and require use of dedicated video-conferencing technologies. However the availability of lightweight desktop tools make it much easier to deploy such technologies, without even, requiring the involvement of conference organisers. Amplification across time: Video and audio technologies can also be used to allow a speaker's talk to be made available after the event, with use of podcasting or videocasting technologies allowing the talks to be easily syndicated to mobile devices as well as accessed on desktop computers. Amplification of the speaker's slides: The popularity of global repository services for slides, such as SlideShare, enable the slides used by a speaker to be more easily found, embedded on other Web sites and commented upon, in ways that were not possible when the slides, if made available at all, were only available on a conference Web site. Amplification of feedback to the speaker: Micro-blogging technologies, such as Twitter, are being used not only as a discussion channel for conference participants but also as a way of providing real-time feedback to a speaker during a talk. We are also now seeing dedicated microblogging technologies, such as Coveritlive and Scribblelive, being developed which aim to provide more sophisticated 'back channels' for use at conferences. Amplification of a conference's collective memory: The popularity of digital cameras and the photographic capabilities of many mobile phones is leading to many photographs being taken at conferences. With such photographs often being uploaded to popular photographic sharing services, such as Flickr, and such collections being made more easy to discover through agreed use of tags, we are seeing amplification of the memories of an event though the sharing of such resources. The ability of such photographic resources to be 'mashed up' with, say, accompanying music, can similarly help to enrich such collective experiences. Amplification of the learning: The ability to be able to follow links to resources and discuss the points made by a speaker during a talk can enrich the learning which takes place at an event, as described by Shabajee's article on "'Hot' or Not? Welcome to real-time peer review" published in the Times Higher Education Supplement in May 2003. Long term amplification of conference outputs: The availability in a digital format of conference resources, including 'official' resources such as slides, video and audio recordings, etc. which have been made by the conference organisers with the approval of speakers, together with more nebulous resources such as archives of conference back channels, and photographs and unofficial recordings taken at the event may help to provide a more authentic record of an event, which could potentially provide a valuable historical record. The amplification of conferences can be viewed as an example of how new technologies are altering standard practice. By using these techniques a different type of interaction is created at the conference itself, but also the boundaries around the conference can be seen as permeable, with remote participants engaging in discussion. An amplified conference also provides a considerably altered archive compared with a 'traditional' one. For the latter, the printed proceedings will be the main record, but for an amplified event this record is distributed across many media and takes in a wider range of content types, including the papers, videos of the presentations (for example on YouTube), the slides (e.g. on Slideshare), photos of the event (Flickr), interaction between participants (Twitter), reflections and comments (blogs), etc. The amplified conference represents an example of changing practice in digital scholarship.

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  Timeline of operating systems

  This article presents a timeline of events in the history of computer operating systems from 1951 to the current day. For a narrative explaining the overall developments, see the History of operating systems. == 20th Century == == 1940s == 1949 EDSAC was considered the first operating system developed by Maurice Wilkes and manufactured by the University of Cambridge == 1950s == 1951 LEO I 'Lyons Electronic Office' was the commercial development of EDSAC computing platform, supported by British firm J. Lyons and Co. 1953 DYSEAC - an early machine capable of distributing computing 1955 General Motors Operating System made for IBM 701 MIT's Tape Director operating system made for UNIVAC 1103 1956 GM-NAA I/O for IBM 704, based on General Motors Operating System 1957 Atlas Supervisor (Manchester University) (Atlas computer project start) BESYS (Bell Labs), for IBM 704, later IBM 7090 and IBM 7094 1958 University of Michigan Executive System (UMES), for IBM 704, 709, and 7090 1959 SHARE Operating System (SOS), based on GM-NAA I/O == 1960s == 1960 IBSYS (IBM for its 7090 and 7094) 1961 CTSS demonstration (MIT's Compatible Time-Sharing System for the IBM 7094) MCP (Burroughs Master Control Program) for B5000 1962 Atlas Supervisor (Manchester University) (Atlas computer commissioned) BBN Time-Sharing System GCOS (GE's General Comprehensive Operating System, originally GECOS, General Electric Comprehensive Operating Supervisor) 1963 ADMIRAL AN/FSQ-32, another early time-sharing system begun CTSS becomes operational (MIT's Compatible Time-Sharing System for the IBM 7094) JOSS, an interactive time-shared system that did not distinguish between operating system and language Titan Supervisor, early time-sharing system begun 1964 Berkeley Timesharing System (for Scientific Data Systems' SDS 940) Chippewa Operating System (for CDC 6600 supercomputer) Dartmouth Time-Sharing System (Dartmouth College's DTSS for GE computers) EXEC 8 (UNIVAC) KDF9 Timesharing Director (English Electric) – an early, fully hardware secured, fully pre-emptive process switching, multi-programming operating system for KDF9 (originally announced in 1960) OS/360 (IBM's primary OS for its S/360 series) (announced) PDP-6 Monitor (DEC) descendant renamed TOPS-10 in 1970 SCOPE (CDC 3000 series) 1965 BOS/360 (IBM's Basic Operating System) DECsys TOS/360 (IBM's Tape Operating System) Livermore Time Sharing System (LTSS) Multics (MIT, GE, Bell Labs for the GE-645) (announced) Pick operating system SIPROS 66 (Simultaneous Processing Operating System) THE multiprogramming system (Technische Hogeschool Eindhoven) development TSOS (later VMOS) (RCA) 1966 DOS/360 (IBM's Disk Operating System) GEORGE 1 & 2 for ICT 1900 series Mod 1 Mod 2 Mod 8 MS/8 (Richard F. Lary's DEC PDP-8 system) MSOS (Mass Storage Operating System) OS/360 (IBM's primary OS for its S/360 series) PCP and MFT (shipped) RAX Remote Users of Shared Hardware (RUSH), a time-sharing system developed by Allen-Babcock for the IBM 360/50 SODA for Elwro's Odra 1204 Universal Time-Sharing System (XDS Sigma series) 1967 CP-40, predecessor to CP-67 on modified IBM System/360 Model 40 CP-67 (IBM, also known as CP/CMS) Conversational Programming System (CPS), an IBM time-sharing system under OS/360 Michigan Terminal System (MTS) (time-sharing system for the IBM S/360-67 and successors) ITS (MIT's Incompatible Timesharing System for the DEC PDP-6 and PDP-10) OS/360 MVT ORVYL (Stanford University's time-sharing system for the IBM S/360-67) TSS/360 (IBM's Time-sharing System for the S/360-67, never officially released, canceled in 1969 and again in 1971) WAITS (SAIL, Stanford Artificial Intelligence Laboratory, time-sharing system for DEC PDP-6 and PDP-10, later TOPS-10) 1968 Airline Control Program (ACP) (IBM) B1 (NCR Century series) CALL/360, an IBM time-sharing system for System/360 HP Real-Time Executive (HP RTE) – Hewlett-Packard HP Time-Shared BASIC (HP TSB) – Hewlett-Packard (time-sharing system for the HP 2000) THE multiprogramming system (Eindhoven University of Technology) publication TSS/8 (DEC for the PDP-8) VP/CSS 1969 B2 (NCR Century series) B3 (NCR Century series) GEORGE 3 For ICL 1900 series MINIMOP Multics (MIT, GE, Bell Labs for the GE-645 and later the Honeywell 6180) (opened for paying customers in October) RC 4000 Multiprogramming System (RC) TENEX (Bolt, Beranek and Newman for DEC systems, later TOPS-20) Unics (later Unix) (AT&T, initially on DEC computers) Xerox Operating System == 1970s == 1970 DOS-11 (PDP-11) 1971 EMAS Kronos RSTS-11 2A-19 (First released version; PDP-11) RSX-15 OS/8 1972 B4 (NCR Century series) COS-300 Data General RDOS Edos MUSIC/SP OS/4 OS 1100 OS/2000 (Honeywell 2000-series) Operating System/Virtual Storage 1 (OS/VS1) Operating System/Virtual Storage 2 R1 (OS/VS2 SVS) PRIMOS (written in FORTRAN IV, that didn't have pointers, while later versions, around version 18, written in a version of PL/I, called PL/P) Virtual Machine/Basic System Extensions Program Product (BSEPP or VM/SE) Virtual Machine/System Extensions Program Product (SEPP or VM/BSE) Virtual Machine Facility/370 (VM/370), sometimes known as VM/CMS 1973 Эльбрус-1 (Elbrus-1) – Soviet computer – created using high-level language uЭль-76 (AL-76/ALGOL 68) Alto OS CP-V (Control Program V) RSX-11D RT-11 VME – implementation language S3 (ALGOL 68) 1974 ACOS-2 (NEC) ACOS-4 ACOS-6 CP/M DOS-11 V09-20C (Last stable release, June 1974) Hydra – capability-based, multiprocessing OS kernel MONECS Multi-Programming Executive (MPE) – Hewlett-Packard Operating System/Virtual Storage 2 R2 (MVS) OS/7 OS/16 OS/32 Sintran III 1975 BS2000 V2.0 (First released version) COS-350 ISIS NOS (Control Data Corporation) OS/3 (Univac) VS/9 (formerly RCA's TSOS, later named VMOS) Version 6 Unix XVM/DOS XVM/RSX 1976 Cambridge CAP computer – all operating system procedures written in ALGOL 68C, with some closely associated protected procedures in BCPL Cray Operating System DX10 FLEX TOPS-20 TX990/TXDS Tandem Nonstop OS v1 Thoth 1977 1BSD AMOS KERNAL OASIS operating system OS68 OS4000 RMX-80 System 88 (Exec) System Support Program (IBM System/34 and System/36) TRSDOS Virtual Memory System (VMS) V1.0 (Initial commercial release, October 25) VRX (Virtual Resource eXecutive) VS Virtual Memory Operating System 1978 2BSD Apple DOS Control Program Facility (IBM System/38) Cray Time Sharing System (CTSS) DPCX (IBM) DPPX (IBM) HDOS KSOS – secure OS design from Ford Aerospace KVM/370 – security retro-fit of IBM VM/370 Lisp machine (CADR) MVS/System Extensions (MVS/SE) OS4 (Naked Mini 4) PTDOS TRIPOS UCSD p-System (First released version) Z80-RIO 1979 Atari DOS 3BSD CP-6 Idris MP/M MVS/System Extensions R2 (MVS/SE2) NLTSS POS Sinclair BASIC Transaction Processing Facility (TPF) (IBM) UCLA Secure UNIX – an early secure UNIX OS based on security kernel UNIX/32V DOS/VSE Version 7 Unix == 1980s == 1980 86-DOS AOS/VS (Data General) Business Operating System CTOS DOSPLUS (TRS-80) MVS/System Product (MVS/SP) V1 NewDos/80 OS-9 RMX-86 RS-DOS SOS Virtual Machine/System Product (VM/SP) Xenix 1981 Acorn MOS Aegis SR1 (First Apollo/DOMAIN systems shipped on March 27) CP/M-86 DRX (Distributed Resource Executive) iMAX – OS for Intel's iAPX 432 capability machine MCS (Multi-user Control System) MS-DOS PC DOS Pilot (Xerox Star operating system) UNOS UTS V VERSAdos VRTX VSOS (Virtual Storage Operating System) Xinu first release 1982 Commodore DOS LDOS (By Logical Systems, Inc. – for the Radio Shack TRS-80 Models I, II & III) PCOS (Olivetti M20) pSOS QNX Stratus VOS Sun UNIX (later SunOS) 0.7 Ultrix Unix System III VAXELN 1983 Coherent DNIX EOS GNU (project start) Lisa Office System 7/7 LOCUS – UNIX compatible, high reliability, distributed OS MVS/System Product V2 (MVS/Extended Architecture, MVS/XA) Novell NetWare (S-Net) PERPOS ProDOS RTU (Real-Time Unix) STOP – TCSEC A1-class, secure OS for SCOMP hardware SunOS 1.0 VSE/System Package (VSE/SP) Version 1 1984 AMSDOS CTIX (Unix variant) DYNIX Mac OS (System 1.0) MSX-DOS NOS/VE PANOS PC/IX ROS Sinclair QDOS SINIX UNICOS Venix 2.0 Virtual Machine/Extended Architecture Migration Assistance (VM/XA MA) 1985 AmigaOS Atari TOS DG/UX DOS Plus Graphics Environment Manager Harmony MacOS 2 MIPS RISC/os Oberon – written in Oberon SunOS 2.0 Version 8 Unix Virtual Machine/Extended Architecture System Facility (VM/XA SF) Windows 1.0 Windows 1.01 Xenix 2.0 1986 AIX 1.0 Cronus distributed OS FlexOS GEMSOS – TCSEC A1-class, secure kernel for BLACKER VPN & GTNP GEOS Genera 7.0 HP-UX MacOS 3 SunOS 3.0 TR-DOS TRIX Version 9 Unix 1987 Arthur (much improved version came in 1989 under the name RISC OS) BS2000 V9.0 IRIX (3.0 is first SGI version) MacOS 4 MacOS 5 MDOS MINIX 1.0 OS/2 (1.0) PC-MOS/386 Topaz – semi-distributed OS for DEC Firefly workstation written in Modula-2+ and garbage collected VxWorks Windows 2.0 1988 A/UX (Apple Computer) AOS/VS II (Data General) CP/M rebranded as DR-DOS Flex machine – tagged, capability machine with OS and other software written

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  Reflection (computer graphics)

  Reflection in computer graphics is used to render reflective objects like mirrors and shiny surfaces. Accurate reflections are commonly computed using ray tracing whereas approximate reflections can usually be computed faster by using simpler methods such as environment mapping. Reflections on shiny surfaces like wood or tile can add to the photorealistic effects of a 3D rendering. == Approaches to reflection rendering == For rendering environment reflections there exist many techniques that differ in precision, computational and implementation complexity. Combination of these techniques are also possible. Image order rendering algorithms based on tracing rays of light, such as ray tracing or path tracing, typically compute accurate reflections on general surfaces, including multiple reflections and self reflections. However these algorithms are generally still too computationally expensive for real time rendering (even though specialized HW exists, such as Nvidia RTX) and require a different rendering approach from typically used rasterization. Reflections on planar surfaces, such as planar mirrors or water surfaces, can be computed simply and accurately in real time with two pass rendering — one for the viewer, one for the view in the mirror, usually with the help of stencil buffer. Some older video games used a trick to achieve this effect with one pass rendering by putting the whole mirrored scene behind a transparent plane representing the mirror. Reflections on non-planar (curved) surfaces are more challenging for real time rendering. Main approaches that are used include: Environment mapping (e.g. cube mapping): a technique that has been widely used e.g. in video games, offering reflection approximation that's mostly sufficient to the eye, but lacking self-reflections and requiring pre-rendering of the environment map. The precision can be increased by using a spatial array of environment maps instead of just one. It is also possible to generate cube map reflections in real time, at the cost of memory and computational requirements. Screen space reflections (SSR): a more expensive technique that traces rays come from pixel data.This requires the data of surface normal and either depth buffer (local space) or position buffer (world space).The disadvantage is that objects not captured in the rendered frame cannot appear in the reflections, which results in unresolved and or false intersections causing artefacts such as reflection vanishment and virtual image. SSR was originally introduced as Real Time Local Reflections in CryENGINE 3. == Types of reflection == Polished - A polished reflection is an undisturbed reflection, like a mirror or chrome surface. Blurry - A blurry reflection means that tiny random bumps, or microfacets, on the surface of the material causes the reflection to be blurry. Metallic - A reflection is metallic if the highlights and reflections retain the color of the reflective object. Glossy - This term can be misused: sometimes, it is a setting which is the opposite of blurry (e.g. when "glossiness" has a low value, the reflection is blurry). Sometimes the term is used as a synonym for "blurred reflection". Glossy used in this context means that the reflection is actually blurred. === Polished or mirror reflection === Mirrors are usually almost 100% reflective. === Metallic reflection === Normal (nonmetallic) objects reflect light and colors in the original color of the object being reflected. Metallic objects reflect lights and colors altered by the color of the metallic object itself. === Blurry reflection === Many materials are imperfect reflectors, where the reflections are blurred to various degrees due to surface roughness that scatters the rays of the reflections. === Glossy reflection === Fully glossy reflection, shows highlights from light sources, but does not show a clear reflection from objects. == Examples of reflections == === Wet floor reflections === The wet floor effect is a graphic effects technique popular in conjunction with Web 2.0 style pages, particularly in logos. The effect can be done manually or created with an auxiliary tool which can be installed to create the effect automatically. Unlike a standard computer reflection (and the Java water effect popular in first-generation web graphics), the wet floor effect involves a gradient and often a slant in the reflection, so that the mirrored image appears to be hovering over or resting on a wet floor.

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  Digital content

  Digital content is any content that exists in the form of digital data. Digital content is stored on digital media or analog storage in specific formats. Forms of digital content include information that is digitally broadcast, streamed, or contained in computer files. Viewed narrowly, digital content includes popular media types, while a broader approach considers any type of digital information (e. g. digitally updated weather forecasts, GPS maps, and so on) as digital content. Digital content has increased as more households have accessed the Internet. Expanded access has made it easier for people to receive their news and watch TV online, challenging the popularity of traditional platforms. Increased access to the Internet has also led to the mass publication of digital content through individuals in the form of eBooks, blog posts, and even Facebook posts. == History == At the beginning of the Digital Revolution, computers facilitated the discovery, retrieval, and creation of new information in every field of human knowledge. As information became increasingly more accessible, the Digital Revolution also facilitated the creation of digital content. Despite an evolution to digital technology, which occurred somewhere between the late 1970s, distribution of digital content did not begin until the late 1990s with the rise in popularity of the Internet. In the past, digital content was primarily distributed through computers and the Internet. Methods of distribution are rapidly changing as the Digital Revolution brings new channels, such as mobile apps and eBooks. These new technologies will create challenges for content creators, as they determine the best channel to bring content to their consumers. Despite the benefits, new technologies have created new intellectual property issues. Users can easily share, modify, and redistribute content outside of the creator's control. While new technologies have made digital content available to large audiences, managing copyright and limiting content movement will continue to be an issue that digital content creators face in the future. == Types of digital content == Examples include: Video – Types of video content include home videos, music videos, TV shows, and movies. Many of these can be viewed on websites such as YouTube, Hulu, Paramount+, Disney+, HBO Max, and so on, in which people and companies alike can post content. However, many movies and television shows are not available for free legally, but rather can be purchased from sites such as iTunes and Amazon. Audio – Music is the most common form of audio. Spotify has emerged as a popular way for people to listen to music either over the Internet or from their computer desktop. Digital content in the form of music is also available through Pandora and last.fm, both of which allow listeners to listen to music online for no charge. Images – Photo and image sharing is another example of digital content. Popular sites used for this type of digital content includes Imgur, where people share self-created pictures, Flickr, where people share their photo albums, and DeviantArt, where people share their artwork. Popular apps that are used for images include Instagram and Snapchat. Visual Stories - Stories are a new type of digital content that got introduced by Snapchat. Since then, stories as a format has been introduced in a couple of other platforms such as Facebook and Linkedin. In 2018, Google introduced their AMP Stories, which provides content publishers with a mobile-focused format for delivering news and information as visually rich, tap-through stories. Text - Type of digital content which is available in text or written format. Blog websites which store data in form of textual format. === Paid digital content === In order to have access to more premium digital goods, consumers usually have to pay an upfront charge for digital content, or a subscription based fee. Video – Many licensed videos, such as movies and television shows, require money in order to be viewed or downloaded. Popular services used by many include streaming giant Netflix and Amazon's streaming service, as well as recent notice put forth by the online video platform YouTube. Audio – While songs can be streamed for free, generally in order to download most licensed music, consumers need to purchase songs from web stores, such as the popular iTunes. However, Spotify Premium is emerging as a new model for purchasing digital content on the web: consumers pay a monthly fee to unlimited streaming and downloading from Spotify's music library. According to a report done by IHS Inc. in 2013, the global consumer spending on digital content grew to over $57 billion in 2013, which was up almost 30% from $44 billion in 2012. In past years, the US has always been a leader in consumer expenditure on digital content, but as of 2013, many countries have emerged with great consumer expenditure. South Korea's overall digital spend per capita is now greater than the US. ==== Consolidation ==== According to research firm Ampere Analysis, in 2024, a small group of six media conglomerates; Disney, Comcast, Google, Warner Bros. Discovery, Netflix, and Paramount Global—are poised to dominate the global content market. These companies are projected to account for 51% of all global spending on content, a significant increase from 47% in 2020. Disney, in particular, is a major player, with an estimated $35.8 billion investment in television and film content, representing 14% of global spending. This significant increase, fueled by Disney's full ownership of Hulu, highlights the company's strategic focus on streaming services. A substantial portion of the projected $126 billion global content spending is allocated to streaming platforms. === Non-purchasable digital content === Not all digital content is purchasable, and is simply anything published digitally. This would include: News – in recent years newspapers have attempted to expand their readership by creating access to their newspapers digitally. As of 2012, 39% of readers learned about news from online formats, making news a prevalent form of digital content. Advertisements – as media consumers increasingly use digital formats to watch TV, check the weather, and search for content, advertisements have shifted to digital forms to keep up with their viewership. Advertisements are now being made digitally and placed on sites ranging from Facebook to YouTube. Question and Answer sites – these sites are a type of Internet forum where people can post questions they want answered, or provide responses to previous inquiries. With millions of questions posted each day, anyone has the ability to create content on these sites, so the information provided may not be 100% reliable or accurate. Popular sites include Yahoo! Answers, WikiAnswers and Quora. Web mapping – sites such as MapQuest and Google Maps provide users with map content. These sites give people the ability to quickly look up the location of a landmark and create routes to a destination. Online maps are a form of free content provided by companies such as Google and AOL, serving as much more efficient alternatives to the traditional Thomas Guide. == Business implications == === Digital companies === Digital content businesses can include news, information, and entertainment distributed over the Internet and consumed digitally by both consumers and businesses. Based on revenue, the leading digital businesses are ranked Google, China Mobile, Bloomberg, Reed Elsevier, and Apple. The 50 companies with the highest revenue are split between those offering free and paid digital content, but these top 50 companies combined generate revenue of $150 billion. === Educational opportunities === Programs such as CUNY's Macaulay Honors College in their New Media Lab, run by industry professional Robert Small, is set up to train and introduce students to the various disciplines within the digital content industry. The goal is to offer information and access to professional work opportunities. They also explore within an incubator how to create businesses and start ups within the world of digital content. There are many educational events in support of choosing digital content as a career. === Government support === The Irish government adopted a "Strategy for the Digital Content Industry in Ireland" in 2002.

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  Electronic submission

  Electronic submission refers to the submission of a document by electronic means: that is, via e-mail or a web form on the Internet, or on an electronic medium such as a compact disc, a hard disk or a USB flash drive. Traditionally, the term "manuscript" referred to anything that was explicitly "written by hand". However, in popular usage and especially in the context of computers and the internet, the term "manuscript" may even refer to documents (text or otherwise) typed out or prepared on typewriters and computers and can be extended to digital photographs and videos, and online surveys too. In other words, any manuscript prepared and submitted online can be considered to be an electronic submission. == History and early usage == There is no concrete data indicating when and by whom were electronic submissions used for the first time. However, research based universities in several countries have been encouraging the collection of course assignments and projects in the form of electronic submissions for almost a decade now. Several governments and organizations are also switching to electronic submissions for the collection of research papers, grant applications and government application forms. == Types of electronic submissions == Since modern computers can store and process information and data in virtually any format and with the Internet allowing easy transfer of this data, the number of scenarios in which submissions can be collected electronically has increased exponentially in the last few years. Some of these scenarios are described below. In most of these scenarios, submissions were collected on hard paper until the Information Technology revolution occurred. === Academic Submissions === Teachers, professors and teaching assistants often collect course assignments and projects electronically. Electronic submissions are usually collected using a web-based system which more often than not also helps in the management of submissions collected and stored on it. (Explained By Henny L, University of Lethbridge, AB, Canada) === Research Papers === In call-for-paper or academic conferences, prospective presenters are usually asked to submit a short abstract or a full paper on their presentation or research work electronically, which is reviewed before being accepted for the conference. === Proposals for Grants === Several grant-giving organizations like the NSA, W3C, NIA, NIH etc. require grant seekers to submit a proposal which if accepted result in the desired grants. A majority of these proposals are now submitted electronically on systems that also help in the managing and tracking the proposals submitted. === Articles for Publication === Magazines, newspapers and other publishing houses have begun accepting electronic submissions for articles from various sources - both internal (by journalists and writers hired by them) as well as external (by users and popular readers). The submitted articles are stored on a server hosted by the publication house or by a third-party Archived 2019-10-13 at the Wayback Machine vendor and are usually evaluated before being given a green signal. === Contests and Competition Entries === Almost every kind of contest or competition requires participants to submit an entry in a format described by the organizers of the contest. If the contest is an Internet-based one, then the entries or nominations for the contest are collected electronically using e-mail or other electronic means depending on feasibility and the choice of the organizers. === Government Applications === The governments of several countries are turning to electronic submission of applications and forms for various government procedures. Electronic submissions allow easier management of the applications and forms submitted. === Legal documents === Many legal documents may be submitted to the courts electronically. In England and Wales, the Civil Procedure Rules include a suitable "document exchange" as an acceptable "method of service". Case law in employment law cases has established that where a claim is submitted electronically, a prudent legal adviser should "check that it has been received and there must be systems in place for doing that". === Resumés and CVs === It has become commonplace for job-seekers to submit soft copies (electronic versions) of their resumés and CVs to recruiting agencies and online job portals. This is usually done over the Internet using e-mail or a pre-hosted web-based system. == Submission management systems == The art and science of collecting and managing electronic submissions is called Submission Management. Certain software vendors have begun developing submission management systems to assist in the collection, tracking and management of complex submission processes realized electronically. Most of these systems are web based and accessible from any device with a browser and an Internet connection. However, a majority of these systems are application specific and cannot be applied to all submission management scenarios. == Resistance to electronic submissions == Despite the easier management and tracking of electronic submissions compared to their paper-based counterparts, widespread adoption and use of electronic submissions and systems for managing them has been hampered by several facts, which include but are not limited to: Inconvenience while drawing figures, diagrams and equations on a computer Resistance to change and adoption of new technologies Lack of or limited access to the Internet.

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  Battleboarding

  Battleboarding, also known as versus debating and "who would win" debating, is an activity that involves discussing and debating around hypothetical fights between individuals; most popularly, fictional characters. These debates are often held in forums, blogs, sites and wikis, known as versus sites or battle boards. Netizens who engage in battleboarding online are often called "battleboarders". The earliest iterations of battleboarding first appeared in various online boards and forums, though its origins can be traced back to magazines, television shows, and comic book letter columns. Eventually, the online activity grew, becoming one of the most popular internet activities today, and spawning many online communities dedicated solely for battleboarding. It soon evolved into its own subculture, and even went on to inspire other media. == History == === Origins === Before the advent of the internet, articles about hypothetical fights were published in magazines. These articles range from topics like sports, comics and anime, such as Black Belt Magazine issue May 1997 which discussed about a hypothetical match between Muhammad Ali and Bruce Lee, and Wizard Magazine #133 which discussed about various hypothetical fights between American comic characters against Japanese anime characters. During that time, many comic book publishers also conceptualized and published "versus" storylines like Batman Versus Predator and Justice League/Avengers. Many films also capitalized on the concept of characters from different franchises fighting each other, such as Frankenstein Meets the Wolf Man (1934), King Kong vs. Godzilla (1962), Freddy vs Jason (2003), and Alien vs. Predator (2004). Another inspiration behind battleboarding were television shows and documentaries whose premise involved hypothetical fights concerning a variety of subjects like zoology, paleontology, and military history. These include shows such as Animal Face-Off (which pitted animals against each other), Deadliest Warrior (which pitted historical warriors, oftentimes from different time periods, against each other), and Jurassic Fight Club (which was about analyzing cases where different types of dinosaurs fought one another). Death Battle, a web series about pitting characters against each other that began in 2010, is a similar show that soon inspired many battleboarding communities and fandoms. Death Battle, as with many other battleboarding series and websites before it, utilised "calcs", which are mathematical equations that try to calculate how strong a character or weapon is. Other popular web series about the subject include Super Power Beat Down and Grudge Match. === Forums and sites === Many internet forums about movies, comics, anime, and video games often held discussions about hypothetical fights between characters from these media. These discussions would be the first iteration of online battleboarding. A notable early battleboarding website was stardestroyer.net (founded 1998), created by Michael Wong. The website focuses in large part on match-ups between the Star Wars and Star Trek franchises, and also includes a forum covering this as well as other more general battleboarding topics, usually related to science fiction and space opera. In addition to the forums, several webpages written by the administrators and contributors were embedded on the site. These attempted to mathematically quantify the capabilities of Star Wars technology and prove their superiority to their Star Trek equivalents, such as Wong's "Star Wars vs Star Trek: Technology Overview" and Brian Young's "Turbolaser Commentaries." stardestroyer.net had a notable impact on early battleboarding culture and also influenced official products. Curtis Saxton, author of several officially-licensed Star Wars technical reference books, thanked Wong, Young, and several other stardestroyer.net contributors by name in the acknowledgements section of Star Wars: Attack of the Clones Incredible Cross-Sections (2002), referring to them as "prominent among the hundreds of people contributing to constructive debates about Star Wars technicalities over the years, resulting in the consensus of conceptual and physical foundations applied in these pages." Saxton's books in the Incredible Cross-Sections series contain specific numbers about the capabilities of Star Wars ships original to these publications and not used in any other official sources. In an interview conducted by TheForce.Net, Saxton claimed to have been offered the job of writing reference books by a DK employee familiar with his "Star Wars Technical Commentaries" webpage (1995–2001), where Saxton attempted to calculate the firepower, speed, and durability of Star Wars spaceships using his background as an astrophysics student. One of the oldest and longest-running battleboarding forum is Comic Vine's "battle forum", whose first post was in 2007. Comic Vine also has one of the largest impacts on battleboarding, creating many common rules and terminologies such as "bloodlusted", "morals are off", "speed equalized", and many others. Another long-running battle forum is a subreddit called r/whowouldwin, where redditors can post and debate fights about real or fictional individuals. Verdicts of these match-ups are often chosen by using evidences of a character's power, weakness, or feat, such as movie clips, comic book panel scans, and excerpts from related literature; all of which are posted and categorized in a separate subreddit called r/respectthreads. Other influential battle forums include Fanverse, where users can post their own calcs about a character's power level. The popularity of battle forums inspired the creation of websites dedicated only for battleboarding. These include The Outskirts Battle Dome, a website that popularized the use of "power levels" in battleboarding; the aforementioned stardestroyer.net; and Space Battles, a website whose forums and threads are filled with posts about hypothetical fights between characters as well as other related topics. Another influential battleboarding site is the now defunct Fact Pile, and its sister site, FactPileTopia. Fact Pile is one of the first battleboarding site that actually listed down and documented winners of their match-ups. The site closed down in 2016 along with its forum, wikia, and YouTube channel. Besides these, blogs about battleboarding were also created, such as dreager1.com. === Wikis === Nowadays, the most popular battleboarding communities can be seen in Fandom, with two of the oldest and most popular being Deadliest Fiction and VS Battles Wiki. Deadliest Fiction is a Deadliest Warrior-inspired fanon created in July 2010 by a group of historians, academics, and pop culture enthusiasts. Being one of the most influential and accurate battleboarding sites around, Deadliest Fiction allows users to create hypothetical match-ups in the form of blogs, where other users can vote and debate around who will win in the comment section. Once a verdict is reached, the site allows the user to create a simulated fanfiction of how the fight would happen. The same year in October, a similar battleboarding site named VS Battles Wiki was created. In the VS Battles Wiki, users can create profiles and power levels of characters, post match-ups in its threads and forums, and list down the winners and losers of these threads in said character profiles. The wiki is considered the most active wiki battleboarding site today, with over 1 million visitors per month. However, throughout the years, the VS Battles Wiki has had its share of controversies, such as alleged inaccuracies in its profiles. There have also been websites and fanfiction wikis inspired by the battleboarding internet show Death Battle. These include the long-running G1 Death Battle Fan Blog, r/deathbattlematchups, and the popular Death Battle Fanon Wiki and DBX Fanon Wiki. Death Battle also released its own dice and card game, complete with rules and effects taken from battleboarding. == Subculture == In its rise in popularity, battleboarding has given birth to a unique online subculture with its own rules, activities, and terminologies. Several of these influences have become present in other online communities and popular media. Some of the common slang and terminologies used in battleboarding subculture includes: Battle Field Removal: Often abbreviated to "BFR", this is a rule that a fight can end if one character is taken out of a battlefield. This rule is used for characters who have the powers to teleport or transport enemies without actually killing them. Battle Royale: A term originating from Comic Vine in which multiple characters are pitted against each other. The name is probably derived from the film Battle Royale or the video game genre of the same name. Bloodlusted: A hypothetical situation wherein the characters are pitted against each other while in a furious, berserker-like state. Calc: These are calculations battl

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  15.ai

  15.ai was a free non-commercial web application and research project that uses artificial intelligence to generate text-to-speech voices of fictional characters from popular media. Created by a pseudonymous artificial intelligence researcher known as 15, who began developing the technology as a freshman during their undergraduate research at the Massachusetts Institute of Technology (MIT), the application allows users to make characters from video games, television shows, and movies speak custom text with emotional inflections. The platform is able to generate convincing voice output using minimal training data; the name "15.ai" references the creator's statement that a voice can be cloned with just 15 seconds of audio. It was an early example of an application of generative artificial intelligence during the initial stages of the AI boom. Launched in March 2020, 15.ai became an Internet phenomenon in early 2021 when content utilizing it went viral on social media and quickly gained widespread use among Internet fandoms, such as the My Little Pony: Friendship Is Magic, Team Fortress 2, and SpongeBob SquarePants fandoms. The service featured emotional context through emojis, precise pronunciation control, and multi-speaker capabilities. Critics praised 15.ai's accessibility and emotional control but criticized its technical limitations in prosody options and non-English language support, with mixed results depending on character complexity. 15.ai is credited as the first platform to popularize AI voice cloning in memes and content creation. Voice actors and industry professionals debated 15.ai's implications, raising concerns about employment impacts, voice-related fraud, and potential misuse. In January 2022, it was discovered that a company called Voiceverse had generated voice lines using 15.ai without attribution, promoted them as the byproduct of their own technology, and sold them as non-fungible tokens (NFT) without permission. News publications universally characterized this incident as the company having "stolen" from 15.ai. The service went offline in September 2022 due to legal issues surrounding artificial intelligence and copyright. Its shutdown was followed by the emergence of commercial alternatives whose founders have acknowledged 15.ai's pioneering influence in the field of deep learning speech synthesis. On May 18, 2025, 15 launched 15.dev as the sequel to 15.ai. == History == === Background === The field of speech synthesis underwent a significant transformation with the introduction of deep learning approaches. In 2016, DeepMind's publication of the WaveNet paper marked a shift toward neural network-based speech synthesis, which enabled higher audio quality via causal convolutional neural networks. Previously, concatenative synthesis—which worked by stitching together pre-recorded segments of human speech—was the predominant method for generating artificial speech, but it often produced robotic-sounding results at the boundaries of sentences. In 2018, Google AI's Tacotron 2 showed that neural networks could produce highly natural speech synthesis but required substantial training data (typically tens of hours of audio) to achieve acceptable quality. When trained on two hours of training data, the output quality degraded while still being able to maintain intelligible speech; with 24 minutes of training data, Tacotron 2 failed to produce intelligible speech. The same year saw the emergence of HiFi-GAN, a generative adversarial network (GAN)-based vocoder that improved the efficiency of waveform generation while producing high-fidelity speech, followed by Glow-TTS, which introduced a flow-based approach that allowed for both fast inference and voice style transfer capabilities. Chinese tech companies like Baidu and ByteDance also made contributions to the field by developing breakthroughs that further advanced the technology. === 2016–2020: Conception and development === 15.ai was conceived in 2016 as a research project in deep learning speech synthesis by a developer known as 15 (at the age of 18) during their freshman year at MIT as part of its Undergraduate Research Opportunities Program. 15 was inspired by DeepMind's WaveNet paper, with development continuing through their studies as Google AI released Tacotron 2 the following year. By 2019, they had demonstrated at MIT their ability to replicate WaveNet and Tacotron 2's results using 75% less training data than previously required. The name "15.ai" is a reference to the developer's statement that a voice can be cloned with as little as 15 seconds of data. 15 had originally planned to pursue a PhD based on their undergraduate research, but opted to work in the tech industry instead after their startup was accepted into the Y Combinator accelerator in 2019. After their departure in early 2020, 15 returned to their voice synthesis research and began implementing it as a web application. According to a post on X from 15, instead of using conventional voice datasets like LJSpeech that contained simple, monotone recordings, they sought out more challenging voice samples that could demonstrate the model's ability to handle complex speech patterns and emotional undertones. During this phase, 15 discovered the Pony Preservation Project, a collaborative project started by /mlp/, the My Little Pony board on 4chan. Contributors of the project had manually trimmed, denoised, transcribed, and emotion-tagged thousands of voice lines from My Little Pony: Friendship Is Magic and had compiled them into a dataset that provided ideal training material for 15.ai. === 2020–2022: Release and operation === 15.ai was released on March 2, 2020 as a free and non-commercial web application that did not require user registration to use, but did require the user to accept its terms of service before proceeding. At the time of its launch, the platform had a limited selection of available characters, including those from My Little Pony: Friendship Is Magic and Team Fortress 2. Users were permitted to create any content with the synthesized voices under two conditions: they had to properly credit 15.ai by including "15.ai" in any posts, videos, or projects using the generated audio; and they were prohibited from mixing 15.ai outputs with other text-to-speech outputs in the same work to prevent misrepresentation of the technology's capabilities. On March 8, 2020, Tyler McVicker of Valve News Network uploaded a YouTube video showcasing 15.ai. More voices were added to the website in the following months. In late 2020, 15 implemented a multi-speaker embedding in the deep neural network, which enabled the simultaneous training of multiple voices. Following this, the website's roster expanded from eight to over fifty characters. In addition, this implementation allowed the deep learning model to recognize common emotional patterns across different characters, even when certain emotions were missing from the characters' training data. By May 2020, the site had served over 4.2 million audio files to users. In early 2021, the application gained popularity after skits, memes, and fan content created using 15.ai went viral on Twitter, TikTok, Reddit, Twitch, Facebook, and YouTube. At its peak, the platform incurred operational costs of US$12,000 per month from AWS infrastructure needed to handle millions of daily voice generations; despite receiving offers from companies to acquire 15.ai and its underlying technology, the website remained independent and was funded out of the personal previous startup earnings of the developer. === 2022: Voiceverse NFT controversy === On January 14, 2022, 15 discovered that a blockchain-based company called Voiceverse had generated voice lines using 15.ai, falsely showcased them on Twitter as a demonstration of their own voice technology without permission or attribution, and sold them as NFTs. This came shortly after 15 had stated in December 2021 that they had no interest in incorporating NFTs into their work. A screenshot of the log files posted by 15 showed that Voiceverse had generated audio of characters from My Little Pony: Friendship Is Magic using 15.ai and pitched them up to make them sound unrecognizable, a violation of 15.ai's terms of service, which explicitly prohibited commercial use and required proper attribution. When confronted with evidence, Voiceverse stated that their marketing team had used 15.ai without proper attribution while rushing to create a demo. In response, 15 tweeted "Go fuck yourself," which went viral, amassing hundreds of thousands of retweets and likes on Twitter in support of the developer. The tweets showcasing the stolen voices were subsequently deleted. ==== Aftermath ==== The controversy raised concerns about NFT projects, which, according to critics, were frequently associated with intellectual property theft and questionable business practices. The incident was documented in the AI Incident Database (AIID) and the AI, Alg

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  Quality of experience

  Quality of experience (QoE) is a measure of the delight or annoyance of a customer's experiences with a service (e.g., web browsing, phone call, TV broadcast). QoE focuses on the entire service experience; it is a holistic concept, similar to the field of user experience, but with its roots in telecommunication. QoE is an emerging multidisciplinary field based on social psychology, cognitive science, economics, and engineering science, focused on understanding overall human quality requirements. == Definition and concepts == In 2013, within the context of the COST Action QUALINET, QoE has been defined as:The degree of delight or annoyance of the user of an application or service. It results from the fulfillment of his or her expectations with respect to the utility and / or enjoyment of the application or service in the light of the user’s personality and current state.This definition has been adopted in 2016 by the International Telecommunication Union in Recommendation ITU-T P.10/G.100. Before, various definitions of QoE had existed in the domain, with the above-mentioned definition now finding wide acceptance in the community. QoE has historically emerged from Quality of Service (QoS), which attempts to objectively measure service parameters (such as packet loss rates or average throughput). QoS measurement is most of the time not related to a customer, but to the media or network itself. QoE however is a purely subjective measure from the user's perspective of the overall quality of the service provided, by capturing people's aesthetic and hedonic needs. QoE looks at a vendor's or purveyor's offering from the standpoint of the customer or end user, and asks, "What mix of goods, services, and support, do you think will provide you with the perception that the total product is providing you with the experience you desired and/or expected?" It then asks, "Is this what the vendor/purveyor has actually provided?" If not, "What changes need to be made to enhance your total experience?" In short, QoE provides an assessment of human expectations, feelings, perceptions, cognition and satisfaction with respect to a particular product, service or application. QoE is a blueprint of all human subjective and objective quality needs and experiences arising from the interaction of a person with technology and with business entities in a particular context. Although QoE is perceived as subjective, it is an important measure that counts for customers of a service. Being able to measure it in a controlled manner helps operators understand what may be wrong with their services and how to improve them. == QoE factors == QoE aims at taking into consideration every factor that contributes to a user's perceived quality of a system or service. This includes system, human and contextual factors. The following so-called "influence factors" have been identified and classified by Reiter et al.: Human Influence Factors Low-level processing (visual and auditory acuity, gender, age, mood, …) Higher-level processing (cognitive processes, socio-cultural and economic background, expectations, needs and goals, other personality traits…) System Influence Factors Content-related Media-related (encoding, resolution, sample rate, …) Network-related (bandwidth, delay, jitter, …) Device-related (screen resolution, display size, …) Context Influence Factors Physical context (location and space) Temporal context (time of day, frequency of use, …) Social context (inter-personal relations during experience) Economic context Task context (multitasking, interruptions, task type) Technical and information context (relationship between systems) Studies in the field of QoE have typically focused on system factors, primarily due to its origin in the QoS and network engineering domains. Through the use of dedicated test laboratories, the context is often sought to be kept constant. == QoE versus User Experience == QoE is strongly related to but different from the field of User Experience (UX), which also focuses on users' experiences with services. Historically, QoE has emerged from telecommunication research, while UX has its roots in Human–Computer Interaction. Both fields can be considered multi-disciplinary. In contrast to UX, the goal of improving QoE for users was more strongly motivated by economic needs. Wechsung and De Moor identify the following key differences between the fields: == QoE measurement == As a measure of the end-to-end performance at the service level from the user's perspective, QoE is an important metric for the design of systems and engineering processes. This is particularly relevant for video services because – due to their high traffic demands –, bad network performance may highly affect the user's experience. So, when designing systems, the expected output, i.e. the expected QoE, is often taken into account – also as a system output metric and optimization goal. To measure this level of QoE, human ratings can be used. The mean opinion score (MOS) is a widely used measure for assessing the quality of media signals. It is a limited form of QoE measurement, relating to a specific media type, in a controlled environment and without explicitly taking into account user expectations. The MOS as an indicator of experienced quality has been used for audio and speech communication, as well as for the assessment of quality of Internet video, television and other multimedia signals, and web browsing. Due to inherent limitations in measuring QoE in a single scalar value, the usefulness of the MOS is often debated. Subjective quality evaluation requires a lot of human resources, establishing it as a time-consuming process. Objective evaluation methods can provide quality results faster, but require dedicated computing resources. Since such instrumental video quality algorithms are often developed based on a limited set of subjective data, their QoE prediction accuracy may be low when compared to human ratings. QoE metrics are often measured at the end devices and can conceptually be seen as the remaining quality after the distortion introduced during the preparation of the content and the delivery through the network, until it reaches the decoder at the end device. There are several elements in the media preparation and delivery chain, and some of them may introduce distortion. This causes degradation of the content, and several elements in this chain can be considered as "QoE-relevant" for the offered services. The causes of degradation are applicable for any multimedia service, that is, not exclusive to video or speech. Typical degradations occur at the encoding system (compression degradation), transport network, access network (e.g., packet loss or packet delay), home network (e.g. WiFi performance) and end device (e.g. decoding performance). == QoE management == Several QoE-centric network management and bandwidth management solutions have been proposed, which aim to improve the QoE delivered to the end-users. When managing a network, QoE fairness may be taken into account in order to keep the users sufficiently satisfied (i.e., high QoE) in a fair manner. From a QoE perspective, network resources and multimedia services should be managed in order to guarantee specific QoE levels instead of classical QoS parameters, which are unable to reflect the actual delivered QoE. A pure QoE-centric management is challenged by the nature of the Internet itself, as the Internet protocols and architecture were not originally designed to support today's complex and high demanding multimedia services. As an example for an implementation of QoE management, network nodes can become QoE-aware by estimating the status of the multimedia service as perceived by the end-users. This information can then be used to improve the delivery of the multimedia service over the network and proactively improve the users' QoE. This can be achieved, for example, via traffic shaping. QoE management gives the service provider and network operator the capability to minimize storage and network resources by allocating only the resources that are sufficient to maintain a specific level of user satisfaction. As it may involve limiting resources for some users or services in order to increase the overall network performance and QoE, the practice of QoE management requires that net neutrality regulations are considered.

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  MX1 Ltd

  MX1 was a global media services provider founded in July 2016 from a merger between digital media services companies, RR Media and SES Platform Services, and a wholly owned subsidiary of global satellite owner and operator, SES. In September 2019, MX1 was merged into the SES Video division and the MX1 brand dropped. Broadcast and streamed content management, playout, distribution, and monetisation services from both MX1 and SES Video are now provided under the SES name. Before merger with SES, MX1 claimed to manage more than 5 million media assets and every day to distribute more than 3,600 TV channels, manage the playout of over 525 channels, distribute content to more than 120 subscription VOD platforms, and deliver over 8,400 hours of online video streaming and more than 620 hours of premium sports and live events. == Services == MX1 video and media services are provided through a single hybrid, cloud and on-premises solution, called MX1 360, which enables video and media solutions including content and metadata management, archiving, localisation solutions, channel playout, VOD, online video (OTT) and content distribution. Services provided by MX1 include: === Content aggregation === Acquisition of content via satellite, fibre or IP with satellite downlinking services (for encryption, re-encryption and re-muxing into different platforms), fibre reception from any location, and IP reception via the public Internet. Live sports, news and entertainment production (including in-studio, outside broadcasting, and SNG) with mobile live streaming and video contribution. === Content management === Digital mastering including scanning, conversion, restoration, quality control and localisation/versioning. Content archiving including secure, cloud and on-premises digital storage, and disaster recovery services. Metadata packaging and platform validation to enhance content discovery, searchability and cataloguing. Playout preparation and delivery to any format. === Channel origination and playout === Managed TV channel origination in SD, HD and UHD including 3D graphics, and video and audio effects, using cloud-based solution accessible from any location, with live content insertion and operation, and 24/7 monitoring. === Online video/VOD services === Content preparation and management for online video, VOD, live streaming services and Online video platforms using an ultra-high capacity content delivery network, including subscriber management, apps, DRM, social media, advertising tools, monetisation tools, metadata management, and analytics. === Content delivery === Delivery in all video formats over hybrid distribution network of satellite (using over 150 platforms), fibre (60 digital media hubs worldwide) and the Internet with complete downlink/uplink turnaround services and OTT content delivery. == Locations == MX1 has 16 offices worldwide, the most recent opened in March 2017 in Seoul, South Korea, as well as media centres in UK (London), US (Hawley, PA), Israel (Emeq Ha'Ela), Romania (Bucharest) and at the headquarters in Unterföhring near Munich, Germany. In the early part of 2017, significant upgrades were made to MX1's US media centre in Hawley, Pennsylvania, including expanding its capabilities for US based and global content aggregation, management and delivery to support US broadcasters and content providers. == History == RRsat was founded in Israel by David Rivel, an electronics, computers and communications engineer in 1981 as a communications provider, and in 2014 changed its name to RR Media to reflect its expanding global service offering. In 2015, RR Media acquired Eastern Space Systems (ESS), a Romanian provider of content management and content distribution services and satellite transmission services provider, SatLink Communications. Digital Playout Centre GmbH (DPC) was founded in 1996 by German media company, Kirch to provide playout, multiplexing, satellite uplinks and other broadcast services to Kirch's Premiere pay-TV platform (now Sky Deutschland) and other private and public German broadcasters. In 2005, SES Astra (a subsidiary of SES Global, now SES) bought 100% of DPC from Premiere and the company renamed ASTRA Platform Services GmbH (APS). In 2012, to reflect the company's expanding worldwide reach, the name was changed to SES Platform Services. In February 2016, it was announced that SES Platform Services had agreed, subject to regulatory approvals, to purchase RR Media. The acquisition was completed in July 2016, with the merged company renamed MX1 and headed by Avi Cohen, the former CEO of RR Media. In October 2017, Cohen was replaced as CEO by Wilfred Urner, the former CEO of SES Platform Services, CEO of SES subsidiary, HD+ and Head of Media Platforms and Product Development, SES Video.

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  KKday

  KKday is an online travel e-commerce platform focused on connecting independent travelers with authentic, curated local experiences, tours, activities, and attraction tickets. == History == KKday was founded in 2014 in Taipei, Taiwan, by CEO Ming Chen, who previously started and led both Star Travel and Ezfly to IPO. In March of 2016, the company raised US$4.5 million in a Series A round led by AppWorks Ventures with participation by 91Capital. The raise allowed KKday to open offices and expand into Hong Kong, Japan, South Korea and Singapore by 2016. By the end of 2016, KKday offered over 6,000 travel experiences across 53 countries and 174 cities, marking early international expansion with its official launch in Singapore in October 2016, accompanied by promotional campaigns to attract regional users. Expansion into Malaysia, Thailand, Vietnam and the Philippines continued throughout 2017 and into 2018, with the company opening offices in Indonesia and mainland China. KKday rapidly expanded its inventory, reaching over 10,000 experiences in more than 500 cities across 80 countries by 2018, with key markets in Taiwan, Hong Kong, and South Korea. In February 2018, KKday raised $10.5 million in a funding round led by Japanese travel giant H.I.S., allowing integration with larger travel networks and further global growth. Forbes reports that by the end of 2018, the company operated in 11 countries and regions, employed around 400 staff, and recorded over 4 million weekly website views with more than 1 million app downloads. A combination of a Japanese and South Korean trade dispute, along with the Covid-19 pandemic in 2020, lead KKday to pivot quickly toward domestic staycations and local experiences while initially raising $70m in their Series C which, was later extended to $95m. The Series C funds were partially used to accelerate and expand Rezio. Launched in 2019, Rezio is KKday's B2B SaaS booking management platform for travel providers, allowing them to track inventory, manage reservations and sell tickets. FineDayClub was launched in 2020 by KKday as a personalized luxury subscription travel service to cater to high end clients. KKday’s CFO, Jenny Tsai pivoted to lead KKday’s new venture. KKday was able to successfully navigate and adapt to travel patterns during the Covid-19 pandemic by reducing user acquisition costs by two thirds and focusing on domestic travel experiences to drive bookings and revenue. KKday was particularly successful in Vietnam, with bookings increased by 2,000% through 2022 and the company's travel operator platform Rezio, onboarding over 1,200 operators inside the country. In 2021, KKday acquired Activity Japan, a domestic focused travel company, founded by Kimiharu Obuchi in 2014. The successful acquisition, a key factor in KKday’s rapid expansion in the Japanese market, was facilitated by H.I.S., a common early investor in both platforms. In 2023 KKday inked a partnership with Rail Europe to create an all-in-one platform for 150 rail lines over 33 European countries with the intent of increasing ridership across Europe. In late 2024, KKday completed its Series D at $70M, bringing the total amount of capital raised to over $250M. The funds are to be earmarked for continued global expansion, artificial intelligence integration and enhanced partnerships, similar to the partnership with Tablelog, which now allows users to book restaurant reservations at 42,000 restaurants in Japan through the platform. == Platform == KKDay is an e-commerce online travel agency operating in 92 countries with over 350,000 travel experiences available for booking. The company started with focus on authentic local travel experiences in the Asian Pacific market and has expanded to a more global focus. KKday connects travelers with travel services and experiences such as attraction tickets, theme parks, cultural experiences, and seasonal events. KKday has positioned itself as an all-in-one travel super app with booking for hotels, rental cars, flights, sim cards, rail passes, dining and tickets. === Rezio === Rezio is a cloud-based SaaS booking management platform developed by KKday specifically for tour operators, activity providers, and attractions in the travel industry. It serves as an all-in-one system designed to help these businesses digitize their operations, particularly those previously relying on offline processes. Features include a mobile app for on-the-go order management, customer information checks, and voucher scanning, as well as channel management, analytics for customer data, and integrations with multiple OTAs and payment providers. Unlike KKday, which is an OTA marketplace for consumer exposure (with commissions), Rezio focuses on backend operations for suppliers, allowing brand independence, operational efficiency, and direct customer relationships while optionally connecting to OTAs like KKday. Rezio supports over 5,000 merchants, 30,000 experiences, and 10 million travelers worldwide, with a strong presence in Asia. One of the brands successful implementations was at the Nikko Toshogu Shrine where Rezio was implemented to help with long lines and wait times due to over-tourism. The shrine was able to implement the inventory management features to allow online booking and cashless payments onsite. === FineDayClub === FineDayClub is a membership-based travel concierge service launched in late 2020 by KKday. It is aimed at families, and organizations seeking customized travel experiences. It offers one-on-one advisory services. === ActivityJapan === ActivityJapan is a Japanese comprehensive online travel site that specializes in authentic Japanese travel experiences. It was purchased by KKday in 2021 but continues to operate independently.

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  List of Fortran software and tools

  This is a list of Fortran software and tools, including IDEs, compilers, libraries, debugging tools, numerical and scientific computing tools, and related projects. == Fortran compilers == Absoft Pro Fortran — Absoft Pro Fortran is discontinued and ran on Linux and macOS AOCC — from AMD Classic Flang — part of the LLVM Project LLVM Flang — part of the LLVM Project Fortran 77 — Fortran 77 was developed by Digital Equipment Corporation, it is discontinued. G95 – portable open-source Fortran 95 compiler GCC (GNU Fortran) PGI compilers – NVIDIA developed compilers after acquiring The Portland Group IBM XL Fortran — IBM XL Fortran is current and runs on Linux (Power/AIX) and integrates with Eclipse Intel Fortran Compiler – part of Intel OneAPI HPC toolkit LFortran — LFortran is current, cross-platform, and has IDE support. MinGW – cross compiler and forked into Mingw-w64 nAG Fortran Compiler - from nAG Open64 — Open64 is an open-source compiler that has been terminated and ran on Linux Open Watcom — Open Watcom is current, runs on MS-DOS and OS/2, and has IDE support. Oracle Fortran — Oracle Fortran is discontinued, ran on Linux and Solaris. ROSE — source-to-source compiler framework developed at Lawrence Livermore National Laboratory Silverfrost FTN95 — FTN95 from Silverfrost is current, runs on Windows, and has IDE support. == Integrated development environments (IDEs) and editors == Code::Blocks — supports Fortran with plugins Eclipse IDE — with Fortran support via Photran Emacs — extensible text editor with built-in Fortran modes and support for modern tooling via language servers Geany — lightweight cross-platform IDE based on GTK IntelliJ IDEA — cross-platform IDE by JetBrains with Fortran pluggin KDevelop — KDE-based IDE NetBeans — Apache software foundation IDE with Fortran configuration OpenWatcom — IDE and compiler suite for C, C++, and Fortran Simply Fortran — standalone Fortran IDE for Windows, Linux, and macOS Vim — modal text editor with native Fortran syntax support and extensive plugin-based development features Visual Studio — with Intel Fortran integration Visual Studio Code — supports Fortran via extensions == Mathematical libraries == == Scientific libraries == ABINIT — software suite to calculate optical, mechanical, vibrational, and other observable properties of materials Cantera — chemical kinetics, thermodynamics, and transport tool suite CERN Program Library — collection of Fortran libraries for physics applications from CERN CP2K — quantum chemistry and solid-state physics software package for atomistic simulations Dalton — molecular electronic structure program FFTPACK — subroutines for the fast Fourier transform Kinetic PreProcessor – open-source software tool used in atmospheric chemistry MESA — Modules for Experiments in Stellar Astrophysics Nek5000 — MPI parallel higher-order spectral element CFD solver NWChem — open-source high-performance computational chemistry software Octopus — real-space Time-Dependent Density Functional Theory code MODTRAN – model atmospheric propagation of electromagnetic radiation MOLCAS — quantum chemistry software package for multiconfigurational electronic structure calculations NOVAS – software library for astrometry-related numerical computations Physics Analysis Workstation – data analysis and graphical presentation in high-energy physics Quantum ESPRESSO — integrated suite for electronic-structure calculations and materials modeling SIESTA — first-principles materials simulation code using density functional theory Tinker — software tools for molecular design == Debugging and performance tools == GDB — GNU Debugger with Fortran support Valgrind — memory debugging and profiling tool VTune Profiler — performance analysis tool Allinea Forge — debugger and profiler for HPC applications == Build and package management == Autotools — build system supporting Fortran projects CMake — cross-platform build system supporting Fortran Make — build automation tool Spack — package manager for HPC software including Fortran libraries == Machine learning and AI libraries == Athena Fiats (Functional Inference And Training for Surrogates) FNN (Fortran Neural Network) FortNN Fortran-TF-lib (Fortran interface to TensorFlow) FTorch (Fortran interface to PyTorch) MlFortran RoseNNa == Parallel and high-performance computing tools == MPI Fortran bindings — standard interface for distributed-memory parallelism OpenMP — shared-memory parallel programming support through compiler directives Coarray Fortran — parallel programming model introduced in Fortran 2008 ScaLAPACK — parallel linear algebra package built on top of LAPACK == Testing frameworks == FUnit — open-source unit testing framework developed at NASA’s Langley Research Center, for Fortran 90, 95, and 2003. pFUnit — unit testing framework for Fortran, modeled after JUnit == Documentation and code analysis tools == FORD — automatic documentation generator for modern Fortran projects SQuORE — software quality and management platform with code analysis support Understand — static analysis and code comprehension tool for large Fortran projects

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  Access-independent services

  Access-independent service (AIS) is a service concept in which a service does not depend on guaranteed access network cooperation for service delivery. Telecommunications industry analyst Dean Bubley first used the term in a report on Telco-OTT in February 2012. Traditionally, most telecom company or internet service provider services are access-dependent, because they rely heavily on guaranteed access cooperation on the network the service is delivered over. For instance, traditional IP-based TV service (IPTV) delivered by a telecom company is generally a managed service. This means that IPTV service assumes the IPTV service provider has control over the access network that the IPTV service is delivered over, and network quality of service (QoS) guarantees are available for IPTV service delivery. As a result, the reach of a telecom company's IPTV service is generally restricted by the reach of the telecom company's access network. In contrast, services offered by non-traditional video content delivery service providers such as Netflix, Hulu, and Amazon Video are considered access-independent services. Netflix's video content streaming service, for example, dynamically adapts to network conditions in real-time to strive for the best overall quality of experience (QoE) and does not assume guaranteed cooperation from the underlying IP network, such as QoS. As a result, without considering content rights and different countries' government restrictions, the reach of Netflix's video content streaming service is, in theory, the reach of the Internet. Skype is another example of AIS, because Skype offers an IP-based telephony service over the Internet without depending on IP network cooperation guarantees other than basic IP network connectivity. In the context of telecom service delivery, the concept of access independent services is also commonly described by the term "over-the-top" (OTT) services. OTT service providers such as but not limited to Facebook, WeChat, and Netflix generally do not own or directly manage any wide-area access network to begin with, so they design their services for overall quality of experience, with no assumptions on guaranteed access network cooperation.

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  Europa-Lehrmittel

  The Verlag Europa-Lehrmittel Nourney, Vollmer GmbH & Co. KG (English: European educational media), based in Haan (district Gruiten) near Düsseldorf, Germany, develops educational media for vocational training and further education as used in vocational schools, universities, companies and further education institutions for industrial-technical, business, social, health as well as gastronomic professions. The contents are delivered in print as well as in digital formats, including offered as apps, simulations, software and through an exam preparation portal. The publisher has its own digital learning platform, the Europathek. General partner is Nourney, Vollmer & Co. GmbH, a school and specialist book publisher. == History == The publishing house was founded in Wuppertal in 1948, when the first books were published. In Eislingen/Fils a construction office was set up to create the technical drawings for the textbooks - today the drawing office of the publisher in Ostfildern. A little over 40 years later, in 1989, a new company building was built in Haan-Gruiten. In 1997, Europa-Lehrmittel acquired the Fachbuchverlag Pfanneberg with its program aimed at gastronomic professions. Further program expansions in vocational training were realized by adding titles of the publishing houses Lau, Gerber, Pluspunkt, parts of the Verlag Handwerk und Technik program and that of the Gildebuchverlag. In 2013, the scientific and technical university titles of Verlag Harri Deutsch were taken over, including the bestselling "Handbook of Mathematics" by Ilya Nikolaevich Bronstein and Konstantin Adolfovic Semendyayev. In addition, Europa-Lehrmittel's first exam apps appeared. In 2017, the publisher introduced its own digital learning platform named Europathek. The Prüfungsdoc (English: Examination Doc) platform, which enables targeted online preparation for exams, went online the same year. In 2018, the titles of the Düsseldorf publishing house SOL for self-organized learning were incorporated into Europa-Lehrmittel's program. == Program == The program meanwhile includes well over 2000 print and digital publications, including specialist titles on metal technology, automotive and electrical engineering (like "Tabellenbuch Metall" (English: Metal Book of Tables)), on business administration, as well as works for the gastronomic profession (e.g. "Der junge Koch" (English: The Young Cook)). Many titles also appear as licensed editions in over 20 different languages on all continents. All contents are presented in an annual catalog, on the website, in schools, in companies, and at trade fairs and congresses. The publisher is a member of the Deutscher Hauswirtschaftsrat. == Digital educational media == Europathek: In addition to digital books, Europathek also provides media packages, additional materials and e-learning contents. The online contents of the 'media shelf' can be used per web browser. There are also software versions and apps for offline use, with the help of which the obtained titles can be viewed after downloading. Prüfungsdoc (English: Examination Doc): Prüfungsdoc offers web-based learning, practice and repetition to prepare for the intermediate and final examinations. This includes simulations of the exams with direct evaluation of the results.

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