"What I eat in a day" videos are a trend on several social media platforms where a person describes all the meals and snacks that they eat during a given day, often as part of a given diet. The videos, shared on platforms including Twitter, TikTok and YouTube, become increasingly popular in 2020, with some of them accumulating millions of views, and they are considered a profitable industry for the people making them. Some have raised concerns that the videos may promote an unrealistic standard for healthy eating and contribute to the development of eating disorders. == Format == These videos often feature a montage of the food that the creator eats over the course of the day, sometimes with the associated calorie count of the foods that they describe. Unlike related mukbang videos, however, in which participants eat large amounts of food, the diets described are often restrictive. However, other videos are labeled as "unhealthy" and depict large portion sizes and higher amounts of processed food. == Popularity == "What I eat in a day" videos have existed for a long time, especially on YouTube, but they have become much more widespread in recent years. This phenomenon is self-reinforcing because when social media users watch or like these videos they are likely to see more of them in the future. Indeed, some of the most successful videos have tens of millions of view each. == Criticism and controversy == Several dieticians and mental health professionals over the impacts that these videos can have, as they can advocate a restrictive style of eating and not "promote body diversity." They have also raised concerns that this trend could contribute to a rise in disordered eating, especially since use of social media is known to increase feelings of negative body image. This trend is particularly prevalent among young adults, which are also the group with the highest vulnerability to eating disorders. More recently, a portion of these videos have begun to challenge diets and depict more realistic ways of eating in order to reduce the potential consequences of the trend.
CinePlayer
CinePlayer is a software based media player used to review Digital Cinema Packages (DCP) without the need for a digital cinema server by Doremi Labs. CinePlayer can play back any DCP, not just those created by Doremi Mastering products. In addition to playing DCPs, CinePlayer can also playback JPEG2000 image sequences and many popular multimedia file types. There are two versions of CinePlayer available, standard and Pro. The standard version supports playback of non-encrypted, 2D DCP's up to 2K resolution. The Pro version supports playback of encrypted, 2D or 3D DCP's with subtitles up to 4K resolution. == Supported formats == === Containers === AVI MOV MXF MPG TS WMV M2TS MTS MP4 MKV === Video codecs === JPEG2000 ProRes 422 DNxHD YUV Uncompressed 8-10 bits DIVX XVID MPEG4 AVC / H-264 VC-1 MPEG2 === Supported image sequences === BMP TIFF TGA DPX JPG J2C === Supported audio files === WAV MP3 WMA MP2
International Conference on Language Resources and Evaluation
The International Conference on Language Resources and Evaluation is an international conference organised by the ELRA Language Resources Association every other year (on even years) with the support of institutions and organisations involved in Natural language processing. The series of LREC conferences was launched in Granada in 1998. == History of conferences == The survey of the LREC conferences over the period 1998-2013 was presented during the 2014 conference in Reykjavik as a closing session. It appears that the number of papers and signatures is increasing over time. The average number of authors per paper is higher as well. The percentage of new authors is between 68% and 78%. The distribution between male (65%) and female (35%) authors is stable over time. The most frequent technical term is "annotation", then comes "part-of-speech". == The LRE Map == The LRE Map was introduced at LREC 2010 and is now a regular feature of the LREC submission process for both the conference papers and the workshop papers. At the submission stage, the authors are asked to provide some basic information about all the resources (in a broad sense, i.e. including tools, standards and evaluation packages), either used or created, described in their papers. All these descriptors are then gathered in a global matrix called the LRE Map. This feature has been extended to several other conferences.
Text-to-image personalization
Text-to-Image personalization is a task in deep learning for computer graphics that augments pre-trained text-to-image generative models. In this task, a generative model that was trained on large-scale data (usually a foundation model), is adapted such that it can generate images of novel, user-provided concepts. These concepts are typically unseen during training, and may represent specific objects (such as the user's pet) or more abstract categories (new artistic style or object relations). Text-to-Image personalization methods typically bind the novel (personal) concept to new words in the vocabulary of the model. These words can then be used in future prompts to invoke the concept for subject-driven generation, inpainting, style transfer and even to correct biases in the model. To do so, models either optimize word-embeddings, fine-tune the generative model itself, or employ a mixture of both approaches. == Technology == Text-to-Image personalization was first proposed during August 2022 by two concurrent works, Textual Inversion and DreamBooth. In both cases, a user provides a few images (typically 3–5) of a concept, like their own dog, together with a coarse descriptor of the concept class (like the word "dog"). The model then learns to represent the subject through a reconstruction based objective, where prompts referring to the subject are expected to reconstruct images from the training set. In Textual Inversion, the personalized concepts are introduced into the text-to-image model by adding new words to the vocabulary of the model. Typical text-to-image models represent words (and sometimes parts-of-words) as tokens, or indices in a predefined dictionary. During generation, an input prompt is converted into such tokens, each of which is converted into a ‘word-embedding’: a continuous vector representation which is learned for each token as part of the model's training. Textual Inversion proposes to optimize a new word-embedding vector for representing the novel concept. This new embedding vector can then be assigned to a user-chosen string, and invoked whenever the user's prompt contains this string. In DreamBooth, rather than optimizing a new word vector, the full generative model itself is fine-tuned. The user first selects an existing token, typically one which rarely appears in prompts. The subject itself is then represented by a string containing this token, followed by a coarse descriptor of the subject's class. A prompt describing the subject will then take the form: "A photo of
Inverse consistency
In image registration, inverse consistency measures the consistency of mappings between images produced by a registration algorithm. The inverse consistency error, introduced by Christiansen and Johnson in 2001, quantifies the distance between the composition of the mappings from each image to the other, produced by the registration procedure, and the identity function, and is used as a regularisation constraint in the loss function of many registration algorithms to enforce consistent mappings. Inverse consistency is necessary for good image registration but it is not sufficient, since a mapping can be perfectly consistent but not register the images at all. == Definition == Image registration is the process of establishing a common coordinate system between two images, and given two images I 1 : Ω 1 → R I 2 : Ω 2 → R {\displaystyle {\begin{aligned}I_{1}:\Omega _{1}\to \mathbb {R} \\I_{2}:\Omega _{2}\to \mathbb {R} \end{aligned}}} registering a source image I 1 {\displaystyle I_{1}} to a target image I 2 {\displaystyle I_{2}} consists of determining a transformation f 1 : Ω 2 → Ω 1 {\displaystyle f_{1}:\Omega _{2}\to \Omega _{1}} that maps points from the target space to the source space. An ideal registration algorithm should not be sensitive to which image in the pair is used as source or target, and the registration operator should be antisymmetric such that the mappings f 1 : Ω 2 → Ω 1 f 2 : Ω 1 → Ω 2 {\displaystyle {\begin{aligned}f_{1}:\Omega _{2}\to \Omega _{1}\\f_{2}:\Omega _{1}\to \Omega _{2}\end{aligned}}} produced when registering I 1 {\displaystyle I_{1}} to I 2 {\displaystyle I_{2}} and I 2 {\displaystyle I_{2}} to I 1 {\displaystyle I_{1}} respectively should be the inverse of each other, i.e. f 2 = f 1 − 1 {\displaystyle f_{2}=f_{1}^{-1}} and f 1 = f 2 − 1 {\displaystyle f_{1}=f_{2}^{-1}} or, equivalently, f 2 ∘ f 1 = id Ω 2 {\displaystyle f_{2}\circ f_{1}=\operatorname {id} _{\Omega _{2}}} and f 1 ∘ f 2 = id Ω 1 {\displaystyle f_{1}\circ f_{2}=\operatorname {id} _{\Omega _{1}}} , where ∘ {\displaystyle \circ } denotes the function composition operator. Real algorithms are not perfect, and when swapping the role of source and target image in a registration problem the so obtained transformations are not the inverse of each other. Inverse consistency can be enforced by adding to the loss function of the registration a symmetric regularisation term that penalises inconsistent transformations ∫ Ω 2 ‖ f 2 ( f 1 ( x ) ) − x ‖ 2 d x + ∫ Ω 1 ‖ f 1 ( f 2 ( x ) ) − x ‖ 2 d x . {\displaystyle \int _{\Omega _{2}}\left\Vert f_{2}(f_{1}(x))-x\right\Vert ^{2}\mathrm {d} x+\int _{\Omega _{1}}\left\Vert f_{1}(f_{2}(x))-x\right\Vert ^{2}\mathrm {d} x.} Inverse consistency can be used as a quality metric to evaluate image registration results. The inverse consistency error ( I C E {\displaystyle ICE} ) measures the distance between the composition of the two transforms and the identity function, and it can be formulated in terms of both average ( I C E a {\displaystyle ICE_{a}} ) or maximum ( I C E m {\displaystyle ICE_{m}} ) over a region of interest Ω {\displaystyle \Omega } of the image: I C E a = 1 ∫ Ω d x ∫ Ω ‖ f 2 ( f 1 ( x ) ) − x ‖ d x I C E m = max x ∈ Ω ‖ f 2 ( f 1 ( x ) ) − x ‖ . {\displaystyle {\begin{aligned}ICE_{a}&={\frac {1}{\int _{\Omega }\mathrm {d} x}}\int _{\Omega }\left\Vert f_{2}(f_{1}(x))-x\right\Vert \mathrm {d} x\\ICE_{m}&=\max _{x\in \Omega }\left\Vert f_{2}(f_{1}(x))-x\right\Vert .\end{aligned}}} While inverse consistency is a necessary property of good registration algorithms, inverse consistency error alone is not a sufficient metric to evaluate the quality of image registration results, since a perfectly consistent mapping, with no other constraint, may be not even close to correctly register a pair of images.
Subvocal recognition
Subvocal recognition (SVR) is the process of taking subvocalization and converting the detected results to a digital output, aural or text-based. A silent speech interface is a device that allows speech communication without using the sound made when people vocalize their speech sounds. It works by the computer identifying the phonemes that an individual pronounces from nonauditory sources of information about their speech movements. These are then used to recreate the speech using speech synthesis. == Input methods == Silent speech interface systems have been created using ultrasound and optical camera input of tongue and lip movements. Electromagnetic devices are another technique for tracking tongue and lip movements. The detection of speech movements by electromyography of speech articulator muscles and the larynx is another technique. Another source of information is the vocal tract resonance signals that get transmitted through bone conduction called non-audible murmurs. They have also been created as a brain–computer interface using brain activity in the motor cortex obtained from intracortical microelectrodes. == Uses == Such devices are created as aids to those unable to create the sound phonation needed for audible speech such as after laryngectomies. Another use is for communication when speech is masked by background noise or distorted by self-contained breathing apparatus. A further practical use is where a need exists for silent communication, such as when privacy is required in a public place, or hands-free data silent transmission is needed during a military or security operation. In 2002, the Japanese company NTT DoCoMo announced it had created a silent mobile phone using electromyography and imaging of lip movement. The company stated that "the spur to developing such a phone was ridding public places of noise," adding that, "the technology is also expected to help people who have permanently lost their voice." The feasibility of using silent speech interfaces for practical communication has since then been shown. In 2019, Arnav Kapur, a researcher from the Massachusetts Institute of Technology, conducted a study known as AlterEgo. Its implementation of the silent speech interface enables direct communication between the human brain and external devices through stimulation of the speech muscles. By leveraging neural signals associated with speech and language, the AlterEgo system deciphers the user's intended words and translates them into text or commands without the need for audible speech. == Research and patents == With a grant from the U.S. Army, research into synthetic telepathy using subvocalization is taking place at the University of California, Irvine under lead scientist Mike D'Zmura. NASA's Ames Research Laboratory in Mountain View, California, under the supervision of Charles Jorgensen is conducting subvocalization research. The Brain Computer Interface R&D program at Wadsworth Center under the New York State Department of Health has confirmed the existing ability to decipher consonants and vowels from imagined speech, which allows for brain-based communication using imagined speech, however using EEGs instead of subvocalization techniques. US Patents on silent communication technologies include: US Patent 6587729 "Apparatus for audibly communicating speech using the radio frequency hearing effect", US Patent 5159703 "Silent subliminal presentation system", US Patent 6011991 "Communication system and method including brain wave analysis and/or use of brain activity", US Patent 3951134 "Apparatus and method for remotely monitoring and altering brain waves". Latter two rely on brain wave analysis. == In fiction == The decoding of silent speech using a computer played an important role in Arthur C. Clarke's story and Stanley Kubrick's associated film A Space Odyssey. In this, HAL 9000, a computer controlling spaceship Discovery One, bound for Jupiter, discovers a plot to deactivate it by the mission astronauts Dave Bowman and Frank Poole through lip reading their conversations. In Orson Scott Card's series (including Ender's Game), the artificial intelligence can be spoken to while the protagonist wears a movement sensor in his jaw, enabling him to converse with the AI without making noise. He also wears an ear implant. In Speaker for the Dead and subsequent novels, author Orson Scott Card described an ear implant, called a "jewel", that allows subvocal communication with computer systems. Author Robert J. Sawyer made use of subvocal recognition to allow silent commands to the cybernetic 'companion implants' used by the advanced Neanderthal characters in his Neanderthal Parallax trilogy of science fiction novels. In Earth, David Brin depicts this technology and its uses as a normal gear in the near future. In Down and Out in the Magic Kingdom, Cory Doctorow has cellphone technology become silent through a cochlear implant and miking the throat to pick up subvocalization. William Gibson's Sprawl Trilogy frequently uses sub-vocalization systems in various devices. In Kage Baker's Company novels, the immortal cyborgs communicate subvocally. In the Hugo Award-winning Hyperion Cantos by Dan Simmons, the characters often use subvocalization to communicate. In the Culture novels by Iain M. Banks, more highly advanced species often communicate subvocally through their technology. In Deus Ex: Human Revolution (2011), the protagonist is augmented with a subvocalization implant for sending covert communications (and a corresponding cochlear implant for receiving covert communications). In the tabletop RPG and video game series Shadowrun, player characters can communicate via subvocal microphones in some instances. In Paranoia, all citizens can speak to the computer via their "cerebral cortech" implants. Alistair Reynolds Revelation Space trilogy frequently uses sub-vocalization systems in various devices.
Keith Youngin George II
Keith "Youngin" George II is a former mixtape DJ, music executive, manager, producer, and technology app director. He has collaborated with Maino, T-Pain, Nas and Soulja Boy, among others. He was instrumental in the launch of social media app and website, Kandiid in 2021 and served as Fliiks App Director of Regional Development. == Career == Keith Anthony George II was born in Upper Heyford, Oxfordshire, England. His father was in the Air Force which exposed him to different cultures and music. He graduated from Allen High School and attended San Antonio College. George's music career began in 2006 as a mixtape DJ working as DJ Youngin Beatz. He performed at various shows and worked with a variety of artists, managers, and music executives. In 2007, George released the mixtape, Untapped market Vol. 1 (Da Underdogz), which featured tracks from artists including Kanye West, Lil Wayne, 50 Cent, Yung Berg, and Nelly. In 2008, he began working with Def Jam executive Sarah Alminawi who was managing Maino at the time. George played a key role in the marketing and promotional success of Maino's single, Hi Hater, which peaked at #8 on Billboard's US Bubbling Under Hot 100 chart. In 2021, George was an advisor and infrastructure head at Kandiid, a social media app which won a W3 Award in 2022. In 2023, he became involved with Fliiks App as Director of Regional Development which earned a Telly Award, two Muse Awards, and a W3 Award in 2025. In 2025, George was a composer and producer on two singles on Sekou Andrews's album, Koumami; The Chosen One: ACT 1 (featuring Lion Babe) and Love Don't Care (featuring Jordin Sparks and Omari Hardwick). In 2025, he was awarded an Atlanta City Proclamation for Philanthropy and Community Leadership for his partnership with Women's International Grail, a nonprofit organization that assists women, single mothers, and low-income families. He also collaborates with local youth programs, creative networks, and minority-owned startups, providing access to mentorship and industry knowledge. == Awards ==