Best Free AI Image Generator

Best Free AI Image Generator — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Image analysis

Image analysis or imagery analysis is the extraction of meaningful information from images; mainly from digital images by means of digital image processing techniques. Image analysis tasks can be as simple as reading bar coded tags or as sophisticated as identifying a person from their face. Computers are indispensable for the analysis of large amounts of data, for tasks that require complex computation, or for the extraction of quantitative information. On the other hand, the human visual cortex is an excellent image analysis apparatus, especially for extracting higher-level information, and for many applications — including medicine, security, and remote sensing — human analysts still cannot be replaced by computers. For this reason, many important image analysis tools such as edge detectors and neural networks are inspired by human visual perception models. == Digital == Digital Image Analysis or Computer Image Analysis is when a computer or electrical device automatically studies an image to obtain useful information from it. Note that the device is often a computer but may also be an electrical circuit, a digital camera or a mobile phone. It involves the fields of computer or machine vision, and medical imaging, and makes heavy use of pattern recognition, digital geometry, and signal processing. This field of computer science developed in the 1950s at academic institutions such as the MIT A.I. Lab, originally as a branch of artificial intelligence and robotics. It is the quantitative or qualitative characterization of two-dimensional (2D) or three-dimensional (3D) digital images. 2D images are, for example, to be analyzed in computer vision, and 3D images in medical imaging. The field was established in the 1950s—1970s, for example with pioneering contributions by Azriel Rosenfeld, Herbert Freeman, Jack E. Bresenham, or King-Sun Fu. == Techniques == There are many different techniques used in automatically analysing images. Each technique may be useful for a small range of tasks, however there still aren't any known methods of image analysis that are generic enough for wide ranges of tasks, compared to the abilities of a human's image analysing capabilities. Examples of image analysis techniques in different fields include: 2D and 3D object recognition, image segmentation, motion detection e.g. Single particle tracking, video tracking, optical flow, medical scan analysis, 3D Pose Estimation. == Deep learning == Since the early 2010s, deep learning methods have substantially advanced the field of image analysis. In 2012, a deep convolutional neural network (CNN) known as AlexNet achieved a significant reduction in error rates on the ImageNet large-scale image classification benchmark, demonstrating the effectiveness of deep learning for visual recognition tasks. Subsequent architectures such as ResNet introduced residual connections that enabled training of much deeper networks, further improving accuracy across image analysis tasks. Real-time object detection became practical with frameworks such as YOLO (You Only Look Once), which unified detection and classification into a single network pass. In 2020, the Vision Transformer (ViT) demonstrated that transformer architectures, originally developed for natural language processing, could achieve competitive results on image classification when applied directly to sequences of image patches. More recently, foundation models trained on large-scale datasets have enabled zero-shot generalisation across image analysis tasks. The Segment Anything Model (SAM), trained on over one billion masks, can segment arbitrary objects in images without task-specific fine-tuning. These advances have made image analysis techniques increasingly accessible through browser-based tools and open-source implementations. == Applications == The applications of digital image analysis are continuously expanding through all areas of science and industry, including: anatomy, allows for precise measurements, visualization, and statistical analysis of anatomical structures. assay micro plate reading, such as detecting where a chemical was manufactured. astronomy, such as calculating the size of a planet. automated species identification (e.g. plant and animal species) defense error level analysis filtering machine vision, such as to automatically count items in a factory conveyor belt. materials science, such as determining if a metal weld has cracks. medicine, such as detecting cancer in a mammography scan. metallography, such as determining the mineral content of a rock sample. microscopy, such as counting the germs in a swab. automatic number plate recognition; optical character recognition, such as automatic license plate detection. remote sensing, such as detecting intruders in a house, and producing land cover/land use maps. robotics, such as to avoid steering into an obstacle. security, such as detecting a person's eye color or hair color. == Object-based == Object-based image analysis (OBIA) involves two typical processes, segmentation and classification. Segmentation helps to group pixels into homogeneous objects. The objects typically correspond to individual features of interest, although over-segmentation or under-segmentation is very likely. Classification then can be performed at object levels, using various statistics of the objects as features in the classifier. Statistics can include geometry, context and texture of image objects. Over-segmentation is often preferred over under-segmentation when classifying high-resolution images. Object-based image analysis has been applied in many fields, such as cell biology, medicine, earth sciences, and remote sensing. For example, it can detect changes of cellular shapes in the process of cell differentiation.; it has also been widely used in the mapping community to generate land cover. When applied to earth images, OBIA is known as geographic object-based image analysis (GEOBIA), defined as "a sub-discipline of geoinformation science devoted to (...) partitioning remote sensing (RS) imagery into meaningful image-objects, and assessing their characteristics through spatial, spectral and temporal scale". The international GEOBIA conference has been held biannually since 2006. OBIA techniques are implemented in software such as eCognition or the Orfeo toolbox.
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Zero-overhead looping

In computer architecture, zero-overhead looping is a hardware feature found in some processors that enables loops to execute without the performance cost of traditional loop control instructions. Instead of software managing loop iterations, the processor's hardware handles repetition automatically, saving clock cycles and improving efficiency. This technique is commonly employed in digital signal processors (DSPs) and certain complex instruction set computer (CISC) architectures. == Background == In many instruction sets, a loop must be implemented by using instructions to increment or decrement a counter, check whether the end of the loop has been reached, and if not jump to the beginning of the loop so it can be repeated. Although this typically only represents around 3–16 bytes of space for each loop, even that small amount could be significant depending on the size of the CPU caches. More significant is that those instructions each take time to execute, time which is not spent doing useful work. The overhead of such a loop is apparent compared to a completely unrolled loop, in which the body of the loop is duplicated exactly as many times as it will execute. In that case, no space or execution time is wasted on instructions to repeat the body of the loop. However, the duplication caused by loop unrolling can significantly increase code size, and the larger size can even impact execution time due to cache misses. (For this reason, it's common to only partially unroll loops, such as transforming it into a loop which performs the work of four iterations in one step before repeating. This balances the advantages of unrolling with the overhead of repeating the loop.) Moreover, completely unrolling a loop is only possible for a limited number of loops: those whose number of iterations is known at compile time. For example, the following C code could be compiled and optimized into the following x86 assembly code: == Implementation == Processors with zero-overhead looping have machine instructions and registers to automatically repeat one or more instructions. Depending on the instructions available, these may only be suitable for count-controlled loops ("for loops") in which the number of iterations can be calculated in advance, or only for condition-controlled loops ("while loops") such as operations on null-terminated strings. === Examples === ==== PIC ==== In the PIC instruction set, the REPEAT and DO instructions implement zero-overhead loops. REPEAT only repeats a single instruction, while DO repeats a specified number of following instructions. ==== Blackfin ==== Blackfin offers two zero-overhead loops. The loops can be nested; if both hardware loops are configured with the same "loop end" address, loop 1 will behave as the inner loop and repeat, and loop 0 will behave as the outer loop and repeat only if loop 1 would not repeat. Loops are controlled using the LTx and LBx registers (x either 0 to 1) to set the top and bottom of the loop — that is, the first and last instructions to be executed, which can be the same for a loop with only one instruction — and LCx for the loop count. The loop repeats if LCx is nonzero at the end of the loop, in which case LCx is decremented. The loop registers can be set manually, but this would typically consume 6 bytes to load the registers, and 8–16 bytes to set up the values to be loaded. More common is to use the loop setup instruction (represented in assembly as either LOOP with pseudo-instruction LOOP_BEGIN and LOOP_END, or in a single line as LSETUP), which optionally initializes LCx and sets LTx and LBx to the desired values. This only requires 4–6 bytes, but can only set LTx and LBx within a limited range relative to where the loop setup instruction is located. ==== x86 ==== The x86 assembly language REP prefixes implement zero-overhead loops for a few instructions (namely MOVS/STOS/CMPS/LODS/SCAS). Depending on the prefix and the instruction, the instruction will be repeated a number of times with (E)CX holding the repeat count, or until a match (or non-match) is found with AL/AX/EAX or with DS:[(E)SI]. This can be used to implement some types of searches and operations on null-terminated strings.
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International World Wide Web Conference Committee

The International World Wide Web Conference Committee (abbreviated as IW3C2 also written as IW3C2) is a professional non-profit organization registered in Switzerland (Article 60ff of the Swiss Civil Code) that promotes World Wide Web research and development. The IW3C2 organizes and hosts the annual World Wide Web Conference in conjunction with the W3C. The IW3C2 was founded by Joseph Hardin and Robert Cailliau at a meeting held in Boston, United States, on 14 August 1994 to prepare for the upcoming Second International World Wide Web Conference in Chicago. The IW3C2 formally became an incorporated entity in May 1996 at the fifth conference in Paris, France. The organization is governed by laws of the Swiss Confederation and the By-laws. == Abbreviation == The abbreviation for the International World Wide Web Conference Committee as IW3C2 is as follow: I- The I is represents the leading I in International. W3- The W3 represents the three 3 leading W's in World Wide Web. C2- The C2 represents the three 2 leading C's in Conference Committee. == Mission == The mission of the IW3C2 is: To coordinate the organization and planning of the international WWW conference series and ensure that it remains the foremost conference addressing World Wide Web research and development; To promote a collaborative spirit among conference attendees that is essential to the success of the series; To ensure the global geographical diversity of conference sites and provide support to local organizers at those sites; To make sure that all content arising from these conferences and forums is permanently and openly available on the widest possible scale; To preserve the history of the conference series; To encourage the global development of the World Wide Web through collaboration with WWW standards organizations; To provide a permanent, broad-based international body to achieve these purposes. == Conferences == The conferences are organized by the IW3C2 in collaboration with local organizing committees and technical program committees. The series provides an open forum in which all opinions can be presented, subject to a strict process of peer review. The proceedings of the conference are published in the ACM Digital Library. === Endorsed conferences === The IW3C2 has endorsed regional conferences devoted to a special topic of the Web by working with endorsed conferences on cross-promotion, publicity and programs. == Membership == Members of the IW3C2 are ordinary members, ex officio members, non-voting members, and officers. === Ordinary members === Ordinary members are elected for a period of 3 years during a general meeting. Members are nominated due to their recognition in the WWW community and represent themselves. Members can be re-elected only after at least one year of absence. The following are the founding members at the time when IW3C2 was officially incorporated in May 1996: Jean-François Abramatic Tim Berners-Lee Robert Cailliau Dale Dougherty Ira Goldstein Joseph Hardin Tim Krauskopf Detlef Krömker Corinne Moore R. P. Channing Rodgers Albert Vezza Stuart Weibel Yuri Rubinsky (died prior to incorporation) The following are the current (April 2016) ordinary members: Robin Chen Chin-Wan Chung Allan Ellis Wendy Hall - IW3C2 Chair Ivan Herman Arun Iyengar - IW3C2 Vice Chair Irwin King Yoelle Maarek Luc Mariaux - IW3C2 Treasurer Daniel Schwabe - IW3C2 Vice-Chair === Ex officio members === Ex officio members are selected from the immediate past conference general co-chairs and from future conference co-chairs. Their term expires one year after the conference they organized. Ex officio members can be elected as ordinary members. The following are current (April 2016) ex officio members and the conference with which they are affiliated: Jacqueline Bourdeau - WWW2016 James Hendler - WWW2016 Rick Barrett - WWW2017 Rick Cummings - WWW2017 Laurent Flory - WWW2018 Fabien Gandon - WWW2018 === Officers === The IW3C2 officers consist of a chairperson, a vice-chair (chairperson-elect), a secretary, a treasurer, and other appointees. Officers are elected during a general meeting (usually at the annual WWW conference) and serve for one year. They can be re-elected an indefinite number of times. == The Seoul Test of Time Award == This annual award, presented at the WWW conference, is made possible by a generous contribution from the organizers of WWW2014 (Seoul Korea). Recipients are determined by the IW3C2 and honor the author, or authors, of a paper presented at a previous WWW conference that has "stood the test of time." The first award, announced at WWW2015 (Florence Italy), recognized Sergey Brin and Larry Page, the founders of Google. The recipients of the WWW2016 award are LinkIn scientist Dr. Badrul Sarwar and University of Minnesota professors George Karypis, Joseph Konstan, and John Riedl (posthumous) for their work in item-item collaborative filtering.
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Mini-STX

Mini-STX (mSTX, Mini Socket Technology EXtended, originally "Intel 5x5") is a computer motherboard form factor that was released by Intel in 2015 (as "Intel 5x5"). These motherboards measure 147mm by 140mm (5.8" x 5.5"), making them larger than "4x4" NUC (102x102mm / 4.01" x 4.01" inches) and Nano-ITX (120x120mm / 4.7" x 4.7") boards, but notably smaller than the more common Mini-ITX (170x170mm / 6.7" x 6.7") boards. Unlike these standards, which use a square shape, the Mini-STX form factor is 7mm longer from front-to-rear, making it slightly rectangular. == Mini-STX design elements == The Mini-STX design suggests (but does not require) support for: Socketed processors (e.g. LGA or PGA CPUs) Onboard power regulation circuitry, enabling direct DC power input IO ports embedded on the front and rear of the motherboard (akin to NUC, but unlike typical motherboards which often use headers instead to connect built-in ports on enclosures) == Adoption by manufacturers == This motherboard form factor is still not in particularly common use with consumer-PC manufacturers, although there are a few offerings: ASRock offers both DeskMini kits (that use mini-STX boards) and standalone motherboards, Asus offer VivoMini kits (that use mini-STX boards) and standalone motherboards, Gigabyte offers a few motherboards, and industrial PC suppliers (e.g. Kontron, Iesy, ASRock Industrial) also provide some options for mini-STX equipment. == Derivatives == ASRock developed a derivative of mini-STX, dubbed micro-STX, for their 'DeskMini GTX/RX' small form-factor PCs and industrial motherboards. Micro-STX adds an MXM slot which allows the use of special PCI Express expansion cards, including graphics or machine learning accelerators, but increases the width of the board to be extended two inches, resulting in measurements of 147 x 188 mm (5.8" x 7.4")
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Artbreeder

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

IDN Times is a digital multi-platform media outlet that provides news and entertainment for Millennials and Gen Z in Indonesia. IDN Times is one of IDN’s business units under the Digital Media pillar, founded by Winston Utomo and William Utomo on June 8, 2014. Currently, senior journalist Uni Zulfiani Lubis serves as the Editor-in-Chief of IDN Times. == History == IDN Times was initially known as Indonesian Times, a blog featuring articles written by Winston Utomo while he was working at Google Singapore. As interest and readership grew, Indonesian Times evolved into IDN Times, a digital multi-platform media company focused on delivering relevant content for Indonesia’s younger generations. == Bureau == IDN Times has a representative bureau that has spread over 12 provinces in Indonesia: == Events == === Indonesia Millennial and Gen Z Summit === The Indonesia Millennial and Gen-Z Summit (IMGS) is an annual event organized by IDN. This event aims to empower Indonesia’s younger generations through discussions and interdisciplinary collaborations. IMGS features inspirational figures, professionals, and leaders from various fields who share insights and drive positive change. The event hosts dozens of discussion sessions in collaboration with eight prominent communities. Topics covered include politics, economics, technology, and pop culture. === Indonesia Writers Festival === The Indonesia Writers Festival is an independent writing festival organized by IDN Times. The event seeks to empower Indonesians through writing by inviting experts and literacy activists from various backgrounds. == Duniaku.com == Duniaku.com is a multi-platform digital media part of IDN Times which presents content about geek culture ranging from video games, anime, comics, films, technology and gadgets. Duniaku.com was officially launched on September 6, 2019 by the Minister of Communication and Informatics Rudiantara together with CEO of IDN Media Winston Utomo and IDN Times and Editor-in-Chief of Duniaku.com Uni Lubis. == Awards == 2019 IDN won WAN-IFRA Asia Digital Media Awards 2019 as the Best Digital Project to Engage Younger and/or Millennial Audiences for IDN Times’ #MillennialsMemilih program 2020 IDN Times (IDN Times Community) won WAN-IFRA Asia Digital Media Awards 2019 in The Best in Audience Engagement category. 2021 IDN Times journalists won awards at the Subroto Award, Ministry of Energy and Mineral Resources (ESDM) on 28 September 2021. 2024 IDN Times won WAN-IFRA event at both the Asia and Global levels in Best Use of AI in Revenue Strategy. === #Interconnected22 by Pulitzer Center === One of the IDN Times journalists, Dhana Kencana, was the speaker at the #Interconnected22 conference held from June 9 to June 10, 2022, in Washington DC, United States of America. Dhana Kencana is also a grant recipient Pulitzer Center through the Rainforest Journalism Fund (RJF) program, a funding program for journalists that makes a number of coverage of the rainforest.
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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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Digital content

Digital content is any content that exists in the form of digital data. Digital content is stored on digital media or analog storage in specific formats. Forms of digital content include information that is digitally broadcast, streamed, or contained in computer files. Viewed narrowly, digital content includes popular media types, while a broader approach considers any type of digital information (e. g. digitally updated weather forecasts, GPS maps, and so on) as digital content. Digital content has increased as more households have accessed the Internet. Expanded access has made it easier for people to receive their news and watch TV online, challenging the popularity of traditional platforms. Increased access to the Internet has also led to the mass publication of digital content through individuals in the form of eBooks, blog posts, and even Facebook posts. == History == At the beginning of the Digital Revolution, computers facilitated the discovery, retrieval, and creation of new information in every field of human knowledge. As information became increasingly more accessible, the Digital Revolution also facilitated the creation of digital content. Despite an evolution to digital technology, which occurred somewhere between the late 1970s, distribution of digital content did not begin until the late 1990s with the rise in popularity of the Internet. In the past, digital content was primarily distributed through computers and the Internet. Methods of distribution are rapidly changing as the Digital Revolution brings new channels, such as mobile apps and eBooks. These new technologies will create challenges for content creators, as they determine the best channel to bring content to their consumers. Despite the benefits, new technologies have created new intellectual property issues. Users can easily share, modify, and redistribute content outside of the creator's control. While new technologies have made digital content available to large audiences, managing copyright and limiting content movement will continue to be an issue that digital content creators face in the future. == Types of digital content == Examples include: Video – Types of video content include home videos, music videos, TV shows, and movies. Many of these can be viewed on websites such as YouTube, Hulu, Paramount+, Disney+, HBO Max, and so on, in which people and companies alike can post content. However, many movies and television shows are not available for free legally, but rather can be purchased from sites such as iTunes and Amazon. Audio – Music is the most common form of audio. Spotify has emerged as a popular way for people to listen to music either over the Internet or from their computer desktop. Digital content in the form of music is also available through Pandora and last.fm, both of which allow listeners to listen to music online for no charge. Images – Photo and image sharing is another example of digital content. Popular sites used for this type of digital content includes Imgur, where people share self-created pictures, Flickr, where people share their photo albums, and DeviantArt, where people share their artwork. Popular apps that are used for images include Instagram and Snapchat. Visual Stories - Stories are a new type of digital content that got introduced by Snapchat. Since then, stories as a format has been introduced in a couple of other platforms such as Facebook and Linkedin. In 2018, Google introduced their AMP Stories, which provides content publishers with a mobile-focused format for delivering news and information as visually rich, tap-through stories. Text - Type of digital content which is available in text or written format. Blog websites which store data in form of textual format. === Paid digital content === In order to have access to more premium digital goods, consumers usually have to pay an upfront charge for digital content, or a subscription based fee. Video – Many licensed videos, such as movies and television shows, require money in order to be viewed or downloaded. Popular services used by many include streaming giant Netflix and Amazon's streaming service, as well as recent notice put forth by the online video platform YouTube. Audio – While songs can be streamed for free, generally in order to download most licensed music, consumers need to purchase songs from web stores, such as the popular iTunes. However, Spotify Premium is emerging as a new model for purchasing digital content on the web: consumers pay a monthly fee to unlimited streaming and downloading from Spotify's music library. According to a report done by IHS Inc. in 2013, the global consumer spending on digital content grew to over $57 billion in 2013, which was up almost 30% from $44 billion in 2012. In past years, the US has always been a leader in consumer expenditure on digital content, but as of 2013, many countries have emerged with great consumer expenditure. South Korea's overall digital spend per capita is now greater than the US. ==== Consolidation ==== According to research firm Ampere Analysis, in 2024, a small group of six media conglomerates; Disney, Comcast, Google, Warner Bros. Discovery, Netflix, and Paramount Global—are poised to dominate the global content market. These companies are projected to account for 51% of all global spending on content, a significant increase from 47% in 2020. Disney, in particular, is a major player, with an estimated $35.8 billion investment in television and film content, representing 14% of global spending. This significant increase, fueled by Disney's full ownership of Hulu, highlights the company's strategic focus on streaming services. A substantial portion of the projected $126 billion global content spending is allocated to streaming platforms. === Non-purchasable digital content === Not all digital content is purchasable, and is simply anything published digitally. This would include: News – in recent years newspapers have attempted to expand their readership by creating access to their newspapers digitally. As of 2012, 39% of readers learned about news from online formats, making news a prevalent form of digital content. Advertisements – as media consumers increasingly use digital formats to watch TV, check the weather, and search for content, advertisements have shifted to digital forms to keep up with their viewership. Advertisements are now being made digitally and placed on sites ranging from Facebook to YouTube. Question and Answer sites – these sites are a type of Internet forum where people can post questions they want answered, or provide responses to previous inquiries. With millions of questions posted each day, anyone has the ability to create content on these sites, so the information provided may not be 100% reliable or accurate. Popular sites include Yahoo! Answers, WikiAnswers and Quora. Web mapping – sites such as MapQuest and Google Maps provide users with map content. These sites give people the ability to quickly look up the location of a landmark and create routes to a destination. Online maps are a form of free content provided by companies such as Google and AOL, serving as much more efficient alternatives to the traditional Thomas Guide. == Business implications == === Digital companies === Digital content businesses can include news, information, and entertainment distributed over the Internet and consumed digitally by both consumers and businesses. Based on revenue, the leading digital businesses are ranked Google, China Mobile, Bloomberg, Reed Elsevier, and Apple. The 50 companies with the highest revenue are split between those offering free and paid digital content, but these top 50 companies combined generate revenue of $150 billion. === Educational opportunities === Programs such as CUNY's Macaulay Honors College in their New Media Lab, run by industry professional Robert Small, is set up to train and introduce students to the various disciplines within the digital content industry. The goal is to offer information and access to professional work opportunities. They also explore within an incubator how to create businesses and start ups within the world of digital content. There are many educational events in support of choosing digital content as a career. === Government support === The Irish government adopted a "Strategy for the Digital Content Industry in Ireland" in 2002.
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The Business Cloud

The Business Cloud is an API enabled self-service platform, developed by Domo, that provides an array of services like data connection and data visualization. == History == Domo, Inc. was founded in 2010 by Josh James who also co-founded the web analytics software company Omniture in 1996, which he took public in 2006. Domo launched the Domo Appstore, with 1,000 apps with social and mobile capabilities, in 2016. This appstore creates a network of business apps and an ecosystem of companies into a single, integrated business cloud. This decision came after Domo announced a $131 million round of funding from BlackRock. According to the company, the concept behind The Business Cloud is to connect smaller clouds relating to apps or other functional areas of a business into a single business cloud that allows self-service and other social features to customers. == Services == The Business Cloud is offered as a free service, claimed to be the world's first business cloud with Domo appstore as one of its core services. This free package includes all of the Domo's features and functionality including Domo platform, Domo Apps, visualizations, alerts, company directories, org charts, profiles, tasks and Domo Mobile. The Business Cloud allows customers to leverage their preferred cloud as well as on-premises software and monitor all aspects of their business in routine. The company is supported by a $500 million fund from investors all over the world.
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Digital anthropology

Digital anthropology is the anthropological study of the relationship between humans and digital-era technology. The field is new, and thus has a variety of names with a variety of emphases. These include techno-anthropology, digital ethnography, cyberanthropology, and virtual anthropology. == Definition and scope == Most anthropologists who use the phrase "digital anthropology" are specifically referring to online and Internet technology. The study of humans' relationship to a broader range of technology may fall under other subfields of anthropological study, such as cyborg anthropology. The Digital Anthropology Group (DANG) is classified as an interest group in the American Anthropological Association. DANG's mission includes promoting the use of digital technology as a tool of anthropological research, encouraging anthropologists to share research using digital platforms, and outlining ways for anthropologists to study digital communities. Cyberspace or the "virtual world" itself can serve as a "field" site for anthropologists, allowing the observation, analysis, and interpretation of the sociocultural phenomena springing up and taking place in any interactive space. National and transnational communities, enabled by digital technology, establish a set of social norms, practices, traditions, storied history and associated collective memory, migration periods, internal and external conflicts, potentially subconscious language features and memetic dialects comparable to those of traditional, geographically confined communities. This includes the various communities built around free and open-source software, online platforms such as Facebook, Twitter/X, Instagram, 4chan and Reddit and their respective sub-sites, and politically motivated groups like Anonymous, WikiLeaks, or the Occupy movement. A number of academic anthropologists have conducted traditional ethnographies of virtual worlds, such as Bonnie Nardi's study of World of Warcraft or Tom Boellstorff's study of Second Life. Academic Gabriella Coleman has done ethnographic work on the Debian software community and the Anonymous hacktivist network. Theorist Nancy Mauro-Flude conducts ethnographic field work on computing arts and computer subcultures such as systerserver.net a part of the communities of feminist web servers and the Feminist Internet network. Eitan Y. Wilf examines the intersection of artists' creativity and digital technology and artificial intelligence. Yongming Zhou studied how in China the internet is used to participate in politics. Eve M. Zucker and colleagues study the shift to digital memorialization of mass atrocities and the emergent role of artificial intelligence in these processes. Victoria Bernal conducted ethnographic research on the themes of nationalism and citizenship among Eritreans participating in online political engagement with their homeland. Anthropological research can help designers adapt and improve technology. Australian anthropologist Genevieve Bell did extensive user experience research at Intel that informed the company's approach to its technology, users, and market. == Methodology == === Digital fieldwork === Many digital anthropologists who study online communities use traditional methods of anthropological research. They participate in online communities in order to learn about their customs and worldviews, and back their observations with private interviews, historical research, and quantitative data. Their product is an ethnography, a qualitative description of their experience and analyses. Other anthropologists and social scientists have conducted research that emphasizes data gathered by websites and servers. However, academics often have trouble accessing user data on the same scale as social media corporations like Facebook and data mining companies like Acxiom. In terms of method, there is a disagreement in whether it is possible to conduct research exclusively online or if research will only be complete when the subjects are studied holistically, both online and offline. Tom Boellstorff, who conducted a three-year research as an avatar in the virtual world Second Life, defends the first approach, stating that it is not just possible, but necessary to engage with subjects “in their own terms”. Others, such as Daniel Miller, have argued that an ethnographic research should not exclude learning about the subject's life outside the internet. === Digital technology as a tool of anthropology === The American Anthropological Association offers an online guide for students using digital technology to store and share data. Data can be uploaded to digital databases to be stored, shared, and interpreted. Text and numerical analysis software can help produce metadata, while a codebook may help organize data. == Ethics == Online fieldwork offers new ethical challenges. According to the American Anthropological Association's ethics guidelines, anthropologists researching a community must make sure that all members of that community know they are being studied and have access to data the anthropologist produces. However, many online communities' interactions are publicly available for anyone to read, and may be preserved online for years. Digital anthropologists debate the extent to which lurking in online communities and sifting through public archives is ethical. The Association also asserts that anthropologists' ability to collect and store data at all is "a privilege", and researchers have an ethical duty to store digital data responsibly. This means protecting the identity of participants, sharing data with other anthropologists, and making backup copies of all data. == Prominent figures == Genevieve Bell is an Australian cultural anthropologist credited for pioneering the User Experience field. During her time working for Intel Corporation, Bell studied how various cultures from around the world interacted with and experienced technology. Researching and improving user experience allows companies and designers to gather data regarding how users utilize their digital products and what requires improvement or expansion. Tom Boellstorff is an anthropologist known for Coming of Age in Second Life: An Anthropologist Explores the Virtually Human where he conducted research on how engaging in virtual worlds affects the player’s sense of self. Gabriella Coleman is an American anthropologist concerned with the politics, ethics, and culture of hacking and online activism. Coleman’s most notable ethnography features the hacktivist collective Anonymous, where she argues that various genres of hacking exist according to the social conditions at play. Coleman is dedicated to making her ethnography accessible to a diverse audience, including academics and non-academics. Diana E. Forsythe was an American anthropologist of science and technology and the author of the essays featured in Studying Those Who Study Us: An Anthropologist in the World of Artificial Intelligence. She asked relevant questions such as how should humans interact with computers and how gender roles are maintained in technology-oriented occupations. Heather Horst is a sociocultural anthropologist interested in the relationship between digital social relations and material culture. Nancy Mauro-Flude is a design anthropologist whose work explores the tacit relations between embodied cognition, computational materiality, maker culture, self-hosted webserver cooperatives, creative practice, and artistic research in digital infrastructure and Internet publishing. Mizuko Ito is a Japanese cultural anthropologist specializing in technology use and the intersection between computers and the social sciences. Her primary interest is in how young people utilize media technology and how it can be used to engage students in education. Daniel Miller is an anthropologist with a concentration in digital anthropology. His research includes the smartphone and perpetual opportunism, the intent and consequences of posting on social media in various geographical locations, and how hospice patients use media to socialize in the last stage of their lives. Mike Wesch is a cultural anthropologist interested in how people share their lives, cultures, and beliefs through digital media.
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GlTF

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

FactorDaily is an Indian digital media publication founded in 2016 by Pankaj Mishra and Jayadevan PK. Mishra was formerly an Editor at TechCrunch and the Economic Times. The digital publication was launched with an intent to produce stories on the impact of technology on life in India. == History == FactorDaily began publishing in May 2016, with daily reported stories on technology, culture and life in India. Prior to its launch, the company had raised $1 million in seed funding from Accel India, Blume Ventures, Girish Mathrubootham of Freshdesk, Vijay Shekhar Sharma of PayTm, and Jay Vijayan of Tekion. Josey Puliyenthuruthel John, formerly Managing Editor at Business Today and National Corporate Editor at Mint, later joined the company as a Consulting Editor. In January 2017, FactorDaily launched its first Podcast called The Outliers. The inaugural episode featured a conversation with Manish Sharma of Printo on his journey starting up. == Awards == The FactorDaily team won the Bengaluru Editors Lab 2017, a journalism hackathon organised by the Global Editors Network (GEN). The story titled "India has 3,800 psychiatrists for 1.2bn people. Can tech step in to manage mental health?" won the first prize in the online category of the fifth Schizophrenia Research Foundation’s (SCARF) ‘Media for Mental Health’ awards. The story titled 'The dark hand of tech that stokes sex trafficking in India', won the Stop Slavery media Awards by the Thomson Reuters Foundation for the year 2020.
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TargetLink

TargetLink is a software for automatic code generation, based on a subset of Simulink/Stateflow models, produced by dSPACE GmbH. TargetLink requires an existing MATLAB/Simulink model to work on. TargetLink generates both ANSI-C and production code optimized for specific processors. It also supports the generation of AUTOSAR-compliant code for software components for the automotive sector. The management of all relevant information for code generation takes place in a central data container, called the Data Dictionary. Testing of the generated code is implemented in Simulink, which is also used for the specification of the underlying simulation models. TargetLink supports three simulation modes to test the generated code: Model-in-the-loop simulation (MIL): this mode allows the model design to be checked. An MIL simulation is also known as a floating-point simulation, since the variables are typically floating-point variables. Software-in-the-loop (SIL): the simulation is based on the execution of generated code, which runs on a PC system. The variables are typically plain or fixed point numbers. Processor-in-the-loop (PIL): in a PIL simulation, the generated code runs on the target hardware or on an evaluation board. So-called real-time frames are included, making it possible to transfer the simulation results as well as memory consumption and runtime information to the PC. The Motor Industry Software Reliability Association (MISRA) published official MISRA modeling guidelines for TargetLink in late 2007, which are particularly important for functional safety of safety-critical applications. In 2009, TÜV SÜD certified TargetLink for use during the development of safety-critical systems to ISO DIS 26262 and IEC 61508.
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Europa-Lehrmittel

The Verlag Europa-Lehrmittel Nourney, Vollmer GmbH & Co. KG (English: European educational media), based in Haan (district Gruiten) near Düsseldorf, Germany, develops educational media for vocational training and further education as used in vocational schools, universities, companies and further education institutions for industrial-technical, business, social, health as well as gastronomic professions. The contents are delivered in print as well as in digital formats, including offered as apps, simulations, software and through an exam preparation portal. The publisher has its own digital learning platform, the Europathek. General partner is Nourney, Vollmer & Co. GmbH, a school and specialist book publisher. == History == The publishing house was founded in Wuppertal in 1948, when the first books were published. In Eislingen/Fils a construction office was set up to create the technical drawings for the textbooks - today the drawing office of the publisher in Ostfildern. A little over 40 years later, in 1989, a new company building was built in Haan-Gruiten. In 1997, Europa-Lehrmittel acquired the Fachbuchverlag Pfanneberg with its program aimed at gastronomic professions. Further program expansions in vocational training were realized by adding titles of the publishing houses Lau, Gerber, Pluspunkt, parts of the Verlag Handwerk und Technik program and that of the Gildebuchverlag. In 2013, the scientific and technical university titles of Verlag Harri Deutsch were taken over, including the bestselling "Handbook of Mathematics" by Ilya Nikolaevich Bronstein and Konstantin Adolfovic Semendyayev. In addition, Europa-Lehrmittel's first exam apps appeared. In 2017, the publisher introduced its own digital learning platform named Europathek. The Prüfungsdoc (English: Examination Doc) platform, which enables targeted online preparation for exams, went online the same year. In 2018, the titles of the Düsseldorf publishing house SOL for self-organized learning were incorporated into Europa-Lehrmittel's program. == Program == The program meanwhile includes well over 2000 print and digital publications, including specialist titles on metal technology, automotive and electrical engineering (like "Tabellenbuch Metall" (English: Metal Book of Tables)), on business administration, as well as works for the gastronomic profession (e.g. "Der junge Koch" (English: The Young Cook)). Many titles also appear as licensed editions in over 20 different languages on all continents. All contents are presented in an annual catalog, on the website, in schools, in companies, and at trade fairs and congresses. The publisher is a member of the Deutscher Hauswirtschaftsrat. == Digital educational media == Europathek: In addition to digital books, Europathek also provides media packages, additional materials and e-learning contents. The online contents of the 'media shelf' can be used per web browser. There are also software versions and apps for offline use, with the help of which the obtained titles can be viewed after downloading. Prüfungsdoc (English: Examination Doc): Prüfungsdoc offers web-based learning, practice and repetition to prepare for the intermediate and final examinations. This includes simulations of the exams with direct evaluation of the results.
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Nitro Zeus

Nitro Zeus is the project name for a well funded comprehensive cyber attack plan created as a mitigation strategy after the Stuxnet malware campaign and its aftermath. Unlike Stuxnet, that was loaded onto a system after the design phase to affect its proper operation, Nitro Zeus's objectives are built into a system during the design phase unbeknownst to the system users. This built-in feature allows a more assured and effective cyber attack against the system's users. The information about its existence was raised during research and interviews carried out by Alex Gibney for his Zero Days documentary film. The proposed long term widespread infiltration of major Iranian systems would disrupt and degrade communications, power grid, and other vital systems as desired by the cyber attackers. This was to be achieved by electronic implants in Iranian computer networks. The project was seen as one pathway in alternatives to full-scale war.
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