Best AI Image Generators

Best AI Image Generators — hands-on reviews, top picks, pricing, pros and cons and a practical how-to guide on Aizhi.

  • Cyber and Information Domain Service

    Cyber and Information Domain Service

    The Cyber and Information Domain Service (CIDS; German: Cyber- und Informationsraum, lit. 'Cyber and Information space', pronounced [ˈsaɪbɐ ʔʊnt ʔɪnfɔʁmaˈtsi̯oːnsʁaʊm] ; CIR) is the youngest branch of the German Armed Forces, the Bundeswehr. The decision to form an organizational unit was presented by Defense Minister Ursula von der Leyen on 26 April 2016, becoming operational on 1 April 2017. It is headquartered in Bonn. == History == In November 2015, the German Ministry of Defense activated a Staff Group within the ministry tasked with developing plans for a reorganization of the Cyber, IT, military intelligence, geo-information, and operative communication units of the Bundeswehr. On 26 April 2016, Defense Minister Ursula von der Leyen presented the plans for the new military branch to the public and on 5 October 2016 the command's staff became operational as a department within the ministry of defense. On 1 April 2017, the Cyber and Information Domain Service (CIDS) was activated as a "military organizational unit" (Organisationsbereich), indicating its status below a full service branch. The CIDS Headquarters took command of all existing electronic warfare, signals, IT, military intelligence, geoinformation, and psychological operations units. As part of a wider restructuring of higher command in the Bundeswehr in 2024, it was decided to upgrade it from a military organizational unit to the fourth full military service branch, alongside Heer (army), Luftwaffe (air force) and Deutsche Marine (navy). == Organisation == The CIDS is commanded by the Chief of the Cyber and Information Domain Service (Inspekteur des Cyber- und Informationsraum InspCIR), a three-star general position, based in Bonn. As of April 2023, it is structured as follows: Cyber and Information Domain Service Command (Kommando Cyber- und Informationsraum KdoCIR), in Bonn Reconnaissance and Effects Command (Kommando Aufklärung und Wirkung KdoAufkl/Wirk), in Gelsdorf 911th Electronic Warfare Battalion 912th Electronic Warfare Battalion, mans the Oste-class SIGINT/ELINT and reconnaissance ships 931st Electronic Warfare Battalion 932nd Electronic Warfare Battalion, provides airborne troops for operations in enemy territory Cyber-Operations Centre (Zentrum Cyber-Operationen ZSO) Central Imaging Reconnaissance (Zentrale Abbildende Aufklärung ZAbbAufkl), operating the SAR-Lupe satellites Central Bundeswehr Investigation Authority for Technical Reconnaissance (Zentrale Untersuchungsstelle der Bundeswehr für Technische Aufklärung ZU-StelleBwTAufkl) Signals Reconnaissance Centre North (Fernmeldeaufklärungszentrale Nord FmAufklZentr NORD) Signals Reconnaissance Centre South (Fernmeldeaufklärungszentrale Süd FmAufklZentr SÜD) Information Technology Services Command (Kommando Informationstechnik-Services der Bundeswehr KdoIT-SBw), in Bonn 281st Information Technology Battalion 282nd Information Technology Battalion 292nd Information Technology Battalion 293rd Information Technology Battalion 381st Information Technology Battalion 383rd Information Technology Battalion Bundeswehr Geoinformation Centre (Zentrum für Geoinformationswesen der Bundeswehr), in Euskirchen Bundeswehr Cyber-Security Centre (Zentrum für Cyber-Sicherheit der Bundeswehr ZCSBw) Bundeswehr Software Digitalisation Centre (Zentrum Digitalisierung der Bundeswehr und Fähigkeitsentwicklung Cyber- und Informationsraum ZDigBw) Bundeswehr Operational Communications Centre (Zentrum Operative Kommunikation der Bundeswehr ZOpKomBw) Training Centre CIDS (Ausbildungszentrum CIR AusbZ CIR)

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  • Affordable affluence

    Affordable affluence

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

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  • W3C Device Description Working Group

    W3C Device Description Working Group

    The W3C Device Description Working Group (DDWG), operating as part of the World Wide Web Consortium (W3C) Mobile Web Initiative (MWI), was chartered to "foster the provision and access to device descriptions that can be used in support of Web-enabled applications that provide an appropriate user experience on mobile devices." Mobile devices exhibit the greatest diversity of capabilities, and therefore present the greatest challenge to content adaptation technologies. The group published several documents, including a list of requirements for an interface to a Device Description Repository (DDR) and a standard interface meeting those requirements. The group was rechartered in 2006 to work in public towards the development of the Application Programming Interface (API) for a DDR. Early in 2007, the group launched a wiki and a blog to add to the public mailing list. The group subsequently published a formal vocabulary of core device properties, and an API called the DDR Simple API, which became a W3C Recommendation in December 2008. The group closed at the end of 2008, but with the intention of maintaining the Web pages, blog and wiki through W3C volunteer effort. == Publications == The DDWG published several W3C Working Group Notes and one W3C Recommendation. A W3C WG Note that articulates what the W3C and other organizations are doing or have already done with regard to device information. This document suggests an environment in which these technologies work together to meet the goals of content adaptation. The completed document was published on 31 October 2007. A W3C WG Note describing the ecosystem surrounding creation, maintenance and use of device descriptions. The completed document was published on 31 October 2007. A W3C WG Note describing a set of requirements for a reference repository of device descriptions. The completed document was published on 17 December 2007. A W3C WG Note describing a process to manage contributions to an initial core vocabulary, identification of key device properties, a formal initial core vocabulary and the identification of a maintainer for the core vocabulary. The details were contained in the Working Group Note describing the DDWG Core Vocabulary published on 14 April 2008. A W3C WG Note defining useful grouping and structure patterns in device descriptions. The Device Description Structures document was published as a Working Draft on 5 December 2008. The intention is that this document will be future input to other W3C groups. A W3C Recommendation defining a language-neutral programming interface to a Device Description Repository. The DDR Simple API was published on 5 December 2008. There is the possibility of future publications on the DDWG wiki describing implementations of the API in various languages, including Java, IDL, WSDL, C# etc. Much of the DDWG's material was developed in public via the DDWG Wiki and through their public mailing lists.

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  • Nuclear electronics

    Nuclear electronics

    Nuclear electronics is a subfield of electronics concerned with the design and use of high-speed electronic systems for nuclear physics and elementary particle physics research, and for industrial and medical use. Essential elements of such systems include fast detectors for charged particles, discriminators for separating them by energy, counters for counting the pulses produced by individual particles, fast logic circuits (including coincidence and veto gates), for identification of particular types of complex particle events, and pulse height analyzers (PHAs) for sorting and counting gamma rays or particle interactions by energy, for spectral analysis. == Elementary components == Some of the essential components that make up the elements of a nuclear electronic analysis system include: Detectors Bias voltage supplies Preamplifiers Discriminators Coincidence and veto logic gates Counters Pulse height analyzers These elements were originally developed and built in the laboratories of the scientists doing the pioneering work in the field, but are nowadays designed, developed, and manufactured by a variety of specialized vendors: EG&G Ortec Oxford Instruments Stanford Research Systems Tennelec CAEN

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  • JAX (software)

    JAX (software)

    JAX is a Python library for accelerator-oriented array computation and program transformation, designed for high-performance numerical computing and large-scale machine learning. It is developed by Google with contributions from Nvidia and other community contributors. It is described as bringing together a modified version of the automatic differentiation system autograd and OpenXLA's XLA (Accelerated Linear Algebra). It is designed to follow the structure and workflow of NumPy as closely as possible and works with various existing frameworks such as TensorFlow and PyTorch. The primary features of JAX are: Providing a unified NumPy-like interface to computations that run on CPU, GPU, or TPU, in local or distributed settings. Built-in Just-In-Time (JIT) compilation via OpenXLA, an open-source machine learning compiler ecosystem. Efficient evaluation of gradients via its automatic differentiation transformations. Automatic vectorization to efficiently map functions over arrays representing batches of inputs. == Libraries using Jax == Flax Equinox Optax

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  • Timeline of operating systems

    Timeline of operating systems

    This article presents a timeline of events in the history of computer operating systems from 1951 to the current day. For a narrative explaining the overall developments, see the History of operating systems. == 20th Century == == 1940s == 1949 EDSAC was considered the first operating system developed by Maurice Wilkes and manufactured by the University of Cambridge == 1950s == 1951 LEO I 'Lyons Electronic Office' was the commercial development of EDSAC computing platform, supported by British firm J. Lyons and Co. 1953 DYSEAC - an early machine capable of distributing computing 1955 General Motors Operating System made for IBM 701 MIT's Tape Director operating system made for UNIVAC 1103 1956 GM-NAA I/O for IBM 704, based on General Motors Operating System 1957 Atlas Supervisor (Manchester University) (Atlas computer project start) BESYS (Bell Labs), for IBM 704, later IBM 7090 and IBM 7094 1958 University of Michigan Executive System (UMES), for IBM 704, 709, and 7090 1959 SHARE Operating System (SOS), based on GM-NAA I/O == 1960s == 1960 IBSYS (IBM for its 7090 and 7094) 1961 CTSS demonstration (MIT's Compatible Time-Sharing System for the IBM 7094) MCP (Burroughs Master Control Program) for B5000 1962 Atlas Supervisor (Manchester University) (Atlas computer commissioned) BBN Time-Sharing System GCOS (GE's General Comprehensive Operating System, originally GECOS, General Electric Comprehensive Operating Supervisor) 1963 ADMIRAL AN/FSQ-32, another early time-sharing system begun CTSS becomes operational (MIT's Compatible Time-Sharing System for the IBM 7094) JOSS, an interactive time-shared system that did not distinguish between operating system and language Titan Supervisor, early time-sharing system begun 1964 Berkeley Timesharing System (for Scientific Data Systems' SDS 940) Chippewa Operating System (for CDC 6600 supercomputer) Dartmouth Time-Sharing System (Dartmouth College's DTSS for GE computers) EXEC 8 (UNIVAC) KDF9 Timesharing Director (English Electric) – an early, fully hardware secured, fully pre-emptive process switching, multi-programming operating system for KDF9 (originally announced in 1960) OS/360 (IBM's primary OS for its S/360 series) (announced) PDP-6 Monitor (DEC) descendant renamed TOPS-10 in 1970 SCOPE (CDC 3000 series) 1965 BOS/360 (IBM's Basic Operating System) DECsys TOS/360 (IBM's Tape Operating System) Livermore Time Sharing System (LTSS) Multics (MIT, GE, Bell Labs for the GE-645) (announced) Pick operating system SIPROS 66 (Simultaneous Processing Operating System) THE multiprogramming system (Technische Hogeschool Eindhoven) development TSOS (later VMOS) (RCA) 1966 DOS/360 (IBM's Disk Operating System) GEORGE 1 & 2 for ICT 1900 series Mod 1 Mod 2 Mod 8 MS/8 (Richard F. Lary's DEC PDP-8 system) MSOS (Mass Storage Operating System) OS/360 (IBM's primary OS for its S/360 series) PCP and MFT (shipped) RAX Remote Users of Shared Hardware (RUSH), a time-sharing system developed by Allen-Babcock for the IBM 360/50 SODA for Elwro's Odra 1204 Universal Time-Sharing System (XDS Sigma series) 1967 CP-40, predecessor to CP-67 on modified IBM System/360 Model 40 CP-67 (IBM, also known as CP/CMS) Conversational Programming System (CPS), an IBM time-sharing system under OS/360 Michigan Terminal System (MTS) (time-sharing system for the IBM S/360-67 and successors) ITS (MIT's Incompatible Timesharing System for the DEC PDP-6 and PDP-10) OS/360 MVT ORVYL (Stanford University's time-sharing system for the IBM S/360-67) TSS/360 (IBM's Time-sharing System for the S/360-67, never officially released, canceled in 1969 and again in 1971) WAITS (SAIL, Stanford Artificial Intelligence Laboratory, time-sharing system for DEC PDP-6 and PDP-10, later TOPS-10) 1968 Airline Control Program (ACP) (IBM) B1 (NCR Century series) CALL/360, an IBM time-sharing system for System/360 HP Real-Time Executive (HP RTE) – Hewlett-Packard HP Time-Shared BASIC (HP TSB) – Hewlett-Packard (time-sharing system for the HP 2000) THE multiprogramming system (Eindhoven University of Technology) publication TSS/8 (DEC for the PDP-8) VP/CSS 1969 B2 (NCR Century series) B3 (NCR Century series) GEORGE 3 For ICL 1900 series MINIMOP Multics (MIT, GE, Bell Labs for the GE-645 and later the Honeywell 6180) (opened for paying customers in October) RC 4000 Multiprogramming System (RC) TENEX (Bolt, Beranek and Newman for DEC systems, later TOPS-20) Unics (later Unix) (AT&T, initially on DEC computers) Xerox Operating System == 1970s == 1970 DOS-11 (PDP-11) 1971 EMAS Kronos RSTS-11 2A-19 (First released version; PDP-11) RSX-15 OS/8 1972 B4 (NCR Century series) COS-300 Data General RDOS Edos MUSIC/SP OS/4 OS 1100 OS/2000 (Honeywell 2000-series) Operating System/Virtual Storage 1 (OS/VS1) Operating System/Virtual Storage 2 R1 (OS/VS2 SVS) PRIMOS (written in FORTRAN IV, that didn't have pointers, while later versions, around version 18, written in a version of PL/I, called PL/P) Virtual Machine/Basic System Extensions Program Product (BSEPP or VM/SE) Virtual Machine/System Extensions Program Product (SEPP or VM/BSE) Virtual Machine Facility/370 (VM/370), sometimes known as VM/CMS 1973 Эльбрус-1 (Elbrus-1) – Soviet computer – created using high-level language uЭль-76 (AL-76/ALGOL 68) Alto OS CP-V (Control Program V) RSX-11D RT-11 VME – implementation language S3 (ALGOL 68) 1974 ACOS-2 (NEC) ACOS-4 ACOS-6 CP/M DOS-11 V09-20C (Last stable release, June 1974) Hydra – capability-based, multiprocessing OS kernel MONECS Multi-Programming Executive (MPE) – Hewlett-Packard Operating System/Virtual Storage 2 R2 (MVS) OS/7 OS/16 OS/32 Sintran III 1975 BS2000 V2.0 (First released version) COS-350 ISIS NOS (Control Data Corporation) OS/3 (Univac) VS/9 (formerly RCA's TSOS, later named VMOS) Version 6 Unix XVM/DOS XVM/RSX 1976 Cambridge CAP computer – all operating system procedures written in ALGOL 68C, with some closely associated protected procedures in BCPL Cray Operating System DX10 FLEX TOPS-20 TX990/TXDS Tandem Nonstop OS v1 Thoth 1977 1BSD AMOS KERNAL OASIS operating system OS68 OS4000 RMX-80 System 88 (Exec) System Support Program (IBM System/34 and System/36) TRSDOS Virtual Memory System (VMS) V1.0 (Initial commercial release, October 25) VRX (Virtual Resource eXecutive) VS Virtual Memory Operating System 1978 2BSD Apple DOS Control Program Facility (IBM System/38) Cray Time Sharing System (CTSS) DPCX (IBM) DPPX (IBM) HDOS KSOS – secure OS design from Ford Aerospace KVM/370 – security retro-fit of IBM VM/370 Lisp machine (CADR) MVS/System Extensions (MVS/SE) OS4 (Naked Mini 4) PTDOS TRIPOS UCSD p-System (First released version) Z80-RIO 1979 Atari DOS 3BSD CP-6 Idris MP/M MVS/System Extensions R2 (MVS/SE2) NLTSS POS Sinclair BASIC Transaction Processing Facility (TPF) (IBM) UCLA Secure UNIX – an early secure UNIX OS based on security kernel UNIX/32V DOS/VSE Version 7 Unix == 1980s == 1980 86-DOS AOS/VS (Data General) Business Operating System CTOS DOSPLUS (TRS-80) MVS/System Product (MVS/SP) V1 NewDos/80 OS-9 RMX-86 RS-DOS SOS Virtual Machine/System Product (VM/SP) Xenix 1981 Acorn MOS Aegis SR1 (First Apollo/DOMAIN systems shipped on March 27) CP/M-86 DRX (Distributed Resource Executive) iMAX – OS for Intel's iAPX 432 capability machine MCS (Multi-user Control System) MS-DOS PC DOS Pilot (Xerox Star operating system) UNOS UTS V VERSAdos VRTX VSOS (Virtual Storage Operating System) Xinu first release 1982 Commodore DOS LDOS (By Logical Systems, Inc. – for the Radio Shack TRS-80 Models I, II & III) PCOS (Olivetti M20) pSOS QNX Stratus VOS Sun UNIX (later SunOS) 0.7 Ultrix Unix System III VAXELN 1983 Coherent DNIX EOS GNU (project start) Lisa Office System 7/7 LOCUS – UNIX compatible, high reliability, distributed OS MVS/System Product V2 (MVS/Extended Architecture, MVS/XA) Novell NetWare (S-Net) PERPOS ProDOS RTU (Real-Time Unix) STOP – TCSEC A1-class, secure OS for SCOMP hardware SunOS 1.0 VSE/System Package (VSE/SP) Version 1 1984 AMSDOS CTIX (Unix variant) DYNIX Mac OS (System 1.0) MSX-DOS NOS/VE PANOS PC/IX ROS Sinclair QDOS SINIX UNICOS Venix 2.0 Virtual Machine/Extended Architecture Migration Assistance (VM/XA MA) 1985 AmigaOS Atari TOS DG/UX DOS Plus Graphics Environment Manager Harmony MacOS 2 MIPS RISC/os Oberon – written in Oberon SunOS 2.0 Version 8 Unix Virtual Machine/Extended Architecture System Facility (VM/XA SF) Windows 1.0 Windows 1.01 Xenix 2.0 1986 AIX 1.0 Cronus distributed OS FlexOS GEMSOS – TCSEC A1-class, secure kernel for BLACKER VPN & GTNP GEOS Genera 7.0 HP-UX MacOS 3 SunOS 3.0 TR-DOS TRIX Version 9 Unix 1987 Arthur (much improved version came in 1989 under the name RISC OS) BS2000 V9.0 IRIX (3.0 is first SGI version) MacOS 4 MacOS 5 MDOS MINIX 1.0 OS/2 (1.0) PC-MOS/386 Topaz – semi-distributed OS for DEC Firefly workstation written in Modula-2+ and garbage collected VxWorks Windows 2.0 1988 A/UX (Apple Computer) AOS/VS II (Data General) CP/M rebranded as DR-DOS Flex machine – tagged, capability machine with OS and other software written

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  • Digital goods

    Digital goods

    Digital goods or e-goods are intangible goods that exist in digital form. Examples are Wikipedia articles; digital media, such as e-books, downloadable music, internet radio, internet television and streaming media; fonts, logos, photos and graphics; digital subscriptions; online ads (as purchased by the advertiser); internet coupons; electronic tickets; electronically treated documentation in many different fields; downloadable software (Digital Distribution) and mobile apps; cloud-based applications and online games; virtual goods used within the virtual economies of online games and communities; community access; workbooks; worksheets; planners; e-learning (online courses); webinars, video tutorials, blog posts; cards; patterns; website themes and templates. == Legal concerns about digital goods == Special legal concerns regarding digital goods include copyright infringement and taxation. Also the question of the ownership (versus licensed use or service only) of purely digital goods is not finally resolved. For instance, the software installers of the digital software distributor gog.com are technically independent to the account but are still subject to the EULA, where a "licensed, not sold" formulation is used. Therefore, it is not clear if the software can be legally used after a hypothetical loss of the account; a question which was also raised before in practice for the similar service Steam. In July 2012, the European Court of Justice ruled in the case UsedSoft GMbH v. Oracle International Corp. that the sale of a software product, either through a physical support or download, constituted a transfer of ownership in EU law, thus the first sale doctrine applies; the ruling thereby breaks the "licensed, not sold" legal theory, but leaves open numerous questions. Therefore, it is also permissible to resell software licenses even if the digital good has been downloaded directly from the Internet, as the first-sale doctrine applied whenever software was originally sold to a customer for an unlimited amount of time, thus prohibiting any software maker from preventing the resale of their software by any of their legitimate owners. The court requires that the previous owner must no longer be able to use the licensed software after the resale, but finds that the practical difficulties in enforcing this clause should not be an obstacle to authorizing resale, as they are also present for software which can be installed from physical supports, where the first-sale doctrine is in force. In several cases, content providers have faced criticism for revoking access to digital goods due to expired licenses or the discontinuation of a product, such as ebooks (which resulted in a lawsuit against Amazon.com, Inc.), digital video (with Sony Interactive Entertainment revoking access to purchased StudioCanal content from its now-defunct PlayStation video store; a similar move involving Warner Bros. Discovery content was averted by an updated license agreement), and video games (such as Ubisoft discontinuing and revoking access to its game The Crew without providing refunds or the ability to redownload the game) In September 2024, the U.S. state of California implemented a consumer protection law that prohibits the use of terms such as "buy" or "purchase" during transactions involving digital goods if there is no way to obtain the purchases in a manner that cannot be revoked by the seller (such as allowing it to be downloaded for permanent, offline access), and requires a disclaimer to be displayed to the customer at the time of purchase.

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  • Digital signage

    Digital signage

    Digital signage is a segment of electronic signage that uses digital display technologies to present multimedia content in both public and private environments. Content may include video, images, text, or interactive media and is typically displayed for purposes such as advertising, information dissemination, branding, or entertainment. Digital signage systems can be either networked or standalone. Networked systems are managed through centralized content management systems (CMS), often cloud-based, enabling remote updates, scheduling, real-time data integration, and dynamic content delivery. These systems may also incorporate audience analytics, IoT sensors, or AI-driven personalization. Standalone systems, by contrast, operate without a network connection. They rely on local media playback via USB drives, SD cards, or internal storage. These solutions are simpler and suitable for locations where connectivity is limited or content changes infrequently. == Applications of digital signage == Digital signage is widely used in transportation hubs, retail stores, restaurants, corporate buildings, hotels, educational institutions, healthcare facilities, and public spaces. One prominent application of digital signage is Digital Out-of-Home (DOOH) advertising, which leverages digital signage displays in public spaces to deliver targeted advertisements to people outside of their homes. DOOH has become a significant segment of digital signage, providing advertisers with a dynamic and contextually relevant way to engage with audiences. == Components == === Hardware components === Digital signage hardware includes the physical equipment used to show multimedia content in public and private spaces. ==== Display devices ==== Display devices are the most prominent components of a digital signage system, serving as the primary medium for presenting content. Display devices come in various technologies, such as LCD, LED, and OLED formats, each offering different advantages in terms of clarity, color reproduction, and energy efficiency. In addition to flat-panel displays, projectors are also commonly used in digital signage, particularly in large-scale settings. Projectors can cast large-format visuals onto walls, screens, or other surfaces, providing flexibility in display size and positioning. Screen sizes vary widely to suit different applications. Smaller panels are often used in kiosks and point-of-sale systems, while larger displays, such as video walls and projection surfaces, are deployed in venues like stadiums, auditoriums, and other public spaces. Many digital signage displays are also equipped with touchscreen capabilities, allowing for interactive applications. These interactive displays are commonly used in information kiosks, wayfinding systems, and self-service applications. ==== Playback devices ==== Playback devices are specialized hardware components that manage the storage, processing, and transmission of multimedia content to digital signage displays and projectors. They serve as the crucial link between the content management system (CMS) and the visual output, ensuring seamless playback of static images, video files, animated graphics, and real-time content, such as news feeds. Playback devices can be standalone units or integrated into display hardware using System-on-Chip (SoC) technology. The latter reduces hardware complexity and installation time, making the system more efficient. These devices support remote or local content updates, allowing digital signage operators to manage networks effectively. Content can be updated via cloud-based platforms for centralized control or through direct interfaces on-site, depending on the system's configuration and deployment requirements. ==== Mounting systems ==== Mounting systems provide structural support for digital signage displays, enabling deployment across diverse environments. Typical configurations include wall mounts, ceiling mounts, and floor stands each engineered to meet specific spatial and functional requirements. === Software components === Digital signage software is responsible for content creation, scheduling, and management. It enables users to manage and distribute content to one or more playback devices. ==== Software compatibility ==== Digital signage software supports various operating systems, including Android, Windows, Linux, iOS, tvOS, webOS, Tizen, ChromeOS, macOS, and others. This allows customers to choose the hardware and software solution that best suits their digital signage needs. == Interactivity == Interactivity in digital signage allows users to interact directly with displays using input methods like touch, gestures, voice, or proximity sensors. This feature enables real-time responses and personalized content, improving the user experience. Interactive digital signage is commonly used in places like retail, transportation, education, and public spaces to create engaging and informative interactions. Additionally, self-service kiosks are often integrated into interactive signage solutions, allowing users to perform tasks such as ordering products, checking in for flights, accessing information, or making payments. These kiosks empower users to complete transactions or obtain services independently, improving efficiency and convenience in high-traffic locations. == Audience measurement and context-aware content adaptation == === Audience measurement === Cameras can be integrated into digital signage systems to enable audience measurement. They are used to detect and count viewers, estimate demographics such as age and gender, measure dwell time and attention, and sometimes analyze emotional reactions using computer vision techniques. This process is valuable for understanding audience behavior and refining business strategies. Privacy concerns are addressed by anonymizing collected data and avoiding the storage of personally identifiable information. === Context-aware digital signage === Context-aware digital signage refers to systems that adjust content based on environmental or audience data. The infrastructure supporting context awareness, including sensors and analytics systems, also facilitates the collection of audience insights. While these insights may be primarily used for reporting, optimization, or planning future campaigns rather than immediate content adjustments, they play a crucial role in the overall context-aware ecosystem. ==== Contextual information ==== Contextual information in the realm of context-aware digital signage refers to data about the environment, audience, and other factors that influence how digital signage content is displayed. This information helps the system to deliver more relevant, timely, and personalized content to its audience. Contextual information can include, but is not limited to: Audience demographics — this can involve detecting the age, gender, or even emotional state of viewers through cameras or sensors. It helps tailor content to specific audience segments, improving engagement. Time and weather — the system may adjust content based on the time of day or current weather conditions. For example, weather-appropriate content (like a raincoat ad on a rainy day) or time-specific content (like dinner menu promotions in the evening) can be shown. Emergency information — in situations of emergency, systems can prioritize displaying urgent notifications such as fire alerts, disaster warnings, or evacuation instructions. This can be crucial for public safety in crowded environments or densely populated areas. The system may adapt content in real-time to inform and guide individuals to safety, offering location-specific instructions or emergency service contacts. == Challenges == === Display blindness === Digital signage in public spaces has been found to lose visibility, significantly diminishing its ability to capture attention. This issue, known as "Display Blindness", was identified by Müller et al. and refers to the phenomenon where digital advertisements are largely overlooked by passersby. Observations indicate that many of these advertisements fail to resonate with their audience, often being irrelevant or unengaging, which leads to passive reception and reduced interaction. == Comparison with print signage == Digital signage and traditional print signage serve similar purposes by delivering visual information to a target audience, but they differ significantly in terms of flexibility, cost, maintenance, and environmental impact. Digital signage is advantageous in low-light or nighttime environments, where its internal illumination ensures visibility without the need for external lighting, unlike printed signs, which may require additional fixtures to be seen after dark. === Content and flexibility === Digital signage allows for dynamic and real-time content updates, often controlled remotely through content management systems. This makes it well-suited for environments where information chan

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  • Qloo

    Qloo

    Qloo (pronounced "clue") is a company that uses artificial intelligence (AI) to understand taste and cultural correlations. It provides companies with an application programming interface (API). It received funding from Leonardo DiCaprio, Elton John, Barry Sternlicht, Pierre Lagrange and others. Qloo establishes consumer preference correlations via machine learning across data spanning cultural domains including music, film, television, dining, nightlife, fashion, books, and travel. The recommender system uses AI to predict correlations for further applications. == History == Qloo was founded in 2012 by chief executive officer Alex Elias and chief operating officer Jay Alger. Qloo initially launched an app designed for consumers, allowing them to understand their own tastes and receive personalized recommendations. The company amassed several million users and built a large catalog of cultural entities and corresponding user sentiment. In 2012, Qloo raised $1.4 million in seed funding from investors including Cedric the Entertainer, and venture capital firm Kindler Capital. Qloo had a public beta release in November 2012 after its initial funding. In 2013, the company raised an additional $1.6 million from Cross Creek Pictures founding partner Tommy Thompson, and Samih Toukan and Hussam Khoury, founders of Maktoob, an Internet services company purchased by Yahoo! for $164 million in 2009. On November 14, 2013, a website and an iPhone app were announced. The company later released an Android app, and tablet versions, in mid-2014. In 2015, Twitter approached Qloo about powering personalized social feeds and targeted eCommerce ads on the platform based on what users were posting. Qloo developed an enterprise-grade API to support Twitter’s needs. Twitter ended up pivoting to enable brands to use the social platform for customer service and support, but Qloo was able to sell access to its cultural intelligence via API to many other enterprise clients, marking the official transition from a B2C company to a B2B company. In 2016, Qloo secured $4.5 million in venture capital investment. The $4.5 million was split between a number of investors, including Barry Sternlicht, Pierre Lagrange, and Leonardo DiCaprio. In July 2017, Qloo raised $6.5 million in funding rounds from AXA Strategic Ventures, and Elton John. Following the investment, the founders stated in an interview with Tech Crunch that they would use the investment to expand Qloo's database. They hoped the move would secure larger contracts with corporate clients. At the time, clients already included Fortune 500 companies such as Twitter, PepsiCo, and BMW. In 2019, the company announced that it had acquired cultural recommendation service TasteDive, with Alex Elias becoming chairman of TasteDive. In September 2019, Qloo was named among the Top 14 Artificial Intelligence APIs by ProgrammableWeb. In 2022, Qloo raised $15M in Series B funding from Eldridge and AXA Venture Partners, enabling the privacy-centric AI leader to expand its team of world-class data scientists, enrich its technology, and build on its sales channels in order to continue to offer premier insights into global consumer taste for Fortune 500 companies across the globe. Qloo was recognized as the "Best Decision Intelligence Company" at the 2023 AI Breakthrough Awards. Also in 2023, the company was awarded a Top Performer Award by SourceForge. As of 2024, Qloo is a three-time Inc. 5000 honoree: No. 360 (2022), No. 344 (2021), No. 187 (2020). Qloo raised $25 million Series C round on February 21, 2024. The round was led by AI Ventures with participation from AXA Venture Partners, Eldridge, and Moderne Ventures, allowing Qloo to address new commercial surface areas for Taste AI, including on-device learning and foundational models leveraging Qloo, as well as introduce self-service platform to make consumer and taste analytics available to small and mid-sized enterprises and individuals. Qloo also announced pursuing opportunistic M&A using its balance sheet along the lines of the TasteDive acquisition completed, which expanded Qloo's first-party data moat and corpus of cultural learning. This latest financing brought the total amount raised since the company's founding in 2012 to over $56 million. == Services and features == Qloo calls itself a cultural AI platform to provide real-time correlation data across domains of culture and entertainment including: film, music, television, dining, nightlife, fashion, books, and travel. Each category contains subcategories. Qloo’s knowledge of a user's taste in one category can be utilized to offer suggestions in other categories. Users then rate the suggestions, providing it with feedback for future suggestions. Qloo has partnerships with companies such as Expedia and iTunes. == Technology == Qloo’s Taste AI technology uses machine learning to decode and predict consumers’ interests, maintaining user anonymity. It is powered by 3.7 billion lifestyle entities (brands, music, film, TV, dining, nightlife, fashion, books, travel, and more) and trillions of anonymized consumer behavioral signals. Through AI, Qloo identifies patterns in these data signals, making predictions about how much interest a person or group has in a concept or thing. Central to Qloo’s technology are algorithms designed to detect and mitigate biases within datasets and models, allowing Qloo to assess the fairness of its AI systems with a focus on attributes such as age, gender, and race, enabling the company to fine-tune its AI models to align with their ethical standards. They also use visualization tools to probe the behavior of their AI models for conducting counterfactual analyses and for comparing the performances of the AI models across diverse demographic segments. Qloo’s Taste AI doesn’t collect or use any Personally Identifiable Information (PII). Instead, it derives recommendations for audience segments based on co-occurrences between lifestyle entities and anonymized behavioral signals. == Applications == Starbucks uses Qloo to create in-store music playlists tailored to specific neighborhoods. Hershey’s uses Qloo to customize the content of assorted candy bags. Michelin uses Qloo to serve recommendations in its Michelin Guide app. Netflix leverages Qloo’s technology to enhance merchandising by identifying actors who resonate with certain demographics. Qloo also works with PepsiCo, Samsung, The New York Mets, BuzzFeed, and Ticketmaster, Universal Music Group, and OOH advertising company JCDecaux.

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  • Digital studio

    Digital studio

    A digital studio provides both a technology-equipped space and technological/rhetorical support to students (commonly at a university) working individually or in groups on a variety of digital projects, such as designing a website, developing an electronic portfolio for a class, creating a blog, making edits, selecting images for a visual essay, or writing a script for a podcast. == History/theory == === Overview === Digital Studios are places with different names but similar objectives. They have risen in response to the need for resources dedicated to improving students' interactions with digital technologies for rhetorical ends. Digital Studios have often been theoretically and administratively linked to writing centers, which are sites where students can seek assistance with their text-based projects. The academic term that has been used for this kind of site (i.e. a writing center with a focus on digital and new media) is multiliteracy center. Besides having a multimodal focus, Digital Studios also make a departure from writing center model in allowing students the freedom to work in the Studio without one-on-one interaction with a writing tutor. === The rise of technology === ==== Computer literacy in popular culture ==== As early as 1983, computer literacy was being hailed in The New York Times as the "new goal in schools." As computer technology became more ubiquitous, and the World Wide Web became more popular and accessible, and as the teaching of computer skills became official US policy with the enactment of the "Technology Literacy Challenge" by the Clinton Administration in 1996, educators across disciplines began to investigate with renewed vigor the role of computer technology in curriculum as both a means and an end. ==== Scholarly interest in 'multiliteracies' ==== The same year that President Clinton initiated the "Technology Literacy Challenge", the New London Group (NLG) issued a call for scholars of literacy pedagogy to account for the burgeoning variety of text forms associated with information and multimedia technologies. This includes understanding and competent control of representational forms that are becoming increasingly significant in the overall communications environment, such as visual images and their relationship to the written word – for instance, visual design in desktop publishing or the interface of visual and linguistic meaning in multimedia. This account for new text forms, combined with a similar account for "increasingly globalized societies," is called 'multiliteracies' by the NLG. ==== Technological literacy in rhetoric and composition ==== Two years later, during the 1998 CCCC Chair's Address, Cynthia Selfe (who founded the peer-reviewed journal Computers and Composition in 1983) addressed professionals in the field of Rhetoric and Composition with an objective similar to that of the NLG, arguing that as a field, composition scholars had "paid technology issues precious little focused attention over the years." She called this lack of attention "dangerously shortsighted." What was needed, Selfe claimed, was for teachers to "pay attention" to "how technology is now inextricably linked with literacy and literacy education in this country." In a way, Selfe's call marked the beginning of a new scholarly interest in what Selfe called "critical technological literacy": Composition teachers, language arts teachers, and other literacy specialists need to recognize that the relevance of technology in the English studies disciplines is not simply a matter of helping students work effectively with communication software and hardware, but, rather, also a matter of helping them to understand and to be able to assess – to pay attention to – the social, economic, and pedagogical implications of new communication technologies and technological initiatives that affect their lives. Scholars who took up this call included Barbara Blakely Duffelmeyer, who conducted studies involving the incorporation of "critical computer literacy" (an adaptation of Selfe's term) into first-year composition. ==== Communications across media, inside and outside school ==== The years following Selfe's address saw more rapid advancements in mobile technologies, social media, and Web 2.0, creating even more new venues of composing for teachers to pay attention to. In her own CCCC Chair's Address in 2004, Kathleen Blake Yancey cited these new venues in her argument as a "new curriculum for the 21st century," one that would bring "together the writing outside of school and that of inside." Such a curriculum, she said: is located in a new vocabulary, a new set of practices, and a new set of outcomes; it will focus our research in new and provocative ways; it has as its goal the creation of thoughtful, informed, technologically adept writing publics. A professor at Clemson at the time of her speech, Yancey also argued for the creation of an undergraduate major in composition and rhetoric. She soon moved to Florida State University, where she helped to establish a new major in line with the one she argued for at CCCC called Editing, Writing, and Media (EWM). As teachers and administrators across the country looked to incorporate more digital technology into their curriculum, the need for spaces for digital composition and for support with the innumerable digital composing platforms became apparent. A Digital Studio is one such space. === Link with writing centers === With the need for support for students who would engage with digital writing and multimedia projects, professionals involved with work in writing centers began to draw comparisons between their traditional work — assisting students with alphabetic texts on the page — and a new kind of work: assisting students with their multimedia projects on the screen. John Trimbur predicted in 2000: My guess is that writing centers will more and more define themselves as multiliteracy centers. Many are already doing so – tutoring oral presentations, adding online tutorials, offering workshops in evaluating web sources, and being more conscious of document design. To my mind, new digital literacies will increasingly be incorporated into writing centers not just as sources of information or delivery systems for tutoring but as productive arts in their own right, and writing center work will, if anything, become more rhetorical in paying attention to the practices and effects of design in written and visual communication — more product-oriented and perhaps less like the composing conferences of the process movement. Later, just months before Yancey delivered her CCCC Chair's Address, Michael Pemberton, writing in the Writing Center Journal, asked: As we enter an era when electronic publishing and computer-mediated discourse are the norm, an era when new literary genres and new forms of communication emerge on, seemingly, a weekly basis, we must ask ourselves whether writing centers should continue to dwell exclusively in the linear, non-linked world of the printed page or whether they should plan to redefine themselves – and retrain themselves – to take residence in the emerging world of multimedia, hyperlinked, digital documents. To put it plainly, should we be preparing tutors to conference with students about hypertexts? Pemberton also surveyed (by his account) the forty-year history of how "writing centers [have] viewed new technologies," observing that "the relationship between writing centers and computer technology has been, overall, only a cordial one." Pemberton's article is evidence of the continuing discussion among writing center professionals about the need for support for students' digital creations, support which they saw as analogous to work in writing centers. In 2010, a collection edited by David Sheridan and James Inman, Multiliteracy Centers: Writing Center Work, New Media, and Multimodal Rhetoric, was published. Many of the chapters therein cite the above Trimbur and Pemberton quotes as they work to explain the exigence for the collection, the instances in which multiliteracy centers have been established (the founding of the Clemson Class of 1941 Studio for Student Communication is the subject of two chapters), and both theoretical and practical analyses of potential futures of such work. === 'Studio' vs. 'Center:' A break from the model === The conflation of digital studios and writing centers into multiliteracy centers is helpful in some respects, for example, administratively the two may be managed in similar ways and staffed by the same people. In other respects, it has been said that it is better to separate them into two distinct kinds of facilities. The very choice of naming a "writing center" or "digital studio" by either (or another) title, for instance, ought (according to some) to be informed by what kinds of student-activities are expected to take place there. A writing center is a place for individual students to seek help from individual writing

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  • Blue check

    Blue check

    A blue check is used on social media platforms, notably X (formerly known as Twitter), to indicate the authenticity of an account. Since November 2022, Twitter users whose accounts are at least 90 days old and have a verified phone number receive verification upon subscribing to X Premium or Verified Organizations; this status persists as long as the subscription remains active. When introduced in June 2009, the system provided the site's readers with a means to distinguish genuine notable account holders, such as celebrities and organizations, from impostors or parodies. Until November 2022, a blue checkmark displayed against an account name indicated that Twitter had taken steps to ensure that the account was actually owned by the person or organization whom it claimed to represent. The checkmark does not imply endorsement from Twitter, and does not mean that tweets from a verified account are necessarily accurate or truthful in any way. People with verified accounts on Twitter are often colloquially referred to as "blue checks" on social media and by reporters. In November 2022, the verification program was modified heavily by new owner Elon Musk, extending verification to any account with a verified phone number and an active subscription to an eligible X Premium (formerly Twitter Blue) plan. These changes faced criticism from users and the media, who believed that the changes would ease impersonation, and allow accounts spreading misleading information to feign credibility. In a related change, Twitter introduced additional gold and gray checkmarks, used by Verified Organizations and government-affiliated accounts, respectively. Twitter claims that the changes to verification are required to "reduce fraudulent accounts and bots". Twitter users who had been verified through the previous system were known as "legacy verified" accounts; legacy verification was deprecated in April 2023, and stripped from accounts who do not meet the new payment requirements. Musk later implied that he had been personally paying for the X Premium subscriptions of several notable celebrities. == Until November 2022 == In June 2009, after being criticized by Kanye West and sued by Tony La Russa over unauthorized accounts run by impersonators, the company launched their "Verified Accounts" program. Twitter stated that an account with a "blue tick" verification badge indicates "we've been in contact with the person or entity the account is representing and verified that it is approved". After the beta period, the company stated in their FAQ that it "proactively verifies accounts on an ongoing basis to make it easier for users to find who they're looking for" and that they "do not accept requests for verification from the general public". Originally, Twitter took on the responsibility of reaching out to celebrities and other notable people to confirm their identities in order to establish a verified account. In July 2016, Twitter announced a public application process to grant verified status to an account "if it is determined to be of public interest" and that verification "does not imply an endorsement". In 2016, the company began accepting requests for verification, but it was discontinued the same year. Twitter explained that the volume of requests for verified accounts had exceeded its ability to cope; rather, Twitter determines on its own whom to approach about verified accounts, limiting verification to accounts which are "authentic, notable, and active". In November 2020, Twitter announced a relaunch of its verification system in 2021. According to the new policy, Twitter verifies six different types of accounts; for three of them (companies, brands, and influential individuals like activists), the existence of a Wikipedia page will be one criterion for showing that the account has "Off Twitter Notability". === Controversy === On June 21, 2014, actor William Shatner raised an issue with several Engadget editorial staff and their verification status on Twitter. Besides the site's social media editor, John Colucci, Shatner also targeted several junior members of the staff for being "nobodies", unlike some of his actor colleagues who did not bear such distinction. Shatner claimed Colucci and the team were bullying him when giving a text interview to Mashable. Over a month later, Shatner continued to discuss the issue on his Tumblr page, to which Engadget replied by defending its team and discussing the controversy surrounding the social media verification. Twitter's practice and process for verifying accounts came under scrutiny again in 2017 after the company verified the account of white supremacist and far-right political activist, Jason Kessler. Many who criticized Twitter's decision to verify Kessler's account saw this as a political act on the company's behalf. In response, Twitter put its verification process on hold. The company tweeted, "Verification was meant to authenticate identity & voice but it is interpreted as an endorsement or an indicator of importance. We recognize that we have created this confusion and need to resolve it. We have paused all general verifications while we work and will report back soon." As of November 2017, Twitter continued to deny verification of Julian Assange's account following his requests. In November 2019, Dalit activists of India alleged that higher-caste people get Twitter verification easily and trended hashtags #CancelAllBlueTicksInIndia and #CasteistTwitter. Critics have said that the company's verification process is not transparent and causes digital marginalisation of already marginalised communities. Twitter India rejected the allegations, calling them "impartial" and working on a "case-by-case" policy. == Since November 2022 == On April 20, 2023, Twitter (known as X since July 2023) began removing verification status for users of public interest, causing a controversy among Twitter users. The website's system was altered, allowing any individual to receive verification for a monthly fee, an act which saw significant criticism. Following the acquisition of Twitter by Elon Musk on October 28, 2022, Musk told Twitter employees to introduce paid verification by November 7 through Twitter Blue. The Verge reported that the updated Blue subscription would cost $19.99 per month, and users would lose their verification status if they did not join within 90 days. Following backlash, Musk tweeted, in response to author Stephen King, a lowered $8 price on November 1, 2022. Twitter confirmed the new price of $7.99 per month on November 5, 2022. The new verification system began rollout on November 9, 2022, a day after the 2022 United States elections. The decision to delay its rollout was to address concerns about users potentially spreading misinformation about voting results by posing as news outlets and lawmakers. At the same time, Twitter introduced a secondary gray "Official" label on some high-profile accounts, but removed them hours after launch. Less than 48 hours later, Twitter reinstated the gray "Official" label, after multiple users were suspended for deliberately impersonating reporters and high-profile athletes like LeBron James. A viral tweet from an account purporting to be the pharmaceutical company Eli Lilly and Company caused the company's stock to fall after announcing "insulin is free now". As a result, Twitter disabled new Blue subscriptions on November 11, 2022. === Announcement === In October 2022, Casey Newton of Platformer reported that executives at Twitter began discussing the possibility of users being forced to pay for Twitter Blue in order to keep their verification status. Musk publicly announced that verification was "being revamped right now" after Newton's article; according to The Verge, Twitter planned to increase the price of Twitter Blue from US$4.99 per month to US$19.99 per month. Users would have had 90 days to subscribe or face losing their verification status, and employees were told to implement paid verification by November 9 or risk getting fired. Upon the news that Twitter Blue would cost US$19.99 per month, author Stephen King expressed displeasure towards Twitter and stated that he would leave. Musk, replying to King's tweet, proposed that the service should cost US$7.99 instead. In a separate tweet, Musk wrote that Twitter Blue subscribers would receive priority in replies, mentions, and search, fewer advertisements, and longer audio and video. Although paid verification was expected to be launched by November 7, the reintroduction of Twitter Blue was delayed until after the 2022 United States elections on November 9, according to a memo obtained by The New York Times. The announcement of paid verification resulted in several accounts facetiously impersonating Musk, such as those of comedians Kathy Griffin and Sarah Silverman, being suspended. In response, Musk announced that impersonators using Twitter Blue "will be permanently suspended". An "official

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  • Web developer

    Web developer

    A web developer is a programmer who develops World Wide Web applications using a client–server model. The applications typically use HTML, CSS, and JavaScript in the client, and any general-purpose programming language in the server. HTTP is used for communications between client and server. A web developer may specialize in client-side applications (Front-end web development), server-side applications (back-end development), or both (full-stack development). == Prerequisite == There are no formal educational or license requirements to become a web developer. However, many colleges and trade schools offer coursework in web development. There are also many tutorials and articles which teach web development, often freely available on the web - for example, on JavaScript. Even though there are no formal requirements, web development projects require web developers to have knowledge and skills such as: Using HTML, CSS, and JavaScript Programming/coding/scripting in one of the many server-side languages or frameworks Understanding server-side/client-side architecture and communication of the kind mentioned above Ability to utilize a database

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  • Winner-take-all in action selection

    Winner-take-all in action selection

    Winner-take-all is a computer science concept that has been widely applied in behavior-based robotics as a method of action selection for intelligent agents. Winner-take-all systems work by connecting modules (task-designated areas) in such a way that when one action is performed it stops all other actions from being performed, so only one action is occurring at a time. The name comes from the idea that the "winner" action takes all of the motor system's power. == History == In the 1980s and 1990s, many roboticists and cognitive scientists were attempting to find speedier and more efficient alternatives to the traditional world modeling method of action selection. In 1982, Jerome A. Feldman and D.H. Ballard published the "Connectionist Models and Their Properties", referencing and explaining winner-take-all as a method of action selection. Feldman's architecture functioned on the simple rule that in a network of interconnected action modules, each module will set its own output to zero if it reads a higher input than its own in any other module. In 1986, Rodney Brooks introduced behavior-based artificial intelligence. Winner-take-all architectures for action selection soon became a common feature of behavior-based robots, because selection occurred at the level of the action modules (bottom-up) rather than at a separate cognitive level (top-down), producing a tight coupling of stimulus and reaction. == Types of winner-take-all architectures == === Hierarchy === In the hierarchical architecture, actions or behaviors are programmed in a high-to-low priority list, with inhibitory connections between all the action modules. The agent performs low-priority behaviors until a higher-priority behavior is stimulated, at which point the higher behavior inhibits all other behaviors and takes over the motor system completely. Prioritized behaviors are usually key to the immediate survival of the agent, while behaviors of lower priority are less time-sensitive. For example, "run away from predator" would be ranked above "sleep." While this architecture allows for clear programming of goals, many roboticists have moved away from the hierarchy because of its inflexibility. === Heterarchy and fully distributed === In the heterarchy and fully distributed architecture, each behavior has a set of pre-conditions to be met before it can be performed, and a set of post-conditions that will be true after the action has been performed. These pre- and post-conditions determine the order in which behaviors must be performed and are used to causally connect action modules. This enables each module to receive input from other modules as well as from the sensors, so modules can recruit each other. For example, if the agent's goal were to reduce thirst, the behavior "drink" would require the pre-condition of having water available, so the module would activate the module in charge of "find water". The activations organize the behaviors into a sequence, even though only one action is performed at a time. The distribution of larger behaviors across modules makes this system flexible and robust to noise. Some critics of this model hold that any existing set of division rules for the predecessor and conflictor connections between modules produce sub-par action selection. In addition, the feedback loop used in the model can in some circumstances lead to improper action selection. === Arbiter and centrally coordinated === In the arbiter and centrally coordinated architecture, the action modules are not connected to each other but to a central arbiter. When behaviors are triggered, they begin "voting" by sending signals to the arbiter, and the behavior with the highest number of votes is selected. In these systems, bias is created through the "voting weight", or how often a module is allowed to vote. Some arbiter systems take a different spin on this type of winner-take-all by using a "compromise" feature in the arbiter. Each module is able to vote for or against each smaller action in a set of actions, and the arbiter selects the action with the most votes, meaning that it benefits the most behavior modules. This can be seen as violating the general rule against creating representations of the world in behavior-based AI, established by Brooks. By performing command fusion, the system is creating a larger composite pool of knowledge than is obtained from the sensors alone, forming a composite inner representation of the environment. Defenders of these systems argue that forbidding world-modeling puts unnecessary constraints on behavior-based robotics, and that agents benefits from forming representations and can still remain reactive.

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  • Audience capture

    Audience capture

    Audience capture is the phenomenon where an influencer is affected by their audience, catering to it with what they believe it wants to hear or is willing to pay for. This creates a positive feedback loop, which can lead the influencer to express more extreme views and behaviors. A famous example of audience capture can be found in the story of the online influencer Nicholas Perry, known as Nikocado Avocado. Perry started off on YouTube with videos of himself playing the violin and supporting veganism. He then shifted to videos of himself eating known as mukbang. Audience capture led him to more and more extreme eating leading him in turn to obesity and poor health. The effect can cause ideological media creators to become more politically radical, based on the feedback of their audience.

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  • Over-the-top media services in India

    Over-the-top media services in India

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

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