AI Coding Laptop

AI Coding Laptop — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Patent visualisation

    Patent visualisation

    Patent visualisation is an application of information visualisation. The number of patents has been increasing, encouraging companies to consider intellectual property as a part of their strategy. Patent visualisation, like patent mapping, is used to quickly view a patent portfolio. Software dedicated to patent visualisation began to appear in 2000, for example Aureka from Aurigin (now owned by Thomson Reuters). Many patent and portfolio analytics platforms, such as Questel, Patent Forecast, PatSnap, Patentcloud, Relecura, and Patent iNSIGHT Pro, offer options to visualise specific data within patent documents by creating topic maps, priority maps, IP Landscape reports, etc. Software converts patents into infographics or maps, to allow the analyst to "get insight into the data" and draw conclusions. Also called patinformatics, it is the "science of analysing patent information to discover relationships and trends that would be difficult to see when working with patent documents on a one-and-one basis". Patents contain structured data (like publication numbers) and unstructured text (like title, abstract, claims and visual info). Structured data are processed by data-mining and unstructured data are processed with text-mining. == Data mining == The main step in processing structured information is data-mining, which emerged in the late 1980s. Data mining involves statistics, artificial intelligence, and machine learning. Patent data mining extracts information from the structured data of the patent document. These structured data are bibliographic fields such as location, date or status. === Structured fields === === Advantages === Data mining allows study of filing patterns of competitors and locates main patent filers within a specific area of technology. This approach can be helpful to monitor competitors' environments, moves and innovation trends and gives a macro view of a technology status. == Text-mining == === Principle === Text mining is used to search through unstructured text documents. This technique is widely used on the Internet, it has had success in bioinformatics and now in the intellectual property environment. Text mining is based on a statistical analysis of word recurrence in a corpus. An algorithm extracts words and expressions from title, summary and claims and gathers them by declension. "And" and "if" are labeled as non-information bearing words and are stored in the stopword list. Stoplists can be specialised in order to create an accurate analysis. Next, the algorithm ranks the words by weight, according to their frequency in the patent's corpus and the document frequency containing this word. The score for each word is calculated using a formula such as: W e i g h t = T e r m F r e q u e n c y D o c u m e n t F r e q u e n c y = F r e q u e n c y o f t h e w o r d o r e x p r e s s i o n i n t h e T e x t S e a N u m b e r o f d o c u m e n t s c o n t a i n i n g t h e e x p r e s s i o n o r w o r d {\displaystyle Weight={\frac {Term\ Frequency}{Document\ Frequency}}={\frac {Frequency\ of\ the\ word\ or\ expression\ in\ the\ Text\ Sea}{Number\ of\ documents\ containing\ the\ expression\ or\ word}}} A frequently used word in several documents has less weight than a word used frequently in a few patents. Words under a minimum weight are eliminated, leaving a list of pertinent words or descriptors. Each patent is associated to the descriptors found in the selected document. Further, in the process of clusterisation, these descriptors are used as subsets, in which the patent are regrouped or as tags to place the patents in predetermined categories, for example keywords from International Patent Classifications. Four text parts can be processed with text-mining : Title Abstract Claim Patent Full-Text Software offer different combinations but title, abstract and claim are generally the most used, providing a good balance between interferences and relevancy. === Advantages === Text-mining can be used to narrow a search or quickly evaluate a patent corpus. For instance, if a query produces irrelevant documents, a multi-level clustering hierarchy identifies them in order to delete them and refine the search. Text-mining can also be used to create internal taxonomies specific to a corpus for possible mapping. == Visualisations == Allying patent analysis and informatic tools offers an overview of the environment through value-added visualisations. As patents contain structured and unstructured information, visualisations fall in two categories. Structured data can be rendered with data mining in macrothematic maps and statistical analysis. Unstructured information can be shown in like clouds, cluster maps and 2D keyword maps. === Data mining visualisation === === Text mining visualisation === === Visualisation for both data-mining and text-mining === Mapping visualisations can be used for both text-mining and data-mining results. == Uses == What patent visualisation can highlight: Competitors Partners New innovations Technologic environment description Networks Field application: R&D strategy management Competitive intelligence Licensing Strategy

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  • SPACEMAP

    SPACEMAP

    SPACEMAP (Korean: 스페이스맵) is a South Korean satellite orbit optimization and satellite communications company headquartered in Seoul, South Korea. The company was founded in 2021 by CEO, Douglas Deok-Soo Kim, as an offshoot of Hanyang University. It was funded by the Leader Research grant from the National Research Foundation of Korea with the goal of capitalizing on the growing space industry. == History == Kim initially began research into Voronoi diagrams at the University of Michigan. He met with Dr. Misoon Ma, former director of the Asia Division of the U.S. Air Force Office of Scientific Research (AFOSR) and was recruited to work with the U.S. Air force, using Voronoi diagrams for a satellite collision prevention program. After his work with the U.S. Air Force, Kim founded SPACEMAP Inc in September 2021. In 2023, the company was selected by Korea's Tech Incubator Program for Startups (TIPS) to be funded up to 17 billion KRW (approx. US$13 million) in 3 years. == Technology == The services provided by SPACEMAP are based on using dynamic Voronoi diagrams to predict satellite orbits with the aim of enhancing space mission safety and efficiency. For complex problems involving many moving points, Voronoi diagrams maintain a near-constant computation time regardless of the number of points involved. By utilizing Voronoi diagrams and artificial intelligence, the software can easily determine the number of neighboring satellites surrounding a specific satellite and calculate the distances between them, thereby predicting the probability of a collision. SPACEMAP claims their method to be superior in computational time and memory efficiency, compared to the previously established three-filter method. == Products == SPACEMAP offers satellite products and services including the following: AstroOne, a conjunction assessment, and optimal collision avoidance service for all space vehicles in both orbital and non-orbital motions. AstroOrca, providing data transmission for satellites in multiple orbits, launch optimization, shuttle logistics for space gas stations, and Active Debris Removal (ADR) itinerary. AstroLibrary, a library of RESTful APIs to access the C++ implementation of SPACEMAP's Voronoi diagram algorithms wrapped in a Python interface. It also provides real-time tracking of the North Korean reconnaissance satellite, Malligyong-1.

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  • Variable-message sign

    Variable-message sign

    A variable- (also changeable-, electronic-, or dynamic-) message sign or message board, often abbreviated VMS, VMB, CMS, or DMS, and in the UK known as a matrix sign, is an electronic traffic sign often used on roadways to give travelers information about special events. Such signs warn of traffic congestion, accidents, incidents such as terrorist attacks, Amber/Silver/Blue Alerts, roadwork zones, or speed limits on a specific highway segment. In urban areas, VMS are used within parking guidance and information systems to guide drivers to available car parking spaces. They may also ask vehicles to take alternative routes, limit travel speed, warn of duration and location of the incidents, inform of the traffic conditions, or display general public safety messages. == History == VMS systems were deployed at least as early as the 1950s on the New Jersey Turnpike. The road's signs of that period, and up to around 2012, were capable of displaying a few messages in neon, all oriented around warning drivers to slow down: "REDUCE SPEED", followed by a warning of either construction, accident, congestion, ice, snow, or fog at a certain distance ahead. The New Jersey Turnpike Authority replaced those signs (along with 1990s-vintage dot-matrix VMS systems along the Garden State Parkway) with more flexible electronic signs between 2010 and 2016. The current VMS systems are largely deployed on freeways, trunk highways, or in work zones. On the interchange of I-5 and SR 120 in San Joaquin County, California, an automated visibility and speed warning system was installed in 1996 to warn traffic of reduced visibility due to fog (where tule fog is a common problem in the winter), and of slow or stopped traffic. Message Signs were deployed in Ontario during the 1990s and are now being upgraded on 400-series highways as well as two pilot secondary highways in northeastern Ontario. == Technologies and types == Early variable message signs included static signs with words that would illuminate (often using neon tubing) indicating the type of incident that occurred, or signs that used rotating prisms (trilons) to change the message being displayed. These were later replaced by dot matrix displays typically using eggcrate, fiber optic, or flip-disc technology, which were capable of displaying a much wider range of messages than earlier static variable message signs. Since the late 1990s, the most common technology used in new installations for variable message signs are LED displays. In recent years, some newer LED variable message signs have the ability to display colored text and graphics. Dot-matrix variable message signs are divided into three subgroups: character matrix, row matrix, and full matrix. In a character matrix VMS, each character is given its own matrix with equal horizontal spacing between them, typically with two or three rows of characters. In a full matrix VMS, the entire sign is a single large dot matrix display, allowing the display of different fonts and graphics. A row matrix VMS is a hybrid of the two types, divided into two or three rows like a character matrix display, except each row is a single long dot matrix display instead of being split per character horizontally. Overhead variable message signs are today available in three form factors: front access, rear access, and walk-in. In a front access variable message sign, maintenance is performed by lifting the sign open from the front. Most smaller VMS are of the front access form factor, and are typically installed today on major arterials. The rear access form factor is similar to the front access form factor, except that maintenance is performed from the rear of the sign, and are commonly used for medium-sized dynamic message signs installed along the roadside of freeways (instead of overhead). The walk-in form factor is a more recent introduction, where maintenance on the sign is performed from the inside of the sign. A key advantage of the walk-in form factor is that lane closures are generally not required to perform maintenance on the sign. Most of the largest VMS units installed today are walk-in units, and are typically installed overhead on freeways. The NJ Turnpike Authority counts five unique types of variable message signs under its jurisdiction, at least one of which has been replaced by newer signs. They are: "REDUCE SPEED" neon signs (1950s-2010, obsolete, have now been replaced). "Changeable message signs" (trilon/ rotating-drum signs that can be used for closing roads or moving traffic to other roadways). Electronic VMS: signs with remotely controlled messages displayed on them; the messages are sent from the State Traffic Management Center, updating the signs automatically. Variable speed limit signs - used for varying the posted speed limits within work zones and in emergencies. Portable VMS: movable "electronic VMS". A portable VMS has much the same characteristics as a fixed electronic VMS, but can be moved from location to location as the need dictates. == Usage == Early models required an operator to be physically present when programming a message, whereas newer models may be reprogrammed remotely via a wired or wireless network or cellphone connection. A complete message on a panel generally includes a problem statement indicating incident, roadwork, stalled vehicle etc.; a location statement indicating where the incident is located; an effect statement indicating lane closure, delay, etc. and an action statement giving suggestion what to do traffic conditions ahead. These signs are also used for Amber alert messages, and in some states, Silver and Blue Alert messages. In some places, VMSes are set up with permanent, semi-static displays indicating predicted travel times to important traffic destinations such as major cities or interchanges along the route of a highway. Typical messages provide the following information: Promotional messages about services provided by a road authority during non-critical hours, such as carpooling efforts, travelers' information stations and 5-1-1 lines Crashes, including vehicle spin-out or rollover Road Works Incidents affecting normal traffic flow in a lane or on shoulders Non-recurring congestion, often a residual effect of cleared crash Closures of an entire road, e.g. over a mountain pass in winter. Exit ramp closures Debris on roadway Vehicle fires Wildfires Short-term maintenance or construction lasting less than three days Pavement failure alerts AMBER, Silver, and Blue Alerts, as well as weather warnings via the warning infrastructure of NOAA Weather Radio's SAME system Travel times Variable speed limits Car park occupancy levels speed sign, for recommending a speed to approach the next traffic light in its green phase. The information comes from a variety of traffic monitoring and surveillance systems. It is expected that by providing real-time information on special events on the oncoming road, VMS can improve motorists' route selection, reduce travel time, mitigate the severity and duration of incidents and improve the performance of the transportation network. === United Kingdom === Do not enter the motorway when the red lamps are flashing in pairs from side to side. On 27 March 1972, the first motorway computer-controlled warning lights in the UK, with 59 miles on the M6 from Broughton, Lancashire to Barthomley, on the Cheshire boundary, and 26 miles on the M62 east of Whitefield, was switched on by Michael Heseltine and Charles Legh Shuldham Cornwall-Legh, 5th Baron Grey of Codnor at the headquarters of Cheshire Constabulary on Nuns Road. It was centred at a police computer centre at Westhoughton, that connected to police stations in Preston and Chester. The Chester site was soon be connected to the M53 and M57. Four other regional computer centres would be opened at Perry Barr near the M6, Scratchwood near the M1, at Hook near the M3, and at Almondsbury near the M4. Most British motorways would be covered by 1975. The system was designed by GEC and had taken five years to design. == Safety messages for drivers == Increasingly, signs have been used to remind drivers to buckle seat belts ("Click It or Ticket"), obey the speed limit, and stay off the road if impaired ("Drive sober or get pulled over"). In a federal study, a slight majority of drivers reported that public safety messages on dynamic message signs impacted their driving behaviors. The Ohio Department of Transportation began using humorous dynamic message signs in 2015, perplexing some drivers. Examples of humorous signs seen in New Jersey, Arizona, Texas, Pennsylvania, Delaware, Iowa, New York, Minnesota and Ohio include: "Hold on to your butts. Help prevent forest fires." "We'll be blunt. Don't drive high." "Visiting in-laws? Slow down, get there late." "Only sparklers should be lit." and “Don’t drive Star Spangled hammered." (for Fourth of July) "Hocus pocus – drive with focus." and "Slow down in work zones - my mummy works here." (f

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  • Digital history

    Digital history

    Digital history is the use of digital media to further historical analysis, presentation, and research. It is a branch of the digital humanities and an extension of quantitative history, cliometrics, and computing. Digital history is commonly known as digital public history, concerned primarily with engaging online audiences with historical content, or digital research methods, that further academic research. Digital history outputs include: digital archives, online presentations, data and information visualizations, interactive maps, timelines, audio files, and virtual worlds. These outputs are designed to enhance accessibility to users, facilitating engagement with historical content. Recent digital history projects focus on creativity, collaboration, and technical innovation, text mining, corpus linguistics, network analysis, 3D modeling, and big data analysis. By utilizing these resources, the user can rapidly develop new analyses that can link to, extend, and bring to life existing histories. == History == Rooted in earlier social science history work, particularly around the history of enslavement in the United States, early digital history in the 1960s and 70s focused on using computers to conduct quantitative analyses, primarily of demographic and social history data - censuses, election returns, city directories, and other tabular or countable data. - with the aim of producing defensible research findings These early computers could be programmed to conduct statistical analyses of these records, creating tallies, or seeking trends across records. This research into historical demography was rooted in the rise of social history as a field of historical interest. The historians involved in this work sought to quantify past societies, to come to new conclusions about communities and population. Computers proved capable tools for that type of work. By the late 1970s younger historians turned to cultural studies, most of these studies involved online databases that were checked by Professionals in Great Britain about once a year. The outpouring of quantitative studies by established scholars continued. Since then, quantitative history and cliometrics have been used primarily by historically minded economists and political scientists. In the late 1980s quantifiers founded the Association for History and Computing. This movement provided some of the impetus for the rise of digital history in the 1990s. The more recent roots of digital history were in software rather than online networks. In 1982, the Library of Congress embarked on its Optical Disk Pilot Project, which placed text and images from its collection on to laserdiscs and CD-ROMs. The library started offering online exhibits in 1992 when it launched Selected Civil War Photographs. In 1993, Roy Rosenzweig, along with Steve Brier and Josh Brown, produced their award-winning CD-ROM Who Built America? From the Centennial Exposition of 1876 to the Great War of 1914, designed for Apple, Inc. that integrated images, text, film and sound clips, displayed in a visual interface that supported a text narrative. Among the earliest online digital history projects were The Heritage Project of the University of Kansas, and medieval historian Dr. Lynn Nelson's World History Index and History Central Catalogue. Another was The Valley of the Shadow, conceived in 1991 by current University of Richmond professor of humanities and president emeritus, Edward L. Ayers, who was then at the University of Virginia. The Institute for Advanced Technology in the Humanities (IATH) at the University of Virginia adopted the Valley Project and partnered with IBM to collect and transcribe historical sources into digital files. The project collected data related to Augusta County in Virginia and Franklin County in Pennsylvania during the American Civil War. In 1996, William G. Thomas III joined Ayers on the Valley Project. Together, they produced an online article entitled "The Differences Slavery Made: A Close Analysis of Two American Communities," which also appeared in The American Historical Review in 2003. A CD-ROM also accompanied the Valley Project, published by W. W. Norton and Company in 2000. Rosenzweig, who died October 11, 2007, founded the Center for History and New Media (CHNM) at George Mason University in 1994. Today, CHNM boasts several digital tools available to historians, such as Zotero, Omeka or Tropy. In 1997, Ayers and Thomas used the term "digital history" when they proposed and founded the Virginia Center for Digital History (VCDH) at the University of Virginia, the earliest center devoted exclusively to history. Several other institutions promoting digital history include the Center for Humane Arts, Letters, and Social Sciences Online (MATRIX) at Michigan State University, Maryland's Institute for Technology in the Humanities, and the Center for Digital Research in the Humanities at the University of Nebraska. In 2004, Emory University launched Southern Spaces, a "peer-reviewed Internet journal and scholarly forum" examining the history of the South. == Applications == There are many potential benefits to the use of digital history when combined with traditional historical methods. Some of these applications include: Combining traditional historical methods and new research methods in order to come to new conclusions. Using different tools to extract and analyse larger amounts of data that would not be manageable otherwise. Create models and maps of data extracted to create a visualisation of the data. Data extracted and analysed can be placed alongside existing historiography to increase combined historical knowledge. By adding new research methods to existing historical method, historians can benefit greatly from the ability to work with larger amounts of data and develop new interpretations from this. == Notable Projects == The collaborative nature of most digital history endeavors has meant that the discipline has developed primarily at institutions with the resources to sponsor content research and technical innovation. Two of the first centers, George Mason University's Center for History and New Media and the Virginia Center for Digital History at the University of Virginia have been among the leaders in the development of digital history projects and the education of digital historians. Some of the noteworthy projects emerging from these pioneering centers are The Geography of Slavery, The Texas Slavery Project, and The Countryside Transformed at VCDH and Liberty, Equality, Fraternity: Exploring the French Revolution and The Lost Museum at the CHNM. In each of these projects, mediated archives holding multiple types of sources are combined with digital tools to analyze and illuminate an historical question to a varying degree; this integration of content and tools with analysis is one of the hallmarks of digital history—projects move beyond archives or collections and into scholarly analysis and the use of digital tools to develop that analysis. The differences between the ways projects incorporate these integrations are a measure of the development of the field and point to the ongoing debates over what digital history can and should be. While many of the projects at VCDH, CHNM, and other university's centers have been geared towards academics and post-secondary education, the University of Victoria (British Columbia), in conjunction with the Université de Sherbrooke and the Ontario Institute for Studies in Education at the University of Toronto, has created as series of projects for all ages, "Great Unsolved Mysteries in Canadian History." Laden with instructional aids, this site asks teachers to introduce students to historical research methods to help them develop analytical skills and a sense of the complexities of their national history. Issues of race, religion, and gender are addressed in carefully constructed modules that cover incidents in Canadian history from Viking exploration through the 1920s. One of the original co-creators of the project, John Lutz has also developed Victoria's Victoria with the University of Victoria and Malaspina University-College. In addition to Ayers, Thomas, Lutz, and Rosenzweig, numerous other individual scholars work with digital history techniques and have made and/or continue to make important contributions to the field. Robert Darnton's 2000 article, "An Early Information Society: News and the Media in Eighteenth-Century Paris" was supplemented with electronic resources and is an early model of the discussions around digital history and its future in the humanities. One of the first major digital projects to be reviewed by the American Historical Review (AHR) was Philip Ethington's "Los Angeles and the Problem of Urban Historical Knowledge"—a multimedia exploration of changes to Los Angeles' physical profile over the course of several decades. In this essay, he also expresses his beliefs that historians have major power in

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  • DBGallery

    DBGallery

    DBGallery, short for Database Gallery, is a cloud-based Software as a Service (SaaS) and on-prem webserver for teams of various sizes. DBGallery enables users to centrally store, manage, catalog, archive, and securely share image, video, and document files. It facilitates version control, detects duplicates, and offers an intuitive and advanced search functionality, making assets easily accessible to all users. It takes advantage of current AI technologies to automatically add significant metadata to images, facilitates custom-trained AI models, and offers bespoke AI features. Additionally, DBGallery provides team management tools, workflow management, an activity audit trail, and other collaborative features that foster a productive environment for both internal and external stakeholders. == History == DBGallery's first public release was December 2007. Since then each year has seen continuous enhancements. 2013 added support for additional non-English languages in its meta-data. 2014 added support for creating custom data fields for tagging and search. In 2015 included the ability to auto-tag images using Reverse Geocoding. 2018 added artificial intelligence (AI) image recognition as a further addition to auto-tagging. March 2020 added complete image collection management via the web (e.g. file and folder drag and drop), a new collection dashboard, custom data layouts, and an improved audit trail. 2021 saw user experience improvements provided by improved styling and performance enhancements. Version 12 was released in October 2021. It added the ability to upload unlimited file sizes and made significant performance improvements for very large collections. June 2022 saw the release of a global duplicate images search. In late 2022, DBGallery began offering significantly reduced cloud storage cost, at a third of its previous prices, which played into its recent high-volume/high-capacity capabilities and its clients' subsequent demand for additional storage. 2023 saw improvements in user and role management, introduced it's mobile app (PWA), and improved custom-trained object detection. Release 14.0 in the spring of 2024 had large sharing improvements and a new find related images feature. Winter 2025's v15 release introduced AI-generated image descriptions, image-to-text, and facial recognition.

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  • Asynchronous module definition

    Asynchronous module definition

    Asynchronous module definition (AMD) is a specification for the programming language JavaScript. It defines an application programming interface (API) that defines code modules and their dependencies, and loads them asynchronously if desired. Implementations of AMD provide the following benefits: Website performance improvements. AMD implementations load smaller JavaScript files, and then only when they are needed. Fewer page errors. AMD implementations allow developers to define dependencies that must load before a module is executed, so the module does not try to use outside code that is not available yet.... In addition to loading multiple JavaScript files at runtime, AMD implementations allow developers to encapsulate code in smaller, more logically-organized files, in a way similar to other programming languages such as Java. For production and deployment, developers can concatenate and minify JavaScript modules based on an AMD API into one file, the same as traditional JavaScript. AMD provides some CommonJS interoperability. It allows for using a similar exports and require() interface in the code, although its own define() interface is more basal and preferred. The AMD specification is implemented by Dojo Toolkit, RequireJS, and other libraries.

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  • Feature detection (web development)

    Feature detection (web development)

    Feature detection (also feature testing) is a technique used in web development for handling differences between runtime environments (typically web browsers or user agents), by programmatically testing for clues that the environment may or may not offer certain functionality. This information is then used to make the application adapt in some way to suit the environment: to make use of certain APIs, or tailor for a better user experience. Its proponents claim it is more reliable and future-proof than other techniques like user agent sniffing and browser-specific CSS hacks. == Techniques == A feature test can take many forms. It is essentially any snippet of code which gives some level of confidence that a required feature is indeed supported. However, in contrast to other techniques, feature detection usually focuses on performing actions which directly relate to the feature to be detected, rather than heuristics. === JavaScript === JavaScript feature detection can inspect the DOM and the local JavaScript environment to test whether browser features or APIs are supported. The simplest technique is to check for the existence of a relevant object or property. For example, the Geolocation API (used for accessing the device's knowledge of its geographical location, possibly obtained from a GPS navigation device) exposes a geolocation property on the navigator object in the DOM; the presence of which implies the Geolocation API is supported: if ('geolocation' in navigator) { // Geolocation API is supported } For a higher level of confidence, some feature tests will attempt to invoke the feature then look for clues that it behaved properly. For example, a test for support for cookies might attempt to set a value as a cookie and then verify it can be read back. === CSS === In CSS, the at-rule @supports introduced in 2015 allows to test if a given feature is supported. For instance the following code activates the declarations only if the user agent supports display: flex: == Undetectables == Some browser features are considered undetectable, because no clues are known to give sufficient confidence that a feature is supported. These are often because of limited information available to the JavaScript environment in the browser; generally features must be exposed via the DOM in some way in order to be detectable using JavaScript. When undetectables are encountered, it is common to turn to user agent sniffing as an alternative mechanism, or to employ defensive coding to minimise the impact if the feature turns out not to be supported. The Modernizr project maintains a record of known undetectables on their wiki.

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  • Web performance

    Web performance

    Web performance refers to the speed in which web pages are downloaded and displayed on the user's web browser. Web performance optimization (WPO), or website optimization is the field of knowledge about increasing web performance. Faster website download speeds have been shown to increase visitor retention and loyalty and user satisfaction, especially for users with slow internet connections and those on mobile devices. Web performance also leads to less data travelling across the web, which in turn lowers a website's power consumption and environmental impact. Some aspects which can affect the speed of page load include browser/server cache, image optimization, and encryption (for example SSL), which can affect the time it takes for pages to render. The performance of the web page can be improved through techniques such as multi-layered cache, light weight design of presentation layer components and asynchronous communication with server side components. == History == In the first decade or so of the web's existence, web performance improvement was focused mainly on optimizing website code and pushing hardware limitations. According to the 2002 book Web Performance Tuning by Patrick Killelea, some of the early techniques used were to use simple servlets or CGI, increase server memory, and look for packet loss and retransmission. Although these principles now comprise much of the optimized foundation of internet applications, they differ from current optimization theory in that there was much less of an attempt to improve the browser display speed. Steve Souders coined the term "web performance optimization" in 2004. At that time Souders made several predictions regarding the impact that WPO as an "emerging industry" would bring to the web, such as websites being fast by default, consolidation, web standards for performance, environmental impacts of optimization, and speed as a differentiator. One major point that Souders made in 2007 is that at least 80% of the time that it takes to download and view a website is controlled by the front-end structure. This lag time can be decreased through awareness of typical browser behavior, as well as of how HTTP works. == Optimization techniques == Web performance optimization improves user experience (UX) when visiting a website and therefore is highly desired by web designers and web developers. They employ several techniques that streamline web optimization tasks to decrease web page load times. This process is known as front end optimization (FEO) or content optimization. FEO concentrates on reducing file sizes and "minimizing the number of requests needed for a given page to load." In addition to the techniques listed below, the use of a content delivery network—a group of proxy servers spread across various locations around the globe—is an efficient delivery system that chooses a server for a specific user based on network proximity. Typically the server with the quickest response time is selected. The following techniques are commonly used web optimization tasks and are widely used by web developers: Web browsers open separate Transmission Control Protocol (TCP) connections for each Hypertext Transfer Protocol (HTTP) request submitted when downloading a web page. These requests total the number of page elements required for download. However, a browser is limited to opening only a certain number of simultaneous connections to a single host. To prevent bottlenecks, the number of individual page elements are reduced using resource consolidation whereby smaller files (such as images) are bundled together into one file. This reduces HTTP requests and the number of "round trips" required to load a web page. Web pages are constructed from code files such JavaScript and Hypertext Markup Language (HTML). As web pages grow in complexity, so do their code files and subsequently their load times. File compression can reduce code files by about 40 percent, thereby improving site responsiveness. Web Caching Optimization reduces server load, bandwidth usage and latency. CDNs use dedicated web caching software to store copies of documents passing through their system. Many website platforms, such as SiteGround, IONOS, Wix, and Hostinger, rely on global CDNs and caching technologies to deliver faster page loads across different geographical regions. Subsequent requests from the cache may be fulfilled should certain conditions apply. Web caches are located on either the client side (forward position) or web-server side (reverse position) of a CDN. Web browsers are also able to store content for re-use through the HTTP cache or web cache. Requests web browsers make are typically routed to the HTTP cache to validate if a cached response may be used to fulfill a request. If such a match is made, the response is fulfilled from the cache. This can be helpful for reducing network latency and costs associated with data-transfer. The HTTP cache is configured using request and response headers. Code minification distinguishes discrepancies between codes written by web developers and how network elements interpret code. Minification removes comments and extra spaces as well as crunch variable names in order to minimize code, decreasing files sizes by as much as 60%. In addition to caching and compression, lossy compression techniques (similar to those used with audio files) remove non-essential header information and lower original image quality on many high resolution images. These changes, such as pixel complexity or color gradations, are transparent to the end-user and do not noticeably affect perception of the image. Another technique is the replacement of raster graphics with resolution-independent vector graphics. Vector substitution is best suited for simple geometric images. Lazy loading of images and video reduces initial page load time, initial page weight, and system resource usage, all of which have positive impacts on website performance. It is used to defer initialization of an object right until the point at which it is needed. The browser loads the images in a page or post when they are needed such as when the user scrolls down the page and not all images at once, which is the default behavior, and naturally, takes more time. == HTTP/1.x and HTTP/2 == Since web browsers use multiple TCP connections for parallel user requests, congestion and browser monopolization of network resources may occur. Because HTTP/1 requests come with associated overhead, web performance is impacted by limited bandwidth and increased usage. Compared to HTTP/1, HTTP/2 is binary instead of textual is fully multiplexed instead of ordered and blocked can therefore use one connection for parallelism uses header compression to reduce overhead allows servers to "push" responses proactively into client caches Instead of a website's hosting server, CDNs are used in tandem with HTTP/2 in order to better serve the end-user with web resources such as images, JavaScript files and Cascading Style Sheet (CSS) files since a CDN's location is usually in closer proximity to the end-user. == Metrics == In recent years, several metrics have been introduced that help developers measure various aspects of the performance of their websites. In 2019, Google introduced metrics such as Time to First Byte (TTFB), First Contentful Paint (FCP), First Paint (FP), First Input Delay (FID), Cumulative Layout Shift (CLS) and Largest Contentful Paint (LCP) allow for website owner to gain insights into issues that might hurt the performance of their websites making it seem sluggish or slow to the user. Other metrics including Request Count (number of requests required to load a page), DOMContentLoaded (time when HTML document is completely loaded and parsed excluding CSS style sheets, images, etc.), Above The Fold Time (content that is visible without scrolling), Round Trip Time, number of Render Blocking Resources (such as scripts, stylesheets), Onload Time, Connection Time, Total Page Size help provide an accurate picture of latencies and slowdowns occurring at the networking level which might slow down a site. Modules to measure metrics such as TTFB, FCP, LCP, FP etc are provided with major frontend JavaScript libraries such as React, NuxtJS and Vue. Google publishes a library, the core-web-vitals library that allows for easy measurement of these metrics in frontend applications. In addition to this, Google also provides the Lighthouse, a Chrome dev-tools component and PageSpeed Insight a site that allows developers to measure and compare the performance of their website with Google's recommended minimums and maximums. In addition to this, tools such as the Network Monitor by Mozilla Firefox help provide insight into network-level slowdowns that might occur during transmission of data.

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  • CapCut

    CapCut

    CapCut, known domestically as JianYing (Chinese: 剪映; pinyin: Jiǎnyìng) and formerly internationally as ViaMaker, is a video editor developed by ByteDance, available as a mobile app, desktop app, and web app. == History == The app was first released in China in 2019 and was initially available for iPhone and Android. In 2020, it was rebranded in English from ViaMaker to CapCut and became available globally. It later expanded to include web and desktop versions for Mac and Windows. In 2022, CapCut reached 200 million active users. According to The Wall Street Journal, in March 2023, it was the second-most downloaded app in the U.S., behind that of Chinese discount retailer Temu. In January 2025, CapCut had over 1 billion downloads on the Google Play Store. On February 1, 2021, CapCut Pro for Windows was launched. On November 27, the Pro version for Mac was launched. In July 2025, CapCut Pro for HarmonyOS was available on HarmonyOS NEXT tablets. In July 2024, CapCut was reported by the South China Morning Post to be a generative AI (GenAI) application that led global AI app downloads, with approximately 38.42 million downloads and 323 million monthly active users. == Features == CapCut supports basic video editing functions, including editing, trimming, and adding or splitting clips. Editing projects is limited to single-layer editing, but the app supports overlay options that enable additional effects, including multi-layer editing. The app includes a library of pre-made templates and a tool that generates editable video captions. It also provides photo editing tools, including retouch and product photo features integrated within the editing interface. CapCut's video editor includes AI-based features such as video and script generation. Users can export or save completed projects directly to different social media platforms. CapCut includes a free version and a paid Pro version with cloud storage and advanced features. == Controversies == === Illegal data collection === In July 2023, many users of CapCut accused it of illegally profiting off their personal data. A class-action lawsuit filed in the U.S. District Court for the Northern District of Illinois on July 28, 2023, alleged that CapCut illegally harvests and profits from user data including biometric information and geolocation without consent. In September 2025, a federal court excluded most of the lawsuit, which alleged that TikTok’s parent company improperly scraped private data from CapCut's video editing software, as lacking grounds, with some of the class action continuing to move forward. == Bans and restrictions == === Ban in India === As a response to border clashes with China in May 2020, the Indian government banned around 56 Chinese applications including CapCut and TikTok, which is owned by CapCut's parent company ByteDance. Indian users were unable to use and download the application. As of February 2022, around 273 Chinese applications have been banned by the Indian government under the concern of national security and Indian user privacy. === Ban in the United States === On January 18, 2025, at 10 PM EST, CapCut was banned in the United States along with TikTok and all other ByteDance apps due to the implementation of the Protecting Americans from Foreign Adversary Controlled Applications Act. Hours after the suspension of services took effect, President Donald Trump indicated on Truth Social that he would issue an executive order on the day of his inauguration "to extend the period of time before the law's prohibitions take effect". On January 21, CapCut began restoring service. On February 13, Google and Apple restored CapCut on the App Store and Google Play Store.

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  • Radio network

    Radio network

    A radio network is a system that distributes radio signals to multiple receivers or enables two-way communication between stations and mobile units. Worldwide, radio networks include broadcast networks, such as BBC Radio in the United Kingdom and NPR in the United States, which transmit one-to-many signals for news, entertainment, and public information; two-way radio networks, used by police, fire services, taxicabs, and delivery fleets for operational communication; and cellular networks, such as Verizon, Vodafone, and China Mobile, which provide mobile telephony and data services using frequency or time division duplexing. While all rely on radio-frequency technology like transmitters, receivers, and antennas, their network architectures, protocols, and regulatory frameworks differ substantially across applications and regions. The two-way type of radio network shares many of the same technologies and components as the broadcast-type radio network but is generally set up with fixed broadcast points (transmitters) with co-located receivers and mobile receivers/transmitters or transceivers. In this way both the fixed and mobile radio units can communicate with each other over broad geographic regions ranging in size from small single cities to entire states/provinces or countries. There are many ways in which multiple fixed transmit/receive sites can be interconnected to achieve the range of coverage required by the jurisdiction or authority implementing the system: conventional wireless links in numerous frequency bands, fibre-optic links, or microwave links. In all of these cases the signals are typically backhauled to a central switch of some type where the radio message is processed and resent (repeated) to all transmitter sites where it is required to be heard. In contemporary two-way radio systems, a concept called trunking is commonly used to achieve better efficiency of radio spectrum use. It provides a very wide range of coverage, with no switching of channels required by the mobile radio user as it roams throughout the system coverage. Trunking of two-way radio is identical to the concept used for cellular phone systems where each fixed and mobile radio is specifically identified to the system controller and its operation is switched by the controller. == Broadcasting networks == The broadcast type of radio network is a network system which distributes radio programming to multiple stations simultaneously, or slightly delayed, for the purpose of extending total coverage beyond the limits of a single broadcast signal. The resulting expanded audience for radio programming or information essentially applies the benefits of mass-production to the broadcasting enterprise. A radio network has two sales departments, one to package and sell programs to radio stations, and one to sell the audience of those programs to advertisers. Most radio networks also produce much of their programming. Originally, radio networks owned some or all of the stations that broadcast the network's radio format programming. Presently however, there are many networks that do not own any stations and only produce and/or distribute programming. Similarly station ownership does not always indicate network affiliation. A company might own stations in several different markets and purchase programming from a variety of networks. Radio networks rose rapidly with the growth of regular broadcasting of radio to home listeners in the 1920s. This growth took various paths in different places. In Britain the BBC was developed with public funding, in the form of a broadcast receiver license, and a broadcasting monopoly in its early decades. In contrast, in the United States various competing commercial broadcasting networks arose funded by advertising revenue. In that instance, the same corporation that owned or operated the network often manufactured and marketed the listener's radio. Major technical challenges to be overcome when distributing programs over long distances are maintaining signal quality and managing the number of switching/relay points in the signal chain. Early on, programs were sent to remote stations (either owned or affiliated) by various methods, including leased telephone lines, pre-recorded gramophone records and audio tape. The world's first all-radio, non-wireline network was claimed to be the Rural Radio Network, a group of six upstate New York FM stations that began operation in June 1948. Terrestrial microwave relay, a technology later introduced to link stations, has been largely supplanted by coaxial cable, fiber, and satellite, which usually offer superior cost-benefit ratios. Many early radio networks evolved into television networks.

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  • Festival of International Virtual & Augmented Reality Stories

    Festival of International Virtual & Augmented Reality Stories

    Festival of International Virtual & Augmented Reality Stories (FIVARS) is a Canadian media festival for story-driven works using extended reality (XR) and immersive media, including virtual reality, augmented reality, WebXR, live VR performance, projection mapping and spatialized audio. Founded in Toronto in 2015, it has been described as Canada's first dedicated virtual and augmented reality stories festival, the first Canadian festival of its kind, and Canada's original festival dedicated to immersive storytelling. FIVARS has described itself as "the original and longest-running festival wholly dedicated to Virtual and Augmented Reality Stories", while third-party XR coverage has called it one of the longest-running events dedicated to immersive content. FIVARS is produced by Constant Change Media Group, Inc., with its partner event VRTO. == History == FIVARS began in 2015, with preview screenings at the Camp Wavelength music festival on Toronto Island and an inaugural festival held in Toronto in September 2015. Contemporary coverage described the first edition as a virtual reality film festival held at UG3 Live in Toronto. The festival continued with a second edition in 2016. L'Express described the 2016 festival as presenting Canadian and international interactive works in virtual and augmented reality narrative forms. FIVARS's 2016 festival was also listed in a York University Future Cinema course page as a public event students could attend. In 2017, the third annual FIVARS festival was held at the House of VR in Toronto. In 2018, the festival was held at the Matador Ballroom, which NOW Magazine reported was reopening for FIVARS from September 14 to 16. The festival's own history states that the 2018 edition included 36 works from 12 countries and that Stephanie Greenall took over as co-producer that year. In 2019, FIVARS moved to the Toronto Media Arts Centre for its fifth anniversary and listed official selections in passive and interactive immersive-experience categories. The festival also held talks and panels at the Toronto Media Arts Centre. During the COVID-19 pandemic, FIVARS moved part of its programming online. In 2020, Voices of VR reported that Malicki-Sanchez and WebXR developer James Baicoianu used JanusXR code to create a platform for presenting 360-degree video through the web. The festival's history states that its 2020 online festival included 39 selections from 16 countries and was produced by Malicki-Sanchez and Greenall. In 2021, FIVARS introduced a dual-event structure with FIVARS in FEB and FIVARS in FALL. The fall 2021 edition used a hybrid format, with an in-person component in West Hollywood from October 15 to 17 and an online WebXR component from October 22 to November 2. In 2022, FIVARS held hybrid programming with pop-up viewing locations in Los Angeles and Toronto. The fall 2022 edition was listed by blogTO as the festival's tenth edition, with an in-person component at Stackt - an outdoor arts park built from shipping containers in Toronto and online programming. The 2023 festival was presented as a hybrid exhibition of 65 immersive stories, with an in-person Toronto component and an online component. The FIVARS Online Festival was later listed among the Innovator of the Year nominees for the 2024 Poly Awards. FIVARS stated that the nominees for that recognition were producer and designer Keram Malicki-Sanchez and developer James Baicoianu. The 2024 edition was listed as FIVARS 2024 (Toronto + Online), with an in-person Toronto event from October 3 to 8 and an online component beginning October 10. The festival also published a 2024 official selections list covering virtual reality, augmented reality, spherical video, spatial web and related immersive formats. In 2025, FIVARS and VRTO were held together at OCAD University. The 2026 edition is scheduled for June 15 to 19, 2026, at OCAD University in Toronto, with OCAD University as presenting sponsor and first-time venue host. FIVARS has featured official selections from more than forty countries across six continents. == Organization == FIVARS was founded in 2015 by Keram Malicki-Sánchez. Joseph Ellsworth was the festival's original technical director and helped operate FIVARS during its early years. Malicki-Sánchez remains executive director and festival director. Jessy Blaze joined Malicki-Sánchez as co-producer in 2016 and served until Stephanie Greenall took over the role in 2018. Greenall served as co-producer and associate producer from 2018 to 2022. Aimee Reynolds took over from Greenall in 2022 and has served as associate producer of FIVARS and VRTO since 2022. == Immersive Media Awards == FIVARS presents People's Choice awards for interactive works and immersive video or passive immersive works. Juried award categories have included the Grand Jury Prize, Impact Award, Technical Achievement, Excellence in Experience Design, Excellence in Visual Design, Excellence in Sound Design, and Outstanding Performance. === 2015 === On Monday, September 21, the festival announced People's Choice awards for two categories at the Cadillac Lounge, a music venue and restaurant in Toronto. People's Choice Best Interactive Experience: Apollo 11 Best Immersive Video: SONAR === 2016 === People's Choice Best Interactive Experience: Pearl (Patrick Osborne) Best Immersive Video: Help (Justin Lin) Juried Grand Jury Award: Real (Connor Hair and Alex Meader) === 2017 === People's Choice Best Interactive: Alteration Best Immersive (Passive): Guardian of the Guge Kingdom Juried Impact Award: Priya's Shakti / Priya's Mirror (Dan Goldman) Grand Jury Prize: Manifest 99 === 2018 === People's Choice Best Interactive: Museum of Symmetry (Paloma Dawkins) Best Immersive (Passive): Going Home (David Beier) Juried Impact Award: The Hidden (Annie Lukowski, BJ Schwartz) Grand Jury Prize: Battlescar (Nico Casavecchia, Martin Allais) === 2019 === People's Choice Best Interactive: After Dan Graham (David Han/Friend Generator) Best Immersive (Passive): 2nd Step (Joerg Courtial) Juried Technical Achievement: tx-reverse Excellence in Experience Design: Battlescar (Nico Casavecchia, Martin Allais) Excellence in Sound Design: Unheard (Zhechuan Zhang) Excellence in Visual Design: Ex Anima (Pierre Zandrowicz) Impact Award: State Power (Jeff Stanzler) Grand Jury Prize: The Industry (Mirka Duijn) === 2020 === People's Choice Best Interactive: Gravity VR (Fabito Rychter, Amir Admoni) Best Immersive (Passive): Warsaw Rising (Tomasz Dobosz) Juried Technical Achievement: The Cosmic Laughter of Cucci Binaca (Jonathan Sims) Excellence in Experience Design: Sleeping Eyes (Sojung Bahng, Sungeun Lee) Excellence in Sound Design: Symphony of Noise VR (Michaela Pnacekova) Excellence in Visual Design: Hominidae (Brian Andrews) Impact Award: Indirect Actions (Maranatha Hay) Grand Jury Prize: Minimum Mass (Raqi Syed, Areito Echevarria) === 2021 === FIVARS in FEB – People's Choice Best Interactive: CLAWS (created by Evan Neiden; directed by John Ertman) Best Immersive (Passive): Inside COVID 19 (Gary Yost, Adam Loften) FIVARS in FALL – People's Choice Best Interactive: Samsara (director: Hsin-Chien Huang) Best Immersive (Passive): The Invasion of Normandy Omaha Beach (director: Uli Futschik) Juried Technical Achievement: Dark Threads (director: Jonathon Corbiere) Excellence in Experience Design: Andy's World (director: Liquan Liu) Excellence in Sound Design: Symphony (director: Igor Cortadellas) Excellence in Visual Design: Mind VR Exploration (director: Deng Zuyun) Outstanding Performance: Lori Kovachevich, Lena's Journey (director: Wes Evans) Impact Award: Om Devi: Sheroes Revolution (director: Claudio Casale) Grand Jury Prize: Montegelato (director: Davide Rapp) === 2022 === FIVARS in FEB – People's Choice Best Interactive: Severance Theory: Welcome to Respite (Lyndsie Scoggin, United States) Best Immersive (Passive): Beescapes (Alan Nguyen, Australia) FIVARS in FALL – People's Choice Best Interactive: Namuanki (Kevin Mack, United States) Best Immersive (Passive): Reimagined Vol. 1: Nyssa (Julie Cavaliere, United States) Juried (Whole Year) Technical Achievement: Namuanki (Kevin Mack, United States) Excellence in Experience Design: Unframed: Hand Puppets, Paul Klee (Martin Charrière, Switzerland) Excellence in Visual Design: The Last Dance (Toshiaki Hanzaki, Japan) Excellence in Sound Design: Kingdom of Plants with David Attenborough (Iona McEwan, UK and USA) Outstanding Performance: Ari Tarr, OffRail (Ari Tarr, United States) Impact Award: Tearless (Gina Kim, South Korea) Grand Jury Prize: Klaxon. My dear sweet Friend (Nikita Shokhov, United States) === 2023 === People's Choice Best Interactive: PULSAR Best Immersive (Passive): Behind the Dish Juried Technical Achievement: VFC Excellence in Experience Design: Broken Spectre Excellence in Visual Design: Night Creatures Excellence in Sound Design: VFC Outstanding Performance: Origins Impact Award: LOU Grand Jury Prize: Stay Alive, My Son === 2024 ==

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  • Bluelight (web forum)

    Bluelight (web forum)

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

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  • Connectionist expert system

    Connectionist expert system

    Connectionist expert systems are artificial neural network (ANN) based expert systems where the ANN generates inferencing rules e.g., fuzzy-multi layer perceptron where linguistic and natural form of inputs are used. Apart from that, rough set theory may be used for encoding knowledge in the weights better and also genetic algorithms may be used to optimize the search solutions better. Symbolic reasoning methods may also be incorporated (see hybrid intelligent system). (Also see expert system, neural network, clinical decision support system.)

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  • Elonis v. United States

    Elonis v. United States

    Elonis v. United States, 575 U.S. 723 (2015), was a United States Supreme Court case concerning whether conviction of threatening another person over interstate lines (under 18 U.S.C. § 875(c)) requires proof of subjective intent to threaten or whether it is enough to show that a "reasonable person" would regard the statement as threatening. In controversy were the purported threats of violent rap lyrics written by Anthony Douglas Elonis and posted to Facebook under a pseudonym. The ACLU filed an amicus brief in support of the petitioner. It was the first time the Court has heard a case considering true threats and the limits of speech on social media. == Background == In May 2010, Elonis was in the process of divorce and made a number of public Facebook posts. Prior to his postings, he had lost his job at an amusement park. He "posted the script of a sketch" by The Whitest Kids U' Know, which originally referenced saying "I want to kill the President of the United States" and replaced the president with his wife: Elonis ended the post with this statement: "Art is about pushing limits. I'm willing to go to jail for my constitutional rights. Are you?" A week later, Elonis posted about local law enforcement and a kindergarten class, which caught the attention of the Federal Bureau of Investigation. Then, he wrote a post on Facebook about one of the agents who visited him: He concluded: == Arrest and Conviction == These actions led to Elonis's arrest on December 8, 2010. He was indicted by a grand jury on five counts of threats to his estranged ex-wife, park employees and visitors, local law enforcement, an FBI agent, and a kindergarten class that had been relayed through interstate communication. At the district court, Elonis moved to dismiss the indictment for failing to allege that he had intended to threaten anyone, claiming his Facebook post was not were not intended as a threat. He argued that, as an aspiring rap artist, his posts were intended to be a form of artistic expression to help him cope with his recent loses. According to him, he did not mean anything said in his posts in a literal sense. His motion was denied. He requested a jury instruction that "the government must prove that he intended to communicate a true threat", which was also denied. He was convicted on the last four of the five counts, and was sentenced to 44 months in prison and three years on supervised release. He appealed unsuccessfully to the Third Circuit, renewing his challenge to the jury instructions. He then appealed to the U.S. Supreme Court based on lack of any attempt to show intent to threaten and on First Amendment rights. == Decision == On June 1, 2015, the U.S. Supreme Court reversed Elonis's conviction in an 8–1 decision. Chief Justice John Roberts wrote for a seven-justice majority, Samuel Alito authored an opinion concurring in part and dissenting in part, and Clarence Thomas authored a dissenting opinion. The finding of the circuit court was reversed and the matter remanded. === Majority opinion === The majority opinion, written by Roberts, did not rule on First Amendment matters or on the question of whether recklessness was sufficient mens rea to show intent. It ruled that mens rea was required to prove the commission of a crime under §875(c). Importantly, the mens rea issue had been preserved for review, since Elonis had raised that objection at every stage of the previous proceedings. The government contended that the presence of the words "intent to extort" in §875(b) and §875(d) implied that the absence in §875(c) was constructive. The court disagreed, holding that the absence of the language in §875(c) was because the section was intended to have a broader scope than threats relating to extortion. The opinion drew on many Supreme Court cases holding that in criminal law, mens rea was required though it had not been mentioned explicitly in statute. Consequently, the Supreme Court ruled in favor of Elonis. === Alito's concurrence === Justice Samuel Alito, concurring in part and dissenting in part, opined that while agreeing that mens rea was required and specifically that showing negligence was not sufficient, the court should have ruled on the question of recklessness. He further opined that recklessness was sufficient to show a crime under that provision on the basis that going further would amount to amending the statute, rather than interpreting it. Since Elonis explicitly argued that recklessness was not sufficient, Alito said: I would therefore remand for the Third Circuit to determine if Elonis’s failure (indeed, refusal) to argue for recklessness prevents reversal of his conviction. The Third Circuit should also have the opportunity to consider whether the conviction could be upheld on harmless error grounds. Alito also addressed the First Amendment question, elided by the majority opinion. He held that "lyrics in songs that are performed for an audience or sold in recorded form are unlikely to be interpreted as a real threat to a real person. ... Statements on social media that are pointedly directed at their victims, by contrast, are much more likely to be taken seriously." === Thomas's dissent === Justice Clarence Thomas, dissenting, wrote against discarding the "general intent" standard without replacing it with a clearer standard. Thomas argued that "there is no historical practice requiring more than general intent when a statute regulates speech." Thomas cited Rosen v. United States, arguing that general intent was sufficient in this case. However, the majority opinion offers refutation in that Rosen turned on ignorance of the law: knowledge as to whether material was legally obscene, not on whether it was intended to be obscene. Thomas also supported the government's claim that the presence of "intent to extort" language in the adjacent §875(b) and did not address the majority's reasoning on that language. Thomas used precedent, notably from the states and 18th-century England based on other but similar and, arguably, influencing legislation to support his "general intent" claim. Thomas also drew a parallel with general intent in tort. While he sought to address the First Amendment issues, he never strayed far from "general intent". == Aftermath == On remand, the Third Circuit reaffirmed the conviction "concluding beyond a reasonable doubt that Elonis would have been convicted if the jury had been properly instructed" and therefore was harmless error. In 2022, Elonis was once again arrested and indicted on three counts of cyberstalking involving three people. It was discovered that between 2018 and 2021, Elonis had sent numerous threatening messages over email, text, voice mail, and social media platforms like Twitter to a former prosecutor of the Eastern District of Pennsylvania, his ex-girlfriend, and ex-wife. On August 5, after a five-day trial, Elonis was found guilty on all three counts, and on March 23, 2023, he was sentenced by U.S. District Court Judge Edward G. Smith of Easton, Pennsylvania to twelve years and seven months in prison.

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  • Digital Cinema Initiatives

    Digital Cinema Initiatives

    Digital Cinema Initiatives, LLC (DCI) is a consortium of major motion picture studios, formed to establish specifications for a common systems architecture for digital cinema systems. The organization was formed in March 2002 by Metro-Goldwyn-Mayer, Paramount Pictures, Sony Pictures, 20th Century Studios, Universal Studios, Walt Disney Studios and Warner Bros. Entertainment The primary purpose of DCI is to establish and document specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality. By establishing a common set of content requirements, distributors, studios, exhibitors, d-cinema manufacturers and vendors can be assured of interoperability and compatibility. Because of the relationship of DCI to many of Hollywood's key studios, conformance to DCI's specifications is considered a requirement by software developers or equipment manufacturers targeting the digital cinema market. == Specification == On July 20, 2005, DCI released Version 1.0 of its "Digital Cinema System Specification", commonly referred to as the "DCI Specification". The document describes overall system requirements and specifications for digital cinema. Between March 28, 2006, and March 21, 2007, DCI issued 148 errata to Version 1.0. DCI released Version 1.1 of the DCI Specification on April 12, 2007, incorporating the previous 148 errata into the DCI Specification. On April 15, 2007, at the annual NAB Digital Cinema Summit, DCI announced the new version, as well as some future plans. They released the "Stereoscopic Digital Cinema Addendum" to begin to establish 3-D technical specifications in response to the popularity of 3-D stereoscopic films. It was also announced "which studios would take over the leadership roles in DCI after the current leadership term expires at the end of September." Subsequently, between August 27, 2007, and February 1, 2008, DCI issued 100 errata to Version 1.1. So, DCI released Version 1.2 of the DCI Specification on March 7, 2008, again incorporating the previous 100 errata into the specification document. An additional 96 errata were issued by August 30, 2012, so a revised Version 1.2 incorporating those additional errata was approved on October 10, 2012. DCI approved DCI Specification Version 1.3 on June 27, 2018, integrating the 45 errata issued to the previous version into a new document. On July 20, 2020, fifteen years to the day after Version 1.0, DCI issued a new DCI Specification Version 1.4 that assimilated 29 errata issued since Version 1.3. On October 13, 2021, DCI approved a new DCI Specification Version 1.4.1 that integrated the 23 errata that had been issued to DCI Specification Version 1.4. For the convenience of users, DCI also created an online HTML version of DCI Specification, Version 1.4.1. Due to the HTML conversion process, the footnotes in the DCSS now appear as endnotes. The PDF version contains pagination and page numbers whereas the HTML version does not. DCI Specification Version 1.4.2, dated June 15, 2022, includes revisions and refinements respecting Object-Based Audio Essence (OBAE), also known as Immersive Audio Bitstream (IAB). Version 1.4.2 also implements post-show log record collection utilizing SMPTE 430-17 SMS-OMB Communications Protocol Specification. Additionally, Version 1.4.2 incorporated two prior addenda: the Digital Cinema Object-Based Audio Addendum, dated October 1, 2018 and the Stereoscopic Digital Cinema Addendum, Version 1.0, dated July 11, 2007. Users using Version 1.4.2 no longer need to refer to the separate addenda. Previous DCSS versions are archived on the DCI web site. Based on many SMPTE and ISO standards, such as JPEG 2000-compressed image and "broadcast wave" PCM/WAV sound, the DCI Specification explains the route to create an entire Digital Cinema Package (DCP) from a raw collection of files known as the Digital Cinema Distribution Master (DCDM), as well as the specifics of its content protection, encryption, and forensic marking. The DCI Specification also establishes standards for the decoder requirements and the presentation environment itself, such as ambient light levels, pixel aspect and shape, image luminance, white point chromaticity, and those tolerances to be kept. Even though it specifies what kind of information is required, the DCI Specification does not include specific information about how data within a distribution package is to be formatted. Formatting of this information is defined by the Society of Motion Picture and Television Engineers (SMPTE) digital cinema standards and related documents. == Image and audio capability overview == === 2D image === 2048×1080 (2K) at 24 frame/s or 48 frame/s, or 4096×2160 (4K) at 24 frame/s In 2K, for Scope (2.39:1) presentation 2048×858 pixels of the imager is used In 2K, for Flat (1.85:1) presentation 1998×1080 pixels of the imager is used In 4K, for Scope (2.39:1) presentation 4096×1716 pixels of the imager is used In 4K, for Flat (1.85:1) presentation 3996×2160 pixels of the imager is used 12 bits per color component (36 bits per pixel) via dual HD-SDI (encrypted) 10 bits only permitted for 2K at 48 frame/s CIE XYZ color space, gamma-corrected TIFF 6.0 container format (one file per frame) JPEG 2000 compression From 0 to 5 or from 1 to 6 wavelet decomposition levels for 2K or 4K resolutions, respectively Compression rate of 4.71 bits/pixel (2K @ 24 frame/s), 2.35 bits/pixel (2K @ 48 frame/s), 1.17 bits/pixel (4K @ 24 frame/s) 250 Mbit/s maximum image bit rate === Stereoscopic 3D image === 2048×1080 (2K) at 48 frame/s - 24 frame/s per eye (4096×2160 4K not supported) In 2K, for Scope (2.39:1) presentation 2048×858 pixels of the imager is used In 2K, for Flat (1.85:1) presentation 1998×1080 pixels of the imager is used Optionally, in the HD-SDI link only: 12 bit color, YCxCz 4:2:2 (i.e. chroma subsampling in XYZ space), each eye in separate stream === Audio === 24 bits per sample, 48 kHz or 96 kHz Up to 16 channels WAV container, uncompressed PCM DCI has additionally published a document outlining recommended practice for High Frame Rate digital cinema. This document discloses the following proposed frame rates: 60, 96, and 120 frames per second for 2D at 2K resolution; 48 and 60 for stereoscopic 3D at 2K resolution; 48 and 60 for 2D at 4K resolution. The maximum compressed bit rate for support of all proposed frame rates should be 500 Mbit/s. == Related information == The idea for DCI was originally mooted in late 1999 by Tom McGrath, then COO of Paramount Pictures, who applied to the U.S. Department of Justice for anti-trust waivers to allow the joint cooperation of all seven major motion picture studios. Universal Pictures made one of the first feature-length DCPs created to DCI specifications, using their film Serenity. Although it was not distributed theatrically, it had one public screening on November 7, 2005, at the USC Entertainment Technology Center's Digital Cinema Laboratory in the Pacific Theatre, Hollywood. Inside Man (2006) was Universal's first DCP commercial release, and, in addition to 35mm film distribution, was delivered via hard drive to 20 theatres in the United States along with two trailers. The Academy Film Archive houses the Digital Cinema Initiatives, LLC Collection, which includes film and digital elements from DCI's Standard Evaluation Material (StEM), a 12-minute production shot on 35mm and 65mm film, created for vendors and standards organizations to test and evaluate image compression and digital projection technologies.

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