AI Generator Text To Human

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Josh (app)

Josh (stylized as JOSH) was a video-sharing social networking service but it has since evolved into a live call and chat application owned by VerSe Innovation – an Indian technology company based in Bangalore, India. Josh was an Indian short video app that was launched in immediately after the Indian Government banned TikTok and other Chinese apps in June 2020. The founders of the platform have promoted the app as the “Instagram for Bharat” referring to their focus on the Indian audience that speaks its own regional and state languages. Josh was among the top 10 most downloaded apps social and entertainment apps in India of 2021 and had 150 million monthly active users as per April 2022. The word 'Josh' translates to fervour or passion. The app was launched under the aegis of the Atmanirbhar Bharat campaign and to compete with the duopoly of Google and Facebook in India. Josh's parent company VerSe Innovations Pvt. Ltd. owns another startup Dailyhunt, which a content and news aggregator application. Both Dailyhunt and Josh are a part of the VerSe's focus on the "next billion" regional language users of India. Founders Virendra Gupta and Umang Bedi conceptualised Josh as a short-video platform that made content creation accessible to vernacular language users, essentially the non-English speaking audience in India. == Features == Josh is currently available in 12 Indian languages and allows users to upload, share, remix bite-sized videos of up to 120 seconds. There are various categories across the video section including viral, trending, glamour, dance, devotion, yoga and cooking among others. Similar to Instagram and TikTok, it has a video feed which is curated for individuals on the basis of their app behaviour. The app hosts many daily, weekly and monthly social media challenges. == Funding == In December 2020, within 3 months of its launch, Josh's parent app VerSe Innovation raised more than $100 million from investors including Alphabet Inc's Google and Microsoft. In February 2021, VerSe Innovation raised $100 million in Series H funding from Qatar Investment Authority, the sovereign wealth fund of the State of Qatar, and Glade Brook Capital Partners. In August 2021, VerSe raised over $450 million in its Series I financing round with a valuation of $1 billion. Investors included Canada Pension Plan Investment Board (CPPIB), Siguler Guff, Baillie Gifford, Carlyle Asia Partners Growth II affiliates, and others. The startup announced its plan to expand overseas and broaden its ecommerce play for both Dailyhunt and Josh. In April 2022, VerSe announced that it has raised $805 million in funding from investors at a valuation of nearly $5 billion. ByteDance Offloads Stake In Josh Parent VerSe, Exits At 56% Discount == Partnerships == In February 2021, Saregama and Josh signed a music licensing deal, wherein Josh expanded its musical library with 1.3 lakh songs from Saregama in 25 different languages. To improve their user experience, Josh partnered with computer vision company D-ID in August 2021. The company helped Josh introduce photo-to-video features, live portrait technology, animate their photos etc. In order to solidify their efforts in enhancing Josh, VerSe acquired Indian social networking platform GolBol in October 2021. The move came as an effort by the startup to strengthen their discovery initiatives on the platform and classify content at scale and understand the core behaviour of Indian regional audiences. Josh has also announced its plans to include live commerce as a potential revenue stream through its partnership with multiple large e-commerce players. == Notable campaigns == Say No To Dowry – In association with Josh, the Kerala Police partook in the #SayNo2Dowry online social media campaign that was started to highlight and stop the social evil in the state. Salute India – Josh entered the Guinness World Records by creating the largest online video album of people saluting (29,529). It organised an online campaign #SaluteIndia on the app during the 75th Independence Day of India during 10–15 August 2021.
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Solid-state electronics

Solid-state electronics are semiconductor electronics: electronic equipment that use semiconductor devices such as transistors, diodes and integrated circuits (ICs). The term is also used as an adjective for devices in which semiconductor electronics that have no moving parts replace devices with moving parts, such as the solid-state relay, in which transistor switches are used in place of a moving-arm electromechanical relay, or the solid-state drive (SSD), a type of semiconductor memory used in computers to replace hard disk drives, which store data on rotating disks. == History == The term solid-state became popular at the beginning of the semiconductor era in the 1960s to distinguish this new technology. A semiconductor device works by controlling an electric current consisting of electrons or holes moving within a solid crystalline piece of semiconducting material such as silicon, while the thermionic vacuum tubes it replaced worked by controlling a current of electrons or ions in a vacuum within a sealed tube. Although the first solid-state electronic device was the cat's whisker detector, a crude semiconductor diode invented around 1904, solid-state electronics started with the invention of the transistor in 1947. Before that, all electronic equipment used vacuum tubes, because vacuum tubes were the only electronic components that could amplify—an essential capability in all electronics. The transistor, which was invented by John Bardeen and Walter Houser Brattain while working under William Shockley at Bell Laboratories in 1947, could also amplify, and replaced vacuum tubes. The first transistor hi-fi system was developed by engineers at GE and demonstrated at the University of Philadelphia in 1955. In terms of commercial production, The Fisher TR-1 was the first "all transistor" preamplifier, which became available mid-1956. In 1961, a company named Transis-tronics released a solid-state amplifier, the TEC S-15. The replacement of bulky, fragile, energy-hungry vacuum tubes by transistors in the 1960s and 1970s created a revolution not just in technology but in people's habits, making possible the first truly portable consumer electronics such as the transistor radio, cassette tape player, walkie-talkie and quartz watch, as well as the first practical computers and mobile phones. Other examples of solid state electronic devices are the microprocessor chip, LED lamp, solar cell, charge coupled device (CCD) image sensor used in cameras, and semiconductor laser. Also during the 1960s and 1970s, television set manufacturers switched from vacuum tubes to semiconductors, and advertised sets as "100% solid state" even though the cathode-ray tube (CRT) was still a vacuum tube. It meant only the chassis was 100% solid-state, not including the CRT. Early advertisements spelled out this distinction, but later advertisements assumed the audience had already been educated about it and shortened it to just "100% solid state". LED displays can be said to be truly 100% solid-state.
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RadioVIS

RadioVIS is a protocol for sideband signalling of images and text messages for a broadcast audio service to provide a richer visual experience. It is an application and sub-project of RadioDNS, which allows radio consumption devices to look up an IP-based service based on the parameters of the currently tuned broadcast station. In January 2015, the functionality of RadioVIS was integrated to Visual Slideshow (ETSI TS 101 499 v3.1.1). The original RVIS01 document is now deprecated. == Details == The protocol enables either Streaming Text Oriented Messaging Protocol (STOMP) or Comet to deliver text and image URLs to a client, with the images being acquired over a HTTP connection. The technology is currently implemented by a number of broadcasters across the world, including Global Radio, Bauer Radio in the UK, RTÉ in the Republic Of Ireland, Südwestrundfunk in Germany and a number of Australian media groups amongst others. A number of software clients exist to show the protocol, as well as hardware devices such as the Pure Sensia from Pure Digital, and the Colourstream from Roberts Radio.
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New media

New media are communication technologies that enable or enhance interaction between users, as well as interaction between users and content. In the middle of the 1990s, the phrase "new media" became widely used as part of a sales pitch for the influx of interactive CD-ROMs for entertainment and education. The new media technologies, sometimes known as Web 2.0, include a wide range of web-related communication tools such as blogs, wikis, online social networking, virtual worlds, and other social media platforms. The phrase "new media" refers to computational media that share material online and through computers. New media inspire new ways of thinking about older media. Media do not replace one another in a clear, linear succession, instead evolving in a more complicated network of interconnected feedback loops . What is different about new media is how they specifically refashion traditional media and how older media refashion themselves to meet the challenges of new media. Unless they contain technologies that enable digital generative or interactive processes, broadcast television programs, non-interactive news websites, feature films, magazines, and books are not considered to be new media. The term "new media" stands in contrast to old media, which dominated the media landscape as a form of mass media for many years. == History == In the 1950s, connections between computing and radical art began to grow stronger. It was not until the 1980s that Alan Kay and his co-workers at Xerox PARC began to give the computability of a personal computer to the individual, rather than have a big organization be in charge of this. In the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually, it makes sense that the Cold War and the design of the Web took place at exactly the same time. Writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period which is now famous declaration in Understanding Media: The Extensions of Man, that "the medium is the message" drew attention to the too often ignored influence media and technology themselves, rather than their "content," have on humans' experience of the world and on society broadly. Until the 1980s, media relied primarily upon print and analog broadcast models such as television and radio. The last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies such as the Internet and video games. However, these examples are only a small representation of new media. The use of digital computers has transformed the remaining 'old' media, as suggested by the advent of digital television and online publications. Even traditional media forms such as the printing press have been transformed through the application of technologies by using of image manipulation software like Adobe Photoshop and desktop publishing tools. Andrew L. Shapiro argues that the "emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources". W. Russell Neuman suggests that whilst the "new media" have technical capabilities to pull in one direction, economic and social forces pull back in the opposite direction. According to Neuman, "We are witnessing the evolution of a universal interconnected network of audio, video, and electronic text communications that will blur the distinction between interpersonal and mass communication; and between public and private communication". Neuman argues that new media will: Alter the meaning of geographic distance. Allow for a huge increase in the volume of communication. Provide the possibility of increasing the speed of communication. Provide opportunities for interactive communication. Allow forms of communication that were previously separate to overlap and interconnect. Consequently, it has been the contention of scholars such as Douglas Kellner and James Bohman that new media and particularly the Internet will provide the potential for a democratic postmodern public sphere, in which citizens can participate in well informed, non-hierarchical debate pertaining to their social structures. Contradicting these positive appraisals of the potential social impacts of new media are scholars such as Edward S. Herman and Robert McChesney who have suggested that the transition to new media has seen a handful of powerful transnational telecommunications corporations who achieve a level of global influence which was hitherto unimaginable. Scholars have highlighted both the positive and negative potential and actual implications of new media technologies, suggesting that some of the early work in new media studies was guilty of technologicaldeterminism – whereby the effects of media were determined by the technologies themselves, rather than by tracing the complex social networks that governed the development, funding, implementation, and future evolution of any technology. Based on the argument that people have a limited amount of time to spend on the consumption of different media, displacement theory argue that the viewership or readership of one particular outlet leads to the reduction in the amount of time spent by the individual on another. The introduction of new media, such as the internet, therefore reduces the amount of time individuals would spend on existing "old" media, which could ultimately lead to the end of such traditional media. == Definition == Although, there are several ways that new media may be described, Lev Manovich, in an introduction to The New Media Reader, defines new media by using eight propositions: New media versus cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas new media is concerned more with cultural objects and paradigms (digital to analog television, smartphones). New media as computer technology used as a distribution platform – New media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers. New media as digital data controlled by software – The language of new media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc. New media as the mix between existing cultural conventions and the conventions of software – New media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation. New media as the aesthetics that accompanies the early stage of every new modern media and communication technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period. New media as faster execution of algorithms previously executed manually or through other technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device. New media as the encoding of modernist avant-garde; new media as metamedia – Manovi
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Morphing

Morphing is a special effect in motion pictures and animations that changes (or morphs) one image or shape into another through a seamless transition. Traditionally such a depiction would be achieved through dissolving techniques on film. Since the early 1990s, this has been replaced by computer software to create more realistic transitions. A similar method is applied to audio recordings, for example, by changing voices or vocal lines. == Early transformation techniques == Long before digital morphing, several techniques were used for similar image transformations. Some of those techniques are closer to a matched dissolve – a gradual change between two pictures without warping the shapes in the images – while others did change the shapes in between the start and end phases of the transformation. === Tabula scalata === Known since at least the end of the 16th century, Tabula scalata is a type of painting with two images divided over a corrugated surface. Each image is only correctly visible from a certain angle. If the pictures are matched properly, a primitive type of morphing effect occurs when changing from one viewing angle to the other. === Mechanical transformations === Around 1790 French shadow play showman François Dominique Séraphin used a metal shadow figure with jointed parts to have the face of a young woman changing into that of a witch. Some 19th century mechanical magic lantern slides produced changes to the appearance of figures. For instance a nose could grow to enormous size, simply by slowly sliding away a piece of glass with black paint that masked part of another glass plate with the picture. === Matched dissolves === In the first half of the 19th century "dissolving views" were a popular type of magic lantern show, mostly showing landscapes gradually dissolving from a day to night version or from summer to winter. Other uses are known, for instance Henry Langdon Childe showed groves transforming into cathedrals. The 1910 short film Narren-grappen shows a dissolve transformation of the clothing of a female character. Maurice Tourneur's 1915 film Alias Jimmy Valentine featured a subtle dissolve transformation of the main character from respected citizen Lee Randall into his criminal alter ego Jimmy Valentine. The Peter Tchaikovsky Story in a 1959 TV-series episode of Disneyland features a swan automaton transforming into a real ballet dancer. In 1985, Godley & Creme created a "morph" effect using analogue cross-fades on parts of different faces in the video for "Cry". === Animation === In animation, the morphing effect was created long before the introduction of cinema. A phenakistiscope designed by its inventor Joseph Plateau was printed around 1835 and shows the head of a woman changing into a witch and then into a monster. Émile Cohl's 1908 animated film Fantasmagorie featured much morphing of characters and objects drawn in simple outlines. == Digital morphing == In the early 1990s, computer techniques capable of more convincing results saw increasing use. These involved distorting one image at the same time that it faded into another through marking corresponding points and vectors on the "before" and "after" images used in the morph. For example, one would morph one face into another by marking key points on the first face, such as the contour of the nose or location of an eye, and mark where these same points existed on the second face. The computer would then distort the first face to have the shape of the second face at the same time that it faded the two faces. To compute the transformation of image coordinates required for the distortion, the algorithm of Beier and Neely can be used. === Concerns === In 1993 concerns were raised about the authenticity of digitally altered images arising from morphing. Images of fake "tween" people found half way between two morphed people created a skeptical media long before AI. === Early examples === In or before 1986, computer graphics company Omnibus created a digital animation for a Tide commercial with a Tide detergent bottle smoothly morphing into the shape of the United States. The effect was programmed by Bob Hoffman. Omnibus re-used the technique in the movie Flight of the Navigator (1986). It featured scenes with a computer generated spaceship that appeared to change shape. The plaster cast of a model of the spaceship was scanned and digitally modified with techniques that included a reflection mapping technique that was also developed by programmer Bob Hoffman. The 1986 movie The Golden Child implemented early digital morphing effects from animal to human and back. Willow (1988) featured a more detailed digital morphing sequence with a person changing into different animals. A similar process was used a year later in Indiana Jones and the Last Crusade to create Walter Donovan's gruesome demise. Both effects were created by Industrial Light & Magic, using software developed by Tom Brigham and Doug Smythe (AMPAS). In 1991, morphing appeared notably in the Michael Jackson music video "Black or White" and in the movies Terminator 2: Judgment Day and Star Trek VI: The Undiscovered Country. The first application for personal computers to offer morphing was Gryphon Software Morph on the Macintosh. Other early morphing systems included ImageMaster, MorphPlus and CineMorph, all of which premiered for the Amiga in 1992. Other programs became widely available within a year, and for a time the effect became common to the point of cliché. For high-end use, Elastic Reality (based on MorphPlus) saw its first feature film use in In The Line of Fire (1993) and was used in Quantum Leap (work performed by the Post Group). At VisionArt Ted Fay used Elastic Reality to morph Odo for Star Trek: Deep Space Nine. The Snoop Dogg music video "Who Am I? (What's My Name?)", where Snoop Dogg and the others morph into dogs. Elastic Reality was later purchased by Avid, having already become the de facto system of choice, used in many hundreds of films. The technology behind Elastic Reality earned two Academy Awards in 1996 for Scientific and Technical Achievement going to Garth Dickie and Perry Kivolowitz. The effect is technically called a "spatially warped cross-dissolve". The first social network designed for user-generated morph examples to be posted online was Galleries by Morpheus. In late 1991 Yeti Productions employed a young Stephen Regelous to run it's 486 computer graphics system in Wellington New Zealand. After producer Barry Thomas showed him Michael Jackson's "Black or White", Regelous wrote 10,000 lines of C++ code of triangle-based digital morphing software. Together they created morphing based TV commercials for The NZ Cancer Society, Fit food, Salvation Army and others. The Fit food commercial employed morphing with 35mm, pin registered, digitally controlled motion control designed and made by Russell Collins with software by Stephen Regelous. In Taiwan, Aderans, a hair loss solutions provider, did a TV commercial featuring a morphing sequence in which people with lush, thick hair morph into one another, reminiscent of the end sequence of the "Black or White" video. === Present use === Morphing algorithms continue to advance and programs can automatically morph images that correspond closely enough with relatively little instruction from the user. This has led to the use of morphing techniques to create convincing slow-motion effects where none existed in the original film or video footage by morphing between each individual frame using optical flow technology. Morphing has also appeared as a transition technique between one scene and another in television shows, even if the contents of the two images are entirely unrelated. The algorithm in this case attempts to find corresponding points between the images and distort one into the other as they crossfade. While perhaps less obvious than in the past, morphing is used heavily today. Whereas the effect was initially a novelty, today, morphing effects are most often designed to be seamless and invisible to the eye. A particular use for morphing effects is modern digital font design. Using morphing technology, called interpolation or multiple master tech, a designer can create an intermediate between two styles, for example generating a semibold font by compromising between a bold and regular style, or extend a trend to create an ultra-light or ultra-bold. The technique is commonly used by font design studios. == Software == After Effects Animate Elastic Reality FantaMorph Gryphon Software Morph Morph Age Morpheus Nuke SilhouetteFX
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The Morning After (web series)

The Morning After is a Hulu original web series that premiered on January 17, 2011, and ended April 24, 2014. It was produced by Hulu and Jace Hall's HDFilms, streaming Monday through Friday. The show originally featured Brian Kimmet and Ginger Gonzaga as hosts. Later shows used a rotation of hosts including Alison Haislip, Dave Holmes, Damien Fahey, Bradley Hasemeyer, Haley Mancini, Paul Nyhart, and Rachel Perry. The series advertises itself as "a smart, daily shot of pop culture to help Hulu users stay up to date" and typically highlights notable moments from television shows and current news in an entertaining fashion. In keeping with its focus on pop culture, The Morning After will sometimes stream an episode featuring past pop culture titled "From the Archives," such as its April Fools' Day episode. == History == While not the first original series to appear exclusively on Hulu, The Morning After is the company's first self-branded production. It was preceded by If I Can Dream, a reality series co-produced with 19 Entertainment and created by Simon Fuller. Hulu originated the idea in house, based on user feedback and observations from discussion boards hosted by the website. The concept was modeled after The Big Show with Olbermann and Patrick. The company sought out a production partner and ultimately chose Jace Hall and his team at HDFilms to executive produce. Initial stream of the series was held on January 17, 2011, and featured coverage of Piers Morgan, the Golden Globes, and The Bachelor. Senior VP of Content and Distribution Andy Forssell made the announcement for the show the same day. The show aired its last episode April 24, 2014. == Format == A typical episode usually begins with a cold open shared by the varying hosts listing the highlights to be covered. The topics focus on TV and Pop Culture Highlights from the previous night, with the intention of helping Hulu users digest hours of content in a matter of moments. The show has the hosts trade humorous remarks regarding the news and each other, taking turns reviewing the night's TV and injecting their own personality. The Morning After was named as an honoree by the Webbys on April 10, 2012, in the variety section of its online video category.
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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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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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Representation collapse

Representation collapse is a phenomenon in machine learning and representation learning where a model maps different inputs to the same or very similar embeddings, which means it loses important information about how the data is spread out. It is frequently encountered in self-supervised learning, especially within contrastive and non-contrastive frameworks, when training objectives or model architectures do not maintain variance across representations. Collapse results in degenerate solutions characterized by uninformative learned features, significantly impairing downstream task performance. Various techniques have been proposed to mitigate representation collapse, including the use of negative samples, architectural asymmetry, stop-gradient operations, variance regularization, and redundancy reduction objectives, as seen in methods such as SimCLR, BYOL, and VICReg. Comprehending and averting representation collapse is regarded as a fundamental challenge in the advancement of stable and efficient self-supervised learning systems.
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LTE (telecommunication)

In telecommunications, Long Term Evolution (LTE) is a standard for wireless broadband communication for cellular mobile devices and data terminals. It is considered to be a "transitional" 4G technology, and is therefore also referred to as 3.95G as a step above 3G. LTE is based on the 2G GSM/EDGE and 3G UMTS/HSPA standards. It improves on those standards' capacity and speed by using a different radio interface and core network improvements. LTE is the upgrade path for carriers with both GSM/UMTS networks and CDMA2000 networks. LTE has been succeeded by LTE Advanced, which is officially defined as a "true" 4G technology and also named "LTE+". == Terminology == The standard is developed by the 3GPP (3rd Generation Partnership Project) and is specified in its Release 8 document series, with minor enhancements described in Release 9. LTE is also called 3.95G and has been marketed as 4G LTE and Advanced 4G; but the original version did not meet the technical criteria of a 4G wireless service, as specified in the 3GPP Release 8 and 9 document series for LTE Advanced. The requirements were set forth by the ITU-R organisation in the IMT Advanced specification; but, because of market pressure and the significant advances that WiMAX, Evolved High Speed Packet Access, and LTE bring to the original 3G technologies, ITU-R later decided that LTE and the aforementioned technologies can be called 4G technologies. The LTE Advanced standard formally satisfies the ITU-R requirements for being considered IMT-Advanced. To differentiate LTE Advanced and WiMAX-Advanced from current 4G technologies, ITU has defined the latter as "True 4G". == Overview == LTE stands for Long Term Evolution and is a registered trademark owned by ETSI (European Telecommunications Standards Institute) for the wireless data communications technology and development of the GSM/UMTS standards. However, other nations and companies do play an active role in the LTE project. The goal of LTE was to increase the capacity and speed of wireless data networks using new DSP (digital signal processing) techniques and modulations that were developed around the turn of the millennium. A further goal was the redesign and simplification of the network architecture to an IP-based system with significantly reduced transfer latency compared with the 3G architecture. The LTE wireless interface is incompatible with 2G and 3G networks, so it must be operated on a separate radio spectrum. The idea of LTE was first proposed in 1998, with the use of the COFDM radio access technique to replace the CDMA and studying its Terrestrial use in the L band at 1428 MHz (TE) In 2004 by Japan's NTT Docomo, with studies on the standard officially commenced in 2005. In May 2007, the LTE/SAE Trial Initiative (LSTI) alliance was founded as a global collaboration between vendors and operators with the goal of verifying and promoting the new standard to ensure the global introduction of the technology as quickly as possible. The LTE standard was finalized in December 2008, and the first publicly available LTE service was launched by TeliaSonera in Oslo and Stockholm on December 14, 2009, as a data connection with a USB modem. The LTE services were launched by major North American carriers as well, with the Samsung SCH-r900 being the world's first LTE Mobile phone starting on September 21, 2010, and Samsung Galaxy Indulge being the world's first LTE smartphone starting on February 10, 2011, both offered by MetroPCS, and the HTC ThunderBolt offered by Verizon starting on March 17 being the second LTE smartphone to be sold commercially. In Canada, Rogers Wireless was the first to launch LTE network on July 7, 2011, offering the Sierra Wireless AirCard 313U USB mobile broadband modem, known as the "LTE Rocket stick" then followed closely by mobile devices from both HTC and Samsung. Initially, CDMA operators planned to upgrade to rival standards called UMB and WiMAX, but major CDMA operators (such as Verizon, Sprint and MetroPCS in the United States, Bell and Telus in Canada, au by KDDI in Japan, SK Telecom in South Korea and China Telecom/China Unicom in China) have announced instead they intend to migrate to LTE. The next version of LTE is LTE Advanced, which was standardized in March 2011. Services commenced in 2013. Additional evolution known as LTE Advanced Pro was approved in 2015. The LTE specification provides downlink peak rates of 300 Mbit/s, uplink peak rates of 75 Mbit/s, and QoS provisions permitting a transfer latency of less than 5 ms in the radio access network. LTE has the ability to manage fast-moving mobiles and supports multicast and broadcast streams. LTE supports scalable carrier bandwidths, from 1.4 MHz to 20 MHz and supports both frequency division duplexing (FDD) and time-division duplexing (TDD). The IP-based network architecture, called the Evolved Packet Core (EPC) designed to replace the GPRS Core Network, supports seamless handovers for both voice and data to cell towers with older network technology such as GSM, UMTS and CDMA2000. The simpler architecture results in lower operating costs (for example, each E-UTRA cell will support up to four times the data and voice capacity supported by HSPA). Because LTE frequencies and bands differ from country to country, only multi-band phones can use LTE in all countries where it is supported. == History == === 3GPP standard development timeline === In 2004, NTT Docomo of Japan proposes LTE as the international standard. In September 2006, Siemens Networks (today Nokia Networks) showed in collaboration with Nomor Research the first live emulation of an LTE network to the media and investors. As live applications, two users streaming an HDTV video in the downlink and playing an interactive game in the uplink have been demonstrated. In February 2007, Ericsson demonstrated for the first time in the world, LTE with bit rates up to 144 Mbit/s In September 2007, NTT Docomo demonstrated LTE data rates of 200 Mbit/s with power level below 100 mW during the test. In November 2007, Infineon presented the world's first RF transceiver named SMARTi LTE, supporting LTE functionality in a single-chip RF silicon processed in CMOS In early 2008, LTE test equipment began shipping from several vendors and at the Mobile World Congress 2008 in Barcelona, Ericsson demonstrated the world's first end-to-end mobile call enabled by LTE on a small handheld device. Motorola demonstrated an LTE RAN (Radio Access Network) standard compliant eNodeB and LTE chipset at the same event. At the February 2008 Mobile World Congress: Motorola demonstrated how LTE can accelerate the delivery of personal media experience with HD video demo streaming, HD video blogging, online gaming, and VoIP over LTE running a RAN standard-compliant LTE network & LTE chipset. Ericsson EMP (later ST-Ericsson) demonstrated the world's first end-to-end LTE call on handheld Ericsson demonstrated LTE FDD and TDD mode on the same base station platform. Freescale Semiconductor demonstrated streaming HD video with peak data rates of 96 Mbit/s downlink and 86 Mbit/s uplink. NXP Semiconductors (later part of ST-Ericsson) demonstrated a multi-mode LTE modem as the basis for a software-defined radio system for use in cellphones. picoChip and Mimoon demonstrated a base station reference design. This runs on a common hardware platform (multi-mode / software-defined radio) with their WiMAX architecture. In April 2008, Motorola demonstrated the first EV-DO to LTE hand-off handling over streaming a video from LTE to a commercial EV-DO network and back to LTE. In April 2008, LG Electronics and Nortel demonstrated LTE data rates of 50 Mbit/s while travelling at 110 km/h (68 mph). In November 2008, Motorola demonstrated industry first over-the-air LTE session in 700 MHz spectrum. Researchers at Nokia Siemens Networks and Heinrich Hertz Institut have demonstrated LTE with 100 Mbit/s Uplink transfer speeds. At the February 2009 Mobile World Congress: Infineon demonstrated a single-chip 65 nm CMOS RF transceiver providing 2G/3G/LTE functionality Launch of ng Connect program, a multi-industry consortium founded by Alcatel-Lucent to identify and develop wireless broadband applications. Motorola provided LTE drive tour on the streets of Barcelona to demonstrate LTE system performance in a real-life metropolitan RF environment In July 2009, Nujira demonstrated efficiencies of more than 60% for an 880 MHz LTE Power Amplifier In August 2009, Nortel and LG Electronics demonstrated the first successful handoff between CDMA and LTE networks in a standards-compliant manner In August 2009, Alcatel-Lucent receives FCC certification for LTE base stations for the 700 MHz spectrum band. In September 2009, Nokia Siemens Networks demonstrated the world's first LTE call on standards-compliant commercial software. In October 2009, Ericsson and Samsung demonstrated interoperability between the first ever commercial LTE device and the live network in
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Creative work

A creative work is a manifestation of creative effort in the world through a creative process involving one or more individuals. The term includes fine artwork (sculpture, paintings, drawing, sketching, performance art), dance, writing (literature), filmmaking, and musical composition. The term is frequently used in the context of copyright. It is an important concept in both philosophy and law. Creative works require a creative mindset and are not typically rendered in an arbitrary fashion, although works may demonstrate (i.e., have in common) a degree of arbitrariness, such that it is improbable that two people would independently create the same work. At its base, creative work involves two main steps – having an idea, and then turning that idea into a substantive form or process. Typically, the creative process results in work that has some aesthetic value, identified as a creative expression. Naturally, this expression generally invokes external stimuli (e.g., influences and experiences) which a person draws on because they view the source as creative or inspirational; the degree to which this is reflected may be used in determinations of the derivativeness of the created work. Alternatively, the creator may draw on imagination, and their references may be clouded even to them, for the nature of imagination is as yet not fully understood philosophically, and the level of necessary self-examination of an artist's internal processing is a challenge for even those most self-aware of their minds and mental processes. == Legal definition == === United Kingdom === For the purpose of section 221(2)(c) of the Income Tax (Trading and Other Income) Act 2005, the expression "creative works" means: (a) literary, dramatic, musical or artistic works, or (b) designs,created by the taxpayer personally or, if the qualifying trade, profession or vocation is carried on in partnership, by one or more of the partners personally.
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Group (online social networking)

A group (often termed as a community, e-group or club) is a feature in many social networking services which allows users to create, post, comment to and read from their own interest- and niche-specific forums, often within the realm of virtual communities. Groups, which may allow for open or closed access, invitation and/or joining by other users outside the group, are formed to provide mini-networks within the larger, more diverse social network service. Much like electronic mailing lists, they are also owned and maintained by owners, moderators, or managers, who can edit posts to discussion threads and regulate member behavior within the group. However, unlike traditional Internet forums and mailing lists, groups in social networking services allow owners and moderators alike to share account credentials between groups without having to log in to every group. == History == The rise of the World Wide Web resulted in an expansion of the varieties of methods for communication on the Internet, much of which was limited in the 1980s to discussion in newsgroups, BBS and chat rooms. While the initial rise of web-based mass communication took place in the form of early Internet forums in the mid-1990s, a few services such as MSN Groups, Yahoo! Groups and eGroups pioneered the combination of web-based mailing list archives with user profiles; by 2000, such services doubled as full-fledged mailing lists and Internet forums, allowing users to create an extremely large variety of discussion and networking mediums with comparatively sparse thresholds of complexity. Further features included chat rooms (often Java-based), image and video galleries, and group calendars. The second spurt of bullecalbel networking, one which was less dependent upon mailing list-related features and more upon Internet forum features, began in the early- to mid-2000s in the form of such services as LiveJournal, Friendster, MySpace and Facebook. These services continued the evolution of the web-based e-group as a discussion and organization medium. In the late 2000s, services such as Yammer and Micromobs further advanced e-group communication by taking advantage of microblog-style activity streams. == In virtual worlds == In Second Life, groups are centered less around discussion forums (as such, an asynchronous conferencing feature is not built into the Second Life network as of 2009) and common interest, and are more centered on maintenance of a particular geographic location inside the network. Such groups are often created by the owners of areas such as buildings, plots of land or whole islands in order to cater to the most frequent visitors and patrons of the regions. With the limited asynchronous messaging capability of Second Life, groups are also a means of mass-emailing announcements pertinent to the group, but are not completely capable of hosting discussion or deliberation of such announcement messages. == The importance of online social networking groups == Before people expanded their social life to the internet, they had small circles. These included the networks gained from rural areas or villages, such as family, friends and neighbors, and community groups such as churches. These networks represented a social safety net to support individuals. Since we have moved a huge part of our social life to the internet, online social networking groups have become a way to maintain a structure in social life. Online networking is made up by clusters of people, bounding themselves together on the World Wide Web. To be able to sort out the many different clusters we belong to we use online groups to helps us arrange and make sense of all our contacts. This sense-making is rooted within us, we sort and put people into compartments or sort by categories to make sense and try to understand our relationships to the people around us. Online social networking groups therefore enables us to do the same thing online. Online social networks have a huge impact on people’s lives. Since the social network revolution has offered people with more loose ties and diversity in their relationships, it creates both stress and opportunities. Furthermore, the Internet revolution has transformed the contact point from a household to the individual. In addition, people are in constant communication with each other due to the mobile revolution. All in all, the mentioned revolutions created a new social operating system: "networked individualism". The way that people currently connect, communicate and exchange information can be described as a form of operating system because of the similarities between the structure of computer systems and the networked individualism that has taken form in society. These structures consist of unwritten rules, norms, constraints and opportunities which are apparent for those who are part of a specific network. == Concerns == There is some research claiming that fake news is infiltrating online social networking. A recent study claimed that people exposed to fake news generally revert to their original opinion even after finding out the information they were given was false.
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Joseph Stanislaus Ostoja-Kotkowski

Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio
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Digital classics

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

Link-richness is the quality, possessed by some websites, of having many hyperlinks. Classified advertising sites like Craigslist tend to be very link-rich, sometimes with hundreds of links on their main page. They help users find the links they are looking for by grouping links into clusters. Inadequate link richness has been described as frustrating to readers, as it reduces transparency of site content from the main page. Students new to wiki collaboration were found to need guidance in how to take full advantage of the medium's potential for creating link-rich content. Link-richness in some contexts can be distracting, as when an article is surrounded by extraneous links. Indeed, it is becoming accepted as a best practice for universities to have link-rich home pages that do not rely on user categorisation and exploration of long sequences of links and are not constrained by traditional boundaries between departments. Tools are sometimes needed to make the publishing of link-rich web sites tractable, and many people may lack the technical skills, time, or inclination to engage in hand- crafting new digital document forms. A link-rich site that is low on content is sometimes referred to as a "gateway site." Link-rich portals were popular on the Web in 2000. Yahoo! and other sites featuring categories with many links were heavily used and often required fewer than three clicks to reach the content. Web designers were creating flat sites with content positioned close to the top of pages.
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