AI Cv Keywords

AI Cv Keywords — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Blobotics

    Blobotics

    Blobotics is a term describing research into chemical-based computer processors based on ions rather than electrons. Andrew Adamatzky, a computer scientist at the University of the West of England, Bristol used the term in an article in New Scientist March 28, 2005 [1]. The aim is to create 'liquid logic gates' which would be 'infinitely reconfigurable and self-healing'. The process relies on the Belousov–Zhabotinsky reaction, a repeating cycle of three separate sets of reactions. Such a processor could form the basis of a robot which, using artificial sensors, interact with its surroundings in a way which mimics living creatures. The coining of the term was featured by ABC radio in Australia [2].

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  • Digital divide

    Digital divide

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

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  • 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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  • CU-RTC-WEB

    CU-RTC-WEB

    Customizable, Ubiquitous Real Time Communication over the Web is an API definition being drafted by Bernard Aboba at Microsoft. It is a competing standard to WebRTC, which drafted by a World Wide Web Consortium working group since May 2011. As of 2024, CU-RTC-WEB is still in the drafting phase, with ongoing discussions and contributions from various stakeholders in the tech community. Bernard Aboba, who serves as a co-chair of the W3C WebRTC Working Group, is actively involved in both CU-RTC-WEB and WebRTC, indicating a commitment to advancing real-time communication standards across platforms.

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  • Ray tracing (graphics)

    Ray tracing (graphics)

    In 3D computer graphics, ray tracing is a technique for modeling light transport for use in a wide variety of rendering algorithms for generating digital images. On a spectrum of computational cost and visual fidelity, ray tracing-based rendering techniques, such as ray casting, recursive ray tracing, distribution ray tracing, photon mapping and path tracing, are generally slower and higher fidelity than scanline rendering methods. Thus, ray tracing was first deployed in applications where taking a relatively long time to render could be tolerated, such as still CGI images, and film and television visual effects (VFX), but was less suited to real-time applications such as video games, where speed is critical in rendering each frame. Since 2018, however, hardware acceleration for real-time ray tracing has become standard on new commercial graphics cards, and graphics APIs have followed suit, allowing developers to use hybrid ray tracing and rasterization-based rendering in games and other real-time applications with a lesser hit to frame render times. Ray tracing is capable of simulating a variety of optical effects, such as reflection, refraction, soft shadows, scattering, depth of field, motion blur, caustics, ambient occlusion and dispersion phenomena (such as chromatic aberration). It can also be used to trace the path of sound waves in a similar fashion to light waves, making it a viable option for more immersive sound design in video games by rendering realistic reverberation and echoes. In fact, any physical wave or particle phenomenon with approximately linear motion can be simulated with ray tracing. Ray tracing–based rendering techniques that sample light over a domain typically generate multiple rays and often rely on denoising to reduce the resulting noise. == History == The idea of ray tracing comes from as early as the 16th century, when it was described by Albrecht Dürer, who is credited for its invention. Dürer described multiple techniques for projecting 3-D scenes onto an image plane. Some of these project chosen geometry onto the image plane, as is done with rasterization today. Others determine what geometry is visible along a given ray, as is done with ray tracing. Using a computer for ray tracing to generate shaded pictures was first accomplished by Arthur Appel in 1968. Appel used ray tracing for primary visibility (determining the closest surface to the camera at each image point) by tracing a ray through each point to be shaded into the scene to identify the visible surface. The closest surface intersected by the ray was the visible one. This non-recursive ray tracing-based rendering algorithm is today called "ray casting". His algorithm then traced secondary rays to the light source from each point being shaded to determine whether the point was in shadow or not. Later, in 1971, Goldstein and Nagel of MAGI (Mathematical Applications Group, Inc.) published "3-D Visual Simulation", wherein ray tracing was used to make shaded pictures of solids. At the ray-surface intersection point found, they computed the surface normal and, knowing the position of the light source, computed the brightness of the pixel on the screen. Their publication describes a short (30-second) film "made using the University of Maryland's display hardware outfitted with a 16mm camera. The film showed the helicopter and a simple ground-level gun emplacement. The helicopter was programmed to undergo a series of maneuvers including turns, take-offs, and landings, etc., until it eventually is shot down and crashed." A CDC 6600 computer was used. MAGI produced an animation video called MAGI/SynthaVision Sampler in 1974. Another early instance of ray casting came in 1976, when Scott Roth created a flip book animation in Bob Sproull's computer graphics course at Caltech. The scanned pages are shown as a video in the accompanying image. Roth's computer program noted an edge point at a pixel location if the ray intersected a bounded plane different from that of its neighbors. Of course, a ray could intersect multiple planes in space, but only the surface point closest to the camera was noted as visible. The platform was a DEC PDP-10, a Tektronix storage-tube display, and a printer which would create an image of the display on rolling thermal paper. Roth extended the framework, introduced the term ray casting in the context of computer graphics and solid modeling, and in 1982 published his work while at GM Research Labs. Turner Whitted was the first to show recursive ray tracing for mirror reflection and for refraction through translucent objects, with an angle determined by the solid's index of refraction, and to use ray tracing for anti-aliasing. Whitted also showed ray traced shadows. He produced a recursive ray traced film called The Compleat Angler in 1979 while an engineer at Bell Labs. Whitted's deeply recursive ray tracing algorithm reframed rendering from being primarily a matter of surface visibility determination to being a matter of light transport. His paper inspired a series of subsequent work by others that included distribution ray tracing and finally unbiased path tracing, which provides the rendering equation framework that has allowed computer-generated imagery to be faithful to reality. For decades, global illumination in major films using computer-generated imagery was approximated with additional lights. Ray tracing-based rendering eventually changed that by enabling physically based light transport. Early feature films rendered entirely using path tracing include Monster House (2006), Cloudy with a Chance of Meatballs (2009), and Monsters University (2013). == Algorithm overview == Optical ray tracing describes a method for producing visual images constructed in 3D computer graphics environments, with more photorealism than either ray casting or scanline rendering techniques. It works by tracing a path from an imaginary eye through each pixel in a virtual screen, and calculating the color of the object visible through it. Scenes in ray tracing are described mathematically by a programmer or by a visual artist (normally using intermediary tools). Scenes may also incorporate data from images and models captured by means such as digital photography. Typically, each ray must be tested for intersection with some subset of all the objects in the scene. Once the nearest object has been identified, the algorithm will estimate the incoming light at the point of intersection, examine the material properties of the object, and combine this information to calculate the final color of the pixel. Certain illumination algorithms and reflective or translucent materials may require more rays to be re-cast into the scene. It may at first seem counterintuitive or "backward" to send rays away from the camera, rather than into it (as actual light does in reality), but doing so is many orders of magnitude more efficient. Since the overwhelming majority of light rays from a given light source do not make it directly into the viewer's eye, a "forward" simulation could potentially waste a tremendous amount of computation on light paths that are never recorded. Therefore, the shortcut taken in ray tracing is to presuppose that a given ray intersects the view frame. After either a maximum number of reflections or a ray traveling a certain distance without intersection, the ray ceases to travel and the pixel's value is updated. === Calculate rays for rectangular viewport === On input we have (in calculation we use vector normalization and cross product): E ∈ R 3 {\displaystyle E\in \mathbb {R^{3}} } eye position T ∈ R 3 {\displaystyle T\in \mathbb {R^{3}} } target position θ ∈ [ 0 , π ] {\displaystyle \theta \in [0,\pi ]} field of view - for humans, we can assume ≈ π / 2 rad = 90 ∘ {\displaystyle \approx \pi /2{\text{ rad}}=90^{\circ }} m , k ∈ N {\displaystyle m,k\in \mathbb {N} } numbers of square pixels on viewport vertical and horizontal direction i , j ∈ N , 1 ≤ i ≤ k ∧ 1 ≤ j ≤ m {\displaystyle i,j\in \mathbb {N} ,1\leq i\leq k\land 1\leq j\leq m} numbers of actual pixel v → ∈ R 3 {\displaystyle {\vec {v}}\in \mathbb {R^{3}} } vertical vector which indicates where is up and down, usually v → = [ 0 , 1 , 0 ] {\displaystyle {\vec {v}}=[0,1,0]} - roll component which determine viewport rotation around point C (where the axis of rotation is the ET section) The idea is to find the position of each viewport pixel center P i j {\displaystyle P_{ij}} which allows us to find the line going from eye E {\displaystyle E} through that pixel and finally get the ray described by point E {\displaystyle E} and vector R → i j = P i j − E {\displaystyle {\vec {R}}_{ij}=P_{ij}-E} (or its normalization r → i j {\displaystyle {\vec {r}}_{ij}} ). First we need to find the coordinates of the bottom left viewport pixel P 1 m {\displaystyle P_{1m}} and find the next pixel by making a shift along directions parallel to viewport (vectors b → n {\displaystyle {\vec {b}}_{n

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  • Blend4Web

    Blend4Web

    Blend4Web is a free and open source framework for creating and displaying interactive 3D computer graphics in web browsers. == Overview == The Blend4Web framework leverages Blender to edit 3D scenes. Content rendering relies on WebGL, Web Audio, WebVR, and other web standards, without the use of plug-ins. It is dual-licensed. The framework is distributed under the free and open source GPLv3 and, a non-free license - with the source code being hosted on GitHub. A 3D scene can be prepared in Blender and then exported as a pair of JSON and binary files to load in a web application. It can also be exported as a single, self-contained HTML file, in which exported data, the web player GUI, and the engine itself are packed. The HTML option is considered to be the simplest way. The resulting file, which has a minimum size of 1 MB, can be embedded in a web page using a standard iframe HTML element. Blend4Web-powered web applications can be deployed on social networking websites such as Facebook. The Blend4Web toolchain consists of JavaScript libraries, the Blender add-on, and a set of tools for tweaking 3D scene parameters, debugging, and optimization. Developed by Moscow-based company Triumph in 2010, Blend4Web was publicly released on March 28, 2014. At the end of 2017, the project founders Yuri and Alex Kovelenov quit Triumph to start the development of a new WebGL framework Verge3D. In October 2019, an "Absolutely new Blend4Web" was announced, planned to make developing 3D apps easier and to add a new marketplace where people can offer their 3D models. == Features == The framework has a number of components typically found in game engines, including a positional audio system, physics engine (a fork of Bullet ported to JavaScript), animation system, and an abstraction layer for game logic programming. Up to 8 different types of animations can be assigned to a single object, including skeletal and per-vertex animation. The speed and the direction of animation (forward/backward play), as well as particle system parameters (size, initial velocity, and count), can be changed through the API. Among other supported features are: scene data dynamic loading and unloading, subsurface scattering simulation, and image-based lighting. Some out-of-box options exist for rendering extended outdoor environments, including foliage-wind interaction, water, atmosphere, and sunlight simulation. One example demonstrating these effects is "The Farm" tech demo, which also features multiple animated NPCs and the ability to walk, interact with objects and drive a vehicle in first-person mode. Being based on the cross-browser WebGL API, Blend4Web runs in the majority of web browsers, including mobile ones. There are some caveats for browsers with experimental WebGL support, such as Internet Explorer. There are also applications developed to run on Tizen-powered devices such as the Samsung Gear S2 smartwatch. Other features include: draw call batching, hidden surface determination, threaded physics simulation and ocean simulation. In version 14.09, Blend4Web introduced the possibility of adding interactivity to 3D scenes using a visual programming tool. The tool is reminiscent of the BGE's logic editor as it uses logic blocks that are placed inside Blender. It plays back animation tracks authored by an artist when the user interacts with predefined 3D objects. Since version 15.03, Blend4Web has supported attaching HTML elements (such as information windows) to 3D objects ("annotations") and copying objects in run time ("instancing"). The following post-processing effects are supported: glow, bloom, depth of field, crepuscular rays, motion blur, and screen space ambient occlusion. == Virtual reality and augmented reality == Virtual reality devices have been supported since the end of 2015. Specifically, Oculus Rift head-mounted display works over experimental WebVR API. The software also now includes preliminary support for gamepads, based on the Gamepad API. In 2017, the option to author augmented reality content was added. The system is based on the open-source tracking library ARToolKit and uses the WebRTC protocols. Starting from version 17.08, finger tracking is supported through the Leap Motion device. == Blender integration == The Blender add-on is written in Python and C and can be compiled for the Linux x86/x64, OS X x64, and MS Windows x86/x64 platforms. A Blend4Web-specific profile can be activated in the add-on settings. When switching to this profile, the Blender interface changes so that it only reveals settings relevant to Blend4Web. Blend4Web supports a set of Blender-specific features such as the node material editor (a tool for visual shader programming) and the particle system. There is basic support for Blender's non-linear animation (NLA) editor for creating simple scenarios. Blend4Web is based on Blender's real-time GLSL rendering engine, which users are recommended to use in order to enable WYSIWYG editing. == Notable uses == NASA developed an interactive web application called Experience Curiosity to celebrate the 3rd anniversary of the Curiosity rover landing on Mars. This Blend4Web-based app makes it possible to operate the rover, control its cameras and the robotic arm, and reproduce some of the prominent events of the Mars Science Laboratory mission. The application got presented at the beginning of the WebGL section at SIGGRAPH 2015. Experience Curiosity was ported to Verge3D for Blender in 2018 with several performance improvements and bug fixes. A General Motors authorized dealer in the United Arab Emirates has placed a functional Chevrolet Camaro 3D configurator on its website. Greenpeace created interactive 3D infographics to back Greenpeace's Detox campaign in Russia. Tallink featured an interactive 3D presentation of its MS Megastar vessel to allow visitors to browse details of the ship.

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  • Web API

    Web API

    A web API is an application programming interface (API) for either a web server or a web browser. As a web development concept, it can be related to a web application's client side (including any web frameworks being used). A server-side web API consists of one or more publicly exposed endpoints to a defined request–response message system, typically expressed in JSON or XML by means of an HTTP-based web server. A server API (SAPI) is not considered a server-side web API, unless it is publicly accessible by a remote web application. == Client side == A client-side web API is a programmatic interface to extend functionality within a web browser or other HTTP client. Originally these were most commonly in the form of native plug-in browser extensions however most newer ones target standardized JavaScript bindings. The Mozilla Foundation created their WebAPI specification which is designed to help replace native mobile applications with HTML5 applications. Google created their Native Client architecture which is designed to help replace insecure native plug-ins with secure native sandboxed extensions and applications. They have also made this portable by employing a modified LLVM AOT compiler. == Server side == A server-side web API consists of one or more publicly exposed endpoints to a defined request–response message system, typically expressed in JSON or XML. The web API is exposed most commonly by means of an HTTP-based web server. Mashups are web applications which combine the use of multiple server-side web APIs. Webhooks are server-side web APIs that take input as a Uniform Resource Identifier (URI) that is designed to be used like a remote named pipe or a type of callback such that the server acts as a client to dereference the provided URI and trigger an event on another server which handles this event thus providing a type of peer-to-peer IPC. === Endpoints === Endpoints are important aspects of interacting with server-side web APIs, as they specify where resources can be accessed by third-party software. Usually the access is via a URI to which HTTP requests are posted, and from which the response is thus expected. Web APIs may be public or private, the latter of which requires an access token. Endpoints need to be static, otherwise the correct functioning of software that interacts with them cannot be guaranteed. If the location of a resource changes (and with it the endpoint) then previously written software will break, as the required resource can no longer be found at the same place. As API providers still want to update their web APIs, many have introduced a versioning system in the URI that points to an endpoint. === Resources versus services === Web 2.0 Web APIs often use machine-based interactions such as REST and SOAP. RESTful web APIs use HTTP methods to access resources via URL-encoded parameters, and use JSON or XML to transmit data. By contrast, SOAP protocols are standardized by the W3C and mandate the use of XML as the payload format, typically over HTTP. Furthermore, SOAP-based Web APIs use XML validation to ensure structural message integrity, by leveraging the XML schemas provisioned with WSDL documents. A WSDL document accurately defines the XML messages and transport bindings of a Web service. === Documentation === Server-side web APIs are interfaces for the outside world to interact with the business logic. For many companies this internal business logic and the intellectual property associated with it are what distinguishes them from other companies, and potentially what gives them a competitive edge. They do not want this information to be exposed. However, in order to provide a web API of high quality, there needs to be a sufficient level of documentation. One API provider that not only provides documentation, but also links to it in its error messages is Twilio. However, there are now directories of popular documented server-side web APIs. === Growth and impact === The number of available web APIs has grown consistently over the past years, as businesses realize the growth opportunities associated with running an open platform, that any developer can interact with. ProgrammableWeb tracks over 24000 Web APIs that were available in 2022, up from 105 in 2005. Web APIs have become ubiquitous. There are few major software applications/services that do not offer some form of web API. One of the most common forms of interacting with these web APIs is via embedding external resources, such as tweets, Facebook comments, YouTube videos, etc. In fact there are very successful companies, such as Disqus, whose main service is to provide embeddable tools, such as a feature-rich comment system. Any website of the TOP 100 Alexa Internet ranked websites uses APIs and/or provides its own APIs, which is a very distinct indicator for the prodigious scale and impact of web APIs as a whole. As the number of available web APIs has grown, open source tools have been developed to provide more sophisticated search and discovery. APIs.json provides a machine-readable description of an API and its operations, and the related project APIs.io offers a searchable public listing of APIs based on the APIs.json metadata format. === Business === ==== Commercial ==== Many companies and organizations rely heavily on their Web API infrastructure to serve their core business clients. In 2014 Netflix received around 5 billion API requests, most of them within their private API. ==== Governmental ==== Many governments collect a lot of data, and some governments are now opening up access to this data. The interfaces through which this data is typically made accessible are web APIs. Web APIs allow for data, such as "budget, public works, crime, legal, and other agency data" to be accessed by any developer in a convenient manner. == Example == An example of a popular web API is the Astronomy Picture of the Day API operated by the American space agency NASA. It is a server-side API used to retrieve photographs of space or other images of interest to astronomers, and metadata about the images. According to the API documentation, the API has one endpoint: https://api.nasa.gov/planetary/apod The documentation states that this endpoint accepts GET requests. It requires one piece of information from the user, an API key, and accepts several other optional pieces of information. Such pieces of information are known as parameters. The parameters for this API are written in a format known as a query string, which is separated by a question mark character (?) from the endpoint. An ampersand (&) separates the parameters in the query string from each other. Together, the endpoint and the query string form a URL that determines how the API will respond. This URL is also known as a query or an API call. In the below example, two parameters are transmitted (or passed) to the API via the query string. The first is the required API key and the second is an optional parameter — the date of the photograph requested. https://api.nasa.gov/planetary/apod?api_key=DEMO_KEY&date=1996-12-03 Visiting the above URL in a web browser will initiate a GET request, calling the API and showing the user a result, known as a return value or as a return. This API returns JSON, a type of data format intended to be understood by computers, but which is somewhat easy for a human to read as well. In this case, the JSON contains information about a photograph of a white dwarf star: The above API return has been reformatted so that names of JSON data items, known as keys, appear at the start of each line. The last of these keys, named url, indicates a URL which points to a photograph: https://apod.nasa.gov/apod/image/9612/ngc2440_hst2.jpg Following the above URL, a web browser user would see this photo: Although this API can be called by an end user with a web browser (as in this example) it is intended to be called automatically by software or by computer programmers while writing software. JSON is intended to be parsed by a computer program, which would extract the URL of the photograph and the other metadata. The resulting photo could be embedded in a website, automatically sent via text message, or used for any other purpose envisioned by a software developer.

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  • Bainu (website)

    Bainu (website)

    Bainu ("how are you?") is a Chinese social networking website written in the Mongolian language. As of 2020 it had about 400,000 users, concentrated in Inner Mongolia. == Core features and positioning == Language and Cultural Characteristics Bainu is based on Traditional Mongolian Script and supports social interactions in the Mongolian language, including various message formats such as text, voice, images, and video. This design aims to preserve and promote Mongolian language and culture, particularly appealing to users in Inner Mongolia and other Mongolian-populated areas. Social Features Instant Messaging: Supports one-on-one private chats and group chats. Users can create interest-based groups or join local communities. Life Sharing: Through the "Chomorlig" feature (similar to Moments or a dynamic feed), users can share daily highlights to enhance community interaction. Location-Based Socializing: Recommends nearby users based on location, making it easier to connect with Mongolian friends in the same city or neighboring regions. Multilingual Support The app interface is available in English, Mongolian, and Simplified Chinese. == Technical Features and User Experience == Cross-Platform Compatibility Supports iPhone, iPad, Mac (with M1 chip or above), and Apple Vision Pro devices, covering users across the Apple ecosystem. Pricing Model Free download and basic features are available. Premium services (e.g., ad-free experience, extended social functions) require a subscription, with pricing options including $0.99/month, $2.99/quarter, and $6.99/year. User Feedback Positive Reviews: Some users praise it as the "best Mongolian-language chat app," recognizing its cultural value and social convenience. Negative Feedback: Reports of app crashes and technical issues, with some users calling for improved stability (e.g., frequent crashes in the iOS version). == Privacy and Data Policy == Bainu collects user data such as location, contact information, and device identifiers, which are linked to user identities. Additionally, user behavior may be tracked through third-party services, raising some privacy concerns. == Current Development and Challenges == User Base As of 2020, Bainu had approximately 400,000 users, primarily concentrated in Inner Mongolia. Policy Impact It was reported by Voice of America (VOA) that the Chinese authorities blocked Bainu on 23 August 2020 in order to prohibit Mongolians from discussing the issue of the authorities’ implementation of "bilingual education" in elementary schools. But now, in 2025, this software is completely available for download and use. see:https://bainu.com/

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  • Semantic analytics

    Semantic analytics

    Semantic analytics, also termed semantic relatedness, is the use of ontologies to analyze content in web resources. This field of research combines text analytics and Semantic Web technologies like RDF. Semantic analytics measures the relatedness of different ontological concepts. Some academic research groups that have active project in this area include Kno.e.sis Center at Wright State University among others. == History == An important milestone in the beginning of semantic analytics occurred in 1996, although the historical progression of these algorithms is largely subjective. In his seminal study publication, Philip Resnik established that computers have the capacity to emulate human judgement. Spanning the publications of multiple journals, improvements to the accuracy of general semantic analytic computations all claimed to revolutionize the field. However, the lack of a standard terminology throughout the late 1990s was the cause of much miscommunication. This prompted Budanitsky & Hirst to standardize the subject in 2006 with a summary that also set a framework for modern spelling and grammar analysis. In the early days of semantic analytics, obtaining a large enough reliable knowledge bases was difficult. In 2006, Strube & Ponzetto demonstrated that Wikipedia could be used in semantic analytic calculations. The usage of a large knowledge base like Wikipedia allows for an increase in both the accuracy and applicability of semantic analytics. == Methods == Given the subjective nature of the field, different methods used in semantic analytics depend on the domain of application. No singular methods is considered correct, however one of the most generally effective and applicable method is explicit semantic analysis (ESA). ESA was developed by Evgeniy Gabrilovich and Shaul Markovitch in the late 2000s. It uses machine learning techniques to create a semantic interpreter, which extracts text fragments from articles into a sorted list. The fragments are sorted by how related they are to the surrounding text. Latent semantic analysis (LSA) is another common method that does not use ontologies, only considering the text in the input space. == Applications == Entity linking Ontology building / knowledge base population Search and query tasks Natural language processing Spoken dialog systems (e.g., Amazon Alexa, Google Assistant, Microsoft's Cortana) Artificial intelligence Knowledge management The application of semantic analysis methods generally streamlines organizational processes of any knowledge management system. Academic libraries often use a domain-specific application to create a more efficient organizational system. By classifying scientific publications using semantics and Wikipedia, researchers are helping people find resources faster. Search engines like Semantic Scholar provide organized access to millions of articles.

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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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  • Digital intermediate

    Digital intermediate

    Digital intermediate (DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. == Definition and overview == A digital intermediate often replaces or augments the photochemical timing process and is usually the final creative adjustment to a movie before distribution in theaters. It is distinguished from the telecine process in which film is scanned and color is manipulated early in the process to facilitate editing. However the lines between telecine and DI are continually blurred and are often executed on the same hardware by colorists of the same background. These two steps are typically part of the overall color management process in a motion picture at different points in time. A digital intermediate is also customarily done at higher resolution and with greater color fidelity than telecine transfers. Although originally used to describe a process that started with film scanning and ended with film recording, digital intermediate is also used to describe color correction and color grading and even final mastering when a digital camera is used as the image source and/or when the final movie is not output to film. This is due to recent advances in digital cinematography and digital projection technologies that strive to match film origination and film projection. In traditional photochemical film finishing, an intermediate is produced by exposing film to the original camera negative. The intermediate is then used to mass-produce the films that get distributed to theaters. Color grading is done by varying the amount of red, green, and blue light used to expose the intermediate. The digital intermediate process uses digital tools to color grade, which allows for much finer control of individual colors and areas of the image, and allows for the adjustment of image structure (grain, sharpness, etc.). The intermediate for film reproduction can then be produced by means of a film recorder. The physical intermediate film that is a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (IN) stock, which is inherently finer-grain than original camera negative (OCN). One of the key technical achievements that made the transition to DI possible was the use of 3D look-up tables, which could be used to mimic how the digital image would look once it was printed onto release print stock. This removed a large amount of guesswork from the film-making process, and allowed greater freedom in the colour grading process while reducing risk. The digital master is often used as a source for a DCI-compliant distribution of the motion picture for digital projection. For archival purposes, the digital master created during the digital intermediate process can be recorded to very stable high dynamic range yellow-cyan-magenta (YCM) separations on black-and-white film with an expected 100-year or longer life. While still subject to the natural degradation of any analog chemical master, this archival format, long used in the industry prior to the invention of DI, was considered valuable for providing an archival medium that is independent of changes in digital data recording technologies and file formats that might otherwise render digitally archived material unreadable in the long term. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == History == Telecine tools to electronically capture film images are nearly as old as broadcast television, but the resulting images were widely considered unsuitable for exposing back onto film for theatrical distribution. Film scanners and recorders with quality sufficient to produce images that could be inter-cut with regular film began appearing in the 1970s, with significant improvements in the late 1980s and early 1990s. During this time, digitally processing an entire feature-length film was impractical because the scanners and recorders were extremely slow and the image files were too large compared to computing power available. Instead, individual shots or short sequences were processed for visual effects. In 1992, Visual Effects Supervisor/Producer Chris F. Woods broke through several "techno-barriers" in creating a digital studio to produce the visual effects for the 1993 release Super Mario Bros. It was the first feature film project to digitally scan a large number of VFX plates (over 700) at 2K resolution. It was also the first film scanned and recorded at Kodak's just launched Cinesite facility in Hollywood. This project based studio was the first feature film to use Discreet Logic's (now Autodesk) Flame and Inferno systems, which enjoyed early dominance as high resolution / high performance digital compositing systems. Digital film compositing for visual effects was immediately embraced, while optical printer use for VFX declined just as quickly. Chris Watts further revolutionized the process on the 1998 feature film Pleasantville, becoming the first visual effects supervisor for New Line Cinema to scan, process, and record the majority of a feature-length, live-action, Hollywood film digitally. The first Hollywood film to utilize a digital intermediate process from beginning to end was O Brother, Where Art Thou? in 2000 and in Europe it was Chicken Run released that same year. The process rapidly caught on in the mid-2000s. Around 50% of Hollywood films went through a digital intermediate in 2005, increasing to around 70% by mid-2007. This is due not only to the extra creative options the process affords film makers but also the need for high-quality scanning and color adjustments to produce movies for digital cinema. == Milestones == 1990: The Rescuers Down Under – First feature-length film to be entirely recorded to film from digital files; in this case animation assembled on computers using Walt Disney Feature Animation and Pixar's CAPS system. 1992: Visual effects supervisor and producer Chris F. Woods creates a VFX studio to produce the visual effects for the 1993 film Super Mario Bros. It was the first 35mm feature film to digitally scan a large number of VFX plates (over 700) at 2K resolution, as well as to output the finished VFX to 35mm negative at 2K. 1993: Snow White and the Seven Dwarfs – First film to be entirely scanned to digital files, manipulated, and recorded back to film at 4K resolution. The restoration project was done entirely at 4K resolution and 10-bit color depth using the Cineon system to digitally remove dirt and scratches and restore faded colors. 1998: Pleasantville – The first time the majority of a new feature film was scanned, processed, and recorded digitally. The black-and-white meets color world portrayed in the movie was filmed entirely in color and selectively desaturated and contrast adjusted digitally. The work was done in Los Angeles by Cinesite utilizing a Spirit DataCine for scanning at 2K resolution and a MegaDef color correction system from UK Company Pandora International 1998: Zingo - The first feature film to use digital color correction via digital intermediate in its entirety. The work was performed at the Digital Film Lab in Copenhagen, using a Spirit Datacine to transfer the entire film to digital files at 2K resolution. The digital intermediate process was also used to perform a digital blowup of the film's original Super 16 source format to a 35mm output. 1999: Pacific Ocean Post Film, a team led by John McCunn and Greg Kimble used Kodak film scanners & laser film printer, Cineon software as well as proprietary tools to rebuild and repair the first two reels of the 1968 Beatles' film Yellow Submarine for re-release. 1999: Star Wars: Episode I – The Phantom Menace - Industrial Light & Magic (ILM) scanned the entirety of the visual effects-laden film for the purposes of digital enhancement and the integration of thousands of separately filmed elements with computer generated characters and environments. Outside of the approximately 2000 effects shots that were digitally manipulated, the remaining 170 non-effects shots were also scanned for continuity. However, after the digital shots were manipulated at ILM, they were filmed out individually and sent to Deluxe Labs where they were processed and color timed photochemically. 2000: Sorted - The first feature-length, color 35mm motion picture to fully utilize the digital intermediate process in its entirety from inception to completion. The film was produced at Wave Pictures' digital intermediate film facility in London, England. It was scanned at 2K resolution with 8 bits color depth per color / per pixel using a pin registered, liquid gate Oxberry

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  • CSS box model

    CSS box model

    In web development, the CSS box model refers to how HTML elements are modeled in browser engines and how the dimensions of those HTML elements are derived from CSS properties. It is a fundamental concept for the composition of HTML webpages. The guidelines of the box model are described by web standards World Wide Web Consortium (W3C) specifically the CSS Working Group. For much of the late-1990s and early 2000s there had been non-standard compliant implementations of the box model in mainstream browsers. With the advent of CSS2 in 1998, which introduced the box-sizing property, the problem had mostly been resolved. == Specifics == The Cascading Style Sheets (CSS) specification describes how elements of web pages are displayed by graphical browsers. Section 4 of the CSS1 specification defines a "formatting model" that gives block-level elements—such as p and blockquote—a width and height, and three levels of boxes surrounding it: padding, borders, and margins. While the specification never uses the term "box model" explicitly, the term has become widely used by web developers and web browser vendors. All HTML elements can be considered "boxes", this includes div tag, p tag, or a tag. Each of those boxes has five modifiable dimensions: the height and width describe dimensions of the actual content of the box (text, images, ...) the padding describes the space between this content and the border of the box the border is any kind of line (solid, dotted, dashed...) surrounding the box, if present the margin is the space around the border According to the CSS1 specification, released by W3C in 1996 and revised in 1999, when a width or height is explicitly specified for any block-level element, it should determine only the width or height of the visible element, with the padding, borders, and margins applied afterward. Before CSS3, this box model was known as W3C box model, in CSS3, it is known as the content-box. The total width of a box is therefore margin-left + border-left + padding-left + width + padding-right + border-right + margin-right. Similarly, the total height of a box equals margin-top + border-top + padding-top + height + padding-bottom + border-bottom + margin-bottom. For example, the following CSS code would specify the box dimensions of each block belonging to 'my-class'. Moreover, each such box will have total height 140px and width 240px. CSS3 introduced the Internet Explorer box model to the standard, known referred to as border-box. == History == Before HTML 4 and CSS, very few HTML elements supported both border and padding, so the definition of the width and height of an element was not very contentious. However, it varied depending on the element. The HTML width attribute of a table defined the width of the table including its border. On the other hand, the HTML width attribute of an image defined the width of the image itself (inside any border). The only element to support padding in those early days was the table cell. Width for the cell was defined as "the suggested width for a cell content in pixels excluding the cell padding." In 1996, CSS introduced margin, border and padding for many more elements. It adopted a definition width in relation to content, border, margin and padding similar to that for a table cell. This has since become known as the W3C box model. At the time, very few browser vendors implemented the W3C box model to the letter. The two major browsers at the time, Netscape 4.0 and Internet Explorer 4.0 both defined width and height as the distance from border to border. This has been referred to as the traditional or the Internet Explorer box model. Internet Explorer in "quirks mode" includes the content, padding and borders within a specified width or height; this results in a narrower or shorter rendering of a box than would result following the standard behavior. The Internet Explorer box model behavior was often considered a bug, because of the way in which earlier versions of Internet Explorer handle the box model or sizing of elements in a web page, which differs from the standard way recommended by the W3C for the Cascading Style Sheets language. As of Internet Explorer 6, the browser supports an alternative rendering mode (called the "standards-compliant mode") which solves this discrepancy. However, for backward compatibility reasons, all versions still behave in the usual, non-standard way by default (see quirks mode). Internet Explorer for Mac is not affected by this non-standard behavior. === Workarounds === Internet Explorer versions 6 and onward are not affected by the bug if the page contains certain HTML document type declarations. These versions maintain the buggy behavior when in quirks mode for reasons of backward compatibility. For example, quirks mode is triggered: When the document type declaration is absent or incomplete; When an HTML 3 or earlier document is encountered; When an HTML 4.0 Transitional or Frameset document type declaration is used and a system identifier (URI) is not present; When an SGML comment or other unrecognized content appears before the document type declaration Internet Explorer 6 also uses quirks mode if there is an XML declaration prior to the document type declaration. Various workarounds have been devised to force Internet Explorer versions 5 and earlier to display Web pages using the W3C box model. These workarounds generally exploit unrelated bugs in Internet Explorer's CSS selector processing in order to hide certain rules from the browser. The best known of these workarounds is the "box model hack" developed by Tantek Çelik, a former Microsoft employee who developed this idea while working on Internet Explorer for the Macintosh. It involves specifying a width declaration for Internet Explorer for Windows, and then overriding it with another width declaration for CSS-compliant browsers. This second declaration is hidden from Internet Explorer for Windows by exploiting other bugs in the way that it parses CSS rules. The implementation of these CSS “hacks” has been further complicated by the public release of Internet Explorer 7, which has had some issues fixed, but not others, causing undesired results in pages using these hacks. Box model hacks have proven unreliable because they rely on bugs in browsers' CSS support that may be fixed in later versions. For this reason, some Web developers have instead recommended either avoiding specifying both width and padding for the same element or using conditional comment and/or CSS filters to work around the box model bug in older versions of Internet Explorer. == Support for Internet Explorer's box model == Web designer Doug Bowman has said that the original Internet Explorer box model represents a better, more logical approach. Peter-Paul Koch gives the example of a physical box, whose dimensions always refer to the box itself, including potential padding, but never its content. He says that this box model is more useful for graphic designers, who create designs based on the visible width of boxes rather than the width of their content. Bernie Zimmermann says that the Internet Explorer box model is closer to the definition of cell dimensions and padding used in the HTML table model. The W3C has included a "box-sizing" property in CSS3. When box-sizing: border-box; is specified for an element, any padding or border of the element is drawn inside the specified width and height, "as commonly implemented by legacy HTML user agents". Internet Explorer 8, WebKit browsers such as Apple Safari 5.1+ and Google Chrome, Gecko-based browsers such as Mozilla Firefox 29.0 and later, Opera 7.0 and later, and Konqueror 3.3.2 and later support the CSS3 box-sizing property. Gecko browsers previous than 29.0 support the same functionality using the browser-specific -moz-box-sizing property. border-box is the default box model used in Bootstrap framework.

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  • Drop shadow

    Drop shadow

    In graphic design and computer graphics, a drop shadow is a visual effect consisting of a drawing element which looks like the shadow of an object, giving the impression that the object is raised above the objects behind it. The drop shadow is often used for elements of a graphical user interface such as windows or menus, and for simple text. The text label for icons on desktops in many desktop environments has a drop shadow, as this effect effectively distinguishes the text from any colored background it may be in front of. A simple way of drawing a drop shadow of a rectangular object is to draw a gray or black area underneath and offset from the object. In general, a drop shadow is a copy in black or gray of the object, drawn in a slightly different position. Realism may be increased by: Darkening the colors of the pixels where the shadow casts instead of making them gray. This can be done with alpha blending the shadow with the area it is cast on. Softening the edges of the shadow. This can be done by adding Gaussian blur to the shadow's alpha channel before blending. Inset drop shadows are a type which draws the shadows inside the element. This allows the interface element to appear as if it is sunken into the interface. == Photo editing == In photo editing or photography post-production, a drop shadow may be added right beneath a model or product in the image. It is used to create contrast between the background and the subject. To add a drop shadow, retouchers use graphic editing tools like Adobe Photoshop. Drop shadows are often used as a visual effect in e-commerce. This is done to improve the presentation of product images and create depth in the image. == Use == Generally, window managers which are capable of compositing allow drop shadow effects, whereas incapable window managers do not. In some operating systems like macOS, drop shadow is used to differentiate between active and inactive windows. Websites are able to use drop shadow effects through the CSS properties box-shadow, text-shadow, and drop-shadow() filter function in filter. The first two are used for elements and text respectively, while the filter applies to the element's content, letting it support oddly shaped elements or transparent images.

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  • Nitro Zeus

    Nitro Zeus

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

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  • Problematic social media use

    Problematic social media use

    Excessive use of social media can lead to problems including impaired functioning and a reduction in overall wellbeing, for both users and those around them. Such usage is associated with a risk of mental health problems, sleep problems, academic struggles, and daytime fatigue. Psychological or behavioural dependence on social media platforms can result in significant negative functions in peoples daily lives. The risk of problems is also related to the type of platform of social media or online community being used. People of different ages and genders may be affected in different ways by problematic social media use. == Signs and symptoms == Signs of social media addiction or excessive use of social media include many behaviours similar to substance use disorders, including mood modification, salience, tolerance, stress withdrawal symptoms, psychological distress, anxiety and depression, conflict, and relapse, and low self esteem. People with problematic social media habits are at risk of being addicted and may require more time on social media as time passes. Frequent social media use may also be associated with self-reported symptoms of attention deficit hyperactivity disorder. Social anxiety (or fear of missing out) is another potential symptom. Social anxiety is defined as having intense anxiety or fear of being judged, negatively evaluated, or rejected in a social or performance situation. The fear of missing out can contribute to excessive usage due to frequent checking the media constantly throughout the day to check in and see what others are doing instead of doing other activities. Common signs include displacement, or replacing meaningful other activities with social media, and loneliness. == Causes and mechanisms == There are many theories for the mechanism or cause behind a person having problematic social media use. The transition from normal to problematic social media use occurs when a person relies on it to relieve stress, loneliness, depression, or provide continuous rewards. Cognitive-behavioral model – People increase their use of social media when they are in unfamiliar environments or awkward situations; Social skill model – People pull out their phones and use social media when they prefer virtual communication as opposed to face-to-face interactions because they lack self-presentation skills; Socio-cognitive model – This person uses social media because they love the feeling of people liking and commenting on their photos and tagging them in pictures. They are attracted to the positive outcomes they receive on social media. There are parallels to the gambling industry inherent to the design of various social media sites, with "'ludic loops' or repeated cycles of uncertainty, anticipation and feedback" potentially contributing to problematic social media use. Another factor directly facilitating the development of addiction to social media is the implicit attitude toward the IT artifact. Social media use may also stimulate the reward pathway in the brain. There is also a theory that social media addiction fulfills a basic evolutionary drives in the wake of mass urbanization worldwide. The basic psychological needs of "secure, predictable community life that evolved over millions of years" remain unchanged, leading some to find online communities to cope with the new individualized way of life in some modern societies. The "Evolutionary Mismatch" hypothesis holds that modern digital platforms amplify social competition and comparison in ways our ancestors never faced, possibly triggering maladaptive patterns such as anxiety, depression, or compulsive use. Similarly, some scholars compare social media to "junk food": The approach taken to develop social media platforms may contribute to problematic social media use. The ability to scroll and stream content endlessly and how app developers distort time by affecting the 'flow' of content when scrolling, potentially resulting in the Zeigarnik effect (the human brain will continue to pursue an unfinished task until a satisfying closure. Autoplay modes, the personalized nature of the content results in emotional attachment (the user values this above its actual value, which is referred to as the endowment effect), and the exposure effect (repeated exposure to a distinct stimulus by the user can condition the user into an enhanced or improved attitude toward it). The interactive nature of the platforms, including the ability to "like" content has also been linked. Even though social media can satisfy personal communication needs, those who use it at higher rates are shown to have higher levels of psychological distress. == Diagnosis == While there is no official diagnostic term or measurement, problematic social media use is conceptualized as a non-substance-related disorder, resulting in preoccupation and compulsion to engage excessively in social media platforms despite negative consequences. No diagnosis exists for problematic social media use in either the ICD-11 or DSM-5. Excessive use of an activity, like social media, does not directly equate with addiction. There are other factors that could lead to someone's social media addiction including personality traits and pre-existing tendencies. While the extent of social media use and addiction are positively correlated, it is erroneous to employ use (the degree to which one makes use of the site's features, the effort exerted during use sessions, access frequency, etc.) as a proxy for addiction. Indicators of a potential dependence on social media include: Mood swings: a person uses social media to regulate his or her mood, or as a means of escaping real world conflicts. Relevance: social media starts to dominate a person's thoughts at the expense of other activities. Salience: social media becomes the most important part of someone's life. Tolerance: a person increases their time spent on social media to experience previously associated feelings they had while using social media. Withdrawal: when a person can not access social media their sleeping or eating habits change or signs of depression or anxiety can become present. Conflicts in real life: when social media is used excessively, it can affect real-life relationships with family and friends. Relapse: the tendency for previously affected individuals to revert to previous patterns of excessive social media use. There have been several scales developed and validated that help to understand the issues regarding problematic social media use. There is not one single scale that is being used by all researchers. == Treatment == Screen time recommendations for children and families have been developed by the American Academy of Pediatrics. Possible therapeutic interventions published include: Self-help interventions, including application-specific timers; Cognitive behavioural therapy; and Organisational and schooling support. Medications have not been shown to be effective in randomized, controlled trials for the related conditions of Internet addiction disorder or gaming disorder. == Prevention == Prevention approaches include screen time monitoring apps and other tech-based approaches to improve efficiency and decrease screen time and tools to help with addiction to online platform products. Parents' methods for monitoring, regulating, and understanding their children's social media use are referred to as parental mediation. Parental mediation strategies include active, restrictive, and co-using methods. Active mediation involves direct parent-child conversations that are intended to educate children on social media norms and safety, as well as the variety and purposes of online content. Restrictive mediation entails the implementation of rules, expectations, and limitations regarding children's social media use and interactions. Co-use is when parents jointly use social media alongside their children, and is most effective when parents are actively participating (like asking questions, making inquisitive/supportive comments) versus being passive about it. Active mediation is the most common strategy used by parents, though the key to success for any mediation strategy is consistency/reliability. When parents reinforce rules inconsistently, have no mediation strategy, or use highly restrictive strategies for monitoring their children's social media use, there is an observable increase in children's aggressive behaviours. When parents openly express that they are supportive of their child's autonomy and provide clear, consistent rules for media use, problematic usage and aggression decreases. Knowing that consistent, autonomy-supportive mediation has more positive outcomes than inconsistent, controlling mediation, parents can consciously foster more direct, involved, and genuine dialogue with their children. This can help prevent or reduce problematic social media use in children and teenagers. == Outcomes == === Adolescents and teens === Increased social medi

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