This document provides guidelines for content selection for the EUscreen project. It outlines three strands of content: historical topics, comparative virtual exhibitions, and content provider virtual exhibitions. For historical topics, content should be selected from 14 topics across genres and time periods. For comparative virtual exhibitions, content providers will contribute 5% of their content to each of two comparative themes. A timeline is provided to select the comparative exhibition themes by July 2010.
A Case of Cosmopolitan Memory? The Israeli-Palestinian Conflict and the Globa...EUscreen
Presentation by Jérôme Bourdon about global media and the Israeli-Palestinian conflict at the Second EUscreen International Conference on Use and Creativity, which took place at the National Library of Sweden, Stockholm, on September 15-16, 2011.
EUscreen Portal Launch: Open Data @Utrecht Archive (NL)EUscreen
The EUscreen portal was launched on the 2011 UNESCO World Day for Audiovisual Heritage. In the Netherlands, the portal was presented on the Archief 2.0 session about Linked Open Data at the Utrecht Archives on Nov. 7. More info about the LOD project can be found in http://www.slideshare.net/EUscreen/publishing-europes-television-history-on-the-web.
A Case of Cosmopolitan Memory? The Israeli-Palestinian Conflict and the Globa...EUscreen
Presentation by Jérôme Bourdon about global media and the Israeli-Palestinian conflict at the Second EUscreen International Conference on Use and Creativity, which took place at the National Library of Sweden, Stockholm, on September 15-16, 2011.
EUscreen Portal Launch: Open Data @Utrecht Archive (NL)EUscreen
The EUscreen portal was launched on the 2011 UNESCO World Day for Audiovisual Heritage. In the Netherlands, the portal was presented on the Archief 2.0 session about Linked Open Data at the Utrecht Archives on Nov. 7. More info about the LOD project can be found in http://www.slideshare.net/EUscreen/publishing-europes-television-history-on-the-web.
Publishing Europe's Television History on the WebEUscreen
This presentation focuses on the role of Linked Open Data in the content ingestion for the EUscreen platform, a portal that offers free access to videos, stills, texts and rich metadata, covering major events in Europe (and beyond) as well as providing insights into how people in Europe have lived for over the last sixty years.
This presentation was given at the International Workshop on Semantic Digital Archives, (TPDL 2011, Berlin) by Nikolaos Simou, Technical University of Athens (NTUA).
http://www.dish2011.nl/sessions/re-use-of-audiovisual-collections
The core aim of the EUscreen project is to develop a highly interoperable platform that allows the multicultural and multilingual exploration of European television content and metadata from 20 EU member states, integrated into and harmonized with Europeana. The EUscreen portal (http://www.euscreen.eu) will make publicly available a wide collection of >30.000 items of television programming of the consortium content providers throughout Europe. EUscreen is a Best Practice Network and funded by eContentPlus programme of the European Commission.
During Dish2009, EUscreen was also part of the programme with a presentation about Open video and enabling open cultural productions within the project. This presentation was mainly based on our initial ideas about open cultural productions. Now, two years later, we propose to present the results so far and to share our experiences and lessons learned, not only about open cultural experiences, but from a broader perspective: the design of a public participation platform for various creative use activities.
The presentation focuses on combining policy-driven and user-driven aspects, and discusses how to incorporate them in the design of a public participation platform like EUscreen. The EUscreen portal aims to offer digital tools for multiple uses and creative activities of identified user groups: education and research, cultural heritage institutions, media professionals and the general public. In many cases these solutions require special agreements and granting specific rights for the portal users. In order for EUscreen to design and provide functionalities that enable not only viewing the content through the portal, but also e.g. sharing and enriching the video content, it is necessary to understand what requirements and consequences the EUscreen video collection sets for the portal in practice. The audiovisual content offered by EUscreen's Content Providers have very different restrictions and permissions, therefore the design of the portal should take this into account and provide flexible, easy-to-understand tools for creative activities that can accommodate for the variation in the content IPR.
Through the EUscreen case, this presentation aims to discuss the challenges and opportunities to design a public participation platform for various creative use activities, and puts special attention to discuss the chosen strategies and approach taken.
Reprioritising our values to recognise culture for its true value | Biocity S...Biocity Studio
Our culture is continually changing due to the impact of migration patterns. Many languages are now spoken in Australia. Attempts have been made to measure ‘culture’ through a range of indices: Florida, Monocle and Anholt, but are subjective to cultural bias.
MOSAICA: Semantically Enhanced Multifaceted Collaborative Access to Cultural ...Dov Winer
Description of the Mosaica project that ran from 2006 to 2008 developing a toolbox of generic technologies for intelligent presentation, knowledge-based discovery, and interactive and creative educational experience covering a broad variety of diversified cultural heritages requirements.
Presentation about EUscreen at the IAMHIST Symposium on 25 February 2019 at Centre National de l'Audiovisuel, Luxembourg. Presenters - Johan Oomen (the Netherlands Institute for Sound and Vision) and Maja Drabczyk (FINA).
Steven Stegers Moving Images in History EducationEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The teaching of film literacy is an “uncommon and sporadic practice”. This was the answer of 62% of the 6,701 teachers who participated in a European-wide survey. Only 5% teachers answered it is a “widespread and common practice”. Why is the teaching of film literacy not more widespread? Especially since having access to equipment is no longer a barrier and film and television have a major impact on the way young people see and understand the world. This session tries to see why moving images are not used more and what can be done. It will do so by looking into current practices, presenting potential use cases, and identifying learning objectives that can only be reached by using moving images.
Andreas Fickers: Transmedia Storytelling and Media HistoryEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation focuses on the challenges and opportunities of transmedia storytelling in media history.
The massive digitization of historical sources and their online availability have a deep impact on the practice of doing history in the digital age and require new forms of historical research and storytelling. Drawing from studies in digital storytelling and multimedia narratives, this lecture aims at exploring new forms of non-linear historical storytelling online. In addition, it will address tensions between disciplinary traditions and a lack of scholarly recognition of new genres and formats of online scholarship.
Dean Jansen: Community-Driven Video Accessibility | Content in MotionEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation looks at the story of Amara – the world’s most popular crowdsourcing platform for subtitling video. The software was born out of a desire to see video become more accessible. This is made possible through the use of captions, for viewers with hearing loss, as well as subtitles, for anyone who doesn't speak the language a video was recorded in.
Amara is developed and maintained by a mission-driven nonprofit organization, the Participatory Culture Foundation. The platform has grown from a simple DIY tool into a complex ecosystem. Amara currently integrates volunteer and community-based approaches to subtitling, as well as professional services (for sustainability purposes).
Amara is used in many ways by individuals and organizations alike. Some people volunteer by captioning videos upon request, but there are also larger communities that gather around a specific organization or video publisher and translate videos – some into dozens of languages. Additionally, organizations including TED, the US National Archives, and Vimeo, have all used Amara to make video more broadly accessible.
Elsa Coupard & Claude Mussou: Curating History with French Audiovisual ArchivesEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
This session presents Jalons (Milestones), an online service aimed at the educational community, created by Ina in partnership with the French Ministry of Education.
Ina (Institut national de l’audiovisuel) was created in 1975. It is one of the world's largest broadcast archives, with collections spanning over 60 years for TV and 80 years for radio. As many documents in these collections take part in the narrative of history in the last century and onward, they are indispensable for education and training.
Jean Christophe Meyer: Histoire Parallèle/Die Woche vor 50 Jahren – Lieu de m...EUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
This paper is aimed first at analyzing the initial public impact of Histoire Parallèle/Die Woche vor 50 Jahren, which aired weekly first on la Sept and then on French-German TV channel Arte from 1989 to 2001.
The 55-minute show exploited newsreel material, systematically presenting it in the original full length after exactly 50 years after its initial release in movie theatres. It covered a period stretching from the beginning of World War II until the end of the Marshall Plan. It simultaneously illustrated contradictive perspectives of several nations at war with each other. This part of the show lasted for 40 minutes. Then, for the final quarter of an hour, the show’s mainstay host, historian Marc Ferro discussed the material presented with a guest, usually a scholar. Despite the fact that the show could never be sold to foreign channels or rebroadcast, it still arouses great interest. Therefore our paper intends to explore how and to what extent content curation may contribute to it becoming a transnational or European Lieu de mémoire.
Harry Verwayen, The More You Give The More You GetEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation explores Europeana’s framework for measuring impact (strategy2020.europeana.eu) and the role that curation can play in maximizing the impact of AV archives.
Over the past six years Europeana has developed into a full-blown platform, servicing a network of thousands of libraries, archives and museums across Europe. The most visible expression of this collective endeavour is a portal, which allows users to discover material from every member state and every domain in Europe. Europeana is now entering a new phase of its existence, which will be even more focused on the impact we can have together on our industry, the creative economy and social innovation.
Publishing Europe's Television History on the WebEUscreen
This presentation focuses on the role of Linked Open Data in the content ingestion for the EUscreen platform, a portal that offers free access to videos, stills, texts and rich metadata, covering major events in Europe (and beyond) as well as providing insights into how people in Europe have lived for over the last sixty years.
This presentation was given at the International Workshop on Semantic Digital Archives, (TPDL 2011, Berlin) by Nikolaos Simou, Technical University of Athens (NTUA).
http://www.dish2011.nl/sessions/re-use-of-audiovisual-collections
The core aim of the EUscreen project is to develop a highly interoperable platform that allows the multicultural and multilingual exploration of European television content and metadata from 20 EU member states, integrated into and harmonized with Europeana. The EUscreen portal (http://www.euscreen.eu) will make publicly available a wide collection of >30.000 items of television programming of the consortium content providers throughout Europe. EUscreen is a Best Practice Network and funded by eContentPlus programme of the European Commission.
During Dish2009, EUscreen was also part of the programme with a presentation about Open video and enabling open cultural productions within the project. This presentation was mainly based on our initial ideas about open cultural productions. Now, two years later, we propose to present the results so far and to share our experiences and lessons learned, not only about open cultural experiences, but from a broader perspective: the design of a public participation platform for various creative use activities.
The presentation focuses on combining policy-driven and user-driven aspects, and discusses how to incorporate them in the design of a public participation platform like EUscreen. The EUscreen portal aims to offer digital tools for multiple uses and creative activities of identified user groups: education and research, cultural heritage institutions, media professionals and the general public. In many cases these solutions require special agreements and granting specific rights for the portal users. In order for EUscreen to design and provide functionalities that enable not only viewing the content through the portal, but also e.g. sharing and enriching the video content, it is necessary to understand what requirements and consequences the EUscreen video collection sets for the portal in practice. The audiovisual content offered by EUscreen's Content Providers have very different restrictions and permissions, therefore the design of the portal should take this into account and provide flexible, easy-to-understand tools for creative activities that can accommodate for the variation in the content IPR.
Through the EUscreen case, this presentation aims to discuss the challenges and opportunities to design a public participation platform for various creative use activities, and puts special attention to discuss the chosen strategies and approach taken.
Reprioritising our values to recognise culture for its true value | Biocity S...Biocity Studio
Our culture is continually changing due to the impact of migration patterns. Many languages are now spoken in Australia. Attempts have been made to measure ‘culture’ through a range of indices: Florida, Monocle and Anholt, but are subjective to cultural bias.
MOSAICA: Semantically Enhanced Multifaceted Collaborative Access to Cultural ...Dov Winer
Description of the Mosaica project that ran from 2006 to 2008 developing a toolbox of generic technologies for intelligent presentation, knowledge-based discovery, and interactive and creative educational experience covering a broad variety of diversified cultural heritages requirements.
Similar to Turnok, Kaye, Carrasqueiro - EUscreen content selection policy @EUscreen Mykonos (8)
Presentation about EUscreen at the IAMHIST Symposium on 25 February 2019 at Centre National de l'Audiovisuel, Luxembourg. Presenters - Johan Oomen (the Netherlands Institute for Sound and Vision) and Maja Drabczyk (FINA).
Steven Stegers Moving Images in History EducationEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The teaching of film literacy is an “uncommon and sporadic practice”. This was the answer of 62% of the 6,701 teachers who participated in a European-wide survey. Only 5% teachers answered it is a “widespread and common practice”. Why is the teaching of film literacy not more widespread? Especially since having access to equipment is no longer a barrier and film and television have a major impact on the way young people see and understand the world. This session tries to see why moving images are not used more and what can be done. It will do so by looking into current practices, presenting potential use cases, and identifying learning objectives that can only be reached by using moving images.
Andreas Fickers: Transmedia Storytelling and Media HistoryEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation focuses on the challenges and opportunities of transmedia storytelling in media history.
The massive digitization of historical sources and their online availability have a deep impact on the practice of doing history in the digital age and require new forms of historical research and storytelling. Drawing from studies in digital storytelling and multimedia narratives, this lecture aims at exploring new forms of non-linear historical storytelling online. In addition, it will address tensions between disciplinary traditions and a lack of scholarly recognition of new genres and formats of online scholarship.
Dean Jansen: Community-Driven Video Accessibility | Content in MotionEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation looks at the story of Amara – the world’s most popular crowdsourcing platform for subtitling video. The software was born out of a desire to see video become more accessible. This is made possible through the use of captions, for viewers with hearing loss, as well as subtitles, for anyone who doesn't speak the language a video was recorded in.
Amara is developed and maintained by a mission-driven nonprofit organization, the Participatory Culture Foundation. The platform has grown from a simple DIY tool into a complex ecosystem. Amara currently integrates volunteer and community-based approaches to subtitling, as well as professional services (for sustainability purposes).
Amara is used in many ways by individuals and organizations alike. Some people volunteer by captioning videos upon request, but there are also larger communities that gather around a specific organization or video publisher and translate videos – some into dozens of languages. Additionally, organizations including TED, the US National Archives, and Vimeo, have all used Amara to make video more broadly accessible.
Elsa Coupard & Claude Mussou: Curating History with French Audiovisual ArchivesEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
This session presents Jalons (Milestones), an online service aimed at the educational community, created by Ina in partnership with the French Ministry of Education.
Ina (Institut national de l’audiovisuel) was created in 1975. It is one of the world's largest broadcast archives, with collections spanning over 60 years for TV and 80 years for radio. As many documents in these collections take part in the narrative of history in the last century and onward, they are indispensable for education and training.
Jean Christophe Meyer: Histoire Parallèle/Die Woche vor 50 Jahren – Lieu de m...EUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
This paper is aimed first at analyzing the initial public impact of Histoire Parallèle/Die Woche vor 50 Jahren, which aired weekly first on la Sept and then on French-German TV channel Arte from 1989 to 2001.
The 55-minute show exploited newsreel material, systematically presenting it in the original full length after exactly 50 years after its initial release in movie theatres. It covered a period stretching from the beginning of World War II until the end of the Marshall Plan. It simultaneously illustrated contradictive perspectives of several nations at war with each other. This part of the show lasted for 40 minutes. Then, for the final quarter of an hour, the show’s mainstay host, historian Marc Ferro discussed the material presented with a guest, usually a scholar. Despite the fact that the show could never be sold to foreign channels or rebroadcast, it still arouses great interest. Therefore our paper intends to explore how and to what extent content curation may contribute to it becoming a transnational or European Lieu de mémoire.
Harry Verwayen, The More You Give The More You GetEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation explores Europeana’s framework for measuring impact (strategy2020.europeana.eu) and the role that curation can play in maximizing the impact of AV archives.
Over the past six years Europeana has developed into a full-blown platform, servicing a network of thousands of libraries, archives and museums across Europe. The most visible expression of this collective endeavour is a portal, which allows users to discover material from every member state and every domain in Europe. Europeana is now entering a new phase of its existence, which will be even more focused on the impact we can have together on our industry, the creative economy and social innovation.
Meeting the User on location by Gunnar Liestøl, University of Oslo - a presentation held at EUscreenXL Rome Conference 'From Audience to User: Engaging with Audiovisual Heritage Online' (http://blog.euscreen.eu/conference-programme).
Workshop on Contextualisation: How can AV contextualization practices benefit...EUscreen
Workshop: Focus on Contextualization by Berber Hagedoorn (Utrecht University), Daniel Ockeloen (Noterik BV), Mariana Salgado (Aalto University School of Art and Design), Willemien Sanders (Utrecht University), Eleonora Mazzoli (Utrecht University) - a workshop held at EUscreenXL Rome Conference 'From Audience to User: Engaging with Audiovisual Heritage Online' (http://blog.euscreen.eu/conference-programme).
Quality and quantity: opening up the archivesEUscreen
Quality and quantity: opening up the archives by Katja Bargum (YLE) - a presentation held at EUscreenXL Rome Conference 'From Audience to User: Engaging with Audiovisual Heritage Online' (http://blog.euscreen.eu/conference-programme).
Audiovisual material. What do teachers want?EUscreen
Audiovisual material. What do teachers want? by Karen Vander Plaetse (VIAA) - a presentation held at EUscreenXL Rome Conference 'From Audience to User: Engaging with Audiovisual Heritage Online' (http://blog.euscreen.eu/conference-programme).
'London's Screen Archives' by Rebekah Polding - a presentation held at EUscreenXL Rome Conference 'From Audience to User: Engaging with Audiovisual Heritage Online' (http://blog.euscreen.eu/conference-programme).
Discriminated Users: Engaging the Elderly with Online Audio-visual HeritageEUscreen
'Discriminated Users: Engaging the Elderly with Online Audio-visual Heritage' by Daniela Treveri Gennari (Oxford Brookes University), Silvia Dibeltulo (Oxford Brookes University), Sarah Culhane (University of Bristol) - apresentation held at EUscreenXL Rome Conference 'From Audience to User: Engaging with Audiovisual Heritage Online' (http://blog.euscreen.eu/conference-programme).
'New EUscreen Portal' by Sian Barber (Queen’s University Belfast), Kamila Lewandowska (National Audiovisual Institute) and Rutger Rozendal (Noterik) - a presentation held at EUscreenXL Rome Conference 'From Audience to User: Engaging with Audiovisual Heritage Online' (http://blog.euscreen.eu/conference-programme).
LinkedTV. Engaging TV viewers with AudioVisual heritage on second screens EUscreen
'LinkedTV. Engaging TV viewers with AudioVisual heritage on second screens' by Lyndon Nixon (MODUL University, Vienna) and Lotte Belice Baltussen (Sound and Vision, Hilversum) - a presentation held at EUscreenXL Rome Conference 'From Audience to User: Engaging with Audiovisual Heritage Online' (http://blog.euscreen.eu/conference-programme).
NInA. Ways of engaging users. Focus: Audiovisual CollectionsEUscreen
'Ways of engaging users. Focus: Audiovisual Collections' by Michał Merczyński, director of National Audiovisual Institute of Poland (NInA) - presentation held at EUscreenXL Rome Conference 'From Audience to User: Engaging with Audiovisual Heritage Online' (http://blog.euscreen.eu/conference-programme). A story on Institute's online and offline activities aimed at creating context and making access to AV archives more user-friendly.
EUscreenXL @BAAC 2014 Annual Conference in RigaEUscreen
"Going EUscreenXL: on the joys and challenges of participating in a pan-European AV heritage project" by Maria Drabczyk (NInA), Kamila Lewandowska (NInA), Eve-Marie Oesterlen (BUFVC)
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.
Alt. GDG Cloud Southlake #33: Boule & Rebala: Effective AppSec in SDLC using ...James Anderson
Effective Application Security in Software Delivery lifecycle using Deployment Firewall and DBOM
The modern software delivery process (or the CI/CD process) includes many tools, distributed teams, open-source code, and cloud platforms. Constant focus on speed to release software to market, along with the traditional slow and manual security checks has caused gaps in continuous security as an important piece in the software supply chain. Today organizations feel more susceptible to external and internal cyber threats due to the vast attack surface in their applications supply chain and the lack of end-to-end governance and risk management.
The software team must secure its software delivery process to avoid vulnerability and security breaches. This needs to be achieved with existing tool chains and without extensive rework of the delivery processes. This talk will present strategies and techniques for providing visibility into the true risk of the existing vulnerabilities, preventing the introduction of security issues in the software, resolving vulnerabilities in production environments quickly, and capturing the deployment bill of materials (DBOM).
Speakers:
Bob Boule
Robert Boule is a technology enthusiast with PASSION for technology and making things work along with a knack for helping others understand how things work. He comes with around 20 years of solution engineering experience in application security, software continuous delivery, and SaaS platforms. He is known for his dynamic presentations in CI/CD and application security integrated in software delivery lifecycle.
Gopinath Rebala
Gopinath Rebala is the CTO of OpsMx, where he has overall responsibility for the machine learning and data processing architectures for Secure Software Delivery. Gopi also has a strong connection with our customers, leading design and architecture for strategic implementations. Gopi is a frequent speaker and well-known leader in continuous delivery and integrating security into software delivery.
Observability Concepts EVERY Developer Should Know -- DeveloperWeek Europe.pdfPaige Cruz
Monitoring and observability aren’t traditionally found in software curriculums and many of us cobble this knowledge together from whatever vendor or ecosystem we were first introduced to and whatever is a part of your current company’s observability stack.
While the dev and ops silo continues to crumble….many organizations still relegate monitoring & observability as the purview of ops, infra and SRE teams. This is a mistake - achieving a highly observable system requires collaboration up and down the stack.
I, a former op, would like to extend an invitation to all application developers to join the observability party will share these foundational concepts to build on:
GraphSummit Singapore | The Art of the Possible with Graph - Q2 2024Neo4j
Neha Bajwa, Vice President of Product Marketing, Neo4j
Join us as we explore breakthrough innovations enabled by interconnected data and AI. Discover firsthand how organizations use relationships in data to uncover contextual insights and solve our most pressing challenges – from optimizing supply chains, detecting fraud, and improving customer experiences to accelerating drug discoveries.
Generative AI Deep Dive: Advancing from Proof of Concept to ProductionAggregage
Join Maher Hanafi, VP of Engineering at Betterworks, in this new session where he'll share a practical framework to transform Gen AI prototypes into impactful products! He'll delve into the complexities of data collection and management, model selection and optimization, and ensuring security, scalability, and responsible use.
Sudheer Mechineni, Head of Application Frameworks, Standard Chartered Bank
Discover how Standard Chartered Bank harnessed the power of Neo4j to transform complex data access challenges into a dynamic, scalable graph database solution. This keynote will cover their journey from initial adoption to deploying a fully automated, enterprise-grade causal cluster, highlighting key strategies for modelling organisational changes and ensuring robust disaster recovery. Learn how these innovations have not only enhanced Standard Chartered Bank’s data infrastructure but also positioned them as pioneers in the banking sector’s adoption of graph technology.
GridMate - End to end testing is a critical piece to ensure quality and avoid...ThomasParaiso2
End to end testing is a critical piece to ensure quality and avoid regressions. In this session, we share our journey building an E2E testing pipeline for GridMate components (LWC and Aura) using Cypress, JSForce, FakerJS…
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.
GraphSummit Singapore | The Future of Agility: Supercharging Digital Transfor...Neo4j
Leonard Jayamohan, Partner & Generative AI Lead, Deloitte
This keynote will reveal how Deloitte leverages Neo4j’s graph power for groundbreaking digital twin solutions, achieving a staggering 100x performance boost. Discover the essential role knowledge graphs play in successful generative AI implementations. Plus, get an exclusive look at an innovative Neo4j + Generative AI solution Deloitte is developing in-house.
Communications Mining Series - Zero to Hero - Session 1DianaGray10
This session provides introduction to UiPath Communication Mining, importance and platform overview. You will acquire a good understand of the phases in Communication Mining as we go over the platform with you. Topics covered:
• Communication Mining Overview
• Why is it important?
• How can it help today’s business and the benefits
• Phases in Communication Mining
• Demo on Platform overview
• Q/A
Threats to mobile devices are more prevalent and increasing in scope and complexity. Users of mobile devices desire to take full advantage of the features
available on those devices, but many of the features provide convenience and capability but sacrifice security. This best practices guide outlines steps the users can take to better protect personal devices and information.
State of ICS and IoT Cyber Threat Landscape Report 2024 previewPrayukth K V
The IoT and OT threat landscape report has been prepared by the Threat Research Team at Sectrio using data from Sectrio, cyber threat intelligence farming facilities spread across over 85 cities around the world. In addition, Sectrio also runs AI-based advanced threat and payload engagement facilities that serve as sinks to attract and engage sophisticated threat actors, and newer malware including new variants and latent threats that are at an earlier stage of development.
The latest edition of the OT/ICS and IoT security Threat Landscape Report 2024 also covers:
State of global ICS asset and network exposure
Sectoral targets and attacks as well as the cost of ransom
Global APT activity, AI usage, actor and tactic profiles, and implications
Rise in volumes of AI-powered cyberattacks
Major cyber events in 2024
Malware and malicious payload trends
Cyberattack types and targets
Vulnerability exploit attempts on CVEs
Attacks on counties – USA
Expansion of bot farms – how, where, and why
In-depth analysis of the cyber threat landscape across North America, South America, Europe, APAC, and the Middle East
Why are attacks on smart factories rising?
Cyber risk predictions
Axis of attacks – Europe
Systemic attacks in the Middle East
Download the full report from here:
https://sectrio.com/resources/ot-threat-landscape-reports/sectrio-releases-ot-ics-and-iot-security-threat-landscape-report-2024/
1. EUscreen
Content Selection Policy
WP3 Information and Access
Royal Holloway University of London
RHUL
presented by Linda and Luís of BUFVC
Mykonos 23 June 2010
Wednesday, 23 June 2010
2. A Guide to Content Selection
• Content Selection Policy
– Historical Topics
– Comparative Virtual Exhibitions
– Content Provider Virtual Exhibition
• Objective: understand the different types of
content required and how much of which
• This will inform your workflow
Wednesday, 23 June 2010
3. Content Selection
Three Strands
Historical Topics
Comparative Virtual Exhibitions
CP Virtual Exhibition
curated by based on
Content Providers EU Screen topic list
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Wednesday, 23 June 2010
4. Content Selection
Three Strands
14 historical topics
simplified from VA
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If a content provider is unable to contribute 5% for each topic this
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Wednesday, 23 June 2010
5. Historical Topics
Genre
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Content should reflect the widest range of programme genres that
content providers can make available.
Some topics might lend themselves better to some genres
Wednesday, 23 June 2010
6. Historical Topics
Time Period
Ensure that content is selected across the whole time
period of your collection.
Wednesday, 23 June 2010
7. Historical Topics
National Holidays, Festivals,
Arts and Culture
Anniversaries, Annual Events
Disasters Politics and Economics
Education Religion and Belief
Environment and Nature Society and Social Issues
Health Transportation, Science and Technology
Lifestyle and Consumerism Wars and Conflict
The Media Work and Production
Wednesday, 23 June 2010
8. Historical Topics
1. Arts and Culture
√ 2. Disasters
3. Education
4. Environment and Nature
5. Health
6. Lifestyle and Consumerism
? 7. The Media
item 8. National Holidays, Festivals, Anniversaries, Annual Events
9. Politics and Economics
10. Religion and Belief
11. Society and Social Issues
ok 12. Transportation, Science and Technology
13. Wars and conflict
14. Work and production
'()**+,-)./012+01345)6)5)781Each item !"#$%&'be attributed to one
historical topic – mandatory. It may be possible to have secondary
topics.
For special cases please discuss with BUFVC films
Wednesday, 23 June 2010
9. National Holidays, Festivals,
Arts and Culture
Anniversaries, Annual Events
Disasters Politics and Economics
Education Religion and Belief
Environment and Nature Society and Social Issues
Health Transportation, Science and Technology
Lifestyle and Consumerism Wars and Conflict
The Media Work and Production
WOMEN: EQUAL PAY ACT Channel: ITV
Series Title: Lunchtime News Date: 26/05/1995
Broadcast at: 13:00
10
Wednesday, 23 June 2010
10. National Holidays, Festivals,
Arts and Culture
Anniversaries, Annual Events
Disasters Politics and Economics
Education Religion and Belief
Environment and Nature Society and Social Issues
Health Transportation, Science and Technology
Lifestyle and Consumerism Wars and Conflict
The Media Work and Production
NATIONAL FRONT Channel: ITV
Series Title: News At Ten Date: 19/01/1978
Broadcast at: 22:00
11
Wednesday, 23 June 2010
11. National Holidays, Festivals,
Arts and Culture
Anniversaries, Annual Events
Disasters Politics and Economics
Education Religion and Belief
Environment and Nature Society and Social Issues
Health Transportation, Science and Technology
Lifestyle and Consumerism Wars and Conflict
The Media Work and Production
DIANA: FLORAL TRIBUTES Channel: ITV
Series Title: News at Ten Date: 10/09/1997
Broadcast at: 22:00
12
Wednesday, 23 June 2010
12. Comparative
Virtual Exhibitions
• Two comparative themes to be developed.
• Content providers to supply 5% of their overall
contribution to ()*" comparative theme.
curated by based on
Content Providers EU Screen topic list
%"#
&#
&#
curated by
EU Screen team !"#
Wednesday, 23 June 2010
13. Comparative
Virtual Exhibitions
• Content to explore each theme +,'&(-."/
• Content to be supported by a range of contextual
information – including still images, documentation
and text.
• Each theme will involve a small curatorial team
who will help select content and then source/
commission write textual content to support
theme.
• Do not repeat content...
Wednesday, 23 June 2010
14. Comparative
Virtual Exhibitions
• Examples
–Eastern versus Western European coverage of
selected events
–Television history
–e.g. Inventing Europe
http://www.inventingeurope.eu/invent/exhibits/show/europeinterrupted/europes
Wednesday, 23 June 2010
15. Timeline to decide topics
Comparative Virtual Exhibitions
• July 2010:
– RHUL to set up Comparative VE Working Group within EUscreen
– Anyone interested to e-mail Sian Barber - sian.barber@rhul.ac.uk.
– Devise potential themes
• July/August/September:
– Consult with content providers on
• Suitability of themes
• How to select content in collaboration
– Consult with potential stakeholders and contributor communities on
• Desirability of themes
• Availability/willingness to produce written content
• September 2010:
– Decide and report on themes
– Onward workflow and timescale
– Set up curatorial team for each comparative theme
Wednesday, 23 June 2010
16. Content Provider
Virtual Exhibitions
• Content providers to supply 20% of their overall
contribution to CP Virtual Exhibition.
curated by based on
Content Providers %"#
EU Screen topic list
$"#
curated by
EU Screen team !"#
Wednesday, 23 June 2010
17. Content Provider
Virtual Exhibitions
• You know your content better than anyone!
• Content Providers to select their own content for
their own exhibition
• Exhibitions to reflect Content Providers’ own
interests and archival strengths
• Content to be supported by a range of contextual
information – including still images, documentation
and text!
• Do not repeat content
Wednesday, 23 June 2010
18. Content Provider
Virtual Exhibitions
• e.g. a national broadcaster may tell its own story
• e.g. celebrities travelling through transport hubs
• any footage that does not fit the 14 historical
topics
• if your holdings are very heavy on one topic and
you wish to explore it in depth
• a shop window for your archive
Wednesday, 23 June 2010
19. Content Selection
• For questions regarding the content selection policy
please contact either:
Sian Barber, RHUL
sian.barber@rhul.ac.uk
Rob Turnock, RHUL (WP3 Leader)
rob.turnock@rhul.ac.uk!
Wednesday, 23 June 2010