Digital curation is the selection, preservation, maintenance, collection, and archiving of digital assets. It is a process that establishes, maintains, and adds value to repositories of digital data for present and future use. The implementation of digital curation is often carried out by archivists, librarians, scientists, historians, and scholars to ensure users have access to reliable, high-quality resources. Enterprises are also starting to adopt digital curation as a means to improve the quality of information and data within their operational and strategic processes. A successful digital curation initiative will help to mitigate digital obsolescence, keeping the information accessible to users indefinitely. Digital curation includes various aspects, including digital asset management, data curation, digital preservation, and electronic records management. == Word History == Much like the word archive has layered meanings and uses, the word curation is both a noun and a verb, used originally in the field of museology to represent a wide range of activities, most often associated with collection care, long-term preservation, and exhibition design. Curation can be a reference to physical repositories that store cultural heritage or natural resource collections (e.g., a curatorial repository) or a representation of varied policies and processes involved with the long-term care and management of heritage collections, digital archives, and research data (e.g, curatorial/collections management plans, curation life-cycle, and data curation). Yet curation is also associated with short-term objectives and processes of selection and interpretation for the purposes of presentation, such as for gallery exhibitions and websites, which contribute to knowledge creation. It has also been applied to interaction with social media including compiling digital images, web links, and movie files. The term curation entered the legal framework through federal historic preservation laws, starting with the National Historic Preservation Act of 1966, and was further defined and coded into federal regulations through 36 CFR Part 79: Curation of Federally-owned and Administered Archaeological Collections. Curation has since permeated into an array of disciplines but remains closely tied to heritage and information management. == Core Principles and Activities == The term "digital curation" was first used in the e-science and biological science fields as a means of differentiating the additional suite of activities ordinarily employed by library and museum curators to add value to their collections and enable its reuse from the smaller subtask of simply preserving the data, a significantly more concise archival task. Additionally, the historical understanding of the term "curator" demands more than simple care of the collection. A curator is expected to command academic mastery of the subject matter as a requisite part of appraisal and selection of assets and any subsequent adding of value to the collection through application of metadata. === Principles === There are five commonly accepted principles that govern the occupation of digital curation: Manage the complete birth-to-retirement life cycle of the digital asset. Evaluate and cull assets for inclusion in the collection. Apply preservation methods to strengthen the asset’s integrity and reusability for future users. Act proactively throughout the asset life cycle to add value to both the digital asset and the collection. Facilitate the appropriate degree of access to users. === Methodology === The Digital Curation Center offers the following step-by-step life cycle procedures for putting the above principles into practice: Sequential Actions: Conceptualize: Consider what digital material you will be creating and develop storage options. Take into account websites, publications, email, among other types of digital output. Create: Produce digital material and attach all relevant metadata, typically the more metadata the more accessible the information. Appraise and select: Consult the mission statement of the institution or private collection and determine what digital data is relevant. There may also be legal guidelines in place that will guide the decision process for a particular collection. Ingest: Send digital material to the predetermined storage solution. This may be an archive, repository or other facility. Preservation action: Employ measures to maintain the integrity of the digital material. Store: Secure data within the predetermined storage facility. Access, use, and reuse: Determine the level of accessibility for the range of digital material created. Some material may be accessible only by password and other material may be freely accessible to the public. Routinely check that material is still accessible for the intended audience and that the material has not been compromised through multiple uses. Transform: If desirable or necessary the material may be transferred into a different digital format. Occasional Actions: Dispose: Discard any digital material that is not deemed necessary to the institution. Reappraise: Reevaluate material to ensure that is it still relevant and is true to its original form. Migrate: Migrate data to another format in order to protect data for using better in the future. == Related terms == The term "digital curation" is sometimes used interchangeably with terms such as "digital preservation" and "digital archiving." While digital preservation does focus a significant degree of energy on optimizing reusability, preservation remains a subtask to the concept of digital archiving, which is in turn a subtask of digital curation. For example, archiving is a part of curation, but so are subsequent tasks such as themed collection-building, which is not considered an archival task. Similarly, preservation is a part of archiving, as are the tasks of selection and appraisal that are not necessarily part of preservation. Data curation is another term that is often used interchangeably with digital curation, however common usage of the two terms differs. While "data" is a more all-encompassing term that can be used generally to indicate anything recorded in binary form, the term "data curation" is most common in scientific parlance and usually refers to accumulating and managing information relative to the process of research. Data-driven research of education request the role of information professional gradually develop tradition of digital service to data curation particularly at the management of digital research data. So, while documents and other discrete digital assets are technically a subset of the broader concept of data, in the context of scientific vernacular digital curation represents a broader purview of responsibilities than data curation due to its interest in preserving and adding value to digital assets of any kind. == Challenges == === Rate of creation of new data and data sets === The ever lowering cost and increasing prevalence of entirely new categories of technology has led to a quickly growing flow of new data sets. These come from well established sources such as business and government, but the trend is also driven by new styles of sensors becoming embedded in more areas of modern life. This is particularly true of consumers, whose production of digital assets is no longer relegated strictly to work. Consumers now create wider ranges of digital assets, including videos, photos, location data, purchases, and fitness tracking data, just to name a few, and share them in wider ranges of social platforms. Additionally, the advance of technology has introduced new ways of working with data. Some examples of this are international partnerships that leverage astronomical data to create "virtual observatories," and similar partnerships have also leveraged data resulting from research at the Large Hadron Collider at CERN and the database of protein structures at the Protein Data Bank. === Storage format evolution and obsolescence === By comparison, archiving of analog assets is notably passive in nature, often limited to simply ensuring a suitable storage environment. Digital preservation requires a more proactive approach. Today’s artifacts of cultural significance are notably transient in nature and prone to obsolescence when social trends or dependent technologies change. This rapid progression of technology occasionally makes it necessary to migrate digital asset holdings from one file format to another in order to mitigate the dangers of hardware and software obsolescence which would render the asset unusable. === Underestimation of human labor costs === Modern tools for program planning often underestimate the amount of human labor costs required for adequate digital curation of large collections. As a result cost-benefit assessments often paint an inaccurate picture of both the amount of work involved and the true cost to the institution for bot
IPUMS
IPUMS, originally the Integrated Public Use Microdata Series, is the world's largest individual-level population database. IPUMS consists of microdata samples from United States (IPUMS-USA) and international (IPUMS-International) census records, as well as data from U.S. and international surveys. The records are converted into a consistent format and made available to researchers through a web-based data dissemination and analysis system. IPUMS is housed at the Institute for Social Research and Data Innovation (ISRDI), an interdisciplinary research center at the University of Minnesota, under the direction of Professor Steven Ruggles. == Description == IPUMS includes all persons enumerated in the United States censuses from 1850 to 1950 (though, the 1890 census is missing because it was destroyed in a fire) and from the American Community Survey since 2000 and the Current Population Survey since 1962. IPUMS includes household-level data for United States Censuses from 1790 to 1840, due to the first six censuses only including the name of the head of household, with tallied household totals following. IPUMS provides consistent variable names, coding schemes, and documentation across all the samples, facilitating the analysis of long-term change. IPUMS-International includes countries from Africa, Asia, Europe, and Latin America for 1960 forward. The database currently includes more than a billion individuals enumerated in 365 censuses from 94 countries around the world. IPUMS-International converts census microdata for multiple countries into a consistent format, allowing for comparisons across countries and time periods. Special efforts are made to simplify use of the data while losing no meaningful information. Comprehensive documentation is provided in a coherent form to facilitate comparative analyses of social and economic change. Additional databases in the IPUMS family include the: North Atlantic Population Project (NAPP) IPUMS National Historical Geographic Information System (NHGIS) IPUMS Health Surveys IPUMS Global Health IPUMS Time Use The Journal of American History described the effort as "One of the great archival projects of the past two decades." Liens Socio, the French portal for the social sciences, gave IPUMS the only “best site” designation that has gone to any non-French website, writing “IPUMS est un projet absolument extraordinaire...époustouflante [mind-blowing]!” The official motto of IPUMS is "use it for good, never for evil." All public IPUMS data and documentation are available online free of charge.
Computer-aided lean management
Computer-aided lean management, in business management, is a methodology of developing and using software-controlled, lean systems integration. Its goal is to drive innovation towards cost and cycle-time savings. It attempts to create an efficient use of capital and resources through the development and use of one integrated system model to run a business's planning, engineering, design, maintenance, and operations. == Overview == Computer-Aided Lean Management (CALM) is a management philosophy that uses software to reduce risk and inefficiencies. CALM acts on uncertainties and business inefficiencies to increase profitability through the use of computational decision-making tools that enable opportunities for additional value creation. It is based on the application of software to enable continuous improvement through an Integrated System Model (ISM) of the business’s physical assets, business processes, and machine learning. This integration of software applications using lean principles was developed in the aerospace industry and has migrated to the energy industry. The creation of an ISM removes the barriers posed by the silos or stovepipes inherent in the departmentalization of most companies. Integration enables lean uses of information for the creation of actionable knowledge. CALM strives to create such a lean management approach to running the company through the rigors of software enforcement. From this software enforcement comes clear policy and procedures that are adhered to, activity-based costing, measurement of effectiveness, and the capability of using advanced algorithms for dramatic improvements in optimization of resources. CALM creates business capabilities through software to enable technology application, streamlining of processes, and a lean organizational structure. The methodology is based on a common sense approach for running a business, by measuring actions taken and using those measurements to design more efficient processes. == History == CALM was inspired by lean processes and techniques that were already dominant management technologies with a wide diversity of applications and successes. Motorola and General Electric had been known for the concepts of Six Sigma; Boeing had been managing mass (using modular and flexible assembly options), and Toyota combined elements of these methodologies to create the Toyota Production System. Boeing then took the Toyota model and added computer-aided enforcement of lean methodologies throughout the manufacturing process. One of the major sources for CALM's outgrowth was integrated definition (IDEF) modeling in aerospace manufacturing that was pioneered by the U.S. Air Force in the 1970s. IDEF is a methodology designed to model the end-to-end decisions, actions, and activities of an organization or system so that costs, performance, and cycle times can be optimized. IDEF methods have been adapted for wider use in automotive, aerospace, pharmaceuticals, and software development industries. IDEF methods serve as a starting point to understand lean management through semantic data modeling. The IDEF process begins by mapping the existing functions of an enterprise, creating a graphical model, or road map, that shows what controls each important function, who performs it, what resources are required for carrying it out, what it produces, how much it costs, and what relationships it has to other functions of the organization. IDEF simulations have been found to be efficient at streamlining and modernizing both companies and governmental agencies. Perhaps the best-developed evolution of the IDEF model beyond Toyota was at Boeing. Their project life-cycle process has grown into a rigorous software system that links people, tasks, tools, materials, and the environmental impact of any newly planned project, before any building is allowed to begin. Routinely, more than half of the time for any given project is spent building the precedence diagrams, or three-dimensional process maps, integrating with outside suppliers, and designing the implementation plan–all on the computer. Once real activity is initiated, an action tracker is used to monitor inputs and outputs versus the schedule and delivery metrics in real time throughout the organization. When the execution of a new airplane design begins, it is so well organized that it consistently cuts both costs and build time in half for each successive generation of airframe. Boeing created a complex lean management process called 'define and control airplane configuration/manufacturing resource management' (DCAC/MRM). The process was built with the help of the operations research and computer sciences departments of the University of Pittsburgh. The manufacture of the Boeing 777 was ultimately a success, and it became the precursor to succeeding generations of CALM at Boeing. The methodology of CALM has recently been applied to field orientated infrastructure based businesses with highly interdependent systems, such as electric utilities where a smart grid concept is being researched and developed. The management of infrastructure-based industries like oil, gas, electricity, water, transportation, and renewables requires massive investments in interdependent, physical infrastructure, as well as simultaneous attention to disparate market forces. In infrastructure businesses that manage field assets, uncertainty is the biggest impediment to profitability, rather than the maintenance of efficient supply chains or the management of factory assembly lines. These businesses are dominated by risk from uncertainties such as weather, market variations, transportation disruptions, government actions, logistic difficulties, geology, and asset reliability. CALM has been applied to deal with these types of infrastructure based challenges.
Eat App
Eat App is a global restaurant technology company that provides a cloud-based management platform for restaurants, hotels, and other venues. The platform enables venues to accept online reservations seamlessly, manage tables, and enhance customer relationship management (CRM). It utilizes AI to improve operational efficiency, provides marketing automation, and helps build a comprehensive guestbook. The company also offers a consumer app and website for discovering and booking restaurant tables online. According to the company, the system has seated over 100 million guests, and the number continues to grow. Eat was founded by Nezar Kadhem and David Feuillard in 2015 and has raised $13M to date from Silicon Valley's 500 startups, Middle East Venture Partners (MEVP), Derayah VC, amongst other business angels. The company is currently operational across the world, with offices in Dubai and the United States. == Product overview == === For restaurants === Eat App’s reservation system allows for a digital record of all reservations, all guests that have previously visited the restaurant, as well as analytics on the performance of the restaurant. The table management feature simplifies traditional restaurant operations by providing a live snapshot of current status, seating optimization, and shift management. The CRM and analytics suite gathers and monitors data to build a segmented guestbook for personalized marketing and provides dashboards for data-driven decision-making. Additionally, the review feature makes it easy for restaurants to automatically collect reviews from their guests. Additionally, Eat App includes a chit printer function that seamlessly prints reservation details at host stands and a review management feature that allows restaurants to manage online reviews directly within the platform. == History == In February 2015, Eat App raised $300k from Bahrain-based business angel group TENMOU. In June 2018, Eat raised $1.2 million from Dubai-based Middle East Venture Partners (MEVP). In February 2020, Eat App raised $5 million in a Series B funding round led by 500 Startups, Derayah Venture Fund, and MEVP, with participation from a few angel investors and family members. In February 2021, Eat App launched its technology with The Emaar Hospitality Group, implementing it across over 50 restaurants in Emaar properties and hotels. The cloud-based system runs natively on iPads in each restaurant, providing Emaar staff access to reservations and guest information, and integrates with the U by Emaar loyalty app to personalize service. On September 28, 2022, Eat App announced the closing of an $11 million Series B funding round. The investment was led by Middle East Venture Partners (MEVP), 500 Startups, Derayah Venture Capital, Dallah Albaraka, Ali Zaid Al Quraishi & Brothers Company, and Rasameel Investment Company, with participation from existing investors.
Digital art
Digital art, or the digital arts, is artistic work that uses digital technology as part of the creative or presentational process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art. Digital art includes pieces stored on physical media, such as with digital painting, as well as digital galleries on websites. Digital art also extends to the field of visual computing. == History == In the early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user interactive computer-graphics interface known as Sketchpad. Between 1974 and 1977, Salvador Dalí created two big canvases of Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko) and prints of Lincoln in Dalivision based on a portrait of Abraham Lincoln processed on a computer by Leon Harmon published in "The Recognition of Faces". The technique is similar to what later became known as photographic mosaics. Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Center in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color using flood fills. == Art made for digital media == Artwork that is highly computational, presented through digital media, and explicitly engages with digital technologies are categorized as "art made for digital media". This differs from art using digital tools, which incorporate digital technology in the creation process but may exist outside the digital world. Digital art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statement about the art form". == Art that uses digital tools == Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings when created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Despite differing viewpoints on digital technology's impact on the arts, a consensus exists within the digital art community about its significant contribution to expanding the creative domain, i.e., that it has greatly broadened the creative opportunities available to professional and non-professional artists alike. == Art theorists and art historians == Notable art theorists and historians in this field include: Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Tina Rivers Ryan, Fred Forest and Edward A. Shanken. === Digital painting === Digital painting is either a physical painting made with the use of digital electronics and spray paint robotics within the digital art fine art context or pictorial art imagery made with pixels on a computer screen that mimics artworks from the traditional histories of painting and illustration. === Artificial intelligence art === Artists have used artificial intelligence to create artwork since at least the 1960s. Since their design in 2014, some artists have created artwork using a generative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate. It can be used to generate pictures that have visual effects similar to traditional fine art. The essential idea of image generators is that people can use text descriptions to let AI convert their text into visual picture content. Anyone can turn their language into a painting through a picture generator. == Digital art education == Digital art education has become more common with the advancement of digital hardware and software. From hardware such as graphics tablets, styluses, tablets, 3D scanners, virtual reality headsets, and digital cameras; to software such as digital art software, 3D modeling software, 3D rendering, digital sculpting, 2D graphics software, digital painting, 3D terrain generation, 2D animation software, 3D animation software, raster graphics editors, vector graphics editors, mathematical art software, and video editing software. == Scholarship and archives == In addition to the creation of original art, research methods that utilize AI have been generated to quantitatively analyze digital art collections. This has been made possible due to the large-scale digitization of artwork in the past few decades. Although the main goal of digitization was to allow for accessibility and exploration of these collections, the use of AI in analyzing them has brought about new research perspectives. Two computational methods, close reading and distant viewing, are the typical approaches used to analyze digitized art. Close reading focuses on specific visual aspects of one piece. Some tasks performed by machines in close reading methods include computational artist authentication and analysis of brushstrokes or texture properties. In contrast, through distant viewing methods, the similarity across an entire collection for a specific feature can be statistically visualized. Common tasks relating to this method include automatic classification, object detection, multimodal tasks, knowledge discovery in art history, and computational aesthetics. Whereas distant viewing includes the analysis of large collections, close reading involves one piece of artwork. Whilst 2D and 3D digital art is beneficial as it allows the preservation of history that would otherwise have been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans – i.e., who should own the digital copyrights. === Computer demos === Computer demos are based on computer programs, usually non-interactive. It produces audiovisual presentations. They are a novel form of art, which emerged as a consequence of the home computer revolution in the early 1980s. In the classification of digital art, they can be best described as real-time procedurally generated animated audio-visuals. This form of art does not concentrate only on the aesthetics of the final presentation, but also on the complexities and skills involved in creating the presentation. As such, it can be fully enjoyed only by persons with a relatively high knowledge level of relevant computer technologies. An example is that, as said by Hua Jin and Jie Yang, Using computer-aided design software to present the class content in art design teaching," is not to advocate computer-aided design instead of hand-drawn performance, but to make it serve the profession earlier through a more reasonable course arrangement." On the other hand, many of the created pieces of art are primarily aesthetic or amusing, and those can be enjoyed by the general public. === Digital installation art === Digital installation art constitutes a broad field of artistic practices and a variety of forms. Some resemble video installations, especially large-scale works involving projections and live video capture. By using projection techniques that enhance an audience's impression of sensory envelopment, many digital installations attempt to create immersive environments. While others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site-specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces. Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people, indicating their personal space.Noah Wardrip-Fruin's "Screen"(2003) utilizes a Cave Automatic Virtual Environment (CAVE) to create an interactive, text-based digital experience that engages the viewer in a multi-sensory interaction. === Internet art and net.art === Internet art is digital art that uses the specific characteristics of the Internet and is exhibited on the Internet. The term "internet art" is included by "net art" for which artists assume that network will be refreshed through history. So the term "post-internet art" is used to exclude artworks outside of the internet media. A representative example is Protocols for Achievements, which is a digital photo frame that confronts the aestheti
Distributed manufacturing
Distributed manufacturing, also known as distributed production, cloud producing, distributed digital manufacturing, and local manufacturing, is a form of decentralized manufacturing practiced by enterprises using a network of geographically dispersed manufacturing facilities that are coordinated using information technology. It can also refer to local manufacture via the historic cottage industry model, or manufacturing that takes place in the homes of consumers. == Enterprise == In enterprise environments, the primary attribute of distributed manufacturing is the ability to create value at geographically dispersed locations. For example, shipping costs could be minimized when products are built geographically close to their intended markets. Also, products manufactured in a number of small facilities distributed over a wide area can be customized with details adapted to individual or regional tastes. Manufacturing components in different physical locations and then managing the supply chain to bring them together for final assembly of a product is also considered a form of distributed manufacturing. Digital networks combined with additive manufacturing allow companies a decentralized and geographically independent distributed production (cloud manufacturing). == Consumer == Within the maker movement and DIY culture, small scale production by consumers often using peer-to-peer resources is being referred to as distributed manufacturing. Consumers download digital designs from an open design repository website like Youmagine or Thingiverse and produce a product for low costs through a distributed network of 3D printing services such as 3D Hubs, Geomiq. In the most distributed form of distributed manufacturing the consumer becomes a prosumer and manufacturers products at home with an open-source 3-D printer such as the RepRap. In 2013 a desktop 3-D printer could be economically justified as a personal product fabricator and the number of free and open hardware designs were growing exponentially. Today there are millions of open hardware product designs at hundreds of repositories and there is some evidence consumers are 3-D printing to save money. For example, 2017 case studies probed the quality of: (1) six common complex toys; (2) Lego blocks; and (3) the customizability of open source board games and found that all filaments analyzed saved the prosumer over 75% of the cost of commercially available true alternative toys and over 90% for recyclebot filament. Overall, these results indicate a single 3D printing repository, MyMiniFactory, is saving consumers well over $60 million/year in offset purchases of only toys. These 3-D printers can now be used to make sophisticated high-value products like scientific instruments. Similarly, a study in 2022 found that 81% of open source designs provided economic savings and the total savings for the 3D printing community is more than $35 million from downloading only the top 100 products at YouMagine. In general, the savings are largest when compared to conventional products when prosumers use recycled materials in 'distributed recycling and additive manufacturing' (DRAM). == Emergency Distributed Manufacturing During COVID-19 Pandemic == Distributed manufacturing became far more visible during the COVID-19 pandemic because it offered a practical response to the breakdown of centralized global supply chains. As lock downs, border restrictions, and factory shutdowns disrupted conventional production, decentralized networks using local facilities such as Open Source Medical Supplies stepped in and manufactured over 48 million products. Additive manufacturing /3D printing were used to produce urgently needed items such as face shields, ventilators and their components, nasopharyngeal swabs, and other personal protective equipment. This demonstrated that distributed manufacturing could reduce lead times, improve responsiveness, and lessen dependence on distant suppliers during crisis conditions for a wide range of products. Peer-reviewed studies on pandemic-era manufacturing note that additive manufacturing was especially valuable because digital design files could be shared rapidly and produced close to the point of need, enabling hospitals, universities, small firms, and maker communities to supplement strained medical supply chains. The pandemic also helped shift distributed manufacturing from being seen as a niche or experimental model to a credible strategy for resilience, flexibility, and emergency response. At the same time, scholars caution that its wider adoption depends on solving issues related to quality assurance, regulation, material consistency, and coordination across distributed production sites. Overall, COVID-19 popularized distributed manufacturing by showing that localized, digitally enabled production could complement traditional manufacturing systems when speed, adaptability, and supply-chain resilience were critical. == Social change == Some call attention to the conjunction of commons-based peer production with distributed manufacturing techniques. The self-reinforced fantasy of a system of eternal growth can be overcome with the development of economies of scope, and here, the civil society can play an important role contributing to the raising of the whole productive structure to a higher plateau of more sustainable and customised productivity. Further, it is true that many issues, problems and threats rise due to the large democratization of the means of production, and especially regarding the physical ones. For instance, the recyclability of advanced nanomaterials is still questioned; weapons manufacturing could become easier; not to mention the implications on counterfeiting and on "intellectual property". It might be maintained that in contrast to the industrial paradigm whose competitive dynamics were about economies of scale, commons-based peer production and distributed manufacturing could develop economies of scope. While the advantages of scale rest on cheap global transportation, the economies of scope share infrastructure costs (intangible and tangible productive resources), taking advantage of the capabilities of the fabrication tools. And following Neil Gershenfeld in that "some of the least developed parts of the world need some of the most advanced technologies", commons-based peer production and distributed manufacturing may offer the necessary tools for thinking globally but act locally in response to certain problems and needs. As well as supporting individual personal manufacturing social and economic benefits are expected to result from the development of local production economies. In particular, the humanitarian and development sector are becoming increasingly interested in how distributed manufacturing can overcome the supply chain challenges of last mile distribution. Further, distributed manufacturing has been proposed as a key element in the Cosmopolitan localism or cosmolocalism framework to reconfigure production by prioritizing socio-ecological well-being over corporate profits, over-production and excess consumption. == Technology == By localizing manufacturing, distributed manufacturing may enable a balance between two opposite extreme qualities in technology development: Low technology and High tech. This balance is understood as an inclusive middle, a "mid-tech", that may go beyond the two polarities, incorporating them into a higher synthesis. Thus, in such an approach, low-tech and high-tech stop being mutually exclusive. They instead become a dialectic totality. Mid-tech may be abbreviated to "both…and…" instead of "neither…nor…". Mid-tech combines the efficiency and versatility of digital/automated technology with low-tech's potential for autonomy and resilience. == Contracting in Distributed Manufacturing == Research into contracting and order processing models tailored for distributed manufacturing has highlighted the need for flexible, role-based frameworks and advanced digital tools. These tools and frameworks are essential for addressing issues related to quality assurance, payment structures, legal compliance, and coordination among multiple actors. By addressing these challenges, contracting models for distributed manufacturing can unlock its potential for more localized, efficient, and sustainable production systems. A system prototype has been developed to simplify contracting for distributed manufacturing. This tool allows buyers to manage orders across multiple manufacturers using a single interface, automating workflows to ensure clarity and accountability for everyone involved. This research was led by the Internet of Production, as part of the mAkE project (African European Maker Innovation Ecosystem), funded by the European Horizon 2020 research and innovation programme.
Clips (software)
Clips is a discontinued mobile video editing software application created by Apple Inc. It was released onto the iOS App Store on April 6, 2017, for free. Initially, it was only available on 64-bit devices running iOS 10.3 or later; as of version 3.1.3, it requires iOS 16.0 or later. Apple describes it as an app for "making and sharing fun videos with text, effects, graphics, and more.". Its final release was on May 9, 2024 before was removed from the App Store on October 10, 2025. == Features == After launching of the app, the user sees the view of the front-facing camera. The app allows the user to create a new clip by tapping on a red record button, or use photos or videos from the device's photo library. Once a clip is recorded, it can be added to a project timeline shown at the bottom of the screen. The user can share their project on social media platforms. The user can also add filters and effects to the project. "Live Titles" (available in several styles) can also be created by dictating to the device.