In computational learning theory in mathematics, a concept over a domain X is a total Boolean function over X. A concept class is a class of concepts. Concept classes are a subject of computational learning theory. Concept class terminology frequently appears in model theory associated with probably approximately correct (PAC) learning. In this setting, if one takes a set Y as a set of (classifier output) labels, and X is a set of examples, the map c : X → Y {\displaystyle c:X\to Y} , i.e. from examples to classifier labels (where Y = { 0 , 1 } {\displaystyle Y=\{0,1\}} and where c is a subset of X), c is then said to be a concept. A concept class C {\displaystyle C} is then a collection of such concepts. Given a class of concepts C, a subclass D is reachable if there exists a sample s such that D contains exactly those concepts in C that are extensions to s. Not every subclass is reachable. == Background == A sample s {\displaystyle s} is a partial function from X {\displaystyle X} to { 0 , 1 } {\displaystyle \{0,1\}} . Identifying a concept with its characteristic function mapping X {\displaystyle X} to { 0 , 1 } {\displaystyle \{0,1\}} , it is a special case of a sample. Two samples are consistent if they agree on the intersection of their domains. A sample s ′ {\displaystyle s'} extends another sample s {\displaystyle s} if the two are consistent and the domain of s {\displaystyle s} is contained in the domain of s ′ {\displaystyle s'} . == Examples == Suppose that C = S + ( X ) {\displaystyle C=S^{+}(X)} . Then: the subclass { { x } } {\displaystyle \{\{x\}\}} is reachable with the sample s = { ( x , 1 ) } {\displaystyle s=\{(x,1)\}} ; the subclass S + ( Y ) {\displaystyle S^{+}(Y)} for Y ⊆ X {\displaystyle Y\subseteq X} are reachable with a sample that maps the elements of X − Y {\displaystyle X-Y} to zero; the subclass S ( X ) {\displaystyle S(X)} , which consists of the singleton sets, is not reachable. == Applications == Let C {\displaystyle C} be some concept class. For any concept c ∈ C {\displaystyle c\in C} , we call this concept 1 / d {\displaystyle 1/d} -good for a positive integer d {\displaystyle d} if, for all x ∈ X {\displaystyle x\in X} , at least 1 / d {\displaystyle 1/d} of the concepts in C {\displaystyle C} agree with c {\displaystyle c} on the classification of x {\displaystyle x} . The fingerprint dimension F D ( C ) {\displaystyle FD(C)} of the entire concept class C {\displaystyle C} is the least positive integer d {\displaystyle d} such that every reachable subclass C ′ ⊆ C {\displaystyle C'\subseteq C} contains a concept that is 1 / d {\displaystyle 1/d} -good for it. This quantity can be used to bound the minimum number of equivalence queries needed to learn a class of concepts according to the following inequality: F D ( C ) − 1 ≤ # E Q ( C ) ≤ ⌈ F D ( C ) ln ( | C | ) ⌉ {\textstyle FD(C)-1\leq \#EQ(C)\leq \lceil FD(C)\ln(|C|)\rceil } .
Automated Lip Reading
Automated Lip Reading (ALR) is a software technology developed by speech recognition expert Frank Hubner. A video image of a person talking can be analysed by the software. The shapes made by the lips can be examined and then turned into sounds. The sounds are compared to a dictionary to create matches to the words being spoken. The technology was used successfully to analyse silent home movie footage of Adolf Hitler taken by Eva Braun at their Bavarian retreat Berghof. The video, with words, was included in a documentary titled "Hitler's Private World", Revealed Studios, 2006 Source: New Technology catches Hitler off guard
ProjectExplorer
ProjectExplorer is a documentary short film series. The films, directed and produced by ProjectExplorer's Founder, Jenny M Buccos, focus on histories and cultures of foreign places and people using interviews with subject experts, artists, and public figures including Archbishop Desmond Tutu, Dr. John Kani, Greg Marinovich, and Sipho “Hotstix” Mabuse. Produced for a child and young adult audience, segments in each series depict everyday life and the challenges and concerns of those living in the locations and regions featured. Each film is 2–4 minutes in length, with each series containing approximately 40 films. The ProjectExplorer series is distributed internationally without charge via the web by ProjectExplorer, LTD. an American not-for-profit organization. Three series have been produced and distributed. In fall 2009, ProjectExplorer's third series, Jordan, received a GOLD level Parents' Choice Award for excellence in web programming. == Film series == === Shakespeare's England (2006) === The first series was filmed in London, Stratford-upon-Avon, and New York City. The series includes more than 30 film segments. United Kingdom locations and individuals include: The London Eye The Tower of London The Whitechapel Bell Foundry, which demonstrates the process of making a bell Simon Hughes, Member of Parliament and President of the Liberal Democrats The Old Vic The Royal Shakespeare Company The National Archives (UK) Segments filmed in New York City include: Michael Cumpsty discusses and performs monologues from Hamlet (while starring in the Classic Stage Company production) Michael Stuhlbarg discusses and performs a monologue from Macbeth === South Africa (2007) === Filmed in Johannesburg, Cape Town, and KwaZulu Natal, the series contains over 40 film segments including: Ntate Thabong Phosa, a lesiba player from Lesotho. Due to the rarity of lesiba players globally, this is one of the only publicly available examples of the lesiba played on film. A Robben Island piece, filmed at the cell in which Nelson Mandela was held for 18 of his 27-year imprisonment. JSE Securities Exchange with Leigh Roberts, correspondent for CNBC Africa. A 3-part series on HIV/AIDS with amfAR Director of Research, Dr. Rowena Johnson. Dr. Johnson discusses high cost of anti-retroviral drugs and testing in South Africa. The June 16, 1976 Soweto Uprising, with archival film footage and photography from SABC and The Sowetan newspaper. Prominent South Africans featured in the series: Dr. John Kani, Chairperson of the Apartheid Museum and TONY Award Winning Actor Musician Sipho “Hotstix” Mabuse Former U.N. Ambassador Dave A. Steward, Executive Director of the FW de Klerk Foundation Director and producer, Duma Ndlovu Malcolm Purkey, Artistic Director of the Market Theatre === South Africa, Part II (2008) === Filmed in Johannesburg, Cape Town, and New York City, the series contains over 10 film segments. Prominent South Africans featured in the series: Archbishop Desmond Tutu, Nobel Peace Prize laureate Photojournalist Greg Marinovich, Pulitzer Prize winner and co-author of The Bang-Bang Club Vusi Mahlasela, musician Author, Max du Preez === Jordan (2008) === Filmed in Amman, Petra, Umm Qais, Jerash, Madaba, Bethany, the Dead Sea, and New York City, the series contains more than 45 film segments. Jordan series segments include: A tour of the throne room of King Abdullah II, at Raghadan Palace Sharing mansaf with a Bedouin family in the Wadi Rum desert The UNRWA Jabal Hussein refugee camp The Siq, Treasury, and Monastery at Petra The ruins of Gadara at Umm Qais Jerash, the capital and largest city of Jordan's Jerash Governorate Madaba, home of the Madaba Map and the mosaic capital of Jordan The archaeological site at Bethany Traditional clothing from Salt and Ma'an The reintroduction into the wild of the endangered Arabian Oryx The Desert Castles The science of the Dead Sea Her Royal Highness Princess Basma bint Ali and her Royal Botanic Garden
Mediated intercultural communication
Mediated intercultural communication is digital communication between people of different cultural backgrounds. Media include social networks, blogs and conferencing services. Digital communication is distinct from traditional media, creating new avenues for intercultural communication. User take online classes; post, consume and comment on others content; and play multi-player video games. This creates spaces to form virtual communities that can ease communication across boundaries of space, time and culture. New media technologies can change culture in positive ways or become a tool of repression. == History == Intercultural communication is as ancient as human movement in search of food sources. The systematic study of intercultural communication began with Edward Hall's labor at the Foreign Service Institute, and the publication of his The Silent Language (1959). Later research, primarily focused on face-to-face communication in various areas such as interpersonal, group, and organizational and cultural identity. International and development media have been studied under the umbrella of international communication. Media imperialism, cultural imperialism and dependency theories inform this research. Mediated intercultural communication examines the bidirectional relationships between media and intercultural communication.
Content adaptation
Content adaptation is the action of transforming content to adapt to device capabilities. Content adaptation is usually related to mobile devices, which require special handling because of their limited computational power, small screen size, and constrained keyboard functionality. Content adaptation could roughly be divided to two fields: Media content adaptation that adapts media files. Browsing content adaptation that adapts a website to mobile devices. == Browsing content adaptation == Advances in the capabilities of small, mobile devices such as mobile phones (cell phones) and Personal Digital Assistants have led to an explosion in the number of types of device that can now access the Web. Some commentators refer to the Web that can be accessed from mobile devices as the Mobile Web. The sheer number and variety of Web-enabled devices poses significant challenges for authors of websites who want to support access from mobile devices. The W3C Device Independence Working Group described many of the issues in its report Authoring Challenges for Device Independence. Content adaptation is one approach to a solution. Rather than requiring authors to create pages explicitly for each type of device that might request them, content adaptation transforms an author's materials automatically. For example, content might be converted from a device-independent markup language, such as XDIME, an implementation of the W3C's DIAL specification, into a form suitable for the device, such as XHTML Basic, C-HTML, or WML. Similarly, a suitable device-specific CSS style sheet or a set of in-line styles might be generated from abstract style definitions. Likewise, a device specific layout might be generated from abstract layout definitions. Once created, the device-specific materials form the response returned to the device from which the request was made. Another way is to use the latest trend responsive design based on CSS, covered in this article (RWD). Content adaptation requires a processor that performs the selection, modification, and generation of materials to form the device-specific result. IBM's Websphere Everyplace Mobile Portal (WEMP), BEA Systems' WebLogic Mobility Server, Morfeo's MyMobileWeb, and Apache Cocoon are examples of such processors. Wurfl and WALL are popular open source tools for content adaptation. WURFL is an XML-based Device Description Repository with APIs to access the data in Java and PHP (and other popular programming languages). WALL (Wireless Abstraction Library) lets a developer author mobile pages which look like plain HTML, but converts them to WML, C-HTML, or XHTML Mobile Profile, depending on the capabilities of the device from which the HTTP request originates. GreasySpoon lets the developer build plugins for content editing, in JavaScript, Ruby (programming language), and more, just like the Firefox application GreaseMonkey. Alembik (Media Transcoding Server) is a Java (J2EE) application providing transcoding services for variety of clients and for different media types (image, audio, video, etc.). It is fully compliant with OMA's Standard Transcoder Interface specification and is distributed under the LGPL open source license. In 2007, the first large scale carrier-grade deployments of content transformation, on existing mass-market handsets, with no software download required, were deployed by Vodafone in the UK and globally for Yahoo! oneSearch, using the Novarra Vision solution. Novarra's content adaptation solution had been used in enterprise intranet deployments as early as 2003 (at that time, the platform was named "Engines for Wireless Data"). InfoGin, the 9-year-old content-adaptation company with customers like Vodafone, Orange, Telefónica and PCCW. The patented "Web to Mobile adaptation", Mobile Matrix Transcoder, Multimedia and Documents transcoders, Video adaptation supporte. Launched in 2007, Bytemobile's Web Fidelity Service was another carrier-grade, commercial infrastructure solution, which provided wireless content adaptation to mobile subscribers on their existing mass-market handsets, with no client download required.
Instance selection
Instance selection (or dataset reduction, or dataset condensation) is an important data pre-processing step that can be applied in many machine learning (or data mining) tasks. Approaches for instance selection can be applied for reducing the original dataset to a manageable volume, leading to a reduction of the computational resources that are necessary for performing the learning process. Algorithms of instance selection can also be applied for removing noisy instances, before applying learning algorithms. This step can improve the accuracy in classification problems. Algorithm for instance selection should identify a subset of the total available data to achieve the original purpose of the data mining (or machine learning) application as if the whole data had been used. Considering this, the optimal outcome of IS would be the minimum data subset that can accomplish the same task with no performance loss, in comparison with the performance achieved when the task is performed using the whole available data. Therefore, every instance selection strategy should deal with a trade-off between the reduction rate of the dataset and the classification quality. == Instance selection algorithms == The literature provides several different algorithms for instance selection. They can be distinguished from each other according to several different criteria. Considering this, instance selection algorithms can be grouped in two main classes, according to what instances they select: algorithms that preserve the instances at the boundaries of classes and algorithms that preserve the internal instances of the classes. Within the category of algorithms that select instances at the boundaries it is possible to cite DROP3, ICF and LSBo. On the other hand, within the category of algorithms that select internal instances, it is possible to mention ENN and LSSm. In general, algorithm such as ENN and LSSm are used for removing harmful (noisy) instances from the dataset. They do not reduce the data as the algorithms that select border instances, but they remove instances at the boundaries that have a negative impact on the data mining task. They can be used by other instance selection algorithms, as a filtering step. For example, the ENN algorithm is used by DROP3 as the first step, and the LSSm algorithm is used by LSBo. There is also another group of algorithms that adopt different selection criteria. For example, the algorithms LDIS, CDIS and XLDIS select the densest instances in a given arbitrary neighborhood. The selected instances can include both, border and internal instances. The LDIS and CDIS algorithms are very simple and select subsets that are very representative of the original dataset. Besides that, since they search by the representative instances in each class separately, they are faster (in terms of time complexity and effective running time) than other algorithms, such as DROP3 and ICF. Besides that, there is a third category of algorithms that, instead of selecting actual instances of the dataset, select prototypes (that can be synthetic instances). In this category it is possible to include PSSA, PSDSP and PSSP. The three algorithms adopt the notion of spatial partition (a hyperrectangle) for identifying similar instances and extract prototypes for each set of similar instances. In general, these approaches can also be modified for selecting actual instances of the datasets. The algorithm ISDSP adopts a similar approach for selecting actual instances (instead of prototypes).
Digital Cinema Package
A Digital Cinema Package (DCP) is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams. The term was popularized by Digital Cinema Initiatives, LLC in its original recommendation for packaging DC contents. However, the industry tends to apply the term to the structure more formally known as the composition. A DCP is a container format for compositions, a hierarchical file structure that represents a title version. The DCP may carry a partial composition (e.g. not a complete set of files), a single complete composition, or multiple and complete compositions. The composition consists of a Composition Playlist (in XML format) that defines the playback sequence of a set of Track Files. Track Files carry the essence (audio, image, subtitles), which is wrapped using Material eXchange Format (MXF). Track Files must contain only one essence type. Two track files at a minimum must be present in every composition (see SMPTE ST429-2 D-Cinema Packaging – DCP Constraints, or Cinepedia): a track file carrying picture essence, and a track file carrying audio essence. The composition, consisting of a Composition Playlist (CPL) and associated track files, are distributed as a Digital Cinema Package (DCP). A composition is a complete representation of a title version, while the DCP need not carry a full composition. However, as already noted, it is commonplace in the industry to discuss the title in terms of a DCP, as that is the deliverable to the cinema. The Picture Track File essence is compressed using JPEG 2000 and the Audio Track File carries a 24-bit linear PCM uncompressed multichannel WAV file. Encryption may optionally be applied to the essence of a track file to protect it from unauthorized use. The encryption used is AES 128-bit in CBC mode. In practice, there are two versions of composition in use. The original version is called Interop DCP. In 2009, a specification was published by SMPTE (SMPTE ST 429-2 Digital Cinema Packaging – DCP Constraints) for what is commonly referred to as SMPTE DCP. SMPTE DCP is similar but not backwards compatible with Interop DCP, resulting in an uphill effort to transition the industry from Interop DCP to SMPTE DCP. SMPTE DCP requires significant constraints to ensure success in the field, as shown by ISDCF. While legacy support for Interop DCP is necessary for commercial products, new productions are encouraged to be distributed in SMPTE DCP. == Technical specifications == The DCP root folder (in the storage medium) contains a number of files, some used to store the image and audio contents, and some other used to organize and manage the whole playlist. === Picture MXF files === Picture contents may be stored in one or more reels corresponding to one or more MXF files. Each reel contains pictures as MPEG-2 or JPEG 2000 essence, depending on the adopted codec. MPEG-2 is no longer compliant with the DCI specification. JPEG 2000 is the only accepted compression format. Supported frame rates are: SMPTE (JPEG 2000) 24, 25, 30, 48, 50, and 60 fps @ 2K 24, 25, and 30 fps @ 4K 24 and 48 fps @ 2K stereoscopic MXF Interop (JPEG 2000) – Deprecated 24 and 48 fps @ 2K (MXF Interop can be encoded at 25 frame/s but support is not guaranteed) 24 fps @ 4K 24 fps @ 2K stereoscopic MXF Interop (MPEG-2) – Deprecated 23.976 and 24 fps @ 1920 × 1080 Maximum frame sizes are 2048 × 1080 for 2K DC, and 4096 × 2160 for 4K DC. Common formats are: SMPTE (JPEG 2000) Flat (1998 × 1080 or 3996 × 2160), = 1.85:1 aspect ratio Scope (2048 × 858 or 4096 × 1716), ~2.39:1 aspect ratio HDTV (1920 × 1080 or 3840 × 2160), 16:9 aspect ratio (~1.78:1) (although not specifically defined in the DCI specification, this resolution is DCI compliant per section 8.4.3.2). Full (2048 × 1080 or 4096 × 2160) (~1.9:1 aspect ratio, official name by DCI is Full Container. Not widely accepted in cinemas.) MXF Interop (MPEG-2) – Deprecated Full Frame (1920 × 1080) 12 bits per component precision (36 bits total per pixel) XYZ' colorspace; the prime mark indicates gamma encoding (gamma=2.6) Maximum bit rate is 250 Mbit/s (1.3 MBytes per frame at 24 frame per second) === Sound MXF files === Sound contents are also stored in reels corresponding to picture reels in number and duration. In case of multilingual features, separate reels are required to convey different languages. Each file contains linear PCM essence. Sampling rate is 48,000 or 96,000 samples per second Sample precision of 24 bits Linear mapping (no companding) Up to 16 independent channels === Asset map file === List of all files included in the DCP, in XML format. === Composition playlist file === Defines the playback order during presentation. The order is saved in XML format in this file; each picture and sound reel is identified by its UUID. In the following example, a reel is composed by picture and sound: === Packing list file or package key list (PKL) === All files in the composition are hashed and their hash is stored here, in XML format. This file is generally used during ingestion in a digital cinema server to verify if data have been corrupted or tampered with in some way. For example, an MXF picture reel is identified by the following