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  List of software palettes

  This is a list of software palettes used by computers. Systems that use a 4-bit or 8-bit pixel depth can display up to 16 or 256 colors simultaneously. Many personal computers in the early 1990s displayed at most 256 different colors, freely selected by software (either by the user or by a program) from their wider hardware's RGB color palette. Usual selections of colors in limited subsets (generally 16 or 256) of the full palette includes some RGB level arrangements commonly used with the 8-bit palettes as master palettes or universal palettes (i.e., palettes for multipurpose uses). These are some representative software palettes, but any selection can be made in such of systems. For specific hardware color palettes, see the list of monochrome and RGB palettes, list of 8-bit computer hardware graphics, the list of 16-bit computer hardware graphics and the list of video game console palettes articles. Each palette is represented by an array of color patches. A one-pixel size version appears below each palette, to make it easy to compare palette sizes. For each unique palette, an image color test chart and sample image (truecolor original follows) rendered with that palette (without dithering) are given. The test chart shows the full 8-bit, 256 levels of the red, green, and blue (RGB) primary colors and cyan, magenta, and yellow complementary colors, along with a full 8-bit, 256 levels grayscale. Gradients of RGB intermediate colors (orange, lime green, sea green, sky blue, violet and fuchsia), and a full hue spectrum are also present. Color charts are not gamma corrected. These elements illustrate the color depth and distribution of the colors of any given palette, and the sample image indicates how the color selection of such palettes could represent real-life images. == System specifics == These are selections of colors officially employed as system palettes in some popular operating systems for personal computers that support 8-bit displays. === Microsoft Windows and IBM OS/2 default 16-color palette === Used by these platforms as a roughly backward compatible palette for the CGA, EGA and VGA text modes, but with colors arranged in a different order. Also, is the default palette for 16 color icons. The corresponding indices into this palette are: === Microsoft Windows default 20-color palette === In 256-color mode, there are four additional standard Windows colors, twenty system reserved colors in total; thus the system leaves 236 palette indexes free for applications to use. The system color entries inside a 256-color palette table are the first ten plus the last ten. In any case, the additional system colors do not seem to add a sharp color richness: they are only some intermediate shades of grayish colors. Since Windows 95, these additional colors can be changed by the system when a color scheme needs custom colors, reducing their utility as static, unchanging palette entries. The complete 20-color Windows system palette is: === Apple Macintosh default 16-color palette === When Apple Computer introduced the Macintosh II in 1987, this 16-color palette was included in System 4.1. === RISC OS default palette === Acorn RISC OS 2.x and 3.x provided this 16-color palette: === Solaris default 16-color palette === Solaris OS used this color palette: == RGB arrangements == These are selections of colors based in evenly ordered RGB levels which provide complete RGB combinations, mainly used as master palettes to display any kind of image within the limitations of the 8-bit pixel depth. === 6 level RGB === Having six levels for every primary, with 6³ = 216 combinations. The index can be addressed by (36×R)+(6×G)+B, with all R, G and B values in a range from 0 to 5. Intended as homogeneous RGB cube, it gives six true grays. Also, there is room for another sorts of 40 colors, so operating systems or programs can add extra colors. Systems that use this software palette are: Web-safe colors Apple Macintosh 256 color default palette. It also contains four gradients of ten shades each for gray, red, green and blue. === 6-7-6 levels RGB === This palette is constructed with six levels for red and blue primaries and seven levels for the green primary, giving 6×7×6 = 252 combinations. The index can be addressed by (42×R)+(6×G)+B, with R and B values in a range from 0 to 5 and G in a range from 0 to 6. The same case as the former, but with an added level of green due to the greater sensibility of the normal human eye to this frequency. It does not provide true grays, but remaining indexes can be filled with four intermediate grays. In any case, there is little room for any other color. === 6-8-5 levels RGB === This palette is constructed with six levels for red, eight levels for green and five levels for the blue primaries, giving 6×8×5 = 240 combinations. The index can be addressed by (40×R)+(5×G)+B, with R ranging from 0 to 5, G from 0 to 7 and B from 0 to 4. Levels are chosen in function of sensibility of the normal human eye to every primary color. Also, it does not provide true grays. Remaining indexes can be filled with sixteen intermediate grays or other fixed colors. In fact, this is the best balanced RGB master software palette, in a compromise between the RGB arrangement based in the human eye's sensibility and a sufficient remaining palette entries for another purposes. === 8-8-4 levels RGB === The 8-8-4 level RGB use eight levels for each of the red and green color components (3+3 high order bits), and four levels (2 low order bits) for the blue component, due to the lesser sensitivity of the normal human eye to this primary color. This results in an 8×8×4 = 256-color palette as follows: This RGB software palette occupies the full 8-bit range of possible palette entries, so there is no room for other fixed colors. Software using this palette must draw their user interface elements with the same colors used to show pictures. Also again, it does not provide true grays. == Other common uses of software palettes == === Grayscale palettes === Simple palette made doing every triplet RGB primaries having equal values as a continuous gradient from black to white through the full available palette entries. Here is the 8-bit, 256 levels palette: Used to display pure grayscale TIFF or JPEG images, for example. === Color gradient palettes === Palettes made of a continuous color gradient from darkest to lightest arbitrary hues. The pixel data is treated as if it were grayscale, but the color table plays with RGB color combinations, not only gray. The relationship between the original luminance and the mapped one can vary, but the lighting scale is preserved along all the palette entries. One very common case of such palettes is the sepia tone palette, which gives an image an old fashioned and aged look (left). Another gradient example, based on blue hues, is presented here (right), but any hue or mixing of hues can be used. Many cell phones with built-in cameras have options to take colorized photos using this technique. === Adaptive palettes === Those whose whole number of available indexes are filled with RGB combinations selected from the statistical order of appearance (usually balanced) of a concrete full true color original image. There exist many algorithms to pick the colors through color quantization; one well known is the Heckbert's median-cut algorithm. Here is the 8-bit, 256 color palette used with the color test chart and the image sample above: Adaptive palettes only work well with a unique image. Trying to display different images with adaptive palettes over an 8-bit display usually results in only one image with correct colors, because the images have different palettes and only one can be displayed at a time. Here is an example of what happens when an indexed color image is displayed with any color palette that is not its own adaptive palette: === False color palettes === Arbitrary gradient color scales, usually 256 shades, with no relationship with real colors of a given image. They are employed to artificially colorize a grayscale image to reveal details and/or to map the pixel level values to amounts of some physical magnitude (potential, temperature, altitude, etc.) Note, in the example above, that new details can be seen as blue over magenta in the background's dark areas of the original photograph. Here is the 8-bit, 256 color gradient palette used with the color test chart and the image sample above: There exist many false color palettes, some of them standardized, used mainly in scientific applications: astronomy and radioastronomy, satellite land imaging, thermography, study of materials, tomography and magnetic resonance imaging in medicine, etc.

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  Digital edition

  A digital edition is an online magazine or online newspaper delivered in electronic form which is formatted identically to the print version. Digital editions are often called digital facsimiles to underline the likeness to the print version. Digital editions have the benefit of reduced cost to the publisher and reader by avoiding the time and the expense to print and deliver paper edition. This format is considered more environmentally friendly due to the reduction of paper and energy use. These editions also often feature interactive elements such as hyperlinks both within the publication itself and to other internet resources, search option and bookmarking, and can also incorporate multimedia such as video or animation to enhance articles themselves or for advertisement purposes. Some delivery methods also include animation and sound effects that replicate turning of the page to further enhance the experience of their print counterparts. Magazine publishers have traditionally relied on two revenue sources: selling ads and selling magazines. Additionally some publishers are using other electronic publication methods such as RSS to reach out to readers and inform them when new digital editions are available. Current technologies are generally either reader-based, requiring a download of an application and subsequent download of each edition, or browser-based, often using Macromedia Flash, requiring no application download (such as Adobe Acrobat). Some application-based readers allow users to access editions while not connected to internet. Dedicated hardware such as the Amazon Kindle and the iPad is also available for reading digital editions of select books, popular national magazines such as Time, The Atlantic, and Forbes and popular national newspapers such as the New York Times, Wall Street Journal, and Washington Post. Archives of print newspapers, in some cases dating hundreds of years back, are being digitized and made available online. Google is indexing existing digital archives produced by the newspapers themselves or by third parties. Newspaper and magazine archival began with microform film formats solving the problem of efficiently storing and preserving. This format, however, lacked accessibility. Many libraries, especially state libraries in the United States are archiving their collections digitally and converting existing microfilm to digital format. The Library of Congress provides project planning assistance and the National Endowment for the Humanities procures funding through grants from its National Digital Newspaper Program. Digital magazines, ezines, e-editions and emags are sometimes referred to as digital editions, however some of these formats are published only in digital format unlike digital editions which replicate a printed edition as well. == Digital magazines == Digital-replica magazines number in thousands—consumer and business publications, house magazines for associations, institutions and corporations – and conversion from print to digital was still increasing as of 2009. A 2008 report funded by digital-replica technology providers and auditing agencies counted 1,786 digital-replica editions having more than 7 million circulation among business-to-business publications, of which 230 editions were audited The same report counted 1,470 digital-replica editions of consumer magazines having 5.5 million digital circulation, of which 240 editions were audited. These authors estimated that by year end of 2009 there would be 8,000 digital magazines, having a combined distribution of more than 30 million people. Surveys have shown that, while not all subscribers prefer a digital edition, some do because of the environmental benefit and also because digital magazines are searchable and may easily be passed along or linked to. One such survey funded by a digital publisher reported on inputs from more than 30,000 subscribers to business, consumer and other digital magazines. == Digital magazine business models == === Reduced printing and distribution costs === The publishers' choice to save by moving some or all subscribers from print to digital is widely accepted. Oracle magazine, which has 176,000 of its 516,000 subscribers receiving digital according to its June 2009 BPA circulation statement, is said to be the most widely circulated digital edition of a business-to-business publication. Publishers who do this need to choose whether to make some issues all-digital, move some subscribers to digital edition, add some digital-only subscribers, or send all subscribers the digital edition. === Paid subscription revenue === In 2009, a major consumer magazine, PC Magazine, went all-digital, charging an annual subscription fee for its digital-replica edition. Many consumer magazines and newspapers are already available in eReader formats that are sold through booksellers. === Sponsorship and advertising revenue === Digital editions often carry special "front cover" advertising, or advertising on the email message alerting the subscriber of the digital edition. Publishers also produce special digital-only inserts and rich-media ads or advertorials. === Designed-for-digital issues === Another approach is to fully replace printed issues with digital ones, or to use digital editions for extra issues that would otherwise have to be printed.

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  Friending and following

  Friending is the act of adding someone to a list of "friends" on a social networking service. The notion does not necessarily involve the concept of friendship. It is also distinct from the idea of a "fan"—as employed on the WWW sites of businesses, bands, artists, and others—since it is more than a one-way relationship. A "fan" only receives things. A "friend" can communicate back to the person friending. The act of "friending" someone usually grants that person special privileges (on the service) with respect to oneself. On Facebook, for example, one's "friends" have the privilege of viewing and posting to one's "timeline". Following is a similar concept on other social network services, such as Twitter and Instagram, where a person (follower) chooses to add content from a person or page to their newsfeed. Unlike friending, following is not necessarily mutual, and a person can unfollow (stop following) or block another user at any time without affecting that user's following status. The first scholarly definition and examination of friending and defriending (the act of removing someone from one's friend list, also called unfriending) was David Fono and Kate Raynes-Goldie's "Hyperfriendship and beyond: Friends and Social Norms on LiveJournal" from 2005, which identified the use of the term as both a noun and a verb by users of early social network site and blogging platform LiveJournal, which was originally launched in 1999. == Friend/follower count, friend collecting, and multiple accounts == The addition of people to a friend list without regard to whether one actually is their friend is sometimes known as friend whoring. Matt Jones of Dopplr went so far as to coin the expression "friending considered harmful" to describe the problem of focusing upon the friending of more and more people at the expense of actually making any use of a social network. Friend collecting is the adding of hundreds or thousands of friends/followers, a not uncommon order of magnitude on some social sites. As a result, many teen users feel pressured to heavily curate their posts, posting only carefully posed and edited photographs with well-thought-out captions. Some Instagram users will create a second account, known as a Finsta (short for "Fake Instagram"). A Finsta is typically private, and the owner only allows close friends to follow it. Since the follower count is kept down, the posts can be more candid and silly in nature. Users may also create multiple accounts based on their interests. Someone with a personal social media account might be a photographer and maintain a separate account for that. There is risk associated with following large numbers of people: scholars say that social anxiety could be an effect of managing a large social media network, as users can feel jealous and have a "fear of missing out". == Unfriending and unfollowing == Unfriending is the act of removing someone from a friends list. On Facebook, this means the action is unilateral, meaning, the friendship is terminated on both sides. The act of unfriending is often used when one user was flirting and made the other uncomfortable. Unfollowing is a little different. When a user unfollows someone on Instagram or Twitter, it continues a one-sided relationship. Often, the unfollowed user doesn't realize they were unfollowed, so they continue the following. == Social network friending and friendship == There are distinct groups of "friends" that one can friend on a social networking service. The notion of a social network friend does not necessarily embody the concept of friendship. Although terminology has not yet evolved to distinguish the different types of social networking friends, they can be broken into the following three categories. friends who are actually known These are people that may be one's friends or family in real life, with whom one has regular interaction either on-line or off-line. organizational friends These are companies and other organizations who maintain a "friending" relationship as a contacts list. complete strangers These are social networking "friends" with whom one has no relationship at all. Within these categories "friends" can be made up of strong ties, weak existing ties, weak latent ties, and parasocial ties. Strong ties can be made up of close family members and friends where self-disclosure, intimacy and frequent content occur. Weak existing ties can be made up of acquaintances, co-workers and distance relatives with whom the user has inconsistent contact. Weak latent ties can be made up of people within a similar geographical location or profession that can be used as a potential future bridge to other connections. Parasocial ties can be made up of celebrities, public figures and media personas. Human nature is to reciprocate a friending, marking someone as a friend who has marked oneself as a friend. This is a social norm for social networking services. However, this leads to mixing up who is an actual friend, and who is a contact. Tagging someone as a "contact" who has marked one as a "friend" can be perceived as impolite. Other concerns about this issue are treated in Sherry Turkle's Alone Together which analyses many behavioral dynamics in social media friendships. Turkle defines herself as "cautiously optimistic", but expresses concern that distance communications may undermine genuine face-to-face spoken discourses, lessening people's expectations of one another. One social networking service, FriendFeed, allows one to friend someone as a "fake" friend. The person "fake" friended receives the usual notifications for friending, but that person's updates are not received. Gavin Bell, author of Building Social Web Applications, describes this mechanism as "ludicrous". Results from a 2007 survey the Center for the Digital Future stated that only 23% of internet users have at least one virtual friend whom they have only met online. Ideally the number of virtual friends is directly proportional to the use of the Internet, but the same survey showed 20% of heavy-users (more than 3 hours/day) who claimed an average of 8.7% online friends, reported at least one relationship that started virtually and migrated to in-person contact. This results and other concerning issues are included in the book Networked: The New Social Operating System co-written by Lee Rainie and Barry Wellman in 2012. == Ethical considerations == The act of "friending" someone on a social networking service has particular ethical implications for judges in the United States. Judicial codes of conducts in the various states generally incorporate some form of provision that judges should avoid even the appearance of impropriety. Whether this regulates and even prohibits judges "friending" attorneys that appear before them, and law enforcement personnel, has been the subject of some analysis by the judicial ethics panels of the various states. They haven't all agreed on the guidance that they have given to judges: The New York state Judicial Ethics committee in 2009 simply advised judges to employ caution, noting that the issue of "friending" someone on a social networking service is a publicly observable act that has little difference from other public behavior concerns judges already face. The Florida Judicial Ethics Advisory committee in 2009 noted that, judges being normal human beings, it was unavoidable for judges to form friendships without the responsibilities of their job. It prohibited judges from friending any attorneys that appeared before them, whilst allowing friending of those who do not, on the grounds that it may give the appearance to the general public (even if the substance is otherwise) that those attorneys who are friended hold special sway with the judge. A minority opinion of the committee asserted that there is a substantive difference between "friending" on a social networking service and actual friendship, and that the general public, being aware of the norms of social networking services, was capable of drawing this distinction and would not reasonably conclude either a special degree of influence or a violation of the code of judicial conduct. This minority opinion was outnumbered twice in 2009, both in the Judicial Ethics Advisory and in the Florida Supreme Court Judicial Ethics Advisory committee. The South Carolina judicial conduct committee in 2009 permitted judges to friend attorneys and law enforcement personnel, with the proviso that no judicial business should be conducted upon nor discussed via the social networking service. "... a judge should not become isolated from the community in which the judge lives.", the committee stated. The Kentucky Judicial Ethics committee in 2010 took the same position as the minority opinion in Florida. It urged judges to exercise caution, but recognized that the act of friending "does not, in and of itself, indicate the degree or intensity of a judge's relationship with the person who is the 'friend'

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  Fear of missing out

  Fear of missing out (FOMO) is the feeling of apprehension that one is either not in the know about or missing out on information, events, experiences, or life decisions that could make one's life better. FOMO is also associated with a fear of regret, which may lead to concerns that one might miss an opportunity for social interaction, a novel experience, a memorable event, profitable investment, or the comfort of loved ones. It is characterized by a desire to stay continually connected with what others are doing, and can be described as the fear that deciding not to participate is the wrong choice. FOMO could result from not knowing about a conversation, missing a TV show, not attending a wedding or party, or hearing that others have discovered a new restaurant. In recent years, FOMO has been attributed to a number of negative psychological and behavioral symptoms. FOMO has increased in recent times due to advancements in technology. Social networking sites create many opportunities for FOMO. While it provides opportunities for social engagement, it offers a view into an endless stream of activities in which a person is not involved. Further, a common tendency is to post about positive experiences (such as a great restaurant) rather than negative ones (such as a bad first date). Psychological dependence on social media can lead to FOMO or even pathological Internet use. FOMO is also present in video games, investing, and business marketing. The increasing popularity of the phrase has led to related linguistic and cultural variants. FOMO is associated with worsening depression and anxiety, and a lowered quality of life. FOMO can also affect businesses. Hype and trends can lead business leaders to invest based on perceptions of what others are doing, rather than their own business strategy. This is also the idea of the bandwagon effect, where one individual may see another person or people do something and they begin to think it must be important because everyone is doing it. They might not even understand the meaning behind it, and they may not totally agree with it. Nevertheless, they are still going to participate because they don't want to be left out. == History == Patrick J. McGinnis coined the term FOMO and popularized it in a 2004 op-ed titled "Social Theory at HBS: McGinnis' Two FOs" in The Harbus, the magazine of Harvard Business School, where he was then a student. The article also referred to another related condition, Fear of a Better Option (FOBO), and the role of these two fears in the school's social life. Currently the term has been used as a hashtag on social media and has been mentioned in hundreds of news articles, from online sources like Salon.com to print papers like The New York Times. === Earlier forms === The phrase "fear of missing out" is a common English phrase, especially in the form "fear of missing out on (something)". The term "fear of missing out" (but not the term FOMO) was used earlier in the academic business literature by marketing strategist Dan Herman, who used it in presentations in the late 1990s, and included the phrase in a 2000 paper about "short-term brands", where a motivation for trying these brands is "ambition to exhaust all possibilities and the fear of missing out on something". Herman also believes the concept has evolved to become more wide spread through mobile phone usage, texting, and social media and has helped flesh out the concept of the fear of missing out to the masses. Before the Internet, a related phenomenon, "keeping up with the Joneses", was widely experienced. FOMO generalized and intensified this experience because so much more of people's lives became publicly documented and easily accessed. == Symptoms == === Psychological === Fear of missing out has been associated with a deficit in psychological needs. Self-determination theory contends that an individual's psychological satisfaction in their competence, autonomy, and relatedness consists of three basic psychological needs for human beings. Test subjects with lower levels of basic psychological satisfaction reported a higher level of FOMO. FOMO has also been linked to negative psychological effects in overall mood and general life satisfaction. A study performed on college campuses found that experiencing FOMO on a certain day led to a higher fatigue on that day specifically. Experiencing FOMO continuously throughout the semester also can lead to higher stress levels among students. An individual with an expectation to experience the fear of missing out can also develop a lower level of self-esteem. A study by JWTIntelligence suggests that FOMO can influence the formation of long-term goals and self-perceptions. In this study, around half of the respondents stated that they are overwhelmed by the amount of information needed to stay up-to-date, and that it is impossible to not miss out on something. The process of relative deprivation creates FOMO and dissatisfaction. It reduces psychological well-being. FOMO led to negative social and emotional experiences, such as boredom and loneliness. A 2013 study found that it negatively impacts mood and life satisfaction, reduces self-esteem, and affects mindfulness. Four in ten young people reported FOMO sometimes or often. FOMO was found to be negatively correlated with age, and men were more likely than women to report it. People who experience higher levels of FOMO tend to have a stronger desire for high social status, are more competitive with others of the same gender, and are more interested in short-term relationships. Studies have found that experiencing fear of missing out has been linked to anxiety or depression. === Behavioral === The fear of missing out stems from a feeling of missing social connections or information. This absent feeling is then followed by a need or drive to interact socially to boost connections. The fear of missing out not only leads to negative psychological effects but also has been shown to increase negative behavioral patterns. In aims of maintaining social connections, negative habits are formed or heightened. A 2019 University of Glasgow study surveyed 467 adolescents, and found that the respondents felt societal pressure to always be available. According to John M. Grohol, founder and Editor-in-Chief of Psych Central, FOMO may lead to a constant search for new connections with others, abandoning current connections to do so. The fear of missing out derived from digital connection has been positively correlated with bad technology habits especially in youth. These negative habits included increased screen time, checking social media during school, or texting while driving. Social media use in the presence of others can be referred to as phubbing, the habit of snubbing a physically present person in favour of a mobile phone. Multiple studies have also identified a negative correlation between the hours of sleep and the scale at which individuals experience fear of missing out. A lack of sleep in college students experiencing FOMO can be attributed to the number of social interactions that occur late at night on campuses. == Settings == === Social media === Fear of missing out has a positive correlation with higher levels of social media usage. Social media connects individuals and showcases the lives of others at their peak. This gives people the fear of missing out when they feel like others on social media are taking part in positive life experiences that they personally are not also experiencing. This fear of missing out related to social media has symptoms including anxiety, loneliness, and a feeling of inadequacy compared to others. Self-esteem plays a key role in the levels a person feels when experiencing the fear of missing out, as their self worth is influenced by people they observe on social media. There are two types of anxiety; one related to genetics that is permanent, and one that is temporary. The temporary state of anxiety is the one that is more relevant to the fear of missing out, and is directly related to the individual looking at social media sites for a short period of time. This anxiety is caused by a loss of feeling of belonging through the concept of social exclusion. FOMO-sufferers may increasingly seek access to others' social lives, and consume an escalating amount of real-time information. A survey in 2012 indicated that 83% of respondents said that there is information overload in regards that there is too much to watch and read. Constant information that is available to people through social media causes the fear of missing out as people feel worse about themselves for not staying up to date with relevant information. Social media shows just exactly what people are missing out on in real time including events like parties, opportunities, and other events leading for people to fear missing out on other related future events. Another survey indicates that almost 40% of people from ages 12 through 67 i

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  SEMAT

  SEMAT (Software Engineering Method and Theory) is an initiative to reshape software engineering such that software engineering qualifies as a rigorous discipline. The initiative was launched in December 2009 by Ivar Jacobson, Bertrand Meyer, and Richard Soley with a call for action statement and a vision statement. The initiative was envisioned as a multi-year effort for bridging the gap between the developer community and the academic community and for creating a community giving value to the whole software community. The work is now structured in four different but strongly related areas: Practice, Education, Theory, and Community. The Practice area primarily addresses practices. The Education area is concerned with all issues related to training for both the developers and the academics including students. The Theory area is primarily addressing the search for a General Theory in Software Engineering. Finally, the Community area works with setting up legal entities, creating websites and community growth. It was expected that the Practice area, the Education area and the Theory area would at some point in time integrate in a way of value to all of them: the Practice area would be a "customer" of the Theory area, and direct the research to useful results for the developer community. The Theory area would give a solid and practical platform for the Practice area. And, the Education area would communicate the results in proper ways. == Practice area == The first step was here to develop a common ground or a kernel including the essence of software engineering – things we always have, always do, always produce when developing software. The second step was envisioned to add value on top of this kernel in the form of a library of practices to be composed to become specific methods, specific for all kinds of reasons such as the preferences of the team using it, kind of software being built, etc. The first step is as of this writing just about to be concluded. The results are a kernel including universal elements for software development – called the Essence Kernel, and a language – called the Essence Language - to describe these elements (and elements built on top of the kernel (practices, methods, and more). Essence, including both the kernel and language, has been published as an OMG standard in beta status in July 2013 and is expected to become a formally adopted standard in early 2014. The second step has just started, and the Practice area will be divided into a number of separate but interconnected tracks: the practice (library track), the tool track are so far identified and work has started or is about to get started. The practice track is currently working on a Users Guide. == Education area == The area focuses on leveraging the work of SEMAT in software engineering education, both within academia and industry. It promotes global education based on a common ground called Essence. The area's target groups are instructors such as university professors and industrial coaches as well as their students and learning practitioners. The goal of the area is to create educational courses and course materials that are internationally viable, identify pedagogical approaches that are appropriate and effective for specific target groups and disseminate experience and lessons learned. The area includes members from a number of universities and institutes worldwide. Most members have already been involved in leveraging aspects of SEMAT in the context of their software engineering courses. They are gathering their resources and starting a common venture towards defining a new generation of SEMAT-powered software engineering curricula. As of 2018, some studies of utilizing Essence in educational settings exist. One example of the use of Essence in university education was a software engineering course carried out in Norwegian University of Science and Technology. A study was conducted by introducing Essence into a project-based software engineering course, with the aim of understanding what difficulties the students faced in using Essence, and whether they considered it to have been useful. The results indicated that Essence could also be useful for novice software engineers by (1) encouraging them to look up and study new practices and methods in order to create their own, (2) encouraging them to adjust their way-of-working reflectively and in a situation-specific manner, (3) helping them structure their way of working. The findings of another study introducing students to Essence through a digital game supported these findings: the students felt that Essence will be useful to them in future, real-world projects, and that they wish to utilize it in them. == Theory area == An important part of SEMAT is that a general theory of software engineering is planned to emerge with significant benefits. A series of workshops held under the title SEMAT Workshop on a General Theory of Software Engineering (GTSE) are a key component in awareness building around general theories. In addition to community awareness building, SEMAT also aims to contribute with a specific general theory of software engineering. This theory should be solidly based on the SEMAT Essence language and kernel, and should support software engineering practitioners' goal-oriented decision making. As argued elsewhere, such support is predicated on the predictive capabilities of the theory. Thus, the SEMAT Essence should be augmented to allow the prediction of critical software engineering phenomena. The GTSE workshop series assists in the development of the SEMAT general software engineering theory by engaging a larger community in the search for, development of, and evaluation of promising theories, which may be used as a base for the SEMAT theory. == Organizational structure == === Main organization === SEMAT is chaired by Sumeet S. Malhotra of Tata Consultancy Services. The CEO of the organization is Ste Nadin of Fujitsu. The Executive Management Committee of SEMAT are Ivar Jacobson, Ste Nadin, Sumeet S. Malhotra, Paul E. McMahon, Michael Goedicke and Cecile Peraire. === Japan Chapter === Japan Chapter was established in April 2013, and it has more than 250 members as of November 2013. Member activities include carrying out seminars about SEMAT, considering utilization of SEMAT Essence for integrating different requirements engineering techniques and body of knowledges (BoKs), and translating articles into Japanese. === Korea Chapter === The chapter was inaugurated with about 50 members in October 2013. Member activities include: 2e Consulting started rewriting their IT service engagement methods using the Essence kernel, and uEngine Solutions started developing a tool to orchestrate Essence-kernel based practices into a project method. Korean government supported KAIST to conduct research in Essence. === Latin American Chapter === Semat Latin American Chapter was created in August 2011 in Medellin (Colombia) by Ivar Jacobson during the Latin American Software Engineering Symposium. This Chapter has 9 Executive Committee members from Colombia, Venezuela, Peru, Brazil, Argentina, Chile, and Mexico, chaired by Dr. Carlos Zapata from Colombia. More than 80 people signed the initial declaration of the Chapter and nowadays the Chapter members are in charge of disseminating the Semat ideas in all Latin America. Chapter members have participated in various Latin American conferences, including the Latin American Conference on Informatics (CLEI), the Ibero American Software Engineering and Knowledge Engineering Journeys (JIISIC), the Colombian Computing Conference (CCC), and the Chilean Computing Meeting (ECC). The Chapter contributed in the submission sent in response to the OMG call for proposals and currently studies didactic strategies for teaching the Semat kernel by games, theoretical studies about some kernel elements, and practical representations of several software development and quality methods by using the Semat kernel. Some of the members also translated the Essence book and some other Semat materials and papers into Spanish. === Russia Chapter === Russian Chapter has about 20 members. A few universities have incorporated SEMAT in their training courses , including Moscow State University, Moscow Institute of Physics and Technology, Higher School of Economics, Moscow State University of Economics, Statistics, and Informatics. The chapter and some commercial companies are carrying out seminars about SEMAT. INCOSE Russian Chapter is working on an extension of SEMAT to systems engineering. EC-leasing is working on an extension of the Kernel for Software Life Cycle. Russian Chapter attended in two conferences: Actual Problems of System and Software Engineering and SECR with SEMAT section and articles. Translation of the Essence book into Russian is in progress. == Practical Applications of SEMAT == Ideas developed by the SEMAT community have been applied by both industry and ac

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  Scandiweb

  scandiweb is a web development, digital strategy, AI consultation & implementation agency specializing in the Magento (Adobe Commerce) platform. The company was established in 2003 in Latvia by Antons Sapriko. It has offices in the United States, Sweden, Latvia, and Georgia. scandiweb provides solutions for primarily eCommerce businesses and acts as a strategic partner for IT development focusing on web, mobile, and big data analysis. T == Partnerships == scandiweb is an official Adobe Gold Partner, with the largest team of Adobe Commerce-certified employees. The company holds the Google Premier Partner status for 2025, placing it among top 3% agencies globally. scandiweb is a BigCommerce Certified Partner and a Pimcore Platinum Partner. Since 2016, scandiweb has been collaborating with Oro, Inc., an open-source business application development firm. scandiweb is a Platinum Partner of Hyvä, working with the Magento 2 frontend theme to optimize performance metrics. The company is also a Sanity Agency Partner, assisting with content management through Sanity’s headless CMS.

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  New media

  New media are communication technologies that enable or enhance interaction between users, as well as interaction between users and content. In the middle of the 1990s, the phrase "new media" became widely used as part of a sales pitch for the influx of interactive CD-ROMs for entertainment and education. The new media technologies, sometimes known as Web 2.0, include a wide range of web-related communication tools such as blogs, wikis, online social networking, virtual worlds, and other social media platforms. The phrase "new media" refers to computational media that share material online and through computers. New media inspire new ways of thinking about older media. Media do not replace one another in a clear, linear succession, instead evolving in a more complicated network of interconnected feedback loops . What is different about new media is how they specifically refashion traditional media and how older media refashion themselves to meet the challenges of new media. Unless they contain technologies that enable digital generative or interactive processes, broadcast television programs, non-interactive news websites, feature films, magazines, and books are not considered to be new media. The term "new media" stands in contrast to old media, which dominated the media landscape as a form of mass media for many years. == History == In the 1950s, connections between computing and radical art began to grow stronger. It was not until the 1980s that Alan Kay and his co-workers at Xerox PARC began to give the computability of a personal computer to the individual, rather than have a big organization be in charge of this. In the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually, it makes sense that the Cold War and the design of the Web took place at exactly the same time. Writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period which is now famous declaration in Understanding Media: The Extensions of Man, that "the medium is the message" drew attention to the too often ignored influence media and technology themselves, rather than their "content," have on humans' experience of the world and on society broadly. Until the 1980s, media relied primarily upon print and analog broadcast models such as television and radio. The last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies such as the Internet and video games. However, these examples are only a small representation of new media. The use of digital computers has transformed the remaining 'old' media, as suggested by the advent of digital television and online publications. Even traditional media forms such as the printing press have been transformed through the application of technologies by using of image manipulation software like Adobe Photoshop and desktop publishing tools. Andrew L. Shapiro argues that the "emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources". W. Russell Neuman suggests that whilst the "new media" have technical capabilities to pull in one direction, economic and social forces pull back in the opposite direction. According to Neuman, "We are witnessing the evolution of a universal interconnected network of audio, video, and electronic text communications that will blur the distinction between interpersonal and mass communication; and between public and private communication". Neuman argues that new media will: Alter the meaning of geographic distance. Allow for a huge increase in the volume of communication. Provide the possibility of increasing the speed of communication. Provide opportunities for interactive communication. Allow forms of communication that were previously separate to overlap and interconnect. Consequently, it has been the contention of scholars such as Douglas Kellner and James Bohman that new media and particularly the Internet will provide the potential for a democratic postmodern public sphere, in which citizens can participate in well informed, non-hierarchical debate pertaining to their social structures. Contradicting these positive appraisals of the potential social impacts of new media are scholars such as Edward S. Herman and Robert McChesney who have suggested that the transition to new media has seen a handful of powerful transnational telecommunications corporations who achieve a level of global influence which was hitherto unimaginable. Scholars have highlighted both the positive and negative potential and actual implications of new media technologies, suggesting that some of the early work in new media studies was guilty of technologicaldeterminism – whereby the effects of media were determined by the technologies themselves, rather than by tracing the complex social networks that governed the development, funding, implementation, and future evolution of any technology. Based on the argument that people have a limited amount of time to spend on the consumption of different media, displacement theory argue that the viewership or readership of one particular outlet leads to the reduction in the amount of time spent by the individual on another. The introduction of new media, such as the internet, therefore reduces the amount of time individuals would spend on existing "old" media, which could ultimately lead to the end of such traditional media. == Definition == Although, there are several ways that new media may be described, Lev Manovich, in an introduction to The New Media Reader, defines new media by using eight propositions: New media versus cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas new media is concerned more with cultural objects and paradigms (digital to analog television, smartphones). New media as computer technology used as a distribution platform – New media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers. New media as digital data controlled by software – The language of new media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc. New media as the mix between existing cultural conventions and the conventions of software – New media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation. New media as the aesthetics that accompanies the early stage of every new modern media and communication technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period. New media as faster execution of algorithms previously executed manually or through other technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device. New media as the encoding of modernist avant-garde; new media as metamedia – Manovi

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  Digital backlot

  A digital backlot or virtual backlot is a motion-picture set that is neither a genuine location nor a constructed studio; the shooting takes place entirely on a stage with a blank background (often a greenscreen) that will later on project an artificial environment put in during post-production. Digital backlots are mainly used for genres such as science fiction, where building a real set would be too expensive or outright impossible. == Notable films == Among the first films to introduce the technique was Mini Moni the Movie by Shinji Higuchi in 2002, predated by Rest In Peace by Stolpskott Film (2000). Others include: === Released === Rest in Peace (Sweden, 2000) – Shot entirely with green-screen. Some sections fully CGI. Casshern (Japan, 2004) – Shot on celluloid. A few practical set pieces used. Able Edwards (United States, 2004) – Shot digitally on Canon XL1 cameras. Immortal (France, 2004) – Shot on celluloid. Also showed CGI characters interacting with live actors. Sky Captain and the World of Tomorrow (United States, 2004) – Shot digitally on Sony CineAlta cameras. Sin City (United States, 2005) – Shot digitally on CineAlta cameras. Three practical sets used. MirrorMask (United States/United Kingdom, 2005) – Shot on celluloid. 80% of film uses digital backlot. Some practical set pieces used. The Cabinet of Dr. Caligari (United States, 2005) – Shot digitally. 300 (United States, 2007) – Shot on celluloid. Two practical sets used. Speed Racer (United States, 2008) – Directed by the Wachowskis. Three practical sets used. The Spirit (United States, 2008) – Director Frank Miller shot the film with the same techniques he and Robert Rodriguez used on Sin City. Avatar (United States, 2009) – Directed by James Cameron. Two practical sets used. Goemon (Japan, 2009) – The second film from Casshern helmer Kazuaki Kiriya. Alice in Wonderland (United States, 2010) – Directed by Tim Burton. Practical sets used. Sin City: A Dame to Kill For (United States 2014) – Co-directed by Robert Rodriguez and Frank Miller. Sequel to Sin City. === Upcoming === Tribes of October

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  Traceability

  Traceability is the capability to trace something. In some cases, it is interpreted as the ability to verify the history, location, or application of an item by means of documented recorded identification. Other common definitions include the capability (and implementation) of keeping track of a given set or type of information to a given degree, or the ability to chronologically interrelate uniquely identifiable entities in a way that is verifiable. Traceability is applicable to measurement, supply chain, software development, healthcare and security. == Measurement == The term measurement traceability or metrological traceability is used to refer to an unbroken chain of comparisons relating an instrument's measurements to a known standard. Calibration to a traceable standard can be used to determine an instrument's bias, precision, and accuracy. It may also be used to show a chain of custody—from current interpretation of evidence to the actual evidence in a legal context, or history of handling of any information. In many countries, national standards for weights and measures are maintained by a National Metrological Institute (NMI) which provides the highest level of standards for the calibration / measurement traceability infrastructure in that country. Examples of government agencies include the National Physical Laboratory, UK (NPL) the National Institute of Standards and Technology (NIST) in the USA, the Physikalisch-Technische Bundesanstalt (PTB) in Germany, the Instituto Nazionale di Ricerca Metrologica (INRiM) in Italy, and the National Research Council of Canada (NRC). As defined by NIST, "Traceability of measurement requires the establishment of an unbroken chain of comparisons to stated references each with a stated uncertainty." A clock providing traceable time is traceable to a time standard such as Coordinated Universal Time or International Atomic Time. The Global Positioning System is a source of traceable time. === Food processing === In food processing (meat processing, fresh produce processing), the term traceability refers to the recording through means of barcodes or RFID tags and other tracking media, all movement of product and steps within the production process. One of the key reasons this is such a critical point is in instances where an issue of contamination arises, and a recall is required. Where traceability has been closely adhered to, it is possible to identify, by precise date/time and exact location which goods must be recalled, and which are safe, potentially saving millions of dollars in the recall process. Traceability within the food processing industry is also utilised to identify key high production and quality areas of a business, versus those of low return, and where points in the production process may be improved. In food processing software, traceability systems imply the use of a unique piece of data (e.g., order date/time or a serialized sequence number, generally through the use of a barcode / RFID) which can be traced through the entire production flow, linking all sections of the business, including suppliers and future sales through the supply chain. Messages and files at any point in the system can then be audited for correctness and completeness, using the traceability software to find the particular transaction and/or product within the supply chain. In food systems, ISO 22005, as part of the ISO 22000 family of standards, has been developed to define the principles for food traceability and specifies the basic requirements for the design and implementation of a feed and food traceability system. It can be applied by an organization operating at any step in the feed and food chain. The European Union's General Food Law came into force in 2002, making traceability compulsory for food and feed operators and requiring those businesses to implement traceability systems. The EU introduced its Trade Control and Expert System, or TRACES, in April 2004. The system provides a central database to track movement of animals within the EU and from third countries. Australia has its National Livestock Identification System to keep track of livestock from birth to slaughterhouse. India has started taking initiatives for setting up traceability systems at Government and Corporate levels. Grapenet, an initiative by Agriculture and Processed Food Products Export Development Authority (APEDA), Ministry of Commerce, Government of India is an example in this direction. GrapeNet is an internet based traceability software system for monitoring fresh grapes exported from India to the European Union. GrapeNet is a first of its kind initiative in India that has put in place an end-to-end system for monitoring pesticide residue, achieve product standardization and facilitate tracing back from pallets to the farm of the Indian grower, through the various stages of sampling, testing, certification and packing. Grapenet won the National Award (Gold), in the winners announced for the best e-Governance initiatives undertaken in India in 2007. The Directorate Generate Foreign Trade (DGFT), Government of India, through its notification dated 04.02.2009 relating to Amendment in Foreign Trade Policy (RE2008)has mandated that Export to the European Union is permitted subject to registration with APEDA, thereby making Grapenet mandatory for all exports of fresh grapes from India to Europe. Uruguay has also designed a system called "Traceability & Electronic Information System of the Beef Industry". Traceability in food supply can also refer to practices employed by individual companies, including Ritual and Amway's Nutrilite. In the case of Nutrilite's supplements, ingredients are documented and tested throughout farming, processing, and manufacturing to ensure traceability at each stage of production. == Systems and software development == In systems and software development, the term traceability (or requirements traceability) refers to the ability to link product requirements back to stakeholders' rationales and forward to corresponding design artifacts, code, and test cases. Traceability supports numerous software engineering activities such as change impact analysis, compliance verification or traceback of code, regression test selection, and requirements validation. It is usually accomplished in the form of a matrix created for the verification and validation of the project. Unfortunately, the practice of constructing and maintaining a requirements trace matrix (RTM) can be very arduous and over time the traces tend to erode into an inaccurate state unless date/time stamped. Alternate automated approaches for generating traces using information retrieval methods have been developed. The IEEE defines traceability as "(1)The degree to which a relationship can be established between two or more products of the development process, especially products having a predecessor, successor or master-subordinate relationship to one another. For example, the degree to which the requirements and design of a given software component match. See also: consistency. " and "(2) The degree to which each element in a software development product establishes its reason for existing; for example, the degree to which each element in a bubble chart references the requirement that it satisfies." In transaction processing software, traceability implies use of a unique piece of data (e.g., order date/time or a serialized sequence number) which can be traced through the entire software flow of all relevant application programs. Messages and files at any point in the system can then be audited for correctness and completeness, using the traceability key to find the particular transaction. This is also sometimes referred to as the transaction footprint. == Health care == Patient safety during healthcare service plays an important role in preventing delayed recovery or even mortality, by increasing and improving the quality of life of citizens, and is considered an indicator of the quality status of health services Maintaining patient safety is a complex task and involves factors inherent to the environment and human actions. New technologies facilitate the traceability tools of patients and medications. This is particularly relevant for drugs that are considered high risk and cost. Recent research in the healthcare industry emphasizes the significant impact of Blockchain Technology (BCT) on improving the performance of healthcare supply chain management. It highlights BCT's role in enhancing transparency, data immutability, and efficient management, leading to better cooperation among stakeholders and effective risk mitigation in healthcare services. The World Health Organization has recognized the importance of traceability for medical products of human origin (MPHO) and urged member states "to encourage the implementation of globally consistent coding systems to facilitate national and international traceability". == Security and cri

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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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  Cultural technology

  Cultural technology (Korean: 문화기술; Hanja: 文化技術; RR: munhwagisul) is a system used by South Korean talent agencies to promote K-pop culture throughout the world as part of the Korean Wave. The system was developed by Lee Soo-man, founder of talent agency and record company SM Entertainment. == History == === Coinage === During a speech at the Stanford Graduate School of Business in 2011, Lee said he coined the term "cultural technology" as a system about fourteen years prior, when S.M. Entertainment decided to promote its K-pop artists to all of Asia. In the late 1990s, Lee and his colleagues created a manual on cultural technology, which specified the steps needed to popularize K-pop artists outside South Korea. "The manual, which all S.M. employees are instructed to learn, explains when to bring in foreign composers, producers, and choreographers; what chord progressions to use in what country; the precise color of eyeshadow a performer should wear in a particular country; the exact hand gestures he or she should make; and the camera angles to be used in the videos (a three-hundred-and-sixty-degree group shot to open the video, followed by a montage of individual closeups)," according to The New Yorker. The term "cultural technology," apart from Lee's systemized definition, can be traced back to the lectures of Michael White, an Australian social worker, educator, and therapeutic theorist and his works Narrative Means to Therapeutic Ends (1990) and Maps of Narrative Practice (2007). Its usage may also date further back to French philosopher Michel Foucault (1977). South Korean computer scientist Kwangyun Wohn said he coined the term "culture technology" in 1994. Cultural technology has also been one of six technology initiatives of the South Korean government since 2001. In regards to cultural technology, the Korean Wave is considered one of the most successful outcomes of government support of exporting Korean entertainment products. === The Four Core Stages === The cultural technology system originally employed by SM Entertainment since the 1990s existed in four stages: Casting, Training, Producing, and Marketing/Managing. Each of these four stages were curated to help spread the Hallyu wave through the development of its artists, and are present in the strategies of many other South Korean talent agencies when creating, debuting, and marketing groups. ==== Casting ==== While the majority of K-pop idols are from South Korea, some are from Japan, China, or Thailand. Many of Korea's entertainment companies, such as SM's Global Auditions, Bighit's Hit It auditions, and YG's Next Generation, host worldwide auditions. Scouting and streetcasting are also common, with members like BTS's Jin recruited for their looks or other surface reasons. Sometimes, casting agents go to dance schools to recruit the top dancers to be trained further at the entertainment company. ==== Training ==== Idols train extensively before debut. They receive training in dance, vocal activities, presentation, and other areas that will benefit them in the industry. Oftentimes, this training will last for years at a time, and trainees are in the proverbial dungeon. Before debut, idols and groups attempt to gain fans through pre-debut activities. SM Entertainment has a system in place called SM Rookies, which is a pre-debut team that hosts concerts and releases videos that strengthen the fanbase of the group even before their first single is released. Other forms of pre-debut activities include featuring in other, more seasoned idols' videos—like Nu'est in Orange Caramel or Exo in Girls' Generation-TTS Twinkle or BTS in Jo Kwon. One particular method of pre-debut training is coupled with casting in production shows, like Sixteen and Produce 101, in which members for a final group are selected and trained. ==== Producing ==== The production of music is integral in culture technology. For cultural technology, production of music helps create differentiated content to set trends in the K-pop world—trends that vary from music to also costume, choreography, and music videos. SM in particular focuses heavily on the expansion globally. Some companies also outsource production to more internationally famed parties, like Cube Entertainment's partnership with Skrillex for 4minute's Act. 7. ==== Marketing/Managing ==== In the marketing and management stage, talent agencies seek to broaden their reach. Often, idols have potential for being actors and actresses in dramas, or perhaps hosts/permanent members of variety shows like Kim Hee-chul in Knowing Bros. This so-called omnidirectional marketing lineup ranges over lifestyle and seeks to reach many aspects of living, like music, TV, drama, entertainment, sports, and fashion. This is also where older groups find new life, like Super Junior. Companies are not complacent but experiment constantly to develop the best marketing for the best management system. Marketing also aspires to branch out to international audiences, sometimes via the implementation of variety shows. Despite being primarily in Korean, these variety shows are accessible to all due to the simplistic, easily understood nature of shows—game-oriented shows like Run BTS! or consistently subbed shows like Weekly Idol are popular in showing the fun-loving side of idols. == Evolution into New Culture Technology == In February 2016, SM hosted a press conference discussing the future of SM and its cultural technology. Lee Soo-man announced the implementation of New Culture Technology, an SM-specific system. While SM's cultural technology in the past relied on local, Korean artists like Rain and BoA, the updated model tries to embed more and more foreign singers from strategic markets into larger girl or boy bands. These imported singers are then used to promote their acts back in their respective home countries. New Culture Technology is five projects—SM Station, EDM, Digital Platforms, Rookies Entertainment, and MCN—and one experimental group, NCT. It is a convergence and expansion of SM's four core culture technologies developed and deals heavily with interaction and the desire to innovate through communication. === SM Station === SM announced their intention of creating a new song every week for 52 weeks. Through this constant output of music, they intend to stray away from conventional forms of music and show active movement in digital music market and physical album market through freely and continuously releasing music. Additionally, this SM Station will feature collaborations between artists, producers, composers, and company brands outside the SM label. The name of SM Station is both derived from the radio station and the metaphorical train station. === NCT === Neo Culture Technology (NCT) introduced the idea of "Interactive". SM company tried to connect the targeting market, customers and artist, in order to lead the K-pop culture. NCT (Neo Culture Technology) is the new artist group formed by SM that embodies the concepts of cultural technology. With the seemingly limitless combinations and groups, SM aspires to make the whole world a stage for NCT. Since 2023, there are six NCT groups, who debuted on the digital song sales: NCT U, NCT 127, NCT Dream, WayV, NCT DoJaeJung, and NCT Wish. As of October 2023, the group consists of 25 members: Johnny, Taeyong, Yuta, Kun, Doyoung, Ten, Jaehyun, Winwin, Jungwoo, Mark, Xiaojun, Hendery, Renjun, Jeno, Haechan, Jaemin, Yangyang, Chenle, Jisung, Sion, Riku, Yushi, Daeyoung, Ryo, and Sakuya. ScreaM Records ScreaM Records has been released by SM Entertainment as an EDM label since 2016 for "SM TOWN: New Culture Technology". ScreaM Records is made for "performances made to be enjoyed". It collaborates with inside and outside Korean well-known EDM DJs. ScreaM Records has first launched collaborated song "Wave" E-Mart's home electronics store, Electro Mart. "Our goal is to provide opportunities to producers who have yet to be discovered and produce world famous DJs from the Asian scene." a ScreaM Records representative said. == Three stages of globalization == According to Lee, there are three stages necessary to popularize Korean culture outside South Korea: exporting the product, collaborating with international companies to expand the product's presence abroad, and finally creating a joint venture with international companies. As part of their joint ventures with international companies, South Korean talent agencies may hire foreign composers, producers, and choreographers to ensure K-pop songs feel "local" to foreign countries.

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  DBOS

  DBOS (Formerly Database-Oriented Operating System, now just DBOS) is an open source durable workflow execution software library written for the Python, TypeScript, Java, and Go programming languages. DBOS arose from a joint open source project from MIT and Stanford, after a discussion between Michael Stonebraker and Matei Zaharia on how to scale and improve scheduling and performance of millions of Apache Spark tasks. Today it is a commercial company that offers an open source system to add durable computing to any software, built on concepts derived from the joint research project. == History == === 2020: Academic R&D Project === DBOS originated in 2020 as a joint open source project between MIT, Stanford, and Carnegie Mellon. The project explored the idea of operating system services built atop a distributed database - a database-oriented operating system meant to simplify and improve the scalability, security and resilience of large-scale distributed applications. The basic concept was to run a multi-node multi-core, transactional, highly-available distributed database, such as VoltDB, as the only application for a microkernel, and then to implement scheduling, messaging, file systems and other operating system services on top of the database. The architectural philosophy is described by this quote from the abstract of their initial preprint: All operating system state should be represented uniformly as database tables, and operations on this state should be made via queries from otherwise stateless tasks. This design makes it easy to scale and evolve the OS without whole-system refactoring, inspect and debug system state, upgrade components without downtime, manage decisions using machine learning, and implement sophisticated security features. A prototype was built with competitive performance to existing systems. ==

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  And–or tree

  An and–or tree is a graphical representation of the reduction of problems (or goals) to conjunctions and disjunctions of subproblems (or subgoals). == Example == The and–or tree: represents the search space for solving the problem P, using the goal-reduction methods: P if Q and R P if S Q if T Q if U == Definitions == Given an initial problem P0 and set of problem solving methods of the form: P if P1 and … and Pn the associated and–or tree is a set of labelled nodes such that: The root of the tree is a node labelled by P0. For every node N labelled by a problem or sub-problem P and for every method of the form P if P1 and ... and Pn, there exists a set of children nodes N1, ..., Nn of the node N, such that each node Ni is labelled by Pi. The nodes are conjoined by an arc, to distinguish them from children of N that might be associated with other methods. A node N, labelled by a problem P, is a success node if there is a method of the form P if nothing (i.e., P is a "fact"). The node is a failure node if there is no method for solving P. If all of the children of a node N, conjoined by the same arc, are success nodes, then the node N is also a success node. Otherwise the node is a failure node. == Search strategies == An and–or tree specifies only the search space for solving a problem. Different search strategies for searching the space are possible. These include searching the tree depth-first, breadth-first, or best-first using some measure of desirability of solutions. The search strategy can be sequential, searching or generating one node at a time, or parallel, searching or generating several nodes in parallel. == Relationship with logic programming == The methods used for generating and–or trees are propositional logic programs (without variables). In the case of logic programs containing variables, the solutions of conjoint sub-problems must be compatible. Subject to this complication, sequential and parallel search strategies for and–or trees provide a computational model for executing logic programs. == Relationship with two-player games == And–or trees can also be used to represent the search spaces for two-person games. The root node of such a tree represents the problem of one of the players winning the game, starting from the initial state of the game. Given a node N, labelled by the problem P of the player winning the game from a particular state of play, there exists a single set of conjoint children nodes, corresponding to all of the opponents responding moves. For each of these children nodes, there exists a set of non-conjoint children nodes, corresponding to all of the player's defending moves. For solving game trees with proof-number search family of algorithms, game trees are to be mapped to and–or trees. MAX-nodes (i.e. maximizing player to move) are represented as OR nodes, MIN-nodes map to AND nodes. The mapping is possible, when the search is done with only a binary goal, which usually is "player to move wins the game".

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  List of search appliance vendors

  A search appliance is a type of computer which is attached to a corporate network for the purpose of indexing the content shared across that network in a way that is similar to a web search engine. It may be made accessible through a public web interface or restricted to users of that network. A search appliance is usually made up of: a gathering component, a standardizing component, a data storage area, a search component, a user interface component, and a management interface component. == Vendors of search appliances == Fabasoft Google InfoLibrarian Search Appliance™ Maxxcat Searchdaimon Thunderstone == Former/defunct vendors of search appliances == Black Tulip Systems Google Search Appliance Index Engines Munax Perfect Search Appliance

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  Ambient awareness

  Ambient awareness (AmA) is a term used by social scientists to describe a form of peripheral social awareness through social media. This awareness is propagated from relatively constant contact with one's friends and colleagues via social networking platforms on the Internet. The term essentially defines the sort of omnipresent knowledge one experiences by being a regular user of these media outlets that allow a constant connection with one's social circle. According to Clive Thompson of The New York Times, ambient awareness is "very much like being physically near someone and picking up on mood through the little things; body language, sighs, stray comments". Academic Andreas Kaplan defines ambient awareness as "awareness created through regular and constant reception, and/or exchange of information fragments through social media". Two friends who regularly follow one another's digital information can already be aware of each other's lives without actually being physically present to have had a conversation. == Social == Socially speaking, ambient awareness and social media are products of the new generations who are being born or growing up in the digital age, starting circa 1998 and running to current times. Social media is personal media (what you're doing in the moment, how you feel, a picture of where you are) combined with social communication. Social media is the lattice work for ambient awareness. Without social media the state of ambient awareness cannot exist. Artificial Social Networking Intelligence (ASNI) refers to the application of artificial intelligence within social networking services and social media platforms. It encompasses various technologies and techniques used to automate, personalize, enhance, improve, and synchronize user's interactions and experiences within social networks. ASNI is expected to evolve rapidly, influencing how we interact online and shaping their digital experiences. Transparency, ethical considerations, media influence bias, and user control over data will be crucial to ensure responsible development and positive impact. A significant feature of social media is that it is created by those who also consume it. Mostly, those participating in this phenomenon are adolescents, college age, or young adult professionals. According to Dr. Mimi Ito, a cultural anthropologist and Professor in Residence at the University of California at Irvine, the mobile device is the greatest proxy device used to create and distribute Social Media. She reportedly states that "teenagers capture and produce their own media, and stay in constant ambient contact with each other..." using mobile devices. Usually while doing this they are consuming other forms of media such as music or video content via their smart phones, tablets, or other similar devices. Effectively this has led social scientists to believe that learning and multitasking will have a new face as the products of the digital generation enter the work force and begin to integrate their learning methods into the standard preexisting business models of today. Professors Kaplan and Haenlein see ambient awareness as one of the major reasons for the success of such microblogging sites as Twitter. == Origins == The earliest available technology that could be used for constant social contact is the cell phone. For the first time, people could be contacted readily and at will beyond the confines of their work or homes. Then later, with the additional service of texting, one can see the somewhat primitive form of the status update. Since the text message only allows for 160 characters to transmit pertinent information it paved the way for the status update as we know it today. The transition from only having a few points of regular long distance contact, to being constantly available via cell phone, is what primed society for social networking websites. Perhaps the first instance where these websites created the possibility of larger scale ambient awareness was when Facebook installed the news feed. The news feed automatically sends compiled information on all of a users contacts activities directly to them so that they can access all of the happenings in their world from one location. For the first time, becoming someone's Facebook friend was the equivalent of subscribing to a feed of their daily minutiae. Since this innovation, a new wave of micro-blogging services have emerged, such as Twitter or Tumblr. Although these services have often been criticized as containing seemingly meaningless snippets of information, when a follower gathers a certain amount of information, they begin to obtain an ambient understanding of who they are following. This has led to the mass usage of social media as not only a social tool but also as a marketing and business tool. == Uses in marketing == Websites such as Twitter, YouTube, Facebook, and Myspace, among many others, have been used by people in all forms of business to create a closer digital/ambient bond with their clientele base. This is most notably seen in the music industry where social media networking has become the mainstay of all advertising for independent and major artists. The effect of this type of ambient marketing is that the consumer begins to get a sense of the artist's life style and personality. In this way social media outlets and ambient awareness have managed to tighten the gap between consumers and producers in all areas of business. == Uses in business processes == As web-based collaboration tools and social project management suites proliferate, the addition of activity streams to those products help to create business context-specific ambient awareness, and produce a new class of products, such as social project management platforms.

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