AI Generator Options

AI Generator Options — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Sprite (computer graphics)

    Sprite (computer graphics)

    In computer graphics, a sprite is a two-dimensional bitmap that is integrated into a larger scene, most often in a 2D video game. Originally, the term sprite referred to fixed-sized objects composited together, by hardware, with a background. Use of the term has since become more general. Systems with hardware sprites include arcade video games of the 1970s and 1980s; game consoles including as the Atari VCS (1977), ColecoVision (1982), Famicom (1983), Genesis/Mega Drive (1988); and home computers such as the TI-99/4 (1979), Atari 8-bit computers (1979), Commodore 64 (1982), MSX (1983), Amiga (1985), and X68000 (1987). Hardware varies in the number of sprites supported, the size and colors of each sprite, and special effects such as scaling or reporting pixel-precise overlap. Hardware composition of sprites occurs as each scan line is prepared for the video output device, such as a cathode-ray tube, without involvement of the main CPU and without the need for a full-screen frame buffer. Sprites can be positioned or altered by setting attributes used during the hardware composition process. The number of sprites which can be displayed per scan line is often lower than the total number of sprites a system supports. For example, the Texas Instruments TMS9918 chip supports 32 sprites, but only four can appear on the same scan line. The CPUs in modern computers, video game consoles, and mobile devices are fast enough that bitmaps can be drawn into a frame buffer without special hardware assistance. Beyond that, GPUs can render vast numbers of scaled, rotated, anti-aliased, partially translucent, very high resolution images in parallel with the CPU. == Etymology == According to Karl Guttag, one of two engineers for the 1979 Texas Instruments TMS9918 video display processor, this use of the word sprite came from David Ackley, a manager at TI. It was also used by Danny Hillis at Texas Instruments in the late 1970s. The term was derived from the fact that sprites "float" on top of the background image without overwriting it, much like a ghost or mythological sprite. Some hardware manufacturers used different terms, especially before sprite became common: Player/Missile Graphics was a term used by Atari, Inc. for hardware sprites in the Atari 8-bit computers (1979) and Atari 5200 console (1982). The term reflects the use for both characters ("players") and smaller associated objects ("missiles") that share the same color. The earlier Atari Video Computer System and some Atari arcade games used player, missile, and ball. Stamp was used in some arcade hardware in the early 1980s, including Ms. Pac-Man. Movable Object Block, or MOB, was used in MOS Technology's graphics chip literature. Commodore, the main user of MOS chips and the owner of MOS for most of the chip maker's lifetime, instead used the term sprite for the Commodore 64. OBJs (short for objects) is used in the developer manuals for the NES, Super NES, and Game Boy. The region of video RAM used to store sprite attributes and coordinates is called OAM (Object Attribute Memory). This also applies to the Game Boy Advance and Nintendo DS. == History == === Arcade video games === The use of sprites originated with arcade video games. Nolan Bushnell came up with the original concept when he developed the first arcade video game, Computer Space (1971). Technical limitations made it difficult to adapt the early mainframe game Spacewar! (1962), which performed an entire screen refresh for every little movement, so he came up with a solution to the problem: controlling each individual game element with a dedicated transistor. The rockets were essentially hardwired bitmaps that moved around the screen independently of the background, an important innovation for producing screen images more efficiently and providing the basis for sprite graphics. The earliest video games to represent player characters as human player sprites were arcade sports video games, beginning with Taito's TV Basketball, released in April 1974 and licensed to Midway Manufacturing for release in North America. Designed by Tomohiro Nishikado, he wanted to move beyond simple Pong-style rectangles to character graphics, by rearranging the rectangle shapes into objects that look like basketball players and basketball hoops. Ramtek released another sports video game in October 1974, Baseball, which similarly displayed human-like characters. The Namco Galaxian arcade system board, for the 1979 arcade game Galaxian, displays animated, multi-colored sprites over a scrolling background. It became the basis for Nintendo's Radar Scope and Donkey Kong arcade hardware and home consoles such as the Nintendo Entertainment System. According to Steve Golson from General Computer Corporation, the term "stamp" was used instead of "sprite" at the time. === Home systems === Signetics devised the first chips capable of generating sprite graphics (referred to as objects by Signetics) for home systems. The Signetics 2636 video processors were first used in the 1978 1292 Advanced Programmable Video System and later in the 1979 Elektor TV Games Computer. The Atari VCS, released in 1977, has a hardware sprite implementation where five graphical objects can be moved independently of the game playfield. The term sprite was not in use at the time. The VCS's sprites are called movable objects in the programming manual, further identified as two players, two missiles, and one ball. These each consist of a single row of pixels that are displayed on a scan line. To produce a two-dimensional shape, the sprite's single-row bitmap is altered by software from one scan line to the next. The 1979 Atari 400 and 800 home computers have similar, but more elaborate, circuitry capable of moving eight single-color objects per scan line: four 8-bit wide players and four 2-bit wide missiles. Each is the full height of the display—a long, thin strip. DMA from a table in memory automatically sets the graphics pattern registers for each scan line. Hardware registers control the horizontal position of each player and missile. Vertical motion is achieved by moving the bitmap data within a player or missile's strip. The feature was called player/missile graphics by Atari. Texas Instruments developed the TMS9918 chip with sprite support for its 1979 TI-99/4 home computer. An updated version is used in the 1981 TI-99/4A. === In 2.5D and 3D games === Sprites remained popular with the rise of 2.5D games (those which recreate a 3D game space from a 2D map) in the late 1980s and early 1990s. A technique called billboarding allows 2.5D games to keep onscreen sprites rotated toward the player view at all times. Some 2.5D games, such as 1993's Doom, allow the same entity to be represented by different sprites depending on its rotation relative to the viewer, furthering the illusion of 3D. Fully 3D games usually present world objects as 3D models, but sprites are supported in some 3D game engines, such as GoldSrc and Unreal, and may be billboarded or locked to fixed orientations. Sprites remain useful for small details, particle effects, and other applications where the lack of a third dimension is not a major detriment. == Systems with hardware sprites == These are base hardware specs and do not include additional programming techniques, such as using raster interrupts to repurpose sprites mid-frame.

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  • Web worker

    Web worker

    A web worker, as defined by the World Wide Web Consortium (W3C) and the Web Hypertext Application Technology Working Group (WHATWG), is a JavaScript script executed from an HTML page that runs in the background, independently of scripts that may also have been executed from the same HTML page. Web workers are often able to utilize multi-core CPUs more effectively. The W3C and WHATWG envision web workers as long-running scripts that are not interrupted by scripts that respond to clicks or other user interactions. Keeping such workers from being interrupted by user activities should allow Web pages to remain responsive at the same time as they are running long tasks in the background. The web worker specification is part of the HTML Living Standard. == Overview == As envisioned by WHATWG, web workers are relatively heavy-weight and are not intended to be used in large numbers. They are expected to be long-lived, with a high start-up performance cost, and a high per-instance memory cost. Web workers run outside the context of an HTML document's scripts. Consequently, while they do not have access to the DOM, they can facilitate concurrent execution of JavaScript programs. == Features == Web workers interact with the main document via message passing. The following code creates a Worker that will execute the JavaScript in the given file. To send a message to the worker, the postMessage method of the worker object is used as shown below. The onmessage property uses an event handler to retrieve information from a worker. Once a worker is terminated, it goes out of scope and the variable referencing it becomes undefined; at this point a new worker has to be created if needed. == Example == The simplest use of web workers is for performing a computationally expensive task without interrupting the user interface. In this example, the main document spawns a web worker to compute prime numbers, and progressively displays the most recently found prime number. The main page is as follows: The Worker() constructor call creates a web worker and returns a worker object representing that web worker, which is used to communicate with the web worker. That object's onmessage event handler allows the code to receive messages from the web worker. The Web Worker itself is as follows: To send a message back to the page, the postMessage() method is used to post a message when a prime is found. == Support == If the browser supports web workers, a Worker property will be available on the global window object. The Worker property will be undefined if the browser does not support it. The following example code checks for web worker support on a browser Web workers are currently supported by Chrome, Opera, Edge, Internet Explorer (version 10), Mozilla Firefox, and Safari. Mobile Safari for iOS has supported web workers since iOS 5. The Android browser first supported web workers in Android 2.1, but support was removed in Android versions 2.2–4.3 before being restored in Android 4.4.

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  • DiscoVision

    DiscoVision

    DiscoVision is the name of several things related to the video LaserDisc format. It was the original name of the "Reflective Optical Videodisc System" format later known as "LaserVision" or LaserDisc. == Description == MCA DiscoVision, Inc. was a division of entertainment giant MCA (Music Corporation of America), established in 1969 to develop and sell an optical videodisc system. MCA released discs pressed in Carson and Costa Mesa, California on the DiscoVision label from the format's Atlanta, Georgia launch in 1978 to 1982 and the release of the film The Four Seasons. DiscoVision titles included films from Universal Pictures, Paramount Pictures, Warner Bros. Pictures, and Disney content. Agreements were made with Columbia Pictures and United Artists, though no discs were released on the DiscoVision label from either studio. Most of these companies later established their own labels for the format, the first being Paramount with a dozen movies released on the Paramount Home Video label in the summer of 1981. The successor to MCA DiscoVision, DiscoVision Associates (DVA), was the result of a partnership between IBM and MCA. It was hoped that the merger would provide the basis for improvement of the quality of DiscoVision pressings, but no appreciable improvement ever took hold. In 1981, responsibility for the laser videodisc was sold to Pioneer Electronic Corporation, after MCA Discovision had previously started a partnership in 1977 with Pioneer, Universal Pioneer, to produce the Pioneer PR-7820 player (the first industrial model of DiscoVision player from 1978), as well as establishing disc pressing plants in Japan. As part of the partnership, Pioneer, in association with MCA, had a disc replication facility in Kofu, Japan that produced discs. Some of the last DiscoVision label discs were manufactured by Pioneer in Japan. In the same year, MCA discontinued their DiscoVision branding, due to the sale of the technology to Pioneer (who then rebranded the format as LaserDisc) and in turn rebranded their laserdisc releases, now fabricated by Pioneer, under the MCA Videodisc banner; this was changed to the "MCA Home Video" name for both its VHS and videodisc releases. Some of DiscoVision's technical staff went on to form MCA Video Games, in an effort to produce video game cartridges. DiscoVision Associates later evolved into a patent holding company which manages and licenses intellectual property related to LaserDisc, Compact Disc, and optical disc technologies, as well as other non-disc related fields. In 1989, Pioneer acquired DiscoVision Associates where it continues to license its technologies independently. As the portfolio of patent expired, the presence of DiscoVision became less visible. However, it established the success of a patent holding company, which other companies are stimulated to generate royalty income from their own patent portfolio.

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  • Attention inequality

    Attention inequality

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

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  • Proximal gradient methods for learning

    Proximal gradient methods for learning

    Proximal gradient (forward backward splitting) methods for learning is an area of research in optimization and statistical learning theory which studies algorithms for a general class of convex regularization problems where the regularization penalty may not be differentiable. One such example is ℓ 1 {\displaystyle \ell _{1}} regularization (also known as Lasso) of the form min w ∈ R d 1 n ∑ i = 1 n ( y i − ⟨ w , x i ⟩ ) 2 + λ ‖ w ‖ 1 , where x i ∈ R d and y i ∈ R . {\displaystyle \min _{w\in \mathbb {R} ^{d}}{\frac {1}{n}}\sum _{i=1}^{n}(y_{i}-\langle w,x_{i}\rangle )^{2}+\lambda \|w\|_{1},\quad {\text{ where }}x_{i}\in \mathbb {R} ^{d}{\text{ and }}y_{i}\in \mathbb {R} .} Proximal gradient methods offer a general framework for solving regularization problems from statistical learning theory with penalties that are tailored to a specific problem application. Such customized penalties can help to induce certain structure in problem solutions, such as sparsity (in the case of lasso) or group structure (in the case of group lasso). == Relevant background == Proximal gradient methods are applicable in a wide variety of scenarios for solving convex optimization problems of the form min x ∈ H F ( x ) + R ( x ) , {\displaystyle \min _{x\in {\mathcal {H}}}F(x)+R(x),} where F {\displaystyle F} is convex and differentiable with Lipschitz continuous gradient, R {\displaystyle R} is a convex, lower semicontinuous function which is possibly nondifferentiable, and H {\displaystyle {\mathcal {H}}} is some set, typically a Hilbert space. The usual criterion of x {\displaystyle x} minimizes F ( x ) + R ( x ) {\displaystyle F(x)+R(x)} if and only if ∇ ( F + R ) ( x ) = 0 {\displaystyle \nabla (F+R)(x)=0} in the convex, differentiable setting is now replaced by 0 ∈ ∂ ( F + R ) ( x ) , {\displaystyle 0\in \partial (F+R)(x),} where ∂ φ {\displaystyle \partial \varphi } denotes the subdifferential of a real-valued, convex function φ {\displaystyle \varphi } . Given a convex function φ : H → R {\displaystyle \varphi :{\mathcal {H}}\to \mathbb {R} } an important operator to consider is its proximal operator prox φ : H → H {\displaystyle \operatorname {prox} _{\varphi }:{\mathcal {H}}\to {\mathcal {H}}} defined by prox φ ⁡ ( u ) = arg ⁡ min x ∈ H φ ( x ) + 1 2 ‖ u − x ‖ 2 2 , {\displaystyle \operatorname {prox} _{\varphi }(u)=\operatorname {arg} \min _{x\in {\mathcal {H}}}\varphi (x)+{\frac {1}{2}}\|u-x\|_{2}^{2},} which is well-defined because of the strict convexity of the ℓ 2 {\displaystyle \ell _{2}} norm. The proximal operator can be seen as a generalization of a projection. We see that the proximity operator is important because x ∗ {\displaystyle x^{}} is a minimizer to the problem min x ∈ H F ( x ) + R ( x ) {\displaystyle \min _{x\in {\mathcal {H}}}F(x)+R(x)} if and only if x ∗ = prox γ R ⁡ ( x ∗ − γ ∇ F ( x ∗ ) ) , {\displaystyle x^{}=\operatorname {prox} _{\gamma R}\left(x^{}-\gamma \nabla F(x^{})\right),} where γ > 0 {\displaystyle \gamma >0} is any positive real number. === Moreau decomposition === One important technique related to proximal gradient methods is the Moreau decomposition, which decomposes the identity operator as the sum of two proximity operators. Namely, let φ : X → R {\displaystyle \varphi :{\mathcal {X}}\to \mathbb {R} } be a lower semicontinuous, convex function on a vector space X {\displaystyle {\mathcal {X}}} . We define its Fenchel conjugate φ ∗ : X → R {\displaystyle \varphi ^{}:{\mathcal {X}}\to \mathbb {R} } to be the function φ ∗ ( u ) := sup x ∈ X ⟨ x , u ⟩ − φ ( x ) . {\displaystyle \varphi ^{}(u):=\sup _{x\in {\mathcal {X}}}\langle x,u\rangle -\varphi (x).} The general form of Moreau's decomposition states that for any x ∈ X {\displaystyle x\in {\mathcal {X}}} and any γ > 0 {\displaystyle \gamma >0} that x = prox γ φ ⁡ ( x ) + γ prox φ ∗ / γ ⁡ ( x / γ ) , {\displaystyle x=\operatorname {prox} _{\gamma \varphi }(x)+\gamma \operatorname {prox} _{\varphi ^{}/\gamma }(x/\gamma ),} which for γ = 1 {\displaystyle \gamma =1} implies that x = prox φ ⁡ ( x ) + prox φ ∗ ⁡ ( x ) {\displaystyle x=\operatorname {prox} _{\varphi }(x)+\operatorname {prox} _{\varphi ^{}}(x)} . The Moreau decomposition can be seen to be a generalization of the usual orthogonal decomposition of a vector space, analogous with the fact that proximity operators are generalizations of projections. In certain situations it may be easier to compute the proximity operator for the conjugate φ ∗ {\displaystyle \varphi ^{}} instead of the function φ {\displaystyle \varphi } , and therefore the Moreau decomposition can be applied. This is the case for group lasso. == Lasso regularization == Consider the regularized empirical risk minimization problem with square loss and with the ℓ 1 {\displaystyle \ell _{1}} norm as the regularization penalty: min w ∈ R d 1 n ∑ i = 1 n ( y i − ⟨ w , x i ⟩ ) 2 + λ ‖ w ‖ 1 , {\displaystyle \min _{w\in \mathbb {R} ^{d}}{\frac {1}{n}}\sum _{i=1}^{n}(y_{i}-\langle w,x_{i}\rangle )^{2}+\lambda \|w\|_{1},} where x i ∈ R d and y i ∈ R . {\displaystyle x_{i}\in \mathbb {R} ^{d}{\text{ and }}y_{i}\in \mathbb {R} .} The ℓ 1 {\displaystyle \ell _{1}} regularization problem is sometimes referred to as lasso (least absolute shrinkage and selection operator). Such ℓ 1 {\displaystyle \ell _{1}} regularization problems are interesting because they induce sparse solutions, that is, solutions w {\displaystyle w} to the minimization problem have relatively few nonzero components. Lasso can be seen to be a convex relaxation of the non-convex problem min w ∈ R d 1 n ∑ i = 1 n ( y i − ⟨ w , x i ⟩ ) 2 + λ ‖ w ‖ 0 , {\displaystyle \min _{w\in \mathbb {R} ^{d}}{\frac {1}{n}}\sum _{i=1}^{n}(y_{i}-\langle w,x_{i}\rangle )^{2}+\lambda \|w\|_{0},} where ‖ w ‖ 0 {\displaystyle \|w\|_{0}} denotes the ℓ 0 {\displaystyle \ell _{0}} "norm", which is the number of nonzero entries of the vector w {\displaystyle w} . Sparse solutions are of particular interest in learning theory for interpretability of results: a sparse solution can identify a small number of important factors. === Solving for L1 proximity operator === For simplicity we restrict our attention to the problem where λ = 1 {\displaystyle \lambda =1} . To solve the problem min w ∈ R d 1 n ∑ i = 1 n ( y i − ⟨ w , x i ⟩ ) 2 + ‖ w ‖ 1 , {\displaystyle \min _{w\in \mathbb {R} ^{d}}{\frac {1}{n}}\sum _{i=1}^{n}(y_{i}-\langle w,x_{i}\rangle )^{2}+\|w\|_{1},} we consider our objective function in two parts: a convex, differentiable term F ( w ) = 1 n ∑ i = 1 n ( y i − ⟨ w , x i ⟩ ) 2 {\displaystyle F(w)={\frac {1}{n}}\sum _{i=1}^{n}(y_{i}-\langle w,x_{i}\rangle )^{2}} and a convex function R ( w ) = ‖ w ‖ 1 {\displaystyle R(w)=\|w\|_{1}} . Note that R {\displaystyle R} is not strictly convex. Let us compute the proximity operator for R ( w ) {\displaystyle R(w)} . First we find an alternative characterization of the proximity operator prox R ⁡ ( x ) {\displaystyle \operatorname {prox} _{R}(x)} as follows: u = prox R ⁡ ( x ) ⟺ 0 ∈ ∂ ( R ( u ) + 1 2 ‖ u − x ‖ 2 2 ) ⟺ 0 ∈ ∂ R ( u ) + u − x ⟺ x − u ∈ ∂ R ( u ) . {\displaystyle {\begin{aligned}u=\operatorname {prox} _{R}(x)\iff &0\in \partial \left(R(u)+{\frac {1}{2}}\|u-x\|_{2}^{2}\right)\\\iff &0\in \partial R(u)+u-x\\\iff &x-u\in \partial R(u).\end{aligned}}} For R ( w ) = ‖ w ‖ 1 {\displaystyle R(w)=\|w\|_{1}} it is easy to compute ∂ R ( w ) {\displaystyle \partial R(w)} : the i {\displaystyle i} th entry of ∂ R ( w ) {\displaystyle \partial R(w)} is precisely ∂ | w i | = { 1 , w i > 0 − 1 , w i < 0 [ − 1 , 1 ] , w i = 0. {\displaystyle \partial |w_{i}|={\begin{cases}1,&w_{i}>0\\-1,&w_{i}<0\\\left[-1,1\right],&w_{i}=0.\end{cases}}} Using the recharacterization of the proximity operator given above, for the choice of R ( w ) = ‖ w ‖ 1 {\displaystyle R(w)=\|w\|_{1}} and γ > 0 {\displaystyle \gamma >0} we have that prox γ R ⁡ ( x ) {\displaystyle \operatorname {prox} _{\gamma R}(x)} is defined entrywise by ( prox γ R ⁡ ( x ) ) i = { x i − γ , x i > γ 0 , | x i | ≤ γ x i + γ , x i < − γ , {\displaystyle \left(\operatorname {prox} _{\gamma R}(x)\right)_{i}={\begin{cases}x_{i}-\gamma ,&x_{i}>\gamma \\0,&|x_{i}|\leq \gamma \\x_{i}+\gamma ,&x_{i}<-\gamma ,\end{cases}}} which is known as the soft thresholding operator S γ ( x ) = prox γ ‖ ⋅ ‖ 1 ⁡ ( x ) {\displaystyle S_{\gamma }(x)=\operatorname {prox} _{\gamma \|\cdot \|_{1}}(x)} . === Fixed point iterative schemes === To finally solve the lasso problem we consider the fixed point equation shown earlier: x ∗ = prox γ R ⁡ ( x ∗ − γ ∇ F ( x ∗ ) ) . {\displaystyle x^{}=\operatorname {prox} _{\gamma R}\left(x^{}-\gamma \nabla F(x^{})\right).} Given that we have computed the form of the proximity operator explicitly, then we can define a standard fixed point iteration procedure. Namely, fix some initial w 0 ∈ R d {\displaystyle w^{0}\in \mathbb {R} ^{d}} , and for k = 1 , 2 , … {\displaystyle k=1,2,\ldots } define w k + 1 = S γ ( w k − γ ∇ F ( w k ) ) . {\displaystyle w^{k+1}=S_{\gamma }\left(w^{k}-\gamma \nabla F\l

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  • IDN Times

    IDN Times

    IDN Times is a digital multi-platform media outlet that provides news and entertainment for Millennials and Gen Z in Indonesia. IDN Times is one of IDN’s business units under the Digital Media pillar, founded by Winston Utomo and William Utomo on June 8, 2014. Currently, senior journalist Uni Zulfiani Lubis serves as the Editor-in-Chief of IDN Times. == History == IDN Times was initially known as Indonesian Times, a blog featuring articles written by Winston Utomo while he was working at Google Singapore. As interest and readership grew, Indonesian Times evolved into IDN Times, a digital multi-platform media company focused on delivering relevant content for Indonesia’s younger generations. == Bureau == IDN Times has a representative bureau that has spread over 12 provinces in Indonesia: == Events == === Indonesia Millennial and Gen Z Summit === The Indonesia Millennial and Gen-Z Summit (IMGS) is an annual event organized by IDN. This event aims to empower Indonesia’s younger generations through discussions and interdisciplinary collaborations. IMGS features inspirational figures, professionals, and leaders from various fields who share insights and drive positive change. The event hosts dozens of discussion sessions in collaboration with eight prominent communities. Topics covered include politics, economics, technology, and pop culture. === Indonesia Writers Festival === The Indonesia Writers Festival is an independent writing festival organized by IDN Times. The event seeks to empower Indonesians through writing by inviting experts and literacy activists from various backgrounds. == Duniaku.com == Duniaku.com is a multi-platform digital media part of IDN Times which presents content about geek culture ranging from video games, anime, comics, films, technology and gadgets. Duniaku.com was officially launched on September 6, 2019 by the Minister of Communication and Informatics Rudiantara together with CEO of IDN Media Winston Utomo and IDN Times and Editor-in-Chief of Duniaku.com Uni Lubis. == Awards == 2019 IDN won WAN-IFRA Asia Digital Media Awards 2019 as the Best Digital Project to Engage Younger and/or Millennial Audiences for IDN Times’ #MillennialsMemilih program 2020 IDN Times (IDN Times Community) won WAN-IFRA Asia Digital Media Awards 2019 in The Best in Audience Engagement category. 2021 IDN Times journalists won awards at the Subroto Award, Ministry of Energy and Mineral Resources (ESDM) on 28 September 2021. 2024 IDN Times won WAN-IFRA event at both the Asia and Global levels in Best Use of AI in Revenue Strategy. === #Interconnected22 by Pulitzer Center === One of the IDN Times journalists, Dhana Kencana, was the speaker at the #Interconnected22 conference held from June 9 to June 10, 2022, in Washington DC, United States of America. Dhana Kencana is also a grant recipient Pulitzer Center through the Rainforest Journalism Fund (RJF) program, a funding program for journalists that makes a number of coverage of the rainforest.

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  • Robert Abel and Associates

    Robert Abel and Associates

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

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  • Alt TikTok

    Alt TikTok

    Alt TikTok (or 2020 Alt) was an online youth subculture and internet community that emerged on TikTok in 2020. Alt TikTok users (also known as alt girls, alt boys, or alt kids) emerged as primarily LGBTQ+ individuals who were in contrast to "Straight TikTok" which was seen as the mainstream and heteronormative side of the platform. The subculture became closely associated with music surrounding the hyperpop scene, particularly 100 gecs and also led to a short-lived fashion style and Internet aesthetic adopted by Generation Z during the COVID-19 lockdowns. Notable artists associated with the movement included Girl in Red, Freddie Dredd, David Shawty, WHOKILLEDXIX, and 645AR. While "alt kid" might imply a general association with traditional alternative fashion, the subculture was more an offshoot of e-girls and e-boys. In 2023, the hashtag #altfashion on TikTok amassed over 1.8 billion views. == History == Around mid-2020, users on TikTok began to group different content on the site into labels like "elite TikTok", "deep TikTok", and "floptok". These categories acted as different "sides of TikTok", deviating from mainstream lip syncing, online trends, and dance videos. Alt TikTok became one of the many subcultural communities to emerge during this period, initially referred to interchangeably with "elite TikTok". The movement quickly identified itself with alternative and queer users, in contrast to "Straight TikTok", also known as the "straight side of TikTok", which was seen as the mainstream and heteronormative side of the platform. Alt TikTok was accompanied by memes with surrealist or supernatural themes (sometimes being described as cursed), such as videos with heavy saturation and humanoid animals. One of the popular videos from Alt TikTok, gaining 18 million likes, shows a llama dancing to a cover of a song from a Russian commercial by the cereal brand Miel Pops, later becoming a viral audio. Some Alt TikTok users personified brands and products in what was referred to as Retail TikTok. In 2020, Rolling Stone described Alt TikTok as "one of the primary countercultures on the app." In 2020, American journalist Taylor Lorenz stated in an article of The New York Times, "Every pop sensation needs its ironic counterpoints. Alt Tiktok gets it done. [...] alt TikTok stars like Mooptopia are mainstays on the more indie side of the app. They aren't the popular crowd, but their cool, quirky content still attracts millions." === Trump rally trolling === In June 2020, alt TikTok and K-pop twitter users coordinated a strategy to ruin a Trump rally in Tulsa, Oklahoma. American politician and activist Alexandria Ocasio-Cortez later saluted the individuals for their "Trump troll". == Alt subculture == In 2020, Alt TikTok was one of many subcultural communities to emerge on TikTok, alongside Deep TikTok (aka DeepTok) and Flop TikTok (aka Floptok). The alt kid subculture emerged from Alt TikTok primarily among young Gen Z women, influenced by online fashion and aesthetics shaped by e-girls and e-boys. The movement was accelerated by the COVID-19 lockdowns, while the subculture itself stood in opposition to mainstream "Straight TikTok" and the VSCO girl movement, primarily adopting aspects of queer and alternative culture. While the phrase might imply a general association with alternative fashion or alternative culture, it is more accurately understood as a specific internet-driven outgrowth of online aesthetic youth subcultures like e-girls and e-boys. The alt subculture's visual style blended influences from goth, punk, emo, and grunge, often expressed through fashion, music taste, and online presence. === Style and music === The style of alt-girls is reminiscent of a myriad of previous alternative fashion trends, often blending these influences with online aesthetics. In 2020, TikTok alt-girls were teens ranging from ages 13 to 16, who tended to wear friendship bracelets, goth boots, Dr. Martens, bunny and frog hats, piercings, and split-dyed hair, as well as iconography lifted from Monster Energy and Hello Kitty. Some alt-girls displayed a love of cosplay, while drawing from Japanese anime and manga, particularly Danganronpa and Haikyu!!, which originally gained traction on the app through Anime TikTok (aka Anitok). Alt TikTok has been noted for being primarily influenced by queer and alternative culture, positioning itself in contrast to "Straight TikTok", which focused on mainstream dances and music. Alt kids frequently intersected with the e-girls and e-boys subculture, in terms of music, style, visual media, and aesthetics. Several musicians and artists were closely associated with the alt subculture, particularly those in the hyperpop scene, while alt tiktok users became important in the wider popularization of artists like 100 gecs. Notable prominent artists associated with Alt Tiktok included Girl in Red, Freddie Dredd, David Shawty, WHOKILLEDXIX, and 645AR, alongside music by YouTubers turned musicians such as Wilbur Soot's "I'm in Love With an E‐Girl" and Corpse Husband's "E-Girls Are Ruining My Life!". == Legacy == In 2020, Pitchfork claimed Alt TikTok as having an influence on wider music trends, stating: "Alt TikTok's music is now a hot zone for major record labels, pushing it even further into the mainstream". After the COVID-19 lockdowns, Alt TikTok, alongside its subculture, fell out of prominence and was taken over by other Gen Z-related internet aesthetics, developments, and online trends.

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  • Motor theory of speech perception

    Motor theory of speech perception

    The motor theory of speech perception is the hypothesis that people perceive spoken words by identifying the vocal tract gestures with which they are pronounced rather than by identifying the sound patterns that speech generates. It originally claimed that speech perception is done through a specialized module that is innate and human-specific. Though the idea of a module has been qualified in more recent versions of the theory, the idea remains that the role of the speech motor system is not only to produce speech articulations but also to detect them. The hypothesis has gained more interest outside the field of speech perception than inside. This has increased particularly since the discovery of mirror neurons that link the production and perception of motor movements, including those made by the vocal tract. The theory was initially proposed in the Haskins Laboratories in the 1950s by Alvin Liberman and Franklin S. Cooper, and developed further by Donald Shankweiler, Michael Studdert-Kennedy, Ignatius Mattingly, Carol Fowler and Douglas Whalen. == Origins and development == The hypothesis has its origins in research using pattern playback to create reading machines for the blind that would substitute sounds for orthographic letters. This led to a close examination of how spoken sounds correspond to the acoustic spectrogram of them as a sequence of auditory sounds. This found that successive consonants and vowels overlap in time with one another (a phenomenon known as coarticulation). This suggested that speech is not heard like an acoustic "alphabet" or "cipher," but as a "code" of overlapping speech gestures. === Associationist approach === Initially, the theory was associationist: infants mimic the speech they hear and that this leads to behavioristic associations between articulation and its sensory consequences. Later, this overt mimicry would be short-circuited and become speech perception. This aspect of the theory was dropped, however, with the discovery that prelinguistic infants could already detect most of the phonetic contrasts used to separate different speech sounds. === Cognitivist approach === The behavioristic approach was replaced by a cognitivist one in which there was a speech module. The module detected speech in terms of hidden distal objects rather than at the proximal or immediate level of their input. The evidence for this was the research finding that speech processing was special such as duplex perception. === Changing distal objects === Initially, speech perception was assumed to link to speech objects that were both the invariant movements of speech articulators the invariant motor commands sent to muscles to move the vocal tract articulators This was later revised to include the phonetic gestures rather than motor commands, and then the gestures intended by the speaker at a prevocal, linguistic level, rather than actual movements. === Modern revision === The "speech is special" claim has been dropped, as it was found that speech perception could occur for nonspeech sounds (for example, slamming doors for duplex perception). === Mirror neurons === The discovery of mirror neurons has led to renewed interest in the motor theory of speech perception, and the theory still has its advocates, although there are also critics. == Support == === Nonauditory gesture information === If speech is identified in terms of how it is physically made, then nonauditory information should be incorporated into speech percepts even if it is still subjectively heard as "sounds". This is, in fact, the case. The McGurk effect shows that seeing the production of a spoken syllable that differs from an auditory cue synchronized with it affects the perception of the auditory one. In other words, if someone hears "ba" but sees a video of someone pronouncing "ga", what they hear is different—some people believe they hear "da". People find it easier to hear speech in noise if they can see the speaker. People can hear syllables better when their production can be felt haptically. === Categorical perception === Using a speech synthesizer, speech sounds can be varied in place of articulation along a continuum from /bɑ/ to /dɑ/ to /ɡɑ/, or in voice onset time on a continuum from /dɑ/ to /tɑ/ (for example). When listeners are asked to discriminate between two different sounds, they perceive sounds as belonging to discrete categories, even though the sounds vary continuously. In other words, 10 sounds (with the sound on one extreme being /dɑ/ and the sound on the other extreme being /tɑ/, and the ones in the middle varying on a scale) may all be acoustically different from one another, but the listener will hear all of them as either /dɑ/ or /tɑ/. Likewise, the English consonant /d/ may vary in its acoustic details across different phonetic contexts (the /d/ in /du/ does not technically sound the same as the one in /di/, for example), but all /d/'s as perceived by a listener fall within one category (voiced alveolar plosive) and that is because "linguistic representations are abstract, canonical, phonetic segments or the gestures that underlie these segments." This suggests that humans identify speech using categorical perception, and thus that a specialized module, such as that proposed by the motor theory of speech perception, may be on the right track. === Speech imitation === If people can hear the gestures in speech, then the imitation of speech should be very fast, as in when words are repeated that are heard in headphones as in speech shadowing. People can repeat heard syllables more quickly than they would be able to produce them normally. === Speech production === Hearing speech activates vocal tract muscles, and the motor cortex and premotor cortex. The integration of auditory and visual input in speech perception also involves such areas. Disrupting the premotor cortex disrupts the perception of speech units such as plosives. The activation of the motor areas occurs in terms of the phonemic features which link with the vocal track articulators that create speech gestures. The perception of a speech sound is aided by pre-emptively stimulating the motor representation of the articulators responsible for its pronunciation . Auditory and motor cortical coupling is restricted to a specific range of neuronal firing frequency. === Perception-action meshing === Evidence exists that perception and production are generally coupled in the motor system. This is supported by the existence of mirror neurons that are activated both by seeing (or hearing) an action and when that action is carried out. Another source of evidence is that for common coding theory between the representations used for perception and action. == Criticisms == The motor theory of speech perception is not widely held in the field of speech perception, though it is more popular in other fields, such as theoretical linguistics. As three of its advocates have noted, "it has few proponents within the field of speech perception, and many authors cite it primarily to offer critical commentary".p. 361 Several critiques of it exist. === Multiple sources === Speech perception is affected by nonproduction sources of information, such as context. Individual words are hard to understand in isolation but easy when heard in sentence context. It therefore seems that speech perception uses multiple sources that are integrated together in an optimal way. === Production === The motor theory of speech perception would predict that speech motor abilities in infants predict their speech perception abilities, but in actuality it is the other way around. It would also predict that defects in speech production would impair speech perception, but they do not. However, this only affects the first and already superseded behaviorist version of the theory, where infants were supposed to learn all production-perception patterns by imitation early in childhood. This is no longer the mainstream view of motor-speech theorists. === Speech module === Several sources of evidence for a specialized speech module have failed to be supported. Duplex perception can be observed with door slams. The McGurk effect can also be achieved with nonlinguistic stimuli, such as showing someone a video of a basketball bouncing but playing the sound of a ping-pong ball bouncing. As for categorical perception, listeners can be sensitive to acoustic differences within single phonetic categories. As a result, this part of the theory has been dropped by some researchers. === Sublexical tasks === The evidence provided for the motor theory of speech perception is limited to tasks such as syllable discrimination that use speech units not full spoken words or spoken sentences. As a result, "speech perception is sometimes interpreted as referring to the perception of speech at the sublexical level. However, the ultimate goal of these studies is presumably to understand the neural processes supporting the ability to process spee

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  • T.38

    T.38

    T.38 is an ITU recommendation for allowing transmission of fax over IP networks (FoIP) in real time. == History == The T.38 fax relay standard was devised in 1998 as a way to transport faxes across IP networks between existing Group 3 (G3) fax terminals. T.4 and related fax standards were published by the ITU in 1980, before the rise of the Internet. In the late 1990s, VoIP, or voice over IP, began to gain ground as an alternative to the conventional public switched telephone network (PSTN). However, because most VoIP systems are optimized (through their use of aggressive lossy bandwidth-saving compression) for voice rather than data calls, conventional fax machines worked poorly or not at all on them due to the network impairments such as delay, jitter, packet loss, and so on. Thus, some way of transmitting fax over IP was needed. == Overview == In practical scenarios, a T.38 fax call has at least part of the call being carried over PSTN, although this is not required by the T.38 definition, and two T.38 devices can send faxes to each other. This particular type of device is called Internet-Aware Fax device, or IAF, and it is capable of initiating or completing a fax call towards the IP network. The typical scenario where T.38 is used is – T.38 fax relay – where a T.30 fax device sends a fax over PSTN to a T.38 fax gateway which converts or encapsulates the T.30 protocol into a T.38 data stream. This is then sent either to a T.38-enabled end point such as fax machine or fax server or another T.38 gateway that converts it back to a PSTN PCM or analog signal and terminates the fax on a T.30 device. The T.38 recommendation defines the use of both TCP and UDP to transport T.38 packets. Implementations tend to use UDP, due to TCP's requirement for acknowledgement packets and resulting retransmission during packet loss, which introduces delays. When using UDP, T.38 copes with packet loss by using redundant data packets. T.38 is not a call setup protocol, thus the T.38 devices need to use standard call setup protocols to negotiate the T.38 call, e.g. H.323, SIP & MGCP. == Operation == There are two primary ways that fax transactions are conveyed across packet networks. The T.37 standard specifies how a fax image is encapsulated in e-mail and transported, ultimately, to the recipient using a store-and-forward process through intermediary entities. T.38, however, defines a protocol that supports the use of the T.30 protocol in both the sender and recipient terminals. (See diagram above.) T.38 lets one transmit a fax across an IP network in real time, just as the original G3 fax standards did for the traditional (time-division multiplexed (TDM)) network, also called the public switched telephone network or PSTN. A special protocol is needed for real-time fax over IP (Internet Protocol) since existing fax terminals only supported PSTN connections, where the information flow was generally smooth and uninterrupted, as opposed to the jittery arrival of IP packets. The trick was to come up with a protocol that makes the IP network “invisible” to the endpoint fax terminals, which would mean the user of a legacy fax terminal need not know that the fax call was traversing an IP network. The network interconnections supported by T.38 are shown above. The two fax terminals on either side of the figure communicate using the T.30 fax protocol published by the ITU in 1980. Interconnection of the PSTN with the IP packet network requires a “gateway” between the PSTN and IP networks. PSTN-IP Gateways support TDM voice on the PSTN side and VoIP and FoIP on the packet side. For voice sessions, the gateway will take in voice packets on the IP side, accumulate a few packets to ensure a smooth flow of TDM data upon their release, and then meter them out over TDM where they eventually are heard by a human or stored on a computer for later playback. The gateway employs packet-management techniques to enhance the quality of the speech in the presence of network errors by taking advantage of the natural ability of a listener to not really hear the occasional missing or repeated packet. But facsimile data are transmitted by modems, which aren't as forgiving as the human ear is for speech. Missing packets will often cause a fax session to fail at worst or create one or more image lines in error at best. So the job of T.38 is to “fool” the terminal into “thinking” that it's communicating directly with another T.30 terminal. It will also correct for network delays with so-called spoofing techniques, and missing or delayed packets with fax-aware buffer-management techniques. Spoofing refers to the logic implemented in the protocol engine of a T.38 relay that modifies the protocol commands and responses on the TDM side to keep network delays on the IP side from causing the transaction to fail. This is done, for example, by padding image lines or deliberately causing a message to be re-transmitted to render network delays transparent to the sending/receiving fax terminals. Networks that do not have packet loss or excessive delay can exhibit acceptable fax performance without T.38, provided the PCM clocks in all gateways are of very high accuracy (explained below). T.38 not only removes the effect of PCM clocks not being synchronized, but also reduces the required network bandwidth by a factor of 10, while it corrects for packet loss and delay. === Bandwidth reduction === As shown in the diagram below, a T.38 gateway is composed of two primary elements: the fax modems and the T.38 subsystem. The fax modems modulate and demodulate the PCM samples of the analog data, turning the sampled-data representation of the fax terminal's analog signal to its binary translation, and vice versa. The PSTN network samples the analog signal of a voice or modem signal (it doesn't know the difference) 8,000 times per second (SPS), and encodes them as 8-bit data bytes. This means 8000 samples-per-second times 8-bits per sample, or 64,000 bits per second (bit/s) to represent the modem (or voice) data in one direction. For both directions the modem transaction consumes 128,000 bits of network bandwidth. However, the typical modem in a fax terminal transmits the image data at 33,600 bit/s, so if the analog data are first converted to the digital content they represent, only 33,600 bits (plus network overhead of a few bytes) are needed. And since T.30 fax is a half-duplex protocol, the network is only needed for one direction at a time. Refer to RFC 3261 === PCM clock synchronization === In the diagram above, there is a sample-rate clock in the fax terminal and one in the gateway's modems that is used to trigger the sampling of the analog line 8,000 times per second. These clocks are usually quite accurate, but in some low-cost terminal adapters (a one or two-line gateway) the PCM clock can be surprisingly inaccurate. If the terminal is sending data to the gateway, and the gateway's clock is too slow, the buffers (jitter buffers) in the gateway will eventually overflow, causing the transaction to fail. Since the difference is often quite small, this problem occurs on long, detailed fax images giving the clocks more time to cause the jitter buffer in gateway to either underflow or overflow, which is just the same as missing or duplicated packets. === Packet loss === T.38 provides facilities to eliminate the effects of packet loss through data redundancy. When a packet is sent, either zero, one, two, three, or even more of the previously sent packets are repeated. (The specification does not impose a limit.) This increases the network bandwidth required (it's still much less than not using T.38) but it allows the receiving gateway to reconstruct the complete packet sequence, even with a fairly high level of packet loss. == Related standards == T.4 is the umbrella specification for fax. It specifies the standard image sizes, two forms of image-data compression (encoding), the image-data format, and references, T.30 and the various modem standards. T.6 specifies a compression scheme that reduces the time required to transmit an image by roughly 50-percent. T.30 specifies the procedures that a sending and receiving terminal use to set up a fax call, determine the image size, encoding, and transfer speed, the demarcation between pages, and the termination of the call. T.30 also references the various modem standards. V.21, V.27ter, V.29, V.17, V.34: ITU modem standards used in facsimile. The first three were ratified prior to 1980, and were specified in the original T.4 and T.30 standards. V.34 was published for fax in 1994. T.37 The ITU standard for sending a fax-image file via e-mail to the intended recipient of a fax. G.711 pass through - this is where the T.30 fax call is carried in a VoIP call encoded as audio. This is sensitive to network packet loss, jitter and clock synchronization. When using voice high-compression encoding techniques such as, but not limited to, G.729, some fax tonal signa

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  • Festival of International Virtual & Augmented Reality Stories

    Festival of International Virtual & Augmented Reality Stories

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

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  • Account verification

    Account verification

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

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  • MyChild App

    MyChild App

    MyChild App is an Android app that helps parents screen developmental disorders in their children between the age of 1 and 24 months. The app contains information for parents about the different stages of a child's development. == Background == Launched in 2015 on Google PlayStore, the app is a consumer product of the parent company, Time Ahead, Inc. Its office is based in Bhopal, Madhya Pradesh, India. As of August 2016, the app had been downloaded by 11,000+ users in 140+ countries and is a part of fbstart case study. == Funding == In 2015, MyChild App raised a seed round of $100k led by 500 Startups, followed by angel investors Samir Bangara, Anisha Mittal, Pallav Nadhani, Deobrat Singh, Lalit Mangal, Arihant Patni, Amit Gupta, Dr. Ritesh Malik, Saurab Paruthi, and Singapore Angel Network.

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  • Extremely online

    Extremely online

    An extremely online (often capitalized), terminally online, or chronically online person is someone who is closely engaged with Internet culture. People said to be extremely online often believe that online posts are very important. Events and phenomena can themselves be extremely online; while often used as a descriptive term, the phenomenon of extreme online usage has been described as "both a reformation of the delivery of ideas – shared through words and videos and memes and GIFs and copypasta – and the ideas themselves". Here, "online" is used to describe "a way of doing things, not [simply] the place they are done". == Criteria == While the term was in use as early as 2014, it gained popularity over the latter half of the 2010s in conjunction with the increasing prevalence and notability of Internet phenomena in all areas of life. Extremely online people, according to The Daily Dot, are interested in topics "no normal, healthy person could possibly care about", and have been analogized to "pop culture fandoms, just without the pop". Extremely online phenomena such as fan culture and reaction GIFs have been described as "swallowing democracy" by journalists such as Amanda Hess in The New York Times, who claimed that a "great convergence between politics and culture, values and aesthetics, citizenship and commercialism" had become "a dominant mode of experiencing politics". Vulture – formerly the pop culture section of New York magazine, now a stand-alone website – has a section for articles tagged "extremely online". == Historical background == In the 2010s, many categories and labels came into wide use from media outlets to describe Internet-mediated cultural trends, such as the alt-right, the dirtbag left, and doomerism. These ideological categories are often defined by their close association with online discourse. For example, the term "alt-right" was added to the Associated Press' stylebook in 2016 to describe the "digital presence" of far-right ideologies, the dirtbag left refers to a group of "underemployed and overly online millennials" who "have no time for the pieties of traditional political discourse", and the doomer's "blackpilled despair" is combined with spending "too much time on message boards in high school" to produce an eclectic "anti-socialism". Extreme onlineness transcends ideological boundaries. For example, right-wing figures like Alex Jones and Laura Loomer have been described as "extremely online", but so have those on the left like Alexandria Ocasio-Cortez and fans of the Chapo Trap House podcast. Extremely online phenomena can range from acts of offline violence (such as the 2019 Christchurch shootings) to "[going] on NPR to explain the anti-capitalist irony inherent in kids eating Tide Pods". United States President Donald Trump's posts on social media have been frequently cited as extremely online, during both his presidency and his 2020 presidential campaign; Vox claimed his approach to re-election veered into being "Too Online", and Reason questioned whether the final presidential debate was "incomprehensible to normies". While individual people are often given the description, being extremely online has also been posited as an overall cultural phenomenon, applying to trends like lifestyle movements suffixed with "-wave" and "-core" based heavily on Internet media, as well as an increasing expectation for digital social researchers to have an "online presence" to advance in their careers. == Participants and media coverage == One example of a phenomenon considered to be extremely online is the "wife guy" (a guy who posts about his wife); despite being a "stupid online thing" which spent several years as a piece of Internet slang, in 2019 it became the subject of five articles in leading U.S. media outlets. Like many extremely online phrases and phenomena, the "wife guy" has been attributed in part to the in-character Twitter account dril. The account frequently parodies how people behave on the Internet, and has been widely cited as influential on online culture. In one tweet, his character refuses to stop using the Internet, even when someone shouts outside his house that he should log off. Many of dril's other coinages have become ubiquitous parts of Internet slang. Throughout the 2010s, posters such as dril inspired commonly used terms like "corncobbing" (referring to someone losing an argument and failing to admit it); while originally a piece of obscure Internet slang used on sites like Twitter, use of the term (and controversy over its misinterpretation) became a subject of reporting from traditional publications, with some noting that keeping up with the rapid turnover of inside jokes, memes, and quotes online required daily attention to avoid embarrassment. Twitch has been described as "talk radio for the extremely online". Another example of an event cited as extremely online is No Nut November. Increasingly, researchers are expected to have more of an online presence, to advance in their careers, as networking and portfolios continue to transition to the digital world. In November 2020, an article in The Washington Post criticized the filter bubble theory of online discourse on the basis that it "overgeneralized" based on a "small subset of extremely online people". The 2021 storming of the United States Capitol was described as extremely online, with "pro-Trump internet personalities", such as Baked Alaska, and fans livestreaming and taking selfies. People who have been described as extremely online include Chrissy Teigen, Jon Ossoff, and Andrew Yang. In contrast, Joe Biden has been cited as the antithesis of extremely online—The New York Times wrote in 2019 that he had "zero meme energy".

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  • Digital asset

    Digital asset

    A digital asset is anything that exists only in digital form and comes with a distinct usage right or distinct permission for use. Data that do not possess those rights are not considered assets. Digital assets include, but are not limited to: digital documents, audio content, motion pictures, and other relevant digital data currently in circulation or stored on digital appliances, such as personal computers, laptops, portable media players, tablets, data storage devices, and telecommunication devices. This encompasses any apparatus that currently exists or will exist as technology progresses to accommodate the conception of new modalities capable of carrying digital assets. This holds true regardless of the ownership of the physical device on which the digital asset is located. == Types == Types of digital assets include, but are not limited to: software, photography, logos, illustrations, animations, audiovisual media, presentations, spreadsheets, digital paintings, word documents, electronic mails, websites, and various other digital formats with their respective metadata. The number of different types of digital assets is exponentially increasing due to the rising number of devices that leverage these assets, such as smartphones, serving as conduits for digital media. In Intel's presentation at the 'Intel Developer Forum 2013,' they introduced several new types of digital assets related to medicine, education, voting, friendships, conversations, and reputation, among others. == Digital asset management system == A digital asset management (DAM) is an integrated structure that combines software, hardware, and/or other services to manage, store, ingest, organize, and retrieve digital assets. These systems enable users to find and use content when needed. == Digital asset metadata == Metadata is data about other data. Any structured information that defines a specification of any form of data is referred to as metadata. Metadata is also a claimed relationship between two entities, often used to establish connections or associations. Librarian Lorcan Dempsey says "Think of metadata as data which removes from a user (human or machine) the need to have full advance knowledge of the existence or characteristics of things of potential interest in the environment". At first, the term metadata was used for digital data exclusively, but nowadays metadata can apply to both physical and digital data. Catalogs, inventories, registers, and other similar standardized forms of organizing, managing, and retrieving resources contain metadata. Metadata can be stored and contained directly within the file it refers to or independently from it with the help of other forms of data management such as a DAM system. The more metadata is assigned to an asset the easier it gets to categorize it, especially as the amount of information grows. The asset's value rises the more metadata it has for it becomes more accessible, easier to manage, and more complex. Structured metadata can be shared with open protocols like OAI-PMH to allow further aggregation and processing. Open data sources like institutional repositories have thus been aggregated to form large datasets and academic search engines comprising tens of millions of open access works, like BASE, CORE, and Unpaywall. == Issues == Due to a lack of either legislation or legal precedent, there is limited existing governmental control and regulation surrounding digital assets in the United States and other large economies globally. Many of the control issues relating to access and transferability are maintained by individual companies. Some consequences of this include 'What is to become of the assets once their owner is deceased?' as well as can, and, if so, how, may they be inherited. This subject was broached in a bogus story about Bruce Willis allegedly looking to sue Apple as the end user agreement prevented him from bequeathing his iTunes collection to his children. Another case of this was when a soldier died on duty and the family requested access to the Yahoo! account. When Yahoo! refused to grant access, the probate judge ordered them to give the emails to the family but Yahoo! still was not required to give access. The Music Modernization Act was passed in September 2018 by the U.S. Congress to create a new music licensing system, with the aim to help songwriters get paid more.

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