AI Face Grader

AI Face Grader — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Software component

    Software component

    A software component is a modular unit of software that encapsulates specific functionality. The desired characteristics of a component are reusability and maintainability. == Value == Components allow software developers to assemble software with reliable parts rather than writing code for every aspect. It makes implementation more like factory assembly than custom building. == Attributes == Desirable attributes of a component include but are not limited to: Cohesive – encapsulates related functionality Reusable Robust Substitutable – can be replaced by another component with the same interface Documented Tested == Third-party == Some components are built in-house by the same organization or team building the software system. Some are third-party, developed elsewhere and assembled into the software system. == Component-based software engineering == For large-scale systems, component-based development encourages a disciplined process to manage complexity. == Framework == Some components conform to a framework technology that allows them to be consumed in a well-known way. Examples include: CORBA, COM, Enterprise JavaBeans, and the .NET Framework. == Modeling == Component design is often modeled visually. In Unified Modeling Language (UML) 2.0 a component is shown as a rectangle, and an interface is shown as a lollipop to indicate a provided interface and as a socket to indicate consumption of an interface. == History == The idea of reusable software components was promoted by Douglas McIlroy in his presentation at the NATO Software Engineering Conference of 1968. (One goal of that conference was to resolve the so-called software crisis of the time.) In the 1970s, McIlroy put this idea into practice with the addition of the pipeline feature to the Unix operating system. Brad Cox refined the concept of a software component in the 1980s. He attempted to create an infrastructure and market for reusable third-party components by inventing the Objective-C programming language. IBM introduced System Object Model (SOM) in the early 1990s. Microsoft introduced Component Object Model (COM) in the early 1990s. Microsoft built many domain-specific component technologies on COM, including Distributed Component Object Model (DCOM), Object Linking and Embedding (OLE), and ActiveX.

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  • Key & See

    Key & See

    Key & See is a variation of the TV Key service that forms part of the open, standards-based interactive TV services platform provided by Miniweb Interactive. Key & See allows viewers to access the interactive TV content made available by broadcasters and channel owners while leaving quarter of their screen tuned to the programme they are already watching Like TV Key, Key & See can be used with interactive TV services on UK satellite TV provider Sky Digital (BSkyB) Key & See works in the same way as a TV Key but the numeric shortcut code is associated with a broadcaster and a particular TV channel or programme. Miniweb Interactive offers commercial brands and broadcasters the chance to utilise TV Key and Key & See technology as part of its interactive TV services platform

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  • Scandiweb

    Scandiweb

    scandiweb is a web development, digital strategy, AI consultation & implementation agency specializing in the Magento (Adobe Commerce) platform. The company was established in 2003 in Latvia by Antons Sapriko. It has offices in the United States, Sweden, Latvia, and Georgia. scandiweb provides solutions for primarily eCommerce businesses and acts as a strategic partner for IT development focusing on web, mobile, and big data analysis. T == Partnerships == scandiweb is an official Adobe Gold Partner, with the largest team of Adobe Commerce-certified employees. The company holds the Google Premier Partner status for 2025, placing it among top 3% agencies globally. scandiweb is a BigCommerce Certified Partner and a Pimcore Platinum Partner. Since 2016, scandiweb has been collaborating with Oro, Inc., an open-source business application development firm. scandiweb is a Platinum Partner of Hyvä, working with the Magento 2 frontend theme to optimize performance metrics. The company is also a Sanity Agency Partner, assisting with content management through Sanity’s headless CMS.

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  • Macroelectronics

    Macroelectronics

    Macroelectronics are flexible electronics that cover a large area. The most visible example of macroelectronics is flat-panel displays. Other emerging applications include rollable display, printable thin film solar cell and electronic skin. Flat-panel displays fabricated on glass substrates are fragile so fabricating directly on flexible substrates, such as polymers is being explored. Displays made on thin polymer substrates can be more rugged than glass. In September 2005, Philips Polymer Vision revealed the world's first prototype of a rollable electronic reader, which can unfold to a 5-inch display and roll back into a pocket-size (100×60×20 mm) device. Thin-film devices on flexible polymer substrates can lend themselves to low-cost fabrication processes (i.e., roll-to-roll printing), resulting in lightweight, rugged and flexible macroelectronic products.

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  • Hekaton (database)

    Hekaton (database)

    Hekaton (also known as SQL Server In-Memory OLTP) is an in-memory database for OLTP workloads built into Microsoft SQL Server. Hekaton was designed in collaboration with Microsoft Research and was released in SQL Server 2014. Traditional RDBMS systems were designed when memory resources were expensive, and were optimized for disk storage. Hekaton is instead optimized for a working set stored entirely in main memory, but is still accessible via T-SQL like normal tables. It is fundamentally different from the "DBCC PINTABLE" feature in earlier SQL Server versions. Hekaton was announced at the Professional Association for SQL Server (PASS) conference 2012.

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  • FactorDaily

    FactorDaily

    FactorDaily is an Indian digital media publication founded in 2016 by Pankaj Mishra and Jayadevan PK. Mishra was formerly an Editor at TechCrunch and the Economic Times. The digital publication was launched with an intent to produce stories on the impact of technology on life in India. == History == FactorDaily began publishing in May 2016, with daily reported stories on technology, culture and life in India. Prior to its launch, the company had raised $1 million in seed funding from Accel India, Blume Ventures, Girish Mathrubootham of Freshdesk, Vijay Shekhar Sharma of PayTm, and Jay Vijayan of Tekion. Josey Puliyenthuruthel John, formerly Managing Editor at Business Today and National Corporate Editor at Mint, later joined the company as a Consulting Editor. In January 2017, FactorDaily launched its first Podcast called The Outliers. The inaugural episode featured a conversation with Manish Sharma of Printo on his journey starting up. == Awards == The FactorDaily team won the Bengaluru Editors Lab 2017, a journalism hackathon organised by the Global Editors Network (GEN). The story titled "India has 3,800 psychiatrists for 1.2bn people. Can tech step in to manage mental health?" won the first prize in the online category of the fifth Schizophrenia Research Foundation’s (SCARF) ‘Media for Mental Health’ awards. The story titled 'The dark hand of tech that stokes sex trafficking in India', won the Stop Slavery media Awards by the Thomson Reuters Foundation for the year 2020.

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  • Digital studio

    Digital studio

    A digital studio provides both a technology-equipped space and technological/rhetorical support to students (commonly at a university) working individually or in groups on a variety of digital projects, such as designing a website, developing an electronic portfolio for a class, creating a blog, making edits, selecting images for a visual essay, or writing a script for a podcast. == History/theory == === Overview === Digital Studios are places with different names but similar objectives. They have risen in response to the need for resources dedicated to improving students' interactions with digital technologies for rhetorical ends. Digital Studios have often been theoretically and administratively linked to writing centers, which are sites where students can seek assistance with their text-based projects. The academic term that has been used for this kind of site (i.e. a writing center with a focus on digital and new media) is multiliteracy center. Besides having a multimodal focus, Digital Studios also make a departure from writing center model in allowing students the freedom to work in the Studio without one-on-one interaction with a writing tutor. === The rise of technology === ==== Computer literacy in popular culture ==== As early as 1983, computer literacy was being hailed in The New York Times as the "new goal in schools." As computer technology became more ubiquitous, and the World Wide Web became more popular and accessible, and as the teaching of computer skills became official US policy with the enactment of the "Technology Literacy Challenge" by the Clinton Administration in 1996, educators across disciplines began to investigate with renewed vigor the role of computer technology in curriculum as both a means and an end. ==== Scholarly interest in 'multiliteracies' ==== The same year that President Clinton initiated the "Technology Literacy Challenge", the New London Group (NLG) issued a call for scholars of literacy pedagogy to account for the burgeoning variety of text forms associated with information and multimedia technologies. This includes understanding and competent control of representational forms that are becoming increasingly significant in the overall communications environment, such as visual images and their relationship to the written word – for instance, visual design in desktop publishing or the interface of visual and linguistic meaning in multimedia. This account for new text forms, combined with a similar account for "increasingly globalized societies," is called 'multiliteracies' by the NLG. ==== Technological literacy in rhetoric and composition ==== Two years later, during the 1998 CCCC Chair's Address, Cynthia Selfe (who founded the peer-reviewed journal Computers and Composition in 1983) addressed professionals in the field of Rhetoric and Composition with an objective similar to that of the NLG, arguing that as a field, composition scholars had "paid technology issues precious little focused attention over the years." She called this lack of attention "dangerously shortsighted." What was needed, Selfe claimed, was for teachers to "pay attention" to "how technology is now inextricably linked with literacy and literacy education in this country." In a way, Selfe's call marked the beginning of a new scholarly interest in what Selfe called "critical technological literacy": Composition teachers, language arts teachers, and other literacy specialists need to recognize that the relevance of technology in the English studies disciplines is not simply a matter of helping students work effectively with communication software and hardware, but, rather, also a matter of helping them to understand and to be able to assess – to pay attention to – the social, economic, and pedagogical implications of new communication technologies and technological initiatives that affect their lives. Scholars who took up this call included Barbara Blakely Duffelmeyer, who conducted studies involving the incorporation of "critical computer literacy" (an adaptation of Selfe's term) into first-year composition. ==== Communications across media, inside and outside school ==== The years following Selfe's address saw more rapid advancements in mobile technologies, social media, and Web 2.0, creating even more new venues of composing for teachers to pay attention to. In her own CCCC Chair's Address in 2004, Kathleen Blake Yancey cited these new venues in her argument as a "new curriculum for the 21st century," one that would bring "together the writing outside of school and that of inside." Such a curriculum, she said: is located in a new vocabulary, a new set of practices, and a new set of outcomes; it will focus our research in new and provocative ways; it has as its goal the creation of thoughtful, informed, technologically adept writing publics. A professor at Clemson at the time of her speech, Yancey also argued for the creation of an undergraduate major in composition and rhetoric. She soon moved to Florida State University, where she helped to establish a new major in line with the one she argued for at CCCC called Editing, Writing, and Media (EWM). As teachers and administrators across the country looked to incorporate more digital technology into their curriculum, the need for spaces for digital composition and for support with the innumerable digital composing platforms became apparent. A Digital Studio is one such space. === Link with writing centers === With the need for support for students who would engage with digital writing and multimedia projects, professionals involved with work in writing centers began to draw comparisons between their traditional work — assisting students with alphabetic texts on the page — and a new kind of work: assisting students with their multimedia projects on the screen. John Trimbur predicted in 2000: My guess is that writing centers will more and more define themselves as multiliteracy centers. Many are already doing so – tutoring oral presentations, adding online tutorials, offering workshops in evaluating web sources, and being more conscious of document design. To my mind, new digital literacies will increasingly be incorporated into writing centers not just as sources of information or delivery systems for tutoring but as productive arts in their own right, and writing center work will, if anything, become more rhetorical in paying attention to the practices and effects of design in written and visual communication — more product-oriented and perhaps less like the composing conferences of the process movement. Later, just months before Yancey delivered her CCCC Chair's Address, Michael Pemberton, writing in the Writing Center Journal, asked: As we enter an era when electronic publishing and computer-mediated discourse are the norm, an era when new literary genres and new forms of communication emerge on, seemingly, a weekly basis, we must ask ourselves whether writing centers should continue to dwell exclusively in the linear, non-linked world of the printed page or whether they should plan to redefine themselves – and retrain themselves – to take residence in the emerging world of multimedia, hyperlinked, digital documents. To put it plainly, should we be preparing tutors to conference with students about hypertexts? Pemberton also surveyed (by his account) the forty-year history of how "writing centers [have] viewed new technologies," observing that "the relationship between writing centers and computer technology has been, overall, only a cordial one." Pemberton's article is evidence of the continuing discussion among writing center professionals about the need for support for students' digital creations, support which they saw as analogous to work in writing centers. In 2010, a collection edited by David Sheridan and James Inman, Multiliteracy Centers: Writing Center Work, New Media, and Multimodal Rhetoric, was published. Many of the chapters therein cite the above Trimbur and Pemberton quotes as they work to explain the exigence for the collection, the instances in which multiliteracy centers have been established (the founding of the Clemson Class of 1941 Studio for Student Communication is the subject of two chapters), and both theoretical and practical analyses of potential futures of such work. === 'Studio' vs. 'Center:' A break from the model === The conflation of digital studios and writing centers into multiliteracy centers is helpful in some respects, for example, administratively the two may be managed in similar ways and staffed by the same people. In other respects, it has been said that it is better to separate them into two distinct kinds of facilities. The very choice of naming a "writing center" or "digital studio" by either (or another) title, for instance, ought (according to some) to be informed by what kinds of student-activities are expected to take place there. A writing center is a place for individual students to seek help from individual writing

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  • International World Wide Web Conference Committee

    International World Wide Web Conference Committee

    The International World Wide Web Conference Committee (abbreviated as IW3C2 also written as IW3C2) is a professional non-profit organization registered in Switzerland (Article 60ff of the Swiss Civil Code) that promotes World Wide Web research and development. The IW3C2 organizes and hosts the annual World Wide Web Conference in conjunction with the W3C. The IW3C2 was founded by Joseph Hardin and Robert Cailliau at a meeting held in Boston, United States, on 14 August 1994 to prepare for the upcoming Second International World Wide Web Conference in Chicago. The IW3C2 formally became an incorporated entity in May 1996 at the fifth conference in Paris, France. The organization is governed by laws of the Swiss Confederation and the By-laws. == Abbreviation == The abbreviation for the International World Wide Web Conference Committee as IW3C2 is as follow: I- The I is represents the leading I in International. W3- The W3 represents the three 3 leading W's in World Wide Web. C2- The C2 represents the three 2 leading C's in Conference Committee. == Mission == The mission of the IW3C2 is: To coordinate the organization and planning of the international WWW conference series and ensure that it remains the foremost conference addressing World Wide Web research and development; To promote a collaborative spirit among conference attendees that is essential to the success of the series; To ensure the global geographical diversity of conference sites and provide support to local organizers at those sites; To make sure that all content arising from these conferences and forums is permanently and openly available on the widest possible scale; To preserve the history of the conference series; To encourage the global development of the World Wide Web through collaboration with WWW standards organizations; To provide a permanent, broad-based international body to achieve these purposes. == Conferences == The conferences are organized by the IW3C2 in collaboration with local organizing committees and technical program committees. The series provides an open forum in which all opinions can be presented, subject to a strict process of peer review. The proceedings of the conference are published in the ACM Digital Library. === Endorsed conferences === The IW3C2 has endorsed regional conferences devoted to a special topic of the Web by working with endorsed conferences on cross-promotion, publicity and programs. == Membership == Members of the IW3C2 are ordinary members, ex officio members, non-voting members, and officers. === Ordinary members === Ordinary members are elected for a period of 3 years during a general meeting. Members are nominated due to their recognition in the WWW community and represent themselves. Members can be re-elected only after at least one year of absence. The following are the founding members at the time when IW3C2 was officially incorporated in May 1996: Jean-François Abramatic Tim Berners-Lee Robert Cailliau Dale Dougherty Ira Goldstein Joseph Hardin Tim Krauskopf Detlef Krömker Corinne Moore R. P. Channing Rodgers Albert Vezza Stuart Weibel Yuri Rubinsky (died prior to incorporation) The following are the current (April 2016) ordinary members: Robin Chen Chin-Wan Chung Allan Ellis Wendy Hall - IW3C2 Chair Ivan Herman Arun Iyengar - IW3C2 Vice Chair Irwin King Yoelle Maarek Luc Mariaux - IW3C2 Treasurer Daniel Schwabe - IW3C2 Vice-Chair === Ex officio members === Ex officio members are selected from the immediate past conference general co-chairs and from future conference co-chairs. Their term expires one year after the conference they organized. Ex officio members can be elected as ordinary members. The following are current (April 2016) ex officio members and the conference with which they are affiliated: Jacqueline Bourdeau - WWW2016 James Hendler - WWW2016 Rick Barrett - WWW2017 Rick Cummings - WWW2017 Laurent Flory - WWW2018 Fabien Gandon - WWW2018 === Officers === The IW3C2 officers consist of a chairperson, a vice-chair (chairperson-elect), a secretary, a treasurer, and other appointees. Officers are elected during a general meeting (usually at the annual WWW conference) and serve for one year. They can be re-elected an indefinite number of times. == The Seoul Test of Time Award == This annual award, presented at the WWW conference, is made possible by a generous contribution from the organizers of WWW2014 (Seoul Korea). Recipients are determined by the IW3C2 and honor the author, or authors, of a paper presented at a previous WWW conference that has "stood the test of time." The first award, announced at WWW2015 (Florence Italy), recognized Sergey Brin and Larry Page, the founders of Google. The recipients of the WWW2016 award are LinkIn scientist Dr. Badrul Sarwar and University of Minnesota professors George Karypis, Joseph Konstan, and John Riedl (posthumous) for their work in item-item collaborative filtering.

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  • Multi-armed bandit

    Multi-armed bandit

    In probability theory and machine learning, the multi-armed bandit problem (sometimes called the K- or N-armed bandit problem) is named from imagining a gambler at a row of slot machines (sometimes known as "one-armed bandits"), who has to decide which machines to play, how many times to play each machine and in which order to play them, and whether to continue with the current machine or try a different machine. More generally, it is a problem in which a decision maker iteratively selects one of multiple fixed choices (i.e., arms or actions) when the properties of each choice are only partially known at the time of allocation, and may become better understood as time passes. A fundamental aspect of bandit problems is that choosing an arm does not affect the properties of the arm or other arms. Instances of the multi-armed bandit problem include the task of iteratively allocating a fixed, limited set of resources between competing (alternative) choices in a way that minimizes the regret. A notable alternative setup for the multi-armed bandit problem includes the "best arm identification (BAI)" problem where the goal is instead to identify the best choice by the end of a finite number of rounds. The multi-armed bandit problem is a classic reinforcement learning problem that exemplifies the exploration–exploitation tradeoff dilemma. In contrast to general reinforcement learning, the selected actions in bandit problems do not affect the reward distribution of the arms. The multi-armed bandit problem also falls into the broad category of stochastic scheduling. In the problem, each machine provides a random reward from a probability distribution specific to that machine, that is not known a priori. The objective of the gambler is to maximize the sum of rewards earned through a sequence of lever pulls. The crucial tradeoff the gambler faces at each trial is between "exploitation" of the machine that has the highest expected payoff and "exploration" to get more information about the expected payoffs of the other machines. The trade-off between exploration and exploitation is also faced in machine learning. In practice, multi-armed bandits have been used to model problems such as managing research projects in a large organization, like a science foundation or a pharmaceutical company. In early versions of the problem, the gambler begins with no initial knowledge about the machines. Herbert Robbins in 1952, realizing the importance of the problem, constructed convergent population selection strategies in "some aspects of the sequential design of experiments". A theorem, the Gittins index, first published by John C. Gittins, gives an optimal policy for maximizing the expected discounted reward. == Empirical motivation == The multi-armed bandit problem models an agent that simultaneously attempts to acquire new knowledge (called "exploration") and optimize their decisions based on existing knowledge (called "exploitation"). The agent attempts to balance these competing tasks in order to maximize their total value over the period of time considered. There are many practical applications of the bandit model, for example: clinical trials investigating the effects of different experimental treatments while minimizing patient losses, adaptive routing efforts for minimizing delays in a network, financial portfolio design In these practical examples, the problem requires balancing reward maximization based on the knowledge already acquired with attempting new actions to further increase knowledge. This is known as the exploitation vs. exploration tradeoff in machine learning. The model has also been used to control dynamic allocation of resources to different projects, answering the question of which project to work on, given uncertainty about the difficulty and payoff of each possibility. Originally considered by Allied scientists in World War II, it proved so intractable that, according to Peter Whittle, the problem was proposed to be dropped over Germany so that German scientists could also waste their time on it. The version of the problem now commonly analyzed was formulated by Herbert Robbins in 1952. == The multi-armed bandit model == The multi-armed bandit (short: bandit or MAB) can be seen as a set of real distributions B = { R 1 , … , R K } {\displaystyle B=\{R_{1},\dots ,R_{K}\}} , each distribution being associated with the rewards delivered by one of the K ∈ N + {\displaystyle K\in \mathbb {N} ^{+}} levers. Let μ 1 , … , μ K {\displaystyle \mu _{1},\dots ,\mu _{K}} be the mean values associated with these reward distributions. The gambler iteratively plays one lever per round and observes the associated reward. The objective is to maximize the sum of the collected rewards. The horizon H {\displaystyle H} is the number of rounds that remain to be played. The bandit problem is formally equivalent to a one-state Markov decision process. The regret ρ {\displaystyle \rho } after T {\displaystyle T} rounds is defined as the expected difference between the reward sum associated with an optimal strategy and the sum of the collected rewards: ρ = T μ ∗ − ∑ t = 1 T r ^ t {\displaystyle \rho =T\mu ^{}-\sum _{t=1}^{T}{\widehat {r}}_{t}} , where μ ∗ {\displaystyle \mu ^{}} is the maximal reward mean, μ ∗ = max k { μ k } {\displaystyle \mu ^{}=\max _{k}\{\mu _{k}\}} , and r ^ t {\displaystyle {\widehat {r}}_{t}} is the reward in round t {\displaystyle t} . A zero-regret strategy is a strategy whose average regret per round ρ / T {\displaystyle \rho /T} tends to zero with probability 1 when the number of played rounds tends to infinity. Intuitively, zero-regret strategies are guaranteed to converge to a (not necessarily unique) optimal strategy if enough rounds are played. == Variations == A common formulation is the Binary multi-armed bandit or Bernoulli multi-armed bandit, which issues a reward of one with probability p {\displaystyle p} , and otherwise a reward of zero. Another formulation of the multi-armed bandit has each arm representing an independent Markov machine. Each time a particular arm is played, the state of that machine advances to a new one, chosen according to the Markov state evolution probabilities. There is a reward depending on the current state of the machine. In a generalization called the "restless bandit problem", the states of non-played arms can also evolve over time. There has also been discussion of systems where the number of choices (about which arm to play) increases over time. Computer science researchers have studied multi-armed bandits under worst-case assumptions, obtaining algorithms to minimize regret in both finite and infinite (asymptotic) time horizons for both stochastic and non-stochastic arm payoffs. === Best arm identification === An important variation of the classical regret minimization problem in multi-armed bandits is best arm identification (BAI), also known as pure exploration. This problem is crucial in various applications, including clinical trials, adaptive routing, recommendation systems, and A/B testing. In BAI, the objective is to identify the arm having the highest expected reward. An algorithm in this setting is characterized by a sampling rule, a decision rule, and a stopping rule, described as follows: Sampling rule: ( a t ) t ≥ 1 {\displaystyle (a_{t})_{t\geq 1}} is a sequence of actions at each time step Stopping rule: τ {\displaystyle \tau } is a (random) stopping time which suggests when to stop collecting samples Decision rule: a ^ τ {\displaystyle {\hat {a}}_{\tau }} is a guess on the best arm based on the data collected up to time τ {\displaystyle \tau } There are two predominant settings in BAI: Fixed budget setting: Given a time horizon T ≥ 1 {\displaystyle T\geq 1} , the objective is to identify the arm with the highest expected reward a ⋆ ∈ arg ⁡ max k μ k {\displaystyle a^{\star }\in \arg \max _{k}\mu _{k}} minimizing probability of error δ {\displaystyle \delta } . Fixed confidence setting: Given a confidence level δ ∈ ( 0 , 1 ) {\displaystyle \delta \in (0,1)} , the objective is to identify the arm with the highest expected reward a ⋆ ∈ arg ⁡ max k μ k {\displaystyle a^{\star }\in \arg \max _{k}\mu _{k}} with the least possible amount of trials and with probability of error P ( a ^ τ ≠ a ⋆ ) ≤ δ {\displaystyle \mathbb {P} ({\hat {a}}_{\tau }\neq a^{\star })\leq \delta } . For example using a decision rule, we could use m 1 {\displaystyle m_{1}} where m {\displaystyle m} is the machine no.1 (you can use a different variable respectively) and 1 {\displaystyle 1} is the amount for each time an attempt is made at pulling the lever, where ∫ ∑ m 1 , m 2 , ( . . . ) = M {\displaystyle \int \sum m_{1},m_{2},(...)=M} , identify M {\displaystyle M} as the sum of each attempts m 1 + m 2 {\displaystyle m_{1}+m_{2}} , (...) as needed, and from there you can get a ratio, sum or mean as quantitative probability and sample your formulation for each slots. You can also do ∫ ∑ k ∝ i N − (

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  • FreePBX Distro

    FreePBX Distro

    The FreePBX Distro was a freeware unified communications software system that consisted of FreePBX, a graphical user interface (GUI) for configuring, controlling and managing Asterisk PBX software. The FreePBX Distro included packages that offer VoIP, PBX, Fax, IVR, voice-mail and email functions. The FreePBX Distro Linux distribution was based on CentOS, which maintains binary compatibility with Red Hat Enterprise Linux. FreePBX has contributed to the popularity of Asterisk. As a result of CentOS Linux being discontinued and the last version of CentOS 7 going out of support on June 30, 2024, FreePBX 17 has moved over to and is supported on Debian Linux. FreePBX will no longer be providing a pre-configured FreePBX Distro, but will provide a script to install FreePBX on a fresh install of Debian Linux. In-place migration will not be possible, but will be possible by restoring a backup on the new version from the previous version. As FreePBX 16 will be supported until the release of FreePBX 18, FreePBX on this distribution will still work and be supported, however, there will be no further support for the underlying operating system. == Installation == The Official FreePBX Distro is installed from a ISO image available by web download, that includes the system CentOS, Asterisk, FreePBX GUI and assorted dependencies. This can then either be burned to DVD or written to a USB stick for installation == Support for telephony hardware == The FreePBX Distro has built-in support for cards from multiple vendors, including Digium, OpenVox, Alto, Rhino Equipment, Xorcom and Sangoma. The FreePBX Distro supports a large number of phone models via open-source modules. Supported VoIP phone manufacturers include Algo, AND, AudioCodes, Cisco, Cyberdata, Digium, Grandstream, Mitel/Aastra, Nortel/Avaya, Panasonic, Polycom, Sangoma, Snom, Xorcom and Yealink. == Development == FreePBX made its debut in 2004 as the AMP project (Asterisk Management Portal). The FreePBX Distro was released in 2011 as an turnkey solution for building a PBX using Asterisk, CentOS and FreePBX. FreePBX has over 1 million active production PBXs and over 20,000 new systems added each month. The core telephony engine is Asterisk, as configured by the Open Source FreePBX GUI. The last stable release is FreePBX Distro Stable SNG7-PBX16-64bit-2302-1 based on these main components: FreePBX 16 CentOS 7.8 Asterisk 16, 18, 19 (20 supported by upgrade once installed)

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  • Modulation error ratio

    Modulation error ratio

    The modulation error ratio (MER) is a measure used to quantify the performance of a digital radio (or digital TV) transmitter or receiver in a communications system using digital modulation (such as QAM). A signal sent by an ideal transmitter or received by a receiver would have all constellation points precisely at the ideal locations, however various imperfections in the implementation (such as noise, low image rejection ratio, phase noise, carrier suppression, distortion, etc.) or signal path cause the actual constellation points to deviate from the ideal locations. Transmitter MER can be measured by specialized equipment, which demodulates the received signal in a similar way to how a real radio demodulator does it. Demodulated and detected signal can be used as a reasonably reliable estimate for the ideal transmitted signal in MER calculation. == Definition == An error vector is a vector in the I-Q plane between the ideal constellation point and the point received by the receiver. The Euclidean distance between the two points is its magnitude. The modulation error ratio is equal to the ratio of the root mean square (RMS) power (in Watts) of the reference vector to the power (in Watts) of the error. It is defined in dB as: M E R ( d B ) = 10 log 10 ⁡ ( P s i g n a l P e r r o r ) {\displaystyle \mathrm {MER(dB)} =10\log _{10}\left({P_{\mathrm {signal} } \over P_{\mathrm {error} }}\right)} where Perror is the RMS power of the error vector, and Psignal is the RMS power of ideal transmitted signal. MER is defined as a percentage in a compatible (but reciprocal) way: M E R ( % ) = P e r r o r P s i g n a l × 100 % {\displaystyle \mathrm {MER(\%)} ={\sqrt {P_{\mathrm {error} } \over P_{\mathrm {signal} }}}\times 100\%} with the same definitions. MER is closely related to error vector magnitude (EVM), but MER is calculated from the average power of the signal. MER is also closely related to signal-to-noise ratio. MER includes all imperfections including deterministic amplitude imbalance, quadrature error and distortion, while noise is random by nature.

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  • Push technology

    Push technology

    Push technology, also known as server push, is a communication method where the communication is initiated by a server rather than a client. This approach is different from the "pull" method where the communication is initiated by a client. In push technology, clients can express their preferences for certain types of information or data, typically through a process known as the publish–subscribe model. In this model, a client "subscribes" to specific information channels hosted by a server. When new content becomes available on these channels, the server automatically sends, or "pushes," this information to the subscribed client. Under certain conditions, such as restrictive security policies that block incoming HTTP requests, push technology is sometimes simulated using a technique called polling. In these cases, the client periodically checks with the server to see if new information is available, rather than receiving automatic updates. == General use == Synchronous conferencing and instant messaging are examples of push services. Chat messages and sometimes files are pushed to the user as soon as they are received by the messaging service. Both decentralized peer-to-peer programs (such as WASTE) and centralized programs (such as IRC or XMPP) allow pushing files, which means the sender initiates the data transfer rather than the recipient. Email may also be a push system: SMTP is a push protocol (see Push e-mail). However, the last step—from mail server to desktop computer—typically uses a pull protocol like POP3 or IMAP. Modern e-mail clients make this step seem instantaneous by repeatedly polling the mail server, frequently checking it for new mail. The IMAP protocol includes the IDLE command, which allows the server to tell the client when new messages arrive. The original BlackBerry was the first popular example of push-email in a wireless context. Another example is the PointCast Network, which was widely covered in the 1990s. It delivered news and stock market data as a screensaver. Both Netscape and Microsoft integrated push technology through the Channel Definition Format (CDF) into their software at the height of the browser wars, but it was never very popular. CDF faded away and was removed from the browsers of the time, replaced in the 2000s with RSS (a pull system.) Other uses of push-enabled web applications include software updates distribution ("push updates"), market data distribution (stock tickers), online chat/messaging systems (webchat), auctions, online betting and gaming, sport results, monitoring consoles, and sensor network monitoring. == Examples == === Web push === The Web push proposal of the Internet Engineering Task Force is a simple protocol using HTTP version 2 to deliver real-time events, such as incoming calls or messages, which can be delivered (or "pushed") in a timely fashion. The protocol consolidates all real-time events into a single session which ensures more efficient use of network and radio resources. A single service consolidates all events, distributing those events to applications as they arrive. This requires just one session, avoiding duplicated overhead costs. Web Notifications are part of the W3C standard and define an API for end-user notifications. A notification allows alerting the user of an event, such as the delivery of an email, outside the context of a web page. As part of this standard, Push API is fully implemented in Chrome, Firefox, and Edge, and partially implemented in Safari as of February 2023. === HTTP server push === HTTP server push (also known as HTTP streaming) is a mechanism for sending unsolicited (asynchronous) data from a web server to a web browser. HTTP server push can be achieved through any of several mechanisms. As a part of HTML5 the Web Socket API allows a web server and client to communicate over a full-duplex TCP connection. Generally, the web server does not terminate a connection after response data has been served to a client. The web server leaves the connection open so that if an event occurs (for example, a change in internal data which needs to be reported to one or multiple clients), it can be sent out immediately; otherwise, the event would have to be queued until the client's next request is received. Most web servers offer this functionality via CGI (e.g., Non-Parsed Headers scripts on Apache HTTP Server). The underlying mechanism for this approach is chunked transfer encoding. Another mechanism is related to a special MIME type called multipart/x-mixed-replace, which was introduced by Netscape in 1995. Web browsers interpret this as a document that changes whenever the server pushes a new version to the client. It is still supported by Firefox, Opera, and Safari today, but it is ignored by Internet Explorer and is only partially supported by Chrome. It can be applied to HTML documents, and also for streaming images in webcam applications. The WHATWG Web Applications 1.0 proposal includes a mechanism to push content to the client. On September 1, 2006, the Opera web browser implemented this new experimental system in a feature called "Server-Sent Events". It is now part of the HTML5 standard. === Pushlet === In this technique, the server takes advantage of persistent HTTP connections, leaving the response perpetually "open" (i.e., the server never terminates the response), effectively fooling the browser to remain in "loading" mode after the initial page load could be considered complete. The server then periodically sends snippets of JavaScript to update the content of the page, thereby achieving push capability. By using this technique, the client doesn't need Java applets or other plug-ins in order to keep an open connection to the server; the client is automatically notified about new events, pushed by the server. One serious drawback to this method, however, is the lack of control the server has over the browser timing out; a page refresh is always necessary if a timeout occurs on the browser end. === Long polling === Long polling is itself not a true push; long polling is a variation of the traditional polling technique, but it allows emulating a push mechanism under circumstances where a real push is not possible, such as sites with security policies that require rejection of incoming HTTP requests. With long polling, the client requests to get more information from the server exactly as in normal polling, but with the expectation that the server may not respond immediately. If the server has no new information for the client when the poll is received, then instead of sending an empty response, the server holds the request open and waits for response information to become available. Once it does have new information, the server immediately sends an HTTP response to the client, completing the open HTTP request. Upon receipt of the server response, the client often immediately issues another server request. In this way the usual response latency (the time between when the information first becomes available and the next client request) otherwise associated with polling clients is eliminated. For example, BOSH is a popular, long-lived HTTP technique used as a long-polling alternative to a continuous TCP connection when such a connection is difficult or impossible to employ directly (e.g., in a web browser); it is also an underlying technology in the XMPP, which Apple uses for its iCloud push support. === Flash XML Socket relays === This technique, used by chat applications, makes use of the XML Socket object in a single-pixel Adobe Flash movie. Under the control of JavaScript, the client establishes a TCP connection to a unidirectional relay on the server. The relay server does not read anything from this socket; instead, it immediately sends the client a unique identifier. Next, the client makes an HTTP request to the web server, including this identifier with it. The web application can then push messages addressed to the client to a local interface of the relay server, which relays them over the Flash socket. The advantage of this approach is that it appreciates the natural read-write asymmetry that is typical of many web applications, including chat, and as a consequence it offers high efficiency. Since it does not accept data on outgoing sockets, the relay server does not need to poll outgoing TCP connections at all, making it possible to hold open tens of thousands of concurrent connections. In this model, the limit to scale is the TCP stack of the underlying server operating system. === Reliable Group Data Delivery (RGDD) === In services such as cloud computing, to increase reliability and availability of data, it is usually pushed (replicated) to several machines. For example, the Hadoop Distributed File System (HDFS) makes 2 extra copies of any object stored. RGDD focuses on efficiently casting an object from one location to many while saving bandwidth by sending minimal number of copies (only one in the best case) of

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  • EditDV

    EditDV

    EditDV was a video editing software released by Radius, Inc. in late 1997 as an evolution of their earlier Radius Edit product. EditDV was one of the first products providing professional-quality editing of the then new DV format at a relatively affordable cost ($999 including Radius FireWire capture card) and was named "The Best Video Tool of 1998". Originally EditDV was available for Macintosh only but in February 2000 EditDV 2.0 for Windows was released. With version 3.0 EditDV's name was changed to CineStream. == Features == Originally bundled with a FireWire card, EditDV 1.5 got updated into a less expensive software only package for use with the newer PowerMac G3 that came with a FireWire interface. Later, a scaled down version named EditDV 1.6.1 Unplugged was released as a freeware version next to EditDV 2.0. Unlike many other applications at the time which transcoded video to M-JPEG for editing, EditDV provided lossless native editing of the DV format. Only transitions (such as dissolves or wipes), effects (such as rotating or scaling the video, adjusting the audio level, or adding titles) and filters (such as changing the brightness or color balance) needed to be rendered. This also had the disadvantage to not work with analogue video capture. EditDV was built on top of QuickTime and supported QuickTime filters as well as its own built-in effects and transitions. Effects could be animated using keyframes. EditDV 2.0 worked natively with Quicktime MOV format. For Microsoft Windows users, where the standard was AVI, this required the use of a provided external conversion tool afterwards when AVI was wanted. The user interface had a Project window for organising clips into bins, a Sequence window with a multi-track timeline for arranging clips into a program using three-point editing, and Source and Program monitor windows. A finished program could either be exported as a QuickTime movie or written back to DV tape using the "print to video" command. Version 3.0, then renamed CineStream, shifted towards web designers who wanted to add video streaming interactivity to a website. The new feature called EventStream allowed setting clickable hot spots to link to another location, either to another page with a URL or to another video. This feature distinguished CineStream from the rest of the competition. == Products == The EditDV product family included a number of related products, all sharing a similar name: EditDV Video editing software (Mac and Windows) SoftDV A QuickTime software codec for playing DV media, included as part of EditDV (Mac and Windows) MotoDV PCI-based FireWire interface with DV capture software (Mac and Windows) PhotoDV Software to capture high-quality stills from a DV tape using MotoDV hardware (Mac and Windows) RotoDV Software for rotoscoping (painting over video), released in Sept 1999 (Macintosh only) == Name changes and eventual demise == In 1999, the company Radius Inc. changed its name to Digital Origin. In 2000, Digital Origin Inc (and EditDV) was bought by Media 100. In early 2001, Media 100 released an updated version of EditDV under the new name CineStream 3.0. Later that year (October 2001) Media 100 was bought by Autodesk's Discreet Division. CineStream for Macintosh required classic Mac OS. It was never ported to Mac OS X and faced increasing competition on that platform from Apple's own Final Cut Pro application. Development of EditDV/Cinestream was officially discontinued in 2002.

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  • Media preservation

    Media preservation

    Preservation of documents, pictures, recordings, digital content, etc., is a major aspect of archival science. It is also an important consideration for people who are creating time capsules, family history, historical documents, scrapbooks and family trees. Common storage media are not permanent, and there are few reliable methods of preserving documents and pictures for the future. == Paper/prints (photos) == Color negatives and ordinary color prints may fade away to nothing in a relatively short period if not stored and handled properly. This happens even if the negatives and prints are kept in the dark, because ambient light is not the determining factor, but heat and humidity are. The color degradation is the result of the dyes used in the color processes. Because color processing results in a less stable image than traditional black-and-white processing, black-and-white pictures from the 1920s are more likely to survive long-term than color films and photographs from after the middle 20th century. Black-and-white photographic films using silver halide emulsions are the only film types that have proven to last for archival storage. The determining factors for longevity include the film base type, proper processing (develop, stop, fix and wash) and proper storage. Early films used a Cellulose nitrate base which was prone to decomposition and highly flammable. Nitrate film was replaced with acetate-base films. These Cellulose acetate films were later discovered to outgass acids (also referred to as vinegar syndrome). Acetate films were replaced in the early 1980s by polyester film base materials which have been determined to be more stable than film stocks with a nitrate or acetate base. Color prints made on most inkjet printers look very good at first but they have a very short lifespan, measured in months rather than in years. Even prints from commercial photo labs will start to fade in a matter of years if not processed properly and stored in cool, dry environments. == Documents/books == With documents for which the media are not so critical as what the documents contain, the information in documents can be copied by using photocopiers and image scanners. Books and manuscripts can also have their information saved without destruction by using a book scanner. Where the medium itself needs to be preserved, for example if a document is a crayon sketch by a famous artist on paper, a complex process of preservation may be used. Depending on the condition and importance of the item this can include gluing the media onto more stable media, or protective enclosing of the media. Polyester sleeves, acid-free folders, and pH buffered document boxes are common supportive protective enclosures whose selection must match the media's chemical and physical properties. Other considerations in preserving paper/books are: Damaging light, particularly UV light, which fades and destroys media over time by breaking down the molecules. Atmosphere contains small traces of sulfur dioxide and nitric acid which turn media yellow and break the fibers down. Humidity and moisture also aid in the breakdown of media. If there is too much, the document can be attacked by bacteria, and if too little, cellulose material breaks down. Temperature, particularly elevated ones, can destroy some media. Low temperatures can cause the water to form crystals which expands destroying the structure of paper-based documents. == Online photo albums == Although there are many websites that allow the upload of photographs and videos, digital preservation for the long-term is still considered an issue. There is a lack of confidence that such websites are capable of storing data for long periods of time (ex. 50 years) without data degradation or loss. == Optical media - CD, DVD, Blu-ray, M-Disc == Write-once optical media, such as CD-Rs and DVD-Rs, typically contain an organic dye that distinguishes data reading from data writing based on the dye's transparency along the disc. Conventional CDs and DVDs have finite shelf-life due to natural degradation of the dye; the newer M-DISC uses inorganic material technology to produce molded DVDs and Blu-Rays (up to 3-layer 100GB BDXL) with a claimed lifespan of 100-1000 years if stored correctly with most BD & BDXL rated read/writers enabling the higher power mode for the M-Disc format after 2011. The National Archives and Records Administration lists published life expectancies to be 10 or 25 years or more for normal CDs and DVDs and conservative life expectancies to be between 2 and 5 years. Storage environments, such as temperature and humidity, as well as handling conditions such as frequency of media use and compatibility between the recorder and media, affect media shelf-life. Improvements in media storage and migrations to new recording technologies can make certain formats obsolete within their respective lifespan. Technologists have pointed to internet streaming services, where services such as video-on-demand have contributed to the 33 percent decline in DVD sales the past 5 years, as a challenge for digital preservation. == Magnetic media - video cassettes, tapes, hard drives == Magnetic media such as audio and video tape and floppy disks also have limited life spans. Audio and video tapes require specific care and handling to ensure that the recorded information will be preserved. For information that must be preserved indefinitely, periodic transcription from old media to new ones is necessary, not only because the media are unstable but also because the recording technology may become obsolete. Magnetic media also deteriorates naturally with typical shelf lives between 10 and 20 years. Magnetic tape can degrade from binder hydrolysis or magnetic remanence decay. Binder hydrolysis, also known as sticky-shed syndrome, refers to the breakdown of binder, or glue, that holds the magnetic particles to the polyester base of the tape. Tapes which have been stored in hot, humid conditions are particularly vulnerable to this phenomenon and may suffer from accelerated degradation. Severe binder can cause the magnetic material to fall off or sheds from the base, leaving a pile of dust and clear backing. Archivists can bake the tape, which evaporates water molecules on the tape, to temporarily restore the binder before making a copy. Magnetic tape can also be destabilized by magnetic remanence decay, which refers to the weakening of the tape's magnetization over time. This weakens the affected tape's readability, leading to reduced sound clarity and volume or picture hue and contrast. Baking the tape will not restore magnetization. Media at risk include recorded media such as master audio recordings of symphonies and videotape recordings of the news gathered over the last 40 years. Threats to media that must be considered when archiving important record media include accidental erasure, physical loss due to disasters such as fires and floods, and media degradation. Along with the actual media being degraded over the years, the machines that are available to play back or reproduce the audio sources are becoming archaic themselves. Manufacturers and their support (parts, technical updates) for their machines have disappeared throughout the years. Even if the medium is vaulted and archived correctly, the mechanical properties of the machines have deteriorated to the point that they could do more harm than good to the tape being played. Many major film studios are now backing up their libraries by converting them to electronic media files, such as .AIFF or .WAV-based files via digital audio workstations. That way, even if the digital platform manufacturer goes out of business or no longer supports their product, the files can still be played on any common computer. There is a detailed process that must take place previous to the final archival product now that a digital solution is in place. Sample rates and their conversion and reference speed are both critical in this process. In floppy disks, the lubricants inside the plastic jackets of many older floppies promote the decay of the magnetic medium. Also, the alignment of the magnetic particles of the disk substrate may gradually degrade, leading to a loss of formatting and data. Early laser disk media were prone to degradation as the layers of the disk substrate were bonded with an adhesive that was vulnerable to decay and would crumble over time. This would lead the different layers of the disk to peel apart, damaging the pitted data surface and rendering the disk unreadable.

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  • Event cinema

    Event cinema

    Event cinema sometimes called alternative content cinema or livecasts refers to the use of movie theaters to display a varied range of live and recorded entertainment excluding traditional films, such as sport, opera, musicals, ballet, music, one-off TV specials, current affairs, comedy and religious services. == History and development == Event Cinema was set up at the start of the century with rock concerts by Bon Jovi (2001), David Bowie (2003), and Robbie Williams (2005) bringing non-film audiences into cinemas that had newly installed digital equipment. The Metropolitan Opera in New York through their partnership with Fathom Events is acknowledged as the trailblazer in this area, aggressively seeking out new markets and setting high standards for live broadcasts via satellite. Emulated by other opera houses worldwide such as the Royal Opera House following a close second, Glyndebourne, La Scala and the Sydney Opera House the genre of opera within the 'Event Cinema' industry has been a huge success, and has brought new, younger audiences into cash-strapped opera houses depended on state funding and wealthy benefactors for the first time - an unforeseen and happy consequence of digitisation. Ballet and theater have also been very successful, as have rock concerts, both live and recorded. The UK's National Theatre has been a huge success here with their season of live broadcasts under the banner 'NT Live', featuring big name casts such as Helen Mirren, whose recent turn as Queen Elizabeth II in The Audience was a sell out everywhere. (This was in partnership with another West End theatre and the NT are keen to help other theatres maximise their potential through live broadcasts). The Globe and the Royal Shakespeare Company are also producing work for live broadcast and recorded exhibition. As digitisation of cinemas matures, the Event Cinema industry is growing. The strongest territory is the US, followed by the UK and mainland European territories. Latin America is also a very strong market. Recent additions include Pompeii Live, a unique exhibition by the UK's British Museum, featuring celebrities and curators taking the audience on a live tour around the recreated set of Pompeii within the museum itself, and they are also exploring the schools market for the first time, following the live broadcast on June 18 with a daytime broadcast aimed at UK schools for the first time. If successful this will no doubt prove a model for future museums to emulate. An added incentive for exhibitors is the ability to show alternative content, i.e. alternative to mainstream, studio-driven content, such as live special events, sports, pre-show advertising and other digital or video content. In industry terms this has become known as 'Alternative Content', but has recently become known more widely as 'Event Cinema'. === Expanding markets === Some low-budget films that would normally not have a theatrical release because of distribution costs might be shown in smaller engagements than the typical large release studio pictures. The cost of duplicating a digital "print" is very low, so adding more theaters to a release has a small additional cost to the distributor. Movies that start with a small release could scale to a much larger release quickly if they were sufficiently successful, opening up the possibility that smaller movies could achieve box office success previously out of their reach. ==== Technical specifications ==== Event Cinema is also finding a market in 3rd world countries in which the higher costs and quality of DCI equipment are not yet affordable, as crucially there are no DCI specifications for Alternative Content as there is in mainstream [studio] content. This has led to an explosion in the variety of content on offer, but a lack of standardisation has led to questionable quality at times. As the industry matures, this lack of regulation is expected to change and there are moves afoot to introduce codes of practice and technical specifications. Recorded content complements mainstream studio content by maximising the 'downtime' that plagues the cinema industry, where screens worldwide spend a large proportion of their time in darkness and cinemas empty. Some cinema chains have targeted pensioners in particular, offering free tea and coffee for afternoon matinees of recorded opera, for example. Digital Cinema Packages (DCPs) have been useful to cinemas not yet equipped with satellite broadcasting capability and has enabled exhibitors to build their Event Cinema audience, which is not generally the 18-24 demographic that multiplexes are targeting. ==== New Audiences ==== Event Cinema has seen a return of an older, affluent audience, previously turned off by the multiplex experience, and cinemas are starting to capitalise on this by offering waiter-serviced, high class finger food and alcoholic beverages, complete with bars and restaurants, a world away from the traditional popcorn/soft drink model; art house cinemas are increasingly marketing themselves as 'destination' venues for an evening's entertainment, somewhere to spend an entire evening, rather than just a couple of hours. As exhibition admissions have plateau'd in recent years due to the explosion in VOD, tablet and mobile content technology, this new revenue stream has been a surprise and welcome addition to the cinema industry, though the US studios have been cautious in embracing the change as yet. The thrill of Live broadcasts means they are generally regarded as more popular than recorded events, but there are exceptions; artists with a loyal cult or teenage following tend to do particularly well in this area, as concert films featuring artists such as the Grateful Dead, Pearl Jam, JLS, Led Zeppelin and the Rolling Stones have shown. ==== The Future ==== As more and more distributors are emerging, offering an increasingly broad range of content to cinemas worldwide, the landscape itself is shifting: screen advertising companies, technical providers, and exhibitors themselves are reinventing themselves as Alternative Content or Event Cinema distributors, and the industry is witnessing a re-evaluation of business models and practices worldwide. Predictions are that this industry could be work in excess of US$1bn by 2015. An illustration of the growth of this industry is the news the establishment of a European trade association promoting the industry to the general public and supporting those involved in it and the Event Cinema Association.

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