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  Douglas Parkhill

  Douglas F. Parkhill is a Canadian technologist and former research minister, best known for his pioneering work on what is now called cloud computing, and his work on Canada's Telidon videotex project. He started working at the Canadian ministry of Communications (now part of the Department of Trade and Industry) in 1969, having previously worked at the Mitre Corporation. He was responsible for many activities in communications satellites, computer communications, command and control systems and telecommunications. He was winner of the Treasury Board of Canada Secretariat's Outstanding Achievement award in 1982, the Conestoga shield for services to government and industry in computer communications research and development, the Touche Ross award for Telidon development. He was an author of several publications including the 1966 book, The Challenge of the Computer Utility. In the book, Parkhill thoroughly explored many of the modern-day characteristics of cloud computing (elastic provisioning through a utility service) as well as the comparison to the electricity industry and the use of public, private, government and community forms. The book won the McKinsey Foundation award for distinguished contributions to management literature. He worked with Dave Godfrey, the Canadian writer and novelist on a later book Gutenberg two about the social and political meaning of computer technology. He was in charge of research at the Federal Department of Communications at the time when the department was funding development of the Telidon videotext system, was heavily involved in promoting the system, and had overall control of the program. In a radio broadcast in 1980, he outlined some of the potential of the system, from financial information, to theatre reservations, with the ability to pay and print out tickets from the system. He later documented the history of the Telidon project, and the history of videotext in general. == Publications == The Challenge of the Computer Utility, Addison-Wesley, 1966, ISBN 0-201-05720-4 edited with Dave Godfrey, Gutenberg Two: The New Electronics and Social Change, Press Porcepic, 1979, ISBN 0-88878-191-1 The Beginning of a Beginning. Ottawa; Department of Communications, 1987. A history of the Telidon project.

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  Prix Ars Electronica

  The Prix Ars Electronica is one of the best known and longest running yearly prizes in the field of electronic and interactive art, computer animation, digital culture and music. It has been awarded since 1987 by Ars Electronica (Linz, Austria). In 2005, the Golden Nica, the highest prize, was awarded in six categories: "Computer Animation/Visual Effects," "Digital Musics," "Interactive Art," "Net Vision," "Digital Communities" and the "u19" award for "freestyle computing." Each Golden Nica came with a prize of €10,000, apart from the u19 category, where the prize was €5,000. In each category, there are also Awards of Distinction and Honorary Mentions. The Golden Nica trophy is a replica of the Greek Nike of Samothrace. It is a handmade gold-plated wooden statuette that is approximately 35 cm high with a wingspan of about 20 cm. "Prix Ars Electronica" is a phrase composed of French, Latin and Spanish words, loosely translated as "Electronic Arts Prize." == Golden Nica winners == === Computer animation / film / vfx === The "Computer Graphics" category (1987–1994) was open to different kinds of computer images. The "Computer Animation" (1987–1997) was replaced by the current "Computer Animation/Visual Effects" category in 1998. ==== Computer Graphics ==== 1987 – Figur10 by Brian Reffin Smith, UK 1988 – The Battle by David Sherwin, US 1989 – Gramophone by Tamás Waliczky, HU 1990 – P-411-A by Manfred Mohr, Germany 1991 – Having encountered Eve for the second time, Adam begins to speak by Bill Woodard, US 1992 – RD Texture Buttons by Michael Kass and Andrew Witkin, US 1993 – Founders Series by Michael Tolson, US 1994 – Jellylife / Jellycycle / Jelly Locomotion by Michael Joaquin Grey, US ==== Computer Animation ==== 1987 – Luxo Jr. by John Lasseter, US 1988 – Red's Dream by John Lasseter, US 1989 – Broken Heart by Joan Staveley, US 1990 – Footprint by Mario Sasso and Nicola Sani, IT 1991 – Panspermia by Karl Sims, US 1992 – Liquid Selves / Primordial Dance by Karl Sims, US 1993 – Lakmé by Pascal Roulin, BE 1994 – Jurassic Park by Dennis Muren, Mark Dippé and Steve Williams, US/CA Distinction: Quarxs by Maurice Benayoun, FR Distinction: K.O. Kid by Marc Caro, FR 1995 – God's Little Monkey by David Atherton and Bob Sabiston, US 1996 – Toy Story by John Lasseter, Lee Unkrich and Ralph Eggleston, US 1997 – Dragonheart by Scott Squires, Industrial Light & Magic (ILM), US ==== Computer Animation/Visual Effects ==== 1998 – The Sitter by Liang-Yuan Wang, TW Titanic by Robert Legato and Digital Domain, US 1999 – Bunny by Chris Wedge, US What Dreams May Come by Mass Illusions, POP, Digital Domain, Vincent Ward, Stephen Simon and Barnet Bain, US 2000 – Maly Milos by Jakub Pistecky, CA Maaz by Christian Volckman, FR 2001 – Le Processus by Xavier de l’Hermuzičre and Philippe Grammaticopoulos, FR 2002 – Monsters, Inc. by Andrew Stanton, Lee Unkrich, Pete Docter and David Silverman, US 2003 – Tim Tom by Romain Segaud and Cristel Pougeoise, FR 2004 – Ryan by Chris Landreth, US. Distinction: Parenthèse from Francois Blondeau, Thibault Deloof, Jérémie Droulers, Christophe Stampe, France Distinction: Birthday Boy from Sejong Park, Australia 2005 – Fallen Art by Tomek Baginski, Poland. Distinction: The Incredibles from Pixar Distinction: City Paradise by Gaëlle Denis (UK), Passion Pictures (FR) 2006 – 458nm by Jan Bitzer, Ilija Brunck, Tom Weber, Filmakademie Baden-Württemberg, Germany. Distinction: Kein platz Für Gerold by Daniel Nocke / Studio Film Bilder, Germany Distinction: Negadon, the monster from Mars, by Jun Awazu, Japan 2007 – Codehunters by Ben Hibon, (UK) 2008 – Madame Tutli-Putli by Chris Lavis, Maciek Szczerbowski. (Directors), Jason Walker (Special Visual Effects), National Film Board of Canada 2009 – HA'Aki by Iriz Pääbo, National Film Board of Canada 2010 – Nuit Blanche by Arev Manoukian (Director), Marc-André Gray (Visual Effects Artist), National Film Board of Canada 2011 – Metachaos by Alessandro Bavari (IT) 2012 – Rear Window Loop by Jeff Desom (LU) Distinction: Caldera by Evan Viera/Orchid Animation (US) Distinction: Rise of the Planet of the Apes by Weta Digital (NZ)/Twentieth Century Fox 2013 – Forms by Quayola (IT), Memo Akten (TR) Distinction: Duku Spacemarines by La Mécanique du Plastique (FR) Distinction: Oh Willy… by Emma De Swaef (BE), Marc James Roels (BE) / Beast Animation 2014 – Walking City by Universal Everything (UK) 2015 – Temps Mort by Alex Verhaest (BE)[1] Distinction: Bär by Pascal Floerks (DE) Distinction: The Reflection of Power by Mihai Grecu (RO/HU) === Digital Music === This category is for those making electronic music and sound art through digital means. From 1987 to 1998 the category was known as "Computer music." Two Golden Nicas were awarded in 1987, and none in 1990. There was no Computer Music category in 1991. 1987 – Peter Gabriel and Jean-Claude Risset 1988 – Denis Smalley 1989 – Kaija Saariaho 1990 – None 1991 – Category omitted 1992 – Alejandro Viñao 1993 – Bernard Parmegiani 1994 – Ludger Brümmer Distinction: Jonathan Impett 1995 – Trevor Wishart 1996 – Robert Normandeau 1997 – Matt Heckert 1998 – Peter Bosch and Simone Simons (joint award) 1999 – Come to Daddy by Aphex Twin (Richard D. James) and Chris Cunningham (joint award) Distinction: Birthdays by Ikue Mori (JP) Distinction: Mego (label), Hotel Paral.lel by Christian Fennesz, Seven Tons For Free by Peter Rehberg (a.k.a. Pita) 2000 – 20' to 2000 by Carsten Nicolai Distinction: Minidisc by Gescom Distinction: Outside the Circle of Fire by Chris Watson 2001 – Matrix by Ryoji Ikeda 2002 – Man'yo Wounded 2001 by Yasunao Tone 2003 – Ami Yoshida, Sachiko M and Utah Kawasaki (joint award) 2004 – Banlieue du Vide by Thomas Köner 2005 – TEO! A Sonic Sculpture by Maryanne Amacher 2006 – L'île ré-sonante by Éliane Radigue 2007 – Reverse-Simulation Music by Mashiro Miwa 2008 – Reactable by Sergi Jordà (ES), Martin Kaltenbrunner (AT), Günter Geiger (AT) and Marcos Alonso (ES) 2009 – Speeds of Time versions 1 and 2 by Bill Fontana (US) 2010 – rheo: 5 horizons by Ryoichi Kurokawa (JP) 2011 – Energy Field by Jana Winderen (NO) 2012 – "Crystal Sounds of a Synchrotron" by Jo Thomas (GB) 2013 – frequencies (a) by Nicolas Bernier (CA) Distinction: SjQ++ by SjQ++ (JP) Distinction: Borderlands Granular by Chris Carlson (US) 2015 – Chijikinkutsu by Nelo Akamatsu (JP) Distinction: Drumming is an elastic concept by Josef Klammer (AT) Distinction: Under Way by Douglas Henderson (DE) 2017 – Not Your World Music: Noise In South East Asia by Cedrik Fermont (CD/BE/DE), Dimitri della Faille (BE/CA) Distinction: Gamelan Wizard by Lucas Abela (AU), Wukir Suryadi (ID) und Rully Shabara (ID) Distinction: Corpus Nil by Marco Donnarumma (DE/IT) === Hybrid art === 2007 – Symbiotica 2008 – Pollstream – Nuage Vert by Helen Evans (FR/UK) and Heiko Hansen (FR/DE) HeHe 2009 – Natural History of the Enigma by Eduardo Kac (US) 2010 – Ear on Arm by Stelarc (AU) 2011 – May the Horse Live in me by Art Orienté Objet (FR) 2012 – Bacterial radio by Joe Davis (US) Distinction: Free Universal Construction Kit (F.U.C.K.) by Golan Levin and Shawn Sims 2013 – Cosmopolitan Chicken Project, Koen Vanmechelen (BE) 2015 – Plantas Autofotosintéticas, Gilberto Esparza (MX) 2017 – K-9_topology, Maja Smrekar (SI) === [the next idea] voestalpine Art and Technology Grant === 2009 – Open_Sailing by Open_Sailing Crew led by Cesar Harada. 2010 – Hostage by [Frederik De Wilde]. 2011 – Choke Point Project by P2P Foundation (NL). 2012 – qaul.net – tools for the next revolution by Christoph Wachter & Mathias Jud 2013 – Hyperform by Marcelo Coelho (BR), Skylar Tibbits (US), Natan Linder (IL), Yoav Reaches (IL) Honorary Mentions: GravityLight by Martin Riddiford (GB), Jim Reeves (GB) 2014 – BlindMaps by Markus Schmeiduch, Andrew Spitz and Ruben van der Vleuten 2015 – SOYA C(O)U(L)TURE by XXLab (ID) – Irene Agrivina Widyaningrum, Asa Rahmana, Ratna Djuwita, Eka Jayani Ayuningtias, Atinna Rizqiana === Interactive Art === Prizes in the category of interactive art have been awarded since 1990. This category applies to many categories of works, including installations and performances, characterized by audience participation, virtual reality, multimedia and telecommunication. 1990 – Videoplace installation by Myron Krueger 1991 – Think About the People Now project by Paul Sermon 1992 – Home of the Brain installation by Monika Fleischmann and Wolfgang Strauss 1993 – Simulationsraum-Mosaik mobiler Datenklänge (smdk) installation by Knowbotic Research 1994 – A-Volve environment by Christa Sommerer and Laurent Mignonneau 1995 – the concept of Hypertext, attributed to Tim Berners-Lee 1996 – Global Interior Project installation by Masaki Fujihata 1997 – Music Plays Images X Images Play Music concert by Ryuichi Sakamoto and Toshio Iwai 1998 – World Skin, a Photo Safari in the Land of War installation by Jean-Baptiste Barrière and Maurice Benayoun 1999 – Difference Engine #3 by construct and Lynn Hershman 2000 – Vectorial Elevati

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  Watcher Entertainment

  Watcher Entertainment is an American digital media and entertainment company, founded by Steven Lim, Shane Madej, and Ryan Bergara. The channel features a variety of comedy, paranormal, gaming, cooking, and educational shows – typically hosted by Madej and Bergara. The Watcher main channel has over 400 million views and 2.9 million subscribers. The company launched their own streaming service, WatcherTV, in 2024. == History == === Buzzfeed and the creation of Watcher Entertainment (2019) === Madej, Bergara, and Lim met while working at the digital media company BuzzFeed. Madej and Bergara were co-hosts of the popular true crime and paranormal series Buzzfeed Unsolved and Lim was the creator and co-host of the popular internet food series Worth It. Both shows generated a combined 2 billion views with 15 billion minutes watched, making them two of the most successful shows on Buzzfeed. In 2019, Madej, Bergara, and Lim quit Buzzfeed as full-time employees. They each stayed on as contracted employees to complete their respective shows. The trio credited their departure to their desire to found a company with more "creative opportunities" and the ability to have "actual ownership of the content" made. The company is majority-owned by the trio. They received funding from Neuro, a caffeinated energy gum company; Boba Guys, a bubble-milk tea chain; and Steve Chen, a YouTube co-founder. Watcher Entertainment gained its name from the infamous true crime case of The Westfield Watcher, which Madej and Bergara had covered in a Buzzfeed Unsolved episode. The trio began the company as co-CEOs; however, Bergara and Madej stepped down from the role in 2023 to focus on content creation. === Watcher Entertainment (2020–present) === Watcher Entertainment was launched in January 2020. The company debuted with seven series and a weekly interactive talk show: Homemade, Grocery Run, Weird Wonderful World, Puppet History, Tourist Trapped, Top 5 Beatdown, Spooky Small Talk, and Watcher Weekly. The channel reached over 300,000 subscribers within the first month of launching. They were signed by talent agency CAA in the same year. Puppet History, a comedy educational game show, quickly became a success and gained a significant audience. The show, which stars Madej as a fluffy blue puppet, has spanned seven seasons and led to the creation of a variety of merchandise. It has featured a variety of guest stars on every episode, including other former Buzzfeed employees. The company premiered its first horror series in July 2020 with Are You Scared?. Following the end of Buzzfeed Unsolved: Supernatural in 2021, the studio premiered its highly anticipated successor, Ghost Files, just months after. The show followed a similar format, with Bergara and Madej investigating reportedly haunted locations and attempting to find evidence of the paranormal. The show had significant success, with critics noting the improved production value and design from its predecessor. In 2023, Bergara and Madej went on a tour across the United States to premiere episodes of the second season. The series was renewed for a third season, which they premiered with a United Kingdom tour in 2024. That year, Watcher premiered a light-hearted successor to the graphic Buzzfeed Unsolved: True Crime, with Mystery Files. In this rendition, Bergara or Madej present unusual crime or supernatural mysteries with a collection of theoretical solutions. The show was met with great success by audiences and was quickly renewed for a second season. Watcher launched a second channel, 'WatcherPodcasts,' in October 2023. The channel features podcasts hosted by Lim, Bergara, and Madej. On April 19, 2024, the company launched its Watcher streaming service. Going forward, all of their content would be released exclusively on the service and the company planned to transition away from YouTube. This announcement was met with overwhelmingly negative reactions from their fans, with many calling for the company to reverse the decision. Additionally, their YouTube channel lost over 50,000 subscribers in the day following the announcement. On April 22, 2024, the company issued an apology and changed their decision, stating that episodes would instead be released on the streaming service a month before their premiere on YouTube. In May 2025, the channel 'Andrew, Steven, and Adam' was launched as a subsidiary of Watcher with the release of the second season of Travel Season. Travel Season is a spiritual successor to Worth It with the same cast of Lim, Andrew Ilnyckyj, and Adam Bianchi. The channel focuses on food reviews and the behind of the scenes of making it. The main channel is now set to be focused primarily on horror, creepy, and paranormal content. == Channels and shows == === Watcher === ==== Current shows ==== Puppet History (2020–present) A whimsical puppet host walks through history's wildest tales as two guests compete for the title of history wizard. Making Watcher (2020–present) What happens when 3 creators with no business experience decide to make their own company? A multi-series documentary on the journey of creating Watcher Entertainment. Weird Wonderful World (2020–present) Curious pals Madej and Bergara explore lesser-known destinations and the fascinating subcultures within them. Too Many Spirits (2020–present) Bergara and Madej read and rate audience-submitted ghost stories, while getting progressively more tipsy drinking cocktails prepared by Steven and Ricky Wang. Top 5 Beatdown (2020–present) Bergara and Madej compare asinine top 5 lists with a topical expert, inspiring surprisingly heated debate. Are You Scared? (2020–2022, 2024–present) Bergara reads the internet's scariest stories (some true, some false) to his pal Madej as they try to figure out if the story is experienced or imagined. Ghost Files (2021–present) Bergara and Madej investigate haunted locations to discover whether something paranormal really lies within. Mystery Files (2023–present) Bergara and Madej present unusual crime or supernatural mysteries with a collection of theoretical solutions. Survival Mode (2023–present) Bergara and Madej play a variety of horror games and give a spooky review. ==== Former shows ==== Grocery Run (2020) Madej interviews a celeb on their typical grocery run, before returning to their home to help prepare their signature dish. Homemade (2020) Lim examines popular food by comparing an elevated restaurant experience vs. a home-cooked experience. Spooky Small Talk (2020) Bergara interviews celebs in a haunted house, exposing their fears and if they can manage it, a little about themselves too. Social Distancing D&D (2020) Socially Distance along with the motley gang of Watchers as they embark on a great quest of Dungeons and Dragons! Tourist Trapped (2020) Begara and Madej battle for tour guide supremacy, highlighting the two sides of a city, tourist attractions and hidden gems. Watcher Weekly (2020–2021) Lim, Bergara, and Madej chat the week's content and answer questions, with the occasional musical guest! Dish Granted (2021–2022) A show where host and amateur home cook Lim attempts to create the most extravagant dishes for his friends. Pretty Historic (2022) Selorm and guests explore beauty and fashion trends from history, try them, and decide whether the trends should remain in the past or come to the present. Worth a Shot (2022–2023) Take a seat at a Master Mixologist's bar as pro Ricky Wang crafts the unbelievable into a digestible drink for his guests. === Watcher Podcast === ==== Current shows ==== Get Scared with Shane, Ryan, and Steven (2023–2025) Previously named 'Pod Watcher' Madej, Bergara, and Lim host a weekly podcasts, exploring a variety of topics and answering viewer questions. Guests occasionally appear to replace one host. Matt Real serves as the producer and a fourth voice for the podcast. For Your Amusement (2023–present) Bergara explores a variety of topics surrounding theme parks. === Andrew, Steven, and Adam === Travel Season (2024–present) Lim reunites with Worth It costars Andrew Ilnyckyj and Adam Bianchi in a new food review show. == Awards and nominations ==

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  Frictionless sharing

  Frictionless sharing refers to the transparent or automatic dissemination of user activity across social media platforms, typically without requiring explicit action from the user each time content is shared. The concept gained prominence in 2011 after Mark Zuckerberg announced a series of new features for Facebook at the F8 developers conference, framing the changes as enabling “real-time serendipity in a friction-less experience.” == History and concept == Before 2011, the term “frictionless sharing” was occasionally used in academic and technical contexts to describe sharing of resources with minimal effort, such as through social bookmarking or Creative Commons licensing to reduce barriers to reuse of research data. The concept took on a broader cultural meaning when Facebook introduced its Timeline interface and new “social apps” in 2011. These features enabled third-party applications to automatically publish user activity to the platform—effectively shifting sharing from a deliberate act to a passive process. For example, integrating music streaming service Spotify meant that any song a user listened to could automatically appear in a Facebook “Ticker,” allowing friends to see the activity and click through to play the song themselves. == Zuckerberg’s vision == Zuckerberg articulated a vision of a Web in which sharing occurs by default rather than by choice: “You read, you watch, you listen, you buy—and everyone you know will hear all about it on Facebook.” This “frictionless” model assumes ongoing consent after an initial opt-in. Once users connect an app to their profile, any future activity with that app may be automatically shared. This shift from intentional posting to ambient sharing represented a significant evolution in how personal data is distributed online. == Criticism and debate == Many commentators and users have raised concerns about frictionless sharing. While some criticism centers on online privacy, others focus on how automatic updates can flood news feeds and erode the social value of sharing. Critics argue that when sharing becomes automatic, it dilutes the personal curation that makes social media exchanges meaningful. According to Slate, this approach risks “killing taste,” because users typically choose to share only select content they find worth highlighting, rather than everything they consume. AL.com similarly observed that the frictionless model encourages over-sharing, overwhelming both users and their networks with minor or trivial activities. For example, integrating multiple platforms—such as Twitter, Foursquare, Pinterest, Spotify, and others—can create an incessant stream of updates that some users may find intrusive or irritating. This can lead to what critics describe as “narcissistic” or noisy timelines, potentially undermining the “social” nature of social media. == Business model and data implications == For Facebook, frictionless sharing offers clear business advantages. More frequent and detailed sharing provides valuable data that can be used to refine targeted advertising and personalize content delivery. The model also encourages users to spend more time on the platform, reinforcing its position as a central hub of online social activity. Other technology companies have experimented with similar approaches. Google has introduced forms of cross-platform integration that facilitate automatic activity sharing, though with a more explicit opt-in structure compared to Facebook. This approach has been described as “friction with consent,” allowing users to manually enable or disable integrations on a per-service basis.

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  Intrinsic dimension

  In mathematics, the intrinsic dimension of a subset can be thought of as the minimal number of variables needed to represent the subset. The concept has widespread applications in geometry, dynamical systems, signal processing, statistics, and other fields. Due to its widespread applications and vague conceptualization, there are many different ways to define it rigorously. Consequently, the same set might have different intrinsic dimensions according to different definitions. The intrinsic dimension can be used as a lower bound of what dimension it is possible to compress a data set into through dimension reduction, but it can also be used as a measure of the complexity of the data set or signal. For a data set or signal of N variables, its intrinsic dimension M satisfies 0 ≤ M ≤ N, although estimators may yield higher values. == Exact dimension == === Differential === In differential geometry, given a differentiable manifold N and a submanifold M, the intrinsic dimension of M is its dimension. Suppose N has n dimensions and M has m dimensions, then that means around any point in M, there exists a local coordinate system ( x 1 , … , x m , x m + 1 , … , x n ) {\displaystyle (x_{1},\dots ,x_{m},x_{m+1},\dots ,x_{n})} of N, such that the manifold M is simply the subset of N defined by x m + 1 = 0 , … , x n = 0 {\displaystyle x_{m+1}=0,\dots ,x_{n}=0} . === Metric === Given a mere metric space, we can still define its intrinsic dimension. The most general case is the Hausdorff dimension, though for metric spaces occurring in practice, the box-counting dimension and the packing dimension often are identical to the Hausdorff dimension. Let X , d {\textstyle X,d} be a metric space and A ⊂ X {\textstyle A\subset X} be totally bounded. Define the covering number N ( A , ε ) = min { k : A ⊂ ⋃ i = 1 k B ( x i , ε ) } . {\displaystyle N(A,\varepsilon )=\min \left\{k:A\subset \bigcup _{i=1}^{k}B\left(x_{i},\varepsilon \right)\right\}.} The metric entropy is H ( A , ε ) = log ⁡ N ( A , ε ) {\textstyle H(A,\varepsilon )=\log N(A,\varepsilon )} (any log base). The upper and lower metric entropy dimensions are dim ¯ E A = lim sup ε ↓ 0 H ( A , ε ) log ⁡ ( 1 / ε ) , dim _ E A = lim inf ε ↓ 0 H ( A , ε ) log ⁡ ( 1 / ε ) . {\displaystyle {\overline {\dim }}_{E}A=\limsup _{\varepsilon \downarrow 0}{\frac {H(A,\varepsilon )}{\log(1/\varepsilon )}},\quad {\underline {\dim }}_{E}A=\liminf _{\varepsilon \downarrow 0}{\frac {H(A,\varepsilon )}{\log(1/\varepsilon )}}.} If they are equal, then dim E ⁡ A {\textstyle \operatorname {dim} _{E}A} is that common value, called the metric entropy dimension. The entropy dimensions are usually used in information theory, and especially coding theory, since entropy is involved in its definition. === Topological === If X {\displaystyle X} is merely a topological space, then we can still define its intrinsic dimension, using the topological dimension or Lebesgue covering dimension. An open cover of a topological space X is a family of open sets Uα such that their union is the whole space, ∪ α {\displaystyle \cup _{\alpha }} Uα = X. The order or ply of an open cover A {\displaystyle {\mathfrak {A}}} = {Uα} is the smallest number m (if it exists) for which each point of the space belongs to at most m open sets in the cover: in other words Uα1 ∩ ⋅⋅⋅ ∩ Uαm+1 = ∅ {\displaystyle \emptyset } for α1, ..., αm+1 distinct. A refinement of an open cover A {\displaystyle {\mathfrak {A}}} = {Uα} is another open cover B {\displaystyle {\mathfrak {B}}} = {Vβ}, such that each Vβ is contained in some Uα. The covering dimension of a topological space X is defined to be the minimum value of n such that every finite open cover A {\displaystyle {\mathfrak {A}}} of X has an open refinement B {\displaystyle {\mathfrak {B}}} with order n + 1. The refinement B {\displaystyle {\mathfrak {B}}} can always be chosen to be finite. Thus, if n is finite, Vβ1 ∩ ⋅⋅⋅ ∩ Vβn+2 = ∅ {\displaystyle \emptyset } for β1, ..., βn+2 distinct. If no such minimal n exists, the space is said to have infinite covering dimension. == Introductory example == Let f ( x 1 , x 2 ) {\textstyle f(x_{1},x_{2})} be a two-variable function (or signal) which is of the form f ( x 1 , x 2 ) = g ( x 1 ) {\textstyle f(x_{1},x_{2})=g(x_{1})} for some one-variable function g which is not constant. This means that f varies, in accordance to g, with the first variable or along the first coordinate. On the other hand, f is constant with respect to the second variable or along the second coordinate. It is only necessary to know the value of one, namely the first, variable in order to determine the value of f. Hence, it is a two-variable function but its intrinsic dimension is one. A slightly more complicated example is f ( x 1 , x 2 ) = g ( x 1 + x 2 ) {\textstyle f(x_{1},x_{2})=g(x_{1}+x_{2})} . f is still intrinsic one-dimensional, which can be seen by making a variable transformation y 1 = x 1 + x 2 {\textstyle y_{1}=x_{1}+x_{2}} and y 2 = x 1 − x 2 {\textstyle y_{2}=x_{1}-x_{2}} which gives f ( y 1 + y 2 2 , y 1 − y 2 2 ) = g ( y 1 ) {\textstyle f\left({\frac {y_{1}+y_{2}}{2}},{\frac {y_{1}-y_{2}}{2}}\right)=g\left(y_{1}\right)} . Since the variation in f can be described by the single variable y1 its intrinsic dimension is one. For the case that f is constant, its intrinsic dimension is zero since no variable is needed to describe variation. For the general case, when the intrinsic dimension of the two-variable function f is neither zero or one, it is two. In the literature, functions which are of intrinsic dimension zero, one, or two are sometimes referred to as i0D, i1D or i2D, respectively. == Signal processing == In signal processing of multidimensional signals, the intrinsic dimension of the signal describes how many variables are needed to generate a good approximation of the signal. For an N-variable function f, the set of variables can be represented as an N-dimensional vector x: f = f ( x ) where x = ( x 1 , … , x N ) {\textstyle f=f\left(\mathbf {x} \right){\text{ where }}\mathbf {x} =\left(x_{1},\dots ,x_{N}\right)} . If for some M-variable function g and M × N matrix A it is the case that for all x; f ( x ) = g ( A x ) , {\textstyle f(\mathbf {x} )=g(\mathbf {Ax} ),} M is the smallest number for which the above relation between f and g can be found, then the intrinsic dimension of f is M. The intrinsic dimension is a characterization of f, it is not an unambiguous characterization of g nor of A. That is, if the above relation is satisfied for some f, g, and A, it must also be satisfied for the same f and g′ and A′ given by g ′ ( y ) = g ( B y ) {\textstyle g'\left(\mathbf {y} \right)=g\left(\mathbf {By} \right)} and A ′ = B − 1 A {\textstyle \mathbf {A'} =\mathbf {B} ^{-1}\mathbf {A} } where B is a non-singular M × M matrix, since f ( x ) = g ′ ( A ′ x ) = g ( B A ′ x ) = g ( A x ) {\textstyle f\left(\mathbf {x} \right)=g'\left(\mathbf {A'x} \right)=g\left(\mathbf {BA'x} \right)=g\left(\mathbf {Ax} \right)} . == The Fourier transform of signals of low intrinsic dimension == An N variable function which has intrinsic dimension M < N has a characteristic Fourier transform. Intuitively, since this type of function is constant along one or several dimensions its Fourier transform must appear like an impulse (the Fourier transform of a constant) along the same dimension in the frequency domain. === A simple example === Let f be a two-variable function which is i1D. This means that there exists a normalized vector n ∈ R 2 {\textstyle \mathbf {n} \in \mathbb {R} ^{2}} and a one-variable function g such that f ( x ) = g ( n T x ) {\textstyle f(\mathbf {x} )=g(\mathbf {n} ^{\operatorname {T} }\mathbf {x} )} for all x ∈ R 2 {\textstyle \mathbf {x} \in \mathbb {R} ^{2}} . If F is the Fourier transform of f (both are two-variable functions) it must be the case that F ( u ) = G ( n T u ) ⋅ δ ( m T u ) {\textstyle F\left(\mathbf {u} \right)=G\left(\mathbf {n} ^{\mathrm {T} }\mathbf {u} \right)\cdot \delta \left(\mathbf {m} ^{\mathrm {T} }\mathbf {u} \right)} . Here G is the Fourier transform of g (both are one-variable functions), δ is the Dirac impulse function and m is a normalized vector in R 2 {\textstyle \mathbb {R} ^{2}} perpendicular to n. This means that F vanishes everywhere except on a line which passes through the origin of the frequency domain and is parallel to m. Along this line F varies according to G. === The general case === Let f be an N-variable function which has intrinsic dimension M, that is, there exists an M-variable function g and M × N matrix A such that f ( x ) = g ( A x ) ∀ x {\textstyle f(\mathbf {x} )=g(\mathbf {Ax} )\quad \forall \mathbf {x} } . Its Fourier transform F can then be described as follows: F vanishes everywhere except for a subspace of dimension M The subspace M is spanned by the rows of the matrix A In the subspace, F varies according to G the Fourier transform of g == Generalizations == The type of intrinsic dimension described above assume

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  Technology company

  A technology company, or tech company, is a company that focuses primarily on the manufacturing, support, research and development of—most commonly computing, telecommunication and consumer electronics–based—technology-intensive products and services, which include businesses relating to digital electronics, software, optics, new energy, and Internet-related services such as cloud storage and e-commerce services. Big Tech refers to the 6 largest companies, both in the United States and globally, symbolized by the metonym 'Silicon Valley', where 4 of them are based. == Details == According to Fortune, as of 2020, the ten largest technology companies by revenue are: Apple Inc., Samsung, Foxconn, Alphabet Inc., Microsoft, Huawei, Dell Technologies, Hitachi, IBM, and Sony. Amazon has higher revenue than Apple, but is classified by Fortune in the retail sector. The most profitable listed in 2020 are Apple Inc., Microsoft, Alphabet Inc., Intel, Meta Platforms, Samsung, and Tencent. Apple Inc., Alphabet Inc. (owner of Google), Meta Platforms (owner of Facebook), Microsoft, and Amazon.com, Inc. are often referred to as the Big Five multinational technology companies based in the United States. These five technology companies dominate major functions, e-commerce channels, and information of the entire Internet ecosystem. As of 2017, the Big Five had a combined valuation of over $3.3 trillion and make up more than 40 percent of the value of the Nasdaq-100 index. Many large tech companies have a reputation for innovation, spending large sums of money annually on research and development. According to PwC's 2017 Global Innovation 1000 ranking, tech companies made up nine of the 20 most innovative companies in the world, with the top R&D spender (as measured by expenditure) being Amazon, followed by Alphabet Inc., and then Intel. As a result of numerous influential tech companies and tech startups opening offices in proximity to one another, a number of technology districts have developed in various areas across the globe. These include: Silicon Valley in the San Francisco Bay Area, Silicon Wadi in Israel, Silicon Docks in Dublin, Silicon Hills in Austin, Tech City in London; Digital Media City in Seoul, Zhongguancun in Beijing, Cyberjaya in Malaysia and Cyberabad in Hyderabad, India. As of 2026, Europe has six of the world's 100 most valuable tech companies, compared with 56 in the United States and 16 in China.

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  Elonis v. United States

  Elonis v. United States, 575 U.S. 723 (2015), was a United States Supreme Court case concerning whether conviction of threatening another person over interstate lines (under 18 U.S.C. § 875(c)) requires proof of subjective intent to threaten or whether it is enough to show that a "reasonable person" would regard the statement as threatening. In controversy were the purported threats of violent rap lyrics written by Anthony Douglas Elonis and posted to Facebook under a pseudonym. The ACLU filed an amicus brief in support of the petitioner. It was the first time the Court has heard a case considering true threats and the limits of speech on social media. == Background == In May 2010, Elonis was in the process of divorce and made a number of public Facebook posts. Prior to his postings, he had lost his job at an amusement park. He "posted the script of a sketch" by The Whitest Kids U' Know, which originally referenced saying "I want to kill the President of the United States" and replaced the president with his wife: Elonis ended the post with this statement: "Art is about pushing limits. I'm willing to go to jail for my constitutional rights. Are you?" A week later, Elonis posted about local law enforcement and a kindergarten class, which caught the attention of the Federal Bureau of Investigation. Then, he wrote a post on Facebook about one of the agents who visited him: He concluded: == Arrest and Conviction == These actions led to Elonis's arrest on December 8, 2010. He was indicted by a grand jury on five counts of threats to his estranged ex-wife, park employees and visitors, local law enforcement, an FBI agent, and a kindergarten class that had been relayed through interstate communication. At the district court, Elonis moved to dismiss the indictment for failing to allege that he had intended to threaten anyone, claiming his Facebook post was not were not intended as a threat. He argued that, as an aspiring rap artist, his posts were intended to be a form of artistic expression to help him cope with his recent loses. According to him, he did not mean anything said in his posts in a literal sense. His motion was denied. He requested a jury instruction that "the government must prove that he intended to communicate a true threat", which was also denied. He was convicted on the last four of the five counts, and was sentenced to 44 months in prison and three years on supervised release. He appealed unsuccessfully to the Third Circuit, renewing his challenge to the jury instructions. He then appealed to the U.S. Supreme Court based on lack of any attempt to show intent to threaten and on First Amendment rights. == Decision == On June 1, 2015, the U.S. Supreme Court reversed Elonis's conviction in an 8–1 decision. Chief Justice John Roberts wrote for a seven-justice majority, Samuel Alito authored an opinion concurring in part and dissenting in part, and Clarence Thomas authored a dissenting opinion. The finding of the circuit court was reversed and the matter remanded. === Majority opinion === The majority opinion, written by Roberts, did not rule on First Amendment matters or on the question of whether recklessness was sufficient mens rea to show intent. It ruled that mens rea was required to prove the commission of a crime under §875(c). Importantly, the mens rea issue had been preserved for review, since Elonis had raised that objection at every stage of the previous proceedings. The government contended that the presence of the words "intent to extort" in §875(b) and §875(d) implied that the absence in §875(c) was constructive. The court disagreed, holding that the absence of the language in §875(c) was because the section was intended to have a broader scope than threats relating to extortion. The opinion drew on many Supreme Court cases holding that in criminal law, mens rea was required though it had not been mentioned explicitly in statute. Consequently, the Supreme Court ruled in favor of Elonis. === Alito's concurrence === Justice Samuel Alito, concurring in part and dissenting in part, opined that while agreeing that mens rea was required and specifically that showing negligence was not sufficient, the court should have ruled on the question of recklessness. He further opined that recklessness was sufficient to show a crime under that provision on the basis that going further would amount to amending the statute, rather than interpreting it. Since Elonis explicitly argued that recklessness was not sufficient, Alito said: I would therefore remand for the Third Circuit to determine if Elonis’s failure (indeed, refusal) to argue for recklessness prevents reversal of his conviction. The Third Circuit should also have the opportunity to consider whether the conviction could be upheld on harmless error grounds. Alito also addressed the First Amendment question, elided by the majority opinion. He held that "lyrics in songs that are performed for an audience or sold in recorded form are unlikely to be interpreted as a real threat to a real person. ... Statements on social media that are pointedly directed at their victims, by contrast, are much more likely to be taken seriously." === Thomas's dissent === Justice Clarence Thomas, dissenting, wrote against discarding the "general intent" standard without replacing it with a clearer standard. Thomas argued that "there is no historical practice requiring more than general intent when a statute regulates speech." Thomas cited Rosen v. United States, arguing that general intent was sufficient in this case. However, the majority opinion offers refutation in that Rosen turned on ignorance of the law: knowledge as to whether material was legally obscene, not on whether it was intended to be obscene. Thomas also supported the government's claim that the presence of "intent to extort" language in the adjacent §875(b) and did not address the majority's reasoning on that language. Thomas used precedent, notably from the states and 18th-century England based on other but similar and, arguably, influencing legislation to support his "general intent" claim. Thomas also drew a parallel with general intent in tort. While he sought to address the First Amendment issues, he never strayed far from "general intent". == Aftermath == On remand, the Third Circuit reaffirmed the conviction "concluding beyond a reasonable doubt that Elonis would have been convicted if the jury had been properly instructed" and therefore was harmless error. In 2022, Elonis was once again arrested and indicted on three counts of cyberstalking involving three people. It was discovered that between 2018 and 2021, Elonis had sent numerous threatening messages over email, text, voice mail, and social media platforms like Twitter to a former prosecutor of the Eastern District of Pennsylvania, his ex-girlfriend, and ex-wife. On August 5, after a five-day trial, Elonis was found guilty on all three counts, and on March 23, 2023, he was sentenced by U.S. District Court Judge Edward G. Smith of Easton, Pennsylvania to twelve years and seven months in prison.

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  ISO/IEC 11801

  International standard ISO/IEC 11801 Information technology — Generic cabling for customer premises specifies general-purpose telecommunication cabling systems (structured cabling) that are suitable for a wide range of applications (analog and ISDN telephony, various data communication standards, building control systems, factory automation). It is published by ISO/IEC JTC 1/SC 25/WG 3 of the International Organization for Standardization (ISO) and the International Electrotechnical Commission (IEC). It covers both balanced copper cabling and optical fibre cabling. The standard was designed for use within commercial premises that may consist of either a single building or of multiple buildings on a campus. It was optimized for premises that span up to 3 km, up to 1 km2 office space, with between 50 and 50,000 persons, but can also be applied for installations outside this range. A major revision was released in November 2017, unifying requirements for commercial, home and industrial networks. == Classes and categories == The standard defines several link/channel classes and cabling categories of twisted-pair copper interconnects, which differ in the maximum frequency for which a certain channel performance is required: Class A: Up to 100 kHz using Category 1 cable and connectors Class B: Up to 1 MHz using Category 2 cable and connectors Class C: Up to 16 MHz using Category 3 cable and connectors Class D: Up to 100 MHz using Category 5e cable and connectors Class E: Up to 250 MHz using Category 6 cable and connectors Class EA: Up to 500 MHz using category 6A cable and connectors (Amendments 1 and 2 to ISO/IEC 11801, 2nd Ed.) Class F: Up to 600 MHz using Category 7 cable and connectors Class FA: Up to 1 GHz (1000 MHz) using Category 7A cable and connectors (Amendments 1 and 2 to ISO/IEC 11801, 2nd Ed.) Class BCT-B: Up to 1 GHz (1000 MHz) using with coaxial cabling for BCT applications. (ISO/IEC 11801-1, Edition 1.0 2017-11) Class I: Up to 2 GHz (2000 MHz) using Category 8.1 cable and connectors (ISO/IEC 11801-1, Edition 1.0 2017-11) Class II: Up to 2 GHz (2000 MHz) using Category 8.2 cable and connectors (ISO/IEC 11801-1, Edition 1.0 2017-11) The standard link impedance is 100 Ω. (The older 1995 version of the standard also permitted 120 Ω and 150 Ω in Classes A−C, but this was removed from the 2002 edition.) The standard defines several classes of optical fiber interconnect: OM1: Multimode, 62.5 μm core; minimum modal bandwidth of 200 MHz·km at 850 nm OM2: Multimode, 50 μm core; minimum modal bandwidth of 500 MHz·km at 850 nm OM3: Multimode, 50 μm core; minimum modal bandwidth of 2000 MHz·km at 850 nm OM4: Multimode, 50 μm core; minimum modal bandwidth of 4700 MHz·km at 850 nm OM5: Multimode, 50 μm core; minimum modal bandwidth of 4700 MHz·km at 850 nm and 2470 MHz·km at 953 nm OS1: Single-mode, maximum attenuation 1 dB/km at 1310 and 1550 nm OS1a: Single-mode, maximum attenuation 1 dB/km at 1310, 1383, and 1550 nm OS2: Single-mode, maximum attenuation 0.4 dB/km at 1310, 1383, and 1550 nm Grandfathered === OM5 === OM5 fiber is designed for wideband applications using SWDM multiplexing of 4–16 carriers (40G=4λ×10G, 100G=4λ×25G, 400G=4×4λ×25G) in the 850–953 nm range. === Category 7 === Class F channel and Category 7 cable are backward compatible with Class D/Category 5e and Class E/Category 6. Class F features even stricter specifications for crosstalk and system noise than Class E. To achieve this, shielding was added for individual wire pairs and the cable as a whole. Unshielded cables rely on the quality of the twists to protect from EMI. This involves a tight twist and carefully controlled design. Cables with individual shielding per pair such as Category 7 rely mostly on the shield and therefore have pairs with longer twists. The Category 7 cable standard was ratified in 2002, and primarily introduced to support 10 gigabit Ethernet over 100 m of copper cabling. Like the earlier standards, it contains four twisted copper wire pairs rated for transmission frequencies of up to 600 MHz. However, in 2006, Category 6A was ratified for Ethernet to allow 10 Gbit/s while still using the conventional 8P8C connector. Care is required to avoid signal degradation by mixing cable and connectors not designed for that use, however similar. Most manufacturers of active equipment and network cards have chosen to support the 8P8C for their 10 gigabit Ethernet products on copper and not GG45, ARJ45, or TERA connectors as Class F would have originally called for. Therefore, the Category 6 specification was revised to Category 6A to permit this use; products therefore require a Class EA channel (ie, Cat 6A). As of 2019, some equipment has been introduced which has connectors supporting the Class F (Category 7) channel. Note, however, that Category 7 is not recognized by the TIA/EIA. === Category 7A === Class FA (Class F Augmented) channels and Category 7A cables, introduced by ISO 11801 Edition 2 Amendment 2 (2010), are defined at frequencies up to 1000 MHz. The intent of the Class FA was to possibly support the future 40 gigabit Ethernet: 40GBASE-T. Simulation results have shown that 40 gigabit Ethernet may be possible at 50 meters and 100 gigabit Ethernet at 15 meters. In 2007, researchers at Pennsylvania State University predicted that either 32 nm or 22 nm circuits would allow for 100 gigabit Ethernet at 100 meters. However, in 2016, the IEEE 802.3bq working group ratified the amendment 3 which defines 25GBASE-T and 40GBASE-T on Category 8 cabling specified to 2000 MHz. The Class FA therefore does not support 40G Ethernet. As of 2025, there is no equipment that has connectors supporting the Class FA (Category 7A) channel. Category 7A is not recognized in TIA/EIA. === Category 8 === Category 8 was ratified by the TR43 working group under ANSI/TIA 568-C.2-1. It is defined up to 2000 MHz and only for distances up to 30 m or 36 m, depending on the patch cords used. ISO/IEC JTC 1/SC 25/WG 3 developed the equivalent standard ISO/IEC 11801-1:2017/COR 1:2018, with two options: Class I channel (Category 8.1 cable): minimum cable design U/FTP or F/UTP, fully backward compatible and interoperable with Class EA (Category 6A) using 8P8C connectors; Class II channel (Category 8.2 cable): F/FTP or S/FTP minimum, interoperable with Class FA (Category 7A) using TERA or GG45. == Abbreviations for twisted pairs == Annex E, Acronyms for balanced cables, provides a system to specify the exact construction for both unshielded and shielded balanced twisted pair cables. It uses three letters—U for unshielded, S for braided shielding, and F for foil shielding—to form a two-part abbreviation in the form of xx/xTP, where the first part specifies the type of overall cable shielding, and the second part specifies shielding for individual cable elements. Common cable types include U/UTP (unshielded cable); U/FTP (individual pair shielding without the overall screen); F/UTP, S/UTP, or SF/UTP (overall screen without individual shielding); and F/FTP, S/FTP, or SF/FTP (overall screen with individual foil shielding). == 2017 edition == In November 2017, a new edition was released by ISO/IEC JTC 1/SC 25 "Interconnection of information technology equipment" subcommittee. It is a major revision of the standard which has unified several prior standards for commercial, home, and industrial networks, as well as data centers, and defines requirements for generic cabling and distributed building networks. The new series of standards replaces the former 11801 standard and includes six parts: == Versions == ISO/IEC 11801:1995 (Ed. 1) ISO/IEC 11801:2000 (Ed. 1.1) – Edition 1, Amendment 1 ISO/IEC 11801:2002 (Ed. 2) ISO/IEC 11801:2008 (Ed. 2.1) – Edition 2, Amendment 1 ISO/IEC 11801:2010 (Ed. 2.2) – Edition 2, Amendment 2 ISO/IEC 11801-1:2017, -1:2017/Cor 1:2018, -2:2017, -3:2017, -3:2017/Amd 1:2021, -3:2017/Cor 1:2018, -4:2017, -4:2017/Cor 1:2018, -5:2017, -5:2017/Cor 1:2018, -6:2017, -6:2017/Cor 1:2018 (As of September 2023, this set is current.)

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  Universal IR Evaluation

  In computer science, Universal IR Evaluation (information retrieval evaluation) aims to develop measures of database retrieval performance that shall be comparable across all information retrieval tasks. == Measures of "relevance" == IR (information retrieval) evaluation begins whenever a user submits a query (search term) to a database. If the user is able to determine the relevance of each document in the database (relevant or not relevant), then for each query, the complete set of documents is naturally divided into four distinct (mutually exclusive) subsets: relevant documents that are retrieved, not relevant documents that are retrieved, relevant documents that are not retrieved, and not relevant documents that are not retrieved. These four subsets (of documents) are denoted by the letters a, b, c, d respectively and are called Swets variables, named after their inventor. In addition to the Swets definitions, four relevance metrics have also been defined: Recall refers to the fraction of relevant documents that are retrieved (a/(a+b)), and Precision refers to the fraction of retrieved documents that are relevant (a/(a+c)). These are the most commonly used and well-known relevance metrics found in the IR evaluation literature. Two less commonly used metrics include the Fallout, i.e., the fraction of not relevant documents that are retrieved (b/(b+d)), and the Miss, which refers to the fraction of relevant documents that are not retrieved (c/(c+d)) during any given search. == Universal IR evaluation techniques == Universal IR evaluation addresses the mathematical possibilities and relationships among the four relevance metrics Precision, Recall, Fallout and Miss, denoted by P, R, F and M, respectively. One aspect of the problem involves finding a mathematical derivation of a complete set of universal IR evaluation points. The complete set of 16 points, each one a quadruple of the form (P, R, F, M), describes all the possible universal IR outcomes. For example, many of us have had the experience of querying a database and not retrieving any documents at all. In this case, the Precision would take on the undetermined form 0/0, the Recall and Fallout would both be zero, and the Miss would be any value greater than zero and less than one (assuming a mix of relevant and not relevant documents were in the database, none of which were retrieved). This universal IR evaluation point would thus be denoted by (0/0, 0, 0, M), which represents only one of the 16 possible universal IR outcomes. The mathematics of universal IR evaluation is a fairly new subject since the relevance metrics P, R, F, M were not analyzed collectively until recently (within the past decade). A lot of the theoretical groundwork has already been formulated, but new insights in this area await discovery.

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  DVD

  DVD (digital video disc or digital versatile disc) is a digital optical disc data storage format. It was invented and developed in 1995 and first released on November 1, 1996, in Japan. The medium can store any kind of digital data and has been widely used to store video programs (watched using DVD players), software and other computer files. DVDs offer significantly higher storage capacity than compact discs (CD) while having the same dimensions. A standard single-layer DVD can store up to 4.7 GB of data, a dual-layer DVD up to 8.5 GB. Dual-layer, double-sided DVDs can store up to a maximum of 17.08 GB. Prerecorded DVDs are mass-produced using molding machines that physically stamp data onto the DVD. Such discs are a form of DVD-ROM because data can only be read and not written or erased. Blank recordable DVD discs (DVD-R and DVD+R) can be recorded once using a DVD recorder and then function as a DVD-ROM. Rewritable DVDs (DVD-RW, DVD+RW, and DVD-RAM) can be recorded and erased many times. DVDs are used in DVD-Video consumer digital video format and less commonly in DVD-Audio consumer digital audio format, as well as for authoring DVD discs written in a special AVCHD format to hold high definition material (often in conjunction with AVCHD format camcorders). DVDs containing other types of information may be referred to as DVD data discs. == Etymology == The Oxford English Dictionary comments that, "In 1995, rival manufacturers of the product initially named digital video disc agreed that, in order to emphasize the flexibility of the format for multimedia applications, the preferred abbreviation DVD would be understood to denote digital versatile disc." The OED also states that in 1995, "The companies said the official name of the format will simply be DVD. Toshiba had been using the name 'digital video disc', but that was switched to 'digital versatile disc' after computer companies complained that it left out their applications." "Digital versatile disc" is the explanation provided in a DVD Forum Primer from 2000 and in the DVD Forum's mission statement, which the purpose is to promote broad acceptance of DVD products on technology, across entertainment, and other industries. Because DVDs became highly popular for the distribution of movies in the 2000s, the term DVD became popularly used in English as a noun to describe specifically a full-length movie released on the format; for example the phrase "to watch a DVD" describes watching a movie on DVD. == History == === Development and launch === Released in 1987, CD Video used analog video encoding on optical discs matching the established standard 120 mm (4.7 in) size of audio CDs. Video CD (VCD) became one of the first formats for distributing digitally encoded films in this format, in 1993. In the same year, two new optical disc storage formats were being developed. One was the Multimedia Compact Disc (MMCD), backed by Philips and Sony (developers of the CD and CD-i), and the other was the Super Density (SD) disc, supported by Toshiba, Time Warner, Matsushita Electric, Hitachi, Mitsubishi Electric, Pioneer, Thomson, and JVC. By the time of the press launches for both formats in January 1995, the MMCD nomenclature had been dropped, and Philips and Sony were referring to their format as Digital Video Disc (DVD). On May 3, 1995, an ad hoc industry technical group formed from five computer companies (IBM, Apple, Compaq, Hewlett-Packard, and Microsoft) issued a press release stating that they would only accept a single format. The group voted to boycott both formats unless the two camps agreed on a single, converged standard. They recruited Lou Gerstner, president of IBM, to pressure the executives of the warring factions. In one significant compromise, the MMCD and SD groups agreed to adopt proposal SD 9, which specified that both layers of the dual-layered disc be read from the same side—instead of proposal SD 10, which would have created a two-sided disc that users would have to turn over. Philips/Sony strongly insisted on the source code, EFMPlus, that Kees Schouhamer Immink had designed for the MMCD, because it makes it possible to apply the existing CD servo technology. Its drawback was a loss from 5 to 4.7 Gigabytes of capacity. As a result, the DVD specification provided a storage capacity of 4.7 GB (4.38 GiB) for a single-layered, single-sided disc and 8.5 GB (7.92 GiB) for a dual-layered, single-sided disc. The DVD specification ended up similar to Toshiba and Matsushita's Super Density Disc, except for the dual-layer option. MMCD was single-sided and optionally dual-layer, whereas SD was two half-thickness, single-layer discs which were pressed separately and then glued together to form a double-sided disc. Philips and Sony decided that it was in their best interests to end the format war, and on September 15, 1995 agreed to unify with companies backing the Super Density Disc to release a single format, with technologies from both. After other compromises between MMCD and SD, the group of computer companies won the day, and a single format was agreed upon. The computer companies also collaborated with the Optical Storage Technology Association (OSTA) on the use of their implementation of the ISO-13346 file system (known as Universal Disk Format) for use on the new DVDs. The format's details were finalized on December 8, 1995. In November 1995, Samsung announced it would start mass-producing DVDs by September 1996. The format launched on November 1, 1996, in Japan, mostly with music video releases. The first major releases from Warner Home Video arrived on December 20, 1996, with four titles being available. The format's release in the U.S. was delayed multiple times, from August 1996, to October 1996, November 1996, before finally settling on early 1997. Players began to be produced domestically that winter, with March 24, 1997, as the U.S. launch date of the format proper in seven test markets. Approximately 32 titles were available on launch day, mainly from the Warner Bros., MGM, and New Line libraries, with the notable inclusion of the 1996 film Twister. However, the launch was planned for the following day (March 25), leading to a distribution change with retailers and studios to prevent similar violations of breaking the street date. The nationwide rollout for the format happened on August 22, 1997. DTS announced in late 1997 that they would be coming onto the format. The sound system company revealed details in a November 1997 online interview, and clarified it would release discs in early 1998. However, this date would be pushed back several times before finally releasing their first titles at the 1999 Consumer Electronics Show. In 2001, blank DVD recordable discs cost the equivalent of $27.34 US dollars in 2022. === Adoption === Movie and home entertainment distributors adopted the DVD format to replace the ubiquitous VHS tape as the primary consumer video distribution format. Immediately following the formal adoption of a unified standard for DVD, two of the four leading video game console companies (Sega and The 3DO Company) said they already had plans to design a gaming console with DVDs as the source medium. Sony stated at the time that they had no plans to use DVD in their gaming systems, despite being one of the developers of the DVD format and eventually the first company to actually release a DVD-based console. Game consoles such as the PlayStation 2, Xbox, and Xbox 360 use DVDs as their source medium for games and other software. Contemporary games for Windows were also distributed on DVD. Early DVDs were mastered using DLT tape, but using DVD-R DL or +R DL eventually became common. TV DVD combos, combining a standard definition CRT TV or an HD flat panel TV with a DVD mechanism under the CRT or on the back of the flat panel, and VCR/DVD combos were also available for purchase. For consumers, DVD soon overtook VHS as the favored choice for home movie releases. In 2001, DVD players outsold VCRs for the first time in the United States. At that time, one in four American households owned a DVD player. By 2007, about 80% of Americans owned a DVD player, a figure that had surpassed VCRs; it was also higher than personal computers or cable television. == Specifications == The DVD specifications created and updated by the DVD Forum are published as so-called DVD Books (e.g. DVD-ROM Book, DVD-Audio Book, DVD-Video Book, DVD-R Book, DVD-RW Book, DVD-RAM Book, DVD-AR (Audio Recording) Book, DVD-VR (Video Recording) Book, etc.). DVD discs are made up of two discs; normally one is blank, and the other contains data. Each disc is 0.6 mm thick, and they are glued together to form a DVD disc. The gluing process must be done carefully to make the disc as flat as possible to avoid both birefringence and "disc tilt", which is when the disc is not perfectly flat, preventing it from being read. Some specifications for mechanical, physical and optical characteristics of DV

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  Digital citizen

  The term digital citizen is used with different meanings. According to the definition provided by Karen Mossberger, one of the authors of Digital Citizenship: The Internet, Society, and Participation, digital citizens are "those who use the internet regularly and effectively". In this sense, a digital citizen is a person who uses information technology (IT) to engage in society, politics, and government. More recent elaborations of the concept define digital citizenship as the self-enactment of people’s role in society through the use of digital technologies, stressing the empowering and democratizing characteristics of the citizenship idea. These theories aim at taking into account the ever-increasing datafication of contemporary societies (symbolically linked to the Snowden leaks), which has called into question the meaning of “being (digital) citizens in a datafied society”. This condition is also referred to as the “algorithmic society”, characterised by the increasing datafication of social life and the pervasive presence of surveillance practices – see surveillance and surveillance capitalism, the use of artificial intelligence, and Big Data. Datafication presents crucial challenges for the very notion of citizenship, so that data collection can no longer be seen as an issue of privacy alone so that:We cannot simply assume that being a citizen online already means something (whether it is the ability to participate or the ability to stay safe) and then look for those whose conduct conforms to this meaning Instead, the idea of digital citizenship shall reflect the idea that we are no longer mere “users” of technologies since they shape our agency both as individuals and as citizens. Digital citizenship refers to the responsible and respectful use of technology to engage online, evaluate information, and protect human rights. It encompasses skills for communication, collaboration, empathy, privacy protection, and security to prevent data breaches and identity theft. == Digital citizenship in the "algorithmic society" == In the context of the algorithmic society, the question of digital citizenship "becomes one of the extents to which subjects are able to challenge, avoid or mediate their data double in this datafied society”. These reflections put the emphasis on the idea of the digital space (or cyberspace) as a political space where the respect of fundamental rights of the individual shall be granted (with reference both to the traditional ones as well as to new specific rights of the internet [see “digital constitutionalism”]) and where the agency and the identity of the individuals as citizens is at stake. This idea of digital citizenship is thought to be not only active but also performative, in the sense that “in societies that are increasingly mediated through digital technologies, digital acts become important means through which citizens create, enact and perform their role in society.” In particular, for Isin and Ruppert this points towards an active meaning of (digital) citizenship based on the idea that we constitute ourselves as digital citizen by claiming rights on the internet, either by saying or by doing something. == Types of digital participation == People who characterize themselves as digital citizens often use IT extensively—creating blogs, using social networks, and participating in online journalism. Although digital citizenship begins when any child, teen, or adult signs up for an email address, posts pictures online, uses e-commerce to buy merchandise online, and/or participates in any electronic function that is B2B or B2C, the process of becoming a digital citizen goes beyond simple internet activity. According to Thomas Humphrey Marshall, a British sociologist known for his work on social citizenship, a primary framework of citizenship comprises three different traditions: liberalism, republicanism, and ascriptive hierarchy. Within this framework, the digital citizen needs to exist in order to promote equal economic opportunities and increase political participation. In this way, digital technology helps to lower the barriers to entry for participation as a citizen within a society. They also have a comprehensive understanding of digital citizenship, which is the appropriate and responsible behavior when using technology. Since digital citizenship evaluates the quality of an individual's response to membership in a digital community, it often requires the participation of all community members, both visible and those who are less visible. A large part in being a responsible digital citizen encompasses digital literacy, etiquette, online safety, and an acknowledgement of private versus public information. The development of digital citizen participation can be divided into two main stages. The first stage is through information dissemination, which includes subcategories of its own: static information dissemination, characterized largely by citizens who use read-only websites where they take control of data from credible sources in order to formulate judgments or facts. Many of these websites where credible information may be found are provided by the government. dynamic information dissemination, which is more interactive and involves citizens as well as public servants. Both questions and answers can be communicated, and citizens have the opportunity to engage in question-and-answer dialogues through two-way communication platforms The second stage of digital citizen participation is citizen deliberation, which evaluates what type of participation and role that they play when attempting to ignite some sort of policy change. static citizen participants can play a role by engaging in online polls as well as through complaints and recommendations sent up, mainly toward the government who can create changes in policy decisions. dynamic citizen participants can deliberate amongst others on their thoughts and recommendations in town hall meetings or various media sites. One potential advantage of online participation through digital citizenship is increased social inclusion. In a report on civic engagement, citizen-powered democracy can be initiated either through information shared through the web, direct communication signals made by the state toward the public, and social media tactics from both private and public companies. In fact, it was found that the community-based nature of social media platforms allow individuals to feel more socially included and informed about political issues that peers have also been found to engage with, otherwise known as a "second-order effect." Understanding strategic marketing on social media would further explain social media customers’ participation. Two types of opportunities rise as a result, the first being the ability to lower barriers that can make exchanges much easier. In addition, they have the chance to participate in transformative disruption, giving people who have a historically lower political engagement to mobilize in a much easier and convenient fashion. Nonetheless, there are several challenges that face the presence of digital technologies in political participation. Both current as well as potential challenges can create significant risks for democratic processes. Not only is digital technology still seen as relatively ambiguous, it was also seen to have "less inclusivity in democratic life." Demographic groups differ considerably in the use of technology, and thus, one group could potentially be more represented than another as a result of digital participation. Another primary challenge consists in the ideology of a "filter bubble" effect. Alongside a tremendous spread of false information, internet users could reinforce existing prejudices and assist in polarizing disagreements in the public sphere. This can lead to misinformed voting and decisions based on exposure rather than on pure knowledge. A communication technology director, Van Dijk, stated, "Computerized information campaigns and mass public information systems have to be designed and supported in such a way that they help to narrow the gap between the 'information rich' and 'information poor' otherwise the spontaneous development of ICT will widen it." Access and equivalent amounts of knowledge behind digital technology must be equivalent in order for a fair system to put into place. Alongside a lack of evidenced support for technology that can be proven to be safe for citizens, the OECD has identified five struggles for the online engagement of citizens: Scale: To what extent can a society allow every individual's voice to be heard, but also not be lost in the mass debate? This can be extremely challenging for the government, which may not effectively know how to listen and respond to each individual contribution. Capacity: How can digital technology offer citizens more information on public policy-making? The opportunity for citizens to debate with one another is lacking for acti

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  Prix Ars Electronica

  The Prix Ars Electronica is one of the best known and longest running yearly prizes in the field of electronic and interactive art, computer animation, digital culture and music. It has been awarded since 1987 by Ars Electronica (Linz, Austria). In 2005, the Golden Nica, the highest prize, was awarded in six categories: "Computer Animation/Visual Effects," "Digital Musics," "Interactive Art," "Net Vision," "Digital Communities" and the "u19" award for "freestyle computing." Each Golden Nica came with a prize of €10,000, apart from the u19 category, where the prize was €5,000. In each category, there are also Awards of Distinction and Honorary Mentions. The Golden Nica trophy is a replica of the Greek Nike of Samothrace. It is a handmade gold-plated wooden statuette that is approximately 35 cm high with a wingspan of about 20 cm. "Prix Ars Electronica" is a phrase composed of French, Latin and Spanish words, loosely translated as "Electronic Arts Prize." == Golden Nica winners == === Computer animation / film / vfx === The "Computer Graphics" category (1987–1994) was open to different kinds of computer images. The "Computer Animation" (1987–1997) was replaced by the current "Computer Animation/Visual Effects" category in 1998. ==== Computer Graphics ==== 1987 – Figur10 by Brian Reffin Smith, UK 1988 – The Battle by David Sherwin, US 1989 – Gramophone by Tamás Waliczky, HU 1990 – P-411-A by Manfred Mohr, Germany 1991 – Having encountered Eve for the second time, Adam begins to speak by Bill Woodard, US 1992 – RD Texture Buttons by Michael Kass and Andrew Witkin, US 1993 – Founders Series by Michael Tolson, US 1994 – Jellylife / Jellycycle / Jelly Locomotion by Michael Joaquin Grey, US ==== Computer Animation ==== 1987 – Luxo Jr. by John Lasseter, US 1988 – Red's Dream by John Lasseter, US 1989 – Broken Heart by Joan Staveley, US 1990 – Footprint by Mario Sasso and Nicola Sani, IT 1991 – Panspermia by Karl Sims, US 1992 – Liquid Selves / Primordial Dance by Karl Sims, US 1993 – Lakmé by Pascal Roulin, BE 1994 – Jurassic Park by Dennis Muren, Mark Dippé and Steve Williams, US/CA Distinction: Quarxs by Maurice Benayoun, FR Distinction: K.O. Kid by Marc Caro, FR 1995 – God's Little Monkey by David Atherton and Bob Sabiston, US 1996 – Toy Story by John Lasseter, Lee Unkrich and Ralph Eggleston, US 1997 – Dragonheart by Scott Squires, Industrial Light & Magic (ILM), US ==== Computer Animation/Visual Effects ==== 1998 – The Sitter by Liang-Yuan Wang, TW Titanic by Robert Legato and Digital Domain, US 1999 – Bunny by Chris Wedge, US What Dreams May Come by Mass Illusions, POP, Digital Domain, Vincent Ward, Stephen Simon and Barnet Bain, US 2000 – Maly Milos by Jakub Pistecky, CA Maaz by Christian Volckman, FR 2001 – Le Processus by Xavier de l’Hermuzičre and Philippe Grammaticopoulos, FR 2002 – Monsters, Inc. by Andrew Stanton, Lee Unkrich, Pete Docter and David Silverman, US 2003 – Tim Tom by Romain Segaud and Cristel Pougeoise, FR 2004 – Ryan by Chris Landreth, US. Distinction: Parenthèse from Francois Blondeau, Thibault Deloof, Jérémie Droulers, Christophe Stampe, France Distinction: Birthday Boy from Sejong Park, Australia 2005 – Fallen Art by Tomek Baginski, Poland. Distinction: The Incredibles from Pixar Distinction: City Paradise by Gaëlle Denis (UK), Passion Pictures (FR) 2006 – 458nm by Jan Bitzer, Ilija Brunck, Tom Weber, Filmakademie Baden-Württemberg, Germany. Distinction: Kein platz Für Gerold by Daniel Nocke / Studio Film Bilder, Germany Distinction: Negadon, the monster from Mars, by Jun Awazu, Japan 2007 – Codehunters by Ben Hibon, (UK) 2008 – Madame Tutli-Putli by Chris Lavis, Maciek Szczerbowski. (Directors), Jason Walker (Special Visual Effects), National Film Board of Canada 2009 – HA'Aki by Iriz Pääbo, National Film Board of Canada 2010 – Nuit Blanche by Arev Manoukian (Director), Marc-André Gray (Visual Effects Artist), National Film Board of Canada 2011 – Metachaos by Alessandro Bavari (IT) 2012 – Rear Window Loop by Jeff Desom (LU) Distinction: Caldera by Evan Viera/Orchid Animation (US) Distinction: Rise of the Planet of the Apes by Weta Digital (NZ)/Twentieth Century Fox 2013 – Forms by Quayola (IT), Memo Akten (TR) Distinction: Duku Spacemarines by La Mécanique du Plastique (FR) Distinction: Oh Willy… by Emma De Swaef (BE), Marc James Roels (BE) / Beast Animation 2014 – Walking City by Universal Everything (UK) 2015 – Temps Mort by Alex Verhaest (BE)[1] Distinction: Bär by Pascal Floerks (DE) Distinction: The Reflection of Power by Mihai Grecu (RO/HU) === Digital Music === This category is for those making electronic music and sound art through digital means. From 1987 to 1998 the category was known as "Computer music." Two Golden Nicas were awarded in 1987, and none in 1990. There was no Computer Music category in 1991. 1987 – Peter Gabriel and Jean-Claude Risset 1988 – Denis Smalley 1989 – Kaija Saariaho 1990 – None 1991 – Category omitted 1992 – Alejandro Viñao 1993 – Bernard Parmegiani 1994 – Ludger Brümmer Distinction: Jonathan Impett 1995 – Trevor Wishart 1996 – Robert Normandeau 1997 – Matt Heckert 1998 – Peter Bosch and Simone Simons (joint award) 1999 – Come to Daddy by Aphex Twin (Richard D. James) and Chris Cunningham (joint award) Distinction: Birthdays by Ikue Mori (JP) Distinction: Mego (label), Hotel Paral.lel by Christian Fennesz, Seven Tons For Free by Peter Rehberg (a.k.a. Pita) 2000 – 20' to 2000 by Carsten Nicolai Distinction: Minidisc by Gescom Distinction: Outside the Circle of Fire by Chris Watson 2001 – Matrix by Ryoji Ikeda 2002 – Man'yo Wounded 2001 by Yasunao Tone 2003 – Ami Yoshida, Sachiko M and Utah Kawasaki (joint award) 2004 – Banlieue du Vide by Thomas Köner 2005 – TEO! A Sonic Sculpture by Maryanne Amacher 2006 – L'île ré-sonante by Éliane Radigue 2007 – Reverse-Simulation Music by Mashiro Miwa 2008 – Reactable by Sergi Jordà (ES), Martin Kaltenbrunner (AT), Günter Geiger (AT) and Marcos Alonso (ES) 2009 – Speeds of Time versions 1 and 2 by Bill Fontana (US) 2010 – rheo: 5 horizons by Ryoichi Kurokawa (JP) 2011 – Energy Field by Jana Winderen (NO) 2012 – "Crystal Sounds of a Synchrotron" by Jo Thomas (GB) 2013 – frequencies (a) by Nicolas Bernier (CA) Distinction: SjQ++ by SjQ++ (JP) Distinction: Borderlands Granular by Chris Carlson (US) 2015 – Chijikinkutsu by Nelo Akamatsu (JP) Distinction: Drumming is an elastic concept by Josef Klammer (AT) Distinction: Under Way by Douglas Henderson (DE) 2017 – Not Your World Music: Noise In South East Asia by Cedrik Fermont (CD/BE/DE), Dimitri della Faille (BE/CA) Distinction: Gamelan Wizard by Lucas Abela (AU), Wukir Suryadi (ID) und Rully Shabara (ID) Distinction: Corpus Nil by Marco Donnarumma (DE/IT) === Hybrid art === 2007 – Symbiotica 2008 – Pollstream – Nuage Vert by Helen Evans (FR/UK) and Heiko Hansen (FR/DE) HeHe 2009 – Natural History of the Enigma by Eduardo Kac (US) 2010 – Ear on Arm by Stelarc (AU) 2011 – May the Horse Live in me by Art Orienté Objet (FR) 2012 – Bacterial radio by Joe Davis (US) Distinction: Free Universal Construction Kit (F.U.C.K.) by Golan Levin and Shawn Sims 2013 – Cosmopolitan Chicken Project, Koen Vanmechelen (BE) 2015 – Plantas Autofotosintéticas, Gilberto Esparza (MX) 2017 – K-9_topology, Maja Smrekar (SI) === [the next idea] voestalpine Art and Technology Grant === 2009 – Open_Sailing by Open_Sailing Crew led by Cesar Harada. 2010 – Hostage by [Frederik De Wilde]. 2011 – Choke Point Project by P2P Foundation (NL). 2012 – qaul.net – tools for the next revolution by Christoph Wachter & Mathias Jud 2013 – Hyperform by Marcelo Coelho (BR), Skylar Tibbits (US), Natan Linder (IL), Yoav Reaches (IL) Honorary Mentions: GravityLight by Martin Riddiford (GB), Jim Reeves (GB) 2014 – BlindMaps by Markus Schmeiduch, Andrew Spitz and Ruben van der Vleuten 2015 – SOYA C(O)U(L)TURE by XXLab (ID) – Irene Agrivina Widyaningrum, Asa Rahmana, Ratna Djuwita, Eka Jayani Ayuningtias, Atinna Rizqiana === Interactive Art === Prizes in the category of interactive art have been awarded since 1990. This category applies to many categories of works, including installations and performances, characterized by audience participation, virtual reality, multimedia and telecommunication. 1990 – Videoplace installation by Myron Krueger 1991 – Think About the People Now project by Paul Sermon 1992 – Home of the Brain installation by Monika Fleischmann and Wolfgang Strauss 1993 – Simulationsraum-Mosaik mobiler Datenklänge (smdk) installation by Knowbotic Research 1994 – A-Volve environment by Christa Sommerer and Laurent Mignonneau 1995 – the concept of Hypertext, attributed to Tim Berners-Lee 1996 – Global Interior Project installation by Masaki Fujihata 1997 – Music Plays Images X Images Play Music concert by Ryuichi Sakamoto and Toshio Iwai 1998 – World Skin, a Photo Safari in the Land of War installation by Jean-Baptiste Barrière and Maurice Benayoun 1999 – Difference Engine #3 by construct and Lynn Hershman 2000 – Vectorial Elevati

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  JAUS Tool Set

  The JAUS Tool Set (JTS) is a software engineering tool for the design of software services used in a distributed computing environment. JTS provides a graphical user interface (GUI) and supporting tools for the rapid design, documentation, and implementation of service interfaces that adhere to the Society of Automotive Engineers' standard AS5684A, the JAUS Service Interface Design Language (JSIDL). JTS is designed to support the modeling, analysis, implementation, and testing of the protocol for an entire distributed system. == Overview == The JAUS Tool Set (JTS) is a set of open source software specification and development tools accompanied by an open source software framework to develop Joint Architecture for Unmanned Systems (JAUS) designs and compliant interface implementations for simulations and control of robotic components per SAE-AS4 standards. JTS consists of the components: GUI based Service Editor: The Service Editor (referred to as the GUI in this document) provides a user friendly interface with which a system designer can specify and analyze formal specifications of Components and Services defined using the JAUS Service Interface Definition Language (JSIDL). Validator: A syntactic and semantic validator provides on-the-fly validation of specifications entered (or imported) by the user with respect to JSIDL syntax and semantics is integrated into the GUI. Specification Repository: A repository (or database) that is integrated into the GUI that allows for the storage of and encourages the reuse of existing formal specifications. C++ Code Generator: The Code Generator automatically generates C++ code that has a 1:1 mapping to the formal specifications. The generated code includes all aspects of the service, including the implementations of marshallers and unmarshallers for messages, and implementations of finite-state machines for protocol behavior that are effectively decoupled from application behavior. Document Generator: The Document Generator automatically generates documentation for sets of Service Definitions. Documents may be generated in several formats. Software Framework: The software framework implements the transport layer specification AS5669A, and provides the interfaces necessary to integrate the auto-generated C++ code with the transport layer implementation. Present transport options include UDP and TCP in wired or wireless networks, as well as serial connections. The transport layer itself is modular, and allows end-users to add additional support as needed. Wireshark Plugin: The Wireshark plugin implements a plugin to the popular network protocol analyzer called Wireshark. This plugin allows for the live capture and offline analysis of JAUS message-based communication at runtime. A built-in repository facilitates easy reuse of service interfaces and implementations traffic across the wire. The JAUS Tool Set can be downloaded from www.jaustoolset.org User documentation and community forum are also available at the site. == Release history == Following a successful Beta test, Version 1.0 of the JAUS Tool Set was released in July 2010. The initial offering focused on core areas of User Interface, HTML document generation, C++ code generation, and the software framework. The Version 1.1 update was released in October 2010. In addition to bug fixes and UI improvements, this version offered several important upgrades including enhancement to the Validator, Wireshark plug-in, and generated code. The JTS 2.0 release is scheduled for the second quarter of 2011 and further refines the Tool Set functionality: Protocol Validation: Currently, JTS provides validation for message creation, to ensure users cannot create invalid messages specifications. That capability does not currently exist for protocol definitions, but is being added. This will help ensure that users create all necessary elements of a service definition, and reduce user error. C# and Java Code Generation: Currently, JTS generates cross-platform C++ code. However, other languages including Java and C# are seeing a dramatic increase in their use in distributed systems, particularly in the development of graphical clients to embedded services. MS Word Document Generation: HTML and JSIDL output is supported, but native Office-Open-XML (OOXML) based MS Word generation has advantages in terms of output presentation, and ease of use for integration with other documents. Therefore, we plan to integrate MS Word service document generation. In addition, the development team has several additional goals that are not-yet-scheduled for a particular release window: Protocol Verification: This involves converting the JSIDL definition of a service into a PROMELA model, for validation by the SPIN model checking tool. Using PROMELA to model client and server interfaces will allow developers to formally validate JAUS services. End User Experience: We plan to conduct formal User Interface testing. This involves defining a set of tasks and use cases, asking users with various levels of JAUS experience to accomplish those tasks, and measuring performance and collecting feedback, to look for areas where the overall user experience can be improved. Improved Service Re-Use: JSIDL allows for inheritance of protocol descriptions, much like object-oriented programming languages allow child classes to re-use and extend behaviors defined by the parent class. At present, the generated code 'flattens' these state machines into a series of nested states which gives the correct interface behavior, but only if each single leaf (child) service is generated within its own component. This limits service re-use and can lead to a copy-and-paste of the same implementation across multiple components. The team is evaluating other inheritance solutions that would allow for multiple leaf (child) services to share access to a common parent, but at present the approach is sufficient to address the requirements of the JAUS Core Service Set. == Domains and application == The JAUS Tool Set is based on the JAUS Service Interface Definition Language (JSIDL), which was originally developed for application within the unmanned systems, or robotics, communities. As such, JTS has quickly gained acceptance as a tool for generation of services and interfaces compliant with the SAE AS-4 "JAUS" publications. Although usage statistics are not available, the Tool Set has been downloaded by representatives of US Army, Navy, Marines, and numerous defense contractors. It was also used in a commercial product called the JAUS Expansion Module sold by DeVivo AST, Inc. Since the JSIDL schema is independent of the data being exchanged, however, the Tool Set can be used for the design and implementation of a Service Oriented Architecture for any distributed systems environment that uses binary encoded message exchange. JSIDL is built on a two-layered architecture that separates the application layer and the transport layer, effectively decoupling the data being exchanges from the details of how that data moves from component to component. Furthermore, since the schema itself is widely generic, it's possible to define messages for any number of domains including but not limited to industrial control systems, remote monitoring and diagnostics, and web-based applications. == Licensing == JTS is released under the open source BSD license. The JSIDL Standard is available from the SAE. The Jr Middleware on which the Software Framework (Transport Layer) is based is open source under LGPL. Other packages distributed with JTS may have different licenses. == Sponsors == Development of the JAUS Tool Set was sponsored by several United States Department of Defense organizations: Office of Under Secretary of Defense for Acquisition, Technology & Logistics / Unmanned Warfare. Navy Program Executive Officer Littoral and Mine Navy Program Executive Officer Unmanned Aviation and Strike Weapons Office of Naval Research Air Force Research Lab

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  KKday

  KKday is an online travel e-commerce platform focused on connecting independent travelers with authentic, curated local experiences, tours, activities, and attraction tickets. == History == KKday was founded in 2014 in Taipei, Taiwan, by CEO Ming Chen, who previously started and led both Star Travel and Ezfly to IPO. In March of 2016, the company raised US$4.5 million in a Series A round led by AppWorks Ventures with participation by 91Capital. The raise allowed KKday to open offices and expand into Hong Kong, Japan, South Korea and Singapore by 2016. By the end of 2016, KKday offered over 6,000 travel experiences across 53 countries and 174 cities, marking early international expansion with its official launch in Singapore in October 2016, accompanied by promotional campaigns to attract regional users. Expansion into Malaysia, Thailand, Vietnam and the Philippines continued throughout 2017 and into 2018, with the company opening offices in Indonesia and mainland China. KKday rapidly expanded its inventory, reaching over 10,000 experiences in more than 500 cities across 80 countries by 2018, with key markets in Taiwan, Hong Kong, and South Korea. In February 2018, KKday raised $10.5 million in a funding round led by Japanese travel giant H.I.S., allowing integration with larger travel networks and further global growth. Forbes reports that by the end of 2018, the company operated in 11 countries and regions, employed around 400 staff, and recorded over 4 million weekly website views with more than 1 million app downloads. A combination of a Japanese and South Korean trade dispute, along with the Covid-19 pandemic in 2020, lead KKday to pivot quickly toward domestic staycations and local experiences while initially raising $70m in their Series C which, was later extended to $95m. The Series C funds were partially used to accelerate and expand Rezio. Launched in 2019, Rezio is KKday's B2B SaaS booking management platform for travel providers, allowing them to track inventory, manage reservations and sell tickets. FineDayClub was launched in 2020 by KKday as a personalized luxury subscription travel service to cater to high end clients. KKday’s CFO, Jenny Tsai pivoted to lead KKday’s new venture. KKday was able to successfully navigate and adapt to travel patterns during the Covid-19 pandemic by reducing user acquisition costs by two thirds and focusing on domestic travel experiences to drive bookings and revenue. KKday was particularly successful in Vietnam, with bookings increased by 2,000% through 2022 and the company's travel operator platform Rezio, onboarding over 1,200 operators inside the country. In 2021, KKday acquired Activity Japan, a domestic focused travel company, founded by Kimiharu Obuchi in 2014. The successful acquisition, a key factor in KKday’s rapid expansion in the Japanese market, was facilitated by H.I.S., a common early investor in both platforms. In 2023 KKday inked a partnership with Rail Europe to create an all-in-one platform for 150 rail lines over 33 European countries with the intent of increasing ridership across Europe. In late 2024, KKday completed its Series D at $70M, bringing the total amount of capital raised to over $250M. The funds are to be earmarked for continued global expansion, artificial intelligence integration and enhanced partnerships, similar to the partnership with Tablelog, which now allows users to book restaurant reservations at 42,000 restaurants in Japan through the platform. == Platform == KKDay is an e-commerce online travel agency operating in 92 countries with over 350,000 travel experiences available for booking. The company started with focus on authentic local travel experiences in the Asian Pacific market and has expanded to a more global focus. KKday connects travelers with travel services and experiences such as attraction tickets, theme parks, cultural experiences, and seasonal events. KKday has positioned itself as an all-in-one travel super app with booking for hotels, rental cars, flights, sim cards, rail passes, dining and tickets. === Rezio === Rezio is a cloud-based SaaS booking management platform developed by KKday specifically for tour operators, activity providers, and attractions in the travel industry. It serves as an all-in-one system designed to help these businesses digitize their operations, particularly those previously relying on offline processes. Features include a mobile app for on-the-go order management, customer information checks, and voucher scanning, as well as channel management, analytics for customer data, and integrations with multiple OTAs and payment providers. Unlike KKday, which is an OTA marketplace for consumer exposure (with commissions), Rezio focuses on backend operations for suppliers, allowing brand independence, operational efficiency, and direct customer relationships while optionally connecting to OTAs like KKday. Rezio supports over 5,000 merchants, 30,000 experiences, and 10 million travelers worldwide, with a strong presence in Asia. One of the brands successful implementations was at the Nikko Toshogu Shrine where Rezio was implemented to help with long lines and wait times due to over-tourism. The shrine was able to implement the inventory management features to allow online booking and cashless payments onsite. === FineDayClub === FineDayClub is a membership-based travel concierge service launched in late 2020 by KKday. It is aimed at families, and organizations seeking customized travel experiences. It offers one-on-one advisory services. === ActivityJapan === ActivityJapan is a Japanese comprehensive online travel site that specializes in authentic Japanese travel experiences. It was purchased by KKday in 2021 but continues to operate independently.

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  Over-the-top media services in India

  As per Govt of India, there are currently about 57 providers of over-the-top media services (OTT) in India, which distribute streaming media or video on demand over the Internet. == History and growth == The first dependent Indian OTT platform was BIGFlix, launched by Reliance Entertainment in 2008. In 2010 Digivive launched India's first OTT mobile app called nexGTv, which provides access to both live TV and on–demand content. nexGTV was the first app to live–stream Indian Premier League matches on smart phones and did so during 2013 and 2014. The livestream of the IPL since 2015, when rights were won, played an important role in the growth of another OTT platform, Hotstar (now JioHotstar) in India. OTT Platforms gained significant momentum in India when both DittoTV (Zee) and Sony Liv were launched in the Indian market around 2013. Following the initial push of Regional OTT platforms like Aha, Hoichoi, Sun NXT, Planet Marathi, Chaupal & MX Player. The Indian OTT industry saw rapid transformation with the entry of global OTT companies such as Netflix and Amazon Prime Video into the Indian market in 2016. Replacement of this competition with global enterprises caused local rivals to innovate in both region and hyper-regional content. === Hotstar === Hotstar (now JioHotstar) is the most subscribed–to OTT platform in India, owned by JioStar as of February 2025, with around 500 million active users and over 650 million downloads. According to Hotstar's India Watch Report 2018, 96% of watch time on Hotstar comes from videos longer than 20 minutes, while one–third of Hotstar subscribers watch television shows. In 2019, Hotstar began investing ₹120 crore in generating original content such as "Hotstar Specials." 80% of the viewership on Hotstar comes from drama, movies and sports programs. Hotstar has the exclusive streaming rights of IPL in India. === Netflix === American streaming service Netflix entered India in January 2016. In April 2017, it was registered as a limited liability partnership (LLP) and started commissioning content. It earned a net profit of ₹2020,000 (₹2.02 million) for fiscal year 2017. In fiscal year 2018, Netflix earned revenues of ₹580 million. According to Morgan Stanley Research, Netflix had the highest average watch time of more than 120 minutes but viewer counts of around 20 million in July 2018. As of 2018, Netflix has six million subscribers, of which 5–6% are paid members. India was not affected by Netflix's July 2018 increase in subscription rates for the US and Latin America. Netflix has stated its intent to invest ₹600 crore in the production of Indian original programming. In late 2018, Netflix bought 150,000 square feet (14,000 m2) of office space in Bandra–Kurla Complex (BKC) in Mumbai as their head office. As of December 2018, Netflix has more than 40 employees in India. === Other OTT providers === Sun NXT is an Indian video on demand service run by Sun TV Network. It was launched in June 2017, streaming in the Tamil language and six other languages. The platform has more than 4,000 Tamil movies and 200 Tamil shows, as well as regional movies and shows. Sun NXT also streams a large library of its own Sun TV shows and movies. Amazon Prime Video was launched in 2016. The platform has 2,300 titles available including 2,000 movies and about 400 shows. It has announced that it will invest ₹20 billion in creating original content in India. Besides English, Prime Video is available in six Indian languages as of December 2018. Amazon India launched Amazon Prime Music in February 2018. Eros Now, an OTT platform launched by Eros International, has the most content among the OTT providers in India, including over 12,000 films, 100,000 music tracks and albums, and 100 TV shows. Eros Now was named the Best OTT Platform of the Year 2019 at the British Asian Media Awards. It has 211.5 million registered users and 36.2 million paying subscribers as of September 2020. In February 2020, Aha OTT platform was launched, broadcasting exclusively Telugu content. In 2021, Planet Marathi became the first OTT platform dedicated to Marathi content in India, including web-series, films, music, theater, fiction and non-fiction reality shows. It is available for both Android and iOS mobile devices along with Android TV and Amazon Fire TV devices. Bollywood actress Madhuri Dixit helped launch the platform. With rising interest for Korean dramas, Rakuten Viki saw its biggest jump of web traffic from India in 2020 due to the COVID-19 lockdown, which led to ad localization on the platform. The OTT market in fiscal year 2020 was estimated to be worth $1.7 billion. === SonyLIV and ZEE5 === In December 2021, Sony and Zee announced their merger, and announced plans to merge their OTT platforms. The merger was called off. === OTT services launched as Amazon Prime video channels === The list is by alphabetical order, not by rank or popularity. == Content regulation == Due to the absence of any rules and regulation regarding OTT content, many OTT providers were accused of showing nudity, vulgarity and obscenity and hurting Hindu religious sentiments in their shows. Series which were the focus of controversy include Four More Shots Please!, Tandav, Paatal Lok, Sacred Games, Mirzapur Lust stories franchise, Rana Naidu. Thank You for Coming, and Annapoorani (2023). According to media reports, between 2018 and 2024, some OTT platforms emerged which started showing porn in the form of web series. Both the Supreme Court and Delhi High Court say that OTT regulation is necessary. === OTT regulation === On 25 Feb 2021, Indian govt introduced self-regulation rules for OTT platforms to stop obscene content and abusive language. On 19 March 2023, I&B minister Anurag Thakur said that self regulation does not mean that OTT should show obscenity and nudity. On 15 April 2023, I&B Secretary Apurva Chandra has said because of the government's soft-touch regulations on OTT industry have led to the creation of content that is undesirable and vulgar. On 26 April 2023, MIB India said that if nudity and obscenity is seen on any OTT platform, strict action will be taken against it. On 16 May 2023, Don't show obscene content, parliamentary panel told to Netflix and Amazon Prime Video. On 20 June 2023, the government told Netflix, Disney+ Hotstar and all other streaming services that their content should be independently reviewed for obscenity and violence before being shown online. On 27 June 2023, DPCGC took punitive action against Ullu for streaming obscene content and asked them to remove all their explicit shows or remove all adult scenes within 15 days. On 18 July 2023, Anarug Thakur said in a meeting with all OTT stakeholders that demeaning Indian culture will not be tolerated. OTT can't show vulgarity and nudity in the garb of 'creative expression'.The cited sources do not mention vulgarity - they say this was about demeaning Indian culture/society. On 22 August 2023, Indian government assured that it will bring rules and regulation to regulate vulgar and obscene content on social media and OTT platforms. On 10 November 2023, MIB India introduces the 'Broadcasting Service Regulation Bill', which included Programme code with Content Evaluation Committee(CEC) for every OTT platforms. Currently public consultation is ongoing till 15 January 2024. The draft bill mandates that all OTT streaming platforms can only broadcast those web series or content, which will be duly certified by Content Evaluation Committee(CEC). On 14 March 2024, the Ministry of Information and Broadcasting banned over 18 OTT apps from Google play store and suspended all of their 57 social media accounts, as well as closed nineteen streaming websites. The banned platforms were MoodX, Prime Play, Hunters, Besharams, Rabbit movies, Voovi, Fugi, Mojflix, Chikooflix, Nuefliks, Xtramood, NeonX VIP, X Prime, Tri Flicks, Uncut Adda, Dreams Films, Hot Shots VIP, and Yessma. On 25 July 2025, the Ministry of Information and Broadcasting banned from 25 OTT apps from Google play store and suspended all of their 40 social media accounts, as well as 26 closed streaming websites. The banned platforms were include ALTT, Ullu, Big Shots App, Desiflix, Boomex, NeonX VIP, Navarasa Lite, Gulab App, Kangan App, Bull App, ShowHit, Jalva App, Wow Entertainment, Look Entertainment, Hitprime, Fugi, Feneo, ShowX, Sol Talkies, Adda TV, HotX VIP, Hulchul App, MoodX, Triflicks, and Mojflix. On 24 February 2026, the Ministry of Information and Broadcasting banned from 5 OTT apps from Google play store and suspended all of their 5 social media accounts, as well as 5 closed streaming websites. The banned platforms were include Feel App, Digi Movieplex, Jugnu App, MoodX VIP, and Koyal Playpro. === Legal action === Currently OTT is regulated under the IT Rules 2021, which clearly stated that 'No content that is prohibited by law at the time being force can be Publishing or transmitted'. MIB has continuously taking action

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