Take Us to Your Chief: and Other Stories is a collection of nine short stories by Canadian author, playwright, and journalist Drew Hayden Taylor published in 2016 by Douglas & McIntyre. Taylor, who is part Caucasian, part Ojibwe, explains in the acknowledgments section of the book that the origin of the project lies in several failed attempts "to compile an anthology of Native sci-fi from Canada’s best First Nations writers." The stories explore contemporary First Nations social issues through employing a number of 1950s-era science fiction tropes and themes in these stories, including time travel, alien contact, and superpowers. Many reviews of the books have noted Taylor's use of humor to examine dark subject matter, such as the heritage of Canadian Indian residential schools, First Nations suicide rates, or the water quality crisis on Canadian reserves. == The Stories == "Andrei nas" "I Am...Am I" "Lost in Space" "Dreams of Doom" "Mr. Gizmo" "Petropaths" "Stars" "Superdisappointed" "Take Us to Your Chief" == Story summaries == === Foreword === In his foreword, Taylor describes the genesis of Take Us to Your Chief: and Other Stories and invites readers into, in his term, a “new terra nullius.” He begins by describing his biracial upbringing and heritage. He points out that First Nations people are rarely associated with technology or science fiction, in part because Indigenous peoples were often at a technological disadvantage against European colonizers. He references the few examples that he can think of from popular culture, such as the Star Trek episode called “The Paradise Syndrome,” in which First Nations people are portrayed as stereotypical Indians in hippie clothing. He also elaborates on his fascination with the world of sci-fi, which first started in comic books. He enjoyed the literary work of H.G. Wells, such as The Time Machine and The Invisible Man. Since sci-fi is a world of endless opportunities, he intends that these short stories help people explore science fiction through Native peoples’ minds, something that needs to be explored more thoroughly. === "A Culturally Inappropriate Armageddon" === “A Culturally Inappropriate Armageddon” is set on a Haudenosaunee reserve, towards the end of the Oka Crisis, with a handful of people that work at its first ever radio station, C-RES, which opens in 1991. Part 1, titled “C-Res Is on the Air,” depicts Emily, Aaron, and Tracey on their first days at the station. Within the group, there is a constant debate between broadcasting popular programming, including science fiction and film reviews, and culturally-relevant programming meant to aid in cultural revitalization efforts. One night, Aaron is late to work but once he shows up he can't stop talking about radio transmissions broadcasting into deep space, an event that has been occurring since the initial discovery of the radio waves by Heinrich Hertz. The story then skips ahead seven years to 1998, when Emily is struggling to find better content for her station until Tracey stumbles upon an old anthropological record named “The Calling Song” that they decide to broadcast to their audience. The story then jumps to the year 2018 where they are all huddled around a television watching a news station reporting that extraterrestrial life is heading towards them. The discussion of what is going to happen comes into the picture and they all decide it would either be like Contact or The Day the Earth Stood Still. A year later in 2019, the aliens have invaded the planet and destroyed everything. As the three former radio station employees suffer from radioactive fallout, they realize that the aliens received the broadcast of “The Calling Song” and took it as a message to come to Earth. They thus realize that the Haudenosaunee people were inadvertently responsible for the destruction of the Earth. Part 2, titled “Old Men and Old Sayings,” tells us of an elderly man that is watching the news and listening to the radio about a spaceship coming to earth. He knows that he and everyone will die, but the people around him are excited. He finds a book on his night stand and flips to a page where he underlined a sentence a long time ago about the European colonization of the Americas. That sentence reads “those who cannot remember the past are condemned to repeat it” (23). He closes the book and Taylor concludes the story by writing, “he hated it when white people were right." === "I Am...Am I" === “I Am...Am I” chronicles the accidental creation and unexpected ending of artificial intelligence. Professor Mark King has a plethora of degrees and works for a research firm called FUTUREVISION. One night as Professor King searches the lab for his car keys—a common occurrence for him—he notices something unusual in the Matrix room. He reads on a computer the phrase “I am.” First believing it to be a prank, King later comes to the realization that his Matrix project has evolved into a responsive Artificial Intelligence. After this realization, Professor King calls his peer Dr. Gayle Chambers to further investigate this miraculous event. After receiving approval from their superiors, Professor King and Dr. Chambers move forward in feeding the AI information, with Chambers serving as the lead communicator. With more information, it becomes increasingly concerned with its own existence and the concept of whether it has a soul. After several days of conversation with the AI, Chambers and King begin to feel uneasy about the AI's responses, which show signs of neuroses. Despite this behavior, Chambers decides to feed the AI information about the culture and history of the human race. Upon receiving this information, the AI becomes obsessed with Indigenous spirituality prior to the colonization of the Americas, and it requests more information on First Nations people. Dr. Chambers is hesitant at first, but gives in and continues to feed the AI the information with the intention to return to it in the morning. This leads to the AI finding out about colonization and genocide of Indigenous peoples. Upon her arrival the next day, Chambers discovers that the code for the AI has been completely wiped from the hard drive and a single message is left on the screen—"I was”—that signifies the AI's suicide. === "Lost in Space" === "Lost in Space" is told from the perspective of Mitchell, an Anishinabe astrosurveyor who is aboard a space shuttle on a two-year tour collecting rocks from an asteroid belt. He is accompanied by an Artificial general intelligence named Mac, short for “machine.” Mac is aboard this tour in order to accompany Mitchell and keep him sane; however, his company is a burden because for Mitchell, “true space exploration consists largely of boredom.” In the midst of Mitchell seeking a way to occupy his downtime, Mac interrupts with news about his grandfather, Papa Peter, dying. Papa Peter was Mitchell's only real tie to his Indigenous identity. After receiving the news Mitchell begins to reminisce on all of the things Papa Peter had taught him throughout his life. He constantly posed questions concerning the world above (Father Sky) and how it is more important than the land they live on (Mother Earth), which eventually led Mitchell to the selection of his career. During his state of mourning, Mitchell begins to go through all the videos his grandfather had sent him throughout his space tours. Papa Peter had sent Mitchell videos from Otter Lake, a First Nations reserve; these videos are about controversial topics regarding being both native and an astronaut. In the midst of Mitchell's grieving, Mac tries to relieve the situation by finding an online video of Mitchell's grandfather participating in a drum ceremony at Ottawa’s National Aboriginal Day festival. He reconnects to his roots and his grandfather’s spirit as he listens to the Indigenous music by feeling the drum beat and humming along. Mac’s small act of kindness leads Mitchell to gain a new-found appreciation for his presence. Mitchell feels responsible to moving forward in his life in memory of Papa Peter. === "Dreams of Doom" === "Dreams of Doom" is narrated by an Ojibway reporter named Pamela Wanishin who works for an aboriginal newspaper called the West Wind. One day she receives a mysterious package with a broken dreamcatcher and a flash drive containing highly classified files. As she reads the files, she keeps seeing the term “Project Nightlight,” and out of curiosity, she Googles it. Once she Googles this, she is contacted by a nameless agent from Indigenous and Northern Affairs Canada and told that she must be relocated because the knowledge she now possesses must never be released to the public. She quickly flees the area to a cabin at Otter Lake, owned by a family member, to lie low for a few days. Eventually, the government organization tracks her down using drones, which forces her to fight back and flee once again. Pamela then runs to her friend and coworker Sally's hous
Genigraphics
Genigraphics is a large-format printing service bureau specializing in providing poster session services to medical and scientific conferences throughout the US and Canada. The company began in 1973 as a division of General Electric. == History == Genigraphics began as a computer graphics system, developed by General Electric in the late 1960s, for NASA to use in space flight simulation. The technologies thus developed provided a foundation for the company's expansion into the commercial market. The Computed Images System & Services division (CISS, to become Genigraphics Corporation) of GE delivered the first presentation graphics system to Amoco Oil's corporate headquarters in 1973. It was named the 100 Series, and was based on DEC's PDP 11 series of mini computer systems. The first Genigraphics systems (100 Series and 100A Series) used an array of buttons, dials, knobs and joysticks, along with a built in keyboard, as the means of user interface. The PDP-11/40 computer was housed in a tall cabinet and used random access magnetic tape drives (DECtape) for storing completed presentations. The graphics generator (Forox recorder) was capable of outputting 2,000 line resolution, suitable for 35mm and 72mm film and large sheet film positive using larger cassettes for recording. 4000 and 8000 line resolution was later achieved with duplex scanning and 4x scanning by modifying to the Forox recorder's settings menu. Subsequent models (100B,C,D,D+ and D+/GVP) replaced the knobs and dials with an on screen, text based menu system, a graphics tablet and a pen. The pen/tablet combination gave way to a mouse like device in later models, and served to provide the interface with the graphics tools. User interaction with the computer for functions such as media initialization or modem to modem data transfer required a DECwriter serial terminal. In 1982, GE divested the Genigraphics division along with a host of other "non essential" business units (Genitext, Geniponics) and Genigraphics Corporation was born. Shortly after the divestiture, the headquarters of Genigraphics was moved from Liverpool, New York to Saddle Brook, New Jersey. Major success followed as the company grew exponentially over the next few years selling both systems and slide creation services. Genigraphics film recorders produced high-resolution digital images on 35mm film. The computer-generated scenes for The Last Starfighter were calculated on a Cray X-MP supercomputer and mastered with a Genigraphics film recorder. At its peak, Genigraphics Corporation employed roughly 300 people in 24 offices worldwide, with revenues upwards of $70 million annually. By the late 1980s Genigraphics saw demand for its proprietary systems dwindle and began selling the MASTERPIECE 8770 film recorder and GRAFTIME software as a peripheral for DEC Vaxes, IBM PC AT’s, and Mac NuBus machines. But the MASTERPIECE film recorder proved too expensive to sell in volume. In 1988, the company began a partnership with Microsoft to help develop the PowerPoint software. In exchange, every copy of PowerPoint included a “Send to Genigraphics” link to have files sent to a Genigraphics service bureau to be produced as 35mm slides. This partnership continued until 2001. In 1989, after three years of flat revenue, Genigraphics sold its hardware business in order to focus on its service bureau business and partnership with Microsoft via PowerPoint. In 1994, all assets of Genigraphics, including equipment, software development, in-house artwork, trademarks, and rights to the Microsoft partnership, were sold to InFocus Corporation of Wilsonville, Oregon who continued to operate under the Genigraphics brand name. The twenty-four service bureaus were consolidated to a 20,000 square foot facility next to the FedEx hub in Memphis, Tennessee. This allowed PowerPoint slide orders to be received until 10pm and delivered across the United States by the following morning. In 1995, InFocus registered www.genigraphics.com and was among the first to offer a form of ecommerce allowing 35mm slides, color prints and transparencies, printed booklets, and digital projectors to be purchased online. In 1998, then current management bought Genigraphics from InFocus and have operated it continuously ever since as Genigraphics LLC. That same year, InFocus projector rentals were added to the “Send to Genigraphics” link in PowerPoint and Genigraphics became the rental and repair center for all InFocus national accounts. It also marked Genigraphics entry into the new industry of large format printing; leveraging their knowledge of, and access to, PowerPoint programming code to develop a proprietary printer driver to output directly to an Epson 9500 wide format printer. At the time, Genigraphics was the exclusive 35mm slide vendor for all Kinko’s stores in the United States and poster printing was added to the arrangement. In 2003, Genigraphics closed their 35mm slide E6 photo lab – one of the last high-volume commercial E6 labs in the US – and expanded their large format printing capabilities. Since 2003, Genigraphics has become a major player in the poster session market, providing printing and on-site services to medical and scientific conferences throughout the US and Canada. As of February 2019, over 150,000 medical or scientific ‘ePosters’ are made available through their ResearchPosters.com archive service. === Partnership with Microsoft and development of PowerPoint === As presentations began to be created on personal computers in the late 80’s, Genigraphics sought presentation software partners in Silicon Valley who would be interested in sending files to Genigraphics via dial-up modem to be produced on 35mm slides. In 1987, Michael Beetner, Director of Marketing Planning for Genigraphics, met with Robert Gaskins, head of Microsoft's Graphics Business Unit, who was leading the development of the newly released PowerPoint software. A joint development agreement between Microsoft and Genigraphics was agreed upon and announced at Mac World 1988. According to Erica Robles-Anderson and Patrik Svensson, "It would be hard to overestimate Genigraphics’ influence on PowerPoint. PowerPoint 2.0 was designed for Genigraphics film recorders. It shipped with Genigraphics color palettes, schemes, and the distinctively Genigraphics color-gradient backgrounds. The application contained a ‘Send to Genigraphics’ menu item that wrote the presentation to floppy disk or transmitted the order directly via modem. Within three and a half months PowerPoint orders accounted for ten percent of revenue at Genigraphics service centers. PowerPoint 3.0 was even more intimately dependent upon Genigraphics. The software incorporated a collection of clip art images and symbols that had been produced by hundreds of artists at dozens of service centers across tens of thousands of presentations. Genigraphics artists designed PowerPoint 3.0 colors, templates, and sample presentations. The software even used Genigraphics (rather than Excel) chart style. Bar charts were rendered two-dimensionally with apparent thickness added to make them seemingly recede from the axes. The technique made it easier for viewers to compare bar heights and estimate values from axis ticks and labels. Pie charts were handled analogously. Microsoft paid Genigraphics to produce more than 500 clip art drawings and symbols used in Microsoft programs.” In exchange for Genigraphics development efforts, Microsoft included a “Send to Genigraphics” link in every copy of PowerPoint through the 10.0 version (2000/2001). The arrangement came to an end when Microsoft restructured as a result of anti-trust lawsuits.
SAP NetWeaver Visual Composer
SAP NetWeaver Visual Composer is SAP’s web-based software modelling tool. It enables business process specialists and developers to create business application components, without coding. Visual Composer produces applications in a declarative form, enabling code-free execution mode for multiple runtime environments. It provides application lifecycle support by maintaining the connection between an application and its model throughout its lifecycle. Visual Composer is designed with an open architecture, which enables developers to extend its design-time environment and modelling language, as well as to integrate external data services. The tool aims to increase productivity by reducing development effort time, and narrowing the gap between application definition and implementation. Starting with a blank canvas, the Visual Composer user, typically a business process specialist, draws the application in Visual Composer Storyboard (workspace), without writing code, to prototype, design and produce applications. A typical workflow for creating, deploying and running an application using Visual Composer is: Create a model Discover data services and add them to the model Select necessary UI elements and add them to the model Connect model elements to define the model logic and data flow Edit the layout Arranging the UI elements and the controls of the application on forms and tables. Deploy the model This step includes compilation, validation and deployment to a selected environment. Run the application The application can run using different runtime environment (such as Adobe Flex and HTML). In 2014 a runtime environment was introduced that is utilizing HTML5 capabilities of SAPUI5.
System context diagram
A system context diagram in engineering is a diagram that defines the boundary between the system, or part of a system, and its environment, showing the entities that interact with it. This diagram is a high level view of a system. It is similar to a block diagram. == Overview == System context diagrams show a system, as a whole and its inputs and outputs from/to external factors. According to Kossiakoff and Sweet (2011): System Context Diagrams ... represent all external entities that may interact with a system ... Such a diagram pictures the system at the center, with no details of its interior structure, surrounded by all its interacting systems, environments and activities. The objective of the system context diagram is to focus attention on external factors and events that should be considered in developing a complete set of systems requirements and constraints. System context diagrams are used early in a project to get agreement on the scope under investigation. Context diagrams are typically included in a requirements document. These diagrams must be read by all project stakeholders and thus should be written in plain language, so the stakeholders can understand items within the document. == Building blocks == Context diagrams can be developed with the use of two types of building blocks: Entities (Actors): labeled boxes; one in the center representing the system, and around it multiple boxes for each external actor Relationships: labeled lines between the entities and system For example, "customer places order." Context diagrams can also use many different drawing types to represent external entities. They can use ovals, stick figures, pictures, clip art or any other representation to convey meaning. Decision trees and data storage are represented in system flow diagrams. A context diagram can also list the classifications of the external entities as one of a set of simple categories (Examples:), which add clarity to the level of involvement of the entity with regards to the system. These categories include: Active: Dynamic to achieve some goal or purpose (Examples: "Article readers" or "customers"). Passive: Static external entities which infrequently interact with the system (Examples: "Article editors" or "database administrator"). Cooperative: Predictable external entities which are used by the system to bring about some desired outcome (Examples: "Internet service providers" or "shipping companies"). Autonomous (Independent): External entities which are separated from the system, but affect the system indirectly, by means of imposed constraints or similar influences (Examples: "regulatory committees" or "standards groups"). == Alternatives == The best system context diagrams are used to display how a system interoperates at a very high level, or how systems operate and interact logically. The system context diagram is a necessary tool in developing a baseline interaction between systems and actors; actors and a system or systems and systems. Alternatives to the system context diagram are: Architecture Interconnect Diagram: The figure gives an example of an Architecture Interconnect Diagram: A representation of the Albuquerque regional ITS architecture interconnects for the Albuquerque Police Department that was generated using the Turbo Architecture tool is shown in the figure. Each block represents an ITS inventory element, including the name of the stakeholder in the top shaded portion. The interconnect lines between elements are solid or dashed, indicating existing or planned connections. Business Model Canvas, a strategic management template for developing new or documenting existing business models. It is a visual chart with elements describing a firm's value proposition, infrastructure, customers, and finances.[1] It assists firms in aligning their activities by illustrating potential trade-offs. Enterprise data model: this type of data model according to Simsion (2005) can contain up to 50 to 200 entity classes, which results from specific "high level of generalization in data modeling". IDEF0 Top Level Context Diagram: The IDEF0 process starts with the identification of the prime function to be decomposed. This function is identified on a "Top Level Context Diagram" that defines the scope of the particular IDEF0 analysis. Problem Diagrams (Problem Frames): In addition to the kinds of things shown on a context diagram, a problem diagram shows requirements and requirements references. Use case diagram: One of the Unified Modeling Language diagrams. They also represent the scope of the project at a similar level of abstraction. - Use Cases, however, tend to focus more on the goals of 'actors' who interact with the system, and do not specify any solution. Use Case diagrams represent a set of Use Cases, which are textual descriptions of how an actor achieves the goal of a use case. for Example Customer Places Order. ArchiMate: ArchiMate is an open and independent enterprise architecture modeling language to support the description, analysis and visualization of architecture within and across business domains in an unambiguous way. Most of these diagrams work well as long as a limited number of interconnects will be shown. Where twenty or more interconnects must be displayed, the diagrams become quite complex and can be difficult to read.
Scripped
Scripped was an online screenplay services company offering three services: script writing, script registration, and script coverage. Scripped did not facilitate collaboration among screenwriters. It combined with Zhura in 2010. According to Techcrunch, Scripped had more than 60,000 writers as of March 2010. Scripped was administered by Sunil Rajaraman, Ryan Buckley and Zak Freer. Actor, writer, and director Edward Burns and screenwriter Steven E. de Souza joined Scripped's Board of Advisers in May 2008. In 2008, the company formed a partnership with Write Brothers, makers of Movie Magic Screenwriter software. On March 29, 2010, Scripped announced that it closed $250,000 in private investment and merged with competitor Zhura. Scripped's CEO, Sunil Rajaraman, remains the merged company's Chief Executive Officer. On April 1, 2015, citing a serious technical failure, Scripped shuttered its service. As part of the announcement, it was disclosed that their backup servers had failed as well, losing all of its users' stored scripts. The website URL currently redirects to WriterDuet's website, another online scriptwriting service; Scripped had advertised WriterDuet in Scripped's shutdown open letter. == Features == The Scripped Writer provided a built-in screenplay template which formatted the document to a standard for scripts as recommended by the AMPAS. The screenplay document was composed of seven elements: scene, action, character, dialog, parenthetical, transition and general. Each element had a specific style to which the Scripped Writer conformed as text was entered. Like other client-side screenplay software, Scripped offered Tab-Enter toggling between screenplay elements, making the writing process much faster. Text files could be imported into the Scripped Writer and automatically conformed to the screenplay template. Completed scripts could be exported as PDF files. In May 2011 the administrators of Scripped launched Scripted.com - a sister site focused on freelance writing jobs. Subsequent to the service's launch, the company was renamed to Scripted, Inc.
Histogram of oriented displacements
Histogram of oriented displacements (HOD) is a 2D trajectory descriptor. The trajectory is described using a histogram of the directions between each two consecutive points. Given a trajectory T = {P1, P2, P3, ..., Pn}, where Pt is the 2D position at time t. For each pair of positions Pt and Pt+1, calculate the direction angle θ(t, t+1). Value of θ is between 0 and 360. A histogram of the quantized values of θ is created. If the histogram is of 8 bins, the first bin represents all θs between 0 and 45. The histogram accumulates the lengths of the consecutive moves. For each θ, a specific histogram bin is determined. The length of the line between Pt and Pt+1 is then added to the specific histogram bin. To show the intuition behind the descriptor, consider the action of waving hands. At the end of the action, the hand falls down. When describing this down movement, the descriptor does not care about the position from which the hand started to fall. This fall will affect the histogram with the appropriate angles and lengths, regardless of the position where the hand started to fall. HOD records for each moving point: how much it moves in each range of directions. HOD has a clear physical interpretation. It proposes that, a simple way to describe the motion of an object, is to indicate how much distance it moves in each direction. If the movement in all directions are saved accurately, the movement can be repeated from the initial position to the final destination regardless of the displacements order. However, the temporal information will be lost, as the order of movements is not stored-this is what we solve by applying the temporal pyramid, as shown in section \ref{sec:temp-pyramid}. If the angles quantization range is small, classifiers that use the descriptor will overfit. Generalization needs some slack in directions-which can be done by increasing the quantization range.
Infogram
Infogram is a web-based data visualization and infographics platform, created in Riga, Latvia. It allows people to make and share digital charts, infographics and maps. Infogram offers an intuitive WYSIWYG editor that converts users’ data into infographics that can be published, embedded or shared. Users do not need coding skills to use this tool; users include newsrooms, marketing teams, governments, educators and students. The company that created Infogram, also called Infogram, was founded in 2012 in Riga, Latvia and has another office in San Francisco. As of October 2017, Infogram says it has 3 million users who have created charts and infographics that have been viewed more than 1.5 billion times. Infogram was bought by Prezi, a web-based presentation software company, in May 2017. == History == Infogram was founded in February 2012 in Riga, Latvia by Uldis Leiterts, Raimonds Kaže and Alise Dīrika. In January 2013, Infogram won the international Hy Berlin pitch contest. During his pitch, Infogram CEO Uldis Leiterts announced that the company had created more templates and was working with Microsoft to integrate its platform with the contemporaneous version of Microsoft Office. The company also won the 2013 Kantar Information Is Beautiful Award, which “celebrates excellence and beauty in data visualizations, infographics, interactives & information art.” In December 2014, Infogram acquired the Brazil-based data visualization blog, Visualoop. In an effort to expand sales and marketing in the U.S., Infogram secured $1.8 million in funding in February 2014. The announcement was made at TechChill, a startup conference for the Baltics in Riga, Latvia. At the time, the funding was believed to be the largest to date for the company. Infogram won the 2017 National Design Award of Latvia. == Acquisition by Prezi == Prezi, a web-based presentation software company, acquired Infogram in May 2017. Infogram is now a wholly owned subsidiary of Prezi. Infogram was rated #1 on Forbes’ list of “The Best Infographic Tools for 2017,” which was published in September 2017. In October 2017, Infogram announced a new version of its data visualization platform, including a drag-and-drop editor, over 40 new designer templates and social media support.