AI News and Guides

Explore the best AI News and Guides — independent reviews, comparisons, pricing and step-by-step how-to guides, curated by Aizhi.

Key frame

In animation and filmmaking, a key frame (or keyframe) is a drawing or shot that defines the starting and ending points of a smooth transition. These are called frames because their position in time is measured in frames on a strip of film or on a digital video editing timeline. A sequence of key frames defines which movement the viewer will see, whereas the position of the key frames on the film, video, or animation defines the timing of the movement. Because only two or three key frames over the span of a second do not create the illusion of movement, the remaining frames are filled with "inbetweens". == Use of key frames as a means to change parameters == In software packages that support animation, especially 3D graphics, there are many parameters that can be changed for any one object. One example of such an object is a light. In 3D graphics, lights function similarly to real-world lights. They cause illumination, cast shadows, and create specular highlights. Lights have many parameters, including light intensity, beam size, light color, and the texture cast by the light. Supposing that an animator wants the beam size to change smoothly from one value to another within a predefined period of time, that could be achieved by using key frames. At the start of the animation, a beam size value is set. Another value is set for the end of the animation. Thus, the software program automatically interpolates the two values, creating a smooth transition. == Video editing == In non-linear digital video editing, as well as in video compositing software, a key frame is a frame used to indicate the beginning or end of a change made to a parameter. For example, a key frame could be set to indicate the point at which audio will have faded up or down to a certain level. == Video compression == In video compression, a key frame, also known as an intra-frame, is a frame in which a complete image is stored in the data stream. In video compression, only changes that occur from one frame to the next are stored in the data stream, in order to greatly reduce the amount of information that must be stored. This technique capitalizes on the fact that most video sources (such as a typical movie) have only small changes in the image from one frame to the next. Whenever a drastic change to the image occurs, such as when switching from one camera shot to another or at a scene change, a key frame must be created. The entire image for the frame must be output when the visual difference between the two frames is so great that representing the new image incrementally from the previous frame would require more data than recreating the whole image. Because video compression only stores incremental changes between frames (except for key frames), it is not possible to fast-forward or rewind to any arbitrary spot in the video stream. That is because the data for a given frame only represents how that frame was different from the preceding one. For that reason, it is beneficial to include key frames at arbitrary intervals while encoding video. For example, a key frame may be output once for each 10 seconds of video, even though the video image does not change enough visually to warrant the automatic creation of the key frame. That would allow seeking within the video stream at a minimum of 10-second intervals. The downside is that the resulting video stream will be larger in disk size because many key frames are added when they are not necessary for the frame's visual representation. This drawback, however, does not produce significant compression loss when the bitrate is already set at a high value for better quality (as in the DVD MPEG-2 format).
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Optical recording

The history of optical recording can be divided into a few number of distinct major contributions. The pioneers of optical recording worked mostly independently, and their solutions to the many technical challenges have very distinctive features, such as reflective disc (Compaan and Kramer) transparent disc (Gregg) floppy disc (Russell) rigid disc (Compaan and Kramer) focused laser beam for read-out through transparent substrate (Compaan and Kramer). == Gregg 1958 == Laserdisc technology, using a transparent disc, was invented by David Paul Gregg in 1958 (and patented in 1970 and 1990). By 1969 Philips had developed a videodisc in reflective mode, which has great advantages over the transparent mode. MCA and Philips decided to join their efforts. They first publicly demonstrated the videodisc in 1972. Laserdisc was first available on the market, in Atlanta, on December 15, 1978, two years after the VHS VCR and four years before the CD, which is based on Laserdisc technology. Philips produced the players and MCA produced the discs. The Philips/MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (John Winslow, Richard Wilkinson and Ray Dakin) founded Optical Disc Corporation (now ODC Nimbus). == Russell 1965 == While working at Pacific Northwest National Laboratory, James Russell invented an optical storage system for digital audio and video, patenting the concept in 1970. The earliest patents by Russell, US 3,501,586, and 3,795,902 were filed in 1966, and 1969. respectively. He built prototypes, and the first was operating in 1973. Russell had found a way to record digital information onto a photosensitive plate in tiny dark spots, each spot one micrometre from centre to centre, with a laser that wrote the binary patterns. Russell's first optical disc was distinctly different from the eventual compact disc product: the disc in the player was not read by laser light. A key characteristic of Russell's invention is that a laser is not used for the reading the disc, instead the entire disc or oblong sheet to be read is illuminated by a large playback light source at the back of the transparent foil. As a result, the information density is relatively low. By 1985, Russell held over 25 patents to various technologies related to optical recording and playback. Russell's intellectual property was purchased by Optical Recording Corporation (ORC) in Toronto in 1985, and this firm notified a number of CD manufacturers that their CD technology was based on patents held by ORC. In 1987, ORC signed an agreement with Sony whereby Sony paid for licensing of the technology. Further licenses followed from Philips and others. Warner Communications did not sign, and was sued by ORC. In 1992, the large CD manufacturer, now called Time Warner, was ordered to pay ORC US$30 million in patent violations. In the 1970 patent, the spot diameter was around 10 micrometres. Thus, the areal information density was around a factor hundred less than that of the CD as later developed. Russell continued to refine the concept throughout the 1970s. Philips and Sony, however, were able to put far greater resources into the parallel development of the concept, arriving at a smaller and more sophisticated product in just a few years. Russell's various partners and ventures failed to produce a single consumer product. == Korpel 1968 == Adrianus Korpel worked for the Zenith Electronics Corporation, when he developed very early optical videodisc systems, including holographic storage. == Kramer and Compaan 1969 == The Philips development of the videodisc technology began in 1969 with efforts by Dutch physicists Klaas Compaan and Piet Kramer to record video images in holographic form on disc. Their prototype Laserdisc shown in 1972 used a laser beam in reflective mode to read a track of pits using an FM video signal. Together with MCA, Philips brought the optical videodisk to market in 1978. The cooperation between Philips and MCA did not last long, and discontinued after a few years. == Immink and Doi 1979 == The Compact Disc (CD), which is based on MCA/Philips Laserdisc technology, was developed by a taskforce of Sony and Philips in 1979–1980. Toshi Doi and Kees Schouhamer Immink created the digital technologies that turned the analog Laserdisc into a high-density low-cost digital audio disc. The CD, available on the market since October 1982, remains the standard physical medium for sale of commercial audio recordings Standard CDs have a diameter of 120 mm and can hold up to 80 minutes of audio (700 MB of data). The Mini CD has various diameters ranging from 60 to 80 mm; they are sometimes used for CD singles or device drivers, storing up to 24 minutes of audio. The technology was later adapted and expanded to include data storage CD-ROM, write-once audio and data storage CD-R, rewritable media CD-RW, Super Audio CD (SACD), Video Compact Discs (VCD), Super Video Compact Discs (SVCD), PhotoCD, PictureCD, CD-i, and Enhanced CD. CD-ROMs and CD-Rs remain widely used technologies in the computer industry. The CD and its extensions have been extremely successful: in 2004, worldwide sales of CD audio, CD-ROM, and CD-R reached about 30 billion discs. By 2007, 200 billion CDs had been sold worldwide.
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Institute of Telecommunications Professionals

The Institute of Telecommunications Professionals (ITP) is a membership organisation for professionals in the telecommunications industry, based in the United Kingdom. The Institute was originally founded in 1906. It is now a registered company with Companies House in the United Kingdom, incorporated in 2002. Brendan O' Mahony has been the chief executive of the ITP. Lucy Woods presided over ITP for fifteen years, until 2018, when the organization named Kevin Paige chairman for five years. In 2022 the ITP appointed its new CEO, Charlotte Goodwill. In 2021, the ITP assisted a UK fibre network Vorboss in establishing its training academy. In 2023, the ITP appointed Tim Creswick, the CEO of Vorboss, as the new chair of its board of directors. The institute has an associated journal, the Journal of the Institute of Telecommunications Professionals, established in 2007 and published quarterly.
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Cultural technology

Cultural technology (Korean: 문화기술; Hanja: 文化技術; RR: munhwagisul) is a system used by South Korean talent agencies to promote K-pop culture throughout the world as part of the Korean Wave. The system was developed by Lee Soo-man, founder of talent agency and record company SM Entertainment. == History == === Coinage === During a speech at the Stanford Graduate School of Business in 2011, Lee said he coined the term "cultural technology" as a system about fourteen years prior, when S.M. Entertainment decided to promote its K-pop artists to all of Asia. In the late 1990s, Lee and his colleagues created a manual on cultural technology, which specified the steps needed to popularize K-pop artists outside South Korea. "The manual, which all S.M. employees are instructed to learn, explains when to bring in foreign composers, producers, and choreographers; what chord progressions to use in what country; the precise color of eyeshadow a performer should wear in a particular country; the exact hand gestures he or she should make; and the camera angles to be used in the videos (a three-hundred-and-sixty-degree group shot to open the video, followed by a montage of individual closeups)," according to The New Yorker. The term "cultural technology," apart from Lee's systemized definition, can be traced back to the lectures of Michael White, an Australian social worker, educator, and therapeutic theorist and his works Narrative Means to Therapeutic Ends (1990) and Maps of Narrative Practice (2007). Its usage may also date further back to French philosopher Michel Foucault (1977). South Korean computer scientist Kwangyun Wohn said he coined the term "culture technology" in 1994. Cultural technology has also been one of six technology initiatives of the South Korean government since 2001. In regards to cultural technology, the Korean Wave is considered one of the most successful outcomes of government support of exporting Korean entertainment products. === The Four Core Stages === The cultural technology system originally employed by SM Entertainment since the 1990s existed in four stages: Casting, Training, Producing, and Marketing/Managing. Each of these four stages were curated to help spread the Hallyu wave through the development of its artists, and are present in the strategies of many other South Korean talent agencies when creating, debuting, and marketing groups. ==== Casting ==== While the majority of K-pop idols are from South Korea, some are from Japan, China, or Thailand. Many of Korea's entertainment companies, such as SM's Global Auditions, Bighit's Hit It auditions, and YG's Next Generation, host worldwide auditions. Scouting and streetcasting are also common, with members like BTS's Jin recruited for their looks or other surface reasons. Sometimes, casting agents go to dance schools to recruit the top dancers to be trained further at the entertainment company. ==== Training ==== Idols train extensively before debut. They receive training in dance, vocal activities, presentation, and other areas that will benefit them in the industry. Oftentimes, this training will last for years at a time, and trainees are in the proverbial dungeon. Before debut, idols and groups attempt to gain fans through pre-debut activities. SM Entertainment has a system in place called SM Rookies, which is a pre-debut team that hosts concerts and releases videos that strengthen the fanbase of the group even before their first single is released. Other forms of pre-debut activities include featuring in other, more seasoned idols' videos—like Nu'est in Orange Caramel or Exo in Girls' Generation-TTS Twinkle or BTS in Jo Kwon. One particular method of pre-debut training is coupled with casting in production shows, like Sixteen and Produce 101, in which members for a final group are selected and trained. ==== Producing ==== The production of music is integral in culture technology. For cultural technology, production of music helps create differentiated content to set trends in the K-pop world—trends that vary from music to also costume, choreography, and music videos. SM in particular focuses heavily on the expansion globally. Some companies also outsource production to more internationally famed parties, like Cube Entertainment's partnership with Skrillex for 4minute's Act. 7. ==== Marketing/Managing ==== In the marketing and management stage, talent agencies seek to broaden their reach. Often, idols have potential for being actors and actresses in dramas, or perhaps hosts/permanent members of variety shows like Kim Hee-chul in Knowing Bros. This so-called omnidirectional marketing lineup ranges over lifestyle and seeks to reach many aspects of living, like music, TV, drama, entertainment, sports, and fashion. This is also where older groups find new life, like Super Junior. Companies are not complacent but experiment constantly to develop the best marketing for the best management system. Marketing also aspires to branch out to international audiences, sometimes via the implementation of variety shows. Despite being primarily in Korean, these variety shows are accessible to all due to the simplistic, easily understood nature of shows—game-oriented shows like Run BTS! or consistently subbed shows like Weekly Idol are popular in showing the fun-loving side of idols. == Evolution into New Culture Technology == In February 2016, SM hosted a press conference discussing the future of SM and its cultural technology. Lee Soo-man announced the implementation of New Culture Technology, an SM-specific system. While SM's cultural technology in the past relied on local, Korean artists like Rain and BoA, the updated model tries to embed more and more foreign singers from strategic markets into larger girl or boy bands. These imported singers are then used to promote their acts back in their respective home countries. New Culture Technology is five projects—SM Station, EDM, Digital Platforms, Rookies Entertainment, and MCN—and one experimental group, NCT. It is a convergence and expansion of SM's four core culture technologies developed and deals heavily with interaction and the desire to innovate through communication. === SM Station === SM announced their intention of creating a new song every week for 52 weeks. Through this constant output of music, they intend to stray away from conventional forms of music and show active movement in digital music market and physical album market through freely and continuously releasing music. Additionally, this SM Station will feature collaborations between artists, producers, composers, and company brands outside the SM label. The name of SM Station is both derived from the radio station and the metaphorical train station. === NCT === Neo Culture Technology (NCT) introduced the idea of "Interactive". SM company tried to connect the targeting market, customers and artist, in order to lead the K-pop culture. NCT (Neo Culture Technology) is the new artist group formed by SM that embodies the concepts of cultural technology. With the seemingly limitless combinations and groups, SM aspires to make the whole world a stage for NCT. Since 2023, there are six NCT groups, who debuted on the digital song sales: NCT U, NCT 127, NCT Dream, WayV, NCT DoJaeJung, and NCT Wish. As of October 2023, the group consists of 25 members: Johnny, Taeyong, Yuta, Kun, Doyoung, Ten, Jaehyun, Winwin, Jungwoo, Mark, Xiaojun, Hendery, Renjun, Jeno, Haechan, Jaemin, Yangyang, Chenle, Jisung, Sion, Riku, Yushi, Daeyoung, Ryo, and Sakuya. ScreaM Records ScreaM Records has been released by SM Entertainment as an EDM label since 2016 for "SM TOWN: New Culture Technology". ScreaM Records is made for "performances made to be enjoyed". It collaborates with inside and outside Korean well-known EDM DJs. ScreaM Records has first launched collaborated song "Wave" E-Mart's home electronics store, Electro Mart. "Our goal is to provide opportunities to producers who have yet to be discovered and produce world famous DJs from the Asian scene." a ScreaM Records representative said. == Three stages of globalization == According to Lee, there are three stages necessary to popularize Korean culture outside South Korea: exporting the product, collaborating with international companies to expand the product's presence abroad, and finally creating a joint venture with international companies. As part of their joint ventures with international companies, South Korean talent agencies may hire foreign composers, producers, and choreographers to ensure K-pop songs feel "local" to foreign countries.
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Artbreeder

Artbreeder, formerly known as Ganbreeder, is a collaborative, machine learning-based art website. Using the models StyleGAN and BigGAN, the website allows users to generate and modify images of faces, landscapes, and paintings, among other categories. == Overview == On Artbreeder, users mainly interact through the remixing - referred to as 'breeding' - of other users' images found in the publicly accessible database of images. The creation of new variations can be done by tweaking sliders on an image's page, known as "genes", which in the "Portraits" model can range from color balance to gender, facial hair, and glasses. Additionally, any image can be "crossbred" with other publicly viewable images from the database, using a slider to control how much of each image should influence the resulting "child". The site also allows for uploading new images, which the model will attempt to convert into the latent space of the network. == Notable usages == The similarly AI-driven text adventure game AI Dungeon uses Artbreeder to generate profile pictures for its users, and The Static Age's Andrew Paley has used Artbreeder to create the visuals for his music videos. Artbreeder has been used to create portraits of characters from popular novels such as Harry Potter and Twilight. They have also been used to add realistic features to ancient portraits. Artbreeder was used to create characters in the sequel to Ben Drowned with the titular villain, an AI-construct itself, created entirely using the website. == Changes to Artbreeder == ArtBreeder underwent an overhaul, introducing several features to enhance the user experience. Among these updates is the integration SD-XL, developed by stability.ai. Additionally, ArtBreeder also added a functionality known as ControlNet, which enables users to create images based on specific poses. With ControlNet, users can incorporate various poses into their AI Artworks. More features that were introduced into Artbreeder, are Pattern, which creates AI Pattern Images, Outpainting or Uncropping was also an added feature to Artbreeder, that allows the user to expand the image beyond the normal dimensions of the image. == Reception == The artwork generated by users of the website has been described as "beautiful" and "surreal," drawing comparisons to "weird, incomprehensible dreams" that "somehow touch the deep, unconscious parts of [the] mind". However, the generated faces were noted as "creepy and 'off'", and still nowhere near the quality attained by actual digital artists. Additionally, the site faced criticism for perceived confusing aspects of the AI's behavior. Jonathan Bartlett of Mind Matters News noted that "As is always the case with AI, sometimes the [gene] knobs don't work as expected and sometimes the results are... strange," while conceding that Artbreeder was still "probably the start of a new future of made-to-order stock images." Writers from Hyperallergic also took issue with perceived racial biases in the Portraits model, citing a comment from a user who faced difficulty from the neural network while attempting to darken the skin of a portrait to match a source image.
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Web worker

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

Fear of missing out (FOMO) is the feeling of apprehension that one is either not in the know about or missing out on information, events, experiences, or life decisions that could make one's life better. FOMO is also associated with a fear of regret, which may lead to concerns that one might miss an opportunity for social interaction, a novel experience, a memorable event, profitable investment, or the comfort of loved ones. It is characterized by a desire to stay continually connected with what others are doing, and can be described as the fear that deciding not to participate is the wrong choice. FOMO could result from not knowing about a conversation, missing a TV show, not attending a wedding or party, or hearing that others have discovered a new restaurant. In recent years, FOMO has been attributed to a number of negative psychological and behavioral symptoms. FOMO has increased in recent times due to advancements in technology. Social networking sites create many opportunities for FOMO. While it provides opportunities for social engagement, it offers a view into an endless stream of activities in which a person is not involved. Further, a common tendency is to post about positive experiences (such as a great restaurant) rather than negative ones (such as a bad first date). Psychological dependence on social media can lead to FOMO or even pathological Internet use. FOMO is also present in video games, investing, and business marketing. The increasing popularity of the phrase has led to related linguistic and cultural variants. FOMO is associated with worsening depression and anxiety, and a lowered quality of life. FOMO can also affect businesses. Hype and trends can lead business leaders to invest based on perceptions of what others are doing, rather than their own business strategy. This is also the idea of the bandwagon effect, where one individual may see another person or people do something and they begin to think it must be important because everyone is doing it. They might not even understand the meaning behind it, and they may not totally agree with it. Nevertheless, they are still going to participate because they don't want to be left out. == History == Patrick J. McGinnis coined the term FOMO and popularized it in a 2004 op-ed titled "Social Theory at HBS: McGinnis' Two FOs" in The Harbus, the magazine of Harvard Business School, where he was then a student. The article also referred to another related condition, Fear of a Better Option (FOBO), and the role of these two fears in the school's social life. Currently the term has been used as a hashtag on social media and has been mentioned in hundreds of news articles, from online sources like Salon.com to print papers like The New York Times. === Earlier forms === The phrase "fear of missing out" is a common English phrase, especially in the form "fear of missing out on (something)". The term "fear of missing out" (but not the term FOMO) was used earlier in the academic business literature by marketing strategist Dan Herman, who used it in presentations in the late 1990s, and included the phrase in a 2000 paper about "short-term brands", where a motivation for trying these brands is "ambition to exhaust all possibilities and the fear of missing out on something". Herman also believes the concept has evolved to become more wide spread through mobile phone usage, texting, and social media and has helped flesh out the concept of the fear of missing out to the masses. Before the Internet, a related phenomenon, "keeping up with the Joneses", was widely experienced. FOMO generalized and intensified this experience because so much more of people's lives became publicly documented and easily accessed. == Symptoms == === Psychological === Fear of missing out has been associated with a deficit in psychological needs. Self-determination theory contends that an individual's psychological satisfaction in their competence, autonomy, and relatedness consists of three basic psychological needs for human beings. Test subjects with lower levels of basic psychological satisfaction reported a higher level of FOMO. FOMO has also been linked to negative psychological effects in overall mood and general life satisfaction. A study performed on college campuses found that experiencing FOMO on a certain day led to a higher fatigue on that day specifically. Experiencing FOMO continuously throughout the semester also can lead to higher stress levels among students. An individual with an expectation to experience the fear of missing out can also develop a lower level of self-esteem. A study by JWTIntelligence suggests that FOMO can influence the formation of long-term goals and self-perceptions. In this study, around half of the respondents stated that they are overwhelmed by the amount of information needed to stay up-to-date, and that it is impossible to not miss out on something. The process of relative deprivation creates FOMO and dissatisfaction. It reduces psychological well-being. FOMO led to negative social and emotional experiences, such as boredom and loneliness. A 2013 study found that it negatively impacts mood and life satisfaction, reduces self-esteem, and affects mindfulness. Four in ten young people reported FOMO sometimes or often. FOMO was found to be negatively correlated with age, and men were more likely than women to report it. People who experience higher levels of FOMO tend to have a stronger desire for high social status, are more competitive with others of the same gender, and are more interested in short-term relationships. Studies have found that experiencing fear of missing out has been linked to anxiety or depression. === Behavioral === The fear of missing out stems from a feeling of missing social connections or information. This absent feeling is then followed by a need or drive to interact socially to boost connections. The fear of missing out not only leads to negative psychological effects but also has been shown to increase negative behavioral patterns. In aims of maintaining social connections, negative habits are formed or heightened. A 2019 University of Glasgow study surveyed 467 adolescents, and found that the respondents felt societal pressure to always be available. According to John M. Grohol, founder and Editor-in-Chief of Psych Central, FOMO may lead to a constant search for new connections with others, abandoning current connections to do so. The fear of missing out derived from digital connection has been positively correlated with bad technology habits especially in youth. These negative habits included increased screen time, checking social media during school, or texting while driving. Social media use in the presence of others can be referred to as phubbing, the habit of snubbing a physically present person in favour of a mobile phone. Multiple studies have also identified a negative correlation between the hours of sleep and the scale at which individuals experience fear of missing out. A lack of sleep in college students experiencing FOMO can be attributed to the number of social interactions that occur late at night on campuses. == Settings == === Social media === Fear of missing out has a positive correlation with higher levels of social media usage. Social media connects individuals and showcases the lives of others at their peak. This gives people the fear of missing out when they feel like others on social media are taking part in positive life experiences that they personally are not also experiencing. This fear of missing out related to social media has symptoms including anxiety, loneliness, and a feeling of inadequacy compared to others. Self-esteem plays a key role in the levels a person feels when experiencing the fear of missing out, as their self worth is influenced by people they observe on social media. There are two types of anxiety; one related to genetics that is permanent, and one that is temporary. The temporary state of anxiety is the one that is more relevant to the fear of missing out, and is directly related to the individual looking at social media sites for a short period of time. This anxiety is caused by a loss of feeling of belonging through the concept of social exclusion. FOMO-sufferers may increasingly seek access to others' social lives, and consume an escalating amount of real-time information. A survey in 2012 indicated that 83% of respondents said that there is information overload in regards that there is too much to watch and read. Constant information that is available to people through social media causes the fear of missing out as people feel worse about themselves for not staying up to date with relevant information. Social media shows just exactly what people are missing out on in real time including events like parties, opportunities, and other events leading for people to fear missing out on other related future events. Another survey indicates that almost 40% of people from ages 12 through 67 i
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Telecommunications device for the deaf

A telecommunications device for the deaf (TDD) is a teleprinter, an electronic device for text communication over a telephone line, that is designed for use by persons with hearing or speech difficulties. Other names for the device include teletypewriter (TTY), textphone (common in Europe), and minicom (United Kingdom). The typical TDD is a device about the size of a typewriter or laptop computer with a QWERTY keyboard and small screen that uses an LED, LCD, or VFD screen to display typed text electronically. In addition, TDDs commonly have a small spool of paper on which text is also printed – old versions of the device had only a printer and no screen. The text is transmitted live, via a telephone line, to a compatible device, i.e. one that uses a similar communication protocol. Special telephone services have been developed to carry the TDD functionality even further. In certain countries, there are systems in place so that a deaf person can communicate with a hearing person on an ordinary voice phone using a human relay operator. There are also "carry-over" services, enabling people who can hear but cannot speak ("hearing carry-over", a.k.a. "HCO"), or people who cannot hear but are able to speak ("voice carry-over", a.k.a. "VCO") to use the telephone. The term TDD is sometimes discouraged because people who are deaf are increasingly using mainstream devices and technologies to carry out most of their communication. The devices described here were developed for use on the partially-analog Public Switched Telephone Network (PSTN). They do not work well on the new internet protocol (IP) networks. Thus as society increasingly moves toward IP based telecommunication, the telecommunication devices used by people who are deaf will not be TDDs. In the US and Canada, the devices are referred to as TTYs. Teletype Corporation, of Skokie, Illinois, made page printers for text, notably for news wire services and telegrams, but these used standards different from those for deaf communication, and although in quite widespread use, were technically incompatible. Furthermore, these were sometimes referred to by the "TTY" initialism, short for "Teletype". When computers had keyboard input mechanisms and page printer output, before CRT terminals came into use, Teletypes were the most widely used devices. They were called "console typewriters". (Telex used similar equipment, but was a separate international communication network.) == History == === APCOM acoustic coupler or MODEM device === The TDD concept was developed by James C. Marsters (1924–2009), a dentist and private airplane pilot who became deaf as an infant because of scarlet fever, and Robert Weitbrecht, a deaf physicist. In 1964, Marsters, Weitbrecht and Andrew Saks, an electrical engineer and grandson of the founder of the Saks Fifth Avenue department store chain, founded APCOM (Applied Communications Corp.), located in the San Francisco Bay area, to develop the acoustic coupler, or modem; their first product was named the PhoneType. APCOM collected old teleprinter machines (TTYs) from the Department of Defense and junkyards. Acoustic couplers were cabled to TTYs enabling the AT&T standard Model 500 telephone to couple, or fit, into the rubber cups on the coupler, thus allowing the device to transmit and receive a unique sequence of tones generated by the different corresponding TTY keys. The entire configuration of teleprinter machine, acoustic coupler, and telephone set became known as the TTY. Weitbrecht invented the acoustic coupler modem in 1964. The actual mechanism for TTY communications was accomplished electro-mechanically through frequency-shift keying (FSK) allowing only half-duplex communication, where only one person at a time can transmit. === Paul Taylor TTY device === During the late 1960s, Paul Taylor combined Western Union Teletype machines with modems to create teletypewriters, known as TTYs. He distributed these early, non-portable devices to the homes of many in the deaf community in St. Louis, Missouri. He worked with others to establish a local telephone wake-up service. In the early 1970s, these small successes in St. Louis evolved into the nation's first local telephone relay system for the deaf. === Micon Industries MCM device === In 1973, the Manual Communications Module (MCM), which was the world's first electronic portable TTY allowing two-way telecommunications, premiered at the California Association of the Deaf convention in Sacramento, California. The battery-powered MCM was invented and designed by a deaf news anchor and interpreter, Kit Patrick Corson, in conjunction with Michael Cannon and physicist Art Ogawa. It was manufactured by Michael Cannon's company, Micon Industries, and initially marketed by Kit Corson's company, Silent Communications. In order to be compatible with the existing TTY network, the MCM was designed around the five-bit Baudot code established by the older TTY machines instead of the ASCII code used by computers. The MCM was an instant success with the deaf community despite the drawback of a $599 cost. Within six months there were more MCMs in use by the deaf and hard of hearing than TTY machines. After a year Micon took over the marketing of the MCM and subsequently concluded a deal with Pacific Bell (who coined the term "TDD") to purchase MCMs and rent them to deaf telephone subscribers for $30 per month. After Micon formed an alliance with APCOM, Michael Cannon (Micon), Paul Conover (Micon), and Andrea Saks (APCOM) successfully petitioned the California Public Utilities Commission (CPUC), resulting in a tariff that paid for TTY devices to be distributed free of cost to deaf persons. Micon produced over 1,000 MCMs per month, resulting in approximately 50,000 MCMs being disseminated into the deaf community. Before he left Micon in 1980, Michael Cannon developed several computer compatible variations of the MCM and a portable, battery operated printing TTY, but they were never as popular as the original MCM. Newer model TTYs could communicate with selectable codes that allow communications at a higher bit rate on those models similarly equipped. However, the lack of true computer interface functionality spelled the demise of the original TTY and its clones. During the mid-1970s, other so-called portable telephone devices were being cloned by other companies, and this was the time period when the term "TDD" began being used largely by those outside the deaf community. === Text messaging and the Def-Tone System (DTS) === This relay system became known commonly as the Def-Tone System (DTS) because the tones representing letters of the alphabet were eventually carried in tones outside the range of human hearing. Today, this is commonly called multi-tap because you press a number 1, 2 or 3 times to get a corresponding letter. In 1994 Joseph Alan Poirier, a college student-worker, recommended using the system to send texts to forklifts to improve delivery of parts to the assembly line at GM Powertrain in Toledo, Ohio, and sending a text to pagers. He recommended taking pagers to alphanumeric displays incorporating the same system in discussions with the pager supplier for Outback Steakhouse and having relays put in the forklifts to ping alert messages to the pagers used in that system. He called it text messaging, coining the phrase. It is theorized that when Toyota forklift was allegedly hired by GM for this work, one of the subcontractors, Kyocera, utilized the work for the Toyota forklift company to create text messaging for cell phones. === Marsters Award === In 2009, AT&T received the James C. Marsters Promotion Award from TDI (formerly Telecommunications for the Deaf, Inc.) for its efforts to increase accessibility to communication for people with disabilities. The award holds some irony; it was AT&T that, in the 1960s, resisted efforts to implement TTY technology, claiming it would damage its communication equipment. In 1968, the Federal Communications Commission struck down AT&T's policy and forced it to offer TTY access to its network. == Protocols == There are many different standards for TDDs and textphones. === Original 5-bit Baudot code === The original standard used by TTYs is a variant of the Baudot code. The maximum speed of this protocol is 10 characters per second. This is a half-duplex protocol, which means that only one person at a time may transmit characters. If both try to transmit at the same time, the characters will be garbled on the other end. This protocol is commonly used in the United States. This is a variant of the Baudot code, implemented as 5-bits per character transmitted asynchronously using frequency-shift key-modulation at either 45.5 or 50 baud, 1 start bit, 5 data bits, and 1.5 stop bits. Details of the protocol implementation are available in TIA-825-A and also in T-REC V.18 Annex A "5-bit operational mode". === Turbo Code === The UltraTec company implements another protocol known as Enh
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List of performance analysis tools

This is a list of performance analysis tools for use in software development. == General purpose, language independent == The following tools work based on log files that can be generated from various systems. time (Unix) - can be used to determine the run time of a program, separately counting user time vs. system time, and CPU time vs. clock time. timem (Unix) - can be used to determine the wall-clock time, CPU time, and CPU utilization similar to time (Unix) but supports numerous extensions. Supports reporting peak resident set size, major and minor page faults, priority and voluntary context switches via getrusage. Supports sampling procfs on supporting systems to report metrics such as page-based resident set size, virtual memory size, read-bytes, and write-bytes, etc. Supports collecting hardware counters when built with PAPI support. == Multiple languages == The following tools work for multiple languages or binaries. == C and C++ == Arm MAP, a performance profiler supporting Linux platforms. AppDynamics, an application performance management service for C/C++ applications via SDK. AQtime Pro, a performance profiler and memory allocation debugger that can be integrated into Microsoft Visual Studio, and Embarcadero RAD Studio, or can run as a stand-alone application. IBM Rational Purify was a memory debugger allowing performance analysis. Instruments (bundled with Xcode) is used to profile an executable's memory allocations, time usage, filesystem activity, GPU activity etc. Intel Parallel Studio contains Intel VTune Amplifier, which tunes both serial and parallel programs. It also includes Intel Advisor and Intel Inspector. Intel Advisor optimizes vectorization (use of SIMD instructions) and prototypes threading implementations. Intel Inspector detects and debugs races, deadlocks and memory errors. Parasoft Insure++ provides a graphical tool that displays and animates memory allocations in real time to expose memory blowout, fragmentation, overuse, bottlenecks and leaks. Visual Studio Team System Profiler, commercial profiler by Microsoft. == Java == inspectIT is an open-source application performance management (APM) service for monitoring and analyzing software applications, available under the Apache License, Version 2.0 (ALv2). JConsole is the profiler which comes with the Java Development Kit JProfiler JRockit Mission Control, a profiler with low overhead. Netbeans Profiler, a profiler integrated into the NetBeans IDE (internally uses jvisualvm profiler) Plumbr, Java application performance monitoring with automated root cause detection. Links memory leaks, GC inefficiency, slow database and external web service calls, locked threads, and other performance problems to the line in source code that causes them. OverOps, Continuous reliability for the modern software supply chain, automatically detect and deliver root cause automation for all errors. VisualVM is a visual tool integrating several commandline JDK tools and lightweight profiling capabilities. It is bundled with the Java Development Kit since version 6, update 7. == JavaScript == The Firefox web browser's developer tools contain a Performance tool, which gives insight into JavaScript performance of a website. Microsoft Visual Studio AJAX Profiling Extensions is a free profiling tool for JavaScript by Microsoft Research. == .NET == CLR Profiler is a free memory profiler provided by Microsoft for CLR applications. GlowCode is a performance and memory profiler for .NET applications using C# and other .NET languages. It identifies time-intensive functions and detects memory leaks and errors in native, managed and mixed Windows x64 and x86 applications. Visual Studio == PHP == BlackFire.io Dbg Xdebug is a PHP extension which provides debugging and profiling capabilities.
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The Culture of Connectivity

The Culture of Connectivity: A Critical History of Social Media is a book by José van Dijck published by Oxford University Press in 2013 on social media platforms and their history. The author considers the histories of five social media platforms: Facebook, Twitter, Flickr, YouTube, and Wikipedia. She focuses on how their technological, social and cultural dimensions contribute to their current status.
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Digital cinematography

Digital cinematography is the process of capturing (recording) a motion picture using digital image sensors rather than through film stock. As digital technology has improved in recent years, this practice has become dominant. Since the 2000s, most movies across the world have been captured as well as distributed digitally. Many vendors have brought products to market, including traditional film camera vendors like Arri and Panavision, as well as new vendors like Red, Blackmagic, Silicon Imaging, Vision Research and companies which have traditionally focused on consumer and broadcast video equipment, like Sony, GoPro, and Panasonic. As of 2023, professional 4K digital cameras were approximately equal to 35mm film in their resolution and dynamic range capacity. Some filmmakers still prefer to use film picture formats to achieve the desired results. == History == The basis for digital cameras are metal–oxide–semiconductor (MOS) image sensors. The first practical semiconductor image sensor was the charge-coupled device (CCD), based on MOS capacitor technology. Following the commercialization of CCD sensors during the late 1970s to early 1980s, the entertainment industry slowly began transitioning to digital imaging and digital video over the next two decades. The CCD was followed by the CMOS active-pixel sensor (CMOS sensor), developed in the 1990s. Beginning in the late 1980s, Sony began marketing the concept of "electronic cinematography," utilizing its analog Sony HDVS professional video cameras. The effort met with very little success. However, this led to one of the earliest high definition video shot feature movies, Julia and Julia (1987). Rainbow (1996) was the world's first film to utilize extensive digital post production techniques. Shot entirely with Sony's first Solid State Electronic Cinematography cameras and featuring over 35 minutes of digital image processing and visual effects, all post production, sound effects, editing and scoring were completed digitally. The Digital High Definition image was transferred to a 35mm negative via an electron beam recorder for theatrical release. The first digitally videoed and post produced feature was Windhorse, shot in Tibet and Nepal in 1996 on the Sony DVW-700WS Digital Betacam and the prosumer Sony DCR-VX1000. The offline editing (Avid) and the online post and color work (Roland House / da Vinci) were also all digital. The film, transferred to 35mm negative for theatrical release, won Best U.S. Feature at the Santa Barbara Film Festival in 1998. In 1997, with the introduction of HDCAM recorders and 1920 × 1080 pixel digital professional video cameras based on CCD technology, the idea, now re-branded as "digital cinematography," began to gain traction in the market. Shot and released in 1998, The Last Broadcast is believed by some to be the first feature-length video shot and edited entirely on consumer-level digital equipment. In May 1999, George Lucas challenged the supremacy of the movie-making medium of film for the first time by including footage filmed with high-definition digital cameras in Star Wars: Episode I – The Phantom Menace. The digital footage blended seamlessly with the footage shot on film and he announced later that year he would film its sequels entirely on hi-def digital video. Also in 1999, digital projectors were installed in four theaters for the showing of The Phantom Menace. In May 2000, Vidocq, which was directed by Pitof, began principal photography shot entirely using a Sony HDW-F900 camera, with the video being released in September the next year. According to the Guinness World Records, Vidocq is the first full length feature filmed in digital high resolution. In June 2000, Star Wars: Episode II – Attack of the Clones began principal photography shot entirely using a Sony HDW-F900 camera as Lucas had previously stated. The film was released in May 2002. In May 2001 Once Upon a Time in Mexico was also shot in 24 frame-per-second high-definition digital video, partially developed by George Lucas using a Sony HDW-F900 camera, following Robert Rodriguez's introduction to the camera at Lucas' Skywalker Ranch facility whilst editing the sound for Spy Kids. A lesser-known movie, Russian Ark (2002), was also shot with the same camera and was the first tapeless digital movie, recorded on HDD instead of tape. In 2009, Slumdog Millionaire became the first movie shot mainly in digital to be awarded the Academy Award for Best Cinematography. The highest-grossing movie in the history of cinema, Avatar (2009), not only was shot on digital cameras as well, but also made the main revenues at the box office no longer by film, but digital projection. Major movies shot on digital video overtook those shot on film in 2013. Since 2016 over 90% of major films were shot on digital video. As of 2017, 92% of films are shot on digital. Only 24 major films released in 2018 were shot on 35mm. Since the 2000s, most movies across the world have been captured as well as distributed digitally. Today, cameras from companies like Sony, Panasonic, JVC and Canon offer a variety of choices for shooting high-definition video. At the high-end of the market, there has been an emergence of cameras aimed specifically at the digital cinema market. These cameras from Sony, Vision Research, Arri, Blackmagic Design, Panavision, Grass Valley and Red offer resolution and dynamic range that exceeds that of traditional video cameras, which are designed for the limited needs of broadcast television. == Technology == Digital cinematography captures motion pictures digitally in a process analogous to digital photography. While there is a clear technical distinction that separates the images captured in digital cinematography from video, the term "digital cinematography" is usually applied only in cases where digital acquisition is substituted for film acquisition, such as when shooting a feature film. The term is seldom applied when digital acquisition is substituted for video acquisition, as with live broadcast television programs. === Recording === ==== Cameras ==== Professional cameras include the Sony CineAlta (F) Series, Blackmagic Cinema Camera, Red One, Arri D-20, D-21 and Alexa, Panavision Genesis, Silicon Imaging SI-2K, Thomson Viper, Vision Research Phantom, IMAX 3D camera based on two Vision Research Phantom cores, Weisscam HS-1 and HS-2, GS Vitec noX, and the Fusion Camera System. Independent micro-budget filmmakers have also pressed low-cost consumer and prosumer cameras into service for digital filmmaking. Flagship smartphones like the Apple iPhone have been used to shoot movies like Unsane (shot on the iPhone 7 Plus) and Tangerine (shot on three iPhone 5S phones) and in January 2018, Unsane's director and Oscar winner Steven Soderbergh expressed an interest in filming other productions solely with iPhones going forward. ==== Sensors ==== Digital cinematography cameras capture digital images using image sensors, either charge-coupled device (CCD) sensors or CMOS active-pixel sensors, usually in one of two arrangements. Single chip cameras designed specifically for the digital cinematography market often use a single sensor (much like digital photo cameras), with dimensions similar in size to a 16 or 35 mm film frame or even (as with the Vision 65) a 65 mm film frame. An image can be projected onto a single large sensor exactly the same way it can be projected onto a film frame, so cameras with this design can be made with PL, PV and similar mounts, in order to use the wide range of existing high-end cinematography lenses available. Their large sensors also let these cameras achieve the same shallow depth of field as 35 or 65 mm motion picture film cameras, which many cinematographers consider an essential visual tool. Codecs Professional raw video recording codecs include Blackmagic Raw, Red Raw, Arri Raw and Canon Raw. ==== Video formats ==== Unlike other video formats, which are specified in terms of vertical resolution (for example, 1080p, which is 1920×1080 pixels), digital cinema formats are usually specified in terms of horizontal resolution. As a shorthand, these resolutions are often given in "nK" notation, where n is the multiplier of 1024 such that the horizontal resolution of a corresponding full-aperture, digitized film frame is exactly 1024 n {\displaystyle 1024n} pixels. Here the "K" has a customary meaning corresponding to the binary prefix "kibi" (ki). For instance, a 2K image is 2048 pixels wide, and a 4K image is 4096 pixels wide. Vertical resolutions vary with aspect ratios though; so a 2K image with an HDTV (16:9) aspect ratio is 2048×1152 pixels, while a 2K image with a SDTV or Academy ratio (4:3) is 2048×1536 pixels, and one with a Panavision ratio (2.39:1) would be 2048×856 pixels, and so on. Due to the "nK" notation not corresponding to specific horizontal resolutions per format a 2K image lacking, for example, the typical 35mm film soundtrack space, is only 182
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Interstellar communication

Interstellar communication is the transmission of signals between planetary systems. Sending interstellar messages is potentially much easier than interstellar travel, being possible with technologies and equipment which are currently available. However, the distances from Earth to other potentially inhabited systems introduce prohibitive delays, assuming the limitations of the speed of light. Even an immediate reply to radio communications sent to stars tens of thousands of light-years away would take many human generations to arrive. == Radio == The SETI project has for the past several decades been conducting a search for signals being transmitted by extraterrestrial life located outside the Solar System, primarily in the radio frequencies of the electromagnetic spectrum. Special attention has been given to the Water Hole, the frequency of one of neutral hydrogen's absorption lines, due to the low background noise at this frequency and its symbolic association with the basis for what is likely to be the most common system of biochemistry (but see alternative biochemistry). The regular radio pulses emitted by pulsars were briefly thought to be potential intelligent signals; the first pulsar to be discovered was originally designated "LGM-1", for "Little Green Men." They were quickly determined to be of natural origin, however. Several attempts have been made to transmit signals to other stars as well. (See "Realized projects" at Active SETI.) One of the earliest and most famous was the 1974 radio message sent from the largest radio telescope in the world, the Arecibo Observatory in Puerto Rico. An extremely simple message was aimed at a globular cluster of stars known as M13 in the Milky Way Galaxy and at a distance of 30,000 light years from the Solar System. These efforts have been more symbolic than anything else, however. Further, a possible answer needs double the travel time, i.e. tens of years (near stars) or 60,000 years (M13). == Other methods == It has also been proposed that higher frequency signals, such as lasers operating at visible light frequencies, may prove to be a fruitful method of interstellar communication; at a given frequency it takes surprisingly small energy output for a laser emitter to outshine its local star from the perspective of its target. Other more exotic methods of communication have been proposed, such as modulated neutrino or gravitational wave emissions. These would have the advantage of being essentially immune to interference by intervening matter. Sending physical mail packets between stars may prove to be optimal for many applications. While mail packets would likely be limited to speeds far below that of electromagnetic or other light-speed signals (resulting in very high latency), the amount of information that could be encoded in only a few tons of physical matter could more than make up for it in terms of average bandwidth. The possibility of using interstellar messenger probes for interstellar communication — known as Bracewell probes — was first suggested by Ronald N. Bracewell in 1960, and the technical feasibility of this approach was demonstrated by the British Interplanetary Society's starship study Project Daedalus in 1978. Starting in 1979, Robert Freitas advanced arguments for the proposition that physical space-probes provide a superior mode of interstellar communication to radio signals, then undertook telescopic searches for such probes in 1979 and 1982.
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Artificial wisdom

Artificial wisdom (AW) is an artificial intelligence (AI) system which is able to display the human traits of wisdom and morals while being able to contemplate its own “endpoint”. Artificial wisdom can be described as artificial intelligence reaching the top-level of decision-making when confronted with the most complex challenging situations. The term artificial wisdom is used when the "intelligence" is based on more than by chance collecting and interpreting data, but by design enriched with smart and conscience strategies that wise people would use. == Overview == The goal of artificial wisdom is to create artificial intelligence that can successfully replicate the “uniquely human trait[s]” of having wisdom and morals as closely as possible. Thus, artificial wisdom, must “incorporate [the] ethical and moral considerations” of the data it uses. There are also many significant ethical and legal implications of AW which are compounded by the rapid advances in AI and related technologies alongside the lack of the development of ethics, guidelines, and regulations without the oversight of any kind of overarching advisory board. Additionally, there are challenges in how to develop, test, and implement AW in real world scenarios. Existing tests do not test the internal thought process by which a computer system reaches its conclusion, only the result of said process. When examining computer-aided wisdom; the partnership of artificial intelligence and contemplative neuroscience, concerns regarding the future of artificial intelligence shift to a more optimistic viewpoint. This artificial wisdom forms the basis of Louis Molnar's monographic article on artificial philosophy, where he coined the term and proposes how artificial intelligence might view its place in the grand scheme of things. == Definitions == There are no universal or standardized definitions for human intelligence, artificial intelligence, human wisdom, or artificial wisdom. However, the DIKW pyramid, describes the continuum of relationship between data, information, knowledge, and wisdom, puts wisdom at the highest level in its hierarchy. Gottfredson defines intelligence as “the ability to reason, plan, solve problems, think abstractly, comprehend complex ideas, learn quickly, and learn from experience”. Definitions for wisdom typically include requiring: The ability for emotional regulation, Pro-social behaviors (e.g., empathy, compassion, and altruism), Self-reflection, “A balance between decisiveness and acceptance of uncertainty and diversity of perspectives, and social advising.” As previously defined, Artificial Wisdom would then be an AI system which is able to solve problems via “an understanding of…context, ethics and moral principles,” rather than simple pre-defined inputs or “learned patterns.” Some scientists have also considered the field of artificial consciousness. However, Jeste states that “…it is generally agreed that only humans can have consciousness, autonomy, will, and theory of mind.” An artificially wise system must also be able to contemplate its end goal and recognize its own ignorance. Additionally, to contemplate its end goal, a wise system must have a “correct conception of worthwhile goals (broadly speaking) or well-being (narrowly speaking)”. "Stephen Grimm further suggests that the following three types of knowledge are individually necessary for wisdom: first, "knowledge of what is good or important for well-being", second, "knowledge of one’s standing, relative to what is good or important for well-being", and third, "knowledge of a strategy for obtaining what is good or important for wellbeing."" == Problems == There are notable problems with attempting to create an artificially wise system. Consciousness, autonomy, and will are considered strictly human features. === Values === There are significant ethical and philosophical issues when attempting to create an intelligent or a wise system. Notably, whose moral values will be used to train the system to be wise. Differing moral values and prejudice can already be seen from various organizations and governments in artificial intelligence. Deployment strategies and values of Artificial Wisdom will conflict between leaders, companies, and countries. Nusbaum states, “When values are in conflict, leaders often make choices that are clever or smart about their own needs, but are often not wise.” === Ethics === Science fiction author Isaac Asimov realized the need to control the technology in the 1940s when he wrote the three laws of robotics as follows: A robot may not injure a human directly or indirectly. A robot must obey human’s orders. A robot should seek to protect its own existence. Additionally, the pace at which technology is rapidly advancing artificial intelligence and thus the need for artificial wisdom may “have outpaced the development of societal guidelines have raised serious questions about the ethics and morality of AI, and called for international oversight and regulations to ensure safety.” === Principal impossibility === One argument, coined by Tsai as the “argument against AW,” or AAAW, postulates the principal impossibility of Artificial Wisdom. The argument is based on the philosophical differences between practical wisdom, also called phronesis, and practical intelligence. Said difference isn’t in “selecting the correct means, but reasoning correctly about what ends to follow”. Tsai puts the argument into a logical proposition as follows: “(P1) An agent is genuinely wise only if the agent can deliberate about the final goal of the domain in which the agent is situated.” “(P2) An intelligent agent cannot deliberate about the final goal of the domain in which the agent is situated.” “(C1) An intelligent agent cannot be genuinely wise.” “(P3) An AW is, at its core, intelligent.” “(C2) An AW cannot be genuinely wise.”
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Ethiopian feminists facing digital gender-based violence

Against a background of traditional views of women, rising internet use, a young population and an unsafe offline life, women and girls in Ethiopia are facing increasing amounts of digital violence. Some women, feeling endangered, have left the country as a result. Researchers, activists and lawyers have called for online content to be taken down and specific digital legislation to be drafted and enforced. == Online violence and its offline effects == Sexual violence against women and girls in Ethiopia is common. In 2023, in the Women, Peace and Security Index by Georgetown University, Ethiopia came 146 out of 177 countries. Over several years online harassment of and violence against women and girls in Ethiopia has increased. It can range from sexist remarks about appearance and women’s role in society, to revenge porn, threats of beating, acid attacks, abduction, rape or death. The real-life effect on women and girls of these attacks can include mental health problems, damaged reputations and a withdrawal from public and economic life. When the online attacks migrate to the real world, for example when online attackers find out where the targeted women and girls live, this can result in physical attacks, street harassment, threats to children and can cause victims to move house or job or even flee the country in fear of femicide. In a country that criminalises homosexuality, it can also lead to physical attacks on LGBTQI+ people in particular and indeed on anybody labelled as homosexual. == Research studies == The Centre for Information Resilience (CIR) conducted interviews with Ethiopian women holding public roles or being active online. The centre published a report on this in 2024 entitled ‘Silenced, Shamed and Threatened’. They found that technology-facilitated gender-based violence (TFGBV) had become “normalised to the point of invisibility.” In 2024, CER also published an analysis of gendered hate speech on social media in Ethiopia called ‘Normalised and invisible.’ It is thought that traditional views of women, the young population, the rise in internet use and the war in Tigray, when sexual violence was used as a weapon of war by Ethiopian and Eritrean soldiers, have all helped to create an online environment in which even femicide is considered unremarkable. AFP Fact Check collaborated with Deutsche Welle Akademie, to investigate the cyber harassment of women in Ethiopia, analysing misogynistic posts published on TikTok and Facebook. They discovered disparaging remarks about women’s physical appearance, threats of acid attacks and other physical violence, and the public sharing of women’s phone numbers. == Individuals affected == Women in particular jeopardy of digital gender-based violence are feminists, activists, politicians and those with a public profile. Some women are known to have fled Ethiopia fearing for their lives after online and offline threats. Yordanos Bezabih, an Ethiopian women’s rights activist, started a campaign with the hashtag #JusticeforHeaven to fight against gender-based cyberspace violence. As a result, she herself become a target. She experienced years of online threats of acid attacks, gang-rape and death. In 2025, subscribers to an online community organised a search for her address. Deepfake nude images of her were shared, she was filmed in real life, her house and online accounts were broken into, her private photos and messages posted on social media. When the attackers finally circulated her address, suggesting that she be executed, she left Ethiopia on a human rights defender scholarship. In 2023, Lella Misikir helped to start a campaign, called ‘My Whistle, My Voice’, that suggested women carry whistles and use them if they were harassed in the street. A TikTok video of the campaign became popular. Shortly after, videos of Misikir were circulated suggesting that she was gay. Her online attackers next searched for her address. In November 2024, Misikir left the country. == Legal issues == Ethiopia has some laws on online harassment and defamation, for example the Computer Crimes Proclamation. However, technology-facilitated, gender-based violence (TFGBV), such as deepfakes, non-consensual image sharing, and coordinated harassment, is not explicitly recognized as crime. In practice too, women are often not believed when reporting such violence and are not taken seriously. Police advice is often that women affected should simply leave the online space. Social media platforms can remove content when it is brought to their attention but the offenders are not banned. Users can only block them.
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European Information Technology Observatory

The European Information Technology Observatory (EITO) gathers information on European and global markets for information technology, telecommunications and consumer electronics. The EITO is managed by Bitkom Research GmbH, a wholly owned subsidiary of BITKOM, the German Association for Information Technology, Telecommunications and New Media. EITO is sponsored by Deutsche Telekom, KPMG and Telecom Italia. The research activities of the EITO Task Force are supported by the European Commission and the OECD. The EITO exists thanks to an initiative of Enore Deotto from MIlan and the support of Luis-Alberto Petit Herrera (Madrid), Jörg Schomburg (Hanover) and Günther Möller (Frankfurt). Between 1993 and 2007, the market reports were published as printed annual reports ("EITO yearbook"). Since 2008 the market reports are available in electronic version and can be purchased on the EITO online portal. Currently, the ICT market reports are divided in following categories: International Reports International Reports include ICT market information of all EITO countries and all market segments or only specific segments. The newest ICT Market Report 2013/14, published in October 2013, includes market data of 36 countries: 28 European markets, BRIC countries, Japan, Turkey and the US as well as a deep analysis of ICT market developments in 9 European countries. The detailed market data and forecasts are available for the period 2010–2014. Country Reports This category includes EITO reports on a single country's ICT market. The Country ICT Market Reports are published biannually for France, Germany, Italy, Spain and the United Kingdom. Thematic Reports Thematic studies focusing on a specific topic. Customized Reports Market Reports made upon order.
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