Ground truth is information that is known to be real or true, provided by direct observation and measurement (i.e. empirical evidence) as opposed to information provided by inference. The term ground truth appeared in remote sensing literature as early as 1972, when NASA described it as essential "data about ... materials on the earth's surface" used to calibrate measurements. It was later adopted by the statistical modeling and machine learning communities. == Etymology == The Oxford English Dictionary (s.v. ground truth) records the use of the word Groundtruth in the sense of 'fundamental truth' from Henry Ellison's poem "The Siberian Exile's Tale", published in 1833. == Usage == The term "ground truth" can be used as a noun, adjective, and verb. Noun: "ground truth" (no hyphen). Example: "The ground truth is essential for training accurate models." Adjective: "ground-truth" (hyphenated compound adjective). Example: "We need to use ground-truth data to validate the model." Verb: "to ground-truth" or "to groundtruth" (compound verb,). Example: "We need to ground-truth the results to ensure their accuracy." == Statistics and machine learning == In statistics and machine learning, ground truth is the ideal expected result, used in statistical models to prove or disprove research hypotheses. "Ground truthing" is the process of gathering the good data for this test. Ground truth is typically included in labeled data. In machine learning, "ground truth" is not necessarily objectively correct or true. For example, in training AI models or relevance rankers, it may be a set of judgments made by people or inferred from user behavior, which may depend on context. For example, in Bayesian spam filtering, a supervised learning system is typically trained by examples labeled as spam and non-spam. Although these labels may be subjective or inaccurate, they are considered ground truth. True ground truth in machine learning is objective data. For example, suppose we are testing a stereo vision system to see how well it can estimate 3D positions. A calibrated laser rangefinder may provide accurate distances as ground truth. == Remote sensing == In remote sensing, "ground truth" refers to information collected at the imaged location. Ground truth allows image data to be related to real features and materials on the ground. The collection of ground truth data enables calibration of remote-sensing data, and aids in the interpretation and analysis of what is being sensed. Examples include cartography, meteorology, analysis of aerial photographs, satellite imagery and other techniques in which data are gathered at a distance. More specifically, ground truth may refer to a process in which "pixels" on a satellite image are compared to what is imaged (at the time of capture) in order to verify the contents of the "pixels" in the image (noting that the concept of "pixel" is imaging-system-dependent). In the case of a classified image, supervised classification can help to determine the accuracy of the classification by the remote sensing system which can minimize error in the classification. Ground truth is usually done on site, correlating what is known with surface observations and measurements of various properties of the features of the ground resolution cells under study in the remotely sensed digital image. The process also involves taking geographic coordinates of the ground resolution cell with GPS technology and comparing those with the coordinates of the "pixel" being studied provided by the remote sensing software to understand and analyze the location errors and how it may affect a particular study. Ground truth is important in the initial supervised classification of an image. When the identity and location of land cover types are known through a combination of field work, maps, and personal experience these areas are known as training sites. The spectral characteristics of these areas are used to train the remote sensing software using decision rules for classifying the rest of the image. These decision rules such as Maximum Likelihood Classification, Parallelopiped Classification, and Minimum Distance Classification offer different techniques to classify an image. Additional ground truth sites allow the remote sensor to establish an error matrix that validates the accuracy of the classification method used. Different classification methods may have different percentages of error for a given classification project. It is important that the remote sensor chooses a classification method that works best with the number of classifications used while providing the least amount of error. Ground truth also helps with atmospheric correction. Since images from satellites have to pass through the atmosphere, they can get distorted because of absorption in the atmosphere. So ground truth can help fully identify objects in satellite photos. === Errors of commission === An example of an error of commission is when a pixel reports the presence of a feature (such a tree) that, in reality, is absent (no tree is actually present). Ground truthing ensures that the error matrices have a higher accuracy percentage than would be the case if no pixels were ground-truthed. This value is the complement of the user's accuracy, i.e. Commission Error = 1 - user's accuracy. === Errors of omission === An example of an error of omission is when pixels of a certain type, for example, maple trees, are not classified as maple trees. The process of ground-truthing helps to ensure that the pixel is classified correctly and the error matrices are more accurate. This value is the complement of the producer's accuracy, i.e. Omission Error = 1 - producer's accuracy == Geographical information systems == In GIS the spatial data is modeled as field (like in remote sensing raster images) or as object (like in vectorial map representation). They are modeled from the real world (also named geographical reality), typically by a cartographic process (illustrated). Geographic information systems such as GIS, GPS, and GNSS, have become so widespread that the term "ground truth" has taken on special meaning in that context. If the location coordinates returned by a location method such as GPS are an estimate of a location, then the "ground truth" is the actual location on Earth. A smart phone might return a set of estimated location coordinates such as 43.87870, −103.45901. The ground truth being estimated by those coordinates is the tip of George Washington's nose on Mount Rushmore. The accuracy of the estimate is the maximum distance between the location coordinates and the ground truth. We could say in this case that the estimate accuracy is 10 meters, meaning that the point on Earth represented by the location coordinates is thought to be within 10 meters of George's nose—the ground truth. In slang, the coordinates indicate where we think George Washington's nose is located, and the ground truth is where it really is. In practice a smart phone or hand-held GPS unit is routinely able to estimate the ground truth within 6–10 meters. Specialized instruments can reduce GPS measurement error to under a centimeter. == Military usage == US military slang uses "ground truth" to refer to the facts comprising a tactical situation—as opposed to intelligence reports, mission plans, and other descriptions reflecting the conative or policy-based projections of the industrial·military complex. The term appears in the title of the Iraq War documentary film The Ground Truth (2006), and also in military publications, for example Stars and Stripes saying: "Stripes decided to figure out what the ground truth was in Iraq."
Inpainting
Inpainting is a conservation process where damaged, deteriorated, or missing parts of an artwork are filled in to present a complete image. This process is commonly used in image restoration. It can be applied to both physical and digital art mediums such as oil or acrylic paintings, chemical photographic prints, sculptures, or digital images and video. With its roots in physical artwork, such as painting and sculpture, traditional inpainting is performed by a trained art conservator who has carefully studied the artwork to determine the mediums and techniques used in the piece, potential risks of treatments, and ethical appropriateness of treatment. == History == The modern use of inpainting can be traced back to Pietro Edwards (1744–1821), Director of the Restoration of the Public Pictures in Venice, Italy. Using a scientific approach, Edwards focused his restoration efforts on the intentions of the artist. It was during the 1930 International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art, that the modern approach to inpainting was established. Helmut Ruhemann (1891–1973), a German restorer and conservator, led the discussions on the use of inpainting in conservation. Helmut Ruhemann was a leading figure in modernizing restoration and conservation. His greatest contribution to the field of conservation "was his insistence on following the methods of the original painter exactly, and on understanding the painter's artistic intention". After his career of over 40 years as a conservator, Ruhemann published his treatise The Cleaning of Paintings: Problems & Potentialities in 1968. In describing his method, Ruhemann states that "The surface [of the fill] should be slightly lower than that of the surrounding paint to allow for the thickness of the inpainting...Inpainting medium should look and behave like the original medium, but must not darken with age." Cesare Brandi (1906–1988) developed the teoria del restauro, the inpainting approach combining aesthetics and psychology. However, this approach was used primarily by Italian restorers and conservators, with the terminology becoming widespread in the 1990s. Technological advancements led to new applications of inpainting. Widespread use of digital techniques range from entirely automatic computerized inpainting to tools used to simulate the process manually. Since the mid-1990s, the process of inpainting has evolved to include digital media. More commonly known as image or video interpolation, a form of estimation, digital inpainting includes the use of computer software that relies on sophisticated algorithms to replace lost or corrupted parts of the image data. == Ethics == In order to preserve the integrity of an original artwork, any inpainting technique or treatment applied to physical or digital work should be reversible or distinguishable from the original content of the artwork. Prior to any treatments, conservators proceed according to the American Institute of Conservation of Historical and Artistic Works. There are several ethic considerations before Inpainting can be justified. Various deliberation decisions over the ethical appropriateness of the amount and type of inpainting done, resides on many factors. As most conservation treatments, inpainting's ethical questions rest mainly with authenticity, reversibility and documentation.Any intervention to compensate for loss should be documented in treatment records and reports and should be detectable by common examination methods. Such compensation should be reversible and should not falsely modify the known aesthetic, conceptual, and physical characteristics of the cultural property, especially by removing or obscuring original material.New technologies and the aesthetic demand for perfect images without imperfections challenge conservators' ethical practices to protect the integrity of originals. == Methods == Inpainting methods and techniques depend on the desired goal and type of image being treated. Treatments to fill in the gaps are different between physical and digital art. In inpainting, detailed records of the initial state of the images can help with the treatment and replicate the original closer. === Physical inpainting === Inpainting is rooted in the conservation and restoration of paintings. Inpainting can aim to make a visual improvement to the artwork as a whole by repairing missing or damaged parts using methods and materials equivalent to the original artist's work. ==== Application techniques ==== By studying the painting methods of various artists and the composition of paints used historically, conservators are able to restore works very closely to their original visual appearance. The picture as a whole determines how to fill in the gap. Helmut Ruhemann's inpainting techniques by Jessell have procedures to "preserve" the quality of oil and tempera paintings. === Digital inpainting === Many programs are able to reconstruct missing or damaged areas of digital photographs and videos. Most widely known for use with digital images is Adobe Photoshop. Given the various abilities of the digital camera and the digitization of old photos, inpainting has become an automatic process that can be performed on digital images. The inpainting techniques can be applied to object removal, text removal, and other automatic modifications of images and videos. In video special effects, inpainting is usually performed after video matting. They can also be observed in applications like image compression and super-resolution. In photography and cinema, it is used for film restoration to reverse, repair, or mitigate deterioration (e.g., physical damage such as cracks in photographs, scratches and dust spots in film, or chemical damage resulting in image loss; performed infrared cleaning). It can also be used for removing red-eye, the stamped date from photographs, and objects for creative effect. This technique can be used to replace any lost blocks in the coding and transmission of images, for example, in a streaming video. It can also be used to remove logos or watermarks in videos. Deep learning neural network-based inpainting can be used for decensoring images. Deep image prior-based techniques can be used for digital image inpainting, where a trained deep learning model is either unavailable or infeasible. Deep models for visual content generation, like text-to-image or text-to-video, learn complex priors over the distribution of visual content, and can be used to inpaint missing parts. For example, videos can be separated into layers, using a technique called omnimatte, which either pretrain an omnimatte model or without any training using an omnimatte-zero model. Three main groups of 2D image-inpainting algorithms can be found in the literature. The first one to be noted is structural (or geometric) inpainting, the second one is texture inpainting, the last one is a combination of these two techniques. They use the information of the known or non-destroyed image areas in order to fill the gap, similar to how physical images are restored. ==== Structural ==== Structural or geometric inpainting is used for smooth images that have strong, defined borders. There are many different approaches to geometric inpainting, but they all come from the idea that geometry can be recovered from similar areas or domains. Bertalmio proposed a method of structural inpainting that mimics how conservators address painting restoration. Bertalmio proposed that by progressively transferring similar information from the borders of an inpainting domain inwards, the gap can be filled. ==== Textural ==== While structural/geometric inpainting works to repair smooth images, textural inpainting works best with images that are heavily textured. Texture has a repetitive pattern which means that a missing portion cannot be restored by continuing the level lines into the gap; level lines provide a complete, stable representation of an image. To repair texture in an image, one can combine frequency and spatial domain information to fill in a selected area with a desired texture. This method, while the most simple and very effective, works well when selecting a texture to be in-painted. For a texture that covers a wider area or a larger frame one would have to go through the image segmenting the areas to be in-painted and selecting the corresponding textures from throughout the image; there are programs that can help find the corresponding areas that work in a similar way as 'find and replace' works in a word processor. ==== Combined structural and textural ==== Combined structural and textural inpainting approaches simultaneously try to perform texture- and structure-filling in regions of missing image information. Most parts of an image consist of texture and structure and the boundaries between image regions contain a large amount of structural information. This is the result when blending differ
Digital first
Digital first is a communication theory that publishers should release content into new media channels in preference to old media. The premise behind the theory is that after the advent of Internet, most established media organizations continued to give priority to traditional media. Over time, those organizations faced a choice to either publish first in digital media or traditional media. A "digital first" decision occurs when a publisher chooses to distribute information online in preference to or at the expense of traditional media like print publishing. Many employers and employees find it challenging to imagine using digital first practices. Distributing content digital first introduces new practices, including a need to manage the data which tracks readership. Many paper print publishers feel intimidated by the idea of publishing content online before publishing it in paper media. Comedian John Oliver in the show Last Week Tonight criticized digital first practices as a cause of lower standards in journalism. == Digital-First Transformation in Business and Education == The classical perspective of an information system is that it represents and reflects physical reality. However, it is increasingly evident that digital technologies not only represent reality but also actively shape it, as, in many instances, the digital version is created first, and the physical version follows. Gradually, digital infrastructures are integrated in people's work and life, shaping a digital environment through technologies such as 5G, sensors, and blockchain. The Digital First Framework, developed by Professor Youngjin Yoo, is a conceptual approach that helps the physical companies in the integration of digital technologies into the core of product and service design. The shift from traditional cars, where the physical vehicle precedes its digital representation on Google maps, to autonomous vehicles, where the digital representation (the blue dot) is created first, emphasizes the digital-first mindset in the design and operation of systems. In today's business environment, it's critical for organizations to embrace a digital-first strategy. Companies built on digital platforms will significantly diverge from traditional, hierarchical business structures that typically focus on a single product or market. These digitally-centered enterprises will offer products and services that are tailored to individual requirements, utilizing algorithms to assess needs based on specific situations, and relying on external partners to provide these solutions. This highlights the need to transform traditional R&D practices. It's essential for R&D teams to move beyond their laboratories and immerse themselves in the environments of their users. Understanding the context of use is fundamental to creating a relevant platform. As an illustration, the concept of Digital-first, as defined by Rohm et al. (2019), involves the integration of digital projects within educational courses, exemplified by institutions like M-School. The program adopts a programmatic approach, where successive courses progressively build upon one another, adopting an all-encompassing perspective that regards all aspects of marketing as inherently digital. Students actively participate in real-world projects, including campaigns for community improvement, and are tasked with generating content for diverse platforms. Through hands-on collaboration with live clients and the utilization of tools such as Google AdWords and Facebook Advertising, students acquire practical experience in the realms of digital marketing and analytics. == vBook == A vBook is an eBook that is digital first media with embedded video, images, graphs, tables, text, and other media.
Visopsys
Visopsys (Visual Operating System), is an operating system, written by Andy McLaughlin. Development of the operating system began in 1997. The operating system is licensed under the GNU GPL, with the headers and libraries under the less restrictive LGPL license. It runs on the 32-bit IA-32 architecture. It features a multitasking kernel, supports asynchronous I/O and the FAT line of file systems. It requires a Pentium processor. == History == The development of Visopsys began in 1997, being written by Andy McLaughlin. The first public release of the Operating System was on 2 March 2001, with version 0.1. In this release, Visopsys was a 32 bit operating system, supporting preemptive multitasking and virtual memory. == System overview == Visopsys uses a monolithic kernel, written in the C programming language, with elements of assembly language for certain interactions with the hardware. The operating system supports a graphical user interface, with a small C library.
MIDI Show Control
MIDI Show Control (MSC), is a real-time System Exclusive extension of the international Musical Instrument Digital Interface (MIDI) standard. MSC enables all types of entertainment equipment to communicate with each other through the process of show control. The MIDI Show Control protocol is a technical standard ratified by the MIDI Manufacturers Association in 1991, which allows entertainment control devices to talk with each other and with computers to perform show control functions in live and prerecorded entertainment applications. Just like musical MIDI, MSC does not transmit the actual show media - it simply transmits digital information about a multimedia performance. == How MSC works == When any cue is called by a user (typically a stage manager) and/or preprogrammed timeline in a show control software application, the show controller transmits one or more MSC messages from its 'MIDI Out' port. A typical MSC message sequence is: the user has just called a cue the cue is for lighting device 3 the cue is number 45.8 the cue is in cue list 7 MSC messages are serially transmitted in the same way as musical messages and are fully compatible with all conventional MIDI hardware; however, many modern MSC devices now use Ethernet communications for higher bandwidth and the flexibility afforded by networks. Other performance parameters are also transmitted, such as lighting desk submaster settings using MSC SET messages. All cues that a media control device is capable of playing are assigned MSC messages within the Show Controller's cue list and they are transmitted from its MIDI Out port at the appropriate show time, depending on the actions of the user and the show controller's internally timed sequences. All MSC-compatible instruments follow the MSC specification and thus transmit identical MSC messages for identical MSC events, such as the playing of a certain cue on the media controller. Since they follow a published standard, all MSC devices can communicate with and understand each other, as well as with computers that have been programmed to understand MSC messages using the MSC Command Set. All MSC compatible instruments have a built-in MIDI interface and many now follow one of the various MIDI-over-Ethernet protocols. == History == To create the MSC spec, Charlie Richmond headed the USITT MIDI Forum on their Callboard Network in 1990, which included developers and designers from the theatre sound and lighting industry from around the world. It is believed that this was the first international standard to be developed without a single physical meeting of the participants. This Forum created the MSC standard between January and September 1990. This was ratified by the MIDI Manufacturers Association (MMA) in January 1991, and the Japan MIDI Standards Committee (JMSC) later that year, becoming a part of the standard MIDI specification in August 1991. The first show to fully use the MSC specification was the Magic Kingdom Parade at Walt Disney World's Magic Kingdom in September 1991. == MIDI Show Control software ==
Telebirr
Telebirr (Amharic: ቴሌብር) is a mobile payment service developed and was launched by Ethio telecom, the state owned telecommunication and Internet service provider in Ethiopia. It took five months to develop the end-to-end service. It facilitates the delivery of cashless transactions. The platform deployed currently has the capacity of processing up to 100 transactions per second (TPS) and can be scaled up to 1000 TPS. The service is accessible via SMS, USSD, and smartphone applications. Telebirr works in five languages. == Services == Though the service is fully accessible for any customer of Ethio telecom, the users need to register through the mobile application called Telebirr or using an authorized agent or Ethio telecom shop or Unstructured Supplementary Service Data (USSD), 127# nationally. However, Telebirr also provides a “quick registration” by using any information that already exists in Ethio telecom's system.
Haul video
A haul video is a video recording posted to the Internet in which a person discusses items that they recently purchased, sometimes going into detail about their experiences during the purchase and the cost of the items they bought. The posting of haul videos (or hauls) was a growing trend between 2008 and 2016. Often the items bought are books, clothing, groceries, household goods, makeup, or jewellery. == Details == The posting of haul videos grew as a trend between 2008 and 2016. By late 2010, nearly a quarter of a million haul videos had been shared on the website YouTube alone. Certain videos have each received tens of millions of views. Many young adults (mostly women) have displayed their shopping hauls, while including their beauty and design commentary in the narration. The videos are often grouped by store name or by the type of product (cosmetics, accessories, shoes, postage stamps, etc.). Before haul videos became an online trend, millions of people spent time watching other people, in technical product videos unbox their latest new gadgets and technology. The trend of "unboxing videos" had emerged during 2006. Haul videos have led to celebrity status for some people. Other haul video bloggers have entered sponsorship deals and advertising programs from major brands. The videos are rarely negative about the products being reviewed. This aspect of the genre of haul videos makes sponsorship by brand advertisers particularly appealing. Brands including J.C. Penney contacted haulers as part of their marketing efforts for Back to School 2010. Haul videos also convinced three San Francisco Bay Area area natives to launch HaulBlog–a parody site that creates fake haul videos which poke fun at the phenomenon. The site is also home to the original monthly web series "The Haul Monitor" a humorous commentary show that features haul videos from around the community. == Fashion media == Sarah Sykes and John Zimmerman of Carnegie Mellon University, HCII and School of Design wrote an article "Making Sense of Haul Videos: Self-created Celebrities Fill a Fashion Media Gap". They discuss their analysis and research project examining what makes video bloggers so popular on YouTube, as well as how it affects fashion media through the production of haul videos. == Federal Trade Commission == The United States Federal Trade Commission recently enacted laws to regulate many types of online publishers and content creators. The posted information includes blogging and podcasting in text, images, audio, and video. While any publishers (including the haul-video creators) are allowed to accept free merchandise and advertising, the gifts or payments must be fully (and clearly) disclosed to reveal being paid by a brand name, as a sponsor, to review a product. The Canadian Radio-television and Telecommunications Commission is also closely monitoring such Internet activities.