AI Art Museum Los Angeles

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

  • Synonym (database)

    Synonym (database)

    In databases, a synonym is an alias or alternate name for a table, view, sequence, or other schema object. They are used mainly to make it intuitive for users to access database objects owned by other users. They also hide the underlying object's identity and make it harder for a malicious program or user to target the underlying object (security through obscurity). Because a synonym is just an alternate name for an object, it requires no storage other than its definition. When an application uses a synonym, the DBMS forwards the request to the synonym's underlying base object. By coding your programs to use synonyms instead of database object names, you insulate yourself from any changes in the name, ownership, or object locations, at the cost of adding another layer that also needs to be maintained. Users can also have different needs, for example some may wish to use a shorter name to refer to database objects they often query, which can be done with aliases without having to rename the underlying object and alter the code referring to it. Synonyms are very powerful from the point of view of allowing users access to objects that do not lie within their schema. All synonyms have to be created explicitly with the CREATE SYNONYM command and the underlying objects can be located in the same database or in other databases that are connected by database links There are two major uses of synonyms: Object invisibility: Synonyms can be created to keep the original object hidden from the user. Location invisibility: Synonyms can be created as aliases for tables and other objects that are not part of the local database. When a table or a procedure is created, it is created in a particular schema, and other users can access it only by using that schema's name as a prefix to the object's name. The way around for this is for the schema owner creates a synonym with the same name as the table name. == Public synonyms == Public synonyms are owned by special schema in the Oracle Database called PUBLIC. As mentioned earlier, public synonyms can be referenced by all users in the database. Public synonyms are usually created by the application owner for the tables and other objects such as procedures and packages so the users of the application can see the objects The following code shows how to create a public synonym for the employee table: Now any user can see the table by just typing the original table name. If you wish, you could provide a different table name for that table in the CREATE SYNONYM statement. Remember that the DBA must create public synonyms. Just because you can see a table through public (or private) synonym doesn’t mean that you can also perform SELECT, INSERT, UPDATE or DELETE operations on the table. To be able to perform those operations, a user needs specific privileges for the underlying object, either directly or through roles from the application owner. == Private synonyms == A private synonym is a synonym within a database schema that a developer typically uses to mask the true name of a table, view stored procedure, or other database object in an application schema. Private synonyms, unlike public synonyms, can be referenced only by the schema that owns the table or object. You may want to create private synonyms when you want to refer to the same table by different contexts. Private synonym overrides public synonym definitions. You create private synonyms the same way you create public synonyms, but you omit the PUBLIC keyword in the CREATE statement. The following example shows how to create a private synonym called addresses for the locations table. Note that once you create the private synonym, you can refer to the synonym exactly as you would the original table name. == Drop a synonym == Synonyms, both private and public, are dropped in the same manner by using the DROP SYNONYM command, but there is one important difference. If you are dropping a public synonym; you need to add the keyword PUBLIC after the keyword DROP. The ALL_SYNONYMS (or DBA_SYNONYMS) view provides information on all synonyms in your database.

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  • Emma Hart (computer scientist)

    Emma Hart (computer scientist)

    Professor Emma Hart, FRSE (born 1967) is an English computer scientist known for her work in artificial immune systems (AIS), evolutionary computation and optimisation. She is a professor of computational intelligence at Edinburgh Napier University, editor-in-chief of the Journal of Evolutionary Computation (MIT Press), and D. Coordinator of the Future & Emerging Technologies (FET) Proactive Initiative, Fundamentals of Collective Adaptive Systems. == Early life and education == Hart was born in Middlesbrough, England in 1967. In 1990 she graduated from the University of Oxford with a first class BA(Hons) in Chemistry. She then continued her studies at the University of Edinburgh, graduating with an MSc in Artificial Intelligence in 1994, followed by a PhD that explored the use of immunology as an inspiration for computing, examining a range of techniques applied to optimization and data classification problems. Her dissertation was titled Immunology as a metaphor for computational information processing: Fact or fiction?, and her doctoral advisor was Peter Ross. == Career == In 2000 Hart took a position as a lecturer at Edinburgh Napier University, and was promoted to a Reader, Professor, and in 2008 Chair in Natural Computation. She is now director of the Centre of Algorithms, Visualisation and Evolving Systems (CAVES) group in the School of Computing. She continues to research in the area of developing novel bio-inspired techniques for solving a range of real-world optimisation and classification problems, as well as exploring the fundamental properties of immune-inspired computing through modelling and simulation. She is also involved in editorial activity and currently occupies the position of Editor-in-Chief of the Journal of Evolutionary Computation (MIT Press). Her interests lie in the area of bio-inspired computing, in particular artificial immune systems (AIS). She also undertakes research in three main areas: optimisation, self-organising/self-adaptive systems, and artificial intelligence. Hart is D. Coordinator of Fundamentals of Collective Adaptive Systems (FoCAS), a Future and Emerging Technologies Proactive Initiative funded by the European Commission under FP7. == Selected works == === Conference talks === Hart, Emma. "Lifelong learning in optimization (video)". 28th European Conference on Operational Research. The Association of European Operational Research Societies. Hart, Emma (December 2021). "Self-assembling robots and the potential of artificial evolution". TED talk 2021. === Journal articles === "An immune system approach to scheduling in changing environments". E.Hart, P.Ross. 1999. Proceedings of the 1st Annual Conference on Genetic and Evolutionary Computation (2), 1559–1566. "Exploiting the analogy between immunology and sparse distributed memories: A system for clustering non-stationary data". E.Hart, P.Ross. 2002. 1st International Conference on Artificial Immune Systems. "Evolutionary scheduling: A review". E Hart, P Ross, D Corne. 2005. Genetic Programming and Evolvable Machines 6(2), 191–220. DOI: https://doi.org/10.1007/s10710-005-7580-7 "Application areas of AIS: The past, the present and the future". E.Hart, J.Timmis. 2008. Applied soft computing 8(1), 191–201. DOI: https://doi.org/10.1016/j.asoc.2006.12.004 "Structure versus function: a topological perspective on immune networks". E.Hart, H.Bersini, F.Santos. 2010. Natural computing 9(3), 603–624. DOI: https://doi.org/10.1007/s11047-009-9138-8 "On the life-long learning capabilities of a nelli: A hyper-heuristic optimisation system". E.Hart, K.Sim. 2014. International Conference on Parallel Problem Solving from Nature, 282–291. DOI: https://doi.org/10.1007/978-3-319-10762-2_28 "A hyper-heuristic ensemble method for static job-shop scheduling". E.Hart, K.Sim. 2016. Evolutionary computation 24(4), 609-635. DOI: https://dx.doi.org/10.1162/EVCO_a_00183 == Awards and recognition == 2016, Featured article on Lifelong Learning in Optimisation, IFORS newsletter 2016, "A Combined Generative and Selective Hyper-heuristic for the Vehicle Routing Problem" presented at GECCO 2016 (Denver, USA), ACM 2016, "A Hybrid Parameter Control Approach Applied to a Diversity-based Multi-objective Memetic Algorithm for Frequency Assignment Problems" presented at WCCI 2016 (Vancouver, Canada), IEEE 2017, Keynote Speaker, 2017 International Joint Conference on Computational Intelligence 2018, Bronze Award in International Human-Competitive Awards (Humies), International Conference on Genetic and Evolutionary Computation, Kyoto Japan 2018, Nomination for best paper award, GECCO 18, Kyoto, Japan 2022, Elected Fellow of the Royal Society of Edinburgh

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  • Pommerman Challenge

    Pommerman Challenge

    The Pommerman Challenge is a multi-agent game to test autonomous artificial intelligence systems. == Game structure == Two-agent team compete against each other on an 11 x 11 board. Each agent can observe only part of the board, and the agents cannot communicate. The goal is to knock down the opponents. Agents place explosives to destroy walls and collect power-ups that appear from those walls, while avoiding death. Game objects can move unpredictably or be moved by an agent. == Play == The game involves real-time decision making. Agents must choose moves in about .1 seconds. == Algorithms == The real-time requirement limits the use of compute-heavy techniques such as Monte Carlo tree search. The branching factor at each move can be as large as 1,296, because all four agents act in each step, choosing among six possibilities. The agents choose by accounting for explosions, which have lifetimes of 10 steps. Explosions derail tree search techniques, as searches with less than 10 levels ignore explosions while deeper searches consider too many choices (given the branching factor). A hybrid approach uses a limited-depth tree search followed by exploring a deterministic/pessimistic scenario. Limiting the depth keeps the search tree small. The deterministic approach can predict far in the future, by omitting branching. "Good" actions are often those that perform well under pessimistic scenarios, particularly if safety is important. Identifying the worst sequence of positions for an object can suggest where to move it. After generating pessimistic scenarios, the agent quantifies the survivability of each move, notionally the number of positions in which the agent can then remain safely (without encountering other agents). == Competitions == 3 competitions were organized with slightly changing rules during 2018–2019. === Online - FFA === This round was a warm-up online event, where each competitor controlled only one agent. Results: 1st: Agent47Agent by Yichen Gong 2nd: aiKiller by Márton Görög === NeurIPS 2018 - Team === The first Pommerman competition with in-person finals. Results: 1st: hakozakijunctions by Toshihiro Takahashi 2nd: eisenach by Márton Görög 3rd: dypm by Takayuki Osogami The 3 best performing solutions used online tree search. === NeurIPS 2019 - Team Radio === The second competition with in-person finals improved communication between teammate agents. Results: 1st: Márton Görög 2nd: Paul Jasek 3rd: Yifan Zhang

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  • Shadowrun

    Shadowrun

    Shadowrun is a science fantasy tabletop role-playing game set in an alternate future in which cybernetics, magic and fantasy creatures co-exist. It combines genres of cyberpunk, urban fantasy, and crime, with occasional elements of conspiracy, horror, and detective fiction. From its inception in 1989, it has spawned a franchise that includes a series of novels, a collectible card game, two miniature-based tabletop wargames, and multiple video games. The title is taken from the game's main premise – a near-future world damaged by a massive magical event, where industrial espionage and corporate warfare runs rampant. A shadowrun – a successful data theft or physical break-in at a rival corporation or organization – is one of the main tools employed by both corporate rivals and underworld figures. Deckers (futuristic hackers) can tap into an immersive, three-dimensional cyberspace on such missions as they seek access, physical or remote, to the power structures of rival groups. They are opposed by rival deckers and lethal, potentially brain-destroying artificial intelligences called "Intrusion Countermeasures" (IC), while they are protected by street fighters and/or mercenaries, often with cyborg implants (called cyberware), magicians, and other exotic figures. Magic has also returned to the world after a series of plagues; dragons who can take human form have returned as well, and are commonly found in high positions of corporate power. == Publication history == Shadowrun was developed and published by FASA from 1989 until early 2001, when the company closed and Shadowrun was transferred to WizKids, a company founded by former FASA employees. Two years before its closure, FASA sold its videogame branch, FASA Interactive, to Microsoft corporation, keeping rights to publishing novels and pen and paper RPGs. Since then, digital rights to Shadowrun IP have belonged to Microsoft. WizKids licensed the RPG rights to Fantasy Productions, who were already publishing a German version, until WizKids was acquired by Topps in 2003. Catalyst Game Labs, a publishing imprint of InMediaRes Productions, licensed the rights from Topps to publish new products. WizKids itself produced an unsuccessful collectible action figure game based on the property, called Shadowrun Duels. A fifth edition of Shadowrun was announced in December 2012. A limited-edition softcover was sold at the Origins Game Fair in June 2013, and the PDF in July 2013. A hardcover was published in August 2013. Shadowrun Anarchy was published in October 2016 It is a simplified version of the ruleset which allows focus more on the narration than on the rules. The sixth edition, called Shadowrun, Sixth World, was announced on May 1, 2019 to coincide with the game's 30th anniversary, along with a new website at shadowrunsixthworld.com. The game was published on August 26, 2019. The mechanics for this new version are generally similar to those of fifth edition, with some rules reworked for what line developer Jason Hardy describes as streamlining. This new version also progressed the in-game year to 2080. Since 2004, Shadowrun Missions (SRM) has offered fans "living campaigns" that allow for persistent character advancement. SRM is broken down into seasons which are made up of up to 24 individual missions that can be played at home, with special missions available to play exclusively at conventions. Each SRM season develops an overarching plot focused on a specific city from the Shadowrun setting. Missions settings have included the divided city of Denver, the corporate city-state of Manhattan, the Seattle Metroplex city-state, the formerly walled-off wastelands of Chicago, and Neo-Tokyo. For Shadowrun, Sixth World missions returned to Seattle, with twenty-four missions set in 2081, right after Seattle declared independence from the UCAS. The current Shadowrun Missions setting is 2083 New Orleans. The Shadowrun role-playing game has spawned several properties, including Shadowrun: The Trading Card Game, eight video games, an action figure game (Shadowrun Duels), two magazines, an art book and more than 50 novels, starting with the Secrets of Power series which introduces some of the original characters of Shadowrun and provides an introduction to this fictional universe. In addition to the main rule book there have been over 100 published supplements including adventures and expansions to both the rules and the game settings. Catalyst Game Labs announced that 2013 would be "The Year of Shadowrun," and in addition to the release of Shadowrun fifth edition that it has collaborated with publishers on the following properties: Shadowrun: Crossfire, The Adventure Deck-building Game; Shadowrun: Sprawl Gangers, a tactical miniatures wargame; and Shadowrun: Hostile Takeover, a board game designed by Bryan C.P. Steele was planned for release in late 2014/early 2015. Catalyst had been in collaboration with Nordic Games and Cliffhanger Studios to create Shadowrun Chronicles: Boston Lockdown online RPG, however it was shuttered November 30, 2018, with the producers citing lack of funding and the end of the license terms for use of the IP. == Fictional universe == Shadowrun takes place several decades in the future (2050 in the first edition, currently 2088). The end of the Mesoamerican Long Count calendar ushered in the "Sixth World", with once-mythological beings (e.g. dragons) appearing and forms of magic suddenly emerging. Large numbers of humans have "Goblinized" into orks and trolls, while many human children are born as elves, dwarves, and even more exotic creatures. In North America, indigenous peoples discovered that their traditional ceremonies allow them to command powerful spirits, and rituals associated with a new Ghost Dance movement let them take control of much of the western U.S. and Canada, where they formed a federation of Native American Nations. Seattle remains under U.S. control by treaty as a city-state enclave, and most game materials are set there and assume campaigns will use it as their setting. In parallel with these magical developments, the setting's 21st century features technological and social developments associated with cyberpunk science fiction. Megacorporations control the lives of their employees and command their own armies; many of the largest have extraterritoriality, such as currently enjoyed by foreign heads of state. Technological advances make cyberware (mechanical replacement body parts) and bioware (augmented vat-grown body parts implanted in place of or in tandem with natural organs) common. The Computer Crash of 2029 led to the creation of the Matrix, a worldwide computer network that users interact with via direct neural interface. When conflicts arise, corporations, governments, organized crime syndicates, and even wealthy individuals subcontract their dirty work to specialists, who then perform "shadowruns" or missions undertaken by deniable assets without identities or those that wish to remain unknown. The most skilled of these specialists, called shadowrunners, have earned a reputation for getting the job done. They have developed a knack for staying alive, and prospering, in the world of Shadowrun. The Shadowrun world is cross-genre, incorporating elements of both cyberpunk and urban fantasy. Unlike in a purely cyberpunk game, in the Shadowrun world, magic exists and has "worked" since 2011. Among other things, this split humankind into subtypes, also known as metatypes/metahumans. Some of these metatypes take the form of common fantasy races. Likewise, some animals have turned into familiar monsters of past fantasy and lore and both monsters and human magicians have regained magical powers. By the second half of the 21st century, in the time the game is set, these events are accepted as commonplace. Man, machine, and magic exist in a world where the amazing is among the most common and technology has entered into every facet of human (and metahuman) life. === Races === Characters in Shadowrun can be humans, orks, trolls, elves, dwarves, as well as certain diverging subspecies (known as metavariants) such as gnomes, giants, dryads, etc. In the early days, when magic returned to the world, humans began to either change into, or give birth to, elf and dwarf infants, a phenomenon called Unexplained Genetic Expression (UGE). Later, some juvenile and adult humans "goblinized" into other races (mostly orks, but also some trolls). The term "metahuman" is used either to refer to humanity as a whole, including all races, or to refer specifically to non-human races, depending on context. The return of Halley's Comet brought even further variation in the form of changelings, who have variation atypical to their metatype or even species, such as electroreception. Two of the metahuman races, elves and orks, have fictional languages. Additionally, a virus known as the Human Meta-Human Vampiric Virus (HMHVV), with many variant strains, has been known to cause f

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  • Deep Instinct

    Deep Instinct

    Deep Instinct is a cybersecurity company that applies deep learning to cybersecurity. The company implements artificial intelligence to the task of preventing and detecting malware. The company was the recipient of the Technology Pioneer by The World Economic Forum in 2017. Lane Bess has been CEO of the company since 2022. == Overview == In 2015, Deep Instinct was founded by Guy Caspi, Dr. Eli David, and Nadav Maman. The headquarters of the company is located in New York City. In July 2017, NVIDIA became an investor. According to Tom's Hardware, NVIDIA’s investment enabled access to a GPU-based neural network and CUDA platform, which they were using to achieve maximum vulnerability detection rates. As of February 2020, the company had raised $43 million in Series C funding round. In April 2021, Deep Instinct raised $100 million in Series D funding to accelerate growth. == Partnerships == In April 2019, Deep Instinct partnered with Chinese artist, Guo O. Dong on an art project titled, The Persistence of Chaos, consisting of a laptop infected with 6 pieces of malware that represented $95 billion in damages. The art was auctioned with a final bid of $1,345,000. In the same year, Globes reported that, HP Inc partnered with Deep Instinct to launch their security solution HP SureSense, which has been applied to the EliteBook and Zbook devices.

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  • Generative literature

    Generative literature

    Generative literature is poetry or fiction that is automatically generated, often using computers. It is a genre of electronic literature, and also related to generative art. John Clark's Latin Verse Machine (1830–1843) is probably the first example of mechanised generative literature, while Christopher Strachey's love letter generator (1952) is the first digital example. With the large language models (LLMs) of the 2020s, generative literature is becoming increasingly common. == Definitions == Hannes Bajohr defines generative literature as literature involving "the automatic production of text according to predetermined parameters, usually following a combinatory, sometimes aleatory logic, and it emphasizes the production rather than the reception of the work (unlike, say, hypertext)." In his book Electronic Literature, Scott Rettberg connects generative literature to avant-garde literary movements like Dada, Surrealism, Oulipo and Fluxus. Bajohr argues that conceptual art is also an important reference. == Paradigms of generative literature == Bajohr describes two main paradigms of generative literature: the sequential paradigm, where the text generation is "executed as a sequence of rule-steps" and employs linear algorithms, and the connectionist paradigm, which is based on neural nets. The latter leads to what Bajohr calls a algorithmic empathy: "a non-anthropocentric empathy aimed not at the psychological states of the artists but at understanding the process of the work’s material production." == Poetry generation == The first examples of automated generative literature are poetry: John Clark's mechanical Latin Verse Machine (1830–1843) produced lines of hexameter verse in Latin, and Christopher Strachey's love letter generator (1952), programmed on the Manchester Mark 1 computer, generated short, satirical love letters. Examples of generative poetry using artificial neural networks include David Jhave Johnston's ReRites. == Narrative generation == Story generators have often followed specific narratological theories of how stories are constructed. An early example is Grimes' Fairy Tales, the "first to take a grammar-based approach and the first to operationalize Propp's famous model." Mike Sharples and Rafael Peréz y Peréz's book Story Machines gives a detailed history of story generation. Storyland by Nanette Wylde is an example of generative narrative. Jonathan Baillehache compares Storyland to Surrealist writing. Baillehache states, "When compared to earlier uses of chance operation in literature, a piece like this one resembles some of the automatic writings produced by André Breton and Philippe Soupault in their collective work The Magnetic Fields. . . The difference between Nanette Wylde’s Storyland and Breton and Soupault’s Magnetic Fields is that the former is produced according to a computational algorithm involving randomizers and user interaction, and the latter by two free-wheeling human subjects."

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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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  • Privacy Lost

    Privacy Lost

    Privacy Lost is a 2023 short science fiction film directed by Peter Stoel and Robert Berger. It follows a family using augmented reality (AR) and artificial intelligence (AI) devices capable of reading emotional states, raising questions about privacy and manipulation. == Premise == Privacy Lost follows a family using AR glasses that capture and interpret emotions in real time. As the parents argue in a restaurant, their emotional states and even hidden feelings become visible through these glasses. An AI-driven waiter adapts its appearance for each family member, employing emotional data to influence their decisions. == Cast == Brian Kant as Waiter Michael Krass as Husband Estelle Levinson as Waitress Thor van der Linden as Scotty Carlijn van Ramshorst as Wife == Production == Filming took place at HeadQ Productions, a virtual studio located in Amsterdam. The creators sought to depict a near-future scenario in which real-time emotion analysis becomes part of daily interactions. The film was screened at the Augmented World Expo (AWE), where it was noted for its thematic focus on AI-driven manipulation and emotional tracking. The depiction of AR glasses and AI characters integrates modern visual effects to show how devices might analyze emotional responses in real time. It also depicts how AI-driven interactions could influence consumer decisions, pointing to concerns over potential misuse. == Themes == Privacy Lost focuses on the intersection of advanced AI capabilities and AR environments, showing how real-time emotional analysis can be leveraged for targeted persuasion. The film aims to highlight the social and ethical implications of emerging AR and AI technologies, underlining how establishing clear regulatory frameworks for them is necessary to protect individual privacy, govern the storage of emotion-based data, and prevent manipulative practices. Critics describe the film’s theme as dystopian and note that such a reality is unlikely to occur in the near future. However, despite the exaggerated scenario, the film emphasizes the importance of a responsible approach by developers toward emerging technologies.

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  • Framebuffer

    Framebuffer

    A framebuffer (frame buffer, or sometimes framestore) is a portion of random-access memory (RAM) containing a bitmap that drives a video display. It is a memory buffer containing data representing all the pixels in a complete video frame. Modern video cards contain framebuffer circuitry in their cores. This circuitry converts an in-memory bitmap into a video signal that can be displayed on a computer monitor. In computing, a screen buffer is a part of computer memory used by a computer application for the representation of the content to be shown on the computer display. The screen buffer may also be called the video buffer, the regeneration buffer, or regen buffer for short. The phrase "screen buffer” refers to a logical function, while video memory refers to a hardware storage location. In particular, the screen buffer may be placed in the main RAM, the video memory, or some other hardware location. To reduce latency and avoid screen tearing, multiple frames can be buffered, and this technique is called multiple buffering. When this is so, at any time, only one frame would be visible, and the others would not be. The currently invisible frames are located in the off-screen buffer. The information in the buffer typically consists of color values for every pixel to be shown on the display. Color values are commonly stored in 1-bit binary (monochrome), 4-bit palettized, 8-bit palettized, 16-bit high color and 24-bit true color formats. An additional alpha channel is sometimes used to retain information about pixel transparency. The total amount of memory required for the framebuffer depends on the resolution of the output signal, and on the color depth or palette size. == History == Computer researchers had long discussed the theoretical advantages of a framebuffer but were unable to produce a machine with sufficient memory at an economically practicable cost. In 1947, the Manchester Baby computer used a Williams tube, later the Williams-Kilburn tube, to store 1024 bits on a cathode-ray tube (CRT) memory and displayed on a second CRT. Other research labs were exploring these techniques with MIT Lincoln Laboratory achieving a 4096 display in 1950. A color-scanned display was implemented in the late 1960s, called the Brookhaven RAster Display (BRAD), which used a drum memory and a television monitor. In 1969, A. Michael Noll of Bell Telephone Laboratories, Inc. implemented a scanned display with a frame buffer, using magnetic-core memory. A year or so later, the Bell Labs system was expanded to display an image with a color depth of three bits on a standard color TV monitor. The vector graphics used in the computer had to be converted for the scanned graphics of a TV display. In the early 1970s, the development of MOS memory (metal–oxide–semiconductor memory) integrated-circuit chips, particularly high-density DRAM (dynamic random-access memory) chips with at least 1 kb memory, made it practical to create, for the first time, a digital memory system with framebuffers capable of holding a standard video image. This led to the development of the SuperPaint system by Richard Shoup at Xerox PARC in 1972. Shoup was able to use the SuperPaint framebuffer to create an early digital video-capture system. By synchronizing the output signal to the input signal, Shoup was able to overwrite each pixel of data as it shifted in. Shoup also experimented with modifying the output signal using color tables. These color tables allowed the SuperPaint system to produce a wide variety of colors outside the range of the limited 8-bit data it contained. This scheme would later become commonplace in computer framebuffers. In 1974, Evans & Sutherland released the first commercial framebuffer, the Picture System, costing about $15,000. It was capable of producing resolutions of up to 512 by 512 pixels in 8-bit grayscale, and became a boon for graphics researchers who did not have the resources to build their own framebuffer. The New York Institute of Technology would later create the first 24-bit color system using three of the Evans & Sutherland framebuffers. Each framebuffer was connected to an RGB color output (one for red, one for green and one for blue), with a Digital Equipment Corporation PDP 11/04 minicomputer controlling the three devices as one. In 1975, the UK company Quantel produced the first commercial full-color broadcast framebuffer, the Quantel DFS 3000. It was first used in TV coverage of the 1976 Montreal Olympics to generate a picture-in-picture inset of the Olympic flaming torch while the rest of the picture featured the runner entering the stadium. The rapid improvement of integrated-circuit technology made it possible for many of the home computers of the late 1970s to contain low-color-depth framebuffers. Today, nearly all computers with graphical capabilities utilize a framebuffer for generating the video signal. Amiga computers, created in the 1980s, featured special design attention to graphics performance and included a unique Hold-And-Modify framebuffer capable of displaying 4096 colors. Framebuffers also became popular in high-end workstations and arcade system boards throughout the 1980s. SGI, Sun Microsystems, HP, DEC and IBM all released framebuffers for their workstation computers in this period. These framebuffers were usually of a much higher quality than could be found in most home computers, and were regularly used in television, printing, computer modeling and 3D graphics. Framebuffers were also used by Sega for its high-end arcade boards, which were also of a higher quality than on home computers. == Display modes == Framebuffers used in personal and home computing often had sets of defined modes under which the framebuffer can operate. These modes reconfigure the hardware to output different resolutions, color depths, memory layouts and refresh rate timings. In the world of Unix machines and operating systems, such conveniences were usually eschewed in favor of directly manipulating the hardware settings. This manipulation was far more flexible in that any resolution, color depth and refresh rate was attainable – limited only by the memory available to the framebuffer. An unfortunate side-effect of this method was that the display device could be driven beyond its capabilities. In some cases, this resulted in hardware damage to the display. More commonly, it simply produced garbled and unusable output. Modern CRT monitors fix this problem through the introduction of protection circuitry. When the display mode is changed, the monitor attempts to obtain a signal lock on the new refresh frequency. If the monitor is unable to obtain a signal lock or if the signal is outside the range of its design limitations, the monitor will ignore the framebuffer signal and possibly present the user with an error message. LCD monitors tend to contain similar protection circuitry, but for different reasons. Since the LCD must digitally sample the display signal (thereby emulating an electron beam), any signal that is out of range cannot be physically displayed on the monitor. == Color palette == Framebuffers have traditionally supported a wide variety of color modes. Due to the expense of memory, most early framebuffers used 1-bit (2 colors per pixel), 2-bit (4 colors), 4-bit (16 colors) or 8-bit (256 colors) color depths. The problem with such small color depths is that a full range of colors cannot be produced. The solution to this problem was indexed color, which adds a lookup table to the framebuffer. Each color stored in framebuffer memory acts as a color index. The lookup table serves as a palette with a limited number of different colors, while the rest is used as an index table. Here is a typical indexed 256-color image and its own palette (shown as a rectangle of swatches): In some designs, it was also possible to write data to the lookup table (or switch between existing palettes) on the fly, allowing dividing the picture into horizontal bars with their own palette and thus rendering an image that had a far wider palette. For example, viewing an outdoor shot photograph, the picture could be divided into four bars: the top one with emphasis on sky tones, the next with foliage tones, the next with skin and clothing tones, and the bottom one with ground colors. This required each palette to have overlapping colors, but, carefully done, allowed great flexibility. == Memory access == While framebuffers are commonly accessed via a memory mapping directly to the CPU memory space, this is not the only method by which they may be accessed. Framebuffers have varied widely in the methods used to access memory. Some of the most common are: Mapping the entire framebuffer to a given memory range. Port commands to set each pixel, range of pixels or palette entry. Mapping a memory range smaller than the framebuffer memory, then bank switching as necessary. The framebuffer organization may be packed pixel or planar. The framebuffer may be all

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  • Fuzzy associative matrix

    Fuzzy associative matrix

    A fuzzy associative matrix expresses fuzzy logic rules in tabular form. These rules usually take two variables as input, mapping cleanly to a two-dimensional matrix, although theoretically a matrix of any number of dimensions is possible. From the perspective of neuro-fuzzy systems, the mathematical matrix is called a "Fuzzy associative memory" because it stores the weights of the perceptron. == Applications == In the context of game AI programming, a fuzzy associative matrix helps to develop the rules for non-player characters. Suppose a professional is tasked with writing fuzzy logic rules for a video game monster. In the game being built, entities have two variables: hit points (HP) and firepower (FP): This translates to: IF MonsterHP IS VeryLowHP AND MonsterFP IS VeryWeakFP THEN Retreat IF MonsterHP IS LowHP AND MonsterFP IS VeryWeakFP THEN Retreat IF MonsterHP IS MediumHP AND MonsterFP is VeryWeakFP THEN Defend Multiple rules can fire at once, and often will, because the distinction between "very low" and "low" is fuzzy. If it is more "very low" than it is low, then the "very low" rule will generate a stronger response. The program will evaluate all the rules that fire and use an appropriate defuzzification method to generate its actual response. An implementation of this system might use either the matrix or the explicit IF/THEN form. The matrix makes it easy to visualize the system, but it also makes it impossible to add a third variable just for one rule, so it is less flexible. == Identify a rule set == There is no inherent pattern in the matrix. It appears as if the rules were just made up, and indeed they were. This is both a strength and a weakness of fuzzy logic in general. It is often impractical or impossible to find an exact set of rules or formulae for dealing with a specific situation. For a sufficiently complex game, a mathematician would not be able to study the system and figure out a mathematically accurate set of rules. However, this weakness is intrinsic to the realities of the situation, not of fuzzy logic itself. The strength of the system is that even if one of the rules is wrong, even greatly wrong, other rules that are correct are likely to fire as well and they may compensate for the error. This does not mean a fuzzy system should be sloppy. Depending on the system, it might get away with being sloppy, but it will underperform. While the rules are fairly arbitrary, they should be chosen carefully. If possible, an expert should decide on the rules, and the sets and rules should be tested vigorously and refined as needed. In this way, a fuzzy system is like an expert system. (Fuzzy logic is used in many true expert systems, as well.)

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  • With Folded Hands ...

    With Folded Hands ...

    "With Folded Hands ..." is a 1947 science fiction novelette by American writer Jack Williamson (1908–2006). In writing it, Williamson was influenced by the aftermath of World War II, the atomic bombings of Hiroshima and Nagasaki, and his concern that "some of the technological creations we had developed with the best intentions might have disastrous consequences in the long run." The novelette first appeared in the July 1947 issue of Astounding Science Fiction and was later included in The Science Fiction Hall of Fame, Volume Two (1973) after being voted one of the best novellas up to 1965. In 1950, it was the first of several Astounding stories adapted for NBC's radio series Dimension X. == Rewrite and sequel == The 1947 publication was followed by a novel-length rewrite, with a different setting and inventor. At the behest of Astounding editor-in-chief John W. Campbell, a new ending had the robots defeated by means of what Williamson and Campbell would later christen "psionics". This novel was serialized, also in Astounding (March, April, May 1948), as ... And Searching Mind, and finally published in hardback book form as The Humanoids (1949). Much later, in 1980, Williamson followed with another sequel, The Humanoid Touch. == Plot summary == Underhill, a seller of "Mechanicals" (unthinking robots that perform menial tasks) in the small town of Two Rivers, is startled to find a competitor's store on his way home. The competitors are not humans but are small black robots who appear more advanced than anything Underhill has encountered before. They describe themselves as "humanoids". Disturbed at his encounter, Underhill rushes home to discover that his wife has taken in a new lodger, a mysterious old man named Sledge. In the course of the next day, the new Mechanicals have appeared everywhere in town. They state that they only follow the Prime Directive: "to serve and obey and guard men from harm". Offering their services free of charge, they replace humans as police officers, bank tellers, and more, and eventually drive Underhill out of business. Despite the humanoids' benign appearance and mission, Underhill soon realizes that, in the name of their Prime Directive, the mechanicals have essentially taken over every aspect of human life. No humans may engage in any behavior that might endanger them, and every human action is carefully scrutinized. Suicide is prohibited. Humans who resist the Prime Directive are taken away and lobotomized, so that they may live happily under the direction of the humanoids. Underhill learns that his lodger Sledge is the creator of the humanoids and is on the run from them. Sledge explains that 60 years earlier he had discovered the force of "rhodomagnetics" on the planet Wing IV and that his discovery resulted in a war that destroyed his planet. In his grief, Sledge designed the humanoids to help humanity and be invulnerable to human exploitation. However, he eventually realized that they had instead taken control of humanity, in the name of their Prime Directive, to make humans happy. The humanoids are spreading out from Wing IV to every human-occupied planet to implement their Prime Directive. Sledge and Underhill attempt to stop the humanoids by aiming a rhodomagnetic beam at Wing IV, but fail. The humanoids take Sledge away for surgery. He returns with no memory of his prior life, stating that he is now happy under the humanoids' care. Underhill is driven home by the humanoids, sitting "with folded hands," as there is nothing left to do. == Origins == In a 1991 interview, Williamson revealed how the story construction reflected events of his childhood in addition to technological extrapolations: I wrote "With Folded Hands" immediately after World War II, when the shadow of the atomic bomb had just fallen over SF and was just beginning to haunt the imaginations of people in the US. The story grows out of that general feeling that some of the technological creations we had developed with the best intentions might have disastrous consequences in the long run (that idea, of course, still seems relevant today). The notion I was consciously working on specifically came out of a fragment of a story I had worked on for a while about an astronaut in space who is accompanied by a robot obviously superior to him physically—i.e., the robot wasn't hurt by gravity, extremes of temperature, radiation, or whatever. Just looking at the fragment gave me the sense of how inferior humanity is in many ways to mechanical creations. That basic recognition was the essence of the story, and as I wrote it up in my notes the theme was that the perfect machine would prove to be perfectly destructive... It was only when I looked back at the story much later on that I was able to realize that the emotional reach of the story undoubtedly derived from my own early childhood, when people were attempting to protect me from all those hazardous things a kid is going to encounter in the isolated frontier setting I grew up in. As a result, I felt frustrated and over protected by people whom I couldn't hate because I loved them. A sort of psychological trap. Specifically, the first three years of my life were spent on a ranch at the top of the Sierra Madre Mountains on the headwaters of the Yaqui River in Sonora, Mexico. ... [My mother] was terrified by this environment. My father built a crib that became a psychological prison for me, particularly because my mother apparently kept me in it too long, when I needed to get out and crawl on the floor. ... In retrospect, I'm certain I projected my fears and suspicions of this kind of conditioning, and these projections became the governing emotional principle of "With Folded Hands" and The Humanoids. == Reception == In 2024, Robert Silverberg wrote an essay in which he asserted that "With Folded Hands..." is "probably the best story ever written about robots" and suggested that Elon Musk's Optimus Generation 2 is the realization of the "humanoids" along with their worst drawbacks.

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  • Mark I Perceptron

    Mark I Perceptron

    The Mark I Perceptron was a pioneering supervised image classification learning system developed by Frank Rosenblatt in 1958. It was the first implementation of an artificial intelligence (AI) machine. It differs from the Perceptron which is a software architecture proposed in 1943 by Warren McCulloch and Walter Pitts, which was also employed in Mark I, and enhancements of which have continued to be an integral part of cutting edge AI technologies like the Transformer. == Architecture == The Mark I Perceptron was organized into three layers: A set of sensory units which receive optical input A set of association units, each of which fire based on input from multiple sensory units A set of response units, which fire based on input from multiple association units The connection between sensory units and association units were random. The working of association units was very similar to the response units. Different versions of the Mark I used different numbers of units in each of the layers. == Capabilities == In his 1957 proposal for funding for development of the "Cornell Photoperceptron", Rosenblatt claimed:"Devices of this sort are expected ultimately to be capable of concept formation, language translation, collation of military intelligence, and the solution of problems through inductive logic."With the first version of the Mark I Perceptron as early as 1958, Rosenblatt demonstrated a simple binary classification experiment, namely distinguishing between sheets of paper marked on the right versus those marked on the left side. One of the later experiments distinguished a square from a circle printed on paper. The shapes were perfect and their sizes fixed; the only variation was in their position and orientation. The Mark I Perceptron achieved 99.8% accuracy on a test dataset with 500 neurons in a single layer. The size of the training dataset was 10,000 example images. It took 3 seconds for the training pipeline to go through a single image. Higher accuracy was observed with thick outline figures compared to solid figures, likely because outline figures reduced overfitting. Another experiment distinguished between a square and a diamond for which 100% accuracy was achieved with only 60 training images, with a Perceptron having 1,000 neurons in a single layer. The time taken to process each training input for this larger perceptron was 15 seconds. The only variation was in position of the image, since rotation would have been ambiguous. In that same experiment, it could distinguish between the letters X and E with 100% accuracy when trained with only 20 images (10 images of each letter). Variations in the images included both position and rotation by up to 30 degrees. When variation in rotation was increased to any angle (both in training and test datasets), the accuracy reduced to 90% with 60 training images (30 images of each letter). For distinguishing between the letters E and F, a more challenging problem due to their similarity, the same 1,000 neuron perceptron achieved an accuracy of more than 80% with 60 training images. Variation was only in the position of the image, with no rotation.

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  • Rapid application development

    Rapid application development

    Rapid application development (RAD), also called rapid application building (RAB), is both a general term for adaptive software development approaches, and the name for James Martin's method of rapid development. In general, RAD approaches to software development put less emphasis on planning and more emphasis on an adaptive process. Prototypes are often used in addition to or sometimes even instead of design specifications. RAD is especially well suited for (although not limited to) developing software that is driven by user interface requirements. Graphical user interface builders are often called rapid application development tools. Other approaches to rapid development include the adaptive, agile, spiral, and unified models. == History == Rapid application development was a response to plan-driven waterfall processes, developed in the 1970s and 1980s, such as the Structured Systems Analysis and Design Method (SSADM). One of the problems with these methods is that they were based on a traditional engineering model used to design and build things like bridges and buildings. Software is an inherently different kind of artifact. Software can change the process used to solve a problem. As a result, knowledge gained from the development process itself can feed back to the requirements and design of the solution. Plan-driven approaches attempt to define requirements, the solution, and the implementation plan, and have a process that discourages changes. RAD approaches, on the other hand, recognize that software development is a knowledge intensive process and provide flexible processes that help take advantage of knowledge gained during the project to improve or adapt the solution. The first such RAD alternative was developed by Barry Boehm and was known as the spiral model. Boehm and other subsequent RAD approaches emphasized developing prototypes as well as or instead of rigorous design specifications. Prototypes had several advantages over traditional specifications: Risk reduction. A prototype could test some of the most difficult potential parts of the system early on in the life-cycle. This can provide valuable information as to the feasibility of a design and can prevent the team from pursuing solutions that turn out to be too complex or time-consuming to implement. This benefit of finding problems earlier in the life-cycle rather than later was a key benefit of the RAD approach. The earlier a problem can be found the cheaper it is to address. Users are better at using and reacting than at creating specifications. In the waterfall model it was common for a user to sign off on a set of requirements but then when presented with an implemented system to suddenly realize that a given design lacked some critical features or was too complex. In general most users give much more useful feedback when they can experience a prototype of the running system rather than abstractly define what that system should be. Prototypes can be usable and can evolve into the completed product. One approach used in some RAD methods was to build the system as a series of prototypes that evolve from minimal functionality to moderately useful to the final completed system. The advantage of this besides the two advantages above was that the users could get useful business functionality much earlier in the process. Starting with the ideas of Barry Boehm and others, James Martin developed the rapid application development approach during the 1980s at IBM and finally formalized it by publishing a book in 1991, Rapid Application Development. This has resulted in some confusion over the term RAD even among IT professionals. It is important to distinguish between RAD as a general alternative to the waterfall model and RAD as the specific method created by Martin. The Martin method was tailored toward knowledge intensive and UI intensive business systems. These ideas were further developed and improved upon by RAD pioneers like James Kerr and Richard Hunter, who together wrote the seminal book on the subject, Inside RAD, which followed the journey of a RAD project manager as he drove and refined the RAD Methodology in real-time on an actual RAD project. These practitioners, and those like them, helped RAD gain popularity as an alternative to traditional systems project life cycle approaches. The RAD approach also matured during the period of peak interest in business re-engineering. The idea of business process re-engineering was to radically rethink core business processes such as sales and customer support with the new capabilities of Information Technology in mind. RAD was often an essential part of larger business re engineering programs. The rapid prototyping approach of RAD was a key tool to help users and analysts "think out of the box" about innovative ways that technology might radically reinvent a core business process. Much of James Martin's comfort with RAD stemmed from Dupont's Information Engineering division and its leader Scott Schultz and their respective relationships with John Underwood who headed up a bespoke RAD development company that pioneered many successful RAD projects in Australia and Hong Kong. Successful projects that included ANZ Bank, Lendlease, BHP, Coca-Cola Amatil, Alcan, Hong Kong Jockey Club and numerous others. Success that led to both Scott Shultz and James Martin both spending time in Australia with John Underwood to understand the methods and details of why Australia was disproportionately successful in implementing significant mission critical RAD projects. == James Martin approach == The James Martin approach to RAD divides the process into four distinct phases: Requirements planning phase – combines elements of the system planning and systems analysis phases of the systems development life cycle (SDLC). Users, managers, and IT staff members discuss and agree on business needs, project scope, constraints, and system requirements. It ends when the team agrees on the key issues and obtains management authorization to continue. User design phase – during this phase, users interact with systems analysts and develop models and prototypes that represent all system processes, inputs, and outputs. The RAD groups or subgroups typically use a combination of joint application design (JAD) techniques and CASE tools to translate user needs into working models. User design is a continuous interactive process that allows users to understand, modify, and eventually approve a working model of the system that meets their needs. Construction phase – focuses on program and application development task similar to the SDLC. In RAD, however, users continue to participate and can still suggest changes or improvements as actual screens or reports are developed. Its tasks are programming and application development, coding, unit-integration and system testing. Cutover phase – resembles the final tasks in the SDLC implementation phase, including data conversion, testing, changeover to the new system, and user training. Compared with traditional methods, the entire process is compressed. As a result, the new system is built, delivered, and placed in operation much sooner. == Advantages == In modern Information Technology environments, many systems are now built using some degree of Rapid Application Development (not necessarily the James Martin approach). In addition to Martin's method, agile methods and the Rational Unified Process are often used for RAD development. The purported advantages of RAD include: Better quality. By having users interact with evolving prototypes the business functionality from a RAD project can often be much higher than that achieved via a waterfall model. The software can be more usable and has a better chance to focus on business problems that are critical to end users rather than technical problems of interest to developers. However, this excludes other categories of what are usually known as Non-functional requirements (AKA constraints or quality attributes) including security and portability. Risk control. Although much of the literature on RAD focuses on speed and user involvement a critical feature of RAD done correctly is risk mitigation. It's worth remembering that Boehm initially characterized the spiral model as a risk based approach. A RAD approach can focus in early on the key risk factors and adjust to them based on empirical evidence collected in the early part of the process. E.g., the complexity of prototyping some of the most complex parts of the system. More projects completed on time and within budget. By focusing on the development of incremental units the chances for catastrophic failures that have dogged large waterfall projects is reduced. In the Waterfall model it was common to come to a realization after six months or more of analysis and development that required a radical rethinking of the entire system. With RAD this kind of information can be discovered and acted upon earlier in the proces

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  • Shadowrun

    Shadowrun

    Shadowrun is a science fantasy tabletop role-playing game set in an alternate future in which cybernetics, magic and fantasy creatures co-exist. It combines genres of cyberpunk, urban fantasy, and crime, with occasional elements of conspiracy, horror, and detective fiction. From its inception in 1989, it has spawned a franchise that includes a series of novels, a collectible card game, two miniature-based tabletop wargames, and multiple video games. The title is taken from the game's main premise – a near-future world damaged by a massive magical event, where industrial espionage and corporate warfare runs rampant. A shadowrun – a successful data theft or physical break-in at a rival corporation or organization – is one of the main tools employed by both corporate rivals and underworld figures. Deckers (futuristic hackers) can tap into an immersive, three-dimensional cyberspace on such missions as they seek access, physical or remote, to the power structures of rival groups. They are opposed by rival deckers and lethal, potentially brain-destroying artificial intelligences called "Intrusion Countermeasures" (IC), while they are protected by street fighters and/or mercenaries, often with cyborg implants (called cyberware), magicians, and other exotic figures. Magic has also returned to the world after a series of plagues; dragons who can take human form have returned as well, and are commonly found in high positions of corporate power. == Publication history == Shadowrun was developed and published by FASA from 1989 until early 2001, when the company closed and Shadowrun was transferred to WizKids, a company founded by former FASA employees. Two years before its closure, FASA sold its videogame branch, FASA Interactive, to Microsoft corporation, keeping rights to publishing novels and pen and paper RPGs. Since then, digital rights to Shadowrun IP have belonged to Microsoft. WizKids licensed the RPG rights to Fantasy Productions, who were already publishing a German version, until WizKids was acquired by Topps in 2003. Catalyst Game Labs, a publishing imprint of InMediaRes Productions, licensed the rights from Topps to publish new products. WizKids itself produced an unsuccessful collectible action figure game based on the property, called Shadowrun Duels. A fifth edition of Shadowrun was announced in December 2012. A limited-edition softcover was sold at the Origins Game Fair in June 2013, and the PDF in July 2013. A hardcover was published in August 2013. Shadowrun Anarchy was published in October 2016 It is a simplified version of the ruleset which allows focus more on the narration than on the rules. The sixth edition, called Shadowrun, Sixth World, was announced on May 1, 2019 to coincide with the game's 30th anniversary, along with a new website at shadowrunsixthworld.com. The game was published on August 26, 2019. The mechanics for this new version are generally similar to those of fifth edition, with some rules reworked for what line developer Jason Hardy describes as streamlining. This new version also progressed the in-game year to 2080. Since 2004, Shadowrun Missions (SRM) has offered fans "living campaigns" that allow for persistent character advancement. SRM is broken down into seasons which are made up of up to 24 individual missions that can be played at home, with special missions available to play exclusively at conventions. Each SRM season develops an overarching plot focused on a specific city from the Shadowrun setting. Missions settings have included the divided city of Denver, the corporate city-state of Manhattan, the Seattle Metroplex city-state, the formerly walled-off wastelands of Chicago, and Neo-Tokyo. For Shadowrun, Sixth World missions returned to Seattle, with twenty-four missions set in 2081, right after Seattle declared independence from the UCAS. The current Shadowrun Missions setting is 2083 New Orleans. The Shadowrun role-playing game has spawned several properties, including Shadowrun: The Trading Card Game, eight video games, an action figure game (Shadowrun Duels), two magazines, an art book and more than 50 novels, starting with the Secrets of Power series which introduces some of the original characters of Shadowrun and provides an introduction to this fictional universe. In addition to the main rule book there have been over 100 published supplements including adventures and expansions to both the rules and the game settings. Catalyst Game Labs announced that 2013 would be "The Year of Shadowrun," and in addition to the release of Shadowrun fifth edition that it has collaborated with publishers on the following properties: Shadowrun: Crossfire, The Adventure Deck-building Game; Shadowrun: Sprawl Gangers, a tactical miniatures wargame; and Shadowrun: Hostile Takeover, a board game designed by Bryan C.P. Steele was planned for release in late 2014/early 2015. Catalyst had been in collaboration with Nordic Games and Cliffhanger Studios to create Shadowrun Chronicles: Boston Lockdown online RPG, however it was shuttered November 30, 2018, with the producers citing lack of funding and the end of the license terms for use of the IP. == Fictional universe == Shadowrun takes place several decades in the future (2050 in the first edition, currently 2088). The end of the Mesoamerican Long Count calendar ushered in the "Sixth World", with once-mythological beings (e.g. dragons) appearing and forms of magic suddenly emerging. Large numbers of humans have "Goblinized" into orks and trolls, while many human children are born as elves, dwarves, and even more exotic creatures. In North America, indigenous peoples discovered that their traditional ceremonies allow them to command powerful spirits, and rituals associated with a new Ghost Dance movement let them take control of much of the western U.S. and Canada, where they formed a federation of Native American Nations. Seattle remains under U.S. control by treaty as a city-state enclave, and most game materials are set there and assume campaigns will use it as their setting. In parallel with these magical developments, the setting's 21st century features technological and social developments associated with cyberpunk science fiction. Megacorporations control the lives of their employees and command their own armies; many of the largest have extraterritoriality, such as currently enjoyed by foreign heads of state. Technological advances make cyberware (mechanical replacement body parts) and bioware (augmented vat-grown body parts implanted in place of or in tandem with natural organs) common. The Computer Crash of 2029 led to the creation of the Matrix, a worldwide computer network that users interact with via direct neural interface. When conflicts arise, corporations, governments, organized crime syndicates, and even wealthy individuals subcontract their dirty work to specialists, who then perform "shadowruns" or missions undertaken by deniable assets without identities or those that wish to remain unknown. The most skilled of these specialists, called shadowrunners, have earned a reputation for getting the job done. They have developed a knack for staying alive, and prospering, in the world of Shadowrun. The Shadowrun world is cross-genre, incorporating elements of both cyberpunk and urban fantasy. Unlike in a purely cyberpunk game, in the Shadowrun world, magic exists and has "worked" since 2011. Among other things, this split humankind into subtypes, also known as metatypes/metahumans. Some of these metatypes take the form of common fantasy races. Likewise, some animals have turned into familiar monsters of past fantasy and lore and both monsters and human magicians have regained magical powers. By the second half of the 21st century, in the time the game is set, these events are accepted as commonplace. Man, machine, and magic exist in a world where the amazing is among the most common and technology has entered into every facet of human (and metahuman) life. === Races === Characters in Shadowrun can be humans, orks, trolls, elves, dwarves, as well as certain diverging subspecies (known as metavariants) such as gnomes, giants, dryads, etc. In the early days, when magic returned to the world, humans began to either change into, or give birth to, elf and dwarf infants, a phenomenon called Unexplained Genetic Expression (UGE). Later, some juvenile and adult humans "goblinized" into other races (mostly orks, but also some trolls). The term "metahuman" is used either to refer to humanity as a whole, including all races, or to refer specifically to non-human races, depending on context. The return of Halley's Comet brought even further variation in the form of changelings, who have variation atypical to their metatype or even species, such as electroreception. Two of the metahuman races, elves and orks, have fictional languages. Additionally, a virus known as the Human Meta-Human Vampiric Virus (HMHVV), with many variant strains, has been known to cause f

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  • Netflix Prize

    Netflix Prize

    The Netflix Prize was an open competition for the best collaborative filtering algorithm to predict user ratings for films, based on previous ratings without any other information about the users or films, i.e. without the users being identified except by numbers assigned for the contest. The competition was held by Netflix, a video streaming service, and was open to anyone who was neither connected with Netflix (current and former employees, agents, close relatives of Netflix employees, etc.) nor a resident of certain blocked countries (such as Cuba or North Korea). On September 21, 2009, the grand prize of US$1,000,000 was given to the BellKor's Pragmatic Chaos team which bested Netflix's own algorithm for predicting ratings by 10.06%. == Problem and data sets == Netflix provided a training data set of 100,480,507 ratings that 480,189 users gave to 17,770 movies. Each training rating is a quadruplet of the form . The user and movie fields are integer IDs, while grades are from 1 to 5 (integer) stars. The qualifying data set contains over 2,817,131 triplets of the form , with grades known only to the jury. A participating team's algorithm must predict grades on the entire qualifying set, but they are informed of the score for only half of the data: a quiz set of 1,408,342 ratings. The other half is the test set of 1,408,789, and performance on this is used by the jury to determine potential prize winners. Only the judges know which ratings are in the quiz set, and which are in the test set—this arrangement is intended to make it difficult to hill climb on the test set. Submitted predictions are scored against the true grades in the form of root mean squared error (RMSE), and the goal is to reduce this error as much as possible. Note that, while the actual grades are integers in the range 1 to 5, submitted predictions need not be. Netflix also identified a probe subset of 1,408,395 ratings within the training data set. The probe, quiz, and test data sets were chosen to have similar statistical properties. In summary, the data used in the Netflix Prize looks as follows: Training set (99,072,112 ratings not including the probe set; 100,480,507 including the probe set) Probe set (1,408,395 ratings) Qualifying set (2,817,131 ratings) consisting of: Test set (1,408,789 ratings), used to determine winners Quiz set (1,408,342 ratings), used to calculate leaderboard scores For each movie, the title and year of release are provided in a separate dataset. No information at all is provided about users. In order to protect the privacy of the customers, "some of the rating data for some customers in the training and qualifying sets have been deliberately perturbed in one or more of the following ways: deleting ratings; inserting alternative ratings and dates; and modifying rating dates." The training set is constructed such that the average user rated over 200 movies, and the average movie was rated by over 5000 users. But there is wide variance in the data—some movies in the training set have as few as 3 ratings, while one user rated over 17,000 movies. There was some controversy as to the choice of RMSE as the defining metric. It has been claimed that even as small an improvement as 1% RMSE results in a significant difference in the ranking of the "top-10" most recommended movies for a user. == Prizes == Prizes were based on improvement over Netflix's own algorithm, called Cinematch, or the previous year's score if a team has made improvement beyond a certain threshold. A trivial algorithm that predicts for each movie in the quiz set its average grade from the training data produces an RMSE of 1.0540. Cinematch uses "straightforward statistical linear models with a lot of data conditioning." The performance of Cinematch had plateaued by 2006. Using only the training data, Cinematch scores an RMSE of 0.9514 on the quiz data, roughly a 10% improvement over the trivial algorithm. Cinematch has a similar performance on the test set, 0.9525. In order to win the grand prize of $1,000,000, a participating team had to improve this by another 10%, to achieve 0.8572 on the test set. Such an improvement on the quiz set corresponds to an RMSE of 0.8563. As long as no team won the grand prize, a progress prize of $50,000 was awarded every year for the best result thus far. However, in order to win this prize, an algorithm had to improve the RMSE on the quiz set by at least 1% over the previous progress prize winner (or over Cinematch, the first year). If no submission succeeded, the progress prize was not to be awarded for that year. To win a progress or grand prize a participant had to provide source code and a description of the algorithm to the jury within one week after being contacted by them. Following verification the winner also had to provide a non-exclusive license to Netflix. Netflix would publish only the description, not the source code, of the system. (To keep their algorithm and source code secret, a team could choose not to claim a prize.) The jury also kept their predictions secret from other participants. A team could send as many attempts to predict grades as they wish. Originally submissions were limited to once a week, but the interval was quickly modified to once a day. A team's best submission so far counted as their current submission. Once one of the teams succeeded in improving the RMSE by 10% or more, the jury would issue a last call, giving all teams 30 days to send their submissions. Only then, the team with the best submission was asked for the algorithm description, source code, and non-exclusive license, and, after successful verification; declared a grand prize winner. The contest would last until the grand prize winner was declared. Had no one received the grand prize, it would have lasted for at least five years (until October 2, 2011). After that date, the contest could have been terminated at any time at Netflix's sole discretion. == Progress over the years == The competition began on October 2, 2006. By October 8, a team called WXYZConsulting had already beaten Cinematch's results. By October 15, there were three teams who had beaten Cinematch, one of them by 1.06%, enough to qualify for the annual progress prize. By June 2007 over 20,000 teams had registered for the competition from over 150 countries. 2,000 teams had submitted over 13,000 prediction sets. Over the first year of the competition, a handful of front-runners traded first place. The more prominent ones were: WXYZConsulting, a team of Wei Xu and Yi Zhang. (A front runner during November–December 2006.) ML@UToronto A, a team from the University of Toronto led by Prof. Geoffrey Hinton. (A front runner during parts of October–December 2006.) Gravity, a team of four scientists from the Budapest University of Technology (A front runner during January–May 2007.) BellKor, a group of scientists from AT&T Labs. (A front runner since May 2007.) Dinosaur Planet, a team of three undergraduates from Princeton University. (A front runner on September 3, 2007 for one hour before BellKor snatched back the lead.) The algorithms used by the leading teams were usually an ensemble of singular value decomposition, k-nearest neighbor, neural networks, and so on. On August 12, 2007, many contestants gathered at the KDD Cup and Workshop 2007, held at San Jose, California. During the workshop all four of the top teams on the leaderboard at that time presented their techniques. The team from IBM Research—Yan Liu, Saharon Rosset, Claudia Perlich, and Zhenzhen Kou—won the third place in Task 1 and first place in Task 2. Over the second year of the competition, only three teams reached the leading position: BellKor, a group of scientists from AT&T Labs (front runner during May 2007 – September 2008) BigChaos, a team of Austrian scientists from Commendo Research & Consulting (single team front runner since October 2008) BellKor in BigChaos, a joint team of the two leading single teams (a front runner since September 2008) === 2007 Progress Prize === On September 2, 2007, the competition entered the "last call" period for the 2007 Progress Prize. Over 40,000 teams from 186 countries had entered the contest. They had thirty days to tender submissions for consideration. At the beginning of this period the leading team was BellKor, with an RMSE of 0.8728 (8.26% improvement), followed by Dinosaur Planet (RMSE = 0.8769; 7.83% improvement), and Gravity (RMSE = 0.8785; 7.66% improvement). In the last hour of the last call period, an entry by "KorBell" took first place. This turned out to be an alternate name for Team BellKor. On November 13, 2007, team KorBell (formerly BellKor) was declared the winner of the $50,000 Progress Prize with an RMSE of 0.8712 (8.43% improvement). The team consisted of three researchers from AT&T Labs, Yehuda Koren, Robert Bell, and Chris Volinsky. As required, they published a description of their a

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