Information pollution (also referred to as info pollution) is the contamination of an information supply with irrelevant, redundant, unsolicited, hampering, and low-value information. Examples include misinformation, disinformation, junk e-mail, and media violence. The spread of useless and undesirable information can have a detrimental effect on human activities. It is considered to be an adverse effect of the information revolution. == Overview == Information pollution generally applies to digital communication, such as e-mail, instant messaging (IM), and social media. The term acquired particular relevance in 2003 when web usability expert Jakob Nielsen published articles discussing the topic. As early as 1971 researchers were expressing doubts about the negative effects of having to recover "valuable nodules from a slurry of garbage in which it is a randomly dispersed minor component." People use information in order to make decisions and adapt to circumstances. Cognitive studies demonstrated human beings can process only limited information before the quality of their decisions begins to deteriorate. Information overload is a related concept that can also harm decision-making. It refers to an abundance of available information, without respect to its quality. Although technology is thought to have exacerbated the problem, it is not the only cause of information pollution. Anything that distracts attention from the essential facts required to perform a task or make a decision could be considered an information pollutant. Information pollution is seen as the digital equivalent of the environmental pollution generated by industrial processes. Some authors claim that information overload is a crisis of global proportions, on the same scale as threats faced by environmental destruction. Others have expressed the need for the development of an information management paradigm that parallels environmental management practices. == Manifestations == The manifestations of information pollution can be classified into two groups: those that provoke disruption, and those that damage information quality. Typical examples of disrupting information pollutants include unsolicited electronic messages (spam) and instant messages, particularly in the workplace. Mobile phones (ring tones and content) are disruptive in many contexts. Disrupting information pollution is not always technology based. A common example are newspapers, where subscribers read less than half or even none of the articles provided. Superfluous messages, such as unnecessary labels on a map, also distract. Alternatively, information may be polluted when its quality is reduced. This may be due to inaccurate or outdated information, but it also happens when information is badly presented. For example, when content is unfocused or unclear or when they appear in cluttered, wordy, or poorly organised documents it is difficult for the reader to understand. Laws and regulations undergo changes and revisions. Handbooks and other sources used for interpreting these laws can fall years behind the changes, which can cause the public to be misinformed. == Causes == === Cultural factors === Traditionally, information has been seen positively. People are accustomed to statements like "you cannot have too much information", "the more information the better", and "knowledge is power". The publishing and marketing industries have become used to printing many copies of books, magazines, and brochures regardless of customer demand, just in case they are needed. Democratised information sharing is an example of a new technology that has made it easier for information to reach everyone. Such technologies are perceived as a sign of progress and individual empowerment, as well as a positive step to bridge the digital divide. However, they also increase the volume of distracting information, making it more difficult to distinguish valuable information from noise. The continuous use of advertising in websites, technologies, newspapers, and everyday life is known as "cultural pollution". === Information technology === Technological advances of the 20th century and, in particular, the internet play a key role in the increase of information pollution. Blogs, social networks, personal websites, and mobile technology all contribute to increased "noise". The level of pollution may depend on the context. For example, e-mail is likely to cause more information pollution in a corporate setting, whereas mobile phones are likely to be particularly disruptive in a confined space shared by multiple people, such as a train carriage. == Effects == The effects of information pollution can be seen at multiple levels. === Individual === At a personal level, information pollution affects individuals' capacity to evaluate options and find adequate solutions. This can lead to information overload, anxiety, decision paralysis, and stress. It can disrupt the learning process. === Society === Some authors argue that information pollution and information overload can cause loss of perspective and moral values. This argument may explain the indifferent attitude that society shows toward topics such as scientific discoveries, health warnings, or politics. Pollution makes people less sensitive to headlines and more cynical toward new messages. === Business === Information pollution contributes to information overload and stress, which can disrupt the kinds information processing and decision-making needed to complete tasks at work. This leads to delayed or flawed decisions, which can translate into loss of productivity and revenue as well as an increased risk of critical errors. == Solutions == Proposed solutions include management techniques and refined technology. Technology-based alternatives include decision support systems and dashboards that enable prioritisation of information. Technologies that create frequent interruptions can be replaced with less-"polluting" options. Further, technology can improve the presentation quality, aiding understanding. E-mail usage policies and information integrity assurance strategies can help. Time management and stress management can be applied; these solutions would involve setting priorities and minimising interruptions. Improved writing and presentation practices can minimise information pollution effects on others. == Related terms == The term infollution or informatization pollution was coined by Dr. Paek-Jae Cho, former president & CEO of KTC (Korean Telecommunication Corp.), in a 2002 speech at the International Telecommunications Society (ITS) 14th biennial conference to describe any undesirable side effect brought about by information technology and its applications.
Zé Delivery
Zé Delivery is a startup developed by Brazilian drinks company AmBev which offers an app for delivering drinks. The app is available for Android and iOS. Created in 2016 by AmBev's ZX Ventures hub, the service has an international presence in Argentina, Paraguay, Bolivia, Panama and the Dominican Republic. It is also present in more than 300 Brazilian cities. Because it has an extensive category of alcoholic beverages, the service is only used by people over 18. It also offers soft drinks, juices, energy drinks and other non-alcoholic beverages.
Fediverse
The Fediverse (commonly shortened to fedi) is a collection of social networking services that can communicate with each other (formally known as federation) using a common protocol. Users of different websites can send and receive status updates, multimedia files and other data across the network. The term Fediverse is a portmanteau of federation and universe. The majority of Fediverse platforms are based on free and open-source software, and create connections between servers using the ActivityPub protocol. Some software still supports older federation protocols as well, such as OStatus, the Diaspora protocol and Zot, while newer protocols such as AT Protocol connect via network bridges. Diaspora is the only actively developed software project classified under the original definition of Fediverse that does not support ActivityPub. == Design == While a traditional social networking service will host all its content on servers managed by the owner of the website, the decentralized structure of the Fediverse allows any individual or organization to host a social platform using their own servers (referred to as an "instance"). Every instance is independent, and can set its own rules and expectations. Even so, much like how users of one email service such as Gmail can still send emails to users of another service such as Outlook, users may still view content and interact with users on any other instance in the Fediverse. A user on one Mastodon instance, for example, may view and interact with posts made by a user on a different instance even if it is not running Mastodon. Instances hosted by different social networking services may also communicate with one another. A user on the microblogging platform Misskey, for example, may view and interact with posts made by users on Mastodon. Some Fediverse networks even allow users to interact with different social networking formats from the same platform. For example, a user on a social news instance running Lemmy can interact with another post from an mbin instance, a similar service, as well as microblog statuses from Mastodon. === Content moderation and user safety === Decentralized social networking platforms introduce new challenges and difficulties for user trust and safety. By nature of the Fediverse, operators of an instance are solely responsible for moderation of its content. As there is no form of centralized governance or moderation across the Fediverse, it is impossible for an instance to be "removed" from the Fediverse; it can only be defederated per an instance operator's choice, which makes that instance's content inaccessible from the operator's instance. Individual instances are responsible for defining their own content policies, which may then be enforced by its staff. Moderation of a Fediverse instance differs significantly from that of traditional social media platforms, as moderators are responsible not only for content posted by users of that instance ("local users"), but also for content posted by users of other instances ("remote users"). == History == === Historical protocols === The concept and the functionality of the Fediverse existed before the ActivityPub protocol and the term itself. One of the first projects that included support for a decentralized social networking service was Laconica, a microblogging platform which implemented the OpenMicroBlogging protocol for communicating between different installations of the software. The software was later renamed to StatusNet in 2009, before being merged into the GNU social project in 2013 along with Free Social, with the two latter servers being a fork of StatusNet. Over time, the limitations of the OpenMicroBlogging protocol became more apparent, being designed as a one-way text messaging system. To replace the ageing protocol, OStatus was devised as an open standard for microblogging, combining various other technologies like Salmon, Atom, WebSub and ActivityStreams into a single protocol used for communicating between instances. StatusNet first implemented the OStatus protocol on March 3, 2010, with version 0.9.0, and OStatus quickly became the most popular federated protocol in usage. Around the same time as OStatus was gaining popularity, the Diaspora social network was formed, using its own federated protocol. To illustrate the differences between the two protocols, the terms of the Fediverse and the federation began to enter common usage, mainly after 2017. The term "the Fediverse" was used to describe the network formed by software using the OStatus protocol, such as GNU Social, Mastodon, and Friendica, in contrast to the competing diaspora protocol under "the federation". === ActivityPub === In December 2012, the flagship StatusNet instance at the time, identi.ca, transitioned away to a new software named pump.io, with a new federation protocol to replace OStatus. The new protocol was designed to be useful for general activity streams and not just status updates, and replaced many of OStatus' external dependencies with JSON-LD and a REST API for its messaging and inbox systems, as well as making more use of ActivityStreams. While not as utilized as its OStatus predecessor, it would later become influential in the development of the ActivityPub standard. In January 2018, the W3C presented the ActivityPub protocol as a recommended standard. The standard aimed to improve the interoperability between different software packages running on a wide network of servers and to supersede both the OStatus protocol and Pump.io. By 2019, almost all software that was using OStatus had added support for ActivityPub. While Mastodon began to remove OStatus support, other projects maintained it in their code, such as Friendica (which also maintained diaspora support along with ActivityPub). === AT Protocol === A major protocol often contrasted with ActivityPub is the AT Protocol, which powers the Bluesky social network. While both protocols aim to create decentralized social networks, they employ different technical philosophies regarding user identity. Developers of the AT Protocol, including Bluesky CEO Jay Graber, have stated they chose not to use ActivityPub because it did not natively support easy "account portability", the ability for a user to move their account, data, and social graph to a new provider without relying on the original server to authorize the move. In the ActivityPub model (used by Mastodon), a user's identity is typically tied to a specific server, similar to an email address; if that server goes offline, the identity can be lost. The AT Protocol aims to solve this by separating identity from hosting, allowing users to switch providers without losing their identity. Although the two protocols are technically incompatible by default, third-party "bridges" such as Bridgy Fed have been developed to allow users on ActivityPub networks to follow and interact with users on the AT Protocol network, and vice versa. === Other Fediverse protocols === While the Fediverse has traditionally been the network most commonly referred to and used as an example regarding the subject of decentralized social networks, alternatives to it and the accompanying ActivityPub have been developed and deployed. Smaller competitors such as Nostr and Farcaster have become popular within the cryptocurrency community. These protocols have used ActivityPub as a frame of reference for which to design their own architecture, as these newer protocols use a different federation model based on publishing content to relays for distribution rather than ActivityPub's server-centric model. Despite their differences, software exists that permit the bridging of user content between these protocols, including "double-bridges" that span multiple protocols for the purpose of distributing the same content. == Adoption == Users have been slow to embrace the Fediverse due to poor user experience and excessive complexity. Following the acquisition of Twitter by Elon Musk in November 2022, certain major social networks, including Threads, Tumblr and Flipboard, expressed interest in supporting the ActivityPub protocol, as a large number of users began to migrate to Mastodon, a server that supports the Fediverse and was also the most popular alternative to Twitter at the time. Flickr also expressed support in supporting ActivityPub. As of November 2022, no information had been released by Flickr after the initial tweets by the CEO, with support for ActivityPub suspected to be on hold or cancelled. In 2024, the local government of the Stary Sącz municipality in Poland launched their own PeerTube instance in order to de facto abolish its presence on YouTube. According to the government, they stopped using YouTube for official communications "in order to adhere to the appropriate regulations". In the same year, VIVERSE, HTC Vive's metaverse platform, implemented support for ActivityPub in their chat feature, allowing users to send direct messages to other
Robert Abel and Associates
Robert Abel and Associates (RA&A) was an American pioneering animation production company specializing in television commercials made with computer graphics. Founded by Robert Abel and Con Pederson in 1971, RA&A was especially known for their art direction and won many Clio Awards. Abel and his team created some of the most advanced and impressive computer-animated works of their time, including full ray-traced renders and fluid character animation at a time when such things were largely unknown. A variety of high-profile television advertisements, graphics sequences for motion pictures (including The Andromeda Strain and Tron), and work on laserdisc video games such as Cube Quest, put Abel and his team on the map in the early 1980s. The company was also originally commissioned to create the visual effects for Star Trek: The Motion Picture, but were subsequently taken off the project for mishandling funds. The company was also notable on its work for The Jacksons' 1981 music video "Can You Feel It." RA&A was on the southwest corner of Highland Avenue and Romaine in the heart of Hollywood, California. RA&A closed in 1987 following an ill-fated merger with now-defunct Omnibus Computer Graphics, Inc., a company which had been based in Toronto. Many people who worked at RA&A went on to other ground-breaking projects, including the founding of Wavefront Technologies, Rhythm & Hues and other studios. Many RA&A people went on to win Academy Awards.
Far-Play
Far-Play (stylized fAR-Play, from augmented reality) was a software platform developed at the University of Alberta, for creating location-based, scavenger-hunt style games which use the GPS and web-connectivity features of a player's smartphone. According to the development team, "our long-term objective is to develop a general framework that supports the implementation of AARGs that are fun to play and also educational". It utilizes Layar, an augmented reality smartphone application, QR codes located at particular real-world sites, or a phone's web browser, to facilitate games which require players to be in close physical proximity to predefined "nodes". A node, referred to by the developers as a Virtual Point of Interest (vPOI), is a point in space defined by a set of map coordinates; fAR-Play uses the GPS function of a player's smartphone — or, for indoor games, which are not easily tracked by GPS satellites, specially-created QR codes— to confirm that they are adequately near a given node. Once a player is within a node's proximity, Layar's various augmented reality features can be utilized to display a range of extra content overlaid upon the physical play-space or launch another application for extra functionality. == Development and features == fAR-Play began development in 2008, emerging from a collaborative project undertaken by a group of University of Alberta students from the Computer Science and Humanities Computing departments. fAR-Play is still under development, but a beta version is available for testing by request. fAR-Play's development is managed by a team of interdisciplinary professors and students at the University of Alberta. Currently, the developing team's roster includes Supervising Professors Geoffrey Rockwell and Eleni Stroulia, Developers Lucio Gutierrez and Matthew Delaney, and Website Developers Calen Henry and Garry Wong. === Technology === fAR-Play relies on a number of open- and closed-source web technologies as tools to create, and enhance the users' experience. Layar is the recommended client-side frontend for delivering game content to the player; it is available on Android and iOS, which covers over 91% of smartphones. While Layar is not a requirement to play fAR-Play games, the application does supply additional augmented reality functionality; Layar also includes a built-in QR scanner. Depending on the design of the particular game, the player may instead use a dedicated QR code scanner; the developers recommend BeeTagg, but any such application will do. Layar or a QR code scanner are the maximum software requirements to play a fAR-Play game, making implementation of games on a wide variety of platforms relatively straightforward. fAR-Play games can also be designed for play strictly within a mobile phone's web browser. On the server side, fAR-Play's engine is composed of an Apache server which manages the system's web interface, including the mobile and desktop versions of the fAR-Play website, and a Java-based REST framework for managing the database of nodes. === Features === As a platform for designing AR games, as opposed to an AR game itself, fAR-Play offers little in the way of explicit shapes or patterns for games to take; instead, these elements are left to the game designer or players to develop. However, the nonspecific nature of nodes, the many options they offer for content delivery, and the open design of the platform are such that these elements can be developed extensively. Functionally, fAR-Play is a tool for tracking arbitrary points in space and a given player's proximity to them; what it does beyond that is up to the developers' and players' discretion. However, the fAR-Play website contains a leaderboard which tracks registered user's total scores. Players are assigned levels based on their total score, ranging from Novice — Super Player. Player profiles will display nodes that the player has recently caught, and any achievements the player has gained. Additionally, players can share their adventure progress, achievements, and the capture of vPOIs on Facebook. == How to play == In order to participate in the locative aspects of fAR-Play games, users must have an Android or iOS mobile device and access to wireless internet. Players can participate in fAR-Play anonymously, or create and sign into a fAR-Play account. Those who choose to play anonymously will lose the ability to track their progress across multiple games. When signed in, the player is presented with a list of games that are currently available for play. Each game includes a brief description and the various "adventures" available to the player. Once the game has been started, the player has three different methods for capturing nodes: they may scan a QR in the physical space, discover a node through the Layar camera virtual view, or receive a link in their device's web browser. === QR codes and Layar === QR codes can only be used as a method for capturing nodes and initiating games when there is a physical code present. In order to scan a QR code, players are required to have an application which can capture and recognize QR codes. If the player is utilizing a QR scanning application that has a built in browser, they will be required to log into fAR-Play through the app. Layar is a free to download augmented reality app, containing a built in QR code scanner, which enables its users to participate in fAR-Play games. === Capturing nodes === Layar permits the player to see nodes on their mobile device, guiding the player to their goal. Using this application, the player is able to navigate to their objective with map provided by Google Maps' API or by using their camera — Layar overlays a virtual image onto the real-world scene presented by the camera. The representations on screen expand in size as the player approaches the node destination, simulating relative distance. If the player taps any of the nodes that are presented on the screen, they will be provided additional information about that node, including the node's name and a brief description. Nodes can be captured by tapping the "capture" button. === Playing on browsers === The player can also play fAR-Play games within their mobile device's browser. By visiting https://archive.today/20131123223038/http://farplay.ualberta.ca/far-play/ on a mobile device, players will be presented with a fully realized user interface, permitting full interaction with the games. The player can capture the in game vPOIs through their browser by tapping the "nodes" button. This will bring up a list of all the accessible nodes, complete with a brief description for each location. By clicking on one of the nodes, the player is shown to a screen with a mapped location of the vPOI, an in-depth description of it, and hints. At the top of the page, the player can tap "CAPTURE THIS NODE" and advance in the game. When attempting to capture a node, the developer may or may not associate a challenge with the node. For example, in the game "Zombies ate my Campus", when players are attempting to capture a node, they're presented with a multiple choice question associated with the current node. === Game types === Players complete an adventure when they have captured all of the nodes within it. fAR-Play provides two game modes: in a Virtual Scavenger Hunt, nodes must be captured in a specific order; in a Virtual Treasure Hunt, the order is unimportant. == Existing fAR-Play games == Games currently available through fAR-Play include: Giselle Ever After Thought Hub Comics Arts Capture Challenge Pioneering Edmonton The Intelliphone Challenge A Tour of Atwater Zombies ate my Campus == For developers == fAR-Play's ultimate goal is to provide a simple, effective platform for the creation of locative augmented reality games, but the developer tools are still under active development and not openly available to the public. Access can be granted on a case-by-case basis, however, and a developer's manual is available. Users with development privileges can create new games or edit their existing games, in addition to playing their own or others' games. === Adventures === Games that are developed with fAR-Play are segmented into components called "Adventures". To progress through each game adventure, the player must reach and capture virtual points of interest, referred to in the game as vPOIs. In order to capture a vPOI, the player must travel to a physical location that is set by the developer. It is the developer's choice to include a challenge question to capture the vPOI, though it is not mandatory. A deduction of points can be implemented if the player submits an incorrect answer to a challenge question. === Points and achievements === Each of the nodes will reward the player with a predetermined number of points once they have been captured by the player. These points are added to the player's total points. Each of the adventures that are created require a predetermined number of vPOIs
Macromedia FreeHand
Macromedia FreeHand (formerly Aldus FreeHand) is a discontinued computer application for creating two-dimensional vector graphics oriented primarily to professional illustration, desktop publishing and content creation for the Web. FreeHand was similar in scope, intended market, and functionality to Adobe Illustrator, CorelDRAW and Xara Designer Pro. Because of FreeHand's dedicated page layout and text control features, it also compares to Adobe InDesign and QuarkXPress. Professions using FreeHand include graphic design, illustration, cartography, fashion and textile design, product design, architects, scientific research, and multimedia production. FreeHand was created by Altsys Corporation in 1988 and licensed to Aldus Corporation, which released versions 1 through 4. In 1994, Aldus merged with Adobe Systems and because of the overlapping market with Adobe Illustrator, FreeHand was returned to Altsys by order of the Federal Trade Commission. Altsys was later bought by Macromedia, which released FreeHand versions 5 through 11 (FreeHand MX). In 2005, Adobe Systems acquired Macromedia and its product line which included FreeHand MX, under whose ownership it presently resides. Since 2003, FreeHand development has been discontinued; in the Adobe Systems catalog, FreeHand has been replaced by Adobe Illustrator. FreeHand MX continues to run under Windows 11 and under Mac OS X 10.6 (Snow Leopard) within Rosetta, a PowerPC code emulator, and requires a registration patch supplied by Adobe. FreeHand 10 runs without problems on Mac OS X Snow Leopard with Rosetta enabled, and does not require a registration patch. Later versions of macOS can use a Mac OS X Snow Leopard Server virtual machine to emulate the required PowerPC support. == History == === Altsys and Aldus FreeHand === In 1984, James R. Von Ehr founded Altsys Corporation to develop graphics applications for personal computers. Based in Plano, Texas, the company initially produced font editing and conversion software; Fontastic Plus, Metamorphosis, and the Art Importer. Their premier PostScript font-design package, Fontographer, was released in 1986 and was the first such program on the market. With the PostScript background having been established by Fontographer, Altsys also developed FreeHand (originally called Masterpiece) as a Macintosh Postscript-based illustration program that used Bézier curves for drawing and was similar to Adobe Illustrator. FreeHand was announced as "... a Macintosh graphics program described as having all the features of Adobe's Illustrator plus drawing tools such as those in Mac Paint and Mac Draft and special effects similar to those in Cricket Draw." Seattle's Aldus Corporation acquired a licensing agreement with Altsys Corporation to release FreeHand along with their flagship product, Pagemaker, and Aldus FreeHand 1.0 was released in 1988. FreeHand's product name used intercaps; the F and H were capitalized. The partnership between the two companies continued with Altsys developing FreeHand and with Aldus controlling marketing and sales. After 1988, a competitive exchange between Aldus FreeHand and Adobe Illustrator ensued on the Macintosh platform with each software advancing new tools, achieving better speed, and matching significant features. Windows PC development also allowed Illustrator 2 (aka, Illustrator 88 on the Mac) and FreeHand 3 to release Windows versions to the graphics market. FreeHand 1.0 sold for $495 in 1988. It included the standard drawing tools and features as other draw programs including special effects in fills and screens, text manipulation tools, and full support for CMYK color printing. It was also possible to create and insert PostScript routines anywhere within the program. FreeHand performed in preview mode instead of keyline mode but performance was slower. FreeHand 2.0 sold for $495 in 1989. Besides improving on the features of FreeHand 1.0, FreeHand 2 added faster operation, Pantone colors, stroked text, flexible fill patterns and automatically import graphic assets from other programs. It added accurate control over a color monitor screen display, limited only by its resolution. FreeHand 3.0 sold for $595 in 1991. New features included resizable color, style, and layer panels including an Attributes menu. Also tighter precision of both the existing tools and aligning of objects. FH3 created compound Paths. Text could be converted to paths, applied to an ellipse, or made vertical. Carried over from version 1.0, FreeHand 3 suffered by having text entered into a dialog box instead of directly to the page. In October 1991, a 3.1 upgrade made FreeHand work with System 7 but additionally, it supported pressure-sensitive drawing which offered varying line widths with a users stroke. It improved element manipulation and added more import/export options. FreeHand 4.0 sold for $595 in 1994. Altsys ported FreeHand 3.0 to the NeXT system creating a new program named Virtuoso. Virtuoso continued its development at Altsys and version 2.0 of Virtuoso was feature-equivalent to FreeHand 4 (with the addition of NeXT-specific features such as Services and Display PostScript) and file compatible, with Virtuoso 2 able to open FreeHand 4 files and vice versa. A prominent feature of this version was the ability to type directly into the page and wrap inside or outside any shape. It also included drag-and-drop color imaging, a larger pasteboard, and a user interface that featured floating, rollup panels. The colors palette included a color mixer for adding new colors to the swatch list. Speed increases were made. In the same year of FreeHand 4 release, Adobe Systems announced merger plans with Aldus Corporation for $525 million. Fear about the end of competition between these two leading applications was reported in the media and expressed by customers (Illustrator versus FreeHand and Adobe Photoshop versus Aldus PhotoStyler.) Because of this overlapping of the market, Altsys stepped in by suing Aldus, saying that the merger deal was "a prima facie violation of a non-compete clause within the FreeHand licensing agreement." Altsys CEO Jim Von Ehr explained, "No one loves FreeHand more than we do. We will do whatever it takes to see it survive." The Federal Trade Commission issued a complaint against Adobe Systems on October 18, 1994, ordering a divestiture of FreeHand to "remedy the lessening of competition resulting from the acquisition as alleged in the Commission's complaint," and further, the FTC ordering, "That for a period of ten (10) years from the date on which this order becomes final, respondents shall not, without the prior approval of the Commission, directly or indirectly, through subsidiaries, partnerships, or otherwise .. Acquire any Professional Illustration Software or acquire or enter into any exclusive license to Professional Illustration Software;" (referring to FreeHand.) FreeHand was returned to Altsys with all licensing and marketing rights as well as Aldus FreeHand's customer list. === Macromedia Freehand === By late 1994, Altsys still retained all rights to FreeHand. Despite brief plans to keep it in-house to sell it along with Fontographer and Virtuoso, Altsys reached an agreement with the multimedia software company, Macromedia, to be acquired. This mutual agreement provided FreeHand and Fontographer a new home with ample resources for marketing, sales, and competition against the newly merged Adobe-Aldus company. Altsys would remain in Richardson, Texas, but would be renamed as the Digital Arts Group of Macromedia and was responsible for the continued development of FreeHand. Macromedia received FreeHand's 200,000 customers and expanded its traditional product line of multimedia graphics software to illustration and design graphics software. CEO James Von Ehr became a Macromedia vice-president until 1997 when he left to start another venture. FreeHand 5.0 sold for $595 in 1995. This version featured a more customizable and expanded workspace, multiple views, stronger design and editing tools, a report generator, spell check, paragraph styles, multicolor gradient fills up to 64 colors, speed improvements, and it accepted Illustrator plugins. In September 1995, a 5.5 upgrade added Photoshop plug-in support, PDF import capabilities, the Extract feature, inline graphics to text, improved auto-expanding text containers, the Crop feature, and the Create PICT Image feature. A FreeHand 5.5 upgrade was part of the FreeHand Graphics Studio (a suite that included Fontographer, Macromedia xRes image editing application, and Extreme 3D animation and modeling application). FreeHand 6.0 in 1996. This version only existed in beta. Some Freehand 7 prerelease versions were released under the Freehand 6 tag. FreeHand 7.0 sold for $399 in 1996, or $449 as part of the FreeHand Graphics Studio (see above.) Features included a redesigned user interface that allowed recombining Inspectors, Panel Tabs, Dockable Panels, Smart Cursors,
Bulletin (service)
Bulletin was an online newsletter platform launched by Facebook on July 6, 2021, that allows notable writers to make announcements directly to their subscribers. Its competitors included Substack, of which Bulletin was called a "near-clone." Writers participating in the platform's launch included Malcolm Gladwell, Mitch Albom, Tan France, Jessica Yellin, Jane Wells, Erin Andrews and Dorie Greenspan. Facebook CEO Mark Zuckerberg stated that Bulletin represented the first time that the company had "built a project that is directly for journalists and individual writers." In October 2022 Meta announced the shutdown of Bulletin. The platform went into read only mode in January 2023 and became unavailable in April 2023. == History == Facebook announced Bulletin as its online newsletter platform on June 29, 2021. and launched by the company on July 6, 2021. Facebook CEO Mark Zuckerberg touted the service by saying that Bulletin represented the first time that the company had "built a project that is directly for journalists and individual writers." Writers participating in the platform's launch included Malcolm Gladwell, Mitch Albom, Tan France, Jessica Yellin, Jane Wells, Erin Andrews and Dorie Greenspan. == Reception == Unlike competitor such as Substack, Facebook indicated upon service's launch that it would not take a cut of subscription fees of writers using that platform. According to Washington Post technology writer Will Oremus, the move was criticized by those who viewed it as a form of predatory pricing intended by Facebook to force those competitors out of business. Sandeep Vaheesan, legal director of the think tank Open Markets, called for the government to reexamine predatory pricing as a violation of antitrust law, saying, "We want companies to compete by making better products, investing in new equipment and tech — not purely relying on their financial advantages to capture market share."