Age Of is the eighth studio album by American electronic producer Oneohtrix Point Never, released on June 1, 2018, on Warp Records. Recorded over two years, it is the first Oneohtrix Point Never album to prominently feature Daniel Lopatin's own vocals. The album was accompanied by the MYRIAD tour, which premiered as a "conceptual concertscape" in 2018 at the Park Avenue Armory and ended its run in 2019. It features contributions from James Blake (who additionally produced and mixed the album), Anohni, Prurient, Kelsey Lu and Eli Keszler. The artwork, which employs Jim Shaw's "The Great Whatsit" as a central image, was designed by David Rudnick. While not entering the official United States Billboard 200 chart, it peaked at number 59 on the magazine's Top Current Albums chart. == Background == Lopatin produced Age Of in parts of a two-year period, during which he was also producing for other artists, including Anohni, FKA Twigs, Iggy Pop, and David Byrne. After composing the soundtrack for the Safdie Brothers' 2017 film Good Time, Lopatin moved to an Airbnb lodge in South Central Massachusetts, derived from his aspiration to live out the modern cliche of musicians moving to the woods to record albums; the eerie atmosphere in the lodge at nighttime influenced his desire to make "weird, little nightmare ballads". In addition to Lopatin's own singing, the album also features vocal performances from Anohni and Prurient, while instrumentalists Kelsey Lu and Eli Keszler contribute to several tracks. When the record was nearly finished, Lopatin reached out to musician James Blake to contribute to the mixing process, eventually traveling to Los Angeles to complete the album. The track "The Station" was originally composed as a demo for R&B singer Usher which was ultimately not used. On July 9, 2018, Lopatin released the original topline (vocal melody) demo for The Station through Sendspace. The track "Toys 2" imagines a theoretical sequel to the 1992 film Toys where actor Robin Williams' image has been recreated with CGI (as his will specifically forbade any usage of his image after his death), and pokes fun at the common electronic music trope of composing a soundtrack to a theoretical film (which Lopatin described as "horribly cliché"). == Concept and MYRIAD == Influences on Age Of included Stanley Kubrick's 1968 film 2001: A Space Odyssey, which inspired the narrative of the album's accompanying performance installation and tour MYRIAD, as well as William Strauss's The Fourth Turning, a favorite book of former White House Chief Strategist Steve Bannon, which Lopatin described as "insidious, like the voice of a computer insisting on the truth about history without any sensitivity given to how complex and non-linear systems might be"; Lopatin was subsequently inspired to "[use] that sort of taxonomy as a kind of farce to then create these little frameworks for understanding". Other inspirations included the writings of the 1990s multidisciplinary collective Cybernetic Culture Research Unit and the works of singer-songwriters such as Bruce Cockburn, Bob Dylan, and Paul Simon. Around the time Lopatin began finalizing Age Of in his Airbnb lodge, he began working on the concept for MYRIAD, a conceptual concert performance which premiered at Park Avenue Armory. He described the concept as a four-part "epochal song cycle" showcasing the idiocy of previous generations of living organisms. The loose story concerns a group of artificial intelligences near the end of time named a "Limitless Living Informational Intelligence" (represented in the MYRIAD logo as nine squares) which, for leisurely purposes, attempt to replicate the cultures and behaviors of the previously existent human species. It does this by determining an "average" of human experiences through the species' "recorded output", and does so through imperfect, heuristic techniques. The show was consequently divided into four sections, each representing an epoch of the cycle concept loosely inspired by the Strauss–Howe generational theory: the Age of Ecco, the Age of Harvest, the Age of Excess, and the Age of Bondage. Ecco is "a phase of pre-evolutionary ignorance", Harvest is "living in agrarian harmony with the world", Excess is "the age of unchecked industrial ambition", and Bondage is "an era of engorgement, wherein "we keep making more and more shit until there's no space left." MYRIAD mainly featured "three-hundred pound sculptures that hang from the ceiling like kebabs that secrete ooze", and a full ensemble that toured to perform songs from Age Of, including Eli Keszler, Kelly Moran and Aaron David Ross. The sculptures, as well as the visuals displayed on five polygon panels, were created by frequent Oneohtrix Point Never collaborator Nate Boyce. Initially, Lopatin planned for each of the album's four epoches to be represented by fragrances, the more noisy epochs being pleasant to the nose to make a "weird dissonance". However, due to lack of time and resources, that part of the plan was scrapped. == Composition == Whereas previous Oneohtrix Point Never albums followed musical styles from only distinctive eras, Age Of is the first album by Lopatin to incorporate elements of unique genres from a variety of periods, hence the "incompleteness" of its title according to reviewer Heather Phares, and his first pop-song-oriented release since his work for Ford & Lopatin. The sound palettes it uses are those from a variety of styles such as chamber pop, "android"-like folk and country music, yacht rock, smooth jazz, R&B, Future-style soul, black metal, new age, and stadium pop, as well as post-industrial sounds on tracks like "Warning", "We'll Take It" and "Same", and, in particular, baroque music and medieval music on the opening title track, "Age Of". Critics also noted elements of Lopatin's past discography being present on Age Of. The instrumentation of Age Of is made up of MIDI harpsichords, guitars, pianos, brass and vocals, as well as Lopatin's trademark unorthodox sound design, samples and synth presets. The LP's use of the harpsichord shows its similarities "with Eastern instruments such as the koto and with rapid-fire electronic melodies", wrote Phares. == Critical reception == Age Of was critically well-received upon its distribution. Some reviewers praised the album's use of collaborators. Reviewing the album for AllMusic, Heather Phares called Age Of a "landmark work" for Lopatin. She praised it as his "widest-ranging" release, elaborating that he "matches the album's ambition with plenty of emotion" and "gives his music exciting new shapes." Ross Devlin of The Skinny, in a five-star review of the record, also highlighted the album's amount of ambition, particularly the "wealth of exquisitely baroque moments, exploring history as a pliable, multi-dimensional rift", that gave it "exceptional sonic depth". The Observer praised Age Of for continuing the "off-kilter composition and unexpected instrumentation" of Lopatin's previous releases, and critic Matt McDermott highlighted that the producer increased his musical range with the record: "It's a dizzying trip meant to shore up Lopatin's status as an avant-garde auteur while aiding his forays into mainstream pop culture." Age Of was ranked the 15th best release of the year in The Wire magazine's annual critics' poll. == Track listing == Notes "Myriad Industries" is stylized as "myriad.industries". Sample credits "Age Of" contains a sample of "Blow the Wind" by Jocelyn Pook. "Manifold" contains a sample from "Overture (Ararat the Border Crossing)" by Tayfun Erdem; and a sample from "Venice Beach in Winter" (listed in the liner notes as "a keyboard sample from Reharmonization") by Julian Bradley. "Myriad Industries" contains a sample of "EchoSpace" by Gil Trythall. == Accolades == == Personnel == Daniel Lopatin – production, lead vocals, album art, design James Blake – additional production, mixing, keyboards Gabriel Schuman, Joshua Smith and Evan Sutton – assistance Greg Calbi – mastering David Rudnick – album art, design Prurient – vocals Kelsey Lu – keyboards Anohni – vocals Eli Keszler – drums Shaun Trujillo – words == Charts ==
Expectation propagation
Expectation propagation (EP) is a technique in Bayesian machine learning. EP finds approximations to a probability distribution. It uses an iterative approach that uses the factorization structure of the target distribution. It differs from other Bayesian approximation approaches such as variational Bayesian methods. More specifically, suppose we wish to approximate an intractable probability distribution p ( x ) {\displaystyle p(\mathbf {x} )} with a tractable distribution q ( x ) {\displaystyle q(\mathbf {x} )} . Expectation propagation achieves this approximation by minimizing the Kullback–Leibler divergence K L ( p | | q ) {\displaystyle \mathrm {KL} (p||q)} . Variational Bayesian methods minimize K L ( q | | p ) {\displaystyle \mathrm {KL} (q||p)} instead. If q ( x ) {\displaystyle q(\mathbf {x} )} is a Gaussian N ( x | μ , Σ ) {\displaystyle {\mathcal {N}}(\mathbf {x} |\mu ,\Sigma )} , then K L ( p | | q ) {\displaystyle \mathrm {KL} (p||q)} is minimized with μ {\displaystyle \mu } and Σ {\displaystyle \Sigma } being equal to the mean of p ( x ) {\displaystyle p(\mathbf {x} )} and the covariance of p ( x ) {\displaystyle p(\mathbf {x} )} , respectively; this is called moment matching. == Applications == Expectation propagation via moment matching plays a vital role in approximation for indicator functions that appear when deriving the message passing equations for TrueSkill.
FutureMedia
FutureMedia is a program that analyzes the state and future of digital, social, and mobile media. It functions as a collaborative initiative at Georgia Tech and the Georgia Tech Research Institute. FutureMedia consults approximately 500 faculty members working in those fields. == History == In 2019, Future Media expanded into the Direct-To-Consumer market by acquiring Australian watchmaker Oak & Jackal. == Programs == === FutureMedia Fest === The organization most recently hosted FutureMedia Fest 2010, a four-day conference (Oct 4–7, 2010) with a keynote addresses from Michael Jones, the chief technology advocate at Google. The event featured panels, workshops, and technology demonstrations. === FutureMedia Outlook === Contemporaneous with FutureMedia Fest 2010, the organization released the FutureMedia Outlook, an analysis of the future of media, concentrating on six major trends in those fields, including information overload, personalization, data integrity, an expectation of multimedia, augmented reality, and collaborative software.
RR Media
RR Media was a NASDAQ listed provider of global digital media services to the broadcast industry and content owners. Its services can be divided into four main groups: global content distribution network (satellite, fiber and the internet); content management & playout; sports, news & live events; and online video services. The company was rebranded to RR Media from RRsat in September 2014. In February 2016, it was announced that, subject to regulatory approvals, RR Media was to be acquired by SES, based in Betzdorf, Luxembourg, and merged with SES subsidiary company, SES Platform Services a media services provider for television broadcasters, production companies and platform operators, based in Unterföhring near Munich, Germany. In July 2016, the merged company was named MX1. == Digital media services == Global content distribution services RR Media's global distribution network uses a combination of satellite, fiber and the internet. The network includes satellite downlink and uplink; fiber connectivity to digital media hubs; connectivity to TV service providers; and internet-based content delivery. RR Media's network delivers live television channels, streaming media and Video on demand (VOD) content in all formats including Standard-definition television (SD), High-definition television (HD), 4K resolution (4K) & 3D television (3D). End-to-end content management & playout services RR Media manages, prepares and plays out content from its media centers. Services include: content preparation (digitization, localization, conversion, ingest, multiple formatting, editing, restoration); content management (digital asset management, media ingest and library, streamlined workflows, metadata curation, Video on demand (VOD) delivery) and playout, channel creation, playlist management, advertising insertion/management, graphics, titles & overlay, live events operations). RR Media also creates branded or white label product television channels using live and archived materials. Sports, news & live events RR Media delivers live sports and event content for sports rights holders, broadcasters and news channels. Services include: live production (Outside broadcasting vans, Satellite news gathering (SNG), studios), global live distribution, sports content preparation and content management, playout and origination.RR Media provides downlink, uplink, simultaneous translation, turnaround and live production services for sports events like football, basketball, tennis and golf, news and entertainment channels. Online video services RR Media converts existing and archive content into programs, channels and other digital assets, and converges broadcast and internet delivery. Services include converged media (preparing content for broadcast or online use) Content Management Systems (CMS), VOD services, branded platforms, multi-screen delivery, web video portals and viewer measurement tools (using digital analytics). == Media centers == RR Media's media centers are based in Hawley, PA (USA), Emeq Ha’Ela (Israel) Bucharest (Romania), with another facility opened in London, (UK) in June 2015. An additional facility in Miami, FL United States was announced in April 2016. The centers provide RR Media's services, including content preparation, management, online video, live content and distribution, and 24/7 service and support. == Awards == In November 2014, RR Media won the award for Achievement in Legacy Content at the 2014 TVB Europe awards in London, in recognition for its work with British Pathe and the restoration for YouTube. In February 2014, the World Teleport Association named Avi Cohen, CEO of RR Media (formerly RRsat), as its 2014 Teleport Executive of the Year. In 2009, the World Teleport Association awarded RR Media (then RRsat) the Independent Teleport Operator of the Year award for excellence. == History == RR Media (as RRsat) was established in 1981 as a communications provider. The company was founded by David Rivel, an electronics, computers and communications engineer. Rivel is CEO of the company for 31 years and from 2012 a Member of RR Media's board of directors. Under management of Rivel RRsat Communications Network Ltd. went public on 2006-11-01 - NASDAQ:RRST In 2014, the Company rebranded from RRsat Global Communications Network to RR Media. The rebrand was launched at the International Broadcasting Convention (IBC) Show in Amsterdam. In 2015, RR Media announced its NASDAQ stock ticker symbol change to RRM. == Acquisitions == In April 2015, RR Media acquired Eastern Space Systems (ESS) in Romania, a privately held provider of content management and content distribution services and related consulting services. In June 2015, RR Media acquired Satlink Communications as part of strategy to increase scale and expand its global content distribution network and content management footprint, strengthening its customer mix and leverage media industry expertise.
Digital intermediate
Digital intermediate (DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. == Definition and overview == A digital intermediate often replaces or augments the photochemical timing process and is usually the final creative adjustment to a movie before distribution in theaters. It is distinguished from the telecine process in which film is scanned and color is manipulated early in the process to facilitate editing. However the lines between telecine and DI are continually blurred and are often executed on the same hardware by colorists of the same background. These two steps are typically part of the overall color management process in a motion picture at different points in time. A digital intermediate is also customarily done at higher resolution and with greater color fidelity than telecine transfers. Although originally used to describe a process that started with film scanning and ended with film recording, digital intermediate is also used to describe color correction and color grading and even final mastering when a digital camera is used as the image source and/or when the final movie is not output to film. This is due to recent advances in digital cinematography and digital projection technologies that strive to match film origination and film projection. In traditional photochemical film finishing, an intermediate is produced by exposing film to the original camera negative. The intermediate is then used to mass-produce the films that get distributed to theaters. Color grading is done by varying the amount of red, green, and blue light used to expose the intermediate. The digital intermediate process uses digital tools to color grade, which allows for much finer control of individual colors and areas of the image, and allows for the adjustment of image structure (grain, sharpness, etc.). The intermediate for film reproduction can then be produced by means of a film recorder. The physical intermediate film that is a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (IN) stock, which is inherently finer-grain than original camera negative (OCN). One of the key technical achievements that made the transition to DI possible was the use of 3D look-up tables, which could be used to mimic how the digital image would look once it was printed onto release print stock. This removed a large amount of guesswork from the film-making process, and allowed greater freedom in the colour grading process while reducing risk. The digital master is often used as a source for a DCI-compliant distribution of the motion picture for digital projection. For archival purposes, the digital master created during the digital intermediate process can be recorded to very stable high dynamic range yellow-cyan-magenta (YCM) separations on black-and-white film with an expected 100-year or longer life. While still subject to the natural degradation of any analog chemical master, this archival format, long used in the industry prior to the invention of DI, was considered valuable for providing an archival medium that is independent of changes in digital data recording technologies and file formats that might otherwise render digitally archived material unreadable in the long term. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == History == Telecine tools to electronically capture film images are nearly as old as broadcast television, but the resulting images were widely considered unsuitable for exposing back onto film for theatrical distribution. Film scanners and recorders with quality sufficient to produce images that could be inter-cut with regular film began appearing in the 1970s, with significant improvements in the late 1980s and early 1990s. During this time, digitally processing an entire feature-length film was impractical because the scanners and recorders were extremely slow and the image files were too large compared to computing power available. Instead, individual shots or short sequences were processed for visual effects. In 1992, Visual Effects Supervisor/Producer Chris F. Woods broke through several "techno-barriers" in creating a digital studio to produce the visual effects for the 1993 release Super Mario Bros. It was the first feature film project to digitally scan a large number of VFX plates (over 700) at 2K resolution. It was also the first film scanned and recorded at Kodak's just launched Cinesite facility in Hollywood. This project based studio was the first feature film to use Discreet Logic's (now Autodesk) Flame and Inferno systems, which enjoyed early dominance as high resolution / high performance digital compositing systems. Digital film compositing for visual effects was immediately embraced, while optical printer use for VFX declined just as quickly. Chris Watts further revolutionized the process on the 1998 feature film Pleasantville, becoming the first visual effects supervisor for New Line Cinema to scan, process, and record the majority of a feature-length, live-action, Hollywood film digitally. The first Hollywood film to utilize a digital intermediate process from beginning to end was O Brother, Where Art Thou? in 2000 and in Europe it was Chicken Run released that same year. The process rapidly caught on in the mid-2000s. Around 50% of Hollywood films went through a digital intermediate in 2005, increasing to around 70% by mid-2007. This is due not only to the extra creative options the process affords film makers but also the need for high-quality scanning and color adjustments to produce movies for digital cinema. == Milestones == 1990: The Rescuers Down Under – First feature-length film to be entirely recorded to film from digital files; in this case animation assembled on computers using Walt Disney Feature Animation and Pixar's CAPS system. 1992: Visual effects supervisor and producer Chris F. Woods creates a VFX studio to produce the visual effects for the 1993 film Super Mario Bros. It was the first 35mm feature film to digitally scan a large number of VFX plates (over 700) at 2K resolution, as well as to output the finished VFX to 35mm negative at 2K. 1993: Snow White and the Seven Dwarfs – First film to be entirely scanned to digital files, manipulated, and recorded back to film at 4K resolution. The restoration project was done entirely at 4K resolution and 10-bit color depth using the Cineon system to digitally remove dirt and scratches and restore faded colors. 1998: Pleasantville – The first time the majority of a new feature film was scanned, processed, and recorded digitally. The black-and-white meets color world portrayed in the movie was filmed entirely in color and selectively desaturated and contrast adjusted digitally. The work was done in Los Angeles by Cinesite utilizing a Spirit DataCine for scanning at 2K resolution and a MegaDef color correction system from UK Company Pandora International 1998: Zingo - The first feature film to use digital color correction via digital intermediate in its entirety. The work was performed at the Digital Film Lab in Copenhagen, using a Spirit Datacine to transfer the entire film to digital files at 2K resolution. The digital intermediate process was also used to perform a digital blowup of the film's original Super 16 source format to a 35mm output. 1999: Pacific Ocean Post Film, a team led by John McCunn and Greg Kimble used Kodak film scanners & laser film printer, Cineon software as well as proprietary tools to rebuild and repair the first two reels of the 1968 Beatles' film Yellow Submarine for re-release. 1999: Star Wars: Episode I – The Phantom Menace - Industrial Light & Magic (ILM) scanned the entirety of the visual effects-laden film for the purposes of digital enhancement and the integration of thousands of separately filmed elements with computer generated characters and environments. Outside of the approximately 2000 effects shots that were digitally manipulated, the remaining 170 non-effects shots were also scanned for continuity. However, after the digital shots were manipulated at ILM, they were filmed out individually and sent to Deluxe Labs where they were processed and color timed photochemically. 2000: Sorted - The first feature-length, color 35mm motion picture to fully utilize the digital intermediate process in its entirety from inception to completion. The film was produced at Wave Pictures' digital intermediate film facility in London, England. It was scanned at 2K resolution with 8 bits color depth per color / per pixel using a pin registered, liquid gate Oxberry
Grammatik
Grammatik was the first grammar-checking program for home computers. Aspen Software of Albuquerque, NM, released the earliest version of this diction and style checker for personal computers. It was first released no later than 1981, and was inspired by the Writer's Workbench. Grammatik was first available for the TRS-80, and soon had versions for CP/M and the IBM PC. Reference Software International of San Francisco, California, acquired Grammatik in 1985. Development of Grammatik continued, and it became an actual grammar checker that could detect writing errors beyond simple style checking. Subsequent versions were released for MS-DOS, Windows, Macintosh, and Unix. Grammatik was ultimately acquired by WordPerfect Corporation and is integrated into the WordPerfect word processor.
Electronic submission
Electronic submission refers to the submission of a document by electronic means: that is, via e-mail or a web form on the Internet, or on an electronic medium such as a compact disc, a hard disk or a USB flash drive. Traditionally, the term "manuscript" referred to anything that was explicitly "written by hand". However, in popular usage and especially in the context of computers and the internet, the term "manuscript" may even refer to documents (text or otherwise) typed out or prepared on typewriters and computers and can be extended to digital photographs and videos, and online surveys too. In other words, any manuscript prepared and submitted online can be considered to be an electronic submission. == History and early usage == There is no concrete data indicating when and by whom were electronic submissions used for the first time. However, research based universities in several countries have been encouraging the collection of course assignments and projects in the form of electronic submissions for almost a decade now. Several governments and organizations are also switching to electronic submissions for the collection of research papers, grant applications and government application forms. == Types of electronic submissions == Since modern computers can store and process information and data in virtually any format and with the Internet allowing easy transfer of this data, the number of scenarios in which submissions can be collected electronically has increased exponentially in the last few years. Some of these scenarios are described below. In most of these scenarios, submissions were collected on hard paper until the Information Technology revolution occurred. === Academic Submissions === Teachers, professors and teaching assistants often collect course assignments and projects electronically. Electronic submissions are usually collected using a web-based system which more often than not also helps in the management of submissions collected and stored on it. (Explained By Henny L, University of Lethbridge, AB, Canada) === Research Papers === In call-for-paper or academic conferences, prospective presenters are usually asked to submit a short abstract or a full paper on their presentation or research work electronically, which is reviewed before being accepted for the conference. === Proposals for Grants === Several grant-giving organizations like the NSA, W3C, NIA, NIH etc. require grant seekers to submit a proposal which if accepted result in the desired grants. A majority of these proposals are now submitted electronically on systems that also help in the managing and tracking the proposals submitted. === Articles for Publication === Magazines, newspapers and other publishing houses have begun accepting electronic submissions for articles from various sources - both internal (by journalists and writers hired by them) as well as external (by users and popular readers). The submitted articles are stored on a server hosted by the publication house or by a third-party Archived 2019-10-13 at the Wayback Machine vendor and are usually evaluated before being given a green signal. === Contests and Competition Entries === Almost every kind of contest or competition requires participants to submit an entry in a format described by the organizers of the contest. If the contest is an Internet-based one, then the entries or nominations for the contest are collected electronically using e-mail or other electronic means depending on feasibility and the choice of the organizers. === Government Applications === The governments of several countries are turning to electronic submission of applications and forms for various government procedures. Electronic submissions allow easier management of the applications and forms submitted. === Legal documents === Many legal documents may be submitted to the courts electronically. In England and Wales, the Civil Procedure Rules include a suitable "document exchange" as an acceptable "method of service". Case law in employment law cases has established that where a claim is submitted electronically, a prudent legal adviser should "check that it has been received and there must be systems in place for doing that". === Resumés and CVs === It has become commonplace for job-seekers to submit soft copies (electronic versions) of their resumés and CVs to recruiting agencies and online job portals. This is usually done over the Internet using e-mail or a pre-hosted web-based system. == Submission management systems == The art and science of collecting and managing electronic submissions is called Submission Management. Certain software vendors have begun developing submission management systems to assist in the collection, tracking and management of complex submission processes realized electronically. Most of these systems are web based and accessible from any device with a browser and an Internet connection. However, a majority of these systems are application specific and cannot be applied to all submission management scenarios. == Resistance to electronic submissions == Despite the easier management and tracking of electronic submissions compared to their paper-based counterparts, widespread adoption and use of electronic submissions and systems for managing them has been hampered by several facts, which include but are not limited to: Inconvenience while drawing figures, diagrams and equations on a computer Resistance to change and adoption of new technologies Lack of or limited access to the Internet.