The term digital citizen is used with different meanings. According to the definition provided by Karen Mossberger, one of the authors of Digital Citizenship: The Internet, Society, and Participation, digital citizens are "those who use the internet regularly and effectively". In this sense, a digital citizen is a person who uses information technology (IT) to engage in society, politics, and government. More recent elaborations of the concept define digital citizenship as the self-enactment of people’s role in society through the use of digital technologies, stressing the empowering and democratizing characteristics of the citizenship idea. These theories aim at taking into account the ever-increasing datafication of contemporary societies (symbolically linked to the Snowden leaks), which has called into question the meaning of “being (digital) citizens in a datafied society”. This condition is also referred to as the “algorithmic society”, characterised by the increasing datafication of social life and the pervasive presence of surveillance practices – see surveillance and surveillance capitalism, the use of artificial intelligence, and Big Data. Datafication presents crucial challenges for the very notion of citizenship, so that data collection can no longer be seen as an issue of privacy alone so that:We cannot simply assume that being a citizen online already means something (whether it is the ability to participate or the ability to stay safe) and then look for those whose conduct conforms to this meaning Instead, the idea of digital citizenship shall reflect the idea that we are no longer mere “users” of technologies since they shape our agency both as individuals and as citizens. Digital citizenship refers to the responsible and respectful use of technology to engage online, evaluate information, and protect human rights. It encompasses skills for communication, collaboration, empathy, privacy protection, and security to prevent data breaches and identity theft. == Digital citizenship in the "algorithmic society" == In the context of the algorithmic society, the question of digital citizenship "becomes one of the extents to which subjects are able to challenge, avoid or mediate their data double in this datafied society”. These reflections put the emphasis on the idea of the digital space (or cyberspace) as a political space where the respect of fundamental rights of the individual shall be granted (with reference both to the traditional ones as well as to new specific rights of the internet [see “digital constitutionalism”]) and where the agency and the identity of the individuals as citizens is at stake. This idea of digital citizenship is thought to be not only active but also performative, in the sense that “in societies that are increasingly mediated through digital technologies, digital acts become important means through which citizens create, enact and perform their role in society.” In particular, for Isin and Ruppert this points towards an active meaning of (digital) citizenship based on the idea that we constitute ourselves as digital citizen by claiming rights on the internet, either by saying or by doing something. == Types of digital participation == People who characterize themselves as digital citizens often use IT extensively—creating blogs, using social networks, and participating in online journalism. Although digital citizenship begins when any child, teen, or adult signs up for an email address, posts pictures online, uses e-commerce to buy merchandise online, and/or participates in any electronic function that is B2B or B2C, the process of becoming a digital citizen goes beyond simple internet activity. According to Thomas Humphrey Marshall, a British sociologist known for his work on social citizenship, a primary framework of citizenship comprises three different traditions: liberalism, republicanism, and ascriptive hierarchy. Within this framework, the digital citizen needs to exist in order to promote equal economic opportunities and increase political participation. In this way, digital technology helps to lower the barriers to entry for participation as a citizen within a society. They also have a comprehensive understanding of digital citizenship, which is the appropriate and responsible behavior when using technology. Since digital citizenship evaluates the quality of an individual's response to membership in a digital community, it often requires the participation of all community members, both visible and those who are less visible. A large part in being a responsible digital citizen encompasses digital literacy, etiquette, online safety, and an acknowledgement of private versus public information. The development of digital citizen participation can be divided into two main stages. The first stage is through information dissemination, which includes subcategories of its own: static information dissemination, characterized largely by citizens who use read-only websites where they take control of data from credible sources in order to formulate judgments or facts. Many of these websites where credible information may be found are provided by the government. dynamic information dissemination, which is more interactive and involves citizens as well as public servants. Both questions and answers can be communicated, and citizens have the opportunity to engage in question-and-answer dialogues through two-way communication platforms The second stage of digital citizen participation is citizen deliberation, which evaluates what type of participation and role that they play when attempting to ignite some sort of policy change. static citizen participants can play a role by engaging in online polls as well as through complaints and recommendations sent up, mainly toward the government who can create changes in policy decisions. dynamic citizen participants can deliberate amongst others on their thoughts and recommendations in town hall meetings or various media sites. One potential advantage of online participation through digital citizenship is increased social inclusion. In a report on civic engagement, citizen-powered democracy can be initiated either through information shared through the web, direct communication signals made by the state toward the public, and social media tactics from both private and public companies. In fact, it was found that the community-based nature of social media platforms allow individuals to feel more socially included and informed about political issues that peers have also been found to engage with, otherwise known as a "second-order effect." Understanding strategic marketing on social media would further explain social media customers’ participation. Two types of opportunities rise as a result, the first being the ability to lower barriers that can make exchanges much easier. In addition, they have the chance to participate in transformative disruption, giving people who have a historically lower political engagement to mobilize in a much easier and convenient fashion. Nonetheless, there are several challenges that face the presence of digital technologies in political participation. Both current as well as potential challenges can create significant risks for democratic processes. Not only is digital technology still seen as relatively ambiguous, it was also seen to have "less inclusivity in democratic life." Demographic groups differ considerably in the use of technology, and thus, one group could potentially be more represented than another as a result of digital participation. Another primary challenge consists in the ideology of a "filter bubble" effect. Alongside a tremendous spread of false information, internet users could reinforce existing prejudices and assist in polarizing disagreements in the public sphere. This can lead to misinformed voting and decisions based on exposure rather than on pure knowledge. A communication technology director, Van Dijk, stated, "Computerized information campaigns and mass public information systems have to be designed and supported in such a way that they help to narrow the gap between the 'information rich' and 'information poor' otherwise the spontaneous development of ICT will widen it." Access and equivalent amounts of knowledge behind digital technology must be equivalent in order for a fair system to put into place. Alongside a lack of evidenced support for technology that can be proven to be safe for citizens, the OECD has identified five struggles for the online engagement of citizens: Scale: To what extent can a society allow every individual's voice to be heard, but also not be lost in the mass debate? This can be extremely challenging for the government, which may not effectively know how to listen and respond to each individual contribution. Capacity: How can digital technology offer citizens more information on public policy-making? The opportunity for citizens to debate with one another is lacking for acti
Semantic decomposition (natural language processing)
A semantic decomposition is an algorithm that breaks down the meanings of phrases or concepts into less complex concepts. The result of a semantic decomposition is a representation of meaning. This representation can be used for tasks, such as those related to artificial intelligence or machine learning. Semantic decomposition is common in natural language processing applications. The basic idea of a semantic decomposition is taken from the learning skills of adult humans, where words are explained using other words. It is based on Meaning-text theory. Meaning-text theory is used as a theoretical linguistic framework to describe the meaning of concepts with other concepts. == Background == Given that an AI does not inherently have language, it is unable to think about the meanings behind the words of a language. An artificial notion of meaning needs to be created for a strong AI to emerge. Creating an artificial representation of meaning requires the analysis of what meaning is. Many terms are associated with meaning, including semantics, pragmatics, knowledge and understanding or word sense. Each term describes a particular aspect of meaning, and contributes to a multitude of theories explaining what meaning is. These theories need to be analyzed further to develop an artificial notion of meaning best fit for our current state of knowledge. == Graph representations == Representing meaning as a graph is one of the two ways that both an AI cognition and a linguistic researcher think about meaning (connectionist view). Logicians utilize a formal representation of meaning to build upon the idea of symbolic representation, whereas description logics describe languages and the meaning of symbols. This contention between 'neat' and 'scruffy' techniques has been discussed since the 1970s. Research has so far identified semantic measures and with that word-sense disambiguation (WSD) - the differentiation of meaning of words - as the main problem of language understanding. As an AI-complete environment, WSD is a core problem of natural language understanding. AI approaches that use knowledge-given reasoning creates a notion of meaning combining the state of the art knowledge of natural meaning with the symbolic and connectionist formalization of meaning for AI. The abstract approach is shown in Figure. First, a connectionist knowledge representation is created as a semantic network consisting of concepts and their relations to serve as the basis for the representation of meaning. This graph is built out of different knowledge sources like WordNet, Wiktionary, and BabelNET. The graph is created by lexical decomposition that recursively breaks each concept semantically down into a set of semantic primes. The primes are taken from the theory of Natural Semantic Metalanguage, which has been analyzed for usefulness in formal languages. Upon this graph marker passing is used to create the dynamic part of meaning representing thoughts. The marker passing algorithm, where symbolic information is passed along relations form one concept to another, uses node and edge interpretation to guide its markers. The node and edge interpretation model is the symbolic influence of certain concepts. Future work uses the created representation of meaning to build heuristics and evaluate them through capability matching and agent planning, chatbots or other applications of natural language understanding.
Interference (communication)
In telecommunications, an interference is that which modifies a signal in a disruptive manner, as it travels along a communication channel between its source and receiver. The term is often used to refer to the addition of unwanted signals to a useful signal. Common examples include: Electromagnetic interference (EMI) Co-channel interference (CCI), also known as crosstalk Adjacent-channel interference (ACI) Intersymbol interference (ISI) Inter-carrier interference (ICI), caused by doppler shift in OFDM modulation (multitone modulation). Common-mode interference (CMI) Conducted interference Noise is a form of interference but not all interference is noise. Radio resource management aims at reducing and controlling the co-channel and adjacent-channel interference. == Interference alignment == A solution to interference problems in wireless communication networks is interference alignment, which was crystallized by Syed Ali Jafar at the University of California, Irvine. A specialized application was previously studied by Yitzhak Birk and Tomer Kol for an index coding problem in 1998. For interference management in wireless communication, interference alignment was originally introduced by Mohammad Ali Maddah-Ali, Abolfazl S. Motahari, and Amir Keyvan Khandani, at the University of Waterloo, for communication over wireless X channels. Interference alignment was eventually established as a general principle by Jafar and Viveck R. Cadambe in 2008, when they introduced "a mechanism to align an arbitrarily large number of interferers, leading to the surprising conclusion that wireless networks are not essentially interference limited." This led to the adoption of interference alignment in the design of wireless networks. Jafar explained: My research group crystallized the concept of interference alignment and showed that through interference alignment, it is possible for everyone to access half of the total bandwidth free from interference. Initially this result was shown under a number of idealized assumptions that are typical in theoretical studies. We have since continued to work on peeling off these idealizations one at a time, to bring the theory closer to practice. Along the way we have made numerous discoveries through the lens of interference alignment, which reveal new and powerful signaling schemes. According to New York University senior researcher Paul Horn: Syed Jafar revolutionized our understanding of the capacity limits of wireless networks. He demonstrated the astounding result that each user in a wireless network can access half of the spectrum without interference from other users, regardless of how many users are sharing the spectrum. This is a truly remarkable result that has a tremendous impact on both information theory and the design of wireless networks.
Virtual advertising
Virtual advertising is the use of digital technology to insert virtual advertisements into a live or pre-recorded television show, often in sports events. This technique is often used to allow broadcasters to overlay existing physical advertising panels inside the sports venue with virtual content on the screen when broadcasting the same event in multiple regions; a Spanish football game can be broadcast in Mexico with Mexican advertisements. Similarly, virtual content can be inserted onto empty space within the sports venue such as the pitch, where physical advertising cannot be placed due to regulatory or safety reasons. Virtual advertising content is intended to be photorealistic, so that the viewer has the impression they are seeing the real in-stadium advertising. == History == Throughout the 1980s, 1990s, and 2000s, advertising on television and in newspapers was a popular method of spreading information. The marketer Jeremiah Lynwood stated that "Thirty years ago, [U.S.] consumers viewed an average of 560 ads per day", mostly from newspapers, television shows, gasoline pumps, and so on. Lynwood also stated that, at the time, "American consumers may be exposed to 3,000 commercial messages every day". Within that time frame, the exposure of daily ads have supported many local and big businesses. With the arrival of the 2000s and 2010s, technological advances have created new opportunities for many businesses to grow. In the 21st century, virtual advertising has been used to create virtual product placements in television shows hours, days, or years after they have been produced. Advertisements can be targeted to regional markets and updated over time to ensure maximum efficiency of advertising money. A good example of how virtual advertising is used in everyday life is in sports. Virtual advertising uses the latest technology to place an ad in position to the field of play, regardless of camera motion, and the players' movement over the logos. Recently, the NHL have virtually inserted sponsors on the glass above the physical boards in NHL stadiums. Big brands will not spend their time or money on hitting a certain region when their main goal is to build global brand awareness. Digital signage opportunities allow these larger brands to purchase signage in a stadium during games that are instead nationally televised. This gets even more expansive thanks to social media outlets like Twitter, Facebook, and Amazon. On the other hand, local businesses sign when there are smaller games going on. The signage is much more affordable and still reaches a vast number of people. Virtual advertising may even make live attendance more attractive to sport fans because the technology allows the playing field and surrounding areas to be cleared of advertisements while television viewers at home are exposed to commercials. For the most part, virtual advertising makes a live attendance more attractive to sports fans, because instead of being at home watching commercials, live fans are able to be clear of advertisements and enjoy the game without pop-up ads. == Technology == The technology used in virtual insertions often uses automated processes such as: automatic detection of playfield limits, automatic detection of cuts, recognition of playfield surface, recognition of existing logos for logo replacements, etc. An operator is usually dedicated to the visual control of the effect but new systems allow to use the instant replay operator. == Examples == === Live events === Virtual advertisements can be effectively integrated into live television in real-time. For example, Fox Sports Net places a virtual advertisement on the glass behind the goaltender that can only be seen on television. The advertising in the playfields is property of the club, except in some professional sports where the league or federation owns the advertising rights. However, the advertising rights broadcast on the screen are property of the broadcasters or the TV channel. This means that second right holders can benefit from selling this virtual advertising. The number of TV viewers is also higher than the people in the stadium, generating more visibility to the advertised marks and more income to the broadcasters. Virtual advertising was first introduced in football during the 2015 Audi Cup at the Allianz Arena in Munich. AIM Sport implemented the technology to digitally overlay advertisements on the stadium's perimeter boards, allowing different sponsors to be displayed to viewers in different broadcast regions. In Formula One, virtual ads are placed on the grass or as virtual billboards. In baseball, Major League Baseball places virtual advertisements on a back-board behind the batter which can be targeted differently in local markets or countries. During the World Series, MLB international broadcasts of the World Series feature different advertisements on a per market basis, showing a different ad in the US, Canadian, Latin American and Japanese markets. In tennis, e.g. during the 2019 ATP Finals in London's O2 Arena certain logos in the background were replaced for various country feeds. In table tennis e.g. during the ITTF World Tour Australian Open 2019 virtual advertising overlays were used by uniqFEED AG in Switzerland. Since the 2022–23 season, the National Hockey League (NHL) has used digitally enhanced dasherboards (DED) to erase and replace ads on each arena's boards with up to 120 thirty-second segments on all or part of the rink. Each broadcaster can use a different set of ads. DED were first used at the 2016 World Cup of Hockey, which was organized by the NHL. At UEFA Euro 2024, AIM Sport provided virtual advertising for all matches, marking one of the largest implementations of the technology in an international tournament. In addition to the tournament itself, virtual advertising was also used in the participating teams' domestic matches, extending region-specific advertising beyond the competition itself.
Audience capture
Audience capture is the phenomenon where an influencer is affected by their audience, catering to it with what they believe it wants to hear or is willing to pay for. This creates a positive feedback loop, which can lead the influencer to express more extreme views and behaviors. A famous example of audience capture can be found in the story of the online influencer Nicholas Perry, known as Nikocado Avocado. Perry started off on YouTube with videos of himself playing the violin and supporting veganism. He then shifted to videos of himself eating known as mukbang. Audience capture led him to more and more extreme eating leading him in turn to obesity and poor health. The effect can cause ideological media creators to become more politically radical, based on the feedback of their audience.
Line Drawing System-1
LDS-1 (Line Drawing System-1) was a calligraphic (vector, rather than raster) display processor and display device created by Evans & Sutherland in 1969. This model was known as the first graphics device with a graphics processing unit. == Features == It was controlled by a variety of host computers. Straight lines were smoothly rendered in real-time animation. General principles of operation were similar to the systems used today: 4x4 transformation matrices, 1x4 vertices. Possible uses included flight simulation (in the product brochure there are screenshots of landing on a carrier), scientific imaging and GIS systems. == History == The first LDS-1 was shipped to the customer (BBN) in August 1969. Only a few of these systems were ever built. One was used by the Los Angeles Times as their first typesetting/layout computer. One went to NASA Ames Research Center for Human Factors Research. Another was bought by the Port Authority of New York to develop a tugboat pilot trainer for navigation in the harbor. The MIT Dynamic Modeling had one, and there was a program for viewing an ongoing game of Maze War.
Digital backlot
A digital backlot or virtual backlot is a motion-picture set that is neither a genuine location nor a constructed studio; the shooting takes place entirely on a stage with a blank background (often a greenscreen) that will later on project an artificial environment put in during post-production. Digital backlots are mainly used for genres such as science fiction, where building a real set would be too expensive or outright impossible. == Notable films == Among the first films to introduce the technique was Mini Moni the Movie by Shinji Higuchi in 2002, predated by Rest In Peace by Stolpskott Film (2000). Others include: === Released === Rest in Peace (Sweden, 2000) – Shot entirely with green-screen. Some sections fully CGI. Casshern (Japan, 2004) – Shot on celluloid. A few practical set pieces used. Able Edwards (United States, 2004) – Shot digitally on Canon XL1 cameras. Immortal (France, 2004) – Shot on celluloid. Also showed CGI characters interacting with live actors. Sky Captain and the World of Tomorrow (United States, 2004) – Shot digitally on Sony CineAlta cameras. Sin City (United States, 2005) – Shot digitally on CineAlta cameras. Three practical sets used. MirrorMask (United States/United Kingdom, 2005) – Shot on celluloid. 80% of film uses digital backlot. Some practical set pieces used. The Cabinet of Dr. Caligari (United States, 2005) – Shot digitally. 300 (United States, 2007) – Shot on celluloid. Two practical sets used. Speed Racer (United States, 2008) – Directed by the Wachowskis. Three practical sets used. The Spirit (United States, 2008) – Director Frank Miller shot the film with the same techniques he and Robert Rodriguez used on Sin City. Avatar (United States, 2009) – Directed by James Cameron. Two practical sets used. Goemon (Japan, 2009) – The second film from Casshern helmer Kazuaki Kiriya. Alice in Wonderland (United States, 2010) – Directed by Tim Burton. Practical sets used. Sin City: A Dame to Kill For (United States 2014) – Co-directed by Robert Rodriguez and Frank Miller. Sequel to Sin City. === Upcoming === Tribes of October