For more details on our products and services, please feel free to visit us at digital arts, Calligraphy art, Salman Alhajri, Omani Artist, Arabic Calligraphy
For more details on our products and services, please feel free to visit us at Arabic Calligraphy, Arts for sale, Abstract Art, digital arts, Calligraphy art
For more details on our products and services, please feel free to visit us at Arabic Calligraphy, Arts for sale, Abstract Art, digital arts, Calligraphy art
For more details on our products and services, please feel free to visit us at digital arts, Calligraphy art, Salman Alhajri, Omani Artist, Arabic Calligraphy
For more details on our products and services, please feel free to visit us at Arabic Calligraphy, Arts for sale, Abstract Art, digital arts, Calligraphy art
For more details on our products and services, please feel free to visit us at Arabic Calligraphy, Arts for sale, Abstract Art, digital arts, Calligraphy art
Using Omeka And CONTENTdm to Create Online Exhibitions for HVVACCArden Kirkland
A presentation by Sara Pasti, Arden Kirkland, and Susan Shaw at the Northeast Regional Digital Collections Conference in Kingston, NY in September 2017.
For more details on our products and services, please feel free to visit us at Arts for sale, Abstract Art, digital arts, Calligraphy art, Salman Alhajri
Removing The Barriers Of Gallery One: ARTLENS Gallery, A New Approach to Inte...Phillip Tiongson
New ARTLENS Gallery Presentation at Museums and the Web April 29 2017 by Jane Alexander, CIO, Cleveland Museum of Art and Phillip Tiongson, Principal, Potion
Learning in Art Museums: Engagement With ArtMaria Mortati
Part of a panel at AERA 2013 on Learning in Art Museum. Other panelists were: Betsy DiSalvo, Georgia Tech, Karen Knutson, UPCLOSE at U. Pittsburgh, and Sarah Schultz, Walker Art Center with Palmyre Pierroux as Discussant.
Art museums and art galleries are two different types of entitie.docxssusera34210
Art museums and art galleries are two different types of entities.
The primary difference is that while one goes to an art museum to view art and learn about art from an educational or cultural experience; one goes to an art gallery to view art, discover new artists, possibly from the perspective of purchasing the art.
Most museums are funded by governments, foundations, and corporate and private donors, and they are operated on a non-for-profit basis. Galleries seek to make profit and gain exposure for themselves and the artists they represent.Art galleries, are usually small businesses or centers that exhibit art for the purposes of promoting and selling art. One would typically visit an art gallery to discover an artist, possibly with an interest in buying the art. Art museums, on the other hand, are larger and are intended for education and cultural experiences. One would typically visit an art museum to view and study its permanent collection or to visit a touring exhibit of works on loan from another museum or institution.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
Dallas Museum of Art
https://dma.org/
Nasher Sculpture Center
https://www.nashersculpturecenter.org/
Meadows Museum of Art
www.meadowsmuseumdallas.org/
Crow Collection
www.crowcollection.org
Kimbell Art Museum
www.kimbellart.org
Modern Art Museum of Fort Worth
www.themodern.org
Amon Carter Museum of American Art
www.cartermuseum.org
Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose one of the more time or region specific museums.
ARTS 1301 NLC Art Appreciation Museum Critical Review Assignment and Worksheet
I hope you are inspired by your visit to the museum websites.
This assignment is designed to meet both
Communication and Social Responsibility Student Learning Objectives.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
· Dallas Museum of Art
www.dma.org
· Nasher Sculpture Center
www.nashersculpturecenter.org
· Meadows Museum of Art
www.meadowsmuseumdallas.org/
· Crow Collection
www.crowcollection.org
· Kimbell Art Museum
www.kimbellart.org
· Modern Art Museum of Fort Worth
www.themodern.org
· Amon Carter Museum of American Art
www.cartermuseum.org
· Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose to go to one of the more time or region specific museums. Your instructor may choose to.
Using Omeka And CONTENTdm to Create Online Exhibitions for HVVACCArden Kirkland
A presentation by Sara Pasti, Arden Kirkland, and Susan Shaw at the Northeast Regional Digital Collections Conference in Kingston, NY in September 2017.
For more details on our products and services, please feel free to visit us at Arts for sale, Abstract Art, digital arts, Calligraphy art, Salman Alhajri
Removing The Barriers Of Gallery One: ARTLENS Gallery, A New Approach to Inte...Phillip Tiongson
New ARTLENS Gallery Presentation at Museums and the Web April 29 2017 by Jane Alexander, CIO, Cleveland Museum of Art and Phillip Tiongson, Principal, Potion
Learning in Art Museums: Engagement With ArtMaria Mortati
Part of a panel at AERA 2013 on Learning in Art Museum. Other panelists were: Betsy DiSalvo, Georgia Tech, Karen Knutson, UPCLOSE at U. Pittsburgh, and Sarah Schultz, Walker Art Center with Palmyre Pierroux as Discussant.
Art museums and art galleries are two different types of entitie.docxssusera34210
Art museums and art galleries are two different types of entities.
The primary difference is that while one goes to an art museum to view art and learn about art from an educational or cultural experience; one goes to an art gallery to view art, discover new artists, possibly from the perspective of purchasing the art.
Most museums are funded by governments, foundations, and corporate and private donors, and they are operated on a non-for-profit basis. Galleries seek to make profit and gain exposure for themselves and the artists they represent.Art galleries, are usually small businesses or centers that exhibit art for the purposes of promoting and selling art. One would typically visit an art gallery to discover an artist, possibly with an interest in buying the art. Art museums, on the other hand, are larger and are intended for education and cultural experiences. One would typically visit an art museum to view and study its permanent collection or to visit a touring exhibit of works on loan from another museum or institution.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
Dallas Museum of Art
https://dma.org/
Nasher Sculpture Center
https://www.nashersculpturecenter.org/
Meadows Museum of Art
www.meadowsmuseumdallas.org/
Crow Collection
www.crowcollection.org
Kimbell Art Museum
www.kimbellart.org
Modern Art Museum of Fort Worth
www.themodern.org
Amon Carter Museum of American Art
www.cartermuseum.org
Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose one of the more time or region specific museums.
ARTS 1301 NLC Art Appreciation Museum Critical Review Assignment and Worksheet
I hope you are inspired by your visit to the museum websites.
This assignment is designed to meet both
Communication and Social Responsibility Student Learning Objectives.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
· Dallas Museum of Art
www.dma.org
· Nasher Sculpture Center
www.nashersculpturecenter.org
· Meadows Museum of Art
www.meadowsmuseumdallas.org/
· Crow Collection
www.crowcollection.org
· Kimbell Art Museum
www.kimbellart.org
· Modern Art Museum of Fort Worth
www.themodern.org
· Amon Carter Museum of American Art
www.cartermuseum.org
· Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose to go to one of the more time or region specific museums. Your instructor may choose to.
ARTLENS Gallery: Designing Meaningful, Barrier-Free Digital ExperiencesPhillip Tiongson
The Cleveland Museum of Art (CMA)––in its latest initiative to use game-changing technology to enhance its visitors’ experience and their connection to the museum’s world-renowned collection––has reimagined its award-winning Gallery One concept with the introduction of ARTLENS Gallery, composed of:
1) ARTLENS Exhibition, where masterworks are intertwined with touchscreen-free digital interactives,
2) ARTLENS Studio, an intergenerational space where movement and art creation connects visitors to the CMA’s collection,
3) ARTLENS Wall, a 40-foot interactive wall displaying all of the CMA’s works on view, and
4) ARTLENS App, connecting to both the Exhibition interactives and the Wall, and can be used throughout the museum with responsive wayfinding. Also, the ARTLENS Beacon, a monumental screen at the entrance to ARTLENS Gallery, displays visitor-generated content including tours, collages, portraits, and poses in real time.
The centerpiece of ARTLENS Gallery is the Exhibition, an immersive, experiential space that places visitors into conversation with masterpieces, encouraging engagement with the museum’s collection. To create the cutting-edge digital interactives, the CMA partnered with Potion, a firm based in New York City, to design an experience that communicates complex concepts in simple, intuitive ways. Potion leveraged its deep experience in technology, inventing unique ways to use gesture control, gaze tracking, and emotion detection to create delightful and instructive visitor experiences exclusively for the CMA. Using barrier-free and motion-activated projections to create a personal experience with the art, ARTLENS Exhibition puts the art in the foreground. Visitors approach and engage with the art, and then use the interactive games that augment visual literacy skills and provide an experience in which they can learn more about composition, purpose, and symbols.
Join Jane and Phillip as they walk through the process of creating ARTLENS Gallery and, in particular, ARTLENS Exhibition and its awe-inspiring and fun, innovative technology.
SPARKed art by Art Class Curator -- Homeschool Art Appreciation Course, grade...Art Class Curator
SPARKed! Art is a complete online art appreciation curriculum for your children with engaging artwork lesson, thematic units, and thoughtful artmarking. Spark a lifelong love of art in your child!
Free to Move, Create, Engage: ArtLens, Gallery One, and Studio Play at CMAJane Alexander
Presentation by Jane Alexander (CIO, Cleveland Museum of Art) for the NEO Emerging Tech Symposium on CMA's Gallery One, Studio Play, ArtLens App, and upcoming ArtLens Exhibition.
ARTS 1301 Art Appreciation Class North Lake College .docxssusera34210
ARTS 1301
Art Appreciation Class
North Lake College
Museum Critical Review Assignment and Worksheet
CRITICAL THINKING AND SOCIAL RESPONSIBILITY VALUE RUBRIC
I hope you are inspired by your visit. Please remember to not use a flash with your cameras. Ask
before taking a photo, and no CELL PHONE usage during your visits unless you are participating
in the media challenges at the museums (points program). Remember that all art is precious, so
stay 12 inches away from the art, walls and art cases, please. This assignment is designed to
meet both Communication and Social Responsibility Student Learning Objectives.
There are 2 parts to your Museum Critical Review assignment to be completed
after visiting one or more of the following museums*:
Dallas Museum of Art www.dma.org
Kimbell Art Museum www.kimbellart.org
Modern Art Museum of Fort Worth www.themodern.org
Amon Carter Museum of American Art www.cartermuseum.org
*Not all of the museums will have the diversity of time periods that you will need to complete the
assignment. You may have to visit more than one of the listed museums if you choose to go to one of the
more time or region specific museums. Your instructor may choose to allow only a few of these museums
to meet the assignment assessment.
Part 1. CRITICAL REVIEW of Favorite Artwork-- 75 Points
Don’t forget to find a favorite piece anywhere inside or outside of the museum. Collect the
information to complete the critical review later.
``````````````````````````````````````````````````````````
The purpose of this review is to critically interpret and evaluate a work of art. (ACGM guidelines, 2015).
Based on student attendance a museum exhibition in their community
A critical analysis with personal reflection that demonstrates comprehension of event.
The date, place and time of the event will be cited as a source material
A minimum of 300 words, typed double-paced 12 point font
Measured with objective standards of Creative Thinking VALUE rubric
This critical review should be a minimum of 300 words, typed double-spaced 12-point font. The
assignment will be submitted via eCampus as instructed.
1. Description of art object (100 words) up to 30% of points earned for assignment________
Write the name of the art work being discussed, the artist’s name, the date, time, name of museum,
size, description of the piece or composition, and the location. In the description, create a visual image
with words.
2. Analysis of the art object (100 words) up to 40% of points earned for assignment________
Based on the description provided in the introduction, analyze the artist’s intent or message within the
work of art. Provide notated research (inquiry) to further interpret the background of the artist and the
era in which it was created. The innovation and expression of ideas of the artist should be better
http://www.kimbellart.org/
http://www.themodern..
Rich Cherry, co-chair of MuseWeb, David London, Chief Experience Officer, The Peale, and Hiroko Kusano, conference organizer from MuseWeb talk about what is virtual tours for museums, how to create a meaningful virtual tours for your institution, and challenges.
Big Data and the Visitor Journey: Using Data Science to Understand Visitor Ex...MuseWeb Foundation
This talk was presented at MW20 on April 4, 2020.
The Web page for this presentation can be found at:
https://mw20.museweb.net/proposal/big-data-and-the-visitor-journey-using-data-science-to-understand-visitor-experience-in-the-artlens-gallery-and-beyond/•
This presentation will discuss why we hired a data scientist to understand visitor experience at the Cleveland Museum of Art, in the ArtLens Gallery and beyond... Since the MW20 conference happened virtually, we decided to discuss how we continued to work together while the museum was closed and everyone was working remotely.
Learn more about the Cleveland Museum of Art at https://www.clevelandart.org/
MW20 Artificial Intelligence in the service of creative storytellingMuseWeb Foundation
MuseWeb 2020 presentation about creative use of AI in museum space. The presentation documents an interactive installation designed & created in 2019 by Superskrypt for Warsaw Rising Museum in Poland.
How to Build, When to Buy: Scalable Tactics for Digital Projects and ServicesMuseWeb Foundation
Knowing when to build or buy software is an ongoing topic that has existed for decades, but answers evolve alongside trends in museum staffing and software business models.
How do you respond when vendors and agencies are filling your inbox with listicles on why you should buy their solutions? What if an energetic developer wants to build sharable and open solutions that will require maintainers? How can museums with very different resources and personnel share tactics in a meaningful way?
MW20 presentation by Eric Schmalz and Michael Haley Goldman:
Citizen History - so close or too far? Current results from Citizen History and the Problems of Creating Participatory Projects
The purpose of this presentation is to present the Smithsonian’s National Air and Space Museum as a case study of a cultural heritage institution that is completely revamping its approach to inclusion through setting a new standard for accessibility of its digital exhibition interactives and media. Considered a vital part of transforming the museum, NASM has had to re-examine all aspects of producing digital exhibition elements in pursuit of its new approach, and will share this, as well as lessons learned along the way. I will direct this presentation primarily to cultural heritage professionals who are creating a new exhibition or redoing all of their exhibitions, and who are looking to improve the inclusivity of their digital interactives and media pieces. From this presentation, these cultural heritage professionals would gain an understanding of: 1) considerations that go into a wholesale revamping of a cultural institution’s revamping of their accessibility approach; 2) tactics for improving the inclusivity of their interactives for people with vision, brain, hearing, and mobility-based disabilities; and 3) internal and external stakeholders to involve throughout the process.
When the Museum of New Zealand Te Papa Tongarewa (Te Papa) started developing its new long-term Te Taiao Nature exhibition they knew they had to talk about the harmful impact of climate change in a way that will leave visitors feeling inspired to take action. From research they knew that climate change is the global issue their audience cares most about, but in testing, target audiences said that they felt overloaded, scared, and stuck when it came to thinking about climate change.
Based on this user research Te Papa defined clear and specific aims for the Climate Converter experience. The core goal was to create an experience that left visitors feeling motivated to take action together to create a carbon-zero New Zealand. The installation needed to take up a maximum floor space of approximately 5 metres by 8 metres and function without host/docent guidance.
This lightning talk will map the iterative journey of creative, technical and scientific collaboration to produce an interactive and immersive room to confront this polarizing subject matter. How did we approach creating “Climate Converter”? How can we empower visitors to critically engage with the issues? And what have we learned from the collaboration between Experience Designers, Creative Technologists, Museum Professionals and Scientists?
After attending this session participants will have an understanding of the processes involved in producing ambitious interactive digital projects. We hope that by reflecting and sharing lessons learned, museum professionals, creative technologists, educators, and curators, will be encouraged to think about ways to use technology to create impact towards a carbon-neutral future.
Magus Cagliostro, Wonders.do, Israel: Art of Escape, Magic, and immersive sto...MuseWeb Foundation
In the past years the concept of Immersive Storytelling has taken root in art and play, entering fields such as theatres, documentaries, games and education. The idea is to break the barriers between spectator and media and to create a "real life" experience – for amusement or instruction. Magus Cagliostro has been using principles of Immersive Storytelling and "real life" experience in a different way: It all began with a search for creative ways to bring new audiences to museums and to control audience flow. The idea was to use principles of Immersive Storytelling to create a fascinating story that is based on the museum's contents, but which takes place entirely within the players minds. Since the summer of 2017, six exciting projects were created by Cagliostro in collaboration with museums in Israel and Europe. The stories are based on a specific scene and its contents – whether it is Art, history or science. By doing this, the plot merges with the scene and the players become closely involved with it as they follow the game. Virtual reality is achieved by purely analogue means, relying on the audience’s own power of imagination. Now, Magus Cagliostro, escape artist and magician, invites you to learn more about how escape art, magic performance, and storytelling can be applied to the sphere of museum curating. Come and see how the basic museum visit can be turned into an entirely new experience, full of surprises, mystery and magic. In this limitless escape game, there is always more than meets the eye, and there is no one better to reveal that than a true magician.
Digital social innovation and the evolving role of digital in museums haith...MuseWeb Foundation
Presentation at MW19 Conference in Boston, MA (April 2-6, 2019). Link to the published paper: https://mw19.mwconf.org/paper/digital-social-innovation-and-the-evolving-role-of-digital-in-museums/
At the Auckland Museum, we are looking at how can we harness the power of a global workforce, free software, and social media to embrace the changes made by the digital revolution. Can we use the “gig economy,” machine learning, and the power of the crowd to solve our backlog problems head-on? Can these new ways of working help us to free our time for the more creative and innovative aspects of our roles? Is it better to have an AI-created record online than no record at all? What are the ethical implementations of automated, computer-generated content for museums?
Understanding Access: Translation Services and Accessibility Programs MW19 Li...MuseWeb Foundation
Understanding Access: Translation Services and Accessibility Programs
Inclusive Design Incubator
Will Lach, Eriksen Translations Inc., USA
Translation services and accessibility programs are too often considered as separate resources in the museum sector. This talk examines ways in which museums have strengthened their programming by combining both services, and–as a glimpse at a possible future–ways in which other sectors are leading the way in this area.
Approaching “Dark Heritage” Through Essential Questions: An Interactive Digit...MuseWeb Foundation
The potential of digital storytelling in cultural heritage has been widely recognized as an effective technique for communicating heritage interpretation to the public. In this paper, we explore its application in a "dark heritage" setting—a cultural heritage site associated with death, atrocity and human depravity. Although literature within the field of dark heritage emphasizes a fascination with death as the main (if not sole) motive for visiting, according to some studies and the visitor study we performed in the context of our work, motives are in fact varied, and include a desire to learn and understand the history presented and an interest in having an emotional heritage experience. Borrowing from education, we use the notion of "essential questions" as a tool to lead to a deeper understanding of human nature. Following a user-centered design methodology, we develop an interactive digital storytelling experience for the Criminology Museum of the University of Athens. The resulting experience is adapted so as to be tested on-site and through the web. We conclude the work with our insight on guidelines for sites with similar characteristics as well as addressing open issues and challenges for the application of digital storytelling in dark-heritage contexts.
An Illumination of Trajan’s Weapons Frieze and
Open-source Models For Exhibition Development and Hands-on Storytelling. Todd Berreth, Maurizio Forte, Nevio Danelon and Connor Shipway
A tale of scale & speed: How the US Navy is enabling software delivery from l...sonjaschweigert1
Rapid and secure feature delivery is a goal across every application team and every branch of the DoD. The Navy’s DevSecOps platform, Party Barge, has achieved:
- Reduction in onboarding time from 5 weeks to 1 day
- Improved developer experience and productivity through actionable findings and reduction of false positives
- Maintenance of superior security standards and inherent policy enforcement with Authorization to Operate (ATO)
Development teams can ship efficiently and ensure applications are cyber ready for Navy Authorizing Officials (AOs). In this webinar, Sigma Defense and Anchore will give attendees a look behind the scenes and demo secure pipeline automation and security artifacts that speed up application ATO and time to production.
We will cover:
- How to remove silos in DevSecOps
- How to build efficient development pipeline roles and component templates
- How to deliver security artifacts that matter for ATO’s (SBOMs, vulnerability reports, and policy evidence)
- How to streamline operations with automated policy checks on container images
Removing Uninteresting Bytes in Software FuzzingAftab Hussain
Imagine a world where software fuzzing, the process of mutating bytes in test seeds to uncover hidden and erroneous program behaviors, becomes faster and more effective. A lot depends on the initial seeds, which can significantly dictate the trajectory of a fuzzing campaign, particularly in terms of how long it takes to uncover interesting behaviour in your code. We introduce DIAR, a technique designed to speedup fuzzing campaigns by pinpointing and eliminating those uninteresting bytes in the seeds. Picture this: instead of wasting valuable resources on meaningless mutations in large, bloated seeds, DIAR removes the unnecessary bytes, streamlining the entire process.
In this work, we equipped AFL, a popular fuzzer, with DIAR and examined two critical Linux libraries -- Libxml's xmllint, a tool for parsing xml documents, and Binutil's readelf, an essential debugging and security analysis command-line tool used to display detailed information about ELF (Executable and Linkable Format). Our preliminary results show that AFL+DIAR does not only discover new paths more quickly but also achieves higher coverage overall. This work thus showcases how starting with lean and optimized seeds can lead to faster, more comprehensive fuzzing campaigns -- and DIAR helps you find such seeds.
- These are slides of the talk given at IEEE International Conference on Software Testing Verification and Validation Workshop, ICSTW 2022.
PHP Frameworks: I want to break free (IPC Berlin 2024)Ralf Eggert
In this presentation, we examine the challenges and limitations of relying too heavily on PHP frameworks in web development. We discuss the history of PHP and its frameworks to understand how this dependence has evolved. The focus will be on providing concrete tips and strategies to reduce reliance on these frameworks, based on real-world examples and practical considerations. The goal is to equip developers with the skills and knowledge to create more flexible and future-proof web applications. We'll explore the importance of maintaining autonomy in a rapidly changing tech landscape and how to make informed decisions in PHP development.
This talk is aimed at encouraging a more independent approach to using PHP frameworks, moving towards a more flexible and future-proof approach to PHP development.
In his public lecture, Christian Timmerer provides insights into the fascinating history of video streaming, starting from its humble beginnings before YouTube to the groundbreaking technologies that now dominate platforms like Netflix and ORF ON. Timmerer also presents provocative contributions of his own that have significantly influenced the industry. He concludes by looking at future challenges and invites the audience to join in a discussion.
Enhancing Performance with Globus and the Science DMZGlobus
ESnet has led the way in helping national facilities—and many other institutions in the research community—configure Science DMZs and troubleshoot network issues to maximize data transfer performance. In this talk we will present a summary of approaches and tips for getting the most out of your network infrastructure using Globus Connect Server.
Smart TV Buyer Insights Survey 2024 by 91mobiles.pdf91mobiles
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LF Energy Webinar: Electrical Grid Modelling and Simulation Through PowSyBl -...DanBrown980551
Do you want to learn how to model and simulate an electrical network from scratch in under an hour?
Then welcome to this PowSyBl workshop, hosted by Rte, the French Transmission System Operator (TSO)!
During the webinar, you will discover the PowSyBl ecosystem as well as handle and study an electrical network through an interactive Python notebook.
PowSyBl is an open source project hosted by LF Energy, which offers a comprehensive set of features for electrical grid modelling and simulation. Among other advanced features, PowSyBl provides:
- A fully editable and extendable library for grid component modelling;
- Visualization tools to display your network;
- Grid simulation tools, such as power flows, security analyses (with or without remedial actions) and sensitivity analyses;
The framework is mostly written in Java, with a Python binding so that Python developers can access PowSyBl functionalities as well.
What you will learn during the webinar:
- For beginners: discover PowSyBl's functionalities through a quick general presentation and the notebook, without needing any expert coding skills;
- For advanced developers: master the skills to efficiently apply PowSyBl functionalities to your real-world scenarios.
Dev Dives: Train smarter, not harder – active learning and UiPath LLMs for do...UiPathCommunity
💥 Speed, accuracy, and scaling – discover the superpowers of GenAI in action with UiPath Document Understanding and Communications Mining™:
See how to accelerate model training and optimize model performance with active learning
Learn about the latest enhancements to out-of-the-box document processing – with little to no training required
Get an exclusive demo of the new family of UiPath LLMs – GenAI models specialized for processing different types of documents and messages
This is a hands-on session specifically designed for automation developers and AI enthusiasts seeking to enhance their knowledge in leveraging the latest intelligent document processing capabilities offered by UiPath.
Speakers:
👨🏫 Andras Palfi, Senior Product Manager, UiPath
👩🏫 Lenka Dulovicova, Product Program Manager, UiPath
UiPath Test Automation using UiPath Test Suite series, part 4DianaGray10
Welcome to UiPath Test Automation using UiPath Test Suite series part 4. In this session, we will cover Test Manager overview along with SAP heatmap.
The UiPath Test Manager overview with SAP heatmap webinar offers a concise yet comprehensive exploration of the role of a Test Manager within SAP environments, coupled with the utilization of heatmaps for effective testing strategies.
Participants will gain insights into the responsibilities, challenges, and best practices associated with test management in SAP projects. Additionally, the webinar delves into the significance of heatmaps as a visual aid for identifying testing priorities, areas of risk, and resource allocation within SAP landscapes. Through this session, attendees can expect to enhance their understanding of test management principles while learning practical approaches to optimize testing processes in SAP environments using heatmap visualization techniques
What will you get from this session?
1. Insights into SAP testing best practices
2. Heatmap utilization for testing
3. Optimization of testing processes
4. Demo
Topics covered:
Execution from the test manager
Orchestrator execution result
Defect reporting
SAP heatmap example with demo
Speaker:
Deepak Rai, Automation Practice Lead, Boundaryless Group and UiPath MVP
GraphRAG is All You need? LLM & Knowledge GraphGuy Korland
Guy Korland, CEO and Co-founder of FalkorDB, will review two articles on the integration of language models with knowledge graphs.
1. Unifying Large Language Models and Knowledge Graphs: A Roadmap.
https://arxiv.org/abs/2306.08302
2. Microsoft Research's GraphRAG paper and a review paper on various uses of knowledge graphs:
https://www.microsoft.com/en-us/research/blog/graphrag-unlocking-llm-discovery-on-narrative-private-data/
The Art of the Pitch: WordPress Relationships and SalesLaura Byrne
Clients don’t know what they don’t know. What web solutions are right for them? How does WordPress come into the picture? How do you make sure you understand scope and timeline? What do you do if sometime changes?
All these questions and more will be explored as we talk about matching clients’ needs with what your agency offers without pulling teeth or pulling your hair out. Practical tips, and strategies for successful relationship building that leads to closing the deal.
DevOps and Testing slides at DASA ConnectKari Kakkonen
My and Rik Marselis slides at 30.5.2024 DASA Connect conference. We discuss about what is testing, then what is agile testing and finally what is Testing in DevOps. Finally we had lovely workshop with the participants trying to find out different ways to think about quality and testing in different parts of the DevOps infinity loop.
Pushing the limits of ePRTC: 100ns holdover for 100 daysAdtran
At WSTS 2024, Alon Stern explored the topic of parametric holdover and explained how recent research findings can be implemented in real-world PNT networks to achieve 100 nanoseconds of accuracy for up to 100 days.
Monitoring Java Application Security with JDK Tools and JFR Events
Gaze Tracker
1. Museums and the Web
Vancouver, Canada, April 2018
The Cleveland Museum of Art (CMA)
GAZE TRACKER
Finalist: Exhibition Media or Experience
2. • The interactive games were
developed by a cross-
collaborative museum team,
centered around four key themes:
COMPOSITION
SYMBOLS
GESTURE AND EMOTION
PURPOSE
• Every artwork is now associated
with at least two themes
ArtLens Exhibition: Pedagogy
4. “An average viewer goes up to a
painting, looks at it for less than
2 seconds, reads the wall text for
another 10 seconds, glances at the
painting to verify something in the
text, and moves on.”
“The Louvre found that people looked
at the Mona Lisa an average of 15
seconds."
—James Elkins, Art Critic and Historian
School of the Art Institute of Chicago
‘Looking’ in a Museum
5. • Understand how composition
influences how we look at art
• Explore artists’ compositional
choices and intent
• Introduce different types of
composition such as
geometric, all-over or mutli-
focus
• Provide an entry point into
understanding the impact of
composition
• Encourage visitors to look
longer and closer at works of
art
• Propel visitors into the
galleries to locate the
artworks explored art in-
person
• Apply these toolsets to other
artworks throughout the
museum and beyond
Gaze Tracker Goals
7. Gaze Tracker Analytics
3,969 artworks viewed
~76 sec of engagement
per artwork
Google Analytics, 24 Aug – 31 Oct 2017
Editor's Notes
My name is Maddie Armitage and I am the ARTLENS Gallery Fellow at the Cleveland Museum of Art. I would like to introduce Gaze Tracker, a featured interactive of ArtLens Exhibition at the Cleveland Museum of Art.
ArtLens Exhibition is grounded in rigorous pedagogy and unified by four broad themes; Composition, symbols, gesture and emotion and purpose. The goal of ArtLens Exhibition is to empower visitors to explore these themes through gameplay and master works of art from the CMA’s collection.
Gaze Tracker was designed as an interactive to explore the composition theme.
Research shows that museum visitors, on average, view an artwork for 2 seconds, spend 10 seconds reading the label, glance briefly back at the artwork, and move on. Gaze Tracker completely personalizes the art-viewing experience and will provide CMA with a better understanding about how our visitors actually look at art which could impact the future of exhibition design.
The following are goals for Gaze Tracker:
Understand how composition influences how we look at art
Explore artists’ compositional choices and intent
Introduce different types of composition
Provide an entry point into understanding composition
Encourage visitors to look longer and closer
Propel visitors into the galleries
Apply these toolsets
Gaze Tracker is also aligned with some of our museum programming such as Close Looking Sessions led by our Education department which are designed as tours where visitors spend over 30min with 1-2 works of art.
At Gaze Tracker, you can dock your device to save artwork. You sit in front of a monitor and look at a blue dot for two seconds so the interactive can calibrate with your eyes. A random artwork from the collection appears on the screen and you have 15 seconds to look at it. Eye-tracking technology reveals the path your eyes took while looking at the artwork. It shows you first looked and where you looked the longest and describes the artist’s intent. And what’s really cool is that this information is compared with results from other visitors so you can see how your own results matched up with others. There is a large video projection above the monitor that shows also shows your results. At the end, you can see the artwork information and gallery location so it’s easy to find in the galleries using the app.
In preliminary data collection has shown visitors spend about 76 seconds of engagement per artwork. We will continue to gather data about the experience at Gaze Tracker that will help us understand and share how visitors look at art. Thank you for the opportunity to share Gaze Tracker with you all.