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Reparameterization trick
The reparameterization trick (aka "reparameterization gradient estimator") is a technique used in statistical machine learning, particularly in variational inference, variational autoencoders, and stochastic optimization. It allows for the efficient computation of gradients through random variables, enabling the optimization of parametric probability models using stochastic gradient descent, and the variance reduction of estimators. It was developed in the 1980s in operations research, under the name of "pathwise gradients", or "stochastic gradients". Its use in variational inference was proposed in 2013. == Mathematics == Let z {\displaystyle z} be a random variable with distribution q ϕ ( z ) {\displaystyle q_{\phi }(z)} , where ϕ {\displaystyle \phi } is a vector containing the parameters of the distribution. === REINFORCE estimator === Consider an objective function of the form: L ( ϕ ) = E z ∼ q ϕ ( z ) [ f ( z ) ] {\displaystyle L(\phi )=\mathbb {E} _{z\sim q_{\phi }(z)}[f(z)]} Without the reparameterization trick, estimating the gradient ∇ ϕ L ( ϕ ) {\displaystyle \nabla _{\phi }L(\phi )} can be challenging, because the parameter appears in the random variable itself. In more detail, we have to statistically estimate: ∇ ϕ L ( ϕ ) = ∇ ϕ ∫ d z q ϕ ( z ) f ( z ) {\displaystyle \nabla _{\phi }L(\phi )=\nabla _{\phi }\int dz\;q_{\phi }(z)f(z)} The REINFORCE estimator, widely used in reinforcement learning and especially policy gradient, uses the following equality: ∇ ϕ L ( ϕ ) = ∫ d z q ϕ ( z ) ∇ ϕ ( ln q ϕ ( z ) ) f ( z ) = E z ∼ q ϕ ( z ) [ ∇ ϕ ( ln q ϕ ( z ) ) f ( z ) ] {\displaystyle \nabla _{\phi }L(\phi )=\int dz\;q_{\phi }(z)\nabla _{\phi }(\ln q_{\phi }(z))f(z)=\mathbb {E} _{z\sim q_{\phi }(z)}[\nabla _{\phi }(\ln q_{\phi }(z))f(z)]} This allows the gradient to be estimated: ∇ ϕ L ( ϕ ) ≈ 1 N ∑ i = 1 N ∇ ϕ ( ln q ϕ ( z i ) ) f ( z i ) {\displaystyle \nabla _{\phi }L(\phi )\approx {\frac {1}{N}}\sum _{i=1}^{N}\nabla _{\phi }(\ln q_{\phi }(z_{i}))f(z_{i})} The REINFORCE estimator has high variance, and many methods were developed to reduce its variance. === Reparameterization estimator === The reparameterization trick expresses z {\displaystyle z} as: z = g ϕ ( ϵ ) , ϵ ∼ p ( ϵ ) {\displaystyle z=g_{\phi }(\epsilon ),\quad \epsilon \sim p(\epsilon )} Here, g ϕ {\displaystyle g_{\phi }} is a deterministic function parameterized by ϕ {\displaystyle \phi } , and ϵ {\displaystyle \epsilon } is a noise variable drawn from a fixed distribution p ( ϵ ) {\displaystyle p(\epsilon )} . This gives: L ( ϕ ) = E ϵ ∼ p ( ϵ ) [ f ( g ϕ ( ϵ ) ) ] {\displaystyle L(\phi )=\mathbb {E} _{\epsilon \sim p(\epsilon )}[f(g_{\phi }(\epsilon ))]} Now, the gradient can be estimated as: ∇ ϕ L ( ϕ ) = E ϵ ∼ p ( ϵ ) [ ∇ ϕ f ( g ϕ ( ϵ ) ) ] ≈ 1 N ∑ i = 1 N ∇ ϕ f ( g ϕ ( ϵ i ) ) {\displaystyle \nabla _{\phi }L(\phi )=\mathbb {E} _{\epsilon \sim p(\epsilon )}[\nabla _{\phi }f(g_{\phi }(\epsilon ))]\approx {\frac {1}{N}}\sum _{i=1}^{N}\nabla _{\phi }f(g_{\phi }(\epsilon _{i}))} == Examples == For some common distributions, the reparameterization trick takes specific forms: Normal distribution: For z ∼ N ( μ , σ 2 ) {\displaystyle z\sim {\mathcal {N}}(\mu ,\sigma ^{2})} , we can use: z = μ + σ ϵ , ϵ ∼ N ( 0 , 1 ) {\displaystyle z=\mu +\sigma \epsilon ,\quad \epsilon \sim {\mathcal {N}}(0,1)} Exponential distribution: For z ∼ Exp ( λ ) {\displaystyle z\sim {\text{Exp}}(\lambda )} , we can use: z = − 1 λ log ( ϵ ) , ϵ ∼ Uniform ( 0 , 1 ) {\displaystyle z=-{\frac {1}{\lambda }}\log(\epsilon ),\quad \epsilon \sim {\text{Uniform}}(0,1)} Discrete distribution can be reparameterized by the Gumbel distribution (Gumbel-softmax trick or "concrete distribution") and diffusion models. In general, any distribution that is differentiable with respect to its parameters can be reparameterized by inverting the multivariable CDF function, then apply the implicit method. See for an exposition and application to the Gamma, Beta, Dirichlet, and von Mises distributions. == Applications == === Variational autoencoder === In Variational Autoencoders (VAEs), the VAE objective function, known as the Evidence Lower Bound (ELBO), is given by: ELBO ( ϕ , θ ) = E z ∼ q ϕ ( z | x ) [ log p θ ( x | z ) ] − D KL ( q ϕ ( z | x ) | | p ( z ) ) {\displaystyle {\text{ELBO}}(\phi ,\theta )=\mathbb {E} _{z\sim q_{\phi }(z|x)}[\log p_{\theta }(x|z)]-D_{\text{KL}}(q_{\phi }(z|x)||p(z))} where q ϕ ( z | x ) {\displaystyle q_{\phi }(z|x)} is the encoder (recognition model), p θ ( x | z ) {\displaystyle p_{\theta }(x|z)} is the decoder (generative model), and p ( z ) {\displaystyle p(z)} is the prior distribution over latent variables. The gradient of ELBO with respect to θ {\displaystyle \theta } is simply E z ∼ q ϕ ( z | x ) [ ∇ θ log p θ ( x | z ) ] ≈ 1 L ∑ l = 1 L ∇ θ log p θ ( x | z l ) {\displaystyle \mathbb {E} _{z\sim q_{\phi }(z|x)}[\nabla _{\theta }\log p_{\theta }(x|z)]\approx {\frac {1}{L}}\sum _{l=1}^{L}\nabla _{\theta }\log p_{\theta }(x|z_{l})} but the gradient with respect to ϕ {\displaystyle \phi } requires the trick. Express the sampling operation z ∼ q ϕ ( z | x ) {\displaystyle z\sim q_{\phi }(z|x)} as: z = μ ϕ ( x ) + σ ϕ ( x ) ⊙ ϵ , ϵ ∼ N ( 0 , I ) {\displaystyle z=\mu _{\phi }(x)+\sigma _{\phi }(x)\odot \epsilon ,\quad \epsilon \sim {\mathcal {N}}(0,I)} where μ ϕ ( x ) {\displaystyle \mu _{\phi }(x)} and σ ϕ ( x ) {\displaystyle \sigma _{\phi }(x)} are the outputs of the encoder network, and ⊙ {\displaystyle \odot } denotes element-wise multiplication. Then we have ∇ ϕ ELBO ( ϕ , θ ) = E ϵ ∼ N ( 0 , I ) [ ∇ ϕ log p θ ( x | z ) + ∇ ϕ log q ϕ ( z | x ) − ∇ ϕ log p ( z ) ] {\displaystyle \nabla _{\phi }{\text{ELBO}}(\phi ,\theta )=\mathbb {E} _{\epsilon \sim {\mathcal {N}}(0,I)}[\nabla _{\phi }\log p_{\theta }(x|z)+\nabla _{\phi }\log q_{\phi }(z|x)-\nabla _{\phi }\log p(z)]} where z = μ ϕ ( x ) + σ ϕ ( x ) ⊙ ϵ {\displaystyle z=\mu _{\phi }(x)+\sigma _{\phi }(x)\odot \epsilon } . This allows us to estimate the gradient using Monte Carlo sampling: ∇ ϕ ELBO ( ϕ , θ ) ≈ 1 L ∑ l = 1 L [ ∇ ϕ log p θ ( x | z l ) + ∇ ϕ log q ϕ ( z l | x ) − ∇ ϕ log p ( z l ) ] {\displaystyle \nabla _{\phi }{\text{ELBO}}(\phi ,\theta )\approx {\frac {1}{L}}\sum _{l=1}^{L}[\nabla _{\phi }\log p_{\theta }(x|z_{l})+\nabla _{\phi }\log q_{\phi }(z_{l}|x)-\nabla _{\phi }\log p(z_{l})]} where z l = μ ϕ ( x ) + σ ϕ ( x ) ⊙ ϵ l {\displaystyle z_{l}=\mu _{\phi }(x)+\sigma _{\phi }(x)\odot \epsilon _{l}} and ϵ l ∼ N ( 0 , I ) {\displaystyle \epsilon _{l}\sim {\mathcal {N}}(0,I)} for l = 1 , … , L {\displaystyle l=1,\ldots ,L} . This formulation enables backpropagation through the sampling process, allowing for end-to-end training of the VAE model using stochastic gradient descent or its variants. === Variational inference === More generally, the trick allows using stochastic gradient descent for variational inference. Let the variational objective (ELBO) be of the form: ELBO ( ϕ ) = E z ∼ q ϕ ( z ) [ log p ( x , z ) − log q ϕ ( z ) ] {\displaystyle {\text{ELBO}}(\phi )=\mathbb {E} _{z\sim q_{\phi }(z)}[\log p(x,z)-\log q_{\phi }(z)]} Using the reparameterization trick, we can estimate the gradient of this objective with respect to ϕ {\displaystyle \phi } : ∇ ϕ ELBO ( ϕ ) ≈ 1 L ∑ l = 1 L ∇ ϕ [ log p ( x , g ϕ ( ϵ l ) ) − log q ϕ ( g ϕ ( ϵ l ) ) ] , ϵ l ∼ p ( ϵ ) {\displaystyle \nabla _{\phi }{\text{ELBO}}(\phi )\approx {\frac {1}{L}}\sum _{l=1}^{L}\nabla _{\phi }[\log p(x,g_{\phi }(\epsilon _{l}))-\log q_{\phi }(g_{\phi }(\epsilon _{l}))],\quad \epsilon _{l}\sim p(\epsilon )} === Dropout === The reparameterization trick has been applied to reduce the variance in dropout, a regularization technique in neural networks. The original dropout can be reparameterized with Bernoulli distributions: y = ( W ⊙ ϵ ) x , ϵ i j ∼ Bernoulli ( α i j ) {\displaystyle y=(W\odot \epsilon )x,\quad \epsilon _{ij}\sim {\text{Bernoulli}}(\alpha _{ij})} where W {\displaystyle W} is the weight matrix, x {\displaystyle x} is the input, and α i j {\displaystyle \alpha _{ij}} are the (fixed) dropout rates. More generally, other distributions can be used than the Bernoulli distribution, such as the gaussian noise: y i = μ i + σ i ⊙ ϵ i , ϵ i ∼ N ( 0 , I ) {\displaystyle y_{i}=\mu _{i}+\sigma _{i}\odot \epsilon _{i},\quad \epsilon _{i}\sim {\mathcal {N}}(0,I)} where μ i = m i ⊤ x {\displaystyle \mu _{i}=\mathbf {m} _{i}^{\top }x} and σ i 2 = v i ⊤ x 2 {\displaystyle \sigma _{i}^{2}=\mathbf {v} _{i}^{\top }x^{2}} , with m i {\displaystyle \mathbf {m} _{i}} and v i {\displaystyle \mathbf {v} _{i}} being the mean and variance of the i {\displaystyle i} -th output neuron. The reparameterization trick can be applied to all such cases, resulting in the variational dropout method.
Modulation error ratio
The modulation error ratio (MER) is a measure used to quantify the performance of a digital radio (or digital TV) transmitter or receiver in a communications system using digital modulation (such as QAM). A signal sent by an ideal transmitter or received by a receiver would have all constellation points precisely at the ideal locations, however various imperfections in the implementation (such as noise, low image rejection ratio, phase noise, carrier suppression, distortion, etc.) or signal path cause the actual constellation points to deviate from the ideal locations. Transmitter MER can be measured by specialized equipment, which demodulates the received signal in a similar way to how a real radio demodulator does it. Demodulated and detected signal can be used as a reasonably reliable estimate for the ideal transmitted signal in MER calculation. == Definition == An error vector is a vector in the I-Q plane between the ideal constellation point and the point received by the receiver. The Euclidean distance between the two points is its magnitude. The modulation error ratio is equal to the ratio of the root mean square (RMS) power (in Watts) of the reference vector to the power (in Watts) of the error. It is defined in dB as: M E R ( d B ) = 10 log 10 ( P s i g n a l P e r r o r ) {\displaystyle \mathrm {MER(dB)} =10\log _{10}\left({P_{\mathrm {signal} } \over P_{\mathrm {error} }}\right)} where Perror is the RMS power of the error vector, and Psignal is the RMS power of ideal transmitted signal. MER is defined as a percentage in a compatible (but reciprocal) way: M E R ( % ) = P e r r o r P s i g n a l × 100 % {\displaystyle \mathrm {MER(\%)} ={\sqrt {P_{\mathrm {error} } \over P_{\mathrm {signal} }}}\times 100\%} with the same definitions. MER is closely related to error vector magnitude (EVM), but MER is calculated from the average power of the signal. MER is also closely related to signal-to-noise ratio. MER includes all imperfections including deterministic amplitude imbalance, quadrature error and distortion, while noise is random by nature.
Festival of International Virtual & Augmented Reality Stories
Festival of International Virtual & Augmented Reality Stories (FIVARS) is a Canadian media festival for story-driven works using extended reality (XR) and immersive media, including virtual reality, augmented reality, WebXR, live VR performance, projection mapping and spatialized audio. Founded in Toronto in 2015, it has been described as Canada's first dedicated virtual and augmented reality stories festival, the first Canadian festival of its kind, and Canada's original festival dedicated to immersive storytelling. FIVARS has described itself as "the original and longest-running festival wholly dedicated to Virtual and Augmented Reality Stories", while third-party XR coverage has called it one of the longest-running events dedicated to immersive content. FIVARS is produced by Constant Change Media Group, Inc., with its partner event VRTO. == History == FIVARS began in 2015, with preview screenings at the Camp Wavelength music festival on Toronto Island and an inaugural festival held in Toronto in September 2015. Contemporary coverage described the first edition as a virtual reality film festival held at UG3 Live in Toronto. The festival continued with a second edition in 2016. L'Express described the 2016 festival as presenting Canadian and international interactive works in virtual and augmented reality narrative forms. FIVARS's 2016 festival was also listed in a York University Future Cinema course page as a public event students could attend. In 2017, the third annual FIVARS festival was held at the House of VR in Toronto. In 2018, the festival was held at the Matador Ballroom, which NOW Magazine reported was reopening for FIVARS from September 14 to 16. The festival's own history states that the 2018 edition included 36 works from 12 countries and that Stephanie Greenall took over as co-producer that year. In 2019, FIVARS moved to the Toronto Media Arts Centre for its fifth anniversary and listed official selections in passive and interactive immersive-experience categories. The festival also held talks and panels at the Toronto Media Arts Centre. During the COVID-19 pandemic, FIVARS moved part of its programming online. In 2020, Voices of VR reported that Malicki-Sanchez and WebXR developer James Baicoianu used JanusXR code to create a platform for presenting 360-degree video through the web. The festival's history states that its 2020 online festival included 39 selections from 16 countries and was produced by Malicki-Sanchez and Greenall. In 2021, FIVARS introduced a dual-event structure with FIVARS in FEB and FIVARS in FALL. The fall 2021 edition used a hybrid format, with an in-person component in West Hollywood from October 15 to 17 and an online WebXR component from October 22 to November 2. In 2022, FIVARS held hybrid programming with pop-up viewing locations in Los Angeles and Toronto. The fall 2022 edition was listed by blogTO as the festival's tenth edition, with an in-person component at Stackt - an outdoor arts park built from shipping containers in Toronto and online programming. The 2023 festival was presented as a hybrid exhibition of 65 immersive stories, with an in-person Toronto component and an online component. The FIVARS Online Festival was later listed among the Innovator of the Year nominees for the 2024 Poly Awards. FIVARS stated that the nominees for that recognition were producer and designer Keram Malicki-Sanchez and developer James Baicoianu. The 2024 edition was listed as FIVARS 2024 (Toronto + Online), with an in-person Toronto event from October 3 to 8 and an online component beginning October 10. The festival also published a 2024 official selections list covering virtual reality, augmented reality, spherical video, spatial web and related immersive formats. In 2025, FIVARS and VRTO were held together at OCAD University. The 2026 edition is scheduled for June 15 to 19, 2026, at OCAD University in Toronto, with OCAD University as presenting sponsor and first-time venue host. FIVARS has featured official selections from more than forty countries across six continents. == Organization == FIVARS was founded in 2015 by Keram Malicki-Sánchez. Joseph Ellsworth was the festival's original technical director and helped operate FIVARS during its early years. Malicki-Sánchez remains executive director and festival director. Jessy Blaze joined Malicki-Sánchez as co-producer in 2016 and served until Stephanie Greenall took over the role in 2018. Greenall served as co-producer and associate producer from 2018 to 2022. Aimee Reynolds took over from Greenall in 2022 and has served as associate producer of FIVARS and VRTO since 2022. == Immersive Media Awards == FIVARS presents People's Choice awards for interactive works and immersive video or passive immersive works. Juried award categories have included the Grand Jury Prize, Impact Award, Technical Achievement, Excellence in Experience Design, Excellence in Visual Design, Excellence in Sound Design, and Outstanding Performance. === 2015 === On Monday, September 21, the festival announced People's Choice awards for two categories at the Cadillac Lounge, a music venue and restaurant in Toronto. People's Choice Best Interactive Experience: Apollo 11 Best Immersive Video: SONAR === 2016 === People's Choice Best Interactive Experience: Pearl (Patrick Osborne) Best Immersive Video: Help (Justin Lin) Juried Grand Jury Award: Real (Connor Hair and Alex Meader) === 2017 === People's Choice Best Interactive: Alteration Best Immersive (Passive): Guardian of the Guge Kingdom Juried Impact Award: Priya's Shakti / Priya's Mirror (Dan Goldman) Grand Jury Prize: Manifest 99 === 2018 === People's Choice Best Interactive: Museum of Symmetry (Paloma Dawkins) Best Immersive (Passive): Going Home (David Beier) Juried Impact Award: The Hidden (Annie Lukowski, BJ Schwartz) Grand Jury Prize: Battlescar (Nico Casavecchia, Martin Allais) === 2019 === People's Choice Best Interactive: After Dan Graham (David Han/Friend Generator) Best Immersive (Passive): 2nd Step (Joerg Courtial) Juried Technical Achievement: tx-reverse Excellence in Experience Design: Battlescar (Nico Casavecchia, Martin Allais) Excellence in Sound Design: Unheard (Zhechuan Zhang) Excellence in Visual Design: Ex Anima (Pierre Zandrowicz) Impact Award: State Power (Jeff Stanzler) Grand Jury Prize: The Industry (Mirka Duijn) === 2020 === People's Choice Best Interactive: Gravity VR (Fabito Rychter, Amir Admoni) Best Immersive (Passive): Warsaw Rising (Tomasz Dobosz) Juried Technical Achievement: The Cosmic Laughter of Cucci Binaca (Jonathan Sims) Excellence in Experience Design: Sleeping Eyes (Sojung Bahng, Sungeun Lee) Excellence in Sound Design: Symphony of Noise VR (Michaela Pnacekova) Excellence in Visual Design: Hominidae (Brian Andrews) Impact Award: Indirect Actions (Maranatha Hay) Grand Jury Prize: Minimum Mass (Raqi Syed, Areito Echevarria) === 2021 === FIVARS in FEB – People's Choice Best Interactive: CLAWS (created by Evan Neiden; directed by John Ertman) Best Immersive (Passive): Inside COVID 19 (Gary Yost, Adam Loften) FIVARS in FALL – People's Choice Best Interactive: Samsara (director: Hsin-Chien Huang) Best Immersive (Passive): The Invasion of Normandy Omaha Beach (director: Uli Futschik) Juried Technical Achievement: Dark Threads (director: Jonathon Corbiere) Excellence in Experience Design: Andy's World (director: Liquan Liu) Excellence in Sound Design: Symphony (director: Igor Cortadellas) Excellence in Visual Design: Mind VR Exploration (director: Deng Zuyun) Outstanding Performance: Lori Kovachevich, Lena's Journey (director: Wes Evans) Impact Award: Om Devi: Sheroes Revolution (director: Claudio Casale) Grand Jury Prize: Montegelato (director: Davide Rapp) === 2022 === FIVARS in FEB – People's Choice Best Interactive: Severance Theory: Welcome to Respite (Lyndsie Scoggin, United States) Best Immersive (Passive): Beescapes (Alan Nguyen, Australia) FIVARS in FALL – People's Choice Best Interactive: Namuanki (Kevin Mack, United States) Best Immersive (Passive): Reimagined Vol. 1: Nyssa (Julie Cavaliere, United States) Juried (Whole Year) Technical Achievement: Namuanki (Kevin Mack, United States) Excellence in Experience Design: Unframed: Hand Puppets, Paul Klee (Martin Charrière, Switzerland) Excellence in Visual Design: The Last Dance (Toshiaki Hanzaki, Japan) Excellence in Sound Design: Kingdom of Plants with David Attenborough (Iona McEwan, UK and USA) Outstanding Performance: Ari Tarr, OffRail (Ari Tarr, United States) Impact Award: Tearless (Gina Kim, South Korea) Grand Jury Prize: Klaxon. My dear sweet Friend (Nikita Shokhov, United States) === 2023 === People's Choice Best Interactive: PULSAR Best Immersive (Passive): Behind the Dish Juried Technical Achievement: VFC Excellence in Experience Design: Broken Spectre Excellence in Visual Design: Night Creatures Excellence in Sound Design: VFC Outstanding Performance: Origins Impact Award: LOU Grand Jury Prize: Stay Alive, My Son === 2024 ==
Media preservation
Preservation of documents, pictures, recordings, digital content, etc., is a major aspect of archival science. It is also an important consideration for people who are creating time capsules, family history, historical documents, scrapbooks and family trees. Common storage media are not permanent, and there are few reliable methods of preserving documents and pictures for the future. == Paper/prints (photos) == Color negatives and ordinary color prints may fade away to nothing in a relatively short period if not stored and handled properly. This happens even if the negatives and prints are kept in the dark, because ambient light is not the determining factor, but heat and humidity are. The color degradation is the result of the dyes used in the color processes. Because color processing results in a less stable image than traditional black-and-white processing, black-and-white pictures from the 1920s are more likely to survive long-term than color films and photographs from after the middle 20th century. Black-and-white photographic films using silver halide emulsions are the only film types that have proven to last for archival storage. The determining factors for longevity include the film base type, proper processing (develop, stop, fix and wash) and proper storage. Early films used a Cellulose nitrate base which was prone to decomposition and highly flammable. Nitrate film was replaced with acetate-base films. These Cellulose acetate films were later discovered to outgass acids (also referred to as vinegar syndrome). Acetate films were replaced in the early 1980s by polyester film base materials which have been determined to be more stable than film stocks with a nitrate or acetate base. Color prints made on most inkjet printers look very good at first but they have a very short lifespan, measured in months rather than in years. Even prints from commercial photo labs will start to fade in a matter of years if not processed properly and stored in cool, dry environments. == Documents/books == With documents for which the media are not so critical as what the documents contain, the information in documents can be copied by using photocopiers and image scanners. Books and manuscripts can also have their information saved without destruction by using a book scanner. Where the medium itself needs to be preserved, for example if a document is a crayon sketch by a famous artist on paper, a complex process of preservation may be used. Depending on the condition and importance of the item this can include gluing the media onto more stable media, or protective enclosing of the media. Polyester sleeves, acid-free folders, and pH buffered document boxes are common supportive protective enclosures whose selection must match the media's chemical and physical properties. Other considerations in preserving paper/books are: Damaging light, particularly UV light, which fades and destroys media over time by breaking down the molecules. Atmosphere contains small traces of sulfur dioxide and nitric acid which turn media yellow and break the fibers down. Humidity and moisture also aid in the breakdown of media. If there is too much, the document can be attacked by bacteria, and if too little, cellulose material breaks down. Temperature, particularly elevated ones, can destroy some media. Low temperatures can cause the water to form crystals which expands destroying the structure of paper-based documents. == Online photo albums == Although there are many websites that allow the upload of photographs and videos, digital preservation for the long-term is still considered an issue. There is a lack of confidence that such websites are capable of storing data for long periods of time (ex. 50 years) without data degradation or loss. == Optical media - CD, DVD, Blu-ray, M-Disc == Write-once optical media, such as CD-Rs and DVD-Rs, typically contain an organic dye that distinguishes data reading from data writing based on the dye's transparency along the disc. Conventional CDs and DVDs have finite shelf-life due to natural degradation of the dye; the newer M-DISC uses inorganic material technology to produce molded DVDs and Blu-Rays (up to 3-layer 100GB BDXL) with a claimed lifespan of 100-1000 years if stored correctly with most BD & BDXL rated read/writers enabling the higher power mode for the M-Disc format after 2011. The National Archives and Records Administration lists published life expectancies to be 10 or 25 years or more for normal CDs and DVDs and conservative life expectancies to be between 2 and 5 years. Storage environments, such as temperature and humidity, as well as handling conditions such as frequency of media use and compatibility between the recorder and media, affect media shelf-life. Improvements in media storage and migrations to new recording technologies can make certain formats obsolete within their respective lifespan. Technologists have pointed to internet streaming services, where services such as video-on-demand have contributed to the 33 percent decline in DVD sales the past 5 years, as a challenge for digital preservation. == Magnetic media - video cassettes, tapes, hard drives == Magnetic media such as audio and video tape and floppy disks also have limited life spans. Audio and video tapes require specific care and handling to ensure that the recorded information will be preserved. For information that must be preserved indefinitely, periodic transcription from old media to new ones is necessary, not only because the media are unstable but also because the recording technology may become obsolete. Magnetic media also deteriorates naturally with typical shelf lives between 10 and 20 years. Magnetic tape can degrade from binder hydrolysis or magnetic remanence decay. Binder hydrolysis, also known as sticky-shed syndrome, refers to the breakdown of binder, or glue, that holds the magnetic particles to the polyester base of the tape. Tapes which have been stored in hot, humid conditions are particularly vulnerable to this phenomenon and may suffer from accelerated degradation. Severe binder can cause the magnetic material to fall off or sheds from the base, leaving a pile of dust and clear backing. Archivists can bake the tape, which evaporates water molecules on the tape, to temporarily restore the binder before making a copy. Magnetic tape can also be destabilized by magnetic remanence decay, which refers to the weakening of the tape's magnetization over time. This weakens the affected tape's readability, leading to reduced sound clarity and volume or picture hue and contrast. Baking the tape will not restore magnetization. Media at risk include recorded media such as master audio recordings of symphonies and videotape recordings of the news gathered over the last 40 years. Threats to media that must be considered when archiving important record media include accidental erasure, physical loss due to disasters such as fires and floods, and media degradation. Along with the actual media being degraded over the years, the machines that are available to play back or reproduce the audio sources are becoming archaic themselves. Manufacturers and their support (parts, technical updates) for their machines have disappeared throughout the years. Even if the medium is vaulted and archived correctly, the mechanical properties of the machines have deteriorated to the point that they could do more harm than good to the tape being played. Many major film studios are now backing up their libraries by converting them to electronic media files, such as .AIFF or .WAV-based files via digital audio workstations. That way, even if the digital platform manufacturer goes out of business or no longer supports their product, the files can still be played on any common computer. There is a detailed process that must take place previous to the final archival product now that a digital solution is in place. Sample rates and their conversion and reference speed are both critical in this process. In floppy disks, the lubricants inside the plastic jackets of many older floppies promote the decay of the magnetic medium. Also, the alignment of the magnetic particles of the disk substrate may gradually degrade, leading to a loss of formatting and data. Early laser disk media were prone to degradation as the layers of the disk substrate were bonded with an adhesive that was vulnerable to decay and would crumble over time. This would lead the different layers of the disk to peel apart, damaging the pitted data surface and rendering the disk unreadable.
Augmented Analytics
Augmented Analytics is an approach of data analytics that employs the use of machine learning and natural language processing to automate analysis processes normally done by a specialist or data scientist. The term was introduced in 2017 by Rita Sallam, Cindi Howson, and Carlie Idoine in a Gartner research paper. Augmented analytics is based on business intelligence and analytics. In the graph extraction step, data from different sources are investigated. == Defining Augmented Analytics == Machine Learning – a systematic computing method that uses algorithms to sift through data to identify relationships, trends, and patterns. It is a process that allows algorithms to dynamically learn from data instead of having a set base of programmed rules. Natural language generation (NLG) – a software capability that takes unstructured data and translates it into plain-English, readable, language. Automating Insights – using machine learning algorithms to automate data analysis processes. Natural Language Query – enabling users to query data using business terms that are either typed onto a search box or spoken. == Data Democratization == Data Democratization is the democratizing data access in order to relieve data congestion and get rid of any sense of data "gatekeepers". This process must be implemented alongside a method for users to make sense of the data. This process is used in hopes of speeding up company decision making and uncovering opportunities hidden in data. There are three aspects to democratising data: Data Parameterisation and Characterisation. Data Decentralisation using an OS of blockchain and DLT technologies, as well as an independently governed secure data exchange to enable trust. Consent Market-driven Data Monetisation. When it comes to connecting assets, there are two features that will accelerate the adoption and usage of data democratisation: decentralized identity management and business data object monetization of data ownership. It enables multiple individuals and organizations to identify, authenticate, and authorize participants and organizations, enabling them to access services, data or systems across multiple networks, organizations, environments, and use cases. It empowers users and enables a personalized, self-service digital onboarding system so that users can self-authenticate without relying on a central administration function to process their information. Simultaneously, decentralized identity management ensures the user is authorized to perform actions subject to the system’s policies based on their attributes (role, department, organization, etc.) and/ or physical location. == Use cases == Agriculture – Farmers collect data on water use, soil temperature, moisture content and crop growth, augmented analytics can be used to make sense of this data and possibly identify insights that the user can then use to make business decisions. Smart Cities – Many cities across the United States, known as Smart Cities collect large amounts of data on a daily basis. Augmented analytics can be used to simplify this data in order to increase effectiveness in city management (transportation, natural disasters, etc.). Analytic Dashboards – Augmented analytics has the ability to take large data sets and create highly interactive and informative analytical dashboards that assist in many organizational decisions. Augmented Data Discovery – Using an augmented analytics process can assist organizations in automatically finding, visualizing and narrating potentially important data correlations and trends. Data Preparation – Augmented analytics platforms have the ability to take large amounts of data and organize and "clean" the data in order for it to be usable for future analyses. Business – Businesses collect large amounts of data, daily. Some examples of types of data collected in business operations include; sales data, consumer behavior data, distribution data. An augmented analytics platform provides access to analysis of this data, which could be used in making business decisions.
IDN Times
IDN Times is a digital multi-platform media outlet that provides news and entertainment for Millennials and Gen Z in Indonesia. IDN Times is one of IDN’s business units under the Digital Media pillar, founded by Winston Utomo and William Utomo on June 8, 2014. Currently, senior journalist Uni Zulfiani Lubis serves as the Editor-in-Chief of IDN Times. == History == IDN Times was initially known as Indonesian Times, a blog featuring articles written by Winston Utomo while he was working at Google Singapore. As interest and readership grew, Indonesian Times evolved into IDN Times, a digital multi-platform media company focused on delivering relevant content for Indonesia’s younger generations. == Bureau == IDN Times has a representative bureau that has spread over 12 provinces in Indonesia: == Events == === Indonesia Millennial and Gen Z Summit === The Indonesia Millennial and Gen-Z Summit (IMGS) is an annual event organized by IDN. This event aims to empower Indonesia’s younger generations through discussions and interdisciplinary collaborations. IMGS features inspirational figures, professionals, and leaders from various fields who share insights and drive positive change. The event hosts dozens of discussion sessions in collaboration with eight prominent communities. Topics covered include politics, economics, technology, and pop culture. === Indonesia Writers Festival === The Indonesia Writers Festival is an independent writing festival organized by IDN Times. The event seeks to empower Indonesians through writing by inviting experts and literacy activists from various backgrounds. == Duniaku.com == Duniaku.com is a multi-platform digital media part of IDN Times which presents content about geek culture ranging from video games, anime, comics, films, technology and gadgets. Duniaku.com was officially launched on September 6, 2019 by the Minister of Communication and Informatics Rudiantara together with CEO of IDN Media Winston Utomo and IDN Times and Editor-in-Chief of Duniaku.com Uni Lubis. == Awards == 2019 IDN won WAN-IFRA Asia Digital Media Awards 2019 as the Best Digital Project to Engage Younger and/or Millennial Audiences for IDN Times’ #MillennialsMemilih program 2020 IDN Times (IDN Times Community) won WAN-IFRA Asia Digital Media Awards 2019 in The Best in Audience Engagement category. 2021 IDN Times journalists won awards at the Subroto Award, Ministry of Energy and Mineral Resources (ESDM) on 28 September 2021. 2024 IDN Times won WAN-IFRA event at both the Asia and Global levels in Best Use of AI in Revenue Strategy. === #Interconnected22 by Pulitzer Center === One of the IDN Times journalists, Dhana Kencana, was the speaker at the #Interconnected22 conference held from June 9 to June 10, 2022, in Washington DC, United States of America. Dhana Kencana is also a grant recipient Pulitzer Center through the Rainforest Journalism Fund (RJF) program, a funding program for journalists that makes a number of coverage of the rainforest.