Minion is a solver for satisfaction problems. Unlike constraint programming toolkits, which expect users to write programs in a traditional programming language like C++, Java or Prolog, Minion takes a text file which specifies the problem, and solves using only this. This makes using Minion much simpler, at the cost of much less customization. Minion has been shown to be faster than major commercial constraint solvers including CPLEX (formerly IBM ILOG). == Overview == Minion was introduced in 2006 by researchers at the University of St Andrews as a “fast, scalable” solver for large and hard CSP instances. The project provides a compact input language and a low-overhead C++ implementation aimed at throughput and memory efficiency. == Design and features == Minion implements a range of variable and constraint types commonly used in CSP modelling, plus search heuristics and optimisation support. The solver architecture prioritises cache-friendly data structures and specialised propagators. Notably, the developers adapted watched literal techniques from SAT solving to speed up constraint propagation for, among others, Boolean sums, the element global constraint, and table constraints. The modelling approach relies on a plain-text format (parsed by Minion) rather than embedding models into a host programming language. This reduces overhead and supports rapid “model-and-run” experimentation for large benchmark sets. == Performance == In the original evaluation on standard benchmarks, the authors reported that Minion often ran between one and two orders of magnitude faster than state-of-the-art toolkits of the time (including ILOG Solver and Gecode) on large, hard instances, with smaller gains—or slowdowns—on easier problems. Subsequent research has used Minion as a baseline solver in empirical studies and test generation tasks, reflecting its adoption within parts of the constraint programming community. == Applications == Minion has been applied in academic work on combinatorial search, scheduling and test generation, and is available to other environments via wrappers (for example, from the R language).
Conduit (company)
Conduit Ltd. is an international software company. From its founding in 2005 to 2013, its most well-known product was the Conduit toolbar, which was widely-described as malware. In 2013, it spun off its toolbar business; today, its main product is a mobile development platform that allows users to create native and web mobile applications for smartphones. == Products == From 2005 to 2013, the company's most well-known product was the Conduit toolbar, which is flagged by most antivirus software as potentially unwanted and adware. Conduit's toolbar software is often downloaded by malware packages from other publishers. The company spun off the toolbar division that manages the Conduit toolbar in 2013. Today, the company's main product is a mobile development platform that allows users to create native and web mobile applications for smartphones. App creation for its App Gallery is free, but it charges a monthly subscription fee to place apps on the App Store or Google Play. == History == Conduit was founded in 2005 by Shilo, Dror Erez, and Gaby Bilcyzk. Between years 2005 and 2013, it ran a successful but controversial toolbar platform business. Conduit was part of the so-called Download Valley companies monetizing free software and downloads by bundling adware. The toolbars were criticized by some as being very difficult to uninstall. The toolbar software was referred to as a "potentially unwanted program" by some in the computer industry because it could be used to change browser settings. The company had more than 400 employees in 2013. In September same year, Conduit spun off its entire website toolbar business division, which combined with Perion Network. After the deal, Conduit shareholders owned 81% of Perion's existing shares and both Perion and Conduit remained independent companies. The substantial size of the Conduit user base allowed Perion to immediately surpass AOL in U.S. searches. In 2015, Conduit announced it would purchase Keeprz, a mobile customer loyalty platform, for $45 million.
Battleboarding
Battleboarding, also known as versus debating and "who would win" debating, is an activity that involves discussing and debating around hypothetical fights between individuals; most popularly, fictional characters. These debates are often held in forums, blogs, sites and wikis, known as versus sites or battle boards. Netizens who engage in battleboarding online are often called "battleboarders". The earliest iterations of battleboarding first appeared in various online boards and forums, though its origins can be traced back to magazines, television shows, and comic book letter columns. Eventually, the online activity grew, becoming one of the most popular internet activities today, and spawning many online communities dedicated solely for battleboarding. It soon evolved into its own subculture, and even went on to inspire other media. == History == === Origins === Before the advent of the internet, articles about hypothetical fights were published in magazines. These articles range from topics like sports, comics and anime, such as Black Belt Magazine issue May 1997 which discussed about a hypothetical match between Muhammad Ali and Bruce Lee, and Wizard Magazine #133 which discussed about various hypothetical fights between American comic characters against Japanese anime characters. During that time, many comic book publishers also conceptualized and published "versus" storylines like Batman Versus Predator and Justice League/Avengers. Many films also capitalized on the concept of characters from different franchises fighting each other, such as Frankenstein Meets the Wolf Man (1934), King Kong vs. Godzilla (1962), Freddy vs Jason (2003), and Alien vs. Predator (2004). Another inspiration behind battleboarding were television shows and documentaries whose premise involved hypothetical fights concerning a variety of subjects like zoology, paleontology, and military history. These include shows such as Animal Face-Off (which pitted animals against each other), Deadliest Warrior (which pitted historical warriors, oftentimes from different time periods, against each other), and Jurassic Fight Club (which was about analyzing cases where different types of dinosaurs fought one another). Death Battle, a web series about pitting characters against each other that began in 2010, is a similar show that soon inspired many battleboarding communities and fandoms. Death Battle, as with many other battleboarding series and websites before it, utilised "calcs", which are mathematical equations that try to calculate how strong a character or weapon is. Other popular web series about the subject include Super Power Beat Down and Grudge Match. === Forums and sites === Many internet forums about movies, comics, anime, and video games often held discussions about hypothetical fights between characters from these media. These discussions would be the first iteration of online battleboarding. A notable early battleboarding website was stardestroyer.net (founded 1998), created by Michael Wong. The website focuses in large part on match-ups between the Star Wars and Star Trek franchises, and also includes a forum covering this as well as other more general battleboarding topics, usually related to science fiction and space opera. In addition to the forums, several webpages written by the administrators and contributors were embedded on the site. These attempted to mathematically quantify the capabilities of Star Wars technology and prove their superiority to their Star Trek equivalents, such as Wong's "Star Wars vs Star Trek: Technology Overview" and Brian Young's "Turbolaser Commentaries." stardestroyer.net had a notable impact on early battleboarding culture and also influenced official products. Curtis Saxton, author of several officially-licensed Star Wars technical reference books, thanked Wong, Young, and several other stardestroyer.net contributors by name in the acknowledgements section of Star Wars: Attack of the Clones Incredible Cross-Sections (2002), referring to them as "prominent among the hundreds of people contributing to constructive debates about Star Wars technicalities over the years, resulting in the consensus of conceptual and physical foundations applied in these pages." Saxton's books in the Incredible Cross-Sections series contain specific numbers about the capabilities of Star Wars ships original to these publications and not used in any other official sources. In an interview conducted by TheForce.Net, Saxton claimed to have been offered the job of writing reference books by a DK employee familiar with his "Star Wars Technical Commentaries" webpage (1995–2001), where Saxton attempted to calculate the firepower, speed, and durability of Star Wars spaceships using his background as an astrophysics student. One of the oldest and longest-running battleboarding forum is Comic Vine's "battle forum", whose first post was in 2007. Comic Vine also has one of the largest impacts on battleboarding, creating many common rules and terminologies such as "bloodlusted", "morals are off", "speed equalized", and many others. Another long-running battle forum is a subreddit called r/whowouldwin, where redditors can post and debate fights about real or fictional individuals. Verdicts of these match-ups are often chosen by using evidences of a character's power, weakness, or feat, such as movie clips, comic book panel scans, and excerpts from related literature; all of which are posted and categorized in a separate subreddit called r/respectthreads. Other influential battle forums include Fanverse, where users can post their own calcs about a character's power level. The popularity of battle forums inspired the creation of websites dedicated only for battleboarding. These include The Outskirts Battle Dome, a website that popularized the use of "power levels" in battleboarding; the aforementioned stardestroyer.net; and Space Battles, a website whose forums and threads are filled with posts about hypothetical fights between characters as well as other related topics. Another influential battleboarding site is the now defunct Fact Pile, and its sister site, FactPileTopia. Fact Pile is one of the first battleboarding site that actually listed down and documented winners of their match-ups. The site closed down in 2016 along with its forum, wikia, and YouTube channel. Besides these, blogs about battleboarding were also created, such as dreager1.com. === Wikis === Nowadays, the most popular battleboarding communities can be seen in Fandom, with two of the oldest and most popular being Deadliest Fiction and VS Battles Wiki. Deadliest Fiction is a Deadliest Warrior-inspired fanon created in July 2010 by a group of historians, academics, and pop culture enthusiasts. Being one of the most influential and accurate battleboarding sites around, Deadliest Fiction allows users to create hypothetical match-ups in the form of blogs, where other users can vote and debate around who will win in the comment section. Once a verdict is reached, the site allows the user to create a simulated fanfiction of how the fight would happen. The same year in October, a similar battleboarding site named VS Battles Wiki was created. In the VS Battles Wiki, users can create profiles and power levels of characters, post match-ups in its threads and forums, and list down the winners and losers of these threads in said character profiles. The wiki is considered the most active wiki battleboarding site today, with over 1 million visitors per month. However, throughout the years, the VS Battles Wiki has had its share of controversies, such as alleged inaccuracies in its profiles. There have also been websites and fanfiction wikis inspired by the battleboarding internet show Death Battle. These include the long-running G1 Death Battle Fan Blog, r/deathbattlematchups, and the popular Death Battle Fanon Wiki and DBX Fanon Wiki. Death Battle also released its own dice and card game, complete with rules and effects taken from battleboarding. == Subculture == In its rise in popularity, battleboarding has given birth to a unique online subculture with its own rules, activities, and terminologies. Several of these influences have become present in other online communities and popular media. Some of the common slang and terminologies used in battleboarding subculture includes: Battle Field Removal: Often abbreviated to "BFR", this is a rule that a fight can end if one character is taken out of a battlefield. This rule is used for characters who have the powers to teleport or transport enemies without actually killing them. Battle Royale: A term originating from Comic Vine in which multiple characters are pitted against each other. The name is probably derived from the film Battle Royale or the video game genre of the same name. Bloodlusted: A hypothetical situation wherein the characters are pitted against each other while in a furious, berserker-like state. Calc: These are calculations battl
Control communications
In telecommunications, control communications is the branch of technology devoted to the design, development, and application of communications facilities used specifically for control purposes, such as for controlling (a) industrial processes, (b) movement of resources, (c) electric power generation, distribution, and utilization, (d) communications networks, and (e) transportation systems.
Nitro Zeus
Nitro Zeus is the project name for a well funded comprehensive cyber attack plan created as a mitigation strategy after the Stuxnet malware campaign and its aftermath. Unlike Stuxnet, that was loaded onto a system after the design phase to affect its proper operation, Nitro Zeus's objectives are built into a system during the design phase unbeknownst to the system users. This built-in feature allows a more assured and effective cyber attack against the system's users. The information about its existence was raised during research and interviews carried out by Alex Gibney for his Zero Days documentary film. The proposed long term widespread infiltration of major Iranian systems would disrupt and degrade communications, power grid, and other vital systems as desired by the cyber attackers. This was to be achieved by electronic implants in Iranian computer networks. The project was seen as one pathway in alternatives to full-scale war.
Histogram of oriented displacements
Histogram of oriented displacements (HOD) is a 2D trajectory descriptor. The trajectory is described using a histogram of the directions between each two consecutive points. Given a trajectory T = {P1, P2, P3, ..., Pn}, where Pt is the 2D position at time t. For each pair of positions Pt and Pt+1, calculate the direction angle θ(t, t+1). Value of θ is between 0 and 360. A histogram of the quantized values of θ is created. If the histogram is of 8 bins, the first bin represents all θs between 0 and 45. The histogram accumulates the lengths of the consecutive moves. For each θ, a specific histogram bin is determined. The length of the line between Pt and Pt+1 is then added to the specific histogram bin. To show the intuition behind the descriptor, consider the action of waving hands. At the end of the action, the hand falls down. When describing this down movement, the descriptor does not care about the position from which the hand started to fall. This fall will affect the histogram with the appropriate angles and lengths, regardless of the position where the hand started to fall. HOD records for each moving point: how much it moves in each range of directions. HOD has a clear physical interpretation. It proposes that, a simple way to describe the motion of an object, is to indicate how much distance it moves in each direction. If the movement in all directions are saved accurately, the movement can be repeated from the initial position to the final destination regardless of the displacements order. However, the temporal information will be lost, as the order of movements is not stored-this is what we solve by applying the temporal pyramid, as shown in section \ref{sec:temp-pyramid}. If the angles quantization range is small, classifiers that use the descriptor will overfit. Generalization needs some slack in directions-which can be done by increasing the quantization range.
Digital artifactual value
Digital artifactual value, a preservation term, is the intrinsic value of a digital object, rather than the informational content of the object. Though standards are lacking, born-digital objects and digital representations of physical objects may have a value attributed to them as artifacts. == Intrinsic value in analog materials == With respect to analog or non-digital materials, artifacts are determined to have singular research or archival value if they possess qualities and characteristics that make them the only acceptable form for long-term preservation. These qualities and characteristics are commonly referred to as the item's intrinsic value and form the basis upon which digital artifactual value is currently evaluated. Artifactual value based on this idea is predicated upon the artifact's originality, faithfulness, fixity, and stability. The intrinsic value of a particular object, as interpreted by archival professionals, largely determines the selection process for archives. The National Archives and Records Administration Committee on Intrinsic Value in "Intrinsic Value in Archival Material" classified an analog object as having intrinsic value if it possessed one or more of the follow qualities: Physical form that may be the subject for study if the records provide meaningful documentation or significant examples of the form. Aesthetic or artistic quality. Unique or curious physical features. Age that provides a quality of uniqueness. Value for use in exhibits. Questionable authenticity, date, author, or other characteristic that is significant and ascertainable by physical examination. General and substantial public interest because of direct association with famous or historically significant people, places, things, issues or events. Significance as documentation of the establishment or continuing legal basis of an agency or institution. Significance as documentation of the formulation of policy at the highest executive levels when the policy has significance and broad effect throughout or beyond the agency or institution. Other archival professionals such as Lynn Westney have written that the characteristics of materials exhibiting intrinsic value include age, content, usage, particularities of creation, signatures, and attached seals. Westney and others have stated that paper-based artifacts can be thought to have evidentiary value, or significant contextual markings, insofar that the original manifestation of the artifact can attest to the originality, faithfulness or authenticity, fixity, and stability of the content. For other analog materials, properly articulating intrinsic value remains essential for determining artifactual value. Similar to paper-based objects in many respects, artifactual value for images typically takes into account artistic value, age, authorial prestige, significant provenance, and institutional priorities. Analog audio preservation is based upon similar factors, including the cultural value of the item, its historical uniqueness, the estimated longevity of the medium, the current condition of the item, and the state of playback equipment, among other things. == Analog conventions in a digital realm == The standard definition of artifactual value, as it has applied to analog or non-digital materials in the twentieth century, is based upon a set of conventions which do not ordinarily apply to digital objects in toto. The Council on Library and Information Resources (CLIR) has stated that printed texts and other paper-based manuscripts, when considered as objects, are imbued with meaning distilled from a general set of understandings inherent to these conventions: The object is of a fixed and stable composition/form. Authorship and intellectual property are a recognizable concept. Duplication is possible. Fungibility of informational content (or, in other words, the ability to be replaced by another identical object). These conventions are important to consider because they help to describe the physical and even metaphysical relationship between a document's content and its physical manifestation. The underpinnings of this relationship are not identical and do not apply with the same degree of clarity to an immaterial digital realm. The idea of fixity with regard to printed materials, for example, is largely predicated on the notion that an object has been recorded on a relatively stable medium. The physical presence of a print text serves as proof of its authenticity as an object or artifact, as well as its scarcity and uniqueness in relation to other print materials. Variations in the chemical properties and storage conditions of print-based materials, as well as other cultural variables, certainly impact the fixity or stability of print materials, but there is little controversy about determining its fundamental existence or originality. However, uniqueness in the physical, paper-based sense does not translate to a digital realm in which immaterial objects are subject to theoretically infinite levels of reproduction and dissemination. Born-digital and digital surrogates may or may not look any different from each other on a server, and alterations can be made without explicit notice to the user. These alterations are normally called migration events, or actions taken on the digital object that change the original object's composition. They can enact subtle but fundamental alterations to the original document, thereby compromising its existence as an original object. Furthermore, because the tools used to generate and access digital objects have historically evolved quite rapidly, issues of playback obsolescence, incapability, data loss, and broken pathways to information have changed traditional ideas of fixity and stability. Therefore, artifactual value in a digital realm requires a modified set of generalized standards for determining artifactual originality. Michael J. Giarlo and Ronald Jantz, only two of many, have posited a list of methods for establishing digital intrinsic value by way of careful metadata generation and records maintenance. In their report, a digital original possesses three key characteristics that distinguishes it from identical copies. These include continuous verification and re-verification of the document's digital signature starting from the date of creation; retaining versions and recordings of all changes to the object in an audit trail; and having the archival master contain the creation date of the digital object. They also reported that originality in digital sources could be verified or produced by the following techniques: Digital object is given a date-time stamp that's automatically inserted into the METS-XML header upon creation. Date-time is inserted into archival metadata. Encapsulation. Digital signatures. == The role of digital surrogates == Digital surrogates are considered a utility for aiding in the preservation and increased access of certain artifacts. However, digital surrogates can have different utilities for objects depending on the nature of the original artifact and the condition the artifact is in. In 2001 the Council on Library and Information Resources (CLIR) published a report on the artifact in library collections. The CLIR states that the utility of the digital surrogate can be determined by dividing the original material (artifact) into two different categories, artifacts that are rare and those that are not. These two categories can be further divided by two categories, artifacts that are frequently used and those that are not. === Materials that are frequently used and not rare === According to the CLIR "it is not obvious that digital surrogates provide all the functionality, all the information, or all the aesthetic value of originals. Therefore, while it may be sensible to recommend that digital surrogates be used to reduce the cost and increase the availability of library holdings that circulate frequently, the decision to deaccession a physical object in library collections and replace it with a digital surrogate should be based on a careful assessment of the way in which library patrons use the original object or objects of its kind." === Materials that are infrequently used and not rare === Keeping the original is always the best solution for libraries and especially archives but in the case of libraries where an artifact is not rare or used infrequently there must be a barometer that is developed to help "balance functionality with actual use in order to help decide when digital surrogates that provide most of the functionality of originals are acceptable." === Materials that are rare and frequently used === A professional in the field of Library and Information Science (LIS) would almost certainly not argue that a digital surrogate could replace a rare object. However, in the case of a rare object that is falling into poor shape due to heavy use a digital surrogate could be extremely useful in reducing the wear a