Candid was a mobile app for anonymous discussions. It used machine learning to create personalized newsfeeds of opinions and real conversations, and also for moderation and filtering. Users posted under pseudonyms such as "HyperMantis", "SincereGiraffe", "GroundedTurtle" and "ExuberantRaptor", that are unique for each thread. Founder and CEO Bindu Reddy said that she needed "a place to express myself and engage in discussions where ideas can be debated on their own merits instead of being used to attack me as a person", which Candid tried to solve by redirecting off-topic comments to their appropriate groups, removing spam and flagging negative posts. They used natural language processing to identify hate speech, slander and threats, and removed them accordingly with human intervention. Candid software analyzed topics and tried to flag rumors and lies as such. Users could flag problematic posts and a team of ten contractors would review them individually. With time the system analyzed a user's interactions and give them labels, such as socializer, explorer, positive, influencer, hater, gossip, etc. In June 2017, Candid announced that it would be shut down because its parent company, Post Intelligence, was being acquired. The app was forecast to close on June 23, 2017, but didn't actually close until June 25, 2017.
YrWall
YrWall is a Digital Graffiti Wall developed by event company Luma, where designs are created on a large wall using a modified spray paint can. The can contains no paint, instead it has an IR light which is tracked by a computer vision system and the image immediately back-projected onto the wall. The inbuilt YrWall software has much of the functionality of a typical computer paint program, with a pop-out interface which enables users to change colour, spray width, opacity, work with stencils and use animated items such as swirls, stars, drips and splats. Recent additions to YrWall include options to email a JPEG of the completed design and create personalised stickers and T-shirts. == Dragons' Den == The inventor of YrWall, Tom Hogan, and his business partner, Tim Williams, appeared on Episode 4 of Series 8 of the BBC show Dragons' Den. Seeking investment in YrWall, the entrepreneurs were successful in gaining £50,000 for 40% of the YrWall parent company Lumacoustics from Dragons Deborah Meaden and Peter Jones. == World's Largest Interactive Graffiti Wall == In September 2009 YrWall was used to create the 'World's Largest Interactive Graffiti Wall' at the Bristol Festival, UK. Artists used the standard 3.5 m2 YrWall to produce artwork which was in turn projected live onto a 26m x 10m space on the side of the iconic Lloyds amphitheatre building.
No Thanks (app)
No Thanks is a Palestinian boycott-awareness mobile application developed by Palestinian software engineer Ahmed Bashbash, created to assist consumers in identifying and boycotting products associated with companies linked to Israel. Launched in 13 November 2023, the app gained significant attention amid the Gaza–Israel conflict. == History == No Thanks is a mobile application developed by Ahmed Bashbash, a Palestinian software engineer from Gaza residing in Hungary. The app was conceived in October 2023 following the death of Bashbash's brother in an Israeli airstrike on October 31, 2023. His sister had previously died in 2020 due to delayed medical treatment. The app was officially launched on November 13, 2023, and quickly gained traction, got over 100,000 downloads within its first month of release. On November 30, 2023, Google removed the app from its Play Store due to a violation of its content policies. The app's home page included a description: "Welcome to No Thanks, here you can see if the product in your hand supports killing children in Palestine or not," which was deemed to contravene Google's guidelines on hate speech and sensitive content. On December 3, 2023, following changes to the app's description, Google reinstated the app.
Vanish (computer science)
Vanish was a project to "give users control over the lifetime of personal data stored on the web." It was led by Roxana Geambasu at the University of Washington. The project proposed to allow a user to enter information to send across the internet, thereby relinquishing control of it. However, the user can include an "expiration date," after which the information is no longer usable by anyone who may have a copy of it, even the creator. The Vanish approach was found to be vulnerable to a Sybil attack and thus insecure by a team called Unvanish from the University of Texas, University of Michigan, and Princeton. == Theory == Vanish acts by automating the encryption of information entered by the user with an encryption key that is unknown to the user. Along with the information the user enters, the user also enters metadata concerning how long the information should remain available. The system then encrypts the information but does not store either the encryption key or the original information. Instead, it breaks up the decryption key into smaller components that are disseminated across distributed hash tables, or DHTs, via the Internet. The DHTs refresh information within their nodes on a set schedule unless configured to make the information persistent. The time delay entered by the user in the metadata controls how long the DHTs should allow the information to persist, but once that time period is over, the DHTs will reuse those nodes, making the information about the decryption stored irretrievable. As long as the decryption key may be reassembled from the DHTs, the information is retrievable. However, once the period entered by the user has lapsed, the information is no longer recoverable, as the user never possessed the decryption key. == Implementation == Vanish currently exists as a Firefox plug-in which allows a user to enter text into either a standard Gmail email or Facebook message and choose to send the message via Vanish. The message is then encrypted and sent via the normal networking pathways through the cloud to the recipient. The recipient must have the same Firefox plug-in to decrypt the message. The plugin accesses BitTorrent DHTs, which have 8-hour lifespans. This means the user may select an expiration date for the message in increments of 8 hours. After the expiration of the user-defined time span, the information in the DHT is overwritten, thereby eliminating the key. While both the user and recipient may have copies of the original encrypted message, the key used to turn it back into plain text is now gone. Although this particular instance of the data has become inaccessible, it's important to note that the information can always be saved by other means before expiration (copied or even via screen shots) and published again.
Tessellation (computer graphics)
In computer graphics, tessellation is the dividing of datasets of polygons (sometimes called vertex sets) presenting objects in a scene into suitable structures for rendering. Especially for real-time rendering, data is tessellated into triangles, for example in OpenGL 4.0 and Direct3D 11. == In graphics rendering == A key advantage of tessellation for realtime graphics is that it allows detail to be dynamically added and subtracted from a 3D polygon mesh and its silhouette edges based on control parameters (often camera distance). In previously leading realtime techniques such as parallax mapping and bump mapping, surface details could be simulated at the pixel level, but silhouette edge detail was fundamentally limited by the quality of the original dataset. In Direct3D 11 pipeline (a part of DirectX 11), the graphics primitive is the patch. The tessellator generates a triangle-based tessellation of the patch according to tessellation parameters such as the TessFactor, which controls the degree of fineness of the mesh. The tessellation, along with shaders such as a Phong shader, allows for producing smoother surfaces than would be generated by the original mesh. By offloading the tessellation process onto the GPU hardware, smoothing can be performed in real time. Tessellation can also be used for implementing subdivision surfaces, level of detail scaling and fine displacement mapping. OpenGL 4.0 uses a similar pipeline, where tessellation into triangles is controlled by the Tessellation Control Shader and a set of four tessellation parameters. == In computer-aided design == In computer-aided design the constructed design is represented by a boundary representation topological model, where analytical 3D surfaces and curves, limited to faces, edges, and vertices, constitute a continuous boundary of a 3D body. Arbitrary 3D bodies are often too complicated to analyze directly. So they are approximated (tessellated) with a mesh of small, easy-to-analyze pieces of 3D volume—usually either irregular tetrahedra, or irregular hexahedra. The mesh is used for finite element analysis. The mesh of a surface is usually generated per individual faces and edges (approximated to polylines) so that original limit vertices are included into mesh. To ensure that approximation of the original surface suits the needs of further processing, three basic parameters are usually defined for the surface mesh generator: The maximum allowed distance between the planar approximation polygon and the surface (known as "sag"). This parameter ensures that mesh is similar enough to the original analytical surface (or the polyline is similar to the original curve). The maximum allowed size of the approximation polygon (for triangulations it can be maximum allowed length of triangle sides). This parameter ensures enough detail for further analysis. The maximum allowed angle between two adjacent approximation polygons (on the same face). This parameter ensures that even very small humps or hollows that can have significant effect to analysis will not disappear in mesh. An algorithm generating a mesh is typically controlled by the above three and other parameters. Some types of computer analysis of a constructed design require an adaptive mesh refinement, which is a mesh made finer (using stronger parameters) in regions where the analysis needs more detail.
Straight-Through Quality
Straight-Through Quality (STQ) are approaches and outputs of test automation that have quality and deliver business benefit. STQ takes its name from the business concept of straight-through processing (STP). Also acting as a tool and enabler for STP. Traditional techniques for testing and delivery have often required a great deal of manual support and intervention. These approaches are subject to human error, cost of delay and lack of reuse. These also have the negative side-effect of being unable to deliver 'fail-fast' approaches, which have proven popular with Agile practitioners. Previous traditional approaches have been typically expensive where whole silo'ed departments are created within commercial companies to deliver Quality and Deployment alone. Thus STQ as an approach hopes to resolve this problem. == Examples == Tangible examples of STQ approaches in the software industry are present and often known as continuous integration (CI) and continuous delivery (CD). These combined can ensure that software delivery is integrated, automatically tested and ready for automatic delivery at any time. Together CI/CD can enable STQ which can be used as Business output terminology for business users who do not understand the technical complexities of CI/CD.
Digital curation
Digital curation is the selection, preservation, maintenance, collection, and archiving of digital assets. It is a process that establishes, maintains, and adds value to repositories of digital data for present and future use. The implementation of digital curation is often carried out by archivists, librarians, scientists, historians, and scholars to ensure users have access to reliable, high-quality resources. Enterprises are also starting to adopt digital curation as a means to improve the quality of information and data within their operational and strategic processes. A successful digital curation initiative will help to mitigate digital obsolescence, keeping the information accessible to users indefinitely. Digital curation includes various aspects, including digital asset management, data curation, digital preservation, and electronic records management. == Word History == Much like the word archive has layered meanings and uses, the word curation is both a noun and a verb, used originally in the field of museology to represent a wide range of activities, most often associated with collection care, long-term preservation, and exhibition design. Curation can be a reference to physical repositories that store cultural heritage or natural resource collections (e.g., a curatorial repository) or a representation of varied policies and processes involved with the long-term care and management of heritage collections, digital archives, and research data (e.g, curatorial/collections management plans, curation life-cycle, and data curation). Yet curation is also associated with short-term objectives and processes of selection and interpretation for the purposes of presentation, such as for gallery exhibitions and websites, which contribute to knowledge creation. It has also been applied to interaction with social media including compiling digital images, web links, and movie files. The term curation entered the legal framework through federal historic preservation laws, starting with the National Historic Preservation Act of 1966, and was further defined and coded into federal regulations through 36 CFR Part 79: Curation of Federally-owned and Administered Archaeological Collections. Curation has since permeated into an array of disciplines but remains closely tied to heritage and information management. == Core Principles and Activities == The term "digital curation" was first used in the e-science and biological science fields as a means of differentiating the additional suite of activities ordinarily employed by library and museum curators to add value to their collections and enable its reuse from the smaller subtask of simply preserving the data, a significantly more concise archival task. Additionally, the historical understanding of the term "curator" demands more than simple care of the collection. A curator is expected to command academic mastery of the subject matter as a requisite part of appraisal and selection of assets and any subsequent adding of value to the collection through application of metadata. === Principles === There are five commonly accepted principles that govern the occupation of digital curation: Manage the complete birth-to-retirement life cycle of the digital asset. Evaluate and cull assets for inclusion in the collection. Apply preservation methods to strengthen the asset’s integrity and reusability for future users. Act proactively throughout the asset life cycle to add value to both the digital asset and the collection. Facilitate the appropriate degree of access to users. === Methodology === The Digital Curation Center offers the following step-by-step life cycle procedures for putting the above principles into practice: Sequential Actions: Conceptualize: Consider what digital material you will be creating and develop storage options. Take into account websites, publications, email, among other types of digital output. Create: Produce digital material and attach all relevant metadata, typically the more metadata the more accessible the information. Appraise and select: Consult the mission statement of the institution or private collection and determine what digital data is relevant. There may also be legal guidelines in place that will guide the decision process for a particular collection. Ingest: Send digital material to the predetermined storage solution. This may be an archive, repository or other facility. Preservation action: Employ measures to maintain the integrity of the digital material. Store: Secure data within the predetermined storage facility. Access, use, and reuse: Determine the level of accessibility for the range of digital material created. Some material may be accessible only by password and other material may be freely accessible to the public. Routinely check that material is still accessible for the intended audience and that the material has not been compromised through multiple uses. Transform: If desirable or necessary the material may be transferred into a different digital format. Occasional Actions: Dispose: Discard any digital material that is not deemed necessary to the institution. Reappraise: Reevaluate material to ensure that is it still relevant and is true to its original form. Migrate: Migrate data to another format in order to protect data for using better in the future. == Related terms == The term "digital curation" is sometimes used interchangeably with terms such as "digital preservation" and "digital archiving." While digital preservation does focus a significant degree of energy on optimizing reusability, preservation remains a subtask to the concept of digital archiving, which is in turn a subtask of digital curation. For example, archiving is a part of curation, but so are subsequent tasks such as themed collection-building, which is not considered an archival task. Similarly, preservation is a part of archiving, as are the tasks of selection and appraisal that are not necessarily part of preservation. Data curation is another term that is often used interchangeably with digital curation, however common usage of the two terms differs. While "data" is a more all-encompassing term that can be used generally to indicate anything recorded in binary form, the term "data curation" is most common in scientific parlance and usually refers to accumulating and managing information relative to the process of research. Data-driven research of education request the role of information professional gradually develop tradition of digital service to data curation particularly at the management of digital research data. So, while documents and other discrete digital assets are technically a subset of the broader concept of data, in the context of scientific vernacular digital curation represents a broader purview of responsibilities than data curation due to its interest in preserving and adding value to digital assets of any kind. == Challenges == === Rate of creation of new data and data sets === The ever lowering cost and increasing prevalence of entirely new categories of technology has led to a quickly growing flow of new data sets. These come from well established sources such as business and government, but the trend is also driven by new styles of sensors becoming embedded in more areas of modern life. This is particularly true of consumers, whose production of digital assets is no longer relegated strictly to work. Consumers now create wider ranges of digital assets, including videos, photos, location data, purchases, and fitness tracking data, just to name a few, and share them in wider ranges of social platforms. Additionally, the advance of technology has introduced new ways of working with data. Some examples of this are international partnerships that leverage astronomical data to create "virtual observatories," and similar partnerships have also leveraged data resulting from research at the Large Hadron Collider at CERN and the database of protein structures at the Protein Data Bank. === Storage format evolution and obsolescence === By comparison, archiving of analog assets is notably passive in nature, often limited to simply ensuring a suitable storage environment. Digital preservation requires a more proactive approach. Today’s artifacts of cultural significance are notably transient in nature and prone to obsolescence when social trends or dependent technologies change. This rapid progression of technology occasionally makes it necessary to migrate digital asset holdings from one file format to another in order to mitigate the dangers of hardware and software obsolescence which would render the asset unusable. === Underestimation of human labor costs === Modern tools for program planning often underestimate the amount of human labor costs required for adequate digital curation of large collections. As a result cost-benefit assessments often paint an inaccurate picture of both the amount of work involved and the true cost to the institution for bot