Digital anthropology is the anthropological study of the relationship between humans and digital-era technology. The field is new, and thus has a variety of names with a variety of emphases. These include techno-anthropology, digital ethnography, cyberanthropology, and virtual anthropology. == Definition and scope == Most anthropologists who use the phrase "digital anthropology" are specifically referring to online and Internet technology. The study of humans' relationship to a broader range of technology may fall under other subfields of anthropological study, such as cyborg anthropology. The Digital Anthropology Group (DANG) is classified as an interest group in the American Anthropological Association. DANG's mission includes promoting the use of digital technology as a tool of anthropological research, encouraging anthropologists to share research using digital platforms, and outlining ways for anthropologists to study digital communities. Cyberspace or the "virtual world" itself can serve as a "field" site for anthropologists, allowing the observation, analysis, and interpretation of the sociocultural phenomena springing up and taking place in any interactive space. National and transnational communities, enabled by digital technology, establish a set of social norms, practices, traditions, storied history and associated collective memory, migration periods, internal and external conflicts, potentially subconscious language features and memetic dialects comparable to those of traditional, geographically confined communities. This includes the various communities built around free and open-source software, online platforms such as Facebook, Twitter/X, Instagram, 4chan and Reddit and their respective sub-sites, and politically motivated groups like Anonymous, WikiLeaks, or the Occupy movement. A number of academic anthropologists have conducted traditional ethnographies of virtual worlds, such as Bonnie Nardi's study of World of Warcraft or Tom Boellstorff's study of Second Life. Academic Gabriella Coleman has done ethnographic work on the Debian software community and the Anonymous hacktivist network. Theorist Nancy Mauro-Flude conducts ethnographic field work on computing arts and computer subcultures such as systerserver.net a part of the communities of feminist web servers and the Feminist Internet network. Eitan Y. Wilf examines the intersection of artists' creativity and digital technology and artificial intelligence. Yongming Zhou studied how in China the internet is used to participate in politics. Eve M. Zucker and colleagues study the shift to digital memorialization of mass atrocities and the emergent role of artificial intelligence in these processes. Victoria Bernal conducted ethnographic research on the themes of nationalism and citizenship among Eritreans participating in online political engagement with their homeland. Anthropological research can help designers adapt and improve technology. Australian anthropologist Genevieve Bell did extensive user experience research at Intel that informed the company's approach to its technology, users, and market. == Methodology == === Digital fieldwork === Many digital anthropologists who study online communities use traditional methods of anthropological research. They participate in online communities in order to learn about their customs and worldviews, and back their observations with private interviews, historical research, and quantitative data. Their product is an ethnography, a qualitative description of their experience and analyses. Other anthropologists and social scientists have conducted research that emphasizes data gathered by websites and servers. However, academics often have trouble accessing user data on the same scale as social media corporations like Facebook and data mining companies like Acxiom. In terms of method, there is a disagreement in whether it is possible to conduct research exclusively online or if research will only be complete when the subjects are studied holistically, both online and offline. Tom Boellstorff, who conducted a three-year research as an avatar in the virtual world Second Life, defends the first approach, stating that it is not just possible, but necessary to engage with subjects “in their own terms”. Others, such as Daniel Miller, have argued that an ethnographic research should not exclude learning about the subject's life outside the internet. === Digital technology as a tool of anthropology === The American Anthropological Association offers an online guide for students using digital technology to store and share data. Data can be uploaded to digital databases to be stored, shared, and interpreted. Text and numerical analysis software can help produce metadata, while a codebook may help organize data. == Ethics == Online fieldwork offers new ethical challenges. According to the American Anthropological Association's ethics guidelines, anthropologists researching a community must make sure that all members of that community know they are being studied and have access to data the anthropologist produces. However, many online communities' interactions are publicly available for anyone to read, and may be preserved online for years. Digital anthropologists debate the extent to which lurking in online communities and sifting through public archives is ethical. The Association also asserts that anthropologists' ability to collect and store data at all is "a privilege", and researchers have an ethical duty to store digital data responsibly. This means protecting the identity of participants, sharing data with other anthropologists, and making backup copies of all data. == Prominent figures == Genevieve Bell is an Australian cultural anthropologist credited for pioneering the User Experience field. During her time working for Intel Corporation, Bell studied how various cultures from around the world interacted with and experienced technology. Researching and improving user experience allows companies and designers to gather data regarding how users utilize their digital products and what requires improvement or expansion. Tom Boellstorff is an anthropologist known for Coming of Age in Second Life: An Anthropologist Explores the Virtually Human where he conducted research on how engaging in virtual worlds affects the player’s sense of self. Gabriella Coleman is an American anthropologist concerned with the politics, ethics, and culture of hacking and online activism. Coleman’s most notable ethnography features the hacktivist collective Anonymous, where she argues that various genres of hacking exist according to the social conditions at play. Coleman is dedicated to making her ethnography accessible to a diverse audience, including academics and non-academics. Diana E. Forsythe was an American anthropologist of science and technology and the author of the essays featured in Studying Those Who Study Us: An Anthropologist in the World of Artificial Intelligence. She asked relevant questions such as how should humans interact with computers and how gender roles are maintained in technology-oriented occupations. Heather Horst is a sociocultural anthropologist interested in the relationship between digital social relations and material culture. Nancy Mauro-Flude is a design anthropologist whose work explores the tacit relations between embodied cognition, computational materiality, maker culture, self-hosted webserver cooperatives, creative practice, and artistic research in digital infrastructure and Internet publishing. Mizuko Ito is a Japanese cultural anthropologist specializing in technology use and the intersection between computers and the social sciences. Her primary interest is in how young people utilize media technology and how it can be used to engage students in education. Daniel Miller is an anthropologist with a concentration in digital anthropology. His research includes the smartphone and perpetual opportunism, the intent and consequences of posting on social media in various geographical locations, and how hospice patients use media to socialize in the last stage of their lives. Mike Wesch is a cultural anthropologist interested in how people share their lives, cultures, and beliefs through digital media.
Actor-critic algorithm
The actor-critic algorithm (AC) is a family of reinforcement learning (RL) algorithms that combine policy-based RL algorithms such as policy gradient methods, and value-based RL algorithms such as value iteration, Q-learning, SARSA, and TD learning. An AC algorithm consists of two main components: an "actor" that determines which actions to take according to a policy function, and a "critic" that evaluates those actions according to a value function. Some AC algorithms are on-policy, some are off-policy. Some apply to either continuous or discrete action spaces. Some work in both cases. == Overview == The actor-critic methods can be understood as an improvement over pure policy gradient methods like REINFORCE via introducing a baseline. === Actor === The actor uses a policy function π ( a | s ) {\displaystyle \pi (a|s)} , while the critic estimates either the value function V ( s ) {\displaystyle V(s)} , the action-value Q-function Q ( s , a ) , {\displaystyle Q(s,a),} the advantage function A ( s , a ) {\displaystyle A(s,a)} , or any combination thereof. The actor is a parameterized function π θ {\displaystyle \pi _{\theta }} , where θ {\displaystyle \theta } are the parameters of the actor. The actor takes as argument the state of the environment s {\displaystyle s} and produces a probability distribution π θ ( ⋅ | s ) {\displaystyle \pi _{\theta }(\cdot |s)} . If the action space is discrete, then ∑ a π θ ( a | s ) = 1 {\displaystyle \sum _{a}\pi _{\theta }(a|s)=1} . If the action space is continuous, then ∫ a π θ ( a | s ) d a = 1 {\displaystyle \int _{a}\pi _{\theta }(a|s)da=1} . The goal of policy optimization is to improve the actor. That is, to find some θ {\displaystyle \theta } that maximizes the expected episodic reward J ( θ ) {\displaystyle J(\theta )} : J ( θ ) = E π θ [ ∑ t = 0 T γ t r t ] {\displaystyle J(\theta )=\mathbb {E} _{\pi _{\theta }}\left[\sum _{t=0}^{T}\gamma ^{t}r_{t}\right]} where γ {\displaystyle \gamma } is the discount factor, r t {\displaystyle r_{t}} is the reward at step t {\displaystyle t} , and T {\displaystyle T} is the time-horizon (which can be infinite). The goal of policy gradient method is to optimize J ( θ ) {\displaystyle J(\theta )} by gradient ascent on the policy gradient ∇ J ( θ ) {\displaystyle \nabla J(\theta )} . As detailed on the policy gradient method page, there are many unbiased estimators of the policy gradient: ∇ θ J ( θ ) = E π θ [ ∑ 0 ≤ j ≤ T ∇ θ ln π θ ( A j | S j ) ⋅ Ψ j | S 0 = s 0 ] {\displaystyle \nabla _{\theta }J(\theta )=\mathbb {E} _{\pi _{\theta }}\left[\sum _{0\leq j\leq T}\nabla _{\theta }\ln \pi _{\theta }(A_{j}|S_{j})\cdot \Psi _{j}{\Big |}S_{0}=s_{0}\right]} where Ψ j {\textstyle \Psi _{j}} is a linear sum of the following: ∑ 0 ≤ i ≤ T ( γ i R i ) {\textstyle \sum _{0\leq i\leq T}(\gamma ^{i}R_{i})} . γ j ∑ j ≤ i ≤ T ( γ i − j R i ) {\textstyle \gamma ^{j}\sum _{j\leq i\leq T}(\gamma ^{i-j}R_{i})} : the REINFORCE algorithm. γ j ∑ j ≤ i ≤ T ( γ i − j R i ) − b ( S j ) {\textstyle \gamma ^{j}\sum _{j\leq i\leq T}(\gamma ^{i-j}R_{i})-b(S_{j})} : the REINFORCE with baseline algorithm. Here b {\displaystyle b} is an arbitrary function. γ j ( R j + γ V π θ ( S j + 1 ) − V π θ ( S j ) ) {\textstyle \gamma ^{j}\left(R_{j}+\gamma V^{\pi _{\theta }}(S_{j+1})-V^{\pi _{\theta }}(S_{j})\right)} : TD(1) learning. γ j Q π θ ( S j , A j ) {\textstyle \gamma ^{j}Q^{\pi _{\theta }}(S_{j},A_{j})} . γ j A π θ ( S j , A j ) {\textstyle \gamma ^{j}A^{\pi _{\theta }}(S_{j},A_{j})} : Advantage Actor-Critic (A2C). γ j ( R j + γ R j + 1 + γ 2 V π θ ( S j + 2 ) − V π θ ( S j ) ) {\textstyle \gamma ^{j}\left(R_{j}+\gamma R_{j+1}+\gamma ^{2}V^{\pi _{\theta }}(S_{j+2})-V^{\pi _{\theta }}(S_{j})\right)} : TD(2) learning. γ j ( ∑ k = 0 n − 1 γ k R j + k + γ n V π θ ( S j + n ) − V π θ ( S j ) ) {\textstyle \gamma ^{j}\left(\sum _{k=0}^{n-1}\gamma ^{k}R_{j+k}+\gamma ^{n}V^{\pi _{\theta }}(S_{j+n})-V^{\pi _{\theta }}(S_{j})\right)} : TD(n) learning. γ j ∑ n = 1 ∞ λ n − 1 1 − λ ⋅ ( ∑ k = 0 n − 1 γ k R j + k + γ n V π θ ( S j + n ) − V π θ ( S j ) ) {\textstyle \gamma ^{j}\sum _{n=1}^{\infty }{\frac {\lambda ^{n-1}}{1-\lambda }}\cdot \left(\sum _{k=0}^{n-1}\gamma ^{k}R_{j+k}+\gamma ^{n}V^{\pi _{\theta }}(S_{j+n})-V^{\pi _{\theta }}(S_{j})\right)} : TD(λ) learning, also known as GAE (generalized advantage estimate). This is obtained by an exponentially decaying sum of the TD(n) learning terms. === Critic === In the unbiased estimators given above, certain functions such as V π θ , Q π θ , A π θ {\displaystyle V^{\pi _{\theta }},Q^{\pi _{\theta }},A^{\pi _{\theta }}} appear. These are approximated by the critic. Since these functions all depend on the actor, the critic must learn alongside the actor. The critic is learned by value-based RL algorithms. For example, if the critic is estimating the state-value function V π θ ( s ) {\displaystyle V^{\pi _{\theta }}(s)} , then it can be learned by any value function approximation method. Let the critic be a function approximator V ϕ ( s ) {\displaystyle V_{\phi }(s)} with parameters ϕ {\displaystyle \phi } . The simplest example is TD(1) learning, which trains the critic to minimize the TD(1) error: δ i = R i + γ V ϕ ( S i + 1 ) − V ϕ ( S i ) {\displaystyle \delta _{i}=R_{i}+\gamma V_{\phi }(S_{i+1})-V_{\phi }(S_{i})} The critic parameters are updated by gradient descent on the squared TD error: ϕ ← ϕ − α ∇ ϕ ( δ i ) 2 = ϕ + α δ i ∇ ϕ V ϕ ( S i ) {\displaystyle \phi \leftarrow \phi -\alpha \nabla _{\phi }(\delta _{i})^{2}=\phi +\alpha \delta _{i}\nabla _{\phi }V_{\phi }(S_{i})} where α {\displaystyle \alpha } is the learning rate. Note that the gradient is taken with respect to the ϕ {\displaystyle \phi } in V ϕ ( S i ) {\displaystyle V_{\phi }(S_{i})} only, since the ϕ {\displaystyle \phi } in γ V ϕ ( S i + 1 ) {\displaystyle \gamma V_{\phi }(S_{i+1})} constitutes a moving target, and the gradient is not taken with respect to that. This is a common source of error in implementations that use automatic differentiation, and requires "stopping the gradient" at that point. Similarly, if the critic is estimating the action-value function Q π θ {\displaystyle Q^{\pi _{\theta }}} , then it can be learned by Q-learning or SARSA. In SARSA, the critic maintains an estimate of the Q-function, parameterized by ϕ {\displaystyle \phi } , denoted as Q ϕ ( s , a ) {\displaystyle Q_{\phi }(s,a)} . The temporal difference error is then calculated as δ i = R i + γ Q θ ( S i + 1 , A i + 1 ) − Q θ ( S i , A i ) {\displaystyle \delta _{i}=R_{i}+\gamma Q_{\theta }(S_{i+1},A_{i+1})-Q_{\theta }(S_{i},A_{i})} . The critic is then updated by θ ← θ + α δ i ∇ θ Q θ ( S i , A i ) {\displaystyle \theta \leftarrow \theta +\alpha \delta _{i}\nabla _{\theta }Q_{\theta }(S_{i},A_{i})} The advantage critic can be trained by training both a Q-function Q ϕ ( s , a ) {\displaystyle Q_{\phi }(s,a)} and a state-value function V ϕ ( s ) {\displaystyle V_{\phi }(s)} , then let A ϕ ( s , a ) = Q ϕ ( s , a ) − V ϕ ( s ) {\displaystyle A_{\phi }(s,a)=Q_{\phi }(s,a)-V_{\phi }(s)} . Although, it is more common to train just a state-value function V ϕ ( s ) {\displaystyle V_{\phi }(s)} , then estimate the advantage by A ϕ ( S i , A i ) ≈ ∑ j ∈ 0 : n − 1 γ j R i + j + γ n V ϕ ( S i + n ) − V ϕ ( S i ) {\displaystyle A_{\phi }(S_{i},A_{i})\approx \sum _{j\in 0:n-1}\gamma ^{j}R_{i+j}+\gamma ^{n}V_{\phi }(S_{i+n})-V_{\phi }(S_{i})} Here, n {\displaystyle n} is a positive integer. The higher n {\displaystyle n} is, the more lower is the bias in the advantage estimation, but at the price of higher variance. The Generalized Advantage Estimation (GAE) introduces a hyperparameter λ {\displaystyle \lambda } that smoothly interpolates between Monte Carlo returns ( λ = 1 {\displaystyle \lambda =1} , high variance, no bias) and 1-step TD learning ( λ = 0 {\displaystyle \lambda =0} , low variance, high bias). This hyperparameter can be adjusted to pick the optimal bias-variance trade-off in advantage estimation. It uses an exponentially decaying average of n-step returns with λ {\displaystyle \lambda } being the decay strength. == Variants == Asynchronous Advantage Actor-Critic (A3C): Parallel and asynchronous version of A2C. Soft Actor-Critic (SAC): Incorporates entropy maximization for improved exploration. Deep Deterministic Policy Gradient (DDPG): Specialized for continuous action spaces.
Ballin' (Mustard and Roddy Ricch song)
"Ballin'" is a song by American record producer Mustard featuring American rapper Roddy Ricch. The track was released as the third single from Mustard's third studio album, Perfect Ten, on August 20, 2019, though it was available as early as the end of June 2019. The song and its accompanying video received acclaim from music critics, with Complex magazine naming it the Best Song of 2019. It peaked at number 11 on the Billboard Hot 100, marking Mustard's highest charting song in the US. The song received a nomination for Best Rap/Sung Performance at the 2020 Grammy Awards, making it the first time Ricch has been nominated for a Grammy and Mustard's first nomination as an artist. Later in 2019, the two released another collaboration, "High Fashion". == Background == Roddy Ricch revealed in an interview that the song was composed in late 2018, but Mustard wanted to keep it for his album, Perfect Ten, which he was still working on. The song was later included on the album, released in June 2019. Ricch said he knew the song was "hard enough" the first time he heard it, while Mustard proclaimed "this is going to be the one". == Composition and lyrics == "Ballin'" has a "rags to riches" theme. In its intro, the song samples girl group 702's 1997 top ten hit "Get It Together". The song features a "smooth, bouncy beat", with Roddy Ricch rapping about his come-up and ascent in the music industry. In the first verse, Ricch salutes fellow Los Angeles rapper, the late Nipsey Hussle and his girlfriend Lauren London: "I run these racks up with my queen like London and Nip". The line simultaneously references Ricch and Hussle's collaboration "Racks in the Middle", released earlier in 2019 as Hussle's last single before his death. Billboard's Heran Mamo noted that "in typical Hussle fashion", Roddy Ricch "narrates his life's hardships before delving into his newfound treasures". == Critical reception == The song was widely acclaimed by music critics. Charles Holmes of Rolling Stone magazine called it "a song of the year contender", while Complex and Billboard both named it as a "standout track" on the album. Pitchfork magazine included "Ballin'" in its list of The Best Rap Songs of 2019 and called it "the centerpiece of Mustard's underappreciated album Perfect Ten". Complex later named it the Best Song of 2019, calling it "a feel-good anthem so infectious you'll need antibiotics just to stop running it back". == Chart performance == "Ballin'" was at the time Mustard's highest charting song in the US, peaking at number 11 on the Billboard Hot 100. It was also Roddy Ricch's highest charting song, until he surpassed it a week later, with the release of his album track "The Box", which eventually reached number 1 on the chart. It reached number one on Billboard's Rhythmic Songs chart, becoming Mustard's second number one following "Pure Water" and Ricch's first number one. The song also topped the Rap Airplay chart. == Music video == The music video for the track was teased by Mustard on his Instagram page on September 29, 2019. The music video for the track was eventually released on October 2, 2019 to critical acclaim. The video features Mustard and Roddy Ricch driving a Lamborghini Aventador in Los Angeles, where they both are from, playing poker in a casino, and going to a strip club. This is contrasted with scenes in which Mustard and Roddy Ricch as children play cards with Monopoly money and playing with miniature toy Lamborghinis together, aspiring for wealth and luxury, representing how they went from "rags to riches". The video also pays tribute to rapper Nipsey Hussle, who had been killed a few months ago. == Live performances == On December 16, 2019, Roddy Ricch performed the song live, alongside an 8-piece orchestra, at Peppermint Club in Los Angeles for Audiomack's Trap Symphony series. Along with Mustard, he performed it at The Pop Out: Ken & Friends on June 19, 2024. == Other uses == The song can be heard on "Elyse's Skit", track 10 off Roddy Ricch's debut album Please Excuse Me for Being Antisocial. In the skit, which is an actual voicenote recording, the mother of a woman named Elyse sends her daughter a voicenote, with "Ballin'" playing in the background, while the mother proceeds to say "I can't get that damn song out my head", jokingly calling it "inappropriate music". Ricch called the skit "something natural". In 2023, AI covers of the song using models based on pop culture characters and real-world celebrities gained viral popularity. == Awards and nominations == 62nd Annual Grammy Awards == Charts == == Certifications ==
Single-source publishing
Single-source publishing, also known as single-sourcing publishing, is a content management method which allows the same source content to be used across different forms of media and more than one time. The labor-intensive and expensive work of editing need only be carried out once, on only one document; that source document (the single source of truth) can then be stored in one place and reused. This reduces the potential for error, as corrections are only made one time in the source document. The benefits of single-source publishing primarily relate to the editor rather than the user. The user benefits from the consistency that single-sourcing brings to terminology and information. This assumes the content manager has applied an organized conceptualization to the underlying content (A poor conceptualization can make single-source publishing less useful). Single-source publishing is sometimes used synonymously with multi-channel publishing though whether or not the two terms are synonymous is a matter of discussion. == Definition == While there is a general definition of single-source publishing, there is no single official delineation between single-source publishing and multi-channel publishing, nor are there any official governing bodies to provide such a delineation. Single-source publishing is most often understood as the creation of one source document in an authoring tool and converting that document into different file formats or human languages (or both) multiple times with minimal effort. Multi-channel publishing can either be seen as synonymous with single-source publishing, or similar in that there is one source document but the process itself results in more than a mere reproduction of that source. == History == The origins of single-source publishing lie, indirectly, with the release of Windows 3.0 in 1990. With the eclipsing of MS-DOS by graphical user interfaces, help files went from being unreadable text along the bottom of the screen to hypertext systems such as WinHelp. On-screen help interfaces allowed software companies to cease the printing of large, expensive help manuals with their products, reducing costs for both producer and consumer. This system raised opportunities as well, and many developers fundamentally changed the way they thought about publishing. Writers of software documentation did not simply move from being writers of traditional bound books to writers of electronic publishing, but rather they became authors of central documents which could be reused multiple times across multiple formats. The first single-source publishing project was started in 1993 by Cornelia Hofmann at Schneider Electric in Seligenstadt, using software based on Interleaf to automatically create paper documentation in multiple languages based on a single original source file. XML, developed during the mid- to late-1990s, was also significant to the development of single-source publishing as a method. XML, a markup language, allows developers to separate their documentation into two layers: a shell-like layer based on presentation and a core-like layer based on the actual written content. This method allows developers to write the content only one time while switching it in and out of multiple different formats and delivery methods. In the mid-1990s, several firms began creating and using single-source content for technical documentation (Boeing Helicopter, Sikorsky Aviation and Pratt & Whitney Canada) and user manuals (Ford owners manuals) based on tagged SGML and XML content generated using the Arbortext Epic editor with add-on functions developed by a contractor. The concept behind this usage was that complex, hierarchical content that did not lend itself to discrete componentization could be used across a variety of requirements by tagging the differences within a single document using the capabilities built into SGML and XML. Ford, for example, was able to tag its single owner's manual files so that 12 model years could be generated via a resolution script running on the single completed file. Pratt & Whitney, likewise, was able to tag up to 20 subsets of its jet engine manuals in single-source files, calling out the desired version at publication time. World Book Encyclopedia also used the concept to tag its articles for American and British versions of English. Starting from the early 2000s, single-source publishing was used with an increasing frequency in the field of technical translation. It is still regarded as the most efficient method of publishing the same material in different languages. Once a printed manual was translated, for example, the online help for the software program which the manual accompanies could be automatically generated using the method. Metadata could be created for an entire manual and individual pages or files could then be translated from that metadata with only one step, removing the need to recreate information or even database structures. Although single-source publishing is now decades old, its importance has increased urgently as of the 2010s. As consumption of information products rises and the number of target audiences expands, so does the work of developers and content creators. Within the industry of software and its documentation, there is a perception that the choice is to embrace single-source publishing or render one's operations obsolete. == Criticism == Editors using single-source publishing have been criticized for below-standard work quality, leading some critics to describe single-source publishing as the "conveyor belt assembly" of content creation. While heavily used in technical translation, there are risks of error in regard to indexing. While two words might be synonyms in English, they may not be synonyms in another language. In a document produced via single-sourcing, the index will be translated automatically and the two words will be rendered as synonyms. This is because they are synonyms in the source language, while in the target language they are not.
Enterprise information system
An Enterprise Information System (EIS) is any kind of information system which improves the functions of enterprise business processes through integration. This means typically offering high quality service, dealing with large volumes of data and capable of supporting some large and possibly complex organization or enterprise. An EIS must be able to be used by all parts and all levels of an enterprise. The word enterprise can have various connotations. Frequently the term is used only to refer to very large organizations such as multi-national companies or public-sector organizations. However, the term may be used to mean virtually anything, by virtue of it having become a corporate-speak buzzword. == Purpose == Enterprise information systems provide a technology platform that enables organizations to integrate and coordinate their business processes on a robust foundation. An EIS is currently used in conjunction with customer relationship management and supply chain management to automate business processes. An enterprise information system provides a single system that is central to the organization that ensuring information can be shared across all functional levels and management hierarchies. An EIS can be used to increase business productivity and reduce service cycles, product development cycles and marketing life cycles. It may be used to amalgamate existing applications. Other outcomes include higher operational efficiency and cost savings. Financial value is not usually a direct outcome from the implementation of an enterprise information system. == Design stage == At the design stage the main characteristic of EIS efficiency evaluation is the probability of timely delivery of various messages such as command, service, etc. == Information systems == Enterprise systems create a standard data structure and are invaluable in eliminating the problem of information fragmentation caused by multiple information systems within an organization. An EIS differentiates itself from legacy systems in that it is self-transactional, self-helping and adaptable to general and specialist conditions. Unlike an enterprise information system, legacy systems are limited to department-wide communications. A typical enterprise information system would be housed in one or more data centers, would run enterprise software, and could include applications that typically cross organizational borders such as content management systems.
Image tracing
In computer graphics, image tracing, raster-to-vector conversion or raster vectorization is the conversion of raster graphics into vector graphics. == Background == An image does not have any structure: it is just a collection of marks on paper, grains in film, or pixels in a bitmap. While such an image is useful, it has some limits. If the image is magnified enough, its artifacts appear. The halftone dots, film grains, and pixels become apparent. Images of sharp edges become fuzzy or jagged. See, for example, pixelation. Ideally, a vector image does not have the same problem. Edges and filled areas are represented as mathematical curves or gradients, and they can be magnified arbitrarily (though of course the final image must also be rasterized in to be rendered, and its quality depends on the quality of the rasterization algorithm for the given inputs). The task in vectorization is to convert a two-dimensional image into a two-dimensional vector representation of the image. It is not examining the image and attempting to recognize or extract a three-dimensional model that may be depicted; i.e. it is not a vision system. For most applications, vectorization also does not involve optical character recognition; characters are treated as lines, curves, or filled objects without attaching any significance to them. In vectorization, the shape of the character is preserved, so artistic embellishments remain. Vectorization is the inverse operation corresponding to rasterization, as integration is to differentiation. And, just as with these other operations, while rasterization is fairly straightforward and algorithmic, vectorization involves the reconstruction of lost information and therefore requires heuristic methods. Synthetic images such as maps, cartoons, logos, clip art, and technical drawings are suitable for vectorization. Those images could have been originally made as vector images because they are based on geometric shapes or drawn with simple curves. Continuous tone photographs (such as live portraits) are not good candidates for vectorization. The input to vectorization is an image, but an image may come in many forms such as a photograph, a drawing on paper, or one of several raster file formats. Programs that do raster-to-vector conversion may accept bitmap formats such as TIFF, BMP and PNG. The output is a vector file format. Common vector formats are SVG, DXF, EPS, EMF and AI. Vectorization can be used to update images or recover work. Personal computers often come with a simple paint program that produces a bitmap output file. These programs allow users to make simple illustrations by adding text, drawing outlines, and filling outlines with a specific color. Only the results of these operations (the pixels) are saved in the resulting bitmap; the drawing and filling operations are discarded. Vectorization can be used to recapture some of the information that was lost. Vectorization is also used to recover information that was originally in a vector format but has been lost or has become unavailable. A company may have commissioned a logo from a graphic arts firm. Although the graphics firm used a vector format, the client company may not have received a copy of that format. The company may then acquire a vector format by scanning and vectorizing a paper copy of the logo. == Process == Vectorization starts with an image. === Manual === The image can be vectorized manually. A person could look at the image, make some measurements, and then write the output file by hand. That was the case for the vectorization of a technical illustration about neutrinos. The illustration has a few geometric shapes and a lot of text; it was relatively easy to convert the shapes, and the SVG vector format allows the text (even subscripts and superscripts) to be entered easily. The original image did not have any curves (except for the text), so the conversion is straightforward. Curves make the conversion more complicated. Manual vectorization of complicated shapes can be facilitated by the tracing function built into some vector graphics editing programs. If the image is not yet in machine readable form, then it has to be scanned into a usable file format. Once there is a machine-readable bitmap, the image can be imported into a graphics editing program (such as Adobe Illustrator, CorelDRAW, or Inkscape). Then a person can manually trace the elements of the image using the program's editing features. Curves in the original image can be approximated with lines, arcs, and Bézier curves. An illustration program allows spline knots to be adjusted for a close fit. Manual vectorization is possible, but it can be tedious. Although graphics drawing programs have been around for a long time, artists may find the freehand drawing facilities awkward even when a drawing tablet is used. Instead of using a program, Pepper recommends making an initial sketch on paper. Instead of scanning the sketch and tracing it freehand in the computer, Pepper states: "Those proficient with a graphic tablet and stylus could make the following changes directly in CorelDRAW by using a scan of the sketch as an underlay and drawing over it. I prefer to use pen and ink, and a light table"; most of the final image was traced by hand in ink. Later the line-drawing image was scanned at 600 dpi, cleaned up in a paint program, and then automatically traced with a program. Once the black and white image was in the graphics program, some other elements were added and the figure was colored. Similarly, Ploch recreated a design from a digital photograph. The JPEG was imported and some "basic shapes" were traced by hand and colored in the graphics drawing program; more complex shapes were handled differently. Ploch used a bitmap editor to remove the background and crop the more complex image components. He then printed the image and traced it by hand onto tracing paper to get a clean black and white line drawing. That drawing was scanned and then vectorized with a program. === Automatic === Some programs automate the vectorization process. Example programs are Adobe Illustrator, Inkscape, Corel's PowerTRACE, and Potrace. Some of these programs have a command line interface while others are interactive that allow the user to adjust the conversion settings and view the result. Adobe Streamline is not only an interactive program, but it also allows a user to manually edit the input bitmap and the output curves. Corel's PowerTRACE is accessed through CorelDRAW; CorelDRAW can be used to modify the input bitmap and edit the output curves. Adobe Illustrator has a facility to trace individual curves. Automated programs can have mixed results. A program (PowerTRACE) was used to convert a PNG map to SVG. The program did a good job on the map boundaries (the most tedious task in the tracing) and the settings dropped out all the text (small objects). The text was manually re-inserted. Other conversions may not go as well. The results depend on having high-quality scans, reasonable settings, and good algorithms. Scanned images often have a lot of noise, which can require additional work to clean up. == Options == There are many different image styles and possibilities, and no single vectorization method works well on all images. Consequently, vectorization programs have many options that influence the result. One issue is what the predominant shapes are. If the image is of a fill-in form, then it will probably have just vertical and horizontal lines of a constant width. The program's vectorization should take that into account. On the other hand, a CAD drawing may have lines at any angle, there may be curved lines, and there may be several line weights (thick for objects and thin for dimension lines). Instead of (or in addition to) curves, the image may contain outlines filled with the same color. Adobe Streamline allows users to select a combination of line recognition (horizontal and vertical lines), centerline recognition, or outline recognition. Streamline also allows small outline shapes to be thrown out; the notion is such small shapes are noise. The user may set the noise level between 0 and 1000; an outline that has fewer pixels than that setting is discarded. Another issue is the number of colors in the image. Even images that were created as black on white drawings may end up with many shades of gray. Some line-drawing routines employ anti-aliasing; a pixel completely covered by the line will be black, but a pixel that is only partially covered will be gray. If the original image is on paper and is scanned, there is a similar result: edge pixels will be gray. Sometimes images are compressed (e.g., JPEG images), and the compression will introduce gray levels. Many of the vectorization programs will group same-color pixels into lines, curves, or outlined shapes. If each possible color is grouped into its object, there can be an enormous number of objects. Instead, the user is asked to s
Scriptella
Scriptella is an open source extract transform load (ETL) and script execution tool written in Java. It allows the use of SQL or another scripting language suitable for the data source to perform required transformations. Scriptella does not offer any graphical user interface. == Typical use == Database migration. Database creation/update scripts. Cross-database ETL operations, import/export. Alternative for Ant