AI Google Grammar Checker

AI Google Grammar Checker — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Semantic compression

  In natural language processing, semantic compression is a process of compacting a lexicon used to build a textual document (or a set of documents) by reducing language heterogeneity, while maintaining text semantics. As a result, the same ideas can be represented using a smaller set of words. In most applications, semantic compression is a lossy compression. Increased prolixity does not compensate for the lexical compression and an original document cannot be reconstructed in a reverse process. == By generalization == Semantic compression is basically achieved in two steps, using frequency dictionaries and semantic network: determining cumulated term frequencies to identify target lexicon, replacing less frequent terms with their hypernyms (generalization) from target lexicon. Step 1 requires assembling word frequencies and information on semantic relationships, specifically hyponymy. Moving upwards in word hierarchy, a cumulative concept frequency is calculating by adding a sum of hyponyms' frequencies to frequency of their hypernym: c u m f ( k i ) = f ( k i ) + ∑ j c u m f ( k j ) {\displaystyle cumf(k_{i})=f(k_{i})+\sum _{j}cumf(k_{j})} where k i {\displaystyle k_{i}} is a hypernym of k j {\displaystyle k_{j}} . Then a desired number of words with top cumulated frequencies are chosen to build a target lexicon. In the second step, compression mapping rules are defined for the remaining words in order to handle every occurrence of a less frequent hyponym as its hypernym in output text. Example The below fragment of text has been processed by the semantic compression. Words in bold have been replaced by their hypernyms. They are both nest building social insects, but paper wasps and honey bees organize their colonies in very different ways. In a new study, researchers report that despite their differences, these insects rely on the same network of genes to guide their social behavior.The study appears in the Proceedings of the Royal Society B: Biological Sciences. Honey bees and paper wasps are separated by more than 100 million years of evolution, and there are striking differences in how they divvy up the work of maintaining a colony. The procedure outputs the following text: They are both facility building insect, but insects and honey insects arrange their biological groups in very different structure. In a new study, researchers report that despite their difference of opinions, these insects act the same network of genes to steer their party demeanor. The study appears in the proceeding of the institution bacteria Biological Sciences. Honey insects and insect are separated by more than hundred million years of organic processes, and there are impinging differences of opinions in how they divvy up the work of affirming a biological group. == Implicit semantic compression == A natural tendency to keep natural language expressions concise can be perceived as a form of implicit semantic compression, by omitting unmeaningful words or redundant meaningful words (especially to avoid pleonasms). == Applications and advantages == In the vector space model, compacting a lexicon leads to a reduction of dimensionality, which results in less computational complexity and a positive influence on efficiency. Semantic compression is advantageous in information retrieval tasks, improving their effectiveness (in terms of both precision and recall). This is due to more precise descriptors (reduced effect of language diversity – limited language redundancy, a step towards a controlled dictionary). As in the example above, it is possible to display the output as natural text (re-applying inflexion, adding stop words).

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  Mean opinion score

  Mean opinion score (MOS) is a measure used in the domain of Quality of Experience and telecommunications engineering, representing overall quality of a stimulus or system. It is the arithmetic mean over all individual "values on a predefined scale that a subject assigns to his opinion of the performance of a system quality". Such ratings are usually gathered in a subjective quality evaluation test, but they can also be algorithmically estimated. MOS is a commonly used measure for video, audio, and audiovisual quality evaluation, but not restricted to those modalities. ITU-T has defined several ways of referring to a MOS in Recommendation ITU-T P.800.1, depending on whether the score was obtained from audiovisual, conversational, listening, talking, or video quality tests. == Rating scales and mathematical definition == The MOS is expressed as a single rational number, typically in the range 1–5, where 1 is lowest perceived quality, and 5 is the highest perceived quality. Other MOS ranges are also possible, depending on the rating scale that has been used in the underlying test. The Absolute Category Rating scale is very commonly used, which maps ratings between Bad and Excellent to numbers between 1 and 5, as seen in below table. Other standardized quality rating scales exist in ITU-T Recommendations (such as ITU-T P.800 or ITU-T P.910). For example, one could use a continuous scale ranging between 1–100. Which scale is used depends on the purpose of the test. In certain contexts there are no statistically significant differences between ratings for the same stimuli when they are obtained using different scales. The MOS is calculated as the arithmetic mean over single ratings performed by human subjects for a given stimulus in a subjective quality evaluation test. Thus: M O S = ∑ n = 1 N R n N {\displaystyle MOS={\frac {\sum _{n=1}^{N}{R_{n}}}{N}}} Where R {\displaystyle R} are the individual ratings for a given stimulus by N {\displaystyle N} subjects. == Properties of the MOS == The MOS is subject to certain mathematical properties and biases. In general, there is an ongoing debate on the usefulness of the MOS to quantify Quality of Experience in a single scalar value. When the MOS is acquired using a categorical rating scales, it is based on – similar to Likert scales – an ordinal scale. In this case, the ranking of the scale items is known, but their interval is not. Therefore, it is mathematically incorrect to calculate a mean over individual ratings in order to obtain the central tendency; the median should be used instead. However, in practice and in the definition of MOS, it is considered acceptable to calculate the arithmetic mean. It has been shown that for categorical rating scales (such as ACR), the individual items are not perceived equidistant by subjects. For example, there may be a larger "gap" between Good and Fair than there is between Good and Excellent. The perceived distance may also depend on the language into which the scale is translated. However, there exist studies that could not prove a significant impact of scale translation on the obtained results. Several other biases are present in the way MOS ratings are typically acquired. In addition to the above-mentioned issues with scales that are perceived non-linearly, there is a so-called "range-equalization bias": subjects, over the course of a subjective experiment, tend to give scores that span the entire rating scale. This makes it impossible to compare two different subjective tests if the range of presented quality differs. In other words, the MOS is never an absolute measure of quality, but only relative to the test in which it has been acquired. For the above reasons – and due to several other contextual factors influencing the perceived quality in a subjective test – a MOS value should only be reported if the context in which the values have been collected in is known and reported as well. MOS values gathered from different contexts and test designs therefore should not be directly compared. Recommendation ITU-T P.800.2 prescribes how MOS values should be reported. Specifically, P.800.2 says:it is not meaningful to directly compare MOS values produced from separate experiments, unless those experiments were explicitly designed to be compared, and even then the data should be statistically analysed to ensure that such a comparison is valid. == MOS for speech and audio quality estimation == MOS historically originates from subjective measurements where listeners would sit in a "quiet room" and score a telephone call quality as they perceived it. This kind of test methodology had been in use in the telephony industry for decades and was standardized in Recommendation ITU-T P.800. It specifies that "the talker should be seated in a quiet room with volume between 30 and 120 m³ and a reverberation time less than 500 ms (preferably in the range 200–300 ms). The room noise level must be below 30 dBA with no dominant peaks in the spectrum." Requirements for other modalities were similarly specified in later ITU-T Recommendations. == MOS estimation using quality models == Obtaining MOS ratings may be time-consuming and expensive as it requires the recruitment of human assessors. For various use cases such as codec development or service quality monitoring purposes – where quality should be estimated repeatedly and automatically – MOS scores can also be predicted by objective quality models, which typically have been developed and trained using human MOS ratings. A question that arises from using such models is whether the MOS differences produced are noticeable to the users. For example, when rating images on a five point MOS scale, an image with a MOS equal to 5 is expected to be noticeably better in quality than one with a MOS equal to 1. Contrary to that, it is not evident whether an image with a MOS equal to 3.8 is noticeably better in quality than one with a MOS equal to 3.6. Research conducted on determining the smallest MOS difference that is perceptible to users for digital photographs showed that a MOS difference of approximately 0.46 is required in order for 75% of the users to be able to detect the higher quality image. Nevertheless, image quality expectation, and hence MOS, changes over time with the change of user expectations. As a result, minimum noticeable MOS differences determined using analytical methods such as in may change over time.

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  Proximedia Group

  Proximedia Group is a Belgian media group. == History == Proximedia Belgium was founded in 1998, by Fabrice Wuyts and Eric Glachant. The company specializes in providing websites for SMEs. The Proximedia Group SA was founded in 1999 and became the coordinating organization of Proximedia Belgium, Online, Bizbook Channel, Globule Bleu bvba, Click+, Proximedia France, Proximedia Nederland, and Proximedia Spain. The Proximedia Group has been listed at the Free Market of Euronext Brussels since 2005. In 2007, the Proximedia Group founded the Bizbook Channel. This branch specialized in creating corporate videos. In 2008, Proximedia SA took over the web agency Globule Bleu. The following year, Proximedia launched the brand BeUP. They were also elected ‘Enterprise of The Year 2009’ by Ernst & Young. Proximedia launched two new services in 2011: Videobiz and Promobook. In 2012, the Bizbook Channel was launched. Proximedia was acquired by Publicis Groupe S.A. in July 2014. == Branches == Proximedia Belgium: the oldest branch of the Proximedia Group. It makes websites and provides support for their customers. Similar branches are Proximedia France and Proximedia Nederland. Batibouw +: specialized in bringing contractors and clients together. Bizbook Channel: specialized in creating corporate videos for SMEs. Click+: offers the management of Google AdWords campaigns. This contains advertising in Google's search results. Globule Bleu: specialized in digital campaigns for larger companies or organisations. Online: an Internet Service Provider (ISP) that provides internet access, domain names, hosting of websites and data centers, email service, etc. Bizbook: an online guestbook where users can post reviews on products and services of a company. Promobook: an online service which can be used to print promotions and coupons. == Key figures == == Sale tactics and lawsuits == There are a lot of websites, forums and blogs that warn for Proximedia. This is because of the long duration of the contract, the inability to terminate the contract and the alleged aggressive approach of Proximedia and the alleged low quality of service that Proximedia offers. Also, there are a lot of lawsuits every month, some of which are customers that wish to terminate the contract, others that allege Proximedia of misguiding. List of some example lawsuits: Mitigation of contractual termination compensation on the basis of article 6:248 paragraph 2 of the Dutch Civil Code A clause on the basis of which a termination fee is claimed can be considered a penalty clause. Mitigation of the penalty based on article 6:94 of the Dutch Civil Code? Performance claim rejected; successful appeal to breach of contract; dissolution; restitution claim awarded. Agreement for IT services. Contents of the agreement. No reflex effect of the Door-to-Door Sales Act for small entrepreneurs. Implementation Act of the Consumer Rights Directive. Breach of contract? Unreasonably onerous clause? Cassation: ECLI:NL:HR:2016:996, (Partial) annulment with referral. Final judgment: ECLI:NL:GHSHE:2014:4228 Error. Reflex effect of the unfair commercial practices law? Compelling evidentiary force of written agreement. (No summary provided by court) Proximedia case. No valid defense against the claim concerning a number of monthly invoices. Article 7.1 of the agreement (containing a termination fee) is a general term in the sense of article 6:231 introductory text and under a of the Dutch Civil Code. No "reflex effect" of article 6:237 introductory text and under i of the Dutch Civil Code. Insufficiently argued why article 7.1 would be unreasonably onerous in the sense of article 6:233 of the Dutch Civil Code and that granting the claim would be unacceptable according to standards of reasonableness and fairness. Termination fee is not a penalty in the sense of article 6:91 of the Dutch Civil Code. A retailer (sole proprietorship) is approached by a representative of a company and enters into an "agreement for IT services" with a term of four years, which includes a dissolution fee of 60% of the not yet due monthly payments. The retailer is instructed to prove that, at the time of entering the agreement, the company promised him that he could terminate the agreement without any further obligations if he terminated his business. The retailer is considered to have succeeded in the burden of proof, and the company's claim for payment of the dissolution fee is rejected.

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  Digital cinema

  Digital cinema is the digital technology used within the film industry to distribute or project motion pictures as opposed to the historical use of reels of motion picture film, such as 35 mm film. Whereas film reels have to be shipped to movie theaters, a digital movie can be distributed to cinemas in a number of ways: over the Internet or dedicated satellite links, or by sending hard drives or optical discs such as Blu-ray discs, then projected using a digital video projector instead of a film projector. Typically, digital movies are shot using digital movie cameras or in animation transferred from a file and are edited using a non-linear editing system (NLE). The NLE is often a video editing application installed in one or more computers that may be networked to access the original footage from a remote server, share or gain access to computing resources for rendering the final video, and allow several editors to work on the same timeline or project. Alternatively a digital movie could be a film reel that has been digitized using a motion picture film scanner and then restored, or, a digital movie could be recorded using a film recorder onto film stock for projection using a traditional film projector. Digital cinema is distinct from high-definition television and does not necessarily use traditional television or other traditional high-definition video standards, aspect ratios, or frame rates. In digital cinema, resolutions are represented by the horizontal pixel count, usually 2K (2048×1080 or 2.2 megapixels) or 4K (4096×2160 or 8.8 megapixels). The 2K and 4K resolutions used in digital cinema projection are often referred to as DCI 2K and DCI 4K. DCI stands for Digital Cinema Initiatives. As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. Digital cinema technology has continued to develop over the years with RealD 3D, IMAX, RPX, 4DX, Dolby Cinema, and ScreenX, allowing moviegoers more immersive experiences. == History == The transition from film to digital video was preceded by cinema's transition from analog to digital audio, with the release of the Dolby Digital (AC-3) audio coding standard in 1991. Its main basis is the modified discrete cosine transform (MDCT), a lossy audio compression algorithm. It is a modification of the discrete cosine transform (DCT) algorithm, which was first proposed by Nasir Ahmed in 1972 and was originally intended for image compression. The DCT was adapted into the MDCT by J.P. Princen, A.W. Johnson and Alan B. Bradley at the University of Surrey in 1987, and then Dolby Laboratories adapted the MDCT algorithm along with perceptual coding principles to develop the AC-3 audio format for cinema needs. Cinema in the 1990s typically combined analog photochemical images with digital audio. Digital media playback of high-resolution 2K files has at least a 20-year history. Early video data storage units (RAIDs) fed custom frame buffer systems with large memories. In early digital video units, the content was usually restricted to several minutes of material. Transfer of content between remote locations was slow and had limited capacity. It was not until the late 1990s that feature-length films could be sent over the "wire" (Internet or dedicated fiber links). On October 23, 1998, Digital light processing (DLP) projector technology was publicly demonstrated with the release of The Last Broadcast, the first feature-length movie, shot, edited and distributed digitally. In conjunction with Texas Instruments, the movie was publicly demonstrated in five theaters across the United States (Philadelphia, Portland (Oregon), Minneapolis, Providence, and Orlando). === Foundations === In the United States, on June 18, 1999, Texas Instruments' DLP Cinema projector technology was publicly demonstrated on two screens in Los Angeles and New York for the release of Lucasfilm's Star Wars Episode I: The Phantom Menace. In Europe, on February 2, 2000, Texas Instruments' DLP Cinema projector technology was publicly demonstrated, by Philippe Binant, on one screen in Paris for the release of Toy Story 2. From 1997 to 2000, the JPEG 2000 image compression standard was developed by a Joint Photographic Experts Group (JPEG) committee chaired by Touradj Ebrahimi (later the JPEG president). In contrast to the original 1992 JPEG standard, which is a DCT-based lossy compression format for static digital images, JPEG 2000 is a discrete wavelet transform (DWT) based compression standard that could be adapted for motion imaging video compression with the Motion JPEG 2000 extension. JPEG 2000 technology was later selected as the video coding standard for digital cinema in 2004. In 1992, Hughes-JVC was founded by JVC and Hughes Electronics to develop ILA (Image Light Amplifer) digital video projectors for commercial movie theaters using liquid crystal on silicon (LCOS) technology. In 1997, JVC introduced D-ILA (Direct-Drive ILA) technology with a 2K resolution digital video projector. In 2000, JVC introduced a 4K resolution video projector using D-ILA technology. === Initiatives === On January 19, 2000, the Society of Motion Picture and Television Engineers, in the United States, initiated the first standards group dedicated to developing digital cinema. By December 2000, there were 15 digital cinema screens in the United States and Canada, 11 in Western Europe, 4 in Asia, and 1 in South America. Digital Cinema Initiatives (DCI) was formed in March 2002 as a joint project of many motion picture studios (Disney, Fox, MGM, Paramount, Sony Pictures, Universal and Warner Bros.) to develop a system specification for digital cinema. The same month it was reported that the number of cinemas equipped with digital projectors had increased to about 50 in the US and 30 more in the rest of the world. In April 2004, in collaboration with the American Society of Cinematographers, DCI created standard evaluation material (the ASC/DCI StEM material) for testing of 2K and 4K playback and compression technologies. DCI selected JPEG 2000 as the basis for the compression in the system the same year. Initial tests with JPEG 2000 produced bit rates of around 75–125 Mbit/s for 2K resolution and 100–200 Mbit/s for 4K resolution. === Worldwide deployment === In China, in June 2005, an e-cinema system called "dMs" was established and was used in over 15,000 screens spread across China's 30 provinces. DMs estimated that the system would expand to 40,000 screens in 2009. In 2005, the UK Film Council Digital Screen Network launched in the UK by Arts Alliance Media creating a chain of 250 2K digital cinema systems. The roll-out was completed in 2006. This was the first mass roll-out in Europe. AccessIT/Christie Digital also started a roll-out in the United States and Canada. By mid-2006, about 400 theaters were equipped with 2K digital projectors with the number increasing every month. In August 2006, the Malayalam digital movie Moonnamathoral, produced by Benzy Martin, was distributed via satellite to cinemas, thus becoming the first Indian digital cinema. This was done by Emil and Eric Digital Films, a company based at Thrissur using the end-to-end digital cinema system developed by Singapore-based DG2L Technologies. In January 2007, Guru became the first Indian film mastered in the DCI-compliant JPEG 2000 Interop format and also the first Indian film to be previewed digitally, internationally, at the Elgin Winter Garden in Toronto. This film was digitally mastered at Real Image Media Technologies in India. In 2007, the UK became home to Europe's first DCI-compliant fully digital multiplex cinemas; Odeon Hatfield and Odeon Surrey Quays (in London), with a total of 18 digital screens, were launched on 9 February 2007. By March 2007, with the release of Disney's Meet the Robinsons, about 600 screens had been equipped with digital projectors. In June 2007, Arts Alliance Media announced the first European commercial digital cinema Virtual Print Fee (VPF) agreements (with 20th Century Fox and Universal Pictures). In March 2009, AMC Theatres announced that it closed a $315 million deal with Sony to replace all of its movie projectors with 4K HDR digital projectors starting in the second quarter of 2009; it was anticipated that this replacement would be finished by 2012. As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. In January 2011, the total number of digital screens worldwide was 36,242, up from 16,339 at end 2009 or a growth rate of 121.8 percent during the year. There were 10,083 d-screens in Europe as a whole (28.2 percent of global figure), 16,522 in the United States and Canada (46.2 percent of global figure) and 7,703 in Asia (21.6 percent of global figure). Worldwide progress was slower as in some territories, particularly Latin America and Africa. As of 31 March 2015, 38,719 screens (out of a total of 3

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  Verbal overshadowing

  Verbal overshadowing is a phenomenon where giving a verbal description of sensory input impairs formation of memories of that input. This was first reported by Schooler and Engstler-Schooler (1990) where it was shown that the effects can be observed across multiple domains of cognition which are known to rely on non-verbal knowledge and perceptual expertise. One example of this is memory, which has been known to be influenced by language. Seminal work by Carmichael and collaborators (1932) demonstrated that when verbal labels are connected to non-verbal forms during an individual's encoding process, it could potentially bias the way those forms are reproduced. Because of this, memory performance relying on reportable aspects of memory that encode visual forms should be vulnerable to the effects of verbalization. == Initial findings == Schooler and Engstler-Schooler (1990) were the first to report findings of verbal overshadowing. In their study, participants watched a video of a simulated robbery and were instructed to either verbally describe the robber or engage in a control task. Those who engaged in giving a verbal description were less likely to correctly identify the robber from a test lineup, compared to those who engaged in the control task. A larger effect was detected when the verbal description was provided 20, rather than 5, minutes after the video, and immediately before the test lineup. A meta-analysis by Meissner and Brigham (2001) supported the effects of verbal overshadowing, showing a small but reliably negative effect. == General effects of verbal overshadowing == The effects of verbal overshadowing have been generalized across multiple domains of cognition that are known to rely on non-verbal knowledge and perceptual expertise, such as memory. Memory has been known to be influenced by language. Seminal work by Carmichael and collaborators (1932) demonstrated that labels attached to, or associated with, non-verbal forms during memory encoding can affect the way the forms were subsequently reproduced. Because of this, memory performance that relies on reportable aspects of memory that encode visual forms should be vulnerable to the effects of verbalization. Pelizzon, Brandimonte, and Luccio (2002) found that visual memory representations appear to incorporate visual, spatial, and temporal characteristics. It is explained as follows: With the temporal code (where the only information available is the sequence of the stimuli), performance levels remain high, unless participants are required to retrieve the stimuli in a different order from that used at encoding (visual cue). In this case, performance is significantly impaired, even in the presence of a visual cue. The study showed that order information acts as a link between the two separate representations of figure and background, hence preventing verbal overshadowing at encoding (temporal component) or attenuating its influence at retrieval (spatial component).(p. 960) Hatano, Ueno, Kitagami, and Kawaguchi found that verbal overshadowing is likely to occur when participants verbally described targets in detail. Detailed verbal descriptions resulted in more frequently inaccurate descriptions that in turn created inaccurate representations in the memories of participants. Inaccuracies are also likely to occur when face recognition comes immediately after verbalization. Other forms of non-verbal knowledge affected by verbal overshadowing include the following: [Verbal overshadowing] has also been observed when participants attempt to generate descriptions of other 'difficult-to-describe' stimuli such as colors (Schooler and Engstler-Schooler, 1990) or abstract figures (Brandimonte et al., 1997), or other non-visual tasks such as wine tasting (Melcher and Schooler, 1996), decision making (Wilson and Schooler, 1991), and insight problem-solving. (p. 871) (Schooler et al., 1993) Verbalization of stimuli leads to the disruption of non-reportable processes that are necessary for achieving insight solutions, which are distinct from language processes. Schooler, Ohlsson, and Brooks (1993) found that face recognition requires information that cannot be adequately verbalized, giving rise to difficulty in describing factors in recognition judgments. Subjects were less effective in solving insight problems when compelled to put their thoughts in words, which suggests that language may interfere with thought. The verbal overshadowing effect was not seen when participants engaged in articulatory suppression. Performance was reduced in both the verbal and non-verbal description conditions. This is evidence that verbal encoding plays a role in face recognition. By testing with distracting faces presented between study and test, Lloyd-Jones and Brown (2008) suggested a dual-process approach to recognition memory took place, that verbalization influenced familiarity-based processes at first, but its effects were later seen on recollection, when discrimination between items became more difficult. == Verbal overshadowing in facial recognition == The verbal overshadowing effect can be found for facial recognition because faces are predominately processed in a holistic or configurable manner. (Tanaka & Farah, 1993; Tanaka & Sengco, 1997) Verbalizing one's memory for a face is done using a featural or analytic strategy, leading to a drift from the configurable information about the face and to impaired recognition performance. However, Fallshore & Schooler (1995) found that the verbal overshadowing effect was not found when participants described faces of races different from their own. A study by Brown and Lloyd-Jones (2003) found that there was no verbal overshadowing effect found in car descriptions; it was only seen in facial descriptions. The authors noted that descriptions were no different on any measure including accuracy. It is suggested that less expertise in verbalizing faces rather than cars invokes a stronger shift in verbal and featural processing. This supports the concept of a transfer inappropriate retrieval framework and addresses some limitations of the effect. Wickham and Swift (2006) suggested that the verbal overshadowing effect is not seen in describing all faces, and one aspect that determines this is distinctiveness. Results showed that typical faces produce verbal overshadowing, while distinctive faces did not. In studies of eyewitness reports, variation in response criteria given by participants influenced the quality of the descriptions generated and accuracy on identification task, known as the retrieval-based effect. Face recognition was also impaired when subjects described a familiar face, such as a parent, or when describing a previously seen but novel face. Dodson, Johnson, and Schooler (1997) found that recognition was also impaired when participants were provided with a description of a previously seen face, and they were able to ignore provided versus self-generated descriptions more easily. This finding of verbal overshadowing suggested that eyewitness recognition is not only affected by their own descriptions, but of descriptions heard from others, such other eyewitness testimonies. == Voice recognition == The verbal overshadowing effect has also been found to affect voice identification. Research shows that describing a non-verbal stimuli leads to a decrease in recognition accuracy. In an unpublished study by Schooler, Fiore, Melcher, and Ambadar (1996), participants listened to a tape-recorded voice, after which they were asked either to verbally describe it or to not do so, and then asked to distinguish the voice from 3 similar distractor voices. The results showed that verbal overshadowing impaired accuracy of recognition based on gut feeling, suggesting an overall verbal overshadowing for voice recognition. Due to the forensic relevance of voices heard over the telephone and harassing phone calls that are often a problem for police, Perfect, Hunt, and Harris (2002) examined the influence of three factors on accuracy and confidence in voice recognition from a line-up. They expected to find an effect, because voice represents a class of stimuli that is difficult to describe verbally. This meets Schooler et al.'s (1997) modality mismatch criterion, meaning that describing the speakers age, gender, or accent is difficult, making voice recognition susceptible to the verbal overshadowing phenomenon. It was found that the method of memory encoding had no impact on performance, and that hearing a telephone voice reduced confidence but did not affect accuracy. They also found that providing a verbal description impaired accuracy but had no effect on confidence. The data showed an effect of verbal overshadowing in voice recognition and provided yet another disassociation between confidence and performance. Although there was a difference in confidence level, witnesses were able to identify voices over the telephone as accurately as voices heard direc

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  Affordable affluence

  Affordable affluence refers to a cultural phenomenon where consumers use accessible luxury goods and lifestyles to project status and align themselves with a higher social class, without requiring substantial wealth. This concept is embodied by brands such as Aritzia and Erewhon, which position themselves as offering high-end, trendy, or health-conscious products that are relatively accessible to the average consumer. A related concept is quiet luxury, where the ultra-wealthy signal wealth through subtle means. Quiet luxury emphasizes the widening gap between the ultra-wealthy and the general public, whereas accessible affluence provides a way for the general public to indulge in the lifestyle of the ultra-wealthy. == Origin of the term == An early use of the phrase in this context in a 2023 article in The Cut called "Meet the People Working 3 Jobs to Afford Erewhon." One of the interviewees used Erewhon as an archetype of affordable affluence. It was described as “a way for regular people to position themselves adjacent to the upper class.” == Background and description == The phenomenon arises due to an individual's desire to showcase status. For years, companies have strategized how to target the average consumers by providing a product that signals an elevated social status. For instance, Aritzia partnered with celebrities and micro-influencers to make it an aspirational brand at an affordable cost. Erewhon similarly has allowed middle class consumers to subtly signal a higher degree of perceived wealth by purchasing higher priced, but still attainable items. It has allowed middle-class individuals to feel as though they are part of an exclusive culture. This phenomenon has been seen particularly with Gen Z and Millennials in the setting of financial hardships in the 2020s. Affordable affluence is an example of the lipstick effect. Because traditional status symbols such as expensive cars became relatively more unattainable, posting clips on social media that showcase affordable affluence become an alternative status symbol. Particularly with food, the perception has evolved from a necessity to a luxury. A McKinsey & Company report demonstrated that these generations place a higher importance on groceries than restaurants, travel, and beauty/fashion.

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  Deconfliction line

  A deconfliction line is an official line of communications established between militaries who are or could be hostile, to avoid dangerous misunderstandings and miscalculations based on ignorance. The ultimate aim is to avoid accidents and conflict escalation. In the 2010s and 2020s, the US and Russia set up deconfliction lines during the Syrian civil war and Russo-Ukrainian War. They were regularly tested by military staff, and used by air traffic controllers and senior military officers. They were used to avoid midair collisions between aircraft in the same or adjacent airspace, and sometimes to give warning of airstrikes. In April 2017, Russia severed the Syrian line in retaliation for a called strike.

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  GlTF

  glTF (Graphics Library Transmission Format or GL Transmission Format and formerly known as WebGL Transmissions Format or WebGL TF) is a standard file format for three-dimensional scenes and models. A glTF file uses one of two possible file extensions: .gltf (JSON/ASCII) or .glb (binary). Both .gltf and .glb files may reference external binary and texture resources. Alternatively, both formats may be self-contained by directly embedding binary data buffers (as base64-encoded strings in .gltf files or as raw byte arrays in .glb files). An open standard developed and maintained by the Khronos Group, it supports 3D model geometry, appearance, scene graph hierarchy, and animation. It is intended to be a streamlined, interoperable format for the delivery of 3D assets, while minimizing file size and runtime processing by apps. As such, its creators have described it as the "JPEG of 3D". == Overview == The glTF format stores data primarily in JSON. The JSON may also contain blobs of binary data known as buffers, and refer to external files, for storing mesh data, images, etc. The binary .glb format also contains JSON text, but serialized with binary chunk headers to allow blobs to be directly appended to the file. The fundamental building blocks of a glTF scene are nodes. Nodes are organized into a hierarchy, such that a node may have other nodes defined as children. Nodes may have transforms relative to their parent. Nodes may refer to resources, such as meshes, skins, and cameras. Meshes may refer to materials, which refer to textures, which refer to images. Scenes are defined using an array of root nodes. Most of the top-level glTF properties use a flat hierarchy for storage. Nodes are saved in an array and are referred to by index, including by other nodes. A glTF scene refers to its root nodes by index. Furthermore, nodes refer to meshes by index, which refer to materials by index, which refer to textures by index, which refer to images by index. All glTF data structures support being extended using a JSON property, allowing arbitrary JSON data to be added. == Releases == === glTF 1.0 === Members of the COLLADA working group conceived the file format in 2012. At SIGGRAPH 2012, Khronos presented a demo of glTF, which was then called WebGL Transmissions Format (WebGL TF). On October 19, 2015, Khronos released the glTF 1.0 specification. ==== Adoption of glTF 1.0 ==== At SIGGRAPH 2016, Oculus announced their adoption of glTF citing the similarities to their ovrscene format. In October 2016, Microsoft joined the 3D Formats working group at Khronos to collaborate on glTF. === glTF 2.0 === The second version, glTF 2.0, was released in June 2017, and is a complete overhaul of the file format from version 1.0, with most tools adopting the 2.0 version. Based on a proposal by Fraunhofer originally presented at SIGGRAPH 2016, physically based rendering (PBR) was added, replacing WebGL shaders used in glTF 1.0. glTF 2.0 added the GLB binary format into the base specification. Other upgrades include sparse accessors and morph targets for techniques such as facial animation, and schema tweaks and breaking changes for corner cases or performance such as replacing top-level glTF object properties with arrays for faster index-based access. There is ongoing work towards import and export in Unity and an integrated multi-engine viewer and validator. ==== Adoption of glTF 2.0 ==== On March 3, 2017, Microsoft announced that they would be using glTF 2.0 as the 3D asset format across their product line, including Paint 3D, 3D Viewer, Remix 3D, Babylon.js, and Microsoft Office. Sketchfab also announced support for glTF 2.0. The glTF and GLB formats are used on and supported by companies including DGG, UX3D, Sketchfab, Facebook, Microsoft, Meta, Google, Adobe, Box, TurboSquid, Unreal Engine, Unity, and Qt Quick 3D. The format has been noted as an important standard for augmented reality, integrating with modeling software such as Autodesk Maya, Autodesk 3ds Max, and Poly. In February 2020, the Smithsonian Institution launched their Open Access Initiative, releasing approximately 2.8 million 2D images and 3D models into the public domain, using glTF for the 3D models. In July 2022, glTF 2.0 was released as the ISO/IEC 12113:2022 International Standard. Khronos stated they would make regular submissions to bring updates and new widely adopted glTF functionality into refreshed versions of ISO/IEC 12113 to ensure that there is no long-term divergence between the ISO/IEC and Khronos specifications. The open-source game engine Godot supports importing glTF 2.0 files since version 3.0 and export since version 4.0. === Extensions === The glTF format can be extended with arbitrary JSON to add new data and functionality. Extensions can be placed on any part of a glTF, including nodes, animations, materials, textures, and on the entire document. Khronos keeps a non-comprehensive registry of glTF extensions on GitHub, including all official Khronos extensions and a few third-party extensions. PBR extensions model the physical appearance of real-world objects, allowing developers to create realistic 3D assets that have the correct appearance. As new PBR extensions are released, they continue to expand PBR capabilities within the glTF framework, allowing a wider range of scenes and objects to be realistically rendered as 3D assets. The KTX 2.0 extension for universal texture compression enables 3D models in the glTF format to be highly compressed and to use natively supported texture formats, reducing file size and boosting rendering speed. Draco is a glTF extension for mesh compression, to compress and decompress 3D meshes, to help reduce the size of 3D files. It compresses vertex attributes, normals, colors, and texture coordinates. Various glTF extensions for game engine interoperability have been developed by OMI group. This includes extensions for physics shapes, physics bodies, physics joints, audio playback, seats, spawn points, and more. The VRM consortium has developed glTF extensions for advanced humanoid 3D avatars including dynamic spring bones and toon materials. == Derivative formats == 3D Tiles, an OGC Community Standard, builds on glTF to add a spatial data structure, metadata, and declarative styling for streaming massive heterogeneous 3D geospatial datasets. VRM, a model format for VR, is built on the .glb format. It is a 3D humanoid avatar specification and file format. == Software ecosystem == Khronos maintains the glTF Sample Viewer for viewing glTF assets. Khronos also maintains the glTF Validator for validating if 3D models conform to the glTF specification. Khronos maintains a glTF Compressor tool to interactively optimize and fine-tune compression settings for glTF assets using KTX 2.0 textures. glTF loaders are in open-source WebGL engines including PlayCanvas, Three.js, Babylon.js, Cesium, PEX, xeogl, and A-Frame. The Godot game engine supports and recommends the glTF format, with both import and export support. Open-source glTF converters are available from COLLADA, FBX, and OBJ. Assimp can import and export glTF. glTF files can also be directly exported from a variety of 3D editors, such as Blender, Unity (using the glTFast importer/exporter), Freecad, Vectary, Autodesk 3ds Max (natively or using Verge3D exporter), Autodesk Maya (using babylon.js exporter), Autodesk Inventor, Modo, Houdini, Paint 3D, Godot, and Substance Painter. Open-source glTF utility libraries are available for programming languages including JavaScript, Node.js, C++, C#, Python, Haskell, Java, Go, Rust, Haxe, Ada, and TypeScript. Khronos keeps a list of these libraries and other related applications on their ecosystem site. The Khronos 3D Commerce Working Group released Asset Creation Guidelines in 2020 outlining best practices for use of the glTF file format in 3D Commerce. In 2025, the Working Group launched Asset Creation Guidelines 2.0, a continuously updated resource with additional guidance for geometry, mesh optimization, UV maps, textures, materials/PBR performance, and web optimization. The Khronos PBR Neutral Tone Mappers specification is a tone mapper designed to faithfully reproduce an object's base color, hue, and saturation when using PBR rendering under grayscale lighting, supporting brand- and product-accurate color representation. Khronos maintains the glTF Asset Auditor to allow retailers and advertising technology platforms to validate 3D assets against either a default Audit Profile modelled on the 2020 3D Commerce Asset Creation Guidelines or a custom profile defined by the target application.

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  NHS COVID-19

  NHS COVID-19 was a voluntary contact tracing app for monitoring the spread of the COVID-19 pandemic in England and Wales, in use from 24 September 2020 until 27 April 2023. It was available for Android and iOS smartphones, and could be used by anyone aged 16 or over. Two versions of the app were created. The first was commissioned by NHSX and developed by the Pivotal division of American software company VMware. A pilot deployment began in May 2020, but on 18 June development of the app was abandoned in favour of a second design using the Apple/Google Exposure Notification system. Scotland and Northern Ireland had separate contact tracing apps. A 2023 study estimated that in its first year of use, the app's contact tracing function prevented an estimated 1 million cases, and 9,600 deaths. == Description == The app allowed users to: See the alert level of their local authority area (in Wales) or information about restrictions (in England); to enable this, the user must enter the first half of their postcode "Check in" at places displaying an NHS QR code poster (no longer required by legislation after 26 January 2022, removed from the app the next month) Be notified when they have been in close contact with someone who has tested positive for the virus Be notified when local health protection teams determine that people with the virus had attended a business or other venue around the same time as the user Check their symptoms, and book a coronavirus test if necessary If asked to self-isolate, receive information and a daily "countdown". At first, "close contact" was defined as being within 2 metres for 15 minutes, or within 4 metres for a longer time. These time durations were reduced from 29 October 2020, to as little as three minutes when the other person is at their most infectious, i.e. soon after they begin showing symptoms. === Implementation === The Android app was coded in Kotlin, and the iOS app in Swift. The backend used Java and is deployed to Amazon Web Services using Terraform. The code of the app and back-end is open-source and available on GitHub. == Context == The app was part of the UK's test and trace programme which was chaired by Dido Harding; from 12 May 2020 Tom Riordan, chief executive of Leeds City Council, led the tracing effort. == First phase and cancellation == === Description === In March 2020, NHSX commissioned a contact tracing app to monitor the spread in the United Kingdom of the coronavirus disease 2019 (COVID-19) in the 2020 pandemic, developed by the Pivotal division of American software company VMware. The app used a centralised approach, in contrast to the Google / Apple contact tracing project. NHSX consulted ethicists and GCHQ's National Cyber Security Centre (NCSC) about the privacy aspects. The app recorded the make and model of the phone and asked the user for their postcode area. It generated a unique installation identification number and also a daily identification number. It then used Bluetooth Low Energy (BLE) to record the daily identification number of other users nearby. If a user was unwell, they could tell the app about symptoms which are characteristic of COVID-19, such as a fever and cough. These details were then passed to a central NHS server. This would assess the information and notify other users that have been in contact, giving them appropriate advice such as physical distancing. The NHS would also arrange for a swab test of the unwell user and the outcome would determine further notifications to contacts: if the test confirmed infection with COVID-19, the contacts would be asked to isolate. By June 2020, £11.8 million had been spent on the app; in 2020–21, £35 million was spent on the app. === Deployment === The first public trial of the app began on the Isle of Wight on 5 May 2020 and by 11 May it had been downloaded 55,000 times. When the first national contact tracing schemes were launched – Test, Trace, Protect in Wales on 13 May, then on 28 May NHS Test and Trace in England, and Test and Protect in Scotland – the app was not ready to be included. Replying to a question at the government's daily briefing on 8 June, Hancock was unable to give a date for rollout of the app in England, saying it would be brought in "when it's right to do so". On 17 June, Lord Bethell, junior minister for Innovation at the Department of Health and Social Care, said "we're seeking to get something going before the winter ... it isn't a priority for us at the moment". On 18 June, Health Secretary Matt Hancock announced development would switch to the Apple/Google system after admitting that Apple's restrictions on usage of Bluetooth prevented the app from working effectively. At the same press briefing Dido Harding, leader of the UK's test and trace programme, said "What we've done in really rigorously testing both our own Covid-19 app and the Google-Apple version is demonstrate that none of them are working sufficiently well enough to be actually reliable to determine whether any of us should self-isolate for two weeks [and] that's true across the world". === Concerns === The first, ultimately rejected, version of the app was subject to privacy concerns, the government backtracking on initial statements that the data collected from the app would not be shared outside the NHS. Matthew Gould, CEO of NHSX, the government department responsible for the app, said the data would be accessible to other organisations, but did not disclose which. Data collected would not necessarily be anonymised and would be held in a centralised repository. Over 150 of the UK's security and privacy experts warned the app's data could be used by 'a bad actor (state, private sector, or hacker)' to spy on citizens. Fears were discussed by the House of Commons' Human Rights Select Committee about plans for the app to record user location data. Parliament's Joint Committee on Human Rights said this version of the app should not be released without proper privacy protections. The second version of the app, released nationwide, addressed these concerns by employing a decentralised framework, the Apple/Google Exposure Notification system. Under this system, users remain pseudonymous: a person diagnosed with COVID-19 does not know which people are informed about an encounter, and contacted persons do not receive any information about the person diagnosed with COVID-19. The functionality of the app was also questioned in late April and early May 2020, as the software's use of Bluetooth required the app to be constantly running, meaning users could not use other apps or lock their device if the app was to function properly. The developers of the app were said to have found a way of working around this restriction. === Related contracts === Faculty – a company linked to Cambridge Analytica – provided research and modelling to NHSX in support of the response to the pandemic. Palantir, also linked to Cambridge Analytica, provided their data management platform. These contracts began in February and March respectively. == Second phase == As outlined on cancellation of the first app on 18 June 2020, the Department of Health and Social Care published on 30 July a brief description of the "next phase" app. Users would be able to scan a QR code at venues they visit, and later be notified if they had visited a place which was the source of a number of infections; the app would also assist with identifying symptoms and ordering a test. By using the Exposure Notification system from Apple and Google, personal data would be decentralised. Zuhlke Engineering Ltd, the UK branch of Swiss-based Zühlke Group, used 70 staff to complete the development of the app in 12 weeks. Zuhlke Engineering was awarded "Development Team of the Year" title at UK IT Industry awards in November 2021 for development of NHS COVID-19 application. === Timeline === Testing of the app by NHS volunteer responders, and selected residents of the Isle of Wight and the London Borough of Newham, began around 13 August. The app was made available to the public (aged 16 or over) in England and Wales on 24 September. An updated app released on 29 October, in part from collaboration with the Alan Turing Institute, improved the accuracy of measurements of the distance between the user's phone and other phones. At the same time, the duration threshold for determining exposure was reduced; this was expected to lead to an increase in the number of users told to self-isolate. An update to the app in April 2021, timed to coincide with easing of restrictions on hospitality businesses, was blocked by Apple and Google. It was intended that users who tested positive would be asked to share their history of visited venues, to assist in warning others, but this would have contravened assurances by Apple and Google that location data from devices would not be shared. === Statistics and effectiveness === The app was downloaded six million times on the first day it was generally availa

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  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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  Terrorism and social media

  Terrorism, fear, and media are interconnected. Terrorists use the media to advertise their attacks and or messages, and the media uses terrorism events to further aid their ratings. Both promote unwarranted propaganda that instills mass amounts of public fear. The leader of al-Qaeda, Osama bin Laden, discussed the weaponization of media in a letter written after his organization committed the terrorist attacks on September 11, 2001. In that letter, bin Laden stated that fear was the deadliest weapon. He noted that the Western civilization has become obsessed with mass media, quickly consuming what will bring them fear. He further stated that societies are bringing this problem on their own people by giving media coverage an inherent power. In relation to one's need for media coverage, al-Qaeda and other militant Jihadi terrorist organizations can be classified as a far-right radical offshoot of mainstream mass media. The Jihad needs to conceptualize their martyrdom by leaving behind manifestos and live videos of their attacks; it is crucially important to them that their ill deeds are being covered by news media. The components the media looks for to deem the news "worthy" enough to publicize are categorized into ten qualities; terrorists usually exceed half in their attacks. These include: Immediacy, Conflict, Negativity, Human Interest, Photographability, Simple Story Lines, Topicality, Exclusivity, Reliability, and Local Interest. Historically, morality and profitability are two motivations which are not easily weighed when delivering news; recent news coverage has become far more motivated in making money for their parent corporation than serving as a defender of truth, doing true journalistic fact-finding, and shielding the public from news which is sensational, outright untrue, or politically-motivated propaganda. A study concerning the disparity in coverage of terrorist events took attacks from the ten‑year span of 2005–2015 and found that 136 episodes of terrorism occurred in the United States. LexisNexis Academic and CNN were the platforms used to measure the media coverage. It was found that out of other terrorist attacks showed on the news, one's with Muslim perpetrators received more than 357% coverage. In addition to this disparity, attacks also received more coverage when they were targeted at the government, had high fatality rates, and showed arrests being made. These findings were aligned with America's tendency to categorize Muslim people as a threat to national security. Thus, mass media coverage on terrorism is creating fake narratives and an absence of related coverage. For instance, the American public believes that crime rates have been on the rise which in fact they have been on an all-time low. Given that the media often covers crime almost immediately and frequently, suggests that people infer it happening all the time. In reference to the disparity in terror attacks, three attacks were seen to have the least media coverage of all the 136. The Sikh Temple massacre in Wisconsin which had 2.6% coverage, the Kansas synagogue killings which had 2.2%, and the Charleston Church deaths which only resulted in 5.1% coverage. The three events had commonalities worth mentioning in that they all had white perpetrators and were not directed at government intuitions (in fact all targeted minorities). The media's obsession with terror is making people fearful of the wrong things and not attentive enough to the issues that are radically unseen. Not only are minorities usually not the perpetrators of domestic terrorism, but they are common victims in mass casualties or proximal witnesses to the attacks. In an early 2000s study, 72 Israeli adults were measured pre and posttest for increased anxiety after being exposed to news broadcasts of terrorism attacks. The study found that the group exposed to the broadcasts without any treatment (preparation intervention) had heightened levels of anxiety compared to the group that received the treatment along with viewing the broadcast. Since preparatory intervention is not yet normalized, people in proximity to ongoing coverage of terror events are suffering from the lasting impacts of fear and anxiety. Preparatory Intervention, in this case, was conducted by a group facilitator who introduced a topic concerning terrorism in which participants were instructed to write down feelings to share with the group and later learn to cope with. A discourse of fear created by mass media presence, but false information is leading people to prepare for the wrong situations. In the early 2000s, police units circulated public schools flooding the idea of Stranger Danger into the minds of adolescents. Children and their parents cautiously separated from strangers while perpetrators in those families' social circles continued to offend under the radar. For myths are becoming common, precedent and real danger is buried beneath the surface. It is these implementations of fear that are falsifying the true narrative which for terrorism is a huge social problem but one that is not resolved through entertainment and mass media production. Mass media like news outlets and even social media platforms are contributing to the growing discourse of fear surrounding terrorism. Terrorism and social media refers to the use of social media platforms to radicalize and recruit violent and non-violent extremists. According to some researchers the convenience, affordability, and broad reach of social media platforms such as YouTube, Facebook and Twitter, terrorist groups and individuals have increasingly used social media to further their goals, recruit members, and spread their message. Attempts have been made by various governments and agencies to thwart the use of social media by terrorist organizations.Terror groups take to social media because it's cheap, accessible, and facilitates quick access to a lot of people. Social media allow them to engage with their networks. In the past, it wasn't so easy for these groups to engage with the people they wanted to whereas social media allows terrorists to release their messages right to their intended audience and interact with them in real time. "Spend some time following the account, and you realize that you're dealing with a real human being with real ideas- albeit boastful, hypocritical, violent ideas". Al- Qaeda has been noted as being as being one of the terror groups that uses social media the most extensively. "While almost all terrorist groups have websites, al qaeda [sic] is the first to fully exploit the internet. This reflects al-Qaeda's unique characteristics." Despite the risks of making statements, such as enabling governments to locate terror group leaders, terror leaders communicate regularly with video and audio messages which are posted on the website and disseminated on the internet. ISIS uses social media to their advantage when releasing threatening videos of beheadings. ISIS uses this tactic to scare normal people on social media. Similarly, Western domestic terrorists also use social media and technology to spread their ideas. == Traditional media == Many authors have proposed that media attention increases perceptions of risk of fear of terrorism and crime and relates to how much attention the person pays to the news. The relationship between terrorism and the media has long been noted. Terrorist organizations depend on the open media systems of democratic countries to further their goals and spread their messages. To garner publicity for their cause, terrorist organizations resort to acts of violence and aggression that deliberately target civilians. This method has proven to be effective in gathering attention: It cannot be denied that although terrorism has proved remarkably ineffective as the major weapon for taking down governments and capturing political power, it has been a remarkably successful means of publicizing a political cause and relaying the terrorist threat to a wider audience, particularly in the open and pluralistic countries of the West. When one says 'terrorism' in a democratic society, one also says 'media'. While a media organization may not support the goals of terrorist organizations, it is their job to report current events and issues. In the fiercely competitive media environment, when a terrorist attack occurs, media outlets scramble to cover the event. In doing so, the media help to further the message of terrorist organizations: To summarise briefly on the symbiotic nature of the relationship between terrorists and the media, the recent history of terrorism in many democratic countries vividly demonstrates that terrorists do thrive on the oxygen of publicity, and it is foolish to deny this. This does not mean that the established democratic media share the values of the terrorists. It does demonstrate, however, that the free media in an open society are particularly vulnerable to exploitation and manipulation by ru

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  Virtual advertising

  Virtual advertising is the use of digital technology to insert virtual advertisements into a live or pre-recorded television show, often in sports events. This technique is often used to allow broadcasters to overlay existing physical advertising panels inside the sports venue with virtual content on the screen when broadcasting the same event in multiple regions; a Spanish football game can be broadcast in Mexico with Mexican advertisements. Similarly, virtual content can be inserted onto empty space within the sports venue such as the pitch, where physical advertising cannot be placed due to regulatory or safety reasons. Virtual advertising content is intended to be photorealistic, so that the viewer has the impression they are seeing the real in-stadium advertising. == History == Throughout the 1980s, 1990s, and 2000s, advertising on television and in newspapers was a popular method of spreading information. The marketer Jeremiah Lynwood stated that "Thirty years ago, [U.S.] consumers viewed an average of 560 ads per day", mostly from newspapers, television shows, gasoline pumps, and so on. Lynwood also stated that, at the time, "American consumers may be exposed to 3,000 commercial messages every day". Within that time frame, the exposure of daily ads have supported many local and big businesses. With the arrival of the 2000s and 2010s, technological advances have created new opportunities for many businesses to grow. In the 21st century, virtual advertising has been used to create virtual product placements in television shows hours, days, or years after they have been produced. Advertisements can be targeted to regional markets and updated over time to ensure maximum efficiency of advertising money. A good example of how virtual advertising is used in everyday life is in sports. Virtual advertising uses the latest technology to place an ad in position to the field of play, regardless of camera motion, and the players' movement over the logos. Recently, the NHL have virtually inserted sponsors on the glass above the physical boards in NHL stadiums. Big brands will not spend their time or money on hitting a certain region when their main goal is to build global brand awareness. Digital signage opportunities allow these larger brands to purchase signage in a stadium during games that are instead nationally televised. This gets even more expansive thanks to social media outlets like Twitter, Facebook, and Amazon. On the other hand, local businesses sign when there are smaller games going on. The signage is much more affordable and still reaches a vast number of people. Virtual advertising may even make live attendance more attractive to sport fans because the technology allows the playing field and surrounding areas to be cleared of advertisements while television viewers at home are exposed to commercials. For the most part, virtual advertising makes a live attendance more attractive to sports fans, because instead of being at home watching commercials, live fans are able to be clear of advertisements and enjoy the game without pop-up ads. == Technology == The technology used in virtual insertions often uses automated processes such as: automatic detection of playfield limits, automatic detection of cuts, recognition of playfield surface, recognition of existing logos for logo replacements, etc. An operator is usually dedicated to the visual control of the effect but new systems allow to use the instant replay operator. == Examples == === Live events === Virtual advertisements can be effectively integrated into live television in real-time. For example, Fox Sports Net places a virtual advertisement on the glass behind the goaltender that can only be seen on television. The advertising in the playfields is property of the club, except in some professional sports where the league or federation owns the advertising rights. However, the advertising rights broadcast on the screen are property of the broadcasters or the TV channel. This means that second right holders can benefit from selling this virtual advertising. The number of TV viewers is also higher than the people in the stadium, generating more visibility to the advertised marks and more income to the broadcasters. Virtual advertising was first introduced in football during the 2015 Audi Cup at the Allianz Arena in Munich. AIM Sport implemented the technology to digitally overlay advertisements on the stadium's perimeter boards, allowing different sponsors to be displayed to viewers in different broadcast regions. In Formula One, virtual ads are placed on the grass or as virtual billboards. In baseball, Major League Baseball places virtual advertisements on a back-board behind the batter which can be targeted differently in local markets or countries. During the World Series, MLB international broadcasts of the World Series feature different advertisements on a per market basis, showing a different ad in the US, Canadian, Latin American and Japanese markets. In tennis, e.g. during the 2019 ATP Finals in London's O2 Arena certain logos in the background were replaced for various country feeds. In table tennis e.g. during the ITTF World Tour Australian Open 2019 virtual advertising overlays were used by uniqFEED AG in Switzerland. Since the 2022–23 season, the National Hockey League (NHL) has used digitally enhanced dasherboards (DED) to erase and replace ads on each arena's boards with up to 120 thirty-second segments on all or part of the rink. Each broadcaster can use a different set of ads. DED were first used at the 2016 World Cup of Hockey, which was organized by the NHL. At UEFA Euro 2024, AIM Sport provided virtual advertising for all matches, marking one of the largest implementations of the technology in an international tournament. In addition to the tournament itself, virtual advertising was also used in the participating teams' domestic matches, extending region-specific advertising beyond the competition itself.

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  DoorDash

  DoorDash, Inc. is an American company operating online food ordering and food delivery. It trades under the symbol DASH. With a 56% market share, DoorDash is the largest food delivery platform in the United States. It also has a 60% market share in the convenience delivery category. As of December 31, 2020, the platform was used by 450,000 merchants, 20 million consumers, and had over one million delivery couriers. Founded by Tony Xu, Andy Fang, Stanley Tang and Evan Moore, DoorDash made its debut on the Fortune 500 list in 2024, ranking No. 443. DoorDash has been sued for or held legally liable for withholding tips, reducing tip transparency, antitrust price manipulation, listing restaurants without permission, misclassifying workers, withholding sick time, and illegally selling personal data. As of April 2026, DoorDash operates in the United States (including Puerto Rico), Canada, Australia, and New Zealand. Through its subsidiaries Deliveroo and Wolt, the company also operates across Europe, as well as in Azerbaijan, Georgia, Israel, Kazakhstan, Kuwait, and the United Arab Emirates. == History == In January 2013, Stanford University students Tony Xu, Stanley Tang, Andy Fang and Evan Moore launched PaloAltoDelivery.com in Palo Alto, California. In the summer of 2013, it received US$120,000 in seed money from Y Combinator in exchange for a 7% stake. It incorporated as DoorDash in June 2013. DoorDash's first partnership with a fast food burger restaurant chain was in April 2016, when it partnered with CKE Restaurants, parent company of Carl's Jr. and Hardee's, for food delivery. In December 2017, DoorDash announced its partnership with Wendy's for delivery from its restaurants. In December 2018, DoorDash overtook Uber Eats to hold the second position in total US food delivery sales, behind GrubHub. By March 2019, it had exceeded GrubHub in total sales, at 27.6% of the on-demand delivery market. By early 2019, DoorDash was the largest food delivery provider in the U.S., as measured by consumer spending. In October 2019, DoorDash opened its first ghost kitchen, DoorDash Kitchen, in Redwood City, California, with four restaurants operating at the location. By June 2020, DoorDash had raised more than $2.5 billion over several financing rounds from investors including Y Combinator, Charles River Ventures, SV Angel, Khosla Ventures, Sequoia Capital, SoftBank Group, GIC, and Kleiner Perkins. DoorDash announced a partnership with KFC in September 2020, followed by Taco Bell in October 2020. In November 2020, DoorDash announced the opening of its first physical restaurant location, partnering up with Bay Area restaurant Burma Bites to offer delivery and pick-up orders. In December 2020, it became a public company via an initial public offering, raising $3.37 billion. In November 2021, DoorDash acquired Finland's Wolt for €7bn. In August 2022, DoorDash announced it would end its partnership with Walmart in September, ending the companies' cooperation agreement from 2018. In November 2022, DoorDash announced plans to lay off 1,250 corporate employees, or about six percent of its workforce, to rein in expenses. In June 2023, DoorDash announced it would give its drivers the option of earning an hourly minimum wage instead of being paid per delivery. However, drivers are only paid hourly when on an active delivery. In September 2023, the company transferred its stock listing from the New York Stock Exchange to the Nasdaq. On December 18, 2023, DoorDash was added to the Nasdaq-100 index. In March 2025, DoorDash announced a partnership with Klarna, a Buy Now, Pay Later (BNPL) service, letting customers schedule small payments over a set period of time. DoorDash received widespread criticism from this decision, including internet mockery, given concerns about the increase of household debt in America. In 2025, DoorDash acquired the UK-based delivery service Deliveroo for $3.88 billion. The combined company operates in 40 countries and serves 50 million users monthly. In September 2025, DoorDash and Ace Hardware (the largest hardware cooperative) announced their partnership to offer delivery for home use products from over 4,000 Ace locations. == Lawsuits against DoorDash == === 2017 class-action lawsuit for misclassifying workers === In 2017, a class-action lawsuit was filed against DoorDash for allegedly misclassifying delivery drivers in California and Massachusetts as independent contractors. In 2022, a tentative settlement was reached in which DoorDash would pay $100 million total, with $61 million going to over 900,000 drivers, paying out just over $130 per driver, and $28 million for the lawyers. Gizmodo criticized the settlement, noting that the $413 million that DoorDash CEO Tony Xu received the previous year was one of the largest CEO compensation packages of all time. === 2019 data breach lawsuit === On May 4, 2019, DoorDash confirmed 4.9 million customers, delivery workers and merchants had sensitive information stolen via a data breach. Those who joined the platform after April 5, 2018, were unaffected by the breach. A class-action lawsuit for the breach was filed against DoorDash in October 2019. === Withholding of tips and subsequent class-action lawsuits === In July 2019, the company's tipping policy was criticized by The New York Times, and later The Verge and Vox and Gothamist. Drivers receive a guaranteed minimum per order that is paid by DoorDash by default. When a customer added a tip, instead of going directly to the driver, it first went to the company to cover the guaranteed minimum. Drivers then only directly received the part of the tip that exceeded the guaranteed minimum per order. In January 2020, it was reported that DoorDash had lied about skimming tips from its drivers, causing them to earn an average of $1.45 an hour after expenses, and that after the company had allegedly overhauled its tipping system, DoorDash was still manipulating per-delivery payouts at the expense of drivers. A DoorDash customer filed a class action lawsuit against the company for its "materially false and misleading" tipping policy. The case was referred to arbitration in August 2020. Under pressure, the company revised its policy. The company settled a lawsuit with District of Columbia Attorney General Karl Racine for $2.5 million, with funds going to deliverers, the government, and to charity. ==== 2021 driver strike for tip transparency ==== In July 2021, DoorDash drivers went on strike to protest lack of tip transparency and to ask for higher pay. At the time of the strike, and, as of June 2022, DoorDash did not allow drivers to see the full tip amounts prior to accepting a delivery in the app. If customers tip over a set amount for the order total, Doordash hides a portion of the tip until the delivery is complete. The strike occurred after DoorDash rewrote its code to cut off access to Para, a third-party app that drivers had been using to see the full tip amounts. ==== 2025 class-action lawsuit settlement ==== In 2025, DoorDash agreed to pay around $17 million for "misleading both consumers and delivery workers" with tips being docked from drivers' pay instead of directly going to drivers. === 2020 antitrust litigation === In April 2020, in the case of Davitashvili v. GrubHub Inc. DoorDash, Grubhub, Postmates, and Uber Eats were accused of monopolistic power by only listing restaurants on its apps if the restaurant owners signed contracts which include clauses that require prices be the same for dine-in customers as for customers receiving delivery. The plaintiffs stated that this arrangement increases the cost for dine-in customers, as they are required to subsidize the cost of delivery; and that the apps charge "exorbitant" fees, which range from 13% to 40% of revenue, while the average restaurant's profit ranges from 3% to 9% of revenue. The lawsuit seeks treble damages, including for overcharges, since April 14, 2016, for dine-in and delivery customers in the United States at restaurants using the defendants’ delivery apps. Although several preliminary documents in the case have now been filed, a trial date has not yet been set. === Litigation for illegal unauthorized restaurant listing === In May 2021, DoorDash was criticized for unauthorized listings of restaurants who had not given permission to appear on the app. The company was sued by Lona's Lil Eats in St. Louis, with the lawsuit claiming that DoorDash had listed them without permission, then prevented any orders to the restaurant from going through and redirecting customers to other restaurants instead, because Lona's was "too far away," when in reality it had not paid DoorDash a fee for listing. This aspect of DoorDash's business practice is illegal in California. === 2021 lawsuit by the city of Chicago === In August 2021, the city of Chicago sued DoorDash and GrubHub. According to Chicago mayor Lori Lightfoot, the companies broke the law by using "unfair and deceptive t

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  Pridgen v University of Calgary

  Pridgen v University of Calgary was freedom of speech case which took place in Alberta, Canada, in 2010. The case deals with two university students, Keith and Steven Pridgen, who were found guilty and punished by the University of Calgary in 2008, on grounds of "non-academic misconduct". The University of Calgary defines "non-academic misconduct" as:(a) conduct which causes injury to a person and/or damage to University property and/or the property of any member of the University community; (b) unauthorized removal and/or unauthorized possession of University property; and (c) conduct which seriously disrupts the lawful educational and related activities of other students and/or University staff.The Court of the Queen's Bench of Alberta found the University of Calgary to be wrong in prosecuting ten students, including the Pridgen brothers, in regards to comments made about a professor on Facebook. The key ruling in this case was that the universities are not exempt from, and that these students were in fact protected under, section 2(b) of the Charter of Rights and Freedoms. This case is notable as it highlights the jurisdiction of the Charter in terms of both new media technologies and university institutions in Canada. == Background == Keith and Steven Pridgen were undergraduate students at the University of Calgary in 2008. The twin brothers shared a Law and Society class being taught by Aruna Mitra. Professor Mitra was teaching this class for the first time in her career, and many of the students were very critical of her knowledge of the course. A Facebook page entitled “I NO Longer Fear Hell, I Took a Course with Aruna Mitra” was created, and many students began posting comments. In particular, Steven Pridgen's comment on November 13, 2007, read: “Somehow I think she just got lazy and gave everybody a 65....that's what I got. Does anybody know how to apply to have it remarked?” Many students had similar concerns to Pridgen's and after having their work re-marked, a number of them did in fact receive higher grades. Keith Pridgen also commented on August 26, 2008: “Hey fellow LWSO. Homees.. So I am quite sure Mitra is NO LONGER TEACHING ANY COURSES WITH THE U OF C !!!!! Remember when she told us she was a long-term professor? Well, Actually she was only sessional and picked up our class at the last moment because another prof wasn't able to do it ...lucky us. Well, anyways I think we should all congratulate ourselves for leaving a Mitra-free legacy for future students!” On September 4, 2008, Aruna Mitra complained about the Facebook page to the Interim Dean of the Faculty of Communication and Culture at the University of Calgary. Dean Tettey called a meeting for the ten students who posted material about Mitra on the Facebook page. The meeting took place on September 18, 2008, and included four professors from the department as well as the Dean. At this meeting, all ten students, including the Pridgen brothers, were found guilty of non-academic misconduct. On November 20, 2008, the Appellant's received a letter from Dean Tettey advising them that their comments “clearly caused unwarranted professional and personal injury to Prof. Mitra and clearly meets the criteria for non-academic misconduct as outlined in the University of Calgary Calendar”. Keith Pridgen was put on probation for 24 months, and both brothers were required to write a letter of apology to Prof. Mitra and refrain from posting or circulating defamatory material regarding any faculty members of the University of Calgary. The Pridgen brothers appealed the decision to the University of Calgary Review Committee and later to the Board of Governors of the University of Calgary however neither of these attempts succeeded in having the decision overturned. == Opinion of the Court == Eight main issues to be determined were laid out by the Honourable Madam Justice J. Strekaf: (a) Does the Charter apply to the disciplinary proceedings taken by the Respondent; (b) If, so were the Applicants' Charter rights infringed; (c) Were the actions taken by the University ultra vires the jurisdiction of the Province of Alberta; (d) Did the Board of Governors err in refusing to hear the Applicants appeals; (e) Were the Applicants' denied a fair hearing; (f) Did the Review Committee provide adequate reasons for its decisions; (g) Did the Review Committee err in concluding that the activities of the Applicants constituted non-academic misconduct; and (h) What, if any, remedy should be granted to the Applicants. The Court determined from previous cases that "a non-government entity may still be subject to the Charter of Rights and freedoms when implementing a specific government policy or program". Justice Strekaf distinguished that the University was acting as agent of the provincial government in providing accessible post-secondary education services to students in Alberta pursuant to the provisions of the PSL Act. Justice Strekaf felt there was sufficient evidence to show that universities in Alberta have some level of reliance on government funds and therefore they are not a "Charter free zone". Justice Strekaf concluded that comments made by Keith and Steven Pridgen, regarding Professor Mitra, on Facebook did not constitute academic misconduct and the Pridgen brothers' right to freedom of expression, under section 2(b) of the Charter, was infringed by the University of Calgary Review Committee.

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  Virtual advertising

  Virtual advertising is the use of digital technology to insert virtual advertisements into a live or pre-recorded television show, often in sports events. This technique is often used to allow broadcasters to overlay existing physical advertising panels inside the sports venue with virtual content on the screen when broadcasting the same event in multiple regions; a Spanish football game can be broadcast in Mexico with Mexican advertisements. Similarly, virtual content can be inserted onto empty space within the sports venue such as the pitch, where physical advertising cannot be placed due to regulatory or safety reasons. Virtual advertising content is intended to be photorealistic, so that the viewer has the impression they are seeing the real in-stadium advertising. == History == Throughout the 1980s, 1990s, and 2000s, advertising on television and in newspapers was a popular method of spreading information. The marketer Jeremiah Lynwood stated that "Thirty years ago, [U.S.] consumers viewed an average of 560 ads per day", mostly from newspapers, television shows, gasoline pumps, and so on. Lynwood also stated that, at the time, "American consumers may be exposed to 3,000 commercial messages every day". Within that time frame, the exposure of daily ads have supported many local and big businesses. With the arrival of the 2000s and 2010s, technological advances have created new opportunities for many businesses to grow. In the 21st century, virtual advertising has been used to create virtual product placements in television shows hours, days, or years after they have been produced. Advertisements can be targeted to regional markets and updated over time to ensure maximum efficiency of advertising money. A good example of how virtual advertising is used in everyday life is in sports. Virtual advertising uses the latest technology to place an ad in position to the field of play, regardless of camera motion, and the players' movement over the logos. Recently, the NHL have virtually inserted sponsors on the glass above the physical boards in NHL stadiums. Big brands will not spend their time or money on hitting a certain region when their main goal is to build global brand awareness. Digital signage opportunities allow these larger brands to purchase signage in a stadium during games that are instead nationally televised. This gets even more expansive thanks to social media outlets like Twitter, Facebook, and Amazon. On the other hand, local businesses sign when there are smaller games going on. The signage is much more affordable and still reaches a vast number of people. Virtual advertising may even make live attendance more attractive to sport fans because the technology allows the playing field and surrounding areas to be cleared of advertisements while television viewers at home are exposed to commercials. For the most part, virtual advertising makes a live attendance more attractive to sports fans, because instead of being at home watching commercials, live fans are able to be clear of advertisements and enjoy the game without pop-up ads. == Technology == The technology used in virtual insertions often uses automated processes such as: automatic detection of playfield limits, automatic detection of cuts, recognition of playfield surface, recognition of existing logos for logo replacements, etc. An operator is usually dedicated to the visual control of the effect but new systems allow to use the instant replay operator. == Examples == === Live events === Virtual advertisements can be effectively integrated into live television in real-time. For example, Fox Sports Net places a virtual advertisement on the glass behind the goaltender that can only be seen on television. The advertising in the playfields is property of the club, except in some professional sports where the league or federation owns the advertising rights. However, the advertising rights broadcast on the screen are property of the broadcasters or the TV channel. This means that second right holders can benefit from selling this virtual advertising. The number of TV viewers is also higher than the people in the stadium, generating more visibility to the advertised marks and more income to the broadcasters. Virtual advertising was first introduced in football during the 2015 Audi Cup at the Allianz Arena in Munich. AIM Sport implemented the technology to digitally overlay advertisements on the stadium's perimeter boards, allowing different sponsors to be displayed to viewers in different broadcast regions. In Formula One, virtual ads are placed on the grass or as virtual billboards. In baseball, Major League Baseball places virtual advertisements on a back-board behind the batter which can be targeted differently in local markets or countries. During the World Series, MLB international broadcasts of the World Series feature different advertisements on a per market basis, showing a different ad in the US, Canadian, Latin American and Japanese markets. In tennis, e.g. during the 2019 ATP Finals in London's O2 Arena certain logos in the background were replaced for various country feeds. In table tennis e.g. during the ITTF World Tour Australian Open 2019 virtual advertising overlays were used by uniqFEED AG in Switzerland. Since the 2022–23 season, the National Hockey League (NHL) has used digitally enhanced dasherboards (DED) to erase and replace ads on each arena's boards with up to 120 thirty-second segments on all or part of the rink. Each broadcaster can use a different set of ads. DED were first used at the 2016 World Cup of Hockey, which was organized by the NHL. At UEFA Euro 2024, AIM Sport provided virtual advertising for all matches, marking one of the largest implementations of the technology in an international tournament. In addition to the tournament itself, virtual advertising was also used in the participating teams' domestic matches, extending region-specific advertising beyond the competition itself.

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