The softmax function, also known as softargmax or normalized exponential function, converts a tuple of K real numbers into a probability distribution over K possible outcomes. It is a generalization of the logistic function to multiple dimensions, and is used in multinomial logistic regression. The softmax function is often used as the last activation function of a neural network to normalize the output of a network to a probability distribution over predicted output classes. == Definition == The softmax function takes as input a tuple z of K real numbers, and normalizes it into a probability distribution consisting of K probabilities proportional to the exponentials of the input numbers. That is, prior to applying softmax, some tuple components could be negative, or greater than one; and might not sum to 1; but after applying softmax, each component will be in the interval ( 0 , 1 ) {\displaystyle (0,1)} , and the components will add up to 1, so that they can be interpreted as probabilities. Furthermore, the larger input components will correspond to larger probabilities. Formally, the standard (unit) softmax function σ : R K → ( 0 , 1 ) K {\displaystyle \sigma :\mathbb {R} ^{K}\to (0,1)^{K}} , where K > 1 {\displaystyle K>1} , takes a tuple z = ( z 1 , … , z K ) ∈ R K {\displaystyle \mathbf {z} =(z_{1},\dotsc ,z_{K})\in \mathbb {R} ^{K}} and computes each component of vector σ ( z ) ∈ ( 0 , 1 ) K {\displaystyle \sigma (\mathbf {z} )\in (0,1)^{K}} with σ ( z ) i = e z i ∑ j = 1 K e z j . {\displaystyle \sigma (\mathbf {z} )_{i}={\frac {e^{z_{i}}}{\sum _{j=1}^{K}e^{z_{j}}}}\,.} In words, the softmax applies the standard exponential function to each element z i {\displaystyle z_{i}} of the input tuple z {\displaystyle \mathbf {z} } (consisting of K {\displaystyle K} real numbers), and normalizes these values by dividing by the sum of all these exponentials. The normalization ensures that the sum of the components of the output vector σ ( z ) {\displaystyle \sigma (\mathbf {z} )} is 1. The term "softmax" derives from the amplifying effects of the exponential on any maxima in the input tuple. For example, the standard softmax of ( 1 , 2 , 8 ) {\displaystyle (1,2,8)} is approximately ( 0.001 , 0.002 , 0.997 ) {\displaystyle (0.001,0.002,0.997)} , which amounts to assigning almost all of the total unit weight in the result to the position of the tuple's maximal element (of 8). In general, instead of e a different base b > 0 can be used. As above, if b > 1 then larger input components will result in larger output probabilities, and increasing the value of b will create probability distributions that are more concentrated around the positions of the largest input values. Conversely, if 0 < b < 1 then smaller input components will result in larger output probabilities, and decreasing the value of b will create probability distributions that are more concentrated around the positions of the smallest input values. Writing b = e β {\displaystyle b=e^{\beta }} or b = e − β {\displaystyle b=e^{-\beta }} (for real β) yields the expressions: σ ( z ) i = e β z i ∑ j = 1 K e β z j or σ ( z ) i = e − β z i ∑ j = 1 K e − β z j for i = 1 , … , K . {\displaystyle \sigma (\mathbf {z} )_{i}={\frac {e^{\beta z_{i}}}{\sum _{j=1}^{K}e^{\beta z_{j}}}}{\text{ or }}\sigma (\mathbf {z} )_{i}={\frac {e^{-\beta z_{i}}}{\sum _{j=1}^{K}e^{-\beta z_{j}}}}{\text{ for }}i=1,\dotsc ,K.} A value proportional to the reciprocal of β is sometimes referred to as the temperature: β = 1 / k T {\textstyle \beta =1/kT} , where k is typically 1 or the Boltzmann constant and T is the temperature. A higher temperature results in a more uniform output distribution (i.e. with higher entropy; it is "more random"), while a lower temperature results in a sharper output distribution, with one value dominating. In some fields, the base is fixed, corresponding to a fixed scale, while in others the parameter β (or T) is varied. The softmax function is a multiple-variable generalization of the logistic function. == Interpretations == === Smooth arg max === The Softmax function is a smooth approximation to the arg max function: the function whose value is the index of a tuple's largest element. The name "softmax" may be misleading. Softmax is not a smooth maximum (that is, a smooth approximation to the maximum function). The term "softmax" is also used for the closely related LogSumExp function, which is a smooth maximum. For this reason, some prefer the more accurate term "softargmax", though the term "softmax" is conventional in machine learning. This section uses the term "softargmax" for clarity. Formally, instead of considering the arg max as a function with categorical output 1 , … , n {\displaystyle 1,\dots ,n} (corresponding to the index), consider the arg max function with one-hot representation of the output (assuming there is a unique maximum arg): a r g m a x ( z 1 , … , z n ) = ( y 1 , … , y n ) = ( 0 , … , 0 , 1 , 0 , … , 0 ) , {\displaystyle \operatorname {arg\,max} (z_{1},\,\dots ,\,z_{n})=(y_{1},\,\dots ,\,y_{n})=(0,\,\dots ,\,0,\,1,\,0,\,\dots ,\,0),} where the output coordinate y i = 1 {\displaystyle y_{i}=1} if and only if i {\displaystyle i} is the arg max of ( z 1 , … , z n ) {\displaystyle (z_{1},\dots ,z_{n})} , meaning z i {\displaystyle z_{i}} is the unique maximum value of ( z 1 , … , z n ) {\displaystyle (z_{1},\,\dots ,\,z_{n})} . For example, in this encoding a r g m a x ( 1 , 5 , 10 ) = ( 0 , 0 , 1 ) , {\displaystyle \operatorname {arg\,max} (1,5,10)=(0,0,1),} since the third argument is the maximum. This can be generalized to multiple arg max values (multiple equal z i {\displaystyle z_{i}} being the maximum) by dividing the 1 between all max args; formally 1/k where k is the number of arguments assuming the maximum. For example, a r g m a x ( 1 , 5 , 5 ) = ( 0 , 1 / 2 , 1 / 2 ) , {\displaystyle \operatorname {arg\,max} (1,\,5,\,5)=(0,\,1/2,\,1/2),} since the second and third argument are both the maximum. In case all arguments are equal, this is simply a r g m a x ( z , … , z ) = ( 1 / n , … , 1 / n ) . {\displaystyle \operatorname {arg\,max} (z,\dots ,z)=(1/n,\dots ,1/n).} Points z with multiple arg max values are singular points (or singularities, and form the singular set) – these are the points where arg max is discontinuous (with a jump discontinuity) – while points with a single arg max are known as non-singular or regular points. With the last expression given in the introduction, softargmax is now a smooth approximation of arg max: as β → ∞ {\displaystyle \beta \to \infty } , softargmax converges to arg max. There are various notions of convergence of a function; softargmax converges to arg max pointwise, meaning for each fixed input z as β → ∞ {\displaystyle \beta \to \infty } , σ β ( z ) → a r g m a x ( z ) . {\displaystyle \sigma _{\beta }(\mathbf {z} )\to \operatorname {arg\,max} (\mathbf {z} ).} However, softargmax does not converge uniformly to arg max, meaning intuitively that different points converge at different rates, and may converge arbitrarily slowly. In fact, softargmax is continuous, but arg max is not continuous at the singular set where two coordinates are equal, while the uniform limit of continuous functions is continuous. The reason it fails to converge uniformly is that for inputs where two coordinates are almost equal (and one is the maximum), the arg max is the index of one or the other, so a small change in input yields a large change in output. For example, σ β ( 1 , 1.0001 ) → ( 0 , 1 ) , {\displaystyle \sigma _{\beta }(1,\,1.0001)\to (0,1),} but σ β ( 1 , 0.9999 ) → ( 1 , 0 ) , {\displaystyle \sigma _{\beta }(1,\,0.9999)\to (1,\,0),} and σ β ( 1 , 1 ) = 1 / 2 {\displaystyle \sigma _{\beta }(1,\,1)=1/2} for all inputs: the closer the points are to the singular set ( x , x ) {\displaystyle (x,x)} , the slower they converge. However, softargmax does converge compactly on the non-singular set. Conversely, as β → − ∞ {\displaystyle \beta \to -\infty } , softargmax converges to arg min in the same way, where here the singular set is points with two arg min values. In the language of tropical analysis, the softmax is a deformation or "quantization" of arg max and arg min, corresponding to using the log semiring instead of the max-plus semiring (respectively min-plus semiring), and recovering the arg max or arg min by taking the limit is called "tropicalization" or "dequantization". It is also the case that, for any fixed β, if one input z i {\displaystyle z_{i}} is much larger than the others relative to the temperature, T = 1 / β {\displaystyle T=1/\beta } , the output is approximately the arg max. For example, a difference of 10 is large relative to a temperature of 1: σ ( 0 , 10 ) := σ 1 ( 0 , 10 ) = ( 1 / ( 1 + e 10 ) , e 10 / ( 1 + e 10 ) ) ≈ ( 0.00005 , 0.99995 ) {\displaystyle \sigma (0,\,10):=\sigma _{1}(0,\,10)=\left(1/\left(1+e^{10}\right),\,e^{10}/\left(1+e^{10}\right)\right)\approx (0.00005
Office automation
Office automation refers to the varied computer machinery and software used to digitally create, collect, store, manipulate, and relay office information needed for accomplishing basic tasks. Raw data storage, electronic transfer, and the management of electronic business information comprise the basic activities of an office automation system. Office automation helps in optimizing or automating existing office procedures. The backbone of office automation is a local area network, which allows users to transfer data, mail and voice across the network. All office functions, including dictation, typing, filing, copying, fax, telex, microfilm and records management, telephone and telephone switchboard operations, fall into this category. Office automation was a popular term in the 1970s and 1980s as the desktop computer exploded onto the scene. Advantages of office automation include that it can get many tasks accomplished faster, it eliminates the need for a large staff, less storage is required to store data, and multiple people can update data simultaneously in the event of changes in schedule. == Outline == Businesses can easily purchase and stock their wares with the aid of technology. Many of the manual tasks that used to be done by hand can now be done through hand held devices and UPC and SKU coding. In the retail setting, automation also increases choice. Customers can easily process their payments through automated credit card machines and no longer have to wait in line for an employee to process and manually type in the credit card numbers. Office payrolls have been automated, which means no one has to manually cut checks, and those checks that are cut can be printed through computer programs. Direct deposit can be automatically set up and this further reduces the manual process, and most employees who participate in direct deposit often find their paychecks come earlier than if they'd have to wait for their checks to be written and then cleared by the bank. Other ways automation has reduced employee manpower on tasks is automated voice direction. Through the use of prompts, automated phone menus and directed calls, the need for employees to be dedicated to answer the phones has been reduced, and in some cases, eliminated.
Digital divide
Digital divide is inequitable access to and use of digital technology, encompassing four interrelated dimensions: motivational, material, skills, and usage access. The digital divide worsens inequality in access to information and resources. According to 2026 data from the U.S. Census Bureau, a significant 'digital divide' persists, with over 15.7 million Americans lacking access to high-speed broadband. Students from low-income households often face limited access to reliable internet and digital devices, which negatively affects their educational opportunities. In the Information Age, people without access to the Internet and other technology are at a disadvantage, for they are less able to connect with others, find and apply for jobs, shop, and learn. People living in poverty, in insecure housing or who are homeless, elderly people, and those living in rural communities may have limited access to the Internet; in contrast, urban middle class people have easy access to the Internet. Another divide is between producers and consumers of Internet content, which could be a result of educational disparities. While social media use varies across age groups, a US 2010 study reported no racial divide. == History == The historical roots of the digital divide in the United States refer to the increasing gap that occurred during the early modern period between those who could and could not access the real time forms of calculation, decision-making, and visualization offered via written and printed media. "Over time, focus has shifted from binary access to differentiated use, where quality and purpose of engagement vary across socio-economic groups." Within this context, ethical discussions regarding the relationship between education and the free distribution of information were raised by thinkers such as Immanuel Kant, Jean Jacques Rousseau, and Mary Wollstonecraft (1712–1778). The latter advocated that governments should intervene to ensure that any society's economic benefits should be fairly and meaningfully distributed. Amid the Industrial Revolution in Great Britain, Rousseau's idea helped to justify poor laws that created a safety net for those who were harmed by new forms of production. Later, when telegraph and postal systems evolved, many used Rousseau's ideas to argue for full access to those services, even if it meant subsidizing hard-to-serve citizens. Thus, "universal services" referred to innovations in regulation and taxation that would allow phone services such as AT&T in the United States to serve hard-to-serve rural users. In 1996, as telecommunications companies merged with Internet companies, the Federal Communications Commission adopted Telecommunications Act of 1996 to consider regulatory strategies and taxation policies to close the digital divide. Though the term "digital divide" was coined among consumer groups that sought to tax and regulate information and communications technology (ICeT) companies to close the digital divide, the topic soon moved onto a global stage. The focus was the World Trade Organization which passed the Telecommunications Services Act, which resisted regulation of ICT companies so that they would be required to serve hard-to-serve individuals and communities. In 1999, to assuage anti-globalization forces, the WTO hosted the "Financial Solutions to Digital Divide" in Seattle, US, co-organized by Craig Warren Smith of Digital Divide Institute and Bill Gates Sr. the chairman of the Bill and Melinda Gates Foundation. It catalyzed a full-scale global movement to close the digital divide, which quickly spread to all sectors of the global economy. In 2000, US president Bill Clinton mentioned the term in the State of the Union Address. Since the early 2000s, the international community has transitioned from a focus on domestic infrastructure to a global, multi-dimensional framework for digital equity. This shift was formalized through the World Summit on the Information Society (WSIS) in Geneva (2003) and Tunis (2005), where the International Telecommunication Union (ITU) established a roadmap for bridging the Global North-South disparity as part of the Sustainable Development Goals. Academic and policy discourse has since evolved to distinguish between the first-level divide (physical access), the second-level divide (digital literacy), and the third-level divide (the ability to translate technology use into socio-economic capital). By the 2020s, critical reflections on national development emphasized that the divide is fundamentally a socio-institutional gap. Research by Tiwari, Kostenko, and Yekhanurov (2025) identifies four pillars for achieving national digital maturity which are digital governance capacity, institutional design to prevent adverse digital incorporation, infrastructure resilience, and citizen capability. This modern era is characterized by the pursuit of meaningful connectivity, a standard that requires internet access to be not only available but affordable, high-speed, and supportive of active content creation. === During the COVID-19 pandemic === At the outset of the COVID-19 pandemic, governments worldwide issued stay-at-home orders that imposed lockdowns, quarantines, restrictions, and closures. The resulting interruptions to schooling, public services, and business operations drove nearly half of the world's population into seeking alternative methods to live while in isolation. These methods included telemedicine, virtual classrooms, online shopping, technology-based social interactions and working remotely, all of which require access to high-speed or broadband internet access and digital technologies. A Pew Research Centre study reports that 90% of Americans describe the use of the Internet as "essential" during the pandemic. The accelerated use of digital technologies created a landscape where the ability, or lack thereof, to access digital spaces became a crucial factor in everyday life. According to the Pew Research Center, 59% of children from lower-income families were likely to face digital obstacles in completing school assignments. These obstacles included the use of a cellphone to complete homework, having to use public Wi-Fi because of unreliable internet service in the home and lack of access to a computer in the home. This difficulty, titled the homework gap, affects more than 30% of K-12 students living below the poverty threshold, and disproportionally affects American Indian/Alaska Native, Black, and Hispanic students. These types of interruptions or privilege gaps in education exemplify problems in the systemic marginalization of historically oppressed individuals in primary education. The pandemic exposed inequity causing discrepancies in learning. "Large-scale events such as COVID-19 intensify both access and skills gaps, underlining the need for resilient digital inclusion policies. Studies during COVID-19 reveal first-level (access) and second-level (skills) divides, with underserved students struggling with reliable internet, devices, and platform navigation ” A lack of "tech readiness", that is, confident and independent use of devices, was reported among the US elderly population; with more than 50% reporting an inadequate knowledge of devices and more than one-third reporting a lack of confidence. "Older adults often face skills and confidence barriers, illustrating later-stage divides in van Dijk’s model." Moreover, according to a UN research paper, similar results can be found across various Asian countries, with those aged over 74, reporting less confident or inconsistent use of digital devices. This aspect of the digital divide and the elderly occurred during the pandemic as healthcare providers increasingly relied upon telemedicine to manage chronic and acute health conditions. == Aspects == There are various definitions of the digital divide, all with slightly different emphasis, which is evidenced by related concepts like digital inclusion, digital participation, digital skills, media literacy, and digital accessibility.“Van Dijk’s model identifies sequential barriers—motivational, material, skills, and usage—that must be addressed to bridge the divide.” === Infrastructure === The infrastructure by which individuals, households, businesses, and communities connect to the Internet addresses the physical mediums that people use to connect to the Internet such as desktop computers, laptops, basic mobile phones or smartphones, MP3 players, gaming consoles, electronic book readers, and tablets. Traditionally, the nature of the divide has been measured in terms of the existing numbers of subscriptions and digital devices. Given the increasing number of such devices, some have concluded that the digital divide among individuals has increasingly been closing as the result of a natural and almost automatic process. Others point to persistent lower levels of connectivity among women, racial and ethnic minorities, people with lower incomes, rura
Digital content
Digital content is any content that exists in the form of digital data. Digital content is stored on digital media or analog storage in specific formats. Forms of digital content include information that is digitally broadcast, streamed, or contained in computer files. Viewed narrowly, digital content includes popular media types, while a broader approach considers any type of digital information (e. g. digitally updated weather forecasts, GPS maps, and so on) as digital content. Digital content has increased as more households have accessed the Internet. Expanded access has made it easier for people to receive their news and watch TV online, challenging the popularity of traditional platforms. Increased access to the Internet has also led to the mass publication of digital content through individuals in the form of eBooks, blog posts, and even Facebook posts. == History == At the beginning of the Digital Revolution, computers facilitated the discovery, retrieval, and creation of new information in every field of human knowledge. As information became increasingly more accessible, the Digital Revolution also facilitated the creation of digital content. Despite an evolution to digital technology, which occurred somewhere between the late 1970s, distribution of digital content did not begin until the late 1990s with the rise in popularity of the Internet. In the past, digital content was primarily distributed through computers and the Internet. Methods of distribution are rapidly changing as the Digital Revolution brings new channels, such as mobile apps and eBooks. These new technologies will create challenges for content creators, as they determine the best channel to bring content to their consumers. Despite the benefits, new technologies have created new intellectual property issues. Users can easily share, modify, and redistribute content outside of the creator's control. While new technologies have made digital content available to large audiences, managing copyright and limiting content movement will continue to be an issue that digital content creators face in the future. == Types of digital content == Examples include: Video – Types of video content include home videos, music videos, TV shows, and movies. Many of these can be viewed on websites such as YouTube, Hulu, Paramount+, Disney+, HBO Max, and so on, in which people and companies alike can post content. However, many movies and television shows are not available for free legally, but rather can be purchased from sites such as iTunes and Amazon. Audio – Music is the most common form of audio. Spotify has emerged as a popular way for people to listen to music either over the Internet or from their computer desktop. Digital content in the form of music is also available through Pandora and last.fm, both of which allow listeners to listen to music online for no charge. Images – Photo and image sharing is another example of digital content. Popular sites used for this type of digital content includes Imgur, where people share self-created pictures, Flickr, where people share their photo albums, and DeviantArt, where people share their artwork. Popular apps that are used for images include Instagram and Snapchat. Visual Stories - Stories are a new type of digital content that got introduced by Snapchat. Since then, stories as a format has been introduced in a couple of other platforms such as Facebook and Linkedin. In 2018, Google introduced their AMP Stories, which provides content publishers with a mobile-focused format for delivering news and information as visually rich, tap-through stories. Text - Type of digital content which is available in text or written format. Blog websites which store data in form of textual format. === Paid digital content === In order to have access to more premium digital goods, consumers usually have to pay an upfront charge for digital content, or a subscription based fee. Video – Many licensed videos, such as movies and television shows, require money in order to be viewed or downloaded. Popular services used by many include streaming giant Netflix and Amazon's streaming service, as well as recent notice put forth by the online video platform YouTube. Audio – While songs can be streamed for free, generally in order to download most licensed music, consumers need to purchase songs from web stores, such as the popular iTunes. However, Spotify Premium is emerging as a new model for purchasing digital content on the web: consumers pay a monthly fee to unlimited streaming and downloading from Spotify's music library. According to a report done by IHS Inc. in 2013, the global consumer spending on digital content grew to over $57 billion in 2013, which was up almost 30% from $44 billion in 2012. In past years, the US has always been a leader in consumer expenditure on digital content, but as of 2013, many countries have emerged with great consumer expenditure. South Korea's overall digital spend per capita is now greater than the US. ==== Consolidation ==== According to research firm Ampere Analysis, in 2024, a small group of six media conglomerates; Disney, Comcast, Google, Warner Bros. Discovery, Netflix, and Paramount Global—are poised to dominate the global content market. These companies are projected to account for 51% of all global spending on content, a significant increase from 47% in 2020. Disney, in particular, is a major player, with an estimated $35.8 billion investment in television and film content, representing 14% of global spending. This significant increase, fueled by Disney's full ownership of Hulu, highlights the company's strategic focus on streaming services. A substantial portion of the projected $126 billion global content spending is allocated to streaming platforms. === Non-purchasable digital content === Not all digital content is purchasable, and is simply anything published digitally. This would include: News – in recent years newspapers have attempted to expand their readership by creating access to their newspapers digitally. As of 2012, 39% of readers learned about news from online formats, making news a prevalent form of digital content. Advertisements – as media consumers increasingly use digital formats to watch TV, check the weather, and search for content, advertisements have shifted to digital forms to keep up with their viewership. Advertisements are now being made digitally and placed on sites ranging from Facebook to YouTube. Question and Answer sites – these sites are a type of Internet forum where people can post questions they want answered, or provide responses to previous inquiries. With millions of questions posted each day, anyone has the ability to create content on these sites, so the information provided may not be 100% reliable or accurate. Popular sites include Yahoo! Answers, WikiAnswers and Quora. Web mapping – sites such as MapQuest and Google Maps provide users with map content. These sites give people the ability to quickly look up the location of a landmark and create routes to a destination. Online maps are a form of free content provided by companies such as Google and AOL, serving as much more efficient alternatives to the traditional Thomas Guide. == Business implications == === Digital companies === Digital content businesses can include news, information, and entertainment distributed over the Internet and consumed digitally by both consumers and businesses. Based on revenue, the leading digital businesses are ranked Google, China Mobile, Bloomberg, Reed Elsevier, and Apple. The 50 companies with the highest revenue are split between those offering free and paid digital content, but these top 50 companies combined generate revenue of $150 billion. === Educational opportunities === Programs such as CUNY's Macaulay Honors College in their New Media Lab, run by industry professional Robert Small, is set up to train and introduce students to the various disciplines within the digital content industry. The goal is to offer information and access to professional work opportunities. They also explore within an incubator how to create businesses and start ups within the world of digital content. There are many educational events in support of choosing digital content as a career. === Government support === The Irish government adopted a "Strategy for the Digital Content Industry in Ireland" in 2002.
Digital anthropology
Digital anthropology is the anthropological study of the relationship between humans and digital-era technology. The field is new, and thus has a variety of names with a variety of emphases. These include techno-anthropology, digital ethnography, cyberanthropology, and virtual anthropology. == Definition and scope == Most anthropologists who use the phrase "digital anthropology" are specifically referring to online and Internet technology. The study of humans' relationship to a broader range of technology may fall under other subfields of anthropological study, such as cyborg anthropology. The Digital Anthropology Group (DANG) is classified as an interest group in the American Anthropological Association. DANG's mission includes promoting the use of digital technology as a tool of anthropological research, encouraging anthropologists to share research using digital platforms, and outlining ways for anthropologists to study digital communities. Cyberspace or the "virtual world" itself can serve as a "field" site for anthropologists, allowing the observation, analysis, and interpretation of the sociocultural phenomena springing up and taking place in any interactive space. National and transnational communities, enabled by digital technology, establish a set of social norms, practices, traditions, storied history and associated collective memory, migration periods, internal and external conflicts, potentially subconscious language features and memetic dialects comparable to those of traditional, geographically confined communities. This includes the various communities built around free and open-source software, online platforms such as Facebook, Twitter/X, Instagram, 4chan and Reddit and their respective sub-sites, and politically motivated groups like Anonymous, WikiLeaks, or the Occupy movement. A number of academic anthropologists have conducted traditional ethnographies of virtual worlds, such as Bonnie Nardi's study of World of Warcraft or Tom Boellstorff's study of Second Life. Academic Gabriella Coleman has done ethnographic work on the Debian software community and the Anonymous hacktivist network. Theorist Nancy Mauro-Flude conducts ethnographic field work on computing arts and computer subcultures such as systerserver.net a part of the communities of feminist web servers and the Feminist Internet network. Eitan Y. Wilf examines the intersection of artists' creativity and digital technology and artificial intelligence. Yongming Zhou studied how in China the internet is used to participate in politics. Eve M. Zucker and colleagues study the shift to digital memorialization of mass atrocities and the emergent role of artificial intelligence in these processes. Victoria Bernal conducted ethnographic research on the themes of nationalism and citizenship among Eritreans participating in online political engagement with their homeland. Anthropological research can help designers adapt and improve technology. Australian anthropologist Genevieve Bell did extensive user experience research at Intel that informed the company's approach to its technology, users, and market. == Methodology == === Digital fieldwork === Many digital anthropologists who study online communities use traditional methods of anthropological research. They participate in online communities in order to learn about their customs and worldviews, and back their observations with private interviews, historical research, and quantitative data. Their product is an ethnography, a qualitative description of their experience and analyses. Other anthropologists and social scientists have conducted research that emphasizes data gathered by websites and servers. However, academics often have trouble accessing user data on the same scale as social media corporations like Facebook and data mining companies like Acxiom. In terms of method, there is a disagreement in whether it is possible to conduct research exclusively online or if research will only be complete when the subjects are studied holistically, both online and offline. Tom Boellstorff, who conducted a three-year research as an avatar in the virtual world Second Life, defends the first approach, stating that it is not just possible, but necessary to engage with subjects “in their own terms”. Others, such as Daniel Miller, have argued that an ethnographic research should not exclude learning about the subject's life outside the internet. === Digital technology as a tool of anthropology === The American Anthropological Association offers an online guide for students using digital technology to store and share data. Data can be uploaded to digital databases to be stored, shared, and interpreted. Text and numerical analysis software can help produce metadata, while a codebook may help organize data. == Ethics == Online fieldwork offers new ethical challenges. According to the American Anthropological Association's ethics guidelines, anthropologists researching a community must make sure that all members of that community know they are being studied and have access to data the anthropologist produces. However, many online communities' interactions are publicly available for anyone to read, and may be preserved online for years. Digital anthropologists debate the extent to which lurking in online communities and sifting through public archives is ethical. The Association also asserts that anthropologists' ability to collect and store data at all is "a privilege", and researchers have an ethical duty to store digital data responsibly. This means protecting the identity of participants, sharing data with other anthropologists, and making backup copies of all data. == Prominent figures == Genevieve Bell is an Australian cultural anthropologist credited for pioneering the User Experience field. During her time working for Intel Corporation, Bell studied how various cultures from around the world interacted with and experienced technology. Researching and improving user experience allows companies and designers to gather data regarding how users utilize their digital products and what requires improvement or expansion. Tom Boellstorff is an anthropologist known for Coming of Age in Second Life: An Anthropologist Explores the Virtually Human where he conducted research on how engaging in virtual worlds affects the player’s sense of self. Gabriella Coleman is an American anthropologist concerned with the politics, ethics, and culture of hacking and online activism. Coleman’s most notable ethnography features the hacktivist collective Anonymous, where she argues that various genres of hacking exist according to the social conditions at play. Coleman is dedicated to making her ethnography accessible to a diverse audience, including academics and non-academics. Diana E. Forsythe was an American anthropologist of science and technology and the author of the essays featured in Studying Those Who Study Us: An Anthropologist in the World of Artificial Intelligence. She asked relevant questions such as how should humans interact with computers and how gender roles are maintained in technology-oriented occupations. Heather Horst is a sociocultural anthropologist interested in the relationship between digital social relations and material culture. Nancy Mauro-Flude is a design anthropologist whose work explores the tacit relations between embodied cognition, computational materiality, maker culture, self-hosted webserver cooperatives, creative practice, and artistic research in digital infrastructure and Internet publishing. Mizuko Ito is a Japanese cultural anthropologist specializing in technology use and the intersection between computers and the social sciences. Her primary interest is in how young people utilize media technology and how it can be used to engage students in education. Daniel Miller is an anthropologist with a concentration in digital anthropology. His research includes the smartphone and perpetual opportunism, the intent and consequences of posting on social media in various geographical locations, and how hospice patients use media to socialize in the last stage of their lives. Mike Wesch is a cultural anthropologist interested in how people share their lives, cultures, and beliefs through digital media.
Loebner Prize
The Loebner Prize was an annual competition in artificial intelligence that awarded prizes to the computer programs considered by the judges to be the most human-like. The format of the competition was that of a standard Turing test. In each round, a human judge simultaneously held textual conversations with a computer program and a human being via computer. Based upon the responses, the judge would attempt to determine which was which. The contest was launched in 1990 by Hugh Loebner in conjunction with the Cambridge Center for Behavioral Studies, Massachusetts, United States. In 2004 and 2005, it was held in Loebner's apartment in New York City. Within the field of artificial intelligence, the Loebner Prize is somewhat controversial; the most prominent critic, Marvin Minsky, called it a publicity stunt that does not help the field along. Beginning in 2014, it was organised by the AISB at Bletchley Park. It has also been associated with Flinders University, Dartmouth College, the Science Museum in London, University of Reading and Ulster University, Magee Campus, Derry, UK City of Culture. For the final 2019 competition, the format changed. There was no panel of judges. Instead, the chatbots were judged by the public and there were to be no human competitors. The prize has been reported as defunct as of 2020. == Prizes == Originally, $2,000 was awarded for the most human-seeming program in the competition. The prize was $3,000 in 2005 and $2,250 in 2006. In 2008, $3,000 was awarded. In addition, there were two one-time-only prizes that have never been awarded. $25,000 is offered for the first program that judges cannot distinguish from a real human and which can convince judges that the human is the computer program. $100,000 is the reward for the first program that judges cannot distinguish from a real human in a Turing test that includes deciphering and understanding text, visual, and auditory input. The competition was planned to end after the achievement of this prize. == Competition rules and restrictions == The rules varied over the years and early competitions featured restricted conversation Turing tests but since 1995 the discussion has been unrestricted. For the three entries in 2007, Robert Medeksza, Noah Duncan and Rollo Carpenter, some basic "screening questions" were used by the sponsor to evaluate the state of the technology. These included simple questions about the time, what round of the contest it is, etc.; general knowledge ("What is a hammer for?"); comparisons ("Which is faster, a train or a plane?"); and questions demonstrating memory for preceding parts of the same conversation. "All nouns, adjectives and verbs will come from a dictionary suitable for children or adolescents under the age of 12." Entries did not need to respond "intelligently" to the questions to be accepted. For the first time in 2008 the sponsor allowed introduction of a preliminary phase to the contest opening up the competition to previously disallowed web-based entries judged by a variety of invited interrogators. The available rules do not state how interrogators are selected or instructed. Interrogators (who judge the systems) have limited time: 5 minutes per entity in the 2003 competition, 20+ per pair in 2004–2007 competitions, 5 minutes to conduct simultaneous conversations with a human and the program in 2008–2009, increased to 25 minutes of simultaneous conversation since 2010. == Criticisms == The prize has long been scorned by experts in the field, for a variety of reasons. It is regarded by many as a publicity stunt. Marvin Minsky scathingly offered a "prize" to anyone who could stop the competition. Loebner responded by jokingly observing that Minsky's offering a prize to stop the competition effectively made him a co-sponsor. The rules of the competition have encouraged poorly qualified judges to make rapid judgements. Interactions between judges and competitors was originally very brief, for example effectively 2.5 mins of questioning, which permitted only a few questions. Questioning was initially restricted to a single topic of the contestant's choice, such as "whimsical conversation", a domain suiting standard chatbot tricks. Competition entrants do not aim at understanding or intelligence but resort to basic ELIZA style tricks, and successful entrants find deception and pretense is rewarded. == Contests == See article history for more details of some earlier contests. A very incomplete listing of a few of the contests: === 2003 === In 2003, the contest was organised by Professor Richard H. R. Harper and Dr. Lynne Hamill from the Digital World Research Centre at the University of Surrey. Although no bot passed the Turing test, the winner was Jabberwock, created by Juergen Pirner. Second was Elbot (Fred Roberts, Artificial Solutions). Third was Jabberwacky, (Rollo Carpenter). === 2006 === In 2006, the contest was organised by Tim Child (CEO of Televirtual) and Huma Shah. On August 30, the four finalists were announced: Rollo Carpenter Richard Churchill and Marie-Claire Jenkins Noah Duncan Robert Medeksza The contest was held on 17 September in the VR theatre, Torrington Place campus of University College London. The judges included the University of Reading's cybernetics professor, Kevin Warwick, a professor of artificial intelligence, John Barnden (specialist in metaphor research at the University of Birmingham), a barrister, Victoria Butler-Cole and a journalist, Graham Duncan-Rowe. The latter's experience of the event can be found in an article in Technology Review. The winner was 'Joan', based on Jabberwacky, both created by Rollo Carpenter. === 2007 === The 2007 competition was held on October 21 in New York City. The judges were: computer science professor Russ Abbott, philosophy professor Hartry Field, psychology assistant professor Clayton Curtis and English lecturer Scott Hutchins. No bot passed the Turing test, but the judges ranked the three contestants as follows: 1st: Robert Medeksza, creator of Ultra Hal 2nd: Noah Duncan, a private entry, creator of Cletus 3rd: Rollo Carpenter from Icogno, creator of Jabberwacky The winner received $2,250 and the annual medal. The runners-up received $250 each. === 2008 === The 2008 competition was organised by professor Kevin Warwick, coordinated by Huma Shah and held on October 12 at the University of Reading, UK. After testing by over one hundred judges during the preliminary phase, in June and July 2008, six finalists were selected from thirteen original entrant artificial conversational entities (ACEs). Five of those invited competed in the finals: Brother Jerome, Peter Cole and Benji Adams Elbot, Fred Roberts / Artificial Solutions Eugene Goostman, Vladimir Veselov, Eugene Demchenko and Sergey Ulasen Jabberwacky, Rollo Carpenter Ultra Hal, Robert Medeksza In the finals, each of the judges was given five minutes to conduct simultaneous, split-screen conversations with two hidden entities. Elbot of Artificial Solutions won the 2008 Loebner Prize bronze award, for most human-like artificial conversational entity, through fooling three of the twelve judges who interrogated it (in the human-parallel comparisons) into believing it was human. This is coming very close to the 30% traditionally required to consider that a program has actually passed the Turing test. Eugene Goostman and Ultra Hal both deceived one judge each that it was the human. Will Pavia, a journalist for The Times, has written about his experience; a Loebner finals' judge, he was deceived by Elbot and Eugene. Kevin Warwick and Huma Shah have reported on the parallel-paired Turing tests. === 2009 === The 2009 Loebner Prize Competition was held September 6, 2009, at the Brighton Centre, Brighton UK in conjunction with the Interspeech 2009 conference. The prize amount for 2009 was $3,000. Entrants were David Levy, Rollo Carpenter, and Mohan Embar, who finished in that order. The writer Brian Christian participated in the 2009 Loebner Prize Competition as a human confederate, and described his experiences at the competition in his book The Most Human Human. === 2010 === The 2010 Loebner Prize Competition was held on October 23 at California State University, Los Angeles. The 2010 competition was the 20th running of the contest. The winner was Bruce Wilcox with Suzette. === 2011 === The 2011 Loebner Prize Competition was held on October 19 at the University of Exeter, Devon, United Kingdom. The prize amount for 2011 was $4,000. The four finalists and their chatterbots were Bruce Wilcox (Rosette), Adeena Mignogna (Zoe), Mohan Embar (Chip Vivant) and Ron Lee (Tutor), who finished in that order. That year there was an addition of a panel of junior judges, namely Georgia-Mae Lindfield, William Dunne, Sam Keat and Kirill Jerdev. The results of the junior contest were markedly different from the main contest, with chatterbots Tutor and Zoe tying for first place and Chip Vivant and Rosette coming in third and fourt
Photonically Optimized Embedded Microprocessors
The Photonically Optimized Embedded Microprocessors (POEM) is DARPA program. It should demonstrate photonic technologies that can be integrated within embedded microprocessors and enable energy-efficient high-capacity communications between the microprocessor and DRAM. For realizing POEM technology CMOS and DRAM-compatible photonic links should operate at high bit-rates with very low power dissipation. == Current research == Currently research in this field is at University of Colorado, Berkley University, and Nanophotonic Systems Laboratory ( Ultra-Efficient CMOS-Compatible Grating Coupler Design).