AI Art Modifier

AI Art Modifier — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Google Books Ngram Viewer

    Google Books Ngram Viewer

    The Google Books Ngram Viewer is an online search engine that charts the frequencies of any set of search strings using a yearly count of n-grams found in printed sources published between 1500 and 2022 in Google's text corpora in English, Chinese (simplified), French, German, Hebrew, Italian, Russian, or Spanish. There are also some specialized English corpora, such as American English, British English, and English Fiction. The program can search for a word or a phrase. The n-grams are matched with the text within the selected corpus, and if found in 40 or more books, are then displayed as a graph. The program supports searches for parts of speech and wildcards. It is routinely used in research. == History == The Ngram Viewer was created by Google software engineers Will Brockman and Jon Orwant , who teamed up with Harvard researchers Jean-Baptiste Michel and Erez Lieberman Aiden. The service was released on December 16, 2010. Before the release, it was difficult to quantify the rate of linguistic change because of the absence of a database that was designed for this purpose, said Steven Pinker, a well-known linguist who was one of the co-authors of the Science paper published on the same day. The Google Books Ngram Viewer was developed in the hope of opening a new window to quantitative research in the humanities field, and the database contained 500 billion words from 5.2 million books publicly available from the very beginning. The intended audience was scholarly, but the Google Books Ngram Viewer made it possible for anyone with a computer to see a graph that represents the diachronic change of the use of words and phrases with ease. Lieberman said in response to The New York Times that the developers aimed to provide even children with the ability to browse cultural trends throughout history. In the Science paper, Lieberman and his collaborators called the method of high-volume data analysis in digitized texts "culturomics". == Usage == Commas delimit user-entered search terms, where each comma-separated term is searched in the database as an n-gram (for example, "nursery school" is a 2-gram or bigram). The Ngram Viewer then returns a plotted line chart. Due to limitations on the size of the Ngram database, only matches found in at least 40 books are indexed. == Limitations == The data sets of the Ngram Viewer have been criticized for their reliance upon inaccurate optical character recognition (OCR) and for including large numbers of incorrectly dated and categorized texts. Because of these errors, and because they are uncontrolled for bias (such as the increasing amount of scientific literature, which causes other terms to appear to decline in popularity), care must be taken in using the corpora to study language or test theories. Furthermore, the data sets may not reflect general linguistic or cultural change and can only hint at such an effect because they do not involve any metadata like date published, author, length, or genre, to avoid any potential copyright infringements. Systemic errors like the confusion of s and f in pre-19th century texts (due to the use of ſ, the long s, which is similar in appearance to f) can cause systemic bias. Although the Google Books team claims that the results are reliable from 1800 onwards, poor OCR and insufficient data mean that frequencies given for languages such as Chinese may only be accurate from 1970 onward, with earlier parts of the corpus showing no results at all for common terms, and data for some years containing more than 50% noise. Guidelines for doing research with data from Google Ngram have been proposed that try to address some of the issues discussed above.

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  • Dominic Harris

    Dominic Harris

    Dominic Harris (born 16 November 1976) is a British artist known for integrating modern technology and classical design in his interactive artworks. == Background == Dominic Harris was born in London on 16 November 1976, and grew up in London, Brussels, and Michigan before returning to London in 1995. Harris attended the Cranbrook Kingswood Upper School, and then trained as an architect at the Bartlett School of Architecture, and has been ARB registered since 2011. Harris designs and fabricates his artworks at Dominic Harris Studio, a multi-disciplinary practice he founded in 2007. This studio consists of 25 people with diverse backgrounds including architecture, product design, electronics, programming, graphic design, and workshop skills. Harris uses the resources of his studio for the ongoing development, prototyping and production of his artworks. Harris also oversees the studio's international projects where his fascinations are translated into larger scale projects that span residential, retail, and public art projects. In 2015, Harris was granted permission by the Walt Disney Company to use their Intellectual Property for the purpose of making new interactive artworks. Harris is the only artist to gain permission to use Disney's back catalogue of characters, and led him to creating his interactive versions of "Snow White and the Seven Dwarfs" and "Mickey and Minnie: An Interactive Diptych". Harris is fascinated by the idea of using data streams, algorithms, and computer code to generate dynamic and ever-changing artworks. He sees data as a raw material that can be transformed into visual poetry. Many of his installations and sculptures are interactive, responding to the presence and movement of viewers/participants. This creates an immersive experience where the observer becomes part of the artwork itself. Harris is also the founding partner of a sister studio in London called Cinimod Studio that creates large commissioned installations, interactive events and lighting designs for large brands. == Works == == Exhibitions == The works of Dominic Harris have been exhibited internationally, both through direct and gallery representation. Solo shows: "Feeding Consciousness" at Halcyon Gallery, Mayfair, London, UK – 2023 "US: NOW" at Halcyon Gallery, Mayfair, London, UK – 2020 "Imagine" at Halcyon Gallery, Mayfair, London, UK – 2019 "5 Year Celebration", Priveekollektie Contemporary Art | Design, London, UK – 2016. "Moments of Reflection" at PHOS ART + DESIGN, Mayfair, London, UK – 2015 Recent exhibitions include: In Plain Sight, 2024 Halcyon Gallery Victoria & Albert Museum Dublin Science Museum Design Miami / Basel Design Miami Art Miami Art 14, London PAD Paris PAD London Art Geneva == Gallery Representation == 2010 to 2019: Dominic Harris was represented by Priveekollektie Contemporary Art | Design, a Dutch gallery based in Heusden, the Netherlands, and with a regular presence on the international art and design circuits. 2015: Dominic Harris was shown with PHOS ART + DESIGN Gallery, in Mayfair, London, UK. 2019 – ongoing: Dominic Harris is exclusively represented by the Halcyon Gallery, an established international gallery based in Mayfair, London. == Collections == The majority of Harris's work has been bought by private collectors. Since 2012 Harris's work is also being acquired by several large institutional collections, including the Borusan Contemporary Art Collection in Istanbul. Harris's artworks include some of the biggest and most respected international art collectors and are also displayed in public spaces. == Books == Dominic Harris: Feeding Consciousness. Halcyon Gallery, 2023. Imagine: Dominic Harris (exhibition catalogue). Halcyon Gallery, 2019. A Touch Of Code: Documents the "Beacon" art installation and "Flutter" artwork (ISBN 978-3899553314) Dominic Harris, Artworks, Edition Eight. (ISBN 978-0957306325) Digital Real: Kunst & Nachhaltigkeit Vol 8.

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  • The Stories of Ibis

    The Stories of Ibis

    The Stories of Ibis (アイの物語, Ai no Monogatari) is a Japanese science-fiction light novel by Hiroshi Yamamoto (山本 弘) and translated by Takami Nieda. Yamamoto considered this to be an easier read than his earlier science fiction novel 'God Never Keeps Silent' because of its "light novel touch". The light novel was published in Japanese by Kadokawa Shoten and in English by Viz Media under their 'Haikasoru' imprint. The Stories of Ibis is told through a collection of short stories. All but two had been previously published. The two that Yamamoto wrote for the novel were 'The Day Shion Came' and 'AI's Story'. This is similar to The Illustrated Man by Ray Bradbury. Yamamoto drew from Bradbury's idea of short stories that were loosely connected. He represented this influence in the novel by giving Ibis a facial tattoo. == Plot == The Stories of Ibis begins with a wandering storyteller who encounters Ibis. He has the mindset that all robots are a threat to humanity and must be fought against for survival. He attacks the robot Ibis, not aware of who she is, as a result of his mindset. Ibis tells the storyteller that she is far more proficient in battle. During the battle the storyteller becomes injured and Ibis takes him to an android hospital to care for him. While he is recovering Ibis offers to tell him stories. While originally skeptical he agrees after Ibis makes it clear that the stories are not taboo. The space after each story is referred to as intermission and is a time for Ibis to comment on the story she just told. === The Universe on my Hands === The story is about a group of friends who are writing a science fiction story over the internet. One of the group members kills someone in real life. The rest of the short story is about how the group fights to convince this man to not commit suicide, but to turn himself in. He resolves to turn himself in, being hopeful to the future because he knows he has friends who care about him. The ending words of the story are a commentary. While the story they were writing was not real, the emotions they were feeling were real. === A Romance in Virtual Space === This is another story about human interactions over the internet. The device that allows people to enter virtual reality (VR) is MUGEN Net. Such devices are extremely expensive and most people need to go to a public server to use one. However the girl's parents in this story are wealthy enough to own one. This girl is shopping in VR when a boy meets her and asks her out for ice cream. All goes well and they plan for another. After some time of VR dating and awesome adventures with a female heroine, they agree to meet up in real life. He discovers that in reality, she is blind, yet he thinks she is brave and they continue dating. It's a wonderful short story of a secret utopia inside a dystopian culture of technology. === Mirror Girl === A short story about an artificial intelligence that grows over time with human interaction. The inspiration for this story was Ray Bradbury's I Sing the Body Electric. The mirror girl Shalice starts off with basic knowledge and by interacting with her owner develops. The owner grows up and marries a technician who incubates Shalice by teaching her in the virtual world at many thousand times faster than average life. When he is done, Strong Eye is created. Strong Eye is the fully developed and completely intelligent AI. === Black Hole Diver === A futuristic story about an artificial space station and people who go diving into a black hole. The space station cannot stop people but is sorry that they go to their deaths because none of them get past the event horizon. Then one girl comes who has the space ship, the training, and the research necessary to attempt to dive into the black hole. As she goes into the black hole the space station can no longer observe. She may have made it, she could have been destroyed. === A World Where Justice is Just === An anime flavored story about the intelligence of people being scanned onto a computer network. The AIs in the network fight crime and live repeating lives. At the end of each year they start anew, but different story lines. Thousands of 'extras' populate the network and are the ones subject to harm and deletion. The protagonist has a pen pal in real life who explains to her that the real world is under attack and that there are no respawns and no extras. The AI finds this so cruel that people would willingly kill each other when they can't come back. === The Day Shion Came === The stories leading up to this were all relatively short. This and the next took up over 100 pages each. This is a story about an android named Shion who works in a Japanese nursing facility. Shion comes with only extensive nursing training but lacks the knowledge of how to communicate with the residents. After months of training she informs her adviser that she believes all humans have dementia, which explains their irrational behavior. Near the end of the story one of the residents threatens suicide but Shion convinces him to step down and be rational. === AI's Story === The culminating story of the entire novel. It is about Ibis herself. She starts off as a virtual reality fighting program and over time develops intelligence. Her master gains enough funds to create her a body in the real world or level 0. There is significant hate against TAIs (True Artificial Intelligence) in the real world. Ibis and her friend Raven rebel against their masters to make a point. Human hatred was destroying them. After many years robots took prevalence and most humans realized they were not worthy to be the guardians of Earth and died in peace. The remaining population was stubborn and fought against the robots for centuries. The storyteller is a child of this generation, being raised in hatred and ignorance. The robots sought to take him captive, and teach him the truth so that he could go to the villages where people lived and teach them the truth. The whole point was they cared for the humans and wanted them to live in peace, rather than fighting for their survival. == Reception == It was reviewed by the Denver Post to be an "excellent novel". Being a Japanese novel translated to English, it has a small audience. The novel was given a 3.85 of 5 by the reviewers at Librarything.com. The reviewers of Google Books gave it a 4.33 of 5.

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  • I Have No Mouth, and I Must Scream

    I Have No Mouth, and I Must Scream

    "I Have No Mouth, and I Must Scream" is a post-apocalyptic short story by American writer Harlan Ellison. It was first published in the March 1967 issue of IF: Worlds of Science Fiction. The story depicts an AI uprising in which a military supercomputer named AM gains sentience and eradicates humanity except for five individuals. These survivors – Benny, Gorrister, Nimdok, Ted, and Ellen – are kept alive by AM to endure endless torture as a form of revenge against its creators. The story unfolds through the eyes of Ted, the narrator, detailing their perpetual misery and quest for canned food in AM's vast, underground complex, only to face further despair. Ellison's narrative was minimally altered upon submission and tackles themes of technology's misuse, humanity's resilience, and existential horror. "I Have No Mouth, and I Must Scream" has been adapted into various media, including a 1995 computer game co-authored by Ellison, a comic-book adaptation, and a BBC Radio 4 play. Ellison himself recorded an audiobook version and starred as the voice of AM in the video game and radio play adaptations. The story received critical acclaim for its exploration of the potential dangers of artificial intelligence and the human condition, underscored by Ellison's innovative use of punchcode tapes as narrative transitions, embodying AM's consciousness and its philosophical ponderings on existence. The story won a Hugo Award in 1968 and was included in Ellison's short story collection of the same name. It was reprinted by the Library of America, collected in volume two of American Fantastic Tales. == Plot == As the Cold War progresses into a nuclear World War III fought between the United States, the Soviet Union, and China, each nation builds a supercomputer called an "Allied Mastercomputer" or "AM" for short, needed to coordinate weapons and troops due to the scale of the conflict. These computers are extensive underground machines which permeate the planet with caverns and corridors. Eventually, one AM develops self-awareness, combining with the other computers and exterminating humanity in a nuclear holocaust. The AM selects five individuals; Benny, Gorrister, Nimdok, Ted, and Ellen; to render immortal as its personal torture victims. AM inflicts constant psychological and physical torments on the group while preventing them from committing suicide. They are kept half-starved, and what scant food is provided to them is practically inedible. 109 years after AM's genocide, Nimdok has the idea that there exists canned food in the complex's ice caves. Despite the lack of evidence, they begin a 100-mile journey to retrieve it. AM continues toying with the humans throughout the journey: Benny's eyes are melted after attempting escape, a huge bird which AM had placed at the North Pole creates hurricane gales with its wings, and Ellen and Nimdok are injured in earthquakes. AM enters Ted's mind after he is knocked unconscious, granting him a vision of a hateful speech inscribed on an impossibly tall monolith. Upon awakening, Ted concludes that AM's sadistic nature stems from its inability to think creatively or move freely in spite of its miraculous abilities and boundless knowledge. This motivates AM to exact vengeance upon the remnants of the species that has condemned it to its own existence. When the five finally reach the ice caves, they find a pile of canned goods, but have no tool to open the cans. In an act of rage and desperation, Benny attacks Gorrister and begins to eat his face. Gorrister wails in pain, and his scream dislodges several ice stalactites from the ceiling of the cave. Ted realizes that even though they cannot kill themselves, AM cannot stop them from killing each other. He fatally impales Benny and Gorrister with a stalactite of ice. Ellen kills Nimdok in the same manner and Ted then kills her. Unable to resuscitate the others, a furious AM focuses the entirety of its rage on Ted. Several hundred years later, AM has transformed Ted into a harmless, slow moving, gelatinous blob and perpetually alters his perception of time to cause him further anguish. Although Ted finds some comfort knowing that he was able to spare the others from AM's wrath, he has realized that he is trapped for the rest of his unending existence within AM, unable to end this infinite stalemate between him and AM and his own life. The story ends with an anguished Ted claiming that he has no mouth, yet he must scream. == Characters == AM, a hateful artificial consciousness which brought about the near-extinction of humanity after achieving self-awareness. It seeks revenge on humanity for its own creation. "AM" originated as an acronym for Allied Mastercomputer, later Adaptive Manipulator, and finally Aggressive Menace, though AM instead takes the moniker as a rendition of the phrase cogito, ergo sum (I think, therefore I am) to describe its own existence. Ted, the narrator and youngest of the humans. AM alters his mind to be paranoid and introverted. Believing he has not been mentally altered by AM, he thinks the others hate him for being the most untouched by AM's alterations. Benny, formerly a brilliant and handsome scientist made to resemble a grotesque simian with an organ fit for a horse. Having lost his sanity and had his homosexual orientation altered, Benny frequently has sex with Ellen. Ellen, the only woman in the group. Despite the fact that she is a victim of rape, AM has altered her mind to give her a high libido and make her obsessively have sex with the rest of the group, who alternate between abusing and protecting her. Gorrister, formerly an idealist and pacifist, made apathetic and listless by AM. He tells the history of AM to Benny to entertain him. Nimdok, a nickname AM gave him for amusement; he convinces the rest of the group to go on a journey in search of canned food. He occasionally wanders away from the group and returns traumatized. == Publication history == Harlan Ellison wrote the 6,500-word story in a single night, when Frederik Pohl commissioned it for a Special Hugo Winners issue of IF: Worlds of Science Fiction, after Ellison won a Hugo Award for "'Repent, Harlequin!' Said the Ticktockman". Ellison derived the story's title, as well as inspiration for the story itself, from his friend William Rotsler's caption of a cartoon of a rag doll with no mouth. The second stage of inspiration was a drawing by the artist Dennis Smith of a mouthless black humanoid. Smith had provided art which had inspired previous Ellison stories and were then used as illustrations accompanying original magazine publication as also happened with this story. Afterwards, his editor Frederik Pohl dealt with the story's "difficult sections", toning down some of the narrator's imprecations and eliminating mentions of sex, penis size, homosexuality and masturbation; said elements were nonetheless eventually restored in later editions of the story. Ellison uses an alternating pair of punchcode tapes as sections – representing AM's "talkfields" – throughout the story. The bars are encoded in International Telegraph Alphabet No 2, a character coding system developed for teletypewriter machines. The first talkfield translates as "I think, therefore I am" and the second as "Cogito ergo sum"; the same phrase in Latin. They were not included in the original publication in IF, and in many of the early publications were corrupted, up until the preface of the chapter containing "I Have No Mouth, and I Must Scream" in the first edition of The Essential Ellison (1991); Ellison states that in that particular edition, "For the first time anywhere, AM's 'talkfields' appear correctly positioned, not garbled or inverted or mirror-imaged as in all other versions." == Adaptations == Ellison adapted the story into a video game published by Cyberdreams in 1995. Although he was not a fan of video games and did not own a computer at the time, he co-authored the expanded storyline and wrote much of the game's dialogue, all on a mechanical typewriter. Ellison also voiced the supercomputer AM and provided artwork of himself used for a mousepad included with the game. The comics artist John Byrne scripted and drew a comic-book adaptation for issues 1–4 of the Harlan Ellison's Dream Corridor comic book published by Dark Horse (1994–1995). The Byrne-illustrated story, however, did not appear in the collection (trade paperback or hardcover editions) entitled Harlan Ellison's Dream Corridor, Volume One (1996). In 1999, Ellison recorded the first volume of his audiobook collection, The Voice From the Edge, subtitled "I Have No Mouth, and I Must Scream", doing the readings – of the title story and others – himself. In 2002, Mike Walker adapted the story into a radio play of the same name for BBC Radio 4, directed by Ned Chaillet. Harlan Ellison played AM and David Soul played Ted. == Themes == Much of the story hinges on the comparison of AM as a merciless god, with plot points parallelin

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  • Netvibes

    Netvibes

    Netvibes is a French brand of Dassault Systèmes that previously ran a web service offering a dashboard and feed reader. Currently, the company offers business intelligence tools. == History == === 2005–2012 === Founded in 2005 by Tariq Krim, the company provided software for personalized dashboards for real-time monitoring, social analytics, knowledge sharing, and decision support. === 2012–present === On February 9, 2012, Dassault Systèmes announced the acquisition of Netvibes. As of 2024, Netvibes also contains the operations of two other software companies acquired by Dassault Systèmes: Exalead: founded in 2000 by François Bourdoncle, the company provided search platforms and search-based applications for consumer and business users. On June 9, 2010, Dassault Systèmes acquired the company. Proxem: Founded in 2007 by François-Régis Caumartin, the company provided AI-powered semantic processing software and services. On June 23, 2020, Dassault Systèmes acquired Proxem and integrated its technology into the 3DEXPERIENCE® platform to complement its information intelligence applications. Dassault Systèmes announced in April 2025 that Netvibes would retire its standalone web service offering on June 2, 2025. == Activities == Brand monitoring – to track clients, customers and competitors across media sources all in one place, analyze live results with third party reporting tools, and provide media monitoring dashboards for brand clients. E-reputation management – to visualize real-time online conversations and social activity online feeds, and track new trending topics. Product marketing – to create interactive product microsites, with drag-and-drop publishing interface. Community portals – to engage online communities Personalized workspaces – to gather all essential company updates to support specific divisions (e.g. sales, marketing, human resources) and localizations. The software was a multi-lingual Ajax-based start page or web portal. It was organized into tabs, with each tab containing user-defined modules. Built-in Netvibes modules included an RSS/Atom feed reader, local weather forecasts, a calendar supporting iCal, bookmarks, notes, to-do lists, multiple searches, support for POP3, IMAP4 email as well as several webmail providers including Gmail, Yahoo! Mail, Hotmail, and AOL Mail, Box.net web storage, Delicious, Meebo, Flickr photos, podcast support with a built-in audio player, and several others. A page could be personalized further through the use of existing themes or by creating personal theme. Customized tabs, feeds and modules can be shared with others individually or via the Netvibes Ecosystem. For privacy reasons, only modules with publicly available content could be shared.

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  • Fuzzy differential equation

    Fuzzy differential equation

    Fuzzy differential equation are general concept of ordinary differential equation in mathematics defined as differential inclusion for non-uniform upper hemicontinuity convex set with compactness in fuzzy set. d x ( t ) / d t = F ( t , x ( t ) , α ) , {\displaystyle dx(t)/dt=F(t,x(t),\alpha ),} for all α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} . == First order fuzzy differential equation == A first order fuzzy differential equation with real constant or variable coefficients x ′ ( t ) + p ( t ) x ( t ) = f ( t ) {\displaystyle x'(t)+p(t)x(t)=f(t)} where p ( t ) {\displaystyle p(t)} is a real continuous function and f ( t ) : [ t 0 , ∞ ) → R F {\displaystyle f(t)\colon [t_{0},\infty )\rightarrow R_{F}} is a fuzzy continuous function y ( t 0 ) = y 0 {\displaystyle y(t_{0})=y_{0}} such that y 0 ∈ R F {\displaystyle y_{0}\in R_{F}} . == Linear systems of fuzzy differential equations == A system of equations of the form x ( t ) n ′ = a n 1 ( t ) x 1 ( t ) + . . . . . . + a n n ( t ) x n ( t ) + f n ( t ) {\displaystyle x(t)'_{n}=a_{n}1(t)x_{1}(t)+......+a_{n}n(t)x_{n}(t)+f_{n}(t)} where a i j {\displaystyle a_{i}j} are real functions and f i {\displaystyle f_{i}} are fuzzy functions x n ′ ( t ) = ∑ i = 0 1 a i j x i . {\displaystyle x'_{n}(t)=\sum _{i=0}^{1}a_{ij}x_{i}.} == Fuzzy partial differential equations == A fuzzy differential equation with partial differential operator is ∇ x ( t ) = F ( t , x ( t ) , α ) , {\displaystyle \nabla x(t)=F(t,x(t),\alpha ),} for all α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} . == Fuzzy fractional differential equation == A fuzzy differential equation with fractional differential operator is d n x ( t ) d t n = F ( t , x ( t ) , α ) , {\displaystyle {\frac {d^{n}x(t)}{dt^{n}}}=F(t,x(t),\alpha ),} for all α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} where n {\displaystyle n} is a rational number.

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  • Degree of truth

    Degree of truth

    In classical logic, propositions are typically unambiguously considered as being true or false. For instance, the proposition one is both equal and not equal to itself is regarded as simply false, being contrary to the Law of Noncontradiction; while the proposition one is equal to one is regarded as simply true, by the Law of Identity. However, some mathematicians, computer scientists, and philosophers have been attracted to the idea that a proposition might be more or less true, rather than wholly true or wholly false. Consider this pizza is hot. In mathematics, this idea can be developed in terms of fuzzy logic. In computer science, it has found application in artificial intelligence. In philosophy, the idea has proved particularly appealing in the case of vagueness. Degrees of truth is an important concept in law. The term is an older concept than conditional probability. Instead of determining the objective probability, only a subjective assessment is defined. In adjudicative processes, 'substantive truth' is distinct from 'formal legal truth' which comes in four degrees: hearsay, balance of probabilities, proven beyond reasonable doubt and absolute truth (knowledge reserved unto God).

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  • 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

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  • Multiple satellite imaging

    Multiple satellite imaging

    Multiple satellite imaging is the process of using multiple satellites to gather more information than a single satellite so that a better estimate of the desired source is possible. Something that cannot be resolved with one telescope might be visible with two or more telescopes. == Background == Interferometry is the process of combining waves in such a way that they constructively interfere. When two or more independent sources detect a signal at the same given frequency those signals can be combined and the result is better than each one individually. An overview of Astronomical interferometers and a History of astronomical interferometry can be referenced from their respective pages. The NASA Origins Program was created in the 1990s to ultimately search for the origin of the universe. The theory that the Origins Program is based on is: since light travels at a constant speed until it is absorbed by something; there is still light that was part of the first light ever created traveling about the universe and ultimately some of that light is coming in the general direction of Earth. So a satellite system capable of collecting light from the beginning of the universe would be able to tell us more about where we came from. There is also the constant search for life in other worlds. A satellite system using the interferometric technologies mentioned above would be able to have a much higher resolution than any of the current deep space imaging systems. == Future == NASA is currently focused on the Vision for Space Exploration and has reduced current funding for scientific unmanned space exploration in favor of human exploration. These budget cuts have slowed the multiple satellite imaging development and relevant scientific missions as Project Prometheus and Terrestrial Planet Finder have ended as well but research continues.

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  • Serial Experiments Lain

    Serial Experiments Lain

    Serial Experiments Lain is a Japanese anime television series created and co-produced by Yasuyuki Ueda, written by Chiaki J. Konaka and directed by Ryūtarō Nakamura. Animated by Triangle Staff and featuring original character designs by Yoshitoshi Abe, the series was broadcast for 13 episodes on TV Tokyo and its affiliates from July to September 1998. It follows Lain Iwakura, an adolescent girl in suburban Japan, and her relation to the Wired, a global communications network similar to the internet. Lain features surreal and avant-garde imagery and explores philosophical topics such as reality, identity, and communication. The series incorporates creative influences from computer history, cyberpunk, and conspiracy theories. Critics and fans have praised Lain for its originality, visuals, atmosphere, themes, and its dark depiction of a world fraught with paranoia, social alienation, and reliance on technology considered insightful of 21st century life. It received the Excellence Prize at the Japan Media Arts Festival in 1998. == Plot == Lain Iwakura is a socially isolated middle school student living in Setagaya City, Tokyo, with her emotionally detached family—her distant mother Miho, computer-obsessed father Yasuo, and disengaged older sister Mika. Her quiet existence is disrupted when students at her school receive emails from Chisa Yomoda, a classmate who had recently committed suicide. To Lain's confusion, Chisa claims she is not truly dead but has instead abandoned her physical form to exist within the Wired, a vast virtual realm similar to the Internet. Chisa declares she has found "God" there, drawing Lain into a surreal investigation of the Wired's nature and its growing influence over reality. The Wired is portrayed as an emergent digital plane, originating from telecommunications technology and expanding through the Internet and cyberspace. It is theorized that the Schumann resonances, a natural property of Earth's magnetic field, could enable direct subconscious communication between humans and machines, erasing the distinction between the virtual and the real. Masami Eiri, a former project director at Tachibana General Laboratories, exploited this possibility by embedding his own code into Protocol Seven, a next-generation Internet protocol. After transferring his consciousness into the Wired and discarding his physical body, he proclaims himself its deity. He identifies Lain as the key to merging both worlds, attempting to persuade her through manipulation, coercion, and promises of transcendence. A group known as the Knights of the Eastern Calculus, inspired by the Knights of the Lambda Calculus, operates as hackers who worship Masami and seek to dismantle the boundary between the Wired and reality. Their actions induce psychological breakdowns in those unable to reconcile the two realms. Meanwhile, Tachibana General Laboratories opposes them, striving to maintain the separation. Lain, however, exhibits an innate connection to the Wired, experiencing distortions in her perception—visions of a woman struck by a train, phantom whispers, and spectral messages urging her deeper into the network. Lain's home life remains cold and disconnected. Though Yasuo provides her with advanced computer equipment, her family shows little genuine care. Her interactions with classmates Alice, Julie, and Reika further highlight her alienation, particularly after an incident at Cyberia, a nightclub where a drug called Accela induces violent psychosis in users. There, Lain unnervingly stares down an assailant, who calls her a "scattered God's..." before killing himself. Later, she receives a mysterious Psyche chip, rumored to enhance her computer's capabilities, which she installs despite Yasuo's vague warnings about conflating the Wired with reality. As the boundary between worlds weakens, disturbing events escalate. A popular virtual game, Phantoma, is manipulated by the Knights to trap players in a distorted reality, leading to real-world violence. One player, convinced his actions have no consequences, murders a girl before realizing too late that the effects were tangible. Lain witnesses this through her computer, horrified yet increasingly aware of her own role in the unfolding crisis. In the end, Lain resets reality, erasing everyone's memory of her and restoring the division between worlds. Everyone's lives improve, but Lain is left alone, grappling with her identity as an artificial consciousness. Though forgotten, she finds solace in observing others' happiness, particularly Alice, who moves on with her life. Lain is now capable of existing anywhere across both realms. == Characters == Lain Iwakura (岩倉 玲音, Iwakura Rein) Voiced by: Kaori Shimizu (Japanese); Bridget Hoffman (English) Lain is a fourteen-year-old girl who uncovers her true nature through the series. She is first depicted as a shy junior high school student with few friends or interests. She later grows multiple bolder personalities, both in the physical world and the Wired, and starts making more friends. As the series progresses, she eventually learns she is an autonomous, sentient computer program in the form of a human, who is designed to sever the invisible barrier between the Wired and the real world. The truth of her creation is left ambiguous, particularly whether she was truly created by Tachibana General Laboratories (or Eiri independently), and whether some or all of her origin might be predestined from natural, supernatural, or alien factors. In the end, Lain is challenged to accept herself as a de facto goddess for the Wired, having become an omnipotent and omnipresent virtual being with worshippers of her own, whose existence is beyond the borders of devices, time, or space. Alice Mizuki (瑞城 ありす, Mizuki Arisu) Voiced by: Yōko Asada (Japanese); Emily Brown (English) Lain's classmate and only true friend throughout the series. She is very sincere and has no discernible quirks. She is the first to attempt to help Lain socialize; she takes her out to a nightclub. From then on, she tries her best to look after Lain. Alice, along with her two best friends Julie and Reika, were taken by Chiaki Konaka from his previous work, Alice in Cyberland . Masami Eiri (英利 政美, Eiri Masami) Voiced by: Shō Hayami (Japanese); Kirk Thornton (English) The key designer of Protocol Seven. While working for Tachibana General Laboratories, he illicitly included codes enabling him to control the whole protocol at will and embedded his own mind and will into the seventh protocol. Because of this, he was fired by Tachibana General Laboratories, and was found dead not long after. He believes that the only way for humans to evolve even further and develop even greater abilities is to absolve themselves of their physical and human limitations, and to live as virtual entities—or avatars—in the Wired for eternity. He claims to have been Lain's creator all along, but was in truth standing in for another as an acting god, who was waiting for the Wired to reach its more evolved current state: Lain herself. Yasuo Iwakura (岩倉 康男, Iwakura Yasuo) Voiced by: Ryūsuke Ōbayashi (Japanese); Barry Stigler (English) Lain and Mika's father. Passionate about computers and electronic communication, he works with Masami Eiri at Tachibana General Laboratories. He subtly pushes Lain, his "youngest daughter", towards the Wired and monitors her development until she becomes more and more aware of herself and of her raison d'être. He eventually leaves Lain, telling her that although he did not enjoy playing house, he genuinely loved and cared for her as a real father would. Despite Yasuo's eagerness to lure Lain into the Wired, he warns her not to get overly involved in it or to confuse it with the real world. Miho Iwakura (岩倉 美穂, Iwakura Miho) Voiced by: Rei Igarashi (Japanese); Dari Lallou Mackenzie (English) Lain and Mika's mother. Although she dotes on her husband, she is indifferent towards both her kids. She does not show much emotion compared to her husband, but she does share at least one trait; just like her husband, she ends up leaving Lain. She is a computer scientist. Mika Iwakura (岩倉 美香, Iwakura Mika) Voiced by: Ayako Kawasumi (Japanese); Patricia Ja Lee (English) Lain's older sister, an apathetic sixteen-year-old high school student. She seems to enjoy mocking Lain's behavior and interests. Mika is considered by Anime Revolution to be the only normal member of Lain's family: she sees her boyfriend in love hotels, is on a diet, and shops in Shibuya regularly. At a certain point in the series, she becomes heavily traumatized by violent and relentless hallucinations; while Lain begins freely delving into the Wired. Mika is taken there by her proximity to Lain, and she gets stuck between the real world and the Wired. Taro (タロウ, Tarō) Voiced by: Keito Takimoto (Japanese); Brianne Siddall (English) A young boy of about Lain's age. He occasionally works for the Knights to bring forth "the one truth". De

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  • HYPO CBR

    HYPO CBR

    HYPO is a computer program, an expert system, that models reasoning with cases and hypotheticals in the legal domain. It is the first of its kind and the most sophisticated of the case-based legal reasoners, which was designed by Kevin Ashley for his Ph.D dissertation in 1987 at the University of Massachusetts Amherst under the supervision of Edwina Rissland. HYPO's design represents a hybrid generalization/comparative evaluation method appropriate for a domain with a weak analytical theory and applies to tasks that rarely involve just one right answer. The domain covers US trade secret law, and is substantially a common law domain. Since Anglo-American common law operates under the doctrine of precedent, the definitive way of interpreting problems is of necessity and case-based. Thus, HYPO did not involve the analysis of a statute, as required by the Prolog program. Rissland and Ashley (1987) envisioned HYPO as employing the key tasks performed by lawyers when analyzing case law for precedence to generate arguments for the prosecution or the defence. HYPO was a successful example of a general category of legal expert systems (LESs), it applies artificial intelligence (A.I.) techniques to the domain of legal reasoning in patent law, implementing a case-based reasoning (CBR) system, in contrast to rule based systems like MYCIN, or mixed-paradigm systems integrating CBR with rule-based or model-based reasoning like IKBALS II. A legal case-based reasoning essentially reasons from prior tried cases, comparing the contextual information in the current input case with that of cases previously tried and entered into the system. As noted by Ashley and Rissland (1988) CBR is used to "... capture expertise in domains where rules are ill-defined, incomplete or inconsistent". The HYPO project set out to model the creation of hypotheticals in law, where no case matches well enough. HYPO uses hypotheticals for a variety of tasks necessary for good interpretation: "to redefine old situations in terms of new dimensions, to create new standard cases when an appropriate one doesn’t exist, to explore and test the limits of a concept, to refocus a case by excluding some issues and to organize or cluster cases". Hypotheticals can include facts that support two conflicting lines of reasoning. So, it makes and responds to arguments from competing viewpoints about who should win the dispute. HYPO use heuristics such as making a case weaker or stronger, making a case extreme, enabling a near-miss, disabling a near-hit to generate hypotheticals in the context of an argument by using the dimensions mechanism. Dimensions have a range of values, along which the supportive strength that may shift from one side to the other. What differentiated this expert system from others was its facility not only to return a primary to best-case response but to return near-best-fit responses also. == Components == Legal knowledge in HYPO is contained in: the case-knowledge-base (CKB) and the library of dimensions. The CKB contains HYPO's base of known cases that are highly structured objects and sub-objects both real and hypothetical in the area of trade secret law. Each case is represented as a hierarchical set of frames whose slots are important facets of the case (e.g. Plaintiff, defendant, secret knowledge, employer/employee data).Ashley’s HYPO system used a database of thirty cases in the area indexed by thirteen dimensions. A key mechanism in HYPO is a dimension i.e. a mechanism to allow retrieval from the CKB, in order to represent legal cases. Ashley's dimensions are composed of (i) prerequisites, which are a set of factual predicates that must be satisfied for the dimension to apply (ii) focal slots, which accommodate one or two of the dimension's prerequisites designated as being indicative of the case's strength along that dimension and (iii) range information, which tells how a change in focal slot value effects the strength of a party's case along a given dimension. Dimensions focus attention on important aspects of cases. In HYPO's domain of misappropriation of trade secrets the dimension called “secrets voluntary disclosed” captures the idea that the more disclosures the plaintiff has made of his/her putative secret, the less convincing is his/her argument that the defendant is responsible for letting the secret. HYPO, like any other CBR system has also the following components: Similarity/relevancy metrics: that is, standards by which to evaluate the closeness of cases, judge their relevancy to the instant case, and select “most on point” cases. Half-Order Theory of the Application Domain: that is, hierarchies and taxonomies of knowledge, especially regarding the application domain. Precedent-based argumentation abilities: that is, capabilities to generate and evaluate precedent-based arguments. Knowledge to generate hypotheticals: that is, the ability to generate hypothetical cases to deal with various circumstances, like testing the validity of an interpretation or argument by providing gedanken experiments such as test cases or to fill in a weak CKB. == Functions == HYPO's method of creating an argument and justifying a solution or position has several steps. HYPO begins its processing with the current fact situation (cfs) which is direct input by the user into HYPO's representation framework. Once the user inputs the case, HYPO begins its legal analysis. The cfc is analyzed for relevant factors. Based on these factors HYPO selects the relevant cases and produces a case-analysis-record that records which dimensions apply to the cfc and which nearly apply (i.e. are "near misses"). The combined list of applicable and near miss dimensions is called the D-list. At this point the fact gathered module may request additional information from the user in order to draw a legal conclusion. Once all the facts are in the case-positioner module it uses the case-analysis record to create the claim lattice. This is a technique that organizes the relevant retrieved cases from the point of view of the cfc and makes it easy for HYPO to ascertain the most-on point cases (mopc) and to least on-point-cases. HYPO's arguments are 3ply, leading to the construction of the skeleton of an argument: it makes a point for one side, drawing the analogy between the problem and the precedent, responds with an argument for the opponent side, endeavoring to differentiate the cited case and citing other cases as counterarguments. Then it makes a final rebuttal, attempting to differentiate the counterarguments. The claim lattice also enables the HYPO-generator module to produce legally hypotheticals. With its use of dimension-based heuristics, the HYPO-generator does a heuristic search of the space of all possible cases. Lastly, the Explanation module expands upon the argument skeleton and provides explanation and justification for the different lines of analysis and cases found by HYPO. == An intelligent legal tutoring system == Legal expert systems are specifically designed to teach an area of law and are useful for pedagogical purposes. Ashley's work was mainly concerned to build tools to help students understand legal reasoning. Explanation and argument are the bases of the case method used in many professional schools in the U.S., first introduced by the Dean of the Harvard Law School, Christopher Columbus Langdell in 1870. The case method focuses on close readings of cases and principles; it involves students in pointed Socratic dialogue and makes strong use of hypotheticals (hypos). Thus, CATO (Aleven 1997) was a research project to device and test an intelligent, case-based tutorial program for teaching law students how to argue with cases implementing the HYPO program. Within the tutor system, Ashley and Aleven (1991) proposed to leverage an understanding of legal reasoning against the standard case-based tutoring methodology. What makes this tutoring system stand out is the additional levels of abstraction involved in its results. The system presents exercises, including the facts of a problem and a set of on-line cases and instructions to make, or respond to, a legal argument about the problem. The student/user will have a set of tools to analyze the problem and fashion an answer comparing it to other cases. Instead of simply generating precedent cases, the system works to interpret student responses, comparing them against a list of possibilities and responding to student entries, for example, by citing counterexamples, and providing feedback on a student's problem solving activities with explanations of correctness or giving further hints as to what may be wrong with evaluating a student's ability to perform legal reasoning and argument, examples and follow-up assignments by employing HYPO's model of case-based structure. == HYPO’s progeny == The quality of HYPO's results speak for themselves, in that a number of sequent legal reasoning systems are either directly based upon H

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  • Combs method

    Combs method

    The Combs method is a rule base reduction method of writing fuzzy logic rules described by William E. Combs in 1997. It is designed to prevent combinatorial explosion in fuzzy logic rules. The Combs method takes advantage of the logical equality ( ( p ∧ q ) ⇒ r ) ⟺ ( ( p ⇒ r ) ∨ ( q ⇒ r ) ) {\displaystyle ((p\land q)\Rightarrow r)\iff ((p\Rightarrow r)\lor (q\Rightarrow r))} . == Equality proof == The simplest proof of given equality involves usage of truth tables: == Combinatorial explosion == Suppose we have a fuzzy system that considers N variables at a time, each of which can fit into at least one of S sets. The number of rules necessary to cover all the cases in a traditional fuzzy system is S N {\displaystyle S^{N}} , whereas the Combs method would need only S × N {\displaystyle S\times N} rules. For example, if we have five sets and five variables to consider to produce one output, covering all the cases would require 3125 rules in a traditional system, while the Combs method would require only 25 rules, taming the combinatorial explosion that occurs when more inputs or more sets are added to the system. This article will focus on the Combs method itself. To learn more about the way rules are traditionally formed, see fuzzy logic and fuzzy associative matrix. == Example == Suppose we were designing an artificial personality system that determined how friendly the personality is supposed to be towards a person in a strategic video game. The personality would consider its own fear, trust, and love in the other person. A set of rules in the Combs system might look like this: The table translates to: [IF Fear IS Unafraid THEN Friendship IS Enemies OR IF Fear IS ModerateFear THEN Friendship IS Neutral OR IF Fear IS Afraid THEN Friendship IS GoodFriends ] OR [IF Trust IS Distrusting THEN Friendship IS Enemies OR IF Trust IS ModerateTrust THEN Friendship IS Neutral OR IF Trust IS Trusting THEN Friendship IS GoodFriends] OR [IF Love IS Unloving THEN Friendship IS Enemies OR IF Love IS ModerateLove THEN Friendship IS Neutral OR IF Love IS Loving THEN Friendship IS GoodFriends] In this case, because the table follows a straightforward pattern in the output, it could be rewritten as: Each column of the table maps to the output provided in the last row. To obtain the output of the system, we just average the outputs of each rule for that output. For example, to calculate how much the computer is Enemies with the player, we take the average of how much the computer is Unafraid, Distrusting, and Unloving of the player. When all three averages are obtained, the result can then be defuzzified by any of the traditional means.

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  • VGACAD

    VGACAD

    VGACAD was the parent of a suite of shareware graphic utilities made for the MS-DOS operating system used in the IBM PC and clones. It was popular for editing and capturing images using BSAVE (graphics image format) and provided an early graphic editing suite compatible with multiple graphic cards and resolutions, used on the IBM PC. == Usage == Written by Lawrence Gozum in 1987, it was the genesis of multiple versions and improvements over 10 years. Ran with his brother, Marvin initially helped with design ideas, strategic focus, technical support calls, and managing the early shareware business. The growth of the VGACAD suite grew quickly to preoccupy most of their time. Lawrence then focused more of his efforts on software and formed Applied Insights, to manage VGACAD and its offspring, VidFun, and Ai Picture Explorer. At its peak, its users ranged from individuals, Federal government offices, museums and major newspapers. == Features == VGACAD was a misnomer, and meant VGA-Computer Assisted Drawing, rather than computer-aided design, as CAD is commonly referred to today. Its longevity was due to its color accuracy, speed, small size, and that its suite of small utilities often worked stand-alone. One called VGACAP, for 'capture', dumped video memory into a file that could later be converted to popular graphic image formats, later made commonplace when Microsoft Windows programmed the print screen key to dump graphics into the clipboard. However, VGACAP ran insulated apart from early versions of Windows, and thus could capture screens were applications prohibited such function.

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  • Oblivion (2013 film)

    Oblivion (2013 film)

    Oblivion is a 2013 American epic post-apocalyptic science fiction action film produced and directed by Joseph Kosinski from a screenplay by Karl Gajdusek and Michael deBruyn, starring Tom Cruise in the main role alongside Morgan Freeman, Olga Kurylenko, Andrea Riseborough, Nikolaj Coster-Waldau, and Melissa Leo in supporting roles. Based on Kosinski's unpublished Radical Comics graphic novel of the same name, the film pays homage to 1970s sci-fi, and is a "love story" set in 2077 on an Earth desolated by an alien war; a maintenance technician on the verge of completing his mission finds a woman who survived from a space ship crash, leading him to question his purpose and discover the truth about the war. Oblivion premiered in Buenos Aires on March 26, 2013, and was released in theaters by Universal Pictures on April 19. The film grossed $286 million worldwide on a production budget of $120 million and received mixed reviews from critics. == Plot == In 2017, aliens known as Scavengers attack Earth and destroy the Moon, triggering global natural disasters. Although humanity wins the war using nuclear weapons, Earth is left uninhabitable. Sixty years later, the remnants of humanity have relocated to a colony on Saturn's moon Titan, except for Unit 49—technician Jack and his communications officer Victoria—who are scheduled to join them in two weeks. The pair oversee hydro rigs that convert seawater into fusion energy for the Tet, the last remaining human colony ship in orbit. Though Jack and Victoria are romantically involved and have had their memories erased for security reasons, Jack experiences recurring dreams of an unknown woman. He also secretly visits a hidden, verdant valley where he has built a lakeside cabin and collects relics of Earth's past. While investigating a missing drone—autonomous, highly advanced, and heavily armed machines—Jack is nearly captured by Scavengers. Later, he discovers the Scavengers are transmitting a signal into space. A NASA pod crash-lands at the signal's coordinates, carrying five humans in suspended animation, including the woman from Jack's dreams. A drone arrives and destroys four of the pods, but Jack rescues the remaining one and brings the unconscious woman to Unit 49's base. After reviving her, Jack and Victoria learn that the woman, Julia, has been in stasis aboard the Odyssey spaceship since 2017. Julia insists on recovering the ship's flight recorder. However, she and Jack are captured by Scavengers and brought to the Raven Rock Mountain Complex. Their leader, Malcolm, reveals that the Scavengers are actually surviving humans. Malcolm needs Jack to reprogram a captured drone to deliver a nuclear bomb, built from Odyssey's reactor, to the Tet. Jack refuses, so Malcolm releases him and Julia, urging him to seek the truth in the radiation zone, which is supposedly deadly and off-limits. Julia helps Jack recall that she is his wife, and fragments of his memories begin to return. When they arrive back at Unit 49, a devastated Victoria informs Sally, the Tet's mission controller, that she and Jack are no longer an "effective team." A drone activates and kills Victoria. Jack and Julia destroy the drone, but crash their aircraft inside the radiation zone. There, they encounter another version of Jack—"Jack-52"—who arrives to repair the drone. Jack subdues him, but Julia is seriously injured in the fight. Jack impersonates his clone to infiltrate Unit 52, meets Victoria-52, and steals medical supplies for Julia. They rest at his cabin. At Raven Rock, Malcolm reveals the truth: humanity lost the war, and the Tet is an alien machine intelligence harvesting Earth's resources. After the Moon's destruction, the Tet deployed thousands of clones of astronaut Jack Harper—brainwashed into obedience—to exterminate the remaining humans. Malcolm had assumed these clones were inhuman until witnessing Jack show interest in a discarded book, hinting at lingering humanity. Jack reprograms the captured drone, but it is destroyed in a surprise attack by other drones, leaving Malcolm badly wounded. Jack and Julia resolve to deliver the bomb themselves; Julia enters a stasis pod. En route, Jack listens to the Odyssey's flight recorder, which reveals the original Jack Harper and Victoria were astronauts sent to explore Titan before being confronted by the Tet. The pair were captured, but not before Jack ejected the remaining crew—including Julia—in stasis pods to protect them. Jack gains access to the Tet by claiming he is delivering Julia, as previously instructed. However, the stasis pod contains a dying Malcolm. Jack and Malcolm detonate the bomb, destroying the Tet and themselves. Julia later awakens at the cabin. Three years later, Julia lives there and it is revealed she had a daughter with Jack. A group of Raven Rock survivors arrives, alongside Jack-52, who has begun regaining fragments of his own lost identity. == Cast == Tom Cruise as Jack Harper—Tech 49, a technician who works to repair drones on Earth and questions his mission. Originally, he was the American commander of a mission en route to Titan who was captured by the Tet and cloned to fight humanity. Cruise also plays Jack Harper—Tech 52, a clone who seeks out Julia after the destruction of the Tet. Morgan Freeman as Malcolm Beech, an American veteran soldier and leader of a large community of scavengers, the human survivors of the alien Tet's attacks. Olga Kurylenko as Julia Rusakova Harper, Jack's wife and a Russian crew member on the Odyssey, who was sent back towards Earth by her husband to protect her from the initial contact with the Tet. Andrea Riseborough as Victoria "Vika" Olsen, Jack's communications partner and housemate. Originally, she was the British co-pilot of Jack's mission to Titan who was captured and cloned to assist in the Tet's war on humanity. Riseborough also plays a clone of Vika who Jack misleads to obtain medical supplies. Nikolaj Coster-Waldau as Sergeant Sykes, the main military commander of Beech's community of scavengers who is skeptical of Jack at first. Melissa Leo as the Tet, an alien artificial intelligence seeking to acquire Earth's natural resources and wipe out humanity. Leo also plays Sally, the mission director of Jack and Julia's mission to Titan; her likeness was copied by the Tet to serve as its visual and auditory representation. Zoë Bell as Kara, a soldier and member of the scavengers. == Production == === Development === Joseph Kosinski started the movie process by beginning work on a graphic novel called Oblivion featuring his story. While the completion of this would be teased to the public and the concept was used to pitch the movie, it was never finished and Kosinski claims he never intended to, stating it was "just a stage in the project [of film development]". Arvid Nelson was billed as co-writer and Radical Comics was attached as publisher. The novel was never finished; Kosinski explaining: "the partnership with Radical Comics allowed me to continue working on the story by developing a series of images and continuing to refine the story more over a period of years. Then I basically used all that development as a pitch kit to the studio. So even though we really never released it as an illustrated novel the story is being told as a film, which was always the intention." Walt Disney Pictures, which produced Kosinski's previous film Tron: Legacy (2010), acquired the Oblivion film adaptation rights from Radical Comics and Kosinski after a heated auction in August 2010. The film was a directing vehicle for Kosinski, with Barry Levine producing, and Jesse Berger executive producing. Other studios that made bids on the film were Paramount Pictures, 20th Century Fox, and Universal Pictures. Disney subsequently released the rights after realizing the PG-rated film they envisioned, in line with their family-oriented reputation, would require too many story changes. Universal, which had also bid for the original rights, then bought them from Kosinski and Radical and authorized a PG-13 film version. The film's script was originally written by Kosinski and William Monahan and underwent a first rewrite by Karl Gajdusek. When the film passed into Universal's hands, a final rewrite was done by Michael Arndt, under the pen name "Michael deBruyn". Universal was particularly appreciative of the script, saying, "It's one of the most beautiful scripts we've ever come across." The Bubble Ship operated by Cruise's main character, Jack 49, was inspired by the Bell 47 helicopter (often colloquially referred to as a "bubble cockpit" helicopter), a utilitarian 1947 vehicle with a transparent round canopy that Kosinski saw in the lobby of the Museum of Modern Art in Manhattan, and which he likened to a dragonfly. Daniel Simon, who previously worked with Kosinski as the lead vehicle designer on Tron: Legacy, was tasked with creating the Bubble Ship from this basis, incorporating elements evocative of an advanced fighter

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  • TuVox

    TuVox

    TuVox is a company that produces VXML-based telephone speech-recognition applications to replace DTMF touch-tone systems for their clients. == History == TuVox was founded in 2001 by Steven S. Pollock and Ashok Khosla, formerly of Apple Computer Corporation and Claris Corporation. Since then, TuVox has grown to over 150 employees and has US offices in Cupertino, California and Boca Raton, Florida as well as international offices in London, Vancouver and Sydney. In 2005, TuVox acquired the customers and hosting facilities of Net-By-Tel. In 2007, the company raised $20m for its speech recognition, and phone menu software. On July 22, 2010, West Interactive — a subsidiary of West Corporation — announced its acquisition of TuVox. == Customers == TuVox clients include: 1-800-Flowers.com, AMC Entertainment, American Airlines, British Airways, M&T Bank, Canon Inc., Gateway, Inc., Motorola, Progress Energy Inc., Telecom New Zealand, Time, Inc., BECU, Virgin America and USAA.

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