Ambient awareness (AmA) is a term used by social scientists to describe a form of peripheral social awareness through social media. This awareness is propagated from relatively constant contact with one's friends and colleagues via social networking platforms on the Internet. The term essentially defines the sort of omnipresent knowledge one experiences by being a regular user of these media outlets that allow a constant connection with one's social circle. According to Clive Thompson of The New York Times, ambient awareness is "very much like being physically near someone and picking up on mood through the little things; body language, sighs, stray comments". Academic Andreas Kaplan defines ambient awareness as "awareness created through regular and constant reception, and/or exchange of information fragments through social media". Two friends who regularly follow one another's digital information can already be aware of each other's lives without actually being physically present to have had a conversation. == Social == Socially speaking, ambient awareness and social media are products of the new generations who are being born or growing up in the digital age, starting circa 1998 and running to current times. Social media is personal media (what you're doing in the moment, how you feel, a picture of where you are) combined with social communication. Social media is the lattice work for ambient awareness. Without social media the state of ambient awareness cannot exist. Artificial Social Networking Intelligence (ASNI) refers to the application of artificial intelligence within social networking services and social media platforms. It encompasses various technologies and techniques used to automate, personalize, enhance, improve, and synchronize user's interactions and experiences within social networks. ASNI is expected to evolve rapidly, influencing how we interact online and shaping their digital experiences. Transparency, ethical considerations, media influence bias, and user control over data will be crucial to ensure responsible development and positive impact. A significant feature of social media is that it is created by those who also consume it. Mostly, those participating in this phenomenon are adolescents, college age, or young adult professionals. According to Dr. Mimi Ito, a cultural anthropologist and Professor in Residence at the University of California at Irvine, the mobile device is the greatest proxy device used to create and distribute Social Media. She reportedly states that "teenagers capture and produce their own media, and stay in constant ambient contact with each other..." using mobile devices. Usually while doing this they are consuming other forms of media such as music or video content via their smart phones, tablets, or other similar devices. Effectively this has led social scientists to believe that learning and multitasking will have a new face as the products of the digital generation enter the work force and begin to integrate their learning methods into the standard preexisting business models of today. Professors Kaplan and Haenlein see ambient awareness as one of the major reasons for the success of such microblogging sites as Twitter. == Origins == The earliest available technology that could be used for constant social contact is the cell phone. For the first time, people could be contacted readily and at will beyond the confines of their work or homes. Then later, with the additional service of texting, one can see the somewhat primitive form of the status update. Since the text message only allows for 160 characters to transmit pertinent information it paved the way for the status update as we know it today. The transition from only having a few points of regular long distance contact, to being constantly available via cell phone, is what primed society for social networking websites. Perhaps the first instance where these websites created the possibility of larger scale ambient awareness was when Facebook installed the news feed. The news feed automatically sends compiled information on all of a users contacts activities directly to them so that they can access all of the happenings in their world from one location. For the first time, becoming someone's Facebook friend was the equivalent of subscribing to a feed of their daily minutiae. Since this innovation, a new wave of micro-blogging services have emerged, such as Twitter or Tumblr. Although these services have often been criticized as containing seemingly meaningless snippets of information, when a follower gathers a certain amount of information, they begin to obtain an ambient understanding of who they are following. This has led to the mass usage of social media as not only a social tool but also as a marketing and business tool. == Uses in marketing == Websites such as Twitter, YouTube, Facebook, and Myspace, among many others, have been used by people in all forms of business to create a closer digital/ambient bond with their clientele base. This is most notably seen in the music industry where social media networking has become the mainstay of all advertising for independent and major artists. The effect of this type of ambient marketing is that the consumer begins to get a sense of the artist's life style and personality. In this way social media outlets and ambient awareness have managed to tighten the gap between consumers and producers in all areas of business. == Uses in business processes == As web-based collaboration tools and social project management suites proliferate, the addition of activity streams to those products help to create business context-specific ambient awareness, and produce a new class of products, such as social project management platforms.
Captions (app)
Mirage (formerly known as Captions) is a video-generating, video-editing and AI research company headquartered in New York City. Their first app, Captions, is available on iOS, Android, and Web and offers a suite of tools aimed at streamlining the creation and editing of videos. Their enterprise platform, Mirage Studio, generates AI actors and videos for marketing assets and video campaigns. == History == Mirage was co-founded by Gaurav Misra and Dwight Churchill. During Misra's time leading design engineering at Snap Inc., he followed the rise of a new category of video, the "talking video." In 2021, Misra left Snap to found Mirage with his former colleague Churchill. Later that year, the Captions app launched with early backing from venture capital firms Sequoia Capital and Andreessen Horowitz as well as individual investors. In 2023, the company released Lipdub, an Al dubbing app which translates any video with spoken audio into 28 languages. In October 2023, Captions shared that it maintained over 100,000 daily active users with "about a million" videos being created monthly. In November 2024, Captions acquired AlpacaML, a generative AI company that focused on art and other images. In June 2025, Captions launched Mirage Studio, for marketers and advertising agencies. In September 2025, Captions rebranded their company to Mirage. This change reflects the company's focus on developing their proprietary foundation model and future video products. == Products == The Captions app offers features to automate common production tasks including captioning, editing, dubbing, script creation, and music integration. Mirage Studio allows users to generate AI avatars and create short-form videos from prompts or audio. == Awards == In 2023, the company was recognized as part of Fast Company's "Next Big Things In Tech" series. In 2024, the company won 2 Webby Awards for Best Use of AI & Machine Learning and Creative Production.
Digital signage
Digital signage is a segment of electronic signage that uses digital display technologies to present multimedia content in both public and private environments. Content may include video, images, text, or interactive media and is typically displayed for purposes such as advertising, information dissemination, branding, or entertainment. Digital signage systems can be either networked or standalone. Networked systems are managed through centralized content management systems (CMS), often cloud-based, enabling remote updates, scheduling, real-time data integration, and dynamic content delivery. These systems may also incorporate audience analytics, IoT sensors, or AI-driven personalization. Standalone systems, by contrast, operate without a network connection. They rely on local media playback via USB drives, SD cards, or internal storage. These solutions are simpler and suitable for locations where connectivity is limited or content changes infrequently. == Applications of digital signage == Digital signage is widely used in transportation hubs, retail stores, restaurants, corporate buildings, hotels, educational institutions, healthcare facilities, and public spaces. One prominent application of digital signage is Digital Out-of-Home (DOOH) advertising, which leverages digital signage displays in public spaces to deliver targeted advertisements to people outside of their homes. DOOH has become a significant segment of digital signage, providing advertisers with a dynamic and contextually relevant way to engage with audiences. == Components == === Hardware components === Digital signage hardware includes the physical equipment used to show multimedia content in public and private spaces. ==== Display devices ==== Display devices are the most prominent components of a digital signage system, serving as the primary medium for presenting content. Display devices come in various technologies, such as LCD, LED, and OLED formats, each offering different advantages in terms of clarity, color reproduction, and energy efficiency. In addition to flat-panel displays, projectors are also commonly used in digital signage, particularly in large-scale settings. Projectors can cast large-format visuals onto walls, screens, or other surfaces, providing flexibility in display size and positioning. Screen sizes vary widely to suit different applications. Smaller panels are often used in kiosks and point-of-sale systems, while larger displays, such as video walls and projection surfaces, are deployed in venues like stadiums, auditoriums, and other public spaces. Many digital signage displays are also equipped with touchscreen capabilities, allowing for interactive applications. These interactive displays are commonly used in information kiosks, wayfinding systems, and self-service applications. ==== Playback devices ==== Playback devices are specialized hardware components that manage the storage, processing, and transmission of multimedia content to digital signage displays and projectors. They serve as the crucial link between the content management system (CMS) and the visual output, ensuring seamless playback of static images, video files, animated graphics, and real-time content, such as news feeds. Playback devices can be standalone units or integrated into display hardware using System-on-Chip (SoC) technology. The latter reduces hardware complexity and installation time, making the system more efficient. These devices support remote or local content updates, allowing digital signage operators to manage networks effectively. Content can be updated via cloud-based platforms for centralized control or through direct interfaces on-site, depending on the system's configuration and deployment requirements. ==== Mounting systems ==== Mounting systems provide structural support for digital signage displays, enabling deployment across diverse environments. Typical configurations include wall mounts, ceiling mounts, and floor stands each engineered to meet specific spatial and functional requirements. === Software components === Digital signage software is responsible for content creation, scheduling, and management. It enables users to manage and distribute content to one or more playback devices. ==== Software compatibility ==== Digital signage software supports various operating systems, including Android, Windows, Linux, iOS, tvOS, webOS, Tizen, ChromeOS, macOS, and others. This allows customers to choose the hardware and software solution that best suits their digital signage needs. == Interactivity == Interactivity in digital signage allows users to interact directly with displays using input methods like touch, gestures, voice, or proximity sensors. This feature enables real-time responses and personalized content, improving the user experience. Interactive digital signage is commonly used in places like retail, transportation, education, and public spaces to create engaging and informative interactions. Additionally, self-service kiosks are often integrated into interactive signage solutions, allowing users to perform tasks such as ordering products, checking in for flights, accessing information, or making payments. These kiosks empower users to complete transactions or obtain services independently, improving efficiency and convenience in high-traffic locations. == Audience measurement and context-aware content adaptation == === Audience measurement === Cameras can be integrated into digital signage systems to enable audience measurement. They are used to detect and count viewers, estimate demographics such as age and gender, measure dwell time and attention, and sometimes analyze emotional reactions using computer vision techniques. This process is valuable for understanding audience behavior and refining business strategies. Privacy concerns are addressed by anonymizing collected data and avoiding the storage of personally identifiable information. === Context-aware digital signage === Context-aware digital signage refers to systems that adjust content based on environmental or audience data. The infrastructure supporting context awareness, including sensors and analytics systems, also facilitates the collection of audience insights. While these insights may be primarily used for reporting, optimization, or planning future campaigns rather than immediate content adjustments, they play a crucial role in the overall context-aware ecosystem. ==== Contextual information ==== Contextual information in the realm of context-aware digital signage refers to data about the environment, audience, and other factors that influence how digital signage content is displayed. This information helps the system to deliver more relevant, timely, and personalized content to its audience. Contextual information can include, but is not limited to: Audience demographics — this can involve detecting the age, gender, or even emotional state of viewers through cameras or sensors. It helps tailor content to specific audience segments, improving engagement. Time and weather — the system may adjust content based on the time of day or current weather conditions. For example, weather-appropriate content (like a raincoat ad on a rainy day) or time-specific content (like dinner menu promotions in the evening) can be shown. Emergency information — in situations of emergency, systems can prioritize displaying urgent notifications such as fire alerts, disaster warnings, or evacuation instructions. This can be crucial for public safety in crowded environments or densely populated areas. The system may adapt content in real-time to inform and guide individuals to safety, offering location-specific instructions or emergency service contacts. == Challenges == === Display blindness === Digital signage in public spaces has been found to lose visibility, significantly diminishing its ability to capture attention. This issue, known as "Display Blindness", was identified by Müller et al. and refers to the phenomenon where digital advertisements are largely overlooked by passersby. Observations indicate that many of these advertisements fail to resonate with their audience, often being irrelevant or unengaging, which leads to passive reception and reduced interaction. == Comparison with print signage == Digital signage and traditional print signage serve similar purposes by delivering visual information to a target audience, but they differ significantly in terms of flexibility, cost, maintenance, and environmental impact. Digital signage is advantageous in low-light or nighttime environments, where its internal illumination ensures visibility without the need for external lighting, unlike printed signs, which may require additional fixtures to be seen after dark. === Content and flexibility === Digital signage allows for dynamic and real-time content updates, often controlled remotely through content management systems. This makes it well-suited for environments where information chan
Cultural technology
Cultural technology (Korean: 문화기술; Hanja: 文化技術; RR: munhwagisul) is a system used by South Korean talent agencies to promote K-pop culture throughout the world as part of the Korean Wave. The system was developed by Lee Soo-man, founder of talent agency and record company SM Entertainment. == History == === Coinage === During a speech at the Stanford Graduate School of Business in 2011, Lee said he coined the term "cultural technology" as a system about fourteen years prior, when S.M. Entertainment decided to promote its K-pop artists to all of Asia. In the late 1990s, Lee and his colleagues created a manual on cultural technology, which specified the steps needed to popularize K-pop artists outside South Korea. "The manual, which all S.M. employees are instructed to learn, explains when to bring in foreign composers, producers, and choreographers; what chord progressions to use in what country; the precise color of eyeshadow a performer should wear in a particular country; the exact hand gestures he or she should make; and the camera angles to be used in the videos (a three-hundred-and-sixty-degree group shot to open the video, followed by a montage of individual closeups)," according to The New Yorker. The term "cultural technology," apart from Lee's systemized definition, can be traced back to the lectures of Michael White, an Australian social worker, educator, and therapeutic theorist and his works Narrative Means to Therapeutic Ends (1990) and Maps of Narrative Practice (2007). Its usage may also date further back to French philosopher Michel Foucault (1977). South Korean computer scientist Kwangyun Wohn said he coined the term "culture technology" in 1994. Cultural technology has also been one of six technology initiatives of the South Korean government since 2001. In regards to cultural technology, the Korean Wave is considered one of the most successful outcomes of government support of exporting Korean entertainment products. === The Four Core Stages === The cultural technology system originally employed by SM Entertainment since the 1990s existed in four stages: Casting, Training, Producing, and Marketing/Managing. Each of these four stages were curated to help spread the Hallyu wave through the development of its artists, and are present in the strategies of many other South Korean talent agencies when creating, debuting, and marketing groups. ==== Casting ==== While the majority of K-pop idols are from South Korea, some are from Japan, China, or Thailand. Many of Korea's entertainment companies, such as SM's Global Auditions, Bighit's Hit It auditions, and YG's Next Generation, host worldwide auditions. Scouting and streetcasting are also common, with members like BTS's Jin recruited for their looks or other surface reasons. Sometimes, casting agents go to dance schools to recruit the top dancers to be trained further at the entertainment company. ==== Training ==== Idols train extensively before debut. They receive training in dance, vocal activities, presentation, and other areas that will benefit them in the industry. Oftentimes, this training will last for years at a time, and trainees are in the proverbial dungeon. Before debut, idols and groups attempt to gain fans through pre-debut activities. SM Entertainment has a system in place called SM Rookies, which is a pre-debut team that hosts concerts and releases videos that strengthen the fanbase of the group even before their first single is released. Other forms of pre-debut activities include featuring in other, more seasoned idols' videos—like Nu'est in Orange Caramel or Exo in Girls' Generation-TTS Twinkle or BTS in Jo Kwon. One particular method of pre-debut training is coupled with casting in production shows, like Sixteen and Produce 101, in which members for a final group are selected and trained. ==== Producing ==== The production of music is integral in culture technology. For cultural technology, production of music helps create differentiated content to set trends in the K-pop world—trends that vary from music to also costume, choreography, and music videos. SM in particular focuses heavily on the expansion globally. Some companies also outsource production to more internationally famed parties, like Cube Entertainment's partnership with Skrillex for 4minute's Act. 7. ==== Marketing/Managing ==== In the marketing and management stage, talent agencies seek to broaden their reach. Often, idols have potential for being actors and actresses in dramas, or perhaps hosts/permanent members of variety shows like Kim Hee-chul in Knowing Bros. This so-called omnidirectional marketing lineup ranges over lifestyle and seeks to reach many aspects of living, like music, TV, drama, entertainment, sports, and fashion. This is also where older groups find new life, like Super Junior. Companies are not complacent but experiment constantly to develop the best marketing for the best management system. Marketing also aspires to branch out to international audiences, sometimes via the implementation of variety shows. Despite being primarily in Korean, these variety shows are accessible to all due to the simplistic, easily understood nature of shows—game-oriented shows like Run BTS! or consistently subbed shows like Weekly Idol are popular in showing the fun-loving side of idols. == Evolution into New Culture Technology == In February 2016, SM hosted a press conference discussing the future of SM and its cultural technology. Lee Soo-man announced the implementation of New Culture Technology, an SM-specific system. While SM's cultural technology in the past relied on local, Korean artists like Rain and BoA, the updated model tries to embed more and more foreign singers from strategic markets into larger girl or boy bands. These imported singers are then used to promote their acts back in their respective home countries. New Culture Technology is five projects—SM Station, EDM, Digital Platforms, Rookies Entertainment, and MCN—and one experimental group, NCT. It is a convergence and expansion of SM's four core culture technologies developed and deals heavily with interaction and the desire to innovate through communication. === SM Station === SM announced their intention of creating a new song every week for 52 weeks. Through this constant output of music, they intend to stray away from conventional forms of music and show active movement in digital music market and physical album market through freely and continuously releasing music. Additionally, this SM Station will feature collaborations between artists, producers, composers, and company brands outside the SM label. The name of SM Station is both derived from the radio station and the metaphorical train station. === NCT === Neo Culture Technology (NCT) introduced the idea of "Interactive". SM company tried to connect the targeting market, customers and artist, in order to lead the K-pop culture. NCT (Neo Culture Technology) is the new artist group formed by SM that embodies the concepts of cultural technology. With the seemingly limitless combinations and groups, SM aspires to make the whole world a stage for NCT. Since 2023, there are six NCT groups, who debuted on the digital song sales: NCT U, NCT 127, NCT Dream, WayV, NCT DoJaeJung, and NCT Wish. As of October 2023, the group consists of 25 members: Johnny, Taeyong, Yuta, Kun, Doyoung, Ten, Jaehyun, Winwin, Jungwoo, Mark, Xiaojun, Hendery, Renjun, Jeno, Haechan, Jaemin, Yangyang, Chenle, Jisung, Sion, Riku, Yushi, Daeyoung, Ryo, and Sakuya. ScreaM Records ScreaM Records has been released by SM Entertainment as an EDM label since 2016 for "SM TOWN: New Culture Technology". ScreaM Records is made for "performances made to be enjoyed". It collaborates with inside and outside Korean well-known EDM DJs. ScreaM Records has first launched collaborated song "Wave" E-Mart's home electronics store, Electro Mart. "Our goal is to provide opportunities to producers who have yet to be discovered and produce world famous DJs from the Asian scene." a ScreaM Records representative said. == Three stages of globalization == According to Lee, there are three stages necessary to popularize Korean culture outside South Korea: exporting the product, collaborating with international companies to expand the product's presence abroad, and finally creating a joint venture with international companies. As part of their joint ventures with international companies, South Korean talent agencies may hire foreign composers, producers, and choreographers to ensure K-pop songs feel "local" to foreign countries.
Usage share of operating systems
The usage share of an operating system is the percentage of computers running that operating system (OS). These statistics are estimates as wide scale OS usage data is difficult to obtain and measure. Reliable primary sources are limited and data collection methodology is not formally agreed. Currently devices connected to the internet allow for web data collection to approximately measure OS usage. As of December 2025, Android, which uses the Linux kernel, is the world's most popular operating system with 38.94% of the global market, followed by Windows with 29.99%, iOS with 15.66%, macOS with 2.14%, and other operating systems with 10.78%. This is for all device types excluding embedded devices. For smartphones and other mobile devices, Android has 72% market share, and Apple's iOS has 28%. For desktop computers and laptops, Microsoft Windows has 60.8%, followed by unknown operating systems at 19.7%, Mac OS at 14.4%, desktop Linux at 3.2%, then Google's ChromeOS at 1.6%, as of March 2026. For tablets, Apple's iPadOS (a variant of iOS) has 52% share and Android has 48% worldwide. For the top 500 most powerful supercomputers, Linux distributions have had 100% of the market share since 2017. The global server operating system market share has Linux leading with a 63.1% marketshare, followed by Windows, Unix and other operating systems. Linux is also most used for web servers, and the most common Linux distribution is Ubuntu, followed by Debian. Linux has almost caught up with the second-most popular (desktop) OS, macOS, in some regions, such as in South America, and in Asia it's at 6.4% (7% with ChromeOS) vs 9.7% for macOS. In the US, ChromeOS is third at 5.5%, followed by (desktop) Linux at 4.3%. The most numerous type of device with an operating system are embedded systems. Not all embedded systems have operating systems, instead running their application code on the "bare metal"; of those that do have operating systems, a high percentage are standalone or do not have a web browser, which makes their usage share difficult to measure. Some operating systems used in embedded systems are more widely used than some of those mentioned above; for example, modern Intel microprocessors contain an embedded management processor running a version of the Minix operating system. == Worldwide device shipments == Shipments (to stores) do not necessarily translate to sales to consumers, therefore suggesting the numbers indicate popularity and/or usage could be misleading. Not only do smartphones sell in higher numbers than PCs, but also a lot more by dollar value, with the gap only projected to widen, to well over double. According to Gartner, the following is the worldwide device shipments (referring to wholesale) by operating system from 2012 to 2016, which includes smartphones, tablets, laptops and PCs together. On 27 January 2016, Paul Thurrott summarized the operating system market, the day after Apple announced "one billion devices": Apple's "active installed base" is now one billion devices. [..] Granted, some of those Apple devices were probably sold into the marketplace years ago. But that 1 billion figure can and should be compared to the numbers Microsoft touts for Windows 10 (200 million, most recently) or Windows more generally (1.5 billion active users, a number that hasn’t moved, magically, in years), and that Google touts for Android (over 1.4 billion, as of September). My understanding of iOS is that the user base was previously thought to be around 800 million strong, and when you factor out Macs and other non-iOS Apple devices, that's probably about right. But as you can see, there are three big personal computing platforms. And only one of them is actually declining. We’ll see how Windows 10 fares over the long term, but even if Microsoft hits the 1 billion figure in 1-2 years as promised, it will by then still be the smallest of those three platforms. In 2018, Apple stopped revealing unit sales in its reports. Since 2018, the company have been publishing only revenues per device models which, nonetheless, allowed the analysers to extrapolate the unit sales from the model revenues by applying the wholesale device prices. Other hardware manufacturers usually do not report unit sales. === PC shipments === For 2015 (and earlier), Gartner reports for "the year, worldwide PC shipments declined for the fourth consecutive year, which started in 2012 with the launch of tablets" with an 8% decline in PC sales for 2015 (not including cumulative decline in sales over the previous years). Microsoft backed away from their goal of one billion Windows 10 devices in three years (or "by the middle of 2018") and reported on 26 September 2016 that Windows 10 was running on over 400 million devices, and in March 2019, on more than 800 million. In May 2020, Gartner predicted further decline in all market segments for 2020 due to COVID-19, predicting a decline of 13.6% for all devices. while the "Work from Home Trend Saved PC Market from Collapse", with only a decline of 10.5% predicted for PCs. However, in the end, according to Gartner, PC shipments grew 10.7% in the fourth quarter of 2020 and reached 275 million units in 2020, a 4.8% increase from 2019 and the highest growth in ten years." Apple in 4th place for PCs had the largest growth in shipments for a company in Q4 of 31.3%, while "the fourth quarter of 2020 was another remarkable period of growth for Chromebooks, with shipments increasing around 200% year over year to reach 11.7 million units. In 2020, Chromebook shipments increased over 80% to total nearly 30 million units, largely due to demand from the North American education market." Chromebooks sold more (30 million) than Apple's Macs worldwide (22.5 million) in pandemic year 2020. According to the Catalyst group, the year 2021 had record high PC shipments with total shipments of 341 million units (including Chromebooks), 15% higher than 2020 and 27% higher than 2019, while being the largest shipment total since 2012. According to Gartner, worldwide PC shipments declined by 16.2% in 2022, the largest annual decrease since the mid-1990s, due to geopolitical, economic, and supply chain challenges. In 2024 and 2025, due to lower adoption of Windows 11 and Microsoft ending its support to Windows 10, the number of PCs shipped with pre-installed Windows OS dropped. Pundits attribute the low Windows 11 acceptance to its steep hardware requirements and especially the TPM 2.0 ready chipset requirement and the 2024 CrowdStrike-related IT outages. Meanwhile, the macOS device market share in PC device shipments increased to new heights, with improved numbers seen for Linux devices too. In Q3 2025, the macOS pre-installed device shipments increased by 14.9% year-over-year (YoY), while the overall PC-shipments increased only by 8.1%, in Q2 2025, it grew 21.4% YoY while the global PC-shipments increased only by 6.5%, and in Q1 2025, it grew 7% YoY while the global PC-shipments increased by 4.8%. === Tablet computers shipments === In 2015, eMarketer estimated at the beginning of the year that the tablet installed base would hit one billion for the first time (with China's use at 328 million, which Google Play doesn't serve or track, and the United States's use second at 156 million). At the end of the year, because of cheap tablets – not counted by all analysts – that goal was met (even excluding cumulative sales of previous years) as: Sales quintupled to an expected 1 billion units worldwide this year, from 216 million units in 2014, according to projections from the Envisioneering Group. While that number is far higher than the 200-plus million units globally projected by research firms IDC, Gartner and Forrester, Envisioneering analyst Richard Doherty says the rival estimates miss all the cheap Asian knockoff tablets that have been churning off assembly lines.[..] Forrester says its definition of tablets "is relatively narrow" while IDC says it includes some tablets by Amazon — but not all.[..] The top tech purchase of the year continued to be the smartphone, with an expected 1.5 billion sold worldwide, according to projections from researcher IDC. Last year saw some 1.2 billion sold.[..] Computers didn’t fare as well, despite the introduction of Microsoft's latest software upgrade, Windows 10, and the expected but not realized bump it would provide for consumers looking to skip the upgrade and just get a new computer instead. Some 281 million PCs were expected to be sold, according to IDC, down from 308 million in 2014. Folks tend to be happy with the older computers and keep them for longer, as more of our daily computing activities have moved to the smartphone.[..] While Windows 10 got good reviews from tech critics, only 11% of the 1-billion-plus Windows user base opted to do the upgrade, according to Microsoft. This suggests Microsoft has a ways to go before the software gets "hit" status. Apple's new operating system El Capitan has been
Local Economic Assessment Package
The Local Economic Assessment Package (also known as “EDR-LEAP” or “LEAP Model”) is a web-based, interactive database and software tool used by local and regional agencies in the US to improve strategies for economic development. It provides local economic performance measures, and benchmarks for comparison of economic development factors against competing regions. It works by incorporating elements of economic base analysis as well as gap analysis and business cluster analysis to identify needs for improvement and paths for economic growth. The LEAP Model was originally developed for the Appalachian Regional Commission. Its theory and applications are discussed in peer-reviewed journal articles.
Static web page
A static web page, sometimes called a flat page or a stationary page, is a web page that is delivered to a web browser exactly as stored, in contrast to dynamic web pages which are generated by a web application. Consequently, a static web page displays the same information for all users, from all contexts, subject to modern capabilities of a web server to negotiate content-type or language of the document where such versions are available and the server is configured to do so. However, a webpage's JavaScript can introduce dynamic functionality which may make the static web page dynamic. == Overview == Static web pages are often HTML documents, stored as files in the file system and made available by the web server over HTTP (nevertheless URLs ending with ".html" are not always static). However, loose interpretations of the term could include web pages stored in a database, and could even include pages formatted using a template and served through an application server, as long as the page served is unchanging and presented essentially as stored. The content of static web pages remains stationary irrespective of the number of times it is viewed. Such web pages are suitable for the contents that rarely need to be updated, though modern web template systems are changing this. Maintaining large numbers of static pages as files can be impractical without automated tools, such as static site generators. Any personalization or interactivity has to run client-side, which is restricting. Cloud-based website builders, including Wix, Weebly, and Duda, offer no-code platforms for creating static and dynamic web pages through graphical interfaces, without requiring programming expertise. === Advantages === Provide improved security over dynamic websites (dynamic websites are at risk to web shell attacks if a vulnerability is present) Improved performance for end users compared to dynamic websites Fewer or no dependencies on systems such as databases or other application servers Cost savings from utilizing cloud storage, as opposed to a hosted environment Security configurations are easy to set up, which makes it more secure Static files can be cached by content delivery networks (CDNs) and other intermediate caches, which both reduces page load times at the user and also reduces load on the origin server. Static websites can have improved uptime, since they are still available through any available CDN exit node even when other CDN nodes or the origin webserver are temporarily offline. === Disadvantages === Dynamic functionality must be performed on the client side. After each update of a static website, some or all users may see old, stale, outdated previous versions instead of the latest version until the old version is flushed from CDNs and other caches. == Static site generators == Static site generators are applications that compile static websites - typically populating HTML templates in a predefined folder and file structure, with content supplied in a format such as Markdown or AsciiDoc. === Implementations === Jekyll (powers GitHub Pages) Middleman Hugo Next.js Astro.build Pelican Franklin