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International Journal of Advanced Computer Science and Applications(IJACSA), 2(6), 2011 ; Image compression is currently a prominent topic for both military and commercial researchers. Due to rapid growth of digital media and the subsequent need for reduced storage and to transmit the image in an effective manner Image compression is needed. Image compression attempts to reduce the number of bits required to digitally represent an image while maintaining its perceived visual quality. This study concentrates on the lossless compression of image using approximate matching technique and run length encoding. The performance of this method is compared with the available jpeg compression technique over a wide number of images, showing good agreements. ; http://thesai.org/Downloads/Volume2No6/Paper%2017-Image%20Compression%20using%20Approximate%20Matching%20and%20Run%20Length.pdf

UMKM is one of the business sectors in national economic growth that must be empowered and developed. The existence of UMKM has been regulated in laws and regulations, but has not adapted to the development of disruption in the digital economy. The adaptation needed by UMKM is the use of information technology as a medium in developing their businesses. This article aims to describe and analyze what challenges are the barriers for UMKM in using technology and information to diversify products during the COVID-19 pandemic. The type of research of this article is empirical legal research. This research not only aims to find the rule of law, legal principles, and legal doctrines in order to answer the legal issues faced, but also the implementation of existing provisions in the field. The results of the study show that the challenge for UMKM in adapting the use of information technology in the digital economy era is the mindset of UMKM actors who do not consider business digitization and the COVID-19 pandemic as challenges and opportunities for business development in improving welfare. The government's role in this condition is very important to increase the inclusiveness of UMKM towards the digital economy. UMKM merupakan salah satu sektor usaha dalam pertumbuhan ekonomi nasional yang harus diberdayakan dan dikembangkan. Eksistensi UMKM telah diatur dalam peraturan perundang-undangan namun belum melakukan adaptasi terhadap perkembangan disrupsi di bidang ekonomi digital. Adaptasi yang diperlukan UMKM adalah penggunaan teknologi informasi sebagai media dalam pengembangan usahanya. Artikel ini bertujuan untuk mendeskripsikan dan menganalisis serta memetakan tantangan apa saja yang menjadi penghalang bagi UMKM dalam penggunaan teknologi dan informasi untuk melakukan diversifikasi produk selama pandemi covid-19. Jenis penelitian yang hendak digunakan dalam penelitian artikel ini adalah penelitian hukum empiris. Dalam penelitian ini tidak hanya bertujuan untuk menemukan aturan hukum, prinsip-prinsip hukum, maupun doktrin-doktrin hukum guna menjawab isu hukum yang dihadapi namun juga pelaksanaan ketentuan yang ada pada lapangan. Hasil penelitian menunjukkan bahwa tantangan bagi UMKM dalam adaptasi penggunaan teknologi informasi di era ekonomi digital adalah adanya Mind set para pelaku UMKM yang tidak menganggap digitalisasi usaha maupun pandemi covid sebagai tantangan maupun peluang untuk melakukan pengembangan usaha dalam peningkatan kesejahteraan. Peran Pemerintah terhadap kondisi ini sangat penting untuk meningkatan inklusivitas UMKM terhadap ekonomi digital.

Social media has become a part of people's lives and an inseparable part of marketing strategies in the emerging digital era. This set of technologies creates new mechanisms and communication tools for companies to interact and engage with potential consumers. This study explores the effect of social media marketing (SMM) on satisfaction and consumer response through perceived value and brand equity. Based on an online survey of 325 users who follow smartphone brands on social media in Indonesia, data were collected and analyzed using partial least squares. The results show that SMM directly affects perceived value and brand equity and indirectly affects satisfaction and consumer response. This study emphasizes satisfaction and consumer response in responding to social media marketing by the company.

A political, performative and affective landscape is revealed in this chapter as a way of approaching the topic of performing the digital: from the macro of the upheaval caused by Edward Snowden's revelations of mass data surveillance to the micro of a phenomenological account of a crisis following an artistic performance using mobile media. "Performing Encryption" is a response to working as a dancer and philosopher with mobile networked digital media that can be read as a part of a larger narrative of transitioning from one state to another. The state of viewing the fine interweaving of mobile technologies in our lives as a positive expression of social choreographies gives way to a state where it is impossible to regard the potential for surveillance and capture of daily activities as anything but provocative, troubling or even threatening. The risk is not just the "capture all" aspects of dataveillance, but of increasing control over gestural and affective exchanges in urban life. In saying networked technologies, I point not just to mobile phones but also to the Cloud and the Internet-of-Things which, in combination, are potentially devastating from the perspective of embodied agency. This narrative of questioning and transition is typical of others arising at the beginning of a century, let alone a millennium. It is no longer possible to avoid asking what we have created. And how we can respond to the technological and cultural conditions of our world.

This book describes the methodologies and tools used to conduct social cyber forensic analysis. By applying these methodologies and tools on various events observed in the case studies contained within, their effectiveness is highlighted. They blend computational social network analysis and cyber forensic concepts and tools in order to identify and study information competitors. Through cyber forensic analysis, metadata associated with propaganda-riddled websites are extracted. This metadata assists in extracting social network information such as friends and followers along with communication network information such as networks depicting flows of information among the actors such as tweets, replies, retweets, mentions, and hyperlinks. Through computational social network analysis, the authors identify influential actors and powerful groups coordinating the disinformation campaign. A blended social cyber forensic approach allows them to study cross-media affiliations of the information competitors. For instance, narratives are framed on blogs and YouTube videos, and then Twitter and Reddit, for instance, will be used to disseminate the message. Social cyber forensic methodologies enable researchers to study the role of modern information and communication technologies (ICTs) in the evolution of information campaign and coordination. In addition to the concepts and methodologies pertaining to social cyber forensics, this book also offers a collection of resources for readers including several datasets that were collected during case studies, up-to-date reference and literature surveys in the domain, and a suite of tools that students, researchers, and practitioners alike can utilize. Most importantly, the book demands a dialogue between information science researchers, public affairs officers, and policy makers to prepare our society to deal with the lawless 'wild west' of modern social information systems triggering debates and studies on cyber diplomacy. Samer Al-khateeb is an Assistant Professor at the Department of Journalism, Media and Computing, College of Arts and Sciences, at Creighton University and a former Postdoctorate Research Fellow at the Collaboratorium for Social Media and Online Behavioral Studies (COSMOS) at the University of Arkansas at Little Rock (UA-Little Rock). He obtained his Ph.D. in Computer and Information Sciences, a master's degree in Applied Science, and a bachelor's degree in Computer Science form UA-Little Rock. He studies deviant acts (e.g., deviant cyber flash mobs and cyber propaganda campaigns) on social media that are conducted by deviant groups (e.g., Daesh, Black-hat hackers, and Propagandist) which aim to influence individual's behaviors and provoke hysteria among citizens. He also studies the type of actors these deviant groups use to perform their acts, i.e., are they human (e.g., Internet trolls) or automated actors (e.g., social bots) by leveraging social science theories (e.g., the theory of collective action), social network analysis (e.g., centralities and community detection algorithms), and social cyber forensics (e.g., metadata collection to uncover the hidden relations among these actors across platforms). He has many publications including book chapters, journal papers (e.g., Journal of Defence Strategic Communications; Journal of Digital Forensics, Security, and Law; Journal of Baltic Security; and the IARIA International Journal on Advances in Internet Technology), conferences proceedings, and conferences presentations. He won various awards such as the Staff Achievement Award for Educational Achievements, Excellence in Research Award, Outstanding Graduating Student Award (Master's Level), Who's Who Among Students in American Universities and Colleges, the Best Paper Award, 2nd Place Most Innovative Award, and 2nd Place Societal Impact Award, among others. Dr. Nitin Agarwal is the Jerry L. Maulden-Entergy Endowed Chair and Distinguished Professor of Information Science at University of Arkansas at Little Rock. He is the founding director of the Collaboratorium for Social Media and Online Behavioral Studies (COSMOS) at UA Little Rock. His research aims to push the boundaries of our understanding of cyber social behaviors that emerge and evolve constantly in the modern information and communication platforms with applications in defense and security, health, business and marketing, finance, and education. At COSMOS, he is leading projects funded by over $10 million from an array of federal agencies including U.S. National Science Foundation, Office of Naval Research, Army Research Office, Air Force Research Lab, Defense Advanced Research Projects Agency, Department of State, and plays a significant role in the long-term partnership between UA Little Rock and the Department of Homeland Security. He developed publicly available social media mining tools, viz., Blogtrackers, YouTubeTracker, and Focal Structure Analysis used by NATO Strategic Communications and public affairs, among others. Dr. Agarwal participates in the national Tech Innovation Hub launched by the U.S. Department of State to defeat foreign based propaganda. Dr. Agarwal's research contributions lie at the intersection of social computing, behavior-cultural modeling, collective action, social-cyber forensics, AI, data mining, and machine learning. From Saudi Arabian women's right to drive cyber campaigns to Autism awareness campaigns to ISIS' and anti-West/anti-NATO disinformation campaigns, at COSMOS, he is directing several projects that have made foundational and applicational contributions to social and computational sciences. He has published 8 books and over 150 articles in top-tier peer-reviewed forums with several best paper awards and nominations. Dr. Agarwal obtained Ph.D. from Arizona State University with outstanding dissertation recognition in 2009. He was recognized as one of 'The New Influentials: 20 In Their 20s' by Arkansas Business in 2012. He was recognized with the University-wide Faculty Excellence Award in Research and Creative Endeavors by UALR in 2015. Dr. Agarwal received the Social Media Educator of the Year Award at the 21st International Education and Technology Conference in 2015. In 2017 the Arkansas Times featured Dr. Agarwal in their special issue on 'Visionary Arkansans: A Celebration of Arkansans with ideas and achievements of transformative power.' Dr. Agarwal was nominated as International Academy, Research and Industry Association (IARIA) Fellow in 2017, Arkansas Academy of Computing (AAoC) Fellow in 2018, and Arkansas Research Alliance (ARA) Fellow in 2018.

This research paper carries out an in-depth study on data journalism in Spain by analysing the full coverage of the election campaign of the general elections, held 20th December 2015, that were covered by the main Spanish digital editions. Elections are deemed a brilliant scenario to broaden both the visualizing and analysis scope that data journalism provides political journalism. The aims of this paper are determining the presence of said specialised discipline, establishing its main features, the quality assessment of pieces and the identification of similarities and differences of data journalism in hybrid and digital native news sites. The sample is constituted by El Confidencial, Eldiario.es, El Español, El País, El Mundo and ABC. Among other findings, it can be concluded that the main differences within media are quality and the implementation of a methodology. ; Esta investigación se propone realizar una radiografía del periodismo de datos en España a través de la cobertura de la campaña electoral de las elecciones generales del 20 de diciembre de 2015 en las ediciones digitales de las principales cabeceras nacionales. Los comicios se antojan como un acontecimiento ideal para aprovechar las posibilidades de visualización y análisis que el periodismo de datos brinda. Al objetivo de determinar la presencia de esta especialización se unen como metas el establecimiento de las características principales, la evaluación de la calidad de las piezas y la identificación de diferencias y similitudes del periodismo de datos en las cabeceras nativas digitales e híbridas. La muestra la componen El Confidencial, Eldiario.es, El Español, El País, El Mundo y ABC. Entre otras constataciones, del análisis se concluye que las principales diferencias entre tipos de medios son la calidad y la incorporación de una metodología.

Abstract
In contemporary debates about socio-technical implications of software, the platform metaphor, the corresponding notions of architectures and ecosystems as well as the formatting of data to afford 'platformization' play a central role. This approach has certainly proven fruitful to assess the role of companies like Facebook in contemporary society. However, it characteristically overlooks the messiness of actual usage practices and those studies that do acknowledge the internal power struggles that subcutaneously shape platforms often take a top-down perspective, disregarding bottom-up processes of (re-) appropriation. To address this gap, the article outlines a method to study how users and semi-professional developers collectively frame the cultural imaginary of a platform by conducting a thoroughly comparative content analysis of mashups created using the Facebook Web API. The affordances of many individual mashups might be considered marginal; yet, the tool-assistant comparison allows for inferring common patterns of interpretation that characterize mashup creation as a mobile digital practice, which plays a key role in social media platform development.

In this paper, we offer an examination of why traditional television producation pedagogy remains congent into the second decade of the 21st century. The shift to smaller distribution platforms and the democratization of television distribution through YouTube will cuase production teachers to shift emphases in their overall approach. Our thesis is that regardless of the delivery device, composition, the grammar of television and story structure still matter. Teachers of the art and craft of television production routinely deal with a paradox; specifically, prepping their students for the future while adhering to their own educational and professional training that is often deeply rooted in the past. For decades, educators updated knowledge and upgraded skill levels by attending conferences and symposia, doing their own production work, and/or periodically re-immersing themselves in professional environments. New production technologies, practices and workflows have continually evolved but with some effort, teachers have always been able to keep their knowledge and skill bases current. Keeping pace with hardware has een a different tale. While industry trade shows have always tantalized attendees with the newest and coolest of technologies, collegiate budget lines have historically been guided by many things other than the need to be on the cutting edge.This has not helped college keep pace with ever-escalating changes in technology and equipment. As a result, teaching at the collegiate level has historically meant working in under-resourced facilities, with equipment and technologies just slightly behind those used in the professional world. Despite constant technological changes, however, it could be argued that the basic television production pedagogy learned in the last decades of the 20th century has remained relatively unchanged, viable and applicable well into the first decade of the 21st. As we enter the digital age, television production proccesses and workflows have undergone a shift of tectonic proportions, and that raises questions about the methodology and information necessary to now teach it. Optimistically, television production can still be taught the same it has always been, with updated information regarding digital production and distribution technologies, as well as mobile and social-media distribution outlets. But in order to succeed in the digital world enveloping them, educators will likely have to make some changes in how they approach teaching. And that will include understanding how the cultural terrain has changed for television production students, as well.

"The overarching goals of political communication rarely change, yet political communication strategies have evolved a great deal over the course of American history. As this book argues, these changes (at least the successful ones) occur during brief periods of dramatic and permanent transformation, are driven by political actors and organizations, and tend to follow predictable patterns each time. Covering over 300 years of such changes - what it identifies as Political Communication Revolutions - the book shows how this process of change happens and why. To do this, Ben Epstein, following an American Political Development approach, proposes a new model that accounts for the technological, behavioral, and political factors that lead to revolutionary political communication changes over time. In this way the book moves beyond the technological determinism that characterizes communication history scholarship and the medium-specific focus of much political communication work. The book identifies the political communication revolutions that have, in the United States, led to four, relatively stable political communication orders over history: the elite, mass, broadcast, and (the current) information orders. It identifies and tests three pattern phases of each revolution, ultimately sketching possible paths for the future"--

This review essay discusses Jürgen Habermas's recent reflections on the threats to deliberative politics by a new structural transformation of the public sphere. Renewing his 1962 concept, he analyzes "crisis-prone capitalist democracies" as the necessary condition for transforming the public discourse of self-determined citizens into political branding that seeks to manipulate the citizen as a consumer.Habermas then identifies social media's blurring of the private and the public realms lready in the perception of democratic deliberation as the sufficient condition for today's commodified discourse in a new political public sphere that has been colonized by the digital marketplace.

The article focuses on the Italian game culture risen around Vassal and OCTGN – i.e., free online engines through which thousands of gamers play every day physical boardgames and wargames like Carcassone, Warhammer and The settlers of Catan. Specifically, the analysis addresses how the relation between this specific digital play and its material origin is articulated in terms of game system/practice and social environment. Accordingly, a framework that takes into account suggestions from Semiotics, Game Studies and Sociology was applied to empirically assess the concrete environments generated by these tools. Observation of related online forums (n: 4) was conducted and participant involvement in several matches (n: 43) was staged; finally, a survey was distributed among expert gamers (n: 58). Results show that Vassal/OCTGN culture is a soft articulation of the boardgame/wargame one: albeit the glaring differences in the media experience per se, subjects stated that these programs entail an articulation of their physical ludic hobby rather than a new and autonomous passion.

Die Arbeit in einer Gedenkstätte ist vielgestaltig und interdisziplinär: Sie umfasst Ausstellungen, historisch-politische Bildung, Forschung und nicht zuletzt die Arbeit mit Zeitzeuginnen und Zeitzeugen, die dem Publikum an diesem Ort ihre ganz persönliche Geschichte nahebringen. Der Band gibt Einblicke in die verschiedenen Arbeitsbereiche der Gedenkstätte in der ehemaligen zentralen Untersuchungshaftanstalt des Ministeriums für Staatssicherheit der DDR in Berlin-Hohenschönhausen. Neue Forschungsergebnisse zur Repressionsgeschichte in der SBZ/DDR werden ebenso vorgestellt wie Ausstellungsentwürfe und didaktische Konzepte zur Vermittlung von Wissen und Werten. Die Digitalisierung spielt in diesem Bereich der Erinnerungskultur schon jetzt eine zentrale Rolle, was sich im vorliegenden Band spiegelt.

"For many in the west, the mention of Africa immediately conjures up images of safaris, ferocious animals, sparsely dressed "tribesmen," and impenetrable jungles. Newspaper headlines rarely touch on Africa, but when they do, they often mention authoritarian rule, corruption, genocide, devastating illnesses, or civil war. Advertising, movies, amusement parks, cartoons, and many other corners of society all convey strong mental images of the continent that together form a collective consciousness. Few think to question these perceptions or how they came to be so deeply lodged in western minds. Mistaking Africa looks at the historical evolution of this mind-set and examines the role that popular media plays in its creation. The authors address the most prevalent myths and preconceptions and demonstrate how these prevent a true understanding of the enormously diverse peoples and cultures of Africa. Updated throughout, the fifth edition considers images of Africa from across the world and provides new analysis of what Africans are doing themselves to rewrite the stories of their continent, particularly through social and digital media. Mistaking Africa is an important book for African studies courses and for anyone interested in unraveling misperceptions about the continent"--

Penularan pandemik COVID-19 di Malaysia yang mula dikesan pada akhir bulan Januari 2020 lalu telah memaksa kerajaan melaksanakan Perintah Kawalan Pergerakan (PKP) yang seterusnya dilanjutkan kepada Perintah Kawalan Pergerakan Bersyarat (PKPB) dan disusuli dengan Perintah Kawalan Pergerakan Pemulihan (PKPP) mulai 18 Mac 2020. Bukan itu sahaja, Perintah Kawalan Pergerakan Diperketatkan (PKPD) di beberapa kawasan juga dilaksanakan. Memandangkan pengalaman PKP ini adalah pertama kali bagi kebanyakan penduduk dan tempohnya yang panjang sehingga memberikan impak terhadap pelbagai sektor ekonomi negara. Salah satu sektor berkenaan ialah industri media, seni dan hiburan. Penularan pandemik COVID-19 dan pelaksanaan PKP didapati memberikan kesan yang mendalam terutamanya terhadap penggiat seni (profesional dan tidak formal) di negeri Sabah. Asas permasalahan kajian ini didasarkan pada dua isu, iaitu (i) bagaimanakah tahap dan ciri-ciri resilien penggiat seni (profesional dan tidak formal) sepanjang PKP (termasuk PKPB, PKPP dan PKPD) yang berlangsung? dan (ii) bagaimanakah mereka mengadaptasi pendekatan persembahan (seni tari, seni teater dan seni muzik) dari normal biasa bersifat fizikal ke normal baharu, iaitu 'pentas' digital dan cabaran yang terpaksa dihadapi dalam tempoh PKP, PKPB, PKPP, PKPD dan pasca COVID-19 nanti? Oleh itu, objektif kajian ini adalah (i) mengenal pasti tahap dan ciri-ciri resilien (daya tahan) penggiat seni sepanjang tempoh PKP termasuk PKPB, PKPP dan PKPD yang dikaji di negeri Sabah (ii) meneliti kepelbagaian strategi adaptasi yang dilakukan oleh pengiat seni persembahan dalam tempoh PKP (termasuk PKPB, PKPD dan PKPP) dalam konteks perubahan daripada amalan normal biasa kepada amalan normal baharu yang dilakukan oleh penggiat seni persembahan di negeri ini (iii) mencadangkan strategi semerta, jangka pendek, jangka sederhana dan jangka panjang yang boleh dilaksanakan dalam memperkasa penggiat seni persembahan dengan mengambil kira perubahan kepada amalan normal baharu dan budaya aplikasi digital pasca COVID-19. Kajian ini menggunakan pendekatan kuantitatif yang disokong oleh kaedah kualitatif. Kaedah kuantitatif melibatkan temu bual penggiat seni tari menggunakan borang soal selidik. Kajian fundamental ini dijangka dapat menyumbang dalam penyediaan pelan pengurusan risiko dan krisis penularan pandemik dan pembuatan polisis berkaitan dengan bidang seni tari. The COVID-19 pandemic in Malaysia which was first detected at the end of January 2020 has forced the government to implement the Movement Control Order (MCO) which was subsequently extended to conditional Movement Control Order (CMCO) and followed by the Recovery Movement Control Order (RMCO) starting 18 March 2020. Not only that, but the Enhanced Movement Control Order (EMCO) in some areas was also implemented. Considering that the experience of MCO is the first time for most residents and its long duration until it is found to have an impact on various sectors of the country's economy. One of these sectors is the media, arts and entertainment industries. The COVID-19 pandemic and the implementation of the MCO have had a profound effectespecially on arts players (professional and informal) in Sabah. The basis of the problem is based on two issues, namely (i) how is the level and characteristics of resilience of art players (professional and informal) during the MCO (including CMCO, RMCO and EMCO) held? and (ii) how do they adapt their performance approach (dance, theatrical arts and musical arts) from normal physical to new normal, namely the digital 'stage' and the challenges faced during the MCO, CMCO, RMCO, EMCO and post-COVID-19 period? Therefore, the objectives of this study are (i) identify the level and characteristicsof resilience (resilience) of art players during the MCO including CMCO, and EMCO studied in Sabah (ii) examine the various adaptation strategies performed by performing arts players during the MCO period (including CMCO, RMCO and EMCO) in the context of changes from normal practices to new normal practices performed by performing arts players in the state (iii) propose a strategy as bright, short-term, medium and long term as feasible in empowering performing arts players taking into account changes to new normal practices and post-COVID-19 digital application culture. The study used a quantitative approach supported by qualitative methods. Quantitative methods involve interviewing dance artists using questionnaires. This fundamental study is expected to contribute to the preparation of risk management plans and pandemic contagion crises and policy making related to the field of dance arts.