AI Writing Tools

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

  • Contextual AI

    Contextual AI

    Contextual AI is an enterprise software company based in Mountain View, California. It develops a platform for building specialized Retrieval-Augmented Generation (RAG) agents for enterprise use. The company was founded in 2023 by Douwe Kiela and Amanpreet Singh, both former AI researchers at Facebook AI Research (FAIR) and Hugging Face. Douwe Kiela previously led the Meta research team that introduced the Retrieval-Augmented Generation (RAG) approach in 2020. Contextual AI focuses on enterprise generative AI applications using RAG 2.0 technology, with deployments primarily in the technology, banking, finance and media sectors. == History == In June 2023, Contextual AI announced it had raised $20 million in a seed funding round led by Bain Capital Ventures (BCV), with participation from Lightspeed Venture Partners, Greycroft, SV Angel, and several angel investors. In August 2024, the company raised $80 million in a Series A funding round led by Greycroft, with participation from previous investors including Bain Capital Ventures, Lightspeed, and Conviction Partners. The round also included new backers such as Bezos Expeditions, NVentures (Nvidia), HSBC Ventures, and Snowflake Ventures. == Features == Retrieval-Augmented Generation (RAG) is an artificial intelligence framework that integrates information retrieval with text generation to improve the performance of large language models (LLMs) on complex, knowledge-intensive tasks. It was introduced in 2020 by researchers at Meta AI, including Douwe Kiela, Patrick Lewis and others, in their paper Retrieval-Augmented Generation for Knowledge-Intensive NLP Tasks. RAG enables language models to access and incorporate external information, such as proprietary databases or real-time web content, at query time, instead of relying solely on pre-trained, internal, static knowledge. This architecture addresses common limitations of standard LLMs, including hallucination, outdated information, and lack of attribution to source materials. RAG systems retrieve relevant context through a variety of techniques - including vector search, keyword search, text-to-SQL - and feeds this context into the language model to generate responses. The approach improves factual accuracy, supports domain-specific customization, enables citation of sources, and allows for more updated information without retraining the model itself. General Availability. In January 2025, Contextual AI announced the general availability of its enterprise platform for building specialized RAG agents. Early adopters included Qualcomm, which used the platform for their Customer Engineering team needs. Grounded Language Model. In March 2025, the company introduced a Grounded Language Model (GLM) for factual accuracy in enterprise AI applications. Reranker. In March 2025, Contextual AI released an instruction-following reranker that allows users to influence the ranking of retrieved documents through natural language instructions, such as prioritizing recent files, specific formats, or content from designated sources. == Applications == Contextual AI's platform has been adopted across a range of industries, including finance, technology, media and professional services. Clients include Fortune 500 companies such as Qualcomm and HSBC.

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  • Server-sent events

    Server-sent events

    Server-Sent Events (SSE) is a server push technology enabling a client to receive automatic updates from a server via an HTTP connection, and describes how servers can initiate data transmission towards clients once an initial client connection has been established. They are commonly used to send message updates or continuous data streams to a browser client and designed to enhance native, cross-browser streaming through a JavaScript API called EventSource, through which a client requests a particular URL in order to receive an event stream. The EventSource API is standardized as part of HTML Living Standard by the WHATWG. The media type for SSE is text/event-stream. All modern browsers support server-sent events: Firefox 6+, Google Chrome 6+, Opera 11.5+, Safari 5+, Microsoft Edge 79+, Brave. Since SSE does not use either persistent connections nor chunked transfer encoding, HTTP/1.1 is not a technical requirement. == History == The SSE mechanism was first specified by Ian Hickson as part of the "WHATWG Web Applications 1.0" proposal starting in 2004. In September 2006, the Opera web browser implemented the experimental technology in a feature called "Server-Sent Events". The W3C published Server-Sent Events as a Recommendation on February 3, 2015, after years of development through Working Drafts and Candidate Recommendations. == Example == == Technology == When sending high-frequency data , the server must manage backpressure to prevent saturating clients. This is mitigated in the following ways: Client-side buffering: Browsers have limited buffer space for incoming server-sent events Adaptive rate limiting: Servers can adjust event frequency and monitor connection health Event batching: Combining multiple events into larger and less frequent transmissions

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  • Raseef22

    Raseef22

    Raseef22 (Arabic: رصيف22) is a liberal Arabic media network founded in 2013 based in Beirut, Lebanon. It publishes content in Arabic and English from different Arab states and describes itself as an independent media platform. International Media Support mentions Raseef22 along with HuffPost Arabic and Al Jazeera as one of the biggest Pan-Arab online platforms. == Name == The Arabic word raseef (رَصِيف) means platform or pavement, and the number 22 refers to the number of states in the Arab League. == History == Kareem Sakka co-founded Raseef22 in the aftermath of the Arab Spring, which he cites as a source of inspiration. In an article in The Washington Post, he wrote that Raseef22 was created as a "digital space for those eager to know what was going on around them." Raseef22 was one of the 500 websites censored in Egypt in late 2017 after it published an article on Egyptian security agencies' vies to influence the media. After the site was blocked in Egypt, it was targeted in a cyber attack that took it offline in locations around the world. Jamal Khashoggi wrote for Raseef22 regularly. One of his notable articles was "Notes on the Freedom of the Arabs from Oslo, Norway," published June 5, 2018. The site was blocked in Saudi Arabia December 2018 when the Saudi Ministry of Communications and Information Technology ordered its censorship due to its "unprecedented response to the assassination of Jamal Khashoggi in Istanbul." This decision might have also been related to Raseef22's coverage of Saudi-Israeli relations and interviews with activists later imprisoned or placed under house arrest coverage In 2019 the Association of LGBT Journalists (AJL) in Paris gave Raseef22 a golden foreign press award for its six-month series of articles on gender and sexuality issues. == Readership == According to its publisher in 2019, the news agency counted 12 million readers annually from 22 Arab nations. Of the readership, he wrote that it "believes in the talent and promise of the Arab mind and sees the ugliness of tyranny, patriarchy, misogyny and the futility of proxy rulers and wars." Al-Quds Al-Arabi described Raseef22 as "oriented to the youth."

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  • Digital citizen

    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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  • Captions (app)

    Captions (app)

    Mirage (formerly known as Captions) is a video-generating, video-editing and AI research company headquartered in New York City. Their first app, Captions, is available on iOS, Android, and Web and offers a suite of tools aimed at streamlining the creation and editing of videos. Their enterprise platform, Mirage Studio, generates AI actors and videos for marketing assets and video campaigns. == History == Mirage was co-founded by Gaurav Misra and Dwight Churchill. During Misra's time leading design engineering at Snap Inc., he followed the rise of a new category of video, the "talking video." In 2021, Misra left Snap to found Mirage with his former colleague Churchill. Later that year, the Captions app launched with early backing from venture capital firms Sequoia Capital and Andreessen Horowitz as well as individual investors. In 2023, the company released Lipdub, an Al dubbing app which translates any video with spoken audio into 28 languages. In October 2023, Captions shared that it maintained over 100,000 daily active users with "about a million" videos being created monthly. In November 2024, Captions acquired AlpacaML, a generative AI company that focused on art and other images. In June 2025, Captions launched Mirage Studio, for marketers and advertising agencies. In September 2025, Captions rebranded their company to Mirage. This change reflects the company's focus on developing their proprietary foundation model and future video products. == Products == The Captions app offers features to automate common production tasks including captioning, editing, dubbing, script creation, and music integration. Mirage Studio allows users to generate AI avatars and create short-form videos from prompts or audio. == Awards == In 2023, the company was recognized as part of Fast Company's "Next Big Things In Tech" series. In 2024, the company won 2 Webby Awards for Best Use of AI & Machine Learning and Creative Production.

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  • Key & See

    Key & See

    Key & See is a variation of the TV Key service that forms part of the open, standards-based interactive TV services platform provided by Miniweb Interactive. Key & See allows viewers to access the interactive TV content made available by broadcasters and channel owners while leaving quarter of their screen tuned to the programme they are already watching Like TV Key, Key & See can be used with interactive TV services on UK satellite TV provider Sky Digital (BSkyB) Key & See works in the same way as a TV Key but the numeric shortcut code is associated with a broadcaster and a particular TV channel or programme. Miniweb Interactive offers commercial brands and broadcasters the chance to utilise TV Key and Key & See technology as part of its interactive TV services platform

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  • PureWow

    PureWow

    PureWow is an American digital media company that publishes women's lifestyle content. Acquired by Gary Vaynerchuk in 2017 as part of Gallery Media Group, PureWow tailors lifestyle topics for Millennials and Generation X, including fashion, beauty, home decor, recipes, entertainment, travel, technology, literature, wellness and money. == History == PureWow was founded by Ryan Harwood in September 2010, along with Bob Pittman's Pilot Group and the women of wowOwow Joni Evans, Mary Wells Lawrence, Whoopi Goldberg, Liz Smith, Candice Bergen, and Lesley Stahl, among others. In January 2013, PureWow hired former Real Simple editor Mary Kate McGrath as its first editor-in-chief. In August 2014, PureWow was listed as no. 352 on Inc. Magazine's 2014 list of the top 500 fastest-growing privately owned companies. In May 2015, PureWow raised $2.5 million. In 2017, serial entrepreneur Gary Vaynerchuk and Miami Dolphins' owner Stephen Ross' venture firm, RSE Ventures, acquired PureWow to form Gallery Media Group as a creative agency and media firm. PureWow's CEO, Ryan Harwood serves as the chief executive of Gallery Media Group. == Editions == PureWow publishes national content as well as local content for New York City, Los Angeles, Chicago, San Francisco, Dallas, and the Hamptons. The company publishes content across fashion, beauty, homecare topics, technology, entertainment, books, wellness and finances. PureWow articles are distributed via its website PureWow.com, email, and over social media channels.

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  • Digital cinema

    Digital cinema

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

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  • Radioplayer

    Radioplayer

    Radioplayer is a radio technology platform, owned by UK radio broadcasters and operated under licence in some other countries. It operates an internet radio web tuner, a set of mobile phone apps, an in-car adaptor, and a growing range of integrations with other connected devices and platforms. Radioplayer is operated by UK Radioplayer Ltd which is a not-for-profit organisation owned by UK radio broadcasters. Initial shareholders were the BBC, Global Radio, GMG Radio, Absolute Radio and RadioCentre. After consolidation in the radio market, current shareholders are the BBC, Global Radio, Bauer Media Group and RadioCentre. == History == Launched in the UK on 31 March 2011, Radioplayer set out to offer a simple and accessible way to listen to radio via the internet. It contained 157 stations at launch. Initially working internally at the BBC for Tim Davie, then Director of BBC Audio & Music, Michael Hill led the project since March 2009; he was made Managing Director of UK Radioplayer Ltd on 28 July 2010. At launch, Radioplayer was a simple and straightforward Flash-based radio player, linked-to by radio stations on their own website. The player included searching and bookmarking across all of UK radio station content. On 5 October 2012, Radioplayer launched a mobile app on iOS phones with an Android version following shortly afterwards. The apps are unavailable for download outside the United Kingdom. This was followed by a tablet app on 25 September 2013. The apps also support Android Wear, Android Auto, Smart Device Link, Apple Watch and Apple CarPlay. They are also compatible with Chromecast and Airplay. In September 2016, Radioplayer announced it had been chosen by Amazon to integrate with their new voice-controlled 'Echo' device, ahead of its UK launch. In July 2017, Radioplayer integrated with the Sonos and Bose multi-room speaker platforms. UK Radioplayer currently contains around 500 UK stations, from Ofcom-licensed broadcasters. Online-only 'sister-stations' can also be added, but only by broadcasters with Ofcom licences which have been on the platform for over a year. == Radioplayer Car == Radioplayer Car was announced in September 2014 as a hybrid radio receiver that switches between FM, DAB and streaming to find the strongest signal. Speaking in Oslo in June 2015, Michael Hill said that he hoped to launch the product in the UK and Norway during the summer of 2015. In February 2017, Radioplayer Car was launched. It was marketed as the world’s first voice-controlled hybrid radio adaptor for car stereos. A small box, fitted behind the dashboard, links to the auxiliary input on an existing car radio. It connects wirelessly via Bluetooth to the driver’s smartphone by an app. The adaptor enabled drivers to listen to their own smartphone music collections using Bluetooth, take hands-free calls, listen to inbound text messages and receive instant audio travel news, customised by GPS to their location and direction of travel. The hardware was manufactured under licence by car audio interfaces supplier Connects2, and Hyde Park Corner was promoted as the preferred installer of the audio equipment. There were several spin-off benefits of the Radioplayer Car project, including the creation of the hybrid radio metadata API for cars, known as the 'WRAPI' (Worldwide Radioplayer API). == International == Through a separate company called Radioplayer Worldwide, Radioplayer technology is licensed to a number of different territories.

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  • New media

    New media

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

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  • Vacuum tube characteristics

    Vacuum tube characteristics

    Vacuum tube characteristics (also called tube curves, valve characteristics or valve curves) describes the electrical relationships between electrode voltages and currents in a vacuum tube. These relationships are commonly presented as characteristic curves in tube manuals and engineering references. The curves typically show plate current versus plate voltage for several fixed control-grid voltages, showing how current varies with electrode potentials under controlled conditions. Designers use them to select operating points, determine voltage gain, estimate output power, and construct graphical load-line analyses. The use of characteristic curves as an engineering tool for analyzing vacuum-tube operation was established in the 1910s, notably in work by Edwin Howard Armstrong. Examples of such curves appear in early tube manuals and textbooks and form the basis of classical vacuum-tube circuit design. Different types of vacuum tubes are characterized using plots appropriate to their electrode structure and intended use. Two-electrode devices such as diodes are described primarily by the relation between plate voltage and plate current. Amplifying tubes containing control grids, such as triodes, tetrodes, pentodes, and beam tetrodes, are represented by families of curves measured for different grid voltages. From these families additional parameters such as amplification factor (μ), transconductance (gm), and plate resistance (rp) may be obtained. Although these plots are used primarily for circuit design, their shapes arise from the underlying physics of electron flow in vacuum tubes. The physical principles responsible for the observed characteristics are discussed in later sections. == 3/2 power law == In high-vacuum thermionic diodes operating under normal conditions, plate current increases nonlinearly with plate voltage. Over the space-charge-limited region, the current is well approximated by the three-halves power relation I p = P ⋅ V p 3 / 2 {\displaystyle I_{p}=P\cdot V_{p}^{3/2}} where P {\displaystyle P} is the perveance of the tube. Perveance is determined primarily by electrode geometry, including cathode area and cathode-to-plate spacing. It provides a practical measure of current-producing capability and is often used in tube manuals in place of a complete family of plate-characteristic curves. == Signal diode characterization == For small-signal diodes, tube manuals typically publish a single static anode characteristic showing anode current (Ia) as a function of anode voltage (Va), measured with the heater operating at its rated voltage. Because the diode contains no control grid, only one such I–V curve is required. The low-voltage portion of the curve is particularly important in detector service, where the nonlinear curvature of the current–voltage relation allows a small alternating signal to produce a net direct-current output, resulting in rectification. In addition to the static characteristic, tube manuals specify heater ratings, maximum plate voltage, permissible average current, and interelectrode capacitance. These parameters define the allowable operating region and high-frequency behavior. Another typical data sheet for a diode is for the Philips EB91 double diode. This book includes curves of the diode response in use as a detector. The output voltage is non-zero for an input voltage of 0 due to the Edison effect. == Rectifier characterization == Vacuum-tube rectifiers intended for power-supply service are specified differently from signal diodes. Their data emphasize heater requirements, peak inverse voltage, maximum peak plate current, permissible DC output current for various filter configurations, and regulation characteristics. Rectifier tubes exhibit nonlinear voltage drop that increases with current. For limited operating ranges this behavior may be represented by an equivalent or effective series resistance corresponding to the local slope of the plate characteristic (dynamic plate resistance, dV/dI). Diode voltages can be determied by use of a graphical aide. In capacitor-input supplies, conduction occurs in pulses near the peaks of the AC waveform, producing peak currents substantially greater than the average DC load current. Data sheets therefore specify maximum peak plate current and permissible filter capacitance in addition to average DC ratings. Under varying load conditions, the supply voltage changes in accordance with the rectifier's nonlinear characteristic and effective impedance. == Triode characterization == === Early use === The systematic use of characteristic curves to explain and quantify vacuum-tube amplification was introduced by Edwin Howard Armstrong in 1914. Using measured plate voltage-current curves, Armstrong demonstrated the mechanism of triode amplification and clarified the operation of grid-leak detection. ==== Plate and transfer characteristics ==== Triode data sheets present families of plate characteristics showing plate current I p {\displaystyle I_{p}} as a function of plate voltage E p {\displaystyle E_{p}} for several fixed grid voltages E g {\displaystyle E_{g}} . From these curves the operating point, voltage gain, and load-line behavior may be determined graphically. In normal operation, plate current depends on both grid and plate voltage. Classical analysis shows that the characteristics for different grid voltages are similar in form and differ primarily by horizontal displacement. In triodes, plate current may be approximated by I p = k ( E g + E p μ ) 3 / 2 {\displaystyle I_{p}=k\left(E_{g}+{\frac {E_{p}}{\mu }}\right)^{3/2}} where E g {\displaystyle E_{g}} is the grid voltage, E p {\displaystyle E_{p}} the plate voltage, μ {\displaystyle \mu } the amplification factor, and k {\displaystyle k} a constant determined by the tube geometry.. The amplification factor μ represents the relative effectiveness of grid voltage compared with plate voltage in controlling current. It is fundamentally determined by structural dimensions, particularly grid-to-cathode spacing relative to plate-to-cathode spacing. ==== Small-signal parameters ==== Triodes are commonly characterized by three interrelated small-signal parameters: Amplification factor ( μ {\displaystyle \mu } ) — the change in plate voltage divided by the change in grid voltage at constant plate current: μ = ( ∂ E p ∂ E g ) I p {\displaystyle \mu =\left({\frac {\partial E_{p}}{\partial E_{g}}}\right)_{I_{p}}} Transconductance ( g m {\displaystyle g_{m}} ) — the change in plate current divided by the change in grid voltage at constant plate voltage: g m = ( ∂ I p ∂ E g ) E p {\displaystyle g_{m}=\left({\frac {\partial I_{p}}{\partial E_{g}}}\right)_{E_{p}}} Plate resistance ( r p {\displaystyle r_{p}} ) — the change in plate voltage divided by the change in plate current at constant grid voltage: r p = ( ∂ E p ∂ I p ) E g {\displaystyle r_{p}=\left({\frac {\partial E_{p}}{\partial I_{p}}}\right)_{E_{g}}} These parameters are related by μ = g m r p {\displaystyle \mu =g_{m}r_{p}} as shown in classical tube theory treatments. These parameters are obtained either from slopes of the characteristic curves or from tabulated operating-point data. ==== Comparison of ECC81, ECC82, and ECC83 ==== The ECC81, ECC82, and ECC83 (also known respectively as 12AT7, 12AU7, and 12AX7) are closely related dual triodes widely used in small-signal amplifier stages. Although similar in construction and envelope size, they differ significantly in electrical parameters due to differences in electrode spacing and grid structure. (Data representative of manufacturer specifications.) The ECC83 exhibits high μ {\displaystyle \mu } and high plate resistance, producing large voltage gain but relatively low current drive capability. The ECC82 has lower μ {\displaystyle \mu } and lower plate resistance, allowing greater current delivery and reduced voltage gain. The ECC81 occupies an intermediate position with comparatively high transconductance and moderate amplification factor. These differences arise primarily from variations in grid pitch, cathode area, and electrode spacing, which determine perveance and amplification factor. Although the external envelope is similar, the internal geometry governs the characteristic curves and small-signal parameters. == Tetrode (screen-grid) characterization == The screen-grid tube (tetrode) was developed primarily to reduce the electrostatic coupling between plate and control grid that limited gain and stability in radio-frequency triode amplifiers. In triodes, the grid–plate capacitance provides feedback from plate to grid, restricting obtainable gain and often requiring neutralization circuits such as those used in neutrodyne receivers. By inserting a positively biased screen grid between control grid and plate, this capacitive coupling is greatly reduced, permitting higher stable gain at radio frequencies. The screen grid, also known as the shield grid or grid 2 (to distinguish it from t

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  • Comet (programming)

    Comet (programming)

    Comet is a web application model in which a long-held HTTPS request allows a web server to push data to a browser, without the browser explicitly requesting it. Comet is an umbrella term, encompassing multiple techniques for achieving this interaction. All these methods rely on features included by default in browsers, such as JavaScript, rather than on non-default plugins. The Comet approach differs from the original model of the web, in which a browser requests a complete web page at a time. The use of Comet techniques in web development predates the use of the word Comet as a neologism for the collective techniques. Comet is known by several other names, including Ajax Push, Reverse Ajax, Two-way-web, HTTP Streaming, and HTTP server push among others. The term Comet is not an acronym, but was coined by Alex Russell in his 2006 blog post. In recent years, the standardisation and widespread support of WebSocket and Server-sent events has rendered the Comet model obsolete. == History == === Early Java applets === The ability to embed Java applets into browsers (starting with Netscape Navigator 2.0 in March 1996) made two-way sustained communications possible, using a raw TCP socket to communicate between the browser and the server. This socket can remain open as long as the browser is at the document hosting the applet. Event notifications can be sent in any format – text or binary – and decoded by the applet. === The first browser-to-browser communication framework === The very first application using browser-to-browser communications was Tango Interactive, implemented in 1996–98 at the Northeast Parallel Architectures Center (NPAC) at Syracuse University using DARPA funding. TANGO architecture has been patented by Syracuse University. TANGO framework has been extensively used as a distance education tool. The framework has been commercialized by CollabWorx and used in a dozen or so Command&Control and Training applications in the United States Department of Defense. === First Comet applications === The first set of Comet implementations dates back to 2000, with the Pushlets, Lightstreamer, and KnowNow projects. Pushlets, a framework created by Just van den Broecke, was one of the first open source implementations. Pushlets were based on server-side Java servlets, and a client-side JavaScript library. Bang Networks – a Silicon Valley start-up backed by Netscape co-founder Marc Andreessen – had a lavishly financed attempt to create a real-time push standard for the entire web. In April 2001, Chip Morningstar began developing a Java-based (J2SE) web server which used two HTTP sockets to keep open two communications channels between the custom HTTP server he designed and a client designed by Douglas Crockford; a functioning demo system existed as of June 2001. The server and client used a messaging format that the founders of State Software, Inc. assented to coin as JSON following Crockford's suggestion. The entire system, the client libraries, the messaging format known as JSON and the server, became the State Application Framework, parts of which were sold and used by Sun Microsystems, Amazon.com, EDS and Volkswagen. In March 2006, software engineer Alex Russell coined the term Comet in a post on his personal blog. The new term was a play on Ajax (Ajax and Comet both being common household cleaners in the USA). In 2006, some applications exposed those techniques to a wider audience: Meebo’s multi-protocol web-based chat application enabled users to connect to AOL, Yahoo, and Microsoft chat platforms through the browser; Google added web-based chat to Gmail; JotSpot, a startup since acquired by Google, built Comet-based real-time collaborative document editing. New Comet variants were created, such as the Java-based ICEfaces JSF framework (although they prefer the term "Ajax Push"). Others that had previously used Java-applet based transports switched instead to pure-JavaScript implementations. == Implementations == Comet applications attempt to eliminate the limitations of the page-by-page web model and traditional polling by offering two-way sustained interaction, using a persistent or long-lasting HTTP connection between the server and the client. Since browsers and proxies are not designed with server events in mind, several techniques to achieve this have been developed, each with different benefits and drawbacks. The biggest hurdle is the HTTP 1.1 specification, which states "this specification... encourages clients to be conservative when opening multiple connections". Therefore, holding one connection open for real-time events has a negative impact on browser usability: the browser may be blocked from sending a new request while waiting for the results of a previous request, e.g., a series of images. This can be worked around by creating a distinct hostname for real-time information, which is an alias for the same physical server. This strategy is an application of domain sharding. Specific methods of implementing Comet fall into two major categories: streaming and long polling. === Streaming === An application using streaming Comet opens a single persistent connection from the client browser to the server for all Comet events. These events are incrementally handled and interpreted on the client side every time the server sends a new event, with neither side closing the connection. Specific techniques for accomplishing streaming Comet include the following: ==== Hidden iframe ==== A basic technique for dynamic web application is to use a hidden iframe HTML element (an inline frame, which allows a website to embed one HTML document inside another). This invisible iframe is sent as a chunked block, which implicitly declares it as infinitely long (sometimes called "forever frame"). As events occur, the iframe is gradually filled with script tags, containing JavaScript to be executed in the browser. Because browsers render HTML pages incrementally, each script tag is executed as it is received. Some browsers require a specific minimum document size before parsing and execution is started, which can be obtained by initially sending 1–2 kB of padding spaces. One benefit of the iframes method is that it works in every common browser. Two downsides of this technique are the lack of a reliable error handling method, and the impossibility of tracking the state of the request calling process. ==== XMLHttpRequest ==== The XMLHttpRequest (XHR) object, a tool used by Ajax applications for browser–server communication, can also be pressed into service for server–browser Comet messaging by generating a custom data format for an XHR response, and parsing out each event using browser-side JavaScript; relying only on the browser firing the onreadystatechange callback each time it receives new data. === Ajax with long polling === None of the above streaming transports work across all modern browsers without negative side-effects. This forces Comet developers to implement several complex streaming transports, switching between them depending on the browser. Consequently, many Comet applications use long polling, which is easier to implement on the browser side, and works, at minimum, in every browser that supports XHR. As the name suggests, long polling requires the client to poll the server for an event (or set of events). The browser makes an Ajax-style request to the server, which is kept open until the server has new data to send to the browser, which is sent to the browser in a complete response. The browser initiates a new long polling request in order to obtain subsequent events. IETF RFC 6202 "Known Issues and Best Practices for the Use of Long Polling and Streaming in Bidirectional HTTP" compares long polling and HTTP streaming. Specific technologies for accomplishing long-polling include the following: ==== XMLHttpRequest long polling ==== For the most part, XMLHttpRequest long polling works like any standard use of XHR. The browser makes an asynchronous request of the server, which may wait for data to be available before responding. The response can contain encoded data (typically XML or JSON) or Javascript to be executed by the client. At the end of the processing of the response, the browser creates and sends another XHR, to await the next event. Thus the browser always keeps a request outstanding with the server, to be answered as each event occurs. ==== Script tag long polling ==== While any Comet transport can be made to work across subdomains, none of the above transports can be used across different second-level domains (SLDs), due to browser security policies designed to prevent cross-site scripting attacks. That is, if the main web page is served from one SLD, and the Comet server is located at another SLD (which does not have cross-origin resource sharing enabled), Comet events cannot be used to modify the HTML and DOM of the main page, using those transports. This problem can be sidestepped by creating a proxy server in

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  • Random (software)

    Random (software)

    Random was an iOS mobile app that used algorithms and human-curation to create an adaptive interface to the Internet. The app served a remix of relevance and serendipity that allowed people to find diverse topics and interesting content that they might not have encountered otherwise. Random did not require a login or sign-up - the use of the app was anonymous. The app was powered by an artificial intelligence that learned from direct and indirect user interactions inside the app. While learning and adapting to a person, Random created a unique anonymous choice profile that was then used for recommending topics and content. The app didn't recommend the same content twice. == User interface == Random's user interface was made of ever-changing topic blocks that contained keywords and images. By choosing any of the blocks, the user would see related web content. By closing the web content, the user could access new related topics. The user interface allowed people to get more information about a specific topic area or then just leap freely from topic to topic. The content recommended by Random could be any type of web content, varying from news articles to long-form stories and from photographs to videos. Every user of the Random was curating content for other users by using the app. == History == Random was launched in March 2014. The startup was backed by Skype co-founder Janus Friis. The Random app received a strong reception from the likes of The New York Times, TechCrunch, New Scientist, Vice, and other leading publications. The app went on to gain traction with an active and loyal user community of several hundreds of thousands. This was not enough to support the free app model the team strongly believed in, and the service was terminated in December 2015. == Reception == Various reviews in media have emphasized that Random enables people to break their filter bubble and find diverse content they might not find elsewhere. Alan Henry of Lifehacker wrote: "Random... breaks you out by intentionally guiding you to new topics and interesting articles at sites you may not otherwise read." Vice Motherboard's Claire Evans says that: "Random never turns into a filter bubble, because it perpetually injects the irrational into my experience… in a cocktail of relevancy and serendipity." The app has been said to have a unique, minimalistic user experience. Kit Eaton of The New York Times commented that Random "let's you browse the news in a different way to all the other news sites you've probably ever used." Mashable reviewed Random by concluding that the "app may be one of the most simple content-discovery apps on the market."

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  • Digital divide

    Digital divide

    Digital divide is inequitable access to and use of digital technology, encompassing four interrelated dimensions: motivational, material, skills, and usage access. The digital divide worsens inequality in access to information and resources. According to 2026 data from the U.S. Census Bureau, a significant 'digital divide' persists, with over 15.7 million Americans lacking access to high-speed broadband. Students from low-income households often face limited access to reliable internet and digital devices, which negatively affects their educational opportunities. In the Information Age, people without access to the Internet and other technology are at a disadvantage, for they are less able to connect with others, find and apply for jobs, shop, and learn. People living in poverty, in insecure housing or who are homeless, elderly people, and those living in rural communities may have limited access to the Internet; in contrast, urban middle class people have easy access to the Internet. Another divide is between producers and consumers of Internet content, which could be a result of educational disparities. While social media use varies across age groups, a US 2010 study reported no racial divide. == History == The historical roots of the digital divide in the United States refer to the increasing gap that occurred during the early modern period between those who could and could not access the real time forms of calculation, decision-making, and visualization offered via written and printed media. "Over time, focus has shifted from binary access to differentiated use, where quality and purpose of engagement vary across socio-economic groups." Within this context, ethical discussions regarding the relationship between education and the free distribution of information were raised by thinkers such as Immanuel Kant, Jean Jacques Rousseau, and Mary Wollstonecraft (1712–1778). The latter advocated that governments should intervene to ensure that any society's economic benefits should be fairly and meaningfully distributed. Amid the Industrial Revolution in Great Britain, Rousseau's idea helped to justify poor laws that created a safety net for those who were harmed by new forms of production. Later, when telegraph and postal systems evolved, many used Rousseau's ideas to argue for full access to those services, even if it meant subsidizing hard-to-serve citizens. Thus, "universal services" referred to innovations in regulation and taxation that would allow phone services such as AT&T in the United States to serve hard-to-serve rural users. In 1996, as telecommunications companies merged with Internet companies, the Federal Communications Commission adopted Telecommunications Act of 1996 to consider regulatory strategies and taxation policies to close the digital divide. Though the term "digital divide" was coined among consumer groups that sought to tax and regulate information and communications technology (ICeT) companies to close the digital divide, the topic soon moved onto a global stage. The focus was the World Trade Organization which passed the Telecommunications Services Act, which resisted regulation of ICT companies so that they would be required to serve hard-to-serve individuals and communities. In 1999, to assuage anti-globalization forces, the WTO hosted the "Financial Solutions to Digital Divide" in Seattle, US, co-organized by Craig Warren Smith of Digital Divide Institute and Bill Gates Sr. the chairman of the Bill and Melinda Gates Foundation. It catalyzed a full-scale global movement to close the digital divide, which quickly spread to all sectors of the global economy. In 2000, US president Bill Clinton mentioned the term in the State of the Union Address. Since the early 2000s, the international community has transitioned from a focus on domestic infrastructure to a global, multi-dimensional framework for digital equity. This shift was formalized through the World Summit on the Information Society (WSIS) in Geneva (2003) and Tunis (2005), where the International Telecommunication Union (ITU) established a roadmap for bridging the Global North-South disparity as part of the Sustainable Development Goals. Academic and policy discourse has since evolved to distinguish between the first-level divide (physical access), the second-level divide (digital literacy), and the third-level divide (the ability to translate technology use into socio-economic capital). By the 2020s, critical reflections on national development emphasized that the divide is fundamentally a socio-institutional gap. Research by Tiwari, Kostenko, and Yekhanurov (2025) identifies four pillars for achieving national digital maturity which are digital governance capacity, institutional design to prevent adverse digital incorporation, infrastructure resilience, and citizen capability. This modern era is characterized by the pursuit of meaningful connectivity, a standard that requires internet access to be not only available but affordable, high-speed, and supportive of active content creation. === During the COVID-19 pandemic === At the outset of the COVID-19 pandemic, governments worldwide issued stay-at-home orders that imposed lockdowns, quarantines, restrictions, and closures. The resulting interruptions to schooling, public services, and business operations drove nearly half of the world's population into seeking alternative methods to live while in isolation. These methods included telemedicine, virtual classrooms, online shopping, technology-based social interactions and working remotely, all of which require access to high-speed or broadband internet access and digital technologies. A Pew Research Centre study reports that 90% of Americans describe the use of the Internet as "essential" during the pandemic. The accelerated use of digital technologies created a landscape where the ability, or lack thereof, to access digital spaces became a crucial factor in everyday life. According to the Pew Research Center, 59% of children from lower-income families were likely to face digital obstacles in completing school assignments. These obstacles included the use of a cellphone to complete homework, having to use public Wi-Fi because of unreliable internet service in the home and lack of access to a computer in the home. This difficulty, titled the homework gap, affects more than 30% of K-12 students living below the poverty threshold, and disproportionally affects American Indian/Alaska Native, Black, and Hispanic students. These types of interruptions or privilege gaps in education exemplify problems in the systemic marginalization of historically oppressed individuals in primary education. The pandemic exposed inequity causing discrepancies in learning. "Large-scale events such as COVID-19 intensify both access and skills gaps, underlining the need for resilient digital inclusion policies. Studies during COVID-19 reveal first-level (access) and second-level (skills) divides, with underserved students struggling with reliable internet, devices, and platform navigation ” A lack of "tech readiness", that is, confident and independent use of devices, was reported among the US elderly population; with more than 50% reporting an inadequate knowledge of devices and more than one-third reporting a lack of confidence. "Older adults often face skills and confidence barriers, illustrating later-stage divides in van Dijk’s model." Moreover, according to a UN research paper, similar results can be found across various Asian countries, with those aged over 74, reporting less confident or inconsistent use of digital devices. This aspect of the digital divide and the elderly occurred during the pandemic as healthcare providers increasingly relied upon telemedicine to manage chronic and acute health conditions. == Aspects == There are various definitions of the digital divide, all with slightly different emphasis, which is evidenced by related concepts like digital inclusion, digital participation, digital skills, media literacy, and digital accessibility.“Van Dijk’s model identifies sequential barriers—motivational, material, skills, and usage—that must be addressed to bridge the divide.” === Infrastructure === The infrastructure by which individuals, households, businesses, and communities connect to the Internet addresses the physical mediums that people use to connect to the Internet such as desktop computers, laptops, basic mobile phones or smartphones, MP3 players, gaming consoles, electronic book readers, and tablets. Traditionally, the nature of the divide has been measured in terms of the existing numbers of subscriptions and digital devices. Given the increasing number of such devices, some have concluded that the digital divide among individuals has increasingly been closing as the result of a natural and almost automatic process. Others point to persistent lower levels of connectivity among women, racial and ethnic minorities, people with lower incomes, rura

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  • Horus Music

    Horus Music

    Horus Music Limited is a global digital distribution and label services company. Established in 2006, Horus Music allows artists, labels and right-holders to send their music to over 200 download, streaming, and interactive platforms including iTunes, Google Play, Amazon, VEVO, 7digital, Spotify, Beatport, Deezer, Tidal, as well as offering digital marketing and playlisting opportunities. == History == The company were named Best Business Partner of 2014 by Huawei Technology of China, and were also a finalist in the International Trade category as part of the Leicester Mercury Business Awards during that same year. Their client base consists of unsigned and independent musicians and record labels, as well as well known recording artists. In November 2015, Horus Music sponsored the UK’s first Independent Label Week, in order to highlight the music that is released by the UK’s indie labels. In 2016, Horus Music celebrated their 10th anniversary Horus Music's sister companies Help for Bands and Help For Writers, provide advice and opportunities for musicians and E-book distribution for writers, respectively. Anara Publishing opened in 2017 which allows the company to work closely with a handpicked roster of musicians to provide royalty administration and sync licensing services. On 21 April 2017, Her Majesty Queen Elizabeth II’s 91st birthday, Horus Music was awarded with the Queen’s Award for Enterprise in International Trade. In 2021, Horus Music, UnitedMasters, and Symphonic Distribution partnered with pioneering music fintech company, beatBread, to offer clients access to more capital. beatBread's chordCashAI technology provides an automated advance experience for independent musicians while enable clients to choose their own terms and retain ownership of their music. == Clients == Horus Music has partnered with a number of charities including Save the Children, for the recording "Look into Your Heart", featuring Beverley Knight with Rolling Stones' Mick Jagger and Ronnie Wood, 100% of proceeds from the single were donated to the charity. The Pixel Project, who produced songs about violence against women and the blood cancer charity Bloodwise. The company have spoken openly about the state of the music industry and artists' rights and were one of the first distributors to remove their catalogue from Rdio after the streaming service was acquired by Pandora. Their relationships with artists and labels, as well as leading industry contacts, means they have the ability to work with musicians in a myriad of ways, including offering performance opportunities and even local auditions for TV shows such as The Voice UK. == Horus Music India == Horus Music India opened in 2016 and is based in Mumbai. By opening Horus Music India, the company are able to expand on their local connections as well as to provide a much more personalised service to musicians based in this area. The appointment of two Business Development Managers in India cemented their move.

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