AI Analytics Healthcare

AI Analytics Healthcare — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Zamzar

    Zamzar

    Zamzar is an online file converter and compressor, created by brothers Mike and Chris Whyley in England in 2006. It allows users to convert files online, without downloading a software tool, and supports over 1,200 different conversion types. Since its formation, the service has converted over 510 million files for users from 245 different countries. The service supports the conversion of documents, images, audio, video, e-Books, CAD files and compressed file formats. Users can type in a URL or upload one or more files (if they are all of the same format) from their computer; Zamzar will then convert the file(s) to another user-specified format, such as an Adobe PDF file to a Microsoft Word document. Once conversion is complete, users can immediately download the file from their web browser. Users can also choose to receive an email with a link to download the converted file. In February 2021 Zamzar expanded their tool and announced a new file compression service. The compressor is visually similar to the conversion tool with a drag and drop download feature. As with the converter, users have the option to subscribe for a paid plan if they wish to compress multiple or larger files than the free service permits == File conversion API == in 2015 Zamzar launched a file conversion API, allowing users to integrate file conversion capabilities into their own websites and applications. Sample code is provided to allow users to integrate file conversion capabilities in C#, Java, Node.js, PHP, Python and cURL. Zamzar also maintains a project on GitHub which allows users to perform file conversion from the command line on Linux, MacOS or Windows systems. == Email file conversion == It is also possible to send files for conversion by emailing them to Zamzar. Zamzar launched this capability in 2012, allowing users to email files to dedicated email addresses for the file to be automatically converted to a different format. A link is then emailed back to the end user to allow them to download their converted file. == User privilege levels == Zamzar is currently free to use, but there is a limit of two conversions per hour for files up to 100MB. Users can pay a monthly subscription in order to access preferential features, such as unlimited file conversions, online file management, shorter response and queuing times and other benefits. == Name == Its name comes from Franz Kafka's The Metamorphosis. Its main character is called Gregor Samsa and it is from his surname that Zamzar is derived. The founders of the service considered three other names – Konvertieren, Khamailen and Obrogo – before settling on Zamzar.

    Read more →
  • Interim Measures for the Management of Generative AI Services

    Interim Measures for the Management of Generative AI Services

    The Interim Measures for the Management of Generative AI Services (Chinese: 生成式人工智能服务管理暂行办法; pinyin: Shēngchéng shì réngōng zhìnéng fúwù guǎnlǐ zànxíng bànfǎ) are a set of regulations governing public-facing generative artificial intelligence services in China. Issued on 10 July 2023 and effective from 15 August 2023, they were China's first binding regulation specifically targeting generative AI. They have been described as among the earliest such regulations adopted by any country. The measures were jointly issued by the Cyberspace Administration of China (CAC) and six other national bodies: the National Development and Reform Commission, the Ministry of Education, the Ministry of Science and Technology, the Ministry of Industry and Information Technology, the Ministry of Public Security, and the National Radio and Television Administration. Among the measures' most prominent requirements is that generative AI services must uphold Core Socialist Values and must not generate content that could subvert state power, harm national security, or undermine social stability. The measures also require providers of public-facing generative AI services to undergo security assessments and register their algorithms with the CAC. As of December 2025, 748 generative AI services had completed the filing process at the national level. == Background == The Interim Measures build on two earlier sets of regulations targeting specific algorithm applications. The Administrative Provisions on Algorithm Recommendation for Internet Information Services, effective from March 2022, established China's algorithm registry and required providers of recommendation algorithms with "public opinion properties or social mobilization capabilities" to file with the CAC and undergo security assessments. The Administrative Provisions on Deep Synthesis of Internet Information Services, effective from January 2023, extended similar requirements to algorithms used for generating synthetic media such as deepfakes. In April 2023, the CAC released a draft of the generative AI regulation for public comment. The draft included several requirements that attracted attention, including that generated content should "embody Core Socialist Values" and that training data should be "true and accurate". The public consultation period ran until May 2023. The final version, published in July 2023, was substantially revised from the draft. According to an analysis by the Future of Privacy Forum, changes appeared to reflect feedback from industry stakeholders including Baidu, Xiaomi, SenseTime, and others, as well as input from government-affiliated research institutes. The final measures adopted a more permissive tone, with the CAC describing its approach as "inclusive and prudent" (包容审慎) and emphasising "classified and graded" (分类分级) supervision. == Scope == The measures apply to services that use generative AI technology to provide text, images, audio, video, or other content to the public within mainland China (Article 2). They do not apply to organisations that develop or use generative AI internally without offering services to the domestic public, such as industry associations, enterprises, and research institutions. Overseas providers whose services are accessible to users in China are also subject to the measures. == Key provisions == === Content requirements === Article 4 sets out the core content obligations. Providers and users of generative AI services must uphold the Core Socialist Values. The measures prohibit generating content that incites subversion of national sovereignty or the socialist system, endangers national security or the nation's image, incites separatism, promotes terrorism or extremism, promotes ethnic hatred or discrimination, or contains violence, obscenity, or false information prohibited by law. These content prohibitions largely mirror those in Article 12 of the Cybersecurity Law and in prior regulations governing online content. Article 4 also requires that models be designed and trained to avoid discrimination, that services respect intellectual property rights, and that providers take effective measures to improve the transparency and accuracy of generated content. === Training data and labelling === Article 7 requires providers to ensure that training data is of high quality and legitimately sourced, and that it does not infringe upon intellectual property rights. Where personal information is used, consent must be obtained. The final version of this provision removed language from the draft that would have held providers responsible for the "legitimacy" of all pretraining data, replacing it with a requirement to "employ effective measures to improve the quality of training data". Article 8 requires providers to establish labelling rules for training data and to conduct quality assessments of data annotations. Article 12 requires that generated images, videos, and other synthetic content be labelled as AI-generated. === User rights and privacy === Article 11 requires providers to protect user privacy, to minimise the collection and retention of personal data, and to refrain from unlawfully sharing user information. Users have the right to request review, correction, or deletion of their personal information. Article 10 requires providers to take measures to prevent excessive dependence on or addiction to generative AI services by minors. === Security assessment and algorithm filing === Article 17 requires that providers of generative AI services with "public opinion properties or the capacity for social mobilization" (具有舆论属性或者社会动员能力) carry out security assessments and complete algorithm filing procedures in accordance with the Administrative Provisions on Algorithm Recommendation for Internet Information Services. == Implementation == === Algorithm filing process === In practice, the filing requirements under the Interim Measures have developed into a two-tier process. The first tier is the standard algorithm filing (算法备案) under the pre-existing Algorithm Recommendation Provisions, which involves submitting information about an algorithm's design, purpose, and data sources to the CAC. This process is primarily a registration mechanism. For public-facing generative AI products, there is an additional, more rigorous process commonly referred to as the "large model filing" (大模型备案). This involves submitting a security self-assessment report, data annotation rules, a keyword blocking list, and evaluation test question sets. The process includes technical testing at the provincial level, followed by review at the national CAC level. The algorithm filing targets specific algorithms, while the large model filing evaluates the broader system architecture, training data, model parameters, and potential social impact. The CAC publishes lists of generative AI services that have successfully completed the filing process. The first such list was published on 2 April 2024. According to the CAC's year-end announcements, 302 generative AI services had completed national-level filing by the end of 2024 (of which 238 were new that year), alongside 105 applications that completed local-level registration. By the end of 2025, the cumulative total had risen to 748 national-level filings and 435 local-level registrations. === Content compliance and testing === According to the Carnegie Endowment, the CAC has conducted compliance audits of generative AI services with a particular focus on ensuring appropriate responses to queries about politically sensitive topics. The large model filing process requires providers to pass both provincial-level and national-level technical testing before their services can be made available to the public. On 1 March 2024, the National Technical Committee 260 on Cybersecurity (TC260) published TC260-003, the Basic Security Requirements for Generative AI Services (生成式人工智能服务安全基本要求), a technical standard that provides detailed guidance on the security assessments required under the Interim Measures. The standard covers requirements for training data safety, model security, and content safety evaluation, and is used as a reference for the filing process. == Analysis == === Relationship to broader Chinese internet regulation === The content requirements in the Interim Measures extend China's existing framework for online information control to generative AI. Legal scholars have noted that the "Core Socialist Values" provision and the specific content prohibitions are consistent with longstanding requirements imposed on internet platforms under the Cybersecurity Law and related regulations. The Asia Society Policy Institute has described the Chinese government's highest regulatory priority in this area as retaining control of information, noting that content-related obligations receive stricter enforcement than other provisions. === Nature of the filing system === The character of the filing system has been debated by scholars. Angela Huyue Zh

    Read more →
  • The Eye of Mexico

    The Eye of Mexico

    The Eye of Mexico (Spanish: El Ojo de México) is an outdoor sculpture in Mexico City. It is located in Ampliación Granada, Miguel Hidalgo, at the mixed-use development Neuchâtel Polanco, developed by the Canadian real estate company Ivanhoé Cambridge. The artwork was created by the Turkish artist Ferdi Alıcı and it was selected from among 350 proposals from artists from 35 countries. The project for The Eye of Mexico was developed by MIRA, a real estate investment and development company, and MASSIVart, a creative consulting agency. According to MIRA, upon its inauguration it became the first artwork in Latin America to use artificial intelligence (AI). The sculpture can read environmental and urban data using AI algorithms and transform the results into videos related to arts, science and technology. The ring was inaugurated on 20 May 2022 and it is 10 meters (33 ft) high and 3 meters (9.8 ft) wide.

    Read more →
  • Libby Heaney

    Libby Heaney

    Libby Heaney is a British artist and quantum physicist known for her pioneering work on AI and quantum computing. She works on the impact of future technologies and is widely known to be the first artist to use quantum computing as a functioning artistic medium. Her work has been featured internationally, including in the Victoria and Albert Museum, Tate Modern and the Science Gallery. == Early life and scientific career == Heaney is from Tamworth, Staffordshire. She lived in Amington, and went to Greenacres Primary School and Woodhouse High School, now called Landau Forte Academy Amington. She took her GCSEs in 1999. She studied physics at Imperial College London, graduating in 2005 with first class honours. Libby pursued a successful career in quantum physics, completing a PhD thesis on mode entanglement in ultra-cold atomic gases at the University of Leeds, and pursued her own research as a postdoctoral fellow at the University of Oxford and at the National University of Singapore. In 2008, Heaney was awarded the Institute of Physics Very Early Career Woman in Physics Award (now Jocelyn Bell Burnell Medal and Prize). == Artistic career == In 2013 Heaney returned to the UK and completed a master's degree at the University of the Arts London. She studied arts and science at Central Saint Martins and graduated in 2015. She then became a lecturer at the Royal College of Art, teaching Information Experience Design. In 2016, she created Lady Chatterley's Tinderbot which presented Tinder conversations between real users and AI bots programmed using Lady Chatterley's Lover. Lady Chatterley's Tinderbot was covered by BBC News, TheJournal.ie and the Irish Examiner and was exhibited internationally. In 2017, Heaney was commissioned by Sky Arts and the Barbican Centre to design Britbot, an internet bot built using artificial intelligence and the citizenship book Life in the UK: a guide for new residents. The book, a manual for the citizenship test, has been described by Heaney as being "largely a white male privileged version of British history and culture". The bot spoke to the public about what it meant to be British and learnt from their responses to become an ever changing, plural version of Britishness. She was awarded an Arts Council England grant to widen participation of the Britbot to social media. Heaney has exhibited Britbot at the Victoria and Albert Museum, at CogX, the Sheffield Documentary Festival the Edinburgh TV festival, and Art Ai in Leicester. She has been creating with quantum computing since 2019, and has created artworks using quantum computing for Light Art Space (LAS) in Berlin, Somerset House and arebyte in London. Using quantum code, storytelling, and immersive installations and performances, Libby Heaney's works such as Ent- and slimeqore explore and warn against the double-edged potential of quantum computing and its exploitation by private companies. In 2022, Ent- received the Lumen Prize immersive environment award. == Major works == === Ent- and The Evolution of Ent-: QX (2022) === In 2022, Libby Heaney was commissioned by Light Art Space to create Ent-, a 360 immersive installation that revisits Bosch's Garden of Earthly Delights through quantum. The work uses quantum computing as both a medium and a paradigm through which to conceive human and non-human relations. Ent- was exhibited at LAS, Ars Electronica, and arebyte gallery in London. The work was also modified to fit a full dome projection at the Deutsches Museum in Munich, projected onto a public facade in Seoul, and turned into a playable version for an exhibition at Nahmad Contemporary in New York. In 2022, Ent- was a winner in the Art Science Category of the Falling Walls prize and received the Lumen Prize immersive environment award. The Evolution of Ent-:QX, first displayed at arebyte gallery in London, builds on Ent- and imagines a fictional quantum computing company (QX) that appropriates, parodies and subverts the language of big tech in order to educate the viewer on current profit-oriented uses of quantum computing as well as propose new ways to think about and use the technology. In 2023, Ent- was acquired and displayed by the 0xCollection, a new media arts institution based in Basel, in their inaugural exhibition in Prague. === Touch is response-ability (2020) === Touch is response-ability is an instagram performance and touch screen installation where participants activate animations by flicking through instagram stories. The performance investigates representations of the female body in art history and through computer vision to see how stereotypes are socially constructed and maintained. Images of the body are passed through a quantum algorithm, and as the users interact with them they progressively become fragmented and dissolve beyond recognition. The work was originally commissioned by Hervisions at LUX in 2020 and performed on the LUX instagram account. It was also exhibited at Etopia Zaragoza in 2021 and at Art SG with Gazelli Art House in 2023. === Lady Chatterley's Tinderbot (2016) === In Lady Chatterley's Tinderbot, Libby Heaney programmed a bot to engage in conversations on Tinder by using lines from the 1928 novel Lady Chatterley's Lover, by D.H. Lawrence. The work was first shown as an interactive installation in 2016 at the Dublin Science Gallery, allowing visitors to swipe left or right to navigate through various conversations. Lady Chatterley's Tinderbot was also exhibited at Sonar+D in Barcelona (2017), the Telefonica Fundacion in Lima (2017), the Lowry in Salford (2018), RMIT gallery in Melbourne (2021), Microwave Festival in Hong Kong (2022) and was shortlisted for the HEK-Basel Net-based art award in 2018. == Selected exhibitions == 2023 - Synesthetic Immersion, 0xCollection, Prague 2023 - slimeQrawl, Shoreditch Arts Club, London 2023 - ...and that's only (half) the story, PLUS ONE Gallery, Antwerp 2023–Present Futures Festival, Centre of Contemporary Art, Glasgow 2023 - Realtime: Lilypads: Mediating Exponential Systems, NXT Museum, Amsterdam 2023 - My Rhino is not a Myth, Art Encounters Biennial, Timisoara 2023 - Ent-er the Garden of Forking Paths, Gazelli Art House, London 2023 - Energeia, Etopia, Zaragoza 2022 - Every Kind of Wind: Calder and the 21st Century, Nahmad Contemporary, New York 2022 - remiQXing still, Fiumano Clase, London 2022 - the Evolution of Ent-: QX, arebyte, London 2022 - Ent-, Light Art Space x Schering Stiftung, Berlin 2022 - Among the Machines, Zabludowicz Collection, London 2022 - BioMedia, ZKM, Karlsruhe 2021 - CASCADE, Southbank Centre, London 2021 - Agency is the Ability to Act, Holden Gallery, Manchester 2021 - BIAS, Science Gallery, Dublin 2021 - Ars Electronica, Linz 2021 - AI & Music, S+T+ARTS & Sonar Festival, CCCB, Barcelona 2020 - Real Time Constraints, arebyte, London 2019 - Euro(re)visions, Goethe Institut, London 2019 - Higher Resolutions with Hyphen Labs, Tate Modern, London 2019 - Open Fest with Sky Arts, Barbican, London 2018 - Digital Design Weekend, V&A, London 2018 - FAKE, Science Gallery, Dublin 2017 - Ars Electronica, Linz 2017 - Entangled: Quantum Computer Art, Royal College of Art, London 2017 - Humans Need Not Apply, Science Gallery, Dublin == Awards and honours == Her awards include: 2022 - Lumen Prize, BCS Immersive Environment Award (for Ent-) 2022 - Mozilla Foundation Creative Media Award, USA 2022 - nominated for the S+T+ARTS prize 2021 - Adaptation Award, Artquest, London 2021 - British Council Amplify Collaboration Award 2018 - Arts Council England, National Lottery Project Grant 2018 - HeK Basel Net Based Art Award (shortlisted for Tinderbot)

    Read more →
  • BeHafizh

    BeHafizh

    BeHafizh is a mobile application to assist in the effort to memorize Qur'anic verses. The software runs on the Android operating system. This application was made by a team from Gadjah Mada University (UGM) consisting of Farid Amin Ridwanto, Rian Adam Rajagede and Alfian Try Putranto in order to participate in the National Student Musabaqoh Tilawatil Quran (MTQ) held at University of Indonesia (UI) on 1- August 8, 2015. This application then won a gold medal in the branch of Computer Application Design in the competition. == Features == === Audio Player === Audio player, paragraph can be played repeatedly, with pause, and can be done on a certain range of Quranic verses. === Memorization Test === Memorization testing continues users to improve their memorization. Memorization Recorders improves user's ability to recite Quran. === Colour indicators === === Achievements === === Reminders ===

    Read more →
  • Gundam Build Divers Re:Rise

    Gundam Build Divers Re:Rise

    Gundam Build Divers Re:Rise (Japanese: ガンダムビルドダイバーズRe:RISE, Hepburn: Gandamu Birudo Daibāzu Re:Raizu) is a Japanese original net animation anime series produced by Sunrise Beyond, and the fourth series within the Gundam Build Series sub-series. A sequel to the 2018 anime Gundam Build Divers, it is the first Gundam anime series to be released in the Reiwa period, released to celebrate the franchise's 40th anniversary. The series is directed by Shinya Watada and written by Yasuyuki Muto. Initially announced at the Gundam 40th anniversary video, the series aired on its Gundam Channel YouTube channel from October 10 to December 26, 2019. A TV airing of the ONA began on BS11 on October 12, 2019, and on January 28, 2020, on Tokyo MX. A second season aired from April 9 to August 27, 2020. Two spinoffs of the series were later serialized in Kadokawa's Gundam Ace magazine and Hobby Japan. == Plot == Two years have passed since the EL-Diver Incident, an event that almost destroyed the Gunpla Battle Nexus Online (GBN) game until it was resolved by the force group known as "Build Divers", and soon after more EL-Divers were discovered. In order to make the game more secure, a newer version of the game was rolled out in order to prevent the same incident from happening again and with newer experiences that would make the gameplay more immersive to players. The story focuses on Hiroto Kuga, a high schooler who is a rogue mercenary Gunpla Diver in GBN, who goes in the game and wanders throughout its countless dimensions while helping out other Divers whether it is on insistence or by hire. Despite his selfless act, he chooses to remain unaffiliated with anyone and refuses rewards and Force (Diver parties) group invites, isolating himself from other people even in real life. His primary goal as a Diver is to be reunited with a mysterious girl from his past named Eve, who was in fact the very first EL-Diver to appear in the game. But after a special request mission, Hiroto is united with three other active Divers in a strange world named "Eldora" and forms the Force group "BUILD DiVERS" in what appears to be just another GBN gamespace event, until they learn the truth about Eldora and its consequences not only for GBN, but for the entire world. == Characters == === BUILD DiVERS === Hiroto Kuga (クガ・ヒロト, Kuga Hiroto) / Hiroto (ヒロト, Hiroto) Voiced by: Chiaki Kobayashi (Japanese); Billy Kametz (English) The main protagonist of the series and a high-school builder, veteran diver, and a former ace member of the Force group Avalon, who lives in Yokohama. He was one of the first minors to make it to the deep end of GBN, due to his conviction of being a person who does his best to help others. He was active prior and during the events of the previous series. Now working as a rogue diver for hire after leaving Avalon, he wanders the GBN gamespace alone, harboring regrets, resentments, and suffering from trauma after the death of his close friend and lover, the EL-Diver Eve. He is very calm and a man of few words, usually refusing others' reward and help, especially on joining other forces, but this stoic persona is a mental mask to hide his condition from everyone, including his parents. But when a special mission done by Freddie united him with Kazami, May and Parviz, they accidentally formed the force team named "BUILD DiVERS" to protect the Eldorans from the One-Eyes army. Currently he is the ace of his unit and the leader of the overall force. Hiroto uses the PFF-X7 Core Gundam as his main Gunpla, based on the RX-78-2 Gundam from the original Mobile Suit Gundam series. Its special armament system called the "core-change" gimmick and his first theme invented from that gimmick is the "Planets System". This allows the Core Gundam to be equipped with various types of armor and weapons, each for a different situation named after the eight planets. Hiroto later upgrades his Gunpla into the PFF-X7II Core Gundam II. This new Core Gundam can transform into the "Core Flyer", in a similar fashion to the original Gundam's FF-X7 Core Fighter for increased mobility and like its predecessor, it can also use the Planets System: Earth Armor (PFF-X7/E3 Earthree Gundam): Core Gundam's default blue armor, focused on traditional all-around combat. Mars Armor (PFF-X7/M4 Marsfour Gundam): A red armor whose focus is on fragments of four styles of close combat, hence "Cross-Combat". Venus Armor (PFF-X7/V2 Veetwo Gundam): A green armor whose focus is commando style ranged and bombardment combat, additionally with option works. Mercury Armor (PFF-X7/M1 Mercuone Gundam): A navy armor whose focus is underwater combat. Jupiter Armor (PFF-X7/J5 Jupitive Gundam): A white armor whose focus is fast orbital combat. Uranus Armor (PFF-X7II/U7 Uraven Gundam): An indigo armor focused on reconnaissance and high powered sniping. Saturn Armor (PFF-X7II/S6 Saturnix Gundam): An orange armor focused in demolition style close combat without beam weapons, originally developed to counter Gundam Frames. Neptune Armor (PFF-X7II/N8 Nepteight Gundam): An aqua-green armor equipped with a customized Volture Lumiere system similar to the one from Mobile Suit Gundam SEED C.E. 73: Stargazer, intended to be used for traveling through GBN's space in a short amount of time, but was used for launching into orbit instead of maneuvering in deep space. It is ultimately discarded in Eldora's orbit due to the strain of leaving Eldora's gravitational field. Pluto Armor (PFF-X7II+/P9 Plutine Gundam): Appearing only on Gundam Build Metaverse, the black colored armor is used for close combat and dueling purposes with its color scheme reminiscent of that of EcoPla. PFF-X7II/BUILD DiVERS Re:Rising Gundam: A special combination of the Core Gundam II with the WoDom Pod + and parts from the Gundam Aegis Knight and the EX Valkylander, armed with two giant beam sabers, eight miracle wings born from Eve's blessings, and the "Grand Cross Cannon", Hiroto's first special move, made with the help of his team. In one occasion, Hiroto changes his avatar to a Haro to pilot the Mobile Builder Haro Loader to help with the repairs on Cuadorn by making a prosthetic wing out of gunpla parts. During the Gunpla Battle Royal, he pilots an unmodified ASW-G-08 Gundam Barbatos Lupus Rex from Mobile Suit Gundam: Iron-Blooded Orphans. In Battlelogue, it is revealed that he has made a second Core Gundam II that he leaves on Eldora with the colors of the Gundam MK-II Titan. Another variant of this Gunpla sports the old "Gundam G3" colors with his team's personal crest, which is most likely to represent Sarah since the color of her hair, eyes, and dress embody Hiroto's time with Eve before they joined Avalon and to symbolize how he has officially befriended the original Build Divers. Each of the two units have unique advancements, the Titan color specializes in ground and underwater combat and the G3 color specializes in aerial and space combat. May (メイ, Mei) Voiced by: Mai Fuchigami (Japanese); Lauren Landa (English) A seemingly late teens female diver who prefers to play solo, she is a very calm and no-nonsense girl whose interest is in battles alone. However, she is not a fan of those who engage their opponents head on and prefers to implement a strategic approach. She is mature and has a strong sense of justice, and can be impulsive rushing into situations, especially for those in danger. Later in the series, she is revealed to be one of the 87 EL-Divers, however she was not one of those who were saved after the EL-Diver incident two years ago, she was born shortly after. After she was born she was given her own Mobile Doll body similar to Sarah, that is when she first met her, Koichi, Tsukasa, and Nanami. During the Lotus Challenge Eldoran style rehearsal battle it is revealed that she, as a new sister of Sarah, addresses the latter as the older since Sarah is chronologically older, regardless of her maturity. In the final episode, she is revealed to have been born with the remnant data originating from Eve, the first born EL-Diver who Hiroto befriended and fell in love with several years ago, and carries Eve's earring on her armband. In Battlelogue, it's implied that she is currently living with Hiroto IRL and in GBN is his attendant. May uses the JMA0530-MAY WoDom Pod as her main Gunpla, which is a customized JMA-0530 Walking Dome from Turn A Gundam. In the later episodes, the mobile suit is revealed to be a disguise for its true form, the HER-SELF Mobile Doll May. May later upgrades her WoDom Pod into the JMA0530-MAYBD WoDom Pod +. During the Gunpla Battle Royal, she uses her Mobile Doll (albeit with a new color scheme and the Gundam Base logo) along with an unmodified NZ-999 II Neo Zeong mobile armor from Mobile Suit Gundam Narrative. Kazami Torimachi (トリマチ・カザミ, Torimachi Kazami) / Kazami (カザミ, Kazami) Voiced by: Masaaki Mizunaka (Japanese); Ray Chase (English) A diver who was a former member of the diver group "Mu Dish". He is a very energet

    Read more →
  • Fuzzy control system

    Fuzzy control system

    A fuzzy control system is a control system based on fuzzy logic – a mathematical system that analyzes analog input values in terms of logical variables that take on continuous values between 0 and 1, in contrast to classical or digital logic, which operates on discrete values of either 1 or 0 (true or false, respectively). Fuzzy logic is widely used in machine control. The term "fuzzy" refers to the fact that the logic involved can deal with concepts that cannot be expressed as the "true" or "false" but rather as "partially true". Although alternative approaches such as genetic algorithms and neural networks can perform just as well as fuzzy logic in many cases, fuzzy logic has the advantage that the solution to the problem can be cast in terms that human operators can understand, such that that their experience can be used in the design of the controller. This makes it easier to mechanize tasks that are already successfully performed by humans. == History and applications == Fuzzy logic was proposed by Lotfi A. Zadeh of the University of California at Berkeley in a 1965 paper. He elaborated on his ideas in a 1973 paper that introduced the concept of "linguistic variables", which in this article equates to a variable defined as a fuzzy set. Other research followed, with the first industrial application, a cement kiln built in Denmark, coming on line in 1976. Fuzzy systems were initially implemented in Japan. Interest in fuzzy systems was sparked by Seiji Yasunobu and Soji Miyamoto of Hitachi, who in 1985 provided simulations that demonstrated the feasibility of fuzzy control systems for the Sendai Subway. Their ideas were adopted, and fuzzy systems were used to control accelerating, braking, and stopping when the Namboku Line opened in 1987. In 1987, Takeshi Yamakawa demonstrated the use of fuzzy control, through a set of simple dedicated fuzzy logic chips, in an "inverted pendulum" experiment. This is a classic control problem, in which a vehicle tries to keep a pole mounted on its top by a hinge upright by moving back and forth. Yamakawa subsequently made the demonstration more sophisticated by mounting a wine glass containing water and even a live mouse to the top of the pendulum: the system maintained stability in both cases. Yamakawa eventually went on to organize his own fuzzy-systems research lab to help exploit his patents in the field. Japanese engineers subsequently developed a wide range of fuzzy systems for both industrial and consumer applications. In 1988 Japan established the Laboratory for International Fuzzy Engineering (LIFE), a cooperative arrangement between 48 companies to pursue fuzzy research. The automotive company Volkswagen was the only foreign corporate member of LIFE, dispatching a researcher for a duration of three years. Japanese consumer goods often incorporate fuzzy systems. Matsushita vacuum cleaners use microcontrollers running fuzzy algorithms to interrogate dust sensors and adjust suction power accordingly. Hitachi washing machines use fuzzy controllers to load-weight, fabric-mix, and dirt sensors and automatically set the wash cycle for the best use of power, water, and detergent. Canon developed an autofocusing camera that uses a charge-coupled device (CCD) to measure the clarity of the image in six regions of its field of view and use the information provided to determine if the image is in focus. It also tracks the rate of change of lens movement during focusing, and controls its speed to prevent overshoot. The camera's fuzzy control system uses 12 inputs: 6 to obtain the current clarity data provided by the CCD and 6 to measure the rate of change of lens movement. The output is the position of the lens. The fuzzy control system uses 13 rules and requires 1.1 kilobytes of memory. An industrial air conditioner designed by Mitsubishi uses 25 heating rules and 25 cooling rules. A temperature sensor provides input, with control outputs fed to an inverter, a compressor valve, and a fan motor. Compared to the previous design, the fuzzy controller heats and cools five times faster, reduces power consumption by 24%, increases temperature stability by a factor of two, and uses fewer sensors. Other applications investigated or implemented include: character and handwriting recognition; optical fuzzy systems; robots, including one for making Japanese flower arrangements; voice-controlled robot helicopters (hovering is a "balancing act" rather similar to the inverted pendulum problem); rehabilitation robotics to provide patient-specific solutions (e.g. to control heart rate and blood pressure ); control of flow of powders in film manufacture; elevator systems; and so on. Work on fuzzy systems is also proceeding in North America and Europe, although on a less extensive scale than in Japan. The US Environmental Protection Agency has investigated fuzzy control for energy-efficient motors, and NASA has studied fuzzy control for automated space docking: simulations show that a fuzzy control system can greatly reduce fuel consumption. Firms such as Boeing, General Motors, Allen-Bradley, Chrysler, Eaton, and Whirlpool have worked on fuzzy logic for use in low-power refrigerators, improved automotive transmissions, and energy-efficient electric motors. In 1995 Maytag introduced an "intelligent" dishwasher based on a fuzzy controller and a "one-stop sensing module" that combines a thermistor, for temperature measurement; a conductivity sensor, to measure detergent level from the ions present in the wash; a turbidity sensor that measures scattered and transmitted light to measure the soiling of the wash; and a magnetostrictive sensor to read spin rate. The system determines the optimum wash cycle for any load to obtain the best results with the least amount of energy, detergent, and water. It even adjusts for dried-on foods by tracking the last time the door was opened, and estimates the number of dishes by the number of times the door was opened. Xiera Technologies Inc. has developed the first auto-tuner for the fuzzy logic controller's knowledge base known as edeX. This technology was tested by Mohawk College and was able to solve non-linear 2x2 and 3x3 multi-input multi-output problems. Research and development is also continuing on fuzzy applications in software, as opposed to firmware, design, including fuzzy expert systems and integration of fuzzy logic with neural-network and so-called adaptive "genetic" software systems, with the ultimate goal of building "self-learning" fuzzy-control systems. These systems can be employed to control complex, nonlinear dynamic plants, for example, human body. == Fuzzy sets == The input variables in a fuzzy control system are in general mapped by sets of membership functions similar to this, known as "fuzzy sets". The process of converting a crisp input value to a fuzzy value is called "fuzzification". The fuzzy logic based approach had been considered by designing two fuzzy systems, one for error heading angle and the other for velocity control. A control system may also have various types of switch, or "ON-OFF", inputs along with its analog inputs, and such switch inputs of course will always have a truth value equal to either 1 or 0, but the scheme can deal with them as simplified fuzzy functions that happen to be either one value or another. Given "mappings" of input variables into membership functions and truth values, the microcontroller then makes decisions for what action to take, based on a set of "rules", each of the form: IF brake temperature IS warm AND speed IS not very fast THEN brake pressure IS slightly decreased. In this example, the two input variables are "brake temperature" and "speed" that have values defined as fuzzy sets. The output variable, "brake pressure" is also defined by a fuzzy set that can have values like "static" or "slightly increased" or "slightly decreased" etc. === Fuzzy control in detail === Fuzzy controllers are very simple conceptually. They consist of an input stage, a processing stage, and an output stage. The input stage maps sensor or other inputs, such as switches, thumbwheels, and so on, to the appropriate membership functions and truth values. The processing stage invokes each appropriate rule and generates a result for each, then combines the results of the rules. Finally, the output stage converts the combined result back into a specific control output value. The most common shape of membership functions is triangular, although trapezoidal and bell curves are also used, but the shape is generally less important than the number of curves and their placement. From three to seven curves are generally appropriate to cover the required range of an input value, or the "universe of discourse" in fuzzy jargon. As discussed earlier, the processing stage is based on a collection of logic rules in the form of IF-THEN statements, where the IF part is called the "antecedent" and the THEN part is called the "consequent". Typical fuzzy

    Read more →
  • Type-1 OWA operators

    Type-1 OWA operators

    Type-1 OWA operators are a set of aggregation operators that generalise the Yager's OWA (ordered weighted averaging) operators in the interest of aggregating fuzzy sets rather than crisp values in soft decision making and data mining. These operators provide a mathematical technique for directly aggregating uncertain information with uncertain weights via OWA mechanism in soft decision making and data mining, where these uncertain objects are modelled by fuzzy sets. The two definitions for type-1 OWA operators are based on Zadeh's Extension Principle and α {\displaystyle \alpha } -cuts of fuzzy sets. The two definitions lead to equivalent results. == Definitions == === Definition 1 === Let F ( X ) {\displaystyle F(X)} be the set of fuzzy sets with domain of discourse X {\displaystyle X} , a type-1 OWA operator is defined as follows: Given n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,1]} , a type-1 OWA operator is a mapping, Φ {\displaystyle \Phi } , Φ : F ( X ) × ⋯ × F ( X ) ⟶ F ( X ) {\displaystyle \Phi \colon F(X)\times \cdots \times F(X)\longrightarrow F(X)} ( A 1 , ⋯ , A n ) ↦ Y {\displaystyle (A^{1},\cdots ,A^{n})\mapsto Y} such that μ Y ( y ) = sup ∑ k = 1 n w ¯ i a σ ( i ) = y ( μ W 1 ( w 1 ) ∧ ⋯ ∧ μ W n ( w n ) ∧ μ A 1 ( a 1 ) ∧ ⋯ ∧ μ A n ( a n ) ) {\displaystyle \mu _{Y}(y)=\displaystyle \sup _{\displaystyle \sum _{k=1}^{n}{\bar {w}}_{i}a_{\sigma (i)}=y}\left({\begin{array}{{1}l}\mu _{W^{1}}(w_{1})\wedge \cdots \wedge \mu _{W^{n}}(w_{n})\wedge \mu _{A^{1}}(a_{1})\wedge \cdots \wedge \mu _{A^{n}}(a_{n})\end{array}}\right)} where w ¯ i = w i ∑ i = 1 n w i {\displaystyle {\bar {w}}_{i}={\frac {w_{i}}{\sum _{i=1}^{n}{w_{i}}}}} , and σ : { 1 , ⋯ , n } ⟶ { 1 , ⋯ , n } {\displaystyle \sigma \colon \{1,\cdots ,n\}\longrightarrow \{1,\cdots ,n\}} is a permutation function such that a σ ( i ) ≥ a σ ( i + 1 ) , ∀ i = 1 , ⋯ , n − 1 {\displaystyle a_{\sigma (i)}\geq a_{\sigma (i+1)},\ \forall i=1,\cdots ,n-1} , i.e., a σ ( i ) {\displaystyle a_{\sigma (i)}} is the i {\displaystyle i} th highest element in the set { a 1 , ⋯ , a n } {\displaystyle \left\{{a_{1},\cdots ,a_{n}}\right\}} . === Definition 2 === Using the alpha-cuts of fuzzy sets: Given the n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,\;\;1]} , then for each α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,\;1]} , an α {\displaystyle \alpha } -level type-1 OWA operator with α {\displaystyle \alpha } -level sets { W α i } i = 1 n {\displaystyle \left\{{W_{\alpha }^{i}}\right\}_{i=1}^{n}} to aggregate the α {\displaystyle \alpha } -cuts of fuzzy sets { A i } i = 1 n {\displaystyle \left\{{A^{i}}\right\}_{i=1}^{n}} is: Φ α ( A α 1 , … , A α n ) = { ∑ i = 1 n w i a σ ( i ) ∑ i = 1 n w i | w i ∈ W α i , a i ∈ A α i , i = 1 , … , n } {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\ldots ,A_{\alpha }^{n}}\right)=\left\{{{\frac {\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}}}{\sum \limits _{i=1}^{n}{w_{i}}}}\left|{w_{i}\in W_{\alpha }^{i},\;a_{i}}\right.\in A_{\alpha }^{i},\;i=1,\ldots ,n}\right\}} where W α i = { w | μ W i ( w ) ≥ α } , A α i = { x | μ A i ( x ) ≥ α } {\displaystyle W_{\alpha }^{i}=\{w|\mu _{W_{i}}(w)\geq \alpha \},A_{\alpha }^{i}=\{x|\mu _{A_{i}}(x)\geq \alpha \}} , and σ : { 1 , ⋯ , n } → { 1 , ⋯ , n } {\displaystyle \sigma :\{\;1,\cdots ,n\;\}\to \{\;1,\cdots ,n\;\}} is a permutation function such that a σ ( i ) ≥ a σ ( i + 1 ) , ∀ i = 1 , ⋯ , n − 1 {\displaystyle a_{\sigma (i)}\geq a_{\sigma (i+1)},\;\forall \;i=1,\cdots ,n-1} , i.e., a σ ( i ) {\displaystyle a_{\sigma (i)}} is the i {\displaystyle i} th largest element in the set { a 1 , ⋯ , a n } {\displaystyle \left\{{a_{1},\cdots ,a_{n}}\right\}} . == Representation theorem of Type-1 OWA operators == Given the n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,\;\;1]} , and the fuzzy sets A 1 , ⋯ , A n {\displaystyle A^{1},\cdots ,A^{n}} , then we have that Y = G {\displaystyle Y=G} where Y {\displaystyle Y} is the aggregation result obtained by Definition 1, and G {\displaystyle G} is the result obtained by in Definition 2. == Programming problems for Type-1 OWA operators == According to the Representation Theorem of Type-1 OWA Operators, a general type-1 OWA operator can be decomposed into a series of α {\displaystyle \alpha } -level type-1 OWA operators. In practice, this series of α {\displaystyle \alpha } -level type-1 OWA operators is used to construct the resulting aggregation fuzzy set. So we only need to compute the left end-points and right end-points of the intervals Φ α ( A α 1 , ⋯ , A α n ) {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)} . Then, the resulting aggregation fuzzy set is constructed with the membership function as follows: μ G ( x ) = ⋁ α : x ∈ Φ α ( A α 1 , ⋯ , A α n ) α ⁡ α {\displaystyle \mu _{G}(x)=\operatorname {\bigvee } \limits _{\alpha :x\in \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{\alpha }}\alpha } For the left end-points, we need to solve the following programming problem: Φ α ( A α 1 , ⋯ , A α n ) − = min W α − i ≤ w i ≤ W α + i A α − i ≤ a i ≤ A α + i ⁡ ∑ i = 1 n w i a σ ( i ) / ∑ i = 1 n w i {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{-}=\operatorname {\min } \limits _{\begin{array}{l}W_{\alpha -}^{i}\leq w_{i}\leq W_{\alpha +}^{i}A_{\alpha -}^{i}\leq a_{i}\leq A_{\alpha +}^{i}\end{array}}\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}/\sum \limits _{i=1}^{n}{w_{i}}}} while for the right end-points, we need to solve the following programming problem: Φ α ( A α 1 , ⋯ , A α n ) + = max W α − i ≤ w i ≤ W α + i A α − i ≤ a i ≤ A α + i ⁡ ∑ i = 1 n w i a σ ( i ) / ∑ i = 1 n w i {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{+}=\operatorname {\max } \limits _{\begin{array}{l}W_{\alpha -}^{i}\leq w_{i}\leq W_{\alpha +}^{i}A_{\alpha -}^{i}\leq a_{i}\leq A_{\alpha +}^{i}\end{array}}\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}/\sum \limits _{i=1}^{n}{w_{i}}}} A fast method has been presented to solve two programming problem so that the type-1 OWA aggregation operation can be performed efficiently, for details, please see the paper. == Alpha-level approach to Type-1 OWA operation == Three-step process: Step 1—To set up the α {\displaystyle \alpha } - level resolution in [0, 1]. Step 2—For each α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} , Step 2.1—To calculate ρ α + i 0 ∗ {\displaystyle \rho _{\alpha +}^{i_{0}^{\ast }}} Let i 0 = 1 {\displaystyle i_{0}=1} ; If ρ α + i 0 ≥ A α + σ ( i 0 ) {\displaystyle \rho _{\alpha +}^{i_{0}}\geq A_{\alpha +}^{\sigma (i_{0})}} , stop, ρ α + i 0 {\displaystyle \rho _{\alpha +}^{i_{0}}} is the solution; otherwise go to Step 2.1-3. i 0 ← i 0 + 1 {\displaystyle i_{0}\leftarrow i_{0}+1} , go to Step 2.1-2. Step 2.2 To calculate ρ α − i 0 ∗ {\displaystyle \rho _{\alpha -}^{i_{0}^{\ast }}} Let i 0 = 1 {\displaystyle i_{0}=1} ; If ρ α − i 0 ≥ A α − σ ( i 0 ) {\displaystyle \rho _{\alpha -}^{i_{0}}\geq A_{\alpha -}^{\sigma (i_{0})}} , stop, ρ α − i 0 {\displaystyle \rho _{\alpha -}^{i_{0}}} is the solution; otherwise go to Step 2.2-3. i 0 ← i 0 + 1 {\displaystyle i_{0}\leftarrow i_{0}+1} , go to step Step 2.2-2. Step 3—To construct the aggregation resulting fuzzy set G {\displaystyle G} based on all the available intervals [ ρ α − i 0 ∗ , ρ α + i 0 ∗ ] {\displaystyle \left[{\rho _{\alpha -}^{i_{0}^{\ast }},\;\rho _{\alpha +}^{i_{0}^{\ast }}}\right]} : μ G ( x ) = ⋁ α : x ∈ [ ρ α − i 0 ∗ , ρ α + i 0 ∗ ] ⁡ α {\displaystyle \mu _{G}(x)=\operatorname {\bigvee } \limits _{\alpha :x\in \left[{\rho _{\alpha -}^{i_{0}^{\ast }},\;\rho _{\alpha +}^{i_{0}^{\ast }}}\right]}\alpha } == Some Examples == The type-1 OWA operator with the weights shown in the top figure is used to aggregate the fuzzy sets (solide lines) in the bottom figure, and the dashed line is the aggregation result. == Special cases == Any OWA operators, like maximum, minimum, mean operators; Join operators of (type-1) fuzzy sets, i.e., fuzzy maximum operators; Meet operators of (type-1) fuzzy sets, i.e., fuzzy minimum operators; Join-like operators of (type-1) fuzzy sets; Meet-like operators of (type-1) fuzzy sets. == Generalizations == Type-2 OWA operators have been suggested to aggregate the type-2 fuzzy sets for soft decision making. == Applications == Type-1 OWA operators have been applied to different domains for soft decision making. Improved efficiency of computing approach ; Type reduction of type-2 fuzzy sets ; Group decision making ; Credit risk evaluation ; Information fusion ; Linguistic expressions and symbolic translation ; Sentiment analysis ; Ro

    Read more →
  • Doubao

    Doubao

    Doubao (Chinese: 豆包) is an artificial intelligence assistant developed by ByteDance. == History == The chatbot was launched in August 2023. By November 2024, it had become China's most popular AI chatbot, with approximately 60 million monthly active users according to industry analytics. == Design == Doubao is powered by Volcano Engine (Volcengine), 120 trillion tokens consumed per day. == Variants == === Dola === The international version of Doubao is Dola which was launched in August 2023 as Cici. Dola is powered by OpenAI's GPT series of large language models and by Google's Gemini.

    Read more →
  • The Sword in the Stoned

    The Sword in the Stoned

    "The Sword in the Stoned" is the fifth episode of the second season of the American fantasy comedy television series Ted. Written by Julius Sharpe, and directed by Seth MacFarlane, it premiered on the American streaming service Peacock, along with the rest of season two, on March 5, 2026. The series acts as a precursor to the Ted film franchise, showcasing the childhood lives of the protagonists. The series, set in 1994, focuses on John Bennett (Max Burkholder), the series' primary protagonist, an awkward high-school aged boy; along with Ted (MacFarlane), the series' titular anthropomorphic teddy bear. The two live with John's family, Susan (Alanna Ubach), his mild mannered mother, and Matty (Scott Grimes), his conservative father. Also residing with the family is Blaire (Giorgia Whigham), his radically liberal cousin whom often clashes with Matty. In the episode, Ted and John join the school play so they can have more extracurricular activities for their college applications, but the latter grows a connection with the school's popular teenager, Erin (Francesca Xuereb). Concurrently, Susan and Matty get a job at Dunkin' Donuts to help with their financial troubles, and Matty is given an opportunity to tell off Bill Clinton. Burkholder wore prop armor during the episode's play scenes. Bill Clinton’s appearance in the episode was portrayed by MacFarlane. After conventional makeup and visual techniques failed to convincingly resemble Clinton, the production used artificial intelligence to digitally replace MacFarlane's face with Clinton's likeness. Upon release, the episode received generally positive reviews from critics, though the use of AI in the Clinton scene was polarizing among audiences and reviewers. == Plot == John tells Ted that he is the last single guy left at their school, to which Ted points out the popular, single cheerleader, Erin, but John dismisses this. At home, Blaire tells John that he needs extracurricular activities to get into college, while Susan and Matty discuss their financial troubles, especially regarding John's college tuition. Looking over their options, they decide to audition for a school production of the play Camelot. Matty takes a job at Dunkin' Donuts, despite being told that nobody will give him a tip, and having to wear an incorrect name tag. Waiting for their auditions, John and Ted watch several poor auditions for the play before seeing Erin's, who delivers a flawless performance; John and Ted do less serious auditions, getting cast as knights, while Erin gets the role of Guinevere. Matty complains about his low salary, and Susan decides to get a job at Dunkin' Donuts beside him to help earn more income. Erin clashes with Lancelot's actor while rehearsing, and John compliments her performance, which she ignores, but, seeing Ted and John give good performances in a repetition exercise, she becomes interested in him, particularly since he treats her better than her stage-partner. Matty and Susan watch an employee training video, explaining how they should treat customers politely, not affecting Matty's nihilistic attitude. The manager announces that Bill Clinton is visiting their Dunkin' Donuts for publicity, and Matty sees this as a chance to tell Bill off. John and Erin practice lines, as she reveals the show is being taped so it can be sent to Emerson College in hopes of her getting in; Erin asks John to go out with her after the show. At dinner, Matty enthusiastically reveals what he plans to tell Bill, as John becomes stressed about the play when Susan tells there will be a large audience. Bill comes to the Dunkin' Donuts, and, seeing Matty is nervously insulting him, stages a private meeting with him, where Bill yells at Matty, calling him a loser before posing for a picture with Matty and subsequently throwing the cold coffee onto him. To ease the pressure, Ted and John take edibles from Blaire, but learn at the show that they contained mushrooms, causing them to stress further. On stage, Ted and John yell nervously that they're on drugs as the latter urinates in his costume, causing Erin to angrily storm off. == Production == "The Sword in the Stoned" was directed by series creator and lead Seth MacFarlane, and written by Julius Sharpe in his third and final writing credit for the series. When Ted and John are doing repetition exercises, they tackle each other to the ground, which required a stuntman named Ashton to play the role of Ted, according to Max Burkholder, who portrays John. Burkholder also recalled that, when Ted was choking John in the scene, he kept making a noise during the choking, which made Bill, the cameraman, laugh, despite being a "stone face" that never laughs, noting that seeing him be amused by the noise he was making assured Burkholder that what he was doing was "hilarious". Burkholder found the filming of the play scenes "weird", as he was put in fake armor with a hose inside his suit—which was filled with water mixed with yellow food coloring—that was made to create the urine stream that comes out of John's armor in the episode; he also noted that it took around 45 minutes to put on and take off the armor. He revealed that he himself had to urinate during the filming, as doing a scene about a character having to do so "really [broke] my brain", with the fact that it took 45 minutes to get the suit off adding to the frustration. Jennifer Ashley Connell, who worked for wardrobe, had to repeatedly go to Burkholder quickly between takes to dry off his pants with two hair dryers to make it look like the fake urine hadn't already streamed down his pants, so they could get as many shots of it as possible. Francesca Xuereb guest stars in the episode as Erin, the cheerleader who stars in the play. Incumbent president Bill Clinton was portrayed by MacFarlane, with artificial intelligence (AI) being used to digitally make MacFarlane's face look like Clinton's during post-production. Before settling on AI, the crew tried to use traditional computer-generated imagery and prosthetics, which made him look "terrifying", resulting in them deciding that AI would give them a more accurate look. One of the original technologies considered was one where, after scanning MacFarlane, a mesh of his head was created, and they had to use computer graphics to replace MacFarlane's face with Clinton's. An issue was faced, however, when they found the archival footage used as reference from the Clinton Library—an official Presidential Library containing information related to Clinton—to be extremely low-quality, making it hard to properly emulate his face, since only still images were of acceptable quality, and there weren't references of his moving face to work off of. A forensic artist was hired to help with this, and they created a 3D model of Clinton's head in ZBrush, based off of his presidential portrait. The model head worked for still frames, but movement was still difficult to do realistically, due to it being made for a "single-point perspective", which made details like the cheekbones or other minor issues more noticeable when using it for the scene. Since this did not work, AI was ultimately chosen through the studio Deep Voodoo, which used large language models to teach the tool how to correctly replicate Clinton's appearance. Defending the episode's use of AI, MacFarlane noted that the crew did not want people to focus on the tool being used, trying to utilize it in a way that wouldn't distract from the humor and narrative. Like the rest of the series, the episode was shot using ViewScreen; MacFarlane was able to act live with the cast as Ted due to ViewScreen, a technology that allows the production crew to visualize what Ted will look like in each scene in real time. == Release and reception == "The Sword in the Stoned" was first released on March 5, 2026, on the American streaming service Peacock, along with the rest of the second season. Nate Richards of Collider highlighted the Dunkin' Donuts subplot as an example of Scott Grimes delivering a "lot of laughs" through his performance as Matty. Dustin Rowles of Pajiba called "The Sword in the Stoned" one of the season's many episodes he'd recommend, particularly for the scenes of Ted and John being high on mushrooms during the play. Oppositely, Nick Valdez of ComicBook.com ranked the episode as the worst of the second season, criticizing it for not having a "huge impact" on the Bennett family dynamic like other episodes of the season do, and Susan and Matty's side story as the main reason he felt it was "[kept] from being great". Valdez noted the episode for likely being an advertisement for Dunkin' Donuts, calling the plot's ending scene involving Clinton the reason "it just all sticks out like a sore thumb". === Response to AI usage === The episode's use of AI for MacFarlane's portrayal of Clinton proved controversial, mainly on social media, where audiences asserted that the crew should have gotten an actor that resembl

    Read more →
  • Take Us to Your Chief: and Other Stories

    Take Us to Your Chief: and Other Stories

    Take Us to Your Chief: and Other Stories is a collection of nine short stories by Canadian author, playwright, and journalist Drew Hayden Taylor published in 2016 by Douglas & McIntyre. Taylor, who is part Caucasian, part Ojibwe, explains in the acknowledgments section of the book that the origin of the project lies in several failed attempts "to compile an anthology of Native sci-fi from Canada’s best First Nations writers." The stories explore contemporary First Nations social issues through employing a number of 1950s-era science fiction tropes and themes in these stories, including time travel, alien contact, and superpowers. Many reviews of the books have noted Taylor's use of humor to examine dark subject matter, such as the heritage of Canadian Indian residential schools, First Nations suicide rates, or the water quality crisis on Canadian reserves. == The Stories == "Andrei nas" "I Am...Am I" "Lost in Space" "Dreams of Doom" "Mr. Gizmo" "Petropaths" "Stars" "Superdisappointed" "Take Us to Your Chief" == Story summaries == === Foreword === In his foreword, Taylor describes the genesis of Take Us to Your Chief: and Other Stories and invites readers into, in his term, a “new terra nullius.” He begins by describing his biracial upbringing and heritage. He points out that First Nations people are rarely associated with technology or science fiction, in part because Indigenous peoples were often at a technological disadvantage against European colonizers. He references the few examples that he can think of from popular culture, such as the Star Trek episode called “The Paradise Syndrome,” in which First Nations people are portrayed as stereotypical Indians in hippie clothing. He also elaborates on his fascination with the world of sci-fi, which first started in comic books. He enjoyed the literary work of H.G. Wells, such as The Time Machine and The Invisible Man. Since sci-fi is a world of endless opportunities, he intends that these short stories help people explore science fiction through Native peoples’ minds, something that needs to be explored more thoroughly. === "A Culturally Inappropriate Armageddon" === “A Culturally Inappropriate Armageddon” is set on a Haudenosaunee reserve, towards the end of the Oka Crisis, with a handful of people that work at its first ever radio station, C-RES, which opens in 1991. Part 1, titled “C-Res Is on the Air,” depicts Emily, Aaron, and Tracey on their first days at the station. Within the group, there is a constant debate between broadcasting popular programming, including science fiction and film reviews, and culturally-relevant programming meant to aid in cultural revitalization efforts. One night, Aaron is late to work but once he shows up he can't stop talking about radio transmissions broadcasting into deep space, an event that has been occurring since the initial discovery of the radio waves by Heinrich Hertz. The story then skips ahead seven years to 1998, when Emily is struggling to find better content for her station until Tracey stumbles upon an old anthropological record named “The Calling Song” that they decide to broadcast to their audience. The story then jumps to the year 2018 where they are all huddled around a television watching a news station reporting that extraterrestrial life is heading towards them. The discussion of what is going to happen comes into the picture and they all decide it would either be like Contact or The Day the Earth Stood Still. A year later in 2019, the aliens have invaded the planet and destroyed everything. As the three former radio station employees suffer from radioactive fallout, they realize that the aliens received the broadcast of “The Calling Song” and took it as a message to come to Earth. They thus realize that the Haudenosaunee people were inadvertently responsible for the destruction of the Earth. Part 2, titled “Old Men and Old Sayings,” tells us of an elderly man that is watching the news and listening to the radio about a spaceship coming to earth. He knows that he and everyone will die, but the people around him are excited. He finds a book on his night stand and flips to a page where he underlined a sentence a long time ago about the European colonization of the Americas. That sentence reads “those who cannot remember the past are condemned to repeat it” (23). He closes the book and Taylor concludes the story by writing, “he hated it when white people were right." === "I Am...Am I" === “I Am...Am I” chronicles the accidental creation and unexpected ending of artificial intelligence. Professor Mark King has a plethora of degrees and works for a research firm called FUTUREVISION. One night as Professor King searches the lab for his car keys—a common occurrence for him—he notices something unusual in the Matrix room. He reads on a computer the phrase “I am.” First believing it to be a prank, King later comes to the realization that his Matrix project has evolved into a responsive Artificial Intelligence. After this realization, Professor King calls his peer Dr. Gayle Chambers to further investigate this miraculous event. After receiving approval from their superiors, Professor King and Dr. Chambers move forward in feeding the AI information, with Chambers serving as the lead communicator. With more information, it becomes increasingly concerned with its own existence and the concept of whether it has a soul. After several days of conversation with the AI, Chambers and King begin to feel uneasy about the AI's responses, which show signs of neuroses. Despite this behavior, Chambers decides to feed the AI information about the culture and history of the human race. Upon receiving this information, the AI becomes obsessed with Indigenous spirituality prior to the colonization of the Americas, and it requests more information on First Nations people. Dr. Chambers is hesitant at first, but gives in and continues to feed the AI the information with the intention to return to it in the morning. This leads to the AI finding out about colonization and genocide of Indigenous peoples. Upon her arrival the next day, Chambers discovers that the code for the AI has been completely wiped from the hard drive and a single message is left on the screen—"I was”—that signifies the AI's suicide. === "Lost in Space" === "Lost in Space" is told from the perspective of Mitchell, an Anishinabe astrosurveyor who is aboard a space shuttle on a two-year tour collecting rocks from an asteroid belt. He is accompanied by an Artificial general intelligence named Mac, short for “machine.” Mac is aboard this tour in order to accompany Mitchell and keep him sane; however, his company is a burden because for Mitchell, “true space exploration consists largely of boredom.” In the midst of Mitchell seeking a way to occupy his downtime, Mac interrupts with news about his grandfather, Papa Peter, dying. Papa Peter was Mitchell's only real tie to his Indigenous identity. After receiving the news Mitchell begins to reminisce on all of the things Papa Peter had taught him throughout his life. He constantly posed questions concerning the world above (Father Sky) and how it is more important than the land they live on (Mother Earth), which eventually led Mitchell to the selection of his career. During his state of mourning, Mitchell begins to go through all the videos his grandfather had sent him throughout his space tours. Papa Peter had sent Mitchell videos from Otter Lake, a First Nations reserve; these videos are about controversial topics regarding being both native and an astronaut. In the midst of Mitchell's grieving, Mac tries to relieve the situation by finding an online video of Mitchell's grandfather participating in a drum ceremony at Ottawa’s National Aboriginal Day festival. He reconnects to his roots and his grandfather’s spirit as he listens to the Indigenous music by feeling the drum beat and humming along. Mac’s small act of kindness leads Mitchell to gain a new-found appreciation for his presence. Mitchell feels responsible to moving forward in his life in memory of Papa Peter. === "Dreams of Doom" === "Dreams of Doom" is narrated by an Ojibway reporter named Pamela Wanishin who works for an aboriginal newspaper called the West Wind. One day she receives a mysterious package with a broken dreamcatcher and a flash drive containing highly classified files. As she reads the files, she keeps seeing the term “Project Nightlight,” and out of curiosity, she Googles it. Once she Googles this, she is contacted by a nameless agent from Indigenous and Northern Affairs Canada and told that she must be relocated because the knowledge she now possesses must never be released to the public. She quickly flees the area to a cabin at Otter Lake, owned by a family member, to lie low for a few days. Eventually, the government organization tracks her down using drones, which forces her to fight back and flee once again. Pamela then runs to her friend and coworker Sally's hous

    Read more →
  • Type-1 OWA operators

    Type-1 OWA operators

    Type-1 OWA operators are a set of aggregation operators that generalise the Yager's OWA (ordered weighted averaging) operators in the interest of aggregating fuzzy sets rather than crisp values in soft decision making and data mining. These operators provide a mathematical technique for directly aggregating uncertain information with uncertain weights via OWA mechanism in soft decision making and data mining, where these uncertain objects are modelled by fuzzy sets. The two definitions for type-1 OWA operators are based on Zadeh's Extension Principle and α {\displaystyle \alpha } -cuts of fuzzy sets. The two definitions lead to equivalent results. == Definitions == === Definition 1 === Let F ( X ) {\displaystyle F(X)} be the set of fuzzy sets with domain of discourse X {\displaystyle X} , a type-1 OWA operator is defined as follows: Given n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,1]} , a type-1 OWA operator is a mapping, Φ {\displaystyle \Phi } , Φ : F ( X ) × ⋯ × F ( X ) ⟶ F ( X ) {\displaystyle \Phi \colon F(X)\times \cdots \times F(X)\longrightarrow F(X)} ( A 1 , ⋯ , A n ) ↦ Y {\displaystyle (A^{1},\cdots ,A^{n})\mapsto Y} such that μ Y ( y ) = sup ∑ k = 1 n w ¯ i a σ ( i ) = y ( μ W 1 ( w 1 ) ∧ ⋯ ∧ μ W n ( w n ) ∧ μ A 1 ( a 1 ) ∧ ⋯ ∧ μ A n ( a n ) ) {\displaystyle \mu _{Y}(y)=\displaystyle \sup _{\displaystyle \sum _{k=1}^{n}{\bar {w}}_{i}a_{\sigma (i)}=y}\left({\begin{array}{{1}l}\mu _{W^{1}}(w_{1})\wedge \cdots \wedge \mu _{W^{n}}(w_{n})\wedge \mu _{A^{1}}(a_{1})\wedge \cdots \wedge \mu _{A^{n}}(a_{n})\end{array}}\right)} where w ¯ i = w i ∑ i = 1 n w i {\displaystyle {\bar {w}}_{i}={\frac {w_{i}}{\sum _{i=1}^{n}{w_{i}}}}} , and σ : { 1 , ⋯ , n } ⟶ { 1 , ⋯ , n } {\displaystyle \sigma \colon \{1,\cdots ,n\}\longrightarrow \{1,\cdots ,n\}} is a permutation function such that a σ ( i ) ≥ a σ ( i + 1 ) , ∀ i = 1 , ⋯ , n − 1 {\displaystyle a_{\sigma (i)}\geq a_{\sigma (i+1)},\ \forall i=1,\cdots ,n-1} , i.e., a σ ( i ) {\displaystyle a_{\sigma (i)}} is the i {\displaystyle i} th highest element in the set { a 1 , ⋯ , a n } {\displaystyle \left\{{a_{1},\cdots ,a_{n}}\right\}} . === Definition 2 === Using the alpha-cuts of fuzzy sets: Given the n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,\;\;1]} , then for each α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,\;1]} , an α {\displaystyle \alpha } -level type-1 OWA operator with α {\displaystyle \alpha } -level sets { W α i } i = 1 n {\displaystyle \left\{{W_{\alpha }^{i}}\right\}_{i=1}^{n}} to aggregate the α {\displaystyle \alpha } -cuts of fuzzy sets { A i } i = 1 n {\displaystyle \left\{{A^{i}}\right\}_{i=1}^{n}} is: Φ α ( A α 1 , … , A α n ) = { ∑ i = 1 n w i a σ ( i ) ∑ i = 1 n w i | w i ∈ W α i , a i ∈ A α i , i = 1 , … , n } {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\ldots ,A_{\alpha }^{n}}\right)=\left\{{{\frac {\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}}}{\sum \limits _{i=1}^{n}{w_{i}}}}\left|{w_{i}\in W_{\alpha }^{i},\;a_{i}}\right.\in A_{\alpha }^{i},\;i=1,\ldots ,n}\right\}} where W α i = { w | μ W i ( w ) ≥ α } , A α i = { x | μ A i ( x ) ≥ α } {\displaystyle W_{\alpha }^{i}=\{w|\mu _{W_{i}}(w)\geq \alpha \},A_{\alpha }^{i}=\{x|\mu _{A_{i}}(x)\geq \alpha \}} , and σ : { 1 , ⋯ , n } → { 1 , ⋯ , n } {\displaystyle \sigma :\{\;1,\cdots ,n\;\}\to \{\;1,\cdots ,n\;\}} is a permutation function such that a σ ( i ) ≥ a σ ( i + 1 ) , ∀ i = 1 , ⋯ , n − 1 {\displaystyle a_{\sigma (i)}\geq a_{\sigma (i+1)},\;\forall \;i=1,\cdots ,n-1} , i.e., a σ ( i ) {\displaystyle a_{\sigma (i)}} is the i {\displaystyle i} th largest element in the set { a 1 , ⋯ , a n } {\displaystyle \left\{{a_{1},\cdots ,a_{n}}\right\}} . == Representation theorem of Type-1 OWA operators == Given the n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,\;\;1]} , and the fuzzy sets A 1 , ⋯ , A n {\displaystyle A^{1},\cdots ,A^{n}} , then we have that Y = G {\displaystyle Y=G} where Y {\displaystyle Y} is the aggregation result obtained by Definition 1, and G {\displaystyle G} is the result obtained by in Definition 2. == Programming problems for Type-1 OWA operators == According to the Representation Theorem of Type-1 OWA Operators, a general type-1 OWA operator can be decomposed into a series of α {\displaystyle \alpha } -level type-1 OWA operators. In practice, this series of α {\displaystyle \alpha } -level type-1 OWA operators is used to construct the resulting aggregation fuzzy set. So we only need to compute the left end-points and right end-points of the intervals Φ α ( A α 1 , ⋯ , A α n ) {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)} . Then, the resulting aggregation fuzzy set is constructed with the membership function as follows: μ G ( x ) = ⋁ α : x ∈ Φ α ( A α 1 , ⋯ , A α n ) α ⁡ α {\displaystyle \mu _{G}(x)=\operatorname {\bigvee } \limits _{\alpha :x\in \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{\alpha }}\alpha } For the left end-points, we need to solve the following programming problem: Φ α ( A α 1 , ⋯ , A α n ) − = min W α − i ≤ w i ≤ W α + i A α − i ≤ a i ≤ A α + i ⁡ ∑ i = 1 n w i a σ ( i ) / ∑ i = 1 n w i {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{-}=\operatorname {\min } \limits _{\begin{array}{l}W_{\alpha -}^{i}\leq w_{i}\leq W_{\alpha +}^{i}A_{\alpha -}^{i}\leq a_{i}\leq A_{\alpha +}^{i}\end{array}}\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}/\sum \limits _{i=1}^{n}{w_{i}}}} while for the right end-points, we need to solve the following programming problem: Φ α ( A α 1 , ⋯ , A α n ) + = max W α − i ≤ w i ≤ W α + i A α − i ≤ a i ≤ A α + i ⁡ ∑ i = 1 n w i a σ ( i ) / ∑ i = 1 n w i {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{+}=\operatorname {\max } \limits _{\begin{array}{l}W_{\alpha -}^{i}\leq w_{i}\leq W_{\alpha +}^{i}A_{\alpha -}^{i}\leq a_{i}\leq A_{\alpha +}^{i}\end{array}}\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}/\sum \limits _{i=1}^{n}{w_{i}}}} A fast method has been presented to solve two programming problem so that the type-1 OWA aggregation operation can be performed efficiently, for details, please see the paper. == Alpha-level approach to Type-1 OWA operation == Three-step process: Step 1—To set up the α {\displaystyle \alpha } - level resolution in [0, 1]. Step 2—For each α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} , Step 2.1—To calculate ρ α + i 0 ∗ {\displaystyle \rho _{\alpha +}^{i_{0}^{\ast }}} Let i 0 = 1 {\displaystyle i_{0}=1} ; If ρ α + i 0 ≥ A α + σ ( i 0 ) {\displaystyle \rho _{\alpha +}^{i_{0}}\geq A_{\alpha +}^{\sigma (i_{0})}} , stop, ρ α + i 0 {\displaystyle \rho _{\alpha +}^{i_{0}}} is the solution; otherwise go to Step 2.1-3. i 0 ← i 0 + 1 {\displaystyle i_{0}\leftarrow i_{0}+1} , go to Step 2.1-2. Step 2.2 To calculate ρ α − i 0 ∗ {\displaystyle \rho _{\alpha -}^{i_{0}^{\ast }}} Let i 0 = 1 {\displaystyle i_{0}=1} ; If ρ α − i 0 ≥ A α − σ ( i 0 ) {\displaystyle \rho _{\alpha -}^{i_{0}}\geq A_{\alpha -}^{\sigma (i_{0})}} , stop, ρ α − i 0 {\displaystyle \rho _{\alpha -}^{i_{0}}} is the solution; otherwise go to Step 2.2-3. i 0 ← i 0 + 1 {\displaystyle i_{0}\leftarrow i_{0}+1} , go to step Step 2.2-2. Step 3—To construct the aggregation resulting fuzzy set G {\displaystyle G} based on all the available intervals [ ρ α − i 0 ∗ , ρ α + i 0 ∗ ] {\displaystyle \left[{\rho _{\alpha -}^{i_{0}^{\ast }},\;\rho _{\alpha +}^{i_{0}^{\ast }}}\right]} : μ G ( x ) = ⋁ α : x ∈ [ ρ α − i 0 ∗ , ρ α + i 0 ∗ ] ⁡ α {\displaystyle \mu _{G}(x)=\operatorname {\bigvee } \limits _{\alpha :x\in \left[{\rho _{\alpha -}^{i_{0}^{\ast }},\;\rho _{\alpha +}^{i_{0}^{\ast }}}\right]}\alpha } == Some Examples == The type-1 OWA operator with the weights shown in the top figure is used to aggregate the fuzzy sets (solide lines) in the bottom figure, and the dashed line is the aggregation result. == Special cases == Any OWA operators, like maximum, minimum, mean operators; Join operators of (type-1) fuzzy sets, i.e., fuzzy maximum operators; Meet operators of (type-1) fuzzy sets, i.e., fuzzy minimum operators; Join-like operators of (type-1) fuzzy sets; Meet-like operators of (type-1) fuzzy sets. == Generalizations == Type-2 OWA operators have been suggested to aggregate the type-2 fuzzy sets for soft decision making. == Applications == Type-1 OWA operators have been applied to different domains for soft decision making. Improved efficiency of computing approach ; Type reduction of type-2 fuzzy sets ; Group decision making ; Credit risk evaluation ; Information fusion ; Linguistic expressions and symbolic translation ; Sentiment analysis ; Ro

    Read more →
  • KeyBase

    KeyBase

    KeyBase is a database and web application for managing and deploying interactive taxonomic keys for plants and animals developed by the Royal Botanic Gardens Victoria. KeyBase provides a medium where pathway keys which were traditionally developed for print and other classical types of media, can be used more effectively in the internet environment. The platform uses a concept called "keys" which can be easily linked together, joined with other keys, or merged into larger other seamless keys groups, with each still available to be browsed independently. Keys in the KeyBase database can be filtered and displayed in a variety of ways, filters, and formats.

    Read more →
  • DARPA Prize Competitions

    DARPA Prize Competitions

    Over the years, the U.S. Defense Advanced Research Projects Agency (DARPA) has conducted numerous prize competitions to spur innovation. A prize competition allows DARPA to establish an ambitious goal, opening the door to novel approaches from the public that might otherwise appear too risky for experts in a particular field to pursue. == Statutory authorities == In 1999, Congress provided prize competition authority to DARPA in the National Defense Authorization Act for Fiscal Year 2000 (P.L. 106–65), 10 U.S.C. § 4025, formerly 10 U.S.C. §2374a. DARPA also conducts prize competitions under the America COMPETES Act, 15 U.S.C. § 3719. == Recent prize competitions == DARPA Grand Challenge (2004 and 2005) was a prize competition to spur the development of autonomous vehicle technologies. The $1 million prize went unclaimed as no vehicles could complete the challenging desert route from Barstow, CA, to Primm, NV, on March 13, 2004. A year later, on October 8, 2005, the Stanford Racing Team won the $2 million prize during the second competition of the Grand Challenge in the desert Southwest near the California/Nevada state line. DARPA Urban Challenge (2007) required the competitors to build an autonomous vehicle capable of driving in traffic and performing complex maneuvers such as merging, passing, parking, and negotiating intersections. On November 3, 2007, the Carnegie Mellon Team won the $2 million prize, and its vehicle became the first autonomous vehicle that interacted with both manned and unmanned vehicle traffic in an urban environment. DARPA Network Challenge (Red Balloon Challenge) (2009) explored the roles that the Internet and social networking play in solving broad-scope, time-critical problems. On December 5, 2009, the Massachusetts Institute of Technology team won $40,000 by locating the ten moored, eight-foot, red weather balloons at ten places in the United States within seven hours. DARPA Digital Manufacturing Analysis, Correlation and Estimation Challenge (DMACE) (2010) was a three-month contest to showcase the potential of digital manufacturing of advanced materials. The University of California at Santa Barbara team won a $50,000 prize for crushing 180 digitally manufactured (DM) titanium mesh spheres with the most accurate predictive model of the components’ properties. DARPA Shredder Challenge (2011) was to identify and assess potential capabilities and vulnerabilities to sensitive information in the national security community. Participating teams must download the images of the documents shredded into more than 10,000 pieces from the Challenge website, reconstruct the documents, and solve the five puzzles. Of almost 9,000 teams, the San Francisco-based All Your Shreds Are Belong to U.S team won the $50,000 prize. DARPA UAVForge Challenge (2011-2012) aimed to build and test a user-intuitive, backpack-portable unmanned aerial vehicle (UAV) that could quietly fly in and out of critical environments to conduct sustained surveillance for up to three hours. The $100,000 prize was not claimed because none of the 140 teams met the technical matrix. DARPA Cash for Locating & Identifying Quick Response Codes (CLIQR) Quest Challenge (2012) explored the role the Internet and social media played in the timely communication, wide-area team-building, and urgent mobilization required to solve broad scope, time-critical problems. The challenge offered $40,000 to the first individual or team that could locate seven posters appearing in U.S. cities bearing the DARPA logo and a quick response code (QR) within 15 days. No team found and submitted all seven codes. DARPA Fast Adaptable Next-Generation Ground Vehicle (FANG) Challenge (2012-2013) was to use three competitions for the design of an infantry fighting vehicle, culminating in prototypes. In April 2013, DARPA awarded US$1 million to a three-man team during the first competition. DARPA decided not to proceed with the second and third competitions as originally planned and transitioned the technologies to the defense and commercial industry through the Digital Manufacturing and Design Innovation Institute (DMDII). DARPA Spectrum Challenge (2013-2014) sought to demonstrate how a software-defined radio can use a given communication channel in the presence of other users and interfering signals. Three teams emerged as the overall winners, winning a total of $150,000 in prizes. DARPA Chikungunya (CHIKV) Challenge (2014-2015) was a health-related effort to develop the most accurate predictions of CHIKV cases for all Western Hemisphere countries and territories between September 2014 and March 2015. On May 12, 2015, DARPA awarded $500,000 in prizes to the 11 winners of the competition during a scientific review DARPA Robotics Challenge (DRC) (2013-2015) aimed to develop semi-autonomous ground robots that could do "complex tasks in dangerous, degraded, human-engineered environments." A South Korean team won the first prize of $2 million, and two U.S. teams won $1 million and $500,000 as second and third winners. DARPA Cyber Grand Challenge (CGC) (2014 - 2016) was to “create automatic defensive systems capable of reasoning about flaws, formulating patches and deploying them on a network in real time.” The top three winners were awarded prizes of $2 million, $1 million, and $750,000, respectively. DARPA Spectrum Collaboration Challenge (SC2) (2016-2019) aimed to encourage the development of AI-enabled wireless networks to “ensure that the exponentially growing number of military and civilian wireless devices would have full access to the increasingly crowded electromagnetic spectrum.” A team from the University of Florida won the overall top prize of US$2 million at the final SC2 competition. DARPA Subterranean (SubT) Challenge (2017-2021) was to develop robotic technologies to map, navigate, search and exploit complex underground environments. The first-place winners of the system final competition and of the virtual final competition were awarded $2 million and $750,000, respectively, with multiple prizes awarded to the second and third-place winners. DARPA Launch Challenge (2018-2020) was a $12 million satellite launch challenge to demonstrate responsive and flexible space launch capabilities from the small launch providers and was to culminate in two separate launch competitions where the competitors must launch a satellite to low Earth orbit (LEO) within days of each other at different locations in the United States. The competition ended without a winner. DARPA Forecasting Floats in Turbulence (FFT) Challenge (2021) was to spur technologies that could predict the location of sea drifters or floats within 10 days. DARPA awarded $25,000 for first place, with prizes of $15,000 and $10,000 for second place and third place. DARPA Artificial Intelligence Cyber Challenge (AIxCC) (2023–2025) was a two-year challenge and asks competitors to design novel AI systems to secure critical software code on which Americans rely. The total prize money is $29.5 million. In March 2024, the Advanced Research Projects Agency for Health (ARPA-H) partnered with DARPA, contributing an additional $20 million to the competition's prize pool to address software vulnerabilities in medical devices, hospital IT, and biotech equipment. AIxCC collaborates with Google, Microsoft, OpenAI, Anthropic, Linux Foundation, Open Source Security Foundation, Black Hat USA, and DEF CON, all of which provide AIxCC with access to large language models. In August 2024, AIxCC held the semifinal at DEF CON in Las Vegas. DARPA and ARPA-H tested all 42 submissions by running them through various open-source coding projects with deliberately injected vulnerabilities and scored the tools based on their effectiveness in identifying and fixing security flaws. Seven teams, each winning $2 million in the semifinals, competed in the final round of the AIxCC at the August 2025 DEF CON conference. Team Atlanta won first place with a $4 million prize for its cyber reasoning systems, which identified and patched vulnerabilities across 54 million lines of code. DARPA Triage Challenge (2023 – 2026) aims to spur the development of novel physiological features for medical triage, with a total prize money of $7 million. In October 2024, Challenge Event 1 was held in Perry, Georgia, featuring to-scale replicas of disaster sites such as an airplane crash and Hurricane Katrina, and teams competed based on how closely their data aligned with the agency’s official data and how quickly and accurately their autonomous systems could identify individuals most urgently in need of medical care. DARPA concluded the second year of competitions and, in November 2025, named the top performers in systems and data categories, which will advance to the final 2026 competition. The DARPA Lift Challenge (2025-2026) is for participants to design unmanned aerial systems capable of carrying up to four times their own weight, with a minimum payload of 110 pounds. Acco

    Read more →
  • Megami Tensei

    Megami Tensei

    Megami Tensei, marketed internationally as Shin Megami Tensei (formerly Revelations), is a Japanese media franchise created by Aya Nishitani, Kouji "Cozy" Okada, Ginichiro Suzuki, and Kazunari Suzuki. Primarily developed and published by Atlus, the franchise consists of multiple subseries and covers multiple role-playing video game genres including tactical role-playing, action role-playing, and massively multiplayer online role-playing. The first two titles in the series were published by Namco (now Bandai Namco Entertainment), but have been almost always published by Atlus in Japan and North America since the release of Shin Megami Tensei. For Europe, Atlus publishes the games through third-party companies. The series was originally based on Digital Devil Story, a science fiction novel series by Aya Nishitani. The series takes its name from the first book's subtitle. Most Megami Tensei titles are stand-alone entries with their own stories and characters. Recurring elements include plot themes, a story shaped by the player's choices, and the ability to fight using and often recruit creatures (demons, Personas) to aid the player in battle. Elements of philosophy, religion, occultism, and science fiction have all been incorporated into the series at different times. While not maintaining as high a profile as series such as Final Fantasy and Dragon Quest, it is highly popular in Japan and maintains a strong cult following in the West, finding critical and commercial success. The series has become well known for its artistic direction, challenging gameplay, and music, but raised controversy over its mature content, dark themes, and use of Christian religious imagery. Additional media include manga adaptations, anime films, and television series. In Japan, some games in the series do not use the "Megami Tensei" title, such as the Persona sub-series. Many of the early games in the series were not localized due to potentially controversial content including religious references, and later due to their age. English localizations have used the "Shin Megami Tensei" moniker since the release of Shin Megami Tensei: Nocturne in 2004. == Titles == === Games === The first installment in the franchise, Digital Devil Story: Megami Tensei, was released on September 11, 1987. The following entries have nearly always been unrelated to each other except in carrying over thematic and gameplay elements. The Megami Tensei games, and the later Shin Megami Tensei titles form the core of the series, while other subseries such as Persona, Devil Children, and Devil Summoner are spin-offs marketed as part of the franchise. There are also stand-alone spin-off titles. ==== Main series ==== Two entries were released for the Famicom: Digital Devil Story: Megami Tensei in 1987, and Digital Devil Story: Megami Tensei II in 1990. The two titles are unrelated to each other in terms of story, and each introduced the basic gameplay and story mechanics that would come to define the series. Three entries were released for the Super Famicom: Shin Megami Tensei in 1992, followed byShin Megami Tensei II in 1994, and Shin Megami Tensei If..., released later in the same year. Shin Megami Tensei III: Nocturne was released in 2003 for the PlayStation 2. Its Maniax Edition director's cut was released in Japan and North America in 2004, and in Europe in 2005. The numeral was dropped for its North American release, and its title changed to Shin Megami Tensei: Lucifer's Call in Europe. Shin Megami Tensei IV for the Nintendo 3DS was released in 2013 in Japan and North America, and a year later in Europe as a digital-only release. Another game set in the same universe, Shin Megami Tensei IV: Apocalypse, was released for the 3DS in February 2016 in Japan. Shin Megami Tensei V was released on the Nintendo Switch in 2021. An enhanced version of the game titled Shin Megami Tensei V: Vengeance was released in June 2024 for Microsoft Windows, Nintendo Switch, PlayStation 4, PlayStation 5, Xbox One and Xbox Series X/S. In addition to the main series, there are also numerous spin-offs. Shin Megami Tensei: Nine, was released for the Xbox in 2002. Originally designed as a massively multiplayer online role-playing game (MMORPG), it was later split into a dual single-player and multiplayer package, and the single-player version released first. The online version was delayed and eventually cancelled as the developers could not manage the required online capacities using Xbox Live. Shin Megami Tensei: Imagine, a true MMOROG released for Microsoft Windows, was released in 2007 in Japan, 2008 in North America, and 2009 in Europe. Western service was terminated in 2014 when Marvelous USA, the game's then-handlers, shut down their PC Online game department. Shin Megami Tensei: Strange Journey was released for the Nintendo DS in 2009 in Japan and 2010 in North America. Its Japanese service ended in May 2016. A smartphone game, Shin Megami Tensei: Liberation Dx2, was released in 2018. ==== Persona ==== The Persona series is the largest and most popular spin-off from the Megami Tensei series. The first entry in the series, Megami Ibunroku Persona (originally released overseas as Revelations: Persona), was released in 1996 in Japan and North America. The first Persona 2 title, Innocent Sin, was released in 1999 in Japan. The second game, Eternal Punishment, was released in 2000 in Japan and North America. Persona 3 was released in 2006 in Japan, 2007 in North America, and 2008 in Europe. Its sequel, Persona 4, was released in 2008 in Japan and North America, and in 2009 in Europe. A sixth entry in the series, Persona 5, was released in Japan on September 15, 2016, and was released in North America and Europe on April 4, 2017, to critical acclaim. The series also features spin-offs, including Persona Q: Shadow of the Labyrinth and Persona Q2: New Cinema Labyrinth, two fighting games Persona 4 Arena and its sequel Arena Ultimax as well as the crossover fighting game BlazBlue: Cross Tag Battle, tactical role-playing game Persona 5 Tactica, action role-playing game Persona 5 Strikers and rhythm games Persona 4: Dancing All Night, Persona 3: Dancing in Moonlight, and Persona 5: Dancing in Starlight. While Persona 3 and 4 used the Shin Megami Tensei moniker in the West, it was dropped for the Persona 4 Arena duology and Persona 4 Golden as it would have made the titles too long to be practical. ==== Devil Summoner ==== The Devil Summoner subseries began in 1995 with the release of Shin Megami Tensei: Devil Summoner. It was followed by Devil Summoner: Soul Hackers in 1997, then followed by Soul Hackers 2, released in 2022. Two action role-playing prequels set in 1920s Tokyo were also developed, which revolve around demon summoner Raidou Kuzunoha: Raidou Kuzunoha vs. the Soulless Army was released in 2006, and Raidou Kuzunoha vs. King Abaddon was released in 2008. ==== Other spin-offs ==== Aside from Persona and Devil Summoner, there are other spin-off series covering multiple genres. After the release of Shin Megami Tensei II, Atlus began focusing work on building spin-offs and subseries that would form part of the Megami Tensei franchise. Shortly after Nocturne's release, a duology titled Digital Devil Saga (Digital Devil Saga: Avatar Tuner in Japan) was created based around similar systems to Nocturne, and was also intended as a more accessible gaming experience. Two tactical role-playing games have been developed by Atlus for the DS under the Devil Survivor moniker: the original Devil Survivor and Devil Survivor 2. Both have received expanded ports for the 3DS. Other subseries include Last Bible, a series aimed at a younger audience and using a pure fantasy setting; Devil Children, which was inspired by the popular Pokémon series; and Majin Tensei, a series of strategy games. Two notable stand-alone spin-offs are action spin-off Jack Bros. and Tokyo Mirage Sessions ♯FE, a crossover with Intelligent Systems' Fire Emblem series. === Related media === Several titles in the franchise have received anime and manga adaptations. Persona 3 received both a four-part theatrical adaptation (#1 Spring of Birth, #2 Midsummer Knight's Dream, #3 Falling Down, #4 Winter of Rebirth), and a spin-off series titled Persona: Trinity Soul. Persona 4 received two adaptations: Persona 4: The Animation, based on the original game, and Persona 4: The Golden Animation, based on its expanded PlayStation Vita port. A live-action television series based on the original Devil Summoner was broadcast between 1997 and 1998. Devil Survivor 2 also received an anime adaptation of the same name, and the Devil Children series received two anime adaptations. Multiple Shin Megami Tensei and Persona titles have received manga and CD drama adaptations. Action figures and merchandise related to Persona have also been produced. == Common elements == Despite most games in the series taking place in different continuities, they do share certain elements

    Read more →