A personal network is a set of human contacts known to an individual, with whom that individual would expect to interact at intervals to support a given set of activities. In other words, a personal network is a group of caring, dedicated people who are committed to maintain a relationship with a person in order to support a given set of activities. Having a strong personal network requires being connected to a network of resources for mutual development and growth. Personal networks can be understood by: who knows you what you know about them what they know about you what are you learning together how you work at that Personal networks are intended to be mutually beneficial, extending the concept of teamwork beyond the immediate peer group. The term is usually encountered in the workplace, though it could apply equally to other pursuits outside work. Personal networking is the practice of developing and maintaining a personal network, which is usually undertaken over an extended period. The concept is related to business networking and is often encouraged by large organizations, in the hope of improving productivity, and so a number of tools exist to support the maintenance of networks. Many of these tools are IT-based, and use Web 2.0 technologies. == History of networking and business success == In the second half of the twentieth century, U.S. advocates for workplace equity popularized the term and concept of networking as part of a larger social capital lexicon—which also includes terms such as glass ceiling, role model, mentoring, and gatekeeper—serving to identify and address the problems barring non-dominant groups from professional success. Mainstream business literature subsequently adopted the terms and concepts, promoting them as pathways to success for all career climbers. In 1970 these terms were not in the general American vocabulary; by the mid-1990s they had become part of everyday speech. Before the mid-twentieth century, what we call networking today was framed in the language of family and friendship. These close personal relationships provided a range of opportunities to preferred subsets of people, such as access to job opportunities, information, credit, and partnerships. Family networks and nepotism have proven particularly strong throughout history. However, other common bonds—from ethnicity and religion to school ties and club memberships—can connect subsets of people as well. Of course people whom insiders consider undesirable have been barred from such networks, with important consequences. Those who tap into influential networks can be nurtured toward success. Those who are shut out from networks can lose hope of success. Numerous business heroes of the past—such as Benjamin Franklin, Andrew Carnegie, Henry Ford, and John D. Rockefeller—exploited networks to great effect. The business networks that seemed natural and transparent to these white men were a closed book to women and minorities for much of American history. Drawing on work from the social sciences, these outsider groups had to identify and then harness the mechanisms behind networking's power. A prominent early example of this process was the formation of corporate caucuses by black men at Xerox starting in 1969. Groups of black salesmen met regularly to share information about Xerox's culture and strategies for navigating it most effectively. Through confrontation and collaboration with a relatively accommodating upper management, the caucuses helped open opportunities for high-performing black employees. The popular and business press began using the terms "network" and "networking" in the mid-1970s in the context of businesswomen consciously pursuing this strategy. Authors encouraged female workers to recognize and exploit the informal workplace systems that provided advancement. They urged women to identify mentors, use social contacts, and build peer and authority networks. The push for networking drew on ideas and relationships from the era's feminist movement, and dictionaries of the time explicitly linked business networking to women's efforts to succeed in the workplace. Since the closing decades of the twentieth century, networking has become a pervasive term and concept in American society. People now invoke networking in relation to everything from business to child rearing to science. While ambitious careerists seek networks as an indispensable talisman, companies purposefully encourage networking among their employees to boost performance and gain competitive advantage. At the same time, Americans are forgetting the workplace activism that first illuminated the power of networking. Unfortunately, this loss of historical context can fuel a backlash against outsider groups who still seek to synthesize networks so they can access the same opportunities enjoyed by insiders. == Characteristics of networks == Broadly speaking, all networks have the following characteristics: Purpose – A network can be established for learning, mission, business, idea, and family or personal reasons. Structure – A network is a group of interlinked entities that form a cluster. Most social structures tend to be characterized by dense clusters of strong connections. Style – The place, space, pace and style of interaction of the networks give an understanding of the style of the networks. Namkee Park, Seungyoon Lee and Jang Hyun Kim examined the relations between personal network characteristics and Facebook use. According to their study, personal networks are investigated through several structural characteristics, which can be categorized into three major dimensions according to the level of analysis: Dyadic tie attributes which include the characteristics of ego-alter ties such as duration, multiplexity, and proximity. Ego-alter tie attributes represent various dimensions of relationships between the focal person and their close contacts. First, tie duration refers to the length of time since the tie was originally initiated, which indicates the duration of relationships. Second, multiplexity includes a focal individual's degree of involvement in various types of interactions with network members. The third dimension is the physical proximity between ego and alter. Theories of proximity suggest that physical proximity between people affects their interaction and subsequently, their formation of network ties. The characteristics of alter-alter ties including personal network density. When moving to ties at the alter-alter level, ego-network density, which refers to the extent to which one's alters are connected with each other, is an important dimension of personal networks. Dense personal network structure indicates close interpersonal contacts among alters, and consequently, is considered to promote the sharing of resources. On the other hand, loose connections, or structural holes in ego-networks, have been found to facilitate the flow of information and to provide advantages in searching and obtaining resources (e.g., getting a job). The composition of alter attributes centered on the heterogeneity of alters in one's personal network. The heterogeneity of alters in one's personal network is associated with access to diverse resources and information It is expected, thus, that the heterogeneity attributes may enhance the focal actor's social activities. Each of these characteristics represents unique aspects of individuals' network relationships. == Types of personal networks == Personal networks can be used for two main reasons: social and professional. In 2012, LinkedIn along with TNS conducted a survey of 6,000 social network users to understand the difference between personal social networks and personal professional networks. The "Mindset Divide" of users of these networks was compared as follows: Emotions: Personal social networks: Nostalgia, fun, distraction. Personal professional networks: Achievement, success, aspiration. Use: Personal social networks: Users are in a casual mindset often just passing time. They use social networks to socialize, stay in touch, be entertained and kill time. Personal professional networks: In this purposeful mindset, users invest time to improve themselves and their future. These networks are used to maintain professional identity, make useful contacts, search for opportunities and stay in touch. Content: Personal professional networks: These provide information about career, brand updates and current affairs. Professional development: Personal development networks: These provide access to those who can provide information, knowledge, advice, support, expertise, guidance, and concrete resources to learn and work effectively—thus those who support the continuing professional development. == Personal network management == Personal network management (PNM) is a crucial aspect of personal information management and can be understood as the practice of managing the links and connections for social and profession
Google Clips
Google Clips is a discontinued miniature clip-on camera device developed by Google. == History == It was announced on October 4, 2017 and went on sale on January 27, 2018. Google Clips automatically captured video clips (without audio) at moments its machine learning algorithms determined to be interesting or relevant. An indicator flashed when the camera was looking for scenes to capture. Google Clips' artificial intelligence (AI) could learn the faces of people to take photographs with certain people, and could automatically set lighting and framing. It had 16 GB of storage built-in storage and could record clips for up to 3 hours. This camera was originally priced at US$249 in the United States. It was withdrawn from sale on October 15, 2019, but supported until the end of December 2021. == Reception == The Independent wrote that Google Clips is "an impressive little device, but one that also has the potential to feel very creepy." According to The Verge's generally negative review, "it didn't capture anything special" over two weeks of testing.
Darwin among the Machines
"Darwin among the Machines" is a letter to the editor published in The Press newspaper on 13 June 1863 in Christchurch, New Zealand. The title, which was chosen by the author, references the work of Charles Darwin. Written by Samuel Butler but signed Cellarius, the letter raised the possibility that machines were a kind of "mechanical life" undergoing constant evolution, and that eventually machines might supplant humans as the dominant species. == Book of the Machines == Butler developed this and subsequent articles into The Book of the Machines, three chapters of Erewhon, published anonymously in 1872. The Erewhonian society Butler envisioned had long ago undergone a revolution that destroyed most mechanical inventions. The narrator of the story finds a book that details the reasons for this revolution, which he translates for the reader. Despite the initial popularity of Erewhon, Butler commented in the preface to the second edition that reviewers had "in some cases been inclined to treat the chapters on Machines as an attempt to reduce Mr. Darwin's theory to an absurdity." He protested that "few things would be more distasteful to me than any attempt to laugh at Mr. Darwin", but also added "I am surprised, however, that the book at which such an example of the specious misuse of analogy would seem most naturally levelled should have occurred to no reviewer; neither shall I mention the name of the book here, though I should fancy that the hint given will suffice", which may suggest that the chapter on Machines was in fact a satire intended to illustrate the "specious misuse of analogy", even if the target was not Darwin; Butler, fearing that he had offended Darwin, wrote him a letter explaining that the actual target was Joseph Butler's 1736 The Analogy of Religion, Natural and Revealed, to the Constitution and Course of Nature. The Victorian scholar Herbert Sussman has suggested that although Butler's exploration of machine evolution was intended to be whimsical, he may also have been genuinely interested in the notion that living organisms are a type of mechanism and was exploring this notion with his writings on machines, while the philosopher Louis Flaccus called it "a mixture of fun, satire, and thoughtful speculation." == Evolution of Global Intelligence == George Dyson applies Butler's original premise to the artificial life and intelligence of Alan Turing in Darwin Among the Machines: The Evolution of Global Intelligence (1998) ISBN 0-7382-0030-1, to suggest that the internet is a living, sentient being. Dyson's main claim is that the evolution of a conscious mind from today's technology is inevitable. It is not clear whether this will be a single mind or multiple minds, how smart that mind would be, and even if we will be able to communicate with it. He also clearly suggests that there are forms of intelligence on Earth that we are currently unable to understand. From the book: "What mind, if any, will become apprehensive of the great coiling of ideas now under way is not a meaningless question, but it is still too early in the game to expect an answer that is meaningful to us."
The Old Axolotl
The Old Axolotl (Polish: Starość aksolotla) is a 2015 digital-only novel by Polish science-fiction author Jacek Dukaj. The novel was released in Polish on March 10, 2015, and shortly afterward, on March 24 that year, in English (translated by Stanley Bill). It has been described as "an experiment in reading (and creating) the electronic literature of the future". It is Dukaj's first novel to be published in English, though several of his short stories (The Golden Galley, 1996, The Iron General, 2010, The Apocrypha of Lem, 2011) have been translated prior to this. The novel has inspired two Netflix original series: the 2020 Belgian Into the Night, and its 2022 Turkish language spin-off Yakamoz S-245. == Plot == The novel presents a post-apocalyptic, cyberpunk vision of Earth where biological life has been wiped out, inhabited by robots and mechs, many of which are humans whose consciousness has been digitized in the wake of an extinction event. == Significance and analysis == The novel is an example of electronic literature, available only in digital formats, and has no traditional paper version. It was designed from the beginning not only to incorporate more traditional elements such as illustrations, but also hypertext, and 3D-printable models of main robotic characters designed by Alex Jaeger, the art director of Transformers films. The novel composition is layered, with the narrative layer, an encyclopedic/hyperlinked footnote layer, and a multimedia layer, including illustrations and a short promotional video by the Oscar-nominated Platige Image studio. One of the novel's central questions is: "What does it mean to be human?" Other subjects include post humanism and other "staples of cyberpunk and related genres, such as the artificial intelligence". The novel is representative of Dukaj's prose, posing philosophical questions about the future of man and technology. The author explained that: "stories such as The Old Axolotl that model an ‘escape from the body’ are born out of a sense of progress as a process of ‘de-animalising’ human beings through science. This has its origin in the pre-Enlightenment intuition of ‘liberation from nature’. For one of the last shackles of nature is corporeality itself, the limitations of our physicality." The other major element of the novel is Dukaj's attempts to introduce the reader to the new style of electronic literature. The novel was nominated for the 2016 Janusz A. Zajdel Award.
Tales from the Loop (role-playing game)
Tales from the Loop (Swedish: Ur Varselklotet), subtitled "Roleplaying in the '80s That Never Was", is an alternative history science fiction tabletop role-playing game published in 2017 by Free League Publishing, the international arm of Swedish game and book publisher Fria Ligan AB, and Modiphius Entertainment. The game, based on the art of Simon Stålenhag, envisions an alternative world where a group of bored and ignored preteens and teens solve mysteries caused by new technology near their hometown. == Description == === Setting === Tales from the Loop is set in an alternative history world taken from the artwork of Simon Stålenhag. According to this alternative timeline, back in the 1940s, research began on particle accelerators. In the 1960s, two massive underground particle accelerators were built in Sweden and Colorado with the promise of a harvest of technological marvels that would change everyone's lives. Tales from the Loop is set twenty years later, in the late 1980s, and the better life has not materialized. Although the particle accelerators have created robots and large skyships, the detritus of failed experiments and the ruins of abandoned high tech company buildings litter the landscape. Generally the life of the average family has not changed for the better. A campaign can either be set in the Mälaren Islands, west of the Swedish capital of Stockholm, or in a city in the Southwest United States that resembles Boulder City, Nevada. There is also a step-by-step guide for the gamemaster to use their own hometown. === Character generation === Player characters are preteens and young teenagers age 10–15 who live in a society where they are bored and largely left to themselves. Players can choose archetypes for their characters including Bookworm, Jock, Troublemaker, Popular Kid and Weirdo. Unlike most role-playing games, characters in Tales from the Loop cannot be killed, although in an ongoing campaign or due to an in-game effect, they are removed from the game if they reach the age of sixteen. === Game system === The game uses the Year Zero Engine first developed by Tomas Härenstam for the post-apocalyptic role-playing game Mutant: Year Zero. (Härenstam served as the editor and project manager for Tales from the Loop.) Problems are resolved by rolling a pool of six-sided dice, with any 6 rolled marking success. Attributes and skills (Sneak, Force, Move, Build, Tinker, Calculate, Contact, Charm, Lead, Investigate, Comprehend, and Empathize) may allow the player to add more dice to the dice pool, increasing the chances of success. However, if a character has earned a condition such as Scared or Injured, dice are removed from the dice pool. === Gameplay === The game principles are that life for the characters is dull and boring, but the area around the town is full of wonderful, mysterious things. An adventure is set up as a Mystery, and in order to successfully resolve the Mystery, characters must overcome a series of Troubles, which can range from having to be home by a certain time to dealing with a bully to disarming or otherwise overcoming a booby-trap on a door that must be opened. Each Mystery is played as a series of scenes, much like a TV drama. Although the gamemaster leads the players into the Mystery, each scene is set collaboratively with the players before action continues. As critic Jukka Kauppinen noted, "The players and the gamemaster take turns verbally staging a new scene — where we are, what it's like there — and only then what we do." === Campaign === The book presents a chronologically-linked set of four Mysteries called "The Four Seasons of Mad Science" that take place over a calendar year: "Summer Break and Killer Birds": The Kids hears pigeons having a conversation and investigate "Grown-Up Attraction": Adults start disappearing without any sign of struggle. "Creatures from the Cretaceous": The search for a missing dog leads to the discovery of creatures that don't belong in our time "I, Wagner": The Kids discover a body in a stream, and are drawn into a Mystery with robots and humans that may affect them closely. == Publication history == In 2017, Swedish artist Simon Stålenhag was raising money on Kickstarter to publish a book of his art titled Tales from the Loop. One of the stretch goals offered was the creation of a role-playing game. A second Kickstarter campaign to publish the role-playing game was initiated by Fria Ligan AB, who surpassed their crowdfunding goal and raised a total of 3,745,896 kr from 5,600 backers. The role-playing game Tales from the Loop was subsequently published as a 184-page hardcover book in 2017 by Free League Publishing, the international arm of Swedish game and book publisher Fria Ligan AB, and Modiphius Entertainment. Cover art and interior art were by Stålenhag, and cartography was by Christian Granath. A stand-alone expansion, Things from the Flood (Swedish: Flodskörden), based on Stålenhag's art book of the same name, was created by Nils Hintze, Rickard Antroia, and Tomas Härenstam. The 216-page hardcover book was published in 2019 with cover art by Stålenhag, interior art by Stålenhag and Reine Rosenberg, and cartography by Christian Granath. In 2020, the setting of the role-playing game was transferred to the TV series Tales from the Loop developed by Nathanial Halpern and Simon Stålenhag. The series tells eight stories of children's encounters with strange technology. == Reception == Shut Up & Sit Down praised Tales from the Loop for its comfortable, contemporary setting, simple rules that make the game easy to run, and the alternation between sci-fi and the kids' lives, but criticized the Type system for characters, noting "a suggested 'Pride' for the Weirdo involved being homosexual –– the only mention of queerness in the entire game. Those of us who identify as GLBTQ bristled at that: why was only the Weirdo queer, with queerness as a (possibly secret) Pride? Why not more fully address being a GLBTQ kid in the 1980s?" The review concluded, "For new RPG players, Tales is a decent game that you'll enjoy and that will make your heart burst. But you need an experienced GM who’s able to either alter the book’s mysteries or create their own, and who can put in work when poor dice rolls hold the players back." Rob Weiland of Geek & Sundry named Tales from the Loop 2017's best RPG release and praised Stålenhag's art, the collaborative nature between the GM and players, and the simplicity of running the game. Weiland concluded, "It has a simple system that is easy to explain but holds up under several plays. It has a setting that’s immediately evocative but also leaves plenty of room for GMs to build out their own world. It offers players a chance to experience the rush of memory, the pain of childhood and the wonder of movies." In a review of Tales from the Loop in Black Gate, Andrew Zimmerman Jones said, "Though not based directly on an established franchise, it draws richly from elements of popular culture that will make it resonate with many players. The focus on narrative play also means it’s a good game for people who aren’t necessarily big into learning a ton of new rules." Jukka Kauppinen, writing for the Finnish games magazine Skrolli, called the game, "downright delicious in its diversity. The science fiction world created by the Swedish artist Simon Stälenhag is, after all, both delightful vintage and tickling novelty." Kauppinen concluded, "This mutual storytelling and interaction makes this game more of a campfire circle than a traditional role-playing game. At the same time, its setting in the real world, tinged with science fiction and even horror, creates a delicious and unique adventure environment." In his 2023 book Monsters, Aliens, and Holes in the Ground, RPG historian Stu Horvath noted that the game system "pushes the players to constantly reevaluate their characters' relationships with the everyday world, for better or worse. It won't be long before navigating entanglements with parents, teachers, siblings and bullies proves just as risky to the characters, and central to the players' experience, as trying to find out what happened with the time portal or dealing with a rampaging robot." Horvath concluded, "The appeal of Tales from the Loop is Stålenhag's deep shadows and purple dusks. They hide the dangers and mysteries that often act [as] an escape hatch, a way to avoid prosaic problems." == Awards == At the 2017 Golden Geek Awards, Tales of the Loop won "RPG of the Year", and was a finalist for " Best RPG Artwork/Presentation" At the 2017 ENnie Awards, Tales from the Loops won five Gold Medals: Product of the Year Best Writing Best Setting Best Game Best Art, Interior
Eat App
Eat App is a global restaurant technology company that provides a cloud-based management platform for restaurants, hotels, and other venues. The platform enables venues to accept online reservations seamlessly, manage tables, and enhance customer relationship management (CRM). It utilizes AI to improve operational efficiency, provides marketing automation, and helps build a comprehensive guestbook. The company also offers a consumer app and website for discovering and booking restaurant tables online. According to the company, the system has seated over 100 million guests, and the number continues to grow. Eat was founded by Nezar Kadhem and David Feuillard in 2015 and has raised $13M to date from Silicon Valley's 500 startups, Middle East Venture Partners (MEVP), Derayah VC, amongst other business angels. The company is currently operational across the world, with offices in Dubai and the United States. == Product overview == === For restaurants === Eat App’s reservation system allows for a digital record of all reservations, all guests that have previously visited the restaurant, as well as analytics on the performance of the restaurant. The table management feature simplifies traditional restaurant operations by providing a live snapshot of current status, seating optimization, and shift management. The CRM and analytics suite gathers and monitors data to build a segmented guestbook for personalized marketing and provides dashboards for data-driven decision-making. Additionally, the review feature makes it easy for restaurants to automatically collect reviews from their guests. Additionally, Eat App includes a chit printer function that seamlessly prints reservation details at host stands and a review management feature that allows restaurants to manage online reviews directly within the platform. == History == In February 2015, Eat App raised $300k from Bahrain-based business angel group TENMOU. In June 2018, Eat raised $1.2 million from Dubai-based Middle East Venture Partners (MEVP). In February 2020, Eat App raised $5 million in a Series B funding round led by 500 Startups, Derayah Venture Fund, and MEVP, with participation from a few angel investors and family members. In February 2021, Eat App launched its technology with The Emaar Hospitality Group, implementing it across over 50 restaurants in Emaar properties and hotels. The cloud-based system runs natively on iPads in each restaurant, providing Emaar staff access to reservations and guest information, and integrates with the U by Emaar loyalty app to personalize service. On September 28, 2022, Eat App announced the closing of an $11 million Series B funding round. The investment was led by Middle East Venture Partners (MEVP), 500 Startups, Derayah Venture Capital, Dallah Albaraka, Ali Zaid Al Quraishi & Brothers Company, and Rasameel Investment Company, with participation from existing investors.
Generative engine optimization
Generative engine optimization (GEO) is one of the names given to the practice of structuring digital content and managing online presence to improve visibility in responses generated by generative artificial intelligence (AI) systems. The practice influences the way large language models (LLMs) retrieve, summarize, and present information in response to user queries. Related terms include answer engine optimization (AEO) and artificial intelligence optimization (AIO). The concept of GEO first appeared in response to generative AI technologies being integrated into mainstream search and information retrieval systems. Tools are used to monitor how websites and brands are cited, referenced, or incorporated into responses produced by large language models. == Terminology == Several overlapping terms describe related practices, and usage varies across practitioners, vendors, and publications. No consensus definition distinguishing these terms had been established in the academic literature as of early 2026, and the terms are frequently used interchangeably in trade and practitioner contexts. Other terms for the same concept include answer engine optimization (AEO), large language model optimization (LLMO), artificial intelligence optimization (AIO), and AI SEO. In 2026, Google released documentation entitled "Optimizing your website for generative AI features on Google Search." According to this documentation, "optimizing for generative AI search is optimizing for the search experience, and thus still SEO.” This position had previously been shared at conferences, with 2026 being the first time Google released official documentation stating it. == Factors influencing generative engine optimization == By early 2026, the focus of GEO practitioners shifted from simple keyword placement to "semantic relevance", a metric driven by the integration of advertising into conversational AI. OpenAI and Google began monetizing AI search results, which is not currently considered an aspect of generative engine optimization but is adjacent.