Jive (formerly known as Clearspace, then Jive SBS, then Jive Engage) is a commercial Java EE-based Enterprise 2.0 collaboration and knowledge management tool produced by Jive Software. It was first released as "Clearspace" in 2006, then renamed SBS (for "Social Business Software") in March 2009, then renamed "Jive Engage" in 2011, and renamed simply to "Jive" in 2012. Jive integrates the functionality of online communities, microblogging, social networking, discussion forums, blogs, wikis, and IM under one unified user interface. Content placed into any of the systems (blog, wiki, documentation, etc.) can be found through a common search interface. Other features include RSS capability, email integration, a reputation and reward system for participation, personal user profiles, JAX-WS web service interoperability, and integration with the Spring Framework. The product is a pure-Java server-side web application and will run on any platform where Java (JDK 1.5 or higher) is installed. It does not require a dedicated server - users have reported successful deployment in both shared environments and multiple machine clusters. As of Jive 8, released March 30, 2015, there is a Jive-n version which is for internal use (hosted by the consumer or hosted by Jive as a service) and a Jive-x version which is an external version hosted as a service. Jive no longer supports wiki markup language. == Server requirements for Jive 8-n == The following are the server requirements for Jive 8-n Operating systems: RHEL version 6 or 7 for x86_64, CentOS version 6 or 7 for x86_64 or SuSE Enterprise Linux Server (SLES) 11 and 12 for x86_64 Application Servers: Jive ships with its own embedded Apache HTTPD and Tomcat servers as part of the install package. It is not possible to deploy the application onto other appservers. Databases: MySQL (5.1, 5.5, 5.6) Oracle (11gR2, 12c) Postgres (9.0, 9.1, 9.2, 9.3, 9.4 - 9.2 or higher recommended) Microsoft SQL Server (2008R2, 2012, 2014) Environment: Jive recommends a server with at least 4GB of RAM and a dual-core 2 GHz processor with x86_64 architecture The product integrates with an LDAP repository or Active Directory For optimal deployment with a large community Jive Software recommends: using dedicated cache and document-conversion servers hosting the application and database servers separately == Releases == Jive 8, released on March 30, 2015 Jive 7, released in October 2013 Jive 9.0.x, released in November 2016 Jive 9, released in November 2016, supported now
Deluxe Paint Animation
DeluxePaint Animation is a 1990 graphics editor and animation creation package for MS-DOS, based on Deluxe Paint for the Amiga. It was adapted by Brent Iverson with additional animation features by Steve Shaw and released by Electronic Arts. The program requires VGA graphics, MS-DOS 2.1 or higher, and a mouse. == Features == Listed from the back of the box. Complete selection of painting tools — Draw any shape you want, any way you want. Turn any image into a brush. You can rotate, flip, shear, resize, smear, and shade it. 7 levels of magnification — Paint in magnified mode if you want. Use variable zoom for detailed editing at the pixel level. 3-D perspective — Move and rotate images in full 3-D, automatically. Use color cycling and gradient fills to create great special effects. Stencils — Protect your designs from the slip of the hand or a bad idea. A stencil masks your image so you can paint "behind" and "in front of" it. Use the handy Move Dialog to animate brushes in full 3-D — automatically! Ideal for creating spinning titles for low-cost videos. 37 multi-sized fonts
Problematic social media use
Excessive use of social media can lead to problems including impaired functioning and a reduction in overall wellbeing, for both users and those around them. Such usage is associated with a risk of mental health problems, sleep problems, academic struggles, and daytime fatigue. Psychological or behavioural dependence on social media platforms can result in significant negative functions in peoples daily lives. The risk of problems is also related to the type of platform of social media or online community being used. People of different ages and genders may be affected in different ways by problematic social media use. == Signs and symptoms == Signs of social media addiction or excessive use of social media include many behaviours similar to substance use disorders, including mood modification, salience, tolerance, stress withdrawal symptoms, psychological distress, anxiety and depression, conflict, and relapse, and low self esteem. People with problematic social media habits are at risk of being addicted and may require more time on social media as time passes. Frequent social media use may also be associated with self-reported symptoms of attention deficit hyperactivity disorder. Social anxiety (or fear of missing out) is another potential symptom. Social anxiety is defined as having intense anxiety or fear of being judged, negatively evaluated, or rejected in a social or performance situation. The fear of missing out can contribute to excessive usage due to frequent checking the media constantly throughout the day to check in and see what others are doing instead of doing other activities. Common signs include displacement, or replacing meaningful other activities with social media, and loneliness. == Causes and mechanisms == There are many theories for the mechanism or cause behind a person having problematic social media use. The transition from normal to problematic social media use occurs when a person relies on it to relieve stress, loneliness, depression, or provide continuous rewards. Cognitive-behavioral model – People increase their use of social media when they are in unfamiliar environments or awkward situations; Social skill model – People pull out their phones and use social media when they prefer virtual communication as opposed to face-to-face interactions because they lack self-presentation skills; Socio-cognitive model – This person uses social media because they love the feeling of people liking and commenting on their photos and tagging them in pictures. They are attracted to the positive outcomes they receive on social media. There are parallels to the gambling industry inherent to the design of various social media sites, with "'ludic loops' or repeated cycles of uncertainty, anticipation and feedback" potentially contributing to problematic social media use. Another factor directly facilitating the development of addiction to social media is the implicit attitude toward the IT artifact. Social media use may also stimulate the reward pathway in the brain. There is also a theory that social media addiction fulfills a basic evolutionary drives in the wake of mass urbanization worldwide. The basic psychological needs of "secure, predictable community life that evolved over millions of years" remain unchanged, leading some to find online communities to cope with the new individualized way of life in some modern societies. The "Evolutionary Mismatch" hypothesis holds that modern digital platforms amplify social competition and comparison in ways our ancestors never faced, possibly triggering maladaptive patterns such as anxiety, depression, or compulsive use. Similarly, some scholars compare social media to "junk food": The approach taken to develop social media platforms may contribute to problematic social media use. The ability to scroll and stream content endlessly and how app developers distort time by affecting the 'flow' of content when scrolling, potentially resulting in the Zeigarnik effect (the human brain will continue to pursue an unfinished task until a satisfying closure. Autoplay modes, the personalized nature of the content results in emotional attachment (the user values this above its actual value, which is referred to as the endowment effect), and the exposure effect (repeated exposure to a distinct stimulus by the user can condition the user into an enhanced or improved attitude toward it). The interactive nature of the platforms, including the ability to "like" content has also been linked. Even though social media can satisfy personal communication needs, those who use it at higher rates are shown to have higher levels of psychological distress. == Diagnosis == While there is no official diagnostic term or measurement, problematic social media use is conceptualized as a non-substance-related disorder, resulting in preoccupation and compulsion to engage excessively in social media platforms despite negative consequences. No diagnosis exists for problematic social media use in either the ICD-11 or DSM-5. Excessive use of an activity, like social media, does not directly equate with addiction. There are other factors that could lead to someone's social media addiction including personality traits and pre-existing tendencies. While the extent of social media use and addiction are positively correlated, it is erroneous to employ use (the degree to which one makes use of the site's features, the effort exerted during use sessions, access frequency, etc.) as a proxy for addiction. Indicators of a potential dependence on social media include: Mood swings: a person uses social media to regulate his or her mood, or as a means of escaping real world conflicts. Relevance: social media starts to dominate a person's thoughts at the expense of other activities. Salience: social media becomes the most important part of someone's life. Tolerance: a person increases their time spent on social media to experience previously associated feelings they had while using social media. Withdrawal: when a person can not access social media their sleeping or eating habits change or signs of depression or anxiety can become present. Conflicts in real life: when social media is used excessively, it can affect real-life relationships with family and friends. Relapse: the tendency for previously affected individuals to revert to previous patterns of excessive social media use. There have been several scales developed and validated that help to understand the issues regarding problematic social media use. There is not one single scale that is being used by all researchers. == Treatment == Screen time recommendations for children and families have been developed by the American Academy of Pediatrics. Possible therapeutic interventions published include: Self-help interventions, including application-specific timers; Cognitive behavioural therapy; and Organisational and schooling support. Medications have not been shown to be effective in randomized, controlled trials for the related conditions of Internet addiction disorder or gaming disorder. == Prevention == Prevention approaches include screen time monitoring apps and other tech-based approaches to improve efficiency and decrease screen time and tools to help with addiction to online platform products. Parents' methods for monitoring, regulating, and understanding their children's social media use are referred to as parental mediation. Parental mediation strategies include active, restrictive, and co-using methods. Active mediation involves direct parent-child conversations that are intended to educate children on social media norms and safety, as well as the variety and purposes of online content. Restrictive mediation entails the implementation of rules, expectations, and limitations regarding children's social media use and interactions. Co-use is when parents jointly use social media alongside their children, and is most effective when parents are actively participating (like asking questions, making inquisitive/supportive comments) versus being passive about it. Active mediation is the most common strategy used by parents, though the key to success for any mediation strategy is consistency/reliability. When parents reinforce rules inconsistently, have no mediation strategy, or use highly restrictive strategies for monitoring their children's social media use, there is an observable increase in children's aggressive behaviours. When parents openly express that they are supportive of their child's autonomy and provide clear, consistent rules for media use, problematic usage and aggression decreases. Knowing that consistent, autonomy-supportive mediation has more positive outcomes than inconsistent, controlling mediation, parents can consciously foster more direct, involved, and genuine dialogue with their children. This can help prevent or reduce problematic social media use in children and teenagers. == Outcomes == === Adolescents and teens === Increased social medi
Remote scripting
Remote scripting is a technology which allows scripts and programs that are running inside a browser to exchange information with a server. The local scripts can invoke scripts on the remote side and process the returned information. The earliest form of asynchronous remote scripting was developed before XMLHttpRequest existed, and made use of very simple process: a static web page opens a dynamic web page (e.g. at other target frame) that is reloaded with new JavaScript content, generated remotely on the server side. The XMLHttpRequest and similar "client-side script remote procedure call" functions, open the possibility of use and triggering web services from the web page interface. The web development community subsequently developed a range of techniques for remote scripting in order to enable consistent results across different browsers. Early examples include JSRS library from 2000, the introduction of the Image/Cookie technique in 2000. == JavaScript Remote Scripting == JavaScript Remote Scripting (JSRS) is a web development technique for creating interactive web applications using a combination of: HTML (or XHTML) The Document Object Model manipulated through JavaScript to dynamically display and interact with the information presented A transport layer. Different technologies may be used, though using a script tag or an iframe is used the most because it has better browser support than XMLHttpRequest A data format. XML with WDDX can be used as well as JSON or any other text format. Schematic A similar approach is Ajax, though it depends on the XmlHttpRequest in newer web browsers. === Libraries === Brent Ashley's original JSRS library released in 2000 BlueShoes JSRS with added encoding and OO RPC abstractions Simple Tutorials: Javascript Remote Scripting with PHP at the Wayback Machine (archived 2006-04-14) MSDN article
IAmAnas
#IAmAnas (I Am Anas) is a Twitter hashtag and social media campaign that started in 2015. Users tweeted to express support for the undercover investigative works of Ghanaian journalist Anas Aremeyaw Anas. The campaign restarted in 2018 when the Ghanaian MP and financier of the New Patriotic Party, Kennedy Agyapong, announced his intention to reveal the identity of Anas following the journalist's exposé of corruption at the Ghana Football Association. Anas maintains that "being anonymous has always been his secret weapon." Pictures purported to be of Anas were first released by a TV station owned by Agyapong, and were quickly picked up by other media houses. At least one person, a Dutch-Brazilian model, has claimed ownership of one picture that was released, and has threatened legal action against Agyapong for possibly putting his life in danger. In response to Agyapong, social media users retweeted photos of themselves, random people, or even comic images of entities that resemble the trademark covered face of Anas. When the hashtag first began in 2015, along with other popular uses of the journalist's name, Elizabeth Ohene wrote an article about Ghanaians use of humour in response to dealing with the expose of government corruption. "I do not know when these words will make it into Wikipedia or the Oxford English Dictionary but for the moment you can take it from me that: To go undercover is to anas, to make secret recordings is to anas-anas, to wear disguises is to do an anas, to be caught in the act is to be anased. To have someone exposed taking bribes is to have that person being given the full Anas Aremeyaw Anas."
Chirplet transform
In signal processing, the chirplet transform is an inner product of an input signal with a family of analysis primitives called chirplets. Similar to the wavelet transform, chirplets are usually generated from (or can be expressed as being from) a single mother chirplet (analogous to the so-called mother wavelet of wavelet theory). == Definitions == The term chirplet transform was coined by Steve Mann, as the title of the first published paper on chirplets. The term chirplet itself (apart from chirplet transform) was also used by Steve Mann, Domingo Mihovilovic, and Ronald Bracewell to describe a windowed portion of a chirp function. In Mann's words: A wavelet is a piece of a wave, and a chirplet, similarly, is a piece of a chirp. More precisely, a chirplet is a windowed portion of a chirp function, where the window provides some time localization property. In terms of time–frequency space, chirplets exist as rotated, sheared, or other structures that move from the traditional parallelism with the time and frequency axes that are typical for waves (Fourier and short-time Fourier transforms) or wavelets. The chirplet transform thus represents a rotated, sheared, or otherwise transformed tiling of the time–frequency plane. Although chirp signals have been known for many years in radar, pulse compression, and the like, the first published reference to the chirplet transform described specific signal representations based on families of functions related to one another by time–varying frequency modulation or frequency varying time modulation, in addition to time and frequency shifting, and scale changes. In that paper, the Gaussian chirplet transform was presented as one such example, together with a successful application to ice fragment detection in radar (improving target detection results over previous approaches). The term chirplet (but not the term chirplet transform) was also proposed for a similar transform, apparently independently, by Mihovilovic and Bracewell later that same year. == Applications == The first practical application of the chirplet transform was in water-human-computer interaction (WaterHCI) for marine safety, to assist vessels in navigating through ice-infested waters, using marine radar to detect growlers (small iceberg fragments too small to be visible on conventional radar, yet large enough to damage a vessel). Other applications of the chirplet transform in WaterHCI include the SWIM (Sequential Wave Imprinting Machine). More recently other practical applications have been developed, including image processing (e.g. where there is periodic structure imaged through projective geometry), as well as to excise chirp-like interference in spread spectrum communications, in EEG processing, and Chirplet Time Domain Reflectometry. == Extensions == The warblet transform is a particular example of the chirplet transform introduced by Mann and Haykin in 1992 and now widely used. It provides a signal representation based on cyclically varying frequency modulated signals (warbling signals).
Motion picture film scanner
A motion picture film scanner is a device used in digital filmmaking to scan original film for storage as high-resolution digital intermediate files. A film scanner scans original film stock: negative or positive print or reversal/IP. Units may scan gauges from 8 mm to 70 mm (8 mm, Super 8, 9.5 mm, 16 mm, Super 16, 35 mm, Super 35, 65 mm and 70 mm) with very high resolution scanning at 2K, 4K, 8K, or 16K resolutions. (2K is approximately 2048×1080 pixels and 4K is approximately 4096×2160 pixels). Some models of film scanner are intermittent pull-down film scanners which scan each frame individually, locked down in a pin-registered film gate, taking roughly a second per frame. Continuous-scan film scanners, where the film frames are scanned as the film is continuously moved past the imaging pick up device, are typically evolved from earlier telecine mechanisms, and can act as such at lower resolutions. The scanner scans the film frames into a file sequence (using high-end computer data storage devices), whose single file contains a digital scan of each still frame; the preferred image file format used as output are usually Cineon, DPX or TIFF, because they can store color information as raw data, preserving the optical characteristics of the film stock. These systems take a lot of storage area network (SAN) disk space. The files can be played back one after each other on high-end workstation non-linear editing system (NLE) or a virtual telecine systems. The playback is at the normal rate of 24 frames per second (or original projection frame rate of: 25, 30 or other speeds). Each year hard disks get larger and are able to hold more hours of movies on SAN systems. The challenge is to archive this massive amount of data on to data storage devices. The scanned footage is edited and composited on work stations then mastered back on film, see film-out and digital intermediate. Scanned film frames may also be used in digital film restoration. The film may also be projected directly on a digital projector in the theater. The data film files may be converted to SDTV (NTSC or PAL) video TV systems. Film recorders are the opposite of film scanners, copying content from a computer system onto film stock, for preservation or for display using film projectors. Telecines are similar to film scanners. == Imaging device == The front end of a motion picture film scanner is similar to a telecine. The imaging system may be either a charge-coupled device (CCD), a complementary metal–oxide–semiconductor (CMOS) or photomultipliers imaging pick up. A lamp is used as the light source in a CCD imaging front end. The CCDs convert the light to the video signals. In a cathode-ray tube (CRT) imaging system the CRT (also called a Flying spot tube) is used as the light source and part of the scanning system. Photomultipliers or avalanche photodiodes are used to convert the light to electrical video signals. A prism and/or dichroic mirrors or color filters are used to separate the light into the three: red, green and blue, imaging pick up devices. == Image processing == The three color signals (RGB) are electronically processed and color graded. A 3D look up table (3D LUT) is usually applied to the RGB values before it is coded into the DPX output files. The DPX files are usually made output through a network port cable or an optical fiber port: HIPPI, Fibre Channel or newer systems like gigabit Ethernet. A computer then stores the files on to hard drives of a storage area network for later processing and use. Modern motion picture film scanners many have an option for an infrared CCD channel for dirt mapping, that can be used to automatically or in post manually remove dirt-dust spots on the film. The IR camera channel can be used with IR dirt and scratch removal system or made output on a four IR channel for downstream dirt and dirt and scratch removal systems. Popular downstream dirt and dirt and scratch removal systems are PF Clean and Digital ICE. HDR or high dynamic range is a new system, using a compositing and tone-mapping of images to extend the dynamic range beyond the native capability of the capturing device. This may be done by using a triple exposure for the film and then compositing the three back together. Compositing can be done in a workstation in none real time or in the scanner in real time. == Models == Bold indicates a currently produced model Single frame intermittent pull-down: ARRI - Arriscan Cintel - diTTo Filmlight - Northlight 1 (up to 6K, 16mm to VistaVision), Northlight 2 (up to 8K, 16mm to VistaVision) Imagica scanner, single frame intermittent scanner. Kodak - Cineon, the first system designed for DI work, included a scanner, tapes drives, workstations and a film recorder. Lasergraphics Director 13.5K, 8mm to 70mm, IMAX & VistaVision) Continuous motion scanning: Arri - ARRISCAN XT (up to 6K, S35 down to 16mm) Cintel's C-Reality/DSX and ITK - Millennium/dataMill. Under ownership of Blackmagic Design, the Cintel Scanner was released, with the current 3rd generation capable of up to 4K scans at 30 fps. DFT - Spirit Classic (up to 2K), Spirit 4k/2k/HD (up to 4K), POLAR HQ (up to 8K, 8mm to S35), OXScan 14K (up to 14K, 16mm to 70mm), Scanity HDR (up to 4K, 16mm to S35) Filmfabriek - HDS+ (up to 4k), Pictor Pro (up to 2.7K), Pictor (up to 1080p). Filmfabriek scanners can only scan 17.5mm or smaller film formats. GE4 - Golden Eye Four - Filmscanner, 38 Mega Pixel camera. LED light source and continuous film transport using Capstan. From Digital Vision. Lasergraphics ScanStation (6.5K, 8mm to 70mm, IMAX & VistaVision) Lasergraphics Archivist (up to 5K) MWA Nova Vario series with patented laser-based, sprocket and claw free transport for 16/35mm for realtime (24/25fps) scanning with sensors for either 2K+ 2236 x 1752, or 2.5K+ HDR High Dynamic Range at 2560 x 2160, direct optical and magnetic sound on and 16 and 35mm. MWA Nova Choice 2K+ patented laser-based, sprocket and claw free transport for 8/Super8, 9.5mm, 16mm realtime (24/25fps) scanning w at 2K+, 2236 x 1752 with direct optical and magnetic sound on 16mm, magnetic from main and balance stripes on 8, Super8. Faster than real time scanning at lower resolution. P+S Technik - SteadyFrame Universal Format Film Scanner Walde - FilmStar 4K UHD 2K @ 25fps, 4K UHD @ 6fps. 35mm/16mm/8mm archive quality, continuous motion capstan driven.