Information history may refer to the history of each of the categories listed below (or to combinations of them). It should be recognized that the understanding of, for example, libraries as information systems only goes back to about 1950. The application of the term information for earlier systems or societies is a retronym. == Academic discipline == Information history is an emerging discipline related to, but broader than, library history. An important introduction and review was made by Alistair Black (2006). A prolific scholar in this field is also Toni Weller, for example, Weller (2007, 2008, 2010a and 2010b). As part of her work Toni Weller has argued that there are important links between the modern information age and its historical precedents. A description from Russia is Volodin (2000). Alistair Black (2006, p. 445) wrote: "This chapter explores issues of discipline definition and legitimacy by segmenting information history into its various components: The history of print and written culture, including relatively long-established areas such as the histories of libraries and librarianship, book history, publishing history, and the history of reading. The history of more recent information disciplines and practice, that is to say, the history of information management, information systems, and information science. The history of contiguous areas, such as the history of the information society and information infrastructure, necessarily enveloping communication history (including telecommunications history) and the history of information policy. The history of information as social history, with emphasis on the importance of informal information networks." "Bodies influential in the field include the American Library Association’s Round Table on Library History, the Library History Section of the International Federation of Library Associations and Institutions (IFLA), and, in the U.K., the Library and Information History Group of the Chartered Institute of Library and Information Professionals (CILIP). Each of these bodies has been busy in recent years, running conferences and seminars, and initiating scholarly projects. Active library history groups function in many other countries, including Germany (The Wolfenbuttel Round Table on Library History, the History of the Book and the History of Media, located at the Herzog August Bibliothek), Denmark (The Danish Society for Library History, located at the Royal School of Library and Information Science), Finland (The Library History Research Group, University of Tamepere), and Norway (The Norwegian Society for Book and Library History). Sweden has no official group dedicated to the subject, but interest is generated by the existence of a museum of librarianship in Bods, established by the Library Museum Society and directed by Magnus Torstensson. Activity in Argentina, where, as in Europe and the U.S., a "new library history" has developed, is described by Parada (2004)." (Black (2006, p. 447). === Journals === Information & Culture (previously Libraries & the Cultural Record, Libraries & Culture) Library & Information History (until 2008: Library History; until 1967: Library Association. Library History Group. Newsletter) == Information technology (IT) == The term IT is ambiguous although mostly synonym with computer technology. Haigh (2011, pp. 432-433) wrote "In fact, the great majority of references to information technology have always been concerned with computers, although the exact meaning has shifted over time (Kline, 2006). The phrase received its first prominent usage in a Harvard Business Review article (Haigh, 2001b; Leavitt & Whisler, 1958) intended to promote a technocratic vision for the future of business management. Its initial definition was at the conjunction of computers, operations research methods, and simulation techniques. Having failed initially to gain much traction (unlike related terms of a similar vintage such as information systems, information processing, and information science) it was revived in policy and economic circles in the 1970s with a new meaning. Information technology now described the expected convergence of the computing, media, and telecommunications industries (and their technologies), understood within the broader context of a wave of enthusiasm for the computer revolution, post-industrial society, information society (Webster, 1995), and other fashionable expressions of the belief that new electronic technologies were bringing a profound rupture with the past. As it spread broadly during the 1980s, IT increasingly lost its association with communications (and, alas, any vestigial connection to the idea of anybody actually being informed of anything) to become a new and more pretentious way of saying "computer". The final step in this process is the recent surge in references to "information and communication technologies" or ICTs, a coinage that makes sense only if one assumes that a technology can inform without communicating". Some people use the term information technology about technologies used before the development of the computer. This is however to use the term as a retronym. =
Acoustic model
An acoustic model is used in automatic speech recognition to represent the relationship between an audio signal and the phonemes or other linguistic units that make up speech. The model is learned from a set of audio recordings and their corresponding transcripts. It is created by taking audio recordings of speech, and their text transcriptions, and using software to create statistical representations of the sounds that make up each word. == Background == Modern speech recognition systems use both an acoustic model and a language model to represent the statistical properties of speech. The acoustic model models the relationship between the audio signal and the phonetic units in the language. The language model is responsible for modeling the word sequences in the language. These two models are combined to get the top-ranked word sequences corresponding to a given audio segment. Most modern speech recognition systems operate on the audio in small chunks known as frames with an approximate duration of 10ms per frame. The raw audio signal from each frame can be transformed by applying the mel-frequency cepstrum. The coefficients from this transformation are commonly known as mel-frequency cepstral coefficients (MFCCs) and are used as an input to the acoustic model along with other features. Recently, the use of convolutional neural networks has led to major improvements in acoustic modeling. == Speech audio characteristics == Audio can be encoded at different sampling rates (i.e. samples per second – the most common being: 8, 16, 32, 44.1, 48, and 96 kHz), and different bits per sample (the most common being: 8-bits, 16-bits, 24-bits or 32-bits). Speech recognition engines work best if the acoustic model they use was trained with speech audio which was recorded at the same sampling rate/bits per sample as the speech being recognized. == Telephony-based speech recognition == The limiting factor for telephony based speech recognition is the bandwidth at which speech can be transmitted. For example, a standard land-line telephone only has a bandwidth of 64 kbit/s at a sampling rate of 8 kHz and 8-bits per sample (8000 samples per second 8-bits per sample = 64000 bit/s). Therefore, for telephony based speech recognition, acoustic models should be trained with 8 kHz/8-bit speech audio files. In the case of voice over IP, the codec determines the sampling rate/bits per sample of speech transmission. Codecs with a higher sampling rate/bits per sample for speech transmission (which improve the sound quality) necessitate acoustic models trained with audio data that matches that sampling rate/bits per sample. == Desktop-based speech recognition == For speech recognition on a standard desktop PC, the limiting factor is the sound card. Most sound cards today can record at sampling rates of between 16–48 kHz of audio, with bit rates of 8- to 16-bits per sample, and playback at up to 96 kHz. As a general rule, a speech recognition engine works better with acoustic models trained with speech audio data recorded at higher sampling rates/bits per sample. But using audio with too high a sampling rate/bits per sample can slow the recognition engine down. A compromise is needed. Thus for desktop speech recognition, the current standard is acoustic models trained with speech audio data recorded at sampling rates of 16 kHz/16 bits per sample.
Depth peeling
In computer graphics, depth peeling is an exact multipass method of order-independent transparency that extracts transparent fragments into depth layers and composites those layers in depth order. Depth peeling has the advantage of being able to generate correct results even for complex images containing intersecting transparent objects. == Method == Depth peeling works by rendering the image multiple times. Depth peeling uses two Z buffers, one that works conventionally, and one that is not modified, and sets the minimum distance at which a fragment can be drawn without being discarded. For each pass, the previous pass' conventional Z-buffer is used as the minimal Z-buffer, so each pass removes already-captured nearer fragments and draws the next depth layer behind them. The resulting images can then be composited in depth order to form a single image. A major drawback of classical depth peeling is performance: it requires one geometry pass per peeled layer, so scenes with high depth complexity require many passes that each re-rasterize the transparent geometry. Later variants reduce the number of passes by peeling multiple layers or both front and back layers in a pass. Dual depth peeling reduces the geometry-pass count from N to N/2+1 by peeling one layer from the front and one from the back in each pass, while multi-layer depth peeling peels several layers per pass and reported up to an 8x speed-up in RGBA8 settings.
Texture filtering
In computer graphics, texture filtering or texture smoothing is the method used to determine the texture color for a texture mapped pixel, using the colors of nearby texels (ie. pixels of the texture). Filtering describes how a texture is applied at many different shapes, size, angles and scales. Depending on the chosen filter algorithm, the result will show varying degrees of blurriness, detail, spatial aliasing, temporal aliasing and blocking. Depending on the circumstances, filtering can be performed in software (such as a software rendering package) or in hardware, eg. with either real time or GPU accelerated rendering circuits, or in a mixture of both. For most common interactive graphical applications, modern texture filtering is performed by dedicated hardware which optimizes memory access through memory cacheing and pre-fetch, and implements a selection of algorithms available to the user and developer. There are two main categories of texture filtering: magnification filtering and minification filtering. Depending on the situation, texture filtering is either a type of reconstruction filter where sparse data is interpolated to fill gaps (magnification), or a type of anti-aliasing (AA) where texture samples exist at a higher frequency than required for the sample frequency needed for texture fill (minification). There are many methods of texture filtering, which make different trade-offs between computational complexity, memory bandwidth and image quality. == The need for filtering == During the texture mapping process for any arbitrary 3D surface, a texture lookup takes place to find out where on the texture each pixel center falls. For texture-mapped polygonal surfaces composed of triangles typical of most surfaces in 3D games and movies, every pixel (or subordinate pixel sample) of that surface will be associated with some triangle(s) and a set of barycentric coordinates, which are used to provide a position within a texture. Such a position may not lie perfectly on the "pixel grid," necessitating some function to account for these cases. In other words, since the textured surface may be at an arbitrary distance and orientation relative to the viewer, one pixel does not usually correspond directly to one texel. Some form of filtering has to be applied to determine the best color for the pixel. Insufficient or incorrect filtering will show up in the image as artifacts (errors in the image), such as 'blockiness', jaggies, or shimmering. There can be different types of correspondence between a pixel and the texel/texels it represents on the screen. These depend on the position of the textured surface relative to the viewer, and different forms of filtering are needed in each case. Given a square texture mapped on to a square surface in the world, at some viewing distance the size of one screen pixel is exactly the same as one texel. Closer than that, the texels are larger than screen pixels, and need to be scaled up appropriately — a process known as texture magnification. Farther away, each texel is smaller than a pixel, and so one pixel covers multiple texels. In this case an appropriate color has to be picked based on the covered texels, via texture minification. Graphics APIs such as OpenGL allow the programmer to set different choices for minification and magnification filters. Note that even in the case where the pixels and texels are exactly the same size, one pixel will not necessarily match up exactly to one texel. It may be misaligned or rotated, and cover parts of up to four neighboring texels. Hence some form of filtering is still required. == Mipmapping == Mipmapping is a standard technique used to save some of the filtering work needed during texture minification. It is also highly beneficial for cache coherency - without it the memory access pattern during sampling from distant textures will exhibit extremely poor locality, adversely affecting performance even if no filtering is performed. During texture magnification, the number of texels that need to be looked up for any pixel is always four or fewer; during minification, however, as the textured polygon moves farther away potentially the entire texture might fall into a single pixel. This would necessitate reading all of its texels and combining their values to correctly determine the pixel color, a prohibitively expensive operation. Mipmapping avoids this by prefiltering the texture and storing it in smaller sizes down to a single pixel. As the textured surface moves farther away, the texture being applied switches to the prefiltered smaller size. Different sizes of the mipmap are referred to as 'levels', with Level 0 being the largest size (used closest to the viewer), and increasing levels used at increasing distances. == Filtering methods == This section lists the most common texture filtering methods, in increasing order of computational cost and image quality. === Nearest-neighbor interpolation === Nearest-neighbor interpolation is the simplest and crudest filtering method — it simply uses the color of the texel closest to the pixel center for the pixel color. While simple, this results in a large number of artifacts - texture 'blockiness' during magnification, and aliasing and shimmering during minification. This method is fast during magnification but during minification the stride through memory becomes arbitrarily large and it can often be less efficient than MIP-mapping due to the lack of spatially coherent texture access and cache-line reuse. === Nearest-neighbor with mipmapping === This method still uses nearest neighbor interpolation, but adds mipmapping — first the nearest mipmap level is chosen according to distance, then the nearest texel center is sampled to get the pixel color. This reduces the aliasing and shimmering significantly during minification but does not eliminate it entirely. In doing so it improves texture memory access and cache-line reuse through avoiding arbitrarily large access strides through texture memory during rasterization. This does not help with blockiness during magnification as each magnified texel will still appear as a large rectangle. === Linear mipmap filtering === Less commonly used, OpenGL and other APIs support nearest-neighbor sampling from individual mipmaps whilst linearly interpolating the two nearest mipmaps relevant to the sample. === Bilinear filtering === In Bilinear filtering, the four nearest texels to the pixel center are sampled (at the closest mipmap level), and their colors are combined by weighted average according to distance. This removes the 'blockiness' seen during magnification, as there is now a smooth gradient of color change from one texel to the next, instead of an abrupt jump as the pixel center crosses the texel boundary. Bilinear filtering for magnification filtering is common. When used for minification it is often used with mipmapping; though it can be used without, it would suffer the same aliasing and shimmering problems as nearest-neighbor filtering when minified too much. For modest minification ratios, however, it can be used as an inexpensive hardware accelerated weighted texture supersample. The Nintendo 64 used an unusual version of bilinear filtering where only three pixels are used known as 3-point texture filtering, instead of four due to hardware optimization concerns. This introduces a noticeable "triangulation bias" in some textures. === Trilinear filtering === Trilinear filtering is a remedy to a common artifact seen in mipmapped bilinearly filtered images: an abrupt and very noticeable change in quality at boundaries where the renderer switches from one mipmap level to the next. Trilinear filtering solves this by doing a texture lookup and bilinear filtering on the two closest mipmap levels (one higher and one lower quality), and then linearly interpolating the results. This results in a smooth degradation of texture quality as distance from the viewer increases, rather than a series of sudden drops. Of course, closer than Level 0 there is only one mipmap level available, and the algorithm reverts to bilinear filtering. === Anisotropic filtering === Anisotropic filtering is the highest quality filtering available in current consumer 3D graphics cards. Simpler, "isotropic" techniques use only square mipmaps which are then interpolated using bi– or trilinear filtering. (Isotropic means same in all directions, and hence is used to describe a system in which all the maps are squares rather than rectangles or other quadrilaterals.) When a surface is at a high angle relative to the camera, the fill area for a texture will not be approximately square. Consider the common case of a floor in a game: the fill area is far wider than it is tall. In this case, none of the square maps are a good fit. The result is blurriness and/or shimmering, depending on how the fit is chosen. Anisotropic filtering corrects this by sampling the texture as a non-square shape. The goal is
Nobody (username)
In many Unix variants, "nobody" is the conventional name of a user identifier which owns no files, is in no privileged groups, and has no abilities except those which every other user has. It is normally not enabled as a user account, i.e. has no home directory or login credentials assigned. Some systems also define an equivalent group "nogroup". == Uses == The pseudo-user "nobody" and group "nogroup" are used, for example, in the NFSv4 implementation of Linux by idmapd, if a user or group name in an incoming packet does not match any known username on the system. It was once common to run daemons as nobody, especially on servers, in order to limit the damage that could be done by a malicious user who gained control of them. However, the usefulness of this technique is reduced if more than one daemon is run like this, because then gaining control of one daemon would provide control of them all. The reason is that processes owned by the same user have the ability to send signals to each other and use debugging facilities to read or even modify each other's memory. Modern practice, as recommended by the Linux Standard Base, is to create a separate user account for each daemon.
JustWatch
JustWatch is a website that provides information on the availability of films and TV shows on various streaming platforms such as Netflix, HBO Max, Disney+, Hulu, Peacock, Fandango at Home, Apple TV, and Amazon Prime Video, among others. It is also available as a mobile application and smart TV application. JustWatch provides a search engine that allows users to discover which digital platforms host a particular movie or TV series. As of November 2023, JustWatch is available to users in 139 countries. == Features == JustWatch functions as a search engine by aggregating information about the online availability of films and TV series from video-on-demand streaming services. It aggregates information from more than 100 video content libraries, as well providing information about video resolution quality, pricing, and purchase or rental options. The website includes various filters for searching, including genre, price, release date, rating, and popularity. Users are also able to create lists of shows and movies and to share these lists with other users. == History == JustWatch GmbH is an international database company that is privately held and headquartered in Berlin, Germany. The company specializes in the online availability of movies and TV series. In addition to its user-facing website, the company also has an advertising-focused arm, JustWatch Media, that works with corporate clients, using data about what people watch that it gleans from user behavior to help entertainment companies tailor their marketing strategies. Its clients include Universal Pictures, Paramount Pictures, and Sony Pictures, among others. Development of the website began in 2014, and it was launched in the U.S. and Germany in February 2015. In 2018, the company received funding to improve databases within the European Union. In December 2019, the company acquired a rival streaming aggregation service, GoWatchIt, from Plexus Entertainment. JustWatch also used the acquisition to open its first New York office. In 2019, JustWatch had over 30 million users across 38 countries. By 2020, the company's streaming aggregation service was available in over 45 countries. By November 2023, it was available in 139 countries, and had over 40 million monthly users. === Founding === JustWatch was co-founded in 2013 by David Croyé, Cristoph Hoyer, Kevin Hiller, Dominik Raute, Ingke Weimert, and Michael Wilken. In a company blog post from February 2017, Croyé described the group of co-founders as all having previously "worked in leading roles at successful international tech-startups in Berlin." Croyé, who currently holds the title of CEO at JustWatch GmbH, had previously worked as the chief marketing officer at kaufDA, a European location-based mobile coupon and promotion service, and the background of other co-founders included time at the adtech company Trademob and the streaming site MyVideo. Startup capital for the website initially came from the founders themselves. Croyé in particular was able to reinvest funds he had obtained from the sale of kaufDA to Axel Springer, a European media company, in March 2011. Since 2015, the company has had at least one additional round of seed funding, with investors including venture capital groups CG Partners and STS Ventures.
KE Software
KE Software is a formerly Australian-owned computer software company based in Manchester, United Kingdom, which specialises in collection management programs for museums, galleries and archives. The Axiell Group acquired the firm in 2014. == History == KE Software had its origins in investigations into electronic systems for managing natural science collections conducted in the late 1970s under a joint program of the University of Melbourne, the then National Museum of Victoria and the Australian Museum, which led to the development of the Titan Database in 1984. Much of the credit for the development of the project was due to the work of Martin Hallett of the Museum of Victoria which evolved into Textpress, and by 2000, the KE EMu database program. KE Software was bought by Axiell in 2014 and the team merged with the Axiell staff. Axiell continues to sell and support EMu. == Products == The firm has two main products: the Ke EMu Electronic Museum management system, a collections management system for museums; and Vitalware Vital Records Management System. The first version of Ke EMu was launched in 1997 and uses the Texpress database engine with client/server architecture on a Windows or Unix/Linux server. Ke Emu is consistent with the Dublin Core / Darwin Core standards for archive and museum catalogue metadata. "The company’s clients include the three largest museums in the world.: == KE EMu == KE EMu is considered one of the more effective and purpose-designed museum cataloguing programs. particularly in the creation of public interfaces to museum catalogue data. KE EMu was further developed in 1997 as a multilingual platform, which has been utilised in bilingual institutions such as the Canadian Museum of Civilisation. Subsequently this evolved into Texpress and KE EMu (standing for Electronic MUseum) in 2000, which is "now used across the world in natural science museums with huge collections'". KE EMu is used by a large number of museums and galleries around the world, including the Smithsonian Anthropological Collection, American Museum of Natural HistoryVancouver Art Gallery, New York Botanical Garden, the University of Chicago Research Archives, the University of Pennsylvania Museum in Philadelphia, the National Museum of Australia, the Australian Museum, Museum of Victoria, University of Melbourne Archives, and the Alexander Turnbull Library, National Library of New Zealand. There are over 300 clients, and more than 5000 users of the EMu software worldwide. The program has been described as providing "...comprehensive museum management (collection management plus other administrative needs for a museum), workflow and project management, flexible metadata, various stats and metrics, and comprehensive web interface with support for mobile devices and kiosks" == KE Vitalware == The firm's vitalware software is used by a number of governments and commercial organisations for managing and accessing large data sets, such as the birth records of the Trinidad and Tobago Registrar General, the Government of Anguilla, Ministry for Infrastructure, Communications, Utility and Housing, and the Mississippi Department of Information Technology Services. == Further development == A specialist tracking component for KE EMu has been developed by Forbes Hawkins of Museum Victoria. This enables locations to be barcoded, and data to be updated as items are moved around the stores, or between venues, display, laboratories and other locations. This system has been considered by Museums around the world. The company has been working with Australian government agencies to digitize birth deaths and marriage registers in order to cross match identity data. The program has also been used for managing the Australian Plant Disease Database and the Australian Plant Pest Database as the program "...has several features that have proven to be invaluable for a plant disease database".