The enterprise bus matrix is a data warehouse planning tool and model created by Ralph Kimball, and is part of the data warehouse bus architecture. The matrix is the logical definition of one of the core concepts of Kimball's approach to dimensional modeling conformed dimension. The bus matrix defines part of the data warehouse bus architecture and is an output of the business requirements phase in the Kimball lifecycle. It is applied in the following phases of dimensional modeling and development of the data warehouse. The matrix can be categorized as a hybrid model, being part technical design tool, part project management tool and part communication tool == Background == The need for an enterprise bus matrix stems from the way one goes about creating the overall data warehouse environment. Historically there have been two approaches: a structured, centralized and planned approach and a more loosely defined, department specific approach, in which solutions are developed in a more independent matter. Autonomous projects can result in a range of isolated stove pipe data marts. Naturally each approach has its issues; the visionary approach often struggles with long delivery cycles and lack of reaction time as needs emerge and scope issues arise. On the other hand, the development of isolated data marts leads to stovepipe systems that lack synergy in development. Over time this approach will lead to a so-called data-mart-in-a-box architecture where interoperability and lack of cohesion is apparent, and can hinder the realization of an overall enterprise data warehouse. As an attempt to handle this issue, Ralph Kimball introduced the enterprise bus. == Description == The bus matrix purpose is one of high abstraction and visionary planning on the data warehouse architectural level. By dictating coherency in the development and implementation of an overall data warehouse the bus architecture approach enables an overall vision of the broader enterprise integration and consistency while at the same time dividing the problem into more manageable parts – all in a technology and software independent manner. The bus matrix and architecture builds upon the concept of conformed dimensions, creating a structure of common dimensions that ideally can be used across the enterprise by all business processes related to the data warehouse and the corresponding fact tables from which they derive their context. According to Kimball and Margy Ross's article “Differences of Opinion” "The Enterprise Data warehouse built on the bus architecture ”identifies and enforces the relationship between business process metrics (facts) and descriptive attributes (dimensions)”. The concept of a bus is well known in the language of information technology, and is what reflects the conformed dimension concept in the data warehouse, creating the skeletal structure where all parts of a system connect, ensuring interoperability and consistency of data, and at the same time considers future expansion. This makes the conformed dimensions act as the integration ‘glue’, creating a robust backbone of the enterprise Data Warehouse.
Vero (app)
Vero (stylized as VERO) is a social media platform and mobile app company. Vero markets itself as a social network free from advertisements, data mining and algorithms. == History == The app was founded by French-Lebanese billionaire Ayman Hariri who is the son of former Lebanese prime minister Rafic Hariri. The name is taken from the Italian word for true. The app launched officially in 2015 as an alternative to Facebook and their popular photo-blogging app Instagram. Within weeks of its release the app surged in popularity although users expressed mixed reports with some feeling confused about how the app worked. Cosplayers were early to adopt the app as their photo-sharing platform of choice, favouring the app's pinch and zoom magnification feature over Instagram's zoom feature. Other creative communities soon followed, and the app became popular with niche groups of makeup artists, tattoo artists, and skateboarders. In March 2018, Vero's popularity surged, partly helped by an exodus from Facebook and Instagram following the Cambridge Analytica data scandal. In the wake of the scandal, Vero devised an advertising campaign aimed at defected Facebook and Instagram users, hoping the app's policies and privacy settings would assuage concerns over sharing personal information on the internet. Within the space of one week, the app went from being a small service, akin to Ello or Peach, to being the most downloaded app in eighteen countries. In December 2020, Vero released its most significant update to date, Vero 2.0 which introduced new features including voice and video calls, game and app posts and bookmarks, and refinements to the UI. In October 2021, Vero introduced their Desktop app (beta) with multiple post options and a re-sizable multi-column feed. == Concept and funding == Vero's content feed resembles Instagram's although users can share a wider variety of content and the app has a chronological content feed whereas Facebook and Instagram's feeds are algorithm based. Vero's business plan is also distinct from similar social media apps. Whereas its competitors such as Facebook or Instagram make money from in-app advertising revenue and the sale of user data, Vero's business plan was to invite the first one million users to use the app for free then charge any subsequent users a subscription fee. The app was entirely funded by its founder and generated additional revenues by charging affiliate fees when someone buys a product they find on Vero. == Awards == Vero was recognized at the 2021 Webbys, being named as an Honoree in the Best Visual Design - Aesthetic Category. == Controversies == === Privacy === Vero has faced some criticism over the wording of their manifesto, in particular, the statement "Vero only collects the data we believe is necessary to provide users with a great experience and to ensure the security of their accounts." Because this policy does not explicitly state that the app will not sell data on to third parties some users fear that the need to monetise the app through data might prove too tempting. Users have also complained about not being able to delete their accounts. While this was never the case, the option was hidden deep in the app's settings. === Russian involvement === Although Vero remains transparent about the app's Russian development team, they have been caught up in concerns about Russian interference on social media platforms. The app's founder Ayman Hariri was quick to dismiss the remarks as xenophobic and defend the nationality of his employees, stating in an interview with Time Magazine; "At the end of the day, where people are from is really not how anybody should judge anyone". === Criticism of the app's founder === Until 2013, Vero's founder Ayman Harari was deputy CEO and chairman of Saudi Oger, the Saudi Arabian construction company which collapsed in 2017, mired by controversies over the welfare and treatment of their employees. However, Hariri is quick to point out that he divested from the firm in 2014 and the worker's rights violations occurred after he had left the company.
NNDB
The Notable Names Database (NNDB) is an online database of biographical details of over 40,000 people. Soylent Communications, a sole proprietorship that also hosted the later defunct Rotten.com, describes NNDB as an "intelligence aggregator" of noteworthy persons, highlighting their interpersonal connections. The Rotten.com domain was registered in 1996 by former Apple and Netscape software engineer Thomas E. Dell, who was also known by his internet alias, "Soylent". == Entries == Each entry has an executive summary followed by a brief narrative about their life. It also lists date and cause of death if deceased. Businesspeople and government officials are listed with chronologies of their posts, positions, and board memberships. As of 2022, the site is no longer updated. == NNDB Mapper == The NNDB Mapper, a visual tool for exploring connections between people, was made available in May 2008. It required Adobe Flash 7.
Digital supply chain security
Digital supply chain security refers to efforts to enhance cyber security within the supply chain. It is a subset of supply chain security and is focused on the management of cyber security requirements for information technology systems, software and networks, which are driven by threats such as cyber-terrorism, malware, data theft and the advanced persistent threat (APT). Typical supply chain cyber security activities for minimizing risks include buying only from trusted vendors, disconnecting critical machines from outside networks, and educating users on the threats and protective measures they can take. The acting deputy undersecretary for the National Protection and Programs Directorate for the United States Department of Homeland Security, Greg Schaffer, stated at a hearing that he is aware that there are instances where malware has been found on imported electronic and computer devices sold within the United States. == Examples of supply chain cyber security threats == Network or computer hardware that is delivered with malware installed on it already. Malware that is inserted into software or hardware (by various means) Vulnerabilities in software applications and networks within the supply chain that are discovered by malicious hackers Counterfeit computer hardware == Related U.S. government efforts == Comprehensive National Cyber Initiative Defense Procurement Regulations: Noted in section 806 of the National Defense Authorization Act International Strategy for Cyberspace: White House lays out for the first time the U.S.’s vision for a secure and open Internet. The strategy outlines three main themes: diplomacy, development and defense. Diplomacy: The strategy sets out to “promote an open, interoperable, secure and reliable information and communication infrastructure” by establishing norms of acceptable state behavior built through consensus among nations. Development: Through this strategy the government seeks to “facilitate cybersecurity capacity-building abroad, bilaterally and through multilateral organizations.” The objective is to protect the global IT infrastructure and to build closer international partnerships to sustain open and secure networks. Defense: The strategy calls out that the government “will ensure that the risks associated with attacking or exploiting our networks vastly outweigh the potential benefits” and calls for all nations to investigate, apprehend and prosecute criminals and non-state actors who intrude and disrupt network systems. == Related government efforts around the world == Common Criteria offers with Evaluation Assurance Level(EAL) 4 an opportunity to evaluate all relevant aspects of the digital supply chain security like the product, the development environment, IT systems security, the processes in human resource, physical security and with the module ALC_FLR.3 (Systematic Flaw Remediation) also security update processes and methods even by physical site visits. EAL 4 is mutually recognized in countries that signed the SOGIS-MRA and up to ELA 2 in countries the signed the CCRA but including ALC_FRL.3. Russia: Russia has had non-disclosed functionality certification requirements for several years and has recently initiated the National Software Platform effort based on open-source software. This reflects the apparent desire for national autonomy, reducing dependence on foreign suppliers. India: Recognition of supply chain risk in its draft National Cybersecurity Strategy. Rather than targeting specific products for exclusion, it is considering Indigenous Innovation policies, giving preferences to domestic ITC suppliers in order to create a robust, globally competitive national presence in the sector. China: Deriving from goals in the 11th Five Year Plan (2006–2010), China introduced and pursued a mix of security-focused and aggressive Indigenous Innovation policies. China is requiring an indigenous innovation product catalog be used for its government procurement and implementing a Multi-level Protection Scheme (MLPS) which requires (among other things) product developers and manufacturers to be Chinese citizens or legal persons, and product core technology and key components must have independent Chinese or indigenous intellectual property rights. == Private sector efforts == SLSA (Supply-chain Levels for Software Artifacts) is an end-to-end framework for ensuring the integrity of software artifacts throughout the software supply chain. The requirements are inspired by Google’s internal "Binary Authorization for Borg" that has been in use for the past 8+ years and that is mandatory for all of Google's production workloads. The goal of SLSA is to improve the state of the industry, particularly open source, to defend against the most pressing integrity threats. With SLSA, consumers can make informed choices about the security posture of the software they consume. == Other references == Financial Sector Information Sharing and Analysis Center International Strategy for Cyberspace (from the White House) NSTIC SafeCode Whitepaper Archived 2013-10-21 at the Wayback Machine Trusted Technology Forum and the Open Trusted Technology Provider Standard (O-TTPS) Archived 2012-01-03 at the Wayback Machine Cyber Supply Chain Security Solution Malware Implants in Firmware Supply Chain in the Software Era INFORMATION AND COMMUNICATIONS TECHNOLOGY SUPPLY CHAIN RISK MANAGEMENT TASK FORCE: INTERIM REPORT
Insider threat
An insider threat is a perceived threat to an organization that comes from people within the organization, such as employees, former employees, contractors or business associates, who have inside information concerning the organization's security practices, data and computer systems. The threat may involve fraud, the theft of confidential or commercially valuable information, the theft of intellectual property, or the sabotage of computer systems. == Overview == Insiders may have accounts giving them legitimate access to computer systems, with this access originally having been given to them to serve in the performance of their duties; these permissions could be abused to harm the organization. Insiders are often familiar with the organization's data and intellectual property as well as the methods that are in place to protect them. This makes it easier for the insider to circumvent any security controls of which they are aware. Physical proximity to data means that the insider does not need to hack into the organizational network through the outer perimeter by traversing firewalls; rather they are in the building already, often with direct access to the organization's internal network. Insider threats are harder to defend against than attacks from outsiders, since the insider already has legitimate access to the organization's information and assets. An insider may attempt to steal property or information for personal gain or to benefit another organization or country. The threat to the organization could also be through malicious software left running on its computer systems by former employees, a so-called logic bomb. == Research == Insider threat is an active area of research in academia and government. The CERT Coordination Center at Carnegie-Mellon University maintains the CERT Insider Threat Center, which includes a database of more than 850 cases of insider threats, including instances of fraud, theft and sabotage; the database is used for research and analysis. CERT's Insider Threat Team also maintains an informational blog to help organizations and businesses defend themselves against insider crime. The Threat Lab and Defense Personnel and Security Research Center (DOD PERSEREC) has also recently emerged as a national resource within the United States of America. The Threat Lab hosts an annual conference, the SBS Summit. They also maintain a website that contains resources from this conference. Complimenting these efforts, a companion podcast was created, Voices from the SBS Summit. In 2022, the Threat Lab created an interdisciplinary journal, Counter Insider Threat Research and Practice (CITRAP) which publishes research on insider threat detection. === Findings === In the 2022 Data Breach Investigations Report (DBIR), Verizon found that 82% of breaches involved the human element, noting that employees continue to play a leading role in cybersecurity incidents and breaches. According to the UK Information Commissioners Office, 90% of all breaches reported to them in 2019 were the result of mistakes made by end users. This was up from 61% and 87% over the previous two years. A 2018 whitepaper reported that 53% of companies surveyed had confirmed insider attacks against their organization in the previous 12 months, with 27% saying insider attacks have become more frequent. A report published in July 2012 on the insider threat in the U.S. financial sector gives some statistics on insider threat incidents: 80% of the malicious acts were committed at work during working hours; 81% of the perpetrators planned their actions beforehand; 33% of the perpetrators were described as "difficult" and 17% as being "disgruntled". The insider was identified in 74% of cases. Financial gain was a motive in 81% of cases, revenge in 23% of cases, and 27% of the people carrying out malicious acts were in financial difficulties at the time. The US Department of Defense Personnel Security Research Center published a report that describes approaches for detecting insider threats. Earlier it published ten case studies of insider attacks by information technology professionals. Cybersecurity experts believe that 38% of negligent insiders are victims of a phishing attack, whereby they receive an email that appears to come from a legitimate source such as a company. These emails normally contain malware in the form of hyperlinks. == Typologies and ontologies == Multiple classification systems and ontologies have been proposed to classify insider threats. Traditional models of insider threat identify three broad categories: Malicious insiders, which are people who take advantage of their access to inflict harm on an organization; Negligent insiders, which are people who make errors and disregard policies, which place their organizations at risk; and Infiltrators, who are external actors that obtain legitimate access credentials without authorization. == Criticisms == Insider threat research has been criticized. Critics have argued that insider threat is a poorly defined concept. Forensically investigating insider data theft is notoriously difficult, and requires novel techniques such as stochastic forensics. Data supporting insider threat is generally proprietary (i.e., encrypted data). Theoretical/conceptual models of insider threat are often based on loose interpretations of research in the behavioral and social sciences, using "deductive principles and intuitions of subject matter expert." Adopting sociotechnical approaches, researchers have also argued for the need to consider insider threat from the perspective of social systems. Jordan Schoenherr said that "surveillance requires an understanding of how sanctioning systems are framed, how employees will respond to surveillance, what workplace norms are deemed relevant, and what ‘deviance’ means, e.g., deviation for a justified organization norm or failure to conform to an organizational norm that conflicts with general social values." By treating all employees as potential insider threats, organizations might create conditions that lead to insider threats. == Sector-specific concerns == === Healthcare === The healthcare industry faces particularly acute insider threat risks due to the large number of workforce members who require access to sensitive patient records for legitimate clinical purposes. The U.S. Department of Health and Human Services has identified unauthorized access by insiders, including workforce snooping on patient records and theft of protected health information for identity fraud, as a persistent enforcement concern. The Health Insurance Portability and Accountability Act (HIPAA) Security Rule addresses insider threats through several administrative safeguards, including workforce security procedures requiring covered entities to implement policies for authorizing and supervising workforce members who work with electronic protected health information, as well as termination procedures to revoke access when employment ends (45 CFR 164.308(a)(3)). The rule also requires audit controls to record and examine information system activity (45 CFR 164.312(b)), enabling detection of unauthorized access by insiders. The December 2024 Notice of proposed rulemaking (NPRM) to overhaul the HIPAA Security Rule would strengthen insider threat defenses by mandating role-based access controls, requiring notification of relevant workforce members within 24 hours of any changes to access privileges, and requiring regular review of audit logs to detect anomalous access patterns.
Labeled data
Labeled data is a group of samples that have been tagged with one or more labels. Labeling typically takes a set of unlabeled data and augments each piece of it with informative tags called judgments. For example, a data label might indicate whether a photo contains a horse or a cow, which words were uttered in an audio recording, what type of action is being performed in a video, what the topic of a news article is, what the overall sentiment of a tweet is, or whether a dot in an X-ray is a tumor. Labels can be obtained by having humans make judgments about a given piece of unlabeled data. Labeled data is significantly more expensive to obtain than the raw unlabeled data. The quality of labeled data directly influences the performance of supervised machine learning models in operation, as these models learn from the provided labels. == Crowdsourced labeled data == In 2006, Fei-Fei Li, the co-director of the Stanford Human-Centered AI Institute, initiated research to improve the artificial intelligence models and algorithms for image recognition by significantly enlarging the training data. The researchers downloaded millions of images from the World Wide Web and a team of undergraduates started to apply labels for objects to each image. In 2007, Li outsourced the data labeling work on Amazon Mechanical Turk, an online marketplace for digital piece work. The 3.2 million images that were labeled by more than 49,000 workers formed the basis for ImageNet, one of the largest hand-labeled database for outline of object recognition. == Automated data labelling == After obtaining a labeled dataset, machine learning models can be applied to the data so that new unlabeled data can be presented to the model and a likely label can be guessed or predicted for that piece of unlabeled data. == Challenges == === Data-driven bias === Algorithmic decision-making is subject to programmer-driven bias as well as data-driven bias. Training data that relies on bias labeled data will result in prejudices and omissions in a predictive model, despite the machine learning algorithm being legitimate. The labeled data used to train a specific machine learning algorithm needs to be a statistically representative sample to not bias the results. For example, in facial recognition systems underrepresented groups are subsequently often misclassified if the labeled data available to train has not been representative of the population,. In 2018, a study by Joy Buolamwini and Timnit Gebru demonstrated that two facial analysis datasets that have been used to train facial recognition algorithms, IJB-A and Adience, are composed of 79.6% and 86.2% lighter skinned humans respectively. === Human error and inconsistency === Human annotators are prone to errors and biases when labeling data. This can lead to inconsistent labels and affect the quality of the data set. The inconsistency can affect the machine learning model's ability to generalize well. === Domain expertise === Certain fields, such as legal document analysis or medical imaging, require annotators with specialized domain knowledge. Without the expertise, the annotations or labeled data may be inaccurate, negatively impacting the machine learning model's performance in a real-world scenario.
Generative art
Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu