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Autognostics
Autognostics is a new paradigm that describes the capacity for computer networks to be self-aware. It is considered one of the major components of Autonomic Networking. == Introduction == One of the most important characteristics of today's Internet that has contributed to its success is its basic design principle: a simple and transparent core with intelligence at the edges (the so-called "end-to-end principle"). Based on this principle, the network carries data without knowing the characteristics of that data (e.g., voice, video, etc.) - only the end-points have application-specific knowledge. If something goes wrong with the data, only the edge may be able to recognize that since it knows about the application and what the expected behavior is. The core has no information about what should happen with that data - it only forwards packets. Although an effective and beneficial attribute, this design principle has also led to many of today's problems, limitations, and frustrations. Currently, it is almost impossible for most end-users to know why certain network-based applications do not work well and what they need to do to make it better. Also, network operators who interact with the core in low-level terms such as router configuration have problems expressing their high-level goals into low-level actions. In high-level terms, this may be summarized as a weak coupling between the network and application layers of the overall system. As a consequence of the Internet end-to-end principle, the network performance experienced by a particular application is difficult to attribute based on the behavior of the individual elements. At any given moment, the measure of performance between any two points is typically unknown and applications must operate blindly. As a further consequence, changes to the configuration of given element, or changes in the end-to-end path, cannot easily be validated. Optimization and provisioning cannot then be automated except against only the simplest design specifications. There is an increasing interest in Autonomic Networking research, and a strong conviction that an evolution from the current networking status quo is necessary. Although to date there have not been any practical implementations demonstrating the benefits of an effective autonomic networking paradigm, there seems to be a consensus as to the characteristics which such implementations would need to demonstrate. These specifically include continuous monitoring, identifying, diagnosing and fixing problems based on high-level policies and objectives. Autognostics, as a major part of the autonomic networking concept, intends to bring networks to a new level of awareness and eliminate the lack of visibility which currently exists in today's networks. == Definition == Autognostics is a new paradigm that describes the capacity for computer networks to be self-aware, in part and as a whole, and dynamically adapt to the applications running on them by autonomously monitoring, identifying, diagnosing, resolving issues, subsequently verifying that any remediation was successful, and reporting the impact with respect to the application's use (i.e., providing visibility into the changes to networks and their effects). Although similar to the concept of network awareness, i.e., the capability of network devices and applications to be aware of network characteristics (see References section below), it is noteworthy that autognostics takes that concept one step further. The main difference is the auto part of autognostics, which entails that network devices are self-aware of network characteristics, and have the capability to adapt themselves as a result of continuous monitoring and diagnostics. == Path to autognostics == Autognostics, or in other words deep self-knowledge, can be best described as the ability of a network to know itself and the applications that run on it. This knowledge is used to autonomously adapt to dynamic network and application conditions such as utilization, capacity, quality of service/application/user experience, etc. In order to achieve autognosis, networks need a means to: Continuously monitor/test the network for application-specific performance Analyze the monitoring/test data to detect problems (e.g., performance degradation) Diagnose, identify and localize sources of degradation Automatically take actions to resolve problems via remediation/provisioning Verify the problems have been resolved (potentially rolling back changes if ineffective) Subsequently, continue to monitor/test for performance
Server-sent events
Server-Sent Events (SSE) is a server push technology enabling a client to receive automatic updates from a server via an HTTP connection, and describes how servers can initiate data transmission towards clients once an initial client connection has been established. They are commonly used to send message updates or continuous data streams to a browser client and designed to enhance native, cross-browser streaming through a JavaScript API called EventSource, through which a client requests a particular URL in order to receive an event stream. The EventSource API is standardized as part of HTML Living Standard by the WHATWG. The media type for SSE is text/event-stream. All modern browsers support server-sent events: Firefox 6+, Google Chrome 6+, Opera 11.5+, Safari 5+, Microsoft Edge 79+, Brave. Since SSE does not use either persistent connections nor chunked transfer encoding, HTTP/1.1 is not a technical requirement. == History == The SSE mechanism was first specified by Ian Hickson as part of the "WHATWG Web Applications 1.0" proposal starting in 2004. In September 2006, the Opera web browser implemented the experimental technology in a feature called "Server-Sent Events". The W3C published Server-Sent Events as a Recommendation on February 3, 2015, after years of development through Working Drafts and Candidate Recommendations. == Example == == Technology == When sending high-frequency data , the server must manage backpressure to prevent saturating clients. This is mitigated in the following ways: Client-side buffering: Browsers have limited buffer space for incoming server-sent events Adaptive rate limiting: Servers can adjust event frequency and monitor connection health Event batching: Combining multiple events into larger and less frequent transmissions
Video game
A video game, computer game, or simply game is an electronic game that involves interaction with a user interface or input device (such as a joystick, controller, keyboard, or motion sensing device) to generate visual feedback from a display device, most commonly shown in a video format on a television set, computer monitor, flat-panel display or touchscreen on handheld devices, or a virtual reality headset. Most modern video games are audiovisual, with audio complement delivered through speakers or headphones, and sometimes also with other types of sensory feedback (e.g., haptic technology that provides tactile sensations). Some video games also allow microphone and webcam inputs for in-game chatting and livestreaming. Video games are typically categorized according to their hardware platform, which traditionally includes arcade video games, console games, and computer games (which includes LAN games, online games, and browser games). More recently, the video game industry has expanded onto mobile gaming through mobile devices (such as smartphones and tablet computers), virtual and augmented reality systems, and remote cloud gaming. Video games are also classified into a wide range of genres based on their style of gameplay and target audience. The first video game prototypes in the 1950s and 1960s were simple extensions of electronic games using video-like output from large, room-sized mainframe computers. The first consumer video game was the arcade video game Computer Space in 1971, which took inspiration from the earlier 1962 computer game Spacewar!. In 1972 came the now-iconic video game Pong and the first home console, the Magnavox Odyssey. The industry grew quickly during the "golden age" of arcade video games from the late 1970s to early 1980s but suffered from the crash of the North American video game market in 1983 due to loss of publishing control and saturation of the market. Following the crash, the industry matured, was dominated by Japanese companies such as Nintendo, Sega, and Sony, and established practices and methods around the development and distribution of video games to prevent a similar crash in the future, many of which continue to be followed. In the 2000s, the core industry centered on "AAA" games, leaving little room for riskier experimental games. Coupled with the availability of the Internet and digital distribution, this gave room for independent video game development (or "indie games") to gain prominence into the 2010s. Since then, the commercial importance of the video game industry has been increasing. The emerging Asian markets and proliferation of smartphone games in particular are altering player demographics towards casual and cozy gaming, and increasing monetization by incorporating games as a service. Today, video game development requires numerous skills, vision, teamwork, and liaisons between different parties, including developers, publishers, distributors, retailers, hardware manufacturers, and other marketers, to successfully bring a game to its consumers. As of 2020, the global video game market had estimated annual revenues of US$159 billion across hardware, software, and services, which is three times the size of the global music industry and four times that of the film industry in 2019, making it a formidable heavyweight across the modern entertainment industry. The video game market is also a major influence behind the electronics industry, where personal computer component, console, and peripheral sales, as well as consumer demands for better game performance, have been powerful driving factors for hardware design and innovation. == Origins == Early video games used interactive electronic devices with various display formats. The earliest example dates to 1947—a "cathode-ray tube amusement device" was filed for a patent on 25 January 1947, by Thomas T. Goldsmith Jr. and Estle Ray Mann, and issued on 14 December 1948, as U.S. Patent 2455992. Inspired by radar display technology, it consisted of an analog device allowing a user to control the parabolic arc of a dot on the screen to simulate a missile being fired at targets, which were paper drawings fixed to the screen. Other early examples include the Nimrod computer at the 1951 Festival of Britain; Christopher Strachey's Checkers, possibly the first game to display visuals on an electronic screen in 1952; OXO, a tic-tac-toe computer game by Alexander S. Douglas for the EDSAC in 1952; Tennis for Two, an electronic interactive game engineered by William Higinbotham in 1958; and Spacewar!, written by Massachusetts Institute of Technology students Martin Graetz, Steve Russell, and Wayne Wiitanen's on a DEC PDP-1 computer in 1962. Each game had different means of display: NIMROD had a panel of lights to play the game of Nim, OXO had a graphical display to play tic-tac-toe, Tennis for Two had an oscilloscope to display a side view of a tennis court, and Spacewar! had the DEC PDP-1's vector display to have two spaceships battle each other. These inventions laid the foundation for modern video games. In 1966, while working at Sanders Associates, Ralph H. Baer devised a system to play a basic table tennis game on a television screen. With the company's approval, Baer created the prototype known as the "Brown Box". Sanders patented Baer's innovations and licensed them to Magnavox, which commercialized the technology as the first home video game console, the Magnavox Odyssey, released in 1972. Separately, Nolan Bushnell and Ted Dabney, inspired by seeing Spacewar! running at Stanford University, devised a similar version running in a smaller coin-operated arcade cabinet using a less expensive computer. This was released as Computer Space, the first arcade video game, in 1971. Bushnell and Dabney went on to form Atari, Inc., and with Allan Alcorn, created their second arcade game in 1972, the hit ping pong-style Pong, which was directly inspired by the table tennis game on the Odyssey. Atari made a home version of Pong, which was released by Christmas 1975. The success of the Odyssey and Pong, both as an arcade game and home machine, launched the video game industry. Both Baer and Bushnell have been titled "Father of Video Games" for their contributions. == Terminology == The term "video game" was developed to describe electronic games played on a video display rather than on a teletype printer, audio speaker, or similar device. This also distinguished from handheld electronic games such as Merlin, which commonly used LED lights for indicators not in combination for imaging purposes. "Computer game" may also be used as a descriptor, as all these types of games essentially require the use of a computer processor; in some cases, it is used interchangeably with "video game". Particularly in the United Kingdom and Western Europe, this is common due to the historic relevance of domestically produced microcomputers. Other terms used include digital game, for example, by the Australian Bureau of Statistics. The term "computer game" can also refer to PC games, which are played primarily on personal computers or other flexible hardware systems, to distinguish them from console games, arcade games, or mobile games. Other terms, such as "television game", "telegame", or "TV game", had been used in the 1970s and early 1980s, particularly for home gaming consoles that rely on connection to a television set. However, these terms were also used interchangeably with "video game" in the 1970s, primarily due to "video" and "television" being synonymous. In Japan, where consoles like the Odyssey were first imported and then made within the country by the large television manufacturers such as Toshiba and Sharp Corporation, such games are known as "TV games", "TV geemu", or "terebi geemu". The term "TV game" is still commonly used into the 21st century. "Electronic game" may also be used to refer to video games, but this also incorporates devices like early handheld electronic games that lack any video output. The first appearance of the term "video game" emerged around 1973. The Oxford English Dictionary cited a 10 November 1973 BusinessWeek article as the first printed use of the term. Though Bushnell believed the term came from a vending magazine review of Computer Space in 1971, a review of the major vending magazines Vending Times and Cashbox showed that the term may have come even earlier, appearing first in a letter dated July 10, 1972. In the letter, Bushnell uses the term "video game" twice. Per video game historian Keith Smith, the sudden appearance suggested that the term had been proposed and readily adopted by those in the field. Around March 1973, Ed Adlum, who ran Cashbox's coin-operated section until 1972 and then later founded RePlay Magazine, covering the coin-op amusement field, in 1975, used the term in an article in March 1973. In a September 1982 issue of RePlay, Adlum is credited with first naming these games as "video games": "RePlay
Death and the Internet
A recent extension to the cultural relationship with death is the increasing number of people who die having created a large amount of digital content, such as social media profiles, that will remain after death. This may result in concern and confusion, because of automated features of dormant accounts (e.g. birthday reminders), uncertainty of the deceased's preferences that profiles be deleted or left as a memorial, and whether information that may violate the deceased's privacy (such as email or browser history) should be made accessible to family. Issues with how this information is sensitively dealt with are further complicated as it may belong to the service provider (not the deceased) and many do not have clear policies on what happens to the accounts of deceased users. While some sites, including Facebook and X (formerly Twitter), have policies related to death, others remain dormant until if applicable, deleted due to inactivity or transferred to family or friends. The FADA (Fiduciary Access to Digital Assets Act) was set in place to make it possible to transfer digital possessions legally. More broadly, the heavy increase in social media use is affecting cultural practices surrounding death. "Virtual funerals" and other forms of previously physical memorabilia are being introduced into the digital world, complete with public details of a person's life and death. == E-mail == Gmail and Hotmail allow the email accounts of the deceased to be accessed provided certain requirements are met. Yahoo! Mail will not provide access, citing the No Right of Survivorship and Non-Transferability clause in the Yahoo! terms of service. In 2005, Yahoo! was ordered by the Probate Court of Oakland County, Michigan, to release emails of deceased US Marine Justin Ellsworth to his father, John Ellsworth. == By website == === Facebook === ==== Policies ==== In its early days, Facebook used to delete profiles of dead people, but does not anymore. In October 2009, the company introduced "memorial pages" in response to multiple user requests related to the 2007 Virginia Tech shooting. After receiving a proof of death via a special form, the profile would be converted into a tribute page with minimal personal details, where friends and family members could share their grief. In February 2015, Facebook allowed users to appoint a friend or family member as a "legacy contact" with the rights to manage their page after death. It also gave Facebook users an option to have their account permanently deleted when they die. As of January 2019, all 3 options were active. ==== Controversies ==== In 2013, BuzzFeed criticized Facebook for the lack of control over memorialization that resulted in a "Facebook death" prank aimed at locking users out of their own accounts. In 2017, Reuters reported that a German court rejected a mother's demand to access her deceased daughter's memorialized account stating that the right to private telecommunications outweighed the right to inheritance. In July 2018, Dubai's DIFC Courts ruling clarified that Facebook, Twitter and other social media accounts should be bequeathed in legally binding will. Social media networks have also been criticized for not responding to relatives' requests to alter information on memorialized accounts. Another criticism is that Facebook users often are unaware that their content is ultimately owned not by them, but by Facebook. === Dropbox === ==== Policies ==== Dropbox determines inactive accounts by looking at sign-ins, file shares, and file activity over the previous 12 months. Once an account is determined inactive, Dropbox deletes the files on the account. To request access to the account of a deceased person, heirs are required to send appropriate documents by physical mail. === Google === ==== Policies ==== In April 2013, Google announced the creation of the 'Inactive Account Manager', which allows users of Google services to set up a process in which ownership and control of inactive accounts is transferred to a delegated user. Google also allows users to submit a range of requests regarding accounts belonging to deceased users. Google works with immediate family members and representatives to close online accounts in some cases once a user is known to be deceased, and in certain circumstances may also provide content from a deceased user's account. === X (formerly Twitter) === ==== Policies ==== Until 2010, Twitter (launched in July 2006) did not have a policy on handling deceased user accounts, and simply deleted timelines of deceased users. In August 2010, Twitter allowed memorialization of accounts upon request from family members, and also provided them with an option of either deleting the account or obtaining a permanent backup of the deceased user's public tweets. In 2014, Twitter updated its policy to include an option to delete deceased user photographs. This policy was implemented after multiple Twitter trolls sent Zelda Williams, daughter of Robin Williams, photoshopped images of her father. As of January 2019, the only option that Twitter offered for the accounts of dead people was account deactivation. Previously published content is not removed. To deactivate an account Twitter requires an immediate family member to present a copy of their ID and a death certificate of the deceased. Twitter specified that it does not provide account access to anyone, but does allow people having account login information to continue posting. A prominent example is Roger Ebert's account maintained by his wife Chaz. ==== Controversies ==== In 2012, The Next Web columnist Martin Bryant noticed that since Twitter, unlike Facebook, did not have a "one account per real person" emphasis, memorializing accounts presented a difficulty to the service. He also criticized the service for the lack of control over hacking of such accounts and disapproved the practice of passing dead people's usernames to new owners after a certain period of inactivity. In 2013, Variety ran a feature about Cory Monteith's Twitter account that had 1.5 million followers at the moment on his death and gained almost 1 million new followers afterwards. Monteith's fans also launched #DontDeleteCorysTwitter campaign. As of February 2019, the celebrity's account had 1.63 million followers. Various media reported awkward incidents related to automatic posting and account hacking. === iTunes === ==== Policies ==== iCloud and iTunes accounts are "non transferable" since the content is not owned — users only have a licence to access it. === Wikipedia === Users who have made at least several hundred edits or are otherwise known for substantial contributions to Wikipedia can be noted at a central memorial page. Wikipedia user pages are ordinarily fully edit-protected after the user has died, to prevent vandalism. === YouTube === YouTube grants access to accounts of deceased persons under certain conditions. It is one of the data options that one can select to give access to a trusted contact with Google's Inactive Account Manager. === Instagram === ==== Policies ==== As of the COVID-19 pandemic, Instagram has notified its users of a delay in time of reviewing reports of deceased users due to the limited staff the pandemic has caused. Users that submit a report on a deceased user on Instagram can either memorialize the account or remove it from Instagram's platform. Through memorializing the account, Instagram secures and protects a platform of a deceased user, but per their policy, they do not supply any of the login credentials to the account. For both memorializing or removing a deceased users account, a verified user needs to submit a tangible document that shows proof of death of the user. However, to fully remove an account, the user must be a close or direct family member to the deceased person, and show proof of credibility as well. === Microsoft === ==== Policies ==== Per Microsoft's policies, they do not supply any of the login credentials to a deceased user's Microsoft account. A user does not have to contact or notify Microsoft of the deceased user, as the related user is able to close the account themselves. At default, Microsoft removes accounts after 2 years of inactivity. If the user does not have access to the deceased user's account, Microsoft recommends that the user deletes all bank accounts linked to that of the deceased to ensure no subscriptions are still going through. If the user wants to request to gain access to the deceased user's account, a court order or a subpoena has to be provided to Microsoft, but does not guarantee access to the deceased user's account. For users that live in Germany, more documentation is needed to gain access of a deceased user's account, including the deceased user's death certificate, a form of ID, and a documentation of consent from the deceased. The requesting user needs to provide a form of ID as well. == Digital inheritance == Digital inheritance is the process of handing over
Artificial psychology
Artificial psychology (AP) has had multiple meanings dating back to 19th century, with recent usage related to artificial intelligence (AI).Artificial psychology is a theoretical field related to artificial intelligence, cognitive science, and psychology, which explores how advanced AI systems may develop human-like decision-making processes. In 1999, Zhiliang Wang and Lun Xie presented a theory of artificial psychology based on artificial intelligence. They analyze human psychology using information science research methods and artificial intelligence research to probe deeper into the human mind. == Main Theory == Dan Curtis (b. 1963) proposed AP is a theoretical discipline. The theory considers the situation when an artificial intelligence approaches the level of complexity where the intelligence meets two conditions: Condition I A: Makes all of its decisions autonomously B: Is capable of making decisions based on information that is New Abstract Incomplete C: The artificial intelligence is capable of reprogramming itself based on the new data, allowing it to evolve. D: And is capable of resolving its own programming conflicts, even in the presence of incomplete data. This means that the intelligence autonomously makes value-based decisions, referring to values that the intelligence has created for itself. Condition II All four criteria are met in situations that are not part of the original operating program When both conditions are met, then, according to this theory, the possibility exists that the intelligence will reach irrational conclusions based on real or created information. At this point, the criteria are met for intervention which will not necessarily be resolved by simple re-coding of processes due to extraordinarily complex nature of the codebase itself; but rather a discussion with the intelligence in a format which more closely resembles classical (human) psychology. If the intelligence cannot be reprogrammed by directly inputting new code, but requires the intelligence to reprogram itself through a process of analysis and decision based on information provided by a human, in order for it to overcome behavior which is inconsistent with the machines purpose or ability to function normally, then artificial psychology is by definition, what is required. The level of complexity that is required before these thresholds are met is currently a subject of extensive debate. The theory of artificial psychology does not address the specifics of what those levels may be, but only that the level is sufficiently complex that the intelligence cannot simply be recoded by a software developer, and therefore dysfunctionality must be addressed through the same processes that humans must go through to address their own dysfunctionalities. Along the same lines, artificial psychology does not address the question of whether or not the intelligence is conscious. As of 2022, the level of artificial intelligence does not approach any threshold where any of the theories or principles of artificial psychology can even be tested, and therefore, artificial psychology remains a largely theoretical discipline. Even at a theoretical level, artificial psychology remains an advanced stage of artificial intelligence.
Deluxe Media
Deluxe Media Inc., also known simply as Deluxe and formerly Deluxe Entertainment Services Group, Inc., is an American multinational multimedia and entertainment service provisions company owned by Platinum Equity, founded in 1915 by Hungarian-born American film producer William Fox and headquartered in Burbank, California. The company services multiple clients in the film, television, digital content and advertising industries across the globe, and has been recognized with 10 Academy Awards for scientific and technical achievements, including developments in CinemaScope pictures (as part of 20th Century Fox) and more recently for a process of creating archival separations from digital image data. == History == Deluxe began as a film processing laboratory established in 1915 by William Fox under the name De Luxe as part of his eponymous film conglomerate corporation in Fort Lee, New Jersey. In 1916, Fox Film Corporation opened its studio in Hollywood on 13 acres at Sunset and Western. The first Deluxe film laboratory on the west coast was built on the south side of the lot (Fernwood and Serrano), and the laboratory was moved to the new Fox studios building on Manhattan's west side in 1919, where it remained for over 40 years. The "business manager" (later president) of the laboratory was Alan E. Freedman, who guided the company into the 1960s. In 1927, Fox (Deluxe) received a patent for sound-on-film, the Fox Movietone system. In 1927, "Sunrise: A Song of Two Humans," an early Movietone film, opened. Fox Movietone News, ran weekly in theaters until 1963. During the Great Depression, Fox Film Corporation encountered financial difficulties. Among the actions taken to maintain liquidity, Fox sold the laboratories in 1932 to Freedman, who renamed the operation Deluxe. Under Freedman's leadership, Deluxe added two more plants in Chicago and Toronto. In January 1934, Fox was granted an option to rebuy DeLuxe before December 31, 1938. On 31 May 1935, under Sidney Kent, Fox merged his film company with Twentieth Century Pictures to form The Twentieth Century-Fox Film Corporation following a bank-infused reorganisation. The merged company then exercised this option in July 1936, with Freedman remaining as president. In 1953, Deluxe developed the widescreen format CinemaScope. Titles included "There's No Business Like Show Business" (1954) and "The Seven Year Itch" (1955). Other innovations included the processing and sound striping of CinemaScope, and were patented and/or received Academy awards. In 1962 Freedman retired. In the 1960s, Deluxe closed its New York plant, followed by its plants in Chicago and Toronto, as motion picture production declined on the East Coast. In 1972, Deluxe began large volume videocassette production, with a billion by 1996. In 1990, The Rank Organisation acquired Deluxe from Fox. In 2000, Deluxe began large volume DVD production. In 2006, The Rank Organisation sold Deluxe Film Group to MacAndrews & Forbes, renamed Deluxe Entertainment Services Group. On 9 February 2012, Deluxe acquired Hong Kong–based visual effects and post-production company, Centro Digital Pictures, with its founder John Chu remaining as president while reporting to Alaric McAusland, managing director for Deluxe in Australia. In May 2014, Deluxe shut down its Los Angeles plant at Sunset & Western Studios complex, where other studios themselves were demolished way back in 1971. Also that same year, Deluxe closed the Hollywood film labs, and they gave thousands of orphaned film elements to the Academy Film Archive. The Deluxe Laboratories Collection at the Academy Film Archive consists of over 7,500 35mm and 16mm film elements of various motion pictures dating back to the early 1960s. On 22 April 2015, Deluxe and its longtime competitor, Technicolor S.A., announced that they had entered into a binding agreement to create a new joint venture known as Deluxe Technicolor Digital Cinema which will specialize in cinema mastering, distribution and management services. Deluxe got acquired on 4 September 2019 by creditors in a debt-for-equity swap to avoid bankruptcy. On 3 October 2019, Deluxe filed for bankruptcy, pending in the Southern District of New York. The same month on the 24th, the company received court approval to emerge from bankruptcy with a comprehensive restructuring plan. On July 1, 2020, Platinum Equity agreed to acquire the distribution division of Deluxe and re-unite with former CEO Cyril Drabinsky who would merge CineVizion, a film distribution company he founded after leaving Deluxe in 2016, into it. The companies Company 3 and Method Studios which formed the creative divisions of Deluxe were sold to Framestore in November 2020.