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  Cumulus (software)

  Cumulus is a digital asset management software designed for client/server system which is developed by Canto Software. The product makes use of metadata for indexing, organizing, and searching. == History == Cumulus was first released as a Macintosh application in 1992, and was named by Apple Computer as the "Most Innovative Product of 1992". Cumulus introduced search capabilities beyond those available in the Macintosh at the time, particularly relating to thumbnails. Cumulus 1.0 was a single-user product with no network capabilities. Among the main features of Cumulus 1.0, the search function automatically generated previews and contained support for the included AppleTalk – Peer-to-Peer – network. Cumulus 2.5 was available in five different languages and received the 1993 MacUser magazine Eddy award for "Best Publishing & Graphics Utility". In 1995, Canto introduced the scanner software "Cirrus" to focus on the development of Cumulus. Cumulus 3, released in 1996, introduced a server version for the first time and contained the possibility to spread files over the Internet via the "Web Publisher". Since Apple offered Cumulus 3 with its "Workgroup Server" as a bundle, Cumulus became one of the leading digital asset management systems. Cumulus 4 was the first version that was network-ready, and was available for Macintosh, Windows and UNIX operating systems allowing for cross-platform file sharing. Released in 1998, the support of Solaris was discounted later. Cumulus 5 modified the software core to use an open architecture providing an API to external systems and databases. The open architecture of Cumulus 5 also enabled a more functional bridge between Cumulus and the Internet. Cumulus 6 introduced Embedded Java Plugin (EJP) which allowed system integrators to build custom Java plug-ins in order to extend the functionality of the Cumulus client. Cumulus 6.5 marked the end of the Cumulus Single User Edition product, which was licensed to MediaDex for further development and distribution. Cumulus 7 was introduced summer of 2006. Cumulus 8 was released in June 2009, with new indexing capabilities taking advantage of multicore/multiprocessor systems, and ability to manage a wider variety of file formats. Cumulus 8.5 was released in May 2011. Support was added for multilingual metadata, sometimes referred to as "World Metadata." Cumulus Sites was updated to support metadata editing and file uploads. Cumulus 8.6 was released in July 2012, and contains an updated user interface for the administration of Cumulus Sites and additional features for web-based administration of Cumulus. Other additions include features for collaboration links, multi-language support and automated version control. Cumulus 9 was released in September 2013 and introduced a new Web Client User Interface and the Cumulus Video Cloud. The Cumulus Web Client UI was redesigned to provide users with a modern, easy-to-use interface to support and guide the user while addressing modern business needs. The Cumulus Video Cloud extends the Cumulus video handling capabilities to add conversion and global streaming. Cumulus 9 also saw the addition of upload collection links which allow external collaborators to drag and drop files directly into Cumulus without needing a Cumulus account. Cumulus 9.1 was released in May 2014 and introduced the Adobe Drive Adapter for Cumulus which allows users to browse and search digital assets in Cumulus directly from Adobe work environments such as Photoshop, InDesign, Illustrator, Premier and other Adobe applications. Cumulus 10 (Cumulus X) was released July 2015 and introduced two mobile-friendly products: the Cumulus app and Portals. The Cumulus app on iOS was designed to allow users to collaborate either on an iPhone or iPad. Portals is the read-only version of the Cumulus Web Client where users can work with assets that admins allow. Cumulus 10.1 was introduced in January 2016 and included the InDesign Client integration where users can work with Adobe InDesign while accessing their assets from Cumulus. Cumulus 10.2 was introduced in September 2016 and brought the Media Delivery Cloud using Amazon Web Services (AWS). It allows users to manage their media rendition in a single source and distribute media files globally across different channels and devices. Cumulus 10.2.3 was released in February 2017 and came with a "crop and customize photos" feature for Portals and the Web Client. == Product overview == The cataloging of the file via upload into the archive is where Cumulus transfers maximum information about the file from the metadata. For image or photo files, this is typically Exif and IPTC data. The metadata is mainly used to search the archive. The use of embargo data supports license management for copyrighted material. The managed files can be cataloged and their usage can be set. The indexing is based on a predefined taxonomy, which is governed by the internal rules of the organization or by industry standards. You can specify whether files can only be used for specific purposes or only by certain groups of people. The production management system includes version management for files. Via the publication function, the files can be distributed directly via links or e-mails. It's also possible to access from the outside via the Cumulus Portals web interface, which allows a read access to released content from the catalog. There are different variants, starting with the "Workgroup archive server" up to the "Enterprise Business Server" for large companies. Both server and client are extensible through a Java-based plug-in architecture. Since version 7.0, there is a web application based on Ajax with a separate user interface. For access to the Cumulus catalog on mobile, there has been an application for Apple devices based on iOS since 2010. == Miscellaneous == In 2015, Cumulus developer Canto established the first Canto digital asset management (DAM) event. The event is held annually in Berlin. The Henry Stewart team has been hosting DAM conferences since 2006.

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  ProjectExplorer

  ProjectExplorer is a documentary short film series. The films, directed and produced by ProjectExplorer's Founder, Jenny M Buccos, focus on histories and cultures of foreign places and people using interviews with subject experts, artists, and public figures including Archbishop Desmond Tutu, Dr. John Kani, Greg Marinovich, and Sipho “Hotstix” Mabuse. Produced for a child and young adult audience, segments in each series depict everyday life and the challenges and concerns of those living in the locations and regions featured. Each film is 2–4 minutes in length, with each series containing approximately 40 films. The ProjectExplorer series is distributed internationally without charge via the web by ProjectExplorer, LTD. an American not-for-profit organization. Three series have been produced and distributed. In fall 2009, ProjectExplorer's third series, Jordan, received a GOLD level Parents' Choice Award for excellence in web programming. == Film series == === Shakespeare's England (2006) === The first series was filmed in London, Stratford-upon-Avon, and New York City. The series includes more than 30 film segments. United Kingdom locations and individuals include: The London Eye The Tower of London The Whitechapel Bell Foundry, which demonstrates the process of making a bell Simon Hughes, Member of Parliament and President of the Liberal Democrats The Old Vic The Royal Shakespeare Company The National Archives (UK) Segments filmed in New York City include: Michael Cumpsty discusses and performs monologues from Hamlet (while starring in the Classic Stage Company production) Michael Stuhlbarg discusses and performs a monologue from Macbeth === South Africa (2007) === Filmed in Johannesburg, Cape Town, and KwaZulu Natal, the series contains over 40 film segments including: Ntate Thabong Phosa, a lesiba player from Lesotho. Due to the rarity of lesiba players globally, this is one of the only publicly available examples of the lesiba played on film. A Robben Island piece, filmed at the cell in which Nelson Mandela was held for 18 of his 27-year imprisonment. JSE Securities Exchange with Leigh Roberts, correspondent for CNBC Africa. A 3-part series on HIV/AIDS with amfAR Director of Research, Dr. Rowena Johnson. Dr. Johnson discusses high cost of anti-retroviral drugs and testing in South Africa. The June 16, 1976 Soweto Uprising, with archival film footage and photography from SABC and The Sowetan newspaper. Prominent South Africans featured in the series: Dr. John Kani, Chairperson of the Apartheid Museum and TONY Award Winning Actor Musician Sipho “Hotstix” Mabuse Former U.N. Ambassador Dave A. Steward, Executive Director of the FW de Klerk Foundation Director and producer, Duma Ndlovu Malcolm Purkey, Artistic Director of the Market Theatre === South Africa, Part II (2008) === Filmed in Johannesburg, Cape Town, and New York City, the series contains over 10 film segments. Prominent South Africans featured in the series: Archbishop Desmond Tutu, Nobel Peace Prize laureate Photojournalist Greg Marinovich, Pulitzer Prize winner and co-author of The Bang-Bang Club Vusi Mahlasela, musician Author, Max du Preez === Jordan (2008) === Filmed in Amman, Petra, Umm Qais, Jerash, Madaba, Bethany, the Dead Sea, and New York City, the series contains more than 45 film segments. Jordan series segments include: A tour of the throne room of King Abdullah II, at Raghadan Palace Sharing mansaf with a Bedouin family in the Wadi Rum desert The UNRWA Jabal Hussein refugee camp The Siq, Treasury, and Monastery at Petra The ruins of Gadara at Umm Qais Jerash, the capital and largest city of Jordan's Jerash Governorate Madaba, home of the Madaba Map and the mosaic capital of Jordan The archaeological site at Bethany Traditional clothing from Salt and Ma'an The reintroduction into the wild of the endangered Arabian Oryx The Desert Castles The science of the Dead Sea Her Royal Highness Princess Basma bint Ali and her Royal Botanic Garden

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  Event cinema

  Event cinema sometimes called alternative content cinema or livecasts refers to the use of movie theaters to display a varied range of live and recorded entertainment excluding traditional films, such as sport, opera, musicals, ballet, music, one-off TV specials, current affairs, comedy and religious services. == History and development == Event Cinema was set up at the start of the century with rock concerts by Bon Jovi (2001), David Bowie (2003), and Robbie Williams (2005) bringing non-film audiences into cinemas that had newly installed digital equipment. The Metropolitan Opera in New York through their partnership with Fathom Events is acknowledged as the trailblazer in this area, aggressively seeking out new markets and setting high standards for live broadcasts via satellite. Emulated by other opera houses worldwide such as the Royal Opera House following a close second, Glyndebourne, La Scala and the Sydney Opera House the genre of opera within the 'Event Cinema' industry has been a huge success, and has brought new, younger audiences into cash-strapped opera houses depended on state funding and wealthy benefactors for the first time - an unforeseen and happy consequence of digitisation. Ballet and theater have also been very successful, as have rock concerts, both live and recorded. The UK's National Theatre has been a huge success here with their season of live broadcasts under the banner 'NT Live', featuring big name casts such as Helen Mirren, whose recent turn as Queen Elizabeth II in The Audience was a sell out everywhere. (This was in partnership with another West End theatre and the NT are keen to help other theatres maximise their potential through live broadcasts). The Globe and the Royal Shakespeare Company are also producing work for live broadcast and recorded exhibition. As digitisation of cinemas matures, the Event Cinema industry is growing. The strongest territory is the US, followed by the UK and mainland European territories. Latin America is also a very strong market. Recent additions include Pompeii Live, a unique exhibition by the UK's British Museum, featuring celebrities and curators taking the audience on a live tour around the recreated set of Pompeii within the museum itself, and they are also exploring the schools market for the first time, following the live broadcast on June 18 with a daytime broadcast aimed at UK schools for the first time. If successful this will no doubt prove a model for future museums to emulate. An added incentive for exhibitors is the ability to show alternative content, i.e. alternative to mainstream, studio-driven content, such as live special events, sports, pre-show advertising and other digital or video content. In industry terms this has become known as 'Alternative Content', but has recently become known more widely as 'Event Cinema'. === Expanding markets === Some low-budget films that would normally not have a theatrical release because of distribution costs might be shown in smaller engagements than the typical large release studio pictures. The cost of duplicating a digital "print" is very low, so adding more theaters to a release has a small additional cost to the distributor. Movies that start with a small release could scale to a much larger release quickly if they were sufficiently successful, opening up the possibility that smaller movies could achieve box office success previously out of their reach. ==== Technical specifications ==== Event Cinema is also finding a market in 3rd world countries in which the higher costs and quality of DCI equipment are not yet affordable, as crucially there are no DCI specifications for Alternative Content as there is in mainstream [studio] content. This has led to an explosion in the variety of content on offer, but a lack of standardisation has led to questionable quality at times. As the industry matures, this lack of regulation is expected to change and there are moves afoot to introduce codes of practice and technical specifications. Recorded content complements mainstream studio content by maximising the 'downtime' that plagues the cinema industry, where screens worldwide spend a large proportion of their time in darkness and cinemas empty. Some cinema chains have targeted pensioners in particular, offering free tea and coffee for afternoon matinees of recorded opera, for example. Digital Cinema Packages (DCPs) have been useful to cinemas not yet equipped with satellite broadcasting capability and has enabled exhibitors to build their Event Cinema audience, which is not generally the 18-24 demographic that multiplexes are targeting. ==== New Audiences ==== Event Cinema has seen a return of an older, affluent audience, previously turned off by the multiplex experience, and cinemas are starting to capitalise on this by offering waiter-serviced, high class finger food and alcoholic beverages, complete with bars and restaurants, a world away from the traditional popcorn/soft drink model; art house cinemas are increasingly marketing themselves as 'destination' venues for an evening's entertainment, somewhere to spend an entire evening, rather than just a couple of hours. As exhibition admissions have plateau'd in recent years due to the explosion in VOD, tablet and mobile content technology, this new revenue stream has been a surprise and welcome addition to the cinema industry, though the US studios have been cautious in embracing the change as yet. The thrill of Live broadcasts means they are generally regarded as more popular than recorded events, but there are exceptions; artists with a loyal cult or teenage following tend to do particularly well in this area, as concert films featuring artists such as the Grateful Dead, Pearl Jam, JLS, Led Zeppelin and the Rolling Stones have shown. ==== The Future ==== As more and more distributors are emerging, offering an increasingly broad range of content to cinemas worldwide, the landscape itself is shifting: screen advertising companies, technical providers, and exhibitors themselves are reinventing themselves as Alternative Content or Event Cinema distributors, and the industry is witnessing a re-evaluation of business models and practices worldwide. Predictions are that this industry could be work in excess of US$1bn by 2015. An illustration of the growth of this industry is the news the establishment of a European trade association promoting the industry to the general public and supporting those involved in it and the Event Cinema Association.

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  Attention inequality

  Attention inequality is the inequality of distribution of attention across users on social networks, people in general, and for scientific papers. Yun Family Foundation introduced "Attention Inequality Coefficient" as a measure of inequality in attention and arguments it by the close interconnection with wealth inequality. == Relationship to economic inequality == Attention inequality is related to economic inequality since attention is an economically scarce good. The same measures and concepts as in classical economy can be applied for attention economy. The relationship develops also beyond the conceptual level—considering the AIDA process, attention is the prerequisite for real monetary income on the Internet. On data of 2018, a significant relationship between likes and comments on Facebook to donations is proven for non-profit organizations. == Attention economy == The attention economy refers to the practice of maximizing the attention users give to a product for advertising-related reasons. Attention economy remains one of the most common forms of advertising, and has been steadily increasing thanks to new technologies such as television, internet and social media. It is one of the most widely-used approaches to economy for its effectiveness for maximising the noticeability of a certain product. == Attention inequality in social media == In social media, attention inequality refers to the unequal distribution of users' attention on social media platforms. This means that instead of an equal distribution of attention, fewer sources receive a disproportionate share of attention, leaving many unnoticed. This phenomenon is possibly the result of social media algorithms, which are commonly designed to drive maximum engagement. This phenomenon is a large factor in the polarization and creation of echo-chambers. Social media algorithms tend to note content that is already performing well and display it to more users, while content that is equally engaging or well-made is not recommended to users. Posts that trigger strong emotions usually out-perform more "uncontroversial" content. When many users interact with the post, it signals the algorithm that the specific post drives engagement. The algorithm then tends to recommend that type of content to an exponential number of people, potentially outperforming "un-emotional" content. These factors, when combined, tend to create an unequal social media environment. == Attention inequality in science == According to a recent 2025 study about research inequality among scientists published in Information Processing and Management, scientific discourse is restricted to a small group of connected scientists, and is frequently not an accurate representation of the whole scientific community. Using citation-network analysis in the fields of nanoscience and chemical physics, the study claims that a group of connected scientists has a significant notability in the scientific community. The calculated connection strength between these scientists is estimated to be about 4.5, the study also says that these authors cite each other four times more often than would be predicted in a random network, whereas ordinary scientists that exist outside of this group only reach an estimated connection strength of 0.9. The study findings suggest that that scientific attention is not distributed by merit, but rather by the connectedness of the scientists involved in the research. == Extent == As data of 2008 shows, 50% of the attention is concentrated on approximately 0.2% of all hostnames, and 80% on 5% of hostnames. The Gini coefficient of attention distribution lay in 2008 at over 0.921 for such commercial domains names as ac.jp and at 0.985 for .org-domains. The Gini coefficient was measured on Twitter in 2016 for the number of followers as 0.9412, for the number of mentions as 0.9133, and for the number of retweets as 0.9034. For comparison, the world's income Gini coefficient was 0.68 in 2005 and 0.904 in 2018. More than 96% of all followers, 93% of the retweets, and 93% of all mentions are owned by 20% of Twitter. == Causes == At least for scientific papers, today's consensus states that inequality is unexplainable by variations of quality and individual talent. The Matthew effect plays a significant role in the emergence of attention inequality—those who already enjoy large amounts of attention get even more attention, and those who do not lose even more. Ranking algorithms based on relevance to the user have been found to alleviate the inequality of the number of posts across topics.

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  ISLRN

  The ISLRN or International Standard Language Resource Number is Persistent Unique Identifier for Language Resources. == Context == On November 18, 2013, 12 major organisations (see list below) from the fields Language Resources and Technologies, Computational Linguistics, and Digital Humanities held a cooperation meeting in Paris (France) and agreed to announce the establishment of the International Standard Language Resource Number (ISLRN), to be assigned to each Language Resource. Among the 12 organisations, 4 institutions constitute the ISLRN Steering Committee (ST) ADHO ACL Asian Federation of Natural Language Processing ST COCOSDA, International Committee for the Coordination & Standardisation of Speech Databases and Assessment Techniques ICCL (COLING) European Data Forum ELRA ST IAMT, International Association for Machine Translation Archived 2010-06-24 at the Wayback Machine ISCA LDC ST Oriental COCOSDA ST RMA, Language Resource Management Agency == Size and Content == The Joint Research Centre(JRC), the [European Commission]'s in-house science service, was the first organisation to adopt the ISLRN initiative and requested. 2500 resources and tools have already been allocated an ISLRN. These resources include written data (Annotated corpus, Annotated text, List of misspelled word, Terminological database, Treebank, Wordnet, etc.) and speech corpora (Synthesised Speech, Transcripts and Audiovisual Recordings, Conversational Speech, Folk Sayings, etc.) == Objectives == Providing Language Resources with unique names and identifiers using a standardized nomenclature ensures the identification of each Language Resources and streamlines the citation with proper references in activities within Human Language Technology as well as in documents and scientific publications. Such unique identifier also enhances the reproducibility, an essential feature of scientific work.

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  VibeOS

  VibeOS is an operating system built from scratch entirely by generative artificial intelligence, using code produced through prompts to Claude (vibe coding). It is capable of running on QEMU and was successfully tested on a Raspberry Pi Zero. It has been released under the MIT license. == Features == === Core === Custom kernel with cooperative multitasking (preemptive backup) FAT32 filesystem with long filename support Memory allocator, process scheduler, interrupt handling GIC-400 (QEMU) and BCM2836/BCM2835 (Pi) interrupt controllers Configurable boot (splash screen, boot target) === GUI === Desktop environment with draggable windows Menu bar, dock, window minimize/maximize/close Mouse and keyboard input Modern macOS-inspired aesthetic === Networking === Full TCP/IP stack (Ethernet, ARP, IP, ICMP, UDP, TCP) DNS resolver HTTP client TLS 1.2 with HTTPS support === Apps === Web browser with HTML/CSS rendering Terminal emulator with readline-style shell Text editor (vim clone) with syntax highlighting File manager with drag-and-drop Music player (MP3/WAV) Calculator, system monitor VibeCode IDE Doom port === Development === TCC (Tiny C Compiler) - compile C programs directly on VibeOS MicroPython interpreter with full kernel API bindings 60+ userspace programs (coreutils, games, GUI apps) === Hardware === Runs on Raspberry Pi Zero 2W USB keyboard and mouse via DWC2 driver SD card via EMMC driver 1920×1080 framebuffer == Further projects == There are other independent projects under the VibeOS name, including an independent development by Ben, also developed using vibe coding, aimed at creating a Unix-like operating system for educational purposes. Another project is Vib-OS, an operating system also built using vibe coding, capable of booting on a Raspberry Pi. It offers a desktop environment with a customizable wallpaper, a file manager, and a web browser currently in an early stage of development, a functional Doom port, among other features that are not very polished given the state of development.

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  Front-end web development

  Front-end web development is the development of the graphical user interface of a website through the use of HTML, CSS, and JavaScript so users can view and interact with that website. == Tools used for front-end development == There are several tools and platforms, such as WordPress, Joomla, and Drupal, available that can be used to develop the front end of a website. === HyperText Markup Language === HyperText Markup Language (HTML) is the modern standard for displaying and structuring web content across the internet. HTML defines what elements will be displayed on a website, and how they will be arranged. All major web browsers are designed to interpret HTML, and most modern websites serve HTML to the user. Hypertext is text displayed on a computer with references to other text, these references (or links,) are termed "hyperlinks." When an internet user interacts with a hyperlinked item, the website serves the user the linked data. This data can be another HTML web-page, JavaScript, or anything else. The latest major release of HTML is HTML5, originally published on October 28, 2014 as a W3C recommendation. A web page may be developed to include many markup tags. For each pair of markup tag normally starts with a Start tag and ends with a matching end tag. The text in between the Start tag and the End tag is called an HTML Element. [1] === Cascading Style Sheets === Cascading Style Sheets (CSS) control the presentation and style of a website. CSS uses a cascading system to resolve style conflicts by applying style rules based on specificity, inheritance, and importance. Media queries allow for adjustments to the site's layout and appearance depending on factors such as screen size and resolution. CSS can be applied in three ways: external stylesheets linked in an HTML file, internal