#data catalogue

[garymdm]

Don't Boil the Data Ocean: Why Phasing Your Data Catalog Implementation is Key

A well-implemented data catalog is a game-changer for large organisations struggling to make sense of data. It empowers users to find, understand, and trust the information they need to make informed decisions. But diving headfirst into a full-blown catalogue rollout can be a recipe for disaster. Here’s why phasing your data catalog implementation is crucial for success. Focus on Quality…

[omarfor-orchestra]

Just realised I'm actually studying cancer cure

[theblob1958]

this is such a useless graph i just spent an hour making. oh well, useful information to me at least

[hardfloor]

**new on youtube**

Hardfloor - "Ay, Caramba"

►digital download: https://hardfloor.bandcamp.com/album/data-mining-volume-five

[ziracona]

I find out you killed the Railroad when you played Fallout 4 and the little green name above my head turns red and I immediately become hostile.

[emeraldcreeper]

God you can just plonk me in front of a spreadsheet and let em look at it like a toddler at an iPad I’ll be so content for hours on fucking end it’s great

[tylerhourman-remaking]

my dc comics single issue collection is 327 issues ^-^

[garymdm]

When Populating Your Data Catalogue: Quality Over Quantity, Every Time

When it comes to populating your data catalogue, should you prioritize sheer quantity of entries, or meticulously focus on quality? ask Neil Burge on LinkedIn. While I have seen both strategies taken, my experience firmly leans towards quality being the crown jewel. I’ve seen first hand the pitfalls of prioritizing quantity. Users overwhelmed by wading through a vast data dictionary brimming…

[meret118]

But what’s happened now is that this has happened so often with so many shows, that Netflix has created a self-fulfilling loop with many series that probably could have gone on to become valuable catalogue additions otherwise.

The idea is that since you know that Netflix cancels so many shows after one or two seasons, ending them on cliffhangers and leaving their storylines unfinished, it’s almost not worth investing in a show until it’s already ended, and you know it’s going to have a coherent ending and finished arc.

So you hold off watching new shows, even ones you might otherwise be interested in, because you’re afraid Netflix will cancel them. Enough people do this and surprise, viewership is low! And the show ends up cancelled. The loop is closed, and reinforced, because now there’s yet another example cited, causing even more people to be cautious the next time around. And now we’ve reached a point where unless a series is some sort of record-breaking fluke megahit (Wednesday) or established super franchise (Stranger Things), a second or third season feels like not even a coinflip, but more like 10-20% shot, at best.

Netflix’s cancelation policies have informed its viewers that if you want a show you like renewed, you need to watch it immediately, you need to tell all your friends to watch it immediately, and you need to finish all episodes in a short period of time. Anything less than that will result in likely cancelation, with the problem being, of course, that this runs contrary to the entire promise of a streaming service like Netflix in the first place. The core concept of “on demand” streaming was that ability to watch what you wanted, when you wanted to. But now binging a series in its opening weekend isn’t just an option to have, it feels almost mandatory, lest the negative data reflect poorly on a show you might otherwise like.

Something has broken with this model. It’s now created a system where creators should be afraid to make a series that dares to end on a cliffhanger or save anything for future seasons, lest their story forever be left unfinished. And viewers are afraid to commit to any show that isn’t a completely aired package lest they spend 10-30 hours on something that ends up unresolved, which has happened dozens and dozens of times, creating a vast “show graveyard” within Netflix, full of landmines viewers are going to be discovering for years.

More at the link.

------

I've wondered if it's driving creators to their competitors too.

[boyfrillish]

me: posting on a03 always takes a lot of energy and I want to try other platforms and see what's good for me

also me: yeah but

and this is why we don't get anywhere 😅

[versatilepremedia]

Data Conversion Services

What can you gain from our Data Conversion Services?  Versatile embraces these challenges through its multipotent data conversion service by converging human expertise with effective technology innovations such as its XML conversion engine. 

Visit here to know more.

[deadsetobsessions]

Tim Drake had a lot of free time.

In between the time little Timmy was deemed old enough to not need a nanny and his ninth birthday when he got his first film camera, Tim Drake had so much time after school to explore his big, empty house. And so he did, hours upon hours were spent exploring his house.

Mansion, Tim corrects himself. His house isn’t a house. It’s an abandoned mausoleum disguised as a mansion. He intimately knows every creak of the floorboards in the out of the way galleries, every heavy weight curtain shut closed so what little sun that makes it way through Gotham’s gloom is reflected in order to protect the artifacts stored within the walls. Tim probably knows the exact amount of fleur-de-lys on the fourth sitting room’s wall paper- by extrapolation from preexisting data and personal data collection. Basically, he laid on the floor and counted.

Tim had a lot of time. He also had a lot of artifacts to pore over, making stories as he goes and double checking the actual history of the object.

Tim thinks he’s an artifact, almost. To his parents, at least. A child, a thing, they collected at one point in their lives and put on display at the galas they deem worthy to return to Gotham for. Perhaps he’s worth even less, had his parents bothered to look at him more than the lesser art pieces in their storage-mansion. The story everyone knows about him is prerecorded by people who weren’t really there.

Regardless, Tim Drake knows every single corner of his prison mansion. He’s catalogued everything, after all, on a nice spreadsheet. 

And that’s why, as he entered the fifth- and least used- guest bedroom, Tim’s attention immediately cut to the wrong bit of detail. Eyes flickering between the indent on the bed, the mussed- but not terribly dirty- state of the sheets, Tim slowly backed towards the door. His eyes fixed on the spot on the bed, he called out a soft “hello?”

He immediately cringed. He’s not an amateur, and that little “hello” was a mistake that might get him killed.

Tim trembled as the panic set in, tears pooling at his eyes. He wished Batman and Robin were here, they’d know how to-

There’s something appearing on the bed. Tim Drake stares as a glowing figure with white, wispy hair and a black hazmat suit appeared sitting cross crossed on the guest bed. His gloved hands were held out in the universal I-mean-no-harm gesture.

“Don’t- don’t panic!” The thing said, looking rather panicked itself. “I’m, uh, Phantom.”

Tim Drake’s curiosity and mystery-solving mindset slammed down on the toddler’s mind, quickly banishing the fear and panick in favor of interrogating this new, exciting thing.

“I’m Tim. Are you…” Tim frowns, wishing he had Batman’s intimidating growl. “A ghost?”

“Got it in one, kiddo. I’m, uh, not here to harm you. Or steal anything! I just wanted to rest.”

Tim blinked. He decided right then and there that he likes this person. This… Phantom. If his trust was based on the fact that the loneliness was worse than a dead person, no, it wasn’t.

“I thought you sleep when you’re dead..?”

——

Danny stared at the child in front of him, watching the kid- Tim- pout at something. Danny is distracted from the staples holding his ghostly guts from falling out of his non-consensual vivisection when the kid asks him if he’s a ghost.

“Got it in one, kiddo!” Oo, he should tone down the energy. Danny’s too tired right now to maintain that level when speaking to Tim. Now, gotta reassure the kid he means no harm before he reports Danny’s presence to whatever authorities around.

His parents, at best. The cops, at worst.

“I’m, uh, not here to harm you. Or steal anything!” He could tell he landed in some richie rich mansion by the opulent decorations in a seemingly impersonal room alone. “I just wanted to rest.”

Ancients, that had been more honest than he’d wanted. He really was out of it.

“I thought you sleep when you’re dead?”

Danny snorted.

“Yeah, but you can almost never have enough sleep, you know?”

The toddler looks unsure but nods anyways.

“Listen, would you… not tell anyone that I’m here? I’ll be out of your hair soon, promise.

Tim looks like a smart kid. There’s no way he’d fall for-

“Okay.” He fell for it. Danny blinked, stupefied. “My parents won’t be home for a while.”

“What.”

Tim shrugged. “You can stay. The housekeeper is only around a couple of days.”

“You… are you supposed to tell me that?”

Tim sent him a derisive look, clearly bolder now that Danny made no moves to hurt him.

On his cherubic but skinny face, the effect is both adorable and absolutely devastating.

“You’re hurt.” Tim fidgeted with his hands. “I can… I can get you water…?”

His core purred.

“Please. Thanks… Tim?”

The kid beamed at him and left.

Crap. New fraid member it is.

——

Danny, naive: “Surely him trusting strangers is just a one time thing, he’s so well behaved”

Tim, staring Danny in the eyes as he jumps out of the window to go stalk his vigilantes: “I’m gonna go take a walk in Crime Alley”

——

Tim gets Danny water, but it’s tap water from Gotham and is infected with both an ungodly amount of toxins (that doesn’t affect either of them bc one’s dead and the other had been chugging it since they were a baby- Gothamites get bottled water or from Wayne Foundation’s Clean Water Stations) and also like trace amounts of ectoplasm.

Danny: woah this is so healthy water!

Tim, pleased because Danny ruffled his hair: yes, I’m perfect

The rest of Gotham, if they knew: making warding sigils against these two eldritch gods

——

Basically, Danny gets attached and stays mostly because of said attachment but also Danny could see Tim’s budding world dictator tendencies and went yeah gotta curb that

[hardfloor]

Hardfloor - "May You Find Warmth In Tha Middle Of Da Night“

digital download finally available ✅

►https://hardfloor.bandcamp.com/track/may-you-find-warmth-in-tha-middle-of-da-night

[critrolestats]

New Blood, Old Regards

Thanks to @eyeofthenewt1 for this art piece!

Greetings! Although the Stats Team is still in a state of retirement, we’ve periodically updated several of our Campaign 3 Running Stats categories and galleries thanks to the efforts of a new team of data collectors. This team, consisting of Archivists Astral, Ethereal, Fey, and Shadow, have been preparing since the beginning of the year to launch their own site, and that day has come! With that, we’re pleased to present:

The Omen Archive

Although they have been providing CritRoleStats updates for our Campaign 3 records, their site will be its own thing with its own tools, toys, and focuses, such as graphics derived from their own databases of data. Please visit them at their website, reach out to them, and check them out on their various social media pages:

Website: https://www.omenarchive.com/

Twitter/X: https://twitter.com/omenarchive

Bluesky: https://bsky.app/profile/omenarchive.bsky.social

Instagram: https://www.instagram.com/omen_archive/

Tumblr: https://omenarchive.tumblr.com/ ( @omenarchive )

CritRoleStats will continue to update our databases and running stats pages with the data we receive from the Omen Archive until the end of the campaign, so that anyone from academics to casual fans have access to a complete catalogue of three campaigns worth of data. After that, our site will be completely (accessibly) archived, and our legacy will be carried on entirely by projects like the Omen Archive.

Thanks Are In Order

Outside of our final livecast, we realize we went out without the proper thanks to the community members who helped us grow. We’d like to take this opportunity to give credit where we feel it’s due.

We’d like to thank the team at Critical Role for their support over the years, with special thanks to Dani Carr for both her wonderful spirit, tenacious work ethic, and the marvelous send-off she gave us.

We’d like to thank the creators in the community. Thank you to the artist community for letting us feature your wonderful talent to give vibrancy to the numbers and words we’ve filled. Thank you to the information gathering community, from the wiki workers to the meta analysts, for giving your time to help make Critical Role more accessible. Thank you to the academics for finding value we didn’t know we had in our work. Thank you to everyone who creates in this community, whether your medium is music, words, stats, or art; whether you share for a large audience or for the joy of your private home or table; whether you encourage others with high presence, or quietly inspire and support from the shadows. Your creation makes the world a more interesting place.

We’d like to thank both our patrons and our Ko-Fi supporters for allowing us to carry on for as long as we have, and to make sure our work can continue to reach those who want to be informed and inspired. Thank you to our regular visitors, as well; traffic is supportive in several ways!

Thank you to those who have been with us, whether it’s the very beginning, sometime in the middle, or even if you’re tuning in just now. Your patronage and your expression of value in our work has been a blessing. (Thanks for the 1d4.) We’d also like to thank everyone who has continued to visit the site in spite of the lack of regular content creation on our part, and are grateful that so many of you are still finding use in the previous campaigns’ worth of data, as well as the current one.

We love you all very much. Now, back to retirement!

[apas-95]

the more well-known the agency confronting you is, the less trouble you're usually in. like if it's the cops at your door, it could just be a noise complaint. FBI might just be there for tweets. obviously, still bad, but... here, a comparison. if you have a run in with the CIA you're probably in trouble, but if you have a run in with the Office of Naval Intelligence then you've definitely fucked up. did you know the USPS has its own investigative force? and you might be thinking like, oh, as in some dudes in baby blue button-ups who search for missing mail - but no, these are uniformed, armed federal agents with all the authority that entails. they've got squad cars and such. and, like, these guys are serious. back in the late '80s to the early '90s, when electronic mail sorting first started to be rolled out, there were consistent issues with the machines having trouble scanning letters. it wasn't a super common problem, but it happened a lot, in multiple states. anyway, the USPS eventually realised two things - first, that the problems persisted even after the machines themselves were replaced (at great expense); and second, that they were really limited to michigan and some surrounding states, with only rare occurrences elsewhere which might be unrelated. anyway, that was enough to get the United States Postal Inspection Service to take interest. if somebody was sending dangerous materials though the mail which were messing with the scanning machines, it was probably endangering postal workers too. this was pre-9/11, so the idea it was terrorism wasn't taken too seriously, and the investigation didn't get much support. anyway, it takes months of waiting for machines to break down, cataloguing the mail they'd been handling, cross-referencing it, etc, to narrow down the source of the mail to somewhere south of detroit. kinda goes cold for a while, since the mail's scanned in big batches and finding the common link takes a *lot* of data and work. anyway it's like october '91 now and they think they've finally got it. they've found a specific batch that's tripping the machines up, and they're going over it with a fine-tooth comb when an agent's pager starts freaking out. after experimenting, they realise that whatever's fucked with the scanning machines has also fucked with the pager, and they realise it might be putting out radiation. biiig 'oh shit' moment. they isolate the whole batch and get a big medical checkup, but they're alright. geiger counter picks up nothing. what they *do* find, however, is that there are like 60 letters in there that are each putting out small amounts of non-ionising EM radiation. so, basically safe to handle, but together they're enough to flip some bits in the janky '80s tech they've got and cause occasional scanning errors. and, get this, they're all from the same address. they track this place down, and it's this guy running a sort of bird sanctuary in his backyard. he's australian, and sells like, courses for avoiding getting attacked by birds - and he spends a lot of time hanging around these birds, right? so they take the guy in for questioning, and they literally can't even have recording equipment on the table with him without it glitching, he's almost cooking popcorn here. they question him, and he tells them about his business, how he like, teaches people specific hand gestures to scare away birds and whatever, and they start grilling him on whether he's been exposed to any chemicals or anything, because of the letters. and the guy, when he hears about the letters, suddenly goes like 'ohhh', and explains. cus he gives people grades on their performance and sends them a handmade certificate after they complete the course, right? so they're like 'why the fuck are your letters irradiated' and he just tells them 'Thats My Crow Wave Gradiation'

[probablyasocialecologist]

Libraries have traditionally operated on a basic premise: Once they purchase a book, they can lend it out to patrons as much (or as little) as they like. Library copies often come from publishers, but they can also come from donations, used book sales, or other libraries. However the library obtains the book, once the library legally owns it, it is theirs to lend as they see fit.  Not so for digital books. To make licensed e-books available to patrons, libraries have to pay publishers multiple times over. First, they must subscribe (for a fee) to aggregator platforms such as Overdrive. Aggregators, like streaming services such as HBO’s Max, have total control over adding or removing content from their catalogue. Content can be removed at any time, for any reason, without input from your local library. The decision happens not at the community level but at the corporate one, thousands of miles from the patrons affected.  Then libraries must purchase each individual copy of each individual title that they want to offer as an e-book. These e-book copies are not only priced at a steep markup—up to 300% over consumer retail—but are also time- and loan-limited, meaning the files self-destruct after a certain number of loans. The library then needs to repurchase the same book, at a new price, in order to keep it in stock.  This upending of the traditional order puts massive financial strain on libraries and the taxpayers that fund them. It also opens up a world of privacy concerns; while libraries are restricted in the reader data they can collect and share, private companies are under no such obligation. Some libraries have turned to another solution: controlled digital lending, or CDL, a process by which a library scans the physical books it already has in its collection, makes secure digital copies, and lends those out on a one-to-one “owned to loaned” ratio.  The Internet Archive was an early pioneer of this technique. When the digital copy is loaned, the physical copy is sequestered from borrowing; when the physical copy is checked out, the digital copy becomes unavailable. The benefits to libraries are obvious; delicate books can be circulated without fear of damage, volumes can be moved off-site for facilities work without interrupting patron access, and older and endangered works become searchable and can get a second chance at life. Library patrons, who fund their local library’s purchases with their tax dollars, also benefit from the ability to freely access the books. Publishers are, unfortunately, not a fan of this model, and in 2020 four of them sued the Internet Archive over its CDL program. The suit ultimately focused on the Internet Archive’s lending of 127 books that were already commercially available through licensed aggregators. The publisher plaintiffs accused the Internet Archive of mass copyright infringement, while the Internet Archive argued that its digitization and lending program was a fair use. The trial court sided with the publishers, and on September 4, the Court of Appeals for the Second Circuit reaffirmed that decision with some alterations to the underlying reasoning.  This decision harms libraries. It locks them into an e-book ecosystem designed to extract as much money as possible while harvesting (and reselling) reader data en masse. It leaves local communities’ reading habits at the mercy of curatorial decisions made by four dominant publishing companies thousands of miles away. It steers Americans away from one of the few remaining bastions of privacy protection and funnels them into a surveillance ecosystem that, like Big Tech, becomes more dangerous with each passing data breach. And by increasing the price for access to knowledge, it puts up even more barriers between underserved communities and the American dream.

11 September 2024