Foundry Virtual Tabletop, commonly shortened to Foundry VTT or FVTT, is a commercial, self-hosted virtual tabletop application for role-playing games. It provides a stage for visualizing the game environment and tools allowing the game master and players to organize and track statistics and notes. The software is highly modular and depends on the community-maintained ecosystem of add-on modules that modify the software's behavior and implement different game systems. Perpetual licenses, which include updates, are offered for a one-time fee. == Features == Foundry Virtual Tabletop is a highly modular Node.js web application that is run locally by the Gamemaster or hosted on a remote server. Players connect to their gamemaster's Foundry VTT instance over the network using their web browser. It is system-agnostic in that its core feature-set is not restricted to a specific game system. Systems, specific features and game content are implemented as add-on modules, which can be individually downloaded from a public repository. The module repository contains paid, official content, as well as freely available community-made modules that enhance functionality of the software. As of May 2025, 350 individual game systems are implemented as modules. Individual settings created by the Game Master are termed Worlds in the interface and contain the list of modules that should be loaded as well as world-specific content, which can be added by the gamemaster. This content is grouped into Scenes, Actors, Items and Journals. Battle and world maps are created as Scenes, which contain the backdrop and data on placement of walls, light sources and other entities. Tokens representing Actors, which are player characters, vehicles or NPCs, can be placed on these Scenes to be moved by the user that owns them. Other entities that interact or integrate with actors are termed Items; these can be objects, but also game system-specific concepts such as character classes. Journals are text documents that can link to other entities present in the World or modules. Viewing and editing permissions can be set individually for each entity. The software features a custom lighting engine that determines visibility of certain areas on each battle map depending on the position of players' characters, also revealing areas covered by fog of war. It also contains tools for map creation and comes with a small asset library. == History == Foundry Gaming LLC founder Andrew Clayton, commonly known under his online nickname Atropos, began development of Foundry VTT in 2018 for personal use after becoming dissatisfied with the feature set and business models of other virtual tabletops. Foundry VTT was initially developed for Linux, which remains its primary platform, with support for other platforms having been developed later. Foundry Gaming LLC was incorporated in Spokane, Washington on October 9, 2018, with the software remaining in private beta-testing until May 2020, when it was publicly released. In November 2020, Cubicle 7 partnered with Foundry to bring official content modules for its game system Warhammer Fantasy Roleplay to Foundry VTT. Later, in 2025, Clayton would state that this first major publisher deal was of significant importance to Foundry VTT's growth and credits the community developers of the WFRP system module for making it possible in the first place. In November 2023, Paizo partnered with Foundry to bring official content modules for Pathfinder Roleplaying Game to Foundry VTT. In January 2024, Foundry publicly announced its partnership with Wizards of the Coast in bringing official Dungeons & Dragons content to Foundry VTT, with the first official module, Phandelver and Below: The Shattered Obelisk, having been released in February 2024. == Development == As of 2023, the Foundry VTT software itself is being developed and managed by a team of 9 people, while a content team of 12 people is working with partnered publishers to compile content into downloadable modules. The content team also develops in-house content published by Foundry Gaming LLC. Stated goals are to create a virtual tabletop software that offers a one-time purchase and content ownership, make use of modern web technologies, and provide a platform for developers to build upon. Clayton has stated that integration of Generative AI into Foundry VTT is not planned, citing ethical and legal concerns and calling its usage within the industry a "betrayal of the creative people who made the TTRPG industry what it is in the first place". == Reception == Foundry VTT is one of the most popular virtual tabletops for TTRPGs; in particular, as a self-hosted web-based VTT, it is known as a modern alternative to the software as a service Roll20. Wargamer named it one of the three "best virtual tabletops for D&D in 2023", noting its active community and high degree of technical complexity, which allows for customization not seen in other products at the cost of a much steeper learning curve. Comic Book Resources called it an "underrated gem" and "incredibly versatile" for similar reasons, while also praising its lighting engine and visual fidelity. As the previously mentioned outlets do, Foundry's modular ecosystem and technical implementation are often mentioned as good features, but also as a source of frustration for new users. In a video interview, Clayton acknowledges this issue and affirms that the development team intends to make usage of more technical features "friction-less" and will reduce module breakage between updates in the future.
Indic computing
Indic Computing means "computing in Indic", i.e., Indian Scripts and Languages. It involves developing software in Indic Scripts/languages, Input methods, Localization of computer applications, web development, Database Management, Spell checkers, Speech to Text and Text to Speech applications and OCR in Indian languages. Unicode standard version 15.0 specifies codes for 9 Indic scripts in Chapter 12 titled "South and Central Asia-I, Official Scripts of India". The 9 scripts are Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Oriya, Tamil and Telugu. A lot of Indic Computing projects are going on. They involve some government sector companies, some volunteer groups and individual people. == Government sector == Indian Union Government made it mandatory for Mobile phone companies whose handsets manufactured, stored, sold and distributed in India to have support for displaying and typing text using fonts for all 22 languages. This move has seen rise in use of Indian languages by millions of users. === TDIL === The Department of Electronics and Information Technology, India initiated the TDIL (Technology Development for Indian Languages) with the objective of developing Information Processing Tools and Techniques to facilitate human-machine interaction without a language barrier; creating and accessing multilingual knowledge resources; and integrating them to develop innovative user products and services. In 2005, it started distributing language software tools developed by Government/Academic/Private companies in the form of CD for non commercial use. Some of the outcomes of TDIL program have been deployed on Indian Language Technology Proliferation & Deployment Centre. This Centre disseminates all the linguistic resources, tools & applications which have been developed under TDIL funding. This programme took to exponential expansion under the leadership of Dr. Swaran Lata who also created international foot-print of the programme. She has now retired. === C-DAC === C-DAC is an India based government software company which is involved in developing language related software. It is best known for developing InScript Keyboard, the standard keyboard for Indian languages. It has also developed lot of Indic language solutions including Word Processors, typing tools, text to speech software, OCR in Indian languages etc. ==== BharateeyaOO.org ==== The work developed out of CDAC, Bangalore (earlier known as NCST, Bangalore) became BharateeyaOO. OpenOffice 2.1 had support for over 10 Indian languages. ==== BOSS ==== BOSS linux was developed by the Centre for Development of Advanced Computing (CDAC) to promote use of open-source software in India. == NGO and Volunteer groups == === Indlinux === Indlinux organisation helped organise the individual volunteers working on different indic language versions of Linux and its applications. === Sarovar === Sarovar.org is India's first portal to host projects under Free/Open source licenses. It is located in Trivandrum, India and hosted at Asianet data center. Sarovar.org is customised, installed and maintained by Linuxense as part of their community services and sponsored by River Valley Technologies. Sarovar.org is built on Debian Etch and GForge and runs off METTLE. === Pinaak === Pinaak is a non-government charitable society devoted to Indic language computing. It works for software localization, developing language software, localizing open source software, enriching online encyclopedias etc. In addition to this Pinaak works for educating people about computing, ethical use of Internet and use of Indian languages on Internet. === Ankur Group === Ankur Group is working toward supporting Bengali language (Bengali) on Linux operating system including localized Bengali GUI, Live CD, English-to-Bengali translator, Bengali OCR and Bengali Dictionary etc. === BhashaIndia === === SMC === SMC is a free software group, working to bridge the language divide in Kerala in the technology front and is today the biggest language computing community in India. == Input methods == === Full size keyboards === With the advent of Unicode inputting Indic text on computer has become very easy. A number of methods exist for this purpose, but the main ones are:- ==== InScript ==== Inscript is the standard keyboard for Indian languages. Developed by C-DAC and standardized by Government of India. Nowadays it comes inbuilt in all major operating systems including Microsoft Windows (2000, XP, Vista, 7), Linux and Macintosh. ==== Phonetic transliteration ==== This is a typing method in which, for instance, the user types text in an Indian language using Roman characters and it is phonetically converted to equivalent text in Indian script in real time. This type of conversion is done by phonetic text editors, word processors and software plugins. Building up on the idea, one can use phonetic IME tools that allow Indic text to be input in any application. Some examples of phonetic transliterators are Xlit, Google Indic Transliteration, BarahaIME, Indic IME, Rupantar, SMC's Indic Keyboard and Microsoft Indic Language Input Tool. SMC's Indic Keyboard has support for as many as 23 languages whereas Google Indic Keyboard only supports 11 Indian languages. They can be broadly classified as: Fixed transliteration scheme based tools – They work using a fixed transliteration scheme to convert text. Some examples are Indic IME, Rupantar and BarahaIME. Intelligent/Learning based transliteration tools – They compare the word with a dictionary and then convert it to the equivalent words in the target language. Some of the popular ones are Google Indic Transliteration, Xlit, Microsoft Indic Language Input Tool and QuillPad. ==== Remington (typewriter) ==== This layout was developed when computers had not been invented or deployed with Indic languages, and typewriters were the only means to type text in Indic scripts. Since typewriters were mechanical and could not include a script processor engine, each character had to be placed on the keyboard separately, which resulted in a very complex and difficult to learn keyboard layout. With the advent of Unicode, the Remington layout was added to various typing tools for sake of backward compatibility, so that old typists did not have to learn a new keyboard layout. Nowadays this layout is only used by old typists who are used to this layout due to several years of usage. One tool to include Remington layout is Indic IME. A font that is based on the Remington keyboard layout is Kruti Dev. Another online tool that very closely supports the old Remington keyboard layout using Kruti Dev is the Remington Typing tool. === Braille === IBus Sharada Braille, which supports seven Indian languages was developed by SMC. === Mobile phones with Numeric keyboards === Mobile/Hand/cell phone basic models have 12 keys like the plain old telephone keypad. Each key is mapped to 3 or 4 English letters to facilitate data entry in English. For inputting Indian languages with this kind of keypad, there are two ways to do so. First is the Multi-tap Method and second uses visual help from the screen like Panini Keypad. The primary usage is SMS. 140 characters size used for English/Roman languages can be used to accommodate only about 70 language characters when Unicode Proprietary compression is used some times to increase the size of single message for Complex script languages like Hindi. A research study of the available methods and recommendations of proposed standard was released by Broadband Wireless Consortium of India (BWCI). ==== Transliteration/Phonetic methods ==== English is used to type in Indian languages. QuillPad IndiSMS ==== Native methods ==== In native methods, the letters of the language are displayed on the screen corresponding to the numeral keys based on the probabilities of those letters for that language. Additional letters can be accessed by using a special key. When a word is partially typed, options are presented from which the user can make a selection. === Smart phones with Qwerty keyboards === Most smart phones have about 35 keys catering primarily to the English language. Numerals and some symbols are accessed with a special key called Alt. Indic input methods are yet to evolve for these types of phones, as support of Unicode for rendering is not widely available. === For Smart Phones with Soft/Virtual keyboards === Inscript is being adopted for smart phone usage. For Android phones which can render Indic languages, Swalekh Multilingual Keypad Multiling Keyboard app are available. Gboard offers support for several Indian languages. == Localization == Localization means translating software, operating systems, websites etc. various applications in Indian language. Various volunteers groups are working in this direction. === Mandrake Tamil Version === A notable example is the Tamil version of Mandrake linux(defunct since 2011). Tamil speakers in Toronto (Canada) released Mandrake,
Power cycling
Power cycling is the act of turning a piece of equipment, usually a computer, off and then on again. Reasons for power cycling include having an electronic device reinitialize its set of configuration parameters or recover from an unresponsive state of its mission critical functionality, such as in a crash or hang situation. Power cycling can also be used to reset network activity inside a modem. It can also be among the first steps for troubleshooting an issue. == Overview == Power cycling can be done manually, usually using the power switch on the device, or remotely, through some type of external device connected to the power input. In the data center environment, remote control power cycling can usually be done through a power distribution unit, over the network. In the home environment, this can be done through home automation powerline communications. Most Internet service providers publish a "how-to" on their website showing their customers the correct procedure to power cycle their devices. Power cycling is a common diagnostic procedure usually performed first when a computer system freezes. However, frequently power cycling a computer can cause thermal stress. Reset has an equal effect on the software but may be less problematic for the hardware as power is not interrupted. == Historical uses == On all Apollo missions to the moon, the landing radar was required to acquire the surface before a landing could be attempted. But on Apollo 14, the landing radar was unable to lock on. Mission control told the astronauts to cycle the power. They did, the radar locked on just in time, and the landing was completed. During the Rosetta mission to comet 67P/Churyumov–Gerasimenko, the Philae lander did not return the expected telemetry on awakening after arrival at the comet. The problem was diagnosed as "somehow a glitch in the electronics", engineers cycled the power, and the lander awoke correctly. During the launch of the billion dollar AEHF-6 satellite on 26 March 2020 by an Atlas V rocket from Cape Canaveral Space Force Station in Florida, a hold was called at T-46 seconds due to hydraulic system not responding as expected. The launch crew turned it off and back on, and the launch proceeded normally. In 2023 the Interstellar Boundary Explorer spacecraft stopped responding to commands after an anomaly. When gentler techniques failed, NASA resorted to rebooting the spacecraft with the remote equivalent of a power cycle.
New media
New media are communication technologies that enable or enhance interaction between users, as well as interaction between users and content. In the middle of the 1990s, the phrase "new media" became widely used as part of a sales pitch for the influx of interactive CD-ROMs for entertainment and education. The new media technologies, sometimes known as Web 2.0, include a wide range of web-related communication tools such as blogs, wikis, online social networking, virtual worlds, and other social media platforms. The phrase "new media" refers to computational media that share material online and through computers. New media inspire new ways of thinking about older media. Media do not replace one another in a clear, linear succession, instead evolving in a more complicated network of interconnected feedback loops . What is different about new media is how they specifically refashion traditional media and how older media refashion themselves to meet the challenges of new media. Unless they contain technologies that enable digital generative or interactive processes, broadcast television programs, non-interactive news websites, feature films, magazines, and books are not considered to be new media. The term "new media" stands in contrast to old media, which dominated the media landscape as a form of mass media for many years. == History == In the 1950s, connections between computing and radical art began to grow stronger. It was not until the 1980s that Alan Kay and his co-workers at Xerox PARC began to give the computability of a personal computer to the individual, rather than have a big organization be in charge of this. In the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually, it makes sense that the Cold War and the design of the Web took place at exactly the same time. Writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period which is now famous declaration in Understanding Media: The Extensions of Man, that "the medium is the message" drew attention to the too often ignored influence media and technology themselves, rather than their "content," have on humans' experience of the world and on society broadly. Until the 1980s, media relied primarily upon print and analog broadcast models such as television and radio. The last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies such as the Internet and video games. However, these examples are only a small representation of new media. The use of digital computers has transformed the remaining 'old' media, as suggested by the advent of digital television and online publications. Even traditional media forms such as the printing press have been transformed through the application of technologies by using of image manipulation software like Adobe Photoshop and desktop publishing tools. Andrew L. Shapiro argues that the "emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources". W. Russell Neuman suggests that whilst the "new media" have technical capabilities to pull in one direction, economic and social forces pull back in the opposite direction. According to Neuman, "We are witnessing the evolution of a universal interconnected network of audio, video, and electronic text communications that will blur the distinction between interpersonal and mass communication; and between public and private communication". Neuman argues that new media will: Alter the meaning of geographic distance. Allow for a huge increase in the volume of communication. Provide the possibility of increasing the speed of communication. Provide opportunities for interactive communication. Allow forms of communication that were previously separate to overlap and interconnect. Consequently, it has been the contention of scholars such as Douglas Kellner and James Bohman that new media and particularly the Internet will provide the potential for a democratic postmodern public sphere, in which citizens can participate in well informed, non-hierarchical debate pertaining to their social structures. Contradicting these positive appraisals of the potential social impacts of new media are scholars such as Edward S. Herman and Robert McChesney who have suggested that the transition to new media has seen a handful of powerful transnational telecommunications corporations who achieve a level of global influence which was hitherto unimaginable. Scholars have highlighted both the positive and negative potential and actual implications of new media technologies, suggesting that some of the early work in new media studies was guilty of technologicaldeterminism – whereby the effects of media were determined by the technologies themselves, rather than by tracing the complex social networks that governed the development, funding, implementation, and future evolution of any technology. Based on the argument that people have a limited amount of time to spend on the consumption of different media, displacement theory argue that the viewership or readership of one particular outlet leads to the reduction in the amount of time spent by the individual on another. The introduction of new media, such as the internet, therefore reduces the amount of time individuals would spend on existing "old" media, which could ultimately lead to the end of such traditional media. == Definition == Although, there are several ways that new media may be described, Lev Manovich, in an introduction to The New Media Reader, defines new media by using eight propositions: New media versus cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas new media is concerned more with cultural objects and paradigms (digital to analog television, smartphones). New media as computer technology used as a distribution platform – New media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers. New media as digital data controlled by software – The language of new media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc. New media as the mix between existing cultural conventions and the conventions of software – New media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation. New media as the aesthetics that accompanies the early stage of every new modern media and communication technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period. New media as faster execution of algorithms previously executed manually or through other technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device. New media as the encoding of modernist avant-garde; new media as metamedia – Manovi
Bootstrap (front-end framework)
Bootstrap (formerly Twitter Bootstrap) is a free and open-source CSS framework directed at responsive, mobile-first front-end web development. It contains HTML, CSS and (optionally) JavaScript-based design templates for typography, forms, buttons, navigation, and other interface components. As of May 2023, Bootstrap is the 17th most starred project (4th most starred library) on GitHub, with over 164,000 stars. According to W3Techs, Bootstrap is used by 19.2% of all websites. == Features == Bootstrap is an HTML, CSS and JS library that focuses on simplifying the development of informative web pages (as opposed to web applications). The primary purpose of adding it to a web project is to apply Bootstrap's choices of color, size, font and layout to that project. As such, the primary factor is whether the developers in charge find those choices to their liking. Once added to a project, Bootstrap provides basic style definitions for all HTML elements. The result is a uniform appearance for prose, tables and form elements across web browsers. In addition, developers can take advantage of CSS classes defined in Bootstrap to further customize the appearance of their contents. For example, Bootstrap has provisioned for light- and dark-colored tables, page headings, more prominent pull quotes, and text with a highlight. Bootstrap also comes with several JavaScript components which do not require other libraries like jQuery. They provide additional user interface elements such as dialog boxes, tooltips, progress bars, navigation drop-downs, and carousels. Each Bootstrap component consists of an HTML structure, CSS declarations, and in some cases accompanying JavaScript code. They also extend the functionality of some existing interface elements, including for example an auto-complete function for input fields. The most prominent components of Bootstrap are its layout components, as they affect an entire web page. The basic layout component is called "Container", as every other element in the page is placed in it. Developers can choose between a fixed-width container and a fluid-width container. While the latter always fills the width with the web page, the former uses one of the five predefined fixed widths, depending on the size of the screen showing the page: Smaller than 576 pixels 576–768 pixels 768–992 pixels 992–1200 pixels 1200–1400 pixels Larger than 1400 pixels Once a container is in place, other Bootstrap layout components implement a CSS Flexbox layout through defining rows and columns. A precompiled version of Bootstrap is available in the form of one CSS file and three JavaScript files that can be readily added to any project. The raw form of Bootstrap, however, enables developers to implement further customization and size optimizations. This raw form is modular, meaning that the developer can remove unneeded components, apply a theme and modify the uncompiled Sass files. == History == === Early beginnings === Bootstrap, originally named Twitter Blueprint, was developed by Mark Otto and Jacob Thornton at Twitter in 2010 as a framework to encourage consistency across internal tools. Before Bootstrap, various libraries were used for interface development, which led to inconsistencies and a high maintenance burden. According to Otto: A super small group of developers and I got together to design and build a new internal tool and saw an opportunity to do something more. Through that process, we saw ourselves build something much more substantial than another internal tool. Months later, we ended up with an early version of Bootstrap as a way to document and share common design patterns and assets within the company. After a few months of development by a small group, many developers at Twitter began to contribute to the project as a part of Hack Week, a hackathon-style week for the Twitter development team. It was renamed from Twitter Blueprint to Twitter Bootstrap and released as an open-source project on August 19, 2011. It has continued to be maintained by Otto, Thornton, a small group of core developers, and a large community of contributors. === Bootstrap 2 === On January 31, 2012, Bootstrap 2 was released, which added built-in support for Glyphicons, several new components, as well as changes to many of the existing components. This version supports responsive web design, meaning the layout of web pages adjusts dynamically, taking into account the characteristics of the device used (whether desktop, tablet, mobile phone). Shortly before the release of Bootstrap 2.1.2, Otto and Thornton left Twitter, but committed to continue to work on Bootstrap as an independent project. === Bootstrap 3 === On August 19, 2013, Bootstrap 3 was released. It redesigned components to use flat design and a mobile first approach. Bootstrap 3 features new plugin system with namespaced events. Bootstrap 3 dropped Internet Explorer 7 and Firefox 3.6 support, but there is an optional polyfill for these browsers. Bootstrap 3 was also the first version released under the twbs organization on GitHub instead of the Twitter one. === Bootstrap 4 === Otto announced Bootstrap 4 on October 29, 2014. The first alpha version of Bootstrap 4 was released on August 19, 2015. The first beta version was released on August 10, 2017. Otto suspended work on Bootstrap 3 on September 6, 2016, to free up time to work on Bootstrap 4. Bootstrap 4 was finalized on January 18, 2018. Significant changes include: Major rewrite of the code Replacing Less with Sass Addition of Reboot, a collection of element-specific CSS changes in a single file, based on Normalize Dropping support for IE8, IE9, and iOS 6 CSS Flexible Box support Adding navigation customization options Adding responsive spacing and sizing utilities Switching from the pixels unit in CSS to root ems Increasing global font size from 14px to 16px for enhanced readability Dropping the panel, thumbnail, pager, and well components Dropping the Glyphicons icon font Huge number of utility classes Improved form styling, buttons, drop-down menus, media objects and image classes Bootstrap 4 supports the latest versions of Google Chrome, Firefox, Internet Explorer, Opera, and Safari (except on Windows). It additionally supports back to IE10 and the latest Firefox Extended Support Release (ESR). === Bootstrap 5 === Bootstrap 5 was officially released on May 5, 2021. Major changes include: New offcanvas menu component Removing dependence on jQuery in favor of vanilla JavaScript Rewriting the grid to support responsive gutters and columns placed outside of rows Migrating the documentation from Jekyll to Hugo Dropping support for Internet Explorer Moving testing infrastructure from QUnit to Jasmine Adding custom set of SVG icons Adding CSS custom properties Improved API Enhanced grid system Improved customizing docs Updated forms RTL support Built in darkmode support
Enterprise mobile application
The term enterprise mobile application is used in the context of mobile apps created/brought by individual organizations for their workers to carry out the functions required to run the organization. It is the process of building a mobile application for the requirements of an enterprise. An enterprise mobile application belonging to an organization is expected to be used by only the workers of that organization. The definition of enterprise mobile application does not include the mobile apps that an organization create for its customers or consumers of the products or services generated by the organization. == Example == An organization, whether for-profit or non-profit, may create a mobile app for its members to track inventory levels of supplies they distribute to their target communities or materials used in product manufacturing. Such a mobile app comes under the definition of enterprise mobile application. However, the same organization may also create another mobile app to sell their products to end users or spread awareness of their services to various communities, and that mobile app would not come under definition of enterprise mobile application. == Enterprise mobile solution providers == Enterprise Mobile solution providers create and develop apps for individual organizations that can buy instead of creating the apps themselves. Reasons for Organizations buying the apps include time and cost savings, technical expertise. Today Enterprise Mobility is playing track role for enterprise transformation. Today, enterprises needs productivity is a fast way. Enterprise mobility helps business owners to build their work in a progressive way by assisting enterprise mobility solutions.
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.