Dimensions CM is a software change and configuration management product developed by OpenText Corporation. It includes revision control, change, build and release management capabilities. Since 2014 (v14.1) Dimensions CM includes PulseUno module providing Code review and Continuous integration capabilities. Starting with the version 14.5.2 (2020) it can also serve as a binary repository manager. == History == Previous product names: PCMS Dimensions (SQL Software) PVCS Dimensions (Merant, Intersolv)
Gallery software
Gallery software is software that helps the user publish or share photos, pictures, videos or other digital media. Most galleries are located on Web servers, where users are allowed to register and publish their pictures. Gallery software usually features automatic image resizing, allows digital media be categorized into sets, and allows comments. == Types == Early digital media publishing and sharing was done with imageboards. The boards are by topics, sometimes called "chan". Each discussion in a "chan" are started with a piece of digital media, and follow-up discussions can contain another piece too. Software works in this way: Futallaby, Danbooru. Traditionally, galleries are managed. An administrator maintains a set of or hierarchy of albums. The users can upload their digital media in one of the existing albums defined by an administrator, or create their own albums. The users with sufficient permission can re-categorise the digital media others uploaded. Often, the site's administrator can define which album the users are allowed to categorise their media into, or delete other user's content. Examples are open source galleries Coppermine, Gallery Project. There are decentralised gallery software that does not have an administrator for managing contents. Pinterest, Flickr and DeviantArt has been successful with this model. Open source gallery software MediaGoblin works in this way. Each user can create their own "collections", to categorise theirs or other users' media. However users cannot put media into other user's collections. Each user's category is separate. There is no centralised theme or hierarchy for the media.
International Philosophical Bibliography
The International Philosophical Bibliography (IPB), also known in French as Répertoire bibliographique de la philosophie (RBP), is a bibliographic database covering publications on the history of philosophy and continental philosophy. The database comprises records of publications in over 30 languages. Annually, about 12,000 records are added. The indexes include, among other elements, over 84,000 names of authors, editors, translators, reviewers, and collaborators, as well as more than 3,000 commentaries on philosophical works, making it the world's most complete index in Philosophy. Since 1934, the IPB has been developed by the Higher Institute of Philosophy at the University of Louvain (UCLouvain), first in Leuven and since 1978 in Louvain-la-Neuve. The online version was launched by Peeters Publishers in 1997 and continues to be updated quarterly.
Algorithmic management
Algorithmic management is a term used to describe certain labor management practices in the contemporary digital economy. In scholarly uses, the term was initially coined in 2015 by Min Kyung Lee, Daniel Kusbit, Evan Metsky, and Laura Dabbish to describe the managerial role played by algorithms on the Uber and Lyft platforms, but has since been taken up by other scholars to describe more generally the managerial and organisational characteristics of platform economies. However, digital direction of labor was present in manufacturing already since the 1970s and algorithmic management is becoming increasingly widespread across a wide range of industries. The concept of algorithmic management can be broadly defined as the delegation of managerial functions to algorithmic and automated systems. Algorithmic management has been enabled by "recent advances in digital technologies" which allow for the real-time and "large-scale collection of data" which is then used to "improve learning algorithms that carry out learning and control functions traditionally performed by managers". The term does not refer to a specific underlying technology, and encompasses the design choices, organisational policies, and governance that surround the managerial use of algorithms in workplaces. In the contemporary workplace, firms employ an ecology of accounting devices, such as "rankings, lists, classifications, stars and other symbols' in order to effectively manage their operations and create value without the need for traditional forms of hierarchical control." Many of these devices fall under the label of what is called algorithmic management, and were first developed by companies operating in the sharing economy or gig economy, functioning as effective labor and cost cutting measures. The Data&Society explainer of the term, for example, describes algorithmic management as 'a diverse set of technological tools and techniques that structure the conditions of work and remotely manage workforces. Data&Society also provides a list of five typical features of algorithmic management: Prolific data collection and surveillance of workers through technology; Real-time responsiveness to data that informs management decisions; Automated or semi-automated decision-making; Transfer of performance evaluations to rating systems or other metrics; and The use of "nudges" and penalties to indirectly incentivize worker behaviors. Proponents of algorithmic management claim that it "creates new employment opportunities, better and cheaper consumer services, transparency and fairness in parts of the labour market that are characterised by inefficiency, opacity and capricious human bosses." On the other hand, critics of algorithmic management claim that the practice leads to several issues, especially as it impacts the employment status of workers managed by its new array of tools and techniques. == History of the term == "Algorithmic management" was first described by Lee, Kusbit, Metsky, and Dabbish in 2015 in their study of the Uber and Lyft platforms. In their study, Lee et al. termed "software algorithms that assume managerial functions and surrounding institutional devices that support algorithms in practice" algorithmic management. Software algorithms, it was said, are increasingly used to "allocate, optimize, and evaluate work" by platforms in managing their vast workforces. In Lee et al.'s paper on Uber and Lyft this included the use of algorithms to assign work to drivers, as mechanisms to optimise pricing for services, and as systems for evaluating driver performance. In 2016, Alex Rosenblat and Luke Stark sought to extend on this understanding of algorithmic management "to elucidate on the automated implementation of company policies on the behaviours and practices of Uber drivers." Rosenblat and Stark found in their study that algorithmic management practices contributed to a system beset by power asymmetries, where drivers had little control over "critical aspects of their work", whereas Uber had far greater control over the labor of its drivers. Since this time, studies of algorithmic management have extended the use of the term to describe the management practices of various firms, where, for example, algorithms "are taking over scheduling work in fast food restaurants and grocery stores, using various forms of performance metrics ad even mood... to assign the fastest employees to work in peak times." Algorithmic management is seen to be especially prevalent in gig work on platforms, such as on Upwork and Deliveroo, and in the sharing economy, such as in the case of Airbnb. Furthermore, recent research has defined sub-constructs that fall under the umbrella term of algorithmic management, for example, "algorithmic nudging". A Harvard Business Review article published in 2021 explains: "Companies are increasingly using algorithms to manage and control individuals not by force, but rather by nudging them into desirable behavior — in other words, learning from their personalized data and altering their choices in some subtle way." While the concept builds on nudging theory popularized by University of Chicago economist Richard Thaler and Harvard Law School professor Cass Sunstein, "due to recent advances in AI and machine learning, algorithmic nudging is much more powerful than its non-algorithmic counterpart. With so much data about workers' behavioral patterns at their fingertips, companies can now develop personalized strategies for changing individuals' decisions and behaviors at large scale. These algorithms can be adjusted in real-time, making the approach even more effective." == Relationships with other labor management practices == Algorithmic management has been compared and contrasted with other forms of management, such as Scientific management approaches, as pioneered by Frederick Taylor in the early 1900s. Henri Schildt has called algorithmic management "Scientific management 2.0", where management "is no longer a human practice, but a process embedded in technology." Similarly, Kathleen Griesbach, Adam Reich, Luke Elliott-Negri, and Ruth Milkman suggest that, while "algorithmic control over labor may be relatively new, it replicates many features of older mechanisms of labor control." On the other hand, some commentators have argued that algorithmic management is not simply a new form of Scientific management or digital Taylorism, but represents a distinct approach to labor control in platform economies. David Stark and Ivana Pais, for example, state that, "In contrast to Scientific Management at the turn of the twentieth century, in the algorithmic management of the twenty-first century there are rules but these are not bureaucratic, there are rankings but not ranks, and there is monitoring but it is not disciplinary. Algorithmic management does not automate bureaucratic structures and practices to create some new form of algorithmic bureaucracy. Whereas the devices and practices of Taylorism were part of a system of hierarchical supervision, the devices and practices of algorithmic management take place within a different economy of attention and a new regime of visibility. Triangular rather than vertical, and not as a panopticon, the lines of vision in algorithmic management are not lines of supervision." Similarly, Data&Society's explainer for algorithmic management claims that the practice represents a marked departure from earlier management structures that more strongly rely on human supervisors to direct workers. In analyzing the difference and the similarities to previous management styles, David Stark and Pieter Vanden Broeck expand the applicability of algorithmic management beyond the workplace. They develop a theory of algorithmic management in terms of broader changes in the shape and structure of organization in the 21st century, attentive to the erosion of organization's boundaries whereby heterogeneous actors, assets, and activities, are coopted regardless of their place in organizational space. Stark and Vanden Broeck propose the following means of differentiating algorithmic management from other historical managerial paradigms: == Issues == Algorithmic management can provide an effective and efficient means of workforce control and value creation in the contemporary digital economy. However, commentators have highlighted several issues that algorithmic management poses, especially for the workers it manages. Criticisms of the practice often highlight several key issues pertaining to algorithmic management practices, such as the imperfection and scope of its surveillance and control measures, which also threaten to lock workers out of key decision-making processes; its lack of transparency for users and information asymmetries; its potential for bias and discrimination; its dehumanizing tendencies; and its potential to create conditions which sidestep traditional employer-employee accountability. This last point has been especi
Sikidy
Sikidy is a form of algebraic geomancy practiced by Malagasy peoples in Madagascar. It involves algorithmic operations performed on random data generated from tree seeds, which are ritually arranged in a tableau called a toetry and divinely interpreted after being mathematically operated on. Columns of seeds, designated "slaves" or "princes" belonging to respective "lands" for each, interact symbolically to express vintana ('fate') in the interpretation of the diviner. The diviner also prescribes solutions to problems and ways to avoid fated misfortune, often involving a sacrifice. The centuries-old practice derives from Islamic influence brought to the island by medieval Arab traders. The sikidy is consulted for a range of divinatory questions pertaining to fate and the future, including identifying sources of and rectifying misfortune, reading the fate of newborns, and planning annual migrations. The mathematics of sikidy involves Boolean algebra, symbolic logic and parity. == History == The practice is several centuries old, and is influenced by Arab geomantic traditions of Arab Muslim traders on the island. Most writers link the origins of sikidy to the "sea-going trade involving the southwest coast of India, the Persian Gulf, and the east coast of Africa in the 9th or 10th century C.E." Stephen Ellis and Solofo Randrianja describe sikidy as "probably one of the oldest components of Malagasy culture", writing that it most likely the product of an indigenous divinatory art later influenced by Islamic practice. Umar H. D. Danfulani writes that the integration of Arabic divination into indigenous divination is "clearly demonstrated" in Madagascar, where the Arabic astrological system was adapted to the indigenous agricultural system and meshed with Malagasy lunar months by "adapting indigenous months, volana, to the astrological months, vintana". Danfulani also describes the concepts in sikidy of "houses" (lands) and "kings in their houses" as retained from medieval Arabic astrology. Chemillier et al. say the practice's spread across Madagascar likely originated with the southeastern Antemoro people, among whom Arab influence was the strongest. Though the etymology of sikidy is unknown, it has been posited that the word derives from the Arabic sichr ('incantation' or 'charm'). Sikidy was of central importance to pre-Christian Malagasy religion, with one practitioner quoted in 1892 as calling sikidy "the Bible of our ancestors". A missionary report from 1616 describes one form of sikidy using tamarind seeds, and another using fingered markings in the sand. The early colonial French governor of Madagascar Étienne de Flacourt documented sikidy in the mid-17th century: Matatane country in southeastern Madagascar [...] where the Antemoro [...] live was a center of astrological study as early as the fourteenth century [...]. This area was also the site of early Arab settlements, although strict Islamic observances were lost centuries ago [...]. Historical evidence shows that Antemoro diviners, bearers of the astrological system, infiltrated nearly all the ancient kingdoms of Madagascar beginning in the sixteenth century. [...] Today, although many persons claim to be ombiasy [diviners], only the Antemoro diviners are considered true professionals. The area is still a famous place of learning where specialists go for training and then return to their home communities with a certain body of knowledge. Now we can better understand the degree of similarity of divination forms found throughout Madagascar. For centuries Matitanana has remained a training center for diviners who have migrated widely, usually attaining important positions in their home communities and with various royal families. Comparison of contemporary rites with centuries-old texts show that sikidy has been remarkably unchanged throughout its history. The "infiltration" of Malagasy kingdoms by Antemoro diviners, and Matitanana's role as a place for astrological and divinatory learning, help to explain the relatively uniform practicing of sikidy across Madagascar. Chemallier et al. write that the mathematical construction of the arrangement of seeds is procedurally consistent across all of Madagascar, with variations in practice between groups and regions being limited to more minor aspects, such as the alignment of figures according to cardinal directions. One exception is the simplified Merina sikidy joria. === Origin myths === Mythic tradition relating to the origin of sikidy "links [the practice] both to the return by walking on water of Arab ancestors who had intermarried with Malagasy but then left, and to the names of the days of the week" and holds that the art was supernaturally communicated to the ancestors, with Zanahary (the supreme deity of Malagasy religion) giving it to Ranakandriana, who then gave it to a line of diviners (Ranakandriana to Ramanitralanana to Rabibi-andrano to Andriambavi-maitso (who was a woman) to Andriam-bavi-nosy), the last of whom terminated the monopoly by giving it to the people, declaring: "Behold, I give you the sikidy, of which you may inquire what offerings you should present in order to obtain blessings; and what expiation you should make so as to avert evils, when any are ill or under apprehension of some future calamity". A mythic anecdote of Ranakandriana says that two men observed him one day playing in the sand. In fact he was practicing a form of sikidy worked in sand called sikidy alanana. The two men seized him, and Ranakandriana promised that he would teach them something if they released him. They agreed, and Ranakandriana taught them in depth how to work the sikidy. The two men then went to their chief and told him that they could tell him "the past and the future—what was good and what was bad—what increased and what diminished." The chief asked them to tell him how he could obtain plenty of cattle. The two men worked their sikidy and told the chief to kill all of his bulls, and that "great numbers would come to him" on the following Friday. The chieftain, doubting, asked what would happen if their prediction didn't come true, and the two men promised they would pay with their lives. The chief agreed and killed his bulls. On Thursday, thinking he'd been duped, he prematurely killed the first man of the two who'd told him about the divinatory art. On Friday, however, "vast herds" came amidst heavy rain, actually filling an immense plain in their crowd. The chieftain lamented the mpisikidy's wrongful execution and ordered for him a pompous funeral. The chieftain took the second man as his close adviser and friend, and trusted the sikidy forever afterwards. The British missionary William Ellis recorded in 1839 two idiomatic expressions used in Madagascar that come from this story: "Tsy mahandry andro Zoma" (lit. 'He cannot wait 'til Friday') is said of someone extremely impatient, and heavy rainshowers falling in rapid succession are called "sese omby" (lit. 'a crowding together of cattle'). == Rites and arrangement of seeds == The divination is performed by a practitioner called an mpisikidy, ny màsina (lit. 'sacred one'), ombiasy, or ambiàsa (derived from the Arabic anbia, meaning 'prophet') who guides the client through the process and interprets the results in the context of the client's inquiries and desires. As part of an mpisikidy's formal initiation into the art, which includes a long period of apprenticeship, the initiate (called a mianatsy) must gather 124 and 200 fàno (Entada sp.) or kily (tamarind) tree seeds for his subsequent ritual use in sikidy. Raymond Decary writes that, at least among the Sakalava, a man must be 40 years old before learning and practicing sikidy, or he risks death. Before beginning to study, a student practitioner must make incisions at the tips of his index finger, his middle finger, and his tongue, and put within the incisions a paste containing red pepper and crushed wasp. This paste impregnates the fingers that will move the seeds of the sikidy and the tongue that will speak their revelations with the power to decipher the sikidy. Once this is done, he leaves at dawn to search for a fano (Entada chrysostachys) tree. Upon finding it, he throws his spear at its branches, shaking the tree and causing its large seed pods to fall. During this act, some initiates say: "When you were on the steep peak and in the dense forest, on you the crabs climbed, from you the crocodiles made their bed, with their paws the birds trod on you. Whether you are suspended in the trees or buried, you are never dried up nor rotten." In his study (written in 1941 and revised in 1948), Decary reported that the salary paid by a mianatsy to his master is "not very high": up to five francs, plus a red rooster's feather. The mpisikidy ritually arranges his seeds into a sixteen-column table consisting of four columns of randomly-generated data (representing fate) and eight columns of data derived from logical ope
KoalaPad
The KoalaPad is a graphics tablet, released in 1983 by US company Koala Technologies Corporation, for the Apple II, TRS-80 Color Computer (as the TRS-80 Touch Pad), Atari 8-bit computers, Commodore 64, and IBM PC compatibles. Originally designed by Dr. David Thornburg as a low-cost computer drawing tool for schools, the Koala Pad and the bundled drawing program, KoalaPainter, was popular with home users as well. KoalaPainter was called KoalaPaint in some versions for the Apple II, and PC Design for the IBM PC. A program called Graphics Exhibitor was included for creating slideshow presentations from KoalaPainter drawings. == Description == The pad was four inches square (i.e. roughly 10×10 cm) and mounted on a slightly inclined base with the back of the pad higher than the front. At the top, "behind" the pad, were two buttons. The pad hooked into the computer using the analog signals of the joystick ports (the so-called paddle inputs), which meant that it had a low resolution and tended to jostle the cursor if moved during use. As an alternative to the drawing stylus, the pad could as easily be operated by the user's fingers for tasks that demanded less precision, such as selecting between menu items (thus using the pad as a kind of "indirect touch screen"). The top-mounted buttons tended to be somewhat frustrating to use, as the user had to "reach around" the stylus to push the buttons in order to start or stop drawing. A similar tablet from Atari, the Atari CX77 Touch Tablet, addressed this with a built-in button on the stylus, which some enterprising users adapted for use with their KoalaPad. == KoalaPainter == The pad shipped with a simple bitmap graphics editor developed by Audio Light called KoalaPainter, PC Design or Micro Illustrator depending on the target machine (see release history). Although bundled with the pad, KoalaPainter could also be operated using an ordinary digital joystick. One unique feature of the program, for its time, was that it held two pictures in the computer's memory, allowing the user to flip from one to the other—a function commonly used in order to study the differences between an original and a modified picture, and to copy and paste between two different pictures. Some third-party bitmap editors could also be used with the KoalaPad, such as Broderbund's Dazzle Draw for the Apple II. === Release history === KoalaPainter for Commodore 64 (1983) and Atari 8-bit computers (1983) PC Design for the IBM PC (1983) Micro Illustrator for the Apple II (1983), Atari 8-bit computers (1983) and Commodore Plus/4 (1984) KoalaPainter II for Commodore 64 (1984) === Reception === Ahoy! called KoalaPainter "a very powerful and effective color drawing package", and concluded that it and the KoalaPad were "excellent in ease of use, a fine choice for a beginner as well as young children". BYTE's reviewer stated in December 1984 that he made far fewer errors when using an Apple Mouse with MousePaint than with a KoalaPad and its software. He found that MousePaint was easier to use and more efficient, predicting that the mouse would receive more software support than the pad. Cassie Stahl in InfoWorld's Essential Guide to Atari Computers praised the tablet and its documentation, rating it "Excellent" among all categories and stating that "Playing with the KoalaPad becomes addictive. It does everything it claims to, and it does it well". She also liked Micro Illustrator, rating it "Excellent" except for "Good" for Performance. While criticizing the limited erase function, Stahl reported an undocumented feature enabling exporting pictures to other software. === File format === The Commodore 64 version of KoalaPainter used a fairly simple file format corresponding directly to the way bitmapped graphics are handled on the computer: A two-byte load address, followed immediately by 8,000 bytes of raw bitmap data, 1,000 bytes of raw "Video Matrix" data, 1,000 bytes of raw "Color RAM" data, and a one-byte Background Color field. == KoalaWare == Koala Technologies offered more software beyond the bundled KoalaPainter and Graphics Exhibitor for use with the pad. Among these applications, marketed under the moniker KoalaWare (like KoalaPainter itself), was educational software for use with customized keypads and overlays, such as spelling tools, music programs, and mathematics instruction software, as well as software for "translating" graphical designs into Logo programs.
Golden record (informatics)
In informatics, a golden record is the valid version of a data element (record) in a single source of truth system. It may refer to a database, specific table or data field, or any unit of information used. A golden copy is a consolidated data set, and is supposed to provide a single source of truth and a "well-defined version of all the data entities in an organizational ecosystem". Other names sometimes used include master source or master version. The term has been used in conjunction with data quality, master data management, and similar topics. (Different technical solutions exist, see master data management). == Master data == In master data management (MDM), the golden copy refers to the master data (master version) of the reference data which works as an authoritative source for the "truth" for all applications in a given IT landscape.