Mediated intercultural communication is digital communication between people of different cultural backgrounds. Media include social networks, blogs and conferencing services. Digital communication is distinct from traditional media, creating new avenues for intercultural communication. User take online classes; post, consume and comment on others content; and play multi-player video games. This creates spaces to form virtual communities that can ease communication across boundaries of space, time and culture. New media technologies can change culture in positive ways or become a tool of repression. == History == Intercultural communication is as ancient as human movement in search of food sources. The systematic study of intercultural communication began with Edward Hall's labor at the Foreign Service Institute, and the publication of his The Silent Language (1959). Later research, primarily focused on face-to-face communication in various areas such as interpersonal, group, and organizational and cultural identity. International and development media have been studied under the umbrella of international communication. Media imperialism, cultural imperialism and dependency theories inform this research. Mediated intercultural communication examines the bidirectional relationships between media and intercultural communication.
Web application firewall
A Web application firewall (WAF) is a specific form of application firewall that filters, monitors, and blocks HTTP traffic to and from a web service. By inspecting HTTP traffic, it can prevent attacks exploiting a Web application's known vulnerabilities, such as SQL injection, cross-site scripting (XSS), file inclusion, and improper system configuration. Financial institutions often utilize WAFs to help in the mitigation of Web application zero-day vulnerabilities, as well as hard-to-patch bugs or weaknesses through custom attack signature strings. == History == Dedicated Web application firewalls entered the market in the late 1990s during a time when web server attacks were becoming more prevalent. Early WAF products, from Kavado and Gilian technologies, tried to solve the increasing amount of attacks on Web applications in the late 1990s. In 2002, the open-source project ModSecurity was formed in order to make WAF technology more accessible. They finalized a core rule set for protecting Web applications, based on OASIS Web Application Security Technical Committee’s (WAS TC) vulnerability work. In 2003, they expanded and standardized rules through the Open Web Application Security Project’s (OWASP) Top 10 List, an annual ranking for Web security vulnerabilities. This list would become the industry standard for Web application security compliance. Since then, the market has continued to grow and evolve, especially focusing on credit card fraud prevention. With the development of the Payment Card Industry Data Security Standard (PCI DSS), a standardization of control over cardholder data, security has become more regulated in this sector. == Description == A Web application firewall is a special type of application firewall that applies specifically to Web applications. It is deployed in front of Web applications and analyzes bi-directional web-based (HTTP) traffic – detecting and blocking anything malicious. The OWASP provides a broad technical definition for a WAF as “a security solution on the Web application level which – from a technical point of view – does not depend on the application itself”. According to the PCI DSS Information Supplement for requirement 6.6, a WAF is defined as “a security policy enforcement point positioned between a Web application and the client endpoint. This functionality can be implemented in software or hardware, running in an appliance device, or in a typical server running a common operating system. It may be a stand-alone device or integrated into other network components.” In other words, a WAF can be a virtual or physical appliance that prevents vulnerabilities in Web applications from being exploited by outside threats. These vulnerabilities may be because the application itself is a legacy type or was insufficiently coded by design. The WAF addresses these code shortcomings by special configurations of rule-sets, also known as policies. Previously unknown vulnerabilities can be discovered through penetration testing or via a vulnerability scanner. A Web application vulnerability scanner, also known as a web application security scanner, is defined in the SAMATE NIST 500-269 as “an automated program that examines Web applications for potential security vulnerabilities. In addition to searching for Web application-specific vulnerabilities, the tools also look for software coding errors.” Resolving vulnerabilities is commonly referred to as remediation. Corrections to the code can be made in the application, but typically a more prompt response is necessary. In these situations, the application of a custom policy for a unique Web application vulnerability to provide a temporary but immediate fix (known as a virtual patch) may be necessary. WAFs are not an ultimate security solution, rather they are meant to be used in conjunction with other network perimeter security solutions such as network firewalls and intrusion prevention systems to provide a holistic defense strategy. WAFs typically follow a positive security model, a negative security, or a combination of both as mentioned by the SANS Institute. WAFs use a combination of rule-based logic, parsing, and signatures to detect and prevent attacks such as cross-site scripting and SQL injection. In general, features like browser emulation, obfuscation and virtualization, and IP obfuscation are used to attempt to bypass WAFs. The OWASP produces a list of the top ten Web application security flaws. All commercial WAF offerings cover these ten flaws at a minimum. There are non-commercial options as well. As mentioned earlier, the well-known open-source WAF engine called ModSecurity is one of these options. A WAF engine alone is insufficient to provide adequate protection, therefore OWASP along with Trustwave's Spiderlabs help organize and maintain a Core-Rule Set via GitHub to use with the ModSecurity WAF engine. == Deployment options == Although the names for operating mode may differ, WAFs are basically deployed inline in three different ways. According to NSS Labs, deployment options are transparent bridge, transparent reverse proxy, and reverse proxy. "Transparent" refers to the fact that the HTTP traffic is sent straight to the Web application, therefore the WAF is transparent between the client and server. This is in contrast to reverse proxy, where the WAF acts as a proxy, and the client’s traffic is sent directly to the WAF. The WAF then separately sends filtered traffic to Web applications. This can provide additional benefits such as IP masking but may introduce disadvantages such as performance latencies. == JA3 fingerprint == JA3, developed by Salesforce in 2017, is a technique for generating a unique fingerprint for SSL/TLS traffic based on specific fields in the handshake, such as the version, cipher suites, and extensions used by the client. This fingerprint enables the identification and tracking of clients based on the characteristics of their encrypted traffic. In the context of distributed denial of service (DDoS) protection, JA3 fingerprints are used to detect and differentiate malicious traffic, often associated with attack bots, from legitimate traffic, allowing for more precise filtering of potential threats. In September 2023, AWS WAF announced built-in support for JA3, enabling customers to inspect the JA3 fingerprints of incoming requests. JA3 was deprecated in May 2025 in favor of JA4. JA4 is currently patent pending.
Virtual Print Fee
Virtual Print Fee (VPF) is a subsidy paid by a film distributor towards the purchase of digital cinema projection equipment for use by a film exhibitor in the presentation of first release motion pictures. The subsidy is paid in the form of a fee per booking of a movie, intended to match the savings that occurs by not shipping a film print. The model is designed to help redistribute the savings realized by studios when using digital distribution instead of film print distribution and is intended to vanish when the transition phase is over when the vast majority of cinemas screens are equipped. == History == The first public demonstration of digital projection for cinema took place at ShoWest in 1999, and it was readily apparent that the technology was further ahead than the business model. Early technology presentations attempted to claim that the technology would pay for itself through new revenues generated by new forms of content. But exhibitors knew their audience, and could see that digital projection was only a replacement technology, creating new financial liabilities, and not new revenue. It wasn’t until the rollout of digital 3-D years later in 2005 that digital projection demonstrated that it could be used to generate additional revenue. The economics were challenging. Film projectors and platters cost in the neighborhood of US$30,000, while early digital projectors cost up to US$150,000. Further, film projectors had a lifetime of 30 years with relatively small annual expenditures in maintenance and replacement parts. On the other hand, exhibitors felt they would be lucky to get 10 years of service from a digital projector, after which there would have to be a refresh in capital expenditure. Meanwhile, distributors would realize significant savings by eliminating the high cost of film prints with corresponding shipping costs, and instead distributing digital files either by satellite or hard drive. The Virtual Print Fee was designed to better balance savings and expenditures for both exhibitors and distributors. It is intended to primarily assist in the replacement of film projectors, and not assist in the purchase of new projection equipment for new construction. To give confidence to financial institutions that digital cinema technology was stable and worthy of investment, Digital Cinema Initiatives was created in 2002, resulting in the release of the first version of the DCI Digital Cinema System Specification in 2005. The DCI Specification continues to be the core specification for digital cinema, establishing the baseline technology and system requirements for which studios will release digital movies. The first set of VPF agreements executed with four major studios were announced by Christie/AIX in November 2005. Christie/AIX at that time was a subsidiary of Access Integrated Technology, now renamed Cinedigm Digital Cinema Corp. The agreements were for the rollout of digital cinema technology to 4000 screens. Since that time, numerous other Digital Cinema Deployment Agreements have been executed around the world, allowing exhibitors in nearly every territory to benefit from VPF subsidies in the conversion from film projection to digital projection.
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 ==
Hype (marketing)
Hype in marketing is a strategy of using extreme publicity. Hype as a modern marketing strategy is closely associated with social media. Marketing through hype often uses artificial scarcity to induce demand. Consumers of hyped products often participate as a form of conspicuous consumption to signify characteristics about themselves. Hype allows brands to promote their image above the actual quality of the product. Streetwear brands have collaborated with luxury fashion to justify charging premium prices for their goods. As an example, fashion label Vetements used social media channels to promote a limited-edition hoodie which sold 500 units in hours, recording sales of €445,000. When hype marketing is used to drive demand for limited-edition goods, consumers sometimes attempt resell those good on secondary markets for a profit (comparable to ticket scalping). The resale market is a $24 billion industry. == Method == Luxury brands may release products as a collaborate with ready-made garment brands as a way to build hype. Collaborations have been used by some luxury brands to circumvent fast fashion brands copying their designs. NYU Professor Adam Alter says that for an established brand to create a scarcity frenzy, they need to release a limited number of different products, frequently. Hype is often built via Pop-up retail. Comme des Garçons was one of the first to use this strategy, leasing a short-term vacant shop solved the storage problems of releasing product for quick sale. Hype campaigns also rely on influencer marketing, where brands enlist creators whose parasocial relationships with their followers help convert audience attention into demand for limited releases. == In popular culture == The term 'hypebeast' has been coined to define consumers vulnerable to hype marketing. The origins of the term come from the Hong Kong-based company Hypebeast. The behaviours of the hypebeast define hype marketing; the purchase of popular goods they can't afford to impress others. Hype also manifests itself in queues with brands often retailing hyped products through pop-up stores. Many luxury brands release hyped products via their online shop. This has led to the creation of companies that allow consumers to use bots to guarantee or improve their chances of purchasing a limited-edition product.
Dailyhunt
Dailyhunt (formerly Newshunt) is an Indian content and news aggregator application based in Bangalore, India that provides local language content in 14 Indian languages from multiple content providers. Viru serves as Founder of Dailyhunt with Co-founder Umang Bedi. == History == Dailyhunt, earlier called Newshunt, was created as a Symbian app in 2009 by two ex-Nokia employees Umesh Kulkarni and Chandrashekhar Sohoni. Later in 2011, Newshunt became available on the Android platform. It was by that time that Virendra Gupta, founder of Verse acquired the application. Virendra Gupta, better known as Viru, had started Verse in 2007 as a value-added service (VAS) company. In 2011, he acquired Newshunt from its owners Umesh and Chandrashekhar. Umesh became the CTO and stayed on to oversee its transition towards the smartphone era. In 2015, Viru renamed Newshunt as Dailyhunt. In early 2018, Viru roped in Umang Bedi, to be the President of Dailyhunt and lead the business with him while focusing on making the benefits of the platform available to a larger audience. Umang was elevated to co-founder in 2020. == Funding == In September 2014, Dailyhunt (then known as Newshunt) closed its Series B funding of INR 1 billion ( or approx $12 million in 2014) from Sequoia Capital India. The Series C funding round was led by Falcon Capital and was closed with $40 million in February 2015. In October 2016, the company received its Series D funding of $25 million from ByteDance and a Series E funding of $6.39 million from Falcon Edge Capital in September 2018. Additionally, Dailyhunt raised $3 Mn (INR 21.75 Cr) in a Series F funding round from Stonebridge Capital in August 2019. Other investors of Dailyhunt include Matrix Partners India, Omidyar Network, Goldman Sachs and Sofina. == Tie-ups and partnerships == In January 2021, Dailyhunt partnered with Twitter to bring ‘Twitter Moments’ to the Indian social app. Dailyhunt app now has a dedicated tab called “Twitter Moments India” to showcase curated tweets pertaining to news and other events. In January 2021, Dailyhunt announced the premiere of Season 2 of the popular show QuoteUnquote with KK (Kapil Khandelwal) on the app. It was the first podcast to have been launched on the Dailyhunt app. In September 2020, Dailyhunt signed up as an Associate Sponsor with Star Sports for Dream 11 IPL 2020. In May 2020, Snapdeal partnered with Dailyhunt to add new content on marketplace. In March 2019, Discovery Communications India, the factual entertainment network, entered into a multi-year partnership with Dailyhunt to showcase short-form content.
Digital history
Digital history is the use of digital media to further historical analysis, presentation, and research. It is a branch of the digital humanities and an extension of quantitative history, cliometrics, and computing. Digital history is commonly known as digital public history, concerned primarily with engaging online audiences with historical content, or digital research methods, that further academic research. Digital history outputs include: digital archives, online presentations, data and information visualizations, interactive maps, timelines, audio files, and virtual worlds. These outputs are designed to enhance accessibility to users, facilitating engagement with historical content. Recent digital history projects focus on creativity, collaboration, and technical innovation, text mining, corpus linguistics, network analysis, 3D modeling, and big data analysis. By utilizing these resources, the user can rapidly develop new analyses that can link to, extend, and bring to life existing histories. == History == Rooted in earlier social science history work, particularly around the history of enslavement in the United States, early digital history in the 1960s and 70s focused on using computers to conduct quantitative analyses, primarily of demographic and social history data - censuses, election returns, city directories, and other tabular or countable data. - with the aim of producing defensible research findings These early computers could be programmed to conduct statistical analyses of these records, creating tallies, or seeking trends across records. This research into historical demography was rooted in the rise of social history as a field of historical interest. The historians involved in this work sought to quantify past societies, to come to new conclusions about communities and population. Computers proved capable tools for that type of work. By the late 1970s younger historians turned to cultural studies, most of these studies involved online databases that were checked by Professionals in Great Britain about once a year. The outpouring of quantitative studies by established scholars continued. Since then, quantitative history and cliometrics have been used primarily by historically minded economists and political scientists. In the late 1980s quantifiers founded the Association for History and Computing. This movement provided some of the impetus for the rise of digital history in the 1990s. The more recent roots of digital history were in software rather than online networks. In 1982, the Library of Congress embarked on its Optical Disk Pilot Project, which placed text and images from its collection on to laserdiscs and CD-ROMs. The library started offering online exhibits in 1992 when it launched Selected Civil War Photographs. In 1993, Roy Rosenzweig, along with Steve Brier and Josh Brown, produced their award-winning CD-ROM Who Built America? From the Centennial Exposition of 1876 to the Great War of 1914, designed for Apple, Inc. that integrated images, text, film and sound clips, displayed in a visual interface that supported a text narrative. Among the earliest online digital history projects were The Heritage Project of the University of Kansas, and medieval historian Dr. Lynn Nelson's World History Index and History Central Catalogue. Another was The Valley of the Shadow, conceived in 1991 by current University of Richmond professor of humanities and president emeritus, Edward L. Ayers, who was then at the University of Virginia. The Institute for Advanced Technology in the Humanities (IATH) at the University of Virginia adopted the Valley Project and partnered with IBM to collect and transcribe historical sources into digital files. The project collected data related to Augusta County in Virginia and Franklin County in Pennsylvania during the American Civil War. In 1996, William G. Thomas III joined Ayers on the Valley Project. Together, they produced an online article entitled "The Differences Slavery Made: A Close Analysis of Two American Communities," which also appeared in The American Historical Review in 2003. A CD-ROM also accompanied the Valley Project, published by W. W. Norton and Company in 2000. Rosenzweig, who died October 11, 2007, founded the Center for History and New Media (CHNM) at George Mason University in 1994. Today, CHNM boasts several digital tools available to historians, such as Zotero, Omeka or Tropy. In 1997, Ayers and Thomas used the term "digital history" when they proposed and founded the Virginia Center for Digital History (VCDH) at the University of Virginia, the earliest center devoted exclusively to history. Several other institutions promoting digital history include the Center for Humane Arts, Letters, and Social Sciences Online (MATRIX) at Michigan State University, Maryland's Institute for Technology in the Humanities, and the Center for Digital Research in the Humanities at the University of Nebraska. In 2004, Emory University launched Southern Spaces, a "peer-reviewed Internet journal and scholarly forum" examining the history of the South. == Applications == There are many potential benefits to the use of digital history when combined with traditional historical methods. Some of these applications include: Combining traditional historical methods and new research methods in order to come to new conclusions. Using different tools to extract and analyse larger amounts of data that would not be manageable otherwise. Create models and maps of data extracted to create a visualisation of the data. Data extracted and analysed can be placed alongside existing historiography to increase combined historical knowledge. By adding new research methods to existing historical method, historians can benefit greatly from the ability to work with larger amounts of data and develop new interpretations from this. == Notable Projects == The collaborative nature of most digital history endeavors has meant that the discipline has developed primarily at institutions with the resources to sponsor content research and technical innovation. Two of the first centers, George Mason University's Center for History and New Media and the Virginia Center for Digital History at the University of Virginia have been among the leaders in the development of digital history projects and the education of digital historians. Some of the noteworthy projects emerging from these pioneering centers are The Geography of Slavery, The Texas Slavery Project, and The Countryside Transformed at VCDH and Liberty, Equality, Fraternity: Exploring the French Revolution and The Lost Museum at the CHNM. In each of these projects, mediated archives holding multiple types of sources are combined with digital tools to analyze and illuminate an historical question to a varying degree; this integration of content and tools with analysis is one of the hallmarks of digital history—projects move beyond archives or collections and into scholarly analysis and the use of digital tools to develop that analysis. The differences between the ways projects incorporate these integrations are a measure of the development of the field and point to the ongoing debates over what digital history can and should be. While many of the projects at VCDH, CHNM, and other university's centers have been geared towards academics and post-secondary education, the University of Victoria (British Columbia), in conjunction with the Université de Sherbrooke and the Ontario Institute for Studies in Education at the University of Toronto, has created as series of projects for all ages, "Great Unsolved Mysteries in Canadian History." Laden with instructional aids, this site asks teachers to introduce students to historical research methods to help them develop analytical skills and a sense of the complexities of their national history. Issues of race, religion, and gender are addressed in carefully constructed modules that cover incidents in Canadian history from Viking exploration through the 1920s. One of the original co-creators of the project, John Lutz has also developed Victoria's Victoria with the University of Victoria and Malaspina University-College. In addition to Ayers, Thomas, Lutz, and Rosenzweig, numerous other individual scholars work with digital history techniques and have made and/or continue to make important contributions to the field. Robert Darnton's 2000 article, "An Early Information Society: News and the Media in Eighteenth-Century Paris" was supplemented with electronic resources and is an early model of the discussions around digital history and its future in the humanities. One of the first major digital projects to be reviewed by the American Historical Review (AHR) was Philip Ethington's "Los Angeles and the Problem of Urban Historical Knowledge"—a multimedia exploration of changes to Los Angeles' physical profile over the course of several decades. In this essay, he also expresses his beliefs that historians have major power in