PatchMatch is an algorithm used to quickly find correspondences (or matches) between small square regions (or patches) of an image. It has various applications in image editing, such as reshuffling or removing objects from images or altering their aspect ratios without cropping or noticeably stretching them. PatchMatch was first presented in a 2011 paper by researchers at Princeton University. == Algorithm == The goal of the algorithm is to find the patch correspondence by defining a nearest-neighbor field (NNF) as a function f : R 2 → R 2 {\displaystyle f:\mathbb {R} ^{2}\to \mathbb {R} ^{2}} of offsets, which is over all possible matches of patch (location of patch centers) in image A, for some distance function of two patches D {\displaystyle D} . So, for a given patch coordinate a {\displaystyle a} in image A {\displaystyle A} and its corresponding nearest neighbor b {\displaystyle b} in image B {\displaystyle B} , f ( a ) {\displaystyle f(a)} is simply b − a {\displaystyle b-a} . However, if we search for every point in image B {\displaystyle B} , the work will be too hard to complete. So the following algorithm is done in a randomized approach in order to accelerate the calculation speed. The algorithm has three main components. Initially, the nearest-neighbor field is filled with either random offsets or some prior information. Next, an iterative update process is applied to the NNF, in which good patch offsets are propagated to adjacent pixels, followed by random search in the neighborhood of the best offset found so far. Independent of these three components, the algorithm also uses a coarse-to-fine approach by building an image pyramid to obtain the better result. === Initialization === When initializing with random offsets, we use independent uniform samples across the full range of image B {\displaystyle B} . This algorithm avoids using an initial guess from the previous level of the pyramid because in this way the algorithm can avoid being trapped in local minima. === Iteration === After initialization, the algorithm attempted to perform iterative process of improving the N N F {\displaystyle NNF} . The iterations examine the offsets in scan order (from left to right, top to bottom), and each undergoes propagation followed by random search. === Propagation === We attempt to improve f ( x , y ) {\displaystyle f(x,y)} using the known offsets of f ( x − 1 , y ) {\displaystyle f(x-1,y)} and f ( x , y − 1 ) {\displaystyle f(x,y-1)} , assuming that the patch offsets are likely to be the same. That is, the algorithm will take new value for f ( x , y ) {\displaystyle f(x,y)} to be arg min ( x , y ) D ( f ( x , y ) ) , D ( f ( x − 1 , y ) ) , D ( f ( x , y − 1 ) ) {\displaystyle \arg \min \limits _{(x,y)}{D(f(x,y)),D(f(x-1,y)),D(f(x,y-1))}} . So if f ( x , y ) {\displaystyle f(x,y)} has a correct mapping and is in a coherent region R {\displaystyle R} , then all of R {\displaystyle R} below and to the right of f ( x , y ) {\displaystyle f(x,y)} will be filled with the correct mapping. Alternatively, on even iterations, the algorithm search for different direction, fill the new value to be arg min ( x , y ) { D ( f ( x , y ) ) , D ( f ( x + 1 , y ) ) , D ( f ( x , y + 1 ) ) } {\displaystyle \arg \min \limits _{(x,y)}\{D(f(x,y)),D(f(x+1,y)),D(f(x,y+1))\}} . === Random search === Let v 0 = f ( x , y ) {\displaystyle v_{0}=f(x,y)} , we attempt to improve f ( x , y ) {\displaystyle f(x,y)} by testing a sequence of candidate offsets at an exponentially decreasing distance from v 0 {\displaystyle v_{0}} u i = v 0 + w α i R i {\displaystyle u_{i}=v_{0}+w\alpha ^{i}R_{i}} where R i {\displaystyle R_{i}} is a uniform random in [ − 1 , 1 ] × [ − 1 , 1 ] {\displaystyle [-1,1]\times [-1,1]} , w {\displaystyle w} is a large window search radius which will be set to maximum picture size, and α {\displaystyle \alpha } is a fixed ratio often assigned as 1/2. This part of the algorithm allows the f ( x , y ) {\displaystyle f(x,y)} to jump out of local minimum through random process. === Halting criterion === The often used halting criterion is set the iteration times to be about 4~5. Even with low iteration, the algorithm works well.
Direct voice input
Direct voice input (DVI), sometimes called voice input control (VIC), is a style of human–machine interaction "HMI" in which the user makes voice commands to issue instructions to the machine through speech recognition. In the field of military aviation, DVI has been introduced into the cockpits of several modern military aircraft, such as the Eurofighter Typhoon, the Lockheed Martin F-35 Lightning II, the Dassault Rafale, the KF-21 Boramae and the Saab JAS 39 Gripen. Such systems have also been used for various other purposes, including industry control systems and speech recognition assistance for impaired individuals. == Overview == DVI systems can be divided into two major categories of functionality: "user-dependent" or "user-independent". A user-dependent system requires that a personal voice template to be generated for a specific person; the template for this individual has to be loaded onto their assigned machine prior to use of the DVI system for it to function properly. In contrast, a user-independent system does not require any personal voice template, being intended to respond correctly to the voice of any user. They can also be categorised between "discrete recognition" and "continuous recognition". Users of a discrete recognition system must pause between each word so that the DVI system can identify the separations between each word, while a continuous speech recognition system is capable of understanding a normal rate of speech. During the mid-2000s, researchers at the National Aerospace Laboratory in the Netherlands examined the use of DVI in the "GRACE" simulator; a total of twelve pilots participated in the ensuing experiment. The tests performed reportedly revealed that, while the hardware itself functioned well, several improvements were desirable prior to real-world deployment on aircraft since DVI operations actually consumed more time in comparison to traditional existing methods. Recommendations for improvements included the adoption of simpler syntax, the achievement of a greater recognition rate, and a decrease in response times; all of the issues encountered were determined to be of a technological nature, and were deemed feasible to resolve. The researchers concluded that in cockpits, especially during emergencies where pilots have to operate entirely on their own, a DVI system could be highly relevant, but that it was not of crucial importance during most other conceivable scenarios. Around the same time, evaluations of DVI systems for civil aviation purposes were conducted within the framework of Project SafeSound, coordinated by the European Union. It involved the observation of pilot workloads in real-world cockpits and contrasting them against pilot activity in flight simulators using both conventional systems and DVI assistance. The project aimed to enhance aviation safety and to decrease the workload in both ground and flight operations via the application of enhanced audio functions. == Applications == === Aviation === Prior to its widespread deployment, a handful of conventional military aircraft were converted to trial DVI systems; examples include the Harrier AV-8B and F-16 VISTA. In another case, a General Dynamics F-16 Fighting Falcon simulator was modified with DVI for a voice control study that was undertaken by the Royal Netherlands Air Force. DVI trials have also been conducted on helicopters, including the Boeing AH-64 Apache, showing the potential to improve flight safety and mission effectiveness. Numerous modern fighter aircraft have been outfitted with DVI systems, often in combination with various other man-machine interface schemes, such as HOTAS-compliant controls and other advanced control technologies. The combination of Voice and HOTAS control schemes has sometimes been referred to as the "V-TAS" concept. A prominent fighter aircraft to be furnished with a V-TAS cockpit is the Eurofighter Typhoon. The Lockheed Martin F-35 Lightning II also features a DVI system, which was developed by Adacel. Other examples includes the Dassault Rafale and the Saab JAS 39 Gripen. Numerous aircraft have been planned to use DVI. At one stage, the United States Air Force had sought to integrate DVI upon the Lockheed Martin F-22 Raptor; however, the technology was eventually judged to pose too many technical risks at that point in time, and thus such efforts were abandoned. === Personal === By 1990, working prototypes of speech recognition systems were being demonstrated; these were being promoted for the purpose of providing an effective man-machine interface for individuals with impaired speech. Techniques employed included time-encoded digital speech and automatic token set selection. Investigations of these early DVI systems reportedly included the use of automatic diagnostic routines and limited-scale trials using volunteers. During the 2010s, various companies were offering voice recognition systems to the general public in the form of personal digital assistants. One example is the Google Voice service, which allows users to pose questions via a DVI package installed on either a personal computer, tablet, or mobile phone. Numerous digital assistants have been developed, such as Amazon Echo, Siri, and Cortana, that use DVI to interact with users. === Commercial === DVI technology has enabled automated telephone systems to be widely deployed. Many companies commonly use centralised phone systems that route callers to the correct department via such methods. Various car manufacturers have also furnished their road vehicles with DVI systems; these typically allow drivers to control infotainment systems and interact with mobile phones with more convenience than legacy methods. During the late 1980s, investigations into the use of DVI systems for controlling CNC machines and other manufacturing apparatus were underway. During the 2010s, such systems were being used for logistics and warehouse management purposes.
Social computing
Social computing is an area of computer science that is concerned with the intersection of social behavior and computational systems. It is based on creating or fostering existing social conventions and social contexts through the use of software and technology. Blogs, email, instant messaging, social network services, wikis, social bookmarking and other instances of what is often called social software illustrate ideas from social computing. The rise in social computing is attributed to the prevalence of personal devices and increased overall computing power. This enables a growing number of users to participate in sharing content and interact with another. == Definitions == Humans—and human behavior—are profoundly social. Humans tend to orient to one another and develop abilities to interact with each other and other species. This ranges from expression and gesture through spoken, written, and body language. Humans are influenced by the behavior of those around them and can rely on social context and cues to make decisions. An example of a behavior relying on social contexts is applauding at the end of the play. This is based on the context that the show ended, and other audience members are applauding. Social information provides a basis for inferences, planning, and coordinating activity. == Examples == Common tools include blogs, email, instant messaging, social networking sites, wikis, and social bookmarking platforms. These technologies enable users to generate content, share knowledge, and interact in real time. == Applications == The rise of social computing has highlighted opportunities for businesses. Businesses are interacting on social computing platforms and investing in facilities to support and research social computing.Business models can leverage the massive customer bases that accumulate through social computing channels. Some organizations have started their own blogs and networks (McAfee, 2006, Joe, 2005). Organizations from diverse industry sectors such as Google, Cisco, and Fox, have sought to acquire or invest in successful social computing enterprises. A business blog can serve as a source of information and promotion for the company. This allows the company to share content about the company and their initiatives. Businesses have also interacted with social computing to market themselves and interact with customers. A notable example is Wendy's with their X (formerly Twitter) account. The account was primarily used to promote business promotions and interact with users in a playful or meaningful way. E-commerce web sites have allowed users to leave reviews and feedback on purchases which has improved online shopping experience for sellers and consumers.As another example of social computing’s business applications, many e-commerce Web sites have adopted online product/vendor feedback/reputation systems. Such systems provide an asynchronous platform for the consumer community to share experiences collectively and influence their purchasing behavior. They also provide a vehicle for eliciting feedback information valuable to the vendors and e-commerce site operators.Consumers can use the feedback systems to make a more educated choice on a purchase by comparing reviews between products or vendors. Sellers can track consumer behaviors and trends regarding a product and adjust their supply according to the demand. == Challenges and criticism == Social computing raises several concerns related to privacy, data security, and algorithmic bias. The widespread collection and analysis of user-generated data can lead to ethical dilemmas, especially when users are unaware of how their information is used. Critics also highlight issues of digital labor, surveillance, and the spread of misinformation, which can influence public opinion and social dynamics. === Term appearance === The term appeared in the mid 1990s after technology advancements and development of the web. In 1994, the concept of social computing was first proposed by Schuler. He thought, "Social computing is a computing application, with software as the medium or focus of social relationships." === Premise === The premise of social computing is that it is possible to design digital systems that support useful functionality by making socially produced information available to their users. This information may be provided directly, as when systems show the number of users who have rated a review as helpful or not. Or the information may be provided after being filtered and aggregated, as is done when systems recommend a product based on what else people with similar purchase history have purchased. Alternatively, the information may be provided indirectly, as is the case with Google's page rank algorithms which orders search results based on the number of pages that (recursively) point to them. In all of these cases, information that is produced by a group of people is used to provide or enhance the functioning of a system. Social computing is concerned with systems of this sort and the mechanisms and principles that underlie them. Social computing can be defined as follows: "Social Computing" refers to systems that support the gathering, representation, processing, use, and dissemination of information that is distributed across social collectivities such as teams, communities, organizations, and markets. Moreover, the information is not "anonymous" but is significantly precise because it is linked to people, who are in turn linked to other people. More recent definitions, however, have foregone the restrictions regarding anonymity of information, acknowledging the continued spread and increasing pervasiveness of social computing. As an example, Hemmatazad, N. (2014) defined social computing as "the use of computational devices to facilitate or augment the social interactions of their users, or to evaluate those interactions in an effort to obtain new information." Social computing has to do with supporting "computations" that are carried out by groups of people, an idea that has been popularized in James Surowiecki's book, The Wisdom of Crowds. Examples of social computing in this sense include collaborative filtering, online auctions, reputation systems, computational social choice, tagging, and verification games. The social information processing page focuses on this sense of social computing. == History == === Technology infrastructure === Users were able to interact more with websites after the development of Web 2.0. This was an advancement from Web 1.0. Comode G. and Krishnamurthy B. (2008) note that "content creators were few in Web 1.0 with the vast majority of users simply acting as consumers of content." Web 2.0 provided functionalities that allowed for low-cost web-hosting services and introduced features with browser windows that used basic information structure and expanded it to as many devices as possible using HTTP, or Hypertext Transfer Protocol. Sometimes referred to as "Enterprise 2.0", a term derived from Web 2.0, social software for enterprise generally refers to the use of social computing in corporate intranets and in other medium- and large-scale business environments. It consisted of a class of tools that allowed for networking and social changes to businesses at the time. It was a layering of the business tools on Web 2.0 and brought forth several applications and collaborative software with specific uses. FinanceElectronic negotiation, which first came up in 1969 and was adapted over time to suit financial markets networking needs, represents an important and desirable coordination mechanism for electronic markets. Negotiation between agents (software agents as well as humans) allows cooperative and competitive sharing of information to determine a proper price. Recent research and practice has also shown that electronic negotiation is beneficial for the coordination of complex interactions among organizations. Electronic negotiation has recently emerged as a very dynamic, interdisciplinary research area covering aspects from disciplines such as Economics, Information Systems, Computer Science, Communication Theory, Sociology and Psychology.Social computing has become more widely known because of its relationship to a number of recent trends. These include the growing popularity of social software and Web 3.0, increased academic interest in social network analysis, the rise of open source as a viable method of production, and a growing conviction that all of this can have a profound impact on daily life. A February 13, 2006 paper by market research company Forrester Research suggested that: === Developments === PLATO was one of the earliest examples of social computing in a live production environment with initially hundreds and soon thousands of users. The PLATO computer system was developed by the University of Illinois at Urbana Champaign in 1960s. In the 70s, the system supported social software applications for multi-us
Cypherpunks (book)
Cypherpunks: Freedom and the Future of the Internet is a 2012 book by Julian Assange, in discussion with Internet activists and cypherpunks Jacob Appelbaum, Andy Müller-Maguhn and Jérémie Zimmermann. Its primary topic is society's relationship with information security. In the book, the authors warn that the Internet has become a tool of the police state, and that the world is inadvertently heading toward a form of totalitarianism. They promote the use of cryptography to protect against state surveillance. In the introduction, Assange says that the book is "not a manifesto [...] [but] a warning". He told Guardian journalist Decca Aitkenhead: A well-defined mathematical algorithm can encrypt something quickly, but to decrypt it would take billions of years – or trillions of dollars' worth of electricity to drive the computer. So cryptography is the essential building block of independence for organisations on the Internet, just like armies are the essential building blocks of states, because otherwise one state just takes over another. There is no other way for our intellectual life to gain proper independence from the security guards of the world, the people who control physical reality. Assange later wrote in The Guardian: "Strong cryptography is a vital tool in fighting state oppression." saying that was the message of his book, Cypherpunks. Cypherpunks is published by OR Books. It is primarily a transcript of World Tomorrow episode eight, a two-part interview between Assange, Jacob Appelbaum, Andy Müller-Maguhn, and Jérémie Zimmermann. In the foreword, Assange said, "the Internet, our greatest tool for emancipation, has been transformed into the most dangerous facilitator of totalitarianism we have ever seen".
Pivot to video
"Pivot to video" is a phrase referring to the trend, starting in 2015, of media publishing companies cutting staff resources for written content (generally published on their own web sites) in favor of short-form video content (often published on third-party platforms such as Facebook, Instagram, Twitter, YouTube, Snapchat, and TikTok). These moves were generally presented by publishers as a response to changes in social media traffic or to changes in the media consumption habits of younger audiences. However, many media commentators have argued that this shift was primarily motivated by advertising revenue, and that only advertisers, not consumers, prefer video over text. The pivot's contribution to job loss in the media industry has given the phrase "pivot to video" an association with decline, especially in a business context. Commentators have also noted a lack of transparency and accuracy in the viewership metrics reported by platforms such as Facebook, pointing out that abrupt shifts in platforms' proprietary algorithms can have devastating effects on publishers' viewership, traffic, and revenue. Following a scandal in which Facebook revealed it had artificially inflated numbers to its advertisers about how long viewers watched ads, many journalists and industry analysts concluded that the shift to video was based on such misleading or inaccurate metrics, which created a false impression that there was customer demand for additional video content. == History == Streaming media technology has been available since the early 1990s, though it was relatively low-fidelity and not widely available until the mid-2000s. In 2007, traditional media publishers including the New York Times, Washington Post and Time Inc. created new divisions to develop web videos, and Facebook launched its video platform. Twitter purchased micro-video service Vine in October 2012, began adding native video streaming in late 2014, and acquired video-streaming service Periscope in January 2015. An August 2014 profile on BuzzFeed noted the publisher's large investment into video production, and observed that "the future of BuzzFeed may not even be on BuzzFeed.com. One of the company’s nascent ideas, BuzzFeed Distributed, will be a team of 20 people producing content that lives entirely on other popular platforms, like Tumblr, Instagram or Snapchat." On 7 January 2015, Facebook issued a statement about "the shift to video," reporting that "since June 2014, Facebook has averaged more than 1 billion video views every day." Media critic John Herrman argued that "What the shift to Facebook video means is that Facebook is more interested in hosting the things media companies make than just spreading them, that it views links to outside pages as a problem to be solved, and that it sees Facebook-hosted video as an example of the solution." In February 2015, the digital video-journalism publisher NowThis announced that it would operate without a home page, producing content to be published directly on social media platforms. In April 2016, Mashable fired much of its editorial staff, attempting to pivot away from hard news coverage while "growing Mashable across every platform" and doubling down on branded content and video. By December 2017, following a sale to Ziff Davis, Mashable retreated from this focus on video; Bernard Gershon, president of GershonMedia, said that the announcement of many such "pivots" were actually aimed primarily at investors. By 2017, "advertiser interest in video [was] insatiable... Any CFO is going to say 'How can we get more video?'" according to an executive of the publishers' trade association Digital Content Next. Publishers such as Vanity Fair, the Washington Post, and Sports Illustrated began adapting their own articles into cheap video content, either dictated by a newsreader or animated as a slideshow with captions, which could be shared on social platforms or even played alongside the articles themselves. June 2017 saw numerous high-profile pivots to video. Vocativ laid off at least 20 staff, including its entire newsroom, explaining that "as the industry evolves, we are undertaking a strategic shift to focus exclusively on video content that will be distributed via social media and other platforms." Fox Sports eliminated its entire writing staff to focus on creating "premium video across all platforms." And MTV News announced a restructuring that would cut its writing team. Less than two years earlier, MTV News had hired Grantland co-founder Dan Fierman to lead a significant investment in "longform" political and cultural reporting, but Fierman left in April 2017, and in June MTV announced it was "shifting resources into short-form video content more in line with young people's media consumption habits." In July, Vice Media laid off at least 60 employees, including the editor-in-chief of Vice Sports, while expanding video production. August 2017 saw Mic cut ten writers and directed the remainder of the newsroom to generate videos for social platforms. CEO Chris Altchek said "When you think about how many hours people spend watching video versus reading, the audience has already spoken." The move was ultimately unsuccessful, and Mic laid off the majority of its staff a year later before being sold to Bustle Media Group for a fraction of its former value. In September 2017, the for-profit wiki-hosting company Fandom began adding commercially produced videos to its otherwise user-generated wiki subdomains, explicitly citing the need to "keep up with user and advertiser expectations" by "diversifying our content," claiming without substantiation that "consumer patterns are changing," necessitating the addition of "complementary video" to accommodate that supposed need. Objection to the content in these videos and its sharp contrast against the content of the wiki sites to which they were applied led to vocal user backlash, leading Fandom CCO Dorth Raphaely to offer the following non-committal response: "I agree that with these videos in particular we did not deliver the right type of content experience." Movie Pilot CEO Tobi Bauckhage explained his company's fall 2017 layoffs as part of moving "from a text-based publishing model to video... a reaction to the fact that Facebook has changed their algorithms in favor of video instead of referral traffic over the last 12 months and we were losing money in the publishing bit of our business." As part of the company's change in direction, the majority of its staff was laid off and its parent company was sold to Webedia. In November 2017, magazine publisher Condé Nast cut jobs, reduced the frequency of several magazines, and shut down the print edition of Teen Vogue, then invested significant new resources in video production, with a senior executive saying "In the next 24 months, I hope that video is half our business... It’s critical. It’s the macro trend of content consumption." In February 2018, Vox Media cut approximately 50 employees, primarily those assigned to "social video," as Vox CEO Jim Bankoff admitted that those efforts were not "viable audience or revenue growth drivers." In August 2020, Facebook Inc. (now Meta Platforms) pivoted Instagram to video in an effort to replicate the success of TikTok and appeal to a younger audience, introducing "reels" as a form of video and promoting them aggressively. Reels accounted more than half the 20 most-viewed posts on Facebook; however, most of these reels were anonymous aggregations of content from TikTok. Elon Musk declared in early 2024 that X (formerly Twitter) was now a "video-first platform", which has been described by critics as a "pivot to video". == As euphemism == In 2017, Journalist Brian Feldman said that "'Pivoting to video' has become a business strategy for digital publishers common enough in recent months to be a kind of cliché — a slick way to describe something else: layoffs." In response, writers use the phrase as gallows humor shorthand for death or cancellation, as in "how do i tell my bf i want our relationship to pivot to video" (SkyNews' Mollie Goodfellow) or "Horse broke its leg, so we had to take it out back and help it 'pivot to video'" (blogger Anil Dash). == Facebook metrics controversy == In September 2016, Facebook admitted that it had reported artificially inflated numbers to its advertisers about how long viewers watched ads leading to an overestimation of 60-80%. Plaintiffs in a later court case allege the discrepancy was as high as 150-900%. Facebook apologized in an official statement and in multiple staff appearances at New York Advertising Week. Two months later, Facebook disclosed additional discrepancies in audience metrics. In October 2018, a California federal court unsealed the text of a class action lawsuit filed by advertisers against Facebook, alleging that Facebook had known since 2015 that its viewership numbers were highly inflated, that internal records showed it "was far from an hon
PressWise
PressWise was digital imposition software to quickly and easily impose most any variety of flat and folding layouts. It was acquired by the Aldus Prepress Group affectionately known in the print and publishing industry as the Aldus WiseGuys in August 1991 from Emulation Technologies Inc. of Cleveland, Ohio. It was further developed by the Aldus Press Group and launched as the first of many Aldus prepress products in 1993. It was subsequently owned by Adobe Systems, then Luminous Corporation (Seattle), then Imation, and finally ScenicSoft. PressWise was discontinued by ScenicSoft in 1999 ultimately. == History == In February 2009, the PressWise copyright was acquired by Aethos Technologies and a new print automation product was launched by its creator, Eric Wold of Santa Rosa, California. This new product has no relationship to the old imposition software of the same name. It's notable that Larry Letteney, former President of Creo Americas was a board member and shareholder of Aethos Technologies during its early phase. Datatech SmartSoft acquired exclusive distribution rights to the software in September 2009. In September 2010 Datatech SmartSoft completed the acquisition of the PressWise brand and product.
Weird SoundCloud
Weird SoundCloud, or SoundClown, is a mashup parody music scene taking place on the online distribution platform SoundCloud. The scene has been described by its producers and music journalists to be a satirical take on electronic dance music, and useless, throwaway internet content. One critic, Audra Schroeder, categorized it as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." == Origins == In a January 2014 interview, DJ Kevin Wang suggested that the Weird SoundCloud has "been around in the last one to two years", but started to gain much more popularity the previous year through electronic dance music internet blogs. Weird SoundCloud producer Ideaot suggested that some in the phenomenon came from the YouTube poop scene. Another producer in the community, DJ @@ (AT-AT), reasoned that producers joining the scene "want to express their musicality, see it as a more mature form of YouTube Poop," or are "just looking for recognition on social media sites." AT-AT said that it was "a fun thing to do, and after I stopped making proper music I felt I needed a bit of an outlet for my creativity. The fact that people enjoyed it and/or treated it as a travesty (Direct quote from one of my tracks) spurs me on." == Characteristics == Weird SoundCloud is a mash-up and parody music genre labeled by journalist Audra Schroeder as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." Most tracks range from around 30 seconds to one minute in length. The people who make weird SoundCloud are known as SoundClowns, a term coined by producer Dicksoak. Ideaot described the weird SoundCloud community as "largely just people who are friends with each other." Noisey critic Ryan Bassil spotlight the variety of music coming out of the weird SoundCloud landscape: "One minute you could be listening to the Seinfeld theme reimagined as an aneurysm inducing dubstep corker, the next, you're recovering from hearing a version of Tenacious D's "Tribute" that's akin to having a stroke." Bassil analyzes that the tracks "often take the past and repurpose it into something that, although not altogether useful, sounds fresh and reflective of the abstract, confusing panoramic that encapsulates the modern internet." Bassil compared the lexicon of SoundClown's track titles to that of Reddit and Twitter users. According to Dicksoak, most works of the style are critiques of EDM or "are just uploaded because they sound funny." However, Bassil disagreed, writing that there are also many tracks that keep repurposing a certain meme, such as "mom's spaghetti" or the re-use of vocals from recordings by hip hop group Death Grips. He describe the scene's re-use of memes as a satirical take on pointless online content that is only on the internet to "do nothing other than fill the void": They're changing the format of the original work's intended message or audience - a technique often employed by top-tier digital media companies - and in doing so they're sarcastically, ironically, taking the piss out of what Web 2.0's turned into - an open arena where the most ridiculous, unashamed, often pointless piggy-back content can rack up thousands and thousands of clicks. == Notable examples == There are mash-ups that "disrupt the flow of popular music", in the words of writer Schroeder, such as a "flutedrop" remix of the Miley Cyrus song "Wrecking Ball" and Shaliek's mashup of music by Bruno Mars and Korn. In November 2013, Wang released a set of mp3 files on SoundCloud named Best Drops Ever, which included tracks like "A Drop So Epic a Bunch of NYU Bros Already Bought a 3-Day Weekend Pass for It" and "A Drop So Crazy You'll Kill Your Family". All of the tracks start as normal electronic dance music build-ups, before they drop into a "bait and switch" audio or film clip such as Filet-O-Fish commercials, the Whitney Houston song "I Will Always Love You" and the film Bambi (1942) that ruins the anticipation. The collection is a parody of the over-importance and over-focus of the drop and lack of care of the overall quality of a song common in the modern electronic dance music scene. Wang has released more than 45 tracks in the weird SoundCloud, some of them receiving around a million plays. Subgenres of Weird SoundCloud include Macklecore, mash-ups and remixes that include the works of American hip-hop recording artist Macklemore, and Biggiewave, which include samples of songs from the album Ready to Die (1994) by The Notorious B.I.G. Common audio and meme sources used include Skrillex, the Martin Garrix track "Animals", Thomas the Tank Engine, Shrek, Macklemore, "Gangnam Style", the Bruno Mars track "Uptown Funk", the Disturbed track "Down with the Sickness", Space Jam, the Childish Gambino track "Bonfire", the Death Grips track "Takyon" and air horn sound effects. == Reception == Bassil praised the SoundClown scene as "loveable and strangely honest", reasoning that it "just reminds me that we're all humans on the internet, all searching for #content that means something, something to connect with, but usually only dredging up bastardised versions of things we've already read, seen, or watched before." Bassil also described the weird SoundCloud as a more successful version of a similar scene known as weird YouTube; the reason for the success of SoundClowns is due to SoundCloud's discovery algorithm: "Small collectives and trends are able to form, and there's an abundance of tracks from artists who are almost forging careers out of it, as opposed to uploading one viral hit." Publications have made lists of weird SoundCloud works, such as BuzzFeed's "23 Of The Weirdest Songs On Soundcloud", Obsev's "Weird SoundCloud Mashups That Must've Been Made While Drunk", and Thump's "9 of the Best and Most Upsetting Soundclowns we Could Find", where writer Isabelle Hellyer called it the "most influential genre of music in human history." A Your EDM writer called it "oddly addicting."