AI Chat Character Talkie

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  • Scale space implementation

    Scale space implementation

    In the areas of computer vision, image analysis and signal processing, the notion of scale-space representation is used for processing measurement data at multiple scales, and specifically enhance or suppress image features over different ranges of scale (see the article on scale space). A special type of scale-space representation is provided by the Gaussian scale space, where the image data in N dimensions is subjected to smoothing by Gaussian convolution. Most of the theory for Gaussian scale space deals with continuous images, whereas one when implementing this theory will have to face the fact that most measurement data are discrete. Hence, the theoretical problem arises concerning how to discretize the continuous theory while either preserving or well approximating the desirable theoretical properties that lead to the choice of the Gaussian kernel (see the article on scale-space axioms). This article describes basic approaches for this that have been developed in the literature, see also for an in-depth treatment regarding the topic of approximating the Gaussian smoothing operation and the Gaussian derivative computations in scale-space theory, and for a complementary treatment regarding hybrid discretization methods. == Statement of the problem == The Gaussian scale-space representation of an N-dimensional continuous signal, f C ( x 1 , ⋯ , x N , t ) , {\displaystyle f_{C}\left(x_{1},\cdots ,x_{N},t\right),} is obtained by convolving fC with an N-dimensional Gaussian kernel: g N ( x 1 , ⋯ , x N , t ) . {\displaystyle g_{N}\left(x_{1},\cdots ,x_{N},t\right).} In other words: L ( x 1 , ⋯ , x N , t ) = ∫ u 1 = − ∞ ∞ ⋯ ∫ u N = − ∞ ∞ f C ( x 1 − u 1 , ⋯ , x N − u N , t ) ⋅ g N ( u 1 , ⋯ , u N , t ) d u 1 ⋯ d u N . {\displaystyle L\left(x_{1},\cdots ,x_{N},t\right)=\int _{u_{1}=-\infty }^{\infty }\cdots \int _{u_{N}=-\infty }^{\infty }f_{C}\left(x_{1}-u_{1},\cdots ,x_{N}-u_{N},t\right)\cdot g_{N}\left(u_{1},\cdots ,u_{N},t\right)\,du_{1}\cdots du_{N}.} However, for implementation, this definition is impractical, since it is continuous. When applying the scale space concept to a discrete signal fD, different approaches can be taken. This article is a brief summary of some of the most frequently used methods. == Separability == Using the separability property of the Gaussian kernel g N ( x 1 , … , x N , t ) = G ( x 1 , t ) ⋯ G ( x N , t ) {\displaystyle g_{N}\left(x_{1},\dots ,x_{N},t\right)=G\left(x_{1},t\right)\cdots G\left(x_{N},t\right)} the N-dimensional convolution operation can be decomposed into a set of separable smoothing steps with a one-dimensional Gaussian kernel G along each dimension L ( x 1 , ⋯ , x N , t ) = ∫ u 1 = − ∞ ∞ ⋯ ∫ u N = − ∞ ∞ f C ( x 1 − u 1 , ⋯ , x N − u N , t ) G ( u 1 , t ) d u 1 ⋯ G ( u N , t ) d u N , {\displaystyle L(x_{1},\cdots ,x_{N},t)=\int _{u_{1}=-\infty }^{\infty }\cdots \int _{u_{N}=-\infty }^{\infty }f_{C}(x_{1}-u_{1},\cdots ,x_{N}-u_{N},t)G(u_{1},t)\,du_{1}\cdots G(u_{N},t)\,du_{N},} where G ( x , t ) = 1 2 π t e − x 2 2 t {\displaystyle G(x,t)={\frac {1}{\sqrt {2\pi t}}}e^{-{\frac {x^{2}}{2t}}}} and the standard deviation of the Gaussian σ is related to the scale parameter t according to t = σ2. Separability will be assumed in all that follows, even when the kernel is not exactly Gaussian, since separation of the dimensions is the most practical way to implement multidimensional smoothing, especially at larger scales. Therefore, the rest of the article focuses on the one-dimensional case. == The sampled Gaussian kernel == When implementing the one-dimensional smoothing step in practice, the presumably simplest approach is to convolve the discrete signal fD with a sampled Gaussian kernel: L ( x , t ) = ∑ n = − ∞ ∞ f ( x − n ) G ( n , t ) {\displaystyle L(x,t)=\sum _{n=-\infty }^{\infty }f(x-n)\,G(n,t)} where G ( n , t ) = 1 2 π t e − n 2 2 t {\displaystyle G(n,t)={\frac {1}{\sqrt {2\pi t}}}e^{-{\frac {n^{2}}{2t}}}} (with t = σ2) which in turn is truncated at the ends to give a filter with finite impulse response L ( x , t ) = ∑ n = − M M f ( x − n ) G ( n , t ) {\displaystyle L(x,t)=\sum _{n=-M}^{M}f(x-n)\,G(n,t)} for M chosen sufficiently large (see error function) such that 2 ∫ M ∞ G ( u , t ) d u = 2 ∫ M t ∞ G ( v , 1 ) d v < ε . {\displaystyle 2\int _{M}^{\infty }G(u,t)\,du=2\int _{\frac {M}{\sqrt {t}}}^{\infty }G(v,1)\,dv<\varepsilon .} A common choice is to set M to a constant C times the standard deviation of the Gaussian kernel M = C σ + 1 = C t + 1 {\displaystyle M=C\sigma +1=C{\sqrt {t}}+1} where C is often chosen somewhere between 3 and 6. Using the sampled Gaussian kernel can, however, lead to implementation problems, in particular when computing higher-order derivatives at finer scales by applying sampled derivatives of Gaussian kernels. When accuracy and robustness are primary design criteria, alternative implementation approaches should therefore be considered. For small values of ε (10−6 to 10−8) the errors introduced by truncating the Gaussian are usually negligible. For larger values of ε, however, there are many better alternatives to a rectangular window function. For example, for a given number of points, a Hamming window, Blackman window, or Kaiser window will do less damage to the spectral and other properties of the Gaussian than a simple truncation will. Notwithstanding this, since the Gaussian kernel decreases rapidly at the tails, the main recommendation is still to use a sufficiently small value of ε such that the truncation effects are no longer important. == The discrete Gaussian kernel == A more refined approach is to convolve the original signal with the discrete Gaussian kernel T(n, t) L ( x , t ) = ∑ n = − ∞ ∞ f ( x − n ) T ( n , t ) {\displaystyle L(x,t)=\sum _{n=-\infty }^{\infty }f(x-n)\,T(n,t)} where T ( n , t ) = e − t I n ( t ) {\displaystyle T(n,t)=e^{-t}I_{n}(t)} and I n ( t ) {\displaystyle I_{n}(t)} denotes the modified Bessel functions of integer order, n. This is the discrete counterpart of the continuous Gaussian in that it is the solution to the discrete diffusion equation (discrete space, continuous time), just as the continuous Gaussian is the solution to the continuous diffusion equation. This filter can be truncated in the spatial domain as for the sampled Gaussian L ( x , t ) = ∑ n = − M M f ( x − n ) T ( n , t ) {\displaystyle L(x,t)=\sum _{n=-M}^{M}f(x-n)\,T(n,t)} or can be implemented in the Fourier domain using a closed-form expression for its discrete-time Fourier transform: T ^ ( θ , t ) = ∑ n = − ∞ ∞ T ( n , t ) e − i θ n = e t ( cos ⁡ θ − 1 ) . {\displaystyle {\widehat {T}}(\theta ,t)=\sum _{n=-\infty }^{\infty }T(n,t)\,e^{-i\theta n}=e^{t(\cos \theta -1)}.} With this frequency-domain approach, the scale-space properties transfer exactly to the discrete domain, or with excellent approximation using periodic extension and a suitably long discrete Fourier transform to approximate the discrete-time Fourier transform of the signal being smoothed. Moreover, higher-order derivative approximations can be computed in a straightforward manner (and preserving scale-space properties) by applying small support central difference operators to the discrete scale space representation. As with the sampled Gaussian, a plain truncation of the infinite impulse response will in most cases be a sufficient approximation for small values of ε, while for larger values of ε it is better to use either a decomposition of the discrete Gaussian into a cascade of generalized binomial filters or alternatively to construct a finite approximate kernel by multiplying by a window function. If ε has been chosen too large such that effects of the truncation error begin to appear (for example as spurious extrema or spurious responses to higher-order derivative operators), then the options are to decrease the value of ε such that a larger finite kernel is used, with cutoff where the support is very small, or to use a tapered window. == Recursive filters == Since computational efficiency is often important, low-order recursive filters are often used for scale-space smoothing. For example, Young and van Vliet use a third-order recursive filter with one real pole and a pair of complex poles, applied forward and backward to make a sixth-order symmetric approximation to the Gaussian with low computational complexity for any smoothing scale. By relaxing a few of the axioms, Lindeberg concluded that good smoothing filters would be "normalized Pólya frequency sequences", a family of discrete kernels that includes all filters with real poles at 0 < Z < 1 and/or Z > 1, as well as with real zeros at Z < 0. For symmetry, which leads to approximate directional homogeneity, these filters must be further restricted to pairs of poles and zeros that lead to zero-phase filters. To match the transfer function curvature at zero frequency of the discrete Gaussian, which ensures an approximate semi-group property of additive t, two poles at Z = 1 + 2 t − ( 1 + 2 t ) 2 − 1 {\displaystyle

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  • Digital cassettes

    Digital cassettes

    Digital audio cassette formats introduced to the professional audio and consumer markets: Digital Audio Tape (or DAT) is the most well-known, and had some success as an audio storage format among professionals and "prosumers" before the prices of hard drive and solid-state flash memory-based digital recording devices dropped in the late 1990s. Hard-drive recording has mostly made DAT obsolete, as hard disk recorders offer more editing versatility than tape, and easier importation into digital audio workstations (DAWs) and non-linear video editing (NLE) systems. Digital Compact Cassette was intended as a digital replacement for the mass-market analog cassette tape, but received very little attention or adaptation. Its failure is generally attributed to higher production costs than audio CDs, durability and indifferent reception by consumers. Digital video cassettes include: Betacam IMX (Sony) D-VHS (JVC) D1 (Sony) D2 (Sony) D3 D5 HD Digital-S D9 (JVC) Digital Betacam (Sony) Digital8 (Sony) DV HDV ProHD (JVC) MiniDV MicroMV == Analog cassettes used as digital data storage == Historically, the compact audio cassette which was originally designed for analog storage of music was used as an alternative to disk drives in the late 1970s and early 1980s to provide data storage for home computers. There is a number of unique and incompatible cassette tape data storage formats that all use the same analog compact audio cassette tape media. The ADAT system uses Super VHS tapes to record 8 synchronized digital audiotracks at once. There have also been several audio recording systems that used VHS video recorders as storage devices and video tape transports, generally by encoding the digital data to be recorded into an analog composite video signal (which resembles static) and then recording this to magnetic tape. These systems were often used as "mixdown" recorders, to record the finished mix from a multi-track recorder in preparation for the manufacture of a vinyl record, cassette tape, or CD. An example was the Dbx Model 700. Another example is the Sony PCM adaptor series. Several companies sold VHS backup solutions in the 1980s and 1990s where data was converted to a video image which was then saved onto a VHS tape. the Corvus "Mirror" ( U.S. patent 4380047A ) the Metrum Model 64 on S-VHS tape, the Danmere Backer tape backup system, the Alpha Microsystems Videotrax the Legacy Storage Systems International VAST (Variable Array Storage) the ArVid the Video Backup System Amiga, The S2 VLBI system at three NASA Deep Space Network complexes and over 20 other radio telescopes stores digital data on SVHS tapes.

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  • Algorithmic amplification

    Algorithmic amplification

    Algorithmic amplification is the process by which automated ranking and recommendation systems on digital platforms increase the visibility of certain content beyond its initial audience. Major platforms including Facebook, YouTube, TikTok, and X (formerly Twitter) use such systems to determine what appears in users' feeds and search results. The term is used in research on social media and digital media regulation to describe how platform design choices influence the distribution of online information. Unlike chronological feeds, algorithmic systems evaluate content using signals such as engagement rates, viewing duration, and predicted relevance to individual users. Content that performs strongly on these metrics may be promoted to progressively larger audiences through feeds, search rankings, or autoplay systems. The process is distinct from content moderation, which involves removing, labelling, or restricting content under platform rules, although the two can interact in practice. The concept is closely connected to the attention economy. Research has linked algorithmic amplification to the spread of misinformation and the circulation of political content, as well as to effects on young users' mental health. The scale and direction of those effects remain debated, in part because independent researchers have limited access to the internal workings of platform recommendation systems. Governments in the European Union, United Kingdom, United States, and China have pursued differing regulatory approaches to recommendation algorithms. The EU's Digital Services Act and the UK's Online Safety Act 2023 impose obligations on large platforms related to recommendation system transparency and risk, while China became the first country to enact binding legislation specifically targeting such systems. Internal documents and whistleblower testimony reported by the BBC in 2026 described how competitive pressure between Meta and TikTok led to trade-offs between engagement and user safety in the design of their recommendation systems. == Terminology == The term algorithmic amplification is used in media studies, platform governance scholarship and regulatory literature to describe how automated systems influence the distribution of content beyond what organic user sharing alone would produce. It is distinct from viral spread, which refers primarily to user-driven sharing behaviour, and from algorithmic bias, which describes systematic errors or unfairness in algorithmic outputs. The related term algorithmic curation is used for the broader process of selecting and ordering content, of which amplification is one possible outcome. The phrase also appears in regulatory and legislative discussion of recommendation systems. The European Union's Digital Services Act (DSA) identifies recommendation systems as a potential source of systemic risk, and the term appears frequently in academic and policy commentary on the regulation. In the United States, proposals including the Filter Bubble Transparency Act and the Kids Online Safety Act (KOSA) have used it to frame requirements around recommendation system transparency. In the United Kingdom, the House of Commons Science, Innovation and Technology Committee used the term in a 2025 report on how recommendation algorithms contributed to the spread of misinformation during the 2024 Southport riots. A Joint Declaration on AI and Freedom of Expression adopted in October 2025 by four international freedom of expression mandate holders, including the UN Special Rapporteur on Freedom of Opinion and Expression and the OSCE Representative on Freedom of the Media, stated that recommender systems and other AI-powered curation tools exert "a large hidden influence and gatekeeper role" over what information people access and consume. == Background == Early internet platforms typically displayed content in reverse-chronological order or through keyword-based search systems. Although the term is most often applied to social media, the underlying logic predates social media itself. A 2021 overview traced the origins of modern recommendation systems to the early 1990s, when they were first used experimentally for personal email and information filtering. The 1992 Tapestry mail system and the 1994 GroupLens news filtering system were early milestones before recommendation systems spread into e-commerce and other online services. As user bases and content volumes grew during the 2000s, major platforms including Google, YouTube, and Facebook developed machine-learning systems to personalise content delivery and prioritise material predicted to generate engagement. Facebook introduced its News Feed in 2006, which gradually shifted from chronological presentation towards algorithmically ranked content. YouTube altered its recommendation system in 2012 to prioritise watch time rather than clicks, a change the platform said was prompted by concerns that click-based metrics encouraged misleading thumbnails and low-quality videos. TikTok, launched internationally in 2018, adopted a model in which its primary content surface, the For You feed, is driven almost entirely by algorithmic recommendation rather than by a user's social graph. An internal document obtained by The New York Times in 2021 showed that the platform's algorithm optimised for retention and time spent, using signals such as watch duration, replays, likes, and comments to score and rank videos. Algorithmic recommendation also became central to platforms outside social media. Spotify's personalised features, including Discover Weekly, Release Radar, and Home recommendations, use behavioural signals and inferred "taste profiles" to surface tracks and artists beyond a listener's existing library. An ethnographic study of music curators at streaming platforms described this blend of algorithmic and human editorial selection as an "algo-torial" model of gatekeeping. Amazon adopted item-based collaborative filtering for product recommendations in 1998, and its recommendation engine has been described as one of the earliest large-scale deployments of recommendation technology in e-commerce. The same dynamics operate on adult content platforms. Law professor Amy Adler has argued that from 2007 onwards the pornography industry migrated to algorithm-driven streaming platforms, most of which are controlled by a single near-monopoly company, Aylo (formerly MindGeek). These platforms use algorithmic search engines, suggestions, rigid categorisation of content, and AI-driven search term optimisation in ways that produce the same distorting effects found on mainstream speech platforms, including filter bubbles, feedback loops, and the tendency of algorithmic recommendations to alter individual preferences. == Mechanisms == Recommendation systems commonly combine collaborative filtering, which predicts a user's preferences from the behaviour of similar users, with machine-learning models that predict which content a user is likely to engage with from their prior activity. In a common two-stage design, a platform first generates a set of candidate items from a large content pool and then ranks them using a scoring model with objectives such as predicted engagement or user satisfaction. Small changes in ranking criteria can shift exposure at scale, particularly when applied repeatedly across multiple browsing sessions. These systems typically rely on signals including engagement rates, viewing duration, click-through rates, and network relationships between users. Modern recommendation pipelines continuously update predictions as new behavioural data arrives, allowing platforms to adjust rankings in near real time. Users' revealed preferences, expressed through behaviour such as clicks and viewing time, do not always align with their stated preferences, expressed through explicit feedback such as surveys or content controls. Popularity signals can create feedback dynamics in which early engagement increases the likelihood that content will be shown to additional users. Experimental research on online cultural markets has demonstrated how such feedback processes can produce unequal visibility outcomes even when initial differences in content quality are small. == Beneficial and public-interest uses == Recommendation systems can help users navigate large volumes of content by surfacing material predicted to match their interests or needs, which can improve discoverability on platforms with large content libraries. In public health communication, platforms can help health authorities distribute timely information at scale, though the same recommendation systems also risk amplifying misinformation alongside official guidance. Sociologist Zeynep Tufekci has argued that the shift from independent blogs to large centralised platforms transferred gatekeeping power from traditional media to corporate algorithms. In the case of the Egyptian uprising of 2011, she noted that ordinary users

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  • Solid-state electronics

    Solid-state electronics

    Solid-state electronics are semiconductor electronics: electronic equipment that use semiconductor devices such as transistors, diodes and integrated circuits (ICs). The term is also used as an adjective for devices in which semiconductor electronics that have no moving parts replace devices with moving parts, such as the solid-state relay, in which transistor switches are used in place of a moving-arm electromechanical relay, or the solid-state drive (SSD), a type of semiconductor memory used in computers to replace hard disk drives, which store data on rotating disks. == History == The term solid-state became popular at the beginning of the semiconductor era in the 1960s to distinguish this new technology. A semiconductor device works by controlling an electric current consisting of electrons or holes moving within a solid crystalline piece of semiconducting material such as silicon, while the thermionic vacuum tubes it replaced worked by controlling a current of electrons or ions in a vacuum within a sealed tube. Although the first solid-state electronic device was the cat's whisker detector, a crude semiconductor diode invented around 1904, solid-state electronics started with the invention of the transistor in 1947. Before that, all electronic equipment used vacuum tubes, because vacuum tubes were the only electronic components that could amplify—an essential capability in all electronics. The transistor, which was invented by John Bardeen and Walter Houser Brattain while working under William Shockley at Bell Laboratories in 1947, could also amplify, and replaced vacuum tubes. The first transistor hi-fi system was developed by engineers at GE and demonstrated at the University of Philadelphia in 1955. In terms of commercial production, The Fisher TR-1 was the first "all transistor" preamplifier, which became available mid-1956. In 1961, a company named Transis-tronics released a solid-state amplifier, the TEC S-15. The replacement of bulky, fragile, energy-hungry vacuum tubes by transistors in the 1960s and 1970s created a revolution not just in technology but in people's habits, making possible the first truly portable consumer electronics such as the transistor radio, cassette tape player, walkie-talkie and quartz watch, as well as the first practical computers and mobile phones. Other examples of solid state electronic devices are the microprocessor chip, LED lamp, solar cell, charge coupled device (CCD) image sensor used in cameras, and semiconductor laser. Also during the 1960s and 1970s, television set manufacturers switched from vacuum tubes to semiconductors, and advertised sets as "100% solid state" even though the cathode-ray tube (CRT) was still a vacuum tube. It meant only the chassis was 100% solid-state, not including the CRT. Early advertisements spelled out this distinction, but later advertisements assumed the audience had already been educated about it and shortened it to just "100% solid state". LED displays can be said to be truly 100% solid-state.

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  • Turret lathe

    Turret lathe

    A turret lathe is a form of metalworking lathe that is used for repetitive production of duplicate parts, which by the nature of their cutting process are usually interchangeable. It evolved from earlier lathes with the addition of the turret, which is an indexable toolholder that allows multiple cutting operations to be performed, each with a different cutting tool, in easy, rapid succession, with no need for the operator to perform set-up tasks in between (such as installing or uninstalling tools) or to control the toolpath. The latter is due to the toolpath's being controlled by the machine, either in jig-like fashion, via the mechanical limits placed on it by the turret's slide and stops, or via digitally-directed servomechanisms for computer numerical control lathes. The name derives from the way early turrets took the general form of a flattened cylindrical block mounted to the lathe's cross-slide, capable of rotating about the vertical axis and with toolholders projecting out to all sides, and thus vaguely resembled a swiveling gun turret. Capstan lathe is the usual name in the UK and Commonwealth, though the two terms are also used in contrast: see below, Capstan versus turret. == History == Turret lathes became indispensable to the production of interchangeable parts and for mass production. The first turret lathe was built by Stephen Fitch in 1845 to manufacture screws for pistol percussion parts. In the mid-nineteenth century, the need for interchangeable parts for Colt revolvers enhanced the role of turret lathes in achieving this goal as part of the "American system" of manufacturing arms. Clock-making and bicycle manufacturing had similar requirements. Christopher Spencer invented the first fully automated turret lathe in 1873, which led to designs using cam action or hydraulic mechanisms. From the late-19th through mid-20th centuries, turret lathes, both manual and automatic (i.e., screw machines and chuckers), were one of the most important classes of machine tools for mass production. They were used extensively in the mass production for the war effort in World War II. The U.S. company Warner & Swasey was one of the premier brands in heavy turret lathes between the 1910s and 1960s; it became the world's largest manufacturer of such lathes by 1928. During World War II, it employed 7,000 people and produced half of the turret lathes manufactured in the United States. == Types == There are many variants of the turret lathe. They can be most generally classified by size (small, medium, or large); method of control (manual, automated mechanically, or automated via computer (numerical control (NC) or computer numerical control (CNC)); and bed orientation (horizontal or vertical). === Archetypical: horizontal, manual === In the late 1830s a "capstan lathe" with a turret was patented in Britain. The first American turret lathe was invented by Stephen Fitch in 1845. The archetypical turret lathe, and the first in order of historical appearance, is the horizontal-bed, manual turret lathe. The term "turret lathe" without further qualification is still understood to refer to this type. The formative decades for this class of machine were the 1840s through 1860s, when the basic idea of mounting an indexable turret on a bench lathe or engine lathe was born, developed, and disseminated from the originating shops to many other factories. Some important tool-builders in this development were Stephen Fitch; Gay, Silver & Co.; Elisha K. Root of Colt; J.D. Alvord of the Sharps Armory; Frederick W. Howe, Richard S. Lawrence, and Henry D. Stone of Robbins & Lawrence; J.R. Brown of Brown & Sharpe; and Francis A. Pratt of Pratt & Whitney. Various designers at these and other firms later made further refinements. === Semi-automatic === Sometimes machines similar to those above, but with power feeds and automatic turret-indexing at the end of the return stroke, are called "semi-automatic turret lathes". This nomenclature distinction is blurry and not consistently observed. The term "turret lathe" encompasses them all. During the 1860s, when semi-automatic turret lathes were developed, they were sometimes called "automatic". What we today would call "automatics", that is, fully automatic machines, had not been developed yet. During that era both manual and semi-automatic turret lathes were sometimes called "screw machines", although we today reserve that term for fully automatic machines. === Automatic === During the 1870s through 1890s, the mechanically automated "automatic" turret lathe was developed and disseminated. These machines can execute many part-cutting cycles without human intervention. Thus the duties of the operator, which were already greatly reduced by the manual turret lathe, were even further reduced, and productivity increased. These machines use cams to automate the sliding and indexing of the turret and the opening and closing of the chuck. Thus, they execute the part-cutting cycle somewhat analogously to the way in which an elaborate cuckoo clock performs an automated theater show. Small- to medium-sized automatic turret lathes are usually called "screw machines" or "automatic screw machines", while larger ones are usually called "automatic chucking lathes", "automatic chuckers", or "chuckers". Such machine tools of the "automatic" variety, which in the pre-computer era meant mechanically automated, had already reached a highly advanced state by World War I. === Computer numerical control === When World War II ended, the digital computer was poised to develop from a colossal laboratory curiosity into a practical technology that could begin to disseminate into business and industry. The advent of computer-based automation in machine tools via numerical control (NC) and then computer numerical control (CNC) displaced to a large extent, but not at all completely, the previously existing manual and mechanically automated machines. Numerically controlled turrets allow automated selection of tools on a turret. CNC lathes may be horizontal or vertical in orientation and mount six separate tools on one or more turrets. Such machine tools can work in two axes per turret, with up to six axes being feasible for complex work. === Vertical === Vertical turret lathes have the workpiece held vertically, which allows the headstock to sit on the floor and the faceplate to become a horizontal rotating table, analogous to a huge potter's wheel. This is useful for the handling of very large, heavy, short workpieces. Vertical lathes in general are also called "vertical boring mills" or often simply "boring mills"; therefore a vertical turret lathe is a vertical boring mill equipped with a turret. == Other variations == === Capstan versus turret === The term "capstan lathe" overlaps in sense with the term "turret lathe" to a large extent. In many times and places, it has been understood to be synonymous with "turret lathe". In other times and places it has been held in technical contradistinction to "turret lathe", with the difference being in whether the turret's slide is fixed to the bed (ram-type turret) or slides on the bed's ways (saddle-type turret). The difference in terminology is mostly a matter of United Kingdom and Commonwealth usage versus United States usage. === Flat === A subtype of horizontal turret lathe is the flat-turret lathe. Its turret is flat (and analogous to a rotary table), allowing the turret to pass beneath the part. Patented by James Hartness of Jones & Lamson, and first disseminated in the 1890s, it was developed to provide more rigidity via requiring less overhang in the tool setup, especially when the part is relatively long. === Hollow-hexagon === Hollow-hexagon turret lathes competed with flat-turret lathes by taking the conventional hexagon turret and making it hollow, allowing the part to pass into it during the cut, analogously to how the part would pass over the flat turret. In both cases, the main idea is to increase rigidity by allowing a relatively long part to be turned without the tool overhang that would be needed with a conventional turret, which is not flat or hollow. === Monitor lathe === The term "monitor lathe" formerly (1860s–1940s) referred to the class of small- to medium-sized manual turret lathes used on relatively small work. The name was inspired by the monitor-class warships, which the monitor lathe's turret resembled. Today, lathes of such appearance, such as the Hardinge DSM-59 and its many clones, are still common, but the name "monitor lathe" is no longer current in the industry. === Toolpost turrets and tailstock turrets === Turrets can be added to non-turret lathes (bench lathes, engine lathes, toolroom lathes, etc.) by mounting them on the toolpost, tailstock, or both. Often these turrets are not as large as a turret lathe's, and they usually do not offer the sliding and stopping that a turret lathe's turret does; but they do offer the ability to index through successive tool

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  • Digital divide

    Digital divide

    Digital divide is inequitable access to and use of digital technology, encompassing four interrelated dimensions: motivational, material, skills, and usage access. The digital divide worsens inequality in access to information and resources. According to 2026 data from the U.S. Census Bureau, a significant 'digital divide' persists, with over 15.7 million Americans lacking access to high-speed broadband. Students from low-income households often face limited access to reliable internet and digital devices, which negatively affects their educational opportunities. In the Information Age, people without access to the Internet and other technology are at a disadvantage, for they are less able to connect with others, find and apply for jobs, shop, and learn. People living in poverty, in insecure housing or who are homeless, elderly people, and those living in rural communities may have limited access to the Internet; in contrast, urban middle class people have easy access to the Internet. Another divide is between producers and consumers of Internet content, which could be a result of educational disparities. While social media use varies across age groups, a US 2010 study reported no racial divide. == History == The historical roots of the digital divide in the United States refer to the increasing gap that occurred during the early modern period between those who could and could not access the real time forms of calculation, decision-making, and visualization offered via written and printed media. "Over time, focus has shifted from binary access to differentiated use, where quality and purpose of engagement vary across socio-economic groups." Within this context, ethical discussions regarding the relationship between education and the free distribution of information were raised by thinkers such as Immanuel Kant, Jean Jacques Rousseau, and Mary Wollstonecraft (1712–1778). The latter advocated that governments should intervene to ensure that any society's economic benefits should be fairly and meaningfully distributed. Amid the Industrial Revolution in Great Britain, Rousseau's idea helped to justify poor laws that created a safety net for those who were harmed by new forms of production. Later, when telegraph and postal systems evolved, many used Rousseau's ideas to argue for full access to those services, even if it meant subsidizing hard-to-serve citizens. Thus, "universal services" referred to innovations in regulation and taxation that would allow phone services such as AT&T in the United States to serve hard-to-serve rural users. In 1996, as telecommunications companies merged with Internet companies, the Federal Communications Commission adopted Telecommunications Act of 1996 to consider regulatory strategies and taxation policies to close the digital divide. Though the term "digital divide" was coined among consumer groups that sought to tax and regulate information and communications technology (ICeT) companies to close the digital divide, the topic soon moved onto a global stage. The focus was the World Trade Organization which passed the Telecommunications Services Act, which resisted regulation of ICT companies so that they would be required to serve hard-to-serve individuals and communities. In 1999, to assuage anti-globalization forces, the WTO hosted the "Financial Solutions to Digital Divide" in Seattle, US, co-organized by Craig Warren Smith of Digital Divide Institute and Bill Gates Sr. the chairman of the Bill and Melinda Gates Foundation. It catalyzed a full-scale global movement to close the digital divide, which quickly spread to all sectors of the global economy. In 2000, US president Bill Clinton mentioned the term in the State of the Union Address. Since the early 2000s, the international community has transitioned from a focus on domestic infrastructure to a global, multi-dimensional framework for digital equity. This shift was formalized through the World Summit on the Information Society (WSIS) in Geneva (2003) and Tunis (2005), where the International Telecommunication Union (ITU) established a roadmap for bridging the Global North-South disparity as part of the Sustainable Development Goals. Academic and policy discourse has since evolved to distinguish between the first-level divide (physical access), the second-level divide (digital literacy), and the third-level divide (the ability to translate technology use into socio-economic capital). By the 2020s, critical reflections on national development emphasized that the divide is fundamentally a socio-institutional gap. Research by Tiwari, Kostenko, and Yekhanurov (2025) identifies four pillars for achieving national digital maturity which are digital governance capacity, institutional design to prevent adverse digital incorporation, infrastructure resilience, and citizen capability. This modern era is characterized by the pursuit of meaningful connectivity, a standard that requires internet access to be not only available but affordable, high-speed, and supportive of active content creation. === During the COVID-19 pandemic === At the outset of the COVID-19 pandemic, governments worldwide issued stay-at-home orders that imposed lockdowns, quarantines, restrictions, and closures. The resulting interruptions to schooling, public services, and business operations drove nearly half of the world's population into seeking alternative methods to live while in isolation. These methods included telemedicine, virtual classrooms, online shopping, technology-based social interactions and working remotely, all of which require access to high-speed or broadband internet access and digital technologies. A Pew Research Centre study reports that 90% of Americans describe the use of the Internet as "essential" during the pandemic. The accelerated use of digital technologies created a landscape where the ability, or lack thereof, to access digital spaces became a crucial factor in everyday life. According to the Pew Research Center, 59% of children from lower-income families were likely to face digital obstacles in completing school assignments. These obstacles included the use of a cellphone to complete homework, having to use public Wi-Fi because of unreliable internet service in the home and lack of access to a computer in the home. This difficulty, titled the homework gap, affects more than 30% of K-12 students living below the poverty threshold, and disproportionally affects American Indian/Alaska Native, Black, and Hispanic students. These types of interruptions or privilege gaps in education exemplify problems in the systemic marginalization of historically oppressed individuals in primary education. The pandemic exposed inequity causing discrepancies in learning. "Large-scale events such as COVID-19 intensify both access and skills gaps, underlining the need for resilient digital inclusion policies. Studies during COVID-19 reveal first-level (access) and second-level (skills) divides, with underserved students struggling with reliable internet, devices, and platform navigation ” A lack of "tech readiness", that is, confident and independent use of devices, was reported among the US elderly population; with more than 50% reporting an inadequate knowledge of devices and more than one-third reporting a lack of confidence. "Older adults often face skills and confidence barriers, illustrating later-stage divides in van Dijk’s model." Moreover, according to a UN research paper, similar results can be found across various Asian countries, with those aged over 74, reporting less confident or inconsistent use of digital devices. This aspect of the digital divide and the elderly occurred during the pandemic as healthcare providers increasingly relied upon telemedicine to manage chronic and acute health conditions. == Aspects == There are various definitions of the digital divide, all with slightly different emphasis, which is evidenced by related concepts like digital inclusion, digital participation, digital skills, media literacy, and digital accessibility.“Van Dijk’s model identifies sequential barriers—motivational, material, skills, and usage—that must be addressed to bridge the divide.” === Infrastructure === The infrastructure by which individuals, households, businesses, and communities connect to the Internet addresses the physical mediums that people use to connect to the Internet such as desktop computers, laptops, basic mobile phones or smartphones, MP3 players, gaming consoles, electronic book readers, and tablets. Traditionally, the nature of the divide has been measured in terms of the existing numbers of subscriptions and digital devices. Given the increasing number of such devices, some have concluded that the digital divide among individuals has increasingly been closing as the result of a natural and almost automatic process. Others point to persistent lower levels of connectivity among women, racial and ethnic minorities, people with lower incomes, rura

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  • Ambient awareness

    Ambient awareness

    Ambient awareness (AmA) is a term used by social scientists to describe a form of peripheral social awareness through social media. This awareness is propagated from relatively constant contact with one's friends and colleagues via social networking platforms on the Internet. The term essentially defines the sort of omnipresent knowledge one experiences by being a regular user of these media outlets that allow a constant connection with one's social circle. According to Clive Thompson of The New York Times, ambient awareness is "very much like being physically near someone and picking up on mood through the little things; body language, sighs, stray comments". Academic Andreas Kaplan defines ambient awareness as "awareness created through regular and constant reception, and/or exchange of information fragments through social media". Two friends who regularly follow one another's digital information can already be aware of each other's lives without actually being physically present to have had a conversation. == Social == Socially speaking, ambient awareness and social media are products of the new generations who are being born or growing up in the digital age, starting circa 1998 and running to current times. Social media is personal media (what you're doing in the moment, how you feel, a picture of where you are) combined with social communication. Social media is the lattice work for ambient awareness. Without social media the state of ambient awareness cannot exist. Artificial Social Networking Intelligence (ASNI) refers to the application of artificial intelligence within social networking services and social media platforms. It encompasses various technologies and techniques used to automate, personalize, enhance, improve, and synchronize user's interactions and experiences within social networks. ASNI is expected to evolve rapidly, influencing how we interact online and shaping their digital experiences. Transparency, ethical considerations, media influence bias, and user control over data will be crucial to ensure responsible development and positive impact. A significant feature of social media is that it is created by those who also consume it. Mostly, those participating in this phenomenon are adolescents, college age, or young adult professionals. According to Dr. Mimi Ito, a cultural anthropologist and Professor in Residence at the University of California at Irvine, the mobile device is the greatest proxy device used to create and distribute Social Media. She reportedly states that "teenagers capture and produce their own media, and stay in constant ambient contact with each other..." using mobile devices. Usually while doing this they are consuming other forms of media such as music or video content via their smart phones, tablets, or other similar devices. Effectively this has led social scientists to believe that learning and multitasking will have a new face as the products of the digital generation enter the work force and begin to integrate their learning methods into the standard preexisting business models of today. Professors Kaplan and Haenlein see ambient awareness as one of the major reasons for the success of such microblogging sites as Twitter. == Origins == The earliest available technology that could be used for constant social contact is the cell phone. For the first time, people could be contacted readily and at will beyond the confines of their work or homes. Then later, with the additional service of texting, one can see the somewhat primitive form of the status update. Since the text message only allows for 160 characters to transmit pertinent information it paved the way for the status update as we know it today. The transition from only having a few points of regular long distance contact, to being constantly available via cell phone, is what primed society for social networking websites. Perhaps the first instance where these websites created the possibility of larger scale ambient awareness was when Facebook installed the news feed. The news feed automatically sends compiled information on all of a users contacts activities directly to them so that they can access all of the happenings in their world from one location. For the first time, becoming someone's Facebook friend was the equivalent of subscribing to a feed of their daily minutiae. Since this innovation, a new wave of micro-blogging services have emerged, such as Twitter or Tumblr. Although these services have often been criticized as containing seemingly meaningless snippets of information, when a follower gathers a certain amount of information, they begin to obtain an ambient understanding of who they are following. This has led to the mass usage of social media as not only a social tool but also as a marketing and business tool. == Uses in marketing == Websites such as Twitter, YouTube, Facebook, and Myspace, among many others, have been used by people in all forms of business to create a closer digital/ambient bond with their clientele base. This is most notably seen in the music industry where social media networking has become the mainstay of all advertising for independent and major artists. The effect of this type of ambient marketing is that the consumer begins to get a sense of the artist's life style and personality. In this way social media outlets and ambient awareness have managed to tighten the gap between consumers and producers in all areas of business. == Uses in business processes == As web-based collaboration tools and social project management suites proliferate, the addition of activity streams to those products help to create business context-specific ambient awareness, and produce a new class of products, such as social project management platforms.

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  • Signal-to-interference-plus-noise ratio

    Signal-to-interference-plus-noise ratio

    In information theory and telecommunication engineering, the signal-to-interference-plus-noise ratio (SINR) (also known as the signal-to-noise-plus-interference ratio (SNIR)) is a quantity used to give theoretical upper bounds on channel capacity (or the rate of information transfer) in wireless communication systems such as networks. Analogous to the signal-to-noise ratio (SNR) used often in wired communications systems, the SINR is defined as the power of a certain signal of interest divided by the sum of the interference power (from all the other interfering signals) and the power of some background noise. If the power of noise term is zero, then the SINR reduces to the signal-to-interference ratio (SIR). Conversely, zero interference reduces the SINR to the SNR, which is used less often when developing mathematical models of wireless networks such as cellular networks. The complexity and randomness of certain types of wireless networks and signal propagation has motivated the use of stochastic geometry models in order to model the SINR, particularly for cellular or mobile phone networks. == Description == SINR is commonly used in wireless communication as a way to measure the quality of wireless connections. Typically, the energy of a signal fades with distance, which is referred to as a path loss in wireless networks. Conversely, in wired networks the existence of a wired path between the sender or transmitter and the receiver determines the correct reception of data. In a wireless network one has to take other factors into account (e.g. the background noise, interfering strength of other simultaneous transmission). The concept of SINR attempts to create a representation of this aspect. == Mathematical definition == The definition of SINR is usually defined for a particular receiver (or user). In particular, for a receiver located at some point x in space (usually, on the plane), then its corresponding SINR given by S I N R ( x ) = P I + N {\displaystyle \mathrm {SINR} (x){=}{\frac {P}{I+N}}} where P is the power of the incoming signal of interest, I is the interference power of the other (interfering) signals in the network, and N is some noise term, which may be a constant or random. Like other ratios in electronic engineering and related fields, the SINR is often expressed in decibels or dB. == Propagation model == To develop a mathematical model for estimating the SINR, a suitable mathematical model is needed to represent the propagation of the incoming signal and the interfering signals. A common model approach is to assume the propagation model consists of a random component and non-random (or deterministic) component. The deterministic component seeks to capture how a signal decays or attenuates as it travels a medium such as air, which is done by introducing a path-loss or attenuation function. A common choice for the path-loss function is a simple power-law. For example, if a signal travels from point x to point y, then it decays by a factor given by the path-loss function ℓ ( | x − y | ) = | x − y | α {\displaystyle \ell (|x-y|)=|x-y|^{\alpha }} , where the path-loss exponent α>2, and |x-y| denotes the distance between point y of the user and the signal source at point x. Although this model suffers from a singularity (when x=y), its simple nature results in it often being used due to the relatively tractable models it gives. Exponential functions are sometimes used to model fast decaying signals. The random component of the model entails representing multipath fading of the signal, which is caused by signals colliding with and reflecting off various obstacles such as buildings. This is incorporated into the model by introducing a random variable with some probability distribution. The probability distribution is chosen depending on the type of fading model and include Rayleigh, Rician, log-normal shadow (or shadowing), and Nakagami. == SINR model == The propagation model leads to a model for the SINR. Consider a collection of n {\displaystyle n} base stations located at points x 1 {\displaystyle x_{1}} to x n {\displaystyle x_{n}} in the plane or 3D space. Then for a user located at, say x = 0 {\displaystyle x=0} , then the SINR for a signal coming from base station, say, x i {\displaystyle x_{i}} , is given by S I N R ( x i ) = F i ℓ ( | x i | ) ∑ j ≠ i [ F j ℓ ( | x j | ) ] + N {\displaystyle \mathrm {SINR} (x_{i}){=}{\frac {\frac {F_{i}}{\ell (|x_{i}|)}}{\sum _{j\neq i}\left[{\frac {F_{j}}{\ell (|x_{j}|)}}\right]+N}}} , where F i {\displaystyle F_{i}} are fading random variables of some distribution. Under the simple power-law path-loss model becomes S I N R ( x i ) = F i | x i | α ∑ j ≠ i F j | x j | α + N {\displaystyle \mathrm {SINR} (x_{i}){=}{\frac {\frac {F_{i}}{|x_{i}|^{\alpha }}}{\sum _{j\neq i}{\frac {F_{j}}{|x_{j}|^{\alpha }}}+N}}} . == Stochastic geometry models == In wireless networks, the factors that contribute to the SINR are often random (or appear random) including the signal propagation and the positioning of network transmitters and receivers. Consequently, in recent years this has motivated research in developing tractable stochastic geometry models in order to estimate the SINR in wireless networks. The related field of continuum percolation theory has also been used to derive bounds on the SINR in wireless networks.

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  • Genigraphics

    Genigraphics

    Genigraphics is a large-format printing service bureau specializing in providing poster session services to medical and scientific conferences throughout the US and Canada. The company began in 1973 as a division of General Electric. == History == Genigraphics began as a computer graphics system, developed by General Electric in the late 1960s, for NASA to use in space flight simulation. The technologies thus developed provided a foundation for the company's expansion into the commercial market. The Computed Images System & Services division (CISS, to become Genigraphics Corporation) of GE delivered the first presentation graphics system to Amoco Oil's corporate headquarters in 1973. It was named the 100 Series, and was based on DEC's PDP 11 series of mini computer systems. The first Genigraphics systems (100 Series and 100A Series) used an array of buttons, dials, knobs and joysticks, along with a built in keyboard, as the means of user interface. The PDP-11/40 computer was housed in a tall cabinet and used random access magnetic tape drives (DECtape) for storing completed presentations. The graphics generator (Forox recorder) was capable of outputting 2,000 line resolution, suitable for 35mm and 72mm film and large sheet film positive using larger cassettes for recording. 4000 and 8000 line resolution was later achieved with duplex scanning and 4x scanning by modifying to the Forox recorder's settings menu. Subsequent models (100B,C,D,D+ and D+/GVP) replaced the knobs and dials with an on screen, text based menu system, a graphics tablet and a pen. The pen/tablet combination gave way to a mouse like device in later models, and served to provide the interface with the graphics tools. User interaction with the computer for functions such as media initialization or modem to modem data transfer required a DECwriter serial terminal. In 1982, GE divested the Genigraphics division along with a host of other "non essential" business units (Genitext, Geniponics) and Genigraphics Corporation was born. Shortly after the divestiture, the headquarters of Genigraphics was moved from Liverpool, New York to Saddle Brook, New Jersey. Major success followed as the company grew exponentially over the next few years selling both systems and slide creation services. Genigraphics film recorders produced high-resolution digital images on 35mm film. The computer-generated scenes for The Last Starfighter were calculated on a Cray X-MP supercomputer and mastered with a Genigraphics film recorder. At its peak, Genigraphics Corporation employed roughly 300 people in 24 offices worldwide, with revenues upwards of $70 million annually. By the late 1980s Genigraphics saw demand for its proprietary systems dwindle and began selling the MASTERPIECE 8770 film recorder and GRAFTIME software as a peripheral for DEC Vaxes, IBM PC AT’s, and Mac NuBus machines. But the MASTERPIECE film recorder proved too expensive to sell in volume. In 1988, the company began a partnership with Microsoft to help develop the PowerPoint software. In exchange, every copy of PowerPoint included a “Send to Genigraphics” link to have files sent to a Genigraphics service bureau to be produced as 35mm slides. This partnership continued until 2001. In 1989, after three years of flat revenue, Genigraphics sold its hardware business in order to focus on its service bureau business and partnership with Microsoft via PowerPoint. In 1994, all assets of Genigraphics, including equipment, software development, in-house artwork, trademarks, and rights to the Microsoft partnership, were sold to InFocus Corporation of Wilsonville, Oregon who continued to operate under the Genigraphics brand name. The twenty-four service bureaus were consolidated to a 20,000 square foot facility next to the FedEx hub in Memphis, Tennessee. This allowed PowerPoint slide orders to be received until 10pm and delivered across the United States by the following morning. In 1995, InFocus registered www.genigraphics.com and was among the first to offer a form of ecommerce allowing 35mm slides, color prints and transparencies, printed booklets, and digital projectors to be purchased online. In 1998, then current management bought Genigraphics from InFocus and have operated it continuously ever since as Genigraphics LLC. That same year, InFocus projector rentals were added to the “Send to Genigraphics” link in PowerPoint and Genigraphics became the rental and repair center for all InFocus national accounts. It also marked Genigraphics entry into the new industry of large format printing; leveraging their knowledge of, and access to, PowerPoint programming code to develop a proprietary printer driver to output directly to an Epson 9500 wide format printer. At the time, Genigraphics was the exclusive 35mm slide vendor for all Kinko’s stores in the United States and poster printing was added to the arrangement. In 2003, Genigraphics closed their 35mm slide E6 photo lab – one of the last high-volume commercial E6 labs in the US – and expanded their large format printing capabilities. Since 2003, Genigraphics has become a major player in the poster session market, providing printing and on-site services to medical and scientific conferences throughout the US and Canada. As of February 2019, over 150,000 medical or scientific ‘ePosters’ are made available through their ResearchPosters.com archive service. === Partnership with Microsoft and development of PowerPoint === As presentations began to be created on personal computers in the late 80’s, Genigraphics sought presentation software partners in Silicon Valley who would be interested in sending files to Genigraphics via dial-up modem to be produced on 35mm slides. In 1987, Michael Beetner, Director of Marketing Planning for Genigraphics, met with Robert Gaskins, head of Microsoft's Graphics Business Unit, who was leading the development of the newly released PowerPoint software. A joint development agreement between Microsoft and Genigraphics was agreed upon and announced at Mac World 1988. According to Erica Robles-Anderson and Patrik Svensson, "It would be hard to overestimate Genigraphics’ influence on PowerPoint. PowerPoint 2.0 was designed for Genigraphics film recorders. It shipped with Genigraphics color palettes, schemes, and the distinctively Genigraphics color-gradient backgrounds. The application contained a ‘Send to Genigraphics’ menu item that wrote the presentation to floppy disk or transmitted the order directly via modem. Within three and a half months PowerPoint orders accounted for ten percent of revenue at Genigraphics service centers. PowerPoint 3.0 was even more intimately dependent upon Genigraphics. The software incorporated a collection of clip art images and symbols that had been produced by hundreds of artists at dozens of service centers across tens of thousands of presentations. Genigraphics artists designed PowerPoint 3.0 colors, templates, and sample presentations. The software even used Genigraphics (rather than Excel) chart style. Bar charts were rendered two-dimensionally with apparent thickness added to make them seemingly recede from the axes. The technique made it easier for viewers to compare bar heights and estimate values from axis ticks and labels. Pie charts were handled analogously. Microsoft paid Genigraphics to produce more than 500 clip art drawings and symbols used in Microsoft programs.” In exchange for Genigraphics development efforts, Microsoft included a “Send to Genigraphics” link in every copy of PowerPoint through the 10.0 version (2000/2001). The arrangement came to an end when Microsoft restructured as a result of anti-trust lawsuits.

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  • Power cycling

    Power cycling

    Power cycling is the act of turning a piece of equipment, usually a computer, off and then on again. Reasons for power cycling include having an electronic device reinitialize its set of configuration parameters or recover from an unresponsive state of its mission critical functionality, such as in a crash or hang situation. Power cycling can also be used to reset network activity inside a modem. It can also be among the first steps for troubleshooting an issue. == Overview == Power cycling can be done manually, usually using the power switch on the device, or remotely, through some type of external device connected to the power input. In the data center environment, remote control power cycling can usually be done through a power distribution unit, over the network. In the home environment, this can be done through home automation powerline communications. Most Internet service providers publish a "how-to" on their website showing their customers the correct procedure to power cycle their devices. Power cycling is a common diagnostic procedure usually performed first when a computer system freezes. However, frequently power cycling a computer can cause thermal stress. Reset has an equal effect on the software but may be less problematic for the hardware as power is not interrupted. == Historical uses == On all Apollo missions to the moon, the landing radar was required to acquire the surface before a landing could be attempted. But on Apollo 14, the landing radar was unable to lock on. Mission control told the astronauts to cycle the power. They did, the radar locked on just in time, and the landing was completed. During the Rosetta mission to comet 67P/Churyumov–Gerasimenko, the Philae lander did not return the expected telemetry on awakening after arrival at the comet. The problem was diagnosed as "somehow a glitch in the electronics", engineers cycled the power, and the lander awoke correctly. During the launch of the billion dollar AEHF-6 satellite on 26 March 2020 by an Atlas V rocket from Cape Canaveral Space Force Station in Florida, a hold was called at T-46 seconds due to hydraulic system not responding as expected. The launch crew turned it off and back on, and the launch proceeded normally. In 2023 the Interstellar Boundary Explorer spacecraft stopped responding to commands after an anomaly. When gentler techniques failed, NASA resorted to rebooting the spacecraft with the remote equivalent of a power cycle.

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  • Digital cinema

    Digital cinema

    Digital cinema is the digital technology used within the film industry to distribute or project motion pictures as opposed to the historical use of reels of motion picture film, such as 35 mm film. Whereas film reels have to be shipped to movie theaters, a digital movie can be distributed to cinemas in a number of ways: over the Internet or dedicated satellite links, or by sending hard drives or optical discs such as Blu-ray discs, then projected using a digital video projector instead of a film projector. Typically, digital movies are shot using digital movie cameras or in animation transferred from a file and are edited using a non-linear editing system (NLE). The NLE is often a video editing application installed in one or more computers that may be networked to access the original footage from a remote server, share or gain access to computing resources for rendering the final video, and allow several editors to work on the same timeline or project. Alternatively a digital movie could be a film reel that has been digitized using a motion picture film scanner and then restored, or, a digital movie could be recorded using a film recorder onto film stock for projection using a traditional film projector. Digital cinema is distinct from high-definition television and does not necessarily use traditional television or other traditional high-definition video standards, aspect ratios, or frame rates. In digital cinema, resolutions are represented by the horizontal pixel count, usually 2K (2048×1080 or 2.2 megapixels) or 4K (4096×2160 or 8.8 megapixels). The 2K and 4K resolutions used in digital cinema projection are often referred to as DCI 2K and DCI 4K. DCI stands for Digital Cinema Initiatives. As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. Digital cinema technology has continued to develop over the years with RealD 3D, IMAX, RPX, 4DX, Dolby Cinema, and ScreenX, allowing moviegoers more immersive experiences. == History == The transition from film to digital video was preceded by cinema's transition from analog to digital audio, with the release of the Dolby Digital (AC-3) audio coding standard in 1991. Its main basis is the modified discrete cosine transform (MDCT), a lossy audio compression algorithm. It is a modification of the discrete cosine transform (DCT) algorithm, which was first proposed by Nasir Ahmed in 1972 and was originally intended for image compression. The DCT was adapted into the MDCT by J.P. Princen, A.W. Johnson and Alan B. Bradley at the University of Surrey in 1987, and then Dolby Laboratories adapted the MDCT algorithm along with perceptual coding principles to develop the AC-3 audio format for cinema needs. Cinema in the 1990s typically combined analog photochemical images with digital audio. Digital media playback of high-resolution 2K files has at least a 20-year history. Early video data storage units (RAIDs) fed custom frame buffer systems with large memories. In early digital video units, the content was usually restricted to several minutes of material. Transfer of content between remote locations was slow and had limited capacity. It was not until the late 1990s that feature-length films could be sent over the "wire" (Internet or dedicated fiber links). On October 23, 1998, Digital light processing (DLP) projector technology was publicly demonstrated with the release of The Last Broadcast, the first feature-length movie, shot, edited and distributed digitally. In conjunction with Texas Instruments, the movie was publicly demonstrated in five theaters across the United States (Philadelphia, Portland (Oregon), Minneapolis, Providence, and Orlando). === Foundations === In the United States, on June 18, 1999, Texas Instruments' DLP Cinema projector technology was publicly demonstrated on two screens in Los Angeles and New York for the release of Lucasfilm's Star Wars Episode I: The Phantom Menace. In Europe, on February 2, 2000, Texas Instruments' DLP Cinema projector technology was publicly demonstrated, by Philippe Binant, on one screen in Paris for the release of Toy Story 2. From 1997 to 2000, the JPEG 2000 image compression standard was developed by a Joint Photographic Experts Group (JPEG) committee chaired by Touradj Ebrahimi (later the JPEG president). In contrast to the original 1992 JPEG standard, which is a DCT-based lossy compression format for static digital images, JPEG 2000 is a discrete wavelet transform (DWT) based compression standard that could be adapted for motion imaging video compression with the Motion JPEG 2000 extension. JPEG 2000 technology was later selected as the video coding standard for digital cinema in 2004. In 1992, Hughes-JVC was founded by JVC and Hughes Electronics to develop ILA (Image Light Amplifer) digital video projectors for commercial movie theaters using liquid crystal on silicon (LCOS) technology. In 1997, JVC introduced D-ILA (Direct-Drive ILA) technology with a 2K resolution digital video projector. In 2000, JVC introduced a 4K resolution video projector using D-ILA technology. === Initiatives === On January 19, 2000, the Society of Motion Picture and Television Engineers, in the United States, initiated the first standards group dedicated to developing digital cinema. By December 2000, there were 15 digital cinema screens in the United States and Canada, 11 in Western Europe, 4 in Asia, and 1 in South America. Digital Cinema Initiatives (DCI) was formed in March 2002 as a joint project of many motion picture studios (Disney, Fox, MGM, Paramount, Sony Pictures, Universal and Warner Bros.) to develop a system specification for digital cinema. The same month it was reported that the number of cinemas equipped with digital projectors had increased to about 50 in the US and 30 more in the rest of the world. In April 2004, in collaboration with the American Society of Cinematographers, DCI created standard evaluation material (the ASC/DCI StEM material) for testing of 2K and 4K playback and compression technologies. DCI selected JPEG 2000 as the basis for the compression in the system the same year. Initial tests with JPEG 2000 produced bit rates of around 75–125 Mbit/s for 2K resolution and 100–200 Mbit/s for 4K resolution. === Worldwide deployment === In China, in June 2005, an e-cinema system called "dMs" was established and was used in over 15,000 screens spread across China's 30 provinces. DMs estimated that the system would expand to 40,000 screens in 2009. In 2005, the UK Film Council Digital Screen Network launched in the UK by Arts Alliance Media creating a chain of 250 2K digital cinema systems. The roll-out was completed in 2006. This was the first mass roll-out in Europe. AccessIT/Christie Digital also started a roll-out in the United States and Canada. By mid-2006, about 400 theaters were equipped with 2K digital projectors with the number increasing every month. In August 2006, the Malayalam digital movie Moonnamathoral, produced by Benzy Martin, was distributed via satellite to cinemas, thus becoming the first Indian digital cinema. This was done by Emil and Eric Digital Films, a company based at Thrissur using the end-to-end digital cinema system developed by Singapore-based DG2L Technologies. In January 2007, Guru became the first Indian film mastered in the DCI-compliant JPEG 2000 Interop format and also the first Indian film to be previewed digitally, internationally, at the Elgin Winter Garden in Toronto. This film was digitally mastered at Real Image Media Technologies in India. In 2007, the UK became home to Europe's first DCI-compliant fully digital multiplex cinemas; Odeon Hatfield and Odeon Surrey Quays (in London), with a total of 18 digital screens, were launched on 9 February 2007. By March 2007, with the release of Disney's Meet the Robinsons, about 600 screens had been equipped with digital projectors. In June 2007, Arts Alliance Media announced the first European commercial digital cinema Virtual Print Fee (VPF) agreements (with 20th Century Fox and Universal Pictures). In March 2009, AMC Theatres announced that it closed a $315 million deal with Sony to replace all of its movie projectors with 4K HDR digital projectors starting in the second quarter of 2009; it was anticipated that this replacement would be finished by 2012. As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. In January 2011, the total number of digital screens worldwide was 36,242, up from 16,339 at end 2009 or a growth rate of 121.8 percent during the year. There were 10,083 d-screens in Europe as a whole (28.2 percent of global figure), 16,522 in the United States and Canada (46.2 percent of global figure) and 7,703 in Asia (21.6 percent of global figure). Worldwide progress was slower as in some territories, particularly Latin America and Africa. As of 31 March 2015, 38,719 screens (out of a total of 3

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  • Brand networking

    Brand networking

    Brand networking is the engagement of a social networking service around a brand by providing consumers with a platform of relevant content, elements of participation, and a currency, score, or ranking. Brand networking creates communities that serve as interactive destinations to encourage brand participation online and off. This evolved level of user participation with the brand facilitates strong relationships with consumers, leverages sales, and generates fan equity. The concept builds on the marketing literature on brand communities, which describes specialized, non-geographically bound groups of consumers organized around shared interest in a brand, and on subsequent research on social-media-based brand communities that examines how such groups operate when embedded in general-purpose networking platforms. == History == The development and growth of social networking in the early 2000s gave birth to brand networking. Brands saw the immediate potential to reach and interact with consumers through online platforms like Facebook and MySpace. At first, the ability to reach consumers through these platforms was inadequate; brands had the option to join as members or simply advertise on these sites. The potential existed to not only display advertisements to consumers, but to encourage them to interact with the brand. This is when brands made the shift to create their own networking platforms. Less evolved attempts to connect brands with consumers via networking are typically built as online platforms meant only to complement a product/service and are limited in functionality. Typically these sites offer consumers the opportunity to interact through discussion boards and group pages. The Guiding Light Community was built to complement the popular CBS television soap opera. The site offers members reward points for contributing content to discussion boards and blogs (which is all geared toward the show). == Structure == Brand networking is more than the utilization of a social networking platform; it is connecting consumers together and constructing relationships directly with the brand. Three key elements, in unity, create effective brand networking: relevant content, elements of participation, and a competitive currency. Websites in conjunction with other media types (television, radio, print) present content around a vertical industry, sector of interest, or cultural and social issues for a brand. This can be in areas such as health, marketing, or business, or any content relevant to the brand message. Such content is not only provided by the brand but also in the form of consumer-generated media. Research on brand-related user-generated content across major platforms suggests that the form and tone of consumer contributions vary by platform, with promotional content more common on some networks and response-oriented content on others. A brand provides participation with consumers online and offline. This is accomplished through the combination of typical social networking features online, such as personalised pages, friend lists, groups, and messaging, alongside elements of involvement offline. This is not simply connecting an online platform with mobile devices, but providing separate mobile features jointly with a secondary media type to drive online usage and build relationships with the brand on the go. By participating in mobile campaigns, users are interacting with the brand outside of traditional brick and mortar or e-commerce destinations. Empirical work on consumer brand engagement in social media frames such participation along cognitive, affective, and behavioural dimensions. The final element of brand networking involves incentivising participation with the other two elements. The addition of a currency or point system acts as an anchor to the brand and network and creates a competitive dynamic between consumers. These points are distributed for activity carried out outside of the networking site. By incentivising usage offline, the brand image is reinforced for the consumer and strengthens the relationship. Consumers are turned into promoters for both the brand and the users' benefit. The use of points, badges, leaderboards, and similar mechanics is described in the marketing literature as gamification, and has been linked to higher participation rates in mobile and loyalty programmes. == Fan equity == Fan equity is the idea that by locking in consumers to a brand, they are turned into fans of the brand. As fans, they promote, interact, and consume on a daily basis and become assets. Apple Inc. is one example of a company often cited as possessing fan equity. Customers of Apple are extremely brand loyal and are assets to the company. Creating a fan-generated brand is a difficult but effective method of business. Through the use of brand networking, a company is able to build a consumer or fan base that provides a strong relationship between business and consumers. The trust is formed and fans do a lot of work for the brand by word of mouth. Peer-to-peer channels are the strongest means of communication for a brand, but also one in which the brand can only influence and not control. Subsequent research links community engagement with brand trust, identifying community engagement as a mediator between social-media brand community participation and trust. This method of business is argued to be a relationship handled by the brand generally for its own gain. Many fans do not realise the work they are doing for companies by using their product or service. Facebook is a fan-based brand that has become a global phenomenon through customer use, with social media features such as sharing and commenting. With the growth of social media, marketing and advertising through social media has continued to expand. Brands can display and promote their products or services at a fast rate, with consumers sharing and contributing to the brand on a global scale. This can also be seen as online word of mouth exposure that can produce positive or negative feedback for brands. Once consumers become fans they are typically loyal, which can create positive word of mouth for a brand. Fans become a valuable asset, boosting the status and reputation of a brand. Different perceptions of brands can be linked to a person's origin or religion, which creates a difficulty when trying to enter a market or gain market share. Businesses need to be aware of the types of products or services they introduce to a specific market, ensuring they are culturally sensitive. Fan pages are created on social media to maintain the relationship between brands and consumers. By engaging and interacting with consumers, brands obtain fans and produce positive imaging. Some fans become attached to brands and are often encouraged to remain as fans through the use of celebrities endorsing the brand. Research on parasocial interaction in social-media environments suggests that one-sided emotional bonds that consumers form with endorsers and brand personae help convert ordinary followers into engaged fans.

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  • Software development process

    Software development process

    A software development process prescribes a process for developing software. It typically divides an overall effort into smaller steps or sub-processes that are intended to ensure high-quality results. The process may describe specific deliverables – artifacts to be created and completed. Although not strictly limited to it, software development process often refers to the high-level process that governs the development of a software system from its beginning to its end of life – known as a methodology, model or framework. The system development life cycle (SDLC) describes the typical phases that a development effort goes through from the beginning to the end of life for a system – including a software system. A methodology prescribes how engineers go about their work in order to move the system through its life cycle. A methodology is a classification of processes or a blueprint for a process that is devised for the SDLC. For example, many processes can be classified as a spiral model. Software process and software quality are closely interrelated; some unexpected facets and effects have been observed in practice. == Methodology == The SDLC drives the definition of a methodology in that a methodology must address the phases of the SDLC. Generally, a methodology is designed to result in a high-quality system that meets or exceeds expectations (requirements) and is delivered on time and within budget even though computer systems can be complex and integrate disparate components. Various methodologies have been devised, including waterfall, spiral, agile, rapid prototyping, incremental, and synchronize and stabilize. A major difference between methodologies is the degree to which the phases are sequential vs. iterative. Agile methodologies, such as XP and scrum, focus on lightweight processes that allow for rapid changes. Iterative methodologies, such as Rational Unified Process and dynamic systems development method, focus on stabilizing project scope and iteratively expanding or improving products. Sequential or big-design-up-front (BDUF) models, such as waterfall, focus on complete and correct planning to guide larger projects and limit risks to successful and predictable results. Anamorphic development is guided by project scope and adaptive iterations. In scrum, for example, one could say a single user story goes through all the phases of the SDLC within a two-week sprint. By contrast the waterfall methodology, where every business requirement is translated into feature/functional descriptions which are then all implemented typically over a period of months or longer. A project can include both a project life cycle (PLC) and an SDLC, which describe different activities. According to Taylor (2004), "the project life cycle encompasses all the activities of the project, while the systems development life cycle focuses on realizing the product requirements". === History === The term SDLC is often used as an abbreviated version of SDLC methodology. Further, some use SDLC and traditional SDLC to mean the waterfall methodology. According to Elliott (2004), SDLC "originated in the 1960s, to develop large scale functional business systems in an age of large scale business conglomerates. Information systems activities revolved around heavy data processing and number crunching routines". The structured systems analysis and design method (SSADM) was produced for the UK government Office of Government Commerce in the 1980s. Ever since, according to Elliott (2004), "the traditional life cycle approaches to systems development have been increasingly replaced with alternative approaches and frameworks, which attempted to overcome some of the inherent deficiencies of the traditional SDLC". The main idea of the SDLC has been "to pursue the development of information systems in a very deliberate, structured and methodical way, requiring each stage of the life cycle––from the inception of the idea to delivery of the final system––to be carried out rigidly and sequentially" within the context of the framework being applied. Other methodologies were devised later: 1970s Structured programming since 1969 Cap Gemini SDM, originally from PANDATA, the first English translation was published in 1974. SDM stands for System Development Methodology 1980s Structured systems analysis and design method (SSADM) from 1980 onwards Information Requirement Analysis/Soft systems methodology 1990s Object-oriented programming (OOP) developed in the early 1960s and became a dominant programming approach during the mid-1990s Rapid application development (RAD), since 1991 Dynamic systems development method (DSDM), since 1994 Scrum, since 1995 Team software process, since 1998 Rational Unified Process (RUP), maintained by IBM since 1998 Extreme programming, since 1999 2000s Agile Unified Process (AUP) maintained since 2005 by Scott Ambler Disciplined agile delivery (DAD) Supersedes AUP 2010s Scaled Agile Framework (SAFe) Large-Scale Scrum (LeSS) DevOps Since DSDM in 1994, all of the methodologies on the above list except RUP have been agile methodologies - yet many organizations, especially governments, still use pre-agile processes (often waterfall or similar). === Examples === The following are notable methodologies somewhat ordered by popularity. Agile Agile software development refers to a group of frameworks based on iterative development, where requirements and solutions evolve via collaboration between self-organizing cross-functional teams. The term was coined in the year 2001 when the Agile Manifesto was formulated. Waterfall The waterfall model is a sequential development approach, in which development flows one-way (like a waterfall) through the SDLC phases. Spiral In 1988, Barry Boehm published a software system development spiral model, which combines key aspects of the waterfall model and rapid prototyping, in an effort to combine advantages of top-down and bottom-up concepts. It emphases a key area many felt had been neglected by other methodologies: deliberate iterative risk analysis, particularly suited to large-scale complex systems. Incremental Various methods combine linear and iterative methodologies, with the primary objective of reducing inherent project risk by breaking a project into smaller segments and providing more ease-of-change during the development process. Prototyping Software prototyping is about creating prototypes, i.e. incomplete versions of the software program being developed. Rapid Rapid application development (RAD) is a methodology which favors iterative development and the rapid construction of prototypes instead of large amounts of up-front planning. The "planning" of software developed using RAD is interleaved with writing the software itself. The lack of extensive pre-planning generally allows software to be written much faster and makes it easier to change requirements. Shape Up Shape Up is a software development approach introduced by Basecamp in 2018. It is a set of principles and techniques that Basecamp developed internally to overcome the problem of projects dragging on with no clear end. Its primary target audience is remote teams. Shape Up has no estimation and velocity tracking, backlogs, or sprints, unlike waterfall, agile, or scrum. Instead, those concepts are replaced with appetite, betting, and cycles. As of 2022, besides Basecamp, notable organizations that have adopted Shape Up include UserVoice and Block. Chaos Chaos model has one main rule: always resolve the most important issue first. Incremental funding Incremental funding methodology - an iterative approach. Lightweight Lightweight methodology - a general term for methods that only have a few rules and practices. Structured systems analysis and design Structured systems analysis and design method - a specific version of waterfall. Slow programming As part of the larger slow movement, emphasizes careful and gradual work without (or minimal) time pressures. Slow programming aims to avoid bugs and overly quick release schedules. V-Model V-Model (software development) - an extension of the waterfall model. Unified Process Unified Process (UP) is an iterative software development methodology framework, based on Unified Modeling Language (UML). UP organizes the development of software into four phases, each consisting of one or more executable iterations of the software at that stage of development: inception, elaboration, construction, and guidelines. === Comparison === The waterfall model describes the SDLC phases such that each builds on the result of the previous one. Not every project requires that the phases be sequential. For relatively simple projects, phases may be combined or overlapping. Alternative methodologies to waterfall are described and compared below. == Process meta-models == Some process models are abstract descriptions for evaluating, comparing, and improving the specific process adopted by an organization. ISO/IEC 12207 ISO/IEC 12207 i

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  • The Big Book of Social Media

    The Big Book of Social Media

    The Big Book of Social Media: Case Studies, Stories, Perspectives, released in November 2010 by Yorkshire Publishing, is a compilation of non-fiction articles and chapters written by social media experts in their respective fields and edited by Robert Fine, organizer of the Cool Social Conferences World Tour and founder of Cool Blue Press, with a foreword by Sam Feist, political director for CNN. == Synopsis == The publisher, on its site, summed up the book as, "Not business. Not marketing. This is an idea book." And an article in Business Insider described the book as bringing "the social back into social media." == Contributors == Contributing authors include: Alan Rosenblatt, Alane Anderson, Alecia Dantico, Alex Priest, Alfred Naranjo, Becky Carroll, Carri Bugbee, Cathy Scott, Colleen Crinklaw, Constantine Markides, Cordelia Mendoza, Craig Kanalley, Dave Ingland, Eric Andersen, Eric Brown, Gary Zukowski, Haja Rasambainarivo, Jennifer Kaplan, Kari Quaas, Lauri Stevens, Lev Ekster, Mark Stelzner, Matthew Felling, Matt Stewart, Melani Gordon, Michael Bourne, Michele Mattia, Mirna Bard, Neal Schaffer, Nic Evans, Noaf Ereiqat, Pek Pongpaet, Perri Gorman, Phil Baumann, Regina Holliday, Rory Cooper, Sam Feist, Shashi Bellamkonda, Shrinath Navghane, Steve Pratt, Ted Nguyen, Todd Schnick, Tonia Ries, Wayne Burke, as well as Robert Fine. In December 2011, some of the contributing authors organized "Tweet It Forward," a holiday charity fundraiser, with net proceeds benefitting the Food Bank for New York City. == Reception == Reviewer Mike Brown wrote on the Brainzooming blog that the book goes "beyond the valueless chatter out there; it provides solid discussions of real-life social media strategy implementations that have truly integrated organizational objectives and delivered real metrics." And Tech Cocktail wrote it in its review, "Through a collection of entertaining anecdotes and insightful marketing agendas, one sees what social media is truly all about and how it is revolutionizing the communications industry." In 2011, at the SXSW social media festival in Austin, Texas, Fine launched Cool Blue Press and reintroduced The Big Book of Social Media, with plans, he told a reporter from the Washington Examiner, for other new media books and publishing projects, including The Social Media Monthly magazine. The book was reviewed in 2012 by SAGE Publications for its Journalism and Mass Communication Educator magazine. It is also cited in several books and journals. === Awards === The book was a winner in the 4th Annual Reader's Choice "Small Business Book Awards" for 2011. Windmill Networking named it the Top 15 recommended social media books of 2010.

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  • Bluelight (web forum)

    Bluelight (web forum)

    Bluelight is a web-forum, research portal, online community, and non-profit organisation dedicated to harm reduction in drug use. Its userbase includes current and former substance users, academic researchers, drug policy activists, and mental health advocates. It is believed to be the largest online international drug discussion website in the world. As of November 2025, the website claims over 475,900 registered members, the Discord community claims over 11,900 members, and additional members utilise other platforms such as Telegram. Bluelight has been utilised by academic researchers as a primary source of data in numerous publications. Researchers also utilise the site to advertise research studies, recruit study participants, and better understand the world of substance use. Research groups and organisations that have partnered with Bluelight to recruit study participants include Imperial College London, Johns Hopkins University, Health Canada, Karlstad University, Curtin University, Macquarie University, Columbia University, University of Pennsylvania, University of Michigan, Toronto Metropolitan University (then known as Ryerson University), and MAPS. Researchers have found that the most common reasons for substance users to visit Bluelight.org and similar online communities are to learn "how to use drugs safely" and "how to help others use drugs safely." Bluelight neither condemns or condones drug use, instead advocating for the principle of responsible drug use; educating and allowing individuals to make informed decisions regarding their drug use, providing information on local drug misuse services, and providing them with other drug harm reduction resources and public safety notices. == History == Bluelight.org was originally formed in 1997 as a message board on bluelight.net called the MDMA Clearinghouse. The board was created as a side project by the owner of West Palm Beach design company Bluelight Designs. 200–300 users joined the site between 1998 and 1999, but the site's servers were heavily limited and could only store a few threads at a time; this led to the creation of 'The New Bluelight' forum in May 1999 and the registration of the bluelight.nu domain in June 1999. The site began to explode in popularity in the early 2000s with the rise of MDMA in the club scene, amassing nearly 7,000 members by the year 2000 and 59,000 by the start of 2006. The site switched to the bluelight.ru domain in October 2005, and switched again to bluelight.org in January 2014. In early 2024, Bluelight was re-structured and the forum became a subsidiary of the newly formed Australian non-profit organisation & registered charity Bluelight Communities Ltd. == Partnerships == In the early 2000s, Bluelight worked with reagent test supplier EZ-Test to promote the sale of drug checking kits. In 2007, Bluelight partnered with the Multidisciplinary Association for Psychedelic Studies (MAPS), a non-profit organisation working to raise awareness and understanding of psychedelic drugs through education, clinical research, and advocacy. MAPS utilised Bluelight to recruit participants for its first MDMA-assisted psychotherapy trial for PTSD. In 2013, the official MAPS forums were migrated to Bluelight. Bluelight's other partners include Erowid, a non-profit organisation dedicated to education surrounding psychoactive drugs; TripSit, a harm reduction education website; Pill Reports, a web-based database for drug checking results that was initially formed as an offshoot of the site; and the Global Drug Survey, an independent research organisation focused on collecting data about substance use. == Notable users == Alan Woods – funded the site's maintenance costs from 1999 until his death in 2008 Hamilton Morris John McAfee – created an infamous series of troll posts about the stimulant MDPV

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