Sir Demis Hassabis (/ˈdɛ.mɪs/ DE-mis /hɑːˈsɑː.bis/ hah-SAH-bees; born Dimitrios Hassapis, Greek: Δημήτριος Χασάπης, 27 July 1976) is a British artificial intelligence (AI) researcher and entrepreneur. He is the chief executive officer and co-founder of Google DeepMind and Isomorphic Labs, and a UK Government AI Adviser. In 2024, Hassabis and John M. Jumper were jointly awarded the Nobel Prize in Chemistry for their AI research contributions to protein structure prediction. Hassabis is a Fellow of the Royal Society and has won awards for his research efforts, including the Breakthrough Prize, the Canada Gairdner International Award and the Lasker Award. He was appointed a CBE in 2017, and knighted in 2024 for his work on AI. He was also listed among the Time 100 most influential people in the world in 2017 and 2025, and was one of the "Architects of AI" collectively chosen as Time's 2025 Person of the Year. == Early life and education == Hassabis was born to Costas and Angela Hassapis. His father is a Greek Cypriot and his mother is a Chinese Singaporean. Demis grew up in North London. His original surname was "Hassapis" (Greek: Χασάπης), meaning "butcher" in Greek, but he later, according to Ingo Althöfer, "executed a point mutation by changing ‘p’ to ‘b’". One of his younger brothers still carries the original surname. In his early career, he was a video game AI programmer and designer, and an expert board games player. A child prodigy in chess from the age of four, when he first learnt chess by watching his father playing against his uncle, Hassabis reached master standard at the age of 13 with an Elo rating of 2300 and captained many of the England junior chess teams. He represented the University of Cambridge in the Oxford–Cambridge varsity chess matches of 1995, 1996 and 1997, winning a half blue. He first got interested in technology after buying his first computer in 1984, a ZX Spectrum 48K, funded from chess winnings. He taught himself how to program from books. He subsequently wrote his first AI program on a Commodore Amiga to play the reversi board game. Between 1988 and 1990, Hassabis was educated at Queen Elizabeth's School, Barnet, a boys' grammar school in North London. He was subsequently home-schooled by his parents for a year, before studying at the comprehensive school of Christ's College in East Finchley. He completed his A-level exams two years early at 16. === Bullfrog Productions === Asked by Cambridge University to take a gap year owing to his young age, Hassabis began his computer games career at Bullfrog Productions after entering an Amiga Power "Win-a-job-at-Bullfrog" competition. He began by playtesting on Syndicate and then at 17 co-designing and lead-programming on the 1994 game Theme Park, with the game's designer Peter Molyneux. Theme Park, a simulation video game, sold several million copies and inspired a whole genre of simulation sandbox games. Despite being offered a seven-figure sum to remain in the games industry, he turned it down. He earned enough from his gap year to pay his own way through university. === University of Cambridge === Hassabis left Bullfrog to study at Queens' College of the University of Cambridge, where he completed the Computer Science Tripos and graduated in 1997 with a double first. == Career and research == === Lionhead === After graduating from Cambridge, Hassabis worked at Lionhead Studios. Games designer Peter Molyneux, with whom Hassabis had worked at Bullfrog Productions, had recently founded the company. At Lionhead, Hassabis worked as lead AI programmer on the 2001 god game Black & White. === Elixir Studios === Hassabis left Lionhead in 1998 to found Elixir Studios, a London-based independent games developer, signing publishing deals with Eidos Interactive, Vivendi Universal and Microsoft. In addition to managing the company, Hassabis served as executive designer of the games Republic: The Revolution and Evil Genius. Each received BAFTA nominations for their interactive music scores, created by James Hannigan. The release of Elixir's first game, Republic: The Revolution, a highly ambitious and unusual political simulation game, was delayed due to its huge scope, which involved an AI simulation of the workings of an entire fictional country. The final game was reduced from its original vision and greeted with lukewarm reviews, receiving a Metacritic score of 62/100. Evil Genius, a tongue-in-cheek Austin Powers parody, fared much better with a score of 75/100. In April 2005 the intellectual property and technology rights were sold to various publishers and the studio was closed. === Neuroscience research === Following Elixir Studios, Hassabis returned to academia to obtain his PhD in cognitive neuroscience from UCL Queen Square Institute of Neurology in 2009 supervised by Eleanor Maguire. He sought to find inspiration in the human brain for new AI algorithms. He continued his neuroscience and artificial intelligence research as a visiting scientist jointly at Massachusetts Institute of Technology (MIT), in the lab of Tomaso Poggio, and Harvard University, before earning a Henry Wellcome postdoctoral research fellowship to the Gatsby Computational Neuroscience Unit at UCL in 2009 working with Peter Dayan. Working in the field of imagination, memory, and amnesia, he co-authored several influential papers published in Nature, Science, Neuron, and PNAS. His very first academic work, published in PNAS, was a landmark paper that showed systematically for the first time that patients with damage to their hippocampus, known to cause amnesia, were also unable to imagine themselves in new experiences. The finding established a link between the constructive process of imagination and the reconstructive process of episodic memory recall. Based on this work and a follow-up functional magnetic resonance imaging (fMRI) study, Hassabis developed a new theoretical account of the episodic memory system identifying scene construction, the generation and online maintenance of a complex and coherent scene, as a key process underlying both memory recall and imagination. This work received widespread coverage in the mainstream media and was listed in the top 10 scientific breakthroughs of the year by the journal Science. He later generalised these ideas to advance the notion of a 'simulation engine of the mind' whose role it was to imagine events and scenarios to aid with better planning. === DeepMind === Hassabis is the CEO and co-founder of DeepMind, a machine learning AI startup, founded in London in 2010 with Shane Legg and Mustafa Suleyman. Hassabis met Legg when both were postdocs at the Gatsby Computational Neuroscience Unit, and he and Suleyman had been friends through family. Hassabis also recruited his university friend and Elixir partner David Silver. DeepMind's mission is to "solve intelligence" and then use intelligence "to solve everything else". More concretely, DeepMind aims to combine insights from systems neuroscience with new developments in machine learning and computing hardware to unlock increasingly powerful general-purpose learning algorithms that will work towards the creation of an artificial general intelligence (AGI). The company has focused on training learning algorithms to master games, and in December 2013 it announced that it had made a pioneering breakthrough by training an algorithm called a Deep Q-Network (DQN) to play Atari games at a superhuman level by using only the raw pixels on the screen as inputs. DeepMind's early investors included several high-profile tech entrepreneurs. In 2014, Google purchased DeepMind for £400 million. Although most of the company has remained an independent entity based in London, DeepMind Health has since been directly incorporated into Google Health. Since the Google acquisition, the company has notched up a number of significant achievements, perhaps the most notable being the creation of AlphaGo, a program that defeated world champion Lee Sedol at the complex game of Go. Go had been considered a holy grail of AI, for its high number of possible board positions and resistance to existing programming techniques. However, AlphaGo beat European champion Fan Hui 5–0 in October 2015 before winning 4–1 against former world champion Lee Sedol in March 2016 and winning 3–0 against the world's top-ranked player Ke Jie in 2017. Additional DeepMind accomplishments include creating a neural Turing machine, reducing the energy used by the cooling systems in Google's data centres by 40%, and advancing research on AI safety. DeepMind has also been responsible for technical advances in machine learning, having produced a number of award-winning papers. In particular, the company has made significant advances in deep learning and reinforcement learning, and pioneered the field of deep reinforcement learning which combines these two methods. Hassabis has predicted that artificial intelligence will be "one of the most beneficial techn
Apache Hama
Apache Hama is a distributed computing framework based on bulk synchronous parallel computing techniques for massive scientific computations e.g., matrix, graph and network algorithms. Originally a sub-project of Hadoop, it became an Apache Software Foundation top level project in 2012. It was created by Edward J. Yoon, who named it (short for "Hadoop Matrix Algebra"), and Hama also means hippopotamus in Yoon's native Korean language (하마), following the trend of naming Apache projects after animals and zoology (such as Apache Pig). Hama was inspired by Google's Pregel large-scale graph computing framework described in 2010. When executing graph algorithms, Hama showed a fifty-fold performance increase relative to Hadoop. Retired in April 2020, project resources are made available as part of the Apache Attic. Yoon cited issues of installation, scalability, and a difficult programming model for its lack of adoption. == Architecture == Hama consists of three major components: BSPMaster, GroomServers and Zookeeper. === BSPMaster === BSPMaster is responsible for: Maintaining groom server status Controlling super steps in a cluster Maintaining job progress information Scheduling jobs and assigning tasks to groom servers Disseminating execution class across groom servers Controlling fault Providing users with the cluster control interface. A BSP Master and multiple grooms are started by the script. Then, the bsp master starts up with a RPC server for groom servers. Groom servers starts up with a BSPPeer instance and a RPC proxy to contact the bsp master. After started, each groom periodically sends a heartbeat message that encloses its groom server status, including maximum task capacity, unused memory, and so on. Each time the BSP master receives a heartbeat message, it brings the groom server status up-to-date. The bsp master makes use of groom servers' status in order to assign tasks to idle groom servers - and returns a heartbeat response containing assigned tasks and others actions for a groom server to do. Currently BSP master has a FIFO job scheduler and simple task assignment algorithms. === GroomServer === A groom server (shortly referred to as groom) is a process that performs BSP tasks assigned by BSPMaster. Each groom contacts the BSPMaster, and it takes assigned tasks and reports its status by means of periodical piggybacks with BSPMaster. Each groom is designed to run with HDFS or other distributed storages. Basically, a groom server and a data node should be run on one physical node. === Zookeeper === A Zookeeper is used to manage the efficient barrier synchronisation of the BSPPeers.
General time- and transfer constant analysis
The general time- and transfer-constants (TTC) analysis is the generalized version of the Cochran-Grabel (CG) method, which itself is the generalized version of zero-value time-constants (ZVT), which in turn is the generalization of the open-circuit time constant method (OCT). While the other methods mentioned provide varying terms of only the denominator of an arbitrary transfer function, TTC can be used to determine every term both in the numerator and the denominator. Its denominator terms are the same as that of Cochran-Grabel method, when stated in terms of time constants (when expressed in Rosenstark notation). however, the numerator terms are determined using a combination of transfer constants and time constants, where the time constants are the same as those in CG method. Transfer constants are low-frequency ratios of the output variable to input variable under different open- and short-circuited active elements. In general, a transfer function (which can characterize gain, admittance, impedance, trans-impedance, etc., based on the choice of the input and output variables) can be written as: H ( s ) = a 0 + a 1 s + a 2 s 2 + … + a m s m 1 + b 1 s + b 2 s 2 + … + b n s n {\displaystyle H(s)={\frac {a_{0}+a_{1}s+a_{2}s^{2}+\ldots +a_{m}s^{m}}{1+b_{1}s+b_{2}s^{2}+\ldots +b_{n}s^{n}}}} == The denominator terms == The first denominator term b 1 {\textstyle b_{1}} can be expressed as the sum of zero value time constants (ZVTs): b 1 = ∑ i = 1 N τ i 0 {\displaystyle b_{1}=\sum _{i=1}^{N}\tau _{i}^{0}} where τ i 0 {\textstyle \tau _{i}^{0}} is the time constant associated with the reactive element i {\textstyle i} when all the other sources are zero-valued (hence the superscript '0'). Setting a capacitor value to zero corresponds to an open circuit, while a zero-valued inductor is a short circuit. So for calculation of the τ i 0 {\textstyle \tau _{i}^{0}} , all other capacitors are open-circuited and all other inductors are short-circuited. This is the essence of the ZVT method, which reduces to OCT when only capacitors are involved. All independent sources are also zero-valued during the time constant calculations (voltage sources short-circuited and current source open-circuited). In this case, if the element in question (element i {\textstyle i} ) is a capacitor, the time constant is given by τ i 0 = R i 0 C i {\displaystyle \tau _{i}^{0}=R_{i}^{0}C_{i}} and when element i {\textstyle i} is an inductor is it given by: τ i 0 = L i / R i 0 {\displaystyle \tau _{i}^{0}=L_{i}/R_{i}^{0}} . where in both cases, the resistance R i 0 {\textstyle R_{i}^{0}} , is the resistance seen by elements i {\textstyle i} (denoted by subscript), when all the other elements are zero-valued (denoted by the zero superscript). The second-order denominator term is equal to: b 2 = ∑ i = 1 N − 1 ∑ j = i + 1 N τ i 0 τ j i = ∑ i 1 ⩽ i ∑ j < j ⩽ N τ i 0 τ j i {\displaystyle b_{2}=\sum _{i=1}^{N-1}\sum _{j=i+1}^{N}\tau _{i}^{0}\tau _{j}^{i}=\sum _{i}^{1\leqslant i}\sum _{j}^{ The following outline is provided as an overview of and topical guide to web design and web development, two very related fields: Web design – field that encompasses many different skills and disciplines in the production and maintenance of websites. The different areas of web design include web graphic design; interface design; authoring, including standardized code and proprietary software; user experience design; and search engine optimization. Often many individuals will work in teams covering different aspects of the design process, although some designers will cover them all. The term web design is normally used to describe the design process relating to the front-end (client side) design of a website including writing markup. Web design partially overlaps web engineering in the broader scope of web development. Web designers are expected to have an awareness of usability and if their role involves creating markup then they are also expected to be up to date with web accessibility guidelines. Web development – work involved in developing a web site for the Internet (World Wide Web) or an intranet (a private network). Web development can range from developing a simple single static page of plain text to complex web-based internet applications (web apps), electronic businesses, and social network services. A more comprehensive list of tasks to which web development commonly refers, may include web engineering, web design, web content development, client liaison, client-side/server-side scripting, web server and network security configuration, and e-commerce development. Among web professionals, "web development" usually refers to the main non-design aspects of building web sites: writing markup and coding. Web development may use content management systems (CMS) to make content changes easier and available with basic technical skills. For larger organizations and businesses, web development teams can consist of hundreds of people (web developers) and follow standard methods like Agile methodologies while developing websites. Smaller organizations may only require a single permanent or contracting developer, or secondary assignment to related job positions such as a graphic designer or information systems technician. Web development may be a collaborative effort between departments rather than the domain of a designated department. There are three kinds of web developer specialization: front-end developer, back-end developer, and full-stack developer. Front-end developers are responsible for behaviour and visuals that run in the user browser, back-end developers deal with the servers and full-stack developers are responsible for both. Currently, the demand for React and Node.JS developers are very high all over the world. == Web design == Graphic design Typography Page layout User experience design (UX design) User interface design (UI design) Web Design techniques Responsive web design (RWD) Adaptive web design (AWD) Progressive enhancement Tableless web design Software Adobe Photoshop Adobe Illustrator Adobe XD Figma Sketch (software) Affinity Designer Inkscape == Web development == Front-end web development – the practice of converting data to a graphical interface, through the use of HTML, CSS, and JavaScript, so that users can view and interact with that data. HyperText Markup Language (HTML) (.html) Cascading Style Sheets (CSS) (.css) CSS framework JavaScript (.js) Package managers for JavaScript npm (originally short for Node Package Manager) Server-side scripting (also known as "Server-side (web) development" or "Back-end (web) development") ASP (.asp) ASP.NET Web Forms (.aspx) ASP.NET Web Pages (.cshtml, .vbhtml) ColdFusion Markup Language (.cfm) Go (.go) Google Apps Script (.gs) Hack (.php) Haskell (.hs) (example: Yesod) Java (.jsp) via JavaServer Pages JavaScript or TypeScript using Server-side JavaScript (.ssjs, .js, .ts) (example: Node.js) Lasso (.lasso) Lua (.lp .op .lua) Node.js (.node) Parser (.p) Perl via the CGI.pm module (.cgi, .ipl, .pl) PHP (.php, .php3, .php4, .phtml) Progress WebSpeed (.r,.w) Python (.py) (examples: Pyramid, Flask, Django) R (.rhtml) – (example: rApache) React (.jsx, .tsx) Ruby (.rb, .rbw) (example: Ruby on Rails) SMX (.smx) Tcl (.tcl) Full stack web development – involves both front-end and back-end (server-side) development Web framework Types of framework architectures Model–view–controller Three-tier architecture Software Atom IntelliJ IDEA Sublime Text Visual Studio Code The Höhere Graphische Bundes-Lehr- und Versuchsanstalt (HGBLuVA) ("Higher Federal Institution for Graphic Education and Research"), now commonly known as "die Graphische", founded in 1888 in Vienna, is a vocational college for professions in visual communication and media technology in Austria. == History == === Opening === Originally set up as a photographic research institute by the President of the Photographic Society, the graphic teaching and research institute (GLV) was created through the incorporation of the photographic school (a department for photographic reproduction processes connected to the Salzburg State Building School) and the Hörwarter general drawing school in Vienna. Since its foundation, it has made an important contribution to the establishment and development of the graphic professions. According to a resolution of March 14, 1887, the City Council of Vienna made three floors of the municipal building in Vienna VII, Westbahnstraße 25, available to the former Schottenfelder Realschule for the establishment of a teaching and research institute for photography and reproduction processes. The k. k. Lehr- und Versuchsanstalt für Photographie und Reproductionsverfahren, founded and directed (1888–1923) by Josef Maria Eder, previously of the Technologische Gewerbemuseum (Museum of Applied Technology), for which he established a Section for Photography and Reproduction Techniques, and the Vienna State Trade School where, recently qualified as a university lecturer, he began teaching chemistry and physics in 1881. It opened on March 1, 1888 with 108 students. In the next school year the number of students rose to 174. In 1890, Eder placed a Wothly solar camera (an early means of enlarging negatives) on the roof. In the context of the history of vocational schools and the applied arts, pioneering educational reforms in Austria from the 1870s created institutions like it outside the format of the classical university, it being a special variation on the “state trade school” (“Staats-Gewerbeschule”). Eder based his institution on earlier foreign models such as the Conservatoire des arts et métiers in Paris (founded 1794), that housed a museum of history and technology and hosted with evening lectures and demonstrations, with lectures in photography commencing in 1891. From 1897 onwards the name Graphische Lehr- und Versuchsanstalt came into being . In 1906, Emperor Franz Joseph granted the school the designation “Imperial and Royal” in the title, and the Republic of Austria confirmed this distinction when the school's Federal Chancellery approved the use of the national coat of arms. === The beginnings === The GLV was instituted on August 27, 1887 "by the highest resolution to approve the activation of this teaching and research institute in Vienna on March 1, 1888". The aim of the institute was the “training of specialist photographers, retouchers, collotype printers, photolithographers, etc., the instruction of artists, scholars and technicians who want to learn photography as an auxiliary science, furthermore the testing of equipment, chemicals and the implementation of independent scientific investigations in the areas of Photochemistry and Related Subjects”. The school consisted of two departments; the Institute for Photography and Reproduction Processes and the Research Institute, and in 1891 the Board of Book Printers and Type Founders pointed out the urgent need to add a department for book printers to the school. In 1897 an additional section for the book and illustration trade was opened, the school called "KK Graphische Lehr- und Versuchsanstalt" was then divided into four sections: Section I: Institute for Photography and Reproduction (corresponds to the former Institute for Photography and Reproduction Processes) Section II: College for the book and illustration trade Section III: Research institute for photochemistry and graphic printing processes (corresponds to the original research institute) Section IV: Collections: graphic collection, library and equipment collection The first original lithographs by famous artists such as Luigi Kasimir and Tina Blau are thanks to the special course for lithography and lithography introduced in 1905 and 'algraphy' - a planographic printing process from an aluminum plate instead of the stone used in lithography - was first taught in Austria in 1896 at the GLV. The specialty course for lithography and lithography existed until 1913/14, after which a specialist course for xylography (wood engraving and woodcuts) was offered. In 1908 the graphic arts department was set up on the top floor of the neighbouring house at Westbahnstraße 27 connected by a spiral staircase still in existence in the courtyard at the current location on Leyserstraße. === Women in the graphic teaching and research institute === From 1908 women were also officially admitted. For the period from 1888 to 1918/19, a total of 718 female students at the Graphische are recorded in the largely preserved class lists. Due to changes and new requirements in the job description, the proportion of women continued to grow, so that in some classes it exceeded two thirds. === The Graphics Department === In 1916, the school statute was changed: all-day lessons with photography internship in the 1st and 2nd years as well as training for disabled people were introduced and a drawing school was added. After the First World War, the school was renamed several times: In 1919 the name was "Deutsch-Österreichische Graphische Lehr- und Versuchsanstalt"; changed in 1920 to "Staatliche Graphische Lehr- und Versuchsanstalt" and in 1923 to "Graphic Education and Research Institute". === The school in the time of National Socialism === The "annexation of Austria by Germany" resulted in organisational restructuring: semesters were introduced and the GLV was made a subordinate level of a university of the graphic arts administered in Leipzig. In 1939 the school became a state graphic teaching and research institute . Up to this point, two thirds of all Austrian postage stamps had been designed and engraved in the Graphische. === Post-war period === In 1945 the period of study at the technical school was extended to four years. In 1948, “manual graphics” became “commercial graphics” followed by an honours year. In 1959, a department A was developed: a three-class specialist department for photography with a master class, and a department B: a specialist department for commercial graphics with four classes and an honours year. Through further school reforms, the university entrance qualification was acquired with the completion of the now five-year course and honours qualification. In 1967, due to a lack of space, the Westbahnstrasse was moved to the new Carl Appel building in Leyserstrasse. === The new building, 1963 === On May 22, 1963, the foundation stone of the new campus was laid in the 14th district in the Breitenseer Strasse, Leyserstrasse and Spallartgasse area (Kommandogebäude Theodor Körner). In 1967 the move to the new building began and in 1968 the official opening coincided with the 80th anniversary of the school. In 1963/64 the first year of the five-year high school for reprography and printing technology began. There was also a four-year technical school. With the advent of personal computers and their use in the graphics industry, change comes first in typesetting and later in image processing, and in 1984 the advent of desktop publishing brought a revolution that permanently challenged the distinction between photographer, typesetter, layout artist and printer. In 1988, the Graphische celebrated its 100th anniversary. The rapid development of technology shaped school events in the 1980s, as did the rapid advance of offset printing - albeit at the expense of Letterpress printing. In reproduction technology, scanner technology for the production of colour separations displaced reprography. === Renovation, 2006 === Due to renovation work on the building in Leyserstraße, the management and the photography, multimedia and graphics departments moved to an alternative location in Vienna's first district at Schellinggasse 13. After the work was completed, the school was relocated in February 2008. == Notable teachers and students == A DevOps toolchain is a set or combination of tools that aid in the delivery, development, and management of software applications throughout the systems development life cycle, as coordinated by an organization that uses DevOps practices. Generally, DevOps tools fit into one or more activities, which supports specific DevOps initiatives: Plan, Create, Verify, Package, Release, Configure, Monitor, and Version Control. == Toolchains == In software, a toolchain is the set of programming tools that is used to perform a complex software development task or to create a software product, which is typically another computer program or a set of related programs. In general, the tools forming a toolchain are executed consecutively so the output or resulting environment state of each tool becomes the input or starting environment for the next one, but the term is also used when referring to a set of related tools that are not necessarily executed consecutively. As DevOps is a set of practices that emphasizes the collaboration and communication of both software developers and other information technology (IT) professionals, while automating the process of software delivery and infrastructure changes, its implementation can include the definition of the series of tools used at various stages of the lifecycle; because DevOps is a cultural shift and collaboration between development and operations, there is no one product that can be considered a single DevOps tool. Instead a collection of tools, potentially from a variety of vendors, are used in one or more stages of the lifecycle. == Stages of DevOps == === Plan === Plan consists of two elements: "define" and "plan". This activity refers to the business value and application requirements. Specifically "Plan" activities include: Production metrics, objects and feedback Requirements Business metrics Update release metrics Release plan, timing and business case Security policy and requirement A combination of the IT personnel will be involved in these activities: business application owners, software development, software architects, continual release management, security officers and the organization responsible for managing the production of IT infrastructure. === Create === Create consists of the building, coding, and configuring of the software development process. The specific activities are: Design of the software and configuration Coding including code quality and performance Software build and build performance Release candidate Tools and vendors in this category often overlap with other categories. Because DevOps is about breaking down silos, this is reflective in the activities and product solutions. === Verify === Verify is directly associated with ensuring the quality of the software release; activities designed to ensure code quality is maintained and the highest quality is deployed to production. The main activities in this are: Acceptance testing Regression testing Security and vulnerability analysis Performance Configuration testing Solutions for verify-related activities generally fall under four main categories: Test automation, Static analysis, Test Lab, and Security. === Package === Package refers to the activities involved once the release is ready for deployment, often also referred to as staging or Preproduction / "preprod". This often includes tasks and activities such as: Approval/preapprovals Package configuration Triggered releases Release staging and holding === Release === Release related activities include schedule, orchestration, provisioning and deploying software into production and targeted environment. The specific Release activities include: Release coordination Deploying and promoting applications Fallbacks and recovery Scheduled/timed releases Solutions that cover this aspect of the toolchain include application release automation, deployment automation and release management. === Configure === Configure activities fall under the operation side of DevOps. Once software is deployed, there may be additional IT infrastructure provisioning and configuration activities required. Specific activities including: Infrastructure storage, database and network provisioning and configuring Application provision and configuration. The main types of solutions that facilitate these activities are continuous configuration automation, configuration management, and infrastructure as code tools. === Monitor === Monitoring is an important link in a DevOps toolchain. It allows IT organization to identify specific issues of specific releases and to understand the impact on end-users. A summary of Monitor related activities are: Performance of IT infrastructure End-user response and experience Production metrics and statistics Information from monitoring activities often impacts Plan activities required for changes and for new release cycles. === Version Control === Version Control is an important link in a DevOps toolchain and a component of software configuration management. Version Control is the management of changes to documents, computer programs, large web sites, and other collections of information. A summary of Version Control related activities are: Non-linear development Distributed development Compatibility with existent systems and protocols Toolkit-based design Information from Version Control often supports Release activities required for changes and for new release cycles. New media are communication technologies that enable or enhance interaction between users, as well as interaction between users and content. In the middle of the 1990s, the phrase "new media" became widely used as part of a sales pitch for the influx of interactive CD-ROMs for entertainment and education. The new media technologies, sometimes known as Web 2.0, include a wide range of web-related communication tools such as blogs, wikis, online social networking, virtual worlds, and other social media platforms. The phrase "new media" refers to computational media that share material online and through computers. New media inspire new ways of thinking about older media. Media do not replace one another in a clear, linear succession, instead evolving in a more complicated network of interconnected feedback loops . What is different about new media is how they specifically refashion traditional media and how older media refashion themselves to meet the challenges of new media. Unless they contain technologies that enable digital generative or interactive processes, broadcast television programs, non-interactive news websites, feature films, magazines, and books are not considered to be new media. The term "new media" stands in contrast to old media, which dominated the media landscape as a form of mass media for many years. == History == In the 1950s, connections between computing and radical art began to grow stronger. It was not until the 1980s that Alan Kay and his co-workers at Xerox PARC began to give the computability of a personal computer to the individual, rather than have a big organization be in charge of this. In the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually, it makes sense that the Cold War and the design of the Web took place at exactly the same time. Writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period which is now famous declaration in Understanding Media: The Extensions of Man, that "the medium is the message" drew attention to the too often ignored influence media and technology themselves, rather than their "content," have on humans' experience of the world and on society broadly. Until the 1980s, media relied primarily upon print and analog broadcast models such as television and radio. The last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies such as the Internet and video games. However, these examples are only a small representation of new media. The use of digital computers has transformed the remaining 'old' media, as suggested by the advent of digital television and online publications. Even traditional media forms such as the printing press have been transformed through the application of technologies by using of image manipulation software like Adobe Photoshop and desktop publishing tools. Andrew L. Shapiro argues that the "emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources". W. Russell Neuman suggests that whilst the "new media" have technical capabilities to pull in one direction, economic and social forces pull back in the opposite direction. According to Neuman, "We are witnessing the evolution of a universal interconnected network of audio, video, and electronic text communications that will blur the distinction between interpersonal and mass communication; and between public and private communication". Neuman argues that new media will: Alter the meaning of geographic distance. Allow for a huge increase in the volume of communication. Provide the possibility of increasing the speed of communication. Provide opportunities for interactive communication. Allow forms of communication that were previously separate to overlap and interconnect. Consequently, it has been the contention of scholars such as Douglas Kellner and James Bohman that new media and particularly the Internet will provide the potential for a democratic postmodern public sphere, in which citizens can participate in well informed, non-hierarchical debate pertaining to their social structures. Contradicting these positive appraisals of the potential social impacts of new media are scholars such as Edward S. Herman and Robert McChesney who have suggested that the transition to new media has seen a handful of powerful transnational telecommunications corporations who achieve a level of global influence which was hitherto unimaginable. Scholars have highlighted both the positive and negative potential and actual implications of new media technologies, suggesting that some of the early work in new media studies was guilty of technologicaldeterminism – whereby the effects of media were determined by the technologies themselves, rather than by tracing the complex social networks that governed the development, funding, implementation, and future evolution of any technology. Based on the argument that people have a limited amount of time to spend on the consumption of different media, displacement theory argue that the viewership or readership of one particular outlet leads to the reduction in the amount of time spent by the individual on another. The introduction of new media, such as the internet, therefore reduces the amount of time individuals would spend on existing "old" media, which could ultimately lead to the end of such traditional media. == Definition == Although, there are several ways that new media may be described, Lev Manovich, in an introduction to The New Media Reader, defines new media by using eight propositions: New media versus cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas new media is concerned more with cultural objects and paradigms (digital to analog television, smartphones). New media as computer technology used as a distribution platform – New media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers. New media as digital data controlled by software – The language of new media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc. New media as the mix between existing cultural conventions and the conventions of software – New media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation. New media as the aesthetics that accompanies the early stage of every new modern media and communication technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period. New media as faster execution of algorithms previously executed manually or through other technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device. New media as the encoding of modernist avant-garde; new media as metamedia – ManoviOutline of web design and web development
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