Resilience week is an annual symposium established to enable cross-disciplinary and role based discussions to advance strategies and research that engenders resilience in critical infrastructure systems and communities. Damaging storms, cyber attack and the interconnection of critical infrastructure systems can lead to cascading events that not only affect local but also across regions. However, many of these interdependencies are not easily recognized and obscure and complicate the mitigation of risk. The purpose of the symposia series is hence to facilitate best practice in managing critical infrastructure risks, by bringing together businesses, government and researchers. == Background == Originally organized in 2008 as a focus on the new research area of resilient control systems, including the disciplinary areas of control system, cyber-security, cognitive psychology and any number of critical infrastructure domains. Resilience has long been recognized as an area that requires not only the contributions of multiple disciplines or multidisciplinary participation, but interdisciplinary interaction where there is a common language and familiarity of the contributors to what other disciplines (and roles) contribute. The resulting interactions developed by Resilience Week and associated activities are intended to culture this sharing environment as a safe zone for inclusion; more importantly, an environment that lends to developing the new science and practice. As the attributes of resilience are complex, the contributions and topics for the event have included both the disciplinary and the project considerations, in keynotes, panels and research presentations. Keynotes have included senior leadership in the Department of Energy, Department of Defense, Department of Homeland Security, the National Science Foundation, and other agencies in addition to National Academy and professional organization fellows and senior industry leaders. Project panels and research presentations include emergent topics in resilience to climate change, cyber attack, damaging storms and the energy assurance. Topics Areas of focus have included: Control Systems Cyber Systems Cognitive Systems Communications Systems Communities and Infrastructure Project Focus Areas have included: Dependencies and Interdependencies Cyber Resilience for Operating Technology Commercializing Research and Development Building Critical Infrastructure Resilience through Distributed Energy Resources Energy Equity and Community Resilience Proceedings are developed for each year of the event, documenting the diversity of the research and engagements within these topical areas. == Impacts for the future == Since its inception, the Resilience Week community has evolved from one that primarily included only university researchers to one that includes many government laboratories, universities and private industries in the US and internationally. This type of collaboration forms a feedback loop that informs the research with the current needs and hones best practices. The future of the event is to further advance discussions that advance investment, recognize priorities and expedite technologies and tools to proactively address our energy future, in light of the natural and manmade challenges, and rationalizing the complex relationships that exist in critical infrastructure.
InciWeb
InciWeb is an interagency all-risk incident web information management system provided by the United States Forest Service released in 2004. It was originally developed for wildland fire emergencies, but can be also used for other emergency incidents (natural disasters, such as earthquakes, floods, hurricanes, and tornadoes). == Introduction == It was developed with two primary missions: 1. Provide the public a single source of incident related information 2. Provide a standardized reporting tool for the Public Affairs community Official announcements include evacuations, road closures, news releases, maps, photographs, and basic info and current situation about the incident. Incident information can be accessed by: web browser at https://inciweb.wildfire.gov/ Twitter RSS web feed == Technical == The original application was hosted at the United States Forest Service - Wildland Fire Training and Conference Center, at McClellan Airfield, California, comprising three servers: Database server Administrative server Load balancer for the public content which routes traffic to a pool of eight servers. Web traffic averages 2 million plus hits daily during the fire season with the ability to handle 3.5 million hits. The servers were moved to the National information Technology Center (NITC), Kansas City, Missouri on July 16, 2008, along with the release of version 2.0; the current version is 2.2. == Availability issues == InciWeb was having technical difficulties due to the high volume of Internet users trying to access the site during the September–October 2006 Day Fire and the Summer 2008 California wildfires. == Participating agencies == United States Forest Service Bureau of Land Management Bureau of Indian Affairs Fish and Wildlife Service National Park Service National Oceanic & Atmospheric Administration Department of the Interior Office of Aircraft Services National Association of State Foresters United States Fire Administration These same agencies are also in the National Interagency Fire Center.
Jess (programming language)
Jess is a rule engine for the Java computing platform, written in the Java programming language. It was developed by Ernest Friedman-Hill of Sandia National Laboratories. It is a superset of the CLIPS language. It was first written in late 1995. The language provides rule-based programming for the automation of an expert system, and is often termed as an expert system shell. In recent years, intelligent agent systems have also developed, which depend on a similar ability. Rather than a procedural paradigm, where one program has a loop that is activated only one time, the declarative paradigm used by Jess applies a set of rules to a set of facts continuously by a process named pattern matching. Rules can modify the set of facts, or can execute any Java code. It uses the Rete algorithm to execute rules. == License == The licensing for Jess is freeware for education and government use, and is proprietary software, needing a license, for commercial use. In contrast, CLIPS, which is the basis and starting code for Jess, is free and open-source software. == Code examples == Code examples: Sample code:
International Journal of Pattern Recognition and Artificial Intelligence
The International Journal of Pattern Recognition and Artificial Intelligence was founded in 1987 and is published by World Scientific. The journal covers developments in artificial intelligence, and its sub-field, pattern recognition. This includes articles on image and language processing, robotics and neural networks. == Abstracting and indexing == The journal is abstracted and indexed in: SciSearch ISI Alerting Services CompuMath Citation Index Current Contents/Engineering, Computing & Technology Inspec io-port.net Compendex Computer Abstracts
ELVIS Act
The ELVIS Act or Ensuring Likeness Voice and Image Security Act, signed into law by Tennessee Governor Bill Lee on March 21, 2024, marked a significant milestone in the area of regulation of artificial intelligence and public sector policies for artists in the era of artificial intelligence (AI) and AI alignment. It was noted as the first enacted legislation in the United States specifically designed to protect musicians from the unauthorized use of their voices through artificial intelligence technologies and against audio deepfakes and voice cloning. This legislation distinguishes itself by adding penalties for copying a performer's voice. == Origin and advocacy == The inception of the ELVIS Act has been attributed to Gebre Waddell, founder of Sound Credit, who initially conceptualized a framework in 2023 that later evolved into the legislation. Representative Justin J. Pearson acknowledged Waddell's pivotal role during the March 4 House Floor Session on the bill. Leading Tennessee musicians supported the ELVIS Act. Tennessee Governor Bill Lee endorsed it as a Governor's Bill, and it was introduced in the Tennessee Legislature as House Bill 2091 by William Lamberth (R-44) and Senate Bill 2096 by Jack Johnson (R-27). The ELVIS Act is an amendment to a 1984 law that was the result of the Elvis Presley estate litigation for controlling how his likeness could be used after death. == Lobbying from the recording industry == The legislative journey of the ELVIS Act included a broad coalition of music industry stakeholders, including: These organizations, led by the Recording Academy and the RIAA, played roles in drafting the legislation, advocating for passage, and rallying support among the industry and legislators. The act gained momentum through discussions that bridged industry concerns with legislative action. This collaborative process led to a proposal that specifically targets the use of AI to create unauthorized reproductions of artists' voices and images. == Opposition == The ELVIS Act saw industry opposition from the Motion Picture Association, including testimony in the House Banking & Consumer Affairs Subcommittee, including remarks that the law risks "interference with our members’ ability to portray real people and events." TechNet, representing companies such as OpenAI, Google and Amazon, expressed their opposition in the hearing to the bill as drafted, asserting that the language was too broadly written and could have unintended consequences. Other concerns included its potential application to cover bands, but lawmakers assured people that this was not the intention. The bill passed the Tennessee House and Senate with a unanimous, bi-partisan vote including 93 ayes and 0 Noes in the House, and 30 ayes and 0 noes in the Senate. == Passage == By explicitly addressing AI impersonation, the ELVIS Act originated a legal approach to safeguarding personal rights, in the context of digital and technological advancements. It extends protections to an artist's voice and likeness, areas vulnerable to exploitation with the proliferation of AI technologies that occurred in 2023. The legislation received widespread support from the music industry, signaling a significant step forward in the ongoing effort to balance innovation with the protection of individual rights and creative integrity. It was reported as underscoring Tennessee's commitment to its musical heritage and showed the state as a leader in adapting copyright and privacy protections to the modern technological landscape. Artists including Chris Janson and Luke Bryan appeared at the signing ceremony hosted at Robert's Western World to support the new law and commemorate its passing. == Legal precedent == The ELVIS Act was reported as representing a development in the discourse surrounding AI, intellectual property, and personal rights. It was hoped by proponents to set a precedent for future legislative efforts both within and beyond Tennessee, offering a model for how states and potentially the federal government could address similar challenges. As AI technology continues to evolve, the act represents a foundational framework for protecting the authenticity and rights of artists, ensuring contributions remain protected. The act prohibits usage of AI to clone the voice of an artist without consent and can be criminally enforced as a Class A misdemeanor. This legislation's success was hoped by its supporters to inspire similar actions in other states, contributing to a unified approach to copyright and privacy in the digital age. Such a national response would reinforce the importance of safeguarding artists' rights against unauthorized use of their voices and likenesses.
Neural style transfer
Neural style transfer (NST) software algorithms are able to manipulate digital images, or videos, in order to adopt the appearance or visual style of another image. NST algorithms are characterized by their use of deep neural networks for the sake of image transformation. Common uses for NST are the creation of artificial artwork from photographs, for example by transferring the appearance of famous paintings to user-supplied photographs. Several notable mobile apps use NST techniques for this purpose, including DeepArt and Prisma. This method has been used by artists and designers around the globe to develop new artwork based on existent style(s). == History == NST is an example of image stylization, a problem studied for over two decades within the field of non-photorealistic rendering. The first two example-based style transfer algorithms were image analogies and image quilting. Both of these methods were based on patch-based texture synthesis algorithms. Given a training pair of images–a photo and an artwork depicting that photo–a transformation could be learned and then applied to create new artwork from a new photo, by analogy. If no training photo was available, it would need to be produced by processing the input artwork; image quilting did not require this processing step, though it was demonstrated on only one style. NST was first published in the paper "A Neural Algorithm of Artistic Style" by Leon Gatys et al., originally released to ArXiv 2015, and subsequently accepted by the peer-reviewed CVPR conference in 2016. The original paper used a VGG-19 architecture that has been pre-trained to perform object recognition using the ImageNet dataset. In 2017, Google AI introduced a method that allows a single deep convolutional style transfer network to learn multiple styles at the same time. This algorithm permits style interpolation in real-time, even when done on video media. == Mathematics == This section closely follows the original paper. === Overview === The idea of Neural Style Transfer (NST) is to take two images—a content image p → {\displaystyle {\vec {p}}} and a style image a → {\displaystyle {\vec {a}}} —and generate a third image x → {\displaystyle {\vec {x}}} that minimizes a weighted combination of two loss functions: a content loss L content ( p → , x → ) {\displaystyle {\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}})} and a style loss L style ( a → , x → ) {\displaystyle {\mathcal {L}}_{\text{style }}({\vec {a}},{\vec {x}})} . The total loss is a linear sum of the two: L NST ( p → , a → , x → ) = α L content ( p → , x → ) + β L style ( a → , x → ) {\displaystyle {\mathcal {L}}_{\text{NST}}({\vec {p}},{\vec {a}},{\vec {x}})=\alpha {\mathcal {L}}_{\text{content}}({\vec {p}},{\vec {x}})+\beta {\mathcal {L}}_{\text{style}}({\vec {a}},{\vec {x}})} By jointly minimizing the content and style losses, NST generates an image that blends the content of the content image with the style of the style image. Both the content loss and the style loss measures the similarity of two images. The content similarity is the weighted sum of squared-differences between the neural activations of a single convolutional neural network (CNN) on two images. The style similarity is the weighted sum of Gram matrices within each layer (see below for details). The original paper used a VGG-19 CNN, but the method works for any CNN. === Symbols === Let x → {\textstyle {\vec {x}}} be an image input to a CNN. Let F l ∈ R N l × M l {\textstyle F^{l}\in \mathbb {R} ^{N_{l}\times M_{l}}} be the matrix of filter responses in layer l {\textstyle l} to the image x → {\textstyle {\vec {x}}} , where: N l {\textstyle N_{l}} is the number of filters in layer l {\textstyle l} ; M l {\textstyle M_{l}} is the height times the width (i.e. number of pixels) of each filter in layer l {\textstyle l} ; F i j l ( x → ) {\textstyle F_{ij}^{l}({\vec {x}})} is the activation of the i th {\textstyle i^{\text{th}}} filter at position j {\textstyle j} in layer l {\textstyle l} . A given input image x → {\textstyle {\vec {x}}} is encoded in each layer of the CNN by the filter responses to that image, with higher layers encoding more global features, but losing details on local features. === Content loss === Let p → {\textstyle {\vec {p}}} be an original image. Let x → {\textstyle {\vec {x}}} be an image that is generated to match the content of p → {\textstyle {\vec {p}}} . Let P l {\textstyle P^{l}} be the matrix of filter responses in layer l {\textstyle l} to the image p → {\textstyle {\vec {p}}} . The content loss is defined as the squared-error loss between the feature representations of the generated image and the content image at a chosen layer l {\displaystyle l} of a CNN: L content ( p → , x → , l ) = 1 2 ∑ i , j ( A i j l ( x → ) − A i j l ( p → ) ) 2 {\displaystyle {\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}},l)={\frac {1}{2}}\sum _{i,j}\left(A_{ij}^{l}({\vec {x}})-A_{ij}^{l}({\vec {p}})\right)^{2}} where A i j l ( x → ) {\displaystyle A_{ij}^{l}({\vec {x}})} and A i j l ( p → ) {\displaystyle A_{ij}^{l}({\vec {p}})} are the activations of the i th {\displaystyle i^{\text{th}}} filter at position j {\displaystyle j} in layer l {\displaystyle l} for the generated and content images, respectively. Minimizing this loss encourages the generated image to have similar content to the content image, as captured by the feature activations in the chosen layer. The total content loss is a linear sum of the content losses of each layer: L content ( p → , x → ) = ∑ l v l L content ( p → , x → , l ) {\displaystyle {\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}})=\sum _{l}v_{l}{\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}},l)} , where the v l {\displaystyle v_{l}} are positive real numbers chosen as hyperparameters. === Style loss === The style loss is based on the Gram matrices of the generated and style images, which capture the correlations between different filter responses at different layers of the CNN: L style ( a → , x → ) = ∑ l = 0 L w l E l , {\displaystyle {\mathcal {L}}_{\text{style }}({\vec {a}},{\vec {x}})=\sum _{l=0}^{L}w_{l}E_{l},} where E l = 1 4 N l 2 M l 2 ∑ i , j ( G i j l ( x → ) − G i j l ( a → ) ) 2 . {\displaystyle E_{l}={\frac {1}{4N_{l}^{2}M_{l}^{2}}}\sum _{i,j}\left(G_{ij}^{l}({\vec {x}})-G_{ij}^{l}({\vec {a}})\right)^{2}.} Here, G i j l ( x → ) {\displaystyle G_{ij}^{l}({\vec {x}})} and G i j l ( a → ) {\displaystyle G_{ij}^{l}({\vec {a}})} are the entries of the Gram matrices for the generated and style images at layer l {\displaystyle l} . Explicitly, G i j l ( x → ) = ∑ k F i k l ( x → ) F j k l ( x → ) {\displaystyle G_{ij}^{l}({\vec {x}})=\sum _{k}F_{ik}^{l}({\vec {x}})F_{jk}^{l}({\vec {x}})} Minimizing this loss encourages the generated image to have similar style characteristics to the style image, as captured by the correlations between feature responses in each layer. The idea is that activation pattern correlations between filters in a single layer captures the "style" on the order of the receptive fields at that layer. Similarly to the previous case, the w l {\displaystyle w_{l}} are positive real numbers chosen as hyperparameters. === Hyperparameters === In the original paper, they used a particular choice of hyperparameters. The style loss is computed by w l = 0.2 {\displaystyle w_{l}=0.2} for the outputs of layers conv1_1, conv2_1, conv3_1, conv4_1, conv5_1 in the VGG-19 network, and zero otherwise. The content loss is computed by w l = 1 {\displaystyle w_{l}=1} for conv4_2, and zero otherwise. The ratio α / β ∈ [ 5 , 50 ] × 10 − 4 {\displaystyle \alpha /\beta \in [5,50]\times 10^{-4}} . === Training === Image x → {\displaystyle {\vec {x}}} is initially approximated by adding a small amount of white noise to input image p → {\displaystyle {\vec {p}}} and feeding it through the CNN. Then we successively backpropagate this loss through the network with the CNN weights fixed in order to update the pixels of x → {\displaystyle {\vec {x}}} . After several thousand epochs of training, an x → {\displaystyle {\vec {x}}} (hopefully) emerges that matches the style of a → {\displaystyle {\vec {a}}} and the content of p → {\displaystyle {\vec {p}}} . As of 2017, when implemented on a GPU, it takes a few minutes to converge. == Extensions == In some practical implementations, it is noted that the resulting image has too much high-frequency artifact, which can be suppressed by adding the total variation to the total loss. Compared to VGGNet, AlexNet does not work well for neural style transfer. NST has also been extended to videos. Subsequent work improved the speed of NST for images by using special-purpose normalizations. In a paper by Fei-Fei Li et al. adopted a different regularized loss metric and accelerated method for training to produce results in real-time (three orders of magnitude faster than Gatys). Their idea was to use not the pixel-based loss defined above but rather a 'perceptual loss' measuring t
Korean Decimal Classification
The Korean Decimal Classification (KDC) is a system of library classification used in South Korea. The structure and main level classes of the KDC are based on the Dewey Decimal Classification. The KDC is maintained and published by the Classification Committee of the Korean Library Association. The first edition of the classification was published in 1964; the most recent edition is the sixth edition published in 2013. Almost all school and public libraries in South Korea use the KDC to organize their collections, as well as the National Library of Korea and some university libraries. == History == Multiple library classification systems had been developed for Korean libraries before the publication of the KDC. These included the Railway Bureau Library Classification(1920), the Korean Decimal Classification edited by Bong-Suk Park(known as KDCP, 1947), the Han-Un Decimal Classification(1954), and the Kuk-Yeon Decimal Classification(1958). After the disappearance of editor Bong-Suk Park in the 1950s, the KDCP system decreased in use. Korean librarians considered adopting the Dewey Decimal Classification (DDC), especially after it was implemented at Yonsei University in 1957, but struggled to apply it to East Asian and Korean-focused works in their collections. In February 1963, members of the Korean Library Association's Classification were appointed to create a national classification; they decided to make revisions to the order of the main classes of the DDC, for example bringing together the class Language(700) together with the class for Literature(800). Committee members prepared draft classes and indexes and the first edition of the KDC was published in May 1964. Both the text and the index were written in Korean Hangul characters and Chinese characters. The second edition was published just two years later, in 1966, correcting errors and omissions found in the first edition. The third edition was published in 1980, maintaining the basic framework of the previous editions while expanding significantly. The fourth edition, published in 1996, made considerable changes, including increasing the number of representatives on the Classification Committee. The committee sought feedback from the library community and implemented revisions included in the recently published edition 20 of the DDC and edition 9 of the Nippon Decimal Classification. New policies applied to the fourth edition included principles suggesting the main classes should remain as static as possible, with focus shown to expanding classes devoted to technology and science. Likewise, many subject specialists were consulted for the publication of the fifth edition in 2009. The publication of the 23rd edition of the DDC in 2011 provided opportunity for a new revision of the KDC, and the sixth edition was published in July 2013. Greater numbers of classes provided number building capacity in the sixth edition, allowing for more specificity. == Description == The KDC classifies resources primarily by discipline, though some classes are collocated by subject. There are eight auxiliary mnemonic tables used to expand class numbers. The main classes of the KDC are the same as the main classes of the Dewey Decimal Classification, but four of those main classes are in a different order: Natural sciences (400), Technology and engineering (500), Arts (600), and Language 700. Though the structure is heavily influenced by the DDC, aspects of multiple library classifications have been invoked in the creation of the KDC, including the Library of Congress Classification for the arrangement of the social sciences (300), the Universal Decimal Classification for medical sciences (510), the KDCP for Korean and Oriental subjects, the Nippon Decimal Classification for those of Japan and Oriental subjects. === Classes of the KDC 6th edition === 000 General works 000 General works 010 Books, Bibliography 020 Library & information science 030 General encyclopedias 040 General collected essays 050 General serial publications 060 General societies 070 Newspapers, journalism 080 General collected works 090 Materials of province 100 Philosophy 100 Philosophy 110 Metaphysics 120 Epistemology, etc. 130 Systems of philosophy 140 Chinese classics 150 Oriental philosophy and thought 160 Western philosophy 170 Logic 180 Psychology 190 Ethics, moral philosophy 200 Religion 200 Religion 210 Comparative religion 220 Buddhism 230 Christian religion 240 Taoism 250 Chondoism 260 [Unassigned] 270 Hinduism, Brahmanism 280 Islam, Mohammedianism 290 Other religions 300 Social sciences 300 Social sciences 310 Statistics 320 Economics 330 Sociology and social problems 340 Political sciences 350 Public administration 360 Law 370 Education 380 Customs, Etiquette, Folklore 390 Military science 400 Natural sciences 400 Natural sciences 410 Mathematics 420 Physics 430 Chemistry 440 Astronomy 450 Earth science 460 Mineralogy 470 Life science 480 Botany 490 Zoological science 500 Technology 500 Technology 510 Medical science 520 Agriculture 530 Engineering, technology, etc. 540 Construction and architecture 550 Mechanical engineering 560 Electrical, comm. & electric engineering 570 Chemical engineering 580 Manufactures 590 Human ecology 600 Arts 600 Arts 610 [Unassigned] 620 Sculpture, plastic art 630 Crafts 640 Calligraphy 650 Painting, design 660 Photography 670 Music 680 Stage performance, museum arts 690 Amusements, sports & physical training 700 Language 700 Language 710 Korean language 720 Chinese language 730 Japanese & other Asian languages 740 English 750 German 760 French languages 770 Spanish languages & Portuguese language 780 Italian languages 790 Other languages 800 Literature 800 Literature 810 Korean literature 820 Chinese literature 830 Japanese & other Asian literature 840 English & American literature 850 German literature 860 French literature 870 Spanish & Portuguese literature 880 Italian literature 890 Other literatures 900 History 900 History 910 Asia 920 Europe 930 Africa 940 North America 950 South America 960 Oceania and Polar regions 970 [Unassigned] 980 Geography 990 Biography === Expansion tables === Table 1. Standard subdivisions Table 2. Geographic Areas Table 3. Korean geographic areas Table 4. Korean historical period Table 5. Languages Table 6. Subdivisions of individual languages Table 7. Subdivisions of individual literatures Table 8. Subdivisions of individual religions == Usage == KDC is used by a wide range of libraries within Korea, including by the National Library of Korea and most school and public libraries in the country, along with some university libraries, such as the one at Keimyung University.