Curious about the best AI chatbot? An AI chatbot is software that uses machine learning to help you get more done — it combines speed, accuracy, and an interface that just works. Hands-on testing shows real-world results vary, so a short free trial is the smartest way to decide. Whether you are a beginner or a pro, the right AI chatbot slots into your workflow and pays for itself fast. Read on for hands-on impressions, pricing tiers, and the standout features that matter.
Image subtraction
Image subtraction or pixel subtraction or difference imaging is an image processing technique whereby the digital numeric value of one pixel or whole image is subtracted from another image, and a new image generated from the result. This is primarily done for one of two reasons – levelling uneven sections of an image such as half an image having a shadow on it, or detecting changes between two images. This method can show things in the image that have changed position, brightness, color, or shape. For this technique to work, the two images must first be spatially aligned to match features between them, and their photometric values and point spread functions must be made compatible, either by careful calibration, or by post-processing (using color mapping). The complexity of the pre-processing needed before differencing varies with the type of image, but is essential to ensure good subtraction of static features. This is commonly used in fields such as time-domain astronomy (known primarily as difference imaging) to find objects that fluctuate in brightness or move. In automated searches for asteroids or Kuiper belt objects, the target moves and will be in one place in one image, and in another place in a reference image made an hour or day later. Thus, image processing algorithms can make the fixed stars in the background disappear, leaving only the target. Distinct families of astronomical image subtraction techniques have emerged, operating in both image space or frequency space, with distinct trade-offs in both quality of subtraction and computational cost. These algorithms lie at the heart of almost all modern (and upcoming) transient surveys, and can enable the detection of even faint supernovae embedded in bright galaxies. Nevertheless, in astronomical imaging, significant 'residuals' remain around bright, complex sources, necessitating further algorithmic steps to identify candidates (known as real-bogus classification) The Hutchinson metric can be used to "measure of the discrepancy between two images for use in fractal image processing".
CANaerospace
CANaerospace is a higher layer protocol based on Controller Area Network (CAN) which has been developed by Stock Flight Systems in 1998 for aeronautical applications. == Background == CANaerospace supports airborne systems employing the Line-replaceable unit (LRU) concept to share data across CAN and ensures interoperability between CAN LRUs by defining CAN physical layer characteristics, network layers, communication mechanisms, data types and aeronautical axis systems. CANaerospace is an open source project, was initiated to standardize the interface between CAN LRUs on the system level. CANaerospace is continuously being developed further and has also been published by NASA as the Advanced General Aviation Transport Experiments Databus Standard in 2001. It found widespread use in aeronautical research worldwide. A major research aircraft that employs several CANaerospace networks for real-time computer interconnection is the Stratospheric Observatory for Infrared Astronomy (SOFIA), a Boeing 747SP with a 2.5m astronomic telescope. CANaerospace is also frequently used in flight simulation and connects entire aircraft cockpits (i.e. in Eurofighter Typhoon simulators) to the simulation host computers. In Italy CANaerospace is used as UAV data bus technology. Furthermore, CANaerospace serves as communication network in several general aviation avionics systems. The CANaerospace interface definition closes the gap between the ISO/OSI layer 1 and 2 CAN protocol (which is implemented in the CAN controller itself) and the specific requirements of distributed systems in aircraft. It may be used as a primary or ancillary avionics network and was designed to meet the following requirements: Democratic network: CANaerospace does not require any master/slave relationships between LRUs or a "bus controller", thereby avoiding a potential single source of failure. Every node in the network has the same rights for participation in the bus traffic. Self-identifying message format: Each CANaerospace message contains information about the type of the data and the transmitting node. This allows the data to be unambiguously recognized at each receiving node. Continuous Message Numbering: Each CANaerospace message contains a continuously incremented number which allows coherent processing of messages in the receiving stations. Message Status Code: Each CANaerospace message contains information about the integrity of the data is conveying. This allows receiving stations to evaluate the quality of the received data and to react accordingly. Emergency Event Signaling: CANaerospace defines a mechanism that allows each node to transmit information about exception or error situations. This information can be used by other stations to determine the network health. Node Service Interface: As an enhancement to CAN, CANaerospace provides a means for individual stations on the network to communicate with each other using connection-oriented and connectionless services. Predefined CAN Identifier Assignment: CANaerospace offers a predefined identifier assignment list for normal operation data. In addition to the predefined list, user-defined identifier assignment lists may be used. Ease of Implementation: The amount of code to implement CANaerospace is very little by design in order to minimize the effort for testing and certification of flight safety critical systems. Openness to Extensions: All CANaerospace definitions are extendable to provide flexibility for future enhancements and to allow adaptions to the requirements of specific applications. Free Availability: No cost whatsoever apply for the use of CANaerospace. The specification can be downloaded from the Internet == Physical interface == To ensure interoperability and reliable communication, CANaerospace specifies the electrical characteristics, bus transceiver requirements and data rates with the corresponding tolerances based on ISO 11898. The bit timing calculation (baud rate accuracy, sample point definition) and robustness to electromagnetic interference are given special emphasis. Also addressed are CAN connector, wiring considerations and design guidelines to maximize electromagnetic compatibility. == Communication layers == The Bosch CAN specification itself allows messages being transmitted both periodically and aperiodically but does not cover issues like data representation, node addressing or connection-oriented protocols. CAN is entirely based on Anyone-to-Many (ATM) communication which means that CAN messages are always received by all stations in the network. The advantage of the CAN concept is inherent data consistency between all stations, the drawback is that it does not allow node addressing which is the basis for Peer-to-Peer (PTP) communication. Using CAN networks in aeronautical applications, however, demands a standard targeted to the specific requirements of airborne systems which implies that communication between individual stations in the network must be possible to enable the required degree of system monitoring. Consequently, CANaerospace defines additional ISO/OSI layer 3, 4 and 6 functions to support node addressing and unified ATM/PTP communication mechanisms. PTP communication allows to set up client/server interactions between individual stations in the network either temporarily or permanently. More than one of these interactions may be in effect at any given time and each node may be client for one operation and server for another at the same time. This CANaerospace mechanism is called "Node Service Concept" and allows i.e. to distribute system functions over several stations in the network or to control dynamic system reconfiguration in case of failure. The Node Service concept supports both connection-oriented and connectionless interactions like with TCP/IP and UDP/IP for Ethernet. Enabling both ATM and PTP communication for CAN requires the introduction of independent network layers to isolate the different types of communication. This is realized for CANaerospace by forming CAN identifier groups as shown in Figure 1. The resulting structure creates Logical Communication Channels (LCCs) and assigns a specific communication type (ATM, PTP) to each of the LCCs. User-defined LCCs provide the necessary freedom for designers and allow the implementation of CANaerospace according to the needs of specific applications. Figure 1: Logical Communication Channels for CANaerospace As a side effect, the CAN identifier groups in Figure 1 affect the priority of the message transmission in case of bus arbitration. The communication channels are therefore arranged according to their relative importance: Emergency Event Data Channel (EED): This communication channel is used for messages which require immediate action (i.e. system degradation or reconfiguration) and have to be transmitted with very high priority. Emergency Event Data uses ATM communication exclusively. High/Low Priority Node Service Data Channel (NSH/NSL): These communication channels are used for client/server interactions using PTP communication. The corresponding services may be of the connection-oriented as well as the connectionless type. NSH/NSL may also be used to support test and maintenance functions. Normal Operation Data Channel (NOD): This communication channel is used for the transmission of the data which is generated during normal system operation and described in the CANaerospace identifier assignment list. These messages may be transmitted periodically or aperiodically as well as synchronously or asynchronously. All messages which cannot be assigned to other communication channels shall use this channel. High/Low Priority User-Defined Data Channel (UDH/UDL): This channel is dedicated to communication which cannot, due to their specific characteristics, be assigned other channels without violating the CANaerospace specification. As long as the defined identifier range is used, the message content and the communication type (ATM, PTP) for these channels may be specified by the system designer. To ensure interoperability it is highly recommended that the use of these channels is minimized. Debug Service Data Channel (DSD): This channel is dedicated to messages which are used temporarily for development and test purposes only and are not transmitted during normal operation. As long as the defined identifier range is used, the message content and the communication type (ATM, PTP) for these channels may be specified by the system designer. == Data representation == The majority of the real-time control systems used in aeronautics employ "big endian" processor architectures. This data representation was therefore specified for CANaerospace as well. With big endian data representation, the most significant bit of any datum is arranged leftmost and transmitted first on CANaerospace as shown in Figure 2. Figure 2: "Big Endian" Data Representation for CANaerospace CANaerospace uses a self-identifying message
Transmission security
Transmission security (TRANSEC) is the component of communications security (COMSEC) that results from the application of measures designed to protect transmissions from interception and exploitation by means other than cryptanalysis. Goals of transmission security include: Low probability of interception (LPI) Low probability of detection (LPD) Antijam — resistance to jamming (EPM or ECCM) This involves securing communication links from being compromised by techniques like jamming, eavesdropping, and signal interception. TRANSEC includes the use of frequency hopping, spread spectrum and the physical protection of communication links to obscure the patterns of transmission. It is particularly vital in military and government communication systems, where the security of transmitted data is critical to prevent adversaries from gathering intelligence or disrupting operations. TRANSEC is often implemented alongside COMSEC (Communications Security) to form a comprehensive approach to communication security. Methods used to achieve transmission security include frequency hopping and spread spectrum where the required pseudorandom sequence generation is controlled by a cryptographic algorithm and key. Such keys are known as transmission security keys (TSK). Modern U.S. and NATO TRANSEC-equipped radios include SINCGARS and HAVE QUICK.
Weird SoundCloud
Weird SoundCloud, or SoundClown, is a mashup parody music scene taking place on the online distribution platform SoundCloud. The scene has been described by its producers and music journalists to be a satirical take on electronic dance music, and useless, throwaway internet content. One critic, Audra Schroeder, categorized it as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." == Origins == In a January 2014 interview, DJ Kevin Wang suggested that the Weird SoundCloud has "been around in the last one to two years", but started to gain much more popularity the previous year through electronic dance music internet blogs. Weird SoundCloud producer Ideaot suggested that some in the phenomenon came from the YouTube poop scene. Another producer in the community, DJ @@ (AT-AT), reasoned that producers joining the scene "want to express their musicality, see it as a more mature form of YouTube Poop," or are "just looking for recognition on social media sites." AT-AT said that it was "a fun thing to do, and after I stopped making proper music I felt I needed a bit of an outlet for my creativity. The fact that people enjoyed it and/or treated it as a travesty (Direct quote from one of my tracks) spurs me on." == Characteristics == Weird SoundCloud is a mash-up and parody music genre labeled by journalist Audra Schroeder as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms." Most tracks range from around 30 seconds to one minute in length. The people who make weird SoundCloud are known as SoundClowns, a term coined by producer Dicksoak. Ideaot described the weird SoundCloud community as "largely just people who are friends with each other." Noisey critic Ryan Bassil spotlight the variety of music coming out of the weird SoundCloud landscape: "One minute you could be listening to the Seinfeld theme reimagined as an aneurysm inducing dubstep corker, the next, you're recovering from hearing a version of Tenacious D's "Tribute" that's akin to having a stroke." Bassil analyzes that the tracks "often take the past and repurpose it into something that, although not altogether useful, sounds fresh and reflective of the abstract, confusing panoramic that encapsulates the modern internet." Bassil compared the lexicon of SoundClown's track titles to that of Reddit and Twitter users. According to Dicksoak, most works of the style are critiques of EDM or "are just uploaded because they sound funny." However, Bassil disagreed, writing that there are also many tracks that keep repurposing a certain meme, such as "mom's spaghetti" or the re-use of vocals from recordings by hip hop group Death Grips. He describe the scene's re-use of memes as a satirical take on pointless online content that is only on the internet to "do nothing other than fill the void": They're changing the format of the original work's intended message or audience - a technique often employed by top-tier digital media companies - and in doing so they're sarcastically, ironically, taking the piss out of what Web 2.0's turned into - an open arena where the most ridiculous, unashamed, often pointless piggy-back content can rack up thousands and thousands of clicks. == Notable examples == There are mash-ups that "disrupt the flow of popular music", in the words of writer Schroeder, such as a "flutedrop" remix of the Miley Cyrus song "Wrecking Ball" and Shaliek's mashup of music by Bruno Mars and Korn. In November 2013, Wang released a set of mp3 files on SoundCloud named Best Drops Ever, which included tracks like "A Drop So Epic a Bunch of NYU Bros Already Bought a 3-Day Weekend Pass for It" and "A Drop So Crazy You'll Kill Your Family". All of the tracks start as normal electronic dance music build-ups, before they drop into a "bait and switch" audio or film clip such as Filet-O-Fish commercials, the Whitney Houston song "I Will Always Love You" and the film Bambi (1942) that ruins the anticipation. The collection is a parody of the over-importance and over-focus of the drop and lack of care of the overall quality of a song common in the modern electronic dance music scene. Wang has released more than 45 tracks in the weird SoundCloud, some of them receiving around a million plays. Subgenres of Weird SoundCloud include Macklecore, mash-ups and remixes that include the works of American hip-hop recording artist Macklemore, and Biggiewave, which include samples of songs from the album Ready to Die (1994) by The Notorious B.I.G. Common audio and meme sources used include Skrillex, the Martin Garrix track "Animals", Thomas the Tank Engine, Shrek, Macklemore, "Gangnam Style", the Bruno Mars track "Uptown Funk", the Disturbed track "Down with the Sickness", Space Jam, the Childish Gambino track "Bonfire", the Death Grips track "Takyon" and air horn sound effects. == Reception == Bassil praised the SoundClown scene as "loveable and strangely honest", reasoning that it "just reminds me that we're all humans on the internet, all searching for #content that means something, something to connect with, but usually only dredging up bastardised versions of things we've already read, seen, or watched before." Bassil also described the weird SoundCloud as a more successful version of a similar scene known as weird YouTube; the reason for the success of SoundClowns is due to SoundCloud's discovery algorithm: "Small collectives and trends are able to form, and there's an abundance of tracks from artists who are almost forging careers out of it, as opposed to uploading one viral hit." Publications have made lists of weird SoundCloud works, such as BuzzFeed's "23 Of The Weirdest Songs On Soundcloud", Obsev's "Weird SoundCloud Mashups That Must've Been Made While Drunk", and Thump's "9 of the Best and Most Upsetting Soundclowns we Could Find", where writer Isabelle Hellyer called it the "most influential genre of music in human history." A Your EDM writer called it "oddly addicting."
Stencil buffer
A stencil buffer is an extra data buffer, in addition to the color buffer and Z-buffer, found on modern graphics hardware. The buffer is per pixel and works on integer values, usually with a depth of one byte per pixel. The Z-buffer and stencil buffer often share the same area in the RAM of the graphics hardware. In the simplest case, the stencil buffer is used to limit the area of rendering (stenciling). More advanced usage of the stencil buffer makes use of the strong connection between the Z-buffer and the stencil buffer in the rendering pipeline. For example, stencil values can be automatically increased/decreased for every pixel that fails or passes the depth test. The simple combination of depth test and stencil modifiers make a vast number of effects possible (such as stencil shadow volumes, Two-Sided Stencil, compositing, decaling, dissolves, fades, swipes, silhouettes, outline drawing, or highlighting of intersections between complex primitives) though they often require several rendering passes and, therefore, can put a heavy load on the graphics hardware. The most typical application is still to add shadows to 3D applications. It is also used for planar reflections. Other rendering techniques, such as portal rendering, use the stencil buffer in other ways; for example, it can be used to find the area of the screen obscured by a portal and re-render those pixels correctly. The stencil buffer and its modifiers can be accessed in computer graphics by using APIs like OpenGL, Direct3D, Vulkan or Metal. == Architecture == The stencil buffer typically shares the same memory space as the Z-buffer, and typically the ratio is 24 bits for Z-buffer + 8 bits for stencil buffer or, in the past, 15 bits for Z-buffer + 1 bit for stencil buffer. Another variant is 4 + 24, where 28 of the 32 bits are used and 4 ignored. Stencil and Z-buffers are part of the frame buffer, coupled to the color buffer. The first chip available to a wider market was 3Dlabs' Permedia II, which supported a one-bit stencil buffer. The bits allocated to the stencil buffer can be used to represent numerical values in the range [0, 2n-1], and also as a Boolean matrix (n is the number of allocated bits), each of which may be used to control the particular part of the scene. Any combination of these two ways of using the available memory is also possible. == Stencil test == Stencil test or stenciling is among the operations on the pixels/fragments (Per-pixel operations), located after the alpha test, and before the depth test. The stencil test ensures undesired pixels do not reach the depth test. This saves processing time for the scene. Similarly, the alpha test can prevent corresponding pixels to reach the stencil test. The test itself is carried out over the stencil buffer to some value in it, or altered or used it, and carried out through the so-called stencil function and stencil operations. The stencil function is a function by which the stencil value of a certain pixel is compared to a given reference value. If this comparison is logically true, the stencil test passes. Otherwise not. In doing so, the possible reaction caused by the result of comparing three different state-depth and stencil buffer: Stencil test is not passed Stencil test is passed but not the depth test Both tests are passed (or stencil test is passed, and the depth is not enabled) For each of these cases, different operations can be set over the examined pixel. In the OpenGL stencil functions, the reference value and mask, respectively, define the function glStencilFunc. In Direct3D each of these components is adjusted individually using methods SetRenderState devices currently in control. This method expects two parameters, the first of which is a condition that is set and the other its value. In the order that was used above, these conditions are called D3DRS_STENCILFUNC, D3DRS_STENCILREF, and D3DRS_STENCILMASK. Stencil operations in OpenGL adjust glStencilOp function that expects three values. In Direct3D, again, each state sets a specific method SetRenderState. The three states that can be assigned to surgery are called D3DRS_STENCILFAIL, D3DRENDERSTATE_STENCILZFAIL, and D3DRENDERSTATE_STENCILPASS. == Z-fighting == Due to the lack of precision in the Z-buffer, coplanar polygons that are short-range, or overlapping, can be portrayed as a single plane with a multitude of irregular cross-sections. These sections can vary depending on the camera position and other parameters and are rapidly changing. This is called Z-fighting. There exist multiple solutions to this issue: - Bring the far plane closer to restrict the scene's depth, thus increasing the accuracy of the Z-buffer, or reducing the distance at which objects are visible in the scene. - Increase the number of bits allocated to the Z-buffer, which is possible at the expense of memory for the stencil buffer. - Move polygons farther apart from one another, which restricts the possibilities for the artist to create an elaborate scene. All of these approaches to the problem can only reduce the likelihood that the polygons will experience Z-fighting, and do not guarantee a definitive solution in the general case. A solution that includes the stencil buffer is based on the knowledge of which polygon should be in front of the others. The silhouette of the front polygon is drawn into the stencil buffer. After that, the rest of the scene can be rendered only where the silhouette is negative, and so will not clash with the front polygon. == Shadow volume == Shadow volume is a technique used in 3D computer graphics to add shadows to a rendered scene. They were first proposed by Frank Crow in 1977 as the geometry describing the 3D shape of the region occluded from a light source. A shadow volume divides the virtual world in two: areas that are in shadow and areas that are not. The stencil buffer implementation of shadow volumes is generally considered among the most practical general-purpose real-time shadowing techniques for use on modern 3D graphics hardware. It has been popularised by the video game Doom 3, and a particular variation of the technique used in this game has become known as Carmack's Reverse. == Reflections == Reflection of a scene is drawn as the scene itself transformed and reflected relative to the "mirror" plane, which requires multiple render passes and using of stencil buffer to restrict areas where the current render pass works: Draw the scene excluding mirror areas – for each mirror lock the Z-buffer and color buffer Render visible part of the mirror Depth test is set up so that each pixel is passed to enter the maximum value and always passes for each mirror: Depth test is set so that it passes only if the distance of a pixel is less than the current (default behavior) The matrix transformation is changed to reflect the scene relative to the mirror plane Unlock the Z-buffer and color buffer Draw the scene, but only the part of it that lies between the mirror plane and the camera. In other words, a mirror plane is also a clipping plane Again locks color buffer, depth test is set so that it always passes, reset stencil for the next mirror. == Planar Shadows == While drawing a plane of shadows, there are two dominant problems: The first concerns the problem of deep struggle in case the flat geometry is not awarded on the part covered with the shadow of shadows and outside. See the section that relates to this. Another problem relates to the extent of the shadows outside the area where the plane there. Another problem, which may or may not appear, depending on the technique, the design of more polygons in one part of the shadow, resulting in darker and lighter parts of the same shade. All three problems can be solved geometrically, but because of the possibility that hardware acceleration is directly used, it is a far more elegant implementation using the stencil buffer: 1. Enable lights and the lights 2. Draw a scene without any polygon that should be projected shadows 3. Draw all polygons which should be projected shadows, but without lights. In doing so, the stencil buffer, the pixel of each polygon to be assigned to a specific value for the ground to which they belong. The distance between these values should be at least two, because for each plane to be used two values for two states: in the shadows and bright. 4. Disable any global illumination (to ensure that the next steps will affect only individual selected light) For each plane: For each light: 1. Edit a stencil buffer and only the pixels that carry a specific value for the selected level. Increase the value of all the pixels that are projected objects between the date of a given level and bright. 2. Allow only selected light for him to draw level at which part of her specific value was not changed. == Spatial shadows == Stencil buffer implementation of spatial drawing shadows is any shadow of a geometric body that its volume includes part of the scene that is
Social employee
A social employee is a worker operating within a social business model. Following an organization's social computing guidelines, social employees use social media tools both for internal workflow and collaboration purposes and for external engagement with customers, prospects and stakeholders through a combination of social media marketing, content marketing, social marketing, and social selling. Social employee programs are considered to be as much about culture and engagement as they are about business processes and best practices. In addition to increased leads and sales, social employee best practices are said to improve business outcomes important to social media marketing, such as increased connections and web traffic, improved brand identification and "chatter", and better customer advocacy. == Overview == The term "social employee" was first introduced to describe those exhibiting the emerging characteristics of workers operating under a social business model. The term is often used interchangeably with similar designations like "employee advocate" or "social employee advocate". Crucial to the perceived value of the social employee is the concept of the digital footprint. While organizations are able to generate large bases of followers through social media, research shows that brand marketing and engagement efforts through these networks are not as effective as those of individual employees. In fact, some research indicates that employee experts are more trusted than any other member of an organization. Because of this, social employee programs are designed to train, empower, and support employee engagement efforts in the hopes of authentically engaging larger communities, increasing the frequency of shares, reviews, and other forms of "earned media" and expanding the brand's presence on the web. == The personal or employee brand == A foundational concept of the social employee is the idea of the personal or employee brand. This concept first gained popular attention in a 1997 FastCompany article by business leader Tom Peters titled "The Brand Called You". In the article, Peters argued that the premium placed on branding impacted workers' lives to such an extent that creating and cultivating a distinct personal brand had become a professional necessity. According to Peters, doing so built trust, loyalty, visibility, influence, and employability. With increased adoption of social media tools by both businesses and consumers in the early 21st century, many business leaders became increasingly concerned with social engagement, both internally among employees and externally with customers and other stakeholders. While many in the business community acknowledged the potential social tools had for improved collaboration, productivity, and brand messaging, the concern that employees would misrepresent their brand, disclose proprietary information, or otherwise damage their company's reputation or ability to conduct business persisted. As a result, many began to advocate for employee branding as a solution to this problem. This helped give new meaning to the concept of brand ambassadorship, positioning everyday employees in public, and potentially high-profile, engagement roles. == Characteristics == === Engaged === Because social employee advocacy is dependent on the perceived authenticity of the employee, engagement is highly valued in social organizations. Further, data show the measurable impact of employee engagement on organizational productivity and profitability: Happy employees were found to be 12 percent more productive. In one study, engaged employees were found to be 38 percent more likely to produce at above-average rates. In another, organizations with engaged employees had a 19 percent higher than average shareholder return, while organizations with disengaged employees experienced shareholder return that was 44 percent below average. Engaged companies were found to outperform disengaged companies by up to 202 percent. Companies with strong focus on culture were found to have an average 13.9 percent turnover rate, while those with a low focus experience were found to have a 48.4 percent turnover rate. === Flexible job environment and work–life balance === The number of professionals working mobile or remote has risen considerably since 2010. While estimates vary, one study found that number of organizations with mobile or remote employees is expected to rise from 24 percent in 2012 to 89 percent by 2020. Other research has estimated that by 2020, 105.4 million professionals will work remotely in America, about 72.3 percent of the total workforce. This change has been linked to a rise in social technologies, including biometrics, wearables, near-field communications, and augmented reality. Social employees have also put a greater emphasis on work–life balance, with many believing that advances in technology can directly support efforts in this area. Purported benefits of this shift include a more flexible workforce, reduced business costs, and greater organizational leverage in attracting and retaining top talent. === Buys into the brand's story === In 2009, thought leader Simon Sinek presented a speech called "How Great Leaders Inspire Action" at a TEDxPugetSound event. Sinek's central argument in this speech was, "People don't buy what you do. They buy why you do it." This concept—that the story behind a business or product offering is a more compelling sales tool than the product itself—is frequently cited in social media marketing as a way to build authentic connections with stakeholders. However, others have argued that for employees to share a brand's story authentically, they must be engaged in that story themselves, and as a result, many companies have made storytelling part of their culture programs. === Collaborative === An implicit tenet in social business is that social technologies aren't a barrier to productivity, but rather a path to increased connectivity. The shift in enterprise software systems like IBM Connections to incorporate social communication models, such as mentions, wikis, and newsfeeds, reflects the changing communication dynamics within business. With an increase in diversity and sophistication in collaborative software platforms, social organizations have sought to find new creative ways to utilize these tools and secure employee buy-in around them. Crowdsourcing has also become popular in social businesses. Examples include AT&T's program The Innovation Pipeline (TIP), begun in 2009, which has generated over 28,000 ideas that have led to over 75 projects with funding exceeding $44 million. IBM has also put considerable resources into such processes, producing its social computing guidelines through employee crowdsourcing, as well as its Connections platform through the Technology Adoption Program (TAP), a more formalized crowdsourcing initiative. Another popular form of internal collaboration is the hack day, or hackathon. Organizations such as Netflix, Facebook, and IBM use hack days to pull employees out of their day-to-day work environments and encourage them to collaborate in nontraditional ways in an attempt to drive disruptive innovation. Social employees are often encouraged to seek external collaboration opportunities with customers and prospects. For example, Procter & Gamble introduced the Live Well Collaborative to connect with external stakeholders and develop products and services for the 50+ demographic. === Social listener === A social listener is someone who engages in social listening, or social media monitoring, for professional means. Social employees can use social media monitoring for a variety of reasons, including professional development, industry news and trends, and gauging market sentiment. Some have argued that social listening is one of the most important components of social business, as it enables organizations to collect rich market data, make more informed strategic decisions, and respond to customer needs more authentically. === Customer-centric === Advocates of customer-centricity in social business argue that social media has changed the dynamic from one-way brand messaging to shared interactions between brand and customer. Brand and customer engagement is seen as a means of creating more lasting connections with customers and prospects and empowering them to become brand promoters. Customer-centric interactions are seen to have distinct value to brands, as research shows that prospects are far more likely to trust brand-related messaging from a friend or family member than they are from a brand. As a means of building social employees, some social advocates have also called for a broader definition of customer to include the employees themselves. In the book The Pursuit of Social Business Excellence, authors Vala Afshar and Brad Martin made the following argument: A social business operates with the guiding principle that each employee's responsi