In natural language processing, a topic model is a type of probabilistic, neural, or algebraic model for discovering the abstract topics that occur in a collection of documents. Topic modeling is a frequently used text mining tool for discovering hidden semantic features and structures in a text. The topics produced by topic models are generated through a variety of mathematical frameworks, including probabilistic generative models, matrix factorization methods based on word co-occurrence, and clustering algorithms applied to semantic embeddings. Topic models are commonly used to organize and discover latent features in large collections of unstructured text and other forms of big data. Beyond text mining, topic models have also been used to uncover latent structures in fields such as genetic information, bioinformatics, computer vision, and social networks. == History == An early topic model was described by Papadimitriou, Raghavan, Tamaki and Vempala in 1998. Another one, called probabilistic latent semantic analysis (PLSA), was created by Thomas Hofmann in 1999. Latent Dirichlet allocation (LDA), perhaps the most common topic model currently in use, is a generalization of PLSA. Developed by David Blei, Andrew Ng, and Michael I. Jordan in 2002, LDA introduces sparse Dirichlet prior distributions over document-topic and topic-word distributions, encoding the intuition that documents cover a small number of topics and that topics often use a small number of words. Other topic models are generally extensions on LDA, such as Pachinko allocation, which improves on LDA by modeling correlations between topics in addition to the word correlations which constitute topics. Hierarchical latent tree analysis (HLTA) is an alternative to LDA, which models word co-occurrence using a tree of latent variables and the states of the latent variables, which correspond to soft clusters of documents, are interpreted as topics. == Topic models for context information == Approaches for temporal information include Block and Newman's determination of the temporal dynamics of topics in the Pennsylvania Gazette during 1728–1800. Griffiths & Steyvers used topic modeling on abstracts from the journal PNAS to identify topics that rose or fell in popularity from 1991 to 2001 whereas Lamba & Madhusushan used topic modeling on full-text research articles retrieved from DJLIT journal from 1981 to 2018. In the field of library and information science, Lamba & Madhusudhan applied topic modeling on different Indian resources like journal articles and electronic theses and resources (ETDs). Nelson has been analyzing change in topics over time in the Richmond Times-Dispatch to understand social and political changes and continuities in Richmond during the American Civil War. Yang, Torget and Mihalcea applied topic modeling methods to newspapers from 1829 to 2008. Mimno used topic modelling with 24 journals on classical philology and archaeology spanning 150 years to look at how topics in the journals change over time and how the journals become more different or similar over time. Yin et al. introduced a topic model for geographically distributed documents, where document positions are explained by latent regions which are detected during inference. Chang and Blei included network information between linked documents in the relational topic model, to model the links between websites. The author-topic model by Rosen-Zvi et al. models the topics associated with authors of documents to improve the topic detection for documents with authorship information. HLTA was applied to a collection of recent research papers published at major AI and Machine Learning venues. The resulting model is called The AI Tree. The resulting topics are used to index the papers at aipano.cse.ust.hk to help researchers track research trends and identify papers to read, and help conference organizers and journal editors identify reviewers for submissions. To improve the qualitative aspects and coherency of generated topics, some researchers have explored the efficacy of "coherence scores", or otherwise how computer-extracted clusters (i.e. topics) align with a human benchmark. Coherence scores are metrics for optimising the number of topics to extract from a document corpus. == Algorithms == In practice, researchers attempt to fit appropriate model parameters to the data corpus using one of several heuristics for maximum likelihood fit. A survey by D. Blei describes this suite of algorithms. Several groups of researchers starting with Papadimitriou et al. have attempted to design algorithms with provable guarantees. Assuming that the data were actually generated by the model in question, they try to design algorithms that probably find the model that was used to create the data. Techniques used here include singular value decomposition (SVD) and the method of moments. In 2012 an algorithm based upon non-negative matrix factorization (NMF) was introduced that also generalizes to topic models with correlations among topics. Since 2017, neural networks has been leveraged in topic modeling in order to improve the speed of inference, and leading to further advancements like vONTSS, which allows humans to incorporate domain knowledge via weakly supervised learning. In 2018, a new approach to topic models was proposed based on the stochastic block model. Topic modeling has leveraged LLMs through contextual embedding and fine tuning. == Applications of topic models == === To quantitative biomedicine === Topic models are being used also in other contexts. For examples uses of topic models in biology and bioinformatics research emerged. Recently topic models has been used to extract information from dataset of cancers' genomic samples. In this case topics are biological latent variables to be inferred. === To analysis of music and creativity === Topic models can be used for analysis of continuous signals like music. For instance, they were used to quantify how musical styles change in time, and identify the influence of specific artists on later music creation.
CloudHealth Technologies
CloudHealth Technologies, now CloudHealth by VMware, is a software company based in Boston, Massachusetts. The company provides cloud computing services related to cost management, governance, automation, security, and performance. == History == CloudHealth Technologies was founded by Joe Kinsella in 2012. Dan Phillips joined as CEO and co-founder in late 2012, and Dave Eicher joined as co-Founder in January 2013. In May 2016, the company announced plans to expand from its Boston headquarters with branch offices in San Francisco, London, Washington, D.C., Sydney, Amsterdam, Tel Aviv, and Singapore. Headquarters moved in Boston from Fort Point to 100 Summer Street in the Spring of 2018, tripling in square footage. In September 2017, Tom Axbey—who was previously at Rave Mobile Safety—joined as the new CEO and President. VMware announced its intention to acquire CloudHealth Technologies on August 27, 2018. The acquisition is "part of the information technology company's continued push into cloud-based software services" according to Reuters. The deal closed on October 4, 2018, and was reported to be in excess of $500 million. == Technology == Delivered through a software as a service (SaaS) model, CloudHealth Technologies's platform collects and analyzes data from cloud computing services and other IT environments so clients can report on costs, inform their business models, and project future trends. CloudHealth Technologies is compatible with Amazon Web Services, Microsoft Azure, Google Cloud Platform, multicloud, and hybrid cloud environments. CloudHealth Technologies has received Amazon Web Services(AWS) Education Competency status, AWS Migration Competency status and achieved SOC 2 Type 2 Compliance. == Funding == As of June 2017, CloudHealth Technologies has raised a total of $85.7 million through four rounds of funding. In March 2013, CloudHealth Technologies announced that it had secured $4.5 million in Series A funding. This round was led by .406 Ventures and Sigma Prime Ventures. In January 2015, CloudHealth Technologies secured $12 million in Series B funding. This round was led by Scale Venture Partners, .406 Ventures, and Sigma Prime Ventures, and was followed by a $3.2 million extension round. In May 2016, CloudHealth Technologies announced $20 million in Series C funding, led by Sapphire Ventures, .406 Ventures, Scale Venture Partners and Sigma Prime Ventures. In June 2017, CloudHealth Technologies secured $46 million in Series D funding led by Kleiner Perkins Caufield & Byers with participation from Meritech Capital Partners, Sapphire Ventures, 406 Ventures, and Scale Venture Partners. == Competition == As of March 2023, CloudHealth Technologies competes with Cloudability by Apptio and CloudCheckr by NetApp.
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.
Locative media
Locative media or location-based media (LBM) is a virtual medium of communication functionally bound to a location. The physical implementation of locative media, however, is not bound to the same location to which the content refers. Location-based media delivers multimedia and other content directly to the user of a mobile device dependent upon their location. Location information determined by means such as mobile phone tracking and other emerging real-time locating system technologies like Wi-Fi or RFID can be used to customize media content presented on the device. Locative media are digital media applied to real places and thus triggering real social interactions. While mobile technologies such as the Global Positioning System (GPS), laptop computers and mobile phones enable locative media, they are not the goal for the development of projects in this field. == Description == Media content is managed and organized externally of the device on a standard desktop, laptop, server, or cloud computing system. The device then downloads this formatted content with GPS or other RTLS coordinate-based triggers applied to each media sequence. As the location-aware device enters the selected area, centralized services trigger the assigned media, designed to be of optimal relevance to the user and their surroundings. Use of locative technologies "includes a range of experimental uses of geo-technologies including location-based games, artistic critique of surveillance technologies, experiential mapping, and spatial annotation." Location based media allows for the enhancement of any given environment offering explanation, analysis and detailed commentary on what the user is looking at through a combination of video, audio, images and text. The location-aware device can deliver interpretation of cities, parklands, heritage sites, sporting events or any other environment where location based media is required. The content production and pre-production are integral to the overall experience that is created and must have been performed with ultimate consideration of the location and the users position within that location. The media offers a depth to the environment beyond that which is immediately apparent, allowing revelations about background, history and current topical feeds. == Locative, ubiquitous and pervasive computing == The term 'locative media' was coined by Karlis Kalnins. Locative media is closely related to augmented reality (reality overlaid with virtual reality) and pervasive computing (computers everywhere, as in ubiquitous computing). Whereas augmented reality strives for technical solutions, and pervasive computing is interested in embedded computers, locative media concentrates on social interaction with a place and with technology. Many locative media projects have a social, critical or personal (memory) background. While strictly spoken, any kind of link to additional information set up in space (together with the information that a specific place supplies) would make up location-dependent media, the term locative media is strictly bound to technical projects. Locative media works on locations and yet many of its applications are still location-independent in a technical sense. As in the case of digital media, where the medium itself is not digital but the content is digital, in locative media the medium itself might not be location-oriented, whereas the content is location-oriented. Japanese mobile phone culture embraces location-dependent information and context-awareness. It is projected that in the near future locative media will develop to a significant factor in everyday life. == Enabling technologies == Locative media projects use technology such as Global Positioning System (GPS), laptop computers, the mobile phone, Geographic Information System (GIS), and web map services such as Mapbox, OpenStreetMap, and Google Maps among others. Whereas GPS allows for the accurate detection of a specific location, mobile computers allow interactive media to be linked to this place. The GIS supplies arbitrary information about the geological, strategic or economic situation of a location. Web maps like Google Maps give a visual representation of a specific place. Another important new technology that links digital data to a specific place is radio-frequency identification (RFID), a successor to barcodes like Semacode. Research that contributes to the field of locative media happens in fields such as pervasive computing, context awareness and mobile technology. The technological background of locative media is sometimes referred to as "location-aware computing". == Creative representation == Place is often seen as central to creativity; in fact, "for some—regional artists, citizen journalists and environmental organizations for example—a sense of place is a particularly important aspect of representation, and the starting point of conversations." Locative media can propel such conversations in its function as a "poetic form of data visualization," as its output often traces how people move in, and by proxy, make sense of, urban environments. Given the dynamism and hybridity of cities and the networks which comprise them, locative media extends the internet landscape to physical environments where people forge social relations and actions which can be "mobile, plural, differentiated, adventurous, innovative, but also estranged, alienated, impersonalized." Moreover, in using locative technologies, users can expand how they communicate and assert themselves in their environment and, in doing so, explore this continuum of urban interactions. Furthermore, users can assume a more active role in constructing the environments they are situated in accordingly. In turn, artists have been intrigued with locative media as a means of "user-led mapping, social networking and artistic interventions in which the fabric of the urban environment and the contours of the earth become a 'canvas.'" Such projects demystify how resident behaviors in a given city contribute to the culture and sense of personality that cities are often perceived to take on. Design scholars Anne Galloway and Matthew Ward state that "various online lists of pervasive computing and locative media projects draw out the breadth of current classification schema: everything from mobile games, place-based storytelling, spatial annotation and networked performances to device-specific applications." A prominent use of locative media is in locative art. A sub-category of interactive art or new media art, locative art explores the relationships between the real world and the virtual or between people, places or objects in the real world. == Examples == Notable locative media projects include Bio Mapping by Christian Nold in 2004, locative art projects such as the SpacePlace ZKM/ZKMax bluecasting and participatory urban media access in Munich in 2005 and Britglyph by Alfie Dennen in 2009, and location-based games such as AR Quake by the Wearable Computer Lab at the University of South Australia and Can You See Me Now? in 2001 by Blast Theory in collaboration with the Mixed Reality Lab at the University of Nottingham. In 2005, the Silicon Valley–based collaborators of C5 first exhibited the C5 Landscape Initiative, a suite of four GPS inspired projects that investigate perception of landscape in light of locative media. In William Gibson's 2007 novel Spook Country, locative art is one of the main themes and set pieces in the story. Narrative projects which engage with locative media are sometimes referred to as Location-Aware Fiction, as explored in "Data and Narrative: Location Aware Fiction" a 2003 essay by Kate Armstrong. This location-aware fiction is also known as locative literature, where locative stories and poems can be experienced via digital portals, apps, QR codes and e-books, as well as via analogue forms such as labelling tape, Scrabble tiles, fridge magnets or Post-It notes, and these are forms often used by the writer and artist Matt Blackwood. The Transborder Immigrant Tool by the Electronic Disturbance Theater is a locative media project aimed at providing life saving directions to water for people trying to cross the US / Mexico border. The project attracted global media attention in 2009 and 2010. Articles included a Los Angeles Times cover story focusing on Ricardo Dominguez and an AP story interviewing Micha Cárdenas and Brett Stalbaum. The articles focused on concerns over the legality of the project and the ensuing investigations of the group, which are still underway. The Transborder Immigrant Tool has recently been included in a number of major exhibitions including Here, Not There at the Museum of Contemporary Art San Diego and the 2010 California Biennial at the Orange County Museum of Art. Invisible Threads by Stephanie Rothenberg and Jeff Crouse is a locative media project aimed at creating embodied awareness of sweatshops and just-in-time production t
Hardware security
Hardware security is a discipline originated from the cryptographic engineering and involves hardware design, access control, secure multi-party computation, secure key storage, ensuring code authenticity, measures to ensure that the supply chain that built the product is secure among other things. A hardware security module (HSM) is a physical computing device that safeguards and manages digital keys for strong authentication and provides cryptoprocessing. These modules traditionally come in the form of a plug-in card or an external device that attaches directly to a computer or network server. Some providers in this discipline consider that the key difference between hardware security and software security is that hardware security is implemented using "non-Turing-machine" logic (raw combinatorial logic or simple state machines). One approach, referred to as "hardsec", uses FPGAs to implement non-Turing-machine security controls as a way of combining the security of hardware with the flexibility of software. Hardware backdoors are backdoors in hardware. Conceptionally related, a hardware Trojan (HT) is a malicious modification of electronic system, particularly in the context of integrated circuit. A physical unclonable function (PUF) is a physical entity that is embodied in a physical structure and is easy to evaluate but hard to predict. Further, an individual PUF device must be easy to make but practically impossible to duplicate, even given the exact manufacturing process that produced it. In this respect it is the hardware analog of a one-way function. The name "physical unclonable function" might be a little misleading as some PUFs are clonable, and most PUFs are noisy and therefore do not achieve the requirements for a function. Today, PUFs are usually implemented in integrated circuits and are typically used in applications with high security requirements. Many attacks on sensitive data and resources reported by organizations occur from within the organization itself.
BeReal
BeReal (stylized on the app logo as BeReal.) is a French social-networking app released in 2020, developed by Alexis Barreyat and Kévin Perreau. Currently, it is owned by Voodoo. Its main feature is a daily notification that encourages users to share photos of themselves in their day-to-day life, on any randomly selected two-minute window every day. Critics noted its emphasis on authenticity, which some felt crossed the line into the mundane. The primary reference of its name relates to its focus on users uploading unpolished photos, with it being a pun of the term B-reel. According to the app's description on Apple's App Store, BeReal encourages its users to "show their friends who they really are, for once," by removing filters and opportunities to stage or edit photos. After a couple of years of relative obscurity, it rapidly gained popularity in early and mid-2022 growing from 21.6 million to 73.5 million users between July and August, before experiencing a decrease in use in 2023 and continuing to decline to 23 million users at the beginning of 2024. == History == The app was developed by Alexis Barreyat, a former employee at GoPro, and Kévin Perreau, a graduate from 42 in Paris. Initially released in 2020, it first gained widespread popularity in early 2022. It first spread widely on college campuses, partially due to a paid ambassador program. In late August 2022, the application had over 10 million active daily users and 21.6 million active monthly users. As of February 2023, the app has grown to 13 million active daily users and 47.8 million active monthly users. In June 2021, BeReal received a $30 million funding round led by Andreessen Horowitz and Accel. In May 2022, BeReal secured $85 million in a funding round led by Yuri Milner's DST Global, increasing its valuation to about $600 million. On July 25, 2022, BeReal topped Apple's free app list in the iOS App Store, and remained until September 2022. BeReal also received Apple's iPhone App of the Year in 2022. By late spring 2023, the app's momentum was waning, as daily users dropped to about 6 million, from 15 million in October 2022. In August 2024, there was a resurgence after a campaign at the Paris Olympics 2024, with the app reportedly gaining 1000 users. In June 2024, BeReal was acquired by the French company Voodoo for a reported €500 million. Alexis Barreyat is set to step down after a transition period. == Features == Once per day, BeReal notifies all users that a two-minute window to post is open. It asks users to create a post (known eponymously as a "BeReal") which, using mandatory simultaneous photos and now short videos from both the front and back cameras, provides a visual depiction of what they are doing at that moment, with an option to caption their post. The given window varies from day to day, and is not known to users before the notification is received. Once the daily notification is sent, users lose the ability to see others' BeReals from the previous day. Furthermore, users cannot see any of the current day's BeReals until they upload their own. On-time BeReals show the time it was uploaded, meanwhile, late BeReals uploaded after the two-minute window shows how late the BeReal was taken, but the user has to long-press the BeReal to reveal the time it was uploaded. Other users can also see how many attempts the poster took to take the BeReal, as well as their location when the BeReal was taken. Users only get one chance to delete their BeReal and post another one, and they used to not be able to post more than one at any time. However, in 2023, a feature was added that allowed users to post up to two extra BeReals on days when they posted their first BeReal within the 2-minute window. In July 2024, the number of bonus BeReals was increased to 5. [1] BeReal also features a "Discovery" section, wherein users are given the option to share to a much wider, public audience. This feature, however, is limited, as users are not able to interact with the posts through commenting—unlike the "My Friends" feature. In August 2023, in an attempt to make BeReal more social, another feature was added so that users are now able to see their friends of friends' BeReal. The app reportedly uses HiveAI to automate its image moderation process. However, there is also a report function that allows users to report a photo or another user if they are posting inappropriate content. === Comparison to other platforms === Because of its daily cycle of engagement, it has been compared to Wordle, which gained popularity earlier in 2022. It also supports a platform similar to Snapchat with a theme of impermanence and brevity. BeReal has been described as designed to compete with Instagram while simultaneously de-emphasising social media addiction and overuse. The app does not allow any photo filters or other editing, and has no follower counts. Marketing material from the company said that the app "can be addictive" and that "BeReal won't make you famous." Jacob Arnott, managing director of social agency We the People, describes BeReal as "an anti-Instagram" due to its raw and unedited nature. The app's foundation on friends rather than followers resembles Facebook's platform of adding friends, which comprise the content of a user's feed. This also resembles Instagram's "close friends" story feature. Further, rather than "liking" posts, BeReal uses "RealMojis" which involves taking a photo to interact with other posts. With the popularity of BeReal, other providers have launched similar features. In July 2022, Instagram launched a "Dual Camera" feature similar to BeReal, and in August 2022 it began testing a feature called "IG Candid Challenges", where users are prompted to post once a day within two minutes. As of September 2022, TikTok has also launched a feature called TikTok Now, following the same concept. In December 2022, similar to Spotify's "Wrapped," BeReal launched a feature involving a video of a compilation of users' BeReal posts of 2022. == User characteristics == BeReal is considered to be targeted towards Generation Z users, and attempts to minimise "social media fatigue", a feeling of numbness and disconnection from reality caused by constant interaction with an idealised version of others. This is a "core generational value" that this demographic holds compared to Millennials. Further, BeReal's users have been particularly strong across universities and university-aged students, and the majority of users are in the United States, the United Kingdom, and Germany. In 2022, the majority of users were female, with 43.2% of users falling within the age range of 16 to 25 and 55.1% of users being 26 to 44 years old. BeReal, the platform encourages users to share their real time moments by sending a daily notification that gives a least two minutes to post a unedited photo using bot the front and back camera, although users can post later and retake photos from when the notification happens, this action are still visible to friends, reinforcing transparency and genuine in the moment sharing. == Reception == Jason Koebler, a writer for Vice, wrote that in contrast to Instagram, which presents an unattainable view of people's lives, BeReal instead "makes everyone look extremely boring". Niklas Myhr, a professor of social media at Chapman University, argued that depth of engagement may determine whether the app is a passing trend or has "staying power". Kelsey Weekman, a reporter for BuzzFeed News, noted that the app's unwillingness to "glamorise the banality of life" made it feel "humbling" in its emphasis on authenticity. Niloufar Haidari for The Guardian comments similarly that where the app succeeds in being "drab" in perhaps a positive way, it fails in potentially "un-inspiring" users. Likewise, Dr. Brad Ridout, a behavioral psychologist at the University of Sydney, emphasizes that the "boring" experience is what the creators are targeting for the app and, in response to Instagram's platform of flawlessness, that "perfection is the enemy of happiness". === Criticisms === Some people regularly post after the two-minute notification expires, leading to some criticism of the app, as the ability to post late undermines its aims of authenticity. In addition, BeReal's daily two-minute window has been argued to contribute to social media fatigue and a need for self-exposure, as well as constant access to phones.
Cloud9 (service provider)
Cloud9 is a mobile network operator focussed on providing mobile subscriptions over the air to programmable SIM cards, SoftSIMs and eSIMs. Their service is used in both smartphones and IoT devices. The company is privately held with headquarters in the United Kingdom. == History == Cloud9, originally owned by Wire9 Telecom Plc, funded and established by investor and telecom specialist, Lee Jones, before being sold for an undisclosed sum by Jones to billionaire Romain Zaleski. It established in the UK, Gibraltar, and Isle of Man as a domestic Mobile Network Operator. Cloud9 obtained spectrum licenses in the Isle of Man in 2007 and Gibraltar in 2010. Around 2011, Cloud9 decided to focus on supplying global SIM cards to save roaming charges. The Gibraltar spectrum licence was sold to another company. The business relocated its core network to Telehouse in London and became a subsidiary of BlueMango Technologies Ltd. Later the company was acquired by Wireless Logic Ltd. In 2013, Cloud9 acquired the IPR of Zynetix Ltd. Through this acquisition, the company achieved sales as an MVNE. In 2014, the company was voted as a Red Herring Top 100 Europe finalist. == Features == Cloud9 has shipped several million 'Travel SIMs'; all SIM cards have been branded with the logo of these resellers. Additionally, the company provides the digital signatures ('profiles' or 'IMSIs') that provide a SIM card with the ability to register with a network and function. These can be provisioned over the air to dynamic SIM cards such as programmable removable UICCs, SoftSIMs and eSIMs. They are members of the GSM Association and are involved in the GSMA remote SIM provisioning standard for eSIMs that will be released soon. The Cloud9 core network also supports 4G (HSS/PDG). Its Mobile Country Code is 234 and its Mobile Network Code is 18. TADIG code is GBRC9. The company has been allocated the following UK number ranges by Ofcom: 4478722, 4477000, 4474409, 4479782, 4479783 and 4475588 The core network is hosted on Cloud9 servers at Telehouse near Canary Wharf in London. Additional components are hosted in Amazon Web Services facilities around the world in order to minimise latency and provide scalability.