AI For Business Specialization

AI For Business Specialization — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Smart environment

  Smart environments link computers and other smart devices to everyday settings and tasks. Smart environments include smart homes, smart cities, and smart manufacturing. == Introduction == Smart environments are an extension of pervasive computing. According to Mark Weiser, pervasive computing promotes the idea of a world that is connected to sensors and computers. These sensors and computers are integrated with everyday objects in peoples' lives and are connected through networks. == Definition == Cook and Das, define a smart environment as "a small world where different kinds of smart devices are continuously working to make inhabitants' lives more comfortable." Smart environments aim to satisfy the experience of individuals from every environment, by replacing hazardous work, physical labor, and repetitive tasks with automated agents. Poslad differentiates three different kinds of smart environments for systems, services, and devices: virtual (or distributed) computing environments, physical environments, and human environments, or a hybrid combination of these: Virtual computing environments enable smart devices to access pertinent services anywhere and anytime. Physical environments may be embedded with various smart devices of different types including tags, sensors, and controllers, and have different form factors ranging from nano- to micro- to macro-sized. Human environments: humans, either individually or collectively, inherently form a smart environment for devices. However, humans themselves may be accompanied by smart devices such as mobile phones, use surface-mounted devices (wearable computing), and contain embedded devices (e.g., pacemakers to maintain a healthy heart operation or AR contact lenses) == Features == Smart environments encompass a range of features and services across various domains, including smart homes, smart cities, smart health, and smart factories. Some of the key features of smart environments are: Sensors and Actuators: Smart environments are equipped with an assembly of sensors and actuators that collect data and initiate actions to provide services for the betterment of human life. Interconnected Systems: These environments consist of interconnected systems that enable seamless communication and coordination among various devices and components. Data-Driven Technologies: Smart environments leverage data-driven technologies, such as the Internet of Things (IoT), to obtain information from the physical world, process it, and perform actions accordingly. Efficiency and Sustainability: They are designed to improve efficiency, sustainable practices, and resource management across different settings, such as energy efficiency in smart homes and environmental quality management in smart cities. Diverse Requirements: Different types of smart environments have diverse requirements and technology choices, influencing the processing and utilization of data within a specific environment. == Technologies == Building a smart environment involves technologies of Wireless communication Algorithm design, signal prediction & classification, information theory Multilayered software architecture, Corba, middleware Speech recognition Image processing, image recognition Sensors design, calibration, motion detection, temperature, pressure sensors, accelerometers Semantic Web and knowledge graphs Adaptive control, Kalman filters Computer networking Parallel processing Operating systems == Existing projects == The Aware Home Research Initiative at Georgia Tech "is devoted to the multidisciplinary exploration of emerging technologies and services based in the home" and was launched in 1998 as one of the first "living laboratories." The Mav Home (Managing an Adaptive Versatile Home) project, at UT Arlington, is a smart environment-lab with state-of-the-art algorithms and protocols used to provide a customized, personal environment to the users of this space. The Mav Home project, in addition to providing a safe environment, wants to reduce the energy consumption of the inhabitants. Other projects include House at the MIT Media Lab and many others.

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  Foreground detection

  Foreground detection is one of the major tasks in the field of computer vision and image processing whose aim is to detect changes in image sequences. Background subtraction is any technique which allows an image's foreground to be extracted for further processing (object recognition etc.). Many applications do not need to know everything about the evolution of movement in a video sequence, but only require the information of changes in the scene, because an image's regions of interest are objects (humans, cars, text etc.) in its foreground. After the stage of image preprocessing (which may include image denoising, post processing like morphology etc.) object localisation is required which may make use of this technique. Foreground detection separates foreground from background based on these changes taking place in the foreground. It is a set of techniques that typically analyze video sequences recorded in real time with a stationary camera. == Description == All detection techniques are based on modelling the background of the image, i.e., setting the background and detecting which changes occur. Defining the background can be difficult when it contains shapes, shadows, and moving objects. In defining the background, it is assumed that stationary objects may vary in color and intensity over time. Scenarios in which these techniques apply tend to be very diverse. There can be highly variable sequences, such as images with different lighting, interiors, exteriors, quality, and noise. In addition to real-time processing, systems need to adapt to these changes. A foreground detection system should be able to: Develop a background model (estimate). Be robust to lighting changes, repetitive movements (leaves, waves, shadows), and long-term changes. == Background subtraction == Background subtraction is a widely used approach for detecting moving objects in videos from static cameras. The rationale in the approach is that of detecting the moving objects from the difference between the current frame and a reference frame, often called "background image", or "background model". Background subtraction is mostly done if the image in question is a part of a video stream. Background subtraction provides important cues for numerous applications in computer vision, for example surveillance tracking or human pose estimation. Background subtraction is generally based on a static background hypothesis which is often not applicable in real environments. With indoor scenes, reflections or animated images on screens lead to background changes. Similarly, due to wind, rain or illumination changes brought by weather, static backgrounds methods have difficulties with outdoor scenes. == Temporal average filter == The temporal average filter is a method that was proposed at the Velastin. This system estimates the background model from the median of all pixels of a number of previous images. The system uses a buffer with the pixel values of the last frames to update the median for each image. To model the background, the system examines all images in a given time period called training time. At this time, we only display images and will find the median, pixel by pixel, of all the plots in the background this time. After the training period for each new frame, each pixel value is compared with the input value of funds previously calculated. If the input pixel is within a threshold, the pixel is considered to match the background model and its value is included in the pixbuf. Otherwise, if the value is outside this threshold pixel is classified as foreground, and not included in the buffer. This method cannot be considered very efficient because they do not present a rigorous statistical basis and requires a buffer that has a high computational cost. == Conventional approaches == A robust background subtraction algorithm should be able to handle lighting changes, repetitive motions from clutter and long-term scene changes. The following analyses make use of the function of V(x,y,t) as a video sequence where t is the time dimension, x and y are the pixel location variables. e.g. V(1,2,3) is the pixel intensity at (1,2) pixel location of the image at t = 3 in the video sequence. === Using frame differencing === A motion detection algorithm begins with the segmentation part where foreground or moving objects are segmented from the background. The simplest way to implement this is to take an image as background and take the frames obtained at the time t, denoted by I(t) to compare with the background image denoted by B. Here using simple arithmetic calculations, we can segment out the objects simply by using image subtraction technique of computer vision meaning for each pixels in I(t), take the pixel value denoted by P[I(t)] and subtract it with the corresponding pixels at the same position on the background image denoted as P[B]. In mathematical equation, it is written as: P [ F ( t ) ] = P [ I ( t ) ] − P [ B ] {\displaystyle P[F(t)]=P[I(t)]-P[B]} The background is assumed to be the frame at time t. This difference image would only show some intensity for the pixel locations which have changed in the two frames. Though we have seemingly removed the background, this approach will only work for cases where all foreground pixels are moving, and all background pixels are static. A threshold "Threshold" is put on this difference image to improve the subtraction (see Image thresholding): | P [ F ( t ) ] − P [ F ( t + 1 ) ] | > T h r e s h o l d {\displaystyle |P[F(t)]-P[F(t+1)]|>\mathrm {Threshold} } This means that the difference image's pixels' intensities are 'thresholded' or filtered on the basis of value of Threshold. The accuracy of this approach is dependent on speed of movement in the scene. Faster movements may require higher thresholds. === Mean filter === For calculating the image containing only the background, a series of preceding images are averaged. For calculating the background image at the instant t: B ( x , y , t ) = 1 N ∑ i = 1 N V ( x , y , t − i ) {\displaystyle B(x,y,t)={1 \over N}\sum _{i=1}^{N}V(x,y,t-i)} where N is the number of preceding images taken for averaging. This averaging refers to averaging corresponding pixels in the given images. N would depend on the video speed (number of images per second in the video) and the amount of movement in the video. After calculating the background B(x,y,t) we can then subtract it from the image V(x,y,t) at time t = t and threshold it. Thus the foreground is: | V ( x , y , t ) − B ( x , y , t ) | > T h {\displaystyle |V(x,y,t)-B(x,y,t)|>\mathrm {Th} } where Th is a threshold value. Similarly, we can also use median instead of mean in the above calculation of B(x,y,t). Usage of global and time-independent thresholds (same Th value for all pixels in the image) may limit the accuracy of the above two approaches. === Running Gaussian average === For this method, Wren et al. propose fitting a Gaussian probabilistic density function (pdf) on the most recent n {\displaystyle n} frames. In order to avoid fitting the pdf from scratch at each new frame time t {\displaystyle t} , a running (or on-line cumulative) average is computed. The pdf of every pixel is characterized by mean μ t {\displaystyle \mu _{t}} and variance σ t 2 {\displaystyle \sigma _{t}^{2}} . The following is a possible initial condition (assuming that initially every pixel is background): μ 0 = I 0 {\displaystyle \mu _{0}=I_{0}} σ 0 2 = ⟨ some default value ⟩ {\displaystyle \sigma _{0}^{2}=\langle {\text{some default value}}\rangle } where I t {\displaystyle I_{t}} is the value of the pixel's intensity at time t {\displaystyle t} . In order to initialize variance, we can, for example, use the variance in x and y from a small window around each pixel. Note that background may change over time (e.g. due to illumination changes or non-static background objects). To accommodate for that change, at every frame t {\displaystyle t} , every pixel's mean and variance must be updated, as follows: μ t = ρ I t + ( 1 − ρ ) μ t − 1 {\displaystyle \mu _{t}=\rho I_{t}+(1-\rho )\mu _{t-1}} σ t 2 = d 2 ρ + ( 1 − ρ ) σ t − 1 2 {\displaystyle \sigma _{t}^{2}=d^{2}\rho +(1-\rho )\sigma _{t-1}^{2}} d = | ( I t − μ t ) | {\displaystyle d=|(I_{t}-\mu _{t})|} Where ρ {\displaystyle \rho } determines the size of the temporal window that is used to fit the pdf (usually ρ = 0.01 {\displaystyle \rho =0.01} ) and d {\displaystyle d} is the Euclidean distance between the mean and the value of the pixel. We can now classify a pixel as background if its current intensity lies within some confidence interval of its distribution's mean: | ( I t − μ t ) | σ t > k ⟶ foreground {\displaystyle {\frac {|(I_{t}-\mu _{t})|}{\sigma _{t}}}>k\longrightarrow {\text{foreground}}} | ( I t − μ t ) | σ t ≤ k ⟶ background {\displaystyle {\frac {|(I_{t}-\mu _{t})|}{\sigma _{t}}}\leq k\longrightarrow {\text{background}}} where the parameter k {\displaystyle k} is a free threshold (usuall

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  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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  Data communication

  Data communication is the transfer of data over a point-to-point or point-to-multipoint communication channel. Data communication comprises data transmission and data reception and can be classified as analog transmission and digital communications. Analog data communication conveys voice, data, image, signal or video information using a continuous signal, which varies in amplitude, phase, or some other property. In baseband analog transmission, messages are represented by a sequence of pulses by means of a line code; in passband analog transmission, they are communicated by a limited set of continuously varying waveforms, using a digital modulation method. Passband modulation and demodulation are carried out by modem equipment. Digital transmission and digital reception are the transfer of either a digitized analog signal or a born-digital bitstream. Baseband digital transmission is regarded as comprising part of a digital signal, whereas passband transmission of digital data may also or alternatively be considered a form of digital-to-analog conversion. Data communication channels include copper wires, optical fibers, wireless communication using radio spectrum, storage media and computer buses. The data are represented as an electromagnetic signal, such as an electrical voltage, radiowave, microwave, or infrared signal. == Distinction between related subjects == Digital transmission or data transmission traditionally belongs to telecommunications and electrical engineering. Basic principles of data transmission may also be covered within the computer science or computer engineering topic of data communications, which also includes computer networking applications and communication protocols, for example, routing, switching and inter-process communication. Although the Transmission Control Protocol (TCP) involves transmission, TCP and other transport layer protocols are covered in computer networking but not discussed in a textbook or course about data transmission. In most textbooks, the term analog transmission only refers to the transmission of an analog message signal (without digitization) by means of an analog signal, either as a non-modulated baseband signal or as a passband signal using an analog modulation method such as AM or FM. It may also include analog-over-analog pulse modulated baseband signals such as pulse-width modulation. In a few books within the computer networking tradition, analog transmission also refers to passband transmission of bit-streams using digital modulation methods such as FSK, PSK and ASK. The theoretical aspects of data transmission are covered by information theory and coding theory. == Protocol layers and sub-topics == Courses and textbooks in the field of data transmission typically deal with the following OSI model protocol layers and topics: Layer 1, the physical layer: Channel coding including Digital modulation schemes Line coding schemes Forward error correction (FEC) codes Bit synchronization Multiplexing Equalization Channel models Layer 2, the data link layer: Channel access schemes, media access control (MAC) Packet mode communication and Frame synchronization Error detection and automatic repeat request (ARQ) Flow control Layer 6, the presentation layer: Source coding (digitization and data compression), and information theory. Cryptography (may occur at any layer) It is also common to deal with the cross-layer design of those three layers. == Applications and history == Data (mainly but not exclusively informational) has been sent via non-electronic (e.g. optical, acoustic, mechanical) means since the advent of communication. Analog signal data has been sent electronically since the advent of the telephone. However, the first data electromagnetic transmission applications in modern time were electrical telegraphy (1809) and teletypewriters (1906), which are both digital signals. The fundamental theoretical work in data transmission and information theory by Harry Nyquist, Ralph Hartley, Claude Shannon and others during the early 20th century, was done with these applications in mind. In the early 1960s, Paul Baran invented distributed adaptive message block switching for digital communication of voice messages using switches that were low-cost electronics. Donald Davies invented and implemented modern data communication during 1965–7, including packet switching, high-speed routers, communication protocols, hierarchical computer networks and the essence of the end-to-end principle. Baran's work did not include routers with software switches and communication protocols, nor the idea that users, rather than the network itself, would provide the reliability. Both were seminal contributions that influenced the development of computer networks. Data transmission is utilized in computers in computer buses and for communication with peripheral equipment via parallel ports and serial ports such as RS-232 (1969), FireWire (1995) and USB (1996). The principles of data transmission are also utilized in storage media for error detection and correction since 1951. The first practical method to overcome the problem of receiving data accurately by the receiver using digital code was the Barker code invented by Ronald Hugh Barker in 1952 and published in 1953. Data transmission is utilized in computer networking equipment such as modems (1940), local area network (LAN) adapters (1964), repeaters, repeater hubs, microwave links, wireless network access points (1997), etc. In telephone networks, digital communication is utilized for transferring many phone calls over the same copper cable or fiber cable by means of pulse-code modulation (PCM) in combination with time-division multiplexing (TDM) (1962). Telephone exchanges have become digital and software controlled, facilitating many value-added services. For example, the first AXE telephone exchange was presented in 1976. Digital communication to the end user using Integrated Services Digital Network (ISDN) services became available in the late 1980s. Since the end of the 1990s, broadband access techniques such as ADSL, Cable modems, fiber-to-the-building (FTTB) and fiber-to-the-home (FTTH) have become widespread to small offices and homes. The current tendency is to replace traditional telecommunication services with packet mode communication such as IP telephony and IPTV. Transmitting analog signals digitally allows for greater signal processing capability. The ability to process a communications signal means that errors caused by random processes can be detected and corrected. Digital signals can also be sampled instead of continuously monitored. The multiplexing of multiple digital signals is much simpler compared to the multiplexing of analog signals. Because of all these advantages, because of the vast demand to transmit computer data and the ability of digital communications to do so and because recent advances in wideband communication channels and solid-state electronics have allowed engineers to realize these advantages fully, digital communications have grown quickly. The digital revolution has also resulted in many digital telecommunication applications where the principles of data transmission are applied. Examples include second-generation (1991) and later cellular telephony, video conferencing, digital TV (1998), digital radio (1999), and telemetry. Data transmission, digital transmission or digital communications is the transfer of data over a point-to-point or point-to-multipoint communication channel. Examples of such channels include copper wires, optical fibers, wireless communication channels, storage media and computer buses. The data are represented as an electromagnetic signal, such as an electrical voltage, radio wave, microwave, or infrared light. While analog transmission is the transfer of a continuously varying analog signal over an analog channel, digital communication is the transfer of discrete messages over a digital or an analog channel. The messages are either represented by a sequence of pulses by means of a line code (baseband transmission) or by a limited set of continuously varying waveforms (passband transmission), using a digital modulation method. The passband modulation and corresponding demodulation (also known as detection) are carried out by modem equipment. According to the most common definition of a digital signal, both baseband and passband signals representing bit-streams are considered as digital transmission, while an alternative definition only considers the baseband signal as digital, and passband transmission of digital data as a form of digital-to-analog conversion. Data transmitted may be digital messages originating from a data source, for example, a computer or a keyboard. It may also be an analog signal, such as a phone call or a video signal, digitized into a bit-stream, for example,e using pulse-code modulation (PCM) or more advanced source coding (analog-to-digital conversion and

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  Resilience week

  Resilience week is an annual symposium established to enable cross-disciplinary and role based discussions to advance strategies and research that engenders resilience in critical infrastructure systems and communities. Damaging storms, cyber attack and the interconnection of critical infrastructure systems can lead to cascading events that not only affect local but also across regions. However, many of these interdependencies are not easily recognized and obscure and complicate the mitigation of risk. The purpose of the symposia series is hence to facilitate best practice in managing critical infrastructure risks, by bringing together businesses, government and researchers. == Background == Originally organized in 2008 as a focus on the new research area of resilient control systems, including the disciplinary areas of control system, cyber-security, cognitive psychology and any number of critical infrastructure domains. Resilience has long been recognized as an area that requires not only the contributions of multiple disciplines or multidisciplinary participation, but interdisciplinary interaction where there is a common language and familiarity of the contributors to what other disciplines (and roles) contribute. The resulting interactions developed by Resilience Week and associated activities are intended to culture this sharing environment as a safe zone for inclusion; more importantly, an environment that lends to developing the new science and practice. As the attributes of resilience are complex, the contributions and topics for the event have included both the disciplinary and the project considerations, in keynotes, panels and research presentations. Keynotes have included senior leadership in the Department of Energy, Department of Defense, Department of Homeland Security, the National Science Foundation, and other agencies in addition to National Academy and professional organization fellows and senior industry leaders. Project panels and research presentations include emergent topics in resilience to climate change, cyber attack, damaging storms and the energy assurance. Topics Areas of focus have included: Control Systems Cyber Systems Cognitive Systems Communications Systems Communities and Infrastructure Project Focus Areas have included: Dependencies and Interdependencies Cyber Resilience for Operating Technology Commercializing Research and Development Building Critical Infrastructure Resilience through Distributed Energy Resources Energy Equity and Community Resilience Proceedings are developed for each year of the event, documenting the diversity of the research and engagements within these topical areas. == Impacts for the future == Since its inception, the Resilience Week community has evolved from one that primarily included only university researchers to one that includes many government laboratories, universities and private industries in the US and internationally. This type of collaboration forms a feedback loop that informs the research with the current needs and hones best practices. The future of the event is to further advance discussions that advance investment, recognize priorities and expedite technologies and tools to proactively address our energy future, in light of the natural and manmade challenges, and rationalizing the complex relationships that exist in critical infrastructure.

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  List of UPnP AV media servers and clients

  This is a list of UPnP AV media servers and client application or hard appliances. == UPnP AV media servers == === Software === === Cross-platform === Allonis myServer, a multi-faceted media player/organizer with a DLNA/UPnP server, controller, and renderer, including conversion. Runs on Microsoft Windows. Supports most all HTML5 devices as remote controls. Asset UPnP (DLNA compatible) from Illustrate. An audio specific UPnP/DLNA server for Windows, QNAP, macOS and Linux. Features audio WAVE/LPCM transcoding from a range of audio codecs, ReplayGain and playlists. FreeMi UPnP Media Server, very simple server, historically used to stream to the STB Freebox, based on .net/mono. Home Media Server, a free media server/player/controller for Windows, Linux, macOS, individual device settings, transcoding, external and internal subtitles, restricted device access to folders, uploading files, Internet-Radio, Internet-Television, Digital Video Broadcasting (DVB), DMR-control and "Play To", Music (Visualization), Photo (Slideshow), support for 3D-subtitles, support for BitTorrent files, Web-navigation with HTML5 player, Digital Media Renderer (DMR) emulation for AirPlay and Google Cast devices. Jellyfin, a free and open-source suite of multimedia applications designed to organize, manage, and share digital media files to networked devices. JRiver Media Center, a multi-faceted media player/organizer with a DLNA/UPnP server, controller, and renderer, including conversion. Supports Microsoft Windows, macOS and Linux. Kodi (previously XBMC), a cross platform open source software media-player/media center for Android, Apple TV, Linux, macOS and Windows. LimboMedia, a free cross platform home- and UPnP/DLNA mediaserver with android app and WebM transcoding for browser playback (build with java and FFmpeg). MinimServer, a Java-based highly configurable uPnP/DNLA music server with additional consideration given to Classical Music, supports transcoding with MinimStreamer, supports Microsoft Windows, macOS, Linux, and various NAS devices. Neutron Music Player, acts as a cross platform UPnP/DLNA Media Renderer server available for Android, iOS, BlackBerry 10 & PlayBook platforms. Supports gapless playback and has possibility to output rendered audio further to the high-resolution internal DAC or external USB DAC or another UPnP/DLNA Media Renderer with all supported DSP effects applied. Plex, a cross-platform and closed source software media player and entertainment hub for digital media, available for macOS, Microsoft Windows, Linux, as well as mobile clients for iOS (including Apple TV (2nd generation) onwards), Android, Windows Phone, and many devices such as Xbox. Supports on-the-fly transcoding of video and music. PonoMusic World. Based on the JRiver Media Center software, includes similar features along with a store for purchasing HD audio tracks. PS3 Media Server, a free cross platform Java based UPnP DLNA server especially good for AVC and other current HD media codecs with on-the-fly transcoding. Serviio, is available with a free and a pro license. It can stream media files (music, video or images) to renderer devices (e.g. a TV set, Blu-ray player, games console or mobile phone) on a local area network. TVMOBiLi, a cross platform, high performance UPnP/DLNA Media Server for Windows, macOS and Linux. TwonkyMedia server, a cross-platform multimedia server and entertainment hub for digital media, available for Android, Apple TV, iOS, Linux, macOS, Microsoft Windows, Windows Phone, and Xbox 360. Universal Media Server, a free (open source) DLNA-compliant UPnP Media Server for Windows, macOS and Linux (originally based on the PS3 Media Server). It is able to stream videos, audio and images to any DLNA-capable device. It contains more features than most paid UPnP/DLNA Media Servers. It streams to many devices including TVs (Samsung, Sony, Panasonic, LG, Philips and more.), PS3, Xbox(One/360), smartphones, Blu-ray players and more. vGet Cast, a simple, cross platform (Chrome App) DLNA server and controller for single, local video files. Vuze, an open-source Java-based BitTorrent client which contains MediaServer plugin. Wild Media Server, a media server/player/controller for Windows, Linux, macOS, individual device settings, transcoding, external and internal subtitles, restricted device access to folders, uploading files, Internet-Radio, Internet-Television, Digital Video Broadcasting (DVB), DMR-control and "Play To", Music (Visualization), Photo (Slideshow), support for 3D-subtitles, support for BitTorrent files, Web-navigation with HTML5 player, Digital Media Renderer (DMR) emulation for AirPlay and Google Cast devices. === Android === BubbleUPnP Android UPnP/DLNA server, player, controller and renderer CastLab Android UPnP/DLNA server. Pixel Media Server, Android UPnP/DLNA Media Server. Supports all popular Video and Audio files. It also support external subtitle file (SRT) Plato is an Android UPnP client app that can play videos and audio. Toaster Cast Android UPnP/DLNA server, controller and renderer vGet, Android App that can play videos embedded in websites on DLNA renderers. Media Cast UPnP, Android UPnP client app that can play videos/Audio. Media Server Pro is a DLNA server that allows individual file selections for sharing. Slick UPnP A minimal and intuitive open-source Android UPnP client app that can play video/audio. (It is not DMS) YAACC Open source UPnP controller, renderer and server app === Linux === === Microsoft Windows === Sundtek Streamingserver a native Windows TV Server providing DVB, ATSC and ISDB-T via UPnP/DLNA, it also supports streaming media files (it only supports TV devices from Sundtek). Stream What You Hear, a Windows application that streams the sound of your computer (i.e.: “what you hear”) to UPnP/DLNA device such as TVs, amps, network receivers, game consoles, etc... TVersity Media Server, a Windows application that streams multimedia content from a personal computer to UPnP, DLNA and mobile devices (Chromecast is also supported). It was the first media server to offer real-time transcoding (back in 2005). TVersity Screen Server, a Windows application that mirrors the screen of a personal computer to UPnP, DLNA and mobile devices. DVBViewer, a Windows application, mainly for TV/Radio recording/playback, but with the ability to stream live TV/radio as well as multimedia files via UPnP/DLNA. DivX, a Windows application, mainly for video encoding into DivX format, but has the ability to stream multimedia files via DLNA. foobar2000, a freeware audio player for Windows. Highly customizable, audio only. Download of dlna-extension from the developers' webpage necessary. Home Media Center, a free and open source media server compatible with DLNA. Includes web interface for streaming content to web browser (Android, iOS, ...), subtitles integration and Windows desktop streaming. This server is easy to use. KooRaRoo Media, a commercial DLNA media server and organizer for Windows. Includes on-the-fly transcoding, per-file and per-folder parental controls, powerful organizing features with dynamic playlists, Internet radio streaming, "Play To" functionality and remote device control, burned-in and external subtitles, extensive format support including RAW photo formats. Streams all files to all devices. Media Go, media player and tagger MediaMonkey, a free media player/tagger/editor with an UPnP/DLNA client and server for Microsoft Windows MusicBee, an audio player, supports UPnP via a plugin. Mezzmo, a commercial software package. Mezzmo streams music, movies, photos and subtitles to the UPnP and DLNA-enabled devices. It automatically finds and organizes music, movies and photos, imports multimedia files from iPad, iPhone, iPod, Audio CDs, iTunes, Windows Media Player and WinAmp. DLNA server supports all popular media file formats with real time transcoding to meet the device specifications. PlayOn, a commercial UPnP/DLNA media server for Windows, includes a transcoder for streaming web video. TVble, a cloud connected (Rotten tomatoes/TMDB etc.), Torrent streaming, DLNA enabled media server. Allows single file or playlist downloads. Windows Media Connect from Microsoft, a free UPnP AV MediaServer and control point (server and client) for Microsoft Windows WMC version 2.0 can be installed for usage with Windows Media Player 10 for Windows XP WMC version 3.0 can be installed for usage with Windows Media Player 11 for Windows XP WMC version 4.0 comes pre-installed on Windows Vista with its Windows Media Player 11 WMC can also refer to Windows Media Center. From the Windows Media Center entry in Wikipedia: In May 2015, Microsoft announced that Windows Media Center would be discontinued on Windows 10, and that it would be uninstalled when upgrading; but stated that those upgrading from a version of Windows that included the Media Center application would receive the paid Windows DVD Player app to maintain DVD playback functio

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  NexDock

  NexDock is a series of lapdock devices (containing a laptop screen, keyboard, trackpad, and battery connected to a phone or other device) sold by Nex Computer LLC. The product can be used with mobile desktop environments, including Samsung DeX and the former Windows Continuum. Critical reception for the series has been mixed, with reviewers praising the concept's utility for mobile productivity while noting hardware limitations and its niche appeal. == History == The first NexDock was introduced in 2016 through a successful Indiegogo campaign. Its development coincided with interest in smartphone-powered desktop interfaces, and it was marketed as a companion for Windows 10 Mobile's Continuum feature. Subsequent models, often launched via Kickstarter, added features like higher-resolution displays, touchscreens, and convertible hinges to adapt to the growing capabilities of smartphones. == Models == === NexDock (Original, 2016) === The first model featured a 14.1-inch 1366x768 display and connected primarily via a mini HDMI port. === NexDock 2 (2019) === This model introduced a 13.3-inch 1080p IPS display and a USB-C port, improvements aimed at better supporting platforms like Samsung DeX. === NexDock Touch (2020) === A touchscreen was added to the 13.3-inch display, allowing for more direct interaction with the connected device's operating system. === NexDock 360 (2021) === This version incorporated a 360-degree hinge, allowing the device to be used in laptop, tablet, tent, or stand modes. === NexDock Wireless (2023) === Wireless display connectivity was the key feature of this model, offering a cable-free connection to compatible phones and computers. === NexDock XL (2023) === The screen size was increased to 15.6 inches. It retained the 360-degree hinge and also offered a version with wireless charging for a connected phone. == Reception == Reviews of NexDock products have been mixed, generally praising the concept while pointing out execution flaws. The devices are often lauded for their utility with Samsung DeX, turning a high-end Samsung phone into a viable portable workstation. A review of the NexDock 2 from ZDNet concluded it was a "great companion for the modern road warrior," and Digital Trends called the original a "no-brainer shell" for expanding a phone's capability. However, reviewers have consistently highlighted hardware limitations. In its review of the NexDock Touch, TechRadar stated that while it was a "compelling package for a very specific niche," the "trackpad and keyboard are a bit of a letdown and the screen could be brighter." This sentiment was echoed in other reviews, with criticism often aimed at the trackpad's performance and feel. A review of the NexDock 2 from Android Authority described the experience as being "janky at times," concluding that the device "delivers on its promise — sort of." A common point across many reviews is that the overall performance is entirely dependent on the power of the connected phone, and the experience is often best suited for light productivity tasks rather than replacing a dedicated laptop.

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  Go-box

  Go-box is a name used for a number of electronic devices. The "Go-Box" is often a box, crate, carry-case, modified briefcase or similar construction containing electronic equipment pre-setup and ready to function. The box can then be taken into the field or placed at a remote site with minimal effort. These are often used by radio amateurs (or "Hams") for emergency communications, experimental work, or field communications. This has also led to similar equipment being used in the Emergency Services, utility companies, military, and government agencies. A search of the YouTube website can reveal a number of ideas for these devices mostly built by people at home. Terms created after the use of "go-box" include the "go-bag" which is an 'essentials' bag of items needed for evacuations or quick departures, i.e. medicines, clothes, torch, Broadcast radio receiver, batteries, etc. In Austria it is a radio transmitter used in trucks as part of the Videomaut toll collection system. One use of the term in the United States it is a device which is supposed to change traffic signals from red to green. U.S. Fire trucks have a similar device, called an Opticon, that uses an infrared beam. Two residents of Miami, Florida, were arrested for selling fake go-boxes online. Several hundred were sold, prices ranging from $69 to $150. In reality, the boxes contained nothing more than strobe lights.

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  Groover

  Groover is an online platform, record label and distributor, connecting artists and musicians with music professionals and media outlets. The service was founded in 2018 in France and operates from offices in Paris and New York. The platform has over 3,000 active contacts, including SPIN Magazine and Sofar Sounds. Groover uses a micro-payment model. Among the platform's over 500,000 regular users are record labels such as Ninja Tune, Ba Da Bing Records, Dance To The Radio, Roche Musique, Wagram Music, Secret City Records, and artists including Bonobo, Michael Bolton, Aloe Blacc, Haddaway, Passenger, La Femme and Chinese Man. == History == Groover was launched at the MaMA Music Convention in October 2018. It was co-founded by Dorian Perron, Romain Palmieri, and Rafaël Cohen while they were students at UC Berkeley. Initially growing in France, the company has expanded to the United States, Canada, the United Kingdom, Brazil, Italy, and elsewhere in Europe. In March 2019, Groover was part of the Business France delegation at the South by Southwest (SXSW) festival. In June 2019, Groover raised €1.3 million from various angel investors. In April 2021, Groover acquired the platform Soonvibes, which had 70,000 users at the time, in order to strengthen its community in the electronic music space. In November 2021, Groover announced a €6 million funding round from Bpifrance Creative Industries and Partech. Between 2023 and 2025, Groover entered strategic partnerships with major artist service providers, including CD Baby, TuneCore, SoundCloud, UnitedMasters, Symphonic Distribution, Audiomack and SACEM. In February 2024, Groover announced a Series A funding round of $8 million from OneRagTime, Trind, Techmind, and Mozza Angels. == Function == Using a micro-payment system, professionals listen to tracks and provide written feedback. These professionals retain full editorial independence and are under no obligation to share the track or contact the artist. == Awards == 2nd Prize for Music Innovation 2023 from the Centre national de la musique (France) "Future Creator" Award at the Petit Poucet Competition 2019 Jury's Special Mention at the MaMA Invent 2019 competition 1st Prize for Digital Initiative in Culture, Communication & Media 2019 awarded by Audiens "Start-up of the Year" at the Social Music Awards 2020 French American Entrepreneurship Award 2022 at the French Consulate in New York

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  Open Rights Group

  The Open Rights Group (ORG) is a UK-based organisation that works to preserve digital rights and freedoms by campaigning on digital rights issues and by fostering a community of grassroots activists. It campaigns on numerous issues including mass surveillance, internet filtering and censorship, and intellectual property rights. == History == The organisation was started by Danny O'Brien, Cory Doctorow, Ian Brown, Rufus Pollock, James Cronin, Stefan Magdalinski, Louise Ferguson and Suw Charman after a panel discussion at Open Tech 2005. O'Brien created a pledge on PledgeBank, placed on 23 July 2005, with a deadline of 25 December 2005: "I will create a standing order of 5 pounds per month to support an organisation that will campaign for digital rights in the UK but only if 1,000 other people will too." The pledge reached 1000 people on 29 November 2005. The Open Rights Group was launched at a "sell-out" meeting in Soho, London. == Work == The group has made submissions to the All Party Internet Group (APIG) inquiry into digital rights management and the Gowers Review of Intellectual Property. The group was honoured in the 2008 Privacy International Big Brother Awards alongside No2ID, Liberty, Genewatch UK and others, as a recognition of their efforts to keep state and corporate mass surveillance at bay. In 2010 the group worked with 38 Degrees to oppose the introduction of the Digital Economy Act, which was passed in April 2010. The group opposes measures in the draft Online Safety Bill introduced in 2021, that it sees as infringing free speech rights and online anonymity. The group campaigns against the Department for Digital, Culture, Media and Sport's plan to switch to an opt-out model for cookies. The group spokesperson stated that "[t]he UK government propose to make online spying the default option" in response to the proposed switch. == Areas of interest == The organisation, though focused on the impact of digital technology on the liberty of UK citizens, operates with an apparently wide range of interests within that category. Its interests include: === Access to knowledge === Copyright Creative Commons Free and open source software The public domain Crown copyright Digital Restrictions Management Software patents === Free speech and censorship === Internet filtering Right to parody s. 127 Communications Act 2003 === Government and democracy === Electronic voting Freedom of information legislation === Privacy, surveillance and censorship === Automatic Vehicle Tracking Communications data retention Identity management Net Neutrality NHS patients' medical database Police DNA Records RFID == Structure == ORG has a paid staff, whose members include: Jim Killock (executive director) Former staff include Suw Charman-Anderson and Becky Hogge, both executive directors, e-voting coordinator Jason Kitcat, campaigner Peter Bradwell, grassroots campaigner Katie Sutton and administrator Katerina Maniadaki. Neil Gaiman was previously the group's patron. As of October 2022, the group had over 43,000 supporters. == ORGCON == ORGCON was the first ever conference dedicated to digital rights in the UK, marketed as "a crash course in digital rights". It was held for the first time in 2010 at City University in London and included keynote talks from Cory Doctorow, politicians and similar pressure groups including Liberty, NO2ID and Big Brother Watch. ORGCON has since been held in 2012, 2013, 2014, 2017, and 2019 where the keynote was given by Edward Snowden.

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  Digital image correlation for electronics

  Digital image correlation analyses have applications in material property characterization, displacement measurement, and strain mapping. As such, DIC is becoming an increasingly popular tool when evaluating the thermo-mechanical behavior of electronic components and systems. == CTE measurements and glass transition temperature identification == The most common application of DIC in the electronics industry is the measurement of coefficient of thermal expansion (CTE). Because it is a non-contact, full-field surface technique, DIC is ideal for measuring the effective CTE of printed circuit boards (PCB) and individual surfaces of electronic components. It is especially useful for characterizing the properties of complex integrated circuits, as the combined thermal expansion effects of the substrate, molding compound, and die make effective CTE difficult to estimate at the substrate surface with other experimental methods. DIC techniques can be used to calculate average in-plane strain as a function of temperature over an area of interest during a thermal profile. Linear curve-fitting and slope calculation can then be used to estimate an effective CTE for the observed area. Because the driving factor in solder fatigue is most often the CTE mismatch between a component and the PCB it is soldered to, accurate CTE measurements are vital for calculating printed circuit board assembly (PCBA) reliability metrics. DIC is also useful for characterizing the thermal properties of polymers. Polymers are often used in electronic assemblies as potting compounds, conformal coatings, adhesives, molding compounds, dielectrics, and underfills. Because the stiffness of such materials can vary widely, accurately determining their thermal characteristics with contact techniques that transfer load to the specimen, such as dynamic mechanical analysis (DMA) and thermomechanical analysis (TMA), is difficult to do with consistency. Accurate CTE measurements are important for these materials because, depending on the specific use case, expansion and contraction of these materials can drastically affect solder joint reliability. For example, if a stiff conformal coating or other polymeric encapsulation is allowed to flow under a QFN, its expansion and contraction during thermal cycling can add tensile stress to the solder joints and expedite fatigue failure. DIC techniques will also allow the detection of glass transition temperature (Tg). At a glass transition temperature, the strain vs. temperature plot will exhibit a change in slope. Determining the Tg is very important for polymeric materials that could have glass transition temperatures within the operating temperature range of the electronics assemblies and components on which they are used. For example, some potting materials can see the Elastic Modulus of the material change by a factor of 100 or more over the glass transition region. Such changes can have drastic effects on an electronic assembly's reliability if they are not planned for in the design process. == Out-of-plane component warpage == When 3D DIC techniques are employed, out-of-plane motion can be tracked in addition to in-plane motion. Out-of-plane warpage is especially of interest at the component level of electronics packaging for solder joint reliability quantification. Excessive warpage during reflow can contribute to defective solder joints by lifting the edges of the component away from the board and creating head-in-pillow defects in ball grid arrays (BGA). Warpage can also shorten the fatigue life of adequate joints by adding tensile stresses to edge joints during thermal cycling. == Thermo-mechanical strain mapping == When a PCBA is over-constrained, thermo-mechanical stress brought about during thermal expansion can cause board strains that could negatively affect individual component and overall assembly reliability. The full-field monitoring capabilities of an image correlation technique allow for the measurement of strain magnitude and location on the surface of a specimen during a displacement-causing event, such as PCBA during a thermal profile. These "strain maps" allow for the comparison of strain levels over full areas of interest. Many traditional discrete methods, like extensometers and strain gauges, only allow for localized measurements of strain, inhibiting their ability to efficiently measure strain across larger areas of interest. DIC techniques have also been used to generate strain maps from purely mechanical events, such as drop impact tests, on electronic assemblies.

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  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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  Hexagonal sampling

  A multidimensional signal is a function of M independent variables where M ≥ 2 {\displaystyle M\geq 2} . Real world signals, which are generally continuous time signals, have to be discretized (sampled) in order to ensure that digital systems can be used to process the signals. It is during this process of discretization where sampling comes into picture. Although there are many ways of obtaining a discrete representation of a continuous time signal, periodic sampling is by far the simplest scheme. Theoretically, sampling can be performed with respect to any set of points. But practically, sampling is carried out with respect to a set of points that have a certain algebraic structure. Such structures are called lattices. Mathematically, the process of sampling an N {\displaystyle N} -dimensional signal can be written as: w ( t ^ ) = w ( V . n ^ ) {\displaystyle w({\hat {t}})=w(V.{\hat {n}})} where t ^ {\displaystyle {\hat {t}}} is continuous domain M-dimensional vector (M-D) that is being sampled, n ^ {\displaystyle {\hat {n}}} is an M-dimensional integer vector corresponding to indices of a sample, and V is an N × N {\displaystyle N\times N} sampling matrix. == Motivation == Multidimensional sampling provides the opportunity to look at digital methods to process signals. Some of the advantages of processing signals in the digital domain include flexibility via programmable DSP operations, signal storage without the loss of fidelity, opportunity for encryption in communication, lower sensitivity to hardware tolerances. Thus, digital methods are simultaneously both powerful and flexible. In many applications, they act as less expensive alternatives to their analog counterparts. Sometimes, the algorithms implemented using digital hardware are so complex that they have no analog counterparts. Multidimensional digital signal processing deals with processing signals represented as multidimensional arrays such as 2-D sequences or sampled images.[1] Processing these signals in the digital domain permits the use of digital hardware where in signal processing operations are specified by algorithms. As real world signals are continuous time signals, multidimensional sampling plays a crucial role in discretizing the real world signals. The discrete time signals are in turn processed using digital hardware to extract information from the signal. == Preliminaries == === Region of Support === The region outside of which the samples of the signal take zero values is known as the Region of support (ROS). From the definition, it is clear that the region of support of a signal is not unique. === Fourier transform === The Fourier transform is a tool that allows us to simplify mathematical operations performed on the signal. The transform basically represents any signal as a weighted combination of sinusoids. The Fourier and the inverse Fourier transform of an M-dimensional signal can be defined as follows: X a ( Ω ^ ) = ∫ − ∞ + ∞ x a ( t ^ ) e − j Ω ^ T t ^ d t ^ {\displaystyle X_{a}({\hat {\Omega }})=\int _{-\infty }^{+\infty }\!x_{a}({\hat {t}})e^{-j{\hat {\Omega }}^{T}{\hat {t}}}d{\hat {t}}} x a ( t ^ ) = 1 2 π M ∫ − ∞ + ∞ X ( Ω ^ ) e ( j Ω ^ T t ^ ) d Ω ^ {\displaystyle x_{a}({\hat {t}})={\frac {1}{2\pi ^{M}}}\int _{-\infty }^{+\infty }\!X({\hat {\Omega }})e^{(j{\hat {\Omega }}^{T}{\hat {t}})}\,\mathrm {d} {\hat {\Omega }}} The cap symbol ^ indicates that the operation is performed on vectors. The Fourier transform of the sampled signal is observed to be a periodic extension of the continuous time Fourier transform of the signal. This is mathematically represented as: X ( ω ) = 1 | d e t ( V ) | ∑ k X a ( Ω ^ − U k ) {\displaystyle X(\omega )={\frac {1}{|det(V)|}}\sum _{k}\!X_{a}({\hat {\Omega }}-Uk)} where ω = V ~ Ω {\displaystyle \omega ={\tilde {V}}\Omega } and U = 2 π V ~ {\displaystyle U=2\pi {\tilde {V}}} is the periodicity matrix where ~ denotes matrix transposition. Thus sampling in the spatial domain results in periodicity in the Fourier domain. === Aliasing === A band limited signal may be periodically replicated in many ways. If the replication results in an overlap between replicated regions, the signal suffers from aliasing. Under such conditions, a continuous time signal cannot be perfectly recovered from its samples. Thus in order to ensure perfect recovery of the continuous signal, there must be zero overlap multidimensional sampling of the replicated regions in the transformed domain. As in the case of 1-dimensional signals, aliasing can be prevented if the continuous time signal is sampled at an adequate sufficiently high rate. === Sampling density === It is a measure of the number of samples per unit area. It is defined as: S . D = 1 | d e t ( V ) | = | d e t ( U ) | 4 π 2 {\displaystyle S.D={\frac {1}{|det(V)|}}={\frac {|det(U)|}{4\pi ^{2}}}} . The minimum number of samples per unit area required to completely recover the continuous time signal is termed as optimal sampling density. In applications where memory or processing time are limited, emphasis must be given to minimizing the number of samples required to represent the signal completely. == Existing approaches == For a bandlimited waveform, there are infinitely many ways the signal can be sampled without producing aliases in the Fourier domain. But only two strategies are commonly used: rectangular sampling and hexagonal sampling. === Rectangular and Hexagonal sampling === In rectangular sampling, a 2-dimensional signal, for example, is sampled according to the following V matrix: V r e c t = [ T 1 0 0 T 2 ] {\displaystyle V_{rect}={\begin{bmatrix}T1&0\\0&T2\end{bmatrix}}} where T1 and T2 are the sampling periods along the horizontal and vertical direction respectively. In hexagonal sampling, the V matrix assumes the following general form: V h e x = [ T 1 T 1 − T 2 T 2 ] {\displaystyle V_{hex}={\begin{bmatrix}T1&T1\\-T2&T2\end{bmatrix}}} The difference in the efficiency of the two schemes is highlighted using a bandlimited signal with a circular region of support of radius R. The circle can be inscribed in a square of length 2R or a regular hexagon of length 2 R 3 {\displaystyle {\frac {2R}{\sqrt {3}}}} . Consequently, the region of support is now transformed into a square and a hexagon respectively. If these regions are periodically replicated in the frequency domain such that there is zero overlap between any two regions, then by periodically replicating the square region of support, we effectively sample the continuous signal on a rectangular lattice. Similarly periodic replication of the hexagonal region of support maps to sampling the continuous signal on a hexagonal lattice. From U, the periodicity matrix, we can calculate the optimal sampling density for both the rectangular and hexagonal schemes. It is found that in order to completely recover the circularly band-limited signal, the hexagonal sampling scheme requires 13.4% fewer samples than the rectangular sampling scheme. The reduction may appear to be of little significance for a 2-dimensional signal. But as the dimensionality of the signal increases, the efficiency of the hexagonal sampling scheme will become far more evident. For instance, the reduction achieved for an 8-dimensional signal is 93.8%. To highlight the importance of the obtained result [2], try and visualize an image as a collection of infinite number of samples. The primary entity responsible for vision, i.e. the photoreceptors (rods and cones) are present on the retina of all mammals. These cells are not arranged in rows and columns. By adapting a hexagonal sampling scheme, our eyes are able to process images much more efficiently. The importance of hexagonal sampling lies in the fact that the photoreceptors of the human vision system lie on a hexagonal sampling lattice and, thus, perform hexagonal sampling.[3] In fact, it can be shown that the hexagonal sampling scheme is the optimal sampling scheme for a circularly band-limited signal. == Applications == === Aliasing effects minimized by the use of optimal sampling grids === Recent advances in the CCD technology has made hexagonal sampling feasible for real life applications. Historically, because of technology constraints, detector arrays were implemented only on 2-dimensional rectangular sampling lattices with rectangular shape detectors. But the super [CCD] detector introduced by Fuji has an octagonal shaped pixel in a hexagonal grid. Theoretically, the performance of the detector was greatly increased by introducing an octagonal pixel. The number of pixels required to represent the sample was reduced and there was significant improvement in the Signal-to-Noise Ratio (SNR) when compared with that of a rectangular pixel. But the drawback of using hexagonal pixels is that the associated fill factor will be less than 82%. An alternative method would be to interpolate hexagonal pixels in such a manner that we ultimately end up with a rectangular grid. The Spot 5 satellite incorporates a

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  Daylight Computer Co.

  Daylight Computer Co. is a Public Benefit Company that designs and manufactures devices that do not emit blue light or flicker. Anjan Katta, the company's founder and CEO, stated that he started the company to reduce his personal eyestrain and the distraction that came with conventional devices. The first device that the company released is the Daylight DC-1, a tablet using a monochrome transflective liquid-crystal display designed for outdoor use, while also being usable indoors with an amber backlight. The company's goal is to create a "healthy computer." == History == In June 2018, Anjan Katta began the process of designing a device that did not emit blue light or flicker. He was inspired by the Kindle stating that he wanted to create a device that was, "an analog object that happens to have digital magical capabilities.” By 2020, he created his first scientific prototype and created the first proof-of-concept prototype in 2021. In the early research and development stages of the device, Katta had spent $300,000 of his own money. Eventually, Katta obtained a $12 million investment from current and former executives of companies such as Oculus, Pinterest, and Dropbox. In 2024, the company held a launch party at the Conservatory of Flowers in Golden Gate Park for the Daylight DC1, the company's first device. The event had roughly 200 attendees. Later that year, Daylight sold out its first run of 5,000 devices. The Daylight DC1 is a 1.2 pound tablet that runs its own operating system, SolOS, based on Android 13. It has a refresh rate of 60 Hz, fast enough to process video. In 2025, the product was demonstrated by Danny Jones on the Joe Rogan Experience. The company has been described by outlets such as Wired and VentureBeat as a "returning computing to hippie ideals" and being a product for "techno-hippies." The company is headquartered in San Francisco, California.

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  Algorithmic amplification

  Algorithmic amplification is the process by which automated ranking and recommendation systems on digital platforms increase the visibility of certain content beyond its initial audience. Major platforms including Facebook, YouTube, TikTok, and X (formerly Twitter) use such systems to determine what appears in users' feeds and search results. The term is used in research on social media and digital media regulation to describe how platform design choices influence the distribution of online information. Unlike chronological feeds, algorithmic systems evaluate content using signals such as engagement rates, viewing duration, and predicted relevance to individual users. Content that performs strongly on these metrics may be promoted to progressively larger audiences through feeds, search rankings, or autoplay systems. The process is distinct from content moderation, which involves removing, labelling, or restricting content under platform rules, although the two can interact in practice. The concept is closely connected to the attention economy. Research has linked algorithmic amplification to the spread of misinformation and the circulation of political content, as well as to effects on young users' mental health. The scale and direction of those effects remain debated, in part because independent researchers have limited access to the internal workings of platform recommendation systems. Governments in the European Union, United Kingdom, United States, and China have pursued differing regulatory approaches to recommendation algorithms. The EU's Digital Services Act and the UK's Online Safety Act 2023 impose obligations on large platforms related to recommendation system transparency and risk, while China became the first country to enact binding legislation specifically targeting such systems. Internal documents and whistleblower testimony reported by the BBC in 2026 described how competitive pressure between Meta and TikTok led to trade-offs between engagement and user safety in the design of their recommendation systems. == Terminology == The term algorithmic amplification is used in media studies, platform governance scholarship and regulatory literature to describe how automated systems influence the distribution of content beyond what organic user sharing alone would produce. It is distinct from viral spread, which refers primarily to user-driven sharing behaviour, and from algorithmic bias, which describes systematic errors or unfairness in algorithmic outputs. The related term algorithmic curation is used for the broader process of selecting and ordering content, of which amplification is one possible outcome. The phrase also appears in regulatory and legislative discussion of recommendation systems. The European Union's Digital Services Act (DSA) identifies recommendation systems as a potential source of systemic risk, and the term appears frequently in academic and policy commentary on the regulation. In the United States, proposals including the Filter Bubble Transparency Act and the Kids Online Safety Act (KOSA) have used it to frame requirements around recommendation system transparency. In the United Kingdom, the House of Commons Science, Innovation and Technology Committee used the term in a 2025 report on how recommendation algorithms contributed to the spread of misinformation during the 2024 Southport riots. A Joint Declaration on AI and Freedom of Expression adopted in October 2025 by four international freedom of expression mandate holders, including the UN Special Rapporteur on Freedom of Opinion and Expression and the OSCE Representative on Freedom of the Media, stated that recommender systems and other AI-powered curation tools exert "a large hidden influence and gatekeeper role" over what information people access and consume. == Background == Early internet platforms typically displayed content in reverse-chronological order or through keyword-based search systems. Although the term is most often applied to social media, the underlying logic predates social media itself. A 2021 overview traced the origins of modern recommendation systems to the early 1990s, when they were first used experimentally for personal email and information filtering. The 1992 Tapestry mail system and the 1994 GroupLens news filtering system were early milestones before recommendation systems spread into e-commerce and other online services. As user bases and content volumes grew during the 2000s, major platforms including Google, YouTube, and Facebook developed machine-learning systems to personalise content delivery and prioritise material predicted to generate engagement. Facebook introduced its News Feed in 2006, which gradually shifted from chronological presentation towards algorithmically ranked content. YouTube altered its recommendation system in 2012 to prioritise watch time rather than clicks, a change the platform said was prompted by concerns that click-based metrics encouraged misleading thumbnails and low-quality videos. TikTok, launched internationally in 2018, adopted a model in which its primary content surface, the For You feed, is driven almost entirely by algorithmic recommendation rather than by a user's social graph. An internal document obtained by The New York Times in 2021 showed that the platform's algorithm optimised for retention and time spent, using signals such as watch duration, replays, likes, and comments to score and rank videos. Algorithmic recommendation also became central to platforms outside social media. Spotify's personalised features, including Discover Weekly, Release Radar, and Home recommendations, use behavioural signals and inferred "taste profiles" to surface tracks and artists beyond a listener's existing library. An ethnographic study of music curators at streaming platforms described this blend of algorithmic and human editorial selection as an "algo-torial" model of gatekeeping. Amazon adopted item-based collaborative filtering for product recommendations in 1998, and its recommendation engine has been described as one of the earliest large-scale deployments of recommendation technology in e-commerce. The same dynamics operate on adult content platforms. Law professor Amy Adler has argued that from 2007 onwards the pornography industry migrated to algorithm-driven streaming platforms, most of which are controlled by a single near-monopoly company, Aylo (formerly MindGeek). These platforms use algorithmic search engines, suggestions, rigid categorisation of content, and AI-driven search term optimisation in ways that produce the same distorting effects found on mainstream speech platforms, including filter bubbles, feedback loops, and the tendency of algorithmic recommendations to alter individual preferences. == Mechanisms == Recommendation systems commonly combine collaborative filtering, which predicts a user's preferences from the behaviour of similar users, with machine-learning models that predict which content a user is likely to engage with from their prior activity. In a common two-stage design, a platform first generates a set of candidate items from a large content pool and then ranks them using a scoring model with objectives such as predicted engagement or user satisfaction. Small changes in ranking criteria can shift exposure at scale, particularly when applied repeatedly across multiple browsing sessions. These systems typically rely on signals including engagement rates, viewing duration, click-through rates, and network relationships between users. Modern recommendation pipelines continuously update predictions as new behavioural data arrives, allowing platforms to adjust rankings in near real time. Users' revealed preferences, expressed through behaviour such as clicks and viewing time, do not always align with their stated preferences, expressed through explicit feedback such as surveys or content controls. Popularity signals can create feedback dynamics in which early engagement increases the likelihood that content will be shown to additional users. Experimental research on online cultural markets has demonstrated how such feedback processes can produce unequal visibility outcomes even when initial differences in content quality are small. == Beneficial and public-interest uses == Recommendation systems can help users navigate large volumes of content by surfacing material predicted to match their interests or needs, which can improve discoverability on platforms with large content libraries. In public health communication, platforms can help health authorities distribute timely information at scale, though the same recommendation systems also risk amplifying misinformation alongside official guidance. Sociologist Zeynep Tufekci has argued that the shift from independent blogs to large centralised platforms transferred gatekeeping power from traditional media to corporate algorithms. In the case of the Egyptian uprising of 2011, she noted that ordinary users

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