AI Chat Online Characters

AI Chat Online Characters — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Deep image prior

    Deep image prior

    Deep image prior is a type of convolutional neural network used to enhance a given image with no prior training data other than the image itself. A neural network is randomly initialized and used as prior to solve inverse problems such as noise reduction, super-resolution, and inpainting. Image statistics are captured by the structure of a convolutional image generator rather than by any previously learned capabilities. == Method == === Background === Inverse problems such as noise reduction, super-resolution, and inpainting can be formulated as the optimization task x ∗ = m i n x E ( x ; x 0 ) + R ( x ) {\displaystyle x^{}=min_{x}E(x;x_{0})+R(x)} , where x {\displaystyle x} is an image, x 0 {\displaystyle x_{0}} a corrupted representation of that image, E ( x ; x 0 ) {\displaystyle E(x;x_{0})} is a task-dependent data term, and R(x) is the regularizer. Deep neural networks learn a generator/decoder x = f θ ( z ) {\displaystyle x=f_{\theta }(z)} which maps a random code vector z {\displaystyle z} to an image x {\displaystyle x} . The image corruption method used to generate x 0 {\displaystyle x_{0}} is selected for the specific application. === Specifics === In this approach, the R ( x ) {\displaystyle R(x)} prior is replaced with the implicit prior captured by the neural network (where R ( x ) = 0 {\displaystyle R(x)=0} for images that can be produced by a deep neural networks and R ( x ) = + ∞ {\displaystyle R(x)=+\infty } otherwise). This yields the equation for the minimizer θ ∗ = a r g m i n θ E ( f θ ( z ) ; x 0 ) {\displaystyle \theta ^{}=argmin_{\theta }E(f_{\theta }(z);x_{0})} and the result of the optimization process x ∗ = f θ ∗ ( z ) {\displaystyle x^{}=f_{\theta ^{}}(z)} . The minimizer θ ∗ {\displaystyle \theta ^{}} (typically a gradient descent) starts from a randomly initialized parameters and descends into a local best result to yield the x ∗ {\displaystyle x^{}} restoration function. ==== Overfitting ==== A parameter θ may be used to recover any image, including its noise. However, the network is reluctant to pick up noise because it contains high impedance while useful signal offers low impedance. This results in the θ parameter approaching a good-looking local optimum so long as the number of iterations in the optimization process remains low enough not to overfit data. === Deep Neural Network Model === Typically, the deep neural network model for deep image prior uses a U-Net like model without the skip connections that connect the encoder blocks with the decoder blocks. The authors in their paper mention that "Our findings here (and in other similar comparisons) seem to suggest that having deeper architecture is beneficial, and that having skip-connections that work so well for recognition tasks (such as semantic segmentation) is highly detrimental." == Applications == === Denoising === The principle of denoising is to recover an image x {\displaystyle x} from a noisy observation x 0 {\displaystyle x_{0}} , where x 0 = x + ϵ {\displaystyle x_{0}=x+\epsilon } . The distribution ϵ {\displaystyle \epsilon } is sometimes known (e.g.: profiling sensor and photon noise) and may optionally be incorporated into the model, though this process works well in blind denoising. The quadratic energy function E ( x , x 0 ) = | | x − x 0 | | 2 {\displaystyle E(x,x_{0})=||x-x_{0}||^{2}} is used as the data term, plugging it into the equation for θ ∗ {\displaystyle \theta ^{}} yields the optimization problem m i n θ | | f θ ( z ) − x 0 | | 2 {\displaystyle min_{\theta }||f_{\theta }(z)-x_{0}||^{2}} . === Super-resolution === Super-resolution is used to generate a higher resolution version of image x. The data term is set to E ( x ; x 0 ) = | | d ( x ) − x 0 | | 2 {\displaystyle E(x;x_{0})=||d(x)-x_{0}||^{2}} where d(·) is a downsampling operator such as Lanczos that decimates the image by a factor t. === Inpainting === Inpainting is used to reconstruct a missing area in an image x 0 {\displaystyle x_{0}} . These missing pixels are defined as the binary mask m ∈ { 0 , 1 } H × V {\displaystyle m\in \{0,1\}^{H\times V}} . The data term is defined as E ( x ; x 0 ) = | | ( x − x 0 ) ⊙ m | | 2 {\displaystyle E(x;x_{0})=||(x-x_{0})\odot m||^{2}} (where ⊙ {\displaystyle \odot } is the Hadamard product). The intuition behind this is that the loss is computed only on the known pixels in the image, and the network is going to learn enough about the image to fill in unknown parts of the image even though the computed loss doesn't include those pixels. This strategy is used to remove image watermarks by treating the watermark as missing pixels in the image. === Flash–no-flash reconstruction === This approach may be extended to multiple images. A straightforward example mentioned by the author is the reconstruction of an image to obtain natural light and clarity from a flash–no-flash pair. Video reconstruction is possible but it requires optimizations to take into account the spatial differences. == Implementations == A reference implementation rewritten in Python 3.6 with the PyTorch 0.4.0 library was released by the author under the Apache 2.0 license: deep-image-prior A TensorFlow-based implementation written in Python 2 and released under the CC-SA 3.0 license: deep-image-prior-tensorflow A Keras-based implementation written in Python 2 and released under the GPLv3: machine_learning_denoising == Example == See Astronomy Picture of the Day (APOD) of 2024-02-18

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  • Digital anthropology

    Digital anthropology

    Digital anthropology is the anthropological study of the relationship between humans and digital-era technology. The field is new, and thus has a variety of names with a variety of emphases. These include techno-anthropology, digital ethnography, cyberanthropology, and virtual anthropology. == Definition and scope == Most anthropologists who use the phrase "digital anthropology" are specifically referring to online and Internet technology. The study of humans' relationship to a broader range of technology may fall under other subfields of anthropological study, such as cyborg anthropology. The Digital Anthropology Group (DANG) is classified as an interest group in the American Anthropological Association. DANG's mission includes promoting the use of digital technology as a tool of anthropological research, encouraging anthropologists to share research using digital platforms, and outlining ways for anthropologists to study digital communities. Cyberspace or the "virtual world" itself can serve as a "field" site for anthropologists, allowing the observation, analysis, and interpretation of the sociocultural phenomena springing up and taking place in any interactive space. National and transnational communities, enabled by digital technology, establish a set of social norms, practices, traditions, storied history and associated collective memory, migration periods, internal and external conflicts, potentially subconscious language features and memetic dialects comparable to those of traditional, geographically confined communities. This includes the various communities built around free and open-source software, online platforms such as Facebook, Twitter/X, Instagram, 4chan and Reddit and their respective sub-sites, and politically motivated groups like Anonymous, WikiLeaks, or the Occupy movement. A number of academic anthropologists have conducted traditional ethnographies of virtual worlds, such as Bonnie Nardi's study of World of Warcraft or Tom Boellstorff's study of Second Life. Academic Gabriella Coleman has done ethnographic work on the Debian software community and the Anonymous hacktivist network. Theorist Nancy Mauro-Flude conducts ethnographic field work on computing arts and computer subcultures such as systerserver.net a part of the communities of feminist web servers and the Feminist Internet network. Eitan Y. Wilf examines the intersection of artists' creativity and digital technology and artificial intelligence. Yongming Zhou studied how in China the internet is used to participate in politics. Eve M. Zucker and colleagues study the shift to digital memorialization of mass atrocities and the emergent role of artificial intelligence in these processes. Victoria Bernal conducted ethnographic research on the themes of nationalism and citizenship among Eritreans participating in online political engagement with their homeland. Anthropological research can help designers adapt and improve technology. Australian anthropologist Genevieve Bell did extensive user experience research at Intel that informed the company's approach to its technology, users, and market. == Methodology == === Digital fieldwork === Many digital anthropologists who study online communities use traditional methods of anthropological research. They participate in online communities in order to learn about their customs and worldviews, and back their observations with private interviews, historical research, and quantitative data. Their product is an ethnography, a qualitative description of their experience and analyses. Other anthropologists and social scientists have conducted research that emphasizes data gathered by websites and servers. However, academics often have trouble accessing user data on the same scale as social media corporations like Facebook and data mining companies like Acxiom. In terms of method, there is a disagreement in whether it is possible to conduct research exclusively online or if research will only be complete when the subjects are studied holistically, both online and offline. Tom Boellstorff, who conducted a three-year research as an avatar in the virtual world Second Life, defends the first approach, stating that it is not just possible, but necessary to engage with subjects “in their own terms”. Others, such as Daniel Miller, have argued that an ethnographic research should not exclude learning about the subject's life outside the internet. === Digital technology as a tool of anthropology === The American Anthropological Association offers an online guide for students using digital technology to store and share data. Data can be uploaded to digital databases to be stored, shared, and interpreted. Text and numerical analysis software can help produce metadata, while a codebook may help organize data. == Ethics == Online fieldwork offers new ethical challenges. According to the American Anthropological Association's ethics guidelines, anthropologists researching a community must make sure that all members of that community know they are being studied and have access to data the anthropologist produces. However, many online communities' interactions are publicly available for anyone to read, and may be preserved online for years. Digital anthropologists debate the extent to which lurking in online communities and sifting through public archives is ethical. The Association also asserts that anthropologists' ability to collect and store data at all is "a privilege", and researchers have an ethical duty to store digital data responsibly. This means protecting the identity of participants, sharing data with other anthropologists, and making backup copies of all data. == Prominent figures == Genevieve Bell is an Australian cultural anthropologist credited for pioneering the User Experience field. During her time working for Intel Corporation, Bell studied how various cultures from around the world interacted with and experienced technology. Researching and improving user experience allows companies and designers to gather data regarding how users utilize their digital products and what requires improvement or expansion. Tom Boellstorff is an anthropologist known for Coming of Age in Second Life: An Anthropologist Explores the Virtually Human where he conducted research on how engaging in virtual worlds affects the player’s sense of self. Gabriella Coleman is an American anthropologist concerned with the politics, ethics, and culture of hacking and online activism. Coleman’s most notable ethnography features the hacktivist collective Anonymous, where she argues that various genres of hacking exist according to the social conditions at play. Coleman is dedicated to making her ethnography accessible to a diverse audience, including academics and non-academics. Diana E. Forsythe was an American anthropologist of science and technology and the author of the essays featured in Studying Those Who Study Us: An Anthropologist in the World of Artificial Intelligence. She asked relevant questions such as how should humans interact with computers and how gender roles are maintained in technology-oriented occupations. Heather Horst is a sociocultural anthropologist interested in the relationship between digital social relations and material culture. Nancy Mauro-Flude is a design anthropologist whose work explores the tacit relations between embodied cognition, computational materiality, maker culture, self-hosted webserver cooperatives, creative practice, and artistic research in digital infrastructure and Internet publishing. Mizuko Ito is a Japanese cultural anthropologist specializing in technology use and the intersection between computers and the social sciences. Her primary interest is in how young people utilize media technology and how it can be used to engage students in education. Daniel Miller is an anthropologist with a concentration in digital anthropology. His research includes the smartphone and perpetual opportunism, the intent and consequences of posting on social media in various geographical locations, and how hospice patients use media to socialize in the last stage of their lives. Mike Wesch is a cultural anthropologist interested in how people share their lives, cultures, and beliefs through digital media.

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  • Video game

    Video game

    A video game, computer game, or simply game is an electronic game that involves interaction with a user interface or input device (such as a joystick, controller, keyboard, or motion sensing device) to generate visual feedback from a display device, most commonly shown in a video format on a television set, computer monitor, flat-panel display or touchscreen on handheld devices, or a virtual reality headset. Most modern video games are audiovisual, with audio complement delivered through speakers or headphones, and sometimes also with other types of sensory feedback (e.g., haptic technology that provides tactile sensations). Some video games also allow microphone and webcam inputs for in-game chatting and livestreaming. Video games are typically categorized according to their hardware platform, which traditionally includes arcade video games, console games, and computer games (which includes LAN games, online games, and browser games). More recently, the video game industry has expanded onto mobile gaming through mobile devices (such as smartphones and tablet computers), virtual and augmented reality systems, and remote cloud gaming. Video games are also classified into a wide range of genres based on their style of gameplay and target audience. The first video game prototypes in the 1950s and 1960s were simple extensions of electronic games using video-like output from large, room-sized mainframe computers. The first consumer video game was the arcade video game Computer Space in 1971, which took inspiration from the earlier 1962 computer game Spacewar!. In 1972 came the now-iconic video game Pong and the first home console, the Magnavox Odyssey. The industry grew quickly during the "golden age" of arcade video games from the late 1970s to early 1980s but suffered from the crash of the North American video game market in 1983 due to loss of publishing control and saturation of the market. Following the crash, the industry matured, was dominated by Japanese companies such as Nintendo, Sega, and Sony, and established practices and methods around the development and distribution of video games to prevent a similar crash in the future, many of which continue to be followed. In the 2000s, the core industry centered on "AAA" games, leaving little room for riskier experimental games. Coupled with the availability of the Internet and digital distribution, this gave room for independent video game development (or "indie games") to gain prominence into the 2010s. Since then, the commercial importance of the video game industry has been increasing. The emerging Asian markets and proliferation of smartphone games in particular are altering player demographics towards casual and cozy gaming, and increasing monetization by incorporating games as a service. Today, video game development requires numerous skills, vision, teamwork, and liaisons between different parties, including developers, publishers, distributors, retailers, hardware manufacturers, and other marketers, to successfully bring a game to its consumers. As of 2020, the global video game market had estimated annual revenues of US$159 billion across hardware, software, and services, which is three times the size of the global music industry and four times that of the film industry in 2019, making it a formidable heavyweight across the modern entertainment industry. The video game market is also a major influence behind the electronics industry, where personal computer component, console, and peripheral sales, as well as consumer demands for better game performance, have been powerful driving factors for hardware design and innovation. == Origins == Early video games used interactive electronic devices with various display formats. The earliest example dates to 1947—a "cathode-ray tube amusement device" was filed for a patent on 25 January 1947, by Thomas T. Goldsmith Jr. and Estle Ray Mann, and issued on 14 December 1948, as U.S. Patent 2455992. Inspired by radar display technology, it consisted of an analog device allowing a user to control the parabolic arc of a dot on the screen to simulate a missile being fired at targets, which were paper drawings fixed to the screen. Other early examples include the Nimrod computer at the 1951 Festival of Britain; Christopher Strachey's Checkers, possibly the first game to display visuals on an electronic screen in 1952; OXO, a tic-tac-toe computer game by Alexander S. Douglas for the EDSAC in 1952; Tennis for Two, an electronic interactive game engineered by William Higinbotham in 1958; and Spacewar!, written by Massachusetts Institute of Technology students Martin Graetz, Steve Russell, and Wayne Wiitanen's on a DEC PDP-1 computer in 1962. Each game had different means of display: NIMROD had a panel of lights to play the game of Nim, OXO had a graphical display to play tic-tac-toe, Tennis for Two had an oscilloscope to display a side view of a tennis court, and Spacewar! had the DEC PDP-1's vector display to have two spaceships battle each other. These inventions laid the foundation for modern video games. In 1966, while working at Sanders Associates, Ralph H. Baer devised a system to play a basic table tennis game on a television screen. With the company's approval, Baer created the prototype known as the "Brown Box". Sanders patented Baer's innovations and licensed them to Magnavox, which commercialized the technology as the first home video game console, the Magnavox Odyssey, released in 1972. Separately, Nolan Bushnell and Ted Dabney, inspired by seeing Spacewar! running at Stanford University, devised a similar version running in a smaller coin-operated arcade cabinet using a less expensive computer. This was released as Computer Space, the first arcade video game, in 1971. Bushnell and Dabney went on to form Atari, Inc., and with Allan Alcorn, created their second arcade game in 1972, the hit ping pong-style Pong, which was directly inspired by the table tennis game on the Odyssey. Atari made a home version of Pong, which was released by Christmas 1975. The success of the Odyssey and Pong, both as an arcade game and home machine, launched the video game industry. Both Baer and Bushnell have been titled "Father of Video Games" for their contributions. == Terminology == The term "video game" was developed to describe electronic games played on a video display rather than on a teletype printer, audio speaker, or similar device. This also distinguished from handheld electronic games such as Merlin, which commonly used LED lights for indicators not in combination for imaging purposes. "Computer game" may also be used as a descriptor, as all these types of games essentially require the use of a computer processor; in some cases, it is used interchangeably with "video game". Particularly in the United Kingdom and Western Europe, this is common due to the historic relevance of domestically produced microcomputers. Other terms used include digital game, for example, by the Australian Bureau of Statistics. The term "computer game" can also refer to PC games, which are played primarily on personal computers or other flexible hardware systems, to distinguish them from console games, arcade games, or mobile games. Other terms, such as "television game", "telegame", or "TV game", had been used in the 1970s and early 1980s, particularly for home gaming consoles that rely on connection to a television set. However, these terms were also used interchangeably with "video game" in the 1970s, primarily due to "video" and "television" being synonymous. In Japan, where consoles like the Odyssey were first imported and then made within the country by the large television manufacturers such as Toshiba and Sharp Corporation, such games are known as "TV games", "TV geemu", or "terebi geemu". The term "TV game" is still commonly used into the 21st century. "Electronic game" may also be used to refer to video games, but this also incorporates devices like early handheld electronic games that lack any video output. The first appearance of the term "video game" emerged around 1973. The Oxford English Dictionary cited a 10 November 1973 BusinessWeek article as the first printed use of the term. Though Bushnell believed the term came from a vending magazine review of Computer Space in 1971, a review of the major vending magazines Vending Times and Cashbox showed that the term may have come even earlier, appearing first in a letter dated July 10, 1972. In the letter, Bushnell uses the term "video game" twice. Per video game historian Keith Smith, the sudden appearance suggested that the term had been proposed and readily adopted by those in the field. Around March 1973, Ed Adlum, who ran Cashbox's coin-operated section until 1972 and then later founded RePlay Magazine, covering the coin-op amusement field, in 1975, used the term in an article in March 1973. In a September 1982 issue of RePlay, Adlum is credited with first naming these games as "video games": "RePlay

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  • Far-Play

    Far-Play

    Far-Play (stylized fAR-Play, from augmented reality) was a software platform developed at the University of Alberta, for creating location-based, scavenger-hunt style games which use the GPS and web-connectivity features of a player's smartphone. According to the development team, "our long-term objective is to develop a general framework that supports the implementation of AARGs that are fun to play and also educational". It utilizes Layar, an augmented reality smartphone application, QR codes located at particular real-world sites, or a phone's web browser, to facilitate games which require players to be in close physical proximity to predefined "nodes". A node, referred to by the developers as a Virtual Point of Interest (vPOI), is a point in space defined by a set of map coordinates; fAR-Play uses the GPS function of a player's smartphone — or, for indoor games, which are not easily tracked by GPS satellites, specially-created QR codes— to confirm that they are adequately near a given node. Once a player is within a node's proximity, Layar's various augmented reality features can be utilized to display a range of extra content overlaid upon the physical play-space or launch another application for extra functionality. == Development and features == fAR-Play began development in 2008, emerging from a collaborative project undertaken by a group of University of Alberta students from the Computer Science and Humanities Computing departments. fAR-Play is still under development, but a beta version is available for testing by request. fAR-Play's development is managed by a team of interdisciplinary professors and students at the University of Alberta. Currently, the developing team's roster includes Supervising Professors Geoffrey Rockwell and Eleni Stroulia, Developers Lucio Gutierrez and Matthew Delaney, and Website Developers Calen Henry and Garry Wong. === Technology === fAR-Play relies on a number of open- and closed-source web technologies as tools to create, and enhance the users' experience. Layar is the recommended client-side frontend for delivering game content to the player; it is available on Android and iOS, which covers over 91% of smartphones. While Layar is not a requirement to play fAR-Play games, the application does supply additional augmented reality functionality; Layar also includes a built-in QR scanner. Depending on the design of the particular game, the player may instead use a dedicated QR code scanner; the developers recommend BeeTagg, but any such application will do. Layar or a QR code scanner are the maximum software requirements to play a fAR-Play game, making implementation of games on a wide variety of platforms relatively straightforward. fAR-Play games can also be designed for play strictly within a mobile phone's web browser. On the server side, fAR-Play's engine is composed of an Apache server which manages the system's web interface, including the mobile and desktop versions of the fAR-Play website, and a Java-based REST framework for managing the database of nodes. === Features === As a platform for designing AR games, as opposed to an AR game itself, fAR-Play offers little in the way of explicit shapes or patterns for games to take; instead, these elements are left to the game designer or players to develop. However, the nonspecific nature of nodes, the many options they offer for content delivery, and the open design of the platform are such that these elements can be developed extensively. Functionally, fAR-Play is a tool for tracking arbitrary points in space and a given player's proximity to them; what it does beyond that is up to the developers' and players' discretion. However, the fAR-Play website contains a leaderboard which tracks registered user's total scores. Players are assigned levels based on their total score, ranging from Novice — Super Player. Player profiles will display nodes that the player has recently caught, and any achievements the player has gained. Additionally, players can share their adventure progress, achievements, and the capture of vPOIs on Facebook. == How to play == In order to participate in the locative aspects of fAR-Play games, users must have an Android or iOS mobile device and access to wireless internet. Players can participate in fAR-Play anonymously, or create and sign into a fAR-Play account. Those who choose to play anonymously will lose the ability to track their progress across multiple games. When signed in, the player is presented with a list of games that are currently available for play. Each game includes a brief description and the various "adventures" available to the player. Once the game has been started, the player has three different methods for capturing nodes: they may scan a QR in the physical space, discover a node through the Layar camera virtual view, or receive a link in their device's web browser. === QR codes and Layar === QR codes can only be used as a method for capturing nodes and initiating games when there is a physical code present. In order to scan a QR code, players are required to have an application which can capture and recognize QR codes. If the player is utilizing a QR scanning application that has a built in browser, they will be required to log into fAR-Play through the app. Layar is a free to download augmented reality app, containing a built in QR code scanner, which enables its users to participate in fAR-Play games. === Capturing nodes === Layar permits the player to see nodes on their mobile device, guiding the player to their goal. Using this application, the player is able to navigate to their objective with map provided by Google Maps' API or by using their camera — Layar overlays a virtual image onto the real-world scene presented by the camera. The representations on screen expand in size as the player approaches the node destination, simulating relative distance. If the player taps any of the nodes that are presented on the screen, they will be provided additional information about that node, including the node's name and a brief description. Nodes can be captured by tapping the "capture" button. === Playing on browsers === The player can also play fAR-Play games within their mobile device's browser. By visiting https://archive.today/20131123223038/http://farplay.ualberta.ca/far-play/ on a mobile device, players will be presented with a fully realized user interface, permitting full interaction with the games. The player can capture the in game vPOIs through their browser by tapping the "nodes" button. This will bring up a list of all the accessible nodes, complete with a brief description for each location. By clicking on one of the nodes, the player is shown to a screen with a mapped location of the vPOI, an in-depth description of it, and hints. At the top of the page, the player can tap "CAPTURE THIS NODE" and advance in the game. When attempting to capture a node, the developer may or may not associate a challenge with the node. For example, in the game "Zombies ate my Campus", when players are attempting to capture a node, they're presented with a multiple choice question associated with the current node. === Game types === Players complete an adventure when they have captured all of the nodes within it. fAR-Play provides two game modes: in a Virtual Scavenger Hunt, nodes must be captured in a specific order; in a Virtual Treasure Hunt, the order is unimportant. == Existing fAR-Play games == Games currently available through fAR-Play include: Giselle Ever After Thought Hub Comics Arts Capture Challenge Pioneering Edmonton The Intelliphone Challenge A Tour of Atwater Zombies ate my Campus == For developers == fAR-Play's ultimate goal is to provide a simple, effective platform for the creation of locative augmented reality games, but the developer tools are still under active development and not openly available to the public. Access can be granted on a case-by-case basis, however, and a developer's manual is available. Users with development privileges can create new games or edit their existing games, in addition to playing their own or others' games. === Adventures === Games that are developed with fAR-Play are segmented into components called "Adventures". To progress through each game adventure, the player must reach and capture virtual points of interest, referred to in the game as vPOIs. In order to capture a vPOI, the player must travel to a physical location that is set by the developer. It is the developer's choice to include a challenge question to capture the vPOI, though it is not mandatory. A deduction of points can be implemented if the player submits an incorrect answer to a challenge question. === Points and achievements === Each of the nodes will reward the player with a predetermined number of points once they have been captured by the player. These points are added to the player's total points. Each of the adventures that are created require a predetermined number of vPOIs

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  • Conversica

    Conversica

    Conversica is a US-based cloud software technology company, headquartered in San Mateo, California, that provides two-way AI-driven conversational software and a suite of Intelligent Virtual Assistants for businesses to engage customers via email, chat, and SMS. == History == 2007: The company was founded by Ben Brigham in Bellingham, Washington, originally as AutoFerret.com. The company's initial product was a Customer Relationship Management (CRM) targeted at automotive dealerships. This soon expanded to lead generation, and then lead validation and qualification. The AI Conversica uses currently was made to follow up on and filter out low-quality leads. The focus of the company shifted toward this automated lead engagement technology. 2010: The company started commercially selling AVA, the first Automated Virtual Assistant for sales, and the company name was changed to AVA.ai. Early customers for AVA were automotive dealerships. As the company moved away from generating leads themselves, and providing the CRM themselves, it became necessary to integrate with existing CRM and Marketing Automation platforms, such as DealerSocket, VinSolutions and Salesforce. 2013: The company raised $16m Series A funding, led by Kennet Partners, and named Mark Bradley as CEO. It also moved its headquarters from Bellingham, Washington to Foster City, California. 2014: The company changed its name from AVA.ai to Conversica. 2015: Alex Terry joined Conversica as its CEO. The business expanded to include customers in additional verticals, including technology, education, and financial services. 2016: The company raised $34m Series B funding, led by Providence Strategic Growth. 2017: Conversica expanded its intelligent automation platform and IVAs to support additional communication channels (e-mail and SMS text messaging) and communication languages. Conversica also opened a new technology center in Seattle, Washington to expand its AI and machine learning capabilities. 2018: The company raised $31m Series C funding, led by Providence Strategic Growth. Conversica also acquired Intelligens.ai, providing a regional presence in Latin America with an office in Las Condes, Santiago, Chile. The company launched an AI-powered Admissions Assistant for Higher Education industry. 2019: Conversica was selected by Fast Company magazine as one of the Top 10 Most Innovative AI Companies in the World, and was named Marketo's Technology Partner of the Year. The company officially expanded into the EMEA region with the opening of a London office. As of August 2019, Conversica has over 50 different integrations with third parties. In October Conversica won three awards at the fourth annual Global Annual Achievement Awards for Artificial Intelligence. Also that month, Alex Terry stepped down from his role as CEO and was replaced by Jim Kaskade. 2020: As part of Conversica's response to COVID-19, they optimized the business to become profitable in both 2Q20 and 3Q20, before reinvesting in 4Q20. The company transitioned both international operations in EMEA and LATAM to an indirect model with partners (LeadFabric and Nectia Cloud Solutions respectively), and moved a portion of its US-based employees to near-shore centers in Mexico and Brazil, effectively downsizing the company from 250 to 200. Conversica's reseller partner, Nectia, is a major Latin American affiliate and Chile's number one Salesforce partner, and, as part of the partnership, Nectia devoted capital to a brand new company segment, Predict-IA, dedicated to web-based artificial intelligent solutions. Predict-IA was able to immediately service all LATAM opportunities and clients with Conversica's AI Assistants with end-to-end services (marketing, sales, professional services, customer success, and technical support). Conversica's reseller partner, Leadfabric, has offices in Belgium, Amsterdam, Paris, UK, Taiwan, and Romania. == Technology == Conversica's Revenue Digital Assistants™ are AI assistants who engage with leads, prospects, customers, employees, and other persons of interest (Contacts) in a two-way human-like manner, via email, SMS text, and website chat, in English, French, German, Spanish, Portuguese, and Japanese. The RDAs are built on an Intelligent Automation platform that leverages natural language understanding, natural language processing, natural language generation, deep learning and machine learning. The Assistants are generally deployed alongside sales and marketing, customer success, account management, and higher education admissions teams, as part of an augmented workforce. The Intelligent Automation platform integrates with over 50 external systems, including CRM, Marketing Automation, and other systems of record. A partial list of integration partners includes: Salesforce, Marketo, Oracle, HubSpot, DealerSocket, Reynolds & Reynolds, CDK Global, VinSolutions and many more.

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  • Cringe culture

    Cringe culture

    Cringe culture () is an Internet phenomenon and neologism characterized by the mockery and ridicule of content, behaviors, or expressions deemed embarrassing or awkward. The term cringe evolved semantically from describing personal secondhand embarrassment to becoming a dismissive label applied to various forms of online expression and fan behavior. The phenomenon emerged in the early 2000s as a response to awkward online content but gradually transformed into a cultural force that impacted fan communities, creative expression, and social media behavior. Cringe culture gained particular prominence through online platforms like Reddit and 4chan, and has been observed to cause the decline of various fandoms when they become labeled as cringe. Cringe culture has extended beyond Internet communities into academic and professional settings. Educators have noticed increased self-consciousness among students about displaying effort in their work (known as tryharding). By the early 2020s, a cultural pushback against cringe culture began to emerge, with public figures and celebrities advocating for authentic self-expression and rejecting the fear of being perceived as "trying too hard". == Origin == The term cringe underwent semantic change from its original usage describing an involuntary physical response, then to embarrassment. The term gained popularity in online forums during the early 2000s, when public self-humiliation online was a relatively novel phenomenon. Early cringe culture drew much of its content from YouTube. According to Kaitlyn Tiffany of The Atlantic, the majority of cringe stemmed from people who did not seem to understand that anyone in the world could see their videos. The phenomenon initially focused on empathy and secondhand embarrassment, with viewers relating to the awkward situations they witnessed. Popular early examples of cringe include the 2002 viral video Star Wars Kid and "My Video for Briona for Our 7 Month", in which a man winks, licks his lips, and makes romantic declarations to his partner. Early cringe culture encompassed multiple styles, including self-deprecating, playful, and hostile forms. On /b/ (4chan's "random" board), early cringe discussions targeted groups like Tumblr users, social justice warriors, fangirls, and furries, while also being used to describe "normies" who lacked sufficient knowledge of Internet culture to understand its ironic humor. In July 2012, Reddit user Michael Dombkowski took over the dormant r/cringe subreddit after watching a KENS5 segment about teen werewolves. Dombkowski created RSS feeds to alert him whenever someone mentioned cringe anywhere on Reddit, then encouraged users to visit his subreddit. The subreddit collected 10,000 monthly pageviews in its first month, which grew to 941,000 by September 2012 and 5 million the following month. According to The Daily Dot, Dombkowski had intended the subreddit to elicit empathy from viewers rather than to mock its subjects. On November 9, 2012, Dombkowski banned all images from r/cringe and created r/cringepics as a spinoff subreddit for image-based content. The community initially opposed this decision, as users worried that it would fragment the community. In a few months, r/cringepics overtook r/cringe in traffic and subscribers. By 2014, the combined subreddits amassed over 500,000 subscribers and more than 30 million monthly pageviews. In a March 2013 company AMA ("Ask Me Anything"), Reddit's general manager Erik Martin stated that he hates "r/cringepics and anything cringe related and the whole idea." == Impact == Cringe culture has impacted various fandoms. Screen Rant dubbed the phenomenon in which a fandom abruptly dissipates when suddenly deemed cringe (due to the actions of individuals within the fandom or the fandom being re-evaluated as a whole) as the "My Hero Academia Effect". My Hero Academia initially enjoyed popularity in 2020 during the COVID-19 pandemic, but the resurfacing of embarrassing TikTok videos of convention-goers in 2020 caused the My Hero Academia fandom to be deemed cringy, and thus was abandoned by many anime fans. Similarly, the fandom of the Homestuck webcomic, which ran from 2009 to 2016, faced scrutiny when cosplayers filled bathtubs with Sharpies to achieve gray skin coloring (emulating the design of the Homestuck characters), which led to property damage at hotels and convention bans. Many fans subsequently abandoned the fandom, and as a result, according to Screen Rant, the Homestuck fandom was almost non-existent by 2024. It is worth noting that as of September 27, 2025 animation studio SpindleHorse, also responsible for the popular animated show Hazbin Hotel (another common recipient of Cringe Culture discussion) has released a Homestuck animated pilot episode on YouTube. Other fandoms that were deemed cringy include the Stranger Things and Hazbin Hotel fandoms. Isobel Heal of Varsity described being "far too insecure as a teen to even consider listening to songs inspired by My Little Pony or Five Nights at Freddy's regardless of how catchy they were," but found that attending a Living Tombstone concert allowed her to overcome these inhibitions. She wrote that everyone in the crowd was "completely unafraid to engage in the silliness of the entire night," which allowed her to "let my guard down and enjoy the evening without fear of feeling 'cringe.'" Heal described her experience of singing along to tracks like "Discord", a My Little Pony–themed song, provided what she described as healing "the wounds of the younger me" and represented a form of reclaiming interests that had been suppressed due to social pressure and bullying. == Reactions == New York University professor Ocean Vuong observed that students increasingly hesitate to reveal effort behind their creative work. Vuong stated that students often say "I want to be a good writer, but it's a bit cringe" and perform cynicism because it can be misread as intelligence. In May 2022, Taylor Swift addressed cringe culture in her commencement speech at New York University: she advised graduates to "learn to live alongside cringe" and that "cringe is unavoidable over a lifetime." Other celebrities have made public speeches fighting against the perceived notion that "tryharding" is cringe. In his 31st Screen Actors Guild Awards acceptance speech, Timothée Chalamet emphasized his pursuit of greatness and the effort he invested in his roles, which diverged from typical humble acceptance speeches. In her 67th Annual Grammy Awards acceptance speech, rapper Doechii also stressed her dedication and hard work. According to The Daily Dot, X users called Chalamet and Doechii's speeches "refreshing" and decried those who embrace cringe culture as "miserable losers". In 2023, Critical Role dungeon master Matthew Mercer spoke against cringe culture at New York Comic Con: "We live in an odd time of 'cringe culture' where anything that's honest can be called cringe. And I don't agree with that." Mercer argued that much of what is dismissed as cringe consists of "people being their authentic self." In October 2025, actress and singer Ariana Grande discussed her experience with cringe culture in an interview on the podcast Shut Up Evan. She described the phenomenon as "unfair", stating that people should be allowed to express passion and happiness without judgement. She further explained that in the wake of her leading role in the 2024 film Wicked there were those who perceived the behavior of her and costar Cynthia Erivo during the film's press tour as "inauthentic" and therefore cringe. == Analysis == In 2021, Steven Dashiell wrote in the journal Studies in Popular Culture that cringe culture functions as a mechanism for social boundaries within the My Little Pony: Friendship Is Magic fandom, and that cringe culture operates not only between different communities but also within fandoms themselves. In his analysis, Dashiell examined a Reddit thread where a brony (an adult fan of My Little Pony: Friendship Is Magic) expressed embarrassment about other bronies. The thread received over 400 comments in which participants engaged in what Dashiell termed other-izing: distancing themselves from behaviors they deemed cringeworthy. Rather than defending the criticized bronies, commenters consistently used the term cringe to describe their reactions to certain fan behaviors while distinguishing themselves from the so-called "deviant brony" to normalize their own participation in the fandom. A February 2024 Hinge report revealed that more than half of Generation Z worries about cringe while dating and are 50 percent more likely than millennials to delay responding to avoid seeming overeager.

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  • Amplified conference

    Amplified conference

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

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  • Nitro Zeus

    Nitro Zeus

    Nitro Zeus is the project name for a well funded comprehensive cyber attack plan created as a mitigation strategy after the Stuxnet malware campaign and its aftermath. Unlike Stuxnet, that was loaded onto a system after the design phase to affect its proper operation, Nitro Zeus's objectives are built into a system during the design phase unbeknownst to the system users. This built-in feature allows a more assured and effective cyber attack against the system's users. The information about its existence was raised during research and interviews carried out by Alex Gibney for his Zero Days documentary film. The proposed long term widespread infiltration of major Iranian systems would disrupt and degrade communications, power grid, and other vital systems as desired by the cyber attackers. This was to be achieved by electronic implants in Iranian computer networks. The project was seen as one pathway in alternatives to full-scale war.

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  • Quantification (machine learning)

    Quantification (machine learning)

    In machine learning, quantification (variously called learning to quantify, or supervised prevalence estimation, or class prior estimation) is the task of using supervised learning in order to train models (quantifiers) that estimate the relative frequencies (also known as prevalence values) of the classes of interest in a sample of unlabelled data items. For instance, in a sample of 100,000 unlabelled tweets known to express opinions about a certain political candidate, a quantifier may be used to estimate the percentage of these tweets which belong to class `Positive' (i.e., which manifest a positive stance towards this candidate), and to do the same for classes `Neutral' and `Negative'. Quantification may also be viewed as the task of training predictors that estimate a (discrete) probability distribution, i.e., that generate a predicted distribution that approximates the unknown true distribution of the items across the classes of interest. Quantification is different from classification, since the goal of classification is to predict the class labels of individual data items, while the goal of quantification it to predict the class prevalence values of sets of data items. Quantification is also different from regression, since in regression the training data items have real-valued labels, while in quantification the training data items have class labels. It has been shown in multiple research works that performing quantification by classifying all unlabelled instances and then counting the instances that have been attributed to each class (the 'classify and count' method) usually leads to suboptimal quantification accuracy. This suboptimality may be seen as a direct consequence of 'Vapnik's principle', which states: If you possess a restricted amount of information for solving some problem, try to solve the problem directly and never solve a more general problem as an intermediate step. It is possible that the available information is sufficient for a direct solution but is insufficient for solving a more general intermediate problem. In our case, the problem to be solved directly is quantification, while the more general intermediate problem is classification. As a result of the suboptimality of the 'classify and count' method, quantification has evolved as a task in its own right, different (in goals, methods, techniques, and evaluation measures) from classification. == Quantification tasks == === Quantification tasks according to the set of classes === The main variants of quantification, according to the characteristics of the set of classes used, are: Binary quantification, corresponding to the case in which there are only n = 2 {\displaystyle n=2} classes and each data item belongs to exactly one of them; Single-label multiclass quantification, corresponding to the case in which there are n > 2 {\displaystyle n>2} classes and each data item belongs to exactly one of them; Multi-label multiclass quantification, corresponding to the case in which there are n ≥ 2 {\displaystyle n\geq 2} classes and each data item can belong to zero, one, or several classes at the same time; Ordinal quantification, corresponding to the single-label multiclass case in which a total order is defined on the set of classes. Regression quantification, a task which stands to 'standard' quantification as regression stands to classification. Strictly speaking, this task is not a quantification task as defined above (since the individual items do not have class labels but are labelled by real values), but has enough commonalities with other quantification tasks to be considered one of them. Most known quantification methods address the binary case or the single-label multiclass case, and only few of them address the multi-label, ordinal, and regression cases. Binary-only methods include the Mixture Model (MM) method, the HDy method, SVM(KLD), and SVM(Q). Methods that can deal with both the binary case and the single-label multiclass case include probabilistic classify and count (PCC), adjusted classify and count (ACC), probabilistic adjusted classify and count (PACC), the Saerens-Latinne-Decaestecker EM-based method (SLD), and KDEy. Methods for multi-label quantification include regression-based quantification (RQ) and label powerset-based quantification (LPQ). Methods for the ordinal case include ordinal versions of the above-mentioned ACC, PACC, and SLD methods, and ordinal versions of the above-mentioned HDy method. Methods for the regression case include Regress and splice and Adjusted regress and sum. === Quantification tasks according to the type of data === Several subtasks of quantification may be identified according to the type of data involved. Example such tasks are: Quantification of networked data. This task consists of performing quantification when the datapoints are members of a relation, i.e., are interlinked. As such, this task is a strict relative of collective classification. Quantification over time. This task consists of performing quantification on sets that become available in a temporal sequence, i.e., as a data stream, and finds application in contexts in which class prevalence values must be monitored over time. == Evaluation measures for quantification == Several evaluation measures can be used for evaluating the error of a quantification method. Since quantification consists of generating a predicted probability distribution that estimates a true probability distribution, these evaluation measures are ones that compare two probability distributions. Most evaluation measures for quantification belong to the class of divergences. Evaluation measures for binary quantification, single-label multiclass quantification, and multi-label quantification, are Absolute Error Squared Error Relative Absolute Error Kullback–Leibler divergence Pearson Divergence Evaluation measures for ordinal quantification are Normalized Match Distance (a particular case of the Earth Mover's Distance) Root Normalized Order-Aware Distance == Applications == Quantification is of special interest in fields such as the social sciences, epidemiology, market research, allocating resources, and ecological modelling, since these fields are inherently concerned with aggregate data. However, quantification is also useful as a building block for solving other downstream tasks, such as improving the accuracy of classifiers on out-of-distribution data, measuring classifier bias and ranker bias, and estimating the accuracy of classifiers on out-of-distribution data. == Resources == LQ 2021: the 1st International Workshop on Learning to Quantify LQ 2022: the 2nd International Workshop on Learning to Quantify LQ 2023: the 3rd International Workshop on Learning to Quantify LQ 2024: the 4th International Workshop on Learning to Quantify LQ 2025: the 5th International Workshop on Learning to Quantify LeQua 2022: the 1st Data Challenge on Learning to Quantify LeQua 2024: the 2nd Data Challenge on Learning to Quantify QuaPy: An open-source Python-based software library for quantification QuantificationLib: A Python library for quantification and prevalence estimation

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  • Mean opinion score

    Mean opinion score

    Mean opinion score (MOS) is a measure used in the domain of Quality of Experience and telecommunications engineering, representing overall quality of a stimulus or system. It is the arithmetic mean over all individual "values on a predefined scale that a subject assigns to his opinion of the performance of a system quality". Such ratings are usually gathered in a subjective quality evaluation test, but they can also be algorithmically estimated. MOS is a commonly used measure for video, audio, and audiovisual quality evaluation, but not restricted to those modalities. ITU-T has defined several ways of referring to a MOS in Recommendation ITU-T P.800.1, depending on whether the score was obtained from audiovisual, conversational, listening, talking, or video quality tests. == Rating scales and mathematical definition == The MOS is expressed as a single rational number, typically in the range 1–5, where 1 is lowest perceived quality, and 5 is the highest perceived quality. Other MOS ranges are also possible, depending on the rating scale that has been used in the underlying test. The Absolute Category Rating scale is very commonly used, which maps ratings between Bad and Excellent to numbers between 1 and 5, as seen in below table. Other standardized quality rating scales exist in ITU-T Recommendations (such as ITU-T P.800 or ITU-T P.910). For example, one could use a continuous scale ranging between 1–100. Which scale is used depends on the purpose of the test. In certain contexts there are no statistically significant differences between ratings for the same stimuli when they are obtained using different scales. The MOS is calculated as the arithmetic mean over single ratings performed by human subjects for a given stimulus in a subjective quality evaluation test. Thus: M O S = ∑ n = 1 N R n N {\displaystyle MOS={\frac {\sum _{n=1}^{N}{R_{n}}}{N}}} Where R {\displaystyle R} are the individual ratings for a given stimulus by N {\displaystyle N} subjects. == Properties of the MOS == The MOS is subject to certain mathematical properties and biases. In general, there is an ongoing debate on the usefulness of the MOS to quantify Quality of Experience in a single scalar value. When the MOS is acquired using a categorical rating scales, it is based on – similar to Likert scales – an ordinal scale. In this case, the ranking of the scale items is known, but their interval is not. Therefore, it is mathematically incorrect to calculate a mean over individual ratings in order to obtain the central tendency; the median should be used instead. However, in practice and in the definition of MOS, it is considered acceptable to calculate the arithmetic mean. It has been shown that for categorical rating scales (such as ACR), the individual items are not perceived equidistant by subjects. For example, there may be a larger "gap" between Good and Fair than there is between Good and Excellent. The perceived distance may also depend on the language into which the scale is translated. However, there exist studies that could not prove a significant impact of scale translation on the obtained results. Several other biases are present in the way MOS ratings are typically acquired. In addition to the above-mentioned issues with scales that are perceived non-linearly, there is a so-called "range-equalization bias": subjects, over the course of a subjective experiment, tend to give scores that span the entire rating scale. This makes it impossible to compare two different subjective tests if the range of presented quality differs. In other words, the MOS is never an absolute measure of quality, but only relative to the test in which it has been acquired. For the above reasons – and due to several other contextual factors influencing the perceived quality in a subjective test – a MOS value should only be reported if the context in which the values have been collected in is known and reported as well. MOS values gathered from different contexts and test designs therefore should not be directly compared. Recommendation ITU-T P.800.2 prescribes how MOS values should be reported. Specifically, P.800.2 says:it is not meaningful to directly compare MOS values produced from separate experiments, unless those experiments were explicitly designed to be compared, and even then the data should be statistically analysed to ensure that such a comparison is valid. == MOS for speech and audio quality estimation == MOS historically originates from subjective measurements where listeners would sit in a "quiet room" and score a telephone call quality as they perceived it. This kind of test methodology had been in use in the telephony industry for decades and was standardized in Recommendation ITU-T P.800. It specifies that "the talker should be seated in a quiet room with volume between 30 and 120 m³ and a reverberation time less than 500 ms (preferably in the range 200–300 ms). The room noise level must be below 30 dBA with no dominant peaks in the spectrum." Requirements for other modalities were similarly specified in later ITU-T Recommendations. == MOS estimation using quality models == Obtaining MOS ratings may be time-consuming and expensive as it requires the recruitment of human assessors. For various use cases such as codec development or service quality monitoring purposes – where quality should be estimated repeatedly and automatically – MOS scores can also be predicted by objective quality models, which typically have been developed and trained using human MOS ratings. A question that arises from using such models is whether the MOS differences produced are noticeable to the users. For example, when rating images on a five point MOS scale, an image with a MOS equal to 5 is expected to be noticeably better in quality than one with a MOS equal to 1. Contrary to that, it is not evident whether an image with a MOS equal to 3.8 is noticeably better in quality than one with a MOS equal to 3.6. Research conducted on determining the smallest MOS difference that is perceptible to users for digital photographs showed that a MOS difference of approximately 0.46 is required in order for 75% of the users to be able to detect the higher quality image. Nevertheless, image quality expectation, and hence MOS, changes over time with the change of user expectations. As a result, minimum noticeable MOS differences determined using analytical methods such as in may change over time.

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  • Creepy treehouse

    Creepy treehouse

    Creepy treehouse is a social media term, or internet slang, referring to websites or technologies that are used for educational purposes but regarded by students as an invasion of privacy. == History == The term was first described in 2008 by Utah Valley University instructional-design services director Jared Stein as "institutionally controlled technology/tool that emulates or mimics pre-existing [sic] technologies or tools that may already be in use by the learners, or by learners' peer groups." This was when social media such as Facebook was starting to become mainstream and professors would try and get students to interact with them on the site for educational purposes. Some professors would require their students to use Facebook or Twitter as part of class assignments. == Usage == The term was first described as "technological innovations by faculty members that make students’ skin crawl." The term also refers to online accounts and websites that users tend to avoid, especially young people who avoid visiting the pages of educators and other adults. Author Martin Weller defines creepy treehouse as a digital space where authority figures are viewed as invading younger people's privacy. One such example is a professor giving his students an option to use a popular video game to learn about history instead of writing an essay. Students in that class chose to write the essay instead as the method was previously unmentioned and it was not an unnatural method of interaction. Another example given was Blackboard Sync, a feature that was used to connect the school website Blackboard with students' Facebook accounts. == Solutions == University of Regina professor Alec Couros suggests that instead of "forcing" student participation with their own digital platforms, professors should use methods like online forums. Jason Jones of chronicle.com suggested letting students create social media groups for the class themselves and explaining why using technologies is required and important.

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  • List of operating systems

    List of operating systems

    This is a list of operating systems. Computer operating systems can be categorized by technology, ownership, licensing, working state, usage, and by many other characteristics. In practice, many of these groupings may overlap. Criteria for inclusion is notability, as shown either through an existing Wikipedia article or citation to a reliable source. == Proprietary == === Acorn Computers === Arthur ARX MOS RISC iX RISC OS === Amazon === Fire OS === Amiga Inc. === AmigaOS AmigaOS 1.0-3.9 (Motorola 68000) AmigaOS 4 (PowerPC) Amiga Unix (a.k.a. Amix) === Amstrad === AMSDOS Contiki CP/M 2.2 CP/M Plus SymbOS === Apple === Apple II Apple DOS Apple Pascal ProDOS GS/OS GNO/ME Contiki Apple III Apple SOS Apple Lisa Mac Classic Mac OS A/UX (UNIX System V with BSD extensions) Copland MkLinux Pink Rhapsody macOS (formerly Mac OS X and OS X) macOS Server (formerly Mac OS X Server and OS X Server) Apple Network Server IBM AIX (Apple-customized) Apple MessagePad Newton OS iPhone and iPod Touch iOS (formerly iPhone OS) iPad iPadOS Apple Watch watchOS Apple TV tvOS Embedded operating systems bridgeOS Apple Vision Pro visionOS Embedded operating systems A/ROSE iPod software (unnamed embedded OS for iPod) Unnamed NetBSD variant for Airport Extreme and Time Capsule === Apollo Computer, Hewlett-Packard === Domain/OS – One of the first network-based systems. Run on Apollo/Domain hardware. Later bought by Hewlett-Packard. === Atari === Atari DOS (for 8-bit computers) Atari TOS Atari MultiTOS Contiki (for 8-bit, ST, Portfolio) === BAE Systems === XTS-400 === Be Inc. === BeOS BeIA BeOS r5.1d0 magnussoft ZETA (based on BeOS r5.1d0 source code, developed by yellowTAB) === Bell Labs === Unix ("Ken's new system," for its creator (Ken Thompson), officially Unics and then Unix, the prototypic operating system created in Bell Labs in 1969 that formed the basis for the Unix family of operating systems) UNIX Time-Sharing System v1 UNIX Time-Sharing System v2 UNIX Time-Sharing System v3 UNIX Time-Sharing System v4 UNIX Time-Sharing System v5 UNIX Time-Sharing System v6 MINI-UNIX PWB/UNIX USG CB Unix UNIX Time-Sharing System v7 (It is from Version 7 Unix (and, to an extent, its descendants listed below) that almost all Unix-based and Unix-like operating systems descend.) Unix System III Unix System IV Unix System V Unix System V Releases 2.0, 3.0, 3.2, 4.0, and 4.2 UNIX Time-Sharing System v8 UNIX Time-Sharing System v9 UNIX Time-Sharing System v10 Non-Unix Operating Systems: BESYS Plan 9 from Bell Labs Inferno === Burroughs Corporation, Unisys === Burroughs MCP === CII === Siris 8 === Commodore International === GEOS AmigaOS AROS Research Operating System === Control Data Corporation === ==== Lower 3000 series ==== SCOPE (Supervisory Control Of Program Execution) ==== Upper 3000 series ==== SCOPE (Supervisory Control Of Program Execution) Drum SCOPE ==== 6x00 and related Cyber ==== Chippewa Operating System (COS) MACE (Mansfield and Cahlander Executive) Kronos (Kronographic OS) NOS (Network Operating System) NOS/VE (NOS Virtual Environment) SCOPE (Supervisory Control Of Program Execution) NOS/BE NOS Batch Environment SIPROS (Simultaneous Processing Operating System) ==== Star-100 ==== Multiple Console Time Sharing System (MCTS), from General Motors Research === CloudMosa === Puffin OS === Convergent Technologies === Convergent Technologies Operating System (CTOS) – later acquired by Unisys === Cromemco === Cromemco DOS (CDOS) – a Disk Operating system compatible with CP/M Cromix – a multitasking, multi-user, Unix-like OS for Cromemco microcomputers with Z80A and/or 68000 CPU === Data General === AOS for 16-bit Data General Eclipse computers and AOS/VS for 32-bit (MV series) Eclipses, MP/AOS for microNOVA-based computers DG/UX RDOS Real-time Disk Operating System, with variants: RTOS and DOS (not related to PC DOS, MS-DOS etc.) === Datapoint === CTOS Cassette Tape Operating System for the Datapoint 2200 DOS Disk Operating System for the Datapoint 2200, 5500, and 1100 === DDC-I, Inc. === Deos – Time & Space Partitioned RTOS, Certified to DO-178B, Level A since 1998 HeartOS – POSIX-based Hard Real-Time Operating System === Digital Research, Inc. === CP/M CP/M CP/M for Intel 8080/8085 and Zilog Z80 Personal CP/M, a refinement of CP/M CP/M Plus with BDOS 3.0 CP/M-68K CP/M for Motorola 68000 CP/M-8000 CP/M for Zilog Z8000 CP/M-86 CP/M for Intel 8088/8086 CP/M-86 Plus Personal CP/M-86 MP/M Multi-user version of CP/M-80 MP/M II MP/M-86 Multi-user version of CP/M-86 MP/M 8-16, a dual-processor variant of MP/M for 8086 and 8080 CPUs. Concurrent CP/M, the successor of CP/M-80 and MP/M-80 Concurrent CP/M-86, the successor of CP/M-86 and MP/M-86 Concurrent CP/M 8-16, a dual-processor variant of Concurrent CP/M for 8086 and 8080 CPUs. Concurrent CP/M-68K, a variant for the 68000 DOS Concurrent DOS, the successor of Concurrent CP/M-86 with PC-MODE Concurrent PC DOS, a Concurrent DOS variant for IBM compatible PCs Concurrent DOS 8-16, a dual-processor variant of Concurrent DOS for 8086 and 8080 CPUs Concurrent DOS 286 Concurrent DOS XM, a real-mode variant of Concurrent DOS with EEMS support Concurrent DOS 386 Concurrent DOS 386/MGE, a Concurrent DOS 386 variant with advanced graphics terminal capabilities Concurrent DOS 68K, a port of Concurrent DOS to Motorola 68000 CPUs with DOS source code portability capabilities FlexOS 1.0 – 2.34, a derivative of Concurrent DOS 286 FlexOS 186, a variant of FlexOS for terminals FlexOS 286, a variant of FlexOS for hosts Siemens S5-DOS/MT, an industrial control system based on FlexOS IBM 4680 OS, a POS operating system based on FlexOS IBM 4690 OS, a POS operating system based on FlexOS Toshiba 4690 OS, a POS operating system based on IBM 4690 OS and FlexOS FlexOS 386, a later variant of FlexOS for hosts IBM 4690 OS, a POS operating system based on FlexOS Toshiba 4690 OS, a POS operating system based on IBM 4690 OS and FlexOS FlexOS 68K, a derivative of Concurrent DOS 68K Multiuser DOS, the successor of Concurrent DOS 386 CCI Multiuser DOS Datapac Multiuser DOS Datapac System Manager, a derivative of Datapac Multiuser DOS IMS Multiuser DOS IMS REAL/32, a derivative of Multiuser DOS IMS REAL/NG, the successor of REAL/32 DOS Plus 1.1 – 2.1, a single-user, multi-tasking system derived from Concurrent DOS 4.1 – 5.0 DR-DOS 3.31 – 6.0, a single-user, single-tasking native DOS derived from Concurrent DOS 6.0 Novell PalmDOS 1.0 Novell "Star Trek" Novell DOS 7, a single-user, multi-tasking system derived from DR DOS Caldera OpenDOS 7.01 Caldera DR-DOS 7.02 and higher === Digital Equipment Corporation, Compaq, Hewlett-Packard, Hewlett Packard Enterprise === Batch-11/DOS-11 OS/8 RSTS/E – multi-user time-sharing OS for PDP-11s RSX-11 – multiuser, multitasking OS for PDP-11s RT-11 – single user OS for PDP-11 TOPS-10 – for the PDP-10 TENEX – an ancestor of TOPS-20 from BBN, for the PDP-10 TOPS-20 – for the PDP-10 DEC MICA – for the DEC PRISM Digital UNIX – derived from OSF/1, became HP's Tru64 UNIX Ultrix VMS – originally by DEC (now by VMS Software Inc.) for the VAX mini-computer range; later renamed OpenVMS and ported to Alpha, and subsequently ported to Intel Itanium and then to x86-64 WAITS – for the PDP-6 and PDP-10 === ENEA AB === OSE – Flexible, small footprint, high-performance RTOS for control processors === Fujitsu === Towns OS XSP OS/IV MSP MSP-EX === GEC Computers === COS DOS OS4000 === General Electric, Honeywell, Bull === Real-Time Multiprogramming Operating System GCOS Multics === Google === ChromiumOS is an open source operating system development version of ChromeOS. Both operating systems are based on the Linux kernel. ChromeOS is designed to work exclusively with web applications, though has been updated to run Android apps with full support for Google Play Store. Announced on July 7, 2009, ChromeOS is currently publicly available and was released summer 2011. The ChromeOS source code was released on November 19, 2009, under the BSD license as ChromiumOS. Container-Optimized OS (COS) is an operating system that is optimized for running Docker containers, based on ChromiumOS. Android is an operating system for mobile devices. It consists of Android Runtime (userland) with Linux (kernel), with its Linux kernel modified to add drivers for mobile device hardware and to remove unused Vanilla Linux drivers. gLinux, a Linux distribution that Google uses internally Fuchsia is a capability-based real-time operating system (RTOS) scalable to universal devices, in early development, from the tiniest embedded hardware, wristwatches, tablets to the largest personal computers. Unlike ChromeOS and Android, it is not based on the Linux kernel, but instead began on a new microkernel called "Zircon", derived from "Little Kernel". Wear OS a version of Google's Android operating system designed for smartwatches and other wearables. === Green Hills Software === INTEGRITY – Reliable Operating system INTEGRITY-178B – A DO-178B certified version of INTEGRITY. μ-

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  • Absher (application)

    Absher (application)

    Absher (Arabic: أبشر ‘Absher, roughly meaning "good tidings" or "yes, done") is a smartphone application and web portal which allows citizens and residents of Saudi Arabia to use a variety of governmental services. Amongst several other services with the Absher app, it can be used to apply for jobs and Hajj permits, passport info can be updated, and electronic crimes can be reported. The application provides around 280 services for residents of Saudi Arabia including but not limited to making appointments, renewing passports, residents' cards, IDs, driver's licenses and others, and, controversially, enables Saudi men to track the whereabouts of women they control as part of the country's male guardianship system. The app can be downloaded from the Google Play Store and Apple App Store and is supplied by the Saudi Interior Ministry. According to the Ministry of the Interior, Absher has more than 20 million users. As of February 2019, Absher has been downloaded 4.2 million times from the App Store. Some services provided through Absher can also be accessed through the website absher.sa. In March 2021, Saudi Arabia launched the digital version of the Absher for individuals app through which the users can download a copy of their digital ID. Then, new services were added to the platform such as online birth and death registration services, requesting amendments to academic credentials, correcting names in English and marital status and requesting civil records of children. == Impact on women's rights == The app has been criticized by various human rights activists, human rights organisations and international communities. The US and European countries have also condemned the app and urged the kingdom to end its male guardianship system. Absher gained media attention in 2019 for its functions supporting the Saudi policy of male guardianship following an investigation by Business Insider. The app allows for designated guardians to receive notifications if a woman under their guardianship passes through an airport and subsequently gives them the option to withdraw her right to travel. In a few cases, this system has been circumvented by women who have been able to gain control over its settings and use it to allow themselves to travel. US Senator Ron Wyden of Oregon wrote a letter to the CEO's of Apple and Google, criticizing the app and demanding for its removal immediately. Wyden said "American companies should not enable or facilitate the Saudi government's patriarchy," and called the Saudi system of control over women "abhorrent". According to the EU lawmakers, current rules imposed over the women by the Saudi government make women “second-class citizens”. The lawmakers also asked the EU states to continue to build pressure on Riyadh so as to improve the conditions of women and human rights. Amnesty International and Human Rights Watch accused Apple and Google of helping "enforce gender apartheid" by hosting the app. US congresswomen Rep. Katherine Clark and Rep. Carolyn B. Maloney condemned the kingdom's male guardianship system that reflected from the app, calling Absher a "patriarchal weapon" and asking for its removal. In response to the criticism received by Absher, Apple chief executive officer Tim Cook stated in February 2019 that he intended to investigate the situation. Similarly, Google announced that it would also review the application. After a prompt review, Google declined to remove the app from Google Play, citing that it did not violate the agreed upon terms and conditions of the store. Saudi doctor Khawla Al-Kuraya supported this app an editorial in Bloomberg News. Kuraya wrote that Absher helped Saudi women avoid governmental bureaucracy as it allows their male guardians to process their travel permits anywhere and anytime through Absher. Although she believes that the guardianship system needs to be reconsidered, she thinks that Absher is an important step towards facilitating women-guardians related issues in Saudi Arabia. Absher manager Atiyah Al-Anazy announced in 2019 that two million women were using the application in Saudi Arabia to facilitate their transactions. Some female users stated that the application has made their movement and travel-related issues easier. New measures were introduced that year to allow Saudi women above the age of 18 to travel without their male guardians, which ultimately released male authoritative rights on women. A law was subsequently passed allowing women over the age of 21 to receive a passport and travel without prior male permission.

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  • Cultural technology

    Cultural technology

    Cultural technology (Korean: 문화기술; Hanja: 文化技術; RR: munhwagisul) is a system used by South Korean talent agencies to promote K-pop culture throughout the world as part of the Korean Wave. The system was developed by Lee Soo-man, founder of talent agency and record company SM Entertainment. == History == === Coinage === During a speech at the Stanford Graduate School of Business in 2011, Lee said he coined the term "cultural technology" as a system about fourteen years prior, when S.M. Entertainment decided to promote its K-pop artists to all of Asia. In the late 1990s, Lee and his colleagues created a manual on cultural technology, which specified the steps needed to popularize K-pop artists outside South Korea. "The manual, which all S.M. employees are instructed to learn, explains when to bring in foreign composers, producers, and choreographers; what chord progressions to use in what country; the precise color of eyeshadow a performer should wear in a particular country; the exact hand gestures he or she should make; and the camera angles to be used in the videos (a three-hundred-and-sixty-degree group shot to open the video, followed by a montage of individual closeups)," according to The New Yorker. The term "cultural technology," apart from Lee's systemized definition, can be traced back to the lectures of Michael White, an Australian social worker, educator, and therapeutic theorist and his works Narrative Means to Therapeutic Ends (1990) and Maps of Narrative Practice (2007). Its usage may also date further back to French philosopher Michel Foucault (1977). South Korean computer scientist Kwangyun Wohn said he coined the term "culture technology" in 1994. Cultural technology has also been one of six technology initiatives of the South Korean government since 2001. In regards to cultural technology, the Korean Wave is considered one of the most successful outcomes of government support of exporting Korean entertainment products. === The Four Core Stages === The cultural technology system originally employed by SM Entertainment since the 1990s existed in four stages: Casting, Training, Producing, and Marketing/Managing. Each of these four stages were curated to help spread the Hallyu wave through the development of its artists, and are present in the strategies of many other South Korean talent agencies when creating, debuting, and marketing groups. ==== Casting ==== While the majority of K-pop idols are from South Korea, some are from Japan, China, or Thailand. Many of Korea's entertainment companies, such as SM's Global Auditions, Bighit's Hit It auditions, and YG's Next Generation, host worldwide auditions. Scouting and streetcasting are also common, with members like BTS's Jin recruited for their looks or other surface reasons. Sometimes, casting agents go to dance schools to recruit the top dancers to be trained further at the entertainment company. ==== Training ==== Idols train extensively before debut. They receive training in dance, vocal activities, presentation, and other areas that will benefit them in the industry. Oftentimes, this training will last for years at a time, and trainees are in the proverbial dungeon. Before debut, idols and groups attempt to gain fans through pre-debut activities. SM Entertainment has a system in place called SM Rookies, which is a pre-debut team that hosts concerts and releases videos that strengthen the fanbase of the group even before their first single is released. Other forms of pre-debut activities include featuring in other, more seasoned idols' videos—like Nu'est in Orange Caramel or Exo in Girls' Generation-TTS Twinkle or BTS in Jo Kwon. One particular method of pre-debut training is coupled with casting in production shows, like Sixteen and Produce 101, in which members for a final group are selected and trained. ==== Producing ==== The production of music is integral in culture technology. For cultural technology, production of music helps create differentiated content to set trends in the K-pop world—trends that vary from music to also costume, choreography, and music videos. SM in particular focuses heavily on the expansion globally. Some companies also outsource production to more internationally famed parties, like Cube Entertainment's partnership with Skrillex for 4minute's Act. 7. ==== Marketing/Managing ==== In the marketing and management stage, talent agencies seek to broaden their reach. Often, idols have potential for being actors and actresses in dramas, or perhaps hosts/permanent members of variety shows like Kim Hee-chul in Knowing Bros. This so-called omnidirectional marketing lineup ranges over lifestyle and seeks to reach many aspects of living, like music, TV, drama, entertainment, sports, and fashion. This is also where older groups find new life, like Super Junior. Companies are not complacent but experiment constantly to develop the best marketing for the best management system. Marketing also aspires to branch out to international audiences, sometimes via the implementation of variety shows. Despite being primarily in Korean, these variety shows are accessible to all due to the simplistic, easily understood nature of shows—game-oriented shows like Run BTS! or consistently subbed shows like Weekly Idol are popular in showing the fun-loving side of idols. == Evolution into New Culture Technology == In February 2016, SM hosted a press conference discussing the future of SM and its cultural technology. Lee Soo-man announced the implementation of New Culture Technology, an SM-specific system. While SM's cultural technology in the past relied on local, Korean artists like Rain and BoA, the updated model tries to embed more and more foreign singers from strategic markets into larger girl or boy bands. These imported singers are then used to promote their acts back in their respective home countries. New Culture Technology is five projects—SM Station, EDM, Digital Platforms, Rookies Entertainment, and MCN—and one experimental group, NCT. It is a convergence and expansion of SM's four core culture technologies developed and deals heavily with interaction and the desire to innovate through communication. === SM Station === SM announced their intention of creating a new song every week for 52 weeks. Through this constant output of music, they intend to stray away from conventional forms of music and show active movement in digital music market and physical album market through freely and continuously releasing music. Additionally, this SM Station will feature collaborations between artists, producers, composers, and company brands outside the SM label. The name of SM Station is both derived from the radio station and the metaphorical train station. === NCT === Neo Culture Technology (NCT) introduced the idea of "Interactive". SM company tried to connect the targeting market, customers and artist, in order to lead the K-pop culture. NCT (Neo Culture Technology) is the new artist group formed by SM that embodies the concepts of cultural technology. With the seemingly limitless combinations and groups, SM aspires to make the whole world a stage for NCT. Since 2023, there are six NCT groups, who debuted on the digital song sales: NCT U, NCT 127, NCT Dream, WayV, NCT DoJaeJung, and NCT Wish. As of October 2023, the group consists of 25 members: Johnny, Taeyong, Yuta, Kun, Doyoung, Ten, Jaehyun, Winwin, Jungwoo, Mark, Xiaojun, Hendery, Renjun, Jeno, Haechan, Jaemin, Yangyang, Chenle, Jisung, Sion, Riku, Yushi, Daeyoung, Ryo, and Sakuya. ScreaM Records ScreaM Records has been released by SM Entertainment as an EDM label since 2016 for "SM TOWN: New Culture Technology". ScreaM Records is made for "performances made to be enjoyed". It collaborates with inside and outside Korean well-known EDM DJs. ScreaM Records has first launched collaborated song "Wave" E-Mart's home electronics store, Electro Mart. "Our goal is to provide opportunities to producers who have yet to be discovered and produce world famous DJs from the Asian scene." a ScreaM Records representative said. == Three stages of globalization == According to Lee, there are three stages necessary to popularize Korean culture outside South Korea: exporting the product, collaborating with international companies to expand the product's presence abroad, and finally creating a joint venture with international companies. As part of their joint ventures with international companies, South Korean talent agencies may hire foreign composers, producers, and choreographers to ensure K-pop songs feel "local" to foreign countries.

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  • Webedia

    Webedia

    Webedia S.A. is a company specializing in online media, a subsidiary of the Fimalac group based in Levallois-Perret, France. Webedia is active in more than twenty countries including France (AlloCiné, Jeuxvideo.com, MGG, Puremédias, Ode, Pureshopping, Volum, Terrafemina, 750g, easyVoyage, l’Automobile Magazine, Le 10 Sport), Brazil (AdoroCinema, Tudo Gostoso, Minhavida), Germany (Filmstarts, Moviepilot, GameStar), Spain and Latin America (Xataka, SensaCine, Raiser Games), Poland (Gry-Online and GetHero) and the United States (Boxoffice Pro). == History == === Early years (2007-2013) === Webedia was created in France in 2007, following the successive launches of the websites Purepeople, Puretrend and Purefans. Webedia bought the comparison shopping website Shopoon in 2008 and renamed it Pureshopping, and the website Ozap (media news) from M6 group in 2011 and renamed it Puremédias. Webedia was acquired by Fimalac in May 2013 and became its Internet media subsidiary. === Growth (2013-2016) === In 2013, Fimalac acquired AlloCiné, the websites Newsring and Youmag, the cooking website 750g and the cultural platform Exponaute. In 2014, Webedia acquired OverBlog, Jeuxvideo.com (through L'Odyssée Interactive and moved to Paris in 2015), Moviepilot (Germany), and Gameo Consulting (owner of Millenium, electronic sports), In December 2014, Webedia announced a license agreement with Ziff Davis to launch sites under the IGN franchise in Brazil and France at the beginning of 2015. The French version of IGN was launched on 2, it targets the general public and casual gamers. In 2015, Webedia acquired Côté Ciné Group (technological solutions for movie theaters and specialized press magazines: BoxOffice Pro in the United States and Côté Ciné in France), 57% of Easyvoyage group (online travel comparators Easyvol and Alibabuy, Mixicom (website JeuxActu and multi-channel network), 50% of the Brazilian network Paramaker, and West World Media (digital marketing company for the film industry). In 2016, Webedia bought Scimob (mobile video game studio), Surprizemi (home-delivered surprise boxes), Eklablog (blogging platform) Oxent (eSports World Convention), and Bang Bang Management (sports PR agency). In addition, an agreement is made with Paris Saint-Germain for Webedia to recruit and manage e-sports players on behalf of Paris Saint-Germain eSports. On November 15, 2016, the LFP announced that it had reached an agreement with beIN Sports and Webedia for the broadcasting of the first edition of the e-League 1. The competition is renewed for two additional seasons on July 26, 2017, the broadcasting agreements are renewed. On December 8, 2016, Webedia joined forces with Chronopost to launch Pourdebon, a home delivery service that connects Internet users and labeled producers (AOC, organic AB, etc.). Webedia has a slight majority (53%) in this new platform. === 2017 === On January 19, 2017, Webedia announced the acquisition of the English company Peach Digital, specializing in web development and digital marketing for movie theaters. In February 2017, Le Figaro announced that Webedia had invested 10 million euros in Illico Fresco, a home delivery service for baskets of recipes. The same month, FDJ and Webedia announced a partnership for the creation of eSports competitions: a professional one (FDJ Masters League) and another one for amateur gamers (FDJ Open Series) starting in March 2017. They are broadcast on Webedia's Web TV. At the end of February 2017, the media group finalized the acquisition of MyPoseo, a SaaS publisher specialized on SEO analytics. On March 8, 2017, Webedia launched LeStream, a Twitch Web TV dedicated to video games, the result of two years of development, in the company of several YouTubers including Cyprien and Squeezie,. On March 29, 2017, Webedia bought the Brazilian web publisher Minha Vida, a website devoted to health, nutrition, beauty and fitness, which attracts 14.3 million unique monthly visitors. Webedia reaches 44 million unique visitors in Brazil, and thus becomes the leading publisher on entertainment themes. In June 2017, the company made its largest international acquisition, with the American agency 3BlackDot, a media and marketing agency focused on videogamers. The agency, based in Los Angeles, manages 36 YouTubers followed by millions of subscribers on their channels which total 700 million videos viewed per month. In July 2017, Webedia bought IDZ, an audiovisual production company, and thus strengthened its production activities and its leadership on the YouTube channel networks in France. That year, Webedia was the first French media group to use the measurement of their global audiences by Comscore. It represents deduplicated coverage on desktops, laptops, smartphones and tablets, and includes audiences for websites, mobile applications and videos. This new measure allows Webedia to establish a deduplicated global audience of 177 million unique visitors in April 2017. In October 2017, Webedia announced its intention to launch a TV channel dedicated to electronic sports, called ES1. The channel was officially launched on January 10, 2018, on Orange TV and on February 6, 2018, on Free and Bouygues Telecom. In November 2017, Webedia, with the support of CDC International Capital, entered into exclusive negotiations with the Saudi company Uturn Entertainment, specializing in online entertainment, particularly on YouTube, and the production of digital content for the region's youth, with a view to merging it with Diwanee, a Webedia subsidiary in the Middle East, for an amount close to $100 million. In December 2017, Webedia acquired a majority stake in the United States–based company called Creators Media, which brings together social and video production platforms specializing in popular culture and entertainment. That same month, Webedia joined forces with Elephant, Emmanuel Chain's audiovisual production company, to create a new content production label aimed at Millennials. === 2018-2019 === In January 2018, Webedia launched a sports marketing agency: Only Sports & Passions. That same month, Illico Fresco, specialist in the delivery of kit meals belonging to Webedia, joined forces with Weight Watchers, the world leader in slimming products. In April 2018, Webedia published new audience figures in partnership with Comscore, 188 million unique monthly visitors in December 2017, an increase of 6.2% compared to the previous measure dating from April 2017. The same month, Webedia unveils its ambitions concerning content production, as a partnership with the video game studio Focus Home Interactive is signed with a title "Fear the Wolves" already planned for 2018, co-production projects of films, cartoons or series are announced. In July 2018, Webedia bought the American authors company Full Fathom Five, a company that helps authors produce books, TV series, films and video games. In October 2018, Webedia announced that it was focusing on both esports clubs PSG Esports and LeStream Esport. The first one being geared towards international competitions and the second devoted mainly to the French esports scene. The "Millenium" brand is thus refocusing around its media activities and esports merchandising products, and the "Millenium esport club" being gradually closed. The same month, the company announced the acquisition of Weblogs, a Spanish-speaking website publisher, thereby strengthening its activity in Spain and Latin America. On October 22, 2018, Webedia announced the merger of BoxOffice magazine with Film Journal International. On November 13, 2018, Groupe SEB announced the acquisition from Webedia of 750g International, the international branch of the French recipe site 750g (the original French website 750g.com being retained by Webedia). The group is thus separating from Gourmandize (United States and United Kingdom), HeimGourmet (Germany), Rebañando (Spain), Receitas Sem Fronteiras (Brazil / Portugal) and Tribù Golosa (Italy). The same month, Webedia joined forces with Riot Games to launch the French League of League of Legends (LFL), the first French professional league on the League of Legends game, which will bring together the 8 best teams on the French scene. In March 2019, Webedia bought 51% of the audiovisual production company Elephant. The new set will weigh 500 million euros, a quarter of which will be made outside France. The same month, Webedia purchased a majority stake in the company Partoo, which publishes a SaaS platform specializing in local marketing for brands and merchants. On March 14, 2019, a new measurement of the international audience of Webedia sites was produced by Comscore, posting 250 million unique visitors in December 2018, up 9.2% compared to December 2017. In June 2019, the group joined forces with Michel Cymes, a famous doctor and French TV host by taking a majority stake in his company Club Santé Débat, in order to develop a health platform around the Dr. Good! Brand. In Sep

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