Recording and Transcribing Interactions of Individuals Using Augmentative Communication Technologies

The purpose of this article is to provide the reader with tools and recommendations for collecting data and making microanalytic transcriptions of interaction involving people using Augmentative Communication Technologies (ACTs). This is of interest for clinicians, as well as anyone else engaged in video-based microanalysis of technology mediated interaction in other contexts. The information presented here has particular relevance to young researchers developing their own methodologies, and experienced scientists interested in social interaction research in ACTs or as well as other digital communication technologies. Tools and methods for recording social interactions to support microanalysis by making unobtrusive recordings of naturally occurring or task-driven social interactions while minimizing recording-related distractions which could alter the authenticity of the social interaction are discussed. Recommendations for the needed functionality of video and audio recording equipment are made with tips for how to capture actions that are important to the research question as opposed to capturing 'generally usable' video. In addition, tips for processing video and managing video data are outlined, including how to develop optimally functional naming conventions for stored videos, how and where to store video data (i. e. use of external hard drives, compressing videos for storage) and syncing multiple videos, offering different views of a single interaction (i. e. syncing footage of the overall interaction with footage of the device display). Finally, tools and strategies for transcription are discussed including a brief description of the role transcription plays in analysis, a suggested framework for how transcription might proceed through multiple passes, each focused on a different aspect of communication, transcription software options along with discussion of specific features that aide transcription. In addition, special issues that arise in transcribing interactions involving ACTs are addressed.

Impact of Stefan blowing and magnetic dipole on bio-convective flow of Maxwell nanofluid over a stretching sheet

The features of ferromagnetic fluids make it supportive for an extensive usage in loudspeakers, magnetic resonance imaging, computer hard drives, directing of magnetic drug and magnetic hyperthermia. Owing to all such potential applications, the current investigation is to understand the relationship between the thermal distribution, magnetic field and resulting fluid flow of Maxwell liquid over a stretching sheet. Investigation of thermal energy and concentration is carried out in the presence of thermal radiation, non-uniform heat sink/source, chemical reaction, Stefan blowing, magnetic dipole, thermophoresis and Brownian motion. Also, microorganisms are considered just to stabilize the suspended nanoparticles. Boundary layer approximation is employed during mathematical derivation. Based on a new constitutive relation, the governing equations are formulated and are reduced into a coupled non-linear system of equations using appropriate transformations. Further, these equations are solved numerically using fourth-order Runge–Kutta method with shooting technique. The impact of involved parameters is discussed and analysed graphically. Outcomes disclose that Newtonian liquid shows high heat transfer when compared to non-Newtonian (Maxwell) liquid for increased values of Brownian motion and thermophoresis parameters. Increased values of Peclet number declines the rate of gyrotactic microorganisms. Finally, an increase in Brownian and thermophoresis motion parameters declines the rate of heat transfer.

Performance of Cryptographic Hash function used in Digital Forensic tools

Cryptographic hash functions are which transform any long message to fixed-length data. It seeks to ensure the confidentiality of the data through the cryptographic hash. The digital forensic tool is a method for extracting information from various storage devices, such as hard drives, memory. SHA-1 and SHA-2 methods are both widely used in forensic image archives. The hash method is usually used during evidence processing, the checking of forensic images (duplicate evidence), then at the completion of the analysis again to ensure data integrity and forensic evaluation of evidence. There was a vulnerability called a collision in the hashing algorithm in which two independent messages had the same hash values. While SHA-3 is secure than its former counterparts, the processors for general purposes are being slow and are not yet so popular. This task proposes a basic yet successful framework to meet the needs of cyber forensics, combining hash functions with other cryptographic concepts, for instance, SALT, such as modified secured hash algorithm (MSHA). A salt applies to the hashing mechanism to make it exclusive, expand its complexity and reduce user attacks like hash tables without increasing user requirements.

Is Anyone Listening? An Examination of New Zealand Musicians in the Digital Age

<p>With major recording artist Thom Yorke predicting the record industry will crumble in “Months” (Hudson, 2010), and sensationalist headlines such as “iPods and Young People Have Utterly Destroyed Music” (Buchanan, 2009) becoming commonplace, this research attempts to determine the current state of New Zealand music in the digital age. Despite the doom and gloom coming from the press in regards to the music industry, musicians haven’t stopped continuing to record, release, and promote their music as the costs of doing so continues to decline with the advent of new technologies. This research looks specifically into the music hosting website Bandcamp and determines what methods New Zealand musicians are currently using on the site in an effort to get their music into the ears and onto the hard drives of fans. Although a large amount of research has been performed on the impacts of piracy on music sales, very little has been conducted on what strategies musicians are implementing to increase their exposure and connect with their fan base in the 21st century, with no specific research having been performed on the unique circumstances faced by artists in New Zealand. This paper first presents a historical overview of the music industry in the last century, as well as a summary of where the industry currently stands in regards to Copyright, distribution methods, and price models in order to provide perspective on the difficulties and variety of choices currently facing musicians. Within this research paper, several hypotheses were tested in order to determine what factors have a significant effect on the amount of exposure that an artist has received for their music. In order to test these hypotheses, the number of audio streams and downloads that an artist has received for their songs posted to the music hosting site Bandcamp was used as a measure to determine the amount of exposure that a specific artist has received. Due to the subjective nature of the quality of music which each musician creates, a survey was sent to over 500 New Zealand musicians whom provided at least one song for download on the website in order to gather as much overall data on the success generated by New Zealand musicians online as possible. A quantitative analysis was then performed to determine what social networking and music hosting sites are most popular with Kiwi artists; whether musicians are still creating physical copies of their works; and what licenses and payment models artists are applying to their songs. This analysis identified two important factors as statistically significant in terms of affecting the number of downloads and audio streams an artist receives on Bandcamp, the length of time that an artist has been present on the site and the payment model that an artist applies to their works. In addition to the quantitative analysis performed on the success that artists were achieving on Bandcamp, a qualitative analysis was performed on the motivations artists had for applying specific pricing models and licenses to their works. The results of this analysis found a nearly unanimous positive response from musicians who had applied traditional Copyright to their work when asked if they would allow their fans to share their music without expressed permission. This research also determined that a majority of musicians currently applying traditional Copyright to their works are unfamiliar, unaware, or uninformed about Creative Commons licenses, with traditional Copyright being applied more out of habit than a desire for their works to be protected under the rights granted under traditional Copyright. A discussion about what these results indicate for artists is also presented as a guide for future and current musicians looking to upload their music to Bandcamp, depending on the goals that the musician is looking to achieve with their music. Finally, this paper concludes with an analysis of what limitations are present in the results of the research, as well as where the need exists for future research.</p>

Is Anyone Listening? An Examination of New Zealand Musicians in the Digital Age

<p>With major recording artist Thom Yorke predicting the record industry will crumble in “Months” (Hudson, 2010), and sensationalist headlines such as “iPods and Young People Have Utterly Destroyed Music” (Buchanan, 2009) becoming commonplace, this research attempts to determine the current state of New Zealand music in the digital age. Despite the doom and gloom coming from the press in regards to the music industry, musicians haven’t stopped continuing to record, release, and promote their music as the costs of doing so continues to decline with the advent of new technologies. This research looks specifically into the music hosting website Bandcamp and determines what methods New Zealand musicians are currently using on the site in an effort to get their music into the ears and onto the hard drives of fans. Although a large amount of research has been performed on the impacts of piracy on music sales, very little has been conducted on what strategies musicians are implementing to increase their exposure and connect with their fan base in the 21st century, with no specific research having been performed on the unique circumstances faced by artists in New Zealand. This paper first presents a historical overview of the music industry in the last century, as well as a summary of where the industry currently stands in regards to Copyright, distribution methods, and price models in order to provide perspective on the difficulties and variety of choices currently facing musicians. Within this research paper, several hypotheses were tested in order to determine what factors have a significant effect on the amount of exposure that an artist has received for their music. In order to test these hypotheses, the number of audio streams and downloads that an artist has received for their songs posted to the music hosting site Bandcamp was used as a measure to determine the amount of exposure that a specific artist has received. Due to the subjective nature of the quality of music which each musician creates, a survey was sent to over 500 New Zealand musicians whom provided at least one song for download on the website in order to gather as much overall data on the success generated by New Zealand musicians online as possible. A quantitative analysis was then performed to determine what social networking and music hosting sites are most popular with Kiwi artists; whether musicians are still creating physical copies of their works; and what licenses and payment models artists are applying to their songs. This analysis identified two important factors as statistically significant in terms of affecting the number of downloads and audio streams an artist receives on Bandcamp, the length of time that an artist has been present on the site and the payment model that an artist applies to their works. In addition to the quantitative analysis performed on the success that artists were achieving on Bandcamp, a qualitative analysis was performed on the motivations artists had for applying specific pricing models and licenses to their works. The results of this analysis found a nearly unanimous positive response from musicians who had applied traditional Copyright to their work when asked if they would allow their fans to share their music without expressed permission. This research also determined that a majority of musicians currently applying traditional Copyright to their works are unfamiliar, unaware, or uninformed about Creative Commons licenses, with traditional Copyright being applied more out of habit than a desire for their works to be protected under the rights granted under traditional Copyright. A discussion about what these results indicate for artists is also presented as a guide for future and current musicians looking to upload their music to Bandcamp, depending on the goals that the musician is looking to achieve with their music. Finally, this paper concludes with an analysis of what limitations are present in the results of the research, as well as where the need exists for future research.</p>

Everyday data cultures and USB portable flash drives

In this article, we present a deeper understanding of everyday data cultures in regards to personal information management practices. We draw on a study involving 14 in-depth interviews with users of portable hard drives and USB portable flash drives in Melbourne, Australia, to examine participants’ reflections on their management of personal information on USB portable devices. In examining participant use of these devices, we consider how they kept (stored) and organized (arranged) information on these devices. We also examined device and data sharing. We conclude by thinking about their increased use within cross-tool information management, including the nexus of portable hard drive/USB use and cloud storage. The argument of this article is that portable hard drives and USBs, due to their miniaturization, ease of portability, affordability and storage capacity, add considerable complexity to established understandings of personal information management practices.

External-memory Dictionaries in the Affine and PDAM Models

Storage devices have complex performance profiles, including costs to initiate IOs (e.g., seek times in hard drives), parallelism and bank conflicts (in SSDs), costs to transfer data, and firmware-internal operations. The Disk-access Machine (DAM) model simplifies reality by assuming that storage devices transfer data in blocks of size B and that all transfers have unit cost. Despite its simplifications, the DAM model is reasonably accurate. In fact, if B is set to the half-bandwidth point, where the latency and bandwidth of the hardware are equal, then the DAM approximates the IO cost on any hardware to within a factor of 2. Furthermore, the DAM model explains the popularity of B-trees in the 1970s and the current popularity of B ɛ -trees and log-structured merge trees. But it fails to explain why some B-trees use small nodes, whereas all B ɛ -trees use large nodes. In a DAM, all IOs, and hence all nodes, are the same size. In this article, we show that the affine and PDAM models, which are small refinements of the DAM model, yield a surprisingly large improvement in predictability without sacrificing ease of use. We present benchmarks on a large collection of storage devices showing that the affine and PDAM models give good approximations of the performance characteristics of hard drives and SSDs, respectively. We show that the affine model explains node-size choices in B-trees and B ɛ -trees. Furthermore, the models predict that B-trees are highly sensitive to variations in the node size, whereas B ɛ -trees are much less sensitive. These predictions are born out empirically. Finally, we show that in both the affine and PDAM models, it pays to organize data structures to exploit varying IO size. In the affine model, B ɛ -trees can be optimized so that all operations are simultaneously optimal, even up to lower-order terms. In the PDAM model, B ɛ -trees (or B-trees) can be organized so that both sequential and concurrent workloads are handled efficiently. We conclude that the DAM model is useful as a first cut when designing or analyzing an algorithm or data structure but the affine and PDAM models enable the algorithm designer to optimize parameter choices and fill in design details.

Predicting Hard Disk Failure by Means of Automatized Labeling and Machine Learning Approach

Today, cloud systems provide many key services to development and production environments; reliable storage services are crucial for a multitude of applications ranging from commercial manufacturing, distribution and sales up to scientific research, which is often at the forefront of computing resource demands. In large-scale computer centers, the storage system requires particular attention and investment; usually, a large number of diverse storage devices need to be deployed in order to match the varying performance and volume requirements of changing user applications. As of today, magnetic drives still play a dominant role in terms of deployed storage volume and of service outages due to device failure. In this paper, we study methods to facilitate automated proactive disk replacement. We propose a method to identify disks with media failures in a production environment and describe an application of supervised machine learning to predict disk failures. In particular, a proper stage to automatically label (healthy/at-risk) the disks during the training and validation stage is presented along with tuning strategy to optimize the hyperparameters of the associated machine learning classifier. The approach is trained and validated against a large set of 65,000 hard drives in the CERN computer center, and the achieved results are discussed.

PEMANFAATAN APLIKASI OWNCLOUD PADA SISTEM KEAMANAN CLOUD COMPUTING

Private cloud is a type of private storage or only provides limited services to an organization or an agency. OwnCloud is a company whose project is OwnCloud project. The company's slogan is "Your Cloud, Your Data, Your Way". OwnCloud is one of the free file sharing software and has provided free security and has an easy or user-friendly user interface so it is easy to use. Owncloud has several features such as creating groups, being able to easily control users and having several other features that are a solution for a cloud-based storage at the Banten Province Public Works and Spatial Planning Office UPTD Serang – Cilegon roads and bridges which do not have integrated storage and still rely on storage such as hard drives, Google Cloud and available storage on the computer or PC in the office which makes it easy to lose and not integrated, therefore a solution using owncoud is made to reduce the existing storage on the computer or PC in the office This is so that all files are stored neatly and by adding a security so that every existing user cannot access data on other users, thus the data can be maintained and cannot be seen by other irresponsible people so that it is easier to operate. its n. By using ownloud which has several features, it makes owncloud more practical.