AI Assistant Esri

AI Assistant Esri — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Catie Cuan

Catie Cuan is an artist, entrepeuneur, and innovator in the field of robotic art and human-robot interaction, where she specializes in choreorobotics, an emerging field at the intersection of choreographic dance and robotics. Catie Cuan is currently one of the academic researchers pioneering the field of choreorobotics and currently holds a post-doctoral fellowship at Stanford University. == Career == Catie Cuan earned a bachelor's degree from the University of California, Berkeley. She graduated with a Ph.D. from the Department of Mechanical Engineering at Stanford University, focusing in robotics. Her most cited publication is about how to improve robotic expressive systems using tools from dance theory, such as the Laban/Bartenieff Movement Analysis. In her most recent research projects, she explores a predictive model of imitation learning for robots moving around humans, a project that advances the field of social robotics. Cuan credits her work in robotics to the experience with her father when he had a stroke and was surrounded by many medical machines, which made her think about how people might feel empowered and hopeful rather than afraid. As a ballet dancer and choreographer, she has performed with the Metropolitan Opera Ballet and the Lyric Opera of Chicago. In 2020, she was the dancer and choreographer of the show Output, which was part of a collaboration with ThoughtWorks Arts and the Pratt Institute. In the production, she danced with an ABB IRB 6700 industrial robot. In 2022, she was named as an IF/THEN ambassador for the American Association for the Advancement of Science. The same year, she was appointed Futurist-in-Residence at the Smithsonian Arts and Industries Building, where she performed at the closing ceremonies of the FUTURES exhibit on July 6, 2022. Cuan has also contributed to product designs, working with IDEO and Dutch interior design firm moooi on their Piro project, which launched a dancing scent diffuser robot during Milan Design Week in June 2022. She is a TED speaker with talks about how to teach robots to dance, and what is coming up for dancing robots in the AI era.
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Top 10 AI Analytics Tools Compared (2026)

Shopping for the best AI analytics tool? An AI analytics tool is software that uses machine learning to help you get more done — it keeps getting smarter as the underlying models improve. Pricing, accuracy, and the size of the model behind the tool are the three factors that most affect daily usefulness. Whether you are a beginner or a pro, the right AI analytics tool slots into your workflow and pays for itself fast. Below we compare features, pricing, and real output so you can choose with confidence.
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Karen Spärck Jones

Karen Ida Boalth Spärck Jones (26 August 1935 – 4 April 2007) was a self-taught programmer and a pioneering British computer and information scientist responsible for the concept of inverse document frequency (IDF), a technology that underlies most modern search engines. She was an advocate for women in computer science, her slogan being, "Computing is too important to be left to men." In 2019, The New York Times published her belated obituary in its series Overlooked, calling her "a pioneer of computer science for work combining statistics and linguistics, and an advocate for women in the field." From 2008, to recognise her achievements in the fields of information retrieval (IR) and natural language processing (NLP), the Karen Spärck Jones Award is awarded annually to a recipient for outstanding research in one or both of her fields. == Early life and education == Karen Ida Boalth Spärck Jones was born in Huddersfield, Yorkshire, England. Her parents were Alfred Owen Jones, a chemistry lecturer, and Ida Spärck, a Norwegian who worked for the Norwegian government while in exile in London during World War II. Spärck Jones was educated at a grammar school in Huddersfield and then from 1953 to 1956 at Girton College, Cambridge, studying history, with an additional final year in Moral Sciences (philosophy). While at Cambridge, Spärck Jones joined the organisation known as the Cambridge Language Research Unit (CLRU) and met the head of CLRU Margaret Masterman, who would inspire her to go into computer science. While working at the CLRU, Spärck Jones began pursuing her PhD. At the time of submission, her PhD thesis was cast aside as uninspired and lacking original thought, but was later published in its entirety as a book. She briefly became a school teacher before moving into computer science. Spärck Jones married fellow Cambridge computer scientist Roger Needham in 1958. Spärck Jones's mother, Ida Spärck, had fled Norway on one of the last boats out after the German invasion in April 1940, going on to serve the Norwegian government in exile in London throughout the war. This background of displacement and resilience shaped the household in which Spärck Jones grew up. She later kept her mother's Norwegian surname professionally after marrying, stating that "it maintains a permanent existence of your own." Spärck Jones described her entry into computing as almost accidental. She had been working as a schoolteacher when she began visiting the CLRU out of curiosity about her husband's work. It was Margaret Masterman — whom she later described as "a very strange and interesting woman" — who offered her a research position and drew her fully into the field. == Career == Spärck Jones worked at the Cambridge Language Research Unit from the late 1950s, then at Cambridge University Computer Laboratory from 1974 until her retirement in 2002. From 1999, she held the post of Professor of Computers and Information. She had been given a permanent position only in 1993, and earlier in her career had been employed on a series of short-term contracts. She continued to work in the Computer Laboratory until shortly before her death. Her publications include nine books and numerous papers. A full list of her publications is available from the Cambridge Computer Laboratory. Spärck Jones' main research interests, since the late 1950s, were natural language processing and information retrieval. In 1964, Spärck Jones published "Synonymy and Semantic Classification", which is now seen as a foundational paper in the field of natural language processing. One of her most important contributions was the concept of inverse document frequency (IDF) weighting in information retrieval, which she introduced in a 1972 paper. IDF is used in most search engines today, usually as part of the term frequency–inverse document frequency (TF–IDF) weighting scheme. In the 1980s, Spärck Jones began her work on early speech recognition systems. In 1982 she became involved in the Alvey Programme which was an initiative to motivate more computer science research across the country. == Significance of inverse document frequency == At the time Spärck Jones was working, most computer scientists were focused on making people adapt to machines — learning precise codes and commands to retrieve information. Spärck Jones was working in the opposite direction: teaching computers to understand human language as it is actually used. Her 1972 paper introduced the concept of inverse document frequency (IDF) by observing that not all words carry equal informational value. A word like "the" appears in virtually every document and tells a retrieval system almost nothing about what any specific document is about. A rare word like "photosynthesis," by contrast, is highly specific and informative. IDF assigns each word a statistical weight based on how rarely it occurs across a document collection — the rarer the word, the higher its weight. When combined with term frequency (TF), which measures how often a word appears within a single document, the resulting TF–IDF score gives every word a relevance rating that can be used to rank documents in response to a search query. By 2007, Spärck Jones noted that "pretty much every web engine uses those principles." Her colleague John Tait remarked that "a lot of the stuff she was working on until five or ten years ago seemed like mad nonsense, and now we take it for granted." The 1972 paper remains among the most cited works in information retrieval research, with over 4,500 citations recorded in Google Scholar at the time of her death. The conceptual foundation of TF–IDF — that word meaning is statistical and contextual — has also informed later developments in machine learning and natural language processing, including transformer-based language models such as BERT. == Impact on artificial intelligence == Even though Spärck Jones' views on artificial intelligence (AI) were rather pessimistic in regard to the perceived limitations of AI in information retrieval, her work in natural language processing, information retrieval, and introducing the concept of inverse document frequency (IDF) contributed to the future technological development of AI. Her statistical and ranking methods shifted the direction of the development of AI towards being more expandable and led by data. Her work had a more indirect and conceptual impact on AI, compared to the current and direct impact it has had on search engines. == Gender and advocacy == Spärck Jones spent the majority of her career at Cambridge on short-term contracts without permanent employment, a situation she attributed directly to gender. In her 2001 IEEE oral history interview she stated that Cambridge was "in many ways not user-friendly, in the sense of women-friendly." She was frequently the only woman present in professional meetings throughout her career. She channelled this experience into active advocacy. She was a founding member of the women@cl network at Cambridge's Computer Laboratory, worked on outreach programmes aimed at encouraging girls into computing, and became widely known for her slogan: "Computing is too important to be left to men." She was the first woman ever to receive the BCS Lovelace Medal. === Honours and awards === These include: Gerard Salton Award (1988) Elected a Fellow of Association for the Advancement of Artificial Intelligence (AAAI) in 1993 President of the Association for Computational Linguistics (ACL) in 1994 Honorary degree of Doctor of Science from The City University in 1997. Elected a Fellow of the British Academy (FBA), where she also served as Vice-President in 2000–2002 Fellow of European Association for Artificial Intelligence (ECCAI) Association for Information Science and Technology (ASIS&T) Award of Merit (2002) Association for Computational Linguistics (ACL) Lifetime Achievement Award (2004) ACM - AAAI Allen Newell Award (2006) BCS Lovelace Medal (2007) Association for Computing Machinery (ACM) Women's Group Athena Award (2007) == Death and legacy == Spärck Jones died on 4 April 2007, due to cancer at the age of 71. In 2008, the BCS Information Retrieval Specialist Group (BCS IRSG) in conjunction with the British Computer Society established an annual Karen Spärck Jones Award in her honour, to encourage and promote research that advances understanding of Natural Language Processing or Information Retrieval. The Karen Spärck Jones lecture sponsored by BCS recognises the contribution that women have made to computing. In August 2017, the University of Huddersfield renamed one of its campus buildings in her honour. Formerly known as Canalside West, the Spärck Jones building houses the University's School of Computing and Engineering. When Spärck Jones died in 2007, The Times did not publish an obituary for her, despite having published one for her husband Roger Needham in 2003. In 2019, The New York Times included her in its Overlooked series under the title "Ove
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Adobe Enhanced Speech

Adobe Enhanced Speech is an online artificial intelligence software tool by Adobe that aims to significantly improve the quality of recorded speech that may be badly muffled, reverberated, full of artifacts, tinny, etc. and convert it to a studio-grade, professional level, regardless of the initial input's clarity. Users may upload mp3 or wav files up to an hour long and a gigabyte in size to the site to convert them relatively quickly, then being free to listen to the converted version, toggle back-and-forth and alternate between it and the original as it plays, and download it. Currently in beta and free to the public, it has been used in the restoration of old movies and the creation of professional-quality podcasts, narrations, etc. by those without sufficient microphones. Although the model still has some current limitations, such as not being compatible with singing and occasional issues with excessively muffled source audio resulting in a light lisp in the improved version, it is otherwise noted as incredibly effective and efficient in its purpose. Utilizing advanced machine learning algorithms to distinguish between speech and background sounds, it enhances the quality of the speech by filtering out the noise and artifacts, adjusting the pitch and volume levels, and normalizing the audio. This is accomplished by the network having been trained on a large dataset of speech samples from a diverse range of sources and then being fine-tuned to optimize the output.
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Mozilla VPN

Mozilla VPN is an open-source virtual private network developed by Mozilla. It launched in beta as Firefox Private Network on September 10, 2019, and officially launched on July 15, 2020, as Mozilla VPN. Mozilla VPN should not be confused with the built-in VPN in Firefox since version 149 released in March 2026, which is free with a monthly data limit of 50 GB but only masks traffic that originates in Firefox unlike Mozilla VPN that protects the entire device. == History == The Firefox Private Network web browser extension beta version was released on September 10, 2019, as part of the relaunch of Mozilla's Test Pilot Program, a program that allowed Firefox users to test experimental new features which had been shuttered in January 2019. The beta of the subscription-based standalone virtual private network for Android, Microsoft Windows, and Chromebook launched on February 19, 2020, with the iOS version following soon after. Firefox Private Network was rebranded as "Mozilla VPN" on June 18, 2020, and officially launched as Mozilla VPN on July 15, 2020. At launch, Mozilla VPN was available in six countries (the United States, Canada, the United Kingdom, Singapore, Malaysia, and New Zealand) for Windows 10, Android, and iOS (beta). Over time, the service also launched in Germany, France, Italy, Spain, Switzerland, Austria, Belgium, Netherlands, Ireland, Finland, Sweden, Poland, Czechia, Hungary, Romania, Bulgaria, Slovakia, Portugal, Denmark, Croatia, Lithuania, Slovenia, Latvia, Luxembourg, Estonia, Cyprus, and Malta. == Audits history == Cybersecurity firm Cure53 conducted a security audit for Mozilla VPN in August 2020 and identified multiple vulnerabilities, including one critical-severity vulnerability. In March 2021, Cure53 conducted a second security audit, which noted significant improvements since the 2020 audit. The second audit identified multiple issues, including two medium-severity and one high-severity vulnerability, but concluded that by the time of publication, only one vulnerability remained unresolved, and that it would require "a strong state-funded attacker-model" to be exploitable. Mozilla disclosed most of the vulnerabilities in July 2021 and released the full report by Cure53 in August 2021. In April 2023, Cure53 conducted a third security audit, the results of which Mozilla disclosed in December that year, along with the full report by Cure53. == Features == Mozilla VPN masks the user's IP address, hiding the user's location data from the websites accessed by the user, and encrypts all network activity. The service allows for up to 5 simultaneous connections, to any of more than 500 servers in 30+ countries, and is available on the mobile operating systems iOS and Android and the desktop operating systems Microsoft Windows, macOS and Linux. Mozilla VPN's infrastructure is provided by the Swedish Mullvad VPN service, which uses the WireGuard VPN protocol. The VPN software comes with additional features, like recommended server locations, the ability to block ads, block ad trackers and malware, the ability to exclude certain applications from protection, the ability to set multi-hop connections, and to set custom DNS servers. When used with Firefox and the official extension, Mozilla VPN allows the use of different settings per container as well as bypassing the VPN for specific websites.
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Machine translation of sign languages

The machine translation of sign languages has been possible, albeit in a limited fashion, since 1977. When a research project successfully matched English letters from a keyboard to ASL manual alphabet letters which were simulated on a robotic hand. These technologies translate signed languages into written or spoken language, and written or spoken language to sign language, without the use of a human interpreter. Sign languages possess different phonological features than spoken languages, which has created obstacles for developers. Developers use computer vision and machine learning to recognize specific phonological parameters and epentheses unique to sign languages, and speech recognition and natural language processing allow interactive communication between hearing and deaf people. == Limitations == Sign language translation technologies are limited in the same way as spoken language translation. None can translate with 100% accuracy. In fact, sign language translation technologies are far behind their spoken language counterparts. This is, in no trivial way, due to the fact that signed languages have multiple articulators. Where spoken languages are articulated through the vocal tract, signed languages are articulated through the hands, arms, head, shoulders, torso, and parts of the face. This multi-channel articulation makes translating sign languages very difficult. An additional challenge for sign language MT is the fact that there is no formal written format for signed languages. There are notations systems but no writing system has been adopted widely enough, by the international Deaf community, that it could be considered the 'written form' of a given sign language. Sign Languages then are recorded in various video formats. There is no gold standard parallel corpus that is large enough for SMT, for example. == History == The history of automatic sign language translation started with the development of hardware such as finger-spelling robotic hands. In 1977, a finger-spelling hand project called RALPH (short for "Robotic Alphabet") created a robotic hand that can translate alphabets into finger-spellings. Later, the use of gloves with motion sensors became the mainstream, and some projects such as the CyberGlove and VPL Data Glove were born. The wearable hardware made it possible to capture the signers' hand shapes and movements with the help of the computer software. However, with the development of computer vision, wearable devices were replaced by cameras due to their efficiency and fewer physical restrictions on signers. To process the data collected through the devices, researchers implemented neural networks such as the Stuttgart Neural Network Simulator for pattern recognition in projects such as the CyberGlove. Researchers also use many other approaches for sign recognition. For example, Hidden Markov Models are used to analyze data statistically, and GRASP and other machine learning programs use training sets to improve the accuracy of sign recognition. Fusion of non-wearable technologies such as cameras and Leap Motion controllers have shown to increase the ability of automatic sign language recognition and translation software. == Technologies == === VISICAST === http://www.visicast.cmp.uea.ac.uk/Visicast_index.html === eSIGN project === http://www.visicast.cmp.uea.ac.uk/eSIGN/index.html === The American Sign Language Avatar Project at DePaul University === http://asl.cs.depaul.edu/ === Spanish to LSE === López-Ludeña, Verónica; San-Segundo, Rubén; González, Carlos; López, Juan Carlos; Pardo, José M. (2012), Methodology for developing a Speech into Sign Language Translation System in a New Semantic Domain (PDF), CiteSeerX 10.1.1.1065.5265, S2CID 2724186 === SignAloud === SignAloud is a technology that incorporates a pair of gloves made by a group of students at University of Washington that transliterate American Sign Language (ASL) into English. In February 2015 Thomas Pryor, a hearing student from the University of Washington, created the first prototype for this device at Hack Arizona, a hackathon at the University of Arizona. Pryor continued to develop the invention and in October 2015, Pryor brought Navid Azodi onto the SignAloud project for marketing and help with public relations. Azodi has a rich background and involvement in business administration, while Pryor has a wealth of experience in engineering. In May 2016, the duo told NPR that they are working more closely with people who use ASL so that they can better understand their audience and tailor their product to the needs of these people rather than the assumed needs. However, no further versions have been released since then. The invention was one of seven to win the Lemelson-MIT Student Prize, which seeks to award and applaud young inventors. Their invention fell under the "Use it!" category of the award which includes technological advances to existing products. They were awarded $10,000. The gloves have sensors that track the users hand movements and then send the data to a computer system via Bluetooth. The computer system analyzes the data and matches it to English words, which are then spoken aloud by a digital voice. The gloves do not have capability for written English input to glove movement output or the ability to hear language and then sign it to a deaf person, which means they do not provide reciprocal communication. The device also does not incorporate facial expressions and other nonmanual markers of sign languages, which may alter the actual interpretation from ASL. === ProDeaf === ProDeaf (WebLibras) is a computer software that can translate both text and voice into Portuguese Libras (Portuguese Sign Language) "with the goal of improving communication between the deaf and hearing." There is currently a beta edition in production for American Sign Language as well. The original team began the project in 2010 with a combination of experts including linguists, designers, programmers, and translators, both hearing and deaf. The team originated at Federal University of Pernambuco (UFPE) from a group of students involved in a computer science project. The group had a deaf team member who had difficulty communicating with the rest of the group. In order to complete the project and help the teammate communicate, the group created Proativa Soluções and have been moving forward ever since. The current beta version in American Sign Language is very limited. For example, there is a dictionary section and the only word under the letter 'j' is 'jump'. If the device has not been programmed with the word, then the digital avatar must fingerspell the word. The last update of the app was in June 2016, but ProDeaf has been featured in over 400 stories across the country's most popular media outlets. The application cannot read sign language and turn it into word or text, so it only serves as a one-way communication. Additionally, the user cannot sign to the app and receive an English translation in any form, as English is still in the beta edition. === Kinect Sign Language Translator === Since 2012, researchers from the Chinese Academy of Sciences and specialists of deaf education from Beijing Union University in China have been collaborating with Microsoft Research Asian team to create Kinect Sign Language Translator. The translator consists of two modes: translator mode and communication mode. The translator mode is capable of translating single words from sign into written words and vice versa. The communication mode can translate full sentences and the conversation can be automatically translated with the use of the 3D avatar. The translator mode can also detect the postures and hand shapes of a signer as well as the movement trajectory using the technologies of machine learning, pattern recognition, and computer vision. The device also allows for reciprocal communication because the speech recognition technology allows the spoken language to be translated into the sign language and the 3D modeling avatar can sign back to the deaf people. The original project was started in China based on translating Chinese Sign Language. In 2013, the project was presented at Microsoft Research Faculty Summit and Microsoft company meeting. Currently, this project is also being worked by researchers in the United States to implement American Sign Language translation. As of now, the device is still a prototype, and the accuracy of translation in the communication mode is still not perfect. === SignAll === SignAll is an automatic sign language translation system provided by Dolphio Technologies in Hungary. The team is "pioneering the first automated sign language translation solution, based on computer vision and natural language processing (NLP), to enable everyday communication between individuals with hearing who use spoken English and deaf or hard of hearing individuals who use ASL." The system of SignAll uses Kinect from Microsoft and other web camera
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AI Website Builders: Free vs Paid (2026)

Looking for the best AI website builder? An AI website builder is software that uses machine learning to help you get more done — it can save you hours every week by automating repetitive work. Most options offer a generous free tier, with paid plans unlocking higher limits, faster processing, and team features. Whether you are a beginner or a pro, the right AI website builder slots into your workflow and pays for itself fast. This guide breaks down the top picks, their pros and cons, and who each one is best for.
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Timnit Gebru

Timnit W. Gebru (Amharic and Tigrinya: ትምኒት ገብሩ; 1982/1983) is an Eritrean Ethiopian-born computer scientist who works in the fields of artificial intelligence (AI), algorithmic bias and data mining. She is a co-founder of Black in AI, an advocacy group that has pushed for more Black roles in AI development and research. She is the founder of the Distributed Artificial Intelligence Research Institute (DAIR). In December 2020, public controversy erupted over the circumstances surrounding Gebru's departure from Google, where she was technical co-lead of the Ethical Artificial Intelligence Team. Gebru had coauthored a paper on the risks of large language models (LLMs) acting as stochastic parrots, and submitted it for publication. According to Jeff Dean, head of Google AI, the paper was submitted without waiting for Google's internal review, which then asserted that it ignored too much relevant research. Google management requested that Gebru either withdraw the paper or remove the names of all the authors employed by Google. Gebru requested the identity and feedback of every reviewer, and stated that if Google refused, she would talk to her manager about "a last date". Google terminated her employment immediately, stating that they were accepting her resignation. Gebru maintained that she had not formally offered to resign, and only threatened to. Gebru has been widely recognized for her expertise in the ethics of artificial intelligence. She was named one of the World's 50 Greatest Leaders by Fortune and one of Nature's ten people who shaped science in 2021, and in 2022, one of Time's most influential people. == Early life and education == Gebru was raised in Addis Ababa, Ethiopia. Her father, an electrical engineer with a Doctor of Philosophy (PhD), died when she was five years old, and she was raised by her mother, an economist. Both her parents are from Eritrea. When Gebru was 15, during the Eritrean–Ethiopian War, she fled Ethiopia after some of her family were deported to Eritrea and compelled to fight in the war. She was initially denied a U.S. visa and briefly lived in Ireland, but she eventually received political asylum in the U.S., an experience she said was "miserable". Gebru settled in Somerville, Massachusetts to attend high school, where she says she immediately started to experience racial discrimination, with some teachers refusing to allow her to take certain Advanced Placement courses, despite being a high-achiever. After she completed high school, an encounter with the police set Gebru on a course toward a focus on ethics in technology. A friend of hers, a Black woman, was assaulted in a bar, and Gebru called the police to report it. She says that instead of filing the assault report, her friend was arrested and remanded to a cell. Gebru called it a pivotal moment and a "blatant example of systemic racism." In 2001, Gebru was accepted at Stanford University. There, she earned her Bachelor of Science and Master of Science degrees in electrical engineering and her PhD in computer vision in 2017. Gebru was advised during her PhD program by Fei-Fei Li. During the 2008 United States presidential election, Gebru canvassed in support of Barack Obama. Gebru presented her doctoral research at the 2017 LDV Capital Vision Summit competition, where computer vision scientists present their work to members of industry and venture capitalists. Gebru won the competition, starting a series of collaborations with other entrepreneurs and investors. Both during her PhD program in 2016 and in 2018, Gebru returned to Ethiopia with Jelani Nelson's programming campaign, AddisCoder. While working on her PhD, Gebru authored a paper that was never published about her concern over the future of AI. She wrote of the dangers of the lack of diversity in the field, centered on her experiences with the police and on a ProPublica investigation into predictive policing, which revealed a projection of human biases in machine learning. In the paper, she scathed the "boy's club culture", reflecting on her experiences at conference gatherings of drunken male attendees sexually harassing her, and criticized the hero worship of the field's celebrities. == Career == === 2004–2013: Software development at Apple === Gebru joined Apple as an intern while at Stanford, working in their hardware division making circuitry for audio components, and was offered a full-time position the following year. Of her work as an audio engineer, her manager told Wired she was "fearless", and well-liked by her colleagues. During her tenure at Apple, Gebru became more interested in building software, namely computer vision that could detect human figures. She went on to develop signal processing algorithms for the first iPad. At the time, she said she did not consider the potential use for surveillance, saying "I just found it technically interesting." Long after leaving the company, during the #AppleToo movement in the summer of 2021, which was led by Apple engineer Cher Scarlett, who consulted with Gebru, Gebru revealed she experienced "so many egregious things" and "always wondered how they manage[d] to get out of the spotlight." She said that accountability at Apple was long overdue, and warned they could not continue to fly under the radar for much longer. Gebru also criticized the way the media covers Apple and other tech giants, saying that the press helps shield such companies from public scrutiny. === 2013–2017: Research at Stanford and Microsoft === In 2013, Gebru joined Fei-Fei Li's lab at Stanford, where she combined deep learning with Google Street View to estimate the demographics of United States neighbourhoods, showing that socioeconomic attributes such as voting patterns, income, race, and education can be inferred from observations of cars. In 2015, Gebru attended the field's top conference, Neural Information Processing Systems (NIPS), in Montreal, Canada. Out of 3,700 attendees, she noted she was one of only a few Black researchers. When she attended again the following year, she kept a tally and noted that there were only five Black men and that she was the only Black woman out of 8,500 delegates. Together with her colleague Rediet Abebe, Gebru founded Black in AI, a community of Black researchers working in artificial intelligence that aims to increase the presence, visibility, and well-being of Black professionals and leaders within the field. In the summer of 2017, Gebru joined Microsoft as a postdoctoral researcher in the Fairness, Accountability, Transparency, and Ethics in AI (FATE) lab. In 2017, Gebru spoke at the Fairness and Transparency conference, where MIT Technology Review interviewed her about biases that exist in AI systems and how adding diversity in AI teams can fix that issue. In her interview with Jackie Snow, Snow asked Gebru, "How does the lack of diversity distort artificial intelligence and specifically computer vision?" and Gebru pointed out that there are biases that exist in the software developers. While at Microsoft, Gebru co-authored a research paper called Gender Shades, which became the namesake of a project of a broader Massachusetts Institute of Technology project led by co-author Joy Buolamwini. The pair investigated facial recognition software, finding that in one particular implementation Black women were 35% less likely to be recognized than White men. === 2018–2020: Artificial intelligence ethics at Google === Gebru joined Google in 2018, where she co-led a team on the ethics of artificial intelligence with Margaret Mitchell. She studied the implications of artificial intelligence, looking to improve the ability of technology to do social good. In 2019, Gebru and other artificial intelligence researchers "signed a letter calling on Amazon to stop selling its facial-recognition technology to law enforcement agencies because it is biased against women and people of color", citing a study that was conducted by MIT researchers showing that Amazon's facial recognition system had more trouble identifying darker-skinned females than any other technology company's facial recognition software. In a New York Times interview, Gebru has further expressed that she believes facial recognition is too dangerous to be used for law enforcement and security purposes at present. === Exit from Google === In 2020 Gebru and five co-authors wrote a paper titled "On the Dangers of Stochastic Parrots: Can Language Models Be Too Big? 🦜". The paper examined risks of very large language models, including their environmental footprint, financial costs, the inscrutability of large models, the potential for LLMs to display prejudice against certain groups, the inability of LLMs to understand the language they process, and the use of LLMs to spread disinformation. In December 2020, her employment with Google ended after Google management asked her to either withdraw the paper before publication, or remove the names of all the Google employees from
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Spotify Kids

Spotify Kids is a Swedish kid-friendly Music streaming service developed by Spotify. It offers curated content for children, including music, audiobooks, lullabies, and bedtime stories, while providing their parents with parental controls. The service is only available to subscribers to Spotify's Premium Family subscription plan. == Function == Spotify Kids is a Swedish Kid-friendly Music Streaming Service that allows children to browse Spotify with parental controls. Using the app, parents can view their children's listening history, block specific songs, and share playlists with their children. The app also includes sing-along songs, playlists designed for young children, and curated audiobooks, lullabies, and bedtime stories. Access is included in Spotify's Premium Family subscription plan, and is exclusive to subscribers to the plan. Users can configure the app for a specific age group upon first launch. The playlists on Spotify Kids are curated by groups including Discovery Kids, Nickelodeon, Universal Pictures, and The Walt Disney Company. All content on the Spotify Kids app is curated by editors. As of March 2021, there were roughly 8,000 songs available on the platform. The design of the Spotify Kids app is colorful, and user interface varies depending on the age group for which the app is configured. Spotify Kids is designed to comply with consent and data collection regulations for apps used by children. TechCrunch explains that it is "designed on a grand scale to drive subscriptions to Spotify's top-tier $14.99-per-month Premium Family Plan." == Release == After being beta tested in Ireland in October 2019, it was released as a beta across the United Kingdom on February 11, 2020. It was later released in Sweden, Denmark, Australia, New Zealand, Mexico, Argentina, and Brazil. On March 31, 2021, it was made available in France, Canada, and the United States.
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AI Paraphrasing Tools Reviews: What Actually Works in 2026

Comparing the best AI paraphrasing tool? An AI paraphrasing tool is software that uses machine learning to help you get more done — it lowers the barrier so anyone can produce professional output. Privacy matters too: check whether your data trains the model and whether a no-log or enterprise tier is available. Whether you are a beginner or a pro, the right AI paraphrasing tool slots into your workflow and pays for itself fast. We tested the leading options and ranked them by quality, value, and ease of use.
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Mona Diab

Mona Talat Diab (Arabic: منى طلعت دياب) is a computer science professor and director of Carnegie Mellon University's Language Technologies Institute. Previously, she was a professor at George Washington University and a research scientist with Facebook AI. Her research focuses on natural language processing, computational linguistics, cross lingual/multilingual processing, computational socio-pragmatics, Arabic language processing, and applied machine learning. == Education == Diab completed her M.Sc. in computer science with a major in machine learning and artificial intelligence at The George Washington University (1997) and her Ph.D. in computational linguistics at the University of Maryland, Linguistics Department and University of Maryland Institute for Advanced Computer Studies (UMIACS) in 2003, under the supervision of Philip Resnik. She was also a postdoctoral research scientist at Stanford University (2003–2005) under the mentorship of Dan Jurafsky, where she was a part of the Stanford NLP Group. == Career == After her postdoc at Stanford, Diab took a position as research scientist (principal investigator) at the Center for Computational Learning Systems (CCLS) in Columbia University, where she was also adjunct professor in the computer science department. In 2013 she joined the George Washington University as an associate professor, where she was promoted to full professor in 2017. Diab is the founder and director of the GW NLP lab CARE4Lang. Diab served as an elected faculty senator at Columbia University for 6 years (2007–2012) and an elected faculty senator at GW (2013–2014). She served the computational linguistics community as elected member, secretary and president of ACL SIGLEX (2005–2016) and elected president of ACL SIGSemitic. She currently serves as the elected VP-elect for ACL SIGDAT. In 2017 Diab joined Amazon AWS AI Deep Learning Group for Human Language Technologies, where she led the AWS Lex project for task oriented dialogue systems for enterprises. A couple of years later, she moved to Facebook AI as a research scientist. In the fall of 2023, she became the director of CMU's Language Technologies Institute -- the first full time director since the passing of its founder Jaime Carbonell. == Research == Diab's research interests include several areas in computational linguistics/natural language processing, like conversational AI, computational lexical semantics, multilingual and cross lingual processing, social media processing with an emphasis on computational socio- pragmatics, information extraction & text analytics, machine translation. Besides this, she also has special interests in Arabic NLP and low resource scenarios. Diab co-established two research trends in the computational linguistics field, computational approaches to linguistic code switching in 2007 and semantic textual similarity in 2010. Diab together with Nizar Habash and Owen Rambow, co-founded CADIM in 2005, a global reference point in Arabic dialect processing. In 2012, Diab together with Eneko Agirre and Johan Bos, brought together two ACL communities SIGLEX and SIGSEM and established the 1st tier conference SEM. == Awards and recognition == Selected as one of top 150 leaders and visionaries in AI nationwide to participate in White House AI Summit in Government, Washington, D.C., US, September 2019 March 2017: 3 Muslim Women in STEM You Should Know About, Teen Vogue, March 2017 May 2017: Behind Every Strong Woman Is...Another Strong Woman: Ten women give thanks to the women who supported them on the way up. Elle, May 2017. Google Faculty Research Award – Tharwa++: Building a multidialectal Arabic Lexical Repository, (PI), 09.2015 –12.2016. Google Faculty Research Award – Nuanced Sentiment and Perspective Analysis for Arabic Social Media Text, (PI), 12.2014 –12.2015 QNRF Best Poster Award – Ossama Obeid, Houda Bouamor, Wajdi Zaghouani, Mahmoud Ghoneim, Abdelati Hawwari, Mona Diab, Kemal Oflazer. (2016) MANDIAC: A Web-based Annotation System For Manual Arabic Diacritization. Proceedings of the 2nd Workshop on Arabic Corpora and Processing Tools, LREC 2016. Best Paper Award – Aminian, Maryam, Mahmoud Ghoneim, Mona Diab. (2015) Unsupervised False Friend Disambiguation Using Contextual Word Clusters and Parallel Word Alignments. In Proceedings of Workshop 9th Semantics Syntax Statistical Translation, NAACL 2015, Denver CO, US. == Publications == Diab has over 250 publications, and she is an acting editor for several scientific journals. === Selected publications === Semeval-2012 task 6: A pilot on semantic textual similarity. E. Agirre, D. Cer, M. Diab, A. Gonzalez-Agirre. SEM 2012: The First Joint Conference on Lexical and Computational Semantics–Volume 1: Proceedings of the main conference and the shared task, and Volume 2: Proceedings of the Sixth International Workshop on Semantic Evaluation (SemEval 2012) Predictive linguistic features of schizophrenia. ES Kayi, M Diab, L Pauselli, M Compton, G Coppersmith. arXiv preprint arXiv:1810.09377 Ideological perspective detection using semantic features. H Elfardy, M Diab, C Callison-Burch – Proceedings of SEM 2015 DeSePtion: Dual sequence prediction and adversarial examples for improved fact-checking. Christopher Hidey, Tuhin Chakrabarty, Tariq Alhindi, Siddharth Varia, Kriste Krstovski, Mona Diab, Smaranda Muresan, 2020 Does Causal Coherence Predict Online Spread of Social Media? Pedram Hosseini, Mona Diab, David A Broniatowski. Proceedings of International Conference on Social Computing, Behavioral-Cultural Modeling and Prediction and Behavior Representation in Modeling and Simulation, 2019. Diversity, Density, and Homogeneity: Quantitative Characteristic Metrics for Text Collections. YA Lai, X Zhu, Y Zhang, M Diab, arXiv preprint arXiv:2003.08529, 2020 Readability of written medicine information materials in Arabic language: expert and consumer evaluation. S Al Aqeel, N Abanmy, A Aldayel, H Al-Khalifa, M Al-Yahya, M Diab. BMC health services research 18 (1), 1–7, 2019 Unsupervised word mapping using structural similarities in monolingual embeddings. H Aldarmaki, M Mohan, M Diab – Transactions of the Association for Computational Linguistics, 2018 An unsupervised method for word sense tagging using parallel corpora M Diab, P Resnik. Proceedings of ACL 2002 Overview for the first shared task on language identification in code-switched data. Thamar Solorio, Elizabeth Blair, Suraj Maharjan, Steven Bethard, Mona Diab, Mahmoud Ghoneim, Abdelati Hawwari, Fahad AlGhamdi, Julia Hirschberg, Alison Chang, Pascale Fung. Proceedings of the First Workshop on Computational Approaches to Code Switching, 2014 Modeling sentences in the latent space. W Guo, M Diab – ACL 20 12 Task-based evaluation of multiword expressions: a pilot study in statistical machine translation. M Carpuat, M Diab – NAACL-HLT 2010 Rumor detection and classification for twitter data. S Hamidian, MT Diab – arXiv preprint arXiv:1912.08926, 2019 Subgroup detection in ideological discussions. A Abu-Jbara, P Dasigi, M Diab, D Radev – ACL 2012 Madamira: A fast, comprehensive tool for morphological analysis and disambiguation of arabic. A. Pasha, M. Al-Badrashiny, M. Diab, A. El Kholy, R. Eskander, N. Habash, M. Pooleery, O. Rambow, R. Roth. LREC 14, 1094–1101. 2014 Context-Aware Self-Attentive Natural Language Understanding for Task-Oriented Chatbots. A. Gupta, P. Zhang, G. Lalwani, M. Diab. EMNLP 2019 A multitask learning approach for diacritic restoration. S. Alqahtani, A. Mishra, M. Diab. ACL 2020
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Postediting

Post-editing (or postediting) is the process whereby humans amend machine-generated translation to achieve an acceptable final product. A person who post-edits is called a post-editor. The concept of post-editing is linked to that of pre-editing. In the process of translating a text via machine translation, best results may be gained by pre-editing the source text – for example by applying the principles of controlled language – and then post-editing the machine output. It is distinct from editing, which refers to the process of improving human generated text (a process which is often known as revision in the field of translation). Post-edited text may afterwards be revised to ensure the quality of the language choices are proofread to correct simple mistakes. Post-editing involves the correction of machine translation output to ensure that it meets a level of quality negotiated in advance between the client and the post-editor. Light post-editing aims at making the output simply understandable; full post-editing at making it also stylistically appropriate. With advances in machine translation full post-editing is becoming an alternative to manual translation. Practically all computer-assisted translation (CAT) tools now support post-editing of machine translated output. == Post-editing and machine translation == Machine translation left the labs to start being used for its actual purpose in the late seventies at some big institutions such as the European Commission and the Pan-American Health Organization, and then, later, at some corporations such as Caterpillar and General Motors. First studies on post-editing appeared in the eighties, linked to those implementations. To develop appropriate guidelines and training, members of the Association for Machine Translation in the Americas (AMTA) and the European Association for Machine Translation (EAMT) set a Post-editing Special Interest Group in 1999. After the nineties, advances in computer power and connectivity sped machine translation development and allowed for its deployment through the web browser, including as a free, useful adjunct to the main search engines (Google Translate, Bing Translator, Yahoo! Babel Fish). A wider acceptance of less than perfect machine translation was accompanied also by a wider acceptance of post-editing. With the demand for localisation of goods and services growing at a pace that could not be met by human translation, not even assisted by translation memory and other translation management technologies, industry bodies such as the Translation Automation Users Society (TAUS) expect machine translation and post-editing to play a much bigger role within the next few years. The use of Machine Translation suggests sometimes pre-editing. Human translators possess significantly more sophisticated cognitive abilities than machine translation (MT) systems. They leverage a wealth of life experience, common sense, and multi-sensory input to understand context, identify semantic intent, and add cultural nuances to translations. This remains true even as MT capabilities continue to improve. Unlike MT systems, which primarily focus on literal word-for-word conversion, human translators grasp the underlying meaning and intent, even when information is implicit. They "read between the lines," guided by their understanding of the world. Essentially, MT models excel at text string prediction, not true comprehension. Their success often stems from framing problems as prediction tasks, such as in self-driving cars or fraud detection. Studies have demonstrated that integrating adaptive MT with post-editing interfaces can lead to reductions in technical effort and time, improving overall translation efficiency. These systems are also supported by research that highlights the benefits of adaptive MT in real-world translation scenarios. For example, incremental adaptation in Neural Machine Translation (NMT) for professional post-editors has been shown to improve translation quality and reduce time spent on edits, showcasing how human expertise and machine assistance can complement each other effectively. == Light and full post-editing == For many years, no widely accepted, standardized post-editing guidelines existed; however, in 2017, ISO standard 18587:2017: Translation services — Post-editing of machine translation output — Requirements was published. Studies in the eighties distinguished between degrees of post-editing which, in the context of the European Commission Translation Service, were first defined as conventional and rapid or full and rapid. Light and full post-editing seems the wording most used today. Light post-editing implies minimal intervention by the post-editor, with the aim of ensuring quality is "good enough" or "understandable"; the expectation is that the client will use it for inbound purposes only, often when the text is needed urgently, or has a short time span. Full post-editing involves a greater level of intervention to achieve a degree of quality to be negotiated between client and post-editor; the expectation is that the outcome will be a text that is not only understandable but presented in some stylistically appropriate way, so it can be used for assimilation and even for dissemination, for inbound and for outbound purposes. The quality is expected to be publishable and equivalent to that of a human translation. The assumption, however, has been that it takes less effort for translators to work directly from the source text than to post-edit the machine generated version. With advances in machine translation, this may be changing. For some language pairs and for some tasks, and with engines that have been customised with domain specific good quality data, some clients are already requesting translators to post-edit instead of translating from scratch, in the belief that they will attain similar quality at a lower cost. The light/full classification, developed in the nineties when machine translation still came on a CD-ROM, may not suit advances in machine translation at the light post-editing end either. For some language pairs and some tasks, particularly if the source has been pre-edited, raw machine output may be good enough for gisting purposes without requiring subsequent human intervention. == Post-editing efficiency == Post-editing is used when raw machine translation is not good enough and human translation not required. Industry advises post-editing to be used when it can at least double the productivity of manual translation, even fourfold it in the case of light post-editing (1000 words per hour vs. 250 wph). However, post-editing efficiency is difficult to predict. Various studies from both academia and industry have claimed that post-editing is generally faster than translating from scratch, regardless of language pairs or translators' experience. There is, however, no agreement about how much time can be saved through post-editing in practice (if any at all): While the industry reports on time savings around 40%, some academic studies suggest that time savings under actual working conditions are more likely to be between 0–20%, or that it may depend on the terminological proximity between the source and target languages. Professionals have also reported negative productivity gains where corrections require more time than to translate from scratch. == Post-editing and the language industry == After some thirty years, post-editing is still "a nascent profession". What the right profile of the post-editor is, has not yet been fully studied. Post-editing overlaps with translating and editing, but only partially. Most think the ideal post-editor will be a translator keen to be trained on the specific skills required, but there are some who think a bilingual without a background in translation may be easier to train. Not much is known either on who the actual post-editors are, whether they tend to be professional translators, whether they work mostly as in-house employees or self-employed, and on which conditions. Many professional translators dislike post-editing, among other reasons because it tends to be paid at lower rates than conventional translations, with the International Association of Professional Translators and Interpreters (IAPTI) having been particularly vocal about it.
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Digital art

Digital art, or the digital arts, is artistic work that uses digital technology as part of the creative or presentational process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art. Digital art includes pieces stored on physical media, such as with digital painting, as well as digital galleries on websites. Digital art also extends to the field of visual computing. == History == In the early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user interactive computer-graphics interface known as Sketchpad. Between 1974 and 1977, Salvador Dalí created two big canvases of Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko) and prints of Lincoln in Dalivision based on a portrait of Abraham Lincoln processed on a computer by Leon Harmon published in "The Recognition of Faces". The technique is similar to what later became known as photographic mosaics. Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Center in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color using flood fills. == Art made for digital media == Artwork that is highly computational, presented through digital media, and explicitly engages with digital technologies are categorized as "art made for digital media". This differs from art using digital tools, which incorporate digital technology in the creation process but may exist outside the digital world. Digital art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statement about the art form". == Art that uses digital tools == Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings when created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Despite differing viewpoints on digital technology's impact on the arts, a consensus exists within the digital art community about its significant contribution to expanding the creative domain, i.e., that it has greatly broadened the creative opportunities available to professional and non-professional artists alike. == Art theorists and art historians == Notable art theorists and historians in this field include: Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Tina Rivers Ryan, Fred Forest and Edward A. Shanken. === Digital painting === Digital painting is either a physical painting made with the use of digital electronics and spray paint robotics within the digital art fine art context or pictorial art imagery made with pixels on a computer screen that mimics artworks from the traditional histories of painting and illustration. === Artificial intelligence art === Artists have used artificial intelligence to create artwork since at least the 1960s. Since their design in 2014, some artists have created artwork using a generative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate. It can be used to generate pictures that have visual effects similar to traditional fine art. The essential idea of image generators is that people can use text descriptions to let AI convert their text into visual picture content. Anyone can turn their language into a painting through a picture generator. == Digital art education == Digital art education has become more common with the advancement of digital hardware and software. From hardware such as graphics tablets, styluses, tablets, 3D scanners, virtual reality headsets, and digital cameras; to software such as digital art software, 3D modeling software, 3D rendering, digital sculpting, 2D graphics software, digital painting, 3D terrain generation, 2D animation software, 3D animation software, raster graphics editors, vector graphics editors, mathematical art software, and video editing software. == Scholarship and archives == In addition to the creation of original art, research methods that utilize AI have been generated to quantitatively analyze digital art collections. This has been made possible due to the large-scale digitization of artwork in the past few decades. Although the main goal of digitization was to allow for accessibility and exploration of these collections, the use of AI in analyzing them has brought about new research perspectives. Two computational methods, close reading and distant viewing, are the typical approaches used to analyze digitized art. Close reading focuses on specific visual aspects of one piece. Some tasks performed by machines in close reading methods include computational artist authentication and analysis of brushstrokes or texture properties. In contrast, through distant viewing methods, the similarity across an entire collection for a specific feature can be statistically visualized. Common tasks relating to this method include automatic classification, object detection, multimodal tasks, knowledge discovery in art history, and computational aesthetics. Whereas distant viewing includes the analysis of large collections, close reading involves one piece of artwork. Whilst 2D and 3D digital art is beneficial as it allows the preservation of history that would otherwise have been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans – i.e., who should own the digital copyrights. === Computer demos === Computer demos are based on computer programs, usually non-interactive. It produces audiovisual presentations. They are a novel form of art, which emerged as a consequence of the home computer revolution in the early 1980s. In the classification of digital art, they can be best described as real-time procedurally generated animated audio-visuals. This form of art does not concentrate only on the aesthetics of the final presentation, but also on the complexities and skills involved in creating the presentation. As such, it can be fully enjoyed only by persons with a relatively high knowledge level of relevant computer technologies. An example is that, as said by Hua Jin and Jie Yang, Using computer-aided design software to present the class content in art design teaching," is not to advocate computer-aided design instead of hand-drawn performance, but to make it serve the profession earlier through a more reasonable course arrangement." On the other hand, many of the created pieces of art are primarily aesthetic or amusing, and those can be enjoyed by the general public. === Digital installation art === Digital installation art constitutes a broad field of artistic practices and a variety of forms. Some resemble video installations, especially large-scale works involving projections and live video capture. By using projection techniques that enhance an audience's impression of sensory envelopment, many digital installations attempt to create immersive environments. While others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site-specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces. Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people, indicating their personal space.Noah Wardrip-Fruin's "Screen"(2003) utilizes a Cave Automatic Virtual Environment (CAVE) to create an interactive, text-based digital experience that engages the viewer in a multi-sensory interaction. === Internet art and net.art === Internet art is digital art that uses the specific characteristics of the Internet and is exhibited on the Internet. The term "internet art" is included by "net art" for which artists assume that network will be refreshed through history. So the term "post-internet art" is used to exclude artworks outside of the internet media. A representative example is Protocols for Achievements, which is a digital photo frame that confronts the aestheti
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AI Video Generators Reviews: What Actually Works in 2026

Comparing the best AI video generator? An AI video generator is software that uses machine learning to help you get more done — it lowers the barrier so anyone can produce professional output. Privacy matters too: check whether your data trains the model and whether a no-log or enterprise tier is available. Whether you are a beginner or a pro, the right AI video generator slots into your workflow and pays for itself fast. We tested the leading options and ranked them by quality, value, and ease of use.
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The Best Free AI Code Generator for Beginners

In search of the best AI code generator? An AI code generator is software that uses machine learning to help you get more done — it turns a rough idea into a polished result in seconds. When choosing one, weigh output quality, pricing, export formats, and how well it fits the tools you already use. Whether you are a beginner or a pro, the right AI code generator slots into your workflow and pays for itself fast. We tested the leading options and ranked them by quality, value, and ease of use.
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