Color moments are measures that characterise color distribution in an image in the same way that central moments uniquely describe a probability distribution. Color moments are mainly used for color indexing purposes as features in image retrieval applications in order to compare how similar two images are based on color. Usually one image is compared to a database of digital images with pre-computed features in order to find and retrieve a similar Image. Each comparison between images results in a similarity score, and the lower this score is the more identical the two images are supposed to be. == Overview == Color moments are scaling and rotation invariant. It is usually the case that only the first three color moments are used as features in image retrieval applications as most of the color distribution information is contained in the low-order moments. Since color moments encode both shape and color information they are a good feature to use under changing lighting conditions, but they cannot handle occlusion very successfully. Color moments can be computed for any color model. Three color moments are computed per channel (e.g. 9 moments if the color model is RGB and 12 moments if the color model is CMYK). Computing color moments is done in the same way as computing moments of a probability distribution. === Mean === The first color moment can be interpreted as the average color in the image, and it can be calculated by using the following formula E i = ∑ j = 1 N 1 N p i j {\displaystyle E_{i}=\textstyle \sum _{j=1}^{N}{\frac {1}{N}}p_{ij}} where N is the number of pixels in the image and p i j {\displaystyle p_{ij}} is the value of the j-th pixel of the image at the i-th color channel. === Standard Deviation === The second color moment is the standard deviation, which is obtained by taking the square root of the variance of the color distribution. σ i = ( 1 N ∑ j = 1 N ( p i j − E i ) 2 ) {\displaystyle \sigma _{i}={\sqrt {({\frac {1}{N}}\textstyle \sum _{j=1}^{N}(p_{ij}-E_{i})^{2})}}} where E i {\displaystyle E_{i}} is the mean value, or first color moment, for the i-th color channel of the image. === Skewness === The third color moment is the skewness. It measures how asymmetric the color distribution is, and thus it gives information about the shape of the color distribution. Skewness can be computed with the following formula: s i = ( 1 N ∑ j = 1 N ( p i j − E i ) 3 ) 3 σ i {\displaystyle s_{i}={\frac {\sqrt[{3}]{\left({\frac {1}{N}}\textstyle \sum _{j=1}^{N}(p_{ij}-E_{i})^{3}\right)}}{\sigma _{i}}}} === Kurtosis === Kurtosis is the fourth color moment, and, similarly to skewness, it provides information about the shape of the color distribution. More specifically, kurtosis is a measure of how extreme the tails are in comparison to the normal distribution. === Higher-order color moments === Higher-order color moments are usually not part of the color moments feature set in image retrieval tasks as they require more data in order to obtain a good estimate of their value, and also the lower-order moments generally provide enough information. == Applications == Color moments have significant applications in image retrieval. They can be used in order to compare how similar two images are. This is a relatively new approach to color indexing. The greatest advantage of using color moments comes from the fact that there is no need to store the complete color distribution. This greatly speeds up image retrieval since there are less features to compare. In addition, the first three color moments have the same units, which allows for comparison between them. === Color indexing === Color indexing is the main application of color moments. Images can be indexed, and the index will contain the computed color moments. Then, if someone has a particular image and wants to find similar images in the database, the color moments of the image of interest will also be computed. After that the following function will be used in order to compute a similarity score between the image of interest and all the images in the database: d m o m ( H , I ) = ∑ i = 1 r w i 1 | E i 1 − E i 2 | + w i 2 | σ i 1 − σ i 2 | + w i 3 | s i 1 − s i 2 | {\displaystyle d_{mom}(H,I)=\textstyle \sum _{i=1}^{r}w_{i1}|E_{i}^{1}-E_{i}^{2}|+w_{i2}|\sigma _{i}^{1}-\sigma _{i}^{2}|+w_{i3}|s_{i}^{1}-s_{i}^{2}|} where: H and I are the color distributions of the two images that are being compared i is the channel index and r is the total number of channels E i 1 {\displaystyle E_{i}^{1}} and E i 2 {\displaystyle E_{i}^{2}} are the first order moments computed for the image distributions. σ i 1 {\displaystyle \sigma _{i}^{1}} and σ i 2 {\displaystyle \sigma _{i}^{2}} are the second order moments computed for the image distributions. s_i^1 and s_i^2 are the third order moments computed for the image distributions. w i 1 {\displaystyle w_{i1}} , w i 2 {\displaystyle w_{i2}} , and w i 3 {\displaystyle w_{i3}} are weights, specified by the user, for each of the three color moments used. Finally, the images in the database will be ranked according to the computed similarity score with the image of interest, and the database images with the lowest d m o m ( H , I ) {\displaystyle d_{mom}(H,I)} value should be retrieved. "A retrieval based on d m o m ( H , I ) {\displaystyle d_{mom}(H,I)} may produce false positives because the index contains no information about the correlation between the color channels". == Example == A simple and concise example of the use of color moments for image retrieval tasks is illustrated in. Consider having several test images in a database and a "New Image". The goal is to retrieve images from the database that are similar to the "New Image". The first three color moments are used as features. There are several steps in this computation. Image preprocessing (Optional) - The image preprocessing step of the computation process is optional. For example, in this step all images could be modified to be the same size (in terms of pixels). However, since color moments are invariant to scaling, it is not necessary to make all images the same width and height. Computing the features - Use the color moments formulae in order to compute the first three moments for each of the color channels in the image. For example, if the HSV color space is used, this means that for each of the images, 9 features in total will be computed (the first three order moments for the Hue, Saturation, and Value channels). Calculating the similarity score - After computing the color moments the weights for each of the moments in the d m o m ( H , I ) {\displaystyle d_{mom}(H,I)} function should be determined by the user. The weights have to be adjusted each time in accordance with the application or condition and quality of the images. Following that the d m o m ( H , I ) {\displaystyle d_{mom}(H,I)} function is used to calculate a similarity score for the "New Image" and each of the images in the database. Ranking and image retrieval - From the previous step the d m o m ( H , I ) {\displaystyle d_{mom}(H,I)} values were obtained. Now a comparison of these values can be made in order to decide which of the images in the database are more similar to the "New Image", and thus rank the database images accordingly. The smaller the d m o m ( H , I ) {\displaystyle d_{mom}(H,I)} value is the more similar the two color distributions are supposed to be. Finally, some of the top ranked images (the ones with the smallest d m o m ( H , I ) {\displaystyle d_{mom}(H,I)} value) from the database are retrieved.
FIRST Global Challenge
The FIRST Global Challenge is a yearly robotics competition organized by the International First Committee Association. It promotes STEM education and careers for youth and was created by Dean Kamen in 2016 as an expansion of FIRST, an organization with similar objectives. == History == FIRST Global is a trade name for the International First Committee Association, a nonprofit corporation based in Manchester, New Hampshire, with a 501(c)(3) designation from the IRS. The nonprofit was founded by the co-founder of FIRST, Dean Kamen, with the objective of promoting STEM education and careers in the developing world through Olympics-style robotics competitions. Former US Congressman, Joe Sestak was the organization's president in 2017, but left after the 2017 Challenge. Each year, the FIRST Global Challenge is held in a different city. For example, Mexico City was selected to host the 2018 Challenge after the United States hosted the 2017 edition in Washington, DC. This is a change from FIRST's system of championships, where one city hosts for several years at a time. In May 2020, it was announced that FIRST Global would not host a traditional challenge in 2020 due to the COVID-19 pandemic and shifted to a remote model. One of the three champions were Team Bangladesh. In 2022, FIRST Global returned to in-person events with the 2022 Challenge in Geneva, Switzerland. == Editions == === Washington, D.C. 2017 === The 2017 FIRST Global Challenge was held in Washington, D.C., from July 16–18, and the challenge was the use of robots to separate different colored balls, representing clean water and impurities in water, symbolizing the Engineering Grand Challenge (based on the Millennium Development Goal) of improving access to clean water in the developing world. Around 160 teams composed of 15- to 18-year-olds from 157 countries participated, and around 60% of teams were created or led by young women. Six continental teams also participated. === Mexico City 2018 === The 2018 FIRST Global Challenge was held in Mexico City from August 15–18. The 2018 Challenge was called Energy Impact and explored the impact of various types of energy on the world and how they can be made more sustainable. In the challenge, robots worked together in teams of three to give cubes to human players, turn a crank, and score cubes in goals in order to generate electrical power. The challenge was based on three Engineering Grand Challenges; making solar energy affordable, making fusion energy a reality, and creating carbon sequestration methods. === Dubai 2019 === The 2019 challenge, called Ocean Opportunities, was held in Dubai from October 24–27 and was the first challenge hosted outside of North America. The challenge was themed around clearing the ocean of pollutants, and had two alliances of three teams each attempting to score large and small balls representing pollutants into processing areas and a processing barge. The processing barge had multiple levels, with higher levels worth more points. At the end of the match, robots "docked" with the barge by driving onto or climbing up it, with climbing worth more points. The event was opened by Sheikh Hamdan bin Mohammed Al Maktoum, Crown Prince of Dubai. === Geneva 2022 === The 2022 challenge called Carbon Capture, was held in Geneva from October 13–16. The challenge was themed around removing carbon dioxide (CO2) emissions from the atmosphere. In the Carbon Capture game, six different countries worked together to capture and store black balls representing carbon particles. The storage tower had multiple cantilevered bars that the robots mounted to, with the higher bars worth a greater multiplier. At the end of a match, robots "docked" on the storage tower's base or climbed the bars with their alliance indicator ball. Each match started with a "global alliance" of six countries, then divided into two "regional alliances" each consisting of three countries. The event was opened by Dr. Martina Hirayama, Switzerland State Secretary for Education, Research and Innovation (SERI). === Singapore 2023 === The 2023 challenge, called Hydrogen Horizons, was held in Singapore from October 7–10. The challenge is themed around renewable energy with a focus on hydrogen technologies. === Athens 2024 === The 2024 challenge was hosted in the Peace and Friendship Stadium in Attica, Greece. === Panama 2025 === The 2025 challenge, Eco Equilibrium, was hosted in the Panama Convention Centre in Panama City, Panama. == Subordinate programs == === Global STEM Corps === The Global STEM Corps is a FIRST Global initiative that connects qualified volunteer mentors with students in developing countries to prepare them for competitions. === New Technology Experience === The New Technology Experience (NTE) is an annual component of the FIRST Global Challenge that was added to the organization's offerings in 2021. It was established as a means for the student community to stay current with cutting-edge technology and is integrated with each year's theme. The 2021 NTE was the CubeSat Prototype Challenge. The 2022 NTE, Carbon Countermeasures, was presented in partnership with XPRIZE.
OpenWebRTC
OpenWebRTC (OWR) is a free software stack that implements the WebRTC standard, a set of protocols and application programming interfaces defined by the World Wide Web Consortium (W3C) and the Internet Engineering Task Force (IETF). It is an alternative to the reference implementation that is based on software from Global IP Solutions (GIPS). It is published under the terms of the Simplified (2-clause) BSD license and officially supports iOS, Linux, OS X, and Android operating systems. It is meant to also work outside web browsers, e.g. to power native mobile apps. It is mostly written in C and based largely on the multimedia framework GStreamer and a number of other, smaller external libraries. It officially supports both VP8 and H.264 as video formats. For H.264 it uses OpenH264 to which Cisco pays the patent licensing bills. Development of OpenWebRTC started at Ericsson Research under the lead of Stefan Ålund. They released it as free software in September 2014, together with the proof-of-concept web browser "Bowser" that is based on the stack. Among other things, this initial version didn't support data channels yet and was said to still be less mature than Google's reference implementation.
Digital Cinema Package
A Digital Cinema Package (DCP) is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams. The term was popularized by Digital Cinema Initiatives, LLC in its original recommendation for packaging DC contents. However, the industry tends to apply the term to the structure more formally known as the composition. A DCP is a container format for compositions, a hierarchical file structure that represents a title version. The DCP may carry a partial composition (e.g. not a complete set of files), a single complete composition, or multiple and complete compositions. The composition consists of a Composition Playlist (in XML format) that defines the playback sequence of a set of Track Files. Track Files carry the essence (audio, image, subtitles), which is wrapped using Material eXchange Format (MXF). Track Files must contain only one essence type. Two track files at a minimum must be present in every composition (see SMPTE ST429-2 D-Cinema Packaging – DCP Constraints, or Cinepedia): a track file carrying picture essence, and a track file carrying audio essence. The composition, consisting of a Composition Playlist (CPL) and associated track files, are distributed as a Digital Cinema Package (DCP). A composition is a complete representation of a title version, while the DCP need not carry a full composition. However, as already noted, it is commonplace in the industry to discuss the title in terms of a DCP, as that is the deliverable to the cinema. The Picture Track File essence is compressed using JPEG 2000 and the Audio Track File carries a 24-bit linear PCM uncompressed multichannel WAV file. Encryption may optionally be applied to the essence of a track file to protect it from unauthorized use. The encryption used is AES 128-bit in CBC mode. In practice, there are two versions of composition in use. The original version is called Interop DCP. In 2009, a specification was published by SMPTE (SMPTE ST 429-2 Digital Cinema Packaging – DCP Constraints) for what is commonly referred to as SMPTE DCP. SMPTE DCP is similar but not backwards compatible with Interop DCP, resulting in an uphill effort to transition the industry from Interop DCP to SMPTE DCP. SMPTE DCP requires significant constraints to ensure success in the field, as shown by ISDCF. While legacy support for Interop DCP is necessary for commercial products, new productions are encouraged to be distributed in SMPTE DCP. == Technical specifications == The DCP root folder (in the storage medium) contains a number of files, some used to store the image and audio contents, and some other used to organize and manage the whole playlist. === Picture MXF files === Picture contents may be stored in one or more reels corresponding to one or more MXF files. Each reel contains pictures as MPEG-2 or JPEG 2000 essence, depending on the adopted codec. MPEG-2 is no longer compliant with the DCI specification. JPEG 2000 is the only accepted compression format. Supported frame rates are: SMPTE (JPEG 2000) 24, 25, 30, 48, 50, and 60 fps @ 2K 24, 25, and 30 fps @ 4K 24 and 48 fps @ 2K stereoscopic MXF Interop (JPEG 2000) – Deprecated 24 and 48 fps @ 2K (MXF Interop can be encoded at 25 frame/s but support is not guaranteed) 24 fps @ 4K 24 fps @ 2K stereoscopic MXF Interop (MPEG-2) – Deprecated 23.976 and 24 fps @ 1920 × 1080 Maximum frame sizes are 2048 × 1080 for 2K DC, and 4096 × 2160 for 4K DC. Common formats are: SMPTE (JPEG 2000) Flat (1998 × 1080 or 3996 × 2160), = 1.85:1 aspect ratio Scope (2048 × 858 or 4096 × 1716), ~2.39:1 aspect ratio HDTV (1920 × 1080 or 3840 × 2160), 16:9 aspect ratio (~1.78:1) (although not specifically defined in the DCI specification, this resolution is DCI compliant per section 8.4.3.2). Full (2048 × 1080 or 4096 × 2160) (~1.9:1 aspect ratio, official name by DCI is Full Container. Not widely accepted in cinemas.) MXF Interop (MPEG-2) – Deprecated Full Frame (1920 × 1080) 12 bits per component precision (36 bits total per pixel) XYZ' colorspace; the prime mark indicates gamma encoding (gamma=2.6) Maximum bit rate is 250 Mbit/s (1.3 MBytes per frame at 24 frame per second) === Sound MXF files === Sound contents are also stored in reels corresponding to picture reels in number and duration. In case of multilingual features, separate reels are required to convey different languages. Each file contains linear PCM essence. Sampling rate is 48,000 or 96,000 samples per second Sample precision of 24 bits Linear mapping (no companding) Up to 16 independent channels === Asset map file === List of all files included in the DCP, in XML format. === Composition playlist file === Defines the playback order during presentation. The order is saved in XML format in this file; each picture and sound reel is identified by its UUID. In the following example, a reel is composed by picture and sound: === Packing list file or package key list (PKL) === All files in the composition are hashed and their hash is stored here, in XML format. This file is generally used during ingestion in a digital cinema server to verify if data have been corrupted or tampered with in some way. For example, an MXF picture reel is identified by the following
Mike Little
Mike Little (born 12 May 1962) is an English web developer and writer. He is the co-founder of the free and open source web publishing software WordPress. == Biography == Mike Little was born in Manchester, England in 1962 to a Nigerian father, who was a mathematics lecturer and musician, and an English mother who worked as a primary school teacher. Little was placed into foster care when he was four months of age, and was later adopted by the same family. He grew up on a council estate in Brinnington, Stockport, and was educated at Stockport School. In 2003, Little and Matt Mullenweg started working on a project in which they built on b2/cafelog and later named it WordPress, releasing the first version on 27 May 2003. Little states that, despite not being invited to join his co-founder's for-profit business Automattic, he and Mullenweg remain on good terms. He clarified: "I don’t want it to sound like he cheated me out of something or ripped me off in some way. He didn’t." In June 2013, Little was awarded the SAScon's "Outstanding Contribution to Digital" award for his part in co-founding and developing WordPress. Little has been described as "modest" and living in "virtual anonymity". He has one daughter. He identifies as a follower of Stoicism and a humanist, and in 2021, he became a patron of charity Humanists UK.
Neurocomputing (journal)
Neurocomputing is a peer-reviewed scientific journal covering research on artificial intelligence, machine learning, and neural computation. It was established in 1989 and is published by Elsevier. The editor-in-chief is Zidong Wang (Brunel University London). Independent scientometric studies noted that despite being one of the most productive journals in the field, it has kept its reputation across the years intact and plays an important role in leading the research in the area. The journal is abstracted and indexed in Scopus and Science Citation Index Expanded. According to the Journal Citation Reports, its 2023 impact factor is 5.5.
Digital studio
A digital studio provides both a technology-equipped space and technological/rhetorical support to students (commonly at a university) working individually or in groups on a variety of digital projects, such as designing a website, developing an electronic portfolio for a class, creating a blog, making edits, selecting images for a visual essay, or writing a script for a podcast. == History/theory == === Overview === Digital Studios are places with different names but similar objectives. They have risen in response to the need for resources dedicated to improving students' interactions with digital technologies for rhetorical ends. Digital Studios have often been theoretically and administratively linked to writing centers, which are sites where students can seek assistance with their text-based projects. The academic term that has been used for this kind of site (i.e. a writing center with a focus on digital and new media) is multiliteracy center. Besides having a multimodal focus, Digital Studios also make a departure from writing center model in allowing students the freedom to work in the Studio without one-on-one interaction with a writing tutor. === The rise of technology === ==== Computer literacy in popular culture ==== As early as 1983, computer literacy was being hailed in The New York Times as the "new goal in schools." As computer technology became more ubiquitous, and the World Wide Web became more popular and accessible, and as the teaching of computer skills became official US policy with the enactment of the "Technology Literacy Challenge" by the Clinton Administration in 1996, educators across disciplines began to investigate with renewed vigor the role of computer technology in curriculum as both a means and an end. ==== Scholarly interest in 'multiliteracies' ==== The same year that President Clinton initiated the "Technology Literacy Challenge", the New London Group (NLG) issued a call for scholars of literacy pedagogy to account for the burgeoning variety of text forms associated with information and multimedia technologies. This includes understanding and competent control of representational forms that are becoming increasingly significant in the overall communications environment, such as visual images and their relationship to the written word – for instance, visual design in desktop publishing or the interface of visual and linguistic meaning in multimedia. This account for new text forms, combined with a similar account for "increasingly globalized societies," is called 'multiliteracies' by the NLG. ==== Technological literacy in rhetoric and composition ==== Two years later, during the 1998 CCCC Chair's Address, Cynthia Selfe (who founded the peer-reviewed journal Computers and Composition in 1983) addressed professionals in the field of Rhetoric and Composition with an objective similar to that of the NLG, arguing that as a field, composition scholars had "paid technology issues precious little focused attention over the years." She called this lack of attention "dangerously shortsighted." What was needed, Selfe claimed, was for teachers to "pay attention" to "how technology is now inextricably linked with literacy and literacy education in this country." In a way, Selfe's call marked the beginning of a new scholarly interest in what Selfe called "critical technological literacy": Composition teachers, language arts teachers, and other literacy specialists need to recognize that the relevance of technology in the English studies disciplines is not simply a matter of helping students work effectively with communication software and hardware, but, rather, also a matter of helping them to understand and to be able to assess – to pay attention to – the social, economic, and pedagogical implications of new communication technologies and technological initiatives that affect their lives. Scholars who took up this call included Barbara Blakely Duffelmeyer, who conducted studies involving the incorporation of "critical computer literacy" (an adaptation of Selfe's term) into first-year composition. ==== Communications across media, inside and outside school ==== The years following Selfe's address saw more rapid advancements in mobile technologies, social media, and Web 2.0, creating even more new venues of composing for teachers to pay attention to. In her own CCCC Chair's Address in 2004, Kathleen Blake Yancey cited these new venues in her argument as a "new curriculum for the 21st century," one that would bring "together the writing outside of school and that of inside." Such a curriculum, she said: is located in a new vocabulary, a new set of practices, and a new set of outcomes; it will focus our research in new and provocative ways; it has as its goal the creation of thoughtful, informed, technologically adept writing publics. A professor at Clemson at the time of her speech, Yancey also argued for the creation of an undergraduate major in composition and rhetoric. She soon moved to Florida State University, where she helped to establish a new major in line with the one she argued for at CCCC called Editing, Writing, and Media (EWM). As teachers and administrators across the country looked to incorporate more digital technology into their curriculum, the need for spaces for digital composition and for support with the innumerable digital composing platforms became apparent. A Digital Studio is one such space. === Link with writing centers === With the need for support for students who would engage with digital writing and multimedia projects, professionals involved with work in writing centers began to draw comparisons between their traditional work — assisting students with alphabetic texts on the page — and a new kind of work: assisting students with their multimedia projects on the screen. John Trimbur predicted in 2000: My guess is that writing centers will more and more define themselves as multiliteracy centers. Many are already doing so – tutoring oral presentations, adding online tutorials, offering workshops in evaluating web sources, and being more conscious of document design. To my mind, new digital literacies will increasingly be incorporated into writing centers not just as sources of information or delivery systems for tutoring but as productive arts in their own right, and writing center work will, if anything, become more rhetorical in paying attention to the practices and effects of design in written and visual communication — more product-oriented and perhaps less like the composing conferences of the process movement. Later, just months before Yancey delivered her CCCC Chair's Address, Michael Pemberton, writing in the Writing Center Journal, asked: As we enter an era when electronic publishing and computer-mediated discourse are the norm, an era when new literary genres and new forms of communication emerge on, seemingly, a weekly basis, we must ask ourselves whether writing centers should continue to dwell exclusively in the linear, non-linked world of the printed page or whether they should plan to redefine themselves – and retrain themselves – to take residence in the emerging world of multimedia, hyperlinked, digital documents. To put it plainly, should we be preparing tutors to conference with students about hypertexts? Pemberton also surveyed (by his account) the forty-year history of how "writing centers [have] viewed new technologies," observing that "the relationship between writing centers and computer technology has been, overall, only a cordial one." Pemberton's article is evidence of the continuing discussion among writing center professionals about the need for support for students' digital creations, support which they saw as analogous to work in writing centers. In 2010, a collection edited by David Sheridan and James Inman, Multiliteracy Centers: Writing Center Work, New Media, and Multimodal Rhetoric, was published. Many of the chapters therein cite the above Trimbur and Pemberton quotes as they work to explain the exigence for the collection, the instances in which multiliteracy centers have been established (the founding of the Clemson Class of 1941 Studio for Student Communication is the subject of two chapters), and both theoretical and practical analyses of potential futures of such work. === 'Studio' vs. 'Center:' A break from the model === The conflation of digital studios and writing centers into multiliteracy centers is helpful in some respects, for example, administratively the two may be managed in similar ways and staffed by the same people. In other respects, it has been said that it is better to separate them into two distinct kinds of facilities. The very choice of naming a "writing center" or "digital studio" by either (or another) title, for instance, ought (according to some) to be informed by what kinds of student-activities are expected to take place there. A writing center is a place for individual students to seek help from individual writing