AI Content Quiz

AI Content Quiz — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • ShowScoop

    ShowScoop

    ShowScoop is a website and mobile app platform on which users can rate and review artists, concerts, and music festivals that they have seen/attended. The reviews and ratings are designed to be informative of how well such performances are live. This helps concert-goers decide which live music events they want to attend. == History == ShowScoop was founded in August 2012 by Micah Smurthwaite and is based out of San Diego, CA. In February 2013, ShowScoop launched its mobile app at the SF Music Tech Summit. The application is currently available on the iPhone, with plans to expand into the Android market in the future. == Services == ShowScoop uses crowdsourcing to provide accurate ratings of live concert experiences. In addition to viewing ratings, users are encouraged to rate and review concerts they have attended. The ShowScoop database includes nearly one million artists and over 2.5 million live music events. ShowScoop users can rate artists on four aspects of the performance: stage presence, crowd interaction, sound quality, and visual effects. The rating system uses an ascending scale from one to five in each of the aspects, with five being the highest score. In addition to the quantitative ratings, ShowScoop users are also free to write qualitative reviews in a provided comment section. This allows users to explain their ratings and add further insight or opinion. ShowScoop incorporates several facets of social media into its services. Users can create a user profile to share limited personal information and store their ratings and reviews. Users are also given the option of sharing their evaluations with their social networks on Facebook and Twitter. Users can "like" reviews, follow artists, and follow other ShowScoop users. The mobile app allows users to take photos, apply filters, and share the final image in conjunction with reviews and through Instagram. == Road Crew == ShowScoop's "Road Crew" is a group made up of top contributors within the ShowScoop community. The Road Crew assists in curating artist pages, assuring information quality and accuracy. In return, members of the Road Crew are given incentives, including free tickets to concerts and personal invitations to exclusive shows. Applicants to the Road Crew are judged on the number and quality of their reviews, the photos and videos they have posted, and their general engagement with the ShowScoop community in following and liking users and reviews.

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  • Bootstrap (front-end framework)

    Bootstrap (front-end framework)

    Bootstrap (formerly Twitter Bootstrap) is a free and open-source CSS framework directed at responsive, mobile-first front-end web development. It contains HTML, CSS and (optionally) JavaScript-based design templates for typography, forms, buttons, navigation, and other interface components. As of May 2023, Bootstrap is the 17th most starred project (4th most starred library) on GitHub, with over 164,000 stars. According to W3Techs, Bootstrap is used by 19.2% of all websites. == Features == Bootstrap is an HTML, CSS and JS library that focuses on simplifying the development of informative web pages (as opposed to web applications). The primary purpose of adding it to a web project is to apply Bootstrap's choices of color, size, font and layout to that project. As such, the primary factor is whether the developers in charge find those choices to their liking. Once added to a project, Bootstrap provides basic style definitions for all HTML elements. The result is a uniform appearance for prose, tables and form elements across web browsers. In addition, developers can take advantage of CSS classes defined in Bootstrap to further customize the appearance of their contents. For example, Bootstrap has provisioned for light- and dark-colored tables, page headings, more prominent pull quotes, and text with a highlight. Bootstrap also comes with several JavaScript components which do not require other libraries like jQuery. They provide additional user interface elements such as dialog boxes, tooltips, progress bars, navigation drop-downs, and carousels. Each Bootstrap component consists of an HTML structure, CSS declarations, and in some cases accompanying JavaScript code. They also extend the functionality of some existing interface elements, including for example an auto-complete function for input fields. The most prominent components of Bootstrap are its layout components, as they affect an entire web page. The basic layout component is called "Container", as every other element in the page is placed in it. Developers can choose between a fixed-width container and a fluid-width container. While the latter always fills the width with the web page, the former uses one of the five predefined fixed widths, depending on the size of the screen showing the page: Smaller than 576 pixels 576–768 pixels 768–992 pixels 992–1200 pixels 1200–1400 pixels Larger than 1400 pixels Once a container is in place, other Bootstrap layout components implement a CSS Flexbox layout through defining rows and columns. A precompiled version of Bootstrap is available in the form of one CSS file and three JavaScript files that can be readily added to any project. The raw form of Bootstrap, however, enables developers to implement further customization and size optimizations. This raw form is modular, meaning that the developer can remove unneeded components, apply a theme and modify the uncompiled Sass files. == History == === Early beginnings === Bootstrap, originally named Twitter Blueprint, was developed by Mark Otto and Jacob Thornton at Twitter in 2010 as a framework to encourage consistency across internal tools. Before Bootstrap, various libraries were used for interface development, which led to inconsistencies and a high maintenance burden. According to Otto: A super small group of developers and I got together to design and build a new internal tool and saw an opportunity to do something more. Through that process, we saw ourselves build something much more substantial than another internal tool. Months later, we ended up with an early version of Bootstrap as a way to document and share common design patterns and assets within the company. After a few months of development by a small group, many developers at Twitter began to contribute to the project as a part of Hack Week, a hackathon-style week for the Twitter development team. It was renamed from Twitter Blueprint to Twitter Bootstrap and released as an open-source project on August 19, 2011. It has continued to be maintained by Otto, Thornton, a small group of core developers, and a large community of contributors. === Bootstrap 2 === On January 31, 2012, Bootstrap 2 was released, which added built-in support for Glyphicons, several new components, as well as changes to many of the existing components. This version supports responsive web design, meaning the layout of web pages adjusts dynamically, taking into account the characteristics of the device used (whether desktop, tablet, mobile phone). Shortly before the release of Bootstrap 2.1.2, Otto and Thornton left Twitter, but committed to continue to work on Bootstrap as an independent project. === Bootstrap 3 === On August 19, 2013, Bootstrap 3 was released. It redesigned components to use flat design and a mobile first approach. Bootstrap 3 features new plugin system with namespaced events. Bootstrap 3 dropped Internet Explorer 7 and Firefox 3.6 support, but there is an optional polyfill for these browsers. Bootstrap 3 was also the first version released under the twbs organization on GitHub instead of the Twitter one. === Bootstrap 4 === Otto announced Bootstrap 4 on October 29, 2014. The first alpha version of Bootstrap 4 was released on August 19, 2015. The first beta version was released on August 10, 2017. Otto suspended work on Bootstrap 3 on September 6, 2016, to free up time to work on Bootstrap 4. Bootstrap 4 was finalized on January 18, 2018. Significant changes include: Major rewrite of the code Replacing Less with Sass Addition of Reboot, a collection of element-specific CSS changes in a single file, based on Normalize Dropping support for IE8, IE9, and iOS 6 CSS Flexible Box support Adding navigation customization options Adding responsive spacing and sizing utilities Switching from the pixels unit in CSS to root ems Increasing global font size from 14px to 16px for enhanced readability Dropping the panel, thumbnail, pager, and well components Dropping the Glyphicons icon font Huge number of utility classes Improved form styling, buttons, drop-down menus, media objects and image classes Bootstrap 4 supports the latest versions of Google Chrome, Firefox, Internet Explorer, Opera, and Safari (except on Windows). It additionally supports back to IE10 and the latest Firefox Extended Support Release (ESR). === Bootstrap 5 === Bootstrap 5 was officially released on May 5, 2021. Major changes include: New offcanvas menu component Removing dependence on jQuery in favor of vanilla JavaScript Rewriting the grid to support responsive gutters and columns placed outside of rows Migrating the documentation from Jekyll to Hugo Dropping support for Internet Explorer Moving testing infrastructure from QUnit to Jasmine Adding custom set of SVG icons Adding CSS custom properties Improved API Enhanced grid system Improved customizing docs Updated forms RTL support Built in darkmode support

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  • The Holocaust and social media

    The Holocaust and social media

    The representation of the Holocaust on social media has been a subject of scholarly inquiry and media attention. == Selfies at Holocaust memorial sites == Some visitors take selfies at Holocaust memorials, which has been the subject of controversy. In 2018, Rhian Sugden, a British model, received criticism after posting a selfie at the Memorial to the Murdered Jews of Europe in Berlin with the caption "ET phone home". She later removed the caption, but defended taking the photograph. Other celebrities have also been criticised for photographs at the Berlin memorial, including Indian actress Priyanka Chopra and US politician Pete Buttigieg, whose husband posted a photograph of him at the memorial on a personal social media account. The Israeli artist and satirist Shahak Shapira set up the website yolocaust.de in 2017 to expose people who take inappropriate selfies at the Holocaust memorial in Berlin. Shapira went through thousands of selfies posted to social media sites such as Facebook, Instagram, Tinder, and Grindr, choosing the twelve that he found most offensive. When the images were moused over, the website replaces the memorial backdrop with black and white images of Nazi victims. "Yolocaust" is a portmanteau of "Holocaust" and YOLO, an acronym for "you only live once". The website went viral, receiving 1.2 million views in the first 24 hours after its launch. Shapira honored requests to take down all of the photographs, which he had used without permission, and the website remains with only a textual documentation of the project. In an analysis of comments by Internet users on the project, Christoph Bareither estimated that 75% were positive. However, the memorial's architect, Peter Eisenman, criticized the website. In his 2018 book Postcards from Auschwitz, Grinnell professor Daniel P. Reynolds defends the practice of selfie-taking at Holocaust sites. In 2019, the Auschwitz-Birkenau State Museum requested that visitors not take inappropriate selfies, although the museum's staff acknowledged that other visitors take selfies in a thoughtful and respectful manner, which they did not criticize. In an academic paper, Gemma Commane and Rebekah Potton analyze the use of Instagram to share tourist photographs at Holocaust sites and conclude that "Instagram encourages conversation and empathy, keeping the Holocaust visible in youth discourses". According to their analysis, most images are tagged with respectful hashtags such as #tragic, #remembrance, and #sadness. The Auschwitz museum has an official Instagram account, auschwitzmemorial, which it uses to share selected appropriate Instagram posts. However, the image feed for the hashtag "Auschwitz" includes potentially offensive images such as an image of "Nazi Vs. Jews #beerpong". This image, according to the authors, expresses "mockery and contempt" for Holocaust victims. They also document offensive memes using images of Holocaust atrocities and shared on Instagram. Some social media users post in order to criticize what they see as inappropriate behavior at Holocaust sites, with one commenting, "Taking photos posing next to razor wire, selfies with victim's hair in the background, and even group shots in front of the crematoria had to be seen to be believed." == Assessment of tourism == Social media posts have been used by researchers to analyze the phenomenon of Holocaust-related tourism. == Social media groups == People have created groups on Facebook to discuss issues related to the Holocaust. One paper analyses two such groups, "The Holocaust and My Family" and "The Descendants of the Victims and Survivors of the Holocaust" in which people engage in collective trauma processing. == Eva.stories == In 2019, Israeli high-tech entrepreneur Mati Kochavi created a fictitious Instagram account for Eva Heyman, a Hungarian-Jewish girl who was murdered in Auschwitz concentration camp. The project met with mixed reception. Israeli prime minister Benjamin Netanyahu praised the project, saying that it "exposes the immense tragedy of our people through the story of one girl". == Holocaust denial == The issue of Holocaust denial on social media has also attracted attention. In October 2020, Facebook reversed its policy and banned Holocaust denial from the platform. Founder Mark Zuckerberg had previously argued that such content should not be banned on freedom of speech grounds.

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  • Over-the-top media services in India

    Over-the-top media services in India

    As per Govt of India, there are currently about 57 providers of over-the-top media services (OTT) in India, which distribute streaming media or video on demand over the Internet. == History and growth == The first dependent Indian OTT platform was BIGFlix, launched by Reliance Entertainment in 2008. In 2010 Digivive launched India's first OTT mobile app called nexGTv, which provides access to both live TV and on–demand content. nexGTV was the first app to live–stream Indian Premier League matches on smart phones and did so during 2013 and 2014. The livestream of the IPL since 2015, when rights were won, played an important role in the growth of another OTT platform, Hotstar (now JioHotstar) in India. OTT Platforms gained significant momentum in India when both DittoTV (Zee) and Sony Liv were launched in the Indian market around 2013. Following the initial push of Regional OTT platforms like Aha, Hoichoi, Sun NXT, Planet Marathi, Chaupal & MX Player. The Indian OTT industry saw rapid transformation with the entry of global OTT companies such as Netflix and Amazon Prime Video into the Indian market in 2016. Replacement of this competition with global enterprises caused local rivals to innovate in both region and hyper-regional content. === Hotstar === Hotstar (now JioHotstar) is the most subscribed–to OTT platform in India, owned by JioStar as of February 2025, with around 500 million active users and over 650 million downloads. According to Hotstar's India Watch Report 2018, 96% of watch time on Hotstar comes from videos longer than 20 minutes, while one–third of Hotstar subscribers watch television shows. In 2019, Hotstar began investing ₹120 crore in generating original content such as "Hotstar Specials." 80% of the viewership on Hotstar comes from drama, movies and sports programs. Hotstar has the exclusive streaming rights of IPL in India. === Netflix === American streaming service Netflix entered India in January 2016. In April 2017, it was registered as a limited liability partnership (LLP) and started commissioning content. It earned a net profit of ₹2020,000 (₹2.02 million) for fiscal year 2017. In fiscal year 2018, Netflix earned revenues of ₹580 million. According to Morgan Stanley Research, Netflix had the highest average watch time of more than 120 minutes but viewer counts of around 20 million in July 2018. As of 2018, Netflix has six million subscribers, of which 5–6% are paid members. India was not affected by Netflix's July 2018 increase in subscription rates for the US and Latin America. Netflix has stated its intent to invest ₹600 crore in the production of Indian original programming. In late 2018, Netflix bought 150,000 square feet (14,000 m2) of office space in Bandra–Kurla Complex (BKC) in Mumbai as their head office. As of December 2018, Netflix has more than 40 employees in India. === Other OTT providers === Sun NXT is an Indian video on demand service run by Sun TV Network. It was launched in June 2017, streaming in the Tamil language and six other languages. The platform has more than 4,000 Tamil movies and 200 Tamil shows, as well as regional movies and shows. Sun NXT also streams a large library of its own Sun TV shows and movies. Amazon Prime Video was launched in 2016. The platform has 2,300 titles available including 2,000 movies and about 400 shows. It has announced that it will invest ₹20 billion in creating original content in India. Besides English, Prime Video is available in six Indian languages as of December 2018. Amazon India launched Amazon Prime Music in February 2018. Eros Now, an OTT platform launched by Eros International, has the most content among the OTT providers in India, including over 12,000 films, 100,000 music tracks and albums, and 100 TV shows. Eros Now was named the Best OTT Platform of the Year 2019 at the British Asian Media Awards. It has 211.5 million registered users and 36.2 million paying subscribers as of September 2020. In February 2020, Aha OTT platform was launched, broadcasting exclusively Telugu content. In 2021, Planet Marathi became the first OTT platform dedicated to Marathi content in India, including web-series, films, music, theater, fiction and non-fiction reality shows. It is available for both Android and iOS mobile devices along with Android TV and Amazon Fire TV devices. Bollywood actress Madhuri Dixit helped launch the platform. With rising interest for Korean dramas, Rakuten Viki saw its biggest jump of web traffic from India in 2020 due to the COVID-19 lockdown, which led to ad localization on the platform. The OTT market in fiscal year 2020 was estimated to be worth $1.7 billion. === SonyLIV and ZEE5 === In December 2021, Sony and Zee announced their merger, and announced plans to merge their OTT platforms. The merger was called off. === OTT services launched as Amazon Prime video channels === The list is by alphabetical order, not by rank or popularity. == Content regulation == Due to the absence of any rules and regulation regarding OTT content, many OTT providers were accused of showing nudity, vulgarity and obscenity and hurting Hindu religious sentiments in their shows. Series which were the focus of controversy include Four More Shots Please!, Tandav, Paatal Lok, Sacred Games, Mirzapur Lust stories franchise, Rana Naidu. Thank You for Coming, and Annapoorani (2023). According to media reports, between 2018 and 2024, some OTT platforms emerged which started showing porn in the form of web series. Both the Supreme Court and Delhi High Court say that OTT regulation is necessary. === OTT regulation === On 25 Feb 2021, Indian govt introduced self-regulation rules for OTT platforms to stop obscene content and abusive language. On 19 March 2023, I&B minister Anurag Thakur said that self regulation does not mean that OTT should show obscenity and nudity. On 15 April 2023, I&B Secretary Apurva Chandra has said because of the government's soft-touch regulations on OTT industry have led to the creation of content that is undesirable and vulgar. On 26 April 2023, MIB India said that if nudity and obscenity is seen on any OTT platform, strict action will be taken against it. On 16 May 2023, Don't show obscene content, parliamentary panel told to Netflix and Amazon Prime Video. On 20 June 2023, the government told Netflix, Disney+ Hotstar and all other streaming services that their content should be independently reviewed for obscenity and violence before being shown online. On 27 June 2023, DPCGC took punitive action against Ullu for streaming obscene content and asked them to remove all their explicit shows or remove all adult scenes within 15 days. On 18 July 2023, Anarug Thakur said in a meeting with all OTT stakeholders that demeaning Indian culture will not be tolerated. OTT can't show vulgarity and nudity in the garb of 'creative expression'.The cited sources do not mention vulgarity - they say this was about demeaning Indian culture/society. On 22 August 2023, Indian government assured that it will bring rules and regulation to regulate vulgar and obscene content on social media and OTT platforms. On 10 November 2023, MIB India introduces the 'Broadcasting Service Regulation Bill', which included Programme code with Content Evaluation Committee(CEC) for every OTT platforms. Currently public consultation is ongoing till 15 January 2024. The draft bill mandates that all OTT streaming platforms can only broadcast those web series or content, which will be duly certified by Content Evaluation Committee(CEC). On 14 March 2024, the Ministry of Information and Broadcasting banned over 18 OTT apps from Google play store and suspended all of their 57 social media accounts, as well as closed nineteen streaming websites. The banned platforms were MoodX, Prime Play, Hunters, Besharams, Rabbit movies, Voovi, Fugi, Mojflix, Chikooflix, Nuefliks, Xtramood, NeonX VIP, X Prime, Tri Flicks, Uncut Adda, Dreams Films, Hot Shots VIP, and Yessma. On 25 July 2025, the Ministry of Information and Broadcasting banned from 25 OTT apps from Google play store and suspended all of their 40 social media accounts, as well as 26 closed streaming websites. The banned platforms were include ALTT, Ullu, Big Shots App, Desiflix, Boomex, NeonX VIP, Navarasa Lite, Gulab App, Kangan App, Bull App, ShowHit, Jalva App, Wow Entertainment, Look Entertainment, Hitprime, Fugi, Feneo, ShowX, Sol Talkies, Adda TV, HotX VIP, Hulchul App, MoodX, Triflicks, and Mojflix. On 24 February 2026, the Ministry of Information and Broadcasting banned from 5 OTT apps from Google play store and suspended all of their 5 social media accounts, as well as 5 closed streaming websites. The banned platforms were include Feel App, Digi Movieplex, Jugnu App, MoodX VIP, and Koyal Playpro. === Legal action === Currently OTT is regulated under the IT Rules 2021, which clearly stated that 'No content that is prohibited by law at the time being force can be Publishing or transmitted'. MIB has continuously taking action

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  • Semi-automation

    Semi-automation

    Semi-automation is a process or procedure that is performed by the combined activities of man and machine with both human and machine steps typically orchestrated by a centralized computer controller. Within manufacturing, production processes may be fully manual, semi-automated, or fully automated. In this case, semi-automation may vary in its degree of manual and automated steps. Semi-automated manufacturing processes are typically orchestrated by a computer controller which sends messages to the worker at the time in which he/she should perform a step. The controller typically waits for feedback that the human performed step has been completed via either a human-machine interface or via electronic sensors distributed within the process. Controllers within semi-automated processes may either directly control machinery or send signals to machinery distributed within the process. Centralized computer controllers within semi-automated processes orchestrate processes by instructing the worker, providing electronic communication and control to process equipment, tools, or machines, as well as perform data management to record and ensure that the process meets established process criteria. Many manufacturers choose not to fully automate a process, and instead implement semi-automation due to the complexity of the task, or the number of products produced is too low to justify the investment in full automation. Other processes may not be fully automated because it may reduce the flexibility to easily adapt the processes to reflect production needs.

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  • Robert Abel and Associates

    Robert Abel and Associates

    Robert Abel and Associates (RA&A) was an American pioneering animation production company specializing in television commercials made with computer graphics. Founded by Robert Abel and Con Pederson in 1971, RA&A was especially known for their art direction and won many Clio Awards. Abel and his team created some of the most advanced and impressive computer-animated works of their time, including full ray-traced renders and fluid character animation at a time when such things were largely unknown. A variety of high-profile television advertisements, graphics sequences for motion pictures (including The Andromeda Strain and Tron), and work on laserdisc video games such as Cube Quest, put Abel and his team on the map in the early 1980s. The company was also originally commissioned to create the visual effects for Star Trek: The Motion Picture, but were subsequently taken off the project for mishandling funds. The company was also notable on its work for The Jacksons' 1981 music video "Can You Feel It." RA&A was on the southwest corner of Highland Avenue and Romaine in the heart of Hollywood, California. RA&A closed in 1987 following an ill-fated merger with now-defunct Omnibus Computer Graphics, Inc., a company which had been based in Toronto. Many people who worked at RA&A went on to other ground-breaking projects, including the founding of Wavefront Technologies, Rhythm & Hues and other studios. Many RA&A people went on to win Academy Awards.

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  • Digital video recorder

    Digital video recorder

    A digital video recorder (DVR), also referred to as a personal video recorder (PVR) particularly in Canadian and British English, is an electronic device that records video in a digital format to a disk drive, USB flash drive, SD memory card, SSD or other local or networked mass storage device. The term includes set-top boxes (STB) with direct to disk recording, portable media players and TV gateways with recording capability, and digital camcorders. Personal computers can be connected to video capture devices and used as DVRs; in such cases the application software used to record video is an integral part of the DVR. Many DVRs are classified as consumer electronic devices. Similar small devices with built-in (~5 inch diagonal) displays and SSD support may be used for professional film or video production, as these recorders often do not have the limitations that built-in recorders in cameras have, offering wider codec support, the removal of recording time limitations and higher bitrates. == History == In the 1980s, prototype high-definition (HD) digital video recorders were developed by Fujitsu, Hitachi, Sanyo and Canon Inc. In 1985, Hitachi demonstrated a prototype digital video tape recorder (VTR) that used digital recording video tape as storage media to record digital HD video content. In 1987, the first commercial digital video recorder was the Sony DVR-1000, a digital video cassette recorder (VCR) that recorded digital video content on D-1 (Sony) digital video cassettes. === Hard-disk-based DVR === In early 1995, Tektronix introduced the "Profile" series PDR100 Video Disk Recorder, which recorded and played back video stored on hard disk as motion JPEG. In 1996, Sweden's TV4 used the PDR100 extensively in building a new facility in Stockholm, and NBC used PDR100s at the Olympic games in Atlanta Georgia. The Tektronix Profile disk recorder won an Engineering, Science & Technology Emmy Award for "Outstanding Achievement in Engineering Development" at the 1996 Primetime Emmy Awards. In 1997 the U.S. Patent Office granted Tektronix patent 5,642,497 for two claims key to Profile. In 1998, Tektronix introduced two Profile models which were combined VDRs and file servers: the PDR200 and PDR300. The PDR300 stored its compressed video as MPEG-2 (ISO/IEC 13818-2) A working disk-based DVR prototype was developed in 1998 at Stanford University Computer Science department. The DVR design was a chapter of Edward Y. Chang's PhD dissertation, supervised by Professors Hector Garcia-Molina and Jennifer Widom. Two design papers were published at the 1998 VLDB conference, and the 1999 ICDE conference. The prototype was developed in 1998 at Pat Hanrahan's CS488 class: Experiments in Digital Television, and the prototype was demoed to industrial partners including Sony, Intel, and Apple. Consumer digital video recorders ReplayTV and TiVo were launched at the 1999 Consumer Electronics Show in Las Vegas, Nevada. Microsoft also demonstrated a unit with DVR capability, but this did not become available until the end of 1999 for full DVR features in Dish Network's DISHplayer receivers. TiVo shipped their first units on March 31, 1999. ReplayTV won the "Best of Show" award in the video category with Netscape co-founder Marc Andreessen as an early investor and board member, but TiVo was more successful commercially. Ad Age cited Forrester Research as saying that market penetration by the end of 1999 was "less than 100,000". In 2001, Toshiba introduced a combination DVR that allows video recording on both DVD recordable and hard disk drive. Legal action by media companies forced ReplayTV to remove many features such as automatic commercial skip and the sharing of recordings over the Internet, but newer devices have steadily regained these functions while adding complementary abilities, such as recording onto DVDs and programming and remote control facilities using PDAs, networked PCs, and Web browsers. In contrast to VCRs, hard-disk based digital video recorders make "time shifting" more convenient and also allow for functions such as pausing live TV, instant replay, chasing playback (viewing a recording before it has been completed) and skipping over advertising during playback. Many DVRs use the MPEG format for compressing the digital video. Video recording capabilities have become an essential part of the modern set-top box, as TV viewers have wanted to take control of their viewing experiences. As consumers have been able to converge increasing amounts of video content on their set-tops, delivered by traditional 'broadcast' cable, satellite and terrestrial as well as IP networks, the ability to capture programming and view it whenever they want has become a must-have function for many consumers. === DVR tied to video service === At the 1999 CES, Dish Network demonstrated the hardware that would later have DVR capability with the assistance of Microsoft software, which also included access to the WebTV service. By the end of 1999 the Dishplayer had full DVR capabilities and within a year, over 200,000 units were sold. In the UK, digital video recorders are often referred to as "plus boxes" (such as BSKYB's Sky+ and Virgin Media's V+ which integrates an HD capability, and the subscription free Freesat+ and Freeview+). Freeview+ have been around in the UK since the late 2000s, although the platform's first DVR, the Pace Twin, dates to 2002. British Sky Broadcasting marketed a popular combined receiver and DVR as Sky+, now replaced by the Sky Q box. TiVo launched a UK model in 2000, and is no longer supported, except for third party services, and the continuation of TiVo through Virgin Media in 2010. South African based Africa Satellite TV beamer Multichoice recently launched their DVR which is available on their DStv platform. In addition to ReplayTV and TiVo, there are a number of other suppliers of digital terrestrial (DTT) DVRs, including Technicolor SA, Topfield, Fusion, Commscope, Humax, VBox Communications, AC Ryan Playon and Advanced Digital Broadcast (ADB). Many satellite, cable and IPTV companies are incorporating digital video recording functions into their set-top box, such as with DirecTiVo, DISHPlayer/DishDVR, Scientific Atlanta Explorer 8xxx from Time Warner, Total Home DVR from AT&T U-verse, Motorola DCT6412 from Comcast and others, Moxi Media Center by Digeo (available through Charter, Adelphia, Sunflower, Bend Broadband, and soon Comcast and other cable companies), or Sky+. Astro introduced their DVR system, called Astro MAX, which was the first PVR in Malaysia but was phased out two years after its introduction. In the case of digital television, there is no encoding necessary in the DVR since the signal is already a digitally encoded MPEG stream. The digital video recorder simply stores the digital stream directly to disk. Having the broadcaster involved with, and sometimes subsidizing, the design of the DVR can lead to features such as the ability to use interactive TV on recorded shows, pre-loading of programs, or directly recording encrypted digital streams. It can, however, also force the manufacturer to implement non-skippable advertisements and automatically expiring recordings. In the United States, the FCC has ruled that starting on July 1, 2007, consumers will be able to purchase a set-top box from a third-party company, rather than being forced to purchase or rent the set-top box from their cable company. This ruling only applies to "navigation devices", otherwise known as a cable television set-top box, and not to the security functions that control the user's access to the content of the cable operator. The overall net effect on digital video recorders and related technology is unlikely to be substantial as standalone DVRs are currently readily available on the open market. In Europe Free-To-Air and Pay TV TV gateways with multiple tuners have whole house recording capabilities allowing recording of TV programs to Network Attached Storage or attached USB storage, recorded programs are then shared across the home network to tablet, smartphone, PC, Mac, Smart TV. === Introduction of dual tuners === In 2003 many Satellite and Cable providers introduced dual-tuner digital video recorders. In the UK, BSkyB introduced their first PVR Sky+ with dual tuner support in 2001. These machines have two independent tuners within the same receiver. The main use for this feature is the capability to record a live program while watching another live program simultaneously or to record two programs at the same time, possibly while watching a previously recorded one. Kogan.com introduced a dual-tuner PVR in the Australian market allowing free-to-air television to be recorded on a removable hard drive. Some dual-tuner DVRs also have the ability to output to two separate television sets at the same time. The PVR manufactured by UEC (Durban, South Africa) and used by Multichoice and Scientific Atlanta 8300DVB PVR have the ability to view two

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  • SD-WAN

    SD-WAN

    A Software-Defined Wide Area Network (SD-WAN) is a wide area network that uses software-defined networking technology, such as communicating over the Internet using overlay tunnels which are encrypted when destined for internal organization locations. If standard tunnel setup and configuration messages are supported by all of the network hardware vendors, SD-WAN simplifies the management and operation of a WAN by decoupling the networking hardware from its control mechanism. This concept is similar to how software-defined networking implements virtualization technology to improve data center management and operation. In practice, proprietary protocols are used to set up and manage an SD-WAN, meaning there is no decoupling of the hardware and its control mechanism. A key application of SD-WAN is to allow companies to build higher-performance WANs using lower-cost and commercially available Internet access, enabling businesses to partially or wholly replace more expensive private WANs connection technologies such as MPLS. When SD-WAN traffic is carried over the Internet, there are no end-to-end performance guarantees. Carrier MPLS VPN WAN services are not carried as Internet traffic, but rather over carefully controlled carrier capacity, and do come with an end-to-end performance guarantee. == History == WANs were very important for the development of networking in general and for a long time one of the most important applications of networks both for military and enterprise applications. The ability to communicate data over long distances was one of the main driving factors for the development of data communications, as it made it possible to overcome the distance limitations, as well as shortening the time necessary to exchange messages with other parties. Legacy WANs allowed communication over circuits connecting two or more endpoints. Earlier networking supported point-to-point communication over a slow speed circuit, usually between two fixed locations. As networking progressed, WAN circuits became faster and more flexible. Innovations like circuit and packet switching (in the form of X.25, ATM and later Internet Protocol or Multiprotocol Label Switching) allowed communication to become more dynamic, supporting ever-growing networks. The need for strict control, security and quality of service (QOS) meant that multinational corporations were very conservative in leasing and operating their WANs. National regulations restricted the companies that could provide local service in each country, and complex arrangements were necessary to establish truly global networks. All that changed with the growth of the Internet, which permitted entities around the world to connect to each other. However, over the first years, the uncontrolled nature of the Internet was not considered adequate or safe for private corporate use. Independent of safety concerns, connectivity to the Internet became a necessity to the point where every branch required Internet access. At first, due to safety concerns, private communications were still done via WAN, and communication with other entities (including customers and partners) moved to the Internet. As the Internet grew in reach and maturity, companies started to evaluate how to leverage it for private corporate communications. During the early 2000s, application delivery over the WAN became an important topic of research and commercial innovation. Over the next decade, increasing computing power made it possible to create software-based appliances that were able to analyze traffic and make informed decisions without delays, making it possible to create large-scale overlay networks over the public Internet that could replicate all the functionality of legacy WANs, at a fraction of the cost. SD-WAN combines several networking aspects to create full-fledged private networks, with the ability to dynamically share network bandwidth across the connection points. Additional enhancements include central controllers, zero-touch provisioning, integrated analytics and on-demand circuit provisioning, with some network intelligence based in the cloud, allowing centralized policy management and security. Networking publications started using the term SD-WAN to describe this new networking trend as early as 2014. With the rapid shift to remote work as a result of lockdowns and stay at home orders during the COVID-19 pandemic, SD-WAN grew in popularity as a way of connecting remote workers. == Overview == WANs allow companies to extend their computer networks over large distances, connecting remote branch offices to data centers and to each other, and delivering applications and services required to perform business functions. Due to the physical constraints imposed by the propagation time over large distances, and the need to integrate multiple service providers to cover global geographies (often crossing nation boundaries), WANs face important operational challenges, including network congestion, packet delay variation, packet loss, and even service outages. Modern applications such as VoIP calling, videoconferencing, streaming media, and virtualized applications and desktops require low latency. Bandwidth requirements are also increasing, especially for applications featuring high-definition video. It can be expensive and difficult to expand WAN capability, with corresponding difficulties related to network management and troubleshooting. SD-WAN products are designed to address these network problems. By enhancing or even replacing traditional branch routers with virtualization appliances that can control application-level policies and offer a network overlay, less expensive consumer-grade Internet links can act more like a dedicated circuit. This simplifies the setup process for branch personnel. SD-WAN products can be physical appliances or software based only. === Components === The MEF Forum has defined an SD-WAN architecture consisting of an SD-WAN edge, SD-WAN gateway, SD-WAN controller and SD-WAN orchestrator. ==== SD-WAN edge ==== The SD-WAN edge is a physical or virtual network function that is placed at an organization's branch/regional/central office site, data center, and in public or private cloud platforms. MEF Forum has published the first SD-WAN service standard, MEF 70 which defines the fundamental characteristics of an SD-WAN service plus service requirements and attributes. ==== SD-WAN gateway ==== SD-WAN gateways provide access to the SD-WAN service in order to shorten the distance to cloud-based services or the user, and reduce service interruptions. A distributed network of gateways may be included in an SD-WAN service by the vendor or setup and maintained by the organization using the service. By sitting outside the headquarters in the cloud, the gateway also reduces headquarters traffic. ==== SD-WAN orchestrator ==== The SD-WAN orchestrator is a cloud hosted or on-premises web management tool that allows configuration, provisioning and other functions when operating an SD-WAN. It simplifies application traffic management by allowing central implementation of an organization's business policies. ==== SD-WAN controller ==== The SD-WAN controller functionality, which can be placed in the orchestrator or in an SD-WAN gateway, is used to make forwarding decisions for application flows. Application flows are IP packets that have been classified to determine their user application or grouping of applications to which they are associated. The grouping of application flows based on a common type, e.g., conferencing applications, is referred to as an Application Flow Group in MEF 70. Per MEF 70, the SD-WAN Edge classifies incoming IP packets at the SD-WAN UNI (SD-WAN user network interface), determines, via OSI Layer 2 through Layer 7 classification, which application flow the IP packets belong to, and then applies the policies to block the application flow or allow the application flows to be forwarded based on the availability of a route to the destination SD-WAN UNI on a remote SD-WAN Edge. This helps ensure that application performance meets service level agreements (SLAs). == Required characteristics == The Gartner research firm has defined an SD-WAN as having four required characteristics: The ability to support multiple connection types, such as MPLS, last mile fiber optic network or through high speed cellular networks e.g. 4G LTE and 5G wireless technologies The ability to do dynamic path selection, for load sharing and resiliency purposes A simple interface that is easy to configure and manage The ability to support VPNs, and third party services such as WAN optimization controllers, firewalls and web gateways == Features == Features of SD-WANs include resilience, quality of service (QoS), security, and performance, with flexible deployment options; simplified administration and troubleshooting; and online traffic engineering. === Resilience === A resilient SD-WAN reduces network downtime. To

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  • Neural radiance field

    Neural radiance field

    A neural radiance field (NeRF) is a neural field for reconstructing a three-dimensional representation of a scene from two-dimensional images. The NeRF model enables downstream applications of novel view synthesis, scene geometry reconstruction, and obtaining the reflectance properties of the scene. Additional scene properties such as camera poses may also be jointly learned. First introduced in 2020, it has since gained significant attention for its potential applications in computer graphics and content creation. == Algorithm == The NeRF algorithm represents a scene as a radiance field parametrized by a deep neural network (DNN). The network predicts a volume density and view-dependent emitted radiance given the spatial location ( x , y , z ) {\displaystyle (x,y,z)} and viewing direction in Euler angles ( θ , Φ ) {\displaystyle (\theta ,\Phi )} of the camera. By sampling many points along camera rays, traditional volume rendering techniques can produce an image. === Data collection === A NeRF needs to be retrained for each unique scene. The first step is to collect images of the scene from different angles and their respective camera pose. These images are standard 2D images and do not require a specialized camera or software. Any camera is able to generate datasets, provided the settings and capture method meet the requirements for SfM (Structure from Motion). This requires tracking of the camera position and orientation, often through some combination of SLAM, GPS, or inertial estimation. Researchers often use synthetic data to evaluate NeRF and related techniques. For such data, images (rendered through traditional non-learned methods) and respective camera poses are reproducible and error-free. === Training === For each sparse viewpoint (image and camera pose) provided, camera rays are marched through the scene, generating a set of 3D points with a given radiance direction (into the camera). For these points, volume density and emitted radiance are predicted using the multi-layer perceptron (MLP). An image is then generated through classical volume rendering. Because this process is fully differentiable, the error between the predicted image and the original image can be minimized with gradient descent over multiple viewpoints, encouraging the MLP to develop a coherent model of the scene. == Variations and improvements == Early versions of NeRF were slow to optimize and required that all input views were taken with the same camera in the same lighting conditions. These performed best when limited to orbiting around individual objects, such as a drum set, plants or small toys. Since the original paper in 2020, many improvements have been made to the NeRF algorithm, with variations for special use cases. === Fourier feature mapping === In 2020, shortly after the release of NeRF, the addition of Fourier Feature Mapping improved training speed and image accuracy. Deep neural networks struggle to learn high frequency functions in low dimensional domains; a phenomenon known as spectral bias. To overcome this shortcoming, points are mapped to a higher dimensional feature space before being fed into the MLP. γ ( v ) = [ a 1 cos ⁡ ( 2 π B 1 T v ) a 1 sin ⁡ ( 2 π B 1 T v ) ⋮ a m cos ⁡ ( 2 π B m T v ) a m sin ⁡ ( 2 π B m T v ) ] {\displaystyle \gamma (\mathrm {v} )={\begin{bmatrix}a_{1}\cos(2{\pi }{\mathrm {B} }_{1}^{T}\mathrm {v} )\\a_{1}\sin(2\pi {\mathrm {B} }_{1}^{T}\mathrm {v} )\\\vdots \\a_{m}\cos(2{\pi }{\mathrm {B} }_{m}^{T}\mathrm {v} )\\a_{m}\sin(2{\pi }{\mathrm {B} }_{m}^{T}\mathrm {v} )\end{bmatrix}}} Where v {\displaystyle \mathrm {v} } is the input point, B i {\displaystyle \mathrm {B} _{i}} are the frequency vectors, and a i {\displaystyle a_{i}} are coefficients. This allows for rapid convergence to high frequency functions, such as pixels in a detailed image. === Bundle-adjusting neural radiance fields === One limitation of NeRFs is the requirement of knowing accurate camera poses to train the model. Often times, pose estimation methods are not completely accurate, nor is the camera pose even possible to know. These imperfections result in artifacts and suboptimal convergence. So, a method was developed to optimize the camera pose along with the volumetric function itself. Called Bundle-Adjusting Neural Radiance Field (BARF), the technique uses a dynamic low-pass filter (DLPF) to go from coarse to fine adjustment, minimizing error by finding the geometric transformation to the desired image. This corrects imperfect camera poses and greatly improves the quality of NeRF renders. === Multiscale representation === Conventional NeRFs struggle to represent detail at all viewing distances, producing blurry images up close and overly aliased images from distant views. In 2021, researchers introduced a technique to improve the sharpness of details at different viewing scales known as mip-NeRF (comes from mipmap). Rather than sampling a single ray per pixel, the technique fits a gaussian to the conical frustum cast by the camera. This improvement effectively anti-aliases across all viewing scales. mip-NeRF also reduces overall image error and is faster to converge at about half the size of ray-based NeRF. === Learned initializations === In 2021, researchers applied meta-learning to assign initial weights to the MLP. This rapidly speeds up convergence by effectively giving the network a head start in gradient descent. Meta-learning also allowed the MLP to learn an underlying representation of certain scene types. For example, given a dataset of famous tourist landmarks, an initialized NeRF could partially reconstruct a scene given one image. === NeRF in the wild === Conventional NeRFs are vulnerable to slight variations in input images (objects, lighting) often resulting in ghosting and artifacts. As a result, NeRFs struggle to represent dynamic scenes, such as bustling city streets with changes in lighting and dynamic objects. In 2021, researchers at Google developed a new method for accounting for these variations, named NeRF in the Wild (NeRF-W). This method splits the neural network (MLP) into three separate models. The main MLP is retained to encode the static volumetric radiance. However, it operates in sequence with a separate MLP for appearance embedding (changes in lighting, camera properties) and an MLP for transient embedding (changes in scene objects). This allows the NeRF to be trained on diverse photo collections, such as those taken by mobile phones at different times of day. === Relighting === In 2021, researchers added more outputs to the MLP at the heart of NeRFs. The output now included: volume density, surface normal, material parameters, distance to the first surface intersection (in any direction), and visibility of the external environment in any direction. The inclusion of these new parameters lets the MLP learn material properties, rather than pure radiance values. This facilitates a more complex rendering pipeline, calculating direct and global illumination, specular highlights, and shadows. As a result, the NeRF can render the scene under any lighting conditions with no re-training. === Plenoctrees === Although NeRFs had reached high levels of fidelity, their costly compute time made them useless for many applications requiring real-time rendering, such as VR/AR and interactive content. Introduced in 2021, Plenoctrees (plenoptic octrees) enabled real-time rendering of pre-trained NeRFs through division of the volumetric radiance function into an octree. Rather than assigning a radiance direction into the camera, viewing direction is taken out of the network input and spherical radiance is predicted for each region. This makes rendering over 3000x faster than conventional NeRFs. === Sparse Neural Radiance Grid === Similar to Plenoctrees, this method enabled real-time rendering of pretrained NeRFs. To avoid querying the large MLP for each point, this method bakes NeRFs into Sparse Neural Radiance Grids (SNeRG). A SNeRG is a sparse voxel grid containing opacity and color, with learned feature vectors to encode view-dependent information. A lightweight, more efficient MLP is then used to produce view-dependent residuals to modify the color and opacity. To enable this compressive baking, small changes to the NeRF architecture were made, such as running the MLP once per pixel rather than for each point along the ray. These improvements make SNeRG extremely efficient, outperforming Plenoctrees. === Instant NeRFs === In 2022, researchers at Nvidia enabled real-time training of NeRFs through a technique known as Instant Neural Graphics Primitives. An innovative input encoding reduces computation, enabling real-time training of a NeRF, an improvement orders of magnitude above previous methods. The speedup stems from the use of spatial hash functions, which have O ( 1 ) {\displaystyle O(1)} access times, and parallelized architectures which run fast on modern GPUs. == Related techniques == === Plenoxels === Plen

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  • GlTF

    GlTF

    glTF (Graphics Library Transmission Format or GL Transmission Format and formerly known as WebGL Transmissions Format or WebGL TF) is a standard file format for three-dimensional scenes and models. A glTF file uses one of two possible file extensions: .gltf (JSON/ASCII) or .glb (binary). Both .gltf and .glb files may reference external binary and texture resources. Alternatively, both formats may be self-contained by directly embedding binary data buffers (as base64-encoded strings in .gltf files or as raw byte arrays in .glb files). An open standard developed and maintained by the Khronos Group, it supports 3D model geometry, appearance, scene graph hierarchy, and animation. It is intended to be a streamlined, interoperable format for the delivery of 3D assets, while minimizing file size and runtime processing by apps. As such, its creators have described it as the "JPEG of 3D". == Overview == The glTF format stores data primarily in JSON. The JSON may also contain blobs of binary data known as buffers, and refer to external files, for storing mesh data, images, etc. The binary .glb format also contains JSON text, but serialized with binary chunk headers to allow blobs to be directly appended to the file. The fundamental building blocks of a glTF scene are nodes. Nodes are organized into a hierarchy, such that a node may have other nodes defined as children. Nodes may have transforms relative to their parent. Nodes may refer to resources, such as meshes, skins, and cameras. Meshes may refer to materials, which refer to textures, which refer to images. Scenes are defined using an array of root nodes. Most of the top-level glTF properties use a flat hierarchy for storage. Nodes are saved in an array and are referred to by index, including by other nodes. A glTF scene refers to its root nodes by index. Furthermore, nodes refer to meshes by index, which refer to materials by index, which refer to textures by index, which refer to images by index. All glTF data structures support being extended using a JSON property, allowing arbitrary JSON data to be added. == Releases == === glTF 1.0 === Members of the COLLADA working group conceived the file format in 2012. At SIGGRAPH 2012, Khronos presented a demo of glTF, which was then called WebGL Transmissions Format (WebGL TF). On October 19, 2015, Khronos released the glTF 1.0 specification. ==== Adoption of glTF 1.0 ==== At SIGGRAPH 2016, Oculus announced their adoption of glTF citing the similarities to their ovrscene format. In October 2016, Microsoft joined the 3D Formats working group at Khronos to collaborate on glTF. === glTF 2.0 === The second version, glTF 2.0, was released in June 2017, and is a complete overhaul of the file format from version 1.0, with most tools adopting the 2.0 version. Based on a proposal by Fraunhofer originally presented at SIGGRAPH 2016, physically based rendering (PBR) was added, replacing WebGL shaders used in glTF 1.0. glTF 2.0 added the GLB binary format into the base specification. Other upgrades include sparse accessors and morph targets for techniques such as facial animation, and schema tweaks and breaking changes for corner cases or performance such as replacing top-level glTF object properties with arrays for faster index-based access. There is ongoing work towards import and export in Unity and an integrated multi-engine viewer and validator. ==== Adoption of glTF 2.0 ==== On March 3, 2017, Microsoft announced that they would be using glTF 2.0 as the 3D asset format across their product line, including Paint 3D, 3D Viewer, Remix 3D, Babylon.js, and Microsoft Office. Sketchfab also announced support for glTF 2.0. The glTF and GLB formats are used on and supported by companies including DGG, UX3D, Sketchfab, Facebook, Microsoft, Meta, Google, Adobe, Box, TurboSquid, Unreal Engine, Unity, and Qt Quick 3D. The format has been noted as an important standard for augmented reality, integrating with modeling software such as Autodesk Maya, Autodesk 3ds Max, and Poly. In February 2020, the Smithsonian Institution launched their Open Access Initiative, releasing approximately 2.8 million 2D images and 3D models into the public domain, using glTF for the 3D models. In July 2022, glTF 2.0 was released as the ISO/IEC 12113:2022 International Standard. Khronos stated they would make regular submissions to bring updates and new widely adopted glTF functionality into refreshed versions of ISO/IEC 12113 to ensure that there is no long-term divergence between the ISO/IEC and Khronos specifications. The open-source game engine Godot supports importing glTF 2.0 files since version 3.0 and export since version 4.0. === Extensions === The glTF format can be extended with arbitrary JSON to add new data and functionality. Extensions can be placed on any part of a glTF, including nodes, animations, materials, textures, and on the entire document. Khronos keeps a non-comprehensive registry of glTF extensions on GitHub, including all official Khronos extensions and a few third-party extensions. PBR extensions model the physical appearance of real-world objects, allowing developers to create realistic 3D assets that have the correct appearance. As new PBR extensions are released, they continue to expand PBR capabilities within the glTF framework, allowing a wider range of scenes and objects to be realistically rendered as 3D assets. The KTX 2.0 extension for universal texture compression enables 3D models in the glTF format to be highly compressed and to use natively supported texture formats, reducing file size and boosting rendering speed. Draco is a glTF extension for mesh compression, to compress and decompress 3D meshes, to help reduce the size of 3D files. It compresses vertex attributes, normals, colors, and texture coordinates. Various glTF extensions for game engine interoperability have been developed by OMI group. This includes extensions for physics shapes, physics bodies, physics joints, audio playback, seats, spawn points, and more. The VRM consortium has developed glTF extensions for advanced humanoid 3D avatars including dynamic spring bones and toon materials. == Derivative formats == 3D Tiles, an OGC Community Standard, builds on glTF to add a spatial data structure, metadata, and declarative styling for streaming massive heterogeneous 3D geospatial datasets. VRM, a model format for VR, is built on the .glb format. It is a 3D humanoid avatar specification and file format. == Software ecosystem == Khronos maintains the glTF Sample Viewer for viewing glTF assets. Khronos also maintains the glTF Validator for validating if 3D models conform to the glTF specification. Khronos maintains a glTF Compressor tool to interactively optimize and fine-tune compression settings for glTF assets using KTX 2.0 textures. glTF loaders are in open-source WebGL engines including PlayCanvas, Three.js, Babylon.js, Cesium, PEX, xeogl, and A-Frame. The Godot game engine supports and recommends the glTF format, with both import and export support. Open-source glTF converters are available from COLLADA, FBX, and OBJ. Assimp can import and export glTF. glTF files can also be directly exported from a variety of 3D editors, such as Blender, Unity (using the glTFast importer/exporter), Freecad, Vectary, Autodesk 3ds Max (natively or using Verge3D exporter), Autodesk Maya (using babylon.js exporter), Autodesk Inventor, Modo, Houdini, Paint 3D, Godot, and Substance Painter. Open-source glTF utility libraries are available for programming languages including JavaScript, Node.js, C++, C#, Python, Haskell, Java, Go, Rust, Haxe, Ada, and TypeScript. Khronos keeps a list of these libraries and other related applications on their ecosystem site. The Khronos 3D Commerce Working Group released Asset Creation Guidelines in 2020 outlining best practices for use of the glTF file format in 3D Commerce. In 2025, the Working Group launched Asset Creation Guidelines 2.0, a continuously updated resource with additional guidance for geometry, mesh optimization, UV maps, textures, materials/PBR performance, and web optimization. The Khronos PBR Neutral Tone Mappers specification is a tone mapper designed to faithfully reproduce an object's base color, hue, and saturation when using PBR rendering under grayscale lighting, supporting brand- and product-accurate color representation. Khronos maintains the glTF Asset Auditor to allow retailers and advertising technology platforms to validate 3D assets against either a default Audit Profile modelled on the 2020 3D Commerce Asset Creation Guidelines or a custom profile defined by the target application.

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  • New media

    New media

    New media are communication technologies that enable or enhance interaction between users, as well as interaction between users and content. In the middle of the 1990s, the phrase "new media" became widely used as part of a sales pitch for the influx of interactive CD-ROMs for entertainment and education. The new media technologies, sometimes known as Web 2.0, include a wide range of web-related communication tools such as blogs, wikis, online social networking, virtual worlds, and other social media platforms. The phrase "new media" refers to computational media that share material online and through computers. New media inspire new ways of thinking about older media. Media do not replace one another in a clear, linear succession, instead evolving in a more complicated network of interconnected feedback loops . What is different about new media is how they specifically refashion traditional media and how older media refashion themselves to meet the challenges of new media. Unless they contain technologies that enable digital generative or interactive processes, broadcast television programs, non-interactive news websites, feature films, magazines, and books are not considered to be new media. The term "new media" stands in contrast to old media, which dominated the media landscape as a form of mass media for many years. == History == In the 1950s, connections between computing and radical art began to grow stronger. It was not until the 1980s that Alan Kay and his co-workers at Xerox PARC began to give the computability of a personal computer to the individual, rather than have a big organization be in charge of this. In the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually, it makes sense that the Cold War and the design of the Web took place at exactly the same time. Writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period which is now famous declaration in Understanding Media: The Extensions of Man, that "the medium is the message" drew attention to the too often ignored influence media and technology themselves, rather than their "content," have on humans' experience of the world and on society broadly. Until the 1980s, media relied primarily upon print and analog broadcast models such as television and radio. The last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies such as the Internet and video games. However, these examples are only a small representation of new media. The use of digital computers has transformed the remaining 'old' media, as suggested by the advent of digital television and online publications. Even traditional media forms such as the printing press have been transformed through the application of technologies by using of image manipulation software like Adobe Photoshop and desktop publishing tools. Andrew L. Shapiro argues that the "emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources". W. Russell Neuman suggests that whilst the "new media" have technical capabilities to pull in one direction, economic and social forces pull back in the opposite direction. According to Neuman, "We are witnessing the evolution of a universal interconnected network of audio, video, and electronic text communications that will blur the distinction between interpersonal and mass communication; and between public and private communication". Neuman argues that new media will: Alter the meaning of geographic distance. Allow for a huge increase in the volume of communication. Provide the possibility of increasing the speed of communication. Provide opportunities for interactive communication. Allow forms of communication that were previously separate to overlap and interconnect. Consequently, it has been the contention of scholars such as Douglas Kellner and James Bohman that new media and particularly the Internet will provide the potential for a democratic postmodern public sphere, in which citizens can participate in well informed, non-hierarchical debate pertaining to their social structures. Contradicting these positive appraisals of the potential social impacts of new media are scholars such as Edward S. Herman and Robert McChesney who have suggested that the transition to new media has seen a handful of powerful transnational telecommunications corporations who achieve a level of global influence which was hitherto unimaginable. Scholars have highlighted both the positive and negative potential and actual implications of new media technologies, suggesting that some of the early work in new media studies was guilty of technologicaldeterminism – whereby the effects of media were determined by the technologies themselves, rather than by tracing the complex social networks that governed the development, funding, implementation, and future evolution of any technology. Based on the argument that people have a limited amount of time to spend on the consumption of different media, displacement theory argue that the viewership or readership of one particular outlet leads to the reduction in the amount of time spent by the individual on another. The introduction of new media, such as the internet, therefore reduces the amount of time individuals would spend on existing "old" media, which could ultimately lead to the end of such traditional media. == Definition == Although, there are several ways that new media may be described, Lev Manovich, in an introduction to The New Media Reader, defines new media by using eight propositions: New media versus cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas new media is concerned more with cultural objects and paradigms (digital to analog television, smartphones). New media as computer technology used as a distribution platform – New media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers. New media as digital data controlled by software – The language of new media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc. New media as the mix between existing cultural conventions and the conventions of software – New media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation. New media as the aesthetics that accompanies the early stage of every new modern media and communication technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period. New media as faster execution of algorithms previously executed manually or through other technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device. New media as the encoding of modernist avant-garde; new media as metamedia – Manovi

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  • Account verification

    Account verification

    Account verification is the process of verifying that a new or existing account is owned and operated by a specified real individual or organization. A number of websites, for example social media websites, offer account verification services. Verified accounts are often visually distinguished by check mark icons or badges next to the names of individuals or organizations. Account verification can enhance the quality of online services, mitigating sockpuppetry, bots, trolling, spam, vandalism, fake news, disinformation and election interference. == History == Account verification was introduced by Twitter in June 2009, initially as a feature for public figures and accounts of interest, individuals in "music, acting, fashion, government, politics, religion, journalism, media, sports, business and other key interest areas". A similar verification system was adopted by Google+ in 2011, Facebook page in October 2015 (Available in United States, Canada, United Kingdom, Australia and New Zealand) Facebook profile and Facebook page in 2018 (Available in Worldwide) Instagram in 2014, and Pinterest in 2015. On YouTube, users are able to submit a request for a verification badge once they obtain 100,000 or more subscribers. It also has an "official artist" badge for musicians and bands. In July 2016, Twitter announced that, beyond public figures, any individual would be able to apply for account verification. This was temporarily suspended in February 2018, following a backlash over the verification of one of the organisers of the far-right Unite the Right rally due to a perception that verification conveys "credibility" or "importance". In March 2018, during a live-stream on Periscope, Jack Dorsey, co-founder and CEO of Twitter, discussed the idea of allowing any individual to get a verified account. Twitter reopened account verification applications in May 2021 after revamping their account verification criteria. This time offering notability criteria for the account categories of government, companies, brands, and organizations, news organizations and journalists, entertainment, sports and activists, organizers, and other influential individuals. Instagram began allowing users to request verification in August 2018. In April 2018, Mark Zuckerberg, co-founder and CEO of Facebook, announced that purchasers of political or issue-based advertisements would be required to verify their identities and locations. He also indicated that Facebook would require individuals who manage large pages to be verified. In May 2018, Kent Walker, senior vice president of Google, announced that, in the United States, purchasers of political-leaning advertisements would need to verify their identities. In November 2022, Elon Musk included a blue verification check mark with a paid Twitter Blue monthly membership. Prior to Musk's acquisition of Twitter, Twitter offered this check mark at no charge to confirmed high profile users. On December 19, 2022, Twitter introduced two new check mark colors: gold for accounts from official businesses and organizations, and grey for accounts from governments or multilateral organizations. The type of check mark can be confirmed by visiting the profile page, then clicking or tapping on the check mark. == Techniques == === Identity verification services === Identity verification services are third-party solutions which can be used to ensure that a person provides information which is associated with the identity of a real person. Such services may verify the authenticity of identity documents such as drivers licenses or passports, called documentary verification, or may verify identity information against authoritative sources such as credit bureaus or government data, called nondocumentary verification. === Identity documents verification === The uploading of scanned or photographed identity documents is a practice in use, for example, at Facebook. According to Facebook, there are two reasons that a person would be asked to send a scan of or photograph of an ID to Facebook: to show account ownership and to confirm their name. In January 2018, Facebook purchased Confirm.io, a startup that was advancing technologies to verify the authenticity of identification documentation. === Biometric verification === === Behavioral verification === Behavioral verification is the computer-aided and automated detection and analysis of behaviors and patterns of behavior to verify accounts. Behaviors to detect include those of sockpuppets, bots, cyborgs, trolls, spammers, vandals, and sources and spreaders of fake news, disinformation and election interference. Behavioral verification processes can flag accounts as suspicious, exclude accounts from suspicion, or offer corroborating evidence for processes of account verification. === Bank account verification === Identity verification is required to establish bank accounts and other financial accounts in many jurisdictions. Verifying identity in the financial sector is often required by regulation such as Know Your Customer or Customer Identification Program. Accordingly, bank accounts can be of use as corroborating evidence when performing account verification. Bank account information can be provided when creating or verifying an account or when making a purchase. === Postal address verification === Postal address information can be provided when creating or verifying an account or when making and subsequently shipping a purchase. A hyperlink or code can be sent to a user by mail, recipients entering it on a website verifying their postal address. === Telephone number verification === A telephone number can be provided when creating or verifying an account or added to an account to obtain a set of features. During the process of verifying a telephone number, a confirmation code is sent to a phone number specified by a user, for example in an SMS message sent to a mobile phone. As the user receives the code sent, they can enter it on the website to confirm their receipt. === Email verification === An email account is often required to create an account. During this process, a confirmation hyperlink is sent in an email message to an email address specified by a person. The email recipient is instructed in the email message to navigate to the provided confirmation hyperlink if and only if they are the person creating an account. The act of navigating to the hyperlink confirms receipt of the email by the person. The added value of an email account for purposes of account verification depends upon the process of account verification performed by the specific email service provider. === Multi-factor verification === Multi-factor account verification is account verification which simultaneously utilizes a number of techniques. === Multi-party verification === The processes of account verification utilized by multiple service providers can corroborate one another. OpenID Connect includes a user information protocol which can be used to link multiple accounts, corroborating user information. == Account verification and good standing == On some services, account verification is synonymous with good standing. Twitter reserves the right to remove account verification from users' accounts at any time without notice. Reasons for removal may reflect behaviors on and off Twitter and include: promoting hate and/or violence against, or directly attacking or threatening other people on the basis of race, ethnicity, national origin, sexual orientation, gender, gender identity, religious affiliation, age, disability, or disease; supporting organizations or individuals that promote the above; inciting or engaging in the harassment of others; violence and dangerous behavior; directly or indirectly threatening or encouraging any form of physical violence against an individual or any group of people, including threatening or promoting terrorism; violent, gruesome, shocking, or disturbing imagery; self-harm, suicide; and engaging in other activity on Twitter that violates the Twitter Rules. In April 2023, Blue ticks were removed from all Twitter accounts that had not subscribed to Twitter Blue.

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  • Eigenmoments

    Eigenmoments

    EigenMoments is a set of orthogonal, noise robust, invariant to rotation, scaling and translation and distribution sensitive moments. Their application can be found in signal processing and computer vision as descriptors of the signal or image. The descriptors can later be used for classification purposes. It is obtained by performing orthogonalization, via eigen analysis on geometric moments. == Framework summary == EigenMoments are computed by performing eigen analysis on the moment space of an image by maximizing signal-to-noise ratio in the feature space in form of Rayleigh quotient. This approach has several benefits in Image processing applications: Dependency of moments in the moment space on the distribution of the images being transformed, ensures decorrelation of the final feature space after eigen analysis on the moment space. The ability of EigenMoments to take into account distribution of the image makes it more versatile and adaptable for different genres. Generated moment kernels are orthogonal and therefore analysis on the moment space becomes easier. Transformation with orthogonal moment kernels into moment space is analogous to projection of the image onto a number of orthogonal axes. Nosiy components can be removed. This makes EigenMoments robust for classification applications. Optimal information compaction can be obtained and therefore a few number of moments are needed to characterize the images. == Problem formulation == Assume that a signal vector s ∈ R n {\displaystyle s\in {\mathcal {R}}^{n}} is taken from a certain distribution having correlation C ∈ R n × n {\displaystyle C\in {\mathcal {R}}^{n\times n}} , i.e. C = E [ s s T ] {\displaystyle C=E[ss^{T}]} where E[.] denotes expected value. Dimension of signal space, n, is often too large to be useful for practical application such as pattern classification, we need to transform the signal space into a space with lower dimensionality. This is performed by a two-step linear transformation: q = W T X T s , {\displaystyle q=W^{T}X^{T}s,} where q = [ q 1 , . . . , q n ] T ∈ R k {\displaystyle q=[q_{1},...,q_{n}]^{T}\in {\mathcal {R}}^{k}} is the transformed signal, X = [ x 1 , . . . , x n ] T ∈ R n × m {\displaystyle X=[x_{1},...,x_{n}]^{T}\in {\mathcal {R}}^{n\times m}} a fixed transformation matrix which transforms the signal into the moment space, and W = [ w 1 , . . . , w n ] T ∈ R m × k {\displaystyle W=[w_{1},...,w_{n}]^{T}\in {\mathcal {R}}^{m\times k}} the transformation matrix which we are going to determine by maximizing the SNR of the feature space resided by q {\displaystyle q} . For the case of Geometric Moments, X would be the monomials. If m = k = n {\displaystyle m=k=n} , a full rank transformation would result, however usually we have m ≤ n {\displaystyle m\leq n} and k ≤ m {\displaystyle k\leq m} . This is specially the case when n {\displaystyle n} is of high dimensions. Finding W {\displaystyle W} that maximizes the SNR of the feature space: S N R t r a n s f o r m = w T X T C X w w T X T N X w , {\displaystyle SNR_{transform}={\frac {w^{T}X^{T}CXw}{w^{T}X^{T}NXw}},} where N is the correlation matrix of the noise signal. The problem can thus be formulated as w 1 , . . . , w k = a r g m a x w w T X T C X w w T X T N X w {\displaystyle {w_{1},...,w_{k}}=argmax_{w}{\frac {w^{T}X^{T}CXw}{w^{T}X^{T}NXw}}} subject to constraints: w i T X T N X w j = δ i j , {\displaystyle w_{i}^{T}X^{T}NXw_{j}=\delta _{ij},} where δ i j {\displaystyle \delta _{ij}} is the Kronecker delta. It can be observed that this maximization is Rayleigh quotient by letting A = X T C X {\displaystyle A=X^{T}CX} and B = X T N X {\displaystyle B=X^{T}NX} and therefore can be written as: w 1 , . . . , w k = a r g m a x x w T A w w T B w {\displaystyle {w_{1},...,w_{k}}={\underset {x}{\operatorname {arg\,max} }}{\frac {w^{T}Aw}{w^{T}Bw}}} , w i T B w j = δ i j {\displaystyle w_{i}^{T}Bw_{j}=\delta _{ij}} === Rayleigh quotient === Optimization of Rayleigh quotient has the form: max w R ( w ) = max w w T A w w T B w {\displaystyle \max _{w}R(w)=\max _{w}{\frac {w^{T}Aw}{w^{T}Bw}}} and A {\displaystyle A} and B {\displaystyle B} , both are symmetric and B {\displaystyle B} is positive definite and therefore invertible. Scaling w {\displaystyle w} does not change the value of the object function and hence and additional scalar constraint w T B w = 1 {\displaystyle w^{T}Bw=1} can be imposed on w {\displaystyle w} and no solution would be lost when the objective function is optimized. This constraint optimization problem can be solved using Lagrangian multiplier: max w w T A w {\displaystyle \max _{w}{w^{T}Aw}} subject to w T B w = 1 {\displaystyle {w^{T}Bw}=1} max w L ( w ) = max w ( w T A w − λ w T B w ) {\displaystyle \max _{w}{\mathcal {L}}(w)=\max _{w}(w{T}Aw-\lambda w^{T}Bw)} equating first derivative to zero and we will have: A w = λ B w {\displaystyle Aw=\lambda Bw} which is an instance of Generalized Eigenvalue Problem (GEP). The GEP has the form: A w = λ B w {\displaystyle Aw=\lambda Bw} for any pair ( w , λ ) {\displaystyle (w,\lambda )} that is a solution to above equation, w {\displaystyle w} is called a generalized eigenvector and λ {\displaystyle \lambda } is called a generalized eigenvalue. Finding w {\displaystyle w} and λ {\displaystyle \lambda } that satisfies this equations would produce the result which optimizes Rayleigh quotient. One way of maximizing Rayleigh quotient is through solving the Generalized Eigen Problem. Dimension reduction can be performed by simply choosing the first components w i {\displaystyle w_{i}} , i = 1 , . . . , k {\displaystyle i=1,...,k} , with the highest values for R ( w ) {\displaystyle R(w)} out of the m {\displaystyle m} components, and discard the rest. Interpretation of this transformation is rotating and scaling the moment space, transforming it into a feature space with maximized SNR and therefore, the first k {\displaystyle k} components are the components with highest k {\displaystyle k} SNR values. The other method to look at this solution is to use the concept of simultaneous diagonalization instead of Generalized Eigen Problem. === Simultaneous diagonalization === Let A = X T C X {\displaystyle A=X^{T}CX} and B = X T N X {\displaystyle B=X^{T}NX} as mentioned earlier. We can write W {\displaystyle W} as two separate transformation matrices: W = W 1 W 2 . {\displaystyle W=W_{1}W_{2}.} W 1 {\displaystyle W_{1}} can be found by first diagonalize B: P T B P = D B {\displaystyle P^{T}BP=D_{B}} . Where D B {\displaystyle D_{B}} is a diagonal matrix sorted in increasing order. Since B {\displaystyle B} is positive definite, thus D B > 0 {\displaystyle D_{B}>0} . We can discard those eigenvalues that large and retain those close to 0, since this means the energy of the noise is close to 0 in this space, at this stage it is also possible to discard those eigenvectors that have large eigenvalues. Let P ^ {\displaystyle {\hat {P}}} be the first k {\displaystyle k} columns of P {\displaystyle P} , now P T ^ B P ^ = D B ^ {\displaystyle {\hat {P^{T}}}B{\hat {P}}={\hat {D_{B}}}} where D B ^ {\displaystyle {\hat {D_{B}}}} is the k × k {\displaystyle k\times k} principal submatrix of D B {\displaystyle D_{B}} . Let W 1 = P ^ D B ^ − 1 / 2 {\displaystyle W_{1}={\hat {P}}{\hat {D_{B}}}^{-1/2}} and hence: W 1 T B W 1 = ( P ^ D B ^ − 1 / 2 ) T B ( P ^ D B ^ − 1 / 2 ) = I {\displaystyle W_{1}^{T}BW_{1}=({\hat {P}}{\hat {D_{B}}}^{-1/2})^{T}B({\hat {P}}{\hat {D_{B}}}^{-1/2})=I} . W 1 {\displaystyle W_{1}} whiten B {\displaystyle B} and reduces the dimensionality from m {\displaystyle m} to k {\displaystyle k} . The transformed space resided by q ′ = W 1 T X T s {\displaystyle q'=W_{1}^{T}X^{T}s} is called the noise space. Then, we diagonalize W 1 T A W 1 {\displaystyle W_{1}^{T}AW_{1}} : W 2 T W 1 T A W 1 W 2 = D A {\displaystyle W_{2}^{T}W_{1}^{T}AW_{1}W_{2}=D_{A}} , where W 2 T W 2 = I {\displaystyle W_{2}^{T}W_{2}=I} . D A {\displaystyle D_{A}} is the matrix with eigenvalues of W 1 T A W 1 {\displaystyle W_{1}^{T}AW_{1}} on its diagonal. We may retain all the eigenvalues and their corresponding eigenvectors since most of the noise are already discarded in previous step. Finally the transformation is given by: W = W 1 W 2 {\displaystyle W=W_{1}W_{2}} where W {\displaystyle W} diagonalizes both the numerator and denominator of the SNR, W T A W = D A {\displaystyle W^{T}AW=D_{A}} , W T B W = I {\displaystyle W^{T}BW=I} and the transformation of signal s {\displaystyle s} is defined as q = W T X T s = W 2 T W 1 T X T s {\displaystyle q=W^{T}X^{T}s=W_{2}^{T}W_{1}^{T}X^{T}s} . === Information loss === To find the information loss when we discard some of the eigenvalues and eigenvectors we can perform following analysis: η = 1 − t r a c e ( W 1 T A W 1 ) t r a c e ( D B − 1 / 2 P T A P D B − 1 / 2 ) = 1 − t r a c e ( D B ^ − 1 / 2 P ^ T A P ^ D B ^ − 1 / 2 ) t r a c e ( D B − 1 / 2 P T A P D B − 1 / 2 ) {\displaystyle {\begin{array}{lll}\eta &=&

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  • Server-sent events

    Server-sent events

    Server-Sent Events (SSE) is a server push technology enabling a client to receive automatic updates from a server via an HTTP connection, and describes how servers can initiate data transmission towards clients once an initial client connection has been established. They are commonly used to send message updates or continuous data streams to a browser client and designed to enhance native, cross-browser streaming through a JavaScript API called EventSource, through which a client requests a particular URL in order to receive an event stream. The EventSource API is standardized as part of HTML Living Standard by the WHATWG. The media type for SSE is text/event-stream. All modern browsers support server-sent events: Firefox 6+, Google Chrome 6+, Opera 11.5+, Safari 5+, Microsoft Edge 79+, Brave. Since SSE does not use either persistent connections nor chunked transfer encoding, HTTP/1.1 is not a technical requirement. == History == The SSE mechanism was first specified by Ian Hickson as part of the "WHATWG Web Applications 1.0" proposal starting in 2004. In September 2006, the Opera web browser implemented the experimental technology in a feature called "Server-Sent Events". The W3C published Server-Sent Events as a Recommendation on February 3, 2015, after years of development through Working Drafts and Candidate Recommendations. == Example == == Technology == When sending high-frequency data , the server must manage backpressure to prevent saturating clients. This is mitigated in the following ways: Client-side buffering: Browsers have limited buffer space for incoming server-sent events Adaptive rate limiting: Servers can adjust event frequency and monitor connection health Event batching: Combining multiple events into larger and less frequent transmissions

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  • Online exhibition

    Online exhibition

    An online exhibition, also referred to as a virtual exhibition, online gallery, cyber-exhibition, is an exhibition whose venue is cyberspace. Museums and other organizations create online exhibitions for many reasons. For example, an online exhibition may: expand on material presented at, or generate interest in, or create a durable online record of, a physical exhibition; save production costs (insurance, shipping, installation); solve conservation/preservation problems (e.g., handling of fragile or rare objects); reach lots more people: "Access to information is no longer restricted to those who can afford travel and museum visits, but is available to anyone who has access to a computer with an Internet connection. Unlike physical exhibitions, online exhibitions are not restricted by time; they are not forced to open and close but may be available 24 hours a day. In the nonprofit world, many museums, libraries, archives, universities, and other cultural organizations create online exhibitions. A database of such exhibitions is Library and Archival Exhibitions on the Web. Online exhibition organizers may use techniques such as marquee text, display advertisements, and in-event emails to engage patrons. Various guides have been published to help organizations create effective online exhibitions. The earliest museum with a physical existence to create a programme of substantial online exhibitions with high resolution images of artefacts was the Museum of the History of Science in Oxford, the first of which, The Measurers: a Flemish Image of Mathematics in the Sixteenth Century and an exhibition of early photographs, were published on 21 August 1995. == Examples of online exhibitions == International Museum of Women is an online-only museum that does not have a physical building and instead offers online exhibitions about women's issues globally as well as an online community. Online exhibitions include "Imagining Ourselves" (launched 2006) about women's identity, "Women, Power and Politics" (2008), and "Economica: Women and the Global Economy" (2009). Tucson LGBTQ Museum is an online-only museum that does not have a physical building and instead offers online exhibitions about LGBTQ history. The online photographic, audio, video, text, and other historical exhibitions include exhibits from the 1700s to the present day. The effort began in the summer of 1967 and spanned almost 50 years. International New Media Gallery (INMG) is an online museum specialising in moving image and screen-based art. The INMG is dedicated to exploring current debates and topics in art history: touching on areas such as migration, war, environmental activism and the internet itself. The gallery publishes extensive academic catalogues alongside its exhibitions. It also hosts spaces for discussion and debate, both online and offline. Virtual Museum of Modern Nigerian Art – the VMMNA is the first of its kind in Africa. Hosted by the Pan-African University, Lagos, Nigeria this virtual museum offers a good view of the development on Nigerian Art in the past fifty years.

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