Dynamic epistemic logic

Dynamic epistemic logic (DEL) is a logical framework dealing with knowledge and information change. Typically, DEL focuses on situations involving multiple agents and studies how their knowledge changes when events occur. These events can change factual properties of the actual world (they are called ontic events): for example a red card is painted in blue. They can also bring about changes of knowledge without changing factual properties of the world (they are called epistemic events): for example, a card is revealed publicly (or privately) to be red. Originally, DEL focused on epistemic events. Only some of the basic ideas are present in this entry of the original DEL framework; more details about DEL in general can be found in the references. Due to the nature of its object of study and its abstract approach, DEL is related and has applications to numerous research areas, such as computer science (artificial intelligence), philosophy (formal epistemology), economics (game theory) and cognitive science. In computer science, DEL is for example very much related to multi-agent systems, which are systems where multiple intelligent agents interact and exchange information. As a combination of dynamic logic and epistemic logic, dynamic epistemic logic is a young field of research. It really started in 1989 with Plaza's logic of public announcement. Independently, Gerbrandy and Groeneveld proposed a system dealing moreover with private announcement and that was inspired by the work of Veltman. Another system was proposed by van Ditmarsch whose main inspiration was the Cluedo game. But the most influential and original system was the system proposed by Baltag, Moss and Solecki. This system can deal with all the types of situations studied in the works above and its underlying methodology is conceptually grounded. This entry will present some of its basic ideas. Formally, DEL extends ordinary epistemic logic by the inclusion of event models to describe actions, and a product update operator that defines how epistemic models are updated as the consequence of executing actions described through event models. Epistemic logic will first be recalled. Then, actions and events will enter into the picture and we will introduce the DEL framework. == Epistemic logic == Epistemic logic is a modal logic dealing with the notions of knowledge and belief. As a logic, it is concerned with understanding the process of reasoning about knowledge and belief: which principles relating the notions of knowledge and belief are intuitively plausible? Like epistemology, it stems from the Greek word ϵ π ι σ τ η μ η {\displaystyle \epsilon \pi \iota \sigma \tau \eta \mu \eta } or ‘episteme’ meaning knowledge. Epistemology is nevertheless more concerned with analyzing the very nature and scope of knowledge, addressing questions such as “What is the definition of knowledge?” or “How is knowledge acquired?”. In fact, epistemic logic grew out of epistemology in the Middle Ages thanks to the efforts of Burley and Ockham. The formal work, based on modal logic, that inaugurated contemporary research into epistemic logic dates back only to 1962 and is due to Hintikka. It then sparked in the 1960s discussions about the principles of knowledge and belief and many axioms for these notions were proposed and discussed. For example, the interaction axioms K p → B p {\displaystyle Kp\rightarrow Bp} and B p → K B p {\displaystyle Bp\rightarrow KBp} are often considered to be intuitive principles: if an agent Knows p {\displaystyle p} then (s)he also Believes p {\displaystyle p} , or if an agent Believes p {\displaystyle p} , then (s)he Knows that (s)he Believes p {\displaystyle p} . More recently, these kinds of philosophical theories were taken up by researchers in economics, artificial intelligence and theoretical computer science where reasoning about knowledge is a central topic. Due to the new setting in which epistemic logic was used, new perspectives and new features such as computability issues were then added to the research agenda of epistemic logic. === Syntax === In the sequel, A G T S = { 1 , … , n } {\displaystyle AGTS=\{1,\ldots ,n\}} is a finite set whose elements are called agents and P R O P {\displaystyle PROP} is a set of propositional letters. The epistemic language is an extension of the basic multi-modal language of modal logic with a common knowledge operator C A {\displaystyle C_{A}} and a distributed knowledge operator D A {\displaystyle D_{A}} . Formally, the epistemic language L EL C {\displaystyle {\mathcal {L}}_{\textsf {EL}}^{C}} is defined inductively by the following grammar in BNF: L EL C : ϕ ::= p ∣ ¬ ϕ ∣ ( ϕ ∧ ϕ ) ∣ K j ϕ ∣ C A ϕ ∣ D A ϕ {\displaystyle {\mathcal {L}}_{\textsf {EL}}^{C}:\phi ~~::=~~p~\mid ~\neg \phi ~\mid ~(\phi \land \phi )~\mid ~K_{j}\phi ~\mid ~C_{A}\phi ~\mid ~D_{A}\phi } where p ∈ P R O P {\displaystyle p\in PROP} , j ∈ A G T S {\displaystyle j\in {AGTS}} and A ⊆ A G T S {\displaystyle A\subseteq {AGTS}} . The basic epistemic language L E L {\displaystyle {\mathcal {L}}_{EL}} is the language L E L C {\displaystyle {\mathcal {L}}_{EL}^{C}} without the common knowledge and distributed knowledge operators. The formula ⊥ {\displaystyle \bot } is an abbreviation for ¬ p ∧ p {\displaystyle \neg p\land p} (for a given p ∈ P R O P {\displaystyle p\in PROP} ), ⟨ K j ⟩ ϕ {\displaystyle \langle K_{j}\rangle \phi } is an abbreviation for ¬ K j ¬ ϕ {\displaystyle \neg K_{j}\neg \phi } , E A ϕ {\displaystyle E_{A}\phi } is an abbreviation for ⋀ j ∈ A K j ϕ {\displaystyle \bigwedge \limits _{j\in A}K_{j}\phi } and C ϕ {\displaystyle C\phi } an abbreviation for C A G T S ϕ {\displaystyle C_{AGTS}\phi } . Group notions: general, common and distributed knowledge. In a multi-agent setting there are three important epistemic concepts: general knowledge, distributed knowledge and common knowledge. The notion of common knowledge was first studied by Lewis in the context of conventions. It was then applied to distributed systems and to game theory, where it allows to express that the rationality of the players, the rules of the game and the set of players are commonly known. General knowledge. General knowledge of ϕ {\displaystyle \phi } means that everybody in the group of agents A G T S {\displaystyle {AGTS}} knows that ϕ {\displaystyle \phi } . Formally, this corresponds to the following formula: E ϕ := ⋀ j ∈ A G T S K j ϕ . {\displaystyle E\phi :={\underset {j\in {AGTS}}{\bigwedge }}K_{j}\phi .} Common knowledge. Common knowledge of ϕ {\displaystyle \phi } means that everybody knows ϕ {\displaystyle \phi } but also that everybody knows that everybody knows ϕ {\displaystyle \phi } , that everybody knows that everybody knows that everybody knows ϕ {\displaystyle \phi } , and so on ad infinitum. Formally, this corresponds to the following formula C ϕ := E ϕ ∧ E E ϕ ∧ E E E ϕ ∧ … {\displaystyle C\phi :=E\phi \land EE\phi \land EEE\phi \land \ldots } As we do not allow infinite conjunction the notion of common knowledge will have to be introduced as a primitive in our language. Before defining the language with this new operator, we are going to give an example introduced by Lewis that illustrates the difference between the notions of general knowledge and common knowledge. Lewis wanted to know what kind of knowledge is needed so that the statement p {\displaystyle p} : “every driver must drive on the right” be a convention among a group of agents. In other words, he wanted to know what kind of knowledge is needed so that everybody feels safe to drive on the right. Suppose there are only two agents i {\displaystyle i} and j {\displaystyle j} . Then everybody knowing p {\displaystyle p} (formally E p {\displaystyle Ep} ) is not enough. Indeed, it might still be possible that the agent i {\displaystyle i} considers possible that the agent j {\displaystyle j} does not know p {\displaystyle p} (formally ¬ K i K j p {\displaystyle \neg K_{i}K_{j}p} ). In that case the agent i {\displaystyle i} will not feel safe to drive on the right because he might consider that the agent j {\displaystyle j} , not knowing p {\displaystyle p} , could drive on the left. To avoid this problem, we could then assume that everybody knows that everybody knows that p {\displaystyle p} (formally E E p {\displaystyle EEp} ). This is again not enough to ensure that everybody feels safe to drive on the right. Indeed, it might still be possible that agent i {\displaystyle i} considers possible that agent j {\displaystyle j} considers possible that agent i {\displaystyle i} does not know p {\displaystyle p} (formally ¬ K i K j K i p {\displaystyle \neg K_{i}K_{j}K_{i}p} ). In that case and from i {\displaystyle i} ’s point of view, j {\displaystyle j} considers possible that i {\displaystyle i} , not knowing p {\displaystyle p} , will drive on the left. So from i {\displaystyle i} ’s point of view, j {\displaystyle j} might drive on the left as well (by the same argument as abov

Random feature

Random features (RF) are a technique used in machine learning to approximate kernel methods, introduced by Ali Rahimi and Ben Recht in their 2007 paper "Random Features for Large-Scale Kernel Machines", and extended by. RF uses a Monte Carlo approximation to kernel functions by randomly sampled feature maps. It is used for datasets that are too large for traditional kernel methods like support vector machine, kernel ridge regression, and gaussian process. == Mathematics == === Kernel method === Given a feature map ϕ : R d → V {\textstyle \phi :\mathbb {R} ^{d}\to V} , where V {\textstyle V} is a Hilbert space (more specifically, a reproducing kernel Hilbert space), the kernel trick replaces inner products in feature space ⟨ ϕ ( x i ) , ϕ ( x j ) ⟩ V {\displaystyle \langle \phi (x_{i}),\phi (x_{j})\rangle _{V}} by a kernel function k ( x i , x j ) : R d × R d → R {\displaystyle k(x_{i},x_{j}):\mathbb {R} ^{d}\times \mathbb {R} ^{d}\to \mathbb {R} } Kernel methods replaces linear operations in high-dimensional space by operations on the kernel matrix: K X := [ k ( x i , x j ) ] i , j ∈ 1 : N {\displaystyle K_{X}:=[k(x_{i},x_{j})]_{i,j\in 1:N}} where N {\textstyle N} is the number of data points. === Random kernel method === The problem with kernel methods is that the kernel matrix K X {\textstyle K_{X}} has size N × N {\textstyle N\times N} . This becomes computationally infeasible when N {\textstyle N} reaches the order of a million. The random kernel method replaces the kernel function k {\textstyle k} by an inner product in low-dimensional feature space R D {\textstyle \mathbb {R} ^{D}} : k ( x , y ) ≈ ⟨ z ( x ) , z ( y ) ⟩ {\displaystyle k(x,y)\approx \langle z(x),z(y)\rangle } where z {\textstyle z} is a randomly sampled feature map z : R d → R D {\textstyle z:\mathbb {R} ^{d}\to \mathbb {R} ^{D}} . This converts kernel linear regression into linear regression in feature space, kernel SVM into SVM in feature space, etc. Since we have K X ≈ Z X T Z X {\displaystyle K_{X}\approx Z_{X}^{T}Z_{X}} where Z X = [ z ( x 1 ) , … , z ( x N ) ] {\displaystyle Z_{X}=[z(x_{1}),\dots ,z(x_{N})]} , these methods no longer involve matrices of size O ( N 2 ) {\textstyle O(N^{2})} , but only random feature matrices of size O ( D N ) {\textstyle O(DN)} . == Random Fourier feature == === Radial basis function kernel === The radial basis function (RBF) kernel on two samples x i , x j ∈ R d {\displaystyle x_{i},x_{j}\in \mathbb {R} ^{d}} is defined as k ( x i , x j ) = exp ⁡ ( − ‖ x i − x j ‖ 2 2 σ 2 ) {\displaystyle k(x_{i},x_{j})=\exp \left(-{\frac {\|x_{i}-x_{j}\|^{2}}{2\sigma ^{2}}}\right)} where ‖ x i − x j ‖ 2 {\displaystyle \|x_{i}-x_{j}\|^{2}} is the squared Euclidean distance and σ {\displaystyle \sigma } is a free parameter defining the shape of the kernel. It can be approximated by a random Fourier feature map z : R d → R 2 D {\displaystyle z:\mathbb {R} ^{d}\to \mathbb {R} ^{2D}} : z ( x ) := 1 D [ cos ⁡ ⟨ ω 1 , x ⟩ , sin ⁡ ⟨ ω 1 , x ⟩ , … , cos ⁡ ⟨ ω D , x ⟩ , sin ⁡ ⟨ ω D , x ⟩ ] T {\displaystyle z(x):={\frac {1}{\sqrt {D}}}[\cos \langle \omega _{1},x\rangle ,\sin \langle \omega _{1},x\rangle ,\ldots ,\cos \langle \omega _{D},x\rangle ,\sin \langle \omega _{D},x\rangle ]^{T}} where ω 1 , . . . , ω D {\displaystyle \omega _{1},...,\omega _{D}} are IID samples from the multidimensional normal distribution N ( 0 , σ − 2 I ) {\displaystyle N(0,\sigma ^{-2}I)} . Since cos , sin {\displaystyle \cos ,\sin } are bounded, there is a stronger convergence guarantee by Hoeffding's inequality. === Random Fourier features === By Bochner's theorem, the above construction can be generalized to arbitrary positive definite shift-invariant kernel k ( x , y ) = k ( x − y ) {\displaystyle k(x,y)=k(x-y)} . Define its Fourier transform p ( ω ) = 1 2 π ∫ R d e − j ⟨ ω , Δ ⟩ k ( Δ ) d Δ {\displaystyle p(\omega )={\frac {1}{2\pi }}\int _{\mathbb {R} ^{d}}e^{-j\langle \omega ,\Delta \rangle }k(\Delta )d\Delta } then ω 1 , . . . , ω D {\displaystyle \omega _{1},...,\omega _{D}} are sampled IID from the probability distribution with probability density p {\displaystyle p} . This applies for other kernels like the Laplace kernel and the Cauchy kernel. === Neural network interpretation === Given a random Fourier feature map z {\displaystyle z} , training the feature on a dataset by featurized linear regression is equivalent to fitting complex parameters θ 1 , … , θ D ∈ C {\displaystyle \theta _{1},\dots ,\theta _{D}\in \mathbb {C} } such that f θ ( x ) = R e ( ∑ k θ k e i ⟨ ω k , x ⟩ ) {\displaystyle f_{\theta }(x)=\mathrm {Re} \left(\sum _{k}\theta _{k}e^{i\langle \omega _{k},x\rangle }\right)} which is a neural network with a single hidden layer, with activation function t ↦ e i t {\displaystyle t\mapsto e^{it}} , zero bias, and the parameters in the first layer frozen. In the overparameterized case, when 2 D ≥ N {\displaystyle 2D\geq N} , the network linearly interpolates the dataset { ( x i , y i ) } i ∈ 1 : N {\displaystyle \{(x_{i},y_{i})\}_{i\in 1:N}} , and the network parameters is the least-norm solution: θ ^ = arg ⁡ min θ ∈ C D , f θ ( x k ) = y k ∀ k ∈ 1 : N ‖ θ ‖ {\displaystyle {\hat {\theta }}=\arg \min _{\theta \in \mathbb {C} ^{D},f_{\theta }(x_{k})=y_{k}\forall k\in 1:N}\|\theta \|} At the limit of D → ∞ {\displaystyle D\to \infty } , the L2 norm ‖ θ ^ ‖ → ‖ f K ‖ H {\displaystyle \|{\hat {\theta }}\|\to \|f_{K}\|_{H}} where f K {\displaystyle f_{K}} is the interpolating function obtained by the kernel regression with the original kernel, and ‖ ⋅ ‖ H {\displaystyle \|\cdot \|_{H}} is the norm in the reproducing kernel Hilbert space for the kernel. == Other examples == === Random binning features === A random binning features map partitions the input space using randomly shifted grids at randomly chosen resolutions and assigns to an input point a binary bit string that corresponds to the bins in which it falls. The grids are constructed so that the probability that two points x i , x j ∈ R d {\displaystyle x_{i},x_{j}\in \mathbb {R} ^{d}} are assigned to the same bin is proportional to K ( x i , x j ) {\displaystyle K(x_{i},x_{j})} . The inner product between a pair of transformed points is proportional to the number of times the two points are binned together, and is therefore an unbiased estimate of K ( x i , x j ) {\displaystyle K(x_{i},x_{j})} . Since this mapping is not smooth and uses the proximity between input points, Random Binning Features works well for approximating kernels that depend only on the L 1 {\displaystyle L_{1}} distance between datapoints. === Orthogonal random features === Orthogonal random features uses a random orthogonal matrix instead of a random Fourier matrix. == Historical context == In NIPS 2006, deep learning had just become competitive with linear models like PCA and linear SVMs for large datasets, and people speculated about whether it could compete with kernel SVMs. However, there was no way to train kernel SVM on large datasets. The two authors developed the random feature method to train those. It was then found that the O ( 1 / D ) {\displaystyle O(1/D)} variance bound did not match practice: the variance bound predicts that approximation to within 0.01 {\displaystyle 0.01} requires D ∼ 10 4 {\displaystyle D\sim 10^{4}} , but in practice required only ∼ 10 2 {\displaystyle \sim 10^{2}} . Attempting to discover what caused this led to the subsequent two papers.

Festival of International Virtual & Augmented Reality Stories

Festival of International Virtual & Augmented Reality Stories (FIVARS) is a Canadian media festival for story-driven works using extended reality (XR) and immersive media, including virtual reality, augmented reality, WebXR, live VR performance, projection mapping and spatialized audio. Founded in Toronto in 2015, it has been described as Canada's first dedicated virtual and augmented reality stories festival, the first Canadian festival of its kind, and Canada's original festival dedicated to immersive storytelling. FIVARS has described itself as "the original and longest-running festival wholly dedicated to Virtual and Augmented Reality Stories", while third-party XR coverage has called it one of the longest-running events dedicated to immersive content. FIVARS is produced by Constant Change Media Group, Inc., with its partner event VRTO. == History == FIVARS began in 2015, with preview screenings at the Camp Wavelength music festival on Toronto Island and an inaugural festival held in Toronto in September 2015. Contemporary coverage described the first edition as a virtual reality film festival held at UG3 Live in Toronto. The festival continued with a second edition in 2016. L'Express described the 2016 festival as presenting Canadian and international interactive works in virtual and augmented reality narrative forms. FIVARS's 2016 festival was also listed in a York University Future Cinema course page as a public event students could attend. In 2017, the third annual FIVARS festival was held at the House of VR in Toronto. In 2018, the festival was held at the Matador Ballroom, which NOW Magazine reported was reopening for FIVARS from September 14 to 16. The festival's own history states that the 2018 edition included 36 works from 12 countries and that Stephanie Greenall took over as co-producer that year. In 2019, FIVARS moved to the Toronto Media Arts Centre for its fifth anniversary and listed official selections in passive and interactive immersive-experience categories. The festival also held talks and panels at the Toronto Media Arts Centre. During the COVID-19 pandemic, FIVARS moved part of its programming online. In 2020, Voices of VR reported that Malicki-Sanchez and WebXR developer James Baicoianu used JanusXR code to create a platform for presenting 360-degree video through the web. The festival's history states that its 2020 online festival included 39 selections from 16 countries and was produced by Malicki-Sanchez and Greenall. In 2021, FIVARS introduced a dual-event structure with FIVARS in FEB and FIVARS in FALL. The fall 2021 edition used a hybrid format, with an in-person component in West Hollywood from October 15 to 17 and an online WebXR component from October 22 to November 2. In 2022, FIVARS held hybrid programming with pop-up viewing locations in Los Angeles and Toronto. The fall 2022 edition was listed by blogTO as the festival's tenth edition, with an in-person component at Stackt - an outdoor arts park built from shipping containers in Toronto and online programming. The 2023 festival was presented as a hybrid exhibition of 65 immersive stories, with an in-person Toronto component and an online component. The FIVARS Online Festival was later listed among the Innovator of the Year nominees for the 2024 Poly Awards. FIVARS stated that the nominees for that recognition were producer and designer Keram Malicki-Sanchez and developer James Baicoianu. The 2024 edition was listed as FIVARS 2024 (Toronto + Online), with an in-person Toronto event from October 3 to 8 and an online component beginning October 10. The festival also published a 2024 official selections list covering virtual reality, augmented reality, spherical video, spatial web and related immersive formats. In 2025, FIVARS and VRTO were held together at OCAD University. The 2026 edition is scheduled for June 15 to 19, 2026, at OCAD University in Toronto, with OCAD University as presenting sponsor and first-time venue host. FIVARS has featured official selections from more than forty countries across six continents. == Organization == FIVARS was founded in 2015 by Keram Malicki-Sánchez. Joseph Ellsworth was the festival's original technical director and helped operate FIVARS during its early years. Malicki-Sánchez remains executive director and festival director. Jessy Blaze joined Malicki-Sánchez as co-producer in 2016 and served until Stephanie Greenall took over the role in 2018. Greenall served as co-producer and associate producer from 2018 to 2022. Aimee Reynolds took over from Greenall in 2022 and has served as associate producer of FIVARS and VRTO since 2022. == Immersive Media Awards == FIVARS presents People's Choice awards for interactive works and immersive video or passive immersive works. Juried award categories have included the Grand Jury Prize, Impact Award, Technical Achievement, Excellence in Experience Design, Excellence in Visual Design, Excellence in Sound Design, and Outstanding Performance. === 2015 === On Monday, September 21, the festival announced People's Choice awards for two categories at the Cadillac Lounge, a music venue and restaurant in Toronto. People's Choice Best Interactive Experience: Apollo 11 Best Immersive Video: SONAR === 2016 === People's Choice Best Interactive Experience: Pearl (Patrick Osborne) Best Immersive Video: Help (Justin Lin) Juried Grand Jury Award: Real (Connor Hair and Alex Meader) === 2017 === People's Choice Best Interactive: Alteration Best Immersive (Passive): Guardian of the Guge Kingdom Juried Impact Award: Priya's Shakti / Priya's Mirror (Dan Goldman) Grand Jury Prize: Manifest 99 === 2018 === People's Choice Best Interactive: Museum of Symmetry (Paloma Dawkins) Best Immersive (Passive): Going Home (David Beier) Juried Impact Award: The Hidden (Annie Lukowski, BJ Schwartz) Grand Jury Prize: Battlescar (Nico Casavecchia, Martin Allais) === 2019 === People's Choice Best Interactive: After Dan Graham (David Han/Friend Generator) Best Immersive (Passive): 2nd Step (Joerg Courtial) Juried Technical Achievement: tx-reverse Excellence in Experience Design: Battlescar (Nico Casavecchia, Martin Allais) Excellence in Sound Design: Unheard (Zhechuan Zhang) Excellence in Visual Design: Ex Anima (Pierre Zandrowicz) Impact Award: State Power (Jeff Stanzler) Grand Jury Prize: The Industry (Mirka Duijn) === 2020 === People's Choice Best Interactive: Gravity VR (Fabito Rychter, Amir Admoni) Best Immersive (Passive): Warsaw Rising (Tomasz Dobosz) Juried Technical Achievement: The Cosmic Laughter of Cucci Binaca (Jonathan Sims) Excellence in Experience Design: Sleeping Eyes (Sojung Bahng, Sungeun Lee) Excellence in Sound Design: Symphony of Noise VR (Michaela Pnacekova) Excellence in Visual Design: Hominidae (Brian Andrews) Impact Award: Indirect Actions (Maranatha Hay) Grand Jury Prize: Minimum Mass (Raqi Syed, Areito Echevarria) === 2021 === FIVARS in FEB – People's Choice Best Interactive: CLAWS (created by Evan Neiden; directed by John Ertman) Best Immersive (Passive): Inside COVID 19 (Gary Yost, Adam Loften) FIVARS in FALL – People's Choice Best Interactive: Samsara (director: Hsin-Chien Huang) Best Immersive (Passive): The Invasion of Normandy Omaha Beach (director: Uli Futschik) Juried Technical Achievement: Dark Threads (director: Jonathon Corbiere) Excellence in Experience Design: Andy's World (director: Liquan Liu) Excellence in Sound Design: Symphony (director: Igor Cortadellas) Excellence in Visual Design: Mind VR Exploration (director: Deng Zuyun) Outstanding Performance: Lori Kovachevich, Lena's Journey (director: Wes Evans) Impact Award: Om Devi: Sheroes Revolution (director: Claudio Casale) Grand Jury Prize: Montegelato (director: Davide Rapp) === 2022 === FIVARS in FEB – People's Choice Best Interactive: Severance Theory: Welcome to Respite (Lyndsie Scoggin, United States) Best Immersive (Passive): Beescapes (Alan Nguyen, Australia) FIVARS in FALL – People's Choice Best Interactive: Namuanki (Kevin Mack, United States) Best Immersive (Passive): Reimagined Vol. 1: Nyssa (Julie Cavaliere, United States) Juried (Whole Year) Technical Achievement: Namuanki (Kevin Mack, United States) Excellence in Experience Design: Unframed: Hand Puppets, Paul Klee (Martin Charrière, Switzerland) Excellence in Visual Design: The Last Dance (Toshiaki Hanzaki, Japan) Excellence in Sound Design: Kingdom of Plants with David Attenborough (Iona McEwan, UK and USA) Outstanding Performance: Ari Tarr, OffRail (Ari Tarr, United States) Impact Award: Tearless (Gina Kim, South Korea) Grand Jury Prize: Klaxon. My dear sweet Friend (Nikita Shokhov, United States) === 2023 === People's Choice Best Interactive: PULSAR Best Immersive (Passive): Behind the Dish Juried Technical Achievement: VFC Excellence in Experience Design: Broken Spectre Excellence in Visual Design: Night Creatures Excellence in Sound Design: VFC Outstanding Performance: Origins Impact Award: LOU Grand Jury Prize: Stay Alive, My Son === 2024 ==

Vinyl cutter

A vinyl cutter is an entry-level machine for making signs. Computer-designed vector files with patterns and letters are directly cut on the roll of vinyl which is mounted and fed into the vinyl cutter through USB or serial cable. Vinyl cutters are mainly used to make signs, banners and advertisements. Advertisements seen on automobiles and vans are often made with vinyl cut letters. While these machines were designed for cutting vinyl, they can also cut through computer and specialty papers, as well as thicker items like thin sheets of magnet. In addition to sign business, vinyl cutters are commonly used for apparel decoration. To decorate apparel, a vector design needs to be cut in mirror image, weeded, and then heat applied using a commercial heat press or a hand iron for home use. Some businesses use their vinyl cutter to produce both signs and custom apparel. Many crafters also have vinyl cutters for home use. These require little maintenance, and the vinyl can be bought in bulk relatively cheaply. Vinyl cutters are also often used by stencil artists to create single use or reusable stencil art and lettering == How it works == A vinyl cutter is a type of computer-controlled machine tool. The computer controls the movement of a sharp blade over the surface of the material as it would the nozzles of an ink-jet printer. This blade is used to cut out shapes and letters from sheets of thin self-adhesive plastic (vinyl). The vinyl can then be stuck to a variety of surfaces depending on the adhesive and type of material. To cut out a design, a vector-based image must be created using vector drawing software. Some vinyl cutters are marketed to small in-home businesses and require download and use of a proprietary editing software. The design is then sent to the cutter where it cuts along the vector paths laid out in the design. The cutter is capable of moving the blade on an X and Y axis over the material, cutting it into the required shapes. The vinyl material comes in long rolls allowing projects with significant length like banners or billboards to be easily cut. A major limitation with vinyl cutters is that they can only cut shapes from solid colours of vinyl, paper, card or thin plastic sheets such as Mylar. The type and thickness of material will vary for each cutter and how much downforce the cutter is capable of. If the material has no backing, a backing sheet, material or cutting mat and a temporary adhesive are needed to allow the cutter to cut through the material. A design with multiple colours must have each colour cut separately and then layered on top of each other as it is applied to the substrate. This is a process that is often applied in stencil art. Also, since the shapes are cut out of solid colours, photographs and gradients cannot be reproduced with a stand-alone cutter. === Design creation === Designs are created using vector-based software like Adobe Illustrator, FlexiSign, EasyCutPro, or other software. Vector artwork is either drawn with lines, shapes and text or images are vectorized thus create vector shapes. Most cutters (also called plotters) require special software to load/edit the artwork and communicate with the cutter. Computer designed images are loaded onto the vinyl cutter via a wired connection or over a wireless protocol. Then the vinyl is loaded into the machine where it is automatically fed through and cut to follow the set design. The vinyl can be placed on an adhesive mat to stabilize the vinyl when cutting smaller designs. === Types of vinyl === Adhesive vinyl is the type of vinyl used for store windows, car decals, signage, and more. Adhesive vinyl is applied with a transfer medium often called "transfer tape" or "carrier sheet". Heat transfer vinyl is the type of vinyl used to apply a design to fabric including t-shirts, tea towels, canvas bags, and more. Heat Transfer vinyl can be applied using a heat press or an iron, though the constant pressure and heat from a heat press is recommended by experts. === Using other materials === In addition to vinyl some cutters are capable of cutting other materials such as paper, card, plastic sheets and even thin wood. The thickness and type of material that can be cut will depend on the model of the cutter and heavily depends on the downforce. Cricut is a popular home cutter used by arts and craft enthusiasts since it allows for a wide use of different materials and is similar in size to a household printer and has strong downforce for its size. === Backing and cutting mat === If you cut material that doesn't have an adhesive backing you will require a cutting mat that you need to attach your material to. Some cutting mats are sticky, others will require you to use a temporary adhesive and/or masking tape to keep the material in place when cutting. === Cutting === The vinyl cutter uses a small knife or blade to precisely cut the outline of figures into a sheet or piece of vinyl, but not the release liner. The process of cutting vinyl material without penetrating it completely is referred to as "kiss cutting". The knife moves side to side and turns, while the vinyl is moved beneath the knife. The results from the cut process is an image cut into the material. === Weeding === The material is then 'weeded' where the excess parts of the figures are removed from the release liner. It is possible to remove the positive parts, which would give a negative decal, or remove the negative parts, giving a positive decal. Removing the figure would be like removing the positive, giving a negative image of the figures. === Transfer tape === A sheet of transfer tape with an adhesive backing is laid on the weeded vinyl when necessary. Heat Transfer vinyl often does not require use of a separate transfer tape. A roller is applied to the tape, causing it to adhere to the vinyl. The transfer tape and the weeded vinyl is pulled off the release liner, and applied to a substrate, such as a sheet of aluminium. This results in an aluminium sign with vinyl figures. == Uses == In addition to the capabilities of the cutter itself, adhesive vinyl comes in a wide variety of colors and materials including gold and silver foil, vinyl that simulates frosted glass, holographic vinyl, reflective vinyl, thermal transfer material, and even clear vinyl embedded with gold leaf. (Often used in the lettering on fire trucks and rescue vehicles.) As the vinyl film is supplied by the manufacturer, it comes attached to a release liner. == Challenges when cutting on a vinyl cutter == Cutting on a vinyl cutter requires careful calibration to achieve clean and accurate results, especially when the goal is to cut through only the top layer of material while leaving the backing intact. One of the most common challenges is setting the correct cutting depth. If the blade is not lowered enough, the vinyl material may not separate properly; if it goes too deep, it can cut through the backing layer and potentially damage the cutting mat. The cutting depth on the vinyl cutter machines typically does not exceed 1 mm. Another frequent issue is the mismatch between the blade and the type of material being processed. Using an inappropriate blade can lead to uneven cuts, premature dulling of the edge, and torn or frayed material. The overall quality of the output also depends on factors such as the cutting speed, blade sharpening and cutting angle, and the material the knife is made of.

Event cinema

Event cinema sometimes called alternative content cinema or livecasts refers to the use of movie theaters to display a varied range of live and recorded entertainment excluding traditional films, such as sport, opera, musicals, ballet, music, one-off TV specials, current affairs, comedy and religious services. == History and development == Event Cinema was set up at the start of the century with rock concerts by Bon Jovi (2001), David Bowie (2003), and Robbie Williams (2005) bringing non-film audiences into cinemas that had newly installed digital equipment. The Metropolitan Opera in New York through their partnership with Fathom Events is acknowledged as the trailblazer in this area, aggressively seeking out new markets and setting high standards for live broadcasts via satellite. Emulated by other opera houses worldwide such as the Royal Opera House following a close second, Glyndebourne, La Scala and the Sydney Opera House the genre of opera within the 'Event Cinema' industry has been a huge success, and has brought new, younger audiences into cash-strapped opera houses depended on state funding and wealthy benefactors for the first time - an unforeseen and happy consequence of digitisation. Ballet and theater have also been very successful, as have rock concerts, both live and recorded. The UK's National Theatre has been a huge success here with their season of live broadcasts under the banner 'NT Live', featuring big name casts such as Helen Mirren, whose recent turn as Queen Elizabeth II in The Audience was a sell out everywhere. (This was in partnership with another West End theatre and the NT are keen to help other theatres maximise their potential through live broadcasts). The Globe and the Royal Shakespeare Company are also producing work for live broadcast and recorded exhibition. As digitisation of cinemas matures, the Event Cinema industry is growing. The strongest territory is the US, followed by the UK and mainland European territories. Latin America is also a very strong market. Recent additions include Pompeii Live, a unique exhibition by the UK's British Museum, featuring celebrities and curators taking the audience on a live tour around the recreated set of Pompeii within the museum itself, and they are also exploring the schools market for the first time, following the live broadcast on June 18 with a daytime broadcast aimed at UK schools for the first time. If successful this will no doubt prove a model for future museums to emulate. An added incentive for exhibitors is the ability to show alternative content, i.e. alternative to mainstream, studio-driven content, such as live special events, sports, pre-show advertising and other digital or video content. In industry terms this has become known as 'Alternative Content', but has recently become known more widely as 'Event Cinema'. === Expanding markets === Some low-budget films that would normally not have a theatrical release because of distribution costs might be shown in smaller engagements than the typical large release studio pictures. The cost of duplicating a digital "print" is very low, so adding more theaters to a release has a small additional cost to the distributor. Movies that start with a small release could scale to a much larger release quickly if they were sufficiently successful, opening up the possibility that smaller movies could achieve box office success previously out of their reach. ==== Technical specifications ==== Event Cinema is also finding a market in 3rd world countries in which the higher costs and quality of DCI equipment are not yet affordable, as crucially there are no DCI specifications for Alternative Content as there is in mainstream [studio] content. This has led to an explosion in the variety of content on offer, but a lack of standardisation has led to questionable quality at times. As the industry matures, this lack of regulation is expected to change and there are moves afoot to introduce codes of practice and technical specifications. Recorded content complements mainstream studio content by maximising the 'downtime' that plagues the cinema industry, where screens worldwide spend a large proportion of their time in darkness and cinemas empty. Some cinema chains have targeted pensioners in particular, offering free tea and coffee for afternoon matinees of recorded opera, for example. Digital Cinema Packages (DCPs) have been useful to cinemas not yet equipped with satellite broadcasting capability and has enabled exhibitors to build their Event Cinema audience, which is not generally the 18-24 demographic that multiplexes are targeting. ==== New Audiences ==== Event Cinema has seen a return of an older, affluent audience, previously turned off by the multiplex experience, and cinemas are starting to capitalise on this by offering waiter-serviced, high class finger food and alcoholic beverages, complete with bars and restaurants, a world away from the traditional popcorn/soft drink model; art house cinemas are increasingly marketing themselves as 'destination' venues for an evening's entertainment, somewhere to spend an entire evening, rather than just a couple of hours. As exhibition admissions have plateau'd in recent years due to the explosion in VOD, tablet and mobile content technology, this new revenue stream has been a surprise and welcome addition to the cinema industry, though the US studios have been cautious in embracing the change as yet. The thrill of Live broadcasts means they are generally regarded as more popular than recorded events, but there are exceptions; artists with a loyal cult or teenage following tend to do particularly well in this area, as concert films featuring artists such as the Grateful Dead, Pearl Jam, JLS, Led Zeppelin and the Rolling Stones have shown. ==== The Future ==== As more and more distributors are emerging, offering an increasingly broad range of content to cinemas worldwide, the landscape itself is shifting: screen advertising companies, technical providers, and exhibitors themselves are reinventing themselves as Alternative Content or Event Cinema distributors, and the industry is witnessing a re-evaluation of business models and practices worldwide. Predictions are that this industry could be work in excess of US$1bn by 2015. An illustration of the growth of this industry is the news the establishment of a European trade association promoting the industry to the general public and supporting those involved in it and the Event Cinema Association.

Monitoring as a service

Monitoring as a service (MaaS) is a cloud-based framework for the deployment of monitoring functionalities for various other services and applications within the cloud. The most common application for MaaS is online state monitoring, which continuously tracks certain states of applications, networks, systems, instances or any element that may be deployable within the cloud.

List of UPnP AV media servers and clients

This is a list of UPnP AV media servers and client application or hard appliances. == UPnP AV media servers == === Software === === Cross-platform === Allonis myServer, a multi-faceted media player/organizer with a DLNA/UPnP server, controller, and renderer, including conversion. Runs on Microsoft Windows. Supports most all HTML5 devices as remote controls. Asset UPnP (DLNA compatible) from Illustrate. An audio specific UPnP/DLNA server for Windows, QNAP, macOS and Linux. Features audio WAVE/LPCM transcoding from a range of audio codecs, ReplayGain and playlists. FreeMi UPnP Media Server, very simple server, historically used to stream to the STB Freebox, based on .net/mono. Home Media Server, a free media server/player/controller for Windows, Linux, macOS, individual device settings, transcoding, external and internal subtitles, restricted device access to folders, uploading files, Internet-Radio, Internet-Television, Digital Video Broadcasting (DVB), DMR-control and "Play To", Music (Visualization), Photo (Slideshow), support for 3D-subtitles, support for BitTorrent files, Web-navigation with HTML5 player, Digital Media Renderer (DMR) emulation for AirPlay and Google Cast devices. Jellyfin, a free and open-source suite of multimedia applications designed to organize, manage, and share digital media files to networked devices. JRiver Media Center, a multi-faceted media player/organizer with a DLNA/UPnP server, controller, and renderer, including conversion. Supports Microsoft Windows, macOS and Linux. Kodi (previously XBMC), a cross platform open source software media-player/media center for Android, Apple TV, Linux, macOS and Windows. LimboMedia, a free cross platform home- and UPnP/DLNA mediaserver with android app and WebM transcoding for browser playback (build with java and FFmpeg). MinimServer, a Java-based highly configurable uPnP/DNLA music server with additional consideration given to Classical Music, supports transcoding with MinimStreamer, supports Microsoft Windows, macOS, Linux, and various NAS devices. Neutron Music Player, acts as a cross platform UPnP/DLNA Media Renderer server available for Android, iOS, BlackBerry 10 & PlayBook platforms. Supports gapless playback and has possibility to output rendered audio further to the high-resolution internal DAC or external USB DAC or another UPnP/DLNA Media Renderer with all supported DSP effects applied. Plex, a cross-platform and closed source software media player and entertainment hub for digital media, available for macOS, Microsoft Windows, Linux, as well as mobile clients for iOS (including Apple TV (2nd generation) onwards), Android, Windows Phone, and many devices such as Xbox. Supports on-the-fly transcoding of video and music. PonoMusic World. Based on the JRiver Media Center software, includes similar features along with a store for purchasing HD audio tracks. PS3 Media Server, a free cross platform Java based UPnP DLNA server especially good for AVC and other current HD media codecs with on-the-fly transcoding. Serviio, is available with a free and a pro license. It can stream media files (music, video or images) to renderer devices (e.g. a TV set, Blu-ray player, games console or mobile phone) on a local area network. TVMOBiLi, a cross platform, high performance UPnP/DLNA Media Server for Windows, macOS and Linux. TwonkyMedia server, a cross-platform multimedia server and entertainment hub for digital media, available for Android, Apple TV, iOS, Linux, macOS, Microsoft Windows, Windows Phone, and Xbox 360. Universal Media Server, a free (open source) DLNA-compliant UPnP Media Server for Windows, macOS and Linux (originally based on the PS3 Media Server). It is able to stream videos, audio and images to any DLNA-capable device. It contains more features than most paid UPnP/DLNA Media Servers. It streams to many devices including TVs (Samsung, Sony, Panasonic, LG, Philips and more.), PS3, Xbox(One/360), smartphones, Blu-ray players and more. vGet Cast, a simple, cross platform (Chrome App) DLNA server and controller for single, local video files. Vuze, an open-source Java-based BitTorrent client which contains MediaServer plugin. Wild Media Server, a media server/player/controller for Windows, Linux, macOS, individual device settings, transcoding, external and internal subtitles, restricted device access to folders, uploading files, Internet-Radio, Internet-Television, Digital Video Broadcasting (DVB), DMR-control and "Play To", Music (Visualization), Photo (Slideshow), support for 3D-subtitles, support for BitTorrent files, Web-navigation with HTML5 player, Digital Media Renderer (DMR) emulation for AirPlay and Google Cast devices. === Android === BubbleUPnP Android UPnP/DLNA server, player, controller and renderer CastLab Android UPnP/DLNA server. Pixel Media Server, Android UPnP/DLNA Media Server. Supports all popular Video and Audio files. It also support external subtitle file (SRT) Plato is an Android UPnP client app that can play videos and audio. Toaster Cast Android UPnP/DLNA server, controller and renderer vGet, Android App that can play videos embedded in websites on DLNA renderers. Media Cast UPnP, Android UPnP client app that can play videos/Audio. Media Server Pro is a DLNA server that allows individual file selections for sharing. Slick UPnP A minimal and intuitive open-source Android UPnP client app that can play video/audio. (It is not DMS) YAACC Open source UPnP controller, renderer and server app === Linux === === Microsoft Windows === Sundtek Streamingserver a native Windows TV Server providing DVB, ATSC and ISDB-T via UPnP/DLNA, it also supports streaming media files (it only supports TV devices from Sundtek). Stream What You Hear, a Windows application that streams the sound of your computer (i.e.: “what you hear”) to UPnP/DLNA device such as TVs, amps, network receivers, game consoles, etc... TVersity Media Server, a Windows application that streams multimedia content from a personal computer to UPnP, DLNA and mobile devices (Chromecast is also supported). It was the first media server to offer real-time transcoding (back in 2005). TVersity Screen Server, a Windows application that mirrors the screen of a personal computer to UPnP, DLNA and mobile devices. DVBViewer, a Windows application, mainly for TV/Radio recording/playback, but with the ability to stream live TV/radio as well as multimedia files via UPnP/DLNA. DivX, a Windows application, mainly for video encoding into DivX format, but has the ability to stream multimedia files via DLNA. foobar2000, a freeware audio player for Windows. Highly customizable, audio only. Download of dlna-extension from the developers' webpage necessary. Home Media Center, a free and open source media server compatible with DLNA. Includes web interface for streaming content to web browser (Android, iOS, ...), subtitles integration and Windows desktop streaming. This server is easy to use. KooRaRoo Media, a commercial DLNA media server and organizer for Windows. Includes on-the-fly transcoding, per-file and per-folder parental controls, powerful organizing features with dynamic playlists, Internet radio streaming, "Play To" functionality and remote device control, burned-in and external subtitles, extensive format support including RAW photo formats. Streams all files to all devices. Media Go, media player and tagger MediaMonkey, a free media player/tagger/editor with an UPnP/DLNA client and server for Microsoft Windows MusicBee, an audio player, supports UPnP via a plugin. Mezzmo, a commercial software package. Mezzmo streams music, movies, photos and subtitles to the UPnP and DLNA-enabled devices. It automatically finds and organizes music, movies and photos, imports multimedia files from iPad, iPhone, iPod, Audio CDs, iTunes, Windows Media Player and WinAmp. DLNA server supports all popular media file formats with real time transcoding to meet the device specifications. PlayOn, a commercial UPnP/DLNA media server for Windows, includes a transcoder for streaming web video. TVble, a cloud connected (Rotten tomatoes/TMDB etc.), Torrent streaming, DLNA enabled media server. Allows single file or playlist downloads. Windows Media Connect from Microsoft, a free UPnP AV MediaServer and control point (server and client) for Microsoft Windows WMC version 2.0 can be installed for usage with Windows Media Player 10 for Windows XP WMC version 3.0 can be installed for usage with Windows Media Player 11 for Windows XP WMC version 4.0 comes pre-installed on Windows Vista with its Windows Media Player 11 WMC can also refer to Windows Media Center. From the Windows Media Center entry in Wikipedia: In May 2015, Microsoft announced that Windows Media Center would be discontinued on Windows 10, and that it would be uninstalled when upgrading; but stated that those upgrading from a version of Windows that included the Media Center application would receive the paid Windows DVD Player app to maintain DVD playback functio