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  • Cache language model

    Cache language model

    A cache language model is a type of statistical language model. These occur in the natural language processing subfield of computer science and assign probabilities to given sequences of words by means of a probability distribution. Statistical language models are key components of speech recognition systems and of many machine translation systems: they tell such systems which possible output word sequences are probable and which are improbable. The particular characteristic of a cache language model is that it contains a cache component and assigns relatively high probabilities to words or word sequences that occur elsewhere in a given text. The primary, but by no means sole, use of cache language models is in speech recognition systems. To understand why it is a good idea for a statistical language model to contain a cache component one might consider someone who is dictating a letter about elephants to a speech recognition system. Standard (non-cache) N-gram language models will assign a very low probability to the word "elephant" because it is a very rare word in English. If the speech recognition system does not contain a cache component, the person dictating the letter may be annoyed: each time the word "elephant" is spoken another sequence of words with a higher probability according to the N-gram language model may be recognized (e.g., "tell a plan"). These erroneous sequences will have to be deleted manually and replaced in the text by "elephant" each time "elephant" is spoken. If the system has a cache language model, "elephant" will still probably be misrecognized the first time it is spoken and will have to be entered into the text manually; however, from this point on the system is aware that "elephant" is likely to occur again – the estimated probability of occurrence of "elephant" has been increased, making it more likely that if it is spoken it will be recognized correctly. Once "elephant" has occurred several times, the system is likely to recognize it correctly every time it is spoken until the letter has been completely dictated. This increase in the probability assigned to the occurrence of "elephant" is an example of a consequence of machine learning and more specifically of pattern recognition. There exist variants of the cache language model in which not only single words but also multi-word sequences that have occurred previously are assigned higher probabilities (e.g., if "San Francisco" occurred near the beginning of the text subsequent instances of it would be assigned a higher probability). The cache language model was first proposed in a paper published in 1990, after which the IBM speech-recognition group experimented with the concept. The group found that implementation of a form of cache language model yielded a 24% drop in word-error rates once the first few hundred words of a document had been dictated. A detailed survey of language modeling techniques concluded that the cache language model was one of the few new language modeling techniques that yielded improvements over the standard N-gram approach: "Our caching results show that caching is by far the most useful technique for perplexity reduction at small and medium training data sizes". The development of the cache language model has generated considerable interest among those concerned with computational linguistics in general and statistical natural language processing in particular: recently, there has been interest in applying the cache language model in the field of statistical machine translation. The success of the cache language model in improving word prediction rests on the human tendency to use words in a "bursty" fashion: when one is discussing a certain topic in a certain context, the frequency with which one uses certain words will be quite different from their frequencies when one is discussing other topics in other contexts. The traditional N-gram language models, which rely entirely on information from a very small number (four, three, or two) of words preceding the word to which a probability is to be assigned, do not adequately model this "burstiness". Recently, the cache language model concept – originally conceived for the N-gram statistical language model paradigm – has been adapted for use in the neural paradigm. For instance, recent work on continuous cache language models in the recurrent neural network (RNN) setting has applied the cache concept to much larger contexts than before, yielding significant reductions in perplexity. Another recent line of research involves incorporating a cache component in a feed-forward neural language model (FN-LM) to achieve rapid domain adaptation.

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  • MX1 Ltd

    MX1 Ltd

    MX1 was a global media services provider founded in July 2016 from a merger between digital media services companies, RR Media and SES Platform Services, and a wholly owned subsidiary of global satellite owner and operator, SES. In September 2019, MX1 was merged into the SES Video division and the MX1 brand dropped. Broadcast and streamed content management, playout, distribution, and monetisation services from both MX1 and SES Video are now provided under the SES name. Before merger with SES, MX1 claimed to manage more than 5 million media assets and every day to distribute more than 3,600 TV channels, manage the playout of over 525 channels, distribute content to more than 120 subscription VOD platforms, and deliver over 8,400 hours of online video streaming and more than 620 hours of premium sports and live events. == Services == MX1 video and media services are provided through a single hybrid, cloud and on-premises solution, called MX1 360, which enables video and media solutions including content and metadata management, archiving, localisation solutions, channel playout, VOD, online video (OTT) and content distribution. Services provided by MX1 include: === Content aggregation === Acquisition of content via satellite, fibre or IP with satellite downlinking services (for encryption, re-encryption and re-muxing into different platforms), fibre reception from any location, and IP reception via the public Internet. Live sports, news and entertainment production (including in-studio, outside broadcasting, and SNG) with mobile live streaming and video contribution. === Content management === Digital mastering including scanning, conversion, restoration, quality control and localisation/versioning. Content archiving including secure, cloud and on-premises digital storage, and disaster recovery services. Metadata packaging and platform validation to enhance content discovery, searchability and cataloguing. Playout preparation and delivery to any format. === Channel origination and playout === Managed TV channel origination in SD, HD and UHD including 3D graphics, and video and audio effects, using cloud-based solution accessible from any location, with live content insertion and operation, and 24/7 monitoring. === Online video/VOD services === Content preparation and management for online video, VOD, live streaming services and Online video platforms using an ultra-high capacity content delivery network, including subscriber management, apps, DRM, social media, advertising tools, monetisation tools, metadata management, and analytics. === Content delivery === Delivery in all video formats over hybrid distribution network of satellite (using over 150 platforms), fibre (60 digital media hubs worldwide) and the Internet with complete downlink/uplink turnaround services and OTT content delivery. == Locations == MX1 has 16 offices worldwide, the most recent opened in March 2017 in Seoul, South Korea, as well as media centres in UK (London), US (Hawley, PA), Israel (Emeq Ha'Ela), Romania (Bucharest) and at the headquarters in Unterföhring near Munich, Germany. In the early part of 2017, significant upgrades were made to MX1's US media centre in Hawley, Pennsylvania, including expanding its capabilities for US based and global content aggregation, management and delivery to support US broadcasters and content providers. == History == RRsat was founded in Israel by David Rivel, an electronics, computers and communications engineer in 1981 as a communications provider, and in 2014 changed its name to RR Media to reflect its expanding global service offering. In 2015, RR Media acquired Eastern Space Systems (ESS), a Romanian provider of content management and content distribution services and satellite transmission services provider, SatLink Communications. Digital Playout Centre GmbH (DPC) was founded in 1996 by German media company, Kirch to provide playout, multiplexing, satellite uplinks and other broadcast services to Kirch's Premiere pay-TV platform (now Sky Deutschland) and other private and public German broadcasters. In 2005, SES Astra (a subsidiary of SES Global, now SES) bought 100% of DPC from Premiere and the company renamed ASTRA Platform Services GmbH (APS). In 2012, to reflect the company's expanding worldwide reach, the name was changed to SES Platform Services. In February 2016, it was announced that SES Platform Services had agreed, subject to regulatory approvals, to purchase RR Media. The acquisition was completed in July 2016, with the merged company renamed MX1 and headed by Avi Cohen, the former CEO of RR Media. In October 2017, Cohen was replaced as CEO by Wilfred Urner, the former CEO of SES Platform Services, CEO of SES subsidiary, HD+ and Head of Media Platforms and Product Development, SES Video.

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  • Mortimer Rogoff

    Mortimer Rogoff

    Mortimer Alan Rogoff (May 2, 1921 – August 1, 2008) was an American inventor, businessman, and author as well as an amateur photographer and radio operator. He is recognized for his work in spread spectrum technology which is the technology that modern cell phones and GPS systems are based on. He is also considered the grandfather of the electronic navigation chart. == Early life == Rogoff was born in Brooklyn, New York. He earned his B.S.E.E. from Rensselaer Polytechnic Institute in 1943 and his M.S.E.E. from Columbia University in 1948. While at Rensselaer he was a member of Kappa Nu fraternity and the Features Editor for the student newspaper. During World War II, he enlisted in the United States Navy and worked on developing radio communication and aerial navigation systems. One of the techniques he developed was undetectable by Axis forces because its power was below that of the background noise and its frequency varied in random ways. This secure transmission was the beginning of spread spectrum technology which would become the basis for GPS and CDMA cellular telephone systems. Although he was never able to patent the technology because it was a military secret he did get some recognition for it almost forty years later when he received the Institute of Electrical and Electronics Engineers’ Pioneer Award in 1981. == Career == Rogoff worked for twenty-two years (1946 to 1968) for ITT Laboratories in New Jersey. In 1958, he became their deputy director of Engineering. He was Vice President of ITT Laboratories from 1962 to 1963. From 1963 to 1968, he was promoted to the corporate staff where he became head of European operations. In 1968 he left ITT to work for the Diebold Group where he became an Executive Vice President. After leaving the Diebold Group he founded several technology and automation businesses, including his own consulting firm, and Teletext Communications Corporation. Later in the 1970s, he was a Principal with Booz Allen Hamilton. In 1979, his book ‘’Calculator Navigation’’ was published. This book demonstrated practical methods for calculating precise ship locations using radio navigation with a consumer calculator. In 1981, he founded a new company, Navigation Sciences Inc., in Bethesda, Maryland. With this company he patented a method for marine navigation that combined radar maps with electronic charts in 1986. This was a major advancement in field. Today, this system is known as the Electronic Chart Display and Information System (ECDIS). Rogoff had seen the need for a new charting system in 1968 from his apartment at 180 East End Avenue in New York City. From there, he saw a boating accident where a life was lost and decided there had to be a way to automate navigation. Rogoff then became of member of the International Maritime Organization’s (IMO) sub-committee on Safety of Navigation, a representative to the International Electrotechnical Commission, and became the chairman of the Radio Technical Commission for Maritime Services Special Committee 109 on Electronic Charts. He was able to use his influence on these boards to push through a proposal of ECDIS standards in 1989 where none has been before. As his friend Giuseppe Carnevali said, “Although nobody could argue against the need for a standard, no one was ready to endorse one; however, nobody was brave enough to oppose it.” A Test Bed project on these proposals was conducted by the United States Coast Guard. The amended standards were accepted by the IMO in November, 1995. In 2000, he was named as a Fellow of the Institute of Navigation. He was also a Fellow of the Institute of Electrical and Electronics Engineers. During this time, he was also president of the Navigational Electronic Charts System Association. == Personal == In 1979, he moved to Washington, D.C. and bought a home in Nantucket, Massachusetts. He married Sheila Zunser in 1943 and they were together for sixty-five years. They had three daughters: Louisa Thompson, Alice Rogoff, and Julia Peach. His sister was sociologist Natalie Rogoff Ramsøy of the University of Oslo. He was a member of the Cosmos Club and President of The Navigational Electronic Chart System Association (NECSA). He was a very good amateur photographer and liked amateur radio (call sign W2EE). He died in Nantucket from bladder cancer. == Patents == Patent number: 4176316 – Secure Communication System – November 27, 1979 With Louis A. DeRosa Patent number: 4590569 – Electronic Navigation System – May 20, 1986 With Peter M. Winkler and John N. Ackley Patent number: RE34004 – Secure Communication System – July 21, 1992 With Louis A. DeRosa == Publications == Rogoff, Mortimer September 1957. Automatic Analysis of Infrared Spectra. Annals of the New York Academy of Sciences; vol. 69: no. 1: 27–37. Gen. P.C. Sandretto and Mortimer Rogoff. 1958 “A Novel Concept for Application to the Control of Airways Traffic.” NAVIGATION: Journal of The Institute of Navigation; vol. 6: no. 2: 102–107 Rogoff, Mortimer 1979. Calculator Navigation; ISBN 0-393-03192-6. Published by W.W. Norton & Company (New York and London). Rogoff, Mortimer December 1985. Electronic Charting. Yachting; vol. 158: no. 6: 54–57. Rogoff, Mortimer Winter 1990. Electronic Charts in the Nineties. NAVIGATION: Journal of The Institute of Navigation; vol. 37: no. 4: 305–318.

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  • Webedia

    Webedia

    Webedia S.A. is a company specializing in online media, a subsidiary of the Fimalac group based in Levallois-Perret, France. Webedia is active in more than twenty countries including France (AlloCiné, Jeuxvideo.com, MGG, Puremédias, Ode, Pureshopping, Volum, Terrafemina, 750g, easyVoyage, l’Automobile Magazine, Le 10 Sport), Brazil (AdoroCinema, Tudo Gostoso, Minhavida), Germany (Filmstarts, Moviepilot, GameStar), Spain and Latin America (Xataka, SensaCine, Raiser Games), Poland (Gry-Online and GetHero) and the United States (Boxoffice Pro). == History == === Early years (2007-2013) === Webedia was created in France in 2007, following the successive launches of the websites Purepeople, Puretrend and Purefans. Webedia bought the comparison shopping website Shopoon in 2008 and renamed it Pureshopping, and the website Ozap (media news) from M6 group in 2011 and renamed it Puremédias. Webedia was acquired by Fimalac in May 2013 and became its Internet media subsidiary. === Growth (2013-2016) === In 2013, Fimalac acquired AlloCiné, the websites Newsring and Youmag, the cooking website 750g and the cultural platform Exponaute. In 2014, Webedia acquired OverBlog, Jeuxvideo.com (through L'Odyssée Interactive and moved to Paris in 2015), Moviepilot (Germany), and Gameo Consulting (owner of Millenium, electronic sports), In December 2014, Webedia announced a license agreement with Ziff Davis to launch sites under the IGN franchise in Brazil and France at the beginning of 2015. The French version of IGN was launched on 2, it targets the general public and casual gamers. In 2015, Webedia acquired Côté Ciné Group (technological solutions for movie theaters and specialized press magazines: BoxOffice Pro in the United States and Côté Ciné in France), 57% of Easyvoyage group (online travel comparators Easyvol and Alibabuy, Mixicom (website JeuxActu and multi-channel network), 50% of the Brazilian network Paramaker, and West World Media (digital marketing company for the film industry). In 2016, Webedia bought Scimob (mobile video game studio), Surprizemi (home-delivered surprise boxes), Eklablog (blogging platform) Oxent (eSports World Convention), and Bang Bang Management (sports PR agency). In addition, an agreement is made with Paris Saint-Germain for Webedia to recruit and manage e-sports players on behalf of Paris Saint-Germain eSports. On November 15, 2016, the LFP announced that it had reached an agreement with beIN Sports and Webedia for the broadcasting of the first edition of the e-League 1. The competition is renewed for two additional seasons on July 26, 2017, the broadcasting agreements are renewed. On December 8, 2016, Webedia joined forces with Chronopost to launch Pourdebon, a home delivery service that connects Internet users and labeled producers (AOC, organic AB, etc.). Webedia has a slight majority (53%) in this new platform. === 2017 === On January 19, 2017, Webedia announced the acquisition of the English company Peach Digital, specializing in web development and digital marketing for movie theaters. In February 2017, Le Figaro announced that Webedia had invested 10 million euros in Illico Fresco, a home delivery service for baskets of recipes. The same month, FDJ and Webedia announced a partnership for the creation of eSports competitions: a professional one (FDJ Masters League) and another one for amateur gamers (FDJ Open Series) starting in March 2017. They are broadcast on Webedia's Web TV. At the end of February 2017, the media group finalized the acquisition of MyPoseo, a SaaS publisher specialized on SEO analytics. On March 8, 2017, Webedia launched LeStream, a Twitch Web TV dedicated to video games, the result of two years of development, in the company of several YouTubers including Cyprien and Squeezie,. On March 29, 2017, Webedia bought the Brazilian web publisher Minha Vida, a website devoted to health, nutrition, beauty and fitness, which attracts 14.3 million unique monthly visitors. Webedia reaches 44 million unique visitors in Brazil, and thus becomes the leading publisher on entertainment themes. In June 2017, the company made its largest international acquisition, with the American agency 3BlackDot, a media and marketing agency focused on videogamers. The agency, based in Los Angeles, manages 36 YouTubers followed by millions of subscribers on their channels which total 700 million videos viewed per month. In July 2017, Webedia bought IDZ, an audiovisual production company, and thus strengthened its production activities and its leadership on the YouTube channel networks in France. That year, Webedia was the first French media group to use the measurement of their global audiences by Comscore. It represents deduplicated coverage on desktops, laptops, smartphones and tablets, and includes audiences for websites, mobile applications and videos. This new measure allows Webedia to establish a deduplicated global audience of 177 million unique visitors in April 2017. In October 2017, Webedia announced its intention to launch a TV channel dedicated to electronic sports, called ES1. The channel was officially launched on January 10, 2018, on Orange TV and on February 6, 2018, on Free and Bouygues Telecom. In November 2017, Webedia, with the support of CDC International Capital, entered into exclusive negotiations with the Saudi company Uturn Entertainment, specializing in online entertainment, particularly on YouTube, and the production of digital content for the region's youth, with a view to merging it with Diwanee, a Webedia subsidiary in the Middle East, for an amount close to $100 million. In December 2017, Webedia acquired a majority stake in the United States–based company called Creators Media, which brings together social and video production platforms specializing in popular culture and entertainment. That same month, Webedia joined forces with Elephant, Emmanuel Chain's audiovisual production company, to create a new content production label aimed at Millennials. === 2018-2019 === In January 2018, Webedia launched a sports marketing agency: Only Sports & Passions. That same month, Illico Fresco, specialist in the delivery of kit meals belonging to Webedia, joined forces with Weight Watchers, the world leader in slimming products. In April 2018, Webedia published new audience figures in partnership with Comscore, 188 million unique monthly visitors in December 2017, an increase of 6.2% compared to the previous measure dating from April 2017. The same month, Webedia unveils its ambitions concerning content production, as a partnership with the video game studio Focus Home Interactive is signed with a title "Fear the Wolves" already planned for 2018, co-production projects of films, cartoons or series are announced. In July 2018, Webedia bought the American authors company Full Fathom Five, a company that helps authors produce books, TV series, films and video games. In October 2018, Webedia announced that it was focusing on both esports clubs PSG Esports and LeStream Esport. The first one being geared towards international competitions and the second devoted mainly to the French esports scene. The "Millenium" brand is thus refocusing around its media activities and esports merchandising products, and the "Millenium esport club" being gradually closed. The same month, the company announced the acquisition of Weblogs, a Spanish-speaking website publisher, thereby strengthening its activity in Spain and Latin America. On October 22, 2018, Webedia announced the merger of BoxOffice magazine with Film Journal International. On November 13, 2018, Groupe SEB announced the acquisition from Webedia of 750g International, the international branch of the French recipe site 750g (the original French website 750g.com being retained by Webedia). The group is thus separating from Gourmandize (United States and United Kingdom), HeimGourmet (Germany), Rebañando (Spain), Receitas Sem Fronteiras (Brazil / Portugal) and Tribù Golosa (Italy). The same month, Webedia joined forces with Riot Games to launch the French League of League of Legends (LFL), the first French professional league on the League of Legends game, which will bring together the 8 best teams on the French scene. In March 2019, Webedia bought 51% of the audiovisual production company Elephant. The new set will weigh 500 million euros, a quarter of which will be made outside France. The same month, Webedia purchased a majority stake in the company Partoo, which publishes a SaaS platform specializing in local marketing for brands and merchants. On March 14, 2019, a new measurement of the international audience of Webedia sites was produced by Comscore, posting 250 million unique visitors in December 2018, up 9.2% compared to December 2017. In June 2019, the group joined forces with Michel Cymes, a famous doctor and French TV host by taking a majority stake in his company Club Santé Débat, in order to develop a health platform around the Dr. Good! Brand. In Sep

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  • Turret lathe

    Turret lathe

    A turret lathe is a form of metalworking lathe that is used for repetitive production of duplicate parts, which by the nature of their cutting process are usually interchangeable. It evolved from earlier lathes with the addition of the turret, which is an indexable toolholder that allows multiple cutting operations to be performed, each with a different cutting tool, in easy, rapid succession, with no need for the operator to perform set-up tasks in between (such as installing or uninstalling tools) or to control the toolpath. The latter is due to the toolpath's being controlled by the machine, either in jig-like fashion, via the mechanical limits placed on it by the turret's slide and stops, or via digitally-directed servomechanisms for computer numerical control lathes. The name derives from the way early turrets took the general form of a flattened cylindrical block mounted to the lathe's cross-slide, capable of rotating about the vertical axis and with toolholders projecting out to all sides, and thus vaguely resembled a swiveling gun turret. Capstan lathe is the usual name in the UK and Commonwealth, though the two terms are also used in contrast: see below, Capstan versus turret. == History == Turret lathes became indispensable to the production of interchangeable parts and for mass production. The first turret lathe was built by Stephen Fitch in 1845 to manufacture screws for pistol percussion parts. In the mid-nineteenth century, the need for interchangeable parts for Colt revolvers enhanced the role of turret lathes in achieving this goal as part of the "American system" of manufacturing arms. Clock-making and bicycle manufacturing had similar requirements. Christopher Spencer invented the first fully automated turret lathe in 1873, which led to designs using cam action or hydraulic mechanisms. From the late-19th through mid-20th centuries, turret lathes, both manual and automatic (i.e., screw machines and chuckers), were one of the most important classes of machine tools for mass production. They were used extensively in the mass production for the war effort in World War II. The U.S. company Warner & Swasey was one of the premier brands in heavy turret lathes between the 1910s and 1960s; it became the world's largest manufacturer of such lathes by 1928. During World War II, it employed 7,000 people and produced half of the turret lathes manufactured in the United States. == Types == There are many variants of the turret lathe. They can be most generally classified by size (small, medium, or large); method of control (manual, automated mechanically, or automated via computer (numerical control (NC) or computer numerical control (CNC)); and bed orientation (horizontal or vertical). === Archetypical: horizontal, manual === In the late 1830s a "capstan lathe" with a turret was patented in Britain. The first American turret lathe was invented by Stephen Fitch in 1845. The archetypical turret lathe, and the first in order of historical appearance, is the horizontal-bed, manual turret lathe. The term "turret lathe" without further qualification is still understood to refer to this type. The formative decades for this class of machine were the 1840s through 1860s, when the basic idea of mounting an indexable turret on a bench lathe or engine lathe was born, developed, and disseminated from the originating shops to many other factories. Some important tool-builders in this development were Stephen Fitch; Gay, Silver & Co.; Elisha K. Root of Colt; J.D. Alvord of the Sharps Armory; Frederick W. Howe, Richard S. Lawrence, and Henry D. Stone of Robbins & Lawrence; J.R. Brown of Brown & Sharpe; and Francis A. Pratt of Pratt & Whitney. Various designers at these and other firms later made further refinements. === Semi-automatic === Sometimes machines similar to those above, but with power feeds and automatic turret-indexing at the end of the return stroke, are called "semi-automatic turret lathes". This nomenclature distinction is blurry and not consistently observed. The term "turret lathe" encompasses them all. During the 1860s, when semi-automatic turret lathes were developed, they were sometimes called "automatic". What we today would call "automatics", that is, fully automatic machines, had not been developed yet. During that era both manual and semi-automatic turret lathes were sometimes called "screw machines", although we today reserve that term for fully automatic machines. === Automatic === During the 1870s through 1890s, the mechanically automated "automatic" turret lathe was developed and disseminated. These machines can execute many part-cutting cycles without human intervention. Thus the duties of the operator, which were already greatly reduced by the manual turret lathe, were even further reduced, and productivity increased. These machines use cams to automate the sliding and indexing of the turret and the opening and closing of the chuck. Thus, they execute the part-cutting cycle somewhat analogously to the way in which an elaborate cuckoo clock performs an automated theater show. Small- to medium-sized automatic turret lathes are usually called "screw machines" or "automatic screw machines", while larger ones are usually called "automatic chucking lathes", "automatic chuckers", or "chuckers". Such machine tools of the "automatic" variety, which in the pre-computer era meant mechanically automated, had already reached a highly advanced state by World War I. === Computer numerical control === When World War II ended, the digital computer was poised to develop from a colossal laboratory curiosity into a practical technology that could begin to disseminate into business and industry. The advent of computer-based automation in machine tools via numerical control (NC) and then computer numerical control (CNC) displaced to a large extent, but not at all completely, the previously existing manual and mechanically automated machines. Numerically controlled turrets allow automated selection of tools on a turret. CNC lathes may be horizontal or vertical in orientation and mount six separate tools on one or more turrets. Such machine tools can work in two axes per turret, with up to six axes being feasible for complex work. === Vertical === Vertical turret lathes have the workpiece held vertically, which allows the headstock to sit on the floor and the faceplate to become a horizontal rotating table, analogous to a huge potter's wheel. This is useful for the handling of very large, heavy, short workpieces. Vertical lathes in general are also called "vertical boring mills" or often simply "boring mills"; therefore a vertical turret lathe is a vertical boring mill equipped with a turret. == Other variations == === Capstan versus turret === The term "capstan lathe" overlaps in sense with the term "turret lathe" to a large extent. In many times and places, it has been understood to be synonymous with "turret lathe". In other times and places it has been held in technical contradistinction to "turret lathe", with the difference being in whether the turret's slide is fixed to the bed (ram-type turret) or slides on the bed's ways (saddle-type turret). The difference in terminology is mostly a matter of United Kingdom and Commonwealth usage versus United States usage. === Flat === A subtype of horizontal turret lathe is the flat-turret lathe. Its turret is flat (and analogous to a rotary table), allowing the turret to pass beneath the part. Patented by James Hartness of Jones & Lamson, and first disseminated in the 1890s, it was developed to provide more rigidity via requiring less overhang in the tool setup, especially when the part is relatively long. === Hollow-hexagon === Hollow-hexagon turret lathes competed with flat-turret lathes by taking the conventional hexagon turret and making it hollow, allowing the part to pass into it during the cut, analogously to how the part would pass over the flat turret. In both cases, the main idea is to increase rigidity by allowing a relatively long part to be turned without the tool overhang that would be needed with a conventional turret, which is not flat or hollow. === Monitor lathe === The term "monitor lathe" formerly (1860s–1940s) referred to the class of small- to medium-sized manual turret lathes used on relatively small work. The name was inspired by the monitor-class warships, which the monitor lathe's turret resembled. Today, lathes of such appearance, such as the Hardinge DSM-59 and its many clones, are still common, but the name "monitor lathe" is no longer current in the industry. === Toolpost turrets and tailstock turrets === Turrets can be added to non-turret lathes (bench lathes, engine lathes, toolroom lathes, etc.) by mounting them on the toolpost, tailstock, or both. Often these turrets are not as large as a turret lathe's, and they usually do not offer the sliding and stopping that a turret lathe's turret does; but they do offer the ability to index through successive tool

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  • List of search appliance vendors

    List of search appliance vendors

    A search appliance is a type of computer which is attached to a corporate network for the purpose of indexing the content shared across that network in a way that is similar to a web search engine. It may be made accessible through a public web interface or restricted to users of that network. A search appliance is usually made up of: a gathering component, a standardizing component, a data storage area, a search component, a user interface component, and a management interface component. == Vendors of search appliances == Fabasoft Google InfoLibrarian Search Appliance™ Maxxcat Searchdaimon Thunderstone == Former/defunct vendors of search appliances == Black Tulip Systems Google Search Appliance Index Engines Munax Perfect Search Appliance

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  • Ethiopian feminists facing digital gender-based violence

    Ethiopian feminists facing digital gender-based violence

    Against a background of traditional views of women, rising internet use, a young population and an unsafe offline life, women and girls in Ethiopia are facing increasing amounts of digital violence. Some women, feeling endangered, have left the country as a result. Researchers, activists and lawyers have called for online content to be taken down and specific digital legislation to be drafted and enforced. == Online violence and its offline effects == Sexual violence against women and girls in Ethiopia is common. In 2023, in the Women, Peace and Security Index by Georgetown University, Ethiopia came 146 out of 177 countries. Over several years online harassment of and violence against women and girls in Ethiopia has increased. It can range from sexist remarks about appearance and women’s role in society, to revenge porn, threats of beating, acid attacks, abduction, rape or death. The real-life effect on women and girls of these attacks can include mental health problems, damaged reputations and a withdrawal from public and economic life. When the online attacks migrate to the real world, for example when online attackers find out where the targeted women and girls live, this can result in physical attacks, street harassment, threats to children and can cause victims to move house or job or even flee the country in fear of femicide. In a country that criminalises homosexuality, it can also lead to physical attacks on LGBTQI+ people in particular and indeed on anybody labelled as homosexual. == Research studies == The Centre for Information Resilience (CIR) conducted interviews with Ethiopian women holding public roles or being active online. The centre published a report on this in 2024 entitled ‘Silenced, Shamed and Threatened’. They found that technology-facilitated gender-based violence (TFGBV) had become “normalised to the point of invisibility.” In 2024, CER also published an analysis of gendered hate speech on social media in Ethiopia called ‘Normalised and invisible.’ It is thought that traditional views of women, the young population, the rise in internet use and the war in Tigray, when sexual violence was used as a weapon of war by Ethiopian and Eritrean soldiers, have all helped to create an online environment in which even femicide is considered unremarkable. AFP Fact Check collaborated with Deutsche Welle Akademie, to investigate the cyber harassment of women in Ethiopia, analysing misogynistic posts published on TikTok and Facebook. They discovered disparaging remarks about women’s physical appearance, threats of acid attacks and other physical violence, and the public sharing of women’s phone numbers. == Individuals affected == Women in particular jeopardy of digital gender-based violence are feminists, activists, politicians and those with a public profile. Some women are known to have fled Ethiopia fearing for their lives after online and offline threats. Yordanos Bezabih, an Ethiopian women’s rights activist, started a campaign with the hashtag #JusticeforHeaven to fight against gender-based cyberspace violence. As a result, she herself become a target. She experienced years of online threats of acid attacks, gang-rape and death. In 2025, subscribers to an online community organised a search for her address. Deepfake nude images of her were shared, she was filmed in real life, her house and online accounts were broken into, her private photos and messages posted on social media. When the attackers finally circulated her address, suggesting that she be executed, she left Ethiopia on a human rights defender scholarship. In 2023, Lella Misikir helped to start a campaign, called ‘My Whistle, My Voice’, that suggested women carry whistles and use them if they were harassed in the street. A TikTok video of the campaign became popular. Shortly after, videos of Misikir were circulated suggesting that she was gay. Her online attackers next searched for her address. In November 2024, Misikir left the country. == Legal issues == Ethiopia has some laws on online harassment and defamation, for example the Computer Crimes Proclamation. However, technology-facilitated, gender-based violence (TFGBV), such as deepfakes, non-consensual image sharing, and coordinated harassment, is not explicitly recognized as crime. In practice too, women are often not believed when reporting such violence and are not taken seriously. Police advice is often that women affected should simply leave the online space. Social media platforms can remove content when it is brought to their attention but the offenders are not banned. Users can only block them.

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  • Electric Literature

    Electric Literature

    Electric Literature is an American literary magazine. == History == Founded by Andy Hunter and Scott Lindenbaum in 2009 as a print quarterly journal, Electric Literature transitioned to a daily website in 2012 under the helm of Halimah Marcus and Benjamin Samuel. Electric Literature publishes essays, reading lists, interviews, fiction, poetry, graphic narratives, humor, and book news, all available to read online for free without a paywall. It launched the first fiction magazine on the iPhone and iPad. Work published has been recognized by Best American Short Stories, Essays, Poetry, and Comics, the Pushcart Prize, Best Canadian Short Stories, The Best of the Small Presses, and the O. Henry Prize. in 2014, Electric Literature became a registered non-profit. In 2016, Halimah Marcus was appointed the first executive director of Electric Literature. She has been with the magazine since 2010. In 2021, Denne Michele Norris became editor-in-chief of Electric Literature, the first Black and openly trans editor-in-chief of a major U.S. literary publication. In 2022, Electric Literature was the Digital Prize Winner of the Whiting Literary Magazine Prizes. In 2023, Electric Literature partnered with Banned Books USA to offer free banned and challenged books to residents of Florida. In 2025, Electric Literature published their first book, edited by Norris and published by HarperOne: Both/And: Essays by Trans and Gender-Nonconforming Writers of Color. It builds on a prior essay series that Electric Literature sponsored for trans writers of color. Both/And became a finalist for the 2026 Lambda Literary Award for Transgender Nonfiction. == Recommended reading == In May 2012, Electric Literature launched Recommended Reading, a weekly fiction magazine. Each issue is curated by a well known editor or writer. == The Commuter == The Commuter, a weekly magazine for poetry, flash, graphic, or experimental narrative, debuted in January 2018, helmed by writer Kelly Luce.

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  • Empowerment (artificial intelligence)

    Empowerment (artificial intelligence)

    Empowerment in the field of artificial intelligence formalises and quantifies (via information theory) the potential an agent perceives that it has to influence its environment. An agent which follows an empowerment maximising policy, acts to maximise future options (typically up to some limited horizon). Empowerment can be used as a (pseudo) utility function that depends only on information gathered from the local environment to guide action, rather than seeking an externally imposed goal, thus is a form of intrinsic motivation. The empowerment formalism depends on a probabilistic model commonly used in artificial intelligence. An autonomous agent operates in the world by taking in sensory information and acting to change its state, or that of the environment, in a cycle of perceiving and acting known as the perception-action loop. Agent state and actions are modelled by random variables ( S : s ∈ S , A : a ∈ A {\displaystyle S:s\in {\mathcal {S}},A:a\in {\mathcal {A}}} ) and time ( t {\displaystyle t} ). The choice of action depends on the current state, and the future state depends on the choice of action, thus the perception-action loop unrolled in time forms a causal bayesian network. == Definition == Empowerment ( E {\displaystyle {\mathfrak {E}}} ) is defined as the channel capacity ( C {\displaystyle C} ) of the actuation channel of the agent, and is formalised as the maximal possible information flow between the actions of the agent and the effect of those actions some time later. Empowerment can be thought of as the future potential of the agent to affect its environment, as measured by its sensors. E := C ( A t ⟶ S t + 1 ) ≡ max p ( a t ) I ( A t ; S t + 1 ) {\displaystyle {\mathfrak {E}}:=C(A_{t}\longrightarrow S_{t+1})\equiv \max _{p(a_{t})}I(A_{t};S_{t+1})} In a discrete time model, Empowerment can be computed for a given number of cycles into the future, which is referred to in the literature as 'n-step' empowerment. E ( A t n ⟶ S t + n ) = max p ( a t , . . . , a t + n − 1 ) I ( A t , . . . , A t + n − 1 ; S t + n ) {\displaystyle {\mathfrak {E}}(A_{t}^{n}\longrightarrow S_{t+n})=\max _{p(a_{t},...,a_{t+n-1})}I(A_{t},...,A_{t+n-1};S_{t+n})} The unit of empowerment depends on the logarithm base. Base 2 is commonly used in which case the unit is bits. === Contextual Empowerment === In general the choice of action (action distribution) that maximises empowerment varies from state to state. Knowing the empowerment of an agent in a specific state is useful, for example to construct an empowerment maximising policy. State-specific empowerment can be found using the more general formalism for 'contextual empowerment'. C {\displaystyle C} is a random variable describing the context (e.g. state). E ( A t n ⟶ S t + n ∣ C ) = ∑ c ∈ C p ( c ) E ( A t n ⟶ S t + n ∣ C = c ) {\displaystyle {\mathfrak {E}}(A_{t}^{n}\longrightarrow S_{t+n}{\mid }C)=\sum _{c{\in }C}p(c){\mathfrak {E}}(A_{t}^{n}\longrightarrow S_{t+n}{\mid }C=c)} == Application == Empowerment maximisation can be used as a pseudo-utility function to enable agents to exhibit intelligent behaviour without requiring the definition of external goals, for example balancing a pole in a cart-pole balancing scenario where no indication of the task is provided to the agent. Empowerment has been applied in studies of collective behaviour and in continuous domains. As is the case with Bayesian methods in general, computation of empowerment becomes computationally expensive as the number of actions and time horizon extends, but approaches to improve efficiency have led to usage in real-time control. Empowerment has been used for intrinsically motivated reinforcement learning agents playing video games, and in the control of underwater vehicles.

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  • GlTF

    GlTF

    glTF (Graphics Library Transmission Format or GL Transmission Format and formerly known as WebGL Transmissions Format or WebGL TF) is a standard file format for three-dimensional scenes and models. A glTF file uses one of two possible file extensions: .gltf (JSON/ASCII) or .glb (binary). Both .gltf and .glb files may reference external binary and texture resources. Alternatively, both formats may be self-contained by directly embedding binary data buffers (as base64-encoded strings in .gltf files or as raw byte arrays in .glb files). An open standard developed and maintained by the Khronos Group, it supports 3D model geometry, appearance, scene graph hierarchy, and animation. It is intended to be a streamlined, interoperable format for the delivery of 3D assets, while minimizing file size and runtime processing by apps. As such, its creators have described it as the "JPEG of 3D". == Overview == The glTF format stores data primarily in JSON. The JSON may also contain blobs of binary data known as buffers, and refer to external files, for storing mesh data, images, etc. The binary .glb format also contains JSON text, but serialized with binary chunk headers to allow blobs to be directly appended to the file. The fundamental building blocks of a glTF scene are nodes. Nodes are organized into a hierarchy, such that a node may have other nodes defined as children. Nodes may have transforms relative to their parent. Nodes may refer to resources, such as meshes, skins, and cameras. Meshes may refer to materials, which refer to textures, which refer to images. Scenes are defined using an array of root nodes. Most of the top-level glTF properties use a flat hierarchy for storage. Nodes are saved in an array and are referred to by index, including by other nodes. A glTF scene refers to its root nodes by index. Furthermore, nodes refer to meshes by index, which refer to materials by index, which refer to textures by index, which refer to images by index. All glTF data structures support being extended using a JSON property, allowing arbitrary JSON data to be added. == Releases == === glTF 1.0 === Members of the COLLADA working group conceived the file format in 2012. At SIGGRAPH 2012, Khronos presented a demo of glTF, which was then called WebGL Transmissions Format (WebGL TF). On October 19, 2015, Khronos released the glTF 1.0 specification. ==== Adoption of glTF 1.0 ==== At SIGGRAPH 2016, Oculus announced their adoption of glTF citing the similarities to their ovrscene format. In October 2016, Microsoft joined the 3D Formats working group at Khronos to collaborate on glTF. === glTF 2.0 === The second version, glTF 2.0, was released in June 2017, and is a complete overhaul of the file format from version 1.0, with most tools adopting the 2.0 version. Based on a proposal by Fraunhofer originally presented at SIGGRAPH 2016, physically based rendering (PBR) was added, replacing WebGL shaders used in glTF 1.0. glTF 2.0 added the GLB binary format into the base specification. Other upgrades include sparse accessors and morph targets for techniques such as facial animation, and schema tweaks and breaking changes for corner cases or performance such as replacing top-level glTF object properties with arrays for faster index-based access. There is ongoing work towards import and export in Unity and an integrated multi-engine viewer and validator. ==== Adoption of glTF 2.0 ==== On March 3, 2017, Microsoft announced that they would be using glTF 2.0 as the 3D asset format across their product line, including Paint 3D, 3D Viewer, Remix 3D, Babylon.js, and Microsoft Office. Sketchfab also announced support for glTF 2.0. The glTF and GLB formats are used on and supported by companies including DGG, UX3D, Sketchfab, Facebook, Microsoft, Meta, Google, Adobe, Box, TurboSquid, Unreal Engine, Unity, and Qt Quick 3D. The format has been noted as an important standard for augmented reality, integrating with modeling software such as Autodesk Maya, Autodesk 3ds Max, and Poly. In February 2020, the Smithsonian Institution launched their Open Access Initiative, releasing approximately 2.8 million 2D images and 3D models into the public domain, using glTF for the 3D models. In July 2022, glTF 2.0 was released as the ISO/IEC 12113:2022 International Standard. Khronos stated they would make regular submissions to bring updates and new widely adopted glTF functionality into refreshed versions of ISO/IEC 12113 to ensure that there is no long-term divergence between the ISO/IEC and Khronos specifications. The open-source game engine Godot supports importing glTF 2.0 files since version 3.0 and export since version 4.0. === Extensions === The glTF format can be extended with arbitrary JSON to add new data and functionality. Extensions can be placed on any part of a glTF, including nodes, animations, materials, textures, and on the entire document. Khronos keeps a non-comprehensive registry of glTF extensions on GitHub, including all official Khronos extensions and a few third-party extensions. PBR extensions model the physical appearance of real-world objects, allowing developers to create realistic 3D assets that have the correct appearance. As new PBR extensions are released, they continue to expand PBR capabilities within the glTF framework, allowing a wider range of scenes and objects to be realistically rendered as 3D assets. The KTX 2.0 extension for universal texture compression enables 3D models in the glTF format to be highly compressed and to use natively supported texture formats, reducing file size and boosting rendering speed. Draco is a glTF extension for mesh compression, to compress and decompress 3D meshes, to help reduce the size of 3D files. It compresses vertex attributes, normals, colors, and texture coordinates. Various glTF extensions for game engine interoperability have been developed by OMI group. This includes extensions for physics shapes, physics bodies, physics joints, audio playback, seats, spawn points, and more. The VRM consortium has developed glTF extensions for advanced humanoid 3D avatars including dynamic spring bones and toon materials. == Derivative formats == 3D Tiles, an OGC Community Standard, builds on glTF to add a spatial data structure, metadata, and declarative styling for streaming massive heterogeneous 3D geospatial datasets. VRM, a model format for VR, is built on the .glb format. It is a 3D humanoid avatar specification and file format. == Software ecosystem == Khronos maintains the glTF Sample Viewer for viewing glTF assets. Khronos also maintains the glTF Validator for validating if 3D models conform to the glTF specification. Khronos maintains a glTF Compressor tool to interactively optimize and fine-tune compression settings for glTF assets using KTX 2.0 textures. glTF loaders are in open-source WebGL engines including PlayCanvas, Three.js, Babylon.js, Cesium, PEX, xeogl, and A-Frame. The Godot game engine supports and recommends the glTF format, with both import and export support. Open-source glTF converters are available from COLLADA, FBX, and OBJ. Assimp can import and export glTF. glTF files can also be directly exported from a variety of 3D editors, such as Blender, Unity (using the glTFast importer/exporter), Freecad, Vectary, Autodesk 3ds Max (natively or using Verge3D exporter), Autodesk Maya (using babylon.js exporter), Autodesk Inventor, Modo, Houdini, Paint 3D, Godot, and Substance Painter. Open-source glTF utility libraries are available for programming languages including JavaScript, Node.js, C++, C#, Python, Haskell, Java, Go, Rust, Haxe, Ada, and TypeScript. Khronos keeps a list of these libraries and other related applications on their ecosystem site. The Khronos 3D Commerce Working Group released Asset Creation Guidelines in 2020 outlining best practices for use of the glTF file format in 3D Commerce. In 2025, the Working Group launched Asset Creation Guidelines 2.0, a continuously updated resource with additional guidance for geometry, mesh optimization, UV maps, textures, materials/PBR performance, and web optimization. The Khronos PBR Neutral Tone Mappers specification is a tone mapper designed to faithfully reproduce an object's base color, hue, and saturation when using PBR rendering under grayscale lighting, supporting brand- and product-accurate color representation. Khronos maintains the glTF Asset Auditor to allow retailers and advertising technology platforms to validate 3D assets against either a default Audit Profile modelled on the 2020 3D Commerce Asset Creation Guidelines or a custom profile defined by the target application.

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  • Daylight Computer Co.

    Daylight Computer Co.

    Daylight Computer Co. is a Public Benefit Company that designs and manufactures devices that do not emit blue light or flicker. Anjan Katta, the company's founder and CEO, stated that he started the company to reduce his personal eyestrain and the distraction that came with conventional devices. The first device that the company released is the Daylight DC-1, a tablet using a monochrome transflective liquid-crystal display designed for outdoor use, while also being usable indoors with an amber backlight. The company's goal is to create a "healthy computer." == History == In June 2018, Anjan Katta began the process of designing a device that did not emit blue light or flicker. He was inspired by the Kindle stating that he wanted to create a device that was, "an analog object that happens to have digital magical capabilities.” By 2020, he created his first scientific prototype and created the first proof-of-concept prototype in 2021. In the early research and development stages of the device, Katta had spent $300,000 of his own money. Eventually, Katta obtained a $12 million investment from current and former executives of companies such as Oculus, Pinterest, and Dropbox. In 2024, the company held a launch party at the Conservatory of Flowers in Golden Gate Park for the Daylight DC1, the company's first device. The event had roughly 200 attendees. Later that year, Daylight sold out its first run of 5,000 devices. The Daylight DC1 is a 1.2 pound tablet that runs its own operating system, SolOS, based on Android 13. It has a refresh rate of 60 Hz, fast enough to process video. In 2025, the product was demonstrated by Danny Jones on the Joe Rogan Experience. The company has been described by outlets such as Wired and VentureBeat as a "returning computing to hippie ideals" and being a product for "techno-hippies." The company is headquartered in San Francisco, California.

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  • Mashup (web application hybrid)

    Mashup (web application hybrid)

    A mashup (computer industry jargon), in web development, is a web page or web application that uses content from more than one source to create a single new service displayed in a single graphical interface. For example, a user could combine the addresses and photographs of their library branches with a Google map to create a map mashup. The term implies easy, fast integration, frequently using open application programming interfaces (open API) and data sources to produce enriched results that were not necessarily the original reason for producing the raw source data. The term mashup originally comes from creating something by combining elements from two or more sources. The main characteristics of a mashup are combination, visualization, and aggregation. It is important to make existing data more useful, for personal and professional use. To be able to permanently access the data of other services, mashups are generally client applications or hosted online. In the past years, more and more Web applications have published APIs that enable software developers to easily integrate data and functions the SOA way, instead of building them by themselves. Mashups can be considered to have an active role in the evolution of social software and Web 2.0. Mashup composition tools are usually simple enough to be used by end-users. They generally do not require programming skills and rather support visual wiring of GUI widgets, services and components together. Therefore, these tools contribute to a new vision of the Web, where users are able to contribute. The term "mashup" is not formally defined by any standard-setting body. == History == The broader context of the history of the Web provides a background for the development of mashups. Under the Web 1.0 model, organizations stored consumer data on portals and updated them regularly. They controlled all the consumer data, and the consumer had to use their products and services to get the information. The advent of Web 2.0 introduced Web standards that were commonly and widely adopted across traditional competitors and which unlocked the consumer data. At the same time, mashups emerged, allowing mixing and matching competitors' APIs to develop new services. The first mashups used mapping services or photo services to combine these services with data of any kind and therefore to produce visualizations of data. In the beginning, most mashups were consumer-based, but recently the mashup is to be seen as an interesting concept useful also to enterprises. Business mashups can combine existing internal data with external services to generate new views on the data. There was also the free Yahoo! Pipes to build mashups for free using the Yahoo! Query Language. == Types of mashup == There are many types of mashup, such as business mashups, consumer mashups, and data mashups. The most common type of mashup is the consumer mashup, aimed at the general public. Business (or enterprise) mashups define applications that combine their own resources, application and data, with other external Web services. They focus data into a single presentation and allow for collaborative action among businesses and developers. This works well for an agile development project, which requires collaboration between the developers and customer (or customer proxy, typically a product manager) for defining and implementing the business requirements. Enterprise mashups are secure, visually rich Web applications that expose actionable information from diverse internal and external information sources. Consumer mashups combine data from multiple public sources in the browser and organize it through a simple browser user interface. (e.g.: Wikipediavision combines Google Map and a Wikipedia API) Data mashups, opposite to the consumer mashups, combine similar types of media and information from multiple sources into a single representation. The combination of all these resources create a new and distinct Web service that was not originally provided by either source. === By API type === Mashups can also be categorized by the basic API type they use but any of these can be combined with each other or embedded into other applications. ==== Data types ==== Indexed data (documents, weblogs, images, videos, shopping articles, jobs ...) used by metasearch engines Cartographic and geographic data: geolocation software, geovisualization Feeds, podcasts: news aggregators ==== Functions ==== Data converters: language translators, speech processing, URL shorteners... Communication: email, instant messaging, notification... Visual data rendering: information visualization, diagrams Security related: electronic payment systems, ID identification... Editors == Mashup enabler == In technology, a mashup enabler is a tool for transforming incompatible IT resources into a form that allows them to be easily combined, in order to create a mashup. Mashup enablers allow powerful techniques and tools (such as mashup platforms) for combining data and services to be applied to new kinds of resources. An example of a mashup enabler is a tool for creating an RSS feed from a spreadsheet (which cannot easily be used to create a mashup). Many mashup editors include mashup enablers, for example, Presto Mashup Connectors, Convertigo Web Integrator or Caspio Bridge. Mashup enablers have also been described as "the service and tool providers, [sic] that make mashups possible". === History === Early mashups were developed manually by enthusiastic programmers. However, as mashups became more popular, companies began creating platforms for building mashups, which allow designers to visually construct mashups by connecting together mashup components. Mashup editors have greatly simplified the creation of mashups, significantly increasing the productivity of mashup developers and even opening mashup development to end-users and non-IT experts. Standard components and connectors enable designers to combine mashup resources in all sorts of complex ways with ease. Mashup platforms, however, have done little to broaden the scope of resources accessible by mashups and have not freed mashups from their reliance on well-structured data and open libraries (RSS feeds and public APIs). Mashup enablers evolved to address this problem, providing the ability to convert other kinds of data and services into mashable resources. === Web resources === Of course, not all valuable data is located within organizations. In fact, the most valuable information for business intelligence and decision support is often external to the organization. With the emergence of rich web applications and online Web portals, a wide range of business-critical processes (such as ordering) are becoming available online. Unfortunately, very few of these data sources syndicate content in RSS format and very few of these services provide publicly accessible APIs. Mashup editors therefore solve this problem by providing enablers or connectors. == Mashups versus portals == Mashups and portals are both content aggregation technologies. Portals are an older technology designed as an extension to traditional dynamic Web applications, in which the process of converting data content into marked-up Web pages is split into two phases: generation of markup "fragments" and aggregation of the fragments into pages. Each markup fragment is generated by a "portlet", and the portal combines them into a single Web page. Portlets may be hosted locally on the portal server or remotely on a separate server. Portal technology defines a complete event model covering reads and updates. A request for an aggregate page on a portal is translated into individual read operations on all the portlets that form the page ("render" operations on local, JSR 168 portlets or "getMarkup" operations on remote, WSRP portlets). If a submit button is pressed on any portlet on a portal page, it is translated into an update operation on that portlet alone (processAction on a local portlet or performBlockingInteraction on a remote, WSRP portlet). The update is then immediately followed by a read on all portlets on the page. Portal technology is about server-side, presentation-tier aggregation. It cannot be used to drive more robust forms of application integration such as two-phase commit. Mashups differ from portals in the following respects: The portal model has been around longer and has had greater investment and product research. Portal technology is therefore more standardized and mature. Over time, increasing maturity and standardization of mashup technology will likely make it more popular than portal technology because it is more closely associated with Web 2.0 and lately Service-oriented Architectures (SOA). New versions of portal products are expected to eventually add mashup support while still supporting legacy portlet applications. Mashup technologies, in contrast, are not expected to provide support for portal standards. == Business mashups

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  • Gonioreflectometer

    Gonioreflectometer

    A gonioreflectometer is a device for measuring a bidirectional reflectance distribution function (BRDF). The device consists of a light source illuminating the material to be measured and a sensor that captures light reflected from that material. The light source should be able to illuminate and the sensor should be able to capture data from a hemisphere around the target. The hemispherical rotation dimensions of the sensor and light source are the four dimensions of the BRDF. The 'gonio' part of the word refers to the device's ability to measure at different angles. Several similar devices have been built and used to capture data for similar functions. Most of these devices use a camera instead of the light intensity-measuring sensor to capture a two-dimensional sample of the target. Examples include: a spatial gonioreflectometer for capturing the SBRDF (McAllister, 2002). a camera gantry for capturing the light field (Levoy and Hanrahan, 1996). an unnamed device for capturing the bidirectional texture function (Dana et al., 1999).

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  • Digital asset

    Digital asset

    A digital asset is anything that exists only in digital form and comes with a distinct usage right or distinct permission for use. Data that do not possess those rights are not considered assets. Digital assets include, but are not limited to: digital documents, audio content, motion pictures, and other relevant digital data currently in circulation or stored on digital appliances, such as personal computers, laptops, portable media players, tablets, data storage devices, and telecommunication devices. This encompasses any apparatus that currently exists or will exist as technology progresses to accommodate the conception of new modalities capable of carrying digital assets. This holds true regardless of the ownership of the physical device on which the digital asset is located. == Types == Types of digital assets include, but are not limited to: software, photography, logos, illustrations, animations, audiovisual media, presentations, spreadsheets, digital paintings, word documents, electronic mails, websites, and various other digital formats with their respective metadata. The number of different types of digital assets is exponentially increasing due to the rising number of devices that leverage these assets, such as smartphones, serving as conduits for digital media. In Intel's presentation at the 'Intel Developer Forum 2013,' they introduced several new types of digital assets related to medicine, education, voting, friendships, conversations, and reputation, among others. == Digital asset management system == A digital asset management (DAM) is an integrated structure that combines software, hardware, and/or other services to manage, store, ingest, organize, and retrieve digital assets. These systems enable users to find and use content when needed. == Digital asset metadata == Metadata is data about other data. Any structured information that defines a specification of any form of data is referred to as metadata. Metadata is also a claimed relationship between two entities, often used to establish connections or associations. Librarian Lorcan Dempsey says "Think of metadata as data which removes from a user (human or machine) the need to have full advance knowledge of the existence or characteristics of things of potential interest in the environment". At first, the term metadata was used for digital data exclusively, but nowadays metadata can apply to both physical and digital data. Catalogs, inventories, registers, and other similar standardized forms of organizing, managing, and retrieving resources contain metadata. Metadata can be stored and contained directly within the file it refers to or independently from it with the help of other forms of data management such as a DAM system. The more metadata is assigned to an asset the easier it gets to categorize it, especially as the amount of information grows. The asset's value rises the more metadata it has for it becomes more accessible, easier to manage, and more complex. Structured metadata can be shared with open protocols like OAI-PMH to allow further aggregation and processing. Open data sources like institutional repositories have thus been aggregated to form large datasets and academic search engines comprising tens of millions of open access works, like BASE, CORE, and Unpaywall. == Issues == Due to a lack of either legislation or legal precedent, there is limited existing governmental control and regulation surrounding digital assets in the United States and other large economies globally. Many of the control issues relating to access and transferability are maintained by individual companies. Some consequences of this include 'What is to become of the assets once their owner is deceased?' as well as can, and, if so, how, may they be inherited. This subject was broached in a bogus story about Bruce Willis allegedly looking to sue Apple as the end user agreement prevented him from bequeathing his iTunes collection to his children. Another case of this was when a soldier died on duty and the family requested access to the Yahoo! account. When Yahoo! refused to grant access, the probate judge ordered them to give the emails to the family but Yahoo! still was not required to give access. The Music Modernization Act was passed in September 2018 by the U.S. Congress to create a new music licensing system, with the aim to help songwriters get paid more.

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  • Online exhibition

    Online exhibition

    An online exhibition, also referred to as a virtual exhibition, online gallery, cyber-exhibition, is an exhibition whose venue is cyberspace. Museums and other organizations create online exhibitions for many reasons. For example, an online exhibition may: expand on material presented at, or generate interest in, or create a durable online record of, a physical exhibition; save production costs (insurance, shipping, installation); solve conservation/preservation problems (e.g., handling of fragile or rare objects); reach lots more people: "Access to information is no longer restricted to those who can afford travel and museum visits, but is available to anyone who has access to a computer with an Internet connection. Unlike physical exhibitions, online exhibitions are not restricted by time; they are not forced to open and close but may be available 24 hours a day. In the nonprofit world, many museums, libraries, archives, universities, and other cultural organizations create online exhibitions. A database of such exhibitions is Library and Archival Exhibitions on the Web. Online exhibition organizers may use techniques such as marquee text, display advertisements, and in-event emails to engage patrons. Various guides have been published to help organizations create effective online exhibitions. The earliest museum with a physical existence to create a programme of substantial online exhibitions with high resolution images of artefacts was the Museum of the History of Science in Oxford, the first of which, The Measurers: a Flemish Image of Mathematics in the Sixteenth Century and an exhibition of early photographs, were published on 21 August 1995. == Examples of online exhibitions == International Museum of Women is an online-only museum that does not have a physical building and instead offers online exhibitions about women's issues globally as well as an online community. Online exhibitions include "Imagining Ourselves" (launched 2006) about women's identity, "Women, Power and Politics" (2008), and "Economica: Women and the Global Economy" (2009). Tucson LGBTQ Museum is an online-only museum that does not have a physical building and instead offers online exhibitions about LGBTQ history. The online photographic, audio, video, text, and other historical exhibitions include exhibits from the 1700s to the present day. The effort began in the summer of 1967 and spanned almost 50 years. International New Media Gallery (INMG) is an online museum specialising in moving image and screen-based art. The INMG is dedicated to exploring current debates and topics in art history: touching on areas such as migration, war, environmental activism and the internet itself. The gallery publishes extensive academic catalogues alongside its exhibitions. It also hosts spaces for discussion and debate, both online and offline. Virtual Museum of Modern Nigerian Art – the VMMNA is the first of its kind in Africa. Hosted by the Pan-African University, Lagos, Nigeria this virtual museum offers a good view of the development on Nigerian Art in the past fifty years.

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