In computer graphics, per-pixel lighting refers to any technique for lighting an image or scene that calculates illumination for each pixel on a rendered image. This is in contrast to other popular methods of lighting such as vertex lighting, which calculates illumination at each vertex of a 3D model and then interpolates the resulting values over the model's faces to calculate the final per-pixel color values. Per-pixel lighting is commonly used with techniques, such as blending, alpha blending, alpha to coverage, anti-aliasing, texture filtering, clipping, hidden-surface determination, Z-buffering, stencil buffering, shading, mipmapping, normal mapping, bump mapping, displacement mapping, parallax mapping, shadow mapping, specular mapping, shadow volumes, high-dynamic-range rendering, ambient occlusion (screen space ambient occlusion, screen space directional occlusion, ray-traced ambient occlusion), ray tracing, global illumination, and tessellation. Each of these techniques provides some additional data about the surface being lit or the scene and light sources that contributes to the final look and feel of the surface. Most modern video game engines implement lighting using per-pixel techniques instead of vertex lighting to achieve increased detail and realism. The id Tech 4 engine, used to develop such games as Brink and Doom 3, was one of the first game engines to implement a completely per-pixel shading engine. All versions of the CryENGINE, Frostbite Engine, and Unreal Engine, among others, also implement per-pixel shading techniques. Deferred shading is a recent development in per-pixel lighting notable for its use in the Frostbite Engine and Battlefield 3. Deferred shading techniques are capable of rendering potentially large numbers of small lights inexpensively (other per-pixel lighting approaches require full-screen calculations for each light in a scene, regardless of size). == History == While only recently have personal computers and video hardware become powerful enough to perform full per-pixel shading in real-time applications such as games, many of the core concepts used in per-pixel lighting models have existed for decades. Frank Crow published a paper describing the theory of shadow volumes in 1977. This technique uses the stencil buffer to specify areas of the screen that correspond to surfaces that lie in a "shadow volume", or a shape representing a volume of space eclipsed from a light source by some object. These shadowed areas are typically shaded after the scene is rendered to buffers by storing shadowed areas with the stencil buffer. Jim Blinn first introduced the idea of normal mapping in a 1978 SIGGRAPH paper. Blinn pointed out that the earlier idea of unlit texture mapping proposed by Edwin Catmull was unrealistic for simulating rough surfaces. Instead of mapping a texture onto an object to simulate roughness, Blinn proposed a method of calculating the degree of lighting a point on a surface should receive based on an established "perturbation" of the normals across the surface. == Hardware rendering == Real-time applications, such as video games, usually implement per-pixel lighting through the use of pixel shaders, allowing the GPU hardware to process the effect. The scene to be rendered is first rasterized onto a number of buffers storing different types of data to be used in rendering the scene, such as depth, normal direction, and diffuse color. Then, the data is passed into a shader and used to compute the final appearance of the scene, pixel-by-pixel. Deferred shading is a per-pixel shading technique that has recently become feasible for games. With deferred shading, a "g-buffer" is used to store all terms needed to shade a final scene on the pixel level. The format of this data varies from application to application depending on the desired effect, and can include normal data, positional data, specular data, diffuse data, emissive maps and albedo, among others. Using multiple render targets, all of this data can be rendered to the g-buffer with a single pass, and a shader can calculate the final color of each pixel based on the data from the g-buffer in a final "deferred pass". Because deferred shading assumes only one visible fragment per pixel sample, transparent objects are generally handled in a separate forward pass. == Software rendering == Per-pixel lighting is also performed in software on many high-end commercial rendering applications which typically do not render at interactive framerates. This is called offline rendering or software rendering. NVidia's mental ray rendering software, which is integrated with such suites as Autodesk's Softimage is a well-known example.
Non-photorealistic rendering
Non-photorealistic rendering (NPR) is an area of computer graphics that focuses on enabling a wide variety of expressive styles for digital art, in contrast to traditional computer graphics, which focuses on photorealism. NPR is inspired by other artistic modes such as painting, drawing, technical illustration, and animated cartoons. NPR has appeared in movies and video games in the form of cel-shaded animation (also known as "toon" shading) as well as in scientific visualization, architectural illustration and experimental animation. == History and criticism of the term == The term non-photorealistic rendering is believed to have been coined by the SIGGRAPH 1990 papers committee, who held a session entitled "Non Photo Realistic Rendering". The term has received some criticism: The term "photorealism" has different meanings for graphics researchers (see "photorealistic rendering") and artists. For artists—who are the target consumers of NPR techniques—it refers to a school of painting that focuses on reproducing the effect of a camera lens, with all the distortion and hyper-reflections that it creates. For graphics researchers, however, it refers to an image that is visually indistinguishable from reality. In fact, graphics researchers lump the kinds of visual distortions that are used by photorealist painters into "non-photorealism". Describing something by what it is not is problematic. Equivalent (made-up) comparisons might be "non-elephant biology" or "non-geometric mathematics". NPR researchers have stated that they expect the term will disappear eventually and be replaced by the now more general term "computer graphics", with "photorealistic graphics" being the term used to describe "traditional" computer graphics. Many techniques that are used to create 'non-photorealistic' images are not rendering techniques. They are modelling techniques, or post-processing techniques. While the latter are coming to be known as 'image-based rendering', sketch-based modelling techniques, cannot technically be included under this heading, which is very inconvenient for conference organisers. The first conference on non-photorealistic animation and rendering included a discussion of possible alternative names. Among those suggested were "expressive graphics", "artistic rendering", "non-realistic graphics", "art-based rendering", and "psychographics". All of these terms have been used in various research papers on the topic, but the "non-photorealistic" term seems to have nonetheless taken hold. The first technical meeting dedicated to NPR was the ACM-sponsored Symposium on Non-Photorealistic Rendering and Animation(NPAR) in 2000. NPAR is traditionally co-located with the Annecy Animated Film Festival, running on even numbered years. From 2007 onward, NPAR began to also run on odd-numbered years, co-located with ACM SIGGRAPH. == 3D == Three-dimensional NPR is the style that is most commonly seen in video games and movies. The output from this technique is almost always a 3D model that has been modified from the original input model to portray a new artistic style. In many cases, the geometry of the model is identical to the original geometry, and only the material applied to the surface is modified. With increased availability of programmable GPU's, shaders have allowed NPR effects to be applied to the rasterised image that is to be displayed to the screen. The majority of NPR techniques applied to 3D geometry are intended to make the scene appear two-dimensional. NPR techniques for 3D images include cel shading and Gooch shading. Many methods can be used to draw stylized outlines and strokes from 3D models, including occluding contours and Suggestive contours. For enhanced legibility, the most useful technical illustrations for technical communication are not necessarily photorealistic. Non-photorealistic renderings, such as exploded view diagrams, greatly assist in showing placement of parts in a complex system. Cartoon rendering, also called cel shading or toon shading, is a non-photorealistic rendering technique used to give 3D computer graphics a flat, cartoon-like appearance. Its defining feature is the use of distinct shading colors rather than smooth gradients, producing a look reminiscent of comic books or animated films. This technique is often used to blend 3D objects and environments with 2D hand-animated elements while maintaining a consistent look. Treasure Planet movie by Disney is an example of blending these techniques. == 2D == The input to a two dimensional NPR system is typically an image or video. The output is a typically an artistic rendering of that input imagery (for example in a watercolor, painterly or sketched style) although some 2D NPR serves non-artistic purposes e.g. data visualization. The artistic rendering of images and video (often referred to as image stylization) traditionally focused upon heuristic algorithms that seek to simulate the placement of brush strokes on a digital canvas. Arguably, the earliest example of 2D NPR is Paul Haeberli's 'Paint by Numbers' at SIGGRAPH 1990. This (and similar interactive techniques) provide the user with a canvas that they can "paint" on using the cursor — as the user paints, a stylized version of the image is revealed on the canvas. This is especially useful for people who want to simulate different sizes of brush strokes according to different areas of the image. Subsequently, basic image processing operations using gradient operators or statistical moments were used to automate this process and minimize user interaction in the late nineties (although artistic control remains with the user via setting parameters of the algorithms). This automation enabled practical application of 2D NPR to video, for the first time in the living paintings of the movie What Dreams May Come (1998). More sophisticated image abstractions techniques were developed in the early 2000s harnessing computer vision operators e.g. image salience, or segmentation operators to drive stroke placement. Around this time, machine learning began to influence image stylization algorithms notably image analogy that could learn to mimic the style of an existing artwork. The advent of deep learning has re-kindled activity in image stylization, notably with neural style transfer (NST) algorithms that can mimic a wide gamut of artistic styles from single visual examples. These algorithms underpin mobile apps capable of the same e.g. Prisma In addition to the above stylization methods, a related class of techniques in 2D NPR address the simulation of artistic media. These methods include simulating the diffusion of ink through different kinds of paper, and also of pigments through water for simulation of watercolor. == Artistic rendering == Artistic rendering is the application of visual art styles to rendering. For photorealistic rendering styles, the emphasis is on accurate reproduction of light-and-shadow and the surface properties of the depicted objects, composition, or other more generic qualities. When the emphasis is on unique interpretive rendering styles, visual information is interpreted by the artist and displayed accordingly using the chosen art medium and level of abstraction in abstract art. In computer graphics, interpretive rendering styles are known as non-photorealistic rendering styles, but may be used to simplify technical illustrations. Rendering styles that combine photorealism with non-photorealism are known as hyperrealistic rendering styles. == Notable films and games == This section lists some seminal uses of NPR techniques in films, games and software. See cel-shaded animation for a list of uses of toon-shading in games and movies.
SCinet
SCinet is the high-performance network built annually by volunteers in support of SC (formerly Supercomputing, the International Conference for High Performance Computing, Networking, Storage and Analysis). SCinet is the primary network for the yearly conference and is used by attendees and exhibitors to demonstrate and test high-performance computing and networking applications. == International Community == SCinet is also a hub for the international networking community. It provides a platform to share the latest research, technologies, and demonstrations for networks, network technology providers, and even software developers who are in charge of supporting HPC communities at their own institutions or organizations. == Volunteers == Nearly 200 volunteers from educational institutions, high performance computing sites, equipment vendors, research and education networks, government agencies and telecommunications carriers collaborate via technology and in-person to design, build and operate SCinet. While many of these credentialed individuals have volunteered at SCinet for years, first timers join the team each year. They include international students and participants in the National Science Foundation-funded Women in IT Networking at SC (WINS) program. The 2017 SCinet team included women and men from high performance computing institutions in the U.S. and throughout the world. == History == Originated in 1991 as an initiative within the SC conference to provide networking to attendees, SCinet has grown to become the "World's Fastest Network" during the duration of the conference. For 29 years, SCinet has provided SC attendees and the high performance computing (HPC) community with the innovative network platform necessary to internationally interconnect, transport, and display HPC research during SC. Historically, SCinet has been used as a platform to test networking technology and applications which have found their way into common use. == Research and development == In the past years, SCinet deployed conference wide networking technologies such as ATM, FDDI, HiPPi before they were deployed commercially.
HashClash
HashClash was a volunteer computing project running on the Berkeley Open Infrastructure for Network Computing (BOINC) software platform to find collisions in the MD5 hash algorithm. It was based at Department of Mathematics and Computer Science at the Eindhoven University of Technology, and Marc Stevens initiated the project as part of his master's degree thesis. The project ended after Stevens defended his M.Sc. thesis in June 2007. However, SHA1 was added later, and the code repository was ported to git in 2017. The project was used to create a rogue certificate authority certificate in 2009.
Content management
Content management (CM) are a set of processes and technologies that support the collection, managing, and publishing of information in any form or medium. When stored and accessed via computers, this information may be more specifically referred to as digital content, or simply as content. Digital content may take the form of text (such as electronic documents), images, multimedia files (such as audio or video files), or any other file type that follows a content lifecycle requiring management. The process of content development and management is complex enough that various commercial software vendors (large and small), such as Interwoven and Microsoft, offer content management software to control and automate significant aspects of the content lifecycle. == Process == Content management practices and goals vary by mission and by organizational governance structure. News organizations, e-commerce websites, and educational institutions all use content management, but in different ways. This leads to differences in terminology and in the names and number of steps in the process. For example, some digital content is created by one or more authors. Over time that content may be edited. One or more individuals may provide some editorial oversight, approving the content for publication. Publishing may take many forms: it may be the act of "pushing" content out to others, or simply granting digital access rights to certain content to one or more individuals. Later that content may be superseded by another version of the content and thus retired or removed from use (as when this wiki page is modified). Content management is an inherently collaborative process. It often consists of the following basic roles and responsibilities: Creator – responsible for creating and editing content. Editor – responsible for tuning the content message and the style of delivery, including translation and localization. Publisher – responsible for releasing the content for use. Administrator – responsible for managing access permissions to folders, collections and files, usually accomplished by assigning access rights to user groups or roles. Admins may also assist and support users in various ways. Consumer, viewer or guest – the person who reads or otherwise consumes the content after it is published or shared. A critical aspect of content management is the ability to manage versions of content as it evolves (see also version control). Authors and editors often need to restore older versions of edited products due to a process failure or an undesirable series of edits. Time-sensitive content may also require updates as the subject matter evolves over time. Another equally important aspect of content management involves the creation, maintenance, and application of review standards. Each member of the content creation and review process has a unique role and set of responsibilities in the development or publication of the content. Each review team member requires clear and concise review standards. These must be maintained on an ongoing basis to ensure the long-term consistency and health of the knowledge base. A content management system is a set of automated processes that may support the following features: Import and creation of documents and multimedia material Identification of all key users and their roles The ability to assign roles and responsibilities to different instances of content categories or types Definition of workflow tasks often coupled with messaging so that content managers are alerted to changes in content The ability to track and manage multiple versions of a single instance of content The ability to publish the content to a repository to support access The ability to personalize content based on a set of rules Increasingly, the repository is an inherent part of the system, and incorporates enterprise search and retrieval. Content management systems take the following forms: Web content management system—software for web site management (often what content management implicitly means) Output of a newspaper editorial staff organization Workflow for article publication Document management systems Knowledge management software Single source content management system—content stored in chunks within a relational database Variant management system—where personnel tag source content (usually text and graphics) to represent variants stored as single source "master" content modules, resolved to the desired variant at publication (for example: automobile owners manual content for 12 model years stored as single master content files and "called" by model year as needed)—often used in concert with database chunk storage (see above) for large content objects == Governance structures == Content management expert Marc Feldman defines three primary content management governance structures: localized, centralized, and federated—each having its unique strengths and weaknesses. === Localized governance === By putting control in the hands of those closest to the content, the context experts, localized governance models empower and unleash creativity. These benefits come, however, at the cost of a partial-to-total loss of managerial control and oversight. === Centralized governance === When the levers of control are strongly centralized, content management systems are capable of delivering an exceptionally clear and unified brand message. Moreover, centralized content management governance structures allow for a large number of cost-savings opportunities in large enterprises, realized, for example, through (1) the avoidance of duplicated efforts in creating, editing, formatting, repurposing and archiving content; (2) process management and the streamlining of all content related labor; and/or (3) an orderly deployment or updating of the content management system. === Federated governance === Federated governance models potentially realize the benefits of both localized and centralized control while avoiding the weaknesses of both. While content management software systems are inherently structured to enable federated governance models, realizing these benefits can be difficult because it requires, for example, negotiating the boundaries of control with local managers and content creators. In the case of larger enterprises, in particular, the failure to fully implement or realize a federated governance structure equates to a failure to realize the full return on investment and cost savings that content management systems enable. == Implementation == Content management implementations must be able to manage content distributions and digital rights in content life cycle. Content management systems are usually involved with digital rights management in order to control user access and digital rights. In this step, the read-only structures of digital rights management systems force some limitations on content management, as they do not allow authors to change protected content in their life cycle. Creating new content using managed (protected) content is also an issue that gets protected contents out of management controlling systems. A few content management implementations cover all these issues.
Corona-Warn-App
Corona-Warn-App was the official and open-source COVID-19 contact tracing app used for digital contact tracing in Germany made by SAP and Deutsche Telekom subsidiary T-Systems. It had been downloaded 22.8 million times as of 19 November 2020 and 26.2 million times as of 18 March 2021. The app has been promoted by billboard and broadcast advertisements, e.g. in cooperation with the German Football Association (DFB) and other prominent companies. The German government has announced that the app would no longer exchange tracing information as of April 30, 2023 & would enter hibernation as of June 1, 2023. == Effectiveness == Experts believe that time saved by using the app can be critical for improving the effectiveness contact tracing efforts. Some virologists say when at least 60% of people in Germany use it, it would be very effective. == Functioning == The app works with the Exposure Notification Framework (what is implemented in Google Play Services for Android and in iOS) by using Bluetooth to exchange codes with app users that are within 1.5 meters of each other for a period of at least 10 minutes. Anyone who tests positive for COVID-19 can share this information voluntarily with the app. Other app users are then notified about when, how long and at what distance they had contact with the infected person within a 14-day period. Testing is available for persons on a voluntary basis. === Server architecture === Based on the Client–server model five servers are operated within the app backend: the Corona-Warn-App server. It stores the authorized keys of infected users, referred to as diagnosis keys, from the past 14 days in its database. Stored diagnosis keys are grouped into regularly updated blocks which are transmitted to the Content Delivery Network. This interface supplies the keys for the app clients to download and locally compute a potential exposure risk. the Verification server. It is responsible for documenting the approval of the user to share their positive test result with the app and also to verify the test result. the Portal Server. It generates a so-called teleTAN token if the user did not give their consent to share their test result with the app at first but then changed their mind or if the local public health authority or test laboratory is not connected to the app system yet. the Test Result Server. It saves the test results provided by the local public health authorities or test laboratories for further use within the backend. the Federation Gateway Server. It connects to the national Corona-Warn-App servers of participating EU countries to enable transnational key exchange. By the distribution of the data on different servers the decoupling of the data becomes possible and results in an obstructed tracing of the app users. ==== Report of a positive COVID-19 test ==== The app provides a function to warn other app users by uploading their positive test result on a voluntarily and anonymous basis to the Corona-Warn-App server. In case the local public health authority or test laboratory is already connected to the app system, the user receives a QR-Code when the swab specimen is taken that can be scanned in the app. After scanning the QR-Code und the user getting authorized by the Verification server, the app receives an individual Registration token which gets stored locally and with which the status and the result of the test can be checked manually as well as automatically. If the local public health authority or test laboratory is not connected to the app system yet and the user wants to share their positive test result with other app users, it is required to request a teleTAN token by calling the verification hotline of the app. In both cases, the user can upload their diagnosis keys of the last 14 days to the Corona-Warn-App server in case their consent to share the information is given. The Corona-Warn-App server then verifies the uploaded keys by asking the Verification server if the keys are valid and if they are, the Corona-Warn-App server stores them in its database. == Privacy == The use of the app is voluntary. The app implements decentralized data storage to ensure data privacy. Employers can require that Corona-Warn be installed on company phones, but can not compel its use on private phones. == Funding == The open source app, which costs €20 million to develop is intended to supplement human contact tracing efforts, which Germany put in place during the early stages of the COVID-19 pandemic in Germany. In August 2022, a spokesperson for the German ministry of health announced that the total costs including all additional developments are now estimated to be closer to €150m. == Interoperability == At its start the app only worked in Germany, and Jens Spahn, than Federal Minister of Health (CDU), has said the development of a Europe-wide system is a future goal. With the update published on 19 October 2020 the app supports key-exchanges with the EU Interoperability Gateway and is therefore able to communicate with contact tracing apps from Ireland and Italy. Austria, Belgium, Czech Republic, Croatia, Cyprus, Denmark, Finland, Ireland, Italy, Latvia, Malta, Netherlands, Norway, Poland, Slovenia, Spain and Switzerland had joined the gateway as well and are also able to exchange keys with Corona-Warn-App. The app can be downloaded in many App stores outside of Germany. However, as of August 2021, the app is still unavailable for those of notable national German minorities like Turks, Russians or Ukrainians, who use App stores of their home countries. == Software variants == An unofficial Corona-Warn-App has been released on F-Droid, making the app available without proprietary components on Android phones. == Literature == Thomas Köllmann: Die Corona-Warn-App – Schnittstelle zwischen Datenschutz- und Arbeitsrecht. In: Neue Zeitschrift für Arbeitsrecht. Nr. 13, 10. Juli 2020, S. 831–836.
Critical data studies
Critical data studies is the exploration of and engagement with social, cultural, and ethical challenges that arise when working with big data. It is through various unique perspectives and taking a critical approach that this form of study can be practiced. As its name implies, critical data studies draws heavily on the influence of critical theory, which has a strong focus on addressing the organization of power structures. This idea is then applied to the study of data. Interest in this unique field of critical data studies began in 2011 with scholars danah boyd and Kate Crawford posing various questions for the critical study of big data and recognizing its potential threatening impacts on society and culture. It was not until 2014, and more exploration and conversations, that critical data studies was officially coined by scholars Craig Dalton and Jim Thatcher. They put a large emphasis on understanding the context of big data in order to approach it more critically. Researchers such as David Ribes, Robert Soden, Seyram Avle, Sarah E. Fox, and Phoebe Sengers focus on understanding data as a historical artifact and taking an interdisciplinary approach towards critical data studies. Other key scholars in this discipline include Rob Kitchin and Tracey P. Lauriault who focus on reevaluating data through different spheres. Various critical frameworks that can be applied to analyze big data include Feminist, Anti-Racist, Queer, Indigenous, Decolonial, Anti-Ableist, as well as Symbolic and Synthetic data science. These frameworks help to make sense of the data by addressing power, biases, privacy, consent, and underrepresentation or misrepresentation concerns that exist in data as well as how to approach and analyze this data with a more equitable mindset. == Motivation == In their article in which they coin the term 'critical data studies,' Dalton and Thatcher also provide several justifications as to why data studies is a discipline worthy of a critical approach. First, 'big data' is an important aspect of twenty-first century society, and the analysis of 'big data' allows for a deeper understanding of what is happening and for what reasons. Big data is important to critical data studies because it is the type of data used within this field. Big data does not necessarily refer to a large data set, it can have a data set with millions of rows, but also a data set that just has a wide variety and expansive scope of data with a smaller type of dataset. As well as having whole populations in the data set and not just sample sizes. Furthermore, big data as a technological tool and the information that it yields are not neutral, according to Dalton and Thatcher, making it worthy of critical analysis in order to identify and address its biases. Building off this idea, another justification for a critical approach is that the relationship between big data and society is an important one, and therefore worthy of study. Ribes et. al. argue there is a need for an interdisciplinary understanding of data as a historical artifact as a motivating aspect of critical data studies.The overarching consensus in the Computer-Supported Cooperative Work (CSCW) field, is that people should speak for the data, and not let the data speak for itself. The sources of big data and it’s relationship to varied metadata can be a complicated one, which leads to data disorder and a need for an ethical analysis. Additionally, Iliadis and Russo (2016) have called for studying data assemblages. This is to say, data has innate technological, political, social, and economic histories that should be taken into consideration. Kitchin argues data is almost never raw, and it is almost always cooked, meaning that it is always spoken for by the data scientists utilizing it. Thus, Big Data should be open to a variety of perspectives, especially those of cultural and philosophical nature. Further, data contains hidden histories, ideologies, and philosophies. Big data technology can cause significant changes in society's structure and in the everyday lives of people, and, being a product of society, big data technology is worthy of sociological investigation. Moreover, data sets are almost never completely without any influence. Rather, data are shaped by the vision or goals of those gathering the data, and during the data collection process, certain things are quantified, stored, sorted and even discarded by the research team. A critical approach is thus necessary in order to understand and reveal the intent behind the information being presented.One of these critical approaches has been through feminist data studies. This method applies feminist principles to critical studies and data collecting and analysis. The goal of this is to address the power imbalance in data science and society. According to Catherine D’Ignazio and Lauren F. Klein, a power analysis can be performed by examining power, challenging power, evaluating emotion and embodiment, rethinking binaries and hierarchies, embracing pluralism, considering context, and making labor visible. Feminist data studies is part of the movement towards making data to benefit everyone and not to increase existing inequalities. Moreover, data alone cannot speak for themselves; in order to possess any concrete meaning, data must be accompanied by theoretical insight or alternative quantitative or qualitative research measures. Based on different social topics such as anti-racist data studies, critical data studies give a focus on those social issues concerning data. Specifically in anti-racist data studies they use a classification approach to get representation for those within that community. Desmond Upton Patton and others used their own classification system in the communities of Chicago to help target and reduce violence with young teens on twitter. They had students in those communities help them to decipher the terminology and emojis of these teens to target the language used in tweets that followed with violence outside of the computer screens. This is just one real world example of critical data studies and its application. Dalton and Thatcher argue that if one were to only think of data in terms of its exploitative power, there is no possibility of using data for revolutionary, liberatory purposes. Finally, Dalton and Thatcher propose that a critical approach in studying data allows for 'big data' to be combined with older, 'small data,' and thus create more thorough research, opening up more opportunities, questions and topics to be explored. == Issues and concerns for critical data scholars == Data plays a pivotal role in the emerging knowledge economy, driving productivity, competitiveness, efficiency, sustainability, and capital accumulation. The ethical, political, and economic dimensions of data dynamically evolve across space and time, influenced by changing regimes, technologies, and priorities. Technically, the focus lies on handling, storing, and analyzing vast data sets, utilizing machine learning-based data mining and analytics. This technological advancement raises concerns about data quality, encompassing validity, reliability, authenticity, usability, and lineage. The use of data in modern society brings about new ways of understanding and measuring the world, but also brings with it certain concerns or issues. Data scholars attempt to bring some of these issues to light in their quest to be critical of data. Technical and organizational issues could include the scope of the data set, meaning there is too little or too much data to work with, leading to inaccurate results. It becomes crucial for critical data scholars to carefully consider the adequacy of data volume for their analyses. The quality of the data itself is another facet of concern. The data itself could be of poor quality, such as an incomplete or messy data set with missing or inaccurate data values. This would lead researchers to have to make edits and assumptions about the data itself. Addressing these issues often requires scholars to make edits and assumptions about the data to ensure its reliability and relevance. Data scientists could have improper access to the actual data set, limiting their abilities to analyze it. Linnet Taylor explains how gaps in data can arise when people of varying levels of power have certain rights to their data sources. These people in power can control what data is collected, how it is displayed and how it is analyzed. The capabilities of the research team also play a crucial role in the quality of data analytics. The research team may have inadequate skills or organizational capabilities which leads to the actual analytics performed on the dataset to be biased. This can also lead to ecological fallacies, meaning an assumption is made about an individual based on data or results from a larger group of people. These technical and organizational challenges highlight the complexity of working with data and