Journal articles on the topic 'Automation surprise'

Abstract. Automation surprise (AS) has often been associated with aviation safety incidents. Although numerous laboratory studies have been conducted, few data are available from routine flight operations. A survey among a representative sample of 200 Dutch airline pilots was used to determine the prevalence of AS and the severity of its consequences, and to test some of the factors leading to AS. Results show that AS is a relatively widespread phenomenon that occurs three times per year per pilot on average but rarely has serious consequences. In less than 10% of the AS cases that were reviewed, an undesired aircraft state was induced. Reportable occurrences are estimated to occur only once every 1–3 years per pilot. Factors leading to a higher prevalence of AS include less flying experience, increasing complexity of the flight control mode, and flight duty periods of over 8 hr. It is concluded that AS is a manifestation of system and interface complexity rather than cognitive errors.

Availability and capability of labor have become dominating factors affecting agriculture's productivity and sustainability. Agricultural mechanization can substitute for human and animal physical power and improve operational uniformity. Automation complements mechanization by implementing the capabilities of automatic perception, reasoning, communication, and task planning. Fixed automation is traditionally cost-effective for mass production of standard items. In addition, flexible automation responds to make-to-order batch processing. The appropriateness of each automation type depends on the situation at hand. Because of their vast memory and high calculation speed, computers are highly effective for rapid information processing. Incorporating state-of-the-art hardware and software, computers can generate status reports, provide decision support, gather sensor signals, and/or instruct machines to perform physical work. It is no surprise, therefore, that computerization is essential to the evolutionary process, from mechanization through fixed automation to flexible automation. Fundamentals of agricultural mechanization, automation, and computerization applied to greenhouse production are discussed. Recent research activities conducted at Rutgers Univ. are presented for illustrative purposes.

New technologies have allowed the development of the industry, transforming it from 1.0 to the current, called 4.0 industry, which sees a rapid growth by the penetration of artificial intelligence and its various technologies that promise to surprise us all and invade the market and transform the world. Many of these technologies go hand in hand with intelligent automation that projects a large-scale transformation. Faced with this metamorphosis, in this article deepens on the intelligent automation and in a special way in the management of the communication of the organizations, reviewing the existing bibliography and deepening on it. In conclusion, we propose a much more clarified state of the question and a contribution to the scarce bibliography referring to the subject of study that can serve as a connector between the aforementioned theories and a projection of automation in the field of communication.

Current advanced commercial transport aircraft rely on Flight Management Systems. The increasing complexity of these systems has caused an increase in errors in interaction with aircraft automation. Previous research has focussed on identification of the elements of automation (mode structure, consistency, command languages and other) which may lead to faulty human-automation interactions. These approaches require the complex system to have underlying structure in an available and communicable form. In contrast, this paper discusses a more easily testable “end-to-end” metric which can be used independent of knowledge of this structure. The concept of predictability is presented as a candidate metric of the complexity of automation and is defined as a measure of how well an operator can anticipate what the system will do at some point in the future. In essence, this is a measure of the complement of how often a system will “surprise” an operator by acting in an unanticipated manner. The goal of this work is to identify areas of Flight Management Systems which have a strong impact on predictability to provide guidance in future designs and in current pilot training.

Nigeria has on daily basis experienced an upsurge of activities that threatens and endangers its national security. In recent times, the Nigerian nation suddenly metamorphosed into an abode of insecurity. Security is presently a major challenge in Nigeria especially in Northern Nigeria. Nigerians and non-Nigerians are killed on daily basis and in their numbers even the United Nations building and the Police Headquarters at the Federal Capital were bombed. Though the government claims to be on top of the situation, the problem persists. Despite its abundant oil wealth, there has been unimaginable level of lack of infrastructure, automated security amenities and negligible development generally. One of the major setbacks to development in Nigeria is insecurity. Until very recently, plethora of explanations on the crawling pace of development in Nigeria tends to pay infinitesimal attention to the centrality of security to national development. It is no surprise therefore that since 1999 when Nigeria returned to civil rule insecurity tends to have hampered national development. Security is evidently the pillar upon which every meaningful development could be achieved and sustained. In view of this scenario, the paper basically analyses and recommends ways of ascertaining the impact of automated and improved security model for sustainable development in Nigeria. It therefore concludes and recommends amongst others, the formulation and effective implementation of policies capable of addressing the root causes of insecurity in Nigeria. Keywords: Restructuring, Automation, Security Model, Development.

Gilbert Gonzalez, founder and CEO of Mission Critical Solutions (MCS), was reflecting on the path forward for his company. MCS maintained and updated a five-year strategic plan each year since its inception in 1990. In the early years, the strategic plan focused on the key strategic factors (KSFs) and resulted in a narrow mission. Year after year, that focus on the KSFs was rewarded by the market. Doing the most important things well kept the organization focused and efficient. The consistently evolving mission of the organization necessitated adding new products, services, and solutions. In the early 1990s, deploying PCs, implementing local area networks (LANs), and providing onsite support met the challenges their customers faced. A few years later, the company’s clients’ needs led to the addition of a Wide Area Network (WAN) solution to aggregate offices and link applications. By 1996, information technologies (IT) and telecommunications began to converge. Common structured cable plants and digital trunks sharing voice and data traffic were new and mandatory elements of the clients’ solutions. Subtly, the technologies evolved and converged. Internet Protocol (IP) Telephony and Unified Communications converged onto the clients’ LAN/WAN networks. It was clear that most technology would speak IP in the future. In the early 2000s, building automation, audio video (AV), security, surveillance, and control system endpoints converged onto the network. The trend of unusual devices converging onto the network, also known as “the Internet of things,” will continue. Wireless innovations and mobility meant that technology could move not just around the facility, but also around the world. For MCS, the end result of this phenomenon was a group of specialized departments and teams: information technologies, passive cabling systems, electrical systems, building automation and controls, audio video, security and surveillance, and unified communications. All of these departments, staffed 200 associates strong, were coordinated by the project management team, and collaborated to meet the requirements of the company’s clients. Thus, the marketing elevator speech for MCS required a tall building! Their clients expressed surprise and confusion at the breadth of services offered. While the devices had converged, the clients’ perception of their vendors and providers had not. The question at hand was whether MCS should stay converged in a functional organization strategy with capability-based teams, or organize into separate standalone entities with unique identities and separate overheads, focusing more on the individual capability-based technology specialization.

Research and operational experience have shown that one of the major problems with pilot-automation interaction is a lack of mode awareness (i.e., the current and future status and behavior of the automation). As a result, pilots sometimes experience so-called automation surprises when the automation takes an unexpected action or fails to behave as anticipated. Alack of mode awareness and automation surprises can be viewed as symptoms of a mismatch between human and machine properties and capabilities. Changes in automation design can therefore be expected to affect the likelihood and nature of problems encountered by pilots. Previous studies have focused exclusively on early generation "glass cockpit" aircraft that were designed based on a similar automation philosophy. To find out whether similar difficulties with maintaining mode awareness are encountered on more advanced aircraft, a corpus of automation surprises was gathered from pilots of the Airbus A-320, an aircraft characterized by high levels of autonomy, authority, and complexity. To understand the underlying reasons for reported breakdowns in human-automation coordination, we also asked pilots about their monitoring strategies and their experiences with and attitude toward the unique design of flight controls on this aircraft.

Today we celebrate the 21st Century's first issue of the Journal of Robotics and Mechatronics. Modern robotics technology was initiated by 2 US industrial robots, Unimate and Versatran, developed in 1962. George C. Devol's US patent in 1958 on the programmable machine advantageous in repetitive work provided a key technology for both industrial robots and robotics. ""Programmable"" combines machines (hardware) and computer (software). One of the most outstanding examples of this combination is mechatronics. Products based on mechatronics technology (MT) include industrial equipment, home appliances, and personal goods. In Japan, MT products have been occupying the largest part of export on a money basis since the 1960s. Although the main interest of robotics was the industrial robot and its application to production automation up to the 1980s, concepts and products related to a robotics have changed and expanded its realm from production use to personal use, expanding the coexistence of the robot and human beings. Honda Motor Corp. released the Humanoid P2, the world's first human-like biped able to walk dynamically in 1997. It created worldwide surprise and enthusiasm. Two years after the appearance of P2, Sony Corp. put its canine robot AIBO into the world market where it created an even greater shock than P2. We recognize three important technologies that have accomplished major human global development in the last half of the 20th century. They are information technology (IT) based on computer technology, MT including robotic technology and biotechnology (BT). We believe these three will prevail as fundamental technologies in the first half of the 21 st Century and the combination or integration of these technologies such as I-MT, B-MT, I-BT, and B-IT will become more and more important in providing fruitful results. In closing, I would like to express my cordial thanks to all authors who submitted such informative and invaluable papers for this issue.

Purpose – Review of the most recent Automate and Promat shows in Chicago with emphasis on the new automation innovations and applications on display. The paper aims to discuss these issues. Design/methodology/approach – In-depth interviews with exhibitors of automation equipment and system integrators of automation technology at these dual shows. Findings – Automation technology continues to address an ever increasing number of material handling applications. Practical implications – Customers may be surprised at the automation innovations and new applications which are appearing in the material handling environment. Originality/value – A review of some of the latest automation innovations and applications that one might have seen if they had been on the exhibition floor at the most recent dual Automate and Promat shows.

Facial expression was proven to show a person's emotions, including 6 basic human emotions, namely happy, sad, surprise, disgusted, angry, and fear. Currently, the recognition of basic emotions is applied using the automatic facial expression analysis software. In fact, not all emotions are performed with the same expressions. This study aims to analyze whether the six basic human emotions can be recognized by software. Ten subjects were asked to spontaneously show the expressions of the six basic emotions sequentially. Subjects are not given instructions on how the standard expressions of each of the basic emotions are. The results show that only happy expressions can be consistently identified clearly by the software, while sad expressions are almost unrecognizable. On the other hand surprise expressions tend to be recognized as mixed emotions of surprise and happy. There are two emotions that are difficult to express by the subject, namely fear and anger. The subject interpretation of these two emotions varies widely and tends to be unrecognizable by software. The conclusion of this study is the way a person shows his emotions varies. Although there are some similarities in expression, it cannot be proven that all expressions of basic human emotions can be generalized. Further implication of this research needs further discussion.

In a variety of domains, researchers have observed breakdowns in human-automation coordination and cooperation. One form of breakdown is a lack of mode awareness which can result in ‘automation surprises’. These are, in part, related to a lack of adequate feedback on system status and behavior. The need for effective and timely feedback has become even more pressing with the evolution of systems that operate at increasingly high levels of authority and autonomy. In the absence of improved feedback design, however, the gap between required and available information has widened. To explore the impact of this trend towards ‘strong yet silent’ machine agents, a line of research was conducted on pilot-automation coordination on the Airbus A-320, an aircraft that exemplifies these trends. This research involved a survey of pilots' line experiences with the A-320 automation, observations of transition training to the airplane, and an experimental simulation study on pilots' mode awareness and pilot-automation coordination. The results of this work indicate a trend from mode errors of commission (which represented a more frequent problem on early generation ‘glass cockpit’ aircraft) to errors of omission. In other words, pilots were more likely to fail to observe and interfere with uncommanded and undesired automation and aircraft behavior. Such errors of omission also seem to have played a role in recent incidents and accidents. They illustrate the need for improved communicative abilities in autonomous and powerful systems to enable them to actively support the coordination between human and machine.

This article interrogates an aircraft control system referred to as ‘fly-by-wire’. First developed in the 1960s, fly-by-wire replaced mechanical and hydraulic aircraft control systems with an electronic, computer-mediated system capable of relaying, responding to, and sometimes restricting, human inputs from pilots. In so doing, fly-by-wire enabled an entirely new world of flight in which human decisions were subject to machinic, and electronic, approval. The article examines the effects of fly-by-wire on the socio-technical control of aircraft, with repercussions for how one considers contemporary questions regarding the interweaving of automation, control, knowledge and safety. It proceeds in two parts. Firstly, it argues that fly-by-wire is a form of ‘distributed control’. Dependent upon situated automation, the ability to control, steer and manoeuvre the aircraft is variously distributed beyond the cockpit and human pilots, to integrated components, sensors, physical surfaces, and systems throughout the aircraft itself. In so doing, new and novel operational capacities are reached depending on the situation; shifting and re-calibrating the relationship between pilots and aircraft. Secondly, and more specifically, I suggest that distributed forms of control in the shape of aircraft fly-by-wire systems yield so-called ‘automation surprises’. The effect of distributing decision-making to a wider assemblage of components, sensors, surfaces, and systems is that operational asymmetries occur in the otherwise smooth collaboration between pilot and machine. I discuss recent Boeing 737 accidents in order to evidence this argument, contending that recent additions to fly- by-wire have led to novel re-distributive control effects. As the development of prototype autonomous vehicles abounds, historical lessons drawn from aircraft control, decision-making and safety should be of critical importance.

The time needed to eliminate complications and accidents accounts for 20–25% of total well construction time, according to a 2020 SPE paper (SPE 200740). The same paper notes that digital twins have proven to be a key enabler in improving sustainability during well construction, shrinking the carbon footprint by reducing overall drilling time and encouraging and bringing confidence to contactless advisory and collaboration. The paper also points out the potential application of digital twins to activities such as geothermal drilling. Advanced data analytics and machine learning (ML) potentially can reduce engineering hours up to 70% during field development, according to Boston Consulting Group. Increased field automation, remote operations, sensor costs, digital twins, machine learning, and improved computational speed are responsible. It is no surprise, then, that digital twins are taking on a greater sense of urgency for operators, service companies, and drilling contractors working to improve asset and enterprise safety, productivity, and performance management. For 2021, digital twins appear among the oil and gas industry’s top 10 digital spending priorities. DNV GL said in its Technology Outlook 2030 that this could be the decade when cloud computing and advanced simulation see virtual system testing, virtual/augmented reality, and machine learning progressively merge into full digital twins that combine data analytics, real-time, and near-real-time data for installations, subsurface geology, and reservoirs to bring about significant advancements in upstream asset performance, safety, and profitability. The biggest challenges to these advancements, according to the firm, will be establishing confidence in the data and computational models that a digital twin uses and user organizations’ readiness to work with and evolve alongside the digital twin. JPT looked at publications from inside and outside the upstream industry and at several recent SPE papers to get a snapshot of where the industry stands regarding uptake of digital twins in well construction and how the technology is affecting operations and outcomes. Why Digital Twins Gartner Information defines a digital twin as a digital representation of a real-world entity or system. “The implementation of a digital twin,” Gartner writes, “is an encapsulated software object or model that mirrors a unique physical object, process, organization, person or other abstraction.” Data from multiple digital twins can be aggregated for a composite view across several real-world entities and their related processes. In upstream oil and gas, digital twins focus on the well—and, ultimately, the field—and its lifecycle. Unlike a digital simulation, which produces scenarios based on what could happen in the physical world but whose scenarios may not be actionable, a digital twin represents actual events from the physical world, making it possible to visualize and understand real-life scenarios to make better decisions. Digital well construction twins can pertain to single assets or processes and to the reservoir/subsurface or the surface. Ultimately, when process and asset sub-twins are connected, the result is an integrated digital twin of the entire asset or well. Massive sensor technology and the ability to store and handle huge amounts of data from the asset will enable the full digital twin to age throughout the life-cycle of the asset, along with the asset itself (Fig. 1).

The human facial expressions convey a lot of information visually. Facial expression recognition plays a crucial role in the area of human-machine interaction. Automatic facial expression recognition system has many applications in human behavior understanding, detection of mental disorders and synthetic human expressions. Recognition of facial expression by computer with high recognition rate is still a challenging task. Most of the methods utilized in the literature for the automatic facial expression recognition systems are based on geometry and appearance. Facial expression recognition is usually performed in four stages consisting of pre-processing, face detection, feature extraction, and expression classification. In this paper we applied various deep learning methods to classify the seven key human emotions: anger, disgust, fear, happiness, sadness, surprise and neutrality. The facial expression recognition system developed is experimentally evaluated with FER dataset and has resulted with good accuracy.

Context-adaptive functions are not new in the driving context, but even so, investigations into these functions concerning the automation human–machine interface (aHMI) have yet to be carried out. This study presents research into context-adaptive availability notifications for an SAE Level 3 automation in scenarios where participants were surprised by either availability or non-availability. For this purpose, participants (N = 30) took part in a driving simulator study, experiencing a baseline HMI concept as a comparison, and a context-adaptive HMI concept that provided context-adaptive availability notifications with the aim of improving acceptance and usability, while decreasing frustration (due to unexpected non-availability) and gaze deviation from the road when driving manually. Furthermore, it was hypothesized that participants, when experiencing the context-adaptive HMI, would activate the automated driving function more quickly when facing unexpected availability. None of the hypotheses could be statistically confirmed; indeed, where gaze behavior was concerned, the opposite effects were found, indicating increased distraction induced by the context-adaptive HMI. However, the trend in respect to the activation time was towards shorter times with the context-adaptive notifications. These results led to the conclusion that context-adaptive availability notifications might not always be beneficial for users, while more salient availability notifications in the case of an unexpected availability could be advantageous.

A survey of people’s shopping habits has been completed recently and they've come up with the top 10 list of the things that people hate when supermarket shopping. These figures were taken from a survey of 2500 people on their supermarket shopping habits. There is no surprise on the number one issue - It was long queues at the check-outs with 62 per cent of the people surveyed stating this to be their big issue when shopping in a super market. So we have enhanced an idea to avoid long queues by providing SMART TROLLEY. Here we have provided a barcode reader and digital display in order to display the total amount of the shopping. It has two additional functionalities to make this Trolley more efficient. It has a LOAD CELL to detect the mal practice. In addition, we have provided IN SWITCH and OUT SWITCH for customer ease of use.

Textual information mining deals with various information extraction methods that can be evolved from the rapid growth of textual information through human machine interface for analyzing emotions which are taken by a facial expression. The problem of emotions in text is concerned with the fast development of web 2.0 documents that are assigned by users with emotion labels, namely: sadness, surprise, happiness, empathy, anger, warmness, boredom, and amusement. Such emotions can give a new characteristic for document categorization. Textual information mining deals with various information extraction methods that can evolved from the rapid growth of textual information through a human machine interface for analyzing emotions, which are taken by a facial expression. The problem of emotions from text is concerned with the fast development of web 2.0 documents that are assigned by users with emotion labels. Such emotions can give a new characteristic for document categorization.

Mode errors are one kind of breakdown in human-computer interaction. The concept was developed originally in the context of relatively simple reactive computerized devices such as word processors. When a device possesses multiple modes, where something is done one way in one mode and another way in another mode, there is increased potential for erroneous actions. In this paper we extend and expand the concept of mode error to supervisory control of automated resources in event-driven situations such as pilot interaction with cockpit automation. In this type of situation, the state of the automated system can change in response to either operator input, situation factors or system factors. This creates complexities in tracking system mode changes over time, surprises created by “uncommanded” mode changes, and the possibility of errors of omission as well as commission in managing multiple system modes. Progress in our understanding of mode error in the context of highly automated systems is important in our ability to develop effective countermeasures for mode-related problems in human-computer cooperation.

It is often uncritically assumed that, when digital technologies are integrated into the operation of city functions, they inevitably contribute to sustainable urban development. Such a notion rests largely on the belief that Information and Communication Technology (ICT) solutions pave the way for more democratic forms of planning, and that ‘smart’ technological devices result in a range of environmental benefits, e.g., energy efficiency and the mitigation of global warming. Drawing on the scientific literature that deals with ‘smart cities’, we here elaborate on how both propositions fail to consider drawbacks that could be characterized as ‘wicked’, i.e., problems that lack simplistic solutions and straightforward planning responses, and which often come about as ‘management surprises’, as a byproduct of achieving sustainability. We here deal with problems related to public choice constraints, ‘non-choice default technologies’ and the costs of automation for human learning and resilience. To avoid undemocratic forms of planning and too strong a dependence on non-choice default technologies, e.g., smart phones, we recommend that planners and policy makers safeguard redundancy in public-choice options by maintaining a wide range of alternative choices, including analog ones. Resilience thinking could help planners deal more effectively with the ‘wickedness’ of an increasingly hyper-connected society.

This article focuses on that engineers probably know that the CAD programs they use every day serve a multitude of fields, most notably architecture, but they may be surprised to find just how broadly CAD is implemented. Fashion designers, video game creators, landscapers, and interior designers rely on the software for one purpose or another. Just as in engineering, CAD technology, in the past decade or so, has revolutionized fashion design. Essentially, designers use the technology to create the technical sketches of their clothing design, a job they traditionally did by hand. Just as in engineering, fashion designers use their CAD software to make lives easier by automating certain repeatable task; this way, they do not recreate again and again the shapes and designs they use all the time. Much like an engineering project, potential architectural designs need to be vetted by a number of individuals before they are approved. Architectural firms are only too familiar with one complication of the job, which engineers do not often face. CAD software helps out in this aspect, as well, because architects can show local government officials exactly how a finished building will look.

The electronic age continues to grow and to offer new and more efficient forms of electronic trade and electronic commerce. As this evolution continues, it is no surprise that the online financial services industry is seeing both significant changes and new revenue potential. One of the players in the online financial services industry is E*Trade Financial Services. Launched in 1992, the company was a pioneer in online brokerage services. At its inception, E*Trades focus was on becoming Americas dominant deep-discount brokerage firm by fully automating the front and back-office trade processing function and maintaining its position as the low-cost provider. Today, E*Trade offers a diverse and integrated portfolio of services including deep-discount brokerage services, traditional banking services like checking and savings, and mortgage and equity services. E*Trade strives to provide a range of services that are consolidated under one website, to provide convenience, and to be accessible 24/7. E*Trade also provides the tools necessary to guide clients through their financial needs. E*Trade faces growing competition as the industry is facing self-destructive price-war and, thus to reduce the costs, undergoing huge consolidations. While the competition is tough, E*Trade has a strong presence and percentage of marketshare in the industry. The company has proven that it can attract customers and provide the information and tools that they require to manage their own portfolio. The self-directed investors and the individuals who want control of and access to their finances are the core customers of E*Trade, and the company caters to them in terms of products and services. Where will E*Trade go from here? Should the company continue to slash the fee and commission charges like others do, or should it diversify its services and focus on core revenue generator of brokerage services? These questions are addressed in this paper as well as the current market position and the types of services that are offered. The paper provides a snapshot of what E*Trade is, what it does, and where it is going.

Emotion Recognition is of significance in the modern scenario. Among the many ways to perform it, one of them is through facial expression detection since it is a spontaneous arousal of mental state rather than a conscious effort. Sometimes emotions rule us in the form of the choices, actions and perceptions which are in turn, a result of the emotions we are overpowered by. Happiness, sadness, fear, disgust, anger, neutral and surprise are the seven basic emotions expressed by a human most frequently. In this period of automation and human computer interaction, it is a very difficult and tedious job to make the machines detect the emotions. Facial expressions are the medium through which emotions are shown. For one to detect the facial expression of a person, colour, orientation, lighting and posture play significant importance. Hence, the movements associated with eye, nose, lips etc. plays major role in differentiating the facial features. These facial features are then classified and compared through the trained data. In this paper, we have constructed a Convolution Neural Network (CNN) model and then recognised different emotions for a particular dataset. We have found the accuracy of the model and our main aim is to minimise the loss. We have made use of Adam’s optimizer and used loss function as sparse categorical crossentropy and activation function as softmax. The results which we have got are quite accurate and can be used for further research in this field.

PurposeThe purpose of this paper is to examine how the use of immersive virtual reality (IVR) impacts on the surprise aspects of designing.Design/methodology/approachThe empirical case is a new hospital in the UK wherein a CAVE (Cave Automatic Virtual Environment) type of an IVR environment was used performing six design review sessions during the bid preparation stage. Drawing from a former video-based study, the authors conducted follow-up discussions with the participants to access their perspectives on design surprises emerging from their engagement with the IVR. The study developed a reflective methodology, interviewing participants about their experiences of doing design in the immersive environment. Retrospective discussions were conducted in a data review format, through playing back video clips of the IVR design sessions and asking the participants to reflect on their IVR design experience and on design surprises emerging from their engagement with the IVR.FindingsThe findings indicate that IVRs, such as the CAVE, are not only enhancing existing understandings of design but also challenging the participants' understanding of the design as they experience the immersive version of it, provoking ruptures in current procedures and driving unanticipated changes to the design.Originality/valueThis qualitative study of surprise in design work using IVRs (for a real-life design project) brings new insights into emerging practices of designing using immersive technology, such as the CAVE.

Back in 2016, IDC forecast a ten-fold increase on business data processed globally by 2025. Combine this with increasing regulatory compliance and demand for quality data, then it is perhaps not a surprise to find that many businesses are feeling somewhat over-whelmed by the enormity of the data management and governance task they face. But, don’t despair, there is a compelling business case, both in terms of efficiency gains and tangible financial savings in adopting a strategy for centralising information governance and automating the management of your data. This paper will explore the emerging problem domain of data and look at the business case for use of automated data management tools to better prepare your organisation for the tsunami of data coming its way.

Automatic recognition of human affective state using speech has been the focus of the research world for more than two decades. In the present day, with multi-lingual countries like India and Europe, population are communicating in various languages. However, majority of the existing works have put forth different strategies to recognize affect from various databases, with each comprising single language recordings. There exists a great demand for affective systems to serve the context of mixed-language scenario. Hence, this work focusses on an effective methodology to recognize human affective state using speech samples from a mixed language framework. A unique cepstral and bi-spectral speech features derived from the speech samples classified using random forest (RF) are applied for the task. This work is first of its kind with the proposed approach validated and found to be effective on a self-recorded database with speech samples comprising from eleven various diverse Indian languages. Six different affective states of angry, fear, sad, neutral, surprise and happy are considered. Three affective models have been investigated in the work. The experimental results demonstrate the proposed feature combination in addition to data augmentation show enhanced affect recognition.

The human brain has the astonishing capacity of integrating streams of sensory information from the environment and forming predictions about future events in an automatic way. Despite being initially developed for visual processing, the bulk of predictive coding research has subsequently focused on auditory processing, with the famous mismatch negativity signal as possibly the most studied signature of a surprise or prediction error (PE) signal. Auditory PEs are present during various consciousness states. Intriguingly, their presence and characteristics have been linked with residual levels of consciousness and return of awareness. In this review we first give an overview of the neural substrates of predictive processes in the auditory modality and their relation to consciousness. Then, we focus on different states of consciousness - wakefulness, sleep, anesthesia, coma, meditation, and hypnosis - and on what mysteries predictive processing has been able to disclose about brain functioning in such states. We review studies investigating how the neural signatures of auditory predictions are modulated by states of reduced or lacking consciousness. As a future outlook, we propose the combination of electrophysiological and computational techniques that will allow investigation of which facets of sensory predictive processes are maintained when consciousness fades away.

Automating the analysis of facial expressions of individuals is one of the challenging tasks in opinion mining. In this work, the proposed technique for identifying the face of an individual and the emotions, if present from a live camera. Expression detection is one of the sub-areas of computer visions which is capable of finding a person from a digital image and identify the facial expression which are the key factors of nonverbal communication. Complexity involves mainly in two cases viz., 1)if more than one emotions coexist on a face. 2) expressing same emotion between individuals is not exactly same. Our aim was to make the processes automatic by identify the expressions of people in a live video. In this system OpenCV library containing face recognizer module for detecting the face and for training the model. It was able to identify the seven different expressions with 75-85% accuracy. The expressions identified are happy, sadness, disgust, fear, anger, surprise and neutral. The this an image frame from is captured from the video, locate the face in it and then test it against the training data for predicting the emotion and update the result. This process is continued till the video input exists. On top of this the data set for training should be in such a way that , it prediction should be independent of age, gender, skin color orientation of the human face in the video and also the lamination around the subject of reference

Resumen: El flash automático se ha convertido en una técnica acomodaticia que tiene cierto efecto liberador: parece permitirle al fotógrafo relajar su servidumbre ante la luz natural mientras promete un instante congelado desligado de la duración. Es por eso por lo que el flash perturba para siempre la mirada fotográfica. Proclive a la sorpresa y retador de la oscuridad, es un dispositivo indiscreto que facilita el registro y a veces sortea la temporalidad que exige la formulación estética en ese acto de registro de lo real. Contra este automatismo mental aparece el fotolibro C.E.N.S.U.R.A. de Julián Barón (2011) en el que utiliza el flash para arrojar luz en condiciones de oscuridad simbólica. El fotógrafo se sirve de la sobreexposición de la imagen para ironizar sobre la sobreexposición mediática de las figuras políticas y consigue deslumbrar tanto a los fotografiados como al espectador. Cada fogonazo nos distancia, desnaturaliza la imagen y nos advierte de la inercia visual. Sus fotografías podrían parecer imágenes quemadas, fotos para descartar. Pero antes de poder ignorarlas Barón ya nos ha despertado. Abstract: The automatic flash has become a comfortable technique that has liberating effect: it seems to allow the photographer to relax with natural light while promising a frozen instant detached from the duration. It is for this reason that the flash disturbs forever the photographic gaze. Prone to surprise and challenger of darkness, it is an intrusive device that makes the registration of reality easier and sometimes avoids the temporality that the act of registration of the real demands. Against this mental automatism the photobook C.E.N.S.U.R.A., by Julian Baron (2011) uses the flash to illuminate dark conditions displayed symbolically. Photographer uses the overexposure of the photo to satirize about media overexposure of political figures and blinding both the photographed and the viewer. Each flash sets distance, distorts the image and warns us of the visual inertia. His photographs may appear burnt images, photos to reject. But before we can ignore them Baron has already awakened us. Palabras clave: flash; sobreexposición; fotografía documental; fotolibro; corrupción; política. Keywords: Flash; Overexposure; Documentary Photography; Photobook; Politics

Did you see the videos where the cat jumps in the box, attacks the printer or tries to leap from the snowy car? As the availability and popularity of watching videos on the Internet has risen rapidly in the last decade, so has the prevalence of cat videos. Although the cuteness of YouTube videos of cats might make them appear frivolous, in fact there is a significant irony at their heart: online cat videos enable corporate surveillance of viewers, yet viewers seem just as oblivious to this as the cats featured in the videos. Towards this end, I consider the distinguishing features of contemporary cat videos, focusing particularly on their narrative structure and mode of observation. I compare cat videos with the “Aesthetic of Astonishment” of early cinema and with dog videos, to explore the nexus of a spectatorship of thrills and feline performance. In particular, I highlight a unique characteristic of these videos: the cats’ unselfconsciousness. This, I argue, is rare in a consumer culture dominated by surveillance, where we are constantly aware of the potential for being watched. The unselfconsciousness of cats in online videos offers viewers two key pleasures: to imagine the possibility of freedom from surveillance, and to experience the power of administering surveillance as unproblematic. Ultimately, however, cat videos enable viewers to facilitate our own surveillance, and we do so with the gleeful abandon of a kitten jumping in a tissue box What Distinguishes Cat Videos? Cat videos have become so popular, that they generate millions of views on YouTube, and the Walker Art Center in Minneapolis now holds an annual Internet Cat Video Festival. If you are not already a fan of the genre, the Walker’s promotional videos for the festival (2013 and 2012) provide an entertaining introduction to the celebrities (Lil Bub, Grumpy Cat, and Henri), canon (dancing cats, surprised cat, and cat falling off counter), culture and commodities of online cat videos, despite repositioning them into a public exhibition context. Cats are often said to dominate the internet (Hepola), despite the surprise of Internet inventor Tim Berners-Lee. Domestic cats are currently the most popular pet in the world (Driscoll), however they are already outnumbered by smartphones. Cats have played various roles in our societies, cultures and imaginations since their domestication some 8-10,000 years ago (Driscoll). A potent social and cultural symbol in mythology, art and popular culture, the historical and cultural significance of cats is complex, shifting and often contradictory. They have made their way across geographic, cultural and class boundaries, and been associated with the sacred and the occult, femininity and fertility, monstrosity and domesticity (Driscoll, Rogers). Cats are figured as both inscrutable and bounteously polysemic. Current representations of cats, including these videos, seem to emphasise their sociability with humans, association with domestic space, independence and aloofness, and intelligence and secretiveness. I am interested in what distinguishes the pleasures of cat videos from other manifestations of cats in folklore and popular culture such as maneki-neko and fictional cats. Even within Internet culture, I’m focusing on live action cat videos, rather than lolcats, animated cats, or dog videos, though these are useful points of contrast. The Walker’s cat video primer also introduces us to the popular discourses accounting for the widespread appeal of these videos: cats have global reach beyond language, audiences can project their own thoughts and feelings onto cats, cats are cute, and they make people feel good. These discourses circulate in popular conversation, and are promoted by YouTube itself. These suggestions do not seem to account for the specific pleasures of cat videos, beyond the predominance of cats in culture more broadly. The cat videos popular on the Internet tend to feature several key characteristics. They are generated by users, shot on a mobile device such as a phone, and set in a domestic environment. They employ an observational mode, which Bill Nichols has described as a noninterventionist type of documentary film associated with traditions of direct cinema and cinema verite, where form and style yields to the profilmic event. In the spirit of their observational mode, cat videos feature minimal sound and language, negligible editing and short duration. As Leah Shafer notes, cat videos record, “’live’ events, they are mostly shot by ‘amateurs’ with access to emerging technologies, and they dramatize the familiar.” For example, the one-minute video Cat vs Printer comprises a single, hand-held shot observing the cat, and the action is underlined by the printer’s beep and the sounds created by the cat’s movements. The patterned wallpaper suggests a domestic location, and the presence of the cat itself symbolises domesticity. These features typically combine to produce impressions of universality, intimacy and spontaneity – impressions commonly labelled ‘cute’. The cat’s cuteness is also embodied in its confusion and surprise at the printer’s movements: it is a simpleton, and we can laugh at its lack of understanding of the basic appurtenances of the modern world. Cat videos present minimalist narratives, focused on an instant of spectacle. A typical cat video establishes a state of calm, then suddenly disrupts it. The cat is usually the active agent of change, though chance also frequently plays a significant role. The pervasiveness of this structure means that viewers familiar with the form may even anticipate a serendipitous event. The disruption prompts a surprising or comic effect for the viewer, and this is a key part of the video’s pleasure. For example, in Cat vs Printer, the establishing scenario is the cat intently watching the printer, a presumably quotidian scene, which escalates when the cat begins to smack the moving paper. The narrative climaxes in the final two seconds of the video, when the cat strikes the paper so hard that the printer tray bounces, and the surprised cat falls off its stool. The video ends abruptly. This disruption also takes the viewer by surprise (at least it does the first time you watch it). The terse ending, and lack of resolution or denouement, encourages the viewer to replay the video. The minimal narrative effectively builds expectation for a moment of surprise. These characteristics of style and form typify a popular body of work, though there is variation, and the millions of cat videos on YouTube might be best accounted for by various subgenres. The most popular cat videos seem to have the most sudden and striking disruptions as well as the most abrupt endings. They seem the most dramatic and spontaneous. There are also thousands of cat videos with minor disruptions, and some with brazenly staged events. Increasingly, there is obvious use of postproduction techniques, including editing and music. A growing preponderance of compilations attests to the videos’ “spreadability” (Jenkins, Ford, and Green). The conventional formal structure of these videos effectively homogenises the cat, as if there is a single cat performing in millions of videos. Indeed, YouTube comments often suggest a likeness between the cat represented in the video and the commenter’s own cat. In this sense, the cuteness so readily identified has an homogenising effect. It also has the effect of distinguishing cats as a species from other animals, as it confounds common conceptions of all (other) animals as fundamentally alike in their essential difference from the human (animal). Cat videos are often appreciated for what they reveal about cats in general, rather than for each cat’s individuality. In this way, cat videos symbolise a generic feline cuteness, rather than identify a particular cat as cute. The cats of YouTube act “as an allegory for all the cats of the earth, the felines that traverse myths and religions, literature and fables” (Derrida 374). Each cat swiping objects off shelves, stealing the bed of a dog, leaping onto a kitchen bench is the paradigmatic cat, the species exemplar. Mode of Spectatorship, Mode of Performance: Cat Videos, Film History and Dog Videos Cat videos share some common features with early cinema. In his analysis of the “Aesthetic of Astonishment,” which dominated films until about 1904, film historian Tom Gunning argues that the short, single shot films of this era are characterised by exciting audience curiosity and fulfilling it with visual shocks and thrills. It is easy to see how this might describe the experience of watching Cat vs Printer or Thomas Edison’s Electrocution of an Elephant from 1903. The thrill of revelation at the end of Cat vs Printer is more significant than the minimal narrative it completes, and the most popular videos seem to heighten this shock. Further, like a rainy afternoon spent clicking the play button on a sequence of YouTube’s suggested videos, these early short films were also viewed in variety format as a series of attractions. Indeed, as Leah Shafer notes, some of these early films even featured cats, such as Professor Welton’s Boxing Cats from 1894. Each film offered a moment of spectacle, which thrilled the modern viewer. Gunning argues that these early films are distinguished by a particular relationship between spectator and film. They display blatant exhibitionism, and address their viewer directly. This highlights the thrill of disruption: “The directness of this act of display allows an emphasis on the thrill itself – the immediate reaction of the viewer” (Gunning “Astonishment” 122). This is produced both within the staging of the film itself as players look directly at the camera, and by the mode of exhibition, where a showman primes the audience verbally for a moment of revelation. Importantly, Gunning argues that this mode of spectatorship differs from how viewers watch narrative films, which later came to dominate our film and television screens: “These early films explicitly acknowledge their spectator, seeming to reach outwards and confront. Contemplative absorption is impossible here” (“Astonishment” 123). Gunning’s emphasis on a particular mode of spectatorship is significant for our understanding of pet videos. His description of early cinema has numerous similarities with cat videos, to be sure, but seems to describe more precisely the mode of spectatorship engendered by typical dog videos. Dog videos are also popular online, and are marked by a mode of performance, where the dogs seem to present self-consciously for the camera. Dogs often appear to look at the camera directly, although they are probably actually reading the eyes of the camera operator. One of the most popular dog videos, Ultimate dog tease, features a dog who appears to look into the camera and engage in conversation with the camera operator. It has the same domestic setting, mobile camera and short duration as the typical cat video, but, unlike the cat attacking the printer, this dog is clearly aware of being watched. Like the exhibitionistic “Cinema of Attractions,” it is marked by “the recurring look at the camera by [canine] actors. This action which is later perceived as spoiling the realistic illusion of the cinema, is here undertaken with brio, establishing contact with the audience” (Gunning “Attractions” 64). Dog videos frequently feature dogs performing on command, such as the countless iterations of dogs fetching beverages from refrigerators, or at least behaving predictably, such as dogs jumping in the bath. Indeed, the scenario often seems to be set up, whereas cat videos more often seem to be captured fortuitously. The humour of dog videos often comes from the very predictability of their behaviour, such as repeatedly fetching or rolling in mud. In an ultimate performance of self-consciousness, dogs even seem to act out guilt and shame for their observers. Similarly, baby videos are also popular online and were popular in early cinema, and babies also tend to look at the camera directly, showing that they are aware of bring watched. This emphasis on exhibitionism and modes of spectatorship helps us hone in on the uniqueness of cat videos. Unlike the dogs of YouTube, cats typically seem unaware of their observers; they refuse to look at the camera and “display their visibility” (Gunning “Attractions,” 64). This fits with popular discourses of cats as independent and aloof, untrainable and untameable. Cat videos employ a unique mode of observation: we observe the cat, who is unencumbered by our scrutiny. Feline Performance in a World of Pervasive Surveillance This is an aesthetic of surveillance without inhibition, which heightens the impressions of immediacy and authenticity. The very existence of so many cat videos online is a consequence of camera ubiquity, where video cameras have become integrated with common communications devices. Thousands of cameras are constantly ready to capture these quotidian scenes, and feed the massive economy of user-generated content. Cat videos are obviously created and distributed by humans, a purposeful labour to produce entertainment for viewers. Cat videos are never simply a feline performance, but a performance of human interaction with the cat. The human act of observation is an active engagement with the other. Further, the act of recording is a performance of wielding the camera, and often also through image or voice. The cat video is a companion performance, which is part of an ongoing relationship between that human and that other animal. It carries strong associations with regimes of epistemological power and physical domination through histories of visual study, mastery and colonisation. The activity of the human creator seems to contrast with the behaviour of the cat in these videos, who appears unaware of being watched. The cats’ apparent uninhibited behaviour gives the viewer the illusion of voyeuristically catching a glimpse of a self-sufficient world. It carries connotations of authenticity, as the appearance of interaction and intervention is minimised, like the ideal of ‘fly on the wall’ documentary (Nichols). This lack of self-consciousness and sense of authenticity are key to their reception as ‘cute’ videos. Interestingly, one of the reasons that audiences may find this mode of observation so accessible and engaging, is because it heeds the conventions of the fourth wall in the dominant style of fiction film and television, which presents an hermetically sealed diegesis. This unselfconscious performance of cats in online videos is key, because it embodies a complex relationship with the surveillance that dominates contemporary culture. David Lyon describes surveillance as “any focused attention to personal details for the purposes of influence, management, or control” (“Everyday” 1) and Mark Andrejevic defines monitoring as “the collection of information, with or without the knowledge of users, that has actual or speculative economic value” (“Enclosure” 297). We live in an environment where social control is based on information, collected and crunched by governments, corporations, our peers, and ourselves. The rampancy of surveillance has increased in recent decades in a number of ways. Firstly, technological advances have made the recording, sorting and analysis of data more readily available. Although we might be particularly aware of the gaze of the camera when we stand in line at the supermarket checkout or have an iPhone pointed at our face, many surveillance technologies are hidden points of data collection, which track our grocery purchases, text messages to family and online viewing. Surveillance is increasingly mediated through digital technologies. Secondly, surveillance data is becoming increasingly privatised and monetised, so there is strengthening market demand for consumer information. Finally, surveillance was once associated chiefly with institutions of the state, or with corporations, but the process is increasingly “lateral,” involving peer-to-peer surveillance and self-surveillance in the realms of leisure and domestic life (Andrejevic “Enclosure,” 301). Cat videos occupy a fascinating position within this context of pervasive surveillance, and offer complex thrills for audiences. The Unselfconscious Pleasures of Cat Videos Unselfconsciousness of feline performance in cat videos invites contradictory pleasures. Firstly, cat videos offer viewers the fantasy of escaping surveillance. The disciplinary effect of surveillance means that we modify our behaviour based on a presumption of constant observation; we are managed and manipulated as much by ourselves as we are by others. This discipline is the defining condition of industrial society, as described by Foucault. In an age of traffic cameras, Big Brother, CCTV, the selfie pout, and Google Glass, modern subjects are oppressed by the weight of observation to constantly manage their personal performance. Unselfconsciousness is associated with privacy, intimacy, naivety and, increasingly, with impossibility. By allowing us to project onto the experience of their protagonists, cat videos invite us to imagine a world where we are not constantly aware of being watched, of being under surveillance by both human beings and technology. This projection is enabled by discourse, which constructs cats as independent and aloof, a libertarian ideal. It provides the potential for liberation from technologized social surveillance, and from the concomitant self-discipline of our docile bodies. The uninhibited performance of cats in online videos offers viewers the prospect that it is possible to live without the gaze of surveillance. Through cat videos, we celebrate the untameable. Cats model a liberated uninhibitedness viewers can only desire. The apparent unselfconsciousness of feline performance is analogous to Derrida’s conception of animal nakedness: the nudity of animals is significant, because it is a key feature which distinguishes them from humans, but at the same time there is no sense of the concept of nakedness outside of human culture. Similarly, a performance uninhibited by observation seems beyond humans in contemporary culture, and implies a freedom from social expectations, but there is also little suggestion that cats would act differently if they knew they were observed. We interpret cats’ independence as natural, and take pleasure in cats’ naturalness. This lack of inhibition is cute in the sense that it is attractive to the viewer, but also in the sense that it is naïve to imagine a world beyond surveillance, a freedom from being watched. Secondly, we take pleasure in the power of observing another. Surveillance is based on asymmetrical regimes of power, and the position of observer, recorder, collator is usually more powerful than the subject of their gaze. We enjoy the pleasure of wielding the unequal gaze, whether we hit the “record” button ourselves or just the “play” button. In this way, we celebrate our capacity to contain the cat, who has historically proven conceptually uncontainable. Yet, the cats’ unselfconsciousness means we can absolve ourselves of their exploitation. Looking back at the observer, or the camera, is often interpreted as a confrontational move. Cats in videos do not confront their viewer, do not resist the gaze thrown on them. They accept the role of subject without protest; they perform cuteness without resistance. We internalise the strategies of surveillance so deeply that we emulate its practices in our intimate relationships with domestic animals. Cats do not glare back at us, accusingly, as dogs do, to remind us we are exerting power over them. The lack of inhibition of cats in online videos means that we can exercise the power of surveillance without confronting the oppression this implies. Cat videos offer the illusion of watching the other without disturbing it, brandishing the weapon without acknowledging the violence of its impact. There is a logical tension between these dual pleasures of cat videos: we want to escape surveillance, while exerting it. The Work of Cat Videos in ‘Liquid Surveillance’ These contradictory pleasures in fact speak to the complicated nature of surveillance in the era of “produsage,” when the value chain of media has transformed along with traditional roles of production and consumption (Bruns). Christian Fuchs argues that the contemporary media environment has complicated the dynamics of surveillance, and blurred the lines between subject and object (304). We both create and consume cat videos; we are commodified as audience and sold on as data. YouTube is the most popular site for sharing cat videos, and a subsidiary of Google, the world’s most visited website and a company which makes billions of dollars from gathering, collating, storing, assessing, and trading our data. While we watch cat videos on YouTube, they are also harvesting information about our every click, collating it with our other online behaviour, targeting ads at us based on our specific profile, and also selling this data on to others. YouTube is, in fact, a key tool of what David Lyon calls “liquid surveillance” after the work of Zygmunt Bauman, because it participates in the reduction of millions of bodies into data circulating at the service of consumer society (Lyon “Liquid”). Your views of cats purring and pouncing are counted and monetised, you are profiled and targeted for further consumption. YouTube did not create the imbalance of power implied by these mechanisms of surveillance, but it is instrumental in automating, amplifying, and extending this power (Andrejevic “Lateral,” 396). Zygmunt Bauman argues that in consumer society we are increasingly seduced to willingly subject ourselves to surveillance (Lyon “Liquid”), and who better than the cute kitty to seduce us? Our increasingly active role in “produsage” media platforms such as YouTube enables us to perform what Andrejevic calls “the work of being watched” (“Work”). When we upload, play, view, like and comment on cat videos, we facilitate our own surveillance. We watch cat videos for the contradictory pleasures they offer us, as we navigate and negotiate the overwhelming surveillance of consumer society. Cat videos remind us of the perpetual possibility of observation, and suggest the prospect of escaping it. 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