AI Data Center Zoning

AI Data Center Zoning — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Automated negotiation

    Automated negotiation

    Automated negotiation is a form of interaction in systems that are composed of multiple autonomous agents, in which the aim is to reach agreements through an iterative process of making offers. Automated negotiation can be employed for many tasks human negotiators regularly engage in, such as bargaining and joint decision making. The main topics in automated negotiation revolve around the design of protocols and negotiating strategies. == History == Through digitization, the beginning of the 21st century has seen a growing interest in the automation of negotiation and e-negotiation systems, for example in the setting of e-commerce. This interest is fueled by the promise of automated agents being able to negotiate on behalf of human negotiators, and to find better outcomes than human negotiators. == Examples == Examples of automated negotiation include: Online dispute resolution, in which disagreements between parties are settled. Sponsored search auction, where bids are placed on advertisement keywords. Content negotiation, in which user agents negotiate over HTTP about how to best represent a web resource. Negotiation support systems, in which negotiation decision-making activities are supported by an information system.

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  • Festival of International Virtual & Augmented Reality Stories

    Festival of International Virtual & Augmented Reality Stories

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

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  • Attention inequality

    Attention inequality

    Attention inequality is the inequality of distribution of attention across users on social networks, people in general, and for scientific papers. Yun Family Foundation introduced "Attention Inequality Coefficient" as a measure of inequality in attention and arguments it by the close interconnection with wealth inequality. == Relationship to economic inequality == Attention inequality is related to economic inequality since attention is an economically scarce good. The same measures and concepts as in classical economy can be applied for attention economy. The relationship develops also beyond the conceptual level—considering the AIDA process, attention is the prerequisite for real monetary income on the Internet. On data of 2018, a significant relationship between likes and comments on Facebook to donations is proven for non-profit organizations. == Attention economy == The attention economy refers to the practice of maximizing the attention users give to a product for advertising-related reasons. Attention economy remains one of the most common forms of advertising, and has been steadily increasing thanks to new technologies such as television, internet and social media. It is one of the most widely-used approaches to economy for its effectiveness for maximising the noticeability of a certain product. == Attention inequality in social media == In social media, attention inequality refers to the unequal distribution of users' attention on social media platforms. This means that instead of an equal distribution of attention, fewer sources receive a disproportionate share of attention, leaving many unnoticed. This phenomenon is possibly the result of social media algorithms, which are commonly designed to drive maximum engagement. This phenomenon is a large factor in the polarization and creation of echo-chambers. Social media algorithms tend to note content that is already performing well and display it to more users, while content that is equally engaging or well-made is not recommended to users. Posts that trigger strong emotions usually out-perform more "uncontroversial" content. When many users interact with the post, it signals the algorithm that the specific post drives engagement. The algorithm then tends to recommend that type of content to an exponential number of people, potentially outperforming "un-emotional" content. These factors, when combined, tend to create an unequal social media environment. == Attention inequality in science == According to a recent 2025 study about research inequality among scientists published in Information Processing and Management, scientific discourse is restricted to a small group of connected scientists, and is frequently not an accurate representation of the whole scientific community. Using citation-network analysis in the fields of nanoscience and chemical physics, the study claims that a group of connected scientists has a significant notability in the scientific community. The calculated connection strength between these scientists is estimated to be about 4.5, the study also says that these authors cite each other four times more often than would be predicted in a random network, whereas ordinary scientists that exist outside of this group only reach an estimated connection strength of 0.9. The study findings suggest that that scientific attention is not distributed by merit, but rather by the connectedness of the scientists involved in the research. == Extent == As data of 2008 shows, 50% of the attention is concentrated on approximately 0.2% of all hostnames, and 80% on 5% of hostnames. The Gini coefficient of attention distribution lay in 2008 at over 0.921 for such commercial domains names as ac.jp and at 0.985 for .org-domains. The Gini coefficient was measured on Twitter in 2016 for the number of followers as 0.9412, for the number of mentions as 0.9133, and for the number of retweets as 0.9034. For comparison, the world's income Gini coefficient was 0.68 in 2005 and 0.904 in 2018. More than 96% of all followers, 93% of the retweets, and 93% of all mentions are owned by 20% of Twitter. == Causes == At least for scientific papers, today's consensus states that inequality is unexplainable by variations of quality and individual talent. The Matthew effect plays a significant role in the emergence of attention inequality—those who already enjoy large amounts of attention get even more attention, and those who do not lose even more. Ranking algorithms based on relevance to the user have been found to alleviate the inequality of the number of posts across topics.

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  • Web syndication

    Web syndication

    Web syndication is making content available from one website to other sites. Most commonly, websites are made available to provide either summaries or full renditions of a website's recently added content. The term may also describe other kinds of content licensing for reuse. Contemporary web syndicates include: MSN, Excite, and Yahoo! News. == Motivation == For the subscribing sites, syndication is an effective way of adding greater depth and immediacy of information to their pages, making them more attractive to users. For the provider site, syndication increases exposure. This generates new traffic for the provider site—making syndication an easy and relatively cheap, or even free, form of advertisement. Content syndication has become an effective strategy for link building, as search engine optimization has become an increasingly important topic among website owners and online marketers. Links embedded within the syndicated content are typically optimized around anchor terms that will point an optimized link back to the website that the content author is trying to promote. These links tell the algorithms of the search engines that the website being linked to is an authority for the keyword that is being used as the anchor text. However the rollout of Google Panda's algorithm may not reflect this authority in its SERP rankings based on quality scores generated by the sites linking to the authority. The prevalence of web syndication is also of note to online marketers, since web surfers are becoming increasingly wary of providing personal information for marketing materials (such as signing up for a newsletter) and expect the ability to subscribe to a feed instead. Although the format could be anything transported over HTTP, such as HTML or JavaScript, it is more commonly XML. Web syndication formats include RSS, Atom, and JSON Feed. == History == Syndication first arose in earlier media such as print, radio, and television, allowing content creators to reach a wider audience. In the case of radio, the United States Federal government proposed a syndicate in 1924 so that the country's executives could quickly and efficiently reach the entire population. In the case of television, it is often said that "Syndication is where the real money is." Additionally, syndication accounts for the bulk of TV programming. One predecessor of web syndication is the Meta Content Framework (MCF), developed in 1996 by Ramanathan V. Guha and others in Apple Computer's Advanced Technology Group. Today, millions of online publishers, including newspapers, commercial websites, and blogs, distribute their news headlines, product offers, and blog postings in the news feed. == As a commercial model == Conventional syndication businesses such as Reuters and Associated Press thrive on the internet by offering their content to media partners on a subscription basis, using business models established in earlier media forms. Commercial web syndication can be categorized in three ways: by business models by types of content by methods for selecting distribution partners Commercial web syndication involves partnerships between content producers and distribution outlets. There are different structures of partnership agreements. One such structure is licensing content, in which distribution partners pay a fee to the content creators for the right to publish the content. Another structure is ad-supported content, in which publishers share revenues derived from advertising on syndicated content with that content's producer. A third structure is free, or barter syndication, in which no currency changes hands between publishers and content producers. This requires the content producers to generate revenue from another source, such as embedded advertising or subscriptions. Alternatively, they could distribute content without remuneration. Typically, those who create and distribute content free are promotional entities, vanity publishers, or government entities. Types of content syndicated include RSS or Atom Feeds and full content. With RSS feeds, headlines, summaries, and sometimes a modified version of the original full content is displayed on users' feed readers. With full content, the entire content—which might be text, audio, video, applications/widgets, or user-generated content—appears unaltered on the publisher's site. There are two methods for selecting distribution partners. The content creator can hand-pick syndication partners based on specific criteria, such as the size or quality of their audiences. Alternatively, the content creator can allow publisher sites or users to opt into carrying the content through an automated system. Some of these automated "content marketplace" systems involve careful screening of potential publishers by the content creator to ensure that the material does not end up in an inappropriate environment. Just as syndication is a source of profit for TV producers and radio producers, it also functions to maximize profit for Internet content producers. As the Internet has increased in size it has become increasingly difficult for content producers to aggregate a sufficiently large audience to support the creation of high-quality content. Syndication enables content creators to amortize the cost of producing content by licensing it across multiple publishers or by maximizing the distribution of advertising-supported content. A potential drawback for content creators, however, is that they can lose control over the presentation of their content when they syndicate it to other parties. Distribution partners benefit by receiving content either at a discounted price, or free. One potential drawback for publishers, however, is that because the content is duplicated at other publisher sites, they cannot have an "exclusive" on the content. For users, the fact that syndication enables the production and maintenance of content allows them to find and consume content on the Internet. One potential drawback for them is that they may run into duplicate content, which could be an annoyance. == E-commerce == Web syndication has been used to distribute product content such as feature descriptions, images, and specifications. As manufacturers are regarded as authorities and most sales are not achieved on manufacturer websites, manufacturers allow retailers or dealers to publish the information on their sites. Through syndication, manufacturers may pass relevant information to channel partners. Such web syndication has been shown to increase sales. Web syndication has also been found effective as a search engine optimization technique.

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  • Plotting algorithms for the Mandelbrot set

    Plotting algorithms for the Mandelbrot set

    There are many programs and algorithms used to plot the Mandelbrot set and other fractals, some of which are described in fractal-generating software. These programs use a variety of algorithms to determine the color of individual pixels efficiently. == Escape time algorithm == The simplest algorithm for generating a representation of the Mandelbrot set is known as the "escape time" algorithm. A repeating calculation is performed for each x, y point in the plot area and based on the behavior of that calculation, a color is chosen for that pixel. === Unoptimized naïve escape time algorithm === In both the unoptimized and optimized escape time algorithms, the x and y locations of each point are used as starting values in a repeating, or iterating calculation (described in detail below). The result of each iteration is used as the starting values for the next. The values are checked during each iteration to see whether they have reached a critical "escape" condition, or "bailout". If that condition is reached, the calculation is stopped, the pixel is drawn, and the next x, y point is examined. For some starting values, escape occurs quickly, after only a small number of iterations. For starting values very close to but not in the set, it may take hundreds or thousands of iterations to escape. For values within the Mandelbrot set, escape will never occur. The programmer or user must choose how many iterations–or how much "depth"–they wish to examine. The higher the maximal number of iterations, the more detail and subtlety emerge in the final image, but the longer time it will take to calculate the fractal image. Escape conditions can be simple or complex. Because no complex number with a real or imaginary part greater than 2 can be part of the set, a common bailout is to escape when either coefficient exceeds 2. A more computationally complex method that detects escapes sooner, is to compute distance from the origin using the Pythagorean theorem, i.e., to determine the absolute value, or modulus, of the complex number. If this value exceeds 2, or equivalently, when the sum of the squares of the real and imaginary parts exceed 4, the point has reached escape. More computationally intensive rendering variations include the Buddhabrot method, which finds escaping points and plots their iterated coordinates. The color of each point represents how quickly the values reached the escape point. Often black is used to show values that fail to escape before the iteration limit, and gradually brighter colors are used for points that escape. This gives a visual representation of how many cycles were required before reaching the escape condition. To render such an image, the region of the complex plane we are considering is subdivided into a certain number of pixels. To color any such pixel, let c {\displaystyle c} be the midpoint of that pixel. We now iterate the critical point 0 under P c {\displaystyle P_{c}} , checking at each step whether the orbit point has modulus larger than 2. When this is the case, we know that c {\displaystyle c} does not belong to the Mandelbrot set, and we color our pixel according to the number of iterations used to find out. Otherwise, we keep iterating up to a fixed number of steps, after which we decide that our parameter is "probably" in the Mandelbrot set, or at least very close to it, and color the pixel black. In pseudocode, this algorithm would look as follows. The algorithm does not use complex numbers and manually simulates complex-number operations using two real numbers, for those who do not have a complex data type. The program may be simplified if the programming language includes complex-data-type operations. for each pixel (Px, Py) on the screen do x0 := scaled x coordinate of pixel (scaled to lie in the Mandelbrot X scale (-2.00, 0.47)) y0 := scaled y coordinate of pixel (scaled to lie in the Mandelbrot Y scale (-1.12, 1.12)) x := 0.0 y := 0.0 iteration := 0 max_iteration := 1000 while (xx + yy ≤ 22 AND iteration < max_iteration) do xtemp := xx - yy + x0 y := 2xy + y0 x := xtemp iteration := iteration + 1 color := palette[iteration] plot(Px, Py, color) Here, relating the pseudocode to c {\displaystyle c} , z {\displaystyle z} and P c {\displaystyle P_{c}} : z = x + i y {\displaystyle z=x+iy\ } z 2 = x 2 + 2 i x y {\displaystyle z^{2}=x^{2}+2ixy} - y 2 {\displaystyle y^{2}\ } c = x 0 + i y 0 {\displaystyle c=x_{0}+iy_{0}\ } and so, as can be seen in the pseudocode in the computation of x and y: x = R e ⁡ ( z 2 + c ) = x 2 − y 2 + x 0 {\displaystyle x=\mathop {\mathrm {Re} } (z^{2}+c)=x^{2}-y^{2}+x_{0}} and y = I m ⁡ ( z 2 + c ) = 2 x y + y 0 . {\displaystyle y=\mathop {\mathrm {Im} } (z^{2}+c)=2xy+y_{0}.\ } To get colorful images of the set, the assignment of a color to each value of the number of executed iterations can be made using one of a variety of functions (linear, exponential, etc.). One practical way, without slowing down calculations, is to use the number of executed iterations as an entry to a palette initialized at startup. If the color table has, for instance, 500 entries, then the color selection is n mod 500, where n is the number of iterations. === Optimized escape time algorithms === The code in the previous section uses an unoptimized inner while loop for clarity. In the unoptimized version, one must perform five multiplications per iteration. To reduce the number of multiplications the following code for the inner while loop may be used instead: x2:= 0 y2:= 0 w:= 0 while (x2 + y2 ≤ 4 and iteration < max_iteration) do x:= x2 - y2 + x0 y:= w - x2 - y2 + y0 x2:= x x y2:= y y w:= (x + y) (x + y) iteration:= iteration + 1 The above code works via some algebraic simplification of the complex multiplication: ( i y + x ) 2 = − y 2 + 2 i y x + x 2 = x 2 − y 2 + 2 i y x {\displaystyle {\begin{aligned}(iy+x)^{2}&=-y^{2}+2iyx+x^{2}\\&=x^{2}-y^{2}+2iyx\end{aligned}}} Using the above identity, the number of multiplications can be reduced to three instead of five. The above inner while loop can be further optimized by expanding w to w = x 2 + 2 x y + y 2 {\displaystyle w=x^{2}+2xy+y^{2}} Substituting w into y = w − x 2 − y 2 + y 0 {\displaystyle y=w-x^{2}-y^{2}+y_{0}} yields y = 2 x y + y 0 {\displaystyle y=2xy+y_{0}} and hence calculating w is no longer needed. The further optimized pseudocode for the above is: x:= 0 y:= 0 x2:= 0 y2:= 0 while (x2 + y2 ≤ 4 and iteration < max_iteration) do x2:= x x y2:= y y y:= 2 x y + y0 x:= x2 - y2 + x0 iteration:= iteration + 1 Note that in the above pseudocode, 2 x y {\displaystyle 2xy} seems to increase the number of multiplications by 1, but since 2 is the multiplier the code can be optimized via ( x + x ) y {\displaystyle (x+x)y} . == Coloring algorithms == In addition to plotting the set, a variety of algorithms have been developed to efficiently color the set in an aesthetically pleasing way show structures of the data (scientific visualisation) === Histogram coloring === A more complex coloring method involves using a histogram which pairs each pixel with said pixel's maximum iteration count before escape/bailout. This method will equally distribute colors to the same overall area, and, importantly, is independent of the maximum number of iterations chosen. This algorithm has four passes. The first pass involves calculating the iteration counts associated with each pixel (but without any pixels being plotted). These are stored in an array IterationCounts[x][y], where x and y are the x and y coordinates of said pixel on the screen respectively. The first step of the second pass is to create an array NumIterationsPerPixel[n], where the array size n is the maximum iteration count. Next, one must iterate over the array of pixel-iteration count pairs IterationCounts[x][y], and retrieve each pixel's saved iteration count, i, via e.g. i = IterationCounts[x][y]. After each pixel's iteration count i is retrieved, it is necessary to index the NumIterationsPerPixel array at i and increment the indexed value (which is initially zero) -- e.g. NumIterationsPerPixel[i] = NumIterationsPerPixel[i] + 1. for (x = 0; x < width; x++) do for (y = 0; y < height; y++) do i:= IterationCounts[x][y] NumIterationsPerPixel[i]++ The third pass iterates through the NumIterationsPerPixel array and adds up all the stored values, saving them in total. The array index represents the number of pixels that reached that iteration count before bailout. total: = 0 for (i = 0; i < max_iterations; i++) do total += NumIterationsPerPixel[i] After this, the fourth pass begins and all the values in the IterationCounts array are indexed, and, for each iteration count i, associated with each pixel, the count is added to a global sum of all the iteration counts from 1 to i in the NumIterationsPerPixel array . This value is then normalized by dividing the sum by the total value computed earlier. hue[][]:= 0.0 for (x = 0; x < width; x++) do for (y = 0; y < height; y++) do iteration:= Iteration

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  • CloudLibrary

    CloudLibrary

    CloudLibrary (stylized as "cloudLibrary") is a cloud-based software system through which libraries lend electronic books; it is also the name of the app that users download to access the e-books. CloudLibrary was created in 2011 by 3M as part of its library systems unit as a competitor to OverDrive, Inc.; in 2015 3M sold the North American part of that unit to Bibliotheca Group GmbH, a company founded in 2011 that was funded by One Equity Partners Capital Advisors, a division of JP Morgan Chase. By 2019, Bibliotecha had tried, unsuccessfully, to negotiate with Amazon to add Kindle-ebook compatibility to cloudLibrary - something that, as of then, Amazon had only made available to Overdrive. In that year, cloudLibrary, along with hoopla offered by Midwest Tape, ODILO, and Baker & Taylor’s Axis 360, were the main competitors to the Overdrive and Libby apps offered by OverDrive, Inc. in the library e-book market. In April 2024, Bibliotheca sold cloudLibrary to the nonprofit cooperative OCLC. By that time, cloudLibrary was used by around 500 libraries in around 20 countries in around 50 languages, and was used to lend audiobooks, digital magazines, newspapers, and comics, and streaming media, along with e-books.

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  • Mixvoip

    Mixvoip

    Mixvoip S.A. is a Luxembourg-based telecommunications service provider founded in 2008. The company offers IP telephony, high-speed Internet connectivity, and IT solutions to businesses and individuals. == Company history == In November 2017, Mixvoip expanded its operations to Belgium and Germany. At the beginning of 2019, the company acquired the telecommunications provider Voipgate. In December 2019, Mixvoip was named Telecom Company of the Year at the Luxembourg ICT Awards 2019 organized by Farvest and IT One. A 2024 article in Duke described the company's transition during the 2010s from traditional telephony services to cloud-based communication platforms. In the end of 2024, the ILR published the statistics about electronic communications in Luxembourg, including Mixvoip in the fix telephony section. In July 2025, Mixvoip acquired Crossing Telecom. In 2026, Mixvoip acquired Nomado's portfolio.

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  • Digital classics

    Digital classics

    Digital classics is the application of the tools of digital humanities to the field of classics, or more broadly to the study of the ancient world. == History == Classics was one of the first of the humanities disciplines to adopt computing approaches; the first references to the use of computing in the classical humanities date to the early 1960s, which might be surprising considering the reputation of the discipline as old-fashioned and stuffily traditionalist. Major projects such as the Thesaurus Linguae Graecae, founded in 1972, and the text collections of the Packard Humanities Institute set the trend, and there are still a significantly large number of ancient world projects among Humanities Computing projects today. Also, the success of traditional scholarly publications in digital guises, such as seen in the Bryn Mawr Classical Review, and the early adoption of hypertext in high profile projects like the Perseus Digital Library helped to legitimize computing in the study of classics in ways that has not always been the case in other areas of the humanities. This apparent paradox may be as a result of the many methodologies and different sources of evidence that classicists have always had to embrace, from literary sources and linguistics, to art history and archaeology, history, philosophy, religious theory, ancient documents such as inscriptions and papyri, and so forth. The fragmentary nature of many of the texts and languages of the ancient world, the scattered evidence from the material culture of ancient Greece and Rome, and the necessity to evaluate all these varieties of evidence in context are particularly likely to benefit from digital approaches such as databases, text markup, image manipulation and machine learning. == Digital classics projects == There are currently several major projects that aim to encourage and develop digital approaches to classical scholarship. The Stoa Consortium at the University of Kentucky distributes news of the discipline, and serves as a peer-reviewed electronic publication venue, and encourages open source approaches to digital classics. The Perseus Project is a digital library that also provides a collection of digital texts and analysis tools to the public; principally (but not exclusively) classical. Digital Classicist is another project and community which shares information and advice about the digital humanities applied to the field of classics. Epigraphy.info is an international open community pursuing a collaborative environment for digital epigraphy. The Liverpool Classics Mailing List is a project which can be subscribed to in which one receives email regarding Classics events around the world, as well as call for papers, studentships and public lectures.

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  • Layers (digital image editing)

    Layers (digital image editing)

    Layers are used in digital image editing to separate different elements of an image. A layer can be compared to a transparency on which imaging effects or images are applied and placed over or under an image. Today they are an integral feature of image editors. In the early days of computing, memory was at a premium and the idea of using multi-layered images was considered infeasible in personal computer applications as the tradeoffs were image size and color depth. As the price of memory fell it became feasible to apply the concept of layering to raster images. The first software known to apply the concept of layers was LALF, which was released in 1989 for the NEC PC-9801. LALF's terminology for layers is "cells", after the concept of drawing animation frames over-top of a stencil. Layers were introduced in Western markets by Fauve Matisse (later Macromedia xRes), and then available in Adobe Photoshop 3.0, in 1994, which lead to widespread adoption. In vector image editors that support animation, layers are used to further enable manipulation along a common timeline for the animation; in SVG images, the equivalent to layers are "groups". == Layer types == There are different kinds of layers, and not all of them exist in all programs. They represent a part of a picture, either as pixels or as modification instructions. They are stacked on top of each other, and depending on the order, determine the appearance of the final picture. In graphics software, layers are the different levels at which one can place an object or image file. In the program, layers can be stacked, merged, or defined when creating a digital image. Layers can be partially obscured allowing portions of images within a layer to be hidden or shown in a translucent manner within another image. Layers can also be used to combine two or more images into a single digital image. For the purpose of editing, working with layers allows for applying changes to just one specific layer. == Layer (basic) == The standard layer available to most programs consists of a rectangular, semitransparent picture which may be superimposed over other layers. Some programs require that layers cover the same area as the final canvas, but others offer layers of multiple sizes. Each layer may bear individual settings, such as opacity, blending modes, dynamic filters, and potentially hundreds of other properties. == Layer mask == A layer mask is linked to a layer and hides part of the layer from the picture. What is painted black on the layer mask will not be visible in the final picture. What is grey will be more or less transparent depending on the shade of grey. As the layer mask can be both edited and moved around independently of both the background layer and the layer it applies to, it gives the user the ability to test a lot of different combinations of overlay. == Adjustment layer == An adjustment layer typically applies a common effect like brightness or saturation to other layers. However, as the effect is stored in a separate layer, it is easy to try it out and switch between different alternatives, without changing the original layer. In addition, an adjustment layer can easily be edited, just like a layer mask, so an effect can be applied to just part of the image.

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  • User-generated content

    User-generated content

    User-generated content (UGC), alternatively known as user-created content (UCC), is content generated by users of the Internet such as images, videos, audio, text, testimonials, software, and user interactions. Online content aggregation platforms such as social media, discussion forums and wikis by their interactive and social nature, no longer produce multimedia content but provide tools to produce, collaborate, and share a variety of content, which can affect the attitudes and behaviors of the audience in various aspects. This transforms the role of consumers from passive spectators to active participants. User-generated content is used for a wide range of applications, including problem processing, news, entertainment, customer engagement, advertising, gossip, research and more. It is an example of the democratization of content production and the flattening of traditional media hierarchies. The BBC adopted a user-generated content platform for its websites in 2005, and Time magazine named "You" as the Person of the Year in 2006, referring to the rise in the production of UGC on Web 2.0 platforms. CNN also developed a similar user-generated content platform, known as iReport. There are other examples of news channels implementing similar protocols, especially in the immediate aftermath of a catastrophe or terrorist attack. Social media users can provide key eyewitness content and information that may otherwise have been inaccessible. Since 2020, there has been an increasing number of businesses who are utilizing User Generated Content (UGC) to promote their products and services. Several factors significantly influence how UGC is received, including the quality of the content, the credibility of the creator, and viewer engagement. These elements can impact users' perceptions and trust towards the brand, as well as influence the buying intentions of potential customers. UGC has proven to be an effective method for brands to connect with consumers, drawing their attention through the sharing of experiences and information on social media platforms. Due to new media and technology affordances, such as low cost and low barriers to entry, the Internet is an easy platform to create and dispense user-generated content, allowing the dissemination of information at a rapid pace in the wake of an event. == Definition == The advent of user-generated content marked a shift among media organizations from creating online content to providing facilities for amateurs to publish their own content. User-generated content has also been characterized as citizen media as opposed to the "packaged goods media" of the past century. Citizen Media is audience-generated feedback and news coverage. People give their reviews and share stories in the form of user-generated and user-uploaded audio and user-generated video. The former is a two-way process in contrast to the one-way distribution of the latter. Conversational or two-way media is a key characteristic of so-called Web 2.0, which encourages the publishing of one's own content and commenting on other people's content. The role of the passive audience, therefore, has shifted since the birth of new media, and an ever-growing number of participatory users are taking advantage of these interactive opportunities, especially on the Internet, to create independent content. Grassroots experimentation then generated an innovation in sounds, artists, techniques, and associations with audiences, which then are being used in mainstream media. The active, participatory, and creative audience is prevailing today with relatively accessible media, tools, and applications, and its culture is in turn affecting mass media corporations and global audiences. The Organisation for Economic Co-operation and Development (OECD) has defined three core variables for UGC: Accessible Content: User-generated content (UGC) is publicly produced through platforms located on the Internet and is available to any individual browsing such a publicly accessible website or a public social media account. There are other contexts where users must remain in a community or closed group to access and publish on such platforms (for example, wikis). This is a way of differentiating that although the content is accessible to the audience, there are certain restrictions for the users who generates the content. Creative effort: Creative effort was put into creating the work or adapting existing works to construct a new one; i.e. users must add their own value to the work. UGC often also has a collaborative element to it, as is the case with websites that users can edit collaboratively. For example, merely copying a portion of a television show and posting it to an online video website (an activity frequently seen on the UGC sites) would not be considered UGC. However, uploading photographs, expressing one's thoughts in a blog post or creating a new music video could be considered UGC. Yet the minimum amount of creative effort is hard to define and depends on the context. Creation outside of professional routines and practices: User-generated content is generally created outside of professional routines and practices. It often does not have an institutional or a commercial market context. In extreme cases, UGC may be produced by non-professionals without the expectation of profit or remuneration. Motivating factors include connecting with peers, achieving a certain level of fame, notoriety, or prestige, and the desire to express oneself. == Media pluralism == According to Cisco, in 2016 an average of 96,000 petabytes was transferred monthly over the Internet, more than twice as many as in 2012. In 2016, the number of active websites surpassed 1 billion, up from approximately 700 million in 2012. Reaching 1.66 billion daily active users in Q4 2019, Facebook has emerged as the most popular social media platform globally. Other social media platforms are also dominant at the regional level such as: Twitter in Japan, Naver in the Republic of Korea, Instagram (owned by Facebook) and LinkedIn (owned by Microsoft) in Africa, VKontakte (VK) and Odnoklassniki (eng. Classmates) in Russia and other countries in Central and Eastern Europe, WeChat and QQ in China. However, a concentration phenomenon is occurring globally giving dominance to a few online platforms that become popular for some unique features they provide, most commonly for the added privacy they offer users through disappearing messages or end-to-end encryption (e.g. Jami, Signal, Snapchat, Telegram, Viber, and WhatsApp), but they have tended to occupy niches and to facilitate the exchanges of information that remain rather invisible to larger audiences. Production of freely accessible information has been increasing since 2012. In January 2017, Wikipedia had more than 43 million articles, almost twice as many as in January 2012. This corresponded to a progressive diversification of content and an increase in contributions in languages other than English. In 2017, less than 12 percent of Wikipedia content was in English, down from 18 percent in 2012. Graham, Straumann, and Hogan say that the increase in the availability and diversity of content has not radically changed the structures and processes for the production of knowledge. For example, while content on Africa has dramatically increased, a significant portion of this content has continued to be produced by contributors operating from North America and Europe, rather than from Africa itself. == History == The massive, multi-volume Oxford English Dictionary was exclusively composed of user-generated content. In 1857, Richard Chenevix Trench of the London Philological Society sought public contributions throughout the English-speaking world for the creation of the first edition of the OED. As Simon Winchester recounts: So what we're going to do, if I have your agreement that we're going to produce such a dictionary, is that we're going to send out invitations, were going to send these invitations to every library, every school, every university, every book shop that we can identify throughout the English-speaking world... everywhere where English is spoken or read with any degree of enthusiasm, people will be invited to contribute words. And the point is, the way they do it, the way they will be asked and instructed to do it, is to read voraciously and whenever they see a word, whether it's a preposition or a sesquipedalian monster, they are to... if it interests them and if where they read it, they see it in a sentence that illustrates the way that that word is used, offers the meaning of the day to that word, then they are to write it on a slip of paper... the top left-hand side you write the word, the chosen word, the catchword, which in this case is 'twilight'. Then the quotation, the quotation illustrates the meaning of the word. And underneath it, the citation, where it came from, whether it was printed or whether it was in manuscri

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  • Distributed operating system

    Distributed operating system

    A distributed operating system is system software over a collection of independent software, networked, communicating, and physically separate computational nodes. They handle jobs which are serviced by multiple CPUs. Each individual node holds a specific software subset of the global aggregate operating system. Each subset is a composite of two distinct service provisioners. The first is a ubiquitous minimal kernel, or microkernel, that directly controls that node's hardware. Second is a higher-level collection of system management components that coordinate the node's individual and collaborative activities. These components abstract microkernel functions and support user applications. The microkernel and the management components collection work together. They support the system's goal of integrating multiple resources and processing functionality into an efficient and stable system. This seamless integration of individual nodes into a global system is referred to as transparency, or single system image; describing the illusion provided to users of the global system's appearance as a single computational entity. == Description == A distributed OS provides the essential services and functionality required of an OS but adds attributes and particular configurations to allow it to support additional requirements such as increased scale and availability. To a user, a distributed OS works in a manner similar to a single-node, monolithic operating system. That is, although it consists of multiple nodes, it appears to users and applications as a single-node. Separating minimal system-level functionality from additional user-level modular services provides a "separation of mechanism and policy". Mechanism and policy can be simply interpreted as "what something is done" versus "how something is done," respectively. This separation increases flexibility and scalability. == Overview == === The kernel === At each locale (typically a node), the kernel provides a minimally complete set of node-level utilities necessary for operating a node's underlying hardware and resources. These mechanisms include allocation, management, and disposition of a node's resources, processes, communication, and input/output management support functions. Within the kernel, the communications sub-system is of foremost importance for a distributed OS. In a distributed OS, the kernel often supports a minimal set of functions, including low-level address space management, thread management, and inter-process communication (IPC). A kernel of this design is referred to as a microkernel. Its modular nature enhances reliability and security, essential features for a distributed OS. === System management === System management components are software processes that define the node's policies. These components are the part of the OS outside the kernel. These components provide higher-level communication, process and resource management, reliability, performance and security. The components match the functions of a single-entity system, adding the transparency required in a distributed environment. The distributed nature of the OS requires additional services to support a node's responsibilities to the global system. In addition, the system management components accept the "defensive" responsibilities of reliability, availability, and persistence. These responsibilities can conflict with each other. A consistent approach, balanced perspective, and a deep understanding of the overall system can assist in identifying diminishing returns. Separation of policy and mechanism mitigates such conflicts. === Working together as an operating system === The architecture and design of a distributed operating system must realize both individual node and global system goals. Architecture and design must be approached in a manner consistent with separating policy and mechanism. In doing so, a distributed operating system attempts to provide an efficient and reliable distributed computing framework allowing for an absolute minimal user awareness of the underlying command and control efforts. The multi-level collaboration between a kernel and the system management components, and in turn between the distinct nodes in a distributed operating system is the functional challenge of the distributed operating system. This is the point in the system that must maintain a perfect harmony of purpose, and simultaneously maintain a complete disconnect of intent from implementation. This challenge is the distributed operating system's opportunity to produce the foundation and framework for a reliable, efficient, available, robust, extensible, and scalable system. However, this opportunity comes at a very high cost in complexity. === The price of complexity === In a distributed operating system, the exceptional degree of inherent complexity could easily render the entire system an anathema to any user. As such, the logical price of realizing a distributed operation system must be calculated in terms of overcoming vast amounts of complexity in many areas, and on many levels. This calculation includes the depth, breadth, and range of design investment and architectural planning required in achieving even the most modest implementation. These design and development considerations are critical and unforgiving. For instance, a deep understanding of a distributed operating system's overall architectural and design detail is required at an exceptionally early point. An exhausting array of design considerations are inherent in the development of a distributed operating system. Each of these design considerations can potentially affect many of the others to a significant degree. This leads to a massive effort in balanced approach, in terms of the individual design considerations, and many of their permutations. As an aid in this effort, most rely on documented experience and research in distributed computing power. == History == Research and experimentation efforts began in earnest in the 1970s and continued through the 1990s, with focused interest peaking in the late 1980s. A number of distributed operating systems were introduced during this period; however, very few of these implementations achieved even modest commercial success. Fundamental and pioneering implementations of primitive distributed operating system component concepts date to the early 1950s. Some of these individual steps were not focused directly on distributed computing, and at the time, many may not have realized their important impact. These pioneering efforts laid important groundwork, and inspired continued research in areas related to distributed computing. In the mid-1970s, research produced important advances in distributed computing. These breakthroughs provided a solid, stable foundation for efforts that continued through the 1990s. The accelerating proliferation of multi-processor and multi-core processor systems research led to a resurgence of the distributed OS concept. === The DYSEAC === One of the first efforts was the DYSEAC, a general-purpose synchronous computer. In one of the earliest publications of the Association for Computing Machinery, in April 1954, a researcher at the National Bureau of Standards – now the National Institute of Standards and Technology (NIST) – presented a detailed specification of the DYSEAC. The introduction focused upon the requirements of the intended applications, including flexible communications, but also mentioned other computers: Finally, the external devices could even include other full-scale computers employing the same digital language as the DYSEAC. For example, the SEAC or other computers similar to it could be harnessed to the DYSEAC and by use of coordinated programs could be made to work together in mutual cooperation on a common task… Consequently[,] the computer can be used to coordinate the diverse activities of all the external devices into an effective ensemble operation. The specification discussed the architecture of multi-computer systems, preferring peer-to-peer rather than master-slave. Each member of such an interconnected group of separate computers is free at any time to initiate and dispatch special control orders to any of its partners in the system. As a consequence, the supervisory control over the common task may initially be loosely distributed throughout the system and then temporarily concentrated in one computer, or even passed rapidly from one machine to the other as the need arises. …the various interruption facilities which have been described are based on mutual cooperation between the computer and the external devices subsidiary to it, and do not reflect merely a simple master-slave relationship. This is one of the earliest examples of a computer with distributed control. The Dept. of the Army reports certified it reliable and that it passed all acceptance tests in April 1954. It was completed and delivered on time, in May 1954. This was a "portable comput

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  • InteLex Past Masters

    InteLex Past Masters

    InteLex Past Masters is a collection of full-text web-based scholarly editions of classic works in the humanities. InteLex Corporation was founded in 1989 by its current chief executive officer, Mark Rooks, to produce electronic versions of the works of the great philosophers, based on existing scholarly editions. The company is located in Charlottesville, Virginia. Its databases are marketed to academic institutions, with pricing based on the individual collections purchased. Content is provided in XML and searchable image format and is accessed through the InteLex Corporation website. In addition to philosophy, subject coverage includes religious studies, English literature, women's writing, social science, and history of science. InteLex databases are found in institutions in over 65 countries around the world.

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  • Multimodal representation learning

    Multimodal representation learning

    Multimodal representation learning is a subfield of representation learning focused on integrating and interpreting information from different modalities, such as text, images, audio, or video, by projecting them into a shared latent space. This allows for semantically similar content across modalities to be mapped to nearby points within that space, facilitating a unified understanding of diverse data types. By automatically learning meaningful features from each modality and capturing their inter-modal relationships, multimodal representation learning enables a unified representation that enhances performance in cross-media analysis tasks such as video classification, event detection, and sentiment analysis. It also supports cross-modal retrieval and translation, including image captioning, video description, and text-to-image synthesis. == Motivation == The primary motivations for multimodal representation learning arise from the inherent nature of real-world data and the limitations of unimodal approaches. Since multimodal data offers complementary and supplementary information about an object or event from different perspectives, it is more informative than relying on a single modality. A key motivation is to narrow the heterogeneity gap that exists between different modalities by projecting their features into a shared semantic subspace. This allows semantically similar content across modalities to be represented by similar vectors, facilitating the understanding of relationships and correlations between them. Multimodal representation learning aims to leverage the unique information provided by each modality to achieve a more comprehensive and accurate understanding of concepts. These unified representations are crucial for improving performance in various cross-media analysis tasks such as video classification, event detection, and sentiment analysis. They also enable cross-modal retrieval, allowing users to search and retrieve content across different modalities. Additionally, it facilitates cross-modal translation, where information can be converted from one modality to another, as seen in applications like image captioning and text-to-image synthesis. The abundance of ubiquitous multimodal data in real-world applications, including understudied areas like healthcare, finance, and human-computer interaction (HCI), further motivates the development of effective multimodal representation learning techniques. == Approaches and methods == === Canonical-correlation analysis based methods === Canonical-correlation analysis (CCA) was first introduced in 1936 by Harold Hotelling and is a fundamental approach for multimodal learning. CCA aims to find linear relationships between two sets of variables. Given two data matrices X ∈ R n × p {\displaystyle X\in \mathbb {R} ^{n\times p}} and Y ∈ R n × q {\displaystyle Y\in \mathbb {R} ^{n\times q}} representing different modalities, CCA finds projection vectors w x ∈ R p {\displaystyle w_{x}\in \mathbb {R} ^{p}} and w y ∈ R q {\displaystyle w_{y}\in \mathbb {R} ^{q}} that maximizes the correlation between the projected variables: ρ = max w x , w y w x ⊤ Σ x y w y w x ⊤ Σ x x w x w y ⊤ Σ y y w y {\displaystyle \rho =\max _{w_{x},w_{y}}{\frac {w_{x}^{\top }\Sigma _{xy}w_{y}}{{\sqrt {w_{x}^{\top }\Sigma _{xx}w_{x}}}{\sqrt {w_{y}^{\top }\Sigma _{yy}w_{y}}}}}} such that Σ x x {\displaystyle \Sigma _{xx}} and Σ y y {\displaystyle \Sigma _{yy}} are the within-modality covariance matrices, and Σ x y {\displaystyle \Sigma _{xy}} is the between-modality covariance matrix. However, standard CCA is limited by its linearity, which led to the development of nonlinear extensions, such as kernel CCA and deep CCA. ==== Kernel CCA ==== Kernel canonical correlation analysis (KCCA) extends traditional CCA to capture nonlinear relationships between modalities by implicitly mapping the data into high dimensional feature spaces using kernel functions. Given kernel functions K x {\displaystyle K_{x}} and K y {\displaystyle K_{y}} with corresponding Gram matrices K x ∈ R n × n {\displaystyle K_{x}\in \mathbb {R} ^{n\times n}} and K y ∈ R n × n {\displaystyle K_{y}\in \mathbb {R} ^{n\times n}} , KCCA seeks coefficients α {\displaystyle \alpha } and β {\displaystyle \beta } that maximize: ρ = max α , β α ⊤ K x K y β α ⊤ K x 2 α β ⊤ K y 2 β {\displaystyle \rho =\max _{\alpha ,\beta }{\frac {\alpha ^{\top }K_{x}Ky\beta }{{\sqrt {\alpha ^{\top }K_{x}^{2}\alpha }}{\sqrt {\beta ^{\top }K_{y}^{2}\beta }}}}} To prevent overfitting, regularization terms are typically added, resulting in: ρ = max α , β α T K x K y β α T ( K x 2 + λ x K x ) α β T ( K y 2 + λ y K y ) β {\displaystyle \rho =\max _{\alpha ,\beta }{\frac {\alpha ^{T}K_{x}K_{y}\beta }{{\sqrt {\alpha ^{T}\left(K_{x}^{2}+\lambda _{x}K_{x}\right)\alpha }}{\sqrt {\;\beta ^{T}\left(K_{y}^{2}+\lambda _{y}K_{y}\right)\beta }}}}} where λ x {\displaystyle \lambda _{x}} and λ y {\displaystyle \lambda _{y}} are regularization parameters. KCCA has proven effective for tasks such as cross-modal retrieval and semantic analysis, though it faces computational challenges with large datasets due to its O ( n 2 ) {\displaystyle O(n^{2})} memory requirement for sorting kernel matrices. KCCA was proposed independently by several researchers. ==== Deep CCA ==== Deep canonical correlation analysis (DCCA), introduced in 2013, employs neural networks to learn nonlinear transformations for maximizing the correlation between modalities. DCCA uses separate neural networks f x {\displaystyle f_{x}} and f y {\displaystyle f_{y}} for each modality to transform the original data before applying CCA: max W x , W y , θ x , θ y corr ⁡ ( f x ( X ; θ x ) , f y ( Y ; θ y ) ) {\displaystyle \max _{W_{x},W_{y},\theta _{x},\theta _{y}}\operatorname {corr} \left(f_{x}(X;\theta _{x}),f_{y}(Y;\theta _{y})\right)} where θ x {\displaystyle \theta _{x}} and θ y {\displaystyle \theta _{y}} represent the parameters of the neural networks, and W x {\displaystyle W_{x}} and W y {\displaystyle W_{y}} are the CCA projection matrices. The correlation objective is computed as: corr ⁡ ( H x , H y ) = tr ⁡ ( T − 1 / 2 H x T H y S − 1 / 2 ) {\displaystyle \operatorname {corr} (H_{x},H_{y})=\operatorname {tr} \left(T^{-1/2}H_{x}^{T}H_{y}S^{-1/2}\right)} where H x = f x ( X ) {\displaystyle H_{x}=f_{x}(X)} and H y = f y ( Y ) {\displaystyle H_{y}=f_{y}(Y)} are the network outputs, T = H x T H x + r x I {\displaystyle T=H_{x}^{T}H_{x}+r_{x}I} , S = H y T H y + r y I {\displaystyle S=H_{y}^{T}H_{y}+r_{y}I} and r x , r y {\displaystyle r_{x},r_{y}} are the regularization parameters. DCCA overcomes the limitations of linear CCA and kernel CCA by learning complex nonlinear relationships while maintaining computational efficiency for large datasets through mini-batch optimization. === Graph-based methods === Graph-based approaches for multimodal representation learning leverage graph structure to model relationships between entities across different modalities. These methods typically represent each modality as a graph and then learn embedding that preserve cross-modal similarities, enabling more effective joint representation of heterogeneous data. One such method is cross-modal graph neural networks (CMGNNs) that extend traditional graph neural networks (GNNs) to handle data from multiple modalities by constructing graphs that capture both intra-modal and inter-modal relationships. These networks model interactions across modalities by representing them as nodes and their relationships as edges. Other graph-based methods include Probabilistic Graphical Models (PGMs) such as deep belief networks (DBN) and deep Boltzmann machines (DBM). These models can learn a joint representation across modalities, for instance, a multimodal DBN achieves this by adding a shared restricted Boltzmann Machine (RBM) hidden layer on top of modality-specific DBNs. Additionally, the structure of data in some domains like Human-Computer Interaction (HCI), such as the view hierarchy of app screens, can potentially be modeled using graph-like structures. The field of graph representation learning is also relevant, with ongoing progress in developing evaluation benchmarks. === Diffusion maps === Another set of methods relevant to multimodal representation learning are based on diffusion maps and their extensions to handle multiple modalities. ==== Multi-view diffusion maps ==== Multi-view diffusion maps address the challenge of achieving multi-view dimensionality reduction by effectively utilizing the availability of multiple views to extract a coherent low-dimensional representation of the data. The core idea is to exploit both the intrinsic relations within each view and the mutual relations between the different views, defining a cross-view model where a random walk process implicitly hops between objects in different views. A multi-view kernel matrix is constructed by combining these relations, defining a cross-view diffusion process and associ

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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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  • Content reference identifier

    Content reference identifier

    A content reference identifier or CRID is a concept from the standardization work done by the TV-Anytime forum. It is or closely matches the concept of the Uniform Resource Locator, or URL, as used on the World-Wide Web: A unit of content, in a broadcast stream, can be referred to by its globally unique CRID in the same way that a webpage can be referred to by its globally unique URL on the web. The concept of CRID permits referencing contents unambiguously, regardless of their location, i.e., without knowing specific broadcast information (time, date and channel) or how to obtain them through a network, for instance, by means of a streaming service or by downloading a file from an Internet server. The receiver must be capable of resolving these unambiguous references, i.e. of translating them into specific data that will allow it to obtain the location of that content in order to acquire it. This makes it possible for recording processes to take place without knowing that information, and even without knowing beforehand the duration of the content to be recorded: a complete series by a simple click, a program that has not been scheduled yet, a set of programs grouped by a specific criterion... This framework allows for the separation between the reference to a given content (the CRID) and the necessary information to acquire it, which is called a “locator”. Each CRID may lead to one or more locators which will represent different copies of the same content. They may be identical copies broadcast in different channels or dates, or cost different prices. They may also be distinct copies with different technical parameters such as format or quality. It may also be the case that the resolution process of a CRID provides another CRID as a result (for example, its reference in a different network, where it has an alternative identifier assigned by a different operator) or a set of CRIDs (for instance, if the original CRID represents a TV series, in which case the resolution process would result in the list of CRIDs representing each episode). From the above it can be concluded that provided that a given content can belong to many groups (each possibly defined by distinctive qualities), it is possible that many CRIDs carry the same content. That is, several CRIDs may be resolved into the same locator. A CRID is not exactly a universal, unique and exclusive identifier for a given content. It is closely related to the authority that creates it, to the resolution service provider, and to the content provider in such a way that the same content may have different CRIDs depending on the field in which they are used (for example, a different one for each television operator that has the rights to broadcast the content). == Format == A CRID is specified much like URLs. In fact, a CRID is a so-called URI. Typically, the content creator, the broadcaster or a third party will use their DNS-names in a combination with a product-specific name to create globally unique CRIDs. That is, the syntax of a CRID is: crid://authority/data The authority field represents the entity that created the CRID and its format is that of a DNS name. The data field represents a string of characters that will unambiguously identify the content within the authority scope (it is a string of characters assigned by the authority itself). As an example, let's assume that BBC wanted to make a CRID for (all the programs of) the Olympics in China. It may have looked something like this crid://bbc.co.uk/olympics/2008/ This would be a group CRID, that is, a CRID representing a group of contents. Then, to refer to a specific event – such as the women's shot-put final – they could have used the following inside their metadata. crid://bbc.co.uk/olympics/2008/final/shotput/women Currently, four types of CRIDs are playing a major role in some unidirectional television networks: programme CRID, series CRID, group CRID, and recommendation CRID. One of the most important applications of CRIDs is the so-called series link recording function (SL) of modern digital video recorders (DVR, PVR). In turn, a locator is a string of characters that contains all the necessary information for a receiver to find and acquire a given content, whether it is received through a transport stream, located in local storage, downloaded as a file from an Internet server, or through a streaming service. For example, a DVB locator will include all the necessary parameters to identify a specific content within a transport stream: network, transport stream, service, table and/or event identifiers. The locators' format, as established in TV-Anytime, is quite generic and simple, and corresponds to: [transport-mechanism]:[specific-data] The first part of the locator's format (the transport mechanism) must be a string of characters that is unique for each mechanism (transport stream, local file, HTTP Internet access...). The second part must be unambiguous only within the scope of a given transport mechanism and will be standardized by the organism in charge of the regulation of the mechanism itself. For instance, a DVB locator to identify a content within the transport stream of networks that follow this standard would be: dvb://112.4a2.5ec;2d22~20121212T220000Z—PT01H30M which would indicate a content (identified by the string “2d22”) that airs on a channel available on a DVB network identified by the address “112.4a2.5ec” (network “112”, transport stream “4a2” and service “5ec”), on 12 December 2012 at 10 p.m. and with a duration of 90 minutes. == The location resolution process == The location resolution process is the procedure by which, starting from the CRID of a given content, one or several locators of that content are obtained. Resolving a CRID can be a direct process, which leads immediately to one or many locators, or it may also happen that in the first place one or many intermediate CRIDs are returned, which must undergo the same procedure to finally obtain one or several locators. This procedure involves some information elements, among which we find two structures named resolving authority record (RAR) and ContentReferencingTable, respectively. Consulting them repeatedly will take the receiver from a CRID to one or many locators that will allow it to acquire the content. The RAR table The RAR table is one or many data structures that provide the receiver, for each authority that submits CRIDs, information on the corresponding resolution service provider. Among other things, it informs about which mechanism is used to provide information to resolve the CRIDs from each authority. That is, one or many RAR records must exist for each authority that indicate the receiver where it has to go to resolve the CRIDs of that particular authority. For example, in the record of the figure (expressed by means of a XML structure, according to the XML Schema defined in the TV-Anytime) there is an authority called “tve.es”, whose resolution service provider is the entity “rtve.es”, available on the URL "http://tva.rtve.es/locres/tve", which means there is resolution information in that URL. These RAR records will have reached the receiver in an indefinite form, unimportant for the TV-Anytime specification, which will depend on the specific transport mechanism of the network to which the receiver is connected. Each family of standards that regulates distribution networks (DVB, ATSC, ISDB, IPTV...) will have previously defined such procedure, which will be used by devices certified according to those standards. The ContentReferencingTable table The second structure involved in the location resolution process is a proper resolution table which, given a content's CRID, returns one or several locators that enable the receiver to access an instance of that content, or one or many CRIDs that allow it to move forward in the resolution process. The figure shows an example of this second structure, an XML document according to the specifications of the XML Schema defined in TV-Anytime. In it, several sections are included ( elements) that structure the information that describes each resolution case. The first one declares how a CRID (crid://tv.com/Friends/all), which corresponds to a group content that encompasses several episodes (two) of the “Friends” series is resolved. The result of the resolution process provides two new CRIDs each of them corresponding to one of the two episodes. The second element resolves the CRID of the first episode of the first season. The result of the resolution process is two DVB locators. The “acquire” attribute with “any” value indicates that any of them are good (the second one is a repetition broadcast a week later). The third element gives information about the second episode. It indicates that it cannot be resolved yet (“status” attribute with the “cannot yet resolve” value), indicating a date on which the request for resolution information must be repeated. The pro

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