Digital artifactual value, a preservation term, is the intrinsic value of a digital object, rather than the informational content of the object. Though standards are lacking, born-digital objects and digital representations of physical objects may have a value attributed to them as artifacts. == Intrinsic value in analog materials == With respect to analog or non-digital materials, artifacts are determined to have singular research or archival value if they possess qualities and characteristics that make them the only acceptable form for long-term preservation. These qualities and characteristics are commonly referred to as the item's intrinsic value and form the basis upon which digital artifactual value is currently evaluated. Artifactual value based on this idea is predicated upon the artifact's originality, faithfulness, fixity, and stability. The intrinsic value of a particular object, as interpreted by archival professionals, largely determines the selection process for archives. The National Archives and Records Administration Committee on Intrinsic Value in "Intrinsic Value in Archival Material" classified an analog object as having intrinsic value if it possessed one or more of the follow qualities: Physical form that may be the subject for study if the records provide meaningful documentation or significant examples of the form. Aesthetic or artistic quality. Unique or curious physical features. Age that provides a quality of uniqueness. Value for use in exhibits. Questionable authenticity, date, author, or other characteristic that is significant and ascertainable by physical examination. General and substantial public interest because of direct association with famous or historically significant people, places, things, issues or events. Significance as documentation of the establishment or continuing legal basis of an agency or institution. Significance as documentation of the formulation of policy at the highest executive levels when the policy has significance and broad effect throughout or beyond the agency or institution. Other archival professionals such as Lynn Westney have written that the characteristics of materials exhibiting intrinsic value include age, content, usage, particularities of creation, signatures, and attached seals. Westney and others have stated that paper-based artifacts can be thought to have evidentiary value, or significant contextual markings, insofar that the original manifestation of the artifact can attest to the originality, faithfulness or authenticity, fixity, and stability of the content. For other analog materials, properly articulating intrinsic value remains essential for determining artifactual value. Similar to paper-based objects in many respects, artifactual value for images typically takes into account artistic value, age, authorial prestige, significant provenance, and institutional priorities. Analog audio preservation is based upon similar factors, including the cultural value of the item, its historical uniqueness, the estimated longevity of the medium, the current condition of the item, and the state of playback equipment, among other things. == Analog conventions in a digital realm == The standard definition of artifactual value, as it has applied to analog or non-digital materials in the twentieth century, is based upon a set of conventions which do not ordinarily apply to digital objects in toto. The Council on Library and Information Resources (CLIR) has stated that printed texts and other paper-based manuscripts, when considered as objects, are imbued with meaning distilled from a general set of understandings inherent to these conventions: The object is of a fixed and stable composition/form. Authorship and intellectual property are a recognizable concept. Duplication is possible. Fungibility of informational content (or, in other words, the ability to be replaced by another identical object). These conventions are important to consider because they help to describe the physical and even metaphysical relationship between a document's content and its physical manifestation. The underpinnings of this relationship are not identical and do not apply with the same degree of clarity to an immaterial digital realm. The idea of fixity with regard to printed materials, for example, is largely predicated on the notion that an object has been recorded on a relatively stable medium. The physical presence of a print text serves as proof of its authenticity as an object or artifact, as well as its scarcity and uniqueness in relation to other print materials. Variations in the chemical properties and storage conditions of print-based materials, as well as other cultural variables, certainly impact the fixity or stability of print materials, but there is little controversy about determining its fundamental existence or originality. However, uniqueness in the physical, paper-based sense does not translate to a digital realm in which immaterial objects are subject to theoretically infinite levels of reproduction and dissemination. Born-digital and digital surrogates may or may not look any different from each other on a server, and alterations can be made without explicit notice to the user. These alterations are normally called migration events, or actions taken on the digital object that change the original object's composition. They can enact subtle but fundamental alterations to the original document, thereby compromising its existence as an original object. Furthermore, because the tools used to generate and access digital objects have historically evolved quite rapidly, issues of playback obsolescence, incapability, data loss, and broken pathways to information have changed traditional ideas of fixity and stability. Therefore, artifactual value in a digital realm requires a modified set of generalized standards for determining artifactual originality. Michael J. Giarlo and Ronald Jantz, only two of many, have posited a list of methods for establishing digital intrinsic value by way of careful metadata generation and records maintenance. In their report, a digital original possesses three key characteristics that distinguishes it from identical copies. These include continuous verification and re-verification of the document's digital signature starting from the date of creation; retaining versions and recordings of all changes to the object in an audit trail; and having the archival master contain the creation date of the digital object. They also reported that originality in digital sources could be verified or produced by the following techniques: Digital object is given a date-time stamp that's automatically inserted into the METS-XML header upon creation. Date-time is inserted into archival metadata. Encapsulation. Digital signatures. == The role of digital surrogates == Digital surrogates are considered a utility for aiding in the preservation and increased access of certain artifacts. However, digital surrogates can have different utilities for objects depending on the nature of the original artifact and the condition the artifact is in. In 2001 the Council on Library and Information Resources (CLIR) published a report on the artifact in library collections. The CLIR states that the utility of the digital surrogate can be determined by dividing the original material (artifact) into two different categories, artifacts that are rare and those that are not. These two categories can be further divided by two categories, artifacts that are frequently used and those that are not. === Materials that are frequently used and not rare === According to the CLIR "it is not obvious that digital surrogates provide all the functionality, all the information, or all the aesthetic value of originals. Therefore, while it may be sensible to recommend that digital surrogates be used to reduce the cost and increase the availability of library holdings that circulate frequently, the decision to deaccession a physical object in library collections and replace it with a digital surrogate should be based on a careful assessment of the way in which library patrons use the original object or objects of its kind." === Materials that are infrequently used and not rare === Keeping the original is always the best solution for libraries and especially archives but in the case of libraries where an artifact is not rare or used infrequently there must be a barometer that is developed to help "balance functionality with actual use in order to help decide when digital surrogates that provide most of the functionality of originals are acceptable." === Materials that are rare and frequently used === A professional in the field of Library and Information Science (LIS) would almost certainly not argue that a digital surrogate could replace a rare object. However, in the case of a rare object that is falling into poor shape due to heavy use a digital surrogate could be extremely useful in reducing the wear a
Digital image
A digital image is an image composed of picture elements, also known as pixels, each with finite, discrete quantities of numeric representation for its intensity or gray level that is an output from its two-dimensional functions fed as input by its spatial coordinates denoted with x, y on the x-axis and y-axis, respectively. An image can be vector or raster type. By itself, the term "digital image" usually refers to raster images or bitmapped images (as opposed to vector images). == Raster == Raster images have a finite set of digital values, called picture elements or pixels. The digital image contains a fixed number of rows and columns of pixels. Pixels are the smallest individual element in an image, holding quantized values that represent the brightness of a given color at any specific point. Typically, the pixels are stored in computer memory as a raster image or raster map, a two-dimensional array of small integers. These values are often transmitted or stored in a compressed form. Raster images can be created by a variety of input devices and techniques, such as digital cameras, scanners, coordinate-measuring machines, seismographic profiling, airborne radar, and more. They can also be synthesized from arbitrary non-image data, such as mathematical functions or three-dimensional geometric models; the latter being a major sub-area of computer graphics. The field of digital image processing is the study of algorithms for their transformation. === Raster file formats === Most users come into contact with raster images through digital cameras, which use any of several image file formats. Some digital cameras give access to almost all the data captured by the camera, using a raw image format. The Universal Photographic Imaging Guidelines (UPDIG) suggests these formats be used when possible since raw files produce the best quality images. These file formats allow the photographer and the processing agent the greatest level of control and accuracy for output. Their use is inhibited by the prevalence of proprietary information (trade secrets) for some camera makers, but there have been initiatives such as OpenRAW to influence manufacturers to release these records publicly. An alternative may be Digital Negative (DNG), a proprietary Adobe product described as "the public, archival format for digital camera raw data". Although this format is not yet universally accepted, support for the product is growing, and increasingly professional archivists and conservationists, working for respectable organizations, variously suggest or recommend DNG for archival purposes. == Vector == Vector images resulted from mathematical geometry (vector). In mathematical terms, a vector consists of both a magnitude, or length, and a direction. Often, both raster and vector elements will be combined in one image; for example, in the case of a billboard with text (vector) and photographs (raster). Example of vector file types are EPS, PDF, and AI. == Image viewing == Image viewer software displayed on images. Web browsers can display standard internet images formats including JPEG, GIF and PNG. Some can show SVG format which is a standard W3C format. In the past, when the Internet was still slow, it was common to provide "preview" images that would load and appear on the website before being replaced by the main image (to give a preliminary impression). Now Internet is fast enough and this preview image is seldom used. Some scientific images can be very large (for instance, the 46 gigapixel size image of the Milky Way, about 194 GB in size). Such images are difficult to download and are usually browsed online through more complex web interfaces. Some viewers offer a slideshow utility to display a sequence of images. == History == Early digital fax machines such as the Bartlane cable picture transmission system preceded digital cameras and computers by decades. The first picture to be scanned, stored, and recreated in digital pixels was displayed on the Standards Eastern Automatic Computer (SEAC) at NIST. The advancement of digital imagery continued in the early 1960s, alongside development of the space program and in medical research. Projects at the Jet Propulsion Laboratory, MIT, Bell Labs and the University of Maryland, among others, used digital images to advance satellite imagery, wirephoto standards conversion, medical imaging, videophone technology, character recognition, and photo enhancement. Rapid advances in digital imaging began with the introduction of MOS integrated circuits in the 1960s and microprocessors in the early 1970s, alongside progress in related computer memory storage, display technologies, and data compression algorithms. The invention of computerized axial tomography (CAT scanning), using x-rays to produce a digital image of a "slice" through a three-dimensional object, was of great importance to medical diagnostics. As well as origination of digital images, digitization of analog images allowed the enhancement and restoration of archaeological artifacts and began to be used in fields as diverse as nuclear medicine, astronomy, law enforcement, defence and industry. Advances in microprocessor technology paved the way for the development and marketing of charge-coupled devices (CCDs) for use in a wide range of image capture devices and gradually displaced the use of analog film and tape in photography and videography towards the end of the 20th century. The computing power necessary to process digital image capture also allowed computer-generated digital images to achieve a level of refinement close to photorealism. === Digital image sensors === The first semiconductor image sensor was the CCD, developed by Willard S. Boyle and George E. Smith at Bell Labs in 1969. While researching MOS technology, they realized that an electric charge was the analogy of the magnetic bubble and that it could be stored on a tiny MOS capacitor. As it was fairly straightforward to fabricate a series of MOS capacitors in a row, they connected a suitable voltage to them so that the charge could be stepped along from one to the next. The CCD is a semiconductor circuit that was later used in the first digital video cameras for television broadcasting. Early CCD sensors suffered from shutter lag. This was largely resolved with the invention of the pinned photodiode (PPD). It was invented by Nobukazu Teranishi, Hiromitsu Shiraki and Yasuo Ishihara at NEC in 1980. It was a photodetector structure with low lag, low noise, high quantum efficiency and low dark current. In 1987, the PPD began to be incorporated into most CCD devices, becoming a fixture in consumer electronic video cameras and then digital still cameras. Since then, the PPD has been used in nearly all CCD sensors and then CMOS sensors. The NMOS active-pixel sensor (APS) was invented by Olympus in Japan during the mid-1980s. This was enabled by advances in MOS semiconductor device fabrication, with MOSFET scaling reaching smaller micron and then sub-micron levels. The NMOS APS was fabricated by Tsutomu Nakamura's team at Olympus in 1985. The CMOS active-pixel sensor (CMOS sensor) was later developed by Eric Fossum's team at the NASA Jet Propulsion Laboratory in 1993. By 2007, sales of CMOS sensors had surpassed CCD sensors. === Digital image compression === An important development in digital image compression technology was the discrete cosine transform (DCT), a lossy compression technique first proposed by Nasir Ahmed in 1972. DCT compression is used in JPEG, which was introduced by the Joint Photographic Experts Group in 1992. JPEG compresses images down to much smaller file sizes, and has become the most widely used image file format on the Internet. == Mosaic == In digital imaging, a mosaic is a combination of non-overlapping images, arranged in some tessellation. Gigapixel images are an example of such digital image mosaics. Satellite imagery are often mosaicked to cover Earth regions. Interactive viewing is provided by virtual-reality photography.
Bibliotheca Polyglotta
The Bibliotheca Polyglotta is a Norwegian database for Multilingualism project, lingua franca and science per global history at the University of Oslo. The aim of the project is according to pages is "producing a web corpus of Buddhist texts for using in multilingual lexicography. More generally, will the texts used for the study Sanskrit, Chinese and Tibetan."
AI Presentation Makers: Free vs Paid (2026)
Curious about the best AI presentation maker? An AI presentation maker is software that uses machine learning to help you get more done — it combines speed, accuracy, and an interface that just works. Hands-on testing shows real-world results vary, so a short free trial is the smartest way to decide. Whether you are a beginner or a pro, the right AI presentation maker slots into your workflow and pays for itself fast. This guide breaks down the top picks, their pros and cons, and who each one is best for.
Madhan Karky
Madhan Karky Vairamuthu is an Indian lyricist, screenwriter, research associate, software engineer, and entrepreneur. A holder of a doctorate in computer science from the University of Queensland, Karky began his professional career as an assistant professor at the College of Engineering, Guindy, and soon after ventured into the Tamil cinema, working as a lyricist and dialogue writer. He resigned from his teaching profession in early 2013 and began working full-time in the film industry, while also launching the Karky Research Foundation (KaReFo), an educational research organization which primarily focuses on language computing and language literacy. He also founded the Mellinam Education, which develops educational games and story books designed to propagate learning among children, and DooPaaDoo, an online music platform which promotes independent music and serves a distributor for film soundtracks. == Early life == Karky is the eldest son of seven-time National Award winning lyricist Vairamuthu and Ponmani, a Tamil scholar and veteran professor at the Meenakshi College for Women. He has a younger brother, Kabilan, who is a novelist and also works as a lyricist and dialogue writer for Tamil films. === Education === He grew up in Chennai and was educated at the Loyala Matriculation School in Kodambakkam. By his own admission, he was not a good student, excelling primarily only in Tamil and English. During his time in high school, he gained an interest in computer science He got admission in College of Engineering, Guindy which is affiliated with the Anna University. He began his undergraduate education in the field of Computer engineering in the year 1997. While in CEG, as part of his final year project, Karky developed a program called the Tamil Voice Engine, under the supervision of Professor T.V. Geetha. The goal of the project was construction of a text to speech engine for the Tamil language. The research paper on the project was officially selected at the Tamil Internet Conference in Kuala Lumpur, Malaysia. Other projects during his tenure include the Name Generator, which was part of his course on Creativity, Innovation and New Product Development (the objective being to generate random names that are pronounceable with respect to Indian phonetics) and Compiler Design, for which a high level programming language was conceived, with the goal of proper specification and interpretation of lexical rules and grammar rules. For Chennai Kavigal, he created a Spell Checker for a Tamil Word Processor. The project involved a lot of Natural Language Processing elements, based on a root dictionary built as a part of the morphological analyzer for the Tamil Language. The endgame being determining the correctness of words. Following the completion of his bachelor's degree in 2001, Karky began his master's degree at the University of Queensland in the year 2003. In that particular stint, he developed a project based on the theory of computation and strong mathematics (under the supervision of Dr. George Havas). It aimed at analyzing an existing algorithm of reducing any kind of matrix format to a standard format called 'Hermite Normal form', which is a unit upper triangular matrix. Some of his other projects during this course include the Disciplined Software Process Project (whose objective was to introduce and practice the software development process for individuals called Personal Software Process), the On-Line Art Store Website (which involved the creation of a website that trades paintings through the Internet) and the Text Based Voice Chat (for which a Proxy Voice Chat system was designed and developed in Visual Basic that incorporated the predominant computing aspects). In addition to his academics, Karky also served as Academic tutor at the university. He conducted class room tutorials and laboratory sessions on subjects such as Relational Database Systems and Programming Languages. As part of his PhD program on information technology, he developed a Java-based simulation platform called SENSE (Simulated Environment of Networked Sensor Experiments), to test different heuristics. This project was done under the guidance of Dr. Maria Orlowska and Dr. Shazia Sadiq. His thesis is titled "Design considerations for query dissemination in wireless sensor networks". === Teaching career === Upon his return to India following the completion of his post-graduation, Karky returned to CEG Anna University in December 2007. He was a Senior Research Fellow for the next six months, managing research projects as well as multiple student projects at an undergrad and postgrad levels. In addition to those, he handled courses and labs for students who pursued their master's degrees. He also served as a Project Scientist between July 2008 and July 2009, managing projects of research groups as well as ME & MBA students. Starting from August 2009, he began his role as an assistant professor. He lectured Computer Science students who were pursuing their Bachelors and master's degrees as well as coordinated the Tamil Computing Lab at the university. He also served as counsellor for NRI and foreign national students, as well as the Staff treasurer of Computer Science Engineering Association. Some of the subjects he taught include Advanced Databases, Ethics for Engineers, Principles of Programming Languages, Environmental Science and Tamil Computing (for PhD students). === Family and personal life === Karky's been married to Nandini Eswaramoorthy, a fellow alum at Anna University, since June 22, 2008. Nandini Karky now works in the Tamil film industry as a subtitler for feature films and documentaries. They have a son named Haiku Karky, who was born in 2009. == Film career == === Debut === During his teaching stint at Anna University, Karky also began his career in the Tamil film industry with the science-fiction film Enthiran (2010), the magnum opus of director Shankar. Karky had approached the director in 2008 with some of the songs he had written, and was brought him on board to help with the dialogues of the film, especially assisting with technical terminology. He stated that there were three sets of dialogues written for almost every scene of the film; one by Shankar, one by Karky, and the other by the late Sujatha, a frequent collaborator with the director who had died during the early stages of the film's pre-production. Shankar would go through all the three drafts and implement those that fit best. The climax was the only portion that didn't have multiple hands, as it was written solely by Karky. In addition to the dialogue, Karky wrote 2 songs for the film, as well: "Irumbile oru Irudhaiyam" (the first song of his career, which was partially crooned by A.R. Rahman) and "Boom Boom Robo Da". However, Kanden Kadhalai (2009), in which he had written the song "Ododi Poren" (composed by Vidyasagar), became his first release. For his work on Enthiran, Karky was named Best Find of the Year at the 2011 Vijay Awards. === Lyric writer === Following his work on Enthiran, Karky became one of the most sought after lyricists in the Tamil film industry, having multiple collaborations with A.R. Rahman, Harris Jayaraj, G. V. Prakash Kumar, D. Imman, M.M. Keeravani, Yuvan Shankar Raja, S. Thaman, Sanjay Leela Bhansali, Anirudh Ravichander and Sam CS. In addition to his native Tamil, he is known for penning songs in multiple languages; some of which include "Asku Laska" from Nanban (which features 16 different languages), "The Rise of Damo" from 7 Aum Arivu (written in Mandarin) and "Continua" from Nootrenbadhu (in Portuguese). His work is also characterized by infusing uncommon Tamil words that aren't normally used in everyday lexicon, as part of lyrics (like "Kuviyamillaa Kaatchi Paezhai" from Ko and "Panikoozh" from I). He also wrote the first palindrome song in Tamil cinema for the film Vinodhan. As of the end of 2025, he has over one thousand songs to his credit. Some of Karky's most popular songs include "Irumbile oru Irudhaiyam" (Enthiran), "Enamo Edho" (Ko), "Nee Koorinal" (Nootrenbadhu), "Asku Laska" (Nanban), "Google Google" (Thuppakki), "Elay Keechaan" (Kadal), "Osakka" (Vanakkam Chennai), "Selfie Pulla" (Kaththi), "Pookkalae Sattru Oyivedungal" (I), "Mei Nigara" (24), "Azhagiye" (Kaatru Veliyidai), "Endhira Logathu Sundariye" (2.0) and "Kurumba" (Tik Tik Tik). === Dialogue writer === On the heels of the success with Enthiran, Karky once again collaborated as a dialogue writer with director Shankar for Nanban. An adaptation of the Hindi blockbuster 3 Idiots, he infused a twang to the dialogue that aimed to showcase college life in a different manner. He also collaborated as a technical advisor with Shankar with 2.0 (the sequel to Enthiran). Karky's also known for his successful collaboration with Telugu director S.S. Rajamouli, on his two-part magnum opus Baahubali; the second part being the most profitable South Indian film of all time, and RRR. His o
Confusion network
A confusion network (sometimes called a word confusion network or informally known as a sausage) is a natural language processing method that combines outputs from multiple automatic speech recognition or machine translation systems. Confusion networks are simple linear directed acyclic graphs with the property that each a path from the start node to the end node goes through all the other nodes. The set of words represented by edges between two nodes is called a confusion set. In machine translation, the defining characteristic of confusion networks is that they allow multiple ambiguous inputs, deferring committal translation decisions until later stages of processing. This approach is used in the open source machine translation software Moses and the proprietary translation API in IBM Bluemix Watson.
Collostructional analysis
Collostructional analysis is a family of methods developed by (in alphabetical order) Stefan Th. Gries (University of California, Santa Barbara) and Anatol Stefanowitsch (Free University of Berlin). Collostructional analysis aims at measuring the degree of attraction or repulsion that words exhibit to constructions, where the notion of construction has so far been that of Goldberg's construction grammar. == Collostructional methods == Collostructional analysis so far comprises three different methods: collexeme analysis, to measure the degree of attraction/repulsion of a lemma to a slot in one particular construction; distinctive collexeme analysis, to measure the preference of a lemma to one particular construction over another, functionally similar construction; multiple distinctive collexeme analysis extends this approach to more than two alternative constructions; covarying collexeme analysis, to measure the degree of attraction of lemmas in one slot of a construction to lemmas in another slot of the same construction. == Input frequencies == Collostructional analysis requires frequencies of words and constructions and is similar to a wide variety of collocation statistics. It differs from raw frequency counts by providing not only observed co-occurrence frequencies of words and constructions, but also (i) a comparison of the observed frequency to the one expected by chance; thus, collostructional analysis can distinguish attraction and repulsion of words and constructions; (ii) a measure of the strength of the attraction or repulsion; this is usually the log-transformed p-value of a Fisher-Yates exact test. == Versus other collocation statistics == Collostructional analysis differs from most collocation statistics such that (i) it measures not the association of words to words, but of words to syntactic patterns or constructions; thus, it takes syntactic structure more seriously than most collocation-based analyses; (ii) it has so far only used the most precise statistics, namely the Fisher-Yates exact test based on the hypergeometric distribution; thus, unlike t-scores, z-scores, chi-square tests etc., the analysis is not based on, and does not violate, any distributional assumptions.