Patent visualisation is an application of information visualisation. The number of patents has been increasing, encouraging companies to consider intellectual property as a part of their strategy. Patent visualisation, like patent mapping, is used to quickly view a patent portfolio. Software dedicated to patent visualisation began to appear in 2000, for example Aureka from Aurigin (now owned by Thomson Reuters). Many patent and portfolio analytics platforms, such as Questel, Patent Forecast, PatSnap, Patentcloud, Relecura, and Patent iNSIGHT Pro, offer options to visualise specific data within patent documents by creating topic maps, priority maps, IP Landscape reports, etc. Software converts patents into infographics or maps, to allow the analyst to "get insight into the data" and draw conclusions. Also called patinformatics, it is the "science of analysing patent information to discover relationships and trends that would be difficult to see when working with patent documents on a one-and-one basis". Patents contain structured data (like publication numbers) and unstructured text (like title, abstract, claims and visual info). Structured data are processed by data-mining and unstructured data are processed with text-mining. == Data mining == The main step in processing structured information is data-mining, which emerged in the late 1980s. Data mining involves statistics, artificial intelligence, and machine learning. Patent data mining extracts information from the structured data of the patent document. These structured data are bibliographic fields such as location, date or status. === Structured fields === === Advantages === Data mining allows study of filing patterns of competitors and locates main patent filers within a specific area of technology. This approach can be helpful to monitor competitors' environments, moves and innovation trends and gives a macro view of a technology status. == Text-mining == === Principle === Text mining is used to search through unstructured text documents. This technique is widely used on the Internet, it has had success in bioinformatics and now in the intellectual property environment. Text mining is based on a statistical analysis of word recurrence in a corpus. An algorithm extracts words and expressions from title, summary and claims and gathers them by declension. "And" and "if" are labeled as non-information bearing words and are stored in the stopword list. Stoplists can be specialised in order to create an accurate analysis. Next, the algorithm ranks the words by weight, according to their frequency in the patent's corpus and the document frequency containing this word. The score for each word is calculated using a formula such as: W e i g h t = T e r m F r e q u e n c y D o c u m e n t F r e q u e n c y = F r e q u e n c y o f t h e w o r d o r e x p r e s s i o n i n t h e T e x t S e a N u m b e r o f d o c u m e n t s c o n t a i n i n g t h e e x p r e s s i o n o r w o r d {\displaystyle Weight={\frac {Term\ Frequency}{Document\ Frequency}}={\frac {Frequency\ of\ the\ word\ or\ expression\ in\ the\ Text\ Sea}{Number\ of\ documents\ containing\ the\ expression\ or\ word}}} A frequently used word in several documents has less weight than a word used frequently in a few patents. Words under a minimum weight are eliminated, leaving a list of pertinent words or descriptors. Each patent is associated to the descriptors found in the selected document. Further, in the process of clusterisation, these descriptors are used as subsets, in which the patent are regrouped or as tags to place the patents in predetermined categories, for example keywords from International Patent Classifications. Four text parts can be processed with text-mining : Title Abstract Claim Patent Full-Text Software offer different combinations but title, abstract and claim are generally the most used, providing a good balance between interferences and relevancy. === Advantages === Text-mining can be used to narrow a search or quickly evaluate a patent corpus. For instance, if a query produces irrelevant documents, a multi-level clustering hierarchy identifies them in order to delete them and refine the search. Text-mining can also be used to create internal taxonomies specific to a corpus for possible mapping. == Visualisations == Allying patent analysis and informatic tools offers an overview of the environment through value-added visualisations. As patents contain structured and unstructured information, visualisations fall in two categories. Structured data can be rendered with data mining in macrothematic maps and statistical analysis. Unstructured information can be shown in like clouds, cluster maps and 2D keyword maps. === Data mining visualisation === === Text mining visualisation === === Visualisation for both data-mining and text-mining === Mapping visualisations can be used for both text-mining and data-mining results. == Uses == What patent visualisation can highlight: Competitors Partners New innovations Technologic environment description Networks Field application: R&D strategy management Competitive intelligence Licensing Strategy
Digital transaction management
Digital transaction management (DTM) is a category of cloud services designed to digitally manage document-based transactions. DTM removes the friction inherent in transactions that involve people, documents, and data to create faster, easier, more convenient, and secure processes. DTM goes beyond content and document management to include e-signatures, authentication and non-repudiation; enabling co-browsing between the customer and the business; document transfer and certification; secure archiving that goes beyond records management; and a variety of meta-processes around managing electronic transactions and the documents associated with them. DTM standards are proposed and managed by the xDTM Standard Association Aragon Research has estimated that "by YE 2016, 70% of large enterprises will have a DTM initiative underway or fully implemented."
Consistency (database systems)
In database systems, consistency (or correctness) refers to the requirement that any given database transaction must change affected data only in allowed ways. Any data written to the database must be valid according to all defined rules, including constraints, cascades, triggers, and any combination thereof. This does not guarantee correctness of the transaction in all ways the application programmer might have wanted (that is the responsibility of application-level code) but merely that any programming errors cannot result in the violation of any defined database constraints. In a distributed system, referencing CAP theorem, consistency can also be understood as after a successful write, update or delete of a Record, any read request immediately receives the latest value of the Record. == As an ACID guarantee == Consistency is one of the four guarantees that define ACID transactions; however, significant ambiguity exists about the nature of this guarantee. It is defined variously as: The guarantee that database constraints are not violated, particularly once a transaction commits. The guarantee that any transactions started in the future necessarily see the effects of other transactions committed in the past. As these various definitions are not mutually exclusive, it is possible to design a system that guarantees "consistency" in every sense of the word, as most relational database management systems in common use today arguably do. == As a CAP trade-off == The CAP theorem is based on three trade-offs, one of which is "atomic consistency" (shortened to "consistency" for the acronym), about which the authors note, "Discussing atomic consistency is somewhat different than talking about an ACID database, as database consistency refers to transactions, while atomic consistency refers only to a property of a single request/response operation sequence. And it has a different meaning than the Atomic in ACID, as it subsumes the database notions of both Atomic and Consistent." In the CAP theorem, you can only have two of the following three properties: consistency, availability, or partition tolerance. Therefore, consistency may have to be traded off in some database systems.
Time-lock puzzle
A time-lock puzzle, or time-released cryptography, encrypts a message that cannot be decrypted until a specified amount of time has passed. The concept was first described by Timothy C. May, and a solution first introduced by Ron Rivest, Adi Shamir, and David A. Wagner in 1996. Time-lock puzzle are useful in cases where confidentiality of information is determined by time, such as a diarist who does not want their views released until 50 years after their death, an auction where bids are sealed until the bidding period is closed, electronic voting, and contract signing. They can additionally be used in creating further cryptographic primitives, such as verifiable delay functions and zero knowledge proofs. Time-released cryptography can be achieved through several different mechanisms. Use mathematical problems requiring sequential calculations to solve, and cannot be solved with parallelization. Thus, adding more computers to a problem will not help solve the problem faster. Use of a trusted agent, or multiple agents who each hold a part of the message and cryptographic keys, who release the message after a specified time period has passed. Distribute public encryption keys to users, and place private cryptographic keys with a trusted agent in an offline location, to be released at a later date.
PitchYaGame
PitchYaGame or #PitchYaGame (sometimes abbreviated to PYG) is a volunteer movement hosted on the social media platform Twitter to showcase, and present awards for, independent video games from around the world. == Description == PitchYaGame is hosted on the social media platform Twitter to showcase independent video games from around the world. Video pitches are presented by developers in June and November each year, and use the hashtag #PitchYaGame to identify and reference news about the showcase and the individual pitches, and the presentation of awards. The showcase was founded in May 2020 by Liam Twose, with the mission of recognising independent video games, and "focused on empowering indie game developers to strengthen their position in the industry." Twose has made clear that PitchYaGame is a showcase and not a hardcore competition, with "[j]ust enough of a push to make sure people put their best pitch forward." The team now comprises Twose (@LiamTwose at Twitter), operations manager "Indie Game Lover" (@IndieGameLover), and host Sarah Clancy (@ImSarahNow). The pitches were originally made monthly, with entries split into a number of categories, but this proved unmanageable. PitchYaGame collaborator, Sarah Clancy reported that judging the many entries on a monthly basis was "difficult and unwieldy." Therefore, pitches were later switched to six monthly, "feature creep" was reduced, and awards streamlined into gold, silver, bronze, runners-up, and most viral. == Sponsorship == In June 2021, PitchYaGame prizes were sponsored by Xsolla, and in November 2021 by Aurora Punks and Cold Pixel. No cash prizes were available in 2022, as the organisers moved PitchYaGame into a less-competitive, "more showcase centric format". == Reception == In October 2020, Elijah Beahm at The Escapist wrote that "One of the greatest challenges for any game is landing a solid pitch. You have to sell people, maybe even a publisher, to take your idea seriously. Most of the time, it's an obfuscated process that leaves the average developer scratching their heads, but Liam Twose and his team behind #PitchYaGame, 'PYG' for short, are looking to change all that with some clever social engineering." In March 2021, Cameron Koch at GameSpot wrote that "Using the #PitchYaGame, thousands of indie developers tweeted out pitches for their games on November 2 as part of a social media contest, and the results are astounding." He went on to say that "There is no arguing with the results. According to Twose, around 1100-1300 games were shared with the hashtag, and some real gems look to have shined through." In November 2021, Stafano "Stef" Castelli at IGN Italia wrote that "I myself enjoyed 'browsing through' the competitors, discovering a handful of intriguing video games in development." (translated from Italian). In November 2022, Eric Bartelson at Premortem Games wrote that "It's a great way to get games noticed by fellow developers, but also publishers, investors and press." In June 2023, Mark Plunkett in Kotaku wrote about the impossibility of keeping up with all the video game releases, and described PitchYaGame, which has attracted over 10,000 pitches since 2020, as an "astoundingly simple idea" that has "become an increasingly useful spot to catch up on some excellent-looking games that we may have otherwise completely slept on."
Generative art
Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu
Semiotics of social networking
The semiotics of social networking discusses the images, symbols and signs used in systems that allow users to communicate and share experiences with each other. Examples of social networking systems include Facebook, Twitter and Instagram. == Semiotics == Semiotics is a discipline that studies images, symbols, signs and other similarly related objects in an effort to understand their use and meaning. Semiotic structuralism seeks the meaning of these objects within a social context. Post-structuralist theories take tools from structuralist semiotics in combination with social interaction, creating social semiotics. Social semiotics is “a branch of the field of semiotics which investigates human signifying practices in specific social and cultural circumstances and which tries to explain meaning-making as a social practice.” “Social semiotics also examines semiotic practices, specific to a culture and community, for the making of various kinds of texts and meanings in various situational contexts and contexts of culturally meaningful activity”. Social semiotics is concerned with studying human interactions. == Social networking == Social networking is the communication among people within a virtual social space. This medium of communication allows insight into the significance of social semiotics. “Millions of people now interact through blogs, collaborate through wikis, play multiplayer games, publish podcasts and video, build relationships through social network sites and evaluate all the above forms of communication through feedback and ranking mechanisms”. Social semiotics “unlike speech, writing necessitates some sort of technology in the form of person device interaction”. Social semiotics functions through the triad of communication or Peircean semiotics in the form of sign, object, interpretant (Chart 1) and “Human, Machine, Tag (Information)” (Chart 2). In Peircean semiotics (Chart 1), "A sign…[in the form of representamen] is something which stands to somebody for something in some respect or capacity. It addresses somebody, that is, creates in the mind of that person an equivalent sign, or perhaps a more developed sign. That sign which it creates I call the interpretant of the first sign. The sign stands for an object, not in all respects, but in reference to a sort of idea which I have something called the ground of the representamen". This example of the triangle of Human, Machine, Tag is shown when looking at tagging photographs on Facebook (Chart 3). The Human takes the photo on a camera and puts the digital file (information) on the Machine, the Machine is then navigated to Facebook where the file is downloaded. The Human has the Machine Tag the photo with information (e. g., names, places, data) for other Humans to see. This process then can be continued (see Chart 2). “Collaborative tagging has been quickly gaining ground because of its ability to recruit the activity of web users into effectively organizing and sharing large amounts of information”.