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  • Kolmogorov–Arnold Networks

    Kolmogorov–Arnold Networks

    Kolmogorov–Arnold Networks (KANs) are a type of artificial neural network architecture inspired by the Kolmogorov–Arnold representation theorem, also known as the superposition theorem. Unlike traditional multilayer perceptrons (MLPs), which rely on fixed activation functions and linear weights, KANs replace each weight with a learnable univariate function, often represented using splines. == History == KANs (Kolmogorov–Arnold Networks) were proposed by Liu et al. (2024) as a generalization of the Kolmogorov–Arnold representation theorem (KART), aiming to outperform MLPs in small-scale AI and scientific tasks. Before KANs, numerous studies explored KART's connections to neural networks or used it as a basis for designing new network architectures. In the 1980s and 1990s, early research applied KART to neural network design. Kůrková et al. (1992), Hecht-Nielsen (1987), and Nees (1994) established theoretical foundations for multilayer networks based on KART. Igelnik et al. (2003) introduced the Kolmogorov Spline Network using cubic splines to model complex functions. Sprecher (1996, 1997) introduced numerical methods for building network layers, while Nakamura et al. (1993) created activation functions with guaranteed approximation accuracy. These works linked KART's theoretical potential with practical neural network implementation. KART has also been used in other computational and theoretical fields. Coppejans (2004) developed nonparametric regression estimators using B-splines, Bryant (2008) applied it to high-dimensional image tasks, Liu (2015) investigated theoretical applications in optimal transport and image encryption, and more recently, Polar and Poluektov (2021) used Urysohn operators for efficient KART construction, while Fakhoury et al. (2022) introduced ExSpliNet, integrating KART with probabilistic trees and multivariate B-splines for improved function approximation. == Architecture == KANs are based on the Kolmogorov–Arnold representation theorem, which was linked to the 13th Hilbert problem. Given x = ( x 1 , x 2 , … , x n ) {\displaystyle x=(x_{1},x_{2},\dots ,x_{n})} consisting of n variables, a multivariate continuous function f ( x ) {\displaystyle f(x)} can be represented as: f ( x ) = f ( x 1 , … , x n ) = ∑ q = 1 2 n + 1 Φ q ( ∑ p = 1 n φ q , p ( x p ) ) {\displaystyle f(x)=f(x_{1},\dots ,x_{n})=\sum _{q=1}^{2n+1}\Phi _{q}\left(\sum _{p=1}^{n}\varphi _{q,p}(x_{p})\right)} (1) This formulation contains two nested summations: an outer and an inner sum. The outer sum ∑ q = 1 2 n + 1 {\displaystyle \sum _{q=1}^{2n+1}} aggregates 2 n + 1 {\displaystyle 2n+1} terms, each involving a function Φ q : R → R {\displaystyle \Phi _{q}:\mathbb {R} \to \mathbb {R} } . The inner sum ∑ p = 1 n {\displaystyle \sum _{p=1}^{n}} computes n terms for each q, where each term φ q , p : [ 0 , 1 ] → R {\displaystyle \varphi _{q,p}:[0,1]\to \mathbb {R} } is a continuous function of the single variable x p {\displaystyle x_{p}} . The inner continuous functions φ q , p {\displaystyle \varphi _{q,p}} are universal, independent of f {\displaystyle f} , while the outer functions Φ q {\displaystyle \Phi _{q}} depend on the specific function f {\displaystyle f} being represented. The representation (1) holds for all multivariate functions f {\displaystyle f} as proved in . If f {\displaystyle f} is continuous, then the outer functions Φ q {\displaystyle \Phi _{q}} are continuous; if f {\displaystyle f} is discontinuous, then the corresponding Φ q {\displaystyle \Phi _{q}} are generally discontinuous, while the inner functions φ q , p {\displaystyle \varphi _{q,p}} remain the same universal functions. Liu et al. proposed the name KAN. A general KAN network consisting of L layers takes x to generate the output as: K A N ( x ) = ( Φ L − 1 ∘ Φ L − 2 ∘ ⋯ ∘ Φ 1 ∘ Φ 0 ) x {\displaystyle \mathrm {KAN} (x)=(\Phi ^{L-1}\circ \Phi ^{L-2}\circ \cdots \circ \Phi ^{1}\circ \Phi ^{0})x} (3) Here, Φ l {\displaystyle \Phi ^{l}} is the function matrix of the l-th KAN layer or a set of pre-activations. Let i denote the neuron of the l-th layer and j the neuron of the (l+1)-th layer. The activation function φ j , i l {\displaystyle \varphi _{j,i}^{l}} connects (l, i) to (l+1, j): φ j , i l , l = 0 , … , L − 1 , i = 1 , … , n l , j = 1 , … , n l + 1 {\displaystyle \varphi _{j,i}^{l},\quad l=0,\dots ,L-1,\;i=1,\dots ,n_{l},\;j=1,\dots ,n_{l+1}} (4) where nl is the number of nodes of the l-th layer. Thus, the function matrix Φ l {\displaystyle \Phi ^{l}} can be represented as an n l + 1 × n l {\displaystyle n_{l+1}\times n_{l}} matrix of activations: x l + 1 = ( φ 1 , 1 l ( ⋅ ) φ 1 , 2 l ( ⋅ ) ⋯ φ 1 , n l l ( ⋅ ) φ 2 , 1 l ( ⋅ ) φ 2 , 2 l ( ⋅ ) ⋯ φ 2 , n l l ( ⋅ ) ⋮ ⋮ ⋱ ⋮ φ n l + 1 , 1 l ( ⋅ ) φ n l + 1 , 2 l ( ⋅ ) ⋯ φ n l + 1 , n l l ( ⋅ ) ) x l {\displaystyle x^{l+1}={\begin{pmatrix}\varphi _{1,1}^{l}(\cdot )&\varphi _{1,2}^{l}(\cdot )&\cdots &\varphi _{1,n_{l}}^{l}(\cdot )\\\varphi _{2,1}^{l}(\cdot )&\varphi _{2,2}^{l}(\cdot )&\cdots &\varphi _{2,n_{l}}^{l}(\cdot )\\\vdots &\vdots &\ddots &\vdots \\\varphi _{n_{l+1},1}^{l}(\cdot )&\varphi _{n_{l+1},2}^{l}(\cdot )&\cdots &\varphi _{n_{l+1},n_{l}}^{l}(\cdot )\end{pmatrix}}x^{l}} == Implementations == To make the KAN layers optimizable, the inner function is formed by the combination of spline and basic functions as the formula: φ ( x ) = w b b ( x ) + w s spline ( x ) {\displaystyle \varphi (x)=w_{b}\,b(x)+w_{s}\,{\text{spline}}(x)} where b ( x ) {\displaystyle b(x)} is the basic function, usually defined as s i l u ( x ) = x / ( 1 + e x ) {\displaystyle silu(x)=x/(1+e^{x})} and w b {\displaystyle w_{b}} is the base weight matrix. Also, w s {\displaystyle w_{s}} is the spline weight matrix and spline ( x ) {\displaystyle {\text{spline}}(x)} is the spline function. The spline function can be a sum of B-splines. spline ( x ) = ∑ i c i B i ( x ) {\displaystyle {\text{spline}}(x)=\sum _{i}c_{i}B_{i}(x)} Many studies suggested to use other polynomial and curve functions instead of B-spline to create new KAN variants. == Functions used == The choice of functional basis strongly influences the performance of KANs. Common function families include: B-splines: Provide locality, smoothness, and interpretability; they are the most widely used in current implementations. RBFs (include Gaussian RBFs): Capture localized features in data and are effective in approximating functions with non-linear or clustered structures. Chebyshev polynomials: Offer efficient approximation with minimized error in the maximum norm, making them useful for stable function representation. Rational function: Useful for approximating functions with singularities or sharp variations, as they can model asymptotic behavior better than polynomials. Fourier series: Capture periodic patterns effectively and are particularly useful in domains such as physics-informed machine learning. Wavelet functions (DoG, Mexican hat, Morlet, and Shannon): Used for feature extraction as they can capture both high-frequency and low-frequency data components. Piecewise linear functions: Provide efficient approximation for multivariate functions in KANs. == Usage == In some modern neural architectures like convolutional neural networks (CNNs), recurrent neural networks (RNNs), and Transformers, KANs are typically used as drop-in substitutes for MLP layers. Despite KANs' general-purpose design, researchers have created and used them for a number of tasks: Scientific machine learning (SciML): Function fitting, partial differential equations (PDEs) and physical/mathematical laws. Continual learning: KANs better preserve previously learned information during incremental updates, avoiding catastrophic forgetting due to the locality of spline adjustments. Graph neural networks: Extensions such as Kolmogorov–Arnold Graph Neural Networks (KA-GNNs) integrate KAN modules into message-passing architectures, showing improvements in molecular property prediction tasks. Sensor data processing: Kolmogorov–Arnold Networks (KANs) have recently been applied to sensor data processing due to their ability to model complex nonlinear relationships with relatively few parameters and improved interpretability compared to conventional multilayer perceptrons. Applications include industrial soft sensors, biomedical signal analysis, remote sensing, and environmental monitoring systems. == Drawbacks == KANs can be computationally intensive and require a large number of parameters due to their use of polynomial functions to capture data.

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  • Digital intermediate

    Digital intermediate

    Digital intermediate (DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. == Definition and overview == A digital intermediate often replaces or augments the photochemical timing process and is usually the final creative adjustment to a movie before distribution in theaters. It is distinguished from the telecine process in which film is scanned and color is manipulated early in the process to facilitate editing. However the lines between telecine and DI are continually blurred and are often executed on the same hardware by colorists of the same background. These two steps are typically part of the overall color management process in a motion picture at different points in time. A digital intermediate is also customarily done at higher resolution and with greater color fidelity than telecine transfers. Although originally used to describe a process that started with film scanning and ended with film recording, digital intermediate is also used to describe color correction and color grading and even final mastering when a digital camera is used as the image source and/or when the final movie is not output to film. This is due to recent advances in digital cinematography and digital projection technologies that strive to match film origination and film projection. In traditional photochemical film finishing, an intermediate is produced by exposing film to the original camera negative. The intermediate is then used to mass-produce the films that get distributed to theaters. Color grading is done by varying the amount of red, green, and blue light used to expose the intermediate. The digital intermediate process uses digital tools to color grade, which allows for much finer control of individual colors and areas of the image, and allows for the adjustment of image structure (grain, sharpness, etc.). The intermediate for film reproduction can then be produced by means of a film recorder. The physical intermediate film that is a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (IN) stock, which is inherently finer-grain than original camera negative (OCN). One of the key technical achievements that made the transition to DI possible was the use of 3D look-up tables, which could be used to mimic how the digital image would look once it was printed onto release print stock. This removed a large amount of guesswork from the film-making process, and allowed greater freedom in the colour grading process while reducing risk. The digital master is often used as a source for a DCI-compliant distribution of the motion picture for digital projection. For archival purposes, the digital master created during the digital intermediate process can be recorded to very stable high dynamic range yellow-cyan-magenta (YCM) separations on black-and-white film with an expected 100-year or longer life. While still subject to the natural degradation of any analog chemical master, this archival format, long used in the industry prior to the invention of DI, was considered valuable for providing an archival medium that is independent of changes in digital data recording technologies and file formats that might otherwise render digitally archived material unreadable in the long term. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == History == Telecine tools to electronically capture film images are nearly as old as broadcast television, but the resulting images were widely considered unsuitable for exposing back onto film for theatrical distribution. Film scanners and recorders with quality sufficient to produce images that could be inter-cut with regular film began appearing in the 1970s, with significant improvements in the late 1980s and early 1990s. During this time, digitally processing an entire feature-length film was impractical because the scanners and recorders were extremely slow and the image files were too large compared to computing power available. Instead, individual shots or short sequences were processed for visual effects. In 1992, Visual Effects Supervisor/Producer Chris F. Woods broke through several "techno-barriers" in creating a digital studio to produce the visual effects for the 1993 release Super Mario Bros. It was the first feature film project to digitally scan a large number of VFX plates (over 700) at 2K resolution. It was also the first film scanned and recorded at Kodak's just launched Cinesite facility in Hollywood. This project based studio was the first feature film to use Discreet Logic's (now Autodesk) Flame and Inferno systems, which enjoyed early dominance as high resolution / high performance digital compositing systems. Digital film compositing for visual effects was immediately embraced, while optical printer use for VFX declined just as quickly. Chris Watts further revolutionized the process on the 1998 feature film Pleasantville, becoming the first visual effects supervisor for New Line Cinema to scan, process, and record the majority of a feature-length, live-action, Hollywood film digitally. The first Hollywood film to utilize a digital intermediate process from beginning to end was O Brother, Where Art Thou? in 2000 and in Europe it was Chicken Run released that same year. The process rapidly caught on in the mid-2000s. Around 50% of Hollywood films went through a digital intermediate in 2005, increasing to around 70% by mid-2007. This is due not only to the extra creative options the process affords film makers but also the need for high-quality scanning and color adjustments to produce movies for digital cinema. == Milestones == 1990: The Rescuers Down Under – First feature-length film to be entirely recorded to film from digital files; in this case animation assembled on computers using Walt Disney Feature Animation and Pixar's CAPS system. 1992: Visual effects supervisor and producer Chris F. Woods creates a VFX studio to produce the visual effects for the 1993 film Super Mario Bros. It was the first 35mm feature film to digitally scan a large number of VFX plates (over 700) at 2K resolution, as well as to output the finished VFX to 35mm negative at 2K. 1993: Snow White and the Seven Dwarfs – First film to be entirely scanned to digital files, manipulated, and recorded back to film at 4K resolution. The restoration project was done entirely at 4K resolution and 10-bit color depth using the Cineon system to digitally remove dirt and scratches and restore faded colors. 1998: Pleasantville – The first time the majority of a new feature film was scanned, processed, and recorded digitally. The black-and-white meets color world portrayed in the movie was filmed entirely in color and selectively desaturated and contrast adjusted digitally. The work was done in Los Angeles by Cinesite utilizing a Spirit DataCine for scanning at 2K resolution and a MegaDef color correction system from UK Company Pandora International 1998: Zingo - The first feature film to use digital color correction via digital intermediate in its entirety. The work was performed at the Digital Film Lab in Copenhagen, using a Spirit Datacine to transfer the entire film to digital files at 2K resolution. The digital intermediate process was also used to perform a digital blowup of the film's original Super 16 source format to a 35mm output. 1999: Pacific Ocean Post Film, a team led by John McCunn and Greg Kimble used Kodak film scanners & laser film printer, Cineon software as well as proprietary tools to rebuild and repair the first two reels of the 1968 Beatles' film Yellow Submarine for re-release. 1999: Star Wars: Episode I – The Phantom Menace - Industrial Light & Magic (ILM) scanned the entirety of the visual effects-laden film for the purposes of digital enhancement and the integration of thousands of separately filmed elements with computer generated characters and environments. Outside of the approximately 2000 effects shots that were digitally manipulated, the remaining 170 non-effects shots were also scanned for continuity. However, after the digital shots were manipulated at ILM, they were filmed out individually and sent to Deluxe Labs where they were processed and color timed photochemically. 2000: Sorted - The first feature-length, color 35mm motion picture to fully utilize the digital intermediate process in its entirety from inception to completion. The film was produced at Wave Pictures' digital intermediate film facility in London, England. It was scanned at 2K resolution with 8 bits color depth per color / per pixel using a pin registered, liquid gate Oxberry

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  • Hardware trojan

    Hardware trojan

    A hardware trojan (HT) is a malicious modification of the circuitry of an integrated circuit. A hardware trojan is completely characterized by its physical representation and its behavior. The payload of an HT is the entire activity that the Trojan executes when it is triggered. In general, trojans try to bypass or disable the security fence of a system: for example, leaking confidential information by radio emission. HTs also could disable, damage or destroy the entire chip or components of it. Hardware trojans may be introduced as hidden front-doors that are inserted while designing a computer chip, by using a pre-made application-specific integrated circuit (ASIC) semiconductor intellectual property core (IP core) that have been purchased from a non-reputable source, or inserted internally by a rogue employee, either acting on their own, or on behalf of rogue special interest groups, or state sponsored spying and espionage. One paper published by IEEE in 2015 explains how a hardware design containing a trojan could leak a cryptographic key leaked over an antenna or network connection, provided that the correct "easter egg" trigger is applied to activate the data leak. In high security governmental IT departments, hardware trojans are a well known problem when buying hardware such as: a KVM switch, keyboards, mice, network cards, or other network equipment. This is especially the case when purchasing such equipment from non-reputable sources that could have placed hardware trojans to leak keyboard passwords, or provide remote unauthorized entry. == Background == In a diverse global economy, outsourcing of production tasks is a common way to lower a product's cost. Embedded hardware devices are not always produced by the firms that design and/or sell them, nor in the same country where they will be used. Outsourced manufacturing can raise doubt about the evidence for the integrity of the manufactured product (i.e., one's certainty that the end-product has no design modifications compared to its original design). Anyone with access to the manufacturing process could, in theory, introduce some change to the final product. For complex products, small changes with large effects can be difficult to detect. The threat of a serious, malicious, design alteration can be especially relevant to government agencies. Resolving doubt about hardware integrity is one way to reduce technology vulnerabilities in the military, finance, energy and political sectors of an economy. Since fabrication of integrated circuits in untrustworthy factories is common, advanced detection techniques have emerged to discover when an adversary has hidden additional components in, or otherwise sabotaged, the circuit's function. == Characterization of hardware trojans == An HT can be characterized by several methods such as by its physical representation, activation phase and its action phase. Alternative methods characterize the HT by trigger, payload and stealth. === Physical characteristics === One of this physical trojan characteristics is the type. The type of a trojan can be either functional or parametric. A trojan is functional if the adversary adds or deletes any transistors or gates to the original chip design. The other kind of trojan, the parametric trojan, modifies the original circuitry, e.g. thinning of wires, weakening of flip-flops or transistors, subjecting the chip to radiation, or using focused ion-beams (FIB) to reduce the reliability of a chip. The size of a trojan is its physical extension or the number of components it is made of. Because a trojan can consist of many components, the designer can distribute the parts of a malicious logic on the chip. The additional logic can occupy the chip wherever it is needed to modify, add, or remove a function. Malicious components can be scattered, called loose distribution, or consist of only few components, called tight distribution, so the area is small where the malicious logic occupies the layout of the chip. In some cases, high-effort adversaries in may regenerate the layout so that the placement of the components of the IC is altered. In rare cases the chip dimension is altered. These changes are structural alterations. === Activation characteristics === The typical trojan is condition-based: It is triggered by sensors, internal logic states, a particular input pattern or an internal counter value. Condition-based trojans are detectable with power traces to some degree when inactive. That is due to the leakage currents generated by the trigger or counter circuit activating the trojan. Hardware trojans can be triggered in different ways. A trojan can be internally activated, which means it monitors one or more signals inside the IC. The malicious circuitry could wait for a count down logic an attacker added to the chip, so that the trojan awakes after a specific time-span. The opposite is externally activated. There can be malicious logic inside a chip, that uses an antenna or other sensors the adversary can reach from outside the chip. For example, a trojan could be inside the control system of a cruising missile. The owner of the missile does not know, that the enemy will be able to switch off the rockets by radio. A trojan which is always-on can be a reduced wire. A chip that is modified in this way produces errors or fails every time the wire is used intensely. Always-on circuits are hard to detect with power trace. In this context combinational trojans and sequential trojans are distinguished. A combinational trojan monitors internal signals until a specific condition happens. A sequential trojan is also an internally activated condition-based circuit, but it monitors the internal signals and searches for sequences not for a specific state or condition like the combinational trojans do. ==== Cryptographic key extraction ==== Extraction of secret keys by means of a hardware trojan without detecting the trojan requires that the trojan uses a random signal or some cryptographic implementation itself. To avoid storing a cryptographic key in the trojan itself and reduction, a physical unclonable function can be used. Physical unclonable functions are small in size and can have an identical layout while the cryptographic properties are different. === Action characteristics === A HT could modify the chip's function or could change the chip's parametric properties (e.g. provokes a process delay). Confidential information can also be transmitted to the adversary (transmission of key information). === Peripheral device hardware trojans === A relatively new threat vector to networks and network endpoints is a HT appearing as a physical peripheral device that is designed to interact with the network endpoint using the approved peripheral device's communication protocol. For example, a USB keyboard that hides all malicious processing cycles from the target network endpoint to which it is attached by communicating with the target network endpoint using unintended USB channels. Once sensitive data is ex-filtrated from the target network endpoint to the HT, the HT can process the data and decide what to do with the data: store the data to memory for later physical retrieval of the HT or possibly ex-filtrate the data to the internet using wireless or using the compromised network endpoint as a pivot. == Potential of threat == A common trojan is passive most of the time-span an altered device is in use. If a trojan is activated the device functionality can be changed, the device can be destroyed or disabled, the device can leak confidential information or the HT may tear down the security and safety of the device. Trojans are stealthy, to avoid detection of the trojan the precondition for activation is a very rare event. Traditional testing techniques are not sufficient. A manufacturing fault happens at a random position while malicious changes are well placed to avoid detection. == Detection == === Physical inspection === First, the molding coat is cut to reveal the circuitry. Then, the engineer repeatedly scans the surface while grinding the layers of the chip. There are several operations to scan the circuitry. Typical visual inspection methods are: scanning optical microscopy (SOM), scanning electron microscopy (SEM), pico-second imaging circuit analysis (PICA), voltage contrast imaging (VCI), light induced voltage alteration (LIVA) or charge induced voltage alteration (CIVA). To compare the floor plan of the chip has to be compared with the image of the actual chip. This is still quite challenging to do. To detect Trojan hardware which include (crypto) keys which are different, an image diff can be taken to reveal the different structure on the chip. The only known hardware Trojan using unique crypto keys but having the same structure is. This property enhances the undetectability of the trojan. === Functional testing === This detection method stimulates the input ports of a chip and monitors the output

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  • Creator economy

    Creator economy

    The creator economy, also known as influencer economy, is a platform-driven economy in which creators produce content, products, or services and distribute them directly to their audience through social media platforms and emerging technologies. This economic model is based on the ability of creators to build and maintain communities of users, monetizing their creative activity through multiple channels including advertising, sponsorships, product sales, crowdfunding, and subscription-based services. Creators include various professional categories such as social media influencers, YouTubers, bloggers, artists, online educators, podcasters, and independent professionals, who use platforms as infrastructure to reach their audience without necessarily relying on traditional intermediaries in the cultural and media industry. According to Goldman Sachs Research, the ongoing growth of the creator economy will likely benefit companies that possess a combination of factors, including a large global user base, access to substantial capital, robust AI-powered recommendation engines, versatile monetization tools, comprehensive data analytics, and integrated e-commerce options. Examples of creator economy software platforms include YouTube, TikTok, Instagram, Facebook, Twitch, Spotify, Substack, OnlyFans and Patreon. == History == The term "creator" was coined by YouTube in 2011 to be used instead of "YouTube star", an expression that at the time could only apply to famous individuals on the platform. The term has since become omnipresent and is used to describe anyone creating any form of online content. A number of platforms such as TikTok, Snapchat, YouTube, and Facebook have set up funds with which to pay creators. == Criticism == The large majority of content creators derive no monetary gain for their creations, with most of the benefits accruing to the platforms who can make significant revenues from their uploads. As few as 0.1% of creators are able to earn a living through their channels.

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  • Foodsi

    Foodsi

    Foodsi is a Polish mobile application that connects customers with restaurants, convenience stores, bakeries and cafes that have a surplus of food, allowing its users to buy the surplus at a reduced price. The service launched in 2019 in Warsaw and has expanded to other major cities in Poland. In 2023, a new feature was introduced in the app, allowing users to buy packages not only with self-pickup but also with delivery. The products range has also been expanded to include unsold magazines, cosmetics or plants. == History == The company was created in 2019 in Poland by Mateusz Kowalczyk and Jakub Fryszczyn. During studies in their home country and abroad, when they made a living working in restaurants and bakeries, they recognized the problem and the scale of food waste. They launched the application by themselves, having previously raised PLN 100,000 on their own for the purpose. Initially, Foodsi was an Android-only app, but over time, an IOS version was developed. In 2022, the startup raised PLN 6 million in a seed round from VC companies including CofounderZone and Status Starter, as well as private investors such as founders of Pyszne.pl. As of December 2023, it claimed more than 5000 businesses, serving over 1,5 million users, have saved nearly 3 million bags of food. == Purpose == Foodsi aims to significantly reduce food waste, which contributes to the Sustainable Development Goals. The application bridges the gap between the customers who are looking for shopping deals and the companies that want to reduce surplus products but are unable to sell them at a normal price. This allows the customers to buy unsold products for as little as 30% of the normal price. The company claims that every 4 out of 5 packages are sold on average. As of 2019 Foodsi employed more than 30 people. By 2024 it was more than 50. For now, Foodsi operates in major Polish cities such as Warsaw, Kraków, Trójmiasto, Wrocław, Poznań etc. However, in the upcoming years, Foodsi plans to expand to other countries. == Use == To start selling surplus, a company must leave Foodsi its contact information to register in the system. Registration in the app is completely free of charge. Then, companies offer available packages anticipating what won’t be sold and post them in the app along with the price so that users can buy them and pick them up. Companies can put their packages in the app at any time during the day. Users can pick up packages from bakeries, grocery stores, restaurants, but also florists and beauty stores. Foodsi charges a small commission on each package from the cooperating companies. If a user wants to start ordering packages from Foodsi, he or she needs to install the app on their mobile phone (Android or IOS) and register an account. The app displays a list of restaurants and other venues available in a specific region set by the user's location. Customers can see the price, address, distance and time range for package pickup. Packages are usually in the form of so-called 'surprise-packages', meaning that customers do not know specifically what kind of food/product will be inside. Some restaurants offer a choice of different package sizes. Prices are up to 70% lower than those of the original products. Customers have to show up at the restaurant to pick up the package using their phone at a time specified in the app. == Awards == Auler All-Stars 2025 - 3rd place Deloitte Technology Fast 50 - 2025 Central Europe Executive Club - Innowacja Roku: Żywność i Rolnictwo - Wyróżnienie (2025) Stena Circular Economy Award - Lider Gospodarki Obiegu Zamkniętego (2025) - wyróżnienie w kategorii start-up wdrażający GOZ na rynku polskim 255th place in the international poll FoodTech 500 2025 Finalist for the EY Entrepreneur Of The Year™ 2025 Wpływowi 2024 - Laureat w kategorii “Zrównoważony rozwój” Supplier of the Year 2024 - XXII Food & Business Forum Supplier of the Year 2024 - VII Sweets & Coffee Forum Innovative Leader 2024 - Leader in Food / Food-Tech Category - Executive Summit “Orzeł Innowacji - Start-up z potencjałem Polska-Świat” (Rzeczpospolita, 2024) 102nd place in the international poll FoodTech 500 2024 Auler 2023 Startup of the Year 2023 according to money.pl Start(up) w zrównoważoną przyszłość Kongresu Kompas ESG 2023 Marka Godna Zaufania according to My Company Polska 2023 184th place in the international poll FoodTech 500 2023 In 2023, Foodsi co-founder Mateusz Kowalczyk was recognized by Forbes magazine and included in its "30 before 30" list.

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  • Mixvoip

    Mixvoip

    Mixvoip S.A. is a Luxembourg-based telecommunications service provider founded in 2008. The company offers IP telephony, high-speed Internet connectivity, and IT solutions to businesses and individuals. == Company history == In November 2017, Mixvoip expanded its operations to Belgium and Germany. At the beginning of 2019, the company acquired the telecommunications provider Voipgate. In December 2019, Mixvoip was named Telecom Company of the Year at the Luxembourg ICT Awards 2019 organized by Farvest and IT One. A 2024 article in Duke described the company's transition during the 2010s from traditional telephony services to cloud-based communication platforms. In the end of 2024, the ILR published the statistics about electronic communications in Luxembourg, including Mixvoip in the fix telephony section. In July 2025, Mixvoip acquired Crossing Telecom. In 2026, Mixvoip acquired Nomado's portfolio.

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  • Europa-Lehrmittel

    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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  • Institute of Telecommunications Professionals

    Institute of Telecommunications Professionals

    The Institute of Telecommunications Professionals (ITP) is a membership organisation for professionals in the telecommunications industry, based in the United Kingdom. The Institute was originally founded in 1906. It is now a registered company with Companies House in the United Kingdom, incorporated in 2002. Brendan O' Mahony has been the chief executive of the ITP. Lucy Woods presided over ITP for fifteen years, until 2018, when the organization named Kevin Paige chairman for five years. In 2022 the ITP appointed its new CEO, Charlotte Goodwill. In 2021, the ITP assisted a UK fibre network Vorboss in establishing its training academy. In 2023, the ITP appointed Tim Creswick, the CEO of Vorboss, as the new chair of its board of directors. The institute has an associated journal, the Journal of the Institute of Telecommunications Professionals, established in 2007 and published quarterly.

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  • Smart environment

    Smart environment

    Smart environments link computers and other smart devices to everyday settings and tasks. Smart environments include smart homes, smart cities, and smart manufacturing. == Introduction == Smart environments are an extension of pervasive computing. According to Mark Weiser, pervasive computing promotes the idea of a world that is connected to sensors and computers. These sensors and computers are integrated with everyday objects in peoples' lives and are connected through networks. == Definition == Cook and Das, define a smart environment as "a small world where different kinds of smart devices are continuously working to make inhabitants' lives more comfortable." Smart environments aim to satisfy the experience of individuals from every environment, by replacing hazardous work, physical labor, and repetitive tasks with automated agents. Poslad differentiates three different kinds of smart environments for systems, services, and devices: virtual (or distributed) computing environments, physical environments, and human environments, or a hybrid combination of these: Virtual computing environments enable smart devices to access pertinent services anywhere and anytime. Physical environments may be embedded with various smart devices of different types including tags, sensors, and controllers, and have different form factors ranging from nano- to micro- to macro-sized. Human environments: humans, either individually or collectively, inherently form a smart environment for devices. However, humans themselves may be accompanied by smart devices such as mobile phones, use surface-mounted devices (wearable computing), and contain embedded devices (e.g., pacemakers to maintain a healthy heart operation or AR contact lenses) == Features == Smart environments encompass a range of features and services across various domains, including smart homes, smart cities, smart health, and smart factories. Some of the key features of smart environments are: Sensors and Actuators: Smart environments are equipped with an assembly of sensors and actuators that collect data and initiate actions to provide services for the betterment of human life. Interconnected Systems: These environments consist of interconnected systems that enable seamless communication and coordination among various devices and components. Data-Driven Technologies: Smart environments leverage data-driven technologies, such as the Internet of Things (IoT), to obtain information from the physical world, process it, and perform actions accordingly. Efficiency and Sustainability: They are designed to improve efficiency, sustainable practices, and resource management across different settings, such as energy efficiency in smart homes and environmental quality management in smart cities. Diverse Requirements: Different types of smart environments have diverse requirements and technology choices, influencing the processing and utilization of data within a specific environment. == Technologies == Building a smart environment involves technologies of Wireless communication Algorithm design, signal prediction & classification, information theory Multilayered software architecture, Corba, middleware Speech recognition Image processing, image recognition Sensors design, calibration, motion detection, temperature, pressure sensors, accelerometers Semantic Web and knowledge graphs Adaptive control, Kalman filters Computer networking Parallel processing Operating systems == Existing projects == The Aware Home Research Initiative at Georgia Tech "is devoted to the multidisciplinary exploration of emerging technologies and services based in the home" and was launched in 1998 as one of the first "living laboratories." The Mav Home (Managing an Adaptive Versatile Home) project, at UT Arlington, is a smart environment-lab with state-of-the-art algorithms and protocols used to provide a customized, personal environment to the users of this space. The Mav Home project, in addition to providing a safe environment, wants to reduce the energy consumption of the inhabitants. Other projects include House at the MIT Media Lab and many others.

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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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  • 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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  • Web series

    Web series

    A web series, also known as a short-form series or web show, is a collection of short scripted or unscripted online videos released on the Internet (i.e., World Wide Web), generally in episodic form. A single installment of a web series can be called a webisode or an episode. The scale of a web series is small, and a typical episode can be anywhere from 3 to 15 minutes long (though some may run up to 20 minutes). Web series first emerged in the mid-1990s and became more prominent in the early 2000s. Web series are distributed online on video-sharing websites and apps, such as YouTube, Vimeo, and TikTok, and can be watched on devices such as smartphones, tablets, desktops, laptops, and Smart TVs (or television sets connected to the Internet with a media streaming device). They can also be released on social media platforms. Because of the nature of the Internet, a web series may be interactive and immersive. Web series are classified as new media. Web series are different from streaming television series, as the latter are designed to be watched on streaming platforms such as Netflix, Amazon Prime Video, or Hotstar, with the streaming services offering original productions made for and by them, as well as acquiring the rights to distribute licensed content. The length of a streaming television series episode is 30 to 60 minutes (runtimes can also be longer). Although the design of a web series can be similar to that of a television series, its development and production do not entail the same financial investment required for a television series. The popularity of some web series, however, has led to them being optioned for television. Web series differ from short-form content in that the latter are vertical videos specifically designed for smartphone viewing and intended for fast-paced consumption, with runtimes typically ranging from less than one minute to three minutes. There are film festivals for web series, like Webfest Berlin, NYC Web Fest, LA Web Fest, and Vancouver Web Fest. Awards organizations have also been established to celebrate excellence in web series, such as the Streamys, Webbys, IAWTV Awards, and Indie Series Awards. Most major award ceremonies have also created web series and digital media award categories, including the Emmy Awards and the Canadian Screen Awards. == History == === 1990s === In April 1995, "Global Village Idiots", an episode of the reality-based program Rox on public access cable television in Bloomington, Indiana, was uploaded to the Internet, making Rox the first show distributed via the web. The same year, Scott Zakarin created The Spot, an episodic online story that integrated photos, videos, and blogs into the storyline. Likened to Melrose Place-on-the-Web, The Spot featured a rotating cast of characters playing trendy twenty-somethings who rented rooms in a fabled Santa Monica, California beach house called "The Spot". The Spot earned Infoseek's "Cool Site of the Year," an award which later became the Webby. In January 1999, Showtime licensed the animated sci-fi web series WhirlGirl, making it the first independently produced web series licensed by a national television network. In February 1999, the show premiered simultaneously on Showtime and online. The character occasionally appeared on Showtime, for example, hosting a "Lethal Ladies" programming block, but spent most of her time online, appearing in 100 webisodes. === 2000s === As broadband bandwidth increased in speed and availability, delivering high-quality video over the Internet became a reality. In the early 2000s, the Japanese anime industry began broadcasting original net animation (ONA), a type of original video animation (OVA) series, on the Internet. Early examples of the ONA series include Infinite Ryvius: Illusion (2000), Ajimu (2001), and Mahou Yuugi (2001). In 2000, The Brothers Chaps launched the Adobe Flash-created web series Homestar Runner. After being put on hiatus in 2010, it returned in 2014. In 2002, Matt Jolly (better known as "Krinkels") released the first episode of Madness Combat to Newgrounds. The show is still ongoing, with the latest episode "Madness Combat 12: Contravention" released on Twitch in September 2024. In 2003, Microsoft launched MSN Video, offering NBC-related content. Its web series, Weird TV 2000, a spin-off of the syndicated television series Weird TV, featured dozens of shorts, comedy sketches, and mini-documentaries produced exclusively for MSN Video. The video-sharing site YouTube was launched in early 2005, allowing users to share television programs. YouTube co-founder Jawed Karim said the inspiration for YouTube first came from Janet Jackson's role in the 2004 Super Bowl incident, when her breast was exposed during her performance, and later from the 2004 Indian Ocean tsunami. Karim could not easily find video clips of either event online, which led to the idea of a video-sharing site. From 2003 to 2006, many independent web series gained significant popularity, most notably the science fiction series Red vs. Blue by Rooster Teeth. The series was distributed independently via online portals YouTube and Revver, as well as the Rooster Teeth website, acquiring over 100 million social media views during its run. (Rooster Teeth would eventually create the computer-animated web series RWBY in 2013.) In 2004, the adult-animated series Salad Fingers was created, which amassed a cult following. The comedy show The Burg, hailed as the internet's first sitcom and starring Kelli Giddish and Lindsey Broad, rapidly gained an audience and press attention before its creators signed a creation deal with Michael Eisner. The drama Sam Has 7 Friends, which ran in the summer and fall of 2006, was nominated for a Daytime Emmy Award and was temporarily removed from the Internet when it was also acquired by Eisner. In 2004–2005, Spanish producer Pedro Alonso Pablos recorded a series of video interviews featuring actors and directors such as Guillermo del Toro, Santiago Segura, Álex de la Iglesia, and Keanu Reeves, which were distributed through his own website. lonelygirl15, California Heaven, "The Burg", and SamHas7Friends also gained popularity during this time, acquiring audiences in the millions. (Science fiction thriller lonelygirl15 was so successful that it secured a sponsorship deal with Neutrogena in 2007.) In 2004, Stewart St. John, executive producer and head writer of 1990s webisodies The Spot, revived the brand for online audiences as The Spot (2.0), with a new cast, and as a separate soap opera on Sprint PCS Vision-enabled cell phones, creating the first American mobile phone series. St. John and partner Todd Fisher produced over 2,500 daily videos of the mobile soap, driving story lines across platforms to its web counterpart. In 2007, the creators of lonelygirl15 followed up on the show's success with KateModern, a comedy-drama series that debuted on social network Bebo, and took place in the same fictional universe as their previous show. Big Fantastic created and produced the soap opera Prom Queen, financed and distributed by Michael Eisner's production firm Vuguru, and debuted the series on MySpace. Vuguru partnered with Mark Cuban's channel HDNet to release All-for-nots, a mockumentary series by The Burg creators Kathleen Grace and Thom Woodley, which debuted at the SXSW Festival in 2008. These web series highlighted interactivity with the audience in addition to the narrative on relatively low budgets. In contrast, the eight-episode show Sanctuary, starring actor/producer Amanda Tapping, cost $4.3 million to produce. Both Sanctuary and Prom Queen were nominated for a Daytime Emmy Award. Award-winning producer/director Marshall Herskovitz created the drama Quarterlife, which debuted on MySpace and was later distributed on NBC. In 2008, major television studios began releasing web series, such as the ABC comedy show Squeegies, the NBC sci-fi show Gemini Division, and the Bravo reality series The Malan Show. Warner Bros. relaunched The WB as an online network beginning with original mystery web series, Sorority Forever, created and produced by Big Fantastic and executive produced by McG. Meanwhile, MTV announced a new original web series created by Craig Brewer, $5 Cover, that brought together the indie music world and new media expansion. Joss Whedon created, produced, and self-financed musical comedy-drama Dr. Horrible's Sing-Along Blog starring Neil Patrick Harris and Felicia Day. Big Fantastic wrote and produced Foreign Body, a mystery web series that served as a prequel to Robin Cook's novel of the same name. Beckett and Goodfried founded a new Internet studio, EQAL, and produced a spin-off of lonelygirl15 titled LG15: The Resistance. The mainstream press began to provide coverage. In the United Kingdom, KateModern ended its run on Bebo. Bebo also hosted a six-month-long reality travel show, The Gap Year, produced by Endemol UK, and produced an interactive sci-fi drama Kirill for

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  • Separable filter

    Separable filter

    A separable filter in image processing can be written as product of two more simple filters. Typically a 2-dimensional convolution operation is separated into two 1-dimensional filters. This reduces the computational costs on an N × M {\displaystyle N\times M} image with a m × n {\displaystyle m\times n} filter from O ( M ⋅ N ⋅ m ⋅ n ) {\displaystyle {\mathcal {O}}(M\cdot N\cdot m\cdot n)} down to O ( M ⋅ N ⋅ ( m + n ) ) {\displaystyle {\mathcal {O}}(M\cdot N\cdot (m+n))} . == Examples == 1. A two-dimensional smoothing filter: 1 3 [ 1 1 1 ] ∗ 1 3 [ 1 1 1 ] = 1 9 [ 1 1 1 1 1 1 1 1 1 ] {\displaystyle {\frac {1}{3}}{\begin{bmatrix}1\\1\\1\end{bmatrix}}{\frac {1}{3}}{\begin{bmatrix}1&1&1\end{bmatrix}}={\frac {1}{9}}{\begin{bmatrix}1&1&1\\1&1&1\\1&1&1\end{bmatrix}}} 2. Another two-dimensional smoothing filter with stronger weight in the middle: 1 4 [ 1 2 1 ] ∗ 1 4 [ 1 2 1 ] = 1 16 [ 1 2 1 2 4 2 1 2 1 ] {\displaystyle {\frac {1}{4}}{\begin{bmatrix}1\\2\\1\end{bmatrix}}{\frac {1}{4}}{\begin{bmatrix}1&2&1\end{bmatrix}}={\frac {1}{16}}{\begin{bmatrix}1&2&1\\2&4&2\\1&2&1\end{bmatrix}}} 3. The Sobel operator, used commonly for edge detection: [ 1 2 1 ] ∗ [ 1 0 − 1 ] = [ 1 0 − 1 2 0 − 2 1 0 − 1 ] {\displaystyle {\begin{bmatrix}1\\2\\1\end{bmatrix}}{\begin{bmatrix}1&0&-1\end{bmatrix}}={\begin{bmatrix}1&0&-1\\2&0&-2\\1&0&-1\end{bmatrix}}} This works also for the Prewitt operator. In the examples, there is a cost of 3 multiply–accumulate operations for each vector which gives six total (horizontal and vertical). This is compared to the nine operations for the full 3x3 matrix. Another notable example of a separable filter is the Gaussian blur whose performance can be greatly improved the bigger the convolution window becomes.

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  • Digital heritage

    Digital heritage

    The Charter on the Preservation of Digital Heritage of UNESCO defines digital heritage as embracing "cultural, educational, scientific and administrative resources, as well as technical, legal, medical and other kinds of information created digitally, or converted into digital form from existing analogue resources". Digital heritage also includes the use of digital media in the service of understanding and preserving cultural or natural heritage. The digitization of both cultural heritage and Natural heritage serves to enable the permanent access of current and future generations to culturally important objects ranging from literature and paintings to flora, fauna, or habitats. It is also used in the preservation and access of objects with enduring or significant historical, scientific, or cultural value including buildings, archeological sites, and natural phenomena. The main idea is the transformation of a material object into a virtual copy. It should not be confused with digital humanities, which uses digitizing technology to specifically help with research. There have been several debates concerning the efficiency of the process of digitizing heritage. Some of the drawbacks refer to the deterioration and technological obsolescence due to the lack of funding for archival materials and underdeveloped policies that would regulate such a process. Another main social debate has taken place around the restricted accessibility due to the digital divide that exists around the world. Nevertheless, new technologies enable easy, instant and cross boarder access to the digitized work. Many of these technologies include spatial and surveying technology to gain aerial or 3D images. Digital heritage is also used to monitor cultural heritage sites over years to help with preservation, maintenance, and sustainable tourism. It aims to observe any changes, diseases, or deterioration that may occur on objects. == Cultural and natural heritage == Digital Heritage that is not born-digital can be divided into two separate groups—digital cultural heritage and digital natural heritage. Digital cultural heritage is the maintenance or preservation of cultural objects through digitization. These are objects, in some cases entire cities, that are considered of cultural importance. These objects are sometimes able to be digitized or physically represented in minute detail. Digital cultural heritage also includes intangible heritage. These are things such as "oral traditions, customs, value systems, skills, traditional dances, diets, performances" and other unique features of a culture. Intangible heritage is particularly vulnerable to destruction due to urbanization. There are several projects and programs which concentrate on digital cultural heritage. One such project is Mapping Gothic France, which aims to document and preserve cathedrals across France using images, VR tours, laser scans, and panoramas. This allows for scientific and historical study and preservation of the cathedrals and also provides detailed access to the sites for anyone in the world. The aim of projects like these is to help with the preservation and restoration of cultural objects. After the fire at Notre-Dame de Paris in 2019, digital scans are a major component in the ongoing restoration. Digital natural heritage pertains to objects of natural heritage that are considered of cultural, scientific, or aesthetic importance. Digital heritage in this instance is used not only to grant access to these objects, but to monitor any changes over time, such as with plant or animal habitats. Geographic information systems are a form of technology that is used primarily in the study of natural heritage. Western Australia has one such digital heritage project where they have created a digital repository of native plants important to both the region and the Aboriginal people. This is in order to protect and preserve the important biological heritage of Western Australia. == Educational impact == The digitization of these heritage objects has impacts around the world and across many disciplines. The increase of digital items means that people, especially the youth, are able to learn about new objects and cultures online through various media. They provide viewers with a more in-depth experience with an item or place, instead of just an image. The media is also able to be curated to age- or educational-level appropriateness, making learning easier. Some of the technology used in education, especially in museums, includes mobile apps, virtual reality, social media, and video games. Cultural heritage institutions are using this technology to try to expand access, increase appreciation for these items, and to gain new viewpoints on their collections. Digital heritage also helps scientists, archeologists, or other historians and specialists collect data on these objects, providing more information on the objects and the past. Digital Heritage is still currently being studied and improved by several sectors invested in cultural and intellectual preservation. It is particularly of interest to museums, governments, and academic institutions. Research by these groups are creating new concepts, methodologies, and techniques for the implementation of digital heritage to protect this type of cultural and natural heritage. As new technologies are created, museums and other heritage institutions are provided with more ways of disseminating their information and engaging with the public. A lack of resources within certain groups may still hinder everyone from accessing digital heritage. == Technologies used == The digitization of cultural heritage is attained through several means. Some of the main technology used is spatial and surveying technology. Space archaeological technology - Observations from space satellites are non-intrusive and can be integrated with other technologies on the ground. It is used to photograph vast areas of earth and help with research. Remnants of ancient civilizations or other human objects are also able to be spotted via satellite imaging. Unmanned aerial vehicles - UAV, such as drones, are commonly used in digitization of cultural heritage objects. The Great Wall of China is one such site that has been digitized and analyzed through unmanned aerial vehicle investigation. The resulting images, 3-D scans, maps, and other data are used to evaluate and maintain the Great Wall. Laser Scanning - Laser scanning is used to scan an area and recreate spatially accurate depictions, such as a 3D model. Virtual and Augmented Reality - VR is used primarily for education but does have uses for reconstruction and research. It is used to provide users with an immersive experience, as though they are actually at the site. Geographic Information systems - GIS are used primarily to study objects and sites over time. It is also important in studying the socioeconomic status of the past. 3D Modeling - 3D modeling has become more widely used due to an increase in technology that works specifically with heritage sites. It is often used in tandem with GIS to reconstruct objects for restoration, documentation, preservation, and educational purposes. Data is collected using satellite or other aerial imaging and ground-based imaging. There is some concern about the accuracy and authenticity of these types of digital reconstructions and their effects on the sites themselves. A major barrier to digital heritage is the amount of resources it takes to undertake such projects, such as money, time, and technology. Money and the lack of qualified personnel are two that are considered the most obstructive. This is especially an issue in less developed areas or within underfunded groups such as minorities. == Virtual heritage == A particular branch of digital heritage, known as "virtual heritage", is formed by the use of information technology with the aim of recreating the experience of existing cultural heritage, as in (approximations of) virtual reality. It is hard to differentiate this branch from the core contribution of digital heritage which is storing the heritage data digitally. Parsinejad et al. developed two techniques for Digital Twinning of the architectural assets and representation of the physical assets virtually in the museum context. Two techniques are hand recording and digital recording and both have challenges in adoption and implementation of Digital Twin as a revolutionary concept. == Digital heritage stewardship == Digital heritage stewardship is a form of digital curation which is modeled after collaborative curation. Digital heritage stewardship means stepping away from typical curatorial practices (e.g. discovering, arranging, and sharing information, material, and/or content) in favor of practices which allow its stakeholders the opportunity to contribute historical, political, and social context and culture. The collaborative practice encourages the creation, engagement, and maintena

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  • Haul video

    Haul video

    A haul video is a video recording posted to the Internet in which a person discusses items that they recently purchased, sometimes going into detail about their experiences during the purchase and the cost of the items they bought. The posting of haul videos (or hauls) was a growing trend between 2008 and 2016. Often the items bought are books, clothing, groceries, household goods, makeup, or jewellery. == Details == The posting of haul videos grew as a trend between 2008 and 2016. By late 2010, nearly a quarter of a million haul videos had been shared on the website YouTube alone. Certain videos have each received tens of millions of views. Many young adults (mostly women) have displayed their shopping hauls, while including their beauty and design commentary in the narration. The videos are often grouped by store name or by the type of product (cosmetics, accessories, shoes, postage stamps, etc.). Before haul videos became an online trend, millions of people spent time watching other people, in technical product videos unbox their latest new gadgets and technology. The trend of "unboxing videos" had emerged during 2006. Haul videos have led to celebrity status for some people. Other haul video bloggers have entered sponsorship deals and advertising programs from major brands. The videos are rarely negative about the products being reviewed. This aspect of the genre of haul videos makes sponsorship by brand advertisers particularly appealing. Brands including J.C. Penney contacted haulers as part of their marketing efforts for Back to School 2010. Haul videos also convinced three San Francisco Bay Area area natives to launch HaulBlog–a parody site that creates fake haul videos which poke fun at the phenomenon. The site is also home to the original monthly web series "The Haul Monitor" a humorous commentary show that features haul videos from around the community. == Fashion media == Sarah Sykes and John Zimmerman of Carnegie Mellon University, HCII and School of Design wrote an article "Making Sense of Haul Videos: Self-created Celebrities Fill a Fashion Media Gap". They discuss their analysis and research project examining what makes video bloggers so popular on YouTube, as well as how it affects fashion media through the production of haul videos. == Federal Trade Commission == The United States Federal Trade Commission recently enacted laws to regulate many types of online publishers and content creators. The posted information includes blogging and podcasting in text, images, audio, and video. While any publishers (including the haul-video creators) are allowed to accept free merchandise and advertising, the gifts or payments must be fully (and clearly) disclosed to reveal being paid by a brand name, as a sponsor, to review a product. The Canadian Radio-television and Telecommunications Commission is also closely monitoring such Internet activities.

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