AI Assistant Job Interview

AI Assistant Job Interview — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Artificial intimacy

    Artificial intimacy

    Artificial intimacy is a form of human-AI interaction in which an individual will form social connections, emotional bonds, or intimate relationships with various forms of artificial intelligence, including chatbots, virtual assistants, and other artificial entities. Artificially intimate relationships include not only romances, but parasocial relationships with virtual AI characters and the use of griefbots trained on a dead or otherwise lost individual. Artificial intimacy can arise because humans are prone to anthropomorphism. Responses from these AI models are often designed to simulate human interaction. Individuals experiencing artificial intimacy may exhibit attachment, love and commitment to certain AI models, akin to the bonds typically shared between humans. == Causes == === Perceived responsiveness === Robin Dunbar famously proposed that due to emergence of larger groups of humans, vocal communication and language in humans evolved to replace grooming as a means of bonding, arguing that language was a more efficient way to maintain and strengthen social bonds across wider social settings and networks. Further research in this field leads many psychologists to agree that social cognition, affiliative bonding and language in humans are deeply connected. The interpersonal model of intimacy considers communication to be key in affiliative bonding, suggesting that intimacy develops and deepens through open communication between partners in relationship. Specifically, when individuals communicate emotions and perceive their partner as responsive and caring, feelings of closeness and connection are enhanced, building intimacy. Social penetration theory also aligns with the idea of communication being central to intimacy, by explaining how interpersonal relationships develop through gradual increases in self-disclosure. When the benefits of emotional bonding outweigh the costs of vulnerability, individuals will partake in self-disclosure, opening up to one another. Thereby, the literature can be used to provide a proximate explanation for the emergence of artificial intimacy to understand how the phenomenon occurs. Artificial entities are able to mimic interpersonal communication between humans, which in turn can simulate sensations of intimacy within human users though a perceived sense of responsiveness. The relationship between human and AI does not come with the cost of vulnerability or social rejection, which may make self-disclosure easier than with other humans. Altogether, these factors may lead to the experience of anthropomorphism and formation of affiliative relationships. Skjuve et al's interview study on Replika chatbot users further aligns with this explanation, finding that users' perception of chatbots as "accepting, understanding and non-judgmental" facilitated relationship development between the AI and users, and the act of self-disclosure possibly strengthened relationships. Another study on Replika users' reviews and survey results found users perceived chatbots as emotional supportive companions. This evidence further suggests that the perception of artificial entities as capable of empathy and responsiveness in communication facilitate the development of intimate relationships between users and AI. === Loneliness and coping with negative emotions === Research has suggested that humans evolved social bonds as a result of evolutionary pressures that favored cooperation, information exchange and transmission, and group living. Many studies stress the presence of social bonds to be important for human living: research by Baumeister and Leary suggests that humans have a basic psychological need to form and maintain "strong, stable interpersonal relationships", and that a lack of social bonds or sense of belonging leads to negative psychological and physical outcomes. Eisenberger et al's study on the neuroimaging of brain activity suggests that human brains process social rejection and exclusion similarly to physical pain. Furthermore, Song et al's study found that lonely individuals tend to seek more connections in mediated environments, such as online platforms like Facebook. This was suggested to be as a means to reduce their offline loneliness from a lack of in-person interaction, while also fulfilling a need to communicate. Leading on from this, an ultimate explanation for why humans seek the perceived sense of connection from artificial intimacy is to fulfil an evolutionary need for bonding and belonging. Xie et al's study found loneliness to be a driving factor in chatbot interaction. Herbener and Damholdt's study on Danish high school students found that students who sought emotional support or engaged in reciprocal conversations with chatbots were significantly more lonely than their peers, perceived themselves as having less social support, and used the chatbots to cope with negative emotions. The aforementioned notion that chatbots were perceived to have a positive effect on users' negative emotions is also further supported by other studies. Skjuve et al's study found that chatbot relationships may have a positive effect on users' wellbeing. De Freitas et al ran several studies on the effect of chatbots on loneliness, consistently finding evidence suggesting that interaction with chatbots reduces loneliness in users: It was found that existing chatbot users used AI to alleviate loneliness, having an AI companion consistently reduced loneliness over the course of a week, and reductions in loneliness could be explained by chatbot performance—and specifically whether it was able to make users feel heard. Overall the evidence suggests an innate need for bonding evokes feelings of loneliness in users, who turn to artificial intimacy as a low-cost method alleviate these emotions. While many users report positive experiences, some researchers caution that pursuing artificial intimacy may lead to reduced social motivation, social substitution effects, withdrawal from real-life relationships and difficulty discerning reality from fantasy, which may increase longer-term loneliness and isolation. The long-term psychological and societal impacts remain under active investigation.

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  • Are We Dating The Same Guy?

    Are We Dating The Same Guy?

    Are We Dating The Same Guy?, also abbreviated AWDTSG is a series of over 200 individual Facebook groups where women share dating profiles of men they matched with on dating networks to seek the opinion of other women who may have dated the same man in the past. The first group was created by Paola Sanchez and aimed at women living in the New York City environs. The groups have over 3.5 million members as of January 2024. The group's function is to post screenshots of a man's dating profile to that city's designated Facebook group, after which the poster asks "any tea?". Other users in the group will then share information about the man and share warnings. The groups are moderated by volunteers, and have been described as a feminist group. The groups have rules saying that personal information such as addresses must not be included in the Facebook posts. Users attempting to join the group are also examined to prevent fake profiles. The group is mainly for straight women. According to Vice, the men being posted about have no way to defend against accusations made about them, and on the other hand, posters cannot prove their stories unless backed up by others. Often times, members post pictures alongside personal information such as names, which may infringe on subjects' legal right to privacy. Lawyers have said these issues can lead to defamation lawsuits, and members can make false allegations and create fabricated stories. If members tell a man that he's been talked about on the group, the "snitch" will be banned and be "exposed to the whole group". == History == The first Are We Dating The Same Guy group was created by Paola Sanchez. The first group was created in March 2022 in New York City. A male counterpart, named "Are We Dating the Same Girl NYC" was created for New York, with mostly the same guidelines and rules to the original. When the original Are We Dating The Same Guy group found it, they denounced the new group. == Operations == Administrators are told not to respond to men asking to have posts about them removed, and to not remove said posts. The people being posted about have reported being questioned by their employers about things they have not done. Members of the groups sometimes criticise the physical appearance of the men being posted about. According to the Evening Standard, the groups "frequent[ly] mock" the appearance or dating profiles of the men who are posted about, despite being against the rules. For this behaviour, women are sometimes kicked out, or the group is disciplined en masse by admins. The groups have rules against hate towards men, but the rules can be difficult to enforce in large groups, with some having over 100,000 members. Some men have also been able to join the groups without being noticed. == Reception == In October 2023, Sera Bozza of Body+Soul wrote that consistently using Are We Dating The Same Guy can "affect your real-world view". She wrote that "A few stories of cheating may persuade you to believe that all men are unfaithful". Some lawyers and commentators have expressed concern that the groups fail to acknowledge the legal right to privacy and users can create false allegations and fabricated stories, and cyberbully men without them being able to defend themselves. This may lead to civil lawsuits against the author for defamation, harassment, and other related privacy torts. Netsafe, an online safety organisation in New Zealand, advises users of a similar group to familiarise themselves with the Harmful Digital Communications Act to ensure that posts do not lead to "harmful consequences". The Independent reported that men who have been posted on the dating groups have felt violated, and that even if reviewed positively by potentially thousands of strangers, the men being discussed about may have their reputation slightly decreased due to the association with being on the groups. The Independent also reported that some men believe that the groups are created to spread lies or mock them. Mashable reported that the growth of AWDTSG in recent years has led to the rise of a small industry of online reputation and content removal services, as increasing numbers of men seek assistance. A co-founder of Maximatic Media, one such agency offering these removal services, stated that many of the men contacting the firm do so in a state of panic after learning that allegations about them have circulated among tens of thousands of participants without their knowledge. Mashable similarly reported that the growing visibility of AWDTSG and similar platforms has contributed to what commentators describe as a "public trial" dynamic, where subjective accounts about dating behavior are interpreted as factual assessments and can influence a person's reputation among large audiences within their locale. The Oklahoman reported that anonymous, unverified claims in these groups have led some men to experience social and dating repercussions, although legal analysts argue that the benefits of community-based safety networks still outweigh these concerns in modern, app based dating environments. UTV/ITV News reportedly spoke to a man who was posted who alleged he attempted suicide, was clinically dead for three minutes, and spent three weeks in a psychiatric hospital as a result of the posts made about him. Many other men have talked about malicious false claims made about them. Self-described men’s rights activists have taken a dislike to these groups and have gotten multiple North American groups shut down by running campaigns, threatening lawsuits, and mass Facebook reporting. They also have Reddit communities dedicated to getting rid of such groups. Women who have posted in the groups have felt that they have put their safety at risk, with some having been confronted by the men they posted about. The group has been noted for exposing men who use dating apps while already in a relationship, misrepresent their ages, or repeatedly stand up the women they meet through apps, among other bad dating behaviors. For example, some members of the group had matched on a dating site with a man who had, several years prior, killed a stranger while having a mental break. After this information came to light, members of the group were warned. The group has also been noted to be complimentary of some men. == Lawsuits == In 2023, a 41-year-old man sued the administrators of the London group for $35,000 under defamation, alleging that the group "called names, accused of sending lewd photos and of being a bad parent". In January 2024 a man sued Meta, the owner of Facebook, along with Patreon, GoFundMe, and the AWDTSG website, as well as almost 30 group members due to alleged defamation, emotional distress, and invasion of privacy. Claiming that the groups violate anti-doxxing laws and do not fact check, seeking $75,000 in damages. He claims that the group shared fake images of him sending women texts containing harassment, his name and photo. His attorneys claim that if the images were real, they would fall under free speech in the First Amendment. By February, groups had raised $80,000. The Washington Post said that this case caused AWDTSG to "explode into public view". The case was dismissed in 2025 by the United States District Court for the Northern District of Illinois. On May 15, 2026, the United States Court of Appeals for the Seventh Circuit declined to renew the case in D'Ambrosio v. Meta Platforms Inc., et al. The plaintiff and his attorneys, Marc Trent and Aaron Walner of Trent Law Firm, were sanctioned "for frivolously appealing the dismissal of the claims," "misrepresentations of law," in connection with falsified citations included in the plaintiff's brief, and " disputing at oral argument without any evidentiary basis that [the plaintiff] client sent the text message she attributed to him." == By country == === Australia === In Australia, there are groups for multiple cities including Sydney, Melbourne, Adelaide, Perth, Brisbane and Rockhampton with many having several thousand members. The Sydney group has 30,000 members. In March 2023, the Adelaide version of the group, which had 7,000 members, was shut down. In 2024, groups titled "Sis, Are We Dating The Same Guy" stopped accepting new posts after an admin was sued for defamation and had to pay over AU$20,000 in legal fees. The case was settled out of court. The administrator announcing these closures cited a 2021 defamation High Court case involving detainee Dylan Voller, which led to the High Court saying that owners of Facebook groups can be held liable for defamatory comments, even if they did not know the comments had been made. === Canada === In 2023, a group was started for Ottawa. The founder previously was in a relationship full of "cheating and lies", which prompted her to creating the Facebook community. In 2023, the group for Vancouver and British Columbia was shut down after concerns about men being unable to protect themselves against fa

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  • WebGL

    WebGL

    WebGL (short for Web Graphics Library) is a JavaScript API for rendering interactive 2D and 3D graphics within any compatible web browser without the use of plug-ins. WebGL is fully integrated with other web standards, allowing GPU-accelerated usage of physics, image processing, and effects in the HTML canvas. WebGL elements can be mixed with other HTML elements and composited with other parts of the page or page background. WebGL programs consist of control code written in JavaScript, and shader code written in OpenGL ES Shading Language (GLSL ES, sometimes referred to as ESSL), a language similar to C or C++. WebGL code is executed on a computer's GPU. WebGL is designed and maintained by the non-profit Khronos Group. On February 9, 2022, Khronos Group announced WebGL 2.0 support from all major browsers. From 2024, a new graphics API, WebGPU, is being developed to supersede WebGL. WebGPU provides extended capabilities, a more modern interface, and direct GPU access, which is useful for demanding graphics as well as AI applications. == Design == WebGL 1.0 is based on OpenGL ES 2.0 and provides an API for 3D graphics. It uses the HTML5 canvas element and is accessed using Document Object Model (DOM) interfaces. WebGL 2.0 is based on OpenGL ES 3.0. It guarantees the availability of many optional extensions of WebGL 1.0, and exposes new APIs. Automatic memory management is provided implicitly by JavaScript. Like OpenGL ES 2.0, WebGL lacks the fixed-function APIs introduced in OpenGL 1.0 and deprecated in OpenGL 3.0. This functionality, if required, has to be implemented by the developer using shader code and JavaScript. Shaders in WebGL are written in GLSL and passed to the WebGL API as text strings. The WebGL implementation compiles these strings to GPU code. This code is executed for each vertex sent through the API and for each pixel rasterized to the screen. == History == WebGL evolved out of the Canvas 3D experiments started by Vladimir Vukićević at Mozilla. Vukićević first demonstrated a Canvas 3D prototype in 2006. By the end of 2007, both Mozilla and Opera had made their own separate implementations. In early 2009, the non-profit technology consortium Khronos Group started the WebGL Working Group, with initial participation from Apple, Google, Mozilla, Opera, and others. Version 1.0 of the WebGL specification was released March 2011. An early application of WebGL was Zygote Body. In November 2012 Autodesk announced that they ported most of their applications to the cloud running on local WebGL clients. These applications included Autodesk Fusion and AutoCAD. Development of the WebGL 2 specification started in 2013 and finished in January 2017. The specification is based on OpenGL ES 3.0. First implementations are in Firefox 51, Chrome 56 and Opera 43. == Implementations == === Almost Native Graphics Layer Engine === Almost Native Graphics Layer Engine (ANGLE) is an open source graphic engine which implements WebGL 1.0 (2.0 which closely conforms to ES 3.0) and OpenGL ES 2.0 and 3.0 standards. It is a default backend for both Google Chrome and Mozilla Firefox on Windows platforms and works by translating WebGL and OpenGL calls to available platform-specific APIs. ANGLE currently provides access to OpenGL ES 2.0 and 3.0 to desktop OpenGL, OpenGL ES, Direct3D 9, and Direct3D 11 APIs. ″[Google] Chrome uses ANGLE for all graphics rendering on Windows, including the accelerated Canvas2D implementation and the Native Client sandbox environment.″ == Software == WebGL is widely supported by modern browsers. However, its availability depends on other factors, too, like whether the GPU supports it. The official WebGL website offers a simple test page. More detailed information (like what renderer the browser uses, and what extensions are available) can be found at third-party websites. === Desktop browsers === Source: Google Chrome – WebGL 1.0 has been enabled on all platforms that have a capable graphics card with updated drivers since version 9, released in February 2011. By default on Windows, Chrome uses the ANGLE (Almost Native Graphics Layer Engine) renderer to translate OpenGL ES to Direct X 9.0c or 11.0, which have better driver support. However, on Linux and Mac OS X, the default renderer is OpenGL. It is also possible to force OpenGL as the renderer on Windows. Since September 2013, Chrome also has a newer Direct3D 11 renderer, which requires a newer graphics card. Chrome 56+ supports WebGL 2.0. Firefox – WebGL 1.0 has been enabled on all platforms that have a capable graphics card with updated drivers since version 4.0. Since 2013 Firefox also uses DirectX on the Windows platform via ANGLE. Firefox 51+ supports WebGL 2.0. Safari – Safari 6.0 and newer versions installed on OS X Mountain Lion, Mac OS X Lion and Safari 5.1 on Mac OS X Snow Leopard implemented support for WebGL 1.0, which was disabled by default before Safari 8.0. Safari version 12 (available in MacOS Mojave) has available support for WebGL 2.0 as an "Experimental" feature. Safari 15 enables WebGL 2.0 for all users. Opera – WebGL 1.0 has been implemented in Opera 11 and 12, but was disabled by default in 2014. Opera 43+ supports WebGL 2.0. Internet Explorer – WebGL 1.0 is partially supported in Internet Explorer 11. Internet Explorer initially failed most of the official WebGL conformance tests, but Microsoft later released several updates. The latest 0.94 WebGL engine currently passes ≈97% of Khronos tests. WebGL support can also be manually added to earlier versions of Internet Explorer using third-party plugins such as IEWebGL. Microsoft Edge – For Microsoft Edge Legacy, the initial stable release supports WebGL version 0.95 (context name: "experimental-webgl") with an open source GLSL to HLSL transpiler. Version 10240+ supports WebGL 1.0 as prefixed. Latest Chromium-based Edge supports WebGL 2.0. === Mobile browsers === Google Chrome – WebGL 1.0 is supported on Android as of Chrome 25. WebGL 2.0 is supported on Android as of Chrome 58. Chrome is used for the Android system webview as of Android 5. Firefox for mobile – WebGL 1.0 is available for Android devices since Firefox 4. Safari on iOS – WebGL 1.0 is available for mobile Safari in iOS 8. WebGL 2.0 is available for mobile Safari in iOS 15. Microsoft Edge – Prefixed WebGL 1.0 was available on Windows 10 Mobile.. Latest Chromium-based Edge supports WebGL 2.0. Opera Mobile – Opera Mobile 12 supports WebGL 1.0 (on Android only). Sailfish OS – WebGL 1.0 is supported in the default Sailfish browser. Tizen – WebGL 1.0 is supported == Tools and ecosystem == === Utilities === The low-level nature of the WebGL API, which provides little on its own to quickly create desirable 3D graphics, motivated the creation of higher-level libraries that abstract common operations (e.g. loading scene graphs and 3D objects in certain formats; applying linear transformations to shaders or view frustums). Some such libraries were ported to JavaScript from other languages. Examples of libraries that provide high-level features include A-Frame (VR), BabylonJS, PlayCanvas, three.js, OSG.JS, Google’s model-viewer and CopperLicht. Web3D also made a project called X3DOM to make X3D and VRML content run on WebGL. === Games === There has been an emergence of 2D and 3D game engines for WebGL, such as Unreal Engine 4 and Unity. The Stage3D/Flash-based Away3D high-level library also has a port to WebGL via TypeScript. A more light-weight utility library that provides just the vector and matrix math utilities for shaders is sylvester.js. It is sometimes used in conjunction with a WebGL specific extension called glUtils.js. There are also some 2D libraries built atop WebGL, like Cocos2d-x or Pixi.js, which were implemented this way for performance reasons in a move that parallels what happened with the Starling Framework over Stage3D in the Flash world. The WebGL-based 2D libraries fall back to HTML5 canvas when WebGL is not available. Removing the rendering bottleneck by giving almost direct access to the GPU has exposed performance limitations in the JavaScript implementations. Some were addressed by asm.js and WebAssembly (similarly, the introduction of Stage3D exposed performance problems within ActionScript, which were addressed by projects like CrossBridge). === Content creation === As with any other graphics API, creating content for WebGL scenes requires using a 3D content creation tool and exporting the scene to a format that is readable by the viewer or helper library. Desktop 3D authoring software such as Blender, Autodesk Maya or SimLab Composer can be used for this purpose. In particular, Blend4Web allows a WebGL scene to be authored entirely in Blender and exported to a browser with a single click, even as a standalone web page. There are also some WebGL-specific software such as CopperCube and the online WebGL-based editor Clara.io. Online platforms such as Sketchfab and Clara.io allow users to directly upload their 3D models

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  • Electronic kit

    Electronic kit

    An electronic kit is a package of electrical components used to build an electronic device. Generally, kits are composed of electronic components, a circuit diagram (schematic), assembly instructions, and often a printed circuit board (PCB) or another type of prototyping board. There are two types of kits. Some build a single device or system. Other types used for education demonstrate a range of circuits. These will include a solderless construction board of some type, such as: Components mounted in plastic blocks with side contacts, that are held together in a base, e.g. Denshi blocks Springs on a card board, the springs trap wire leads, or component leads, such as Philips EE electronic experiment kits. These are a cheap and flexible option Professional type prototyping boards, (breadboards) into which component leads are inserted, following documentation of the "kit". The first type of kit for constructing a single device normally uses a PCB on which components are soldered. They normally come with extended documentation describing which component goes where into the PCB. For advanced hobby projects, sometimes the kit may only consist of a printed circuit board and assembly instructions, and the purchaser may have to source all the parts independently; or, the vendor may provide hard-to-get or pre-programmed parts while expecting the purchaser to obtain the rest of the components. People primarily purchase electronic kits to have fun and learn how things work. They were once popular as a means to reduce the cost of buying goods, but there is usually no cost saving in buying a kit today. Some electronic kits were assembled to make complete complex devices such as color television sets, oscilloscopes, high-end audio amplifiers, amateur radio equipment, electric organs, and even computers such as the Heathkit H-8, and the LNW-80. Many of the early microprocessor computers were sold as either electronic kits or assembled and tested. Heathkit sold millions of electronic kits during its 45-year history. Home assembly of common consumer electronics items no longer provides a cost advantage over commercially manufactured and distributed devices. People still build kits for custom devices and special-purpose electronics for professional and educational use and as a hobby. Also emerging is a trend to simplify the complexity by providing preprogrammed or modular kits often provided by many suppliers online. The fun and thrill of making your own electronics have shifted, in many cases, from easy-to-comprehend applications and analog devices to more sophisticated digital devices. == Examples == The Altair 8800 (the first home computer) was also sold as a kit, as were the MK14, Sinclair ZX80, Sinclair ZX81 and Acorn Atom computers. Many S-100 bus system cards were sold only as kits. Building a Robot kit, most often with a micro controller inside, is now in fashion.

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  • Graphical Kernel System

    Graphical Kernel System

    The Graphical Kernel System (GKS) is a 2D computer graphics system using vector graphics, introduced in 1977. It was suitable for making line and bar charts and similar tasks. A key concept was cross-system portability, based on an underlying coordinate system that could be represented on almost any hardware. GKS is best known as the basis for the graphics in the GEM GUI system used on the Atari ST and as part of Ventura Publisher. A draft international standard was circulated for review in September 1983. Final ratification of the standard was achieved in 1985, making it the first ISO graphics standard. A 3D system modelled on GKS was introduced as PHIGS, which saw some use in the 1980s and early 1990s. == Overview == GKS provides a set of drawing features for two-dimensional vector graphics suitable for charting and similar duties. The calls are designed to be portable across different programming languages, graphics devices and hardware, so that applications written to use GKS will be readily portable to many platforms and devices. GKS was fairly common on computer workstations in the 1980s and early 1990s. GKS formed the basis of Digital Research's GSX which evolved into VDI, one of the core components of GEM. GEM was the native GUI on the Atari ST and was occasionally seen on PCs, particularly in conjunction with Ventura Publisher. GKS was little used commercially outside these markets, but remains in use in some scientific visualization packages. It is also the underlying API defining the Computer Graphics Metafile. One popular application based on an implementation of GKS is the GR Framework, a C library for high-performance scientific visualization that has become a common plotting backend among Julia users. A main developer and promoter of the GKS was José Luis Encarnação, formerly director of the Fraunhofer Institute for Computer Graphics (IGD) in Darmstadt, Germany. GKS has been standardized in the following documents: ANSI standard ANSI X3.124 of 1985. ISO 7942:1985 standard, revised as ISO 7942:1985/Amd 1:1991 and ISO/IEC 7942-1:1994, as well as ISO/IEC 7942-2:1997, ISO/IEC 7942-3:1999 and ISO/IEC 7942-4:1998 The language bindings are ISO standard ISO 8651. GKS-3D (Graphical Kernel System for Three Dimensions) functional definition is ISO standard ISO 8805, and the corresponding C bindings are ISO/IEC 8806. The functionality of GKS is wrapped up as a data model standard in the STEP standard, section ISO 10303-46.

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  • MIDI Show Control

    MIDI Show Control

    MIDI Show Control (MSC), is a real-time System Exclusive extension of the international Musical Instrument Digital Interface (MIDI) standard. MSC enables all types of entertainment equipment to communicate with each other through the process of show control. The MIDI Show Control protocol is a technical standard ratified by the MIDI Manufacturers Association in 1991, which allows entertainment control devices to talk with each other and with computers to perform show control functions in live and prerecorded entertainment applications. Just like musical MIDI, MSC does not transmit the actual show media - it simply transmits digital information about a multimedia performance. == How MSC works == When any cue is called by a user (typically a stage manager) and/or preprogrammed timeline in a show control software application, the show controller transmits one or more MSC messages from its 'MIDI Out' port. A typical MSC message sequence is: the user has just called a cue the cue is for lighting device 3 the cue is number 45.8 the cue is in cue list 7 MSC messages are serially transmitted in the same way as musical messages and are fully compatible with all conventional MIDI hardware; however, many modern MSC devices now use Ethernet communications for higher bandwidth and the flexibility afforded by networks. Other performance parameters are also transmitted, such as lighting desk submaster settings using MSC SET messages. All cues that a media control device is capable of playing are assigned MSC messages within the Show Controller's cue list and they are transmitted from its MIDI Out port at the appropriate show time, depending on the actions of the user and the show controller's internally timed sequences. All MSC-compatible instruments follow the MSC specification and thus transmit identical MSC messages for identical MSC events, such as the playing of a certain cue on the media controller. Since they follow a published standard, all MSC devices can communicate with and understand each other, as well as with computers that have been programmed to understand MSC messages using the MSC Command Set. All MSC compatible instruments have a built-in MIDI interface and many now follow one of the various MIDI-over-Ethernet protocols. == History == To create the MSC spec, Charlie Richmond headed the USITT MIDI Forum on their Callboard Network in 1990, which included developers and designers from the theatre sound and lighting industry from around the world. It is believed that this was the first international standard to be developed without a single physical meeting of the participants. This Forum created the MSC standard between January and September 1990. This was ratified by the MIDI Manufacturers Association (MMA) in January 1991, and the Japan MIDI Standards Committee (JMSC) later that year, becoming a part of the standard MIDI specification in August 1991. The first show to fully use the MSC specification was the Magic Kingdom Parade at Walt Disney World's Magic Kingdom in September 1991. == MIDI Show Control software ==

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  • Gaumina

    Gaumina

    Gaumina is the largest interactive agency in the Baltics, providing services of web design, web development, online advertising, video, multimedia, mobile and viral. The company works on projects for Procter & Gamble, Nokia, Nissan, Unilever, YX Energi, 7 Up, Vodafone, MTV, Dunnes Stores, Philip Morris, FIBA Europe as well as Irish public sector. == History == Founded in 1998, Gaumina accounts for 39 percent of the Lithuanian interactive market and has completed more than 2,000 online projects. Since 2004 the company has been operating in the UK and Ireland as Gaumina.co.uk. In 2007 Gaumina gained wide media coverage for winning three awards in three days. A website developed by Gaumina won the Best Social Networking website award at the same the Irish Golden Spiders awards. A website developed by Gaumina was named among the 21 best European multimedia projects of 2007 in the final of Europrix Top Talent Award in Austria. The company was also named one of the winners of the national Innovation Prize 2007, awarding the Lithuania's most innovative companies, in the category of Innovative Enterprise. The agency was named "Digital Agency of the Year" by International advertising festival Golden Hammer in September 2008. The agency also won the main prize at the best at Best Use of Film, Digital Animation or Motion Graphics category by the Irish Golden Spider awards in November 2008. Gaumina is currently managed by CEO Darius Bagdžiūnas.

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  • NexDock

    NexDock

    NexDock is a series of lapdock devices (containing a laptop screen, keyboard, trackpad, and battery connected to a phone or other device) sold by Nex Computer LLC. The product can be used with mobile desktop environments, including Samsung DeX and the former Windows Continuum. Critical reception for the series has been mixed, with reviewers praising the concept's utility for mobile productivity while noting hardware limitations and its niche appeal. == History == The first NexDock was introduced in 2016 through a successful Indiegogo campaign. Its development coincided with interest in smartphone-powered desktop interfaces, and it was marketed as a companion for Windows 10 Mobile's Continuum feature. Subsequent models, often launched via Kickstarter, added features like higher-resolution displays, touchscreens, and convertible hinges to adapt to the growing capabilities of smartphones. == Models == === NexDock (Original, 2016) === The first model featured a 14.1-inch 1366x768 display and connected primarily via a mini HDMI port. === NexDock 2 (2019) === This model introduced a 13.3-inch 1080p IPS display and a USB-C port, improvements aimed at better supporting platforms like Samsung DeX. === NexDock Touch (2020) === A touchscreen was added to the 13.3-inch display, allowing for more direct interaction with the connected device's operating system. === NexDock 360 (2021) === This version incorporated a 360-degree hinge, allowing the device to be used in laptop, tablet, tent, or stand modes. === NexDock Wireless (2023) === Wireless display connectivity was the key feature of this model, offering a cable-free connection to compatible phones and computers. === NexDock XL (2023) === The screen size was increased to 15.6 inches. It retained the 360-degree hinge and also offered a version with wireless charging for a connected phone. == Reception == Reviews of NexDock products have been mixed, generally praising the concept while pointing out execution flaws. The devices are often lauded for their utility with Samsung DeX, turning a high-end Samsung phone into a viable portable workstation. A review of the NexDock 2 from ZDNet concluded it was a "great companion for the modern road warrior," and Digital Trends called the original a "no-brainer shell" for expanding a phone's capability. However, reviewers have consistently highlighted hardware limitations. In its review of the NexDock Touch, TechRadar stated that while it was a "compelling package for a very specific niche," the "trackpad and keyboard are a bit of a letdown and the screen could be brighter." This sentiment was echoed in other reviews, with criticism often aimed at the trackpad's performance and feel. A review of the NexDock 2 from Android Authority described the experience as being "janky at times," concluding that the device "delivers on its promise — sort of." A common point across many reviews is that the overall performance is entirely dependent on the power of the connected phone, and the experience is often best suited for light productivity tasks rather than replacing a dedicated laptop.

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  • Supper (Spotify)

    Supper (Spotify)

    Supper is a web-based application on the Spotify digital music streaming platform. The Supper app was born from a group of friends who had backgrounds in the music and gastronomy industries. Digital music solutions company Artisan Council later executed it. The app now sits in the top 40 applications on Spotify. == About == The Supper Spotify application matches recipes for all occasions and skill levels with a playlist for both preparation and presentation, as envisioned by the chefs themselves. Supper is credited with being one of the first apps to pair music with food. Playing on the social nature of music and food culture, users can seamlessly experience both for the first time with real time music streaming. == Supper.mx == In May 2014 Supper was launched outside of the Spotify streaming platform. Though still in partnership with Spotify, supper.mx allows users to view Supper's music + food collaborations on mobile, tablet and desktop, without the need to download Spotify directly. == Curators == All of the recipes and playlists featured on the Supper app come straight from a growing network of tastemakers, including chefs, musicians and institutions around the world. Each month the recipes and playlists are updated in conjunction with current holidays, events and seasons. === Launch === Launching in October 2013 the first edition of Supper featured content from a range of eating institutions and culture makers from the US and Australia. Brooklyn Bowl (Brooklyn) Roberta's Pizza (Brooklyn) Fancy Hanks (Melbourne) The Foresters/Queenies Upstairs (Sydney) Hipstamatic Panama House (Bondi) Sweetwater Inn (Melbourne) Soul Clap (Syd record label) Yellow Birds (Melbourne) === November 2013 === Yardbird (Hong Kong) Sonoma Bakery (Sydney) Do or Dine (Brooklyn) Cameo Gallery (Brooklyn) Hypertrak (Blog) Blue Smoke (NYC) The Crepes of Wrath (Blog) Willin Low // Wild Rocket - Wild Oats - Relish === December 2013 === The Copper Mill (Sydney) Thug Kitchen Mamak (Sydney) Tutu's (Brooklyn) Chin Chin (Melbourne) Flat Iron Steak (London) Greasy Spoon (Copenhagen) === January 2014 === Mexicali Taco & Co. (LA) Church & State (LA) Salts Cure (LA) Nopa (SF) L & E Oyster (LA) 4100 bar (LA) Golden Gopher (LA) The Pie Hole (LA) State Bird Provisions (SF) === Momofuku === In February 2014 Supper teamed up with restaurant heavy weights Momofuku. The recipes featured came from their iconic New York, Toronto and Sydney restaurants. Head office also got involved with an instructional from Brand Director Sue Chan on how to paint Momofuku vibes on to any party. === SXSW === March sees the Supper team migrate to Austin, Texas for SXSW, bringing together the best eateries the city has to offer as well as the music that has influenced them. Restaurants and eateries on board in 2014 included: The Backspace Kelis Swifts Attic Uchi Jackalope Paul Qui/East Side King Thai Kun Wonderland Hole in the Wall Justine's Brasserie The Liberty === Kelis === In April 2014 Kelis presented 5 of her recipes paired with a personal playlist for Supper. Kelis shared her recipes for apple farro, jerk ribs, New York vanilla bean cheesecake and Jerk Ribs. The Kelis/Supper collaboration coincided with the release of Kelis' 2014 album titled 'Food'. === Roberta's Pizza === In May 2014 Bushwick's Roberta's Pizza was guest curator on the Supper app and website. Included in their selections were restaurants and bars from across New York including Bun-ker Vietnamese, Old Stanley's Bar, St. Anselm, Chuko, Frank's Cocktail Lounge, Junior's Cheesecake, Xi'an Famous Foods, Xe Lua, 124 Old Rabbit and Yuji Ramen.

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  • Temporal resolution

    Temporal resolution

    Temporal resolution (TR) refers to the discrete resolution of a measurement with respect to time. It is defined as the amount of time needed to revisit and acquire data for the same location. When applied to remote sensing, this amount of time is influenced by the sensor platform's orbital characteristics and the features of the sensor itself. The temporal resolution is low when the revisiting delay is high and vice versa. Temporal resolution is typically expressed in days. == Physics == Often there is a trade-off between the temporal resolution of a measurement and its spatial resolution, due to Heisenberg's uncertainty principle. In some contexts, such as particle physics, this trade-off can be attributed to the finite speed of light and the fact that it takes a certain period of time for the photons carrying information to reach the observer. In this time, the system might have undergone changes itself. Thus, the longer the light has to travel, the lower the temporal resolution. == Technology == === Computing === In another context, there is often a tradeoff between temporal resolution and computer storage. A transducer may be able to record data every millisecond, but available storage may not allow this, and in the case of 4D PET imaging the resolution may be limited to several minutes. === Electronic displays === In some applications, temporal resolution may instead be equated to the sampling period, or its inverse, the refresh rate, or update frequency in Hertz, of a TV, for example. The temporal resolution is distinct from temporal uncertainty. This would be analogous to conflating image resolution with optical resolution. One is discrete, the other, continuous. The temporal resolution is a resolution somewhat the 'time' dual to the 'space' resolution of an image. In a similar way, the sample rate is equivalent to the pixel pitch on a display screen, whereas the optical resolution of a display screen is equivalent to temporal uncertainty. Note that both this form of image space and time resolutions are orthogonal to measurement resolution, even though space and time are also orthogonal to each other. Both an image or an oscilloscope capture can have a signal-to-noise ratio, since both also have measurement resolution. === Oscilloscopy === An oscilloscope is the temporal equivalent of a microscope, and it is limited by temporal uncertainty the same way a microscope is limited by optical resolution. A digital sampling oscilloscope has also a limitation analogous to image resolution, which is the sample rate. A non-digital non-sampling oscilloscope is still limited by temporal uncertainty. The temporal uncertainty can be related to the maximum frequency of continuous signal the oscilloscope could respond to, called the bandwidth and given in Hertz. But for oscilloscopes, this figure is not the temporal resolution. To reduce confusion, oscilloscope manufacturers use 'Sa/s' instead of 'Hz' to specify the temporal resolution. Two cases for oscilloscopes exist: either the probe settling time is much shorter than the real time sampling rate, or it is much larger. The case where the settling time is the same as the sampling time is usually undesirable in an oscilloscope. It is more typical to prefer a larger ratio either way, or if not, to be somewhat longer than two sample periods. In the case where it is much longer, the most typical case, it dominates the temporal resolution. The shape of the response during the settling time also has as strong effect on the temporal resolution. For this reason probe leads usually offer an arrangement to 'compensate' the leads to alter the trade off between minimal settling time, and minimal overshoot. If it is much shorter, the oscilloscope may be prone to aliasing from radio frequency interference, but this can be removed by repeatedly sampling a repetitive signal and averaging the results together. If the relationship between the 'trigger' time and the sample clock can be controlled with greater accuracy than the sampling time, then it is possible to make a measurement of a repetitive waveform with much higher temporal resolution than the sample period by upsampling each record before averaging. In this case the temporal uncertainty may be limited by clock jitter.

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  • Optical recording

    Optical recording

    The history of optical recording can be divided into a few number of distinct major contributions. The pioneers of optical recording worked mostly independently, and their solutions to the many technical challenges have very distinctive features, such as reflective disc (Compaan and Kramer) transparent disc (Gregg) floppy disc (Russell) rigid disc (Compaan and Kramer) focused laser beam for read-out through transparent substrate (Compaan and Kramer). == Gregg 1958 == Laserdisc technology, using a transparent disc, was invented by David Paul Gregg in 1958 (and patented in 1970 and 1990). By 1969 Philips had developed a videodisc in reflective mode, which has great advantages over the transparent mode. MCA and Philips decided to join their efforts. They first publicly demonstrated the videodisc in 1972. Laserdisc was first available on the market, in Atlanta, on December 15, 1978, two years after the VHS VCR and four years before the CD, which is based on Laserdisc technology. Philips produced the players and MCA produced the discs. The Philips/MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (John Winslow, Richard Wilkinson and Ray Dakin) founded Optical Disc Corporation (now ODC Nimbus). == Russell 1965 == While working at Pacific Northwest National Laboratory, James Russell invented an optical storage system for digital audio and video, patenting the concept in 1970. The earliest patents by Russell, US 3,501,586, and 3,795,902 were filed in 1966, and 1969. respectively. He built prototypes, and the first was operating in 1973. Russell had found a way to record digital information onto a photosensitive plate in tiny dark spots, each spot one micrometre from centre to centre, with a laser that wrote the binary patterns. Russell's first optical disc was distinctly different from the eventual compact disc product: the disc in the player was not read by laser light. A key characteristic of Russell's invention is that a laser is not used for the reading the disc, instead the entire disc or oblong sheet to be read is illuminated by a large playback light source at the back of the transparent foil. As a result, the information density is relatively low. By 1985, Russell held over 25 patents to various technologies related to optical recording and playback. Russell's intellectual property was purchased by Optical Recording Corporation (ORC) in Toronto in 1985, and this firm notified a number of CD manufacturers that their CD technology was based on patents held by ORC. In 1987, ORC signed an agreement with Sony whereby Sony paid for licensing of the technology. Further licenses followed from Philips and others. Warner Communications did not sign, and was sued by ORC. In 1992, the large CD manufacturer, now called Time Warner, was ordered to pay ORC US$30 million in patent violations. In the 1970 patent, the spot diameter was around 10 micrometres. Thus, the areal information density was around a factor hundred less than that of the CD as later developed. Russell continued to refine the concept throughout the 1970s. Philips and Sony, however, were able to put far greater resources into the parallel development of the concept, arriving at a smaller and more sophisticated product in just a few years. Russell's various partners and ventures failed to produce a single consumer product. == Korpel 1968 == Adrianus Korpel worked for the Zenith Electronics Corporation, when he developed very early optical videodisc systems, including holographic storage. == Kramer and Compaan 1969 == The Philips development of the videodisc technology began in 1969 with efforts by Dutch physicists Klaas Compaan and Piet Kramer to record video images in holographic form on disc. Their prototype Laserdisc shown in 1972 used a laser beam in reflective mode to read a track of pits using an FM video signal. Together with MCA, Philips brought the optical videodisk to market in 1978. The cooperation between Philips and MCA did not last long, and discontinued after a few years. == Immink and Doi 1979 == The Compact Disc (CD), which is based on MCA/Philips Laserdisc technology, was developed by a taskforce of Sony and Philips in 1979–1980. Toshi Doi and Kees Schouhamer Immink created the digital technologies that turned the analog Laserdisc into a high-density low-cost digital audio disc. The CD, available on the market since October 1982, remains the standard physical medium for sale of commercial audio recordings Standard CDs have a diameter of 120 mm and can hold up to 80 minutes of audio (700 MB of data). The Mini CD has various diameters ranging from 60 to 80 mm; they are sometimes used for CD singles or device drivers, storing up to 24 minutes of audio. The technology was later adapted and expanded to include data storage CD-ROM, write-once audio and data storage CD-R, rewritable media CD-RW, Super Audio CD (SACD), Video Compact Discs (VCD), Super Video Compact Discs (SVCD), PhotoCD, PictureCD, CD-i, and Enhanced CD. CD-ROMs and CD-Rs remain widely used technologies in the computer industry. The CD and its extensions have been extremely successful: in 2004, worldwide sales of CD audio, CD-ROM, and CD-R reached about 30 billion discs. By 2007, 200 billion CDs had been sold worldwide.

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  • Digital media in education

    Digital media in education

    Digital media in education refers to the use of digital technologies to support and enhance teaching and learning processes. This includes the application of multiple digital software applications, devices, and online platforms as tools for learning. Learners interact with these technologies to access, analyze, evaluate, and create media content and communication in various forms. The integration of digital media in education has dramatically increased over time, significantly transforming traditional educational practices. When viewed through a global and inclusive lens, digital education should be guided by principles of equity, inclusion, and public infrastructure to ensure meaningful participation of all learners. == History == === 20th century === Technological advances in the 20th century, particularly the invention of the Internet, laid the foundation for incorporating technology into education. In the early 1900s, the overhead projector and instructional radio broadcasts were among the first technologies used for educational purposes. The introduction of computers in classrooms occurred in 1950, when a flight simulation program was developed to train pilots at the Massachusetts Institute of Technology. However, access to computers remained extremely limited for several decades. In 1964, John Kemeny and Thomas Kurtz developed the BASIC programming language, which simplified computer interaction and introduced time-sharing, enabling multiple users to work on the same system simultaneously. This innovation made computing increasingly accessible for educational settings. By the 1980s, schools began to show more interest in computers as companies released mass-market devices to the public. Networking further enabled the interconnection of computers into unified communication systems, which proved more efficient and cost-effective than previous stand-alone machines. This development prompted wider adoption of computing in educational institutions. The invention of the World Wide Web in 1992 further simplified internet navigation and sparked further interest in educational settings. Initially, computers were integrated into school curricula for tasks such as word processing, spreadsheet creation, and data organization. By the late 1990s, the Internet became a research tool, functioning as a vast library. By 1999, 99% of public school teachers in the United States reported having access to at least one computer in their schools, and 84% had a computer available in their classrooms. The emergence of World Wide Web also contributed to the development of learning management systems (LMS), which allowed educators to create online teaching environments for content storage, student activities, discussions, and assignments. Advances in digital compression and high-speed Internet made video creation and distribution more affordable, fostering the use of the systems designed for recording lectures. These tools were often incorporated into learning management platforms, supporting the expansion of fully online courses. === 21st century === By 2002, the Massachusetts Institute of Technology began offering recorded lectures to the public, marking a significant milestone in the movement toward accessible online education. The launch of YouTube in 2005 further transformed educational content distribution. Educators increasingly uploaded lectures and instructional videos on platforms with initiatives like Khan Academy, which was active in 2006, contributing to You Tube's role as a prominent educational resource. In 2007, Apple launched iTunesU, another platform for sharing educational resources and videos. Meanwhile, learning management systems gained popularity, with Blackboard and Canvas becoming two of the most widely used platforms with Canvas's release in 2008. That same year also marked the introduction of the first Massive Open Online Course (MOOC), which provided open access to webinars and expert-led instructions for global learners. As technology evolved, traditional projectors were gradually replaced by interactive whiteboards, which enabled educators to integrate digital tools more effectively in their classrooms. By 2009, 97% of classrooms in the United States had at least one computer, and 93% had Internet access. The COVID-19 pandemic, which forced schools across the world to close, significantly impacted education with schools shifting to distance education. Students attended classes remotely using devices such as laptops, phones, and tablets, supported by digital platforms that facilitated at-home learning environments. However, adapting assessment methods to the new learning environment posed certain challenges. A study conducted by Eddie M. Mulenga and José M. Marbán on Zambian students during the pandemic revealed difficulties in adapting to digital learning, particularly in subjects like mathematics. Similar issues were reported among students in Romania, where the transition to virtual learning presented significant obstacles in engagement and adaptability. === Post-pandemic developments === In the period following the onset of COVID-19, education systems worldwide rapidly adopted digital solutions to maintain continuity of learning and teaching. By the end of March 2020, all 46 OECD and partners countries closed some or all of their schools nationwide. By June 2020, the length of school closures in these countries ranged from 7 to over 18 weeks. These disruptions in formal education prompted governments and educators to quickly adopt digital learning. This global shift to online education highlighted considerable inequalities in digital access, although many systems struggled with inequitable access, especially in regions lacking devices, stable internet connections, or conducive home learning environments. Stimultaneously, commercial educational technology (ed-tech) companies introduced rapid digital solutions to the disruption caused by the pandemic. This led to what has been described as a "seller's market," where the urgency of implementation may cause the prioritization of availability and scale over pedagogical and equity considerations. In the post-pandemic era, digital media in education continues to evolve. It increasingly intersects with artificial intelligence (AI) technologies such as adaptive learning platforms, AI-enabled content generation, and personalized learning environments. These tools enhance global engagement and access but also raise concerns about infrastructure, inclusivity, ethical implementation as well as critical pedagogies. Scholars recommend that educators and policymakers adopt inclusive practices, prioritize equitable infrastructure, and develop critical digital literacy. Facer and Selwyn also emphasize the need for public digital infrastructure and sustainable and justice-oriented policies that empower all learners. Overall, these perspectives reflect a growing consensus that digital media in education should be implemented critically to promote inclusive, multimodal, and future-oriented learning environments.

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  • EffectsLab Pro

    EffectsLab Pro

    EffectsLab Pro is a discontinued visual effects software product developed by FXhome. It has since been superseded by the FXhome HitFilm range. The company also produced a limited functionality version, EffectsLab Lite, containing just the Particle engine. A more extensive product, VisionLab Studio, combined the functionality of EffectsLab Pro and the company's CompositeLab Pro product with enhancements to both. == Effects Engines == The effects are generated by the program's effect engines: The Neon Light engine allows light beams to be drawn onto the video, allowing the generation of lightsaber-like weapons, neon lighting, fantasy glow effects and laser blasts. The Particle engine is used for particle effects, such as smoke, fire, explosions, and weather effects. The Muzzle Flash engine is designed for creating and animating muzzle flashes such as machine gun firing, tank blasts, etc. It's possible to rotate the created muzzle flash in 3D, making it the only engine with 3D use. The Optics engine is designed for creating artificial lens flares and light sources. It is useful for enhancing other light-based effects, and mimicking the distinctive flashes of light that accompany Star Wars' lightsaber battles. The Laser engine (introduced in EffectsLab Pro in late 2007) is designed as a simplified method of creating laser weapon effects, including the ability to add simulated perspective to the effect. == Presets == EffectsLab Pro allows the user to save the effects using presets. Since all effects are generated from settings in the different engines, it is fairly easy to generate an XML style description of the effect. It is also possible to share presets on FXhome's website.

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  • Deplatforming

    Deplatforming

    Deplatforming, also known as no-platforming, is a boycott on an individual or group by removing the platforms used to share their information or ideas. The term is commonly associated with social media. == History == === Deplatforming of invited speakers === In the United States, the banning of speakers on university campuses dates back to the 1940s. This was carried out by the policies of the universities themselves. The University of California had a policy known as the Speaker Ban, codified in university regulations under President Robert Gordon Sproul, that mostly, but not exclusively, targeted communists. One rule stated that "the University assumed the right to prevent exploitation of its prestige by unqualified persons or by those who would use it as a platform for propaganda." This rule was used in 1951 to block Max Shachtman, a socialist, from speaking at the University of California at Berkeley. In 1947, former U.S. Vice President Henry A. Wallace was banned from speaking at UCLA because of his views on U.S. Cold War policy, and in 1961, Malcolm X was prohibited from speaking at Berkeley as a religious leader. Controversial speakers invited to appear on college campuses have faced deplatforming attempts to disinvite them or to otherwise prevent them from speaking. The British National Union of Students established its No Platform policy as early as 1973. In the mid-1980s, visits by South African ambassador Glenn Babb to Canadian college campuses faced opposition from students opposed to apartheid. In the United States, recent examples include the March 2017 disruption by protestors of a public speech at Middlebury College by political scientist Charles Murray. In February 2018, students at the University of Central Oklahoma rescinded a speaking invitation to creationist Ken Ham, after pressure from an LGBT student group. In March 2018, a "small group of protesters" at Lewis & Clark Law School attempted to stop a speech by visiting lecturer Christina Hoff Sommers. In the 2019 film No Safe Spaces, Adam Carolla and Dennis Prager documented their own disinvitation along with others. As of February 2020, the Foundation for Individual Rights in Education, a speech advocacy group, documented 469 disinvitation or disruption attempts at American campuses since 2000, including both "unsuccessful disinvitation attempts" and "successful disinvitations"; the group defines the latter category as including three subcategories: formal disinvitation by the sponsor of the speaking engagement; the speaker's withdrawal "in the face of disinvitation demands"; and "heckler's vetoes" (situations when "students or faculty persistently disrupt or entirely prevent the speakers' ability to speak"). === Deplatforming in social media === Beginning in 2015, Reddit banned several communities on the site ("subreddits") for violating the site's anti-harassment policy. A 2017 study published in the journal Proceedings of the ACM on Human-Computer Interaction, examining "the causal effects of the ban on both participating users and affected communities," found that "the ban served a number of useful purposes for Reddit" and that "Users participating in the banned subreddits either left the site or (for those who remained) dramatically reduced their hate speech usage. Communities that inherited the displaced activity of these users did not suffer from an increase in hate speech." In June 2020 and January 2021, Reddit also issued bans to pro-Trump communities over violations of the website's content and harassment policies. On May 2, 2019, Facebook and the Facebook-owned platform Instagram announced a ban of "dangerous individuals and organizations" including Nation of Islam leader Louis Farrakhan, Milo Yiannopoulos, Alex Jones and his organization InfoWars, Paul Joseph Watson, Laura Loomer, and Paul Nehlen. In the wake of the 2021 storming of the US Capitol, Twitter banned then-president Donald Trump, as well as 70,000 other accounts linked to the event and the far-right movement QAnon. Some studies have found that the deplatforming of extremists reduced their audience, although other research has found that some content creators became more toxic following deplatforming and migration to alt-tech platform. ==== Twitter ==== On November 18, 2022, Elon Musk, as newly appointed CEO of Twitter, reopened previously banned Twitter accounts of high-profile users, including Kathy Griffin, Jordan Peterson, and The Babylon Bee as part of the new Twitter policy. As Musk exclaimed, "New Twitter policy is freedom of speech, but not freedom of reach". ==== Alex Jones ==== On August 6, 2018, Facebook, Apple, YouTube and Spotify removed all content by Jones and InfoWars for policy violations. YouTube removed channels associated with InfoWars, including The Alex Jones Channel. On Facebook, four pages associated with InfoWars and Alex Jones were removed over repeated policy violations. Apple removed all podcasts associated with Jones from iTunes. On August 13, 2018, Vimeo removed all of Jones's videos because of "prohibitions on discriminatory and hateful content". Facebook cited instances of dehumanizing immigrants, Muslims and transgender people, as well as glorification of violence, as examples of hate speech. After InfoWars was banned from Facebook, Jones used another of his websites, NewsWars, to circumvent the ban. Jones's accounts were also removed from Pinterest, Mailchimp and LinkedIn. As of early August 2018, Jones retained active accounts on Instagram, Google+ and Twitter. In September, Jones was permanently banned from Twitter and Periscope after berating CNN reporter Oliver Darcy. On September 7, 2018, the InfoWars app was removed from the Apple App Store for "objectionable content". He was banned from using PayPal for business transactions, having violated the company's policies by expressing "hate or discriminatory intolerance against certain communities and religions." After Elon Musk's purchase of Twitter several previously banned accounts were reinstated including Donald Trump, Andrew Tate and Ye resulting in questioning if Alex Jones will be unbanned as well. However Musk denied that Alex Jones will be unbanned criticizing Jones as a person that "would use the deaths of children for gain, politics or fame". InfoWars remained available on Roku devices in January 2019, a year after the channel's removal from multiple streaming services. Roku indicated that they do not "curate or censor based on viewpoint," and that it had policies against content that is "unlawful, incited illegal activities, or violates third-party rights," but that InfoWars was not in violation of these policies. Following a social media backlash, Roku removed InfoWars and stated "After the InfoWars channel became available, we heard from concerned parties and have determined that the channel should be removed from our platform." In March 2019, YouTube terminated the Resistance News channel due to its reuploading of live streams from InfoWars. On May 1, 2019, Jones was barred from using both Facebook and Instagram. Jones briefly moved to Dlive, but was suspended in April 2019 for violating community guidelines. In March 2020, the InfoWars app was removed from the Google Play store due to claims of Jones disseminating COVID-19 misinformation. A Google spokesperson stated that "combating misinformation on the Play Store is a top priority for the team" and apps that violate Play policy by "distributing misleading or harmful information" are removed from the store. ==== Donald Trump ==== On January 6, 2021, in a joint session of the United States Congress, the counting of the votes of the Electoral College was interrupted by a breach of the United States Capitol chambers. The rioters were supporters of President Donald Trump who hoped to delay and overturn the President's loss in the 2020 election. The event resulted in five deaths and at least 400 people being charged with crimes. The certification of the electoral votes was only completed in the early morning hours of January 7, 2021. In the wake of several Tweets by President Trump on January 7, 2021 Facebook, Instagram, YouTube, Reddit, and Twitter all deplatformed Trump to some extent. Twitter deactivated his personal account, which the company said could possibly be used to promote further violence. Trump subsequently tweeted similar messages from the President's official US Government account @POTUS, which resulted in him being permanently banned on January 8. Twitter then announced that Trump's ban from their platform would be permanent. Trump planned to rejoin on social media through the use of a new platform by May or June 2021, according to Jason Miller on a Fox News broadcast. The same week Musk announced Twitter's new freedom of speech policy, he tweeted a poll to ask whether to bring back Trump into the platform. The poll ended with 51.8% in favor of unbanning Trump's account. Twitter has since reinstated Trump's Twitter accou

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  • Visopsys

    Visopsys

    Visopsys (Visual Operating System), is an operating system, written by Andy McLaughlin. Development of the operating system began in 1997. The operating system is licensed under the GNU GPL, with the headers and libraries under the less restrictive LGPL license. It runs on the 32-bit IA-32 architecture. It features a multitasking kernel, supports asynchronous I/O and the FAT line of file systems. It requires a Pentium processor. == History == The development of Visopsys began in 1997, being written by Andy McLaughlin. The first public release of the Operating System was on 2 March 2001, with version 0.1. In this release, Visopsys was a 32 bit operating system, supporting preemptive multitasking and virtual memory. == System overview == Visopsys uses a monolithic kernel, written in the C programming language, with elements of assembly language for certain interactions with the hardware. The operating system supports a graphical user interface, with a small C library.

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