AI Coding Vscode Extension

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

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  Something Big Is Happening

  "Something Big Is Happening" is an essay by Matt Shumer, an AI entrepreneur, about the impact of artificial intelligence, published in February 2026, that has since been reportedly viewed more than 80 million times and widely discussed. Shumer noted that the technology has crossed an important threshold, where AI has become capable of creating self-improving systems. Referring to one the most recent AI models, he wrote: "It was making intelligent decisions. It had something that felt, for the first time, like judgment. Like taste." Speaking to CNBC's Power Lunch, Shumer said that his "core message" is "people in the workforce should start to use and experiment with AI tools so they can understand what’s coming". Even as the essay was widely shared and discussed, the essay also elicited criticism. Paulo Carvao, in an essay published by the Forbes Magazine stated that some of his advice is sound, but added: "It reads at times like a sales pitch. He urges readers to subscribe to the most advanced AI tools. He implies that those with access to premium models will outpace those without. He frames paid AI subscriptions as a form of insurance against obsolescence." Writing in The Guardian, Dan Milmo and Aisha Down mentioned Shumer as having a history of AI hype and stated, "He previously excited the internet by announcing the release of the world's "top open-source model", which it was not". Many workers in the technology sector criticized the article in blog posts shared on Hacker News; Edward Zitron commented that "while coding LLMs can test products, or scan/fix some bugs, this suggests they A) do this autonomously without human input, B) they do this correctly every time (or ever!)." In an article alluding to Shumer's original post, Ari Colaprete wrote "the LLM is fundamentally a writing machine, it does everything via text, and if you make it produce writing that exists purely to serve some sort of mechanical function, and you train it to succeed in that task, then it will tend to do so, even with vast intricacy."

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  Digital artifactual value

  Digital artifactual value, a preservation term, is the intrinsic value of a digital object, rather than the informational content of the object. Though standards are lacking, born-digital objects and digital representations of physical objects may have a value attributed to them as artifacts. == Intrinsic value in analog materials == With respect to analog or non-digital materials, artifacts are determined to have singular research or archival value if they possess qualities and characteristics that make them the only acceptable form for long-term preservation. These qualities and characteristics are commonly referred to as the item's intrinsic value and form the basis upon which digital artifactual value is currently evaluated. Artifactual value based on this idea is predicated upon the artifact's originality, faithfulness, fixity, and stability. The intrinsic value of a particular object, as interpreted by archival professionals, largely determines the selection process for archives. The National Archives and Records Administration Committee on Intrinsic Value in "Intrinsic Value in Archival Material" classified an analog object as having intrinsic value if it possessed one or more of the follow qualities: Physical form that may be the subject for study if the records provide meaningful documentation or significant examples of the form. Aesthetic or artistic quality. Unique or curious physical features. Age that provides a quality of uniqueness. Value for use in exhibits. Questionable authenticity, date, author, or other characteristic that is significant and ascertainable by physical examination. General and substantial public interest because of direct association with famous or historically significant people, places, things, issues or events. Significance as documentation of the establishment or continuing legal basis of an agency or institution. Significance as documentation of the formulation of policy at the highest executive levels when the policy has significance and broad effect throughout or beyond the agency or institution. Other archival professionals such as Lynn Westney have written that the characteristics of materials exhibiting intrinsic value include age, content, usage, particularities of creation, signatures, and attached seals. Westney and others have stated that paper-based artifacts can be thought to have evidentiary value, or significant contextual markings, insofar that the original manifestation of the artifact can attest to the originality, faithfulness or authenticity, fixity, and stability of the content. For other analog materials, properly articulating intrinsic value remains essential for determining artifactual value. Similar to paper-based objects in many respects, artifactual value for images typically takes into account artistic value, age, authorial prestige, significant provenance, and institutional priorities. Analog audio preservation is based upon similar factors, including the cultural value of the item, its historical uniqueness, the estimated longevity of the medium, the current condition of the item, and the state of playback equipment, among other things. == Analog conventions in a digital realm == The standard definition of artifactual value, as it has applied to analog or non-digital materials in the twentieth century, is based upon a set of conventions which do not ordinarily apply to digital objects in toto. The Council on Library and Information Resources (CLIR) has stated that printed texts and other paper-based manuscripts, when considered as objects, are imbued with meaning distilled from a general set of understandings inherent to these conventions: The object is of a fixed and stable composition/form. Authorship and intellectual property are a recognizable concept. Duplication is possible. Fungibility of informational content (or, in other words, the ability to be replaced by another identical object). These conventions are important to consider because they help to describe the physical and even metaphysical relationship between a document's content and its physical manifestation. The underpinnings of this relationship are not identical and do not apply with the same degree of clarity to an immaterial digital realm. The idea of fixity with regard to printed materials, for example, is largely predicated on the notion that an object has been recorded on a relatively stable medium. The physical presence of a print text serves as proof of its authenticity as an object or artifact, as well as its scarcity and uniqueness in relation to other print materials. Variations in the chemical properties and storage conditions of print-based materials, as well as other cultural variables, certainly impact the fixity or stability of print materials, but there is little controversy about determining its fundamental existence or originality. However, uniqueness in the physical, paper-based sense does not translate to a digital realm in which immaterial objects are subject to theoretically infinite levels of reproduction and dissemination. Born-digital and digital surrogates may or may not look any different from each other on a server, and alterations can be made without explicit notice to the user. These alterations are normally called migration events, or actions taken on the digital object that change the original object's composition. They can enact subtle but fundamental alterations to the original document, thereby compromising its existence as an original object. Furthermore, because the tools used to generate and access digital objects have historically evolved quite rapidly, issues of playback obsolescence, incapability, data loss, and broken pathways to information have changed traditional ideas of fixity and stability. Therefore, artifactual value in a digital realm requires a modified set of generalized standards for determining artifactual originality. Michael J. Giarlo and Ronald Jantz, only two of many, have posited a list of methods for establishing digital intrinsic value by way of careful metadata generation and records maintenance. In their report, a digital original possesses three key characteristics that distinguishes it from identical copies. These include continuous verification and re-verification of the document's digital signature starting from the date of creation; retaining versions and recordings of all changes to the object in an audit trail; and having the archival master contain the creation date of the digital object. They also reported that originality in digital sources could be verified or produced by the following techniques: Digital object is given a date-time stamp that's automatically inserted into the METS-XML header upon creation. Date-time is inserted into archival metadata. Encapsulation. Digital signatures. == The role of digital surrogates == Digital surrogates are considered a utility for aiding in the preservation and increased access of certain artifacts. However, digital surrogates can have different utilities for objects depending on the nature of the original artifact and the condition the artifact is in. In 2001 the Council on Library and Information Resources (CLIR) published a report on the artifact in library collections. The CLIR states that the utility of the digital surrogate can be determined by dividing the original material (artifact) into two different categories, artifacts that are rare and those that are not. These two categories can be further divided by two categories, artifacts that are frequently used and those that are not. === Materials that are frequently used and not rare === According to the CLIR "it is not obvious that digital surrogates provide all the functionality, all the information, or all the aesthetic value of originals. Therefore, while it may be sensible to recommend that digital surrogates be used to reduce the cost and increase the availability of library holdings that circulate frequently, the decision to deaccession a physical object in library collections and replace it with a digital surrogate should be based on a careful assessment of the way in which library patrons use the original object or objects of its kind." === Materials that are infrequently used and not rare === Keeping the original is always the best solution for libraries and especially archives but in the case of libraries where an artifact is not rare or used infrequently there must be a barometer that is developed to help "balance functionality with actual use in order to help decide when digital surrogates that provide most of the functionality of originals are acceptable." === Materials that are rare and frequently used === A professional in the field of Library and Information Science (LIS) would almost certainly not argue that a digital surrogate could replace a rare object. However, in the case of a rare object that is falling into poor shape due to heavy use a digital surrogate could be extremely useful in reducing the wear a

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  Terrorism and social media

  Terrorism, fear, and media are interconnected. Terrorists use the media to advertise their attacks and or messages, and the media uses terrorism events to further aid their ratings. Both promote unwarranted propaganda that instills mass amounts of public fear. The leader of al-Qaeda, Osama bin Laden, discussed the weaponization of media in a letter written after his organization committed the terrorist attacks on September 11, 2001. In that letter, bin Laden stated that fear was the deadliest weapon. He noted that the Western civilization has become obsessed with mass media, quickly consuming what will bring them fear. He further stated that societies are bringing this problem on their own people by giving media coverage an inherent power. In relation to one's need for media coverage, al-Qaeda and other militant Jihadi terrorist organizations can be classified as a far-right radical offshoot of mainstream mass media. The Jihad needs to conceptualize their martyrdom by leaving behind manifestos and live videos of their attacks; it is crucially important to them that their ill deeds are being covered by news media. The components the media looks for to deem the news "worthy" enough to publicize are categorized into ten qualities; terrorists usually exceed half in their attacks. These include: Immediacy, Conflict, Negativity, Human Interest, Photographability, Simple Story Lines, Topicality, Exclusivity, Reliability, and Local Interest. Historically, morality and profitability are two motivations which are not easily weighed when delivering news; recent news coverage has become far more motivated in making money for their parent corporation than serving as a defender of truth, doing true journalistic fact-finding, and shielding the public from news which is sensational, outright untrue, or politically-motivated propaganda. A study concerning the disparity in coverage of terrorist events took attacks from the ten‑year span of 2005–2015 and found that 136 episodes of terrorism occurred in the United States. LexisNexis Academic and CNN were the platforms used to measure the media coverage. It was found that out of other terrorist attacks showed on the news, one's with Muslim perpetrators received more than 357% coverage. In addition to this disparity, attacks also received more coverage when they were targeted at the government, had high fatality rates, and showed arrests being made. These findings were aligned with America's tendency to categorize Muslim people as a threat to national security. Thus, mass media coverage on terrorism is creating fake narratives and an absence of related coverage. For instance, the American public believes that crime rates have been on the rise which in fact they have been on an all-time low. Given that the media often covers crime almost immediately and frequently, suggests that people infer it happening all the time. In reference to the disparity in terror attacks, three attacks were seen to have the least media coverage of all the 136. The Sikh Temple massacre in Wisconsin which had 2.6% coverage, the Kansas synagogue killings which had 2.2%, and the Charleston Church deaths which only resulted in 5.1% coverage. The three events had commonalities worth mentioning in that they all had white perpetrators and were not directed at government intuitions (in fact all targeted minorities). The media's obsession with terror is making people fearful of the wrong things and not attentive enough to the issues that are radically unseen. Not only are minorities usually not the perpetrators of domestic terrorism, but they are common victims in mass casualties or proximal witnesses to the attacks. In an early 2000s study, 72 Israeli adults were measured pre and posttest for increased anxiety after being exposed to news broadcasts of terrorism attacks. The study found that the group exposed to the broadcasts without any treatment (preparation intervention) had heightened levels of anxiety compared to the group that received the treatment along with viewing the broadcast. Since preparatory intervention is not yet normalized, people in proximity to ongoing coverage of terror events are suffering from the lasting impacts of fear and anxiety. Preparatory Intervention, in this case, was conducted by a group facilitator who introduced a topic concerning terrorism in which participants were instructed to write down feelings to share with the group and later learn to cope with. A discourse of fear created by mass media presence, but false information is leading people to prepare for the wrong situations. In the early 2000s, police units circulated public schools flooding the idea of Stranger Danger into the minds of adolescents. Children and their parents cautiously separated from strangers while perpetrators in those families' social circles continued to offend under the radar. For myths are becoming common, precedent and real danger is buried beneath the surface. It is these implementations of fear that are falsifying the true narrative which for terrorism is a huge social problem but one that is not resolved through entertainment and mass media production. Mass media like news outlets and even social media platforms are contributing to the growing discourse of fear surrounding terrorism. Terrorism and social media refers to the use of social media platforms to radicalize and recruit violent and non-violent extremists. According to some researchers the convenience, affordability, and broad reach of social media platforms such as YouTube, Facebook and Twitter, terrorist groups and individuals have increasingly used social media to further their goals, recruit members, and spread their message. Attempts have been made by various governments and agencies to thwart the use of social media by terrorist organizations.Terror groups take to social media because it's cheap, accessible, and facilitates quick access to a lot of people. Social media allow them to engage with their networks. In the past, it wasn't so easy for these groups to engage with the people they wanted to whereas social media allows terrorists to release their messages right to their intended audience and interact with them in real time. "Spend some time following the account, and you realize that you're dealing with a real human being with real ideas- albeit boastful, hypocritical, violent ideas". Al- Qaeda has been noted as being as being one of the terror groups that uses social media the most extensively. "While almost all terrorist groups have websites, al qaeda [sic] is the first to fully exploit the internet. This reflects al-Qaeda's unique characteristics." Despite the risks of making statements, such as enabling governments to locate terror group leaders, terror leaders communicate regularly with video and audio messages which are posted on the website and disseminated on the internet. ISIS uses social media to their advantage when releasing threatening videos of beheadings. ISIS uses this tactic to scare normal people on social media. Similarly, Western domestic terrorists also use social media and technology to spread their ideas. == Traditional media == Many authors have proposed that media attention increases perceptions of risk of fear of terrorism and crime and relates to how much attention the person pays to the news. The relationship between terrorism and the media has long been noted. Terrorist organizations depend on the open media systems of democratic countries to further their goals and spread their messages. To garner publicity for their cause, terrorist organizations resort to acts of violence and aggression that deliberately target civilians. This method has proven to be effective in gathering attention: It cannot be denied that although terrorism has proved remarkably ineffective as the major weapon for taking down governments and capturing political power, it has been a remarkably successful means of publicizing a political cause and relaying the terrorist threat to a wider audience, particularly in the open and pluralistic countries of the West. When one says 'terrorism' in a democratic society, one also says 'media'. While a media organization may not support the goals of terrorist organizations, it is their job to report current events and issues. In the fiercely competitive media environment, when a terrorist attack occurs, media outlets scramble to cover the event. In doing so, the media help to further the message of terrorist organizations: To summarise briefly on the symbiotic nature of the relationship between terrorists and the media, the recent history of terrorism in many democratic countries vividly demonstrates that terrorists do thrive on the oxygen of publicity, and it is foolish to deny this. This does not mean that the established democratic media share the values of the terrorists. It does demonstrate, however, that the free media in an open society are particularly vulnerable to exploitation and manipulation by ru

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  Polyfill (programming)

  In software development, a polyfill is code that implements a new standard feature of a deployment environment within an old version of that environment that does not natively support the feature. Most often, it refers to JavaScript code that implements an HTML5 or CSS web standard, either an established standard (supported by some browsers) on older browsers, or a proposed standard (not supported by any browsers) on existing browsers. Polyfills are also used in PHP and Python. Polyfills allow web developers to use an API regardless of whether or not it is supported by a browser, and usually with minimal overhead. Typically they first check if a browser supports an API, and use it if available, otherwise using their own implementation. Polyfills themselves use other, more supported features, and thus different polyfills may be needed for different browsers. The term is also used as a verb: polyfilling is providing a polyfill for a feature. == Definition == The term is a neologism, coined by Remy Sharp, who required a word that meant "replicate an API using JavaScript (or Flash or whatever) if the browser doesn’t have it natively" while co-writing the book Introducing HTML5 in 2009. Formally, "a shim is a library that brings a new API to an older environment, using only the means of that environment." Polyfills exactly fit this definition; the term shim was also used for early polyfills. However, to Sharp shim connoted non-transparent APIs and workarounds, such as spacer GIFs for layout, sometimes known as shim.gif, and similar terms such as progressive enhancement and graceful degradation were not appropriate, so he invented a new term. The term is based on the multipurpose filling paste brand Polyfilla, a paste used to cover up cracks and holes in walls, and the meaning "fill in holes (in functionality) in many (poly-) ways." The word has since gained popularity, particularly due to its use by Paul Irish and in Modernizr documentation. The distinction that Sharp makes is: What makes a polyfill different from the techniques we have already, like a shim, is this: if you removed the polyfill script, your code would continue to work, without any changes required in spite of the polyfill being removed. This distinction is not drawn by other authors. At times various other distinctions are drawn between shims, polyfills, and fallbacks, but there are no generally accepted distinctions: most consider polyfills a form of shim. The term polyfiller is also occasionally found. == Examples == === core-js === core-js is one of the most popular JavaScript standard library polyfills. Includes polyfills for ECMAScript up to the latest version of the standard: promises, symbols, collections, iterators, typed arrays, many other features, ECMAScript proposals, some cross-platform WHATWG / W3C features and proposals like URL. You can load only required features or use it without global namespace pollution. It can be integrated with Babel, which allows it to automatically inject required core-js modules into your code. === html5shiv === In IE versions prior to 9, unknown HTML elements like

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  Fillrate

  In computer graphics, a video card's pixel fillrate refers to the number of pixels that can be rendered on the screen and written to video memory in one second. Pixel fillrates are given in megapixels per second or in gigapixels per second (in the case of newer cards), and are obtained by multiplying the number of render output units (ROPs) by the clock frequency of the graphics processing unit (GPU) of a video card. A similar concept, texture fillrate, refers to the number of texture map elements (texels) the GPU can map to pixels in one second. Texture fillrate is obtained by multiplying the number of texture mapping units (TMUs) by the clock frequency of the GPU. Texture fillrates are given in mega or gigatexels per second. However, there is no full agreement on how to calculate and report fillrates. Another possible method is to multiply the number of pixel pipelines by the GPU's clock frequency. The results of these multiplications correspond to a theoretical number. The actual fillrate depends on many other factors. In the past, the fillrate has been used as an indicator of performance by video card manufacturers such as ATI and NVIDIA, however, the importance of the fillrate as a measurement of performance has declined as the bottleneck in graphics applications has shifted. For example, today, the number and speed of unified shader processing units has gained attention. Although fillrate doesn't provide a substantial bottleneck in games, it can still provide a bottleneck for certain parts of the game, for example applying a gaussian blur can be bottlenecked by fillrate. Scene complexity can be increased by overdrawing, which happens when an object is drawn to the frame buffer, and another object (such as a wall) is then drawn on top of it, covering it up. The time spent drawing the first object is thus wasted because it is not visible. When a sequence of scenes is extremely complex (many pixels have to be drawn for each scene), the frame rate for the sequence may drop. When designing graphics intensive applications, one can determine whether the application is fillrate-limited (or shader limited) by seeing if the frame rate increases dramatically when the application runs at a lower resolution or in a smaller window. Although this is not a full-proof method, modern videogame engines can dynamically reduce the level-of-detail required and thereby reducing fillrate-limited applications. The best way to find fillrate bottlenecks is to use GPU vendor software like NVIDIA Nsight Graphics, AMD Radeon GPU Profile and the Intel Graphics Performance Analyzers.

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  Deconfliction line

  A deconfliction line is an official line of communications established between militaries who are or could be hostile, to avoid dangerous misunderstandings and miscalculations based on ignorance. The ultimate aim is to avoid accidents and conflict escalation. In the 2010s and 2020s, the US and Russia set up deconfliction lines during the Syrian civil war and Russo-Ukrainian War. They were regularly tested by military staff, and used by air traffic controllers and senior military officers. They were used to avoid midair collisions between aircraft in the same or adjacent airspace, and sometimes to give warning of airstrikes. In April 2017, Russia severed the Syrian line in retaliation for a called strike.

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  SitePal

  SitePal is a speaking avatar platform for small and medium-sized businesses developed by Oddcast. SitePal allows users to deploy "virtual employees" on websites that can welcome visitors, guide them around the site and answer questions. The use of SitePal on commercial websites has been controversial because many visitors report finding them annoying. Some research has shown that they can increase sales in comparison to using static photographs. == Development == The technology used was the result of more than 4 years of research at Stanford University. The research was based on a literature review and other previous work in the field of artificial intelligence research. The SitePal AI option uses the AIML programming language, which is partially editable by users. This allows web designers to simulate normal human conversation by using keywords or key phrases that the bot can respond to. == Features == The company provides web designers with options to customize the chosen avatar. A large selection of faces, clothing, hair, backgrounds, voices and other details are available. If a web designer wants to use a particular face, Sitepal can create one from a photo. Thus, a mascot or a known face can be simulated. == Speech == Sitepal avatars talk through text-to-speech (tts) software. A short paragraph can be written (up to 900 characters) and the text-to-speech engine will compile the actual speech, which can be reproduced and edited. The tts engine is not perfect, but it comes close to actual speech and is easy to understand. Tts can be further enhanced by some commands, like /laugh and /loud which make the avatar laugh or talk loud. Even pronunciation is possible. The web designer can record and upload his or her own audio messages. Alternatively Sitepal offers professional voice acting service at extra cost. == User interaction == The company provides 5 options for visitor interaction: No interaction. The avatar simply says a pre-fixed message. FAQ mode. Questions can be configured, which are clickable and the user can hear the answer. Lead mode. The avatar prompts the user to type his email and short message, so it can be sent to the webmaster (usually used on a "contact us" page) Chatbot mode. The avatar greets the user, and he can type his questions and have a conversation with the bot. With predetermined replies, this can work as an FAQ as well. API customization. Experienced programmers can make their avatar interact with their website, making it talk when the user clicks on a link or when other triggers occur. Even dual avatar conversations can be created, like a talk show. == Posting options == The company provides five options for posting the avatar: Embed in webpage (via javascript) Embed in HTML Send by email Publish to eBay Embed in Flash == Criticism == Early reviews, such as one by Troy Dreier published in PC World in 2002 were positive and described SitePal as: "an engagingly simple and personal tool, and the price is reasonable for what it adds to a site". Although Dreier did note that the program had "bugs that suggested it hadn't been tested thoroughly". In more recent years, reaction to SitePal has been much more negative with reviews such as Tom Spring writing in a PC World review citing SitePal ads and described his reaction as "Not so nice". Paul Bissex, writing in E-Scribe News described SitePal as "heinous... and embarrassing if anyone is within earshot...they creep me out" == Research on effectiveness == In one single-website research project Anita Campbell had half the visitors to Small Business Trends see a SitePal and the other half see just a static photograph. Over 11,000 visitors the SitePal avatar improved sign-up for a newsletter 144% over the control condition.

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  Electronic submission

  Electronic submission refers to the submission of a document by electronic means: that is, via e-mail or a web form on the Internet, or on an electronic medium such as a compact disc, a hard disk or a USB flash drive. Traditionally, the term "manuscript" referred to anything that was explicitly "written by hand". However, in popular usage and especially in the context of computers and the internet, the term "manuscript" may even refer to documents (text or otherwise) typed out or prepared on typewriters and computers and can be extended to digital photographs and videos, and online surveys too. In other words, any manuscript prepared and submitted online can be considered to be an electronic submission. == History and early usage == There is no concrete data indicating when and by whom were electronic submissions used for the first time. However, research based universities in several countries have been encouraging the collection of course assignments and projects in the form of electronic submissions for almost a decade now. Several governments and organizations are also switching to electronic submissions for the collection of research papers, grant applications and government application forms. == Types of electronic submissions == Since modern computers can store and process information and data in virtually any format and with the Internet allowing easy transfer of this data, the number of scenarios in which submissions can be collected electronically has increased exponentially in the last few years. Some of these scenarios are described below. In most of these scenarios, submissions were collected on hard paper until the Information Technology revolution occurred. === Academic Submissions === Teachers, professors and teaching assistants often collect course assignments and projects electronically. Electronic submissions are usually collected using a web-based system which more often than not also helps in the management of submissions collected and stored on it. (Explained By Henny L, University of Lethbridge, AB, Canada) === Research Papers === In call-for-paper or academic conferences, prospective presenters are usually asked to submit a short abstract or a full paper on their presentation or research work electronically, which is reviewed before being accepted for the conference. === Proposals for Grants === Several grant-giving organizations like the NSA, W3C, NIA, NIH etc. require grant seekers to submit a proposal which if accepted result in the desired grants. A majority of these proposals are now submitted electronically on systems that also help in the managing and tracking the proposals submitted. === Articles for Publication === Magazines, newspapers and other publishing houses have begun accepting electronic submissions for articles from various sources - both internal (by journalists and writers hired by them) as well as external (by users and popular readers). The submitted articles are stored on a server hosted by the publication house or by a third-party Archived 2019-10-13 at the Wayback Machine vendor and are usually evaluated before being given a green signal. === Contests and Competition Entries === Almost every kind of contest or competition requires participants to submit an entry in a format described by the organizers of the contest. If the contest is an Internet-based one, then the entries or nominations for the contest are collected electronically using e-mail or other electronic means depending on feasibility and the choice of the organizers. === Government Applications === The governments of several countries are turning to electronic submission of applications and forms for various government procedures. Electronic submissions allow easier management of the applications and forms submitted. === Legal documents === Many legal documents may be submitted to the courts electronically. In England and Wales, the Civil Procedure Rules include a suitable "document exchange" as an acceptable "method of service". Case law in employment law cases has established that where a claim is submitted electronically, a prudent legal adviser should "check that it has been received and there must be systems in place for doing that". === Resumés and CVs === It has become commonplace for job-seekers to submit soft copies (electronic versions) of their resumés and CVs to recruiting agencies and online job portals. This is usually done over the Internet using e-mail or a pre-hosted web-based system. == Submission management systems == The art and science of collecting and managing electronic submissions is called Submission Management. Certain software vendors have begun developing submission management systems to assist in the collection, tracking and management of complex submission processes realized electronically. Most of these systems are web based and accessible from any device with a browser and an Internet connection. However, a majority of these systems are application specific and cannot be applied to all submission management scenarios. == Resistance to electronic submissions == Despite the easier management and tracking of electronic submissions compared to their paper-based counterparts, widespread adoption and use of electronic submissions and systems for managing them has been hampered by several facts, which include but are not limited to: Inconvenience while drawing figures, diagrams and equations on a computer Resistance to change and adoption of new technologies Lack of or limited access to the Internet.

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  Inauthentic text

  An inauthentic text is a computer-generated expository document meant to appear as genuine, but which is actually meaningless. Frequently they are created in order to be intermixed with genuine documents and thus manipulate the results of search engines, as with Spam blogs. They are also carried along in email in order to fool spam filters by giving the spam the superficial characteristics of legitimate text. Sometimes nonsensical documents are created with computer assistance for humorous effect, as with Dissociated press or Flarf poetry. They have also been used to challenge the veracity of a publication—MIT students submitted papers generated by a computer program called SCIgen to a conference, where they were initially accepted. This led the students to claim that the bar for submissions was too low. With the amount of computer generated text outpacing the ability of people to humans to curate it, there needs some means of distinguishing between the two. Yet automated approaches to determining absolutely whether a text is authentic or not face intrinsic challenges of semantics. Noam Chomsky coined the phrase "Colorless green ideas sleep furiously" giving an example of grammatically correct, but semantically incoherent sentence; some will point out that in certain contexts one could give this sentence (or any phrase) meaning. The first group to use the expression in this regard can be found below from Indiana University. Their work explains in detail an attempt to detect inauthentic texts and identify pernicious problems of inauthentic texts in cyberspace. The site has a means of submitting text that assesses, based on supervised learning, whether a corpus is inauthentic or not. Many users have submitted incorrect types of data and have correspondingly commented on the scores. This application is meant for a specific kind of data; therefore, submitting, say, an email, will not return a meaningful score.

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  Technology company

  A technology company, or tech company, is a company that focuses primarily on the manufacturing, support, research and development of—most commonly computing, telecommunication and consumer electronics–based—technology-intensive products and services, which include businesses relating to digital electronics, software, optics, new energy, and Internet-related services such as cloud storage and e-commerce services. Big Tech refers to the 6 largest companies, both in the United States and globally, symbolized by the metonym 'Silicon Valley', where 4 of them are based. == Details == According to Fortune, as of 2020, the ten largest technology companies by revenue are: Apple Inc., Samsung, Foxconn, Alphabet Inc., Microsoft, Huawei, Dell Technologies, Hitachi, IBM, and Sony. Amazon has higher revenue than Apple, but is classified by Fortune in the retail sector. The most profitable listed in 2020 are Apple Inc., Microsoft, Alphabet Inc., Intel, Meta Platforms, Samsung, and Tencent. Apple Inc., Alphabet Inc. (owner of Google), Meta Platforms (owner of Facebook), Microsoft, and Amazon.com, Inc. are often referred to as the Big Five multinational technology companies based in the United States. These five technology companies dominate major functions, e-commerce channels, and information of the entire Internet ecosystem. As of 2017, the Big Five had a combined valuation of over $3.3 trillion and make up more than 40 percent of the value of the Nasdaq-100 index. Many large tech companies have a reputation for innovation, spending large sums of money annually on research and development. According to PwC's 2017 Global Innovation 1000 ranking, tech companies made up nine of the 20 most innovative companies in the world, with the top R&D spender (as measured by expenditure) being Amazon, followed by Alphabet Inc., and then Intel. As a result of numerous influential tech companies and tech startups opening offices in proximity to one another, a number of technology districts have developed in various areas across the globe. These include: Silicon Valley in the San Francisco Bay Area, Silicon Wadi in Israel, Silicon Docks in Dublin, Silicon Hills in Austin, Tech City in London; Digital Media City in Seoul, Zhongguancun in Beijing, Cyberjaya in Malaysia and Cyberabad in Hyderabad, India. As of 2026, Europe has six of the world's 100 most valuable tech companies, compared with 56 in the United States and 16 in China.

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  Institute of Telecommunications Professionals

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

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  Mass media use by the Islamic State

  The Islamic State (IS) is known for its extensive and effective use of propaganda. It uses a version of the Muslim Black Standard flag and developed an emblem which has clear symbolic meaning in the Muslim world. The Islamic State targets younger audiences, such as teenagers and young adults, since they are more vulnerable to propaganda. It is known to exploit the internet to spread its propaganda by establishing websites, such as the Al Fustat domain. Videos by the Islamic State are commonly accompanied by nasheeds (chants), notable examples being the chant Dawlat al-Islam Qamat, which came to be viewed as an unofficial anthem of the Islamic State, and Salil al-Sawarim. Academic research has emphasized the scale and volume of Islamic State media production beyond its flagship magazines. A quantitative study cited in R. Malash’s academic work documented 1,373 distinct Islamic State media products released over a six-month period between 1 August 2017 and 28 February 2018, including magazines, newsletters, reports, photographic releases, audio recordings, and other media formats. Scholars have used such datasets to illustrate the breadth and intensity of the group’s media output, particularly during periods of territorial decline, when propaganda activity remained high despite military pressure. == Traditional media == === Al-Furqan Foundation for Media Production === In January 2006, shortly after the group's rebranding as the "Islamic State of Iraq", it established the Al-Furqan Foundation for Media Production (Arabic: مؤسسة الفرقان للإنتاج الإعلامي, romanized: Muasasat al-Furqān lil'īntāj al'ilāmī), which produces CDs, DVDs, posters, pamphlets, and web-related propaganda products and official statements. It is the primary media production house of the Islamic State and responsible for production of major media releases, including the statements of the spokesmen and leaders of the group. On January 10, 2006, Al-Furqan released its very first video, titled (Arabic: زحف الأنوار, romanized: Zahf al-Anwār) It was founded by the Iraqi man Dr Wa'il al-Fayad, known as Abu Muhammad al-Furqan. He got his name "Al-Furqan" from his role in founding this media house, which was named after the 25th surah of the Quran Al-Furqan. It is the oldest media production house for the Islamic State, being founded in November 2006 to release media for the Islamic State of Iraq. The earliest release indexed by the SITE Intelligence Group is on 21 November 2006, documenting the storming of a police station in the Iraqi town of Miqdadiyah. Al-Furqan is considered to be a considerable innovation in jihadist media, with Kavkaz Center describing it as "a milestone on the path of jihad, a distinguished media that takes the great care in the management of the conflict with the crusaders and their tails and to expose the lies in the crusader's media." In October 2007, the Long War Journal reported on United States Army raids targeting Al-Furqan media cell members across Iraq, including in Mosul and Samarra. Between August 2013 and March 2014 they released the 22 part series Messages from the Land of Epic Battles. On 2 September 2014 SITE Intelligence Group discovered the beheading video called A Second Message to America, about the death of Steven Sotloff. Since then, Al-Furqan has released videos of their operations across Iraq and Syria, as well as execution videos directed to governments around the world. In April 2019, Al-Furqan released a video Interviewing Abu Bakr al-Baghdadi. Al-Furqan also produces media in the form of audio, which consists mostly of recordings of IS leaders and spokesmen giving speeches, as well as producing a single nasheed under their name called "Ya Allah Al-Jannah" (O Allah, (we ask you for) Paradise), sung by now-dead member of IS, Uqab Al-Marzuqi. === Al-I'tisam Foundation for Media Production === The Islamic State of Iraq founded a second media foundation - Al-I'tisam Media Foundation - around 2011, marked by their first video release, titled "The Conqueror of the Murtaddin: Abu Ahmad Al-Ansari". The foundation has since released a few series of videos, 50 parts of "Windows on the Land of Battles", 9 parts of "Pictures from the Land of Battles", a 9-part series quoting leaders about the establishment of the Islamic State, and other series before their last release, "Deterring the Safavids in Salah ad-Din" in 2015. Since then, there were no further releases from their behalf. === Al-Hayat Media Center === In mid-2014, IS established the Al-Hayat Media Center, which targets Western audiences and produces material in English, German, Russian, Urdu, Indonesian, Turkish, Bengali, Chinese, Bosnian, Kurdish, Uyghur, and French. When IS announced its expansion to other countries in November 2014 it established media departments for the new branches, and its media apparatus ensured that the new branches follow the same models it uses in Iraq and Syria. Then FBI Director James Comey said that IS's "propaganda is unusually slick," noting that, "They are broadcasting... in something like 23 languages". In July 2014, Al-Hayat began publishing a digital magazine called Dabiq, in a number of different languages including English. According to the magazine, its name is taken from the town of Dabiq in northern Syria, which is mentioned in a hadith about Armageddon. Al-Hayat also began publishing other digital magazines, including the Turkish language Konstantiniyye, the Ottoman word for Istanbul, the French language Dar al-Islam, and the Russian language Istok (Russian: Исток). By late 2016, these magazines had apparently all been discontinued, with Al-Hayat's material being consolidated into a new magazine called Rumiyah (Arabic for Rome). === Al-Naba === While the group's glossy, foreign-language magazines like Dabiq and Rumiyah ceased publication as the group lost territory, the weekly Arabic newsletter Al-Naba (The News) has continued to publish regularly, becoming the central pillar of the group's "media jihad" in the post-territorial phase. Recent scholarship, including studies published in 2025, suggests that Al-Naba serves a dual purpose: maintaining internal cohesion among dispersed fighters and projecting a narrative of endurance to enemies. Unlike the earlier magazines which were designed for recruitment, Al-Naba focuses on bureaucratic reporting, military statistics, and religious instruction. These are then translated and disseminated by decentralized supporter networks ("media mujahideen") to reach non-Arabic speakers. === Furat Media Center === The Al-Furat Media Center is another media center established in around 2015 to cater towards non-Arab speaking audiences. However, unlike the other organizations, the production wasn't as professional as ones made by the other media centers. Instead, they partially relied on local media departments and foreign communities of the Mujahideen to produce short-form videos. However, some professional long-form videos were also made under their behalf. As of now, the media center is the only known active branch of all the media centers of the Islamic State, after heavy losses from past campaigns against them. Their last release was "The Resolve of Muwahhidin in Russia", where videos from the Surovikino penal colony hostage crisis were edited and released. === Ajnad Foundation for Media Production === Ajnad Foundation is one of the official media wings of Islamic State which produces nasheeds and Quran recitations. It was established in January 2014 and has released more than 150 nasheeds. === Asdaa Foundation === Like the Ajnad Foundation, the Asdaa Foundation (Arabic: مؤسسة أصداء) or Asedaa Foundation produces Anasheed (Islamic chants). The foundation is the closest counterpart to Ajnad in producing Islamic State nasheeds, only difference being Ajnad is directly linked to the Islamic State while Asdaa is only classified as a "supporter organization" (munaser/munasera). The foundation had humble beginnings possibly in Yemen, where low-quality nasheeds were produced at first by 2 munshids, Abu Layth Al-Iraqi and Abu Ya'qub Al-Yamani. After that, the quality had improved a bit (possibly with new equipment and increased recognition) and eventually had its nasheeds included in the Islamic State's official media releases. One of its munshids, Abu Hafs is a renowned munshid who sings around 70 nasheeds, who as well works with Ajnad Foundation in some instances. He is currently alive, and working under Ansar Production Center (مركز إنتاج الأنصار), another Munasir foundation and Asedaa. Another Yemeni munshid, Abu Musab al-Adani, worked temporarily with Asdaa Foundation before defecting back to AQAP, from which he previously defected from. Some of their anasheed is used in IS's execution videos, a popular one is their human slaughterhouse execution video released during the time of Eid Al-Adha in 2016. The background nasheed they used was "We Came To Fill The Horizons With Terror", produced by the Asd

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  Marq (company)

  Marq (formerly Lucidpress) is a cloud-based software platform for brand management and templated content creation. The platform integrates with digital asset management (DAM) systems—including Aprimo and Bynder and customer relationship management (CRM) tools such as Salesforce and HubSpot. Marq also includes AI-assisted features for brand compliance and content automation. Trade publications have described the product as a brand templating and creative automation platform. == History == In October 2013, Lucid Software, Inc. announced Lucidpress as a public beta version. Following its release, Lucidpress was featured in TechCrunch, VentureBeat and PC World, with TechCrunch noting: "I had a chance to test the app before its launch and it is indeed very easy to use. If you've ever used a desktop publishing app in the past, you'll feel right at home with Marq, as it features the same kind of standard top-bar menu and layout options as most other publishing apps. In terms of features, it can also hold its own against similar desktop-based apps." In May 2021, Lucidpress announced that it had been acquired by Charles Thayne Capital ("CTC"), a growth-oriented and technology-focused private investment firm. In May 2021, following its acquisition by Charles Thayne Capital, Lucidpress became fully independent. Owen Fuller, who had served as General Manager since 2017, was appointed Chief Executive Officer. In 2022, Lucidpress was rebranded as Marq to reflect the company’s shift toward brand templating and creative automation tools, while continuing to support its publishing features. == Features == Marq integrates with customer relationship management (CRM) platforms such as Salesforce and HubSpot, enabling the creation of personalized, on-brand sales and marketing materials. The platform also connects with multiple digital asset management (DAM) systems, including Bynder, Aprimo, MediaValet, PhotoShelter, Acquia, and Canto. == Investment == Lucid Software raised $1 million in Seed in 2011, led by Google Ventures. In May 2014, the company received a $5 million investment. The round was led by Salt Lake-based Kickstart Seed Fund. In September 2016, the company received a $36 million investment from Spectrum Equity.

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  KKday

  KKday is an online travel e-commerce platform focused on connecting independent travelers with authentic, curated local experiences, tours, activities, and attraction tickets. == History == KKday was founded in 2014 in Taipei, Taiwan, by CEO Ming Chen, who previously started and led both Star Travel and Ezfly to IPO. In March of 2016, the company raised US$4.5 million in a Series A round led by AppWorks Ventures with participation by 91Capital. The raise allowed KKday to open offices and expand into Hong Kong, Japan, South Korea and Singapore by 2016. By the end of 2016, KKday offered over 6,000 travel experiences across 53 countries and 174 cities, marking early international expansion with its official launch in Singapore in October 2016, accompanied by promotional campaigns to attract regional users. Expansion into Malaysia, Thailand, Vietnam and the Philippines continued throughout 2017 and into 2018, with the company opening offices in Indonesia and mainland China. KKday rapidly expanded its inventory, reaching over 10,000 experiences in more than 500 cities across 80 countries by 2018, with key markets in Taiwan, Hong Kong, and South Korea. In February 2018, KKday raised $10.5 million in a funding round led by Japanese travel giant H.I.S., allowing integration with larger travel networks and further global growth. Forbes reports that by the end of 2018, the company operated in 11 countries and regions, employed around 400 staff, and recorded over 4 million weekly website views with more than 1 million app downloads. A combination of a Japanese and South Korean trade dispute, along with the Covid-19 pandemic in 2020, lead KKday to pivot quickly toward domestic staycations and local experiences while initially raising $70m in their Series C which, was later extended to $95m. The Series C funds were partially used to accelerate and expand Rezio. Launched in 2019, Rezio is KKday's B2B SaaS booking management platform for travel providers, allowing them to track inventory, manage reservations and sell tickets. FineDayClub was launched in 2020 by KKday as a personalized luxury subscription travel service to cater to high end clients. KKday’s CFO, Jenny Tsai pivoted to lead KKday’s new venture. KKday was able to successfully navigate and adapt to travel patterns during the Covid-19 pandemic by reducing user acquisition costs by two thirds and focusing on domestic travel experiences to drive bookings and revenue. KKday was particularly successful in Vietnam, with bookings increased by 2,000% through 2022 and the company's travel operator platform Rezio, onboarding over 1,200 operators inside the country. In 2021, KKday acquired Activity Japan, a domestic focused travel company, founded by Kimiharu Obuchi in 2014. The successful acquisition, a key factor in KKday’s rapid expansion in the Japanese market, was facilitated by H.I.S., a common early investor in both platforms. In 2023 KKday inked a partnership with Rail Europe to create an all-in-one platform for 150 rail lines over 33 European countries with the intent of increasing ridership across Europe. In late 2024, KKday completed its Series D at $70M, bringing the total amount of capital raised to over $250M. The funds are to be earmarked for continued global expansion, artificial intelligence integration and enhanced partnerships, similar to the partnership with Tablelog, which now allows users to book restaurant reservations at 42,000 restaurants in Japan through the platform. == Platform == KKDay is an e-commerce online travel agency operating in 92 countries with over 350,000 travel experiences available for booking. The company started with focus on authentic local travel experiences in the Asian Pacific market and has expanded to a more global focus. KKday connects travelers with travel services and experiences such as attraction tickets, theme parks, cultural experiences, and seasonal events. KKday has positioned itself as an all-in-one travel super app with booking for hotels, rental cars, flights, sim cards, rail passes, dining and tickets. === Rezio === Rezio is a cloud-based SaaS booking management platform developed by KKday specifically for tour operators, activity providers, and attractions in the travel industry. It serves as an all-in-one system designed to help these businesses digitize their operations, particularly those previously relying on offline processes. Features include a mobile app for on-the-go order management, customer information checks, and voucher scanning, as well as channel management, analytics for customer data, and integrations with multiple OTAs and payment providers. Unlike KKday, which is an OTA marketplace for consumer exposure (with commissions), Rezio focuses on backend operations for suppliers, allowing brand independence, operational efficiency, and direct customer relationships while optionally connecting to OTAs like KKday. Rezio supports over 5,000 merchants, 30,000 experiences, and 10 million travelers worldwide, with a strong presence in Asia. One of the brands successful implementations was at the Nikko Toshogu Shrine where Rezio was implemented to help with long lines and wait times due to over-tourism. The shrine was able to implement the inventory management features to allow online booking and cashless payments onsite. === FineDayClub === FineDayClub is a membership-based travel concierge service launched in late 2020 by KKday. It is aimed at families, and organizations seeking customized travel experiences. It offers one-on-one advisory services. === ActivityJapan === ActivityJapan is a Japanese comprehensive online travel site that specializes in authentic Japanese travel experiences. It was purchased by KKday in 2021 but continues to operate independently.

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  COVFEFE Act

  The Communications Over Various Feeds Electronically for Engagement Act (COVFEFE Act), House Bill H.R. 2884, was introduced in the United States House of Representatives on June 12, 2017, during the 115th United States Congress. The bill was intended to amend the Presidential Records Act to preserve Twitter posts and other social media interactions of the President of the United States and require the National Archives to store such items. H.R. 2884 was assigned to the House Oversight and Reform Committee for consideration. While in committee, there were no roll call votes related to the bill. The bill died in committee. U.S. Representative Mike Quigley, Democrat of Illinois, introduced the legislation due to Donald Trump's routine use of Twitter, stating "In order to maintain public trust in government, elected officials must answer for what they do and say; this includes 140-character tweets. If the president is going to take to social media to make sudden public policy proclamations, we must ensure that these statements are documented and preserved for future reference". If enacted, the bill "would bar the prolifically tweeting president from deleting his posts, as he has sometimes done". The COVFEFE Act would have also treated a president's personal social media accounts (e.g., Trump's "@realDonaldTrump" Twitter account) the same as official social media accounts (e.g., the "@POTUS" Twitter account). == Background == The bill title refers to "covfefe", a word in a May 31, 2017 tweet that Trump sent at 12:06 AM EDT, reading "Despite the constant negative press covfefe". This incomplete tweet was liked and retweeted hundreds of thousands of times, making it one of the most popular tweets of 2017, as people speculated on its meaning. The tweet was deleted at 5:48 AM EDT. At 6:09 AM EDT, Trump's account tweeted "Who can figure out the true meaning of 'covfefe' ??? Enjoy!" During the May 31 White House press briefing, Hunter Walker of Yahoo! News asked White House press secretary Sean Spicer about the tweet and if there was any concern about the president sending out incoherent tweets that stay up for hours. Spicer responded, "I think the president and a small group of people know exactly what he meant" and offered no other explanation. This unexpected response spawned additional media attention and criticism for its cryptic meaning, with commentators unsure whether or not Spicer was joking. Callum Borchers of The Washington Post's The Fix noted that the Trump administration deliberately responded in a way that encouraged the media and the public to focus on covfefe instead of other controversies like the Russia investigation, resignation of White House communications director Michael Dubke, or U.S.-Germany relations. == Legal significance of Trump's tweeting == Trump's tweets have been legally significant in the past. White House Press Secretary Sean Spicer stated that Trump's tweets are "considered official statements by the President of the United States". Some of his tweets have contradicted his agenda by undercutting or contradicting statements of public officials as well as the arguments of U.S. Department of Justice attorneys seeking to defend Trump's decisions in court. A federal appellate court cited one of Trump's tweets in upholding a lower court's order blocking Trump's Executive Order 13780 from going into effect in 2017. Courts have been clear that Twitter statements can be used as evidence of intent. Before Trump's "@realDonaldTrump" Twitter account was suspended, he blocked a number of users, preventing them from viewing his tweets or posting public replies. A group associated with Columbia University filed a lawsuit on behalf of blocked users, called Knight First Amendment Institute v. Trump. Plaintiffs successfully argued that @realDonaldTrump reply threads constituted a "designated public forum" akin to a public meeting, and therefore blocking users based on their political viewpoints violated their constitutional right to freedom of speech. The Second Circuit upheld this ruling on July 9, 2019. Regardless of the failure of the bill, Trump's tweets have been archived in accordance with the Presidential and Federal Records Act Amendments of 2014.

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